Replying to a Data Lounge query on cozy British murder mysteries, one forum member wrote:
…an interesting lesson on writing and showrunning. Foyle’s War should work outside of the premise. Michael Kitchen and Honeysuckle Weeks are both good actors and their characters were interesting. Yet once WW2 was taken out of the equation, the story wasn’t interesting anymore. I think part of it was that having Weeks’ character marry put a wedge in the boss/employee relationship and the show just fell to pieces after that. Thank goodness they always kept the relationship as father/daughter. If they had Weeks have romantic feelings for Foyle, it would have ruined the entire show including the episodes already broadcast.
Looking back at 2017 in the rearview mirror and agreeing with Paul Krugman that although “Donald Trump has been every bit as horrible as one might have expected”, America Is Not Yet Lost. So… to better days — and more from Michael Kitchen — in the new year ahead despite the formidable odds.
It’s a sad state of affairs when fan fiction is created not around dramatic shots like this, but around projections for an egregious tax bill.
The officer in charge of finding a replacement DCS has yet to learn that flattery will get him nowhere with Foyle, as Michael Kitchen so eloquently indicates with a roll of his eyes followed by an exasperated sigh.
Foyle post-war, pre-MI5 in The Russian House.
Back in 2008 The Orlando Sentinel reported from the Television Critics Association summer tour on the possibility of a seventh series of Foyle’s War:
In especially good news, “Masterpiece” series executive producer Rebecca Eaton said that Michael Kitchen could decide to do more “Foyle’s War.”
“The producers and the writer are working hard to convince him to do it,” Eaton said.
Ever the reluctant star.
Behind-the-scenes photos from filming of The Russian House (March, 2009) and Trespass (January, 2014).
Pivoting aside, Foyle is a man of restrained physicality, but on occasion Michael Kitchen does get to take on the role of action hero in the show. Not since Caught on a Train have I seen MK sprint as hard as he does in Eagle Day.
Cute how he removes his hat while he and Sam flee from the assassin.
Superior officer #1: Detective Chief Superintendent Foyle, I think we all owe you a vote of gratitude.
Foyle: Well, that’s uncommonly decent of you, but I didn’t come here to be thanked.
Superior officer #1: How is the new station?
Foyle: The new station is delightful, apart from the fact that I don’t want to be in it. I resigned.
Superior officer #1: I am aware of that.
Superior officer #2: Yes, it was very good of you to come back after your predecessor…
Superior officer #2: In very unfortunate circumstances.
Foyle: Well, it’s my experience that most deaths are unfortunate, but all that was some considerable time ago. I’d like to know why I’m still there and where my replacement is.
Savoring more of Foyle’s grins, because in Series 8, it seems he has even less reason to crack a smile – not that Michael Kitchen doesn’t look great frowning also.
Perkins commits a cardinal sin according to Foyle’s code of conduct.
MK’s face so clearly registers Foyle’s displeasure at Milner’s dismissal of Perkins’s offense.
When Foyle says “frankly”, watch out.
Having unwisely offended Foyle in his eagerness to prove himself on his first case, Milner receives sharp criticism from his former boss:
“You were rude, uncooperative. You defended a junior officer who was disrespectful, and to put a tin lid on it, you upset Sam, and I’d say that’s a poor return for five years we spent together. But if that’s how you want to handle yourself now that you’re in Brighton, that’s entirely up to you.”
Who wouldn’t mend their ways after such a tongue-lashing from Foyle?
Milner has learned a lesson he won’t soon forget.
Must say I agree with hikari regarding Milner’s out-of-character actions in this episode:
Paul really goes off the deep end in the last episodes, doesn’t he? His belligerent attitude toward what he deemed Foyle’s interfering in his investigation was just way over the top for somebody who’d looked up to Foyle as a mentor for so long. It seemed like they were scrambling to create some sort of drama for Milner in the final going, after underutilizing him for most of the series . . but the ‘drama’ they came up with forced Anthony Howell to play Milner out of character. In his buttoned-down way, that was Milner becoming unhinged. It didn’t make a whole lot of sense . . and ended the program on an unsettled and unsatisfactory note; Milner obviously miserable, for unexpressed reasons . . and alienated from his former boss and the other members of his former team.
HQ photos taken during filming of The Russian House. I’d never seen these before.