Lewis: Intelligent Design - the end of an era?

Lewis came to a gently poignant end this week after seven series, with a good two-part episode called Intelligent Design. The episode title had a suitable double meaning, since it seems to me that Lewis certainly has been a cleverly designed series. I admit I wasn't attracted to the premise initially. Much as I'd enjoyed Inspector Morse, I didn't think a series of sequels featuring his sidekick would work. But I was wrong.

There was a combination of reasons why they became a success. Kevin Whately is a reliable actor, and what Lewis lacks in flair he makes up for in humanity. His slow-burning relationship with Hobson the pathologist played very well, partly because Claire Holman's portrayal of Hobson was so reserved yet appealing The scripts were generally good, and of course the setting is superb,and the photography made the most of it.

But what I liked about the series above all was a character Colin Dexter didn't create, the new sidekick, Hathaway, played by Laurence Fox. The dynamic between Hathaway and Lewis was, in its way, as engaging as that between Morse and Lewis. And a word, too, for Rebecca Front as Chief Superintendent Innocent. She too was very likeable, and made the most of a fairly limited role.

Intelligent Design was a typically convoluted story, about a professor whose release from prison sparks a disastrous chain of events. There was a cameo performance from another Fox, Edward, and though I didn't believe in the scam at the heart of the story for a minute, that didn't really matter. It was good watching, and overall I'd rate Lewis as one of the very best traditional detective series of the last ten years. I'll miss it. But wait - we're promised Endeavour next. The Dexter franchise keeps on running!

Agatha Christie's Marple: The Secret of Chimneys - review

Agatha Christie’s Marple this evening gave us The Secret of Chimneys, from a book which dates back to 1925. Jane Marple does not appear in the book, and frankly the story – a cheerfully ludicrous thriller – would be long forgotten if Christie were not the author. I felt compelled to watch, though, to see what the scriptwriter, Paul Rutman – a capable and experienced TV detective drama writer - would make of a very tough challenge.

His approach was to take a few small plot elements and a number of characters (or, at least, their names) from the original but to create an entirely new story, with the scene being set in 1932 before moving into the 1950s, with Miss Marple, in the shape of Julia Mackenzie, improbably invited to Chimneys along with an exotic foreign aristocrat and a woman from ‘National Heritage’.

The cast was good, including the reliable Edward Fox, the beautiful Charlotte Salt and the talented Dervla Kirwan. But the story-line was risible and Christie probably turned in her grave at the identity and motive of the culprit. I was certainly amazed, but not in a good way.

I was left wondering what was the object of the exercise. I could see the point of the new TV version of Murder on the Orient Express, even though I’ve read some comments by purists who disapprove of the changes made to the original, because the focus on justice was – to me – genuinely interesting. But with The Secret of Chimneys, a silly but mildly amusing book from the 1920s just became a silly TV show of 2010. Disappointing, to say the least.