Don't get me wrong - I like this, I like the characters, the dialoge is well written. BUT. There is a HUGE flaw in the logic. Set aside for a moment that whilst the maths may be valid, it would take weeks to months to deduce some of the algorythms that Charlie comes up with over lunch, the problem is easily demonstrated in this ep. Charlie works out that the water supply is the best target. He uses *professorial* expert level maths to work this out. Based on this, they immediately disregard all other possible targets and just wonder where and how the water supply is to be attacked. But what happens if the bad guys don't have access to a fast thinking maths geek of their own? Answer? They never realise that the water supply is vulnerable (they may not even know teh sarin can be put in water without breaknig down) and are even as we speak setting up a bomb to vapourise the sarin on hill upwind of the city centre...

I love Geraldine McEwan, and I have no problems with her as Miss Marple. And yes, Joanna Lumley is inspired as Dolly Bantry. The scripts are well adapted, the acting is good, it should all come together nicely.

But.

I'm afraid I just can't watch these without thinking how it doens't really match up to the standard, set still comparativly recently, by the most amazing Joan Hickson. If you're going to re-make Marple mysteries you either need to wait for the Hickson ones to be *so* old that no-one watches them any more, or even remembers them much, or you need to have something which is not just good, outstandingly and unmistakably better.

And this, sadly, isn' it.

This episode was annoying - no-where near up to their usual standard. The world's biggest plot-hole



[here be spoilers]



there is simply and utterly no way in the world Fiona would have been allowed anywhere *near* this operation given her past. It's not just that they don't *think* there's anyone around who would recognise her, it's simply that the faintest hint of a possibility of anyone anywhere recognising here would so thoroughly bugger up the whole operation they would never, ever risk it.

And on top of that, the rookie is her backup? OK, the new girl needs to get real experience if she's to work, but...

Other than that, nicely put together.

Sorry guys - 6/10 - hope you get back on form real soon! :)

What a fantastic episode. Makes you glad there are still people out there who can make excellent television.

First up, lots of good actors. So many progs rely on a "bankable" name and a whole bunch of cheap newcomers. This is full of "familiar faces" and an absolute blinder from the excellent George Costigan, and an impressive performance from Joe Armstrong.

Second up, credible plot, which nevertheless has plenty to work out as you go along.

Topped of with excellent direction - I note, in passing, that TV.Com doesn't bother to list even major crew members... it wouldn't hurt us to remember just how much of the creative talent in good television doesn't stand in front of the cameras.

Last of the Summer Wine ran for an ashtonishing 29 years, from a single-episode "playhouse" presentation which was picked up as a series in 1972, to a peaceful death at home in bed in 2001.

During this time, several friendly faces have come and gone, Blamire, Foggy Dewhurst, Seymore Utterthwaite, back to Foggy, with Compo and Clegg as mainstay, but performances chiseled into history with characters such as Nora Batty, Sid and Ivy, Ely (shades of Mr Magoo!)... And over the years, it has often been said, the novelty wore off and the plot ideas started to resemble one another.

But I think on reflection, the point is missed. The plot is utterly co-incidental. Whilst UK-Gold running a dozen episodes back to back can be a bit much of a good thing, a single episode, from any time in the life of the show, never *fails* to cheer up a dreary day, or round off a good one.

Ignore the plot. It'll be silly. You'll notice even the early show plots were silly. The joy is the dialogue. Despite fantatic performances from all the players, for me the absolute lead start of LotSW is Roy Clark and his superb scripts.

So ignore the family saying "not that old thing again", ignore the daft situation they've contrived for Compo, put your feet up and just enjoy the chat.