The BBC’s new whodunnit, Lynley, filmed across Dublin, Wicklow, and Cork, is a curiously British affair. Despite the Irish locations, the series seems determined to remain firmly rooted in English social commentary, specifically, a rather pointed exploration of class divisions. This isn’t simply a detective story; it’s a re-litigation of the “great English class war” played out through the dynamic between a privileged detective and his working-class colleague.
- The series features Leo Suter as DI Tommy Lynley and Sofia Barclay as DS Barbara Havers, whose chemistry is a highlight.
- Despite Irish filming locations, the show deliberately avoids showcasing Ireland, instead portraying a distinctly British landscape.
- The mystery centers around a murdered “toxic toff” with a complicated personal life and a penchant for recording his affairs.
This feels very much like a calculated move by the BBC. January television is often a dumping ground for content that doesn’t quite fit the festive schedule or isn’t deemed “event” enough for primetime later in the year. Lynley, with its familiar tropes – the class conflict, the stately homes, the intricate mystery – is perfectly positioned to fill that void. It’s comfort viewing, but with a slightly sharper edge than your typical cozy crime drama. The show leans into the “Ken Loach does Agatha Christie” aesthetic, a deliberate juxtaposition that signals a willingness to engage with social issues, even if superficially.
The irony, of course, is that the very landscape meant to evoke a sense of unease is filmed in Wicklow, a region not generally known for its “spooky and unnerving” atmosphere. This disconnect highlights a common industry practice: leveraging attractive filming locations for cost-effectiveness while maintaining a specific narrative aesthetic. The show’s producers clearly prioritized the *idea* of a bleak, coastal setting over actually utilizing the unique character of the Irish countryside. Niamh Walsh, a Malaysian/Irish actor, is set to join the cast in part two as Lynley’s love interest, offering a small but welcome nod to diversity.
Ultimately, Lynley is a solid, if somewhat predictable, piece of January sleuthing. It’s a stark contrast to the “Christmas claustrophobia” many viewers are still recovering from, and it provides a familiar, if slightly cynical, lens through which to view British society. Whether it will resonate beyond the UK remains to be seen, but it’s a safe bet that the BBC is hoping its dependable formula will draw in a loyal audience.
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