[The second of a series of posts which bind my twin loves - philosophy/theology and TV detectives - for no reason whatsoever. Previously: Broadchurch - By Grace Ye Have Been Saved. Up next: Sherlock Holmes - The Aragorn Complex. Upcoming: Foyle's War and moral absolutes.]
“Your aesthetic sense seems to be causing you no end of trouble, Chief Inspector,” says one suspect in the enormous body of Oxford-dwellers under investigation by Inspector Morse.
Anybody that has known me more than a week or two will probably tell you that one of my nerd obsessions is British detective shows. But my standards are high. While your average chalk-and-cheese buddy-cop mystery show is fun, I get bored unless it starts to take a stab at something deeper (see Midsomer Murders, Elementary).
Inspector Morse, at first glance, doesn’t seem to do this. Morse is a broody
intellectual with odd habits. Sergeant Robbie Lewis, his partner, is a
cheerful, ordinary family man. It’s the Formula.
But Morse is more than the sum of his eccentricities (as, for instance, Hercule Poirot has become under the subtle grooming of David Suchet.) Morse doesn’t just like good things because they are commonly accepted as Good Things, but because they are genuinely excellent. And while the show has shot Oxford’s homicide rate into the stratosphere, its mystery doesn’t really center around death, but around life, and the longing for something transcendent.
But Morse is more than the sum of his eccentricities (as, for instance, Hercule Poirot has become under the subtle grooming of David Suchet.) Morse doesn’t just like good things because they are commonly accepted as Good Things, but because they are genuinely excellent. And while the show has shot Oxford’s homicide rate into the stratosphere, its mystery doesn’t really center around death, but around life, and the longing for something transcendent.

