After what feels like an eternity in TV years, “Karen Pirie” has finally sashayed back onto ITV1, and darlings, the wait has been absolutely worth it. Three years might seem like an age — remember when we thought the pandemic would last just two weeks? — but this sophomore season proves that sometimes television, like a fine wine or your favorite vintage Chanel, simply needs time to reach its full potential.
Lauren Lyle returns as our intrepid detective, sporting that now-iconic bumbag (which, let’s be honest, is having quite the moment in 2024’s street style). She’s nabbed herself a promotion to Detective Inspector, though anyone who watched season one knew that was coming. The real surprise? How seamlessly she steps into those bigger shoes while keeping her signature determination intact.
This time around, we’re diving into the disappearance of Catriona Grant and her toddler son Adam. Picture this: a glamorous heiress, a fish and chip shop in Fife, and a gunpoint kidnapping. It’s the kind of deliciously twisted scenario that would make even the most jaded crime drama enthusiast sit up straight.
The show’s taken a decidedly luxe turn with some gorgeous Malta-set scenes. Finally, a crime drama that understands we don’t need perpetually rain-soaked streets to create atmosphere — though there’s still plenty of moody Scottish scenery to go around.
Chris Jenks is back as DC Jason ‘Mint’ Murray, stealing scenes with the kind of effortless charm that makes you wonder why he isn’t headlining his own series yet. The addition of Saskia Ashdown as DC Isla Stark adds a fascinating new dynamic — think less workplace rivalry, more complicated dance of personalities.
But here’s where things get really interesting: James Cosmo joins the cast as Sir Broderick Grant, bringing the kind of gravitas that makes other actors nervously straighten their ties. His portrayal of Catriona’s father — an oil magnate with more secrets than a confessional booth — adds layers of complexity to an already rich narrative.
The three 90-minute episodes are perfectly paced, thank heavens. Nobody needs another one of those drawn-out series that feel like they’re being paid by the minute. The dual timeline structure works brilliantly, weaving past and present together like a master tailor working with silk and wool.
What’s particularly refreshing about this season is how it handles its increased scope. The investigation into the Grant kidnapping unfolds like a Russian nesting doll of revelations — each one leading to something bigger and more intriguing. Political intrigue, family secrets, and enough twists to give your neck a workout — it’s all here, but never feels overwhelming.
Writer Emer Kenny (who took a perfectly reasonable break to welcome a tiny human into the world) has crafted something rather special. The dialogue crackles with wit, the plot moves with the precision of a Swiss timepiece, and the character development feels organic rather than forced.
In a landscape crowded with crime dramas — seriously, you can’t throw a stone without hitting a detective these days — “Karen Pirie” has managed to carve out its own distinct identity. It’s sophisticated without being pretentious, complex without being confusing, and stylish without sacrificing substance.
The show returns at a moment when British television seems to be hitting a new golden age. Between this and that other police drama everyone’s been raving about (you know the one), we’re rather spoiled for choice. But “Karen Pirie” stands out by doing something remarkably simple: telling a compelling story really, really well.
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