mikebunting-1 I enjoyed the novels but this series is boring as hell. Terrible writing, Sharon Small acts circles around Nathaniel Parker whose character as presented is a total jerk and deserves the scorn his co-workers have for him

Parker Lewis Four British detective-type series from the noughties stand out...Inspector Lynley, Rosemary and Thyme, The Last Detective, and Judge John Deed. All of these series finished before their time unfortunately. Inspector Lynley should have run longer than six seasons as it really is a top drawer police drama. Maybe the lack of police chases or whatever meant The Inspector Lynley Mysteries wouldn't get the longevity it deserved. So many things about this fine series is appealing. The understated emotions between Lynley and Havers - all credit to the scriptwriter, director and of course the actors Nathanial Parker and Sharon Small. I also liked the contrasts between the locations outside of London, with London itself. Great scenery and atmosphere.The Inspector Lynley Mysteries deserves a reboot big time, seriously. It's not too late to bring back this fine, distinguished series.

cbe41919 I like the stories and the contradiction in characters with Lynley and Havers. It would happen and it gives a broad view of the crimes and their details rather than having two people from the same background. They have their problems but work together well in solving the mysteries. Sharon Small is a favorite of mine anyway but I like Nathaniel a lot too. I recognize the Jensen Interceptor in the first lot but what is the red car he drives later on. The "Helen" character is a dead loss and superfluous in the extreme. She gets In the way and contributes zilch. I like the series a lot, the stories are complex and different. A few of the episodes are exceptional.

tedg I have now rewatched several of these, and have refined my appreciation. The usual models for these sorts of projects is to distribute the episodes among different directors and screenwriters, assuming that the continuing characters are what matters. This series is different. The producers kept a firm hand on the way the episodes are framed; there is a consistent framework carried from one to the other that understand George's structure perhaps better than she does herself.There is a murder or two. The dynamics of this murder happen in their own word, a world of madness or unraveled anger. The sense behind this is fantastically abstract, and is framed by a sort of soap opera centered on the events and characters that are suspects.A more human, immediate layer — an entire third world — is the soap opera of a quite different nature in the lives of the continuing characters: Lynley and Havers. He is derived from Peter Wimsey, a second order aristocrat engaged in justice for his own reason. He has friends and lovers. Havers is an abrasive young lower class woman, struggling with family issues. This world is layered as well between Lynley and Havers.One can easily imagine George seeing herself as Havers, watching and commenting on Lynley as he tries to understand the dynamics of the world he has entered to solve the crime, and find the embedded "world of motive." This layered narrative format is understood by the producers of the series. Significant attention is paid to camera distance to register intimacy or lack of it. In particular, Havers is always the omphalos of the thing. Sharon Small is the actress who has taken on this central role and she is simply magnificent in it. She has the job of being a person in the thing, but that is an ordinary chore for an actor. She also has to be the observer and observer of the observer as the writer's surrogate. We never lose sight of the fact that this is a novelist's construction and she has included herself in the world as its origin.Ted's Evaluation -- 3 of 3: Worth watching.