Edgar Colt

Vitor Miguel

Prisma Soulstorm

Serena

Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

A modern take on the cases of Sherlock Holmes, with the detective now living in New York City.

Former insurance claims investigator Nathan Ford heads a team of former top-criminals. They handle 'unorthodox' cases of people unlikely to get their due through regular channels and legal procedures. That often involves stinging or otherwise scamming criminals. Nate's team is altered at times, and his professional as well as personal past repeatedly seems to catch up.

Richard "Rick" Castle is a millionaire playboy who recently killed off his main character when a serial killer starts killing people like he does in his books. He teams up with New York police detective Kate Beckett to solve the case. He finds inspiration in Detective Beckett and starts shadowing her for his next book.

American police procedural comedy-drama television series (2009-2016)

A doctor is a war veteran who was at the fall of Singapore, suffering trauma from war memories. He begins solving crimes.

Bernard Black runs his own bookshop even though he doesn't much like people who buy books and hates having customers. Next door to Bernard's shop is the Nifty Gifty gift shop run by Fran, probably Bernard's only friend in the world. When Bernard's accountant goes on the run Bernard employs stress victim, Manny to help in his shop. This leads to a series of surreal adventures around the shop.

Two teams, lead by their team leader (either Lee Mack or David Mitchell), have to try and make the other team believe their crazy stories.

Long-running satirical news quiz featuring regular team captains Ian Hislop and Paul Merton. Originally chaired by Angus Deayton, the series has adopted "guest hosts" since 2002.

DCI Gene Hunt is back, but he's no longer the self-styled "Sheriff of Manchester." Flanked by his faithful sidekicks, Ray Carling and Chris Skelton, and drawn by the action and intrigue of the London Met, Gene's turned his attentions to taking on the "southern nancy" criminal scum. However, Gene did not expect to be thrown together with a sexy, intelligent DI Alex Drake. Single mother to daughter Molly, Alex has rapidly risen through the ranks of the Met and, in the modern world of 2008, skillfully uses psychological profiling to capture suspects. When Alex and her daughter are kidnapped, she makes a daring attempt at escape, resulting in a horrific incident. Alex suddenly finds herself in 1981, interacting with familiar characters, not just from her own lifetime, but also from the detailed reports logged by none other than Sam Tyler, which Alex previously spent months poring over. Alex is ripped from her current world of sexual equality and respect in 2008, and finds herself opposite an arrogant DCI, in a two-tone, "New Romantic" '80s London with a soundtrack of Adam Ant, Roxy Music, and the Human League ringing in her ears. Alex finds that some of Gene's team has dispersed, yet others, loyal as ever, are still in tow. Now a technological whiz kid in the squad's surveillance team, DC Chris Skelton has clearly moved with the times, along with a tight-permed DS Ray Carling, who's keen to experience London's nightlife. Frustrated by each other's stubbornness, the friction between Alex and Gene heats up. However, as the two titans collide, it becomes apparent that there is more than just a professional tension emerging.

A six-part series about life at the Bar, the dilemmas and problems that modern day barristers have to face, and what it means to become a silk.

Inspector Robert Lewis steps out of the shadow of his mentor, the inimitable Inspector Morse, in this highly-acclaimed series of intricate mysteries. Together with his brooding, inscrutable partner, Detective Sergeant James Hathaway, they take on the elite criminal underworld of Oxford, England, relying on Lewis' instinct and Hathaway's intellect to see past appearances and into the hearts of their upper-crust foes.

The tenacious and stubborn DCI Banks unravels disturbing murder mysteries aided by his young assistants, DS Annie Cabbot and DI Helen Morton.

After being involved in a car accident in 2006, DCI Sam Tyler wakes up to find himself in 1973.

Dr. Cal Lightman teaches a course in body language and makes an honest fortune exploiting it. He's employed by various public authorities in various investigations, doing more when the police etc. fail to go the extra mile. So he can afford to constitute a team of his own, which like clients and others has to put up with his mind-games.

It's 1953, and Sidney Chambers is vicar of Grantchester, a village just outside Cambridge. Sidney's life is a quiet life - right up until the moment that murder comes his way. Pushed into the dangerous world of lies, betrayal and murder, Sidney quickly finds that his insight into the human condition, and the natural trust that he engenders in people, means that he excels in his new position as 'detective'. Joining Sidney as he journeys into this dark world is the affable but world-weary Detective Inspector Geordie Keating, the naive, but well-meaning curate Leonard Finch, and his austere and constantly disapproving housekeeper Mrs Maguire. But crime isn't the only matter that occupies Sidney. He's smitten with the witty, beautiful, Amanda, but could high society Amanda ever be allowed to marry a lowly country vicar? Can you still see the best in people when the world of murder asks you to see the worst?

During WWII, men and women working at Bletchley Park played a vital role, breaking the codes used by the German military. Nine years later, former codebreaker Susan is a housewife and mother, but she continues to recognize patterns that surround her in everyday life. When a series of women are brutally murdered around London, Susan sees a pattern emerging. However, when a police-search for what Susan believes to be an overlooked victim turns up nothing, she realizes she cannot solve this puzzle alone. Enlisting three former Bletchley Park colleagues: Millie, Lucy, and Jean; Susan knows they have little time to break this code before the killer strikes again.

Brilliant, but socially inept, forensic anthropologist Dr. Temperence Brennan works at the Jeffersonian Institute in Washington DC. After consulting for him on a FBI case, she is approached by cocky yet charming Former Army Ranger turned Special Agent, Seeley Booth to help the Bureau solve crimes by identifying human remains that are too far gone for standard FBI forensic investigations. Brennan's empirical, literal view of the world causes friction with Booths emotive, instinctive attitude creating a volatile relationship. However as their case load increases the symbiotic partnership produces results and with the support of Brennan's Squint Squad, murderers, past and present should be on the look out.

American crime comedy-drama television series (2005-2017)

Dr. Martin Ellingham (Martin Clunes), a London-based surgeon, relocates to the picturesque seaside village of Port Wenn, where he establishes himself as the area's general practitioner. He grew up in the area, having been raised by his now-widowed Aunt Joan Norton (Stephanie Cole). His reasons for leaving London and the high-paid life of a surgeon are not clear initially but related to a phobia he has. He soon meets several of the locals and eccentricity abounds. Martin's situation is made more difficult by what can only be referred as an almost complete lack of an acceptable bedside manner. He is gruff, abrupt, and intolerant, not only in issues related to medicine, but to life in general. He and the headmistress of the local school, Louisa Glasson (Caroline Catz), are clearly attracted to each other and, despite their awkwardness, slowly develop a relationship.

Based on the real life of Walter O'Brien, a genius with an IQ of 197. Walter is asked by Homeland Security to put together a special group of gifted individuals to troubleshoot the most difficult problems that the US & the world may encounter.

American television action drama series (2014-2018)

Miranda works in her joke shop with her best friend Stevie. She struggles when in social environments and no matter how hard she tries, she is always making a fool of herself, especially in front of her crush Gary. Plus her pushy mother, Penny, is forever trying to find her a suitable husband and turn her into a respectable lady.

Wendii Lord

A word of warning, my friends: I’ll be giving this the hard sell. To begin, please create in your mind’s eye (and ear) the most interesting tour guide imaginable. He knows all about Victorian England – its people, its paradoxes – and what’s more, he knows what you don’t know but would find fascinating. Transitions back and forth between our modern perspectives and their older, more circumscribed ones are virtually seamless. He’s wise about people, too, their quirks and motivations, independent of setting. Oh, and the language. . . every word is perfect. You’ll hardly notice the passing hours. Right from the very beginning this omniscient fellow speaks directly to you, promises you intimate details (some of which are dark and surprising, even a bit graphic), and lures you straight into 1875. You’re in very deep soon enough, utterly beguiled. Character-driven, with the plot riding shotgunI think it’s a disservice to reveal much of the plot. The narrator/tour guide will get to what’s relevant when the time is right. I will summarize the inside flap, though, which I figure is fair game. William Rackham, the purposeless heir to a perfume manufacturer, meets Sugar, the clever and willing young prostitute who suddenly fills him with ambition. He takes over his father’s business, enjoys a quick reversal of fortune, and sees to Sugar’s ascent from the squalor so that he can have her all to himself. What follows is a whole lot of interplay between these characters and a well-drawn host of others. The primary ones are:The aforementioned William – self-centered but not entirely vile; a would-be essayist and wag; a man defined and even a bit constrained by his social standing and the times.The aforementioned Sugar – enterprising and smart; a devotee of [pun alert] Dale Carnalgie’s How to Win Johns and Manipulate People; riveting to see how her people smarts and hooker’s talent for prevarication play out in chess matches of actions and reactions.Agnes – William’s wife who is actually somewhat deranged (we as readers are clued in to the cause even though the characters are not); beautiful yet naïve; almost laughably shallow by modern standards as the product of a finishing school.Henry – William’s older brother who is in certain ways the better chap; would rather have been a man of the cloth than a man of commerce (as their father had originally hoped); earnest as the day is long but unable to suppress those pesky animal urges.Emmeline Fox – a somewhat iconoclastic widow who does social work to help prostitutes in need; the object of Henry’s affections; one with a better applied sense of religion; ill but unyielding.Sophie – William’s six-year-old daughter who begins as a near non-entity but turns into a character with surprising depth; much of her blossoming is due to a source I shan’t divulge. Interesting others, among them prostitutes whose hearts range from gold to substances not nearly so glittery, a leech-toting doctor who sees to poor Agnes, and a couple of William’s friends from school – abominable but pretty damned funny.Victorian London, seeds and allIt was the best of times, it was the worst of times. Sorry. . . that’s unoriginal. But Dickens comes to mind for a reason. There were still many hardships for the poor, class distinctions were endemic, and byzantine morals lay beneath thin but glossy surfaces. The narrator states, “no righteous man must dare to think of the flesh, and no righteous woman must be aware of having it. If an exuberant barbarian from a savage fringe of the Empire were to stray into St. James's Park and compliment one of these ladies on the delicious-looking contours of her flesh, her response would most likely be neither delight nor disdain, but instant loss of consciousness.” Yet prostitution and pornography were booming. Conflict is easy to come by in a setting like this. It need not be manufactured or contrived. Faber said, plausibly enough, that he did a huge amount of research into the times, but didn’t actually use much of it. He said he hates when authors try so desperately to show off their knowledge to justify their efforts in obtaining it. Faber’s goal instead was to paint a vivid picture without ever allowing the pace to bog down. He hoped there was none of that “Let’s pause here for some historical stuff.” And there wasn’t.Purple prose? Pshaw! While the Victorian setting makes a certain richness of prose seem natural, there was a conscious effort to mix in faster paced elements, too. This was done so well that the writing, while lush, never felt overly verbose or ponderous; this despite longer sentences and even occasional adverbs. (In an interview, Faber made fun of Stephen King’s book on writing that basically said a pox upon modifiers. My feeling is that King may be right for most writers, but exceptions must be made for those like Faber who are so good at choosing them; you know, advisedly, unerringly.) Analysis (sans spoilers) I mentioned already that the writing is both sumptuous and fast-paced, a mix of old and new. It seems the same can be said for its literary classification. Pomo, you might ask? Well, yes and no. The narrator at the very beginning makes no bones about the fact that you’re reading a novel. And he switches between multiple POV characters, occasionally speaking directly to us as modern-day readers. Some have even called this “tricksy”, though those same people also admit that in Faber’s capable hands, it works. For the most part, though, the book features older style narration. Faber’s answer to an interview question speaks clearly to the way he wants this to be perceived. “I'm not impressed when authors rub their readers' faces in the fact that a book is only an artificial construct, that characters are not real, that it's all an exercise in deception and intellectual conceit. There's nothing new or clever about this. Laurence Sterne's Tristram Shandy did it to perfection two hundred and fifty years ago.”For me the most interesting question is how a book so long never once bored me. It wasn’t just the setting or the writing, though both were appealing. I suspect it had more to do with how real the characters seemed. Faber said that in an earlier draft William was more villainous, but was rewritten to become more likeable and complex. This made his bad behavior all the more poignant since it came from someone I cared to learn about. Sugar was revealed in even greater detail as she vied for influence and a better life. We’re granted valuable access to her hopes, fears, sensibility, and schemes. When I sit for a tick to think about it, it’s the way the characters are revealed (through dialog, the story, the inner voices, and that amazing narrator’s talent for description) that makes this the best book I’ve read in quite a while. The sense of a non-endingThis book is not loved universally. By far the most common complaint is the lack resolution at the end. Maybe The Sopranos helped prepare me, but I kind of liked the open-endedness. Some have surmised that after 900 pages, Faber just ran out of steam. As meticulously drawn as the storyline was up to that point, though, I suspect Faber wanted us to speculate. It made the story even truer to life, where loose threads dangle all over the map. Faber evidently caved in to the pressure and later wrote a book of short stories called The Apple New Crimson Petal Stories that features the same characters. Whether it truly ties up loose ends, or is up to the standards of this one, I don’t know. But I plan to find out.Trust meRead this book! If not immediately, then soon. And if you don’t trust my judgment, check out the review by Goodreads luminary Paul Bryant. Maybe an Englishman, and one not so profligate with his stars, can convince you.

DI Frost is an old-school no-nonsense copper who believes in traditional policing methods. Frost uses what he knows about the street to find answers to crimes as a member of Denton's CID. His home life's complex, but his daily nemesis is the station's commander; Supt. Mullett, who's constantly worrying. He doesn't appreciate DI Frost's rough and ready manner, which doesn't stop him from trotting him out - with his George Cross,bestowed upon him.

A half crime Drama/half legal procedure focusing on the Criminal Investigation Department (C.I.D) Detectives who investigate murders involving the people on the streets of London and the Crown Prosecutors who prosecute the defendants in court. The police half focuses on the exciting case load of London Metropolitan Murder Investigation Unit (M.I.U) made up of dedicated officers including recovering alcoholic Senior Detective Sergeant (D.S) Ronnie Brooks (Bradley Walsh), who substitutes booze with food, he is a cop from the East End with a tough past and a big heart. His partner is Junior Detective Sergeant (D.S) Joe Hawkins (Ben Bailey-Smith), a young officer who has come straight from child protection to the murder squad. Their boss DI Wes Leyton (Paterson Joseph) has been through it all and knows the only way to change things is from the inside. Once our police heroes start pounding the streets in the pursuit of their prime suspect by piecing together the clues of each and every heinous crime. They do not stop until the jigsaw is complete and they have enough evidence to make an arrest. But catching the killer isn't always enough, once the crooks are caught and the evidence has been gathered, the Crown Prosecution Service (C.P.S) takes over for the second half and in a tough criminal justice system founded up the belief of 'Innocent until proven guilty' the burden of proof falls on the shoulders of the Prosecutors of the CPS. Fighting furiously for justice week in week out is Senior Crown Prosecutor Jake Thorne (Dominic Rowan), who is supported by the defense barrister turned Junior Crown Prosecutor Kate Barker (Georgia Taylor) and keeping them in check is CPS London director Henry Sharpe (Peter Davison), who steers his office with a steady hand. The CPS team tackle the biggest and most controversial case where life and liberty hang in the balance, These are their stories.

British police procedural television series

Mrs. Adela Bradley (Dame Diana Rigg) could be described as the naughty version of the rather dull Miss Marple: a quintessentially English lady sleuth, before the war, upper class, rich enough for a Rolls-Royce with private driver (George Moody (Neil Dudgeon), her hunky and faithful assistant in nearly everything), a real socialite, always on the road, sassy, even provocative, an arrogant suffragette. But her sharp sense of observation and deduction still gets the best of the criminals every single time.

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