The Last Detective

The Last Detective is a quietly charming and understated gem in the British crime drama genre, distinguished by its humane protagonist, gentle humour, and melancholy undertones. Based on the novels by Leslie Thomas, the series follows Detective Constable "Dangerous" Davies – a nickname steeped in irony – as he stumbles into the sort of minor cases others wouldn’t deign to notice, only to unravel more tangled truths beneath the surface.

Played with a disarming sincerity by Peter Davison, Dangerous Davies is a copper with a conscience, in stark contrast to the hardened, cynical culture of his Metropolitan Police unit. From the outset, Davies is shunned by his colleagues for having exposed a crime committed by a fellow officer – an act of integrity that brands him a pariah in a force that favours loyalty over truth. His superiors view him as the "last detective" they would assign to anything of importance, a scornful moniker that becomes the title of the show itself.

This outsider status gives the series its emotional core. Davies is a man set apart – not only by his moral compass but by his genuine interest in the people behind the crimes. His commitment to justice is often mistaken for softness, yet his quiet persistence and refusal to cut corners gradually earn him a grudging respect, even from local criminals.

Recurring storylines see Davies handed trivial cases – often cold, overlooked, or seemingly inconsequential – which he doggedly pursues, only to reveal deeper injustices, both contemporary and historical. Alongside this professional arc runs a subtle but touching narrative of personal redemption, centred on his fractured relationship with his estranged wife, Julie (Emma Amos). While no longer a couple, the emotional threads between them remain taut, and Davies' small acts of service – collecting their shared dog, fixing things around the house, or chauffeuring her about – reveal a quiet, enduring love that is never mawkish.

This thread of gentle melancholy is balanced by the presence of Mod (short for Modesty) Lewis, played with wiry humour by the late Sean Hughes. As Davies’ closest friend and occasional source of both wisdom and comic distraction, Mod provides levity in their park bench chats, dodgy schemes, and misadventures involving unlicensed driving and pub-going. Their interactions, including those with Davies’ ever-faithful dog (unnamed, yet as much a character as any human), are among the series' most warm-hearted moments.

The relationship between Davies and his superior, DI Aspinall (Rob Spendlove), offers another slow-burning narrative thread. Initially dismissive of Davies, Aspinall begins to recognise his value as the series progresses. A tentative mutual respect forms, shaded by the DI’s own struggles – with alcohol, professional disappointment, and past mistakes. Their evolving dynamic lends the show an emotional realism rarely seen in more formulaic police dramas.

Further texture is added through Davies’ romantic entanglements – often fleeting, sometimes farcical – and his interactions with Mrs Fulljames (Elizabeth Bennett), the wistful landlady of the Bali-Hai Guest House. Her daydreamy affection for Davies adds a gentle comic foil to the show’s more poignant undercurrents.

The Last Detective resists the high-octane flash of modern crime series in favour of something far more enduring: quiet decency, emotional intelligence, and the long arc of redemption. Peter Davison’s portrayal of Dangerous Davies is nothing short of masterful – deeply sympathetic without ever straying into sentimentality. For viewers who value character-driven storytelling over procedural gimmicks, The Last Detective is well worth the watch – a subtle, bittersweet portrait of a man who, though last in line, proves himself first in principle.