The litany of Holmes-like characters—consulting detectives or otherwise—is reasonably vast. Some take the serious route, while others are Psych. I’ve made myself aware of many fictional detectives, indulging in the archetypal Holmes fare, and I consider myself an unabashed fan of the aforementioned comedy from those Psych-os in Santa Barbara (now San Francisco).

Yet, there are a few iconic sleuths I’ve seemingly been blind to for the last three decades of my life. Not counting the multitude of Radio Drama Detectives, the one I would like to focus on is Chief Inspector Maigret of the Police Judiciaire.

Ah, the French… (laughs in Orson Welles). Yes, I’ve had a strange and storied history with France and, by extension, its language. I first experienced it during a trimester in 7th grade. It was an interesting course that provided me with the opportunity to immerse myself in a trio of foreign languages. First, I learned a portion of German, a language that I proved to be quite adept with at the time. Secondly, I put my Dora the Explorer knowledge to the test with an introduction to Spanish. Finally, I learned how to use my tongue, French Style… SPEAKING, of course!

The introduction to each language was accompanied by a discussion of the unique cultures attached to it. For French, it was an intriguing look at a European culture that often gets poor recognition and an alarmingly high degree of derision in the Midwest. That is something I’d like to investigate at some point in the future, as I believe the hate is undeserved.

Eventually, my college years saw me undergo some courses in Film History, Appreciation, and Critique, which, to those familiar with the subject, inevitably leads one to the beautiful, artful world of the French New Wave and the Cahiers du Cinéma. I was exposed to a new side of the world that reframed my perspectives. My horizons broadened, and I became enamoured by that world, seeking out French art, music, and video games.

So, what in the world does this have to do with fictional detectives, French or otherwise? As a Proud Supporter of Public Broadcasting and its critical role in providing educational material to the masses, I naturally have a PBS Passport subscription. This October, Masterpiece released a new series to audiences: Maigret. Not being familiar with the property and intrigued by the premise, I decided to spend an evening giving it a watch.

I was hooked from the start.

As with most things, I immediately went into “obsession mode,” seeking out every bit of relevant information. I’m a person who seeks to understand everything I can about something if I find it interesting. This, dear reader, is the secret to my middling knowledge of many things—that, and a lot of Trivial Pursuit in my younger days. I’ve heard it said that if you read three books’ worth of information on a topic, you’re more well-versed than 90% of people on said topic.

Here is what my obsession uncovered: Maigret is a mainstay, not une nouveauté. The character has been around for nigh on a century. The series was penned by Georges Simenon, a Belgian author who initially had his first story, Pietr-le-Letton (Pietr the Latvian), serialised in 1930 before the novelised edition appeared the following year. What followed was a forty-year run of 75 novels and 28 short stories, culminating in a final story, Maigret et Monsieur Charles (Maigret and Monsieur Charles), published in 1972.

The sheer proclivity of Simenon to write novels did not go unnoticed, drawing in fans the world over. This love of Maigret and his exploits led to an estimated 300 adaptations, including approximately 20 feature films and a vast library of TV episodes spanning decades and multiple languages (French, English, Italian, Dutch, Japanese, and Russian).

So, what exactly makes Maigret so beloved, so widely adapted, and so enticing? The enduring appeal of Jules Maigret lies in his status as the antithesis of the eccentric genius. Unlike Sherlock Holmes or Hercule Poirot (another favourite of mine), who solve puzzles from a detached distance, Maigret solves crimes by immersing himself in the messy reality of the human condition. He functions less as an avenging angel and more as a “mender of destinies,” utilising his famous method of “soaking” to absorb the atmosphere of a case until the truth inevitably bubbles to the surface.

Rather than hunting for physical clues or judging the accused, Maigret seeks to understand the “naked man” beneath the social mask, viewing criminals not as monsters, but as ordinary people pushed to their breaking point by tragedy, poverty, or passion.

This deep psychological empathy is framed by a rich, sensory world that provides a unique comfort to the audience. Whether reading Simenon’s tight prose or watching an adaptation, the audience is transported to a visceral, rain-soaked Paris of coal stoves, hazy bistros, and strong Calvados, anchored by Maigret’s unwavering stability and his warm domestic life with Madame Maigret.

In a genre often populated by tortured, solitary figures, Maigret’s quiet solidity and refusal to sensationalise violence turn his investigations into timeless character studies, ensuring that the question of why a crime occurred is always more compelling than who committed it.

Okay, folks, it’s “Call to Action” time! Maigret on PBS distinguishes itself from the long history of the franchise by doing something brand new. For the first time in over 50 years, a Maigret adaptation is contemporary. This first season adapts a trio of beloved stories: “The Lazy Burglar” (Le Voleur paresseux), “Maigret’s Failure” (Un échec de Maigret), and “Maigret Comes Home” (L’Affaire Saint-Fiacre). Each story is told over the course of two Hour-Long programmes.

While previous adaptations were focused on Maigret as a lone authority, often in his late 40’s to 50’s, here instead, Benjamin Wainwright is the titular character in his prime. Further expanded are the other members of “Le Crim,” his unit of capable officers. Together, this ensemble-styled show fits the more typical British Police Drama format.

Modern Paris has been, exactly that, modernised. To restore the noir feel of the original stories and to evoke a more European aesthetic, the production company, Playground Entertainment (the same company behind Wolf Hall and All Creatures Great and Small), chose to film in Budapest.

Everything about this adaptation feels fresh and exciting yet still carries the same heart that made the earlier adaptations and stories so compelling. Having since gone on to enjoy the Rowan Atkinson portrayal of the character, I can safely say that any adaptation of Maigret is worth your time. In my opinion, starting with the new PBS release is a perfect place to enter the Parisian Police Procedural pool.