This show delves in to true Canadian crime stories by speaking with the detectives that lead the charge and has well known Canadian actors portraying the events. It is a gripping crime drama that gives us insight into cases that grabbed our attention in the media, a must watch for any Canadian.

全新8集节目重磅回归！每一集聚焦一位加拿大凶杀案侦探，讲述其职业生涯中最为棘手的案件。这起案件不仅对侦探本人产生了深远影响，也波及到了整个所在社区。节目将通过原始案件档案资料、真实的侦探访谈以及富有戏剧性的演员演绎，展现这些侦探如何勇敢地克服重重挑战，凭借胆大心细的特质和抽丝剥茧的智慧，成功将凶犯绳之以法，以此告慰亡者及其家人。

吉姆（柯克·道格拉斯 Kirk Douglas 饰）是一位刑警，他嫉恶如仇，以铲除罪恶为己任。某日，在审讯名为西乃达（乔治·麦克雷迪 George Macready 饰）的嫌疑犯时，吉姆没有忍住怒火动了粗，他因为此行为得到了西乃达律师的警告，却也得知了一个充满了犯罪气息的名字——汤姆（杰拉德·摩尔 Gerald Mohr 饰）。 循着西乃达的律师的指点，汤姆找到了自己的妻子玛丽（埃琳诺·帕克 Eleanor Parker 饰），向她询问汤姆的踪迹。让吉姆感到震惊的是，玛丽不仅曾经和汤姆有过一段恋情，甚至还怀过汤姆的孩子。这件事情让吉姆陷入了苦恼和困惑之中，妻子隐秘的情史令他不知道该不该继续追查下去。

赤川次郎原作『探偵物語』を34年ぶり（！）に、斎藤工×二階堂ふみで映像化

"Apparently in response to the adverse audience reactions to Impatience, Dekeukeleire decided to try a new approach. After the French premiere, he told a Parisian interviewer: The tone here is a bit pompous, but Dekeukeleire did manage to accomplish his goal in his first narrative film, Histoire de détective. The film contains devices familiar from Impatience: an obsessive repetition of a small number of elements, handheld movements over landscapes, and rhythmic editing. But several new structures shape this material. The film presents itself as the record of a case made by a detective, T, who uses the motion-picture camera as his investigative tool. Aside from a few short scenes of T at work in his developing, editing, and viewing rooms, all the shot (except intertitles) purport to come from T’s work. Histoire de détective is thus a film within a film, and the intertitles tell us the story, not simply of the case, but also of T’s filming of the case. The story concerns J. Jonathan, who is in a neurasthenic state. Mme. Jonathan has, at the beginning of the film, just hired T to discover the reason for her husband’s condition. The film shows shots of Jonathan in Brussels. He then goes to Ostende to recover, but he is bored there. He sets out to return to Brussels but goes on to Luxembourg, is bored again, and goes to Bruges, where he stays for some time, making frequent trips to the seaside. Dekeukeleire inserts series of shots of Mme. Jonathan, in modernist clothes, energetically talking on the phone, listening to the gramophone, writing, and giving a speech. She is portrayed as a frenetically up-to-date woman. Finally Jonathan wanders through a hilly countryside and decides to build a factory among its picturesque ancient ruins. His wife concludes that he is now cured; T has succeeded. There is a strange tension in the presentation of these events in Histoire de détective. The images themselves convey none of the action. All we see are the two characters, and occasionally T, always in separate shots, walking, sitting, speaking into phones. There are no dialogue titles. Dekeukeleire intersperses shots of the characters with numerous shots of buildings and landscapes, often seen upside-down or rolling in extremely jerky handheld movements. He also includes shots of trivial objects—cups, books, pieces of bread—which do not enter causally into the narrative. Instead of conveying the events in accepted silent-film fashion, through as few titles as possible, Dekeukeleire inserts numerous lengthy titles. Virtually the entire narrative depends on these intertitles. The shots between seem so uninformative that they almost come to resemble found footage around which a narrative has been constructed. Histoire de détective is an experimental film which allows narrative in, only to negate it by suppressing, not just acting, but all the visual conventions which the silent cinema had built up to present story material to the spectator. Contemporary reviews consistently rebuked Dekeukeleire for depending to heavily on intertitles. Commentators had long become accustomed to praising films like Der letzte Mann for eliminating intertitles. Little in previous filmmaking could have prepared spectators for a film that deliberately made its images wholly dependent upon an extensive text for narrative meaning. The overall result of tactics like this is a film which seems almost to have an invisible narrative. The titles make the story line clear enough, but in watching the film the spectator cannot really see the narrative being worked out. The images don’t contradict what the titles present, but only occasionally do they show anything which adds to or really tallies with the verbal descriptions (except in a passive way, as with Jonathan sitting on the bridge as the titles describe him “not seeing” things). I don’t mean to suggest that the film is uninteresting—its violent camera movements and rhythmic montages tend to add some of the qualities of an abstract film. And, as one strains to discover the narrative significance of these shots, their very opacity makes them intriguing. Kristin Thompson

剧集讲述了退役警察Alexa Crowe在解决纷繁复杂的谋杀案的同时应付着生活的铁拳。

一部轻喜剧风格的英国警察剧，1994年3月至1997年8月间在BBC1台连播5季。聪明的DI Henry Crabbe很懂得美食也做得一手好菜，特别他的馅饼可谓无人能挡的诱惑。他和会计太太开了间名为Pie in the Sky的小餐馆，准备退休，却被上司要挟继续帮忙难啃的案子。

在这部远不如《海滩救护队》成功、因此寿命更短的衍生剧中，洛杉矶县某海滩救生队可靠的负责人米奇·布坎农（Mitch Buchannon）经常在夜间兼职当私家侦探（因此有了这个剧名）。他会调查并侦破各种犯罪案件，这些案件往往在某种程度上与他心爱的海滩和/或海洋有关（例如，海洋被用作走私路线、藏物地点等）。

跟随五名美国侦探，在唤起记忆的过程中，重新审视那些定义了他们职业生涯的惊人案件。

该系列剧集将围绕加布里埃尔·布克（盖蒂斯 饰）展开，他是一位“博学且特立独行”的侦探，在他那陈旧的书店里破解神秘案件。他借助摆满书架的数千本书籍获取所需的知识。在他身边，有一群“可爱又有缺陷的怪人”，他会非正式地保护、哄劝并指导他们。