The Enduring Cliché: Why Classic Cars Dominate Police Drama Narratives
For those who believe originality is the pinnacle of television drama, the recent BBC series Lynley serves as a stark reminder that the industry often adheres to the adage: "Give me the same thing... only different." This retread of a show from 25 years ago stars Leo Suter as an aristocratic detective inspector who drives a classic 1960s Jensen Interceptor, echoing earlier iterations where he piloted a Bristol or, in the original books by Elizabeth George, a Bentley. While the trope of the unconventional, loner detective is somewhat acceptable, albeit threadbare, the reliance on classic cars has become not only ridiculous but also hackneyed to the point of exhaustion.
A History of Automotive Stereotypes in Detective Series
The use of distinctive vehicles in police dramas is far from a novel concept. Long before Elizabeth George introduced her Bentley-driving lord in the late 1980s, British television had already established this motif. Inspector Morse cruised in his 1960 Mk 2 Jaguar, Detective Sergeant Jim Bergerac navigated in a 1947 Triumph Roadster, and DI Jack Regan of The Sweeney commandeered a 1972 Ford Granada. This trend extends beyond the UK, with examples like Lt Columbo's 1959 Peugeot 403 Cabriolet in the US and Commissaire Maigret's 1952 Citroën Traction Avant in France.
In more recent years, the trope has evolved into a full-blown formula, almost comical in its predictability. Characters such as DI Jack Frost in his 1953 Ford Consul, DCI George Gently in a 1962 Ford Cortina, and Saga Norén in The Bridge with her 1977 Porsche 911S Coupé, all reinforce this cliché. Even when series attempt to subvert expectations, like Detective Sarah Lund in The Killing using ordinary police pool cars, the overarching narrative remains dominated by iconic automobiles.
The Practical Impossibilities of Classic Cars in Policing
From a realistic standpoint, classic cars are entirely unsuitable for police work. They are notoriously slow, unreliable, and far too distinctive for undercover operations. Insurance policies for such vehicles typically prohibit work use and impose strict mileage limits, making them impractical for daily detective duties. Moreover, it is highly unlikely that any police force would permit an officer to use a personal classic car for pursuits or emergency responses, even if insurance allowed it.
Jonathan Bignell, Professor of Film, Theatre and Television at Reading University, sheds light on the symbolic importance of cars in these dramas. In his 2016 book, Contemporary British Television Crime Drama: Cops on the Box, he explains that vehicles serve as a connective tissue between scenes, a conversational space for character development, and a shorthand for conveying personality and status. For instance, Inspector Morse's Jaguar reflected his upper-middle-class tastes, contrasting with his subordinate's Ford Sierra.
Proposing a Truly Original Alternative
When asked for a fresh idea to break this cycle, Professor Bignell suggested reversing the trope entirely. Imagine a detective who cannot or will not drive—perhaps due to a driving ban, disability, or environmental principles—and must rely on a driver. This setup could foster revealing dialogues between the detective and their chauffeur, offering a new dynamic for character exploration. Such an approach would not only be original but also resonate with contemporary themes of sustainability and inclusivity.
As television producers plan future police dramas for 2028 or 2029, this idea presents a compelling opportunity to move beyond worn-out clichés and embrace innovation. The classic car may have had its day in the sun, but the future of detective storytelling lies in breaking free from automotive stereotypes.
