Abstract
While the international interest in subtitled Scandi crime series, or ‘Nordic Noir’, is a phenomenon of the 2010s, UK detective series, such as the ‘comfy crime’ drama Midsomer Murders, have enjoyed international success for many years. Based on a qualitative case study of the production and reception of episode 100 of the series (‘The Killings of Copenhagen’), this article investigates why and how DCI Barnaby ended up in Denmark for what can be regarded as a ‘production service collaboration’ rather than a traditional co-production and whether we will see more transnational crime stories like these in the near future.
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