Scripted

In recent years, French television has seen the consolidation of a distinctive editorial trend: the rise of light crime, a hybrid genre that blends traditional procedural storytelling with elements of comedy and character-driven narratives.
This phenomenon was effectively launched by the highly successful TF1 series HPI – Haut Potentiel Intellectuel, now in its fifth season and also acquired in Italy by Rai. The scale of the series’ international success illustrates the strength of the format: HPI has been sold to more than 105 countries and has generated multiple remakes worldwide, the most prominent being the American adaptation commissioned by the major network ABC. The show’s success demonstrated that a procedural driven by an eccentric and unconventional protagonist could reach both domestic and global audiences.

Over the past few seasons, the light crime formula has been explored through a variety of narrative configurations. One recurring approach has been the male lead in exotic or holiday settings, as seen in titles such as Commandant Saint Barth (TF1), Haute Saison (France 2), Joseph (TF1) and Panda (TF1). Another variation introduces time-travel elements within a family dynamic, such as Flashback (TF1), centred on a father and daughter navigating crime across different eras. Other productions focus on buddy-style partnerships, including Tom & Lola (France 3), while some shows explore the investigative potential of family dynamics, as in Enquête en Famille (TF1).

A further branch of the trend places the spotlight on curious or unconventional female protagonists who find themselves drawn into investigations, as in Enquête Parallèle (France 3) and Rendez-vous avec le Crime (France 3). Across these different formats, the editorial line inaugurated by HPI remains clearly visible: crime stories driven by charismatic, eccentric and often highly distinctive characters. Among the most recent and representative examples are Mademoiselle Holmes (TF1) and Master Crimes (TF1), both built around iconic protagonists who combine investigative skills with strong comedic traits.

Light Crime in the 2025–26 Season
What initially appeared as a TF1-driven trend has gradually expanded to public broadcasters as well. In the 2025–26 season, France Télévisions has introduced several titles that align with the same tonal approach. On France 2 and France 3, recent launches include Ness & Rayan, Ardennes and Bêtes de Flic, confirming the growing appetite for crime series that incorporate humour, character eccentricity and lighter narrative tones.
TF1 has continued to invest heavily in the genre with titles such as Erica 2, Un Crime (Presque) Parfait and Un Meurtre Presque Parfait, further strengthening the broadcaster’s position as a key driver of the trend.
Across all these productions, the crime-of-the-week structure often serves primarily as a narrative device that allows the series to focus on the personal dynamics and quirks of its protagonists. The winning formula remains unchanged: crime plus comedy equals light crime. This approach has gradually transformed the French procedural into a privileged space for genre blending, where investigative storytelling intersects with humour, emotional relationships and distinctive character profiles.
Interestingly, this shift towards tonal hybridity was not necessarily expected. For decades, the French police procedural was largely associated with more traditional investigative structures. However, in its attempt to renew itself and broaden its audience appeal, the genre has embraced a mix-of-genres strategy that is now shaping a significant portion of the French drama slate.
At the same time, it is worth noting that a certain degree of narrative lightness has always existed within the French crime tradition. One of the most emblematic examples is Capitaine Marleau, whose distinctive tone and unconventional protagonist anticipated some of the stylistic choices that have become more prominent in recent years.

A French Phenomenon or an International Trend?
The question remains whether this is a uniquely French phenomenon or part of a broader international trend. While most markets — including the UK, Germany and Spain — occasionally produce crime series with comedic elements or lighter tones, the scale and consistency of the light crime trend currently appear to be particularly strong in France.
Francesca Russo confirmed: "In other territories, examples certainly exist, but they tend to remain isolated cases rather than forming a clearly identifiable editorial wave. In France, by contrast, the convergence of broadcasters, producers and audiences around this hybrid genre suggests the emergence of a distinct national approach to procedural storytelling — one where eccentric characters, humour and crime narratives coexist within a highly recognisable format."