Ludwig’s David Mitchell Knows the Secret to a Cozy British Murder

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It’s quite possible that you’ve come across David Mitchell before, even if you can’t quite place where. You might have watched him in the popular British sitcom “Peep Show,” or perhaps the famous “Mitchell & Webb” sketches that have become internet memes. Clips from any of the British panel shows he frequently appears on may also ring a bell. He has also written books (not David Mitchell the novelist, but yes, he does write) and columns for The Guardian. You might have even encountered him on YouTube. However, you’ve never seen him solving a murder.

In a new series called “Ludwig,” debuting on BritBox March 20, Mitchell plays John Taylor, a solitary puzzle creator who borrowed his pseudonym from Beethoven’s famous Symphony No. 9 album cover. When John’s identical twin brother, James – a detective with the police force – vanishes, he covertly steps into James’ shoes at the station to uncover the truth behind his disappearance. The six-episode series received rave reviews and impressive ratings during its U.K. premiere last year, earning it a second season renewal and talks about an American adaptation.

John, being an expert in puzzles, excels at solving the types of mysteries you’d find on a charming British murder series, such as those filled with clever dialogue and atmospheric settings where all the suspects are gathered in a manor or office building. Mitchell fits perfectly into his role, which seems tailored for his typical fastidious, pedantic style. During a Zoom chat about his work, the show, current events, and the economics of British television, Mitchell made it clear that there’s one significant distinction between him and his character. “I’m essentially an extrovert,” he said, “and I wouldn’t have picked a job involving public appearances if I weren’t. But I know it’s not a complete transformation.

Is it surprising to you that our show has already seen significant success in the U.K.? Frankly, we always hope for the best when we create something new, but the level of positive response has surpassed my initial expectations. To be honest, past projects like Peep Show, Would I Lie to You?, Upstart Crow, and others have been met with favorable reviews, albeit over a longer period. However, the reception for Ludwig was immediate – people were approaching me expressing their enjoyment just days after the show’s broadcast. This is something I haven’t experienced before, making it feel like television in the 1980s.

As a film enthusiast who’s got a soft spot for detective series, I’ve been drawn towards this project because it presents a fresh take on the genre that I find so captivating. With my background in comedy, I often find watching comedies feels more like work, and I wanted something different to challenge myself. Given that the project isn’t based on any existing IP or book, I must admit, taking this bold risk is quite exciting in today’s media landscape. It’s a chance to bring my own spin to the enigmatic world of detective stories, and I can’t wait to dive into it!

Indeed, this concept is fresh, unconnected to existing ones, and unfortunately, not many are being developed currently. It seems we’re experiencing a significant dip in enthusiasm for novel ideas within mainstream culture, which is quite disheartening.

https://youtube.com/watch?v=watch?v=UMzOCPqbMbg

I really enjoyed your book, Unruly. You have an exceptional understanding of British culture. I’m curious about what you think makes the British so adept at creating cozy murder shows?

My guess is that they skillfully tap into the British psyche of nostalgia but infuse it with a touch of gloom and deception. For instance, shows like Miss Marple or Poirot or Inspector Morse – they all depict different versions of a picturesque, slightly distorted image of Britain. Most places don’t resemble Oxford, where Morse is set. The world of Poirot has been replaced by the concrete work of 1970s town planners, and the rural drawing room of Miss Marple is not a place many people frequent. So they all present slightly idealized, picturesque views of England. I believe we’re too discerning to simply appreciate this, so there needs to be something there to add a darker edge, to twist it, to make it feel like there’s a bit of grit in the oyster, and that’s murder. This becomes the ideal relaxing, nostalgic, and enjoyable escapist show because it has enough darkness, unpleasantness, and mystery to make us feel comfortable watching it. It’s not just a complete rose-tinted illusion.

The show shares similarities in terms of lack of explicit violence, yet the portrayal of Ludwig within its canon raises questions about the type of England it represents. Visually, the production team has done an impressive job with a modest budget, creating an aesthetically pleasing atmosphere reminiscent of heritage, but with a modern touch in the design of the police station. The setting is intended to be easy on the eye and avoid delving deep into the darkest aspects of human nature. Instead, it presents a murder mystery, inviting us to focus on the investigation rather than its philosophical implications.

I’d like Ludwig to add a touch more humor as well. Humor, in my opinion, provides a unique perspective on society. In this series, the character is a fish out of water who finds himself in a police station, and he couldn’t be less content there. This situation enables us to satirically critique crime shows. You’ll observe many initial attempts by John to fit in at the police station, which he only knows from watching cop shows and murder dramas. Thus, we can gently mock the conventions of that world by viewing it through his naive perspective.

I’ve always found intriguing how your comedy balances your character’s affinity and skepticism towards authority. The way John appears to embrace hierarchy while simultaneously poking fun at it adds depth to the character. Is the fact that John isn’t an authentic police officer significant for maintaining this dynamic within the narrative?

I find myself less attracted to stories where the main character is simply a police officer. With so many shows and programs revolving around law enforcement and investigating peculiar crimes, I believe what drew me to this concept is the eccentricity of the crime he’s investigating mirroring the oddity of his circumstances. Playing a regular detective in an urban police station feels less appealing to me, as it might seem repetitive or ordinary. I prefer the character to have an unusual or humorous reason for being a policeman.

Moreover, I find it fascinating that despite the apparent low-stakes portrayal, John’s actions in this series are indeed severe offenses. He’s pretending to be a police officer without any legitimate defense. Occasionally, he’s reminded of this and becomes visibly anxious. Deep down, he might rationalize his actions by thinking, “After all, what makes a police officer special? Isn’t it just another role?

Given our limited resources, we’ve traditionally produced a small number of episodes compared to American standards. Lately, it seems that seasons are becoming shorter everywhere. With this show, do you think there should be more episodes?

How would I describe my connection with American fans? I haven’t been to America recently, but I didn’t feel particularly recognized there. My last visit was to New York before the pandemic, and someone once approached me saying, “I really enjoy Peep Show.” There must be many individual Americans who have seen my work online, but it’s unlikely that I would run into them on the street. However, I’d be thrilled if that were the case!

There’s been discussion about remaking an American television show called “Peep Show”. Are you connected to that project by any chance?

No, I’m not involved in that. As far as I know, it’s not a direct remake but rather a new concept inspired by the original, featuring two women in leading roles and incorporating interior monologues and point-of-view shots. Last I heard, it was progressing well, with plans for a pilot episode, but I haven’t received any updates since then.

Have you ever considered if British panel shows have any counterparts in American television? If not, are there any reasons why this format hasn’t gained popularity in the U.S.? I find it intriguing that, despite our shared love for humor, panel shows don’t seem to thrive in America as they do here. My guess is that the prevalence of talk shows and their significant influence on new comedians may have overshadowed the need for panel shows in American TV. However, since I haven’t directly worked within the American TV industry, my assumptions might be incorrect.

Another reason is that talk shows, inherently, are improvised. They stem from a history of trying it out, polishing it during editing, and crossing their fingers that it works. As a result, there are times when they fall short compared to other television content, and other instances where they soar beyond expectation – moments no one could have planned. This duality, in my view, is the essence of the talk show genre. However, not every episode of a talk show delivers these extraordinary moments. Good shows manage them frequently, while poor ones rarely do. Yet, that’s what makes it worth trying.

The American media tends to be highly professional and success-oriented, while the Old World approach might seem less concerned in comparison. To put it another way, American television, whether good or bad, is often produced with intense focus and dedication. Conversely, British TV, regardless of quality, can sometimes appear more casual or amateurish in its production.

How did you transition from television panel shows to working on Ludwig’s project? I guess my first foray into the world of TV was through a sitcom, and working on something like Ludwig seems more in line with the way I initially started out. The panel-show circuit is something I got involved with later, and it offers a very distinct lifestyle. It might be less physically demanding, but it’s crucial to ensure you get enough rest so your mind stays sharp when needed.

It’s wonderful to spend an evening at a studio, performing a parlor game before a live audience with the aim of making them laugh. This way, I’ve essentially contributed to an entire half-hour of television for the night. The experience feels less like work and more like enjoyment. However, if that were all my job entailed, it might feel insufficient. It seems too casual, too effortless. I also appreciate the intense labor involved in long shoots where we construct a program from countless small pieces, ensuring each scene is effective while tackling practical issues such as equipment malfunctions or unexpected weather conditions. This process can take weeks and weeks, but at the end of it, completing something complex provides a unique sense of accomplishment.

Given your keen interest in history, I’d like to ask if you can offer some reassuring words to your American supporters navigating these rather unusual historical periods?

In essence, I struggle to do so. These times are indeed perplexing – not only for America, but globally. A rather alarming survey by Channel 4 in the U.K., though it might have been biased, revealed that a staggering 52% of Gen-Z respondents in Britain expressed a preference for a strong government that could govern without elections and parliaments. This finding was startling to say the least.

It appears to me that the case for democracy has been generally accepted, even if not fully implemented, as seen in countries like Russia where they give the illusion of being democratic. Leaders like Putin may not openly reject democracy, but they pretend to uphold it. In times of confusion, people often gravitate towards simplistic, blame-focused solutions proposed by populist leaders.

However, there’s a glimmer of hope in this – these trends are cyclical; they ebb and flow. While it’s not a complete comfort, we can find solace in the fact that such issues don’t always remain at their current state. They can improve as well as deteriorate over time.

A crucial point we want to convey is that despite the challenges faced by societies in North America and Western Europe, it’s essential to recognize the fortunate circumstances of our lives. In essence, life quality here is generally superior to that experienced by most humans throughout history, and significantly so. However, if we can’t find satisfaction in this reality or persistently blame minorities for our issues, and fail to appreciate the broader context, it’s evident that we underestimate our good fortune.

Statistics show that our life expectancy, nutrition, and support for the elderly are at their best ever recorded levels. Yet, it may not feel like it, but these facts are true. What’s more, we seem to be discontent with problems that pale in comparison to those faced by our ancestors. But communicating this message to so many disgruntled individuals can prove challenging. Suggesting they should simply accept their lot and express gratitude is not a winning strategy for gaining support in an election.

It seems like an excellent idea to me, considering reading ‘Unruly’ could offer valuable insights into the Dark Ages, which might help us appreciate our own fortunate era even more.

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2025-03-21 19:56