One episode, which has been described as a "writer/producer led story" which isn't an adaptation, takes on the topic of women's safety and is set on a university campus - with executive producer Phil Hunter recently explaining more at a Q&A.
"Because obviously they'll go out on a Sunday night to entertain people, so it was to make sure that we were addressing that topic with the right level of respect to it, and so that the threat and violence towards women was considered. And I'll say justifiable, but in the eyes of the killer and the motive of our aggressor on screen.
"But I think what was equally important, it was never gratuitous, in terms of the way we approached and where we shot it. Alongside that, we made sure that we constructed the story so that the victims and those supporting the fallout from the victims’ deaths were ultimately given agency and given a voice in the story."
"It gives the young women and the students in this storyline agency and a voice in it all, to the point where they become instrumental in terms of catching the killer at the end of the day. So it was really important, because ultimately you've got to do that with great sensitivity. I hope and I feel like we've done that."
He continued: "And then what we have done is we've had producer led stories. So within the last few years, we've had producer led stories that have the backing of Peter James. We have a conversation, everything gets approved by Peter. I speak to Peter probably once every couple of weeks at least, but he's very on board with the stories that we come up with, especially in this last series.
"So everything that you see on screen that isn't specifically adapted from a Peter James book will be adapted from either a kernel of his ideas or whatever. So it's always going to have that DNA."
Once again, there will be four mysteries for Grace and Branson to solve in the Brighton area - while they also deal with the fallout from Cassian Pewe's betrayal and the threats made to Roy's long lost son, Bruno.
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