He goes home, to a patient wife and taciturn teenaged son who has just dropped out of university; he calls in at his firm’s dingy above-a-shop office, with a bag full of fresh mousetraps and a list of excuses about why he’s undercharging his clients. At night, he visits establishments where you won’t get in if the doorman doesn’t know you. His doctor keeps calling him, urging him to make that appointment. New cases keep coming in.
Where is he going? We needn’t rush to worry about it, since Harewood treats us to a finely underplayed turn in the lead, and series creators John Donnelly and Roy Williams have fashioned such an enviably rich world in an unglamorous setting. Time spent with Pierre’s best mate, copper Ronnie (Jason Flemyng), over a kebab or a fry-up – although Pierre needs to stop eating them! – is a window into decades of happiness, disappointment and laughter, all fraternally shared. Time spent at home suggests Pierre’s wife Celeste (Sara Powell) is someone he should lean on and listen to more, while his son Eli (Dylan Ennis) is not the cartoon slacker he initially appears to be.
Something more serious is clearly there by the end of episode 1: the Black kid’s allegation of police racism ends up giving Pierre a more urgent quest than the cases of the week where he gets to the bottom of a break-in at a dry cleaner’s, or finds out what really happened when a teenager was cautioned by the police for handling drugs at her house party.
Yet, as Pierre and the show confront how his middle-class suburban existence is not at all the same life as a white contemporary would live, those bread-and-butter jobs don’t let up. Pierre still needs to look after his family, his friends, himself and all the other things he can never properly get around to or make better.
It’s another show, too, where the brilliance of the lead performance and a sneaky twist in the format means you forget you’re basically watching yet another crime drama. That genre is so often flat and lifeless; in Pierre it has colour and depth.
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