The French TV drama Engrenages — released as Spiral for English-speaking audiences — inhabits a terrain somewhere between the Baltimore depicted in the The Wire and the Copenhagen of Forbrydelsen [The Killing]. Set in contemporary Paris, Engrenages is based around a series of grisly crime investigations that evoke a dark archaeology of the city as a nest of corruption, deceit and violence. The pivotal character is undoubtedly the police captain Laure Berthaud, played superbly by Caroline Proust, who fearlessly pursues her opponents with a combination of recklessness and vulnerability. The “baddies” that we encounter are a truly remarkable menagerie of monsters, ranging from corrupt lawyers to various psychopathic murderers, who at times correspond to various pre-conceived stereotypes ranging from Arab hustlers to eastern European pimps. At a political level, therefore, the drama is not particularly incisive: unlike the multi-layered Baltimore of The Wire we never get a compelling sense of how Paris works as a city. Many of the characters are too one-dimensional for us to invest much emotionally in their respective fates and the lines of sexual and racial difference evoke little more than a claustrophobic ambience of danger and paranoia. Ironically, Engrenages owes too much to second-rate crime dramas and not enough to more experimental TV drama. For a city that is as much shaped by its post-colonial present as its imperial past the Paris of Engrenages seems somewhat limited in its scope.