Introduction

The French territory of Saint-Pierre and Miquelon, a tiny archipelago off Newfoundland’s coast, isn’t your typical backdrop for a TV crime drama. Yet, CBC’s Saint-Pierre, which premiered January 6, 2025, uses this remote, culturally distinct location to breathe new life into the police procedural genre. The show follows Inspector Donny “Fitz” Fitzpatrick, exiled from Newfoundland for digging into a politician’s corruption, as he teams up with Deputy Chief Geneviève “Arch” Archambault to tackle crimes on these foggy islands. Why does this setting matter? Its isolation, history of smuggling, and French-Canadian cultural blend create a stage where crime feels both plausible and unpredictable, unlike the urban grit of Law & Order. Think of it like placing a cop show in a place so unique it’s almost another character. This article dives into how Saint-Pierre uses its setting to redefine police procedurals, drawing from its real-world allure and fictional twists.

The Isolation of Saint-Pierre and Miquelon Fuels Crime Stories

Saint-Pierre and Miquelon’s remote location—45 km off Newfoundland, accessible only by a 90-minute ferry or a nine-hour flight from Paris—makes it a storytelling goldmine. The islands’ isolation isn’t just scenic; it’s a narrative driver. In Saint-Pierre, this remoteness turns the archipelago into a haven for smugglers and criminals, a “modern-day Wild West,” as CBC describes it. The show leans into this, with crimes like assassinations and decapitations unfolding against quaint harbors and rugged cliffs.

Why it matters: Isolation amplifies stakes. Criminals can hide here, but so can secrets. The show’s creators, Allan Hawco, Robina Lord-Stafford, and Perry Chafe, use this to craft cases that feel high-stakes yet contained, unlike sprawling city dramas. Common mistakes in similar shows? Ignoring the setting’s potential. Saint-Pierre avoids this by filming on location, capturing the islands’ stark beauty. If the setting were glossed over, the show would feel generic, losing its unique edge.

A Cultural Blend That Shapes Characters and Conflict

The islands’ mix of French and North American influences—think French bakeries next to Atlantic fishing boats—gives Saint-Pierre a cultural texture most procedurals lack. The show’s leads, Fitz (Allan Hawco) and Arch (Joséphine Jobert), embody this clash. Fitz, a Newfoundland cop who barely speaks French, struggles with the local Gendarmerie Nationale’s methods, while Arch, a Parisian transplant, navigates her own mysterious reasons for being there. Their dynamic thrives on this cultural friction, with language barriers (Fitz’s “not that good” French) adding tension and humor.

Why it works: The cultural blend mirrors real-world Saint-Pierre, where French citizens live in a North American bubble. Writers use this to ground character arcs—Fitz’s fish-out-of-water vibe isn’t just plot filler; it’s rooted in the islands’ history as a French outpost. Mistakes happen when shows force cultural stereotypes (e.g., overdone accents). Saint-Pierre keeps it real with bilingual dialogue and subtitles, but risks alienating viewers if subtitles overwhelm. The consequence? A richer, authentic narrative that could flop if the balance tips too far into niche.

History of Smuggling and Skulduggery as Plot Fuel

Saint-Pierre and Miquelon’s past as a smuggling hub during Prohibition and a site of wartime intrigue (think Nazi collaboration rumors) isn’t just trivia—it’s the backbone of Saint-Pierre’s crime world. The show imagines the islands as a magnet for international criminals, with characters like Sean Gallagher (James Purefoy) as a looming crime boss. Episodes like “Kill Lil,” where Fitz and Arch chase an assassin during Bastille Day, tie directly to the islands’ bootlegger legacy.

This matters because history gives the show’s crimes credibility. Smuggling routes and hidden coves are real features of the islands, making plots feel plausible. Writers who ignore a setting’s past risk flat stories—Saint-Pierre avoids this by weaving in details like rum-running crates used in local homes. The downside? Exaggerating the crime rate (real-world Saint-Pierre is low-crime) could strain believability. If overdone, the show might feel like a caricature, undermining its grounded vibe.

Filming on Location: A Visual and Narrative Win

Filming in Saint-Pierre and Miquelon, as well as St. John’s, Newfoundland, gives the show a visual edge. Cinematographer Ian Vatcher captures colorful streets and misty harbors, making the setting a character itself. Locations like Notre-Dame-des-Marins church on Île aux Marins or the century-old Hotel Robert, where Fitz lives, add authenticity. Allan Hawco notes, “No amount of money could create the atmosphere Saint-Pierre gives us.”

Why it’s effective: Real locations ground the fiction. Viewers see the islands’ rugged charm, which contrasts with gritty crimes, elevating the procedural formula. Common mistakes include over-relying on studio sets, which Saint-Pierre sidesteps by shooting on-site. But there’s a risk: if the visuals overshadow the plot, the show could feel like a travelogue. Poor execution might dilute the crime focus, making episodes feel like scenic detours.

Balancing Quaint Charm with Dark Crime

The show’s biggest trick is contrasting Saint-Pierre’s idyllic facade—puffin-filled islands, Bastille Day fireworks—with a “murderous underbelly.” Episodes like “Off With His Head,” where a billionaire is decapitated, play up this duality. The islands’ charm, from Le Joinville Disco to cozy pubs, hides dark secrets, making every character a potential suspect.

This matters because it subverts expectations. Viewers expect cozy settings to be safe, so the dark twist hooks them. Writers who lean too hard into either charm or grit lose balance—Saint-Pierre risks this with its high body count in a small population. If the contrast feels forced, the show could seem absurd. Done right, it’s a fresh take on the genre, using setting to amplify suspense.

Lessons for Writers: Crafting Location-Driven Stories

For writers, Saint-Pierre offers a blueprint for using setting effectively. First, research your location’s history—smuggling, cultural quirks, or isolation can inspire plots. Second, let the setting shape characters; Fitz’s language struggles and Arch’s outsider status stem from Saint-Pierre’s unique context. Third, avoid overusing the setting as a gimmick—balance it with strong storytelling. Finally, film on location if possible; authentic visuals sell the story. Mistakes like ignoring local culture or overhyping a setting’s quirks can make a show feel hollow. Saint-Pierre’s success lies in making the islands integral, not ornamental.

FAQs

Why does Saint-Pierre and Miquelon’s setting matter for the show?

The islands’ isolation and French-Canadian blend create a unique stage for Saint-Pierre. The remote location, only reachable by ferry or a long flight, makes it a plausible hideout for criminals, while the cultural mix fuels character conflicts. Real-world history, like Prohibition-era smuggling, grounds the show’s crimes. Without this setting, the show would lose its distinct flavor, feeling like any urban cop drama.

How does Saint-Pierre avoid typical procedural clichés?

Unlike generic cop shows, Saint-Pierre uses its setting as a narrative driver. The islands’ isolation and history shape plots, while bilingual dialogue and cultural clashes add depth. However, it risks overusing tropes like the “outsider cop” if not handled carefully. The show’s focus on real locations and historical context keeps it fresh, though it must avoid an unrealistic crime rate.

What are common mistakes in setting-driven procedurals?

Writers often treat settings as backdrops, not story elements. Saint-Pierre avoids this by weaving the islands’ smuggling past and cultural quirks into plots. Another mistake is exaggerating a location’s traits, making it cartoonish. The show balances quaint charm with dark crimes but risks disbelief with too many murders in a low-crime area. Authenticity in visuals and research is key.

How does filming on location impact Saint-Pierre?

Filming in Saint-Pierre and Miquelon adds authenticity, with real harbors and churches grounding the story. It contrasts the islands’ beauty with grim crimes, enhancing suspense. Studio-only shows often feel flat; Saint-Pierre’s on-site shoots capture a vibe money can’t buy. The risk? Over-relying on visuals at the expense of plot depth, which the show mostly avoids.

Can other shows replicate Saint-Pierre’s use of setting?

Yes, but it requires deep research and integration. Shows like The Mallorca Files use touristy islands similarly, but Saint-Pierre stands out by tying crimes to the islands’ smuggling history and cultural isolation. Writers must avoid gimmicky settings and ensure the location shapes characters and plots organically, or the story feels forced.

Conclusion

Saint-Pierre shows how a unique setting can transform a police procedural. The islands’ isolation, smuggling history, and French-Canadian culture create a backdrop that’s both charming and sinister, elevating the genre beyond urban clichés. By filming on location and weaving the setting into character arcs and plots, the show delivers a fresh take, though it risks overplaying the crime rate. Writers can learn from this: research your setting, make it integral, and balance its allure with solid storytelling. Want to dive deeper into how locations shape TV dramas? Share your thoughts or check out related articles below