Ludwig review – like watching Peep Show’s Mark join the police force
Picture this: what if Mark Corrigan from Peep Show matured, left behind Jez and Croydon, and settled into a peaceful existence as a puzzle creator? Seems pretty straightforward, right? However, that wouldn’t be very entertaining, so why not add a twist? Let’s say he has a twin brother who works as a police detective and mysteriously disappears while secretly looking into a case he hasn’t shared with his wife. Sounds intriguing, doesn’t it?
That's the setup for "Ludwig," where David Mitchell portrays an older version of Mark, but this time his character is named John. His sister-in-law, Lucy (played by Anna Maxwell Martin), unexpectedly reaches out to him and insists he come over. There's a taxi ready for him, a guest bed has been prepared complete with three pillows, and Lucy promises to whip up any pasta he was going to have for dinner once he arrives. Whenever Mark (now John) is in the picture, I can't help but feel understood— and I believe I speak for many other detail-oriented folks who share this sentiment.
With great reluctance, he sets off. Even more hesitantly, he agrees to her idea of pretending to be her husband (his twin brother, James) to sneak into the police station and uncover what he was working on and what happened to him. Mitchell, known for his knack for social discomfort, experiences this in a painfully awkward way. As expected, he becomes wrapped up in the murder investigation that James's team is pursuing, and thanks to his puzzle-solving skills and logical thinking, he manages to crack the case on his own. Think of a mix between Peep Show and Monk. That’s the full story, except it’s titled Ludwig, which is John’s alias as a crossword creator—a name he chose while listening to Beethoven during the compilation of his first crossword. Alright, let’s continue.
From this point, we tackle a new case each week, showcasing various aspects of John's problem-solving abilities. Meanwhile, the mystery surrounding James's disappearance becomes more complex, and John and Lucy grow closer as they search for answers. Additionally, there's the ongoing enigma of why the twins' father left the family during their childhood.
The series consists of six very mild episodes. Each plot twist and storyline is explained in detail—characters point at documents during close-up shots, scrutinize names on office doors, and outline timelines as if viewers are just learning about timepieces for the first time. However, the show's friendly vibe encourages you to overlook the significant amount of disbelief needed for it all to make sense. Mitchell's role is simply John/Mark; aside from Lucy putting James's jacket on him and taking out John’s pens from the pocket, the effort to develop his character stops there. Mitchell lacks the talent of someone like Alec Guinness, and it’s hard to believe that John could ever successfully deceive James’s coworkers—likening the idea to a stuffed rabbit pretending to be real. It would seem ridiculous, if only you felt inclined to care.
A hidden notebook is found, and Ralph Ineson steps in as a threatening chief constable, echoing his recent role as a sinister detective inspector in The Jetty. Meanwhile, James’s investigative partner disappears, raising doubts about the reliability of his new associate, Russell (played by Dipo Ola from Landscapers). However, the real source of tension lies in John's struggles. He definitely doesn't fit into the modern world; the endless interactions with coworkers and the public are even more challenging for him. “Buildings, offices, computers! Everyone talking at once – moving around with no structure, no purpose!” he exclaims after his first day, displaying Mitchell's signature bewilderment. To make matters worse, John is forced to confront his brother's seemingly perfect family life, a happiness that always seems just out of his reach.
Mitchell shines in the role he was clearly meant for, and that's no exaggeration. As long as you excel at what you do, there’s no reason for anyone to be dissatisfied. Maxwell Martin, on the other hand, navigates her relatively straightforward role effortlessly; her skill in adding depth and warmth makes it easier for the audience to buy into the story. The supporting actors do their best with the limited material they’re given—after all, it's primarily Mitchell's show. I believe every viewer will feel they've spent their hour wisely. Any more than that, and we who are fans would probably find it more unsettling than enjoyable.
