LOVEJOY had a funny broadcast history in that its first season on the BBC pulled in viewers, but then there was a four-year hiatus before they brought it back for another five seasons, and then it picked up legs both in the UK original and in US syndication.
If you're unfamiliar with the show, the concept is that Lovejoy worked estate sales and auctions – and was often asked to give an opinion of value or to broker a deal – with an eye to the main chance, of course, but his saving grace is his fierce passion for the real thing. The mysteries often turned on questions of provenance and authenticity. Is such-and-such the genuine article or a forgery? A pair of eighteenth-century dueling pistols, a watercolor attributed to Constable, a manuscript copy of the Magna Carta that's fallen out of a library book, and each episode involved a learning curve. One's reminded of THE BRASHER DOUBLOON, say, or the story where one collector buys the last but one rare
stamp from another collector and then burns it, so he now owns the only one left in the world. (Can somebody help me here? I don't remember who wrote that story.) There's something obsessive about this hermetic crowd, too, the idea that you'd be willing to kill for a Queen Anne chamberpot or a Hogarth etching.
some of your old faves, you can be disappointed. HAVE GUN, WILL TRAVEL is still terrific, but WANTED: DEAD OR ALIVE is cheesy, Steve McQueen notwithstanding. Jack Lord's HAWAII FIVE-O is truly dreadful (with the exception of Khigh Dhiegh as Wo Fat), while MAGNUM, P.I. works well, in spite of its being something of a period artifact. LOVEJOY the series was put together by Ian La Frenais, and based on the Jonathan Gash books. La Frenais worked with a stable of writers that kept a very sharp tone, both mischievous and sinister. The stakes were often high. Antiques ain't small beer.
The trick's in the casting. Lovejoy himself is played by Ian McShane, a guy I've been queer for ever since the Richard Burton gangster picture VILLAIN, not to mention SEXY BEAST and DEADWOOD, and McShane gives the character enormous charm. It helps that Lovejoy is also a little slippery.
He's not always a reliable narrator - Lovejoy often addresses the viewer directly, turning toward the camera - and you're never entirely sure whether he's only in it for himself, or answers to some higher persuasion. If not a bounder, certainly a rogue.
The appeal of a series character has a lot to do with how the audience relates to them, and where your sympathies lie. James Garner as Rockford, Tom Selleck as Magnum, or Bob Urich as Spenser. It's about your comfort zone, in large degree. How far can they push the envelope? You can't break faith. Network standards and practices aside, Jim Rockford isn't going to betray your trust in him, shoot an unarmed guy in the back, for instance, or leave a stray dog behind for predators. Lovejoy's cut from the same cloth. Maybe he's not the most upright, and he even spends too much time on the horizontal, but he plays fair, even if 'fair' is in the eye of the beholder. When he pulls off some complicated skin game, and takes a bigger fish to the cleaners, you get a lot of satisfaction out of it - payback.
One last note. I wasn't all that hip to the milieu, when I first watched LOVEJOY, but having spent the last fifteen years in Santa Fe, and somewhat on the fringes of the art world (a friend of mine owns a frame shop here), I find the details ring all too true, the narcissism, the competing egos, the schadenfreude. It's hard to exaggerate, or lampoon. You think LOVEJOY goes over the top? Believe me, you can't make this stuff up.