One doesn't need to have read Holly Jackson’s novel to quickly grasp the essence of Netflix’s A Good Girl’s Guide to Murder. This six-part series comfortably slots into the cherished tradition of mysteries featuring meddling teenage detectives, drawing parallels to classics like Nancy Drew, Harriet the Spy, and Veronica Mars for American audiences. With its quaint British village setting, it might even evoke a “Miss Teen Marple” vibe.
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| 'A Good Girl's Guide to Murder' Sally Mais/Netflix |
Adapted by Poppy Cogan and directed with a well-balanced tone by Dolly Wells and Tom Vaughan, A Good Girl’s Guide to Murder is both familiar and somewhat hurried, especially as it approaches its final episode, preventing it from reaching the heights of the genre.
However, on its modest scale, the series, which initially premiered on BBC Three and iPlayer, works effectively. The central mystery unfolds with decent twists, heightened suspense, and is notably elevated by Emma Myers, who transitions smoothly from her role as the werewolf roommate in Wednesday to a full-fledged star.
Emma Myers stars as Pippa Fitz-Amobi, a 17-year-old living in the picturesque village of Little Kilton. Pippa's life appears well-ordered, with supportive parents (Anna Maxwell Martin and Gary Beadle), a close-knit group of friends led by her best friend Cara (Asha Banks), and plans to attend Cambridge University the following year.
For her Extended Project Qualification (EPQ), Pippa abandons her initial plan to write an essay on feminism in gothic literature and opts for a more contentious subject. She becomes engrossed in the five-year-old disappearance of local teenager Andie (India Lillie Davies).
Despite widespread belief that Andie’s boyfriend, Sal Singh (Rahul Pattni), was responsible for her death and subsequently killed himself—having even confessed—Pippa remains skeptical. She decides to turn solving this mystery into her EPQ, transforming her bedroom wall into a murder investigation board complete with lines connecting suspects and timelines.
Pippa’s investigation ruffles feathers in Little Kilton. Cara’s sister Naomi (Yasmin Al-Khudhairi), a close friend of Andie, harbors secrets, as do Andie’s other friends, including the aloof wealthy kid Max (Henry Ashton), who bears some resemblance to Logan Echolls. On the other hand, Sal’s younger brother Ravi (Zain Iqbal) is eager to assist Pippa, seeing a chance to clear his family’s name.
Soon, Pippa delves so deeply into the mystery that she begins receiving threatening texts and notes, putting her loved ones in jeopardy.
Like the best protagonists in this genre, Pippa Fitz-Amobi isn’t always likable. She’s a meddler and a classic narcissist, focused solely on her obsession with Andie’s case without considering the communal pain she might be reopening. Though she's a “good girl,” she is judgmental and often insensitive to others' feelings.
Moreover, like most 17-year-olds, Pippa lacks polished detective skills. She misinterprets data, questions suspects without a clear strategy, and frequently breaks into places she shouldn't be, leading to the show's most intense scenes.
Emma Myers, portraying Pippa, captures the essence of a young woman unprepared for the heightened emotions she's only encountered in literature (her character is introduced reading Jane Eyre, a deliberate choice).
Whether dealing with terror, sadness, budding romance, or mimicking investigative techniques from movies, Pippa is transparent with her emotions, and Myers makes these emotions feel genuine despite the contrived plot.
Despite being 22 and not British, Myers comes across as natural and unaffected, supported by a believable wardrobe of patched-up jeans, baggy sweaters, and boxy trainers, perfectly fitting a teenage nerd.
The fact that Pippa is portrayed as 17 but appears slightly younger highlights some demographic confusion within the show. It is primarily suited for tween viewers, featuring tame language, limited onscreen violence, and no explicit sexuality—Pippa's innocent flirtations with Ravi are kept vague to avoid age-appropriateness issues.
The show's depiction of drug use is quaint, and a literally underground rave is almost comically tame. However, the series takes a darker turn in its final episode, introducing mature themes, although it remains more kid-friendly than the complex twists of Veronica Mars.
Insight into teenage life in 2024 is mainly limited to the series' heavy reliance on social media for major plot points, while its depiction of small-town life in 2024 is minimal. Little Kilton seems like a pleasant place to live, aside from the occasional homicides.
The series could benefit from more nuance and character development—Pippa's non-Cara friends and several key adults lack depth. The first five episodes stretch out a fairly obvious "twist" for too long, leading to a finale with one or two nonsensical reveals.
The Good Girl’s Guide to Murder may not have kept me guessing, but it kept me generally entertained throughout its six episodes, all under 48 minutes. Holly Jackson has several more "Good Girl" novels, and with potentially long gaps between seasons of Wednesday, this series marks a promising start to a franchise for the talented Emma Myers.
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