Yeah, that's them. I get why that stuff is made - it's switch your brain off and relax stuff, which is fine, I have my own versions of that.
I only learned fairly recently that Agatha Christie is actually a *good writer*. Which you'd never really guess from most of the TV stuff. I read a bit of her stuff and it's not for me but yeah she could certainly write good.
And I did always enjoy a Poirot when one came on.
What you're saying about the moral weight of the murder makes me think of the transition from hardboiled/film noir style crime drama to the police procedural. Which I've been learning a bit about recently.
In the 30s-50s, TV/film crime drama tended to frame crime as a social problem rather than as individual pathology. The criminals were often sympathetically drawn, you'd get a lot of time from their point of view, they were normal people pushed to extremes by circumstance rather than bad people looking for an opportunity to be bad. And the cop's, who's explicitly from the same social class as the criminals, job was kinda moral arbitration rather than straight up law enforcement.
Then the McCarthy Witch Hunts happened and anyone with even a vaguely social-construction take on crime was booted out of media production and the police procedural took over. Very much from the cop's point of view, very much crime as pathology and cop as unambiguous hero.
(The Wire gets a lot of credit for flipping that a bit but honestly I think it's mostly undeserved. The extent to which it depicted crime as a social problem is hugely overstated (as is its quality imo). It spent a *tiny* bit more time with the criminals than the norm but that seemed more in service of making them compelling villains than in humanising them, to me.)
EDITED: 16 Sep 11:00 by X3N0PH0N