This Is Not a Murder Mystery: Cozy Crime Meets Art in a Surreal Belgian Drama

When I first saw the headline about a Belgian drama where René Magritte wakes up next to a corpse wrapped like figures from his own painting, my immediate thought wasn’t just about the surreal premise—it was about how this kind of genre-blending storytelling reflects a broader cultural shift happening right here in Chicago. The Guardian’s review of This Is Not a Murder Mystery highlights a trend where historical true crime narratives are being reimagined through artistic lenses, and as someone who covers the intersection of arts and public safety in this city, I’ve noticed Chicago’s own institutions are experimenting with similar approaches to engage communities in conversations about history, justice, and creativity.

The series, which premiered in October 2025 according to Wikipedia, sets famous surrealists like Dalí and Magritte as suspects in a 1930s English manor mystery where each murder mimics their iconic works. This isn’t just escapist entertainment—it’s part of a growing movement where streaming platforms and broadcasters use period settings to explore timeless themes. What fascinates me as a Chicago-based observer is how this mirrors local initiatives: just last year, the Chicago History Museum partnered with local theaters to stage immersive Prohibition-era mysteries that used Al Capone’s trial records as source material, while the Art Institute of Chicago has hosted “detective tours” where visitors analyze paintings for hidden narratives, much like the show’s crimes paying homage to specific masterpieces.

Digging deeper into the show’s production reveals intentional choices that resonate with urban audiences. Filmed in Belgium but set in 1930s England, the series leverages the era’s tension between artistic innovation and societal rigidity—a dynamic Chicago knows well. During the Great Migration, Bronzeville became a hub for Black surrealist and jazz artists who, like the show’s characters, used abstraction to process trauma and challenge norms. The Guardian notes how Magritte (played by Pierre Gervais) questions “cocaine-fuelled bohemians,” a detail that echoes Chicago’s own Harlem Renaissance-adjacent stories where venues like the Regal Theater became crucibles for artists navigating fame, scrutiny, and societal expectations—parallels that make the Belgian drama feel unexpectedly relevant to South Side storytelling traditions.

What makes this particularly noteworthy for Chicago residents is how the show frames artistic communities under collective suspicion—a narrative that unfortunately mirrors real-world dynamics. When the series describes investigators locking down an estate with “bohemian guests” including Man Ray and Lee Miller, it recalls how Chicago’s own avant-garde spaces have historically faced scrutiny. The Hyde Park Art Center, founded in 1939, emerged partly as a response to marginalized artists being excluded from mainstream galleries, while contemporary groups like the Chicago Artists Coalition still advocate for creators facing gentrification pressures that can feel as destabilizing as a fictional serial killer’s plot. The show’s exploration of how “fame can lead artists to lose their heads” takes on literal and metaphorical weight when considering how Chicago’s creative districts navigate development pressures while preserving cultural identity.

Given my background in analyzing how media narratives intersect with urban cultural policy, if this trend of artistic-true crime hybrids impacts you in Chicago, here are three types of local professionals you should seek:

• Cultural Heritage Programmers: Look for individuals affiliated with institutions like the Chicago History Museum or DCASE (Department of Cultural Affairs and Special Events) who specialize in creating interdisciplinary exhibits or events that blend historical research with interactive storytelling—professionals who understand how to adapt narrative techniques from shows like this into authentic local contexts without trivializing historical trauma.
• Arts-Based Community Facilitators: Seek practitioners connected to organizations such as Urban Gateways or the Chicago Community Trust who design workshops using creative methodologies (like surrealist exercises or crime scene analysis) to foster dialogue around neighborhood-specific issues, ensuring they have proven experience facilitating intergenerational and cross-cultural conversations in public spaces.
• Media Literacy Educators: Prioritize instructors from venues like Columbia College Chicago’s Media Production Center or local library systems who teach critical analysis of genre-blending media, helping residents discern between artistic interpretation and historical fact—especially valuable when dramas like this inspire real-world curiosity about the 1930s art scene or forensic techniques.

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