You know that feeling when you're watching a cozy mystery and suddenly things get... uncomfortable? That's exactly what happens when you revisit Midsomer Murders Made to Measure Murders. It’s the eighteenth episode of the thirteenth series, and honestly, it feels like the writers decided to lean into the absolute strangeness of English village life. It first aired back in 2010, right toward the end of the John Nettles era as DCI Tom Barnaby. If you’ve seen it, you remember the shears. If you haven't, well, you're in for a ride through the local tailoring trade that’s way more cutthroat than it has any right to be.
The plot is dense. It’s thick. It’s like a heavy wool suit in July.
The Milton Cross Connection
Most Midsomer fans rank episodes based on how many "wait, what?" moments they have per hour. This one is high on the list. We start in the village of Milton Cross, a place that seems to be owned entirely by the Edwardes family. This isn't just a village; it's a feudal estate masquerading as a modern parish. Sonia Woodley is stabbed to death with her own tailoring shears while visiting her husband’s grave. That's the hook. But the real meat of the story is the "Made to Measure" aspect—the Woodley & Woodley tailoring business.
Tailoring is an art of measurement, and in this episode, those measurements are used for more than just trousers.
DCI Tom Barnaby and DS Ben Jones have to navigate a world where everyone is obsessed with status and "knowing their place." It’s classic Midsomer. You’ve got Gerald Farquaharson, played by the late, great James Fox, who embodies that fading, slightly arrogant aristocracy that the show loves to poke fun at. He’s the kind of guy who thinks a poorly fitted lapel is a moral failing. The tension between the "old money" and the tradespeople like the Woodleys is what drives the engine here.
Why does this episode stick in the brain? Maybe it’s the sheer specificity of the world-building. Most episodes give you a vague village vibe, but Milton Cross feels claustrophobic. It’s a place where secrets aren't just buried; they're tailored into the lining of the local culture.
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A Masterclass in Midsomer Tropes
If you were making a checklist for the perfect episode, Midsomer Murders Made to Measure Murders hits almost every beat.
- A weapon that is also a tool of the victim's trade? Check.
- A long-standing family feud involving land or legacy? Double check.
- Barnaby looking slightly tired of everyone’s nonsense? Always.
The guest cast is stellar. Beyond James Fox, you’ve got Carolyn Backhouse and Ian McNeice. McNeice is a legend—you probably know him as Bert Large in Doc Martin or the Newsreader in Rome. Here, he brings a certain gravity to the proceedings. The acting isn't the problem in Midsomer; it's usually the motive. And the motive here is a doozy. It involves a hidden pregnancy, a decades-old secret, and the kind of village-wide gaslighting that would make a modern thriller writer jealous.
Honestly, the pacing is a bit erratic. It starts with a literal bang (or a stab) and then slows down into a series of interviews in dusty shops and grand manors. But that’s the charm. You’re not watching for a high-speed chase. You’re watching to see Barnaby put the pieces together while Jones does the actual legwork.
The Problem With the Ending
Let’s talk about the reveal. Without spoiling every single beat for the three people who haven't seen this on a lazy Sunday afternoon repeat, the "who" makes sense, but the "why" is peak Midsomer. It’s about reputation. In Milton Cross, your reputation is your currency. When the tailor’s widow, Sonia, is killed, it’s because she was about to pull a thread that would unravel the entire social fabric of the town.
It turns out the village isn't just obsessed with clothes; they're obsessed with the idea of being better than they actually are.
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The murder of Rev. Moreland later in the episode adds that extra layer of "no one is safe" that the show needs to keep the stakes high. It’s a reminder that even the church isn't a sanctuary when there's a killer with a pair of sharpened shears on the loose. The imagery of the shears is actually quite haunting. It’s a domestic object turned lethal, which is a hallmark of the series' aesthetic.
Why This Episode Matters for the Series History
This was episode 80. By this point, John Nettles was preparing to hang up the badge. You can feel a sense of refinement in his performance. He isn't just a cop; he’s a sociologist who happens to carry a warrant card. He understands the British class system better than the people living in it.
What people often get wrong about Midsomer Murders Made to Measure Murders is thinking it’s just another "village mystery." It’s actually one of the more cynical episodes. It paints a picture of a community where the rich stay rich by stepping on everyone else, and the "help" is only valued as long as they stay quiet. It’s a bit darker than the episodes involving psychic conventions or competitive gardening.
Behind the Scenes and Trivia
The production design in this episode is top-tier. The tailoring shop looks authentic—it has that smell of old fabric and steam that you can almost catch through the screen.
- Filming took place in various locations across Buckinghamshire and Oxfordshire, the usual stomping grounds for the production.
- The episode was written by Andrew Payne, a veteran of the series who knew exactly how to balance the humor and the horror.
- The "Made to Measure" title is a clever pun, not just on the suits, but on the way the murders are "measured" out to solve a specific problem for the killer.
It’s also worth noting the chemistry between Nettles and Jason Hughes (DS Jones). By series 13, they had a shorthand that made the exposition feel natural. Jones is often the "straight man" to the village’s eccentricities, and in this episode, he’s particularly grounded. He’s the one who notices the practical details while Barnaby handles the psychological ones.
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The Cultural Impact of the "Cozy" Slasher
We call it "cozy," but Midsomer is basically a slasher movie set in a village green. The body count in Midsomer Murders Made to Measure Murders isn't the highest in the show's history, but the cruelty of the crimes sticks with you. The idea of someone being killed at a graveside is particularly grim, even for a show that once killed someone with a catapult and some giant rounds of cheese.
People watch this show for the escape. They want to see a world where problems are solved by tea time. But this episode reminds us that some problems—like greed and the desire for social climbing—don't have easy fixes. The killer isn't a monster; they're a neighbor. That’s the real horror of Midsomer.
If you’re revisiting the series on streaming services like Acorn TV or BritBox, this is an episode that rewards a second viewing. You’ll notice the small looks and the subtle snobbery that you might have missed the first time around. Pay attention to how the characters talk about "quality." They aren't just talking about the fabric.
Practical Steps for Midsomer Fans
If you want to dive deeper into this specific era of the show, there are a few things you should do to get the full experience.
- Watch the episodes in sequence: Series 13 is a fascinating transition period. Seeing how Barnaby handles the Milton Cross case right before his eventual retirement gives the episode more emotional weight.
- Check the filming locations: If you're ever in the UK, places like Beaconsfield and Amersham often stood in for these villages. You can actually visit the streets where these "murders" took place.
- Observe the "Barnaby Method": In this episode, watch how often Tom Barnaby lets the suspects talk. He rarely interrupts. He knows that in a village like Milton Cross, people will eventually hang themselves with their own words if you give them enough rope—or in this case, enough thread.
Midsomer Murders Made to Measure Murders stands as a testament to why the show has lasted decades. It takes a simple concept—a tailor’s shop—and weaves it into a complex narrative about class, secrets, and the lengths people will go to keep their skeletons in the closet (literally, in some episodes). It’s not just about the mystery; it’s about the messy, complicated people who inhabit these "perfect" little towns.
To get the most out of your next rewatch, pay close attention to the background characters. Midsomer is famous for its "background color," and the villagers of Milton Cross are some of the most judgmental and interesting the show has ever produced. Look for the way the camera lingers on the shears throughout the episode; it’s a masterclass in visual foreshadowing that many modern shows overlook.
Next time you’re browsing for something to watch, don’t skip over this one. It’s a sharp, well-tailored piece of television that reminds us why John Nettles will always be the definitive DCI Barnaby. It’s classic, it’s weird, and it’s quintessentially British.