I am sticking with Shetland in much the same way we ended up sticking with all three series of Saving Grace - scenery and clothes.
Have they seconded the newly unemployed Doctors script team onto Shetland? Totally agree about the lack of texture in the writing. How has it taken Donnie until now to realise that Tosh's job might make her unable to spill the goss in the pub? Presumably in the YEARS that she's been a police officer on a tiny island with a tiny population there've been minor incidents of speeding, or a break-in, or something that she's either been unable to intervene with, or has caused friction? You could convey years of resentment/weariness about that in a single conversation.
I think what's missing for me is the decreasing sense of the community around the storylines - in the Perez Years you were reminded that this was a small town where characters' paths crossed visibly, in Duncan's restaurant, or the fire festival, or the school. Now it's all plot plot plot and the plot locations are so specific to the plot, like The Spooky Lab or The Refuge. Is the pub where Tosh and her friends drink the same one that used to be featured down the side street in the main town? And where do Billy and Sandy have a dram?
That said, I might have had something in my eye when Fisherman Dad accidentally killed his nice son. Even though there were so many visible hooks in shot on that boat that even DH, the least observant viewer of crime drama said, Blimey, they need to watch out for those hooks.