Two new, locally produced crime series are worlds apart: in the way they look, the style of their storytelling, and their creative foundations. One is a pragmatic clone of a proven crowd-pleaser and something of a laydown misère for its broadcaster; the other is a pioneering production that hasn’t received the attention or the kudos that it deserves. One is a relatively safe bet; the other is a gutsy gamble that pays off handsomely.

The former is Return to Paradise (ABC, Sundays, 7.30pm and ABC iview), a six-part Down Under offshoot of the globally successful whodunnit series Death in Paradise, which is regularly one of the ABC’s most popular programs. So a joint ABC-BBC effort, capitalising on the existing and enthusiastic audience and extending its footprint, is a monty for our national broadcaster. It’s not an audacious choice, but it is an understandable one. Early ratings seem to endorse the move, with the spin-off attracting more than a million viewers less than a week after its premiere.

Meanwhile, Stan, one of the few Australian streamers in a pool dominated by multinationals, has opted for something completely different with the gritty and uncompromising six-part Critical Incident. Set in Sydney’s tense west, it offers a darker view of the city than the one seen from the golden, tourist-magnet sands of Bondi. Created by Sarah Bassiuoni, a lawyer steering her first series, it opens by seamlessly setting the scene, introducing the Blacktown police station and its literal “poster boy”, senior constable Zilficar “Zil” Ahmed (Akshay Khanna), a celebrated face of the force.

The shocking accident of the title occurs in the opening episode during a police pursuit, and unwise decisions rapidly accumulate to trap characters in what feels like a vice-like grip. This tough and troubled setting is no paradise.

However, as Death in Paradise has demonstrated over 13 seasons, its formula of sun, surf and sudden death in the colourful and otherwise inviting fictional community of Saint Marie is a winner. Created by Robert Thorogood, the series knows precisely what it’s doing, and viewers know exactly what to expect. The tone, from the jaunty theme music to the vibrant colour palette and idyllic setting, is upbeat.

Here, the violent deaths aren’t too disturbing because they’re not excessively gory, and the victims aren’t known for long before they meet their untimely ends. The self-contained murder mysteries will be solved within an episode. The vibrant Caribbean community will blithely continue on its merry way despite the rising body count. And a fish-out-of-water detective from London will anchor the series and the investigations. It’s classic cosy crime, a sturdy and enduring formula delivered with beautiful beaches and cute waterfront cafes.

Leading the writing team for the local version, executive producer and Australian expat Peter Mattessi (Neighbours, EastEnders, The Heights) fiddles with the formula a bit, but not too much: if it ain’t broke and all that. The detective is Australian expat DI Mackenzie Clarke (Anna Samson), reluctantly returning home from the UK to fictional Dolphin Cove, played with Insta-ready appeal by stretches of NSW’s Illawarra coast. She appears to have assumed some traits from The Bridge’s Saga Norén: a sharp policewoman, strong on investigative skill and short on social awareness.

Surrounding her is a lively bunch, including a stalwart senior sergeant (Catherine McClements), a keen young constable (Aaron McGrath), an earnest pom relishing the coastal lifestyle (Lloyd Griffith), and a former teacher and current police volunteer (Celia Ireland) who’s a font of local knowledge. A backstory affords Mack a failed romance with a forensic pathologist and surfer (Tai Hara) who looks fine shirtless. For bonus appeal, there’s a lovable dog.