Then there's his rolling, laconic accent, which he has a lot of fun with. His slippery relationship with vegan food, his never-dry hair, the way he gets all overexcited when he gets to "go method" with gangs.
WATCH THE KILLING DANISH SERIES
You invest a lot in Holder, spending the first series wallowing in the guts of a recovering addict and the subsequent series praying to God he doesn't screw up. That said, The Killing's standout player is Linden's partner, Holder, played by Swedish/American actor Joel Kinnaman, last seen as Robocop (yikes) and far more interesting than Jan Meyer. My only real gripe is how her (really good) hair never goes frizzy in the damp. Linden may be a little watery compared to Lund, but once you've stopped comparing the two, Enos is great - her shaky patience, her dogged policework, her glowering expression (which is filmed 70% of the time through a car windscreen). This wasn't about Rosie Larsen, it was about her grieving broken family, the wrong people in politics and two detectives who were trying to bridge the two. To me, what did it matter? The narrative keenly demonstrated that, when it comes to crime, the victim is often overlooked. I understand why people sulked about the first point (and I won't dare compare it to The Sopranos' finale) but I don't think this should have detracted from the series' strengths to the extent that it did.
WATCH THE KILLING DANISH TV
There are lurching moments throughout all three series, untypical of a lot of US TV in particular, a rape scene wedged into all kinds of video nasties in series three left me squirming.Īs far as I can tell, its two crimes have been to leave the first series on a cliffhanger, and to soften its lead, Sarah Linden ( Mireille Enos), into a higher functioning version of Lund, her Danish counterpart. But because of the series' various crimes – primarily bad men, twisted politics and lots of paedophilia – all drawn out against the grey and fierce backdrop of Seattle, it's never seemed too light.
I understand the system – the coffee, sexism and legal loopholes.
I also like the familiarity of a corrupt and struggling US police force. I started the US series before the Danish one, which helped, and I was knee-deep in Bron/Broen by the time I got round to Forbrydelsen, so I fancied something a bit easier to chew. I'm not suggesting the US version is the best TV I've seen or that it's better than Forbrydelsen – I just prefer it.įor me, a lot of this was about timing. I realise that suggesting the two can co-exist, and that I actively prefer the US version, is tantamount to choosing canned peaches over fresh, but what can you do? To me, it depends what you're after in a TV series. Last Friday, the fourth season premiered as a Netflix original. AMC cancelled it before it was adopted by Netflix. Its bleak, tense pilot boded well, but by the end of the series, fans had lost enthusiasm (thanks to the cliffhanger "non-ending") and by the second series, it had lost a third of its viewers. Produced by Fox and aired originally on AMC, the first series of the US The Killing was well-received back in 2011. You've probably heard of the latter and you may have ignored the former. Nothing tests a TV series like uprooting it to a new country and changing the language, so The Killing, the American remake of the Danish series Forbrydelsen, was never in for an easy ride.
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