 |
| The Killing |
The Basics
Based on the successful Danish television series Forbrydelsen, The Killing tells the story of the murder of a 17-year-old Seattle girl named Rosie Larsen and the ensuing police investigation. Season One consists of thirteen one-hour episodes, the first two of which debuted tonight. There seem to be three different principle stories, each revolving around two main characters.
The Cops
Sarah Linden (Mireille Enos) - Our lead protagonist. She's a homicide detective on her proverbial "last day on the job" before she packs up her kid and fiance and moves to San Francisco. A consummate professional if there ever was one.
Stephen Holder (Joel Kinnaman) - Sarah's right-hand man. He's an ex-narc cop on his first day working homicide. A little rough around the edges, but full of neat tricks.
The Family
Stan Larsen (Brent Sexton) - Rosie's father. He owns a small moving company.
Mitch Larsen (Michelle Forbes) - Rosie's mother. A no-nonsense type.
The Politicians
Darren Richmond (Billy Campbell) - Seattle's City Council President and current Mayoral candidate. A handsome devil.
Gwen Eaton (Kristin Lehman) - Darren's campaign adviser and secret lover. Good head on her shoulders.
There are at least ten more notable characters who I'll delve into as the series progresses, but the above six are our major players.
Reaction
The Killing delights in presenting its audience with a handful of homicide genre tropes, and turning every other one on its head. We start with a familiar shot of Ashley Judd-proportions I like to call "The Jogging Detective." The mood is conveyed immediately and unmistakably - cold, damp, foggy, chilly. We're in Lecter Land. It's not long before Sarah's at a crime scene. She stumbles down a dark hallway, shoddy flashlight in hand, toward what looks to be a bloody tarp. The music grows shrill and tense as she uncovers... a blow-up doll. This is no crime scene after all, just a clever goodbye prank from her colleagues. Right off the bat, The Killing is telling us what kind of show it won't be.
I don't understand people who think the description "unconventionally attractive" is a backhanded compliment or straight-up insult. It applies to our two main characters and all it means is that someone is attractive without being the typical boring Hollywood cutout. Actors who are believable in their settings only serve to further verisimilitude, and The Killing has them in droves. Additionally, the (platonic) chemistry between Sarah and Stephen is unique, first and foremost, for an absence of vulgar arguing, that ubiquitous element of police procedurals. There's plenty he does that rubs her the wrong way, but she settles for shooting him a series of disapproving looks. It's excellent, subtle characterization. Less is more, see, kids?
If I had to sum up the first two episodes, I would go with "heart-wrenchingly nuanced." Rosie's body isn't found until the end of episode one, and we must endure a horrible foreboding uncertainty alongside her family. It's hard enough for them to come to grips with their daughter being merely missing. The shocking truth nearly kills them. The attention to detail also extends to the visuals. It feels odd to call a television show "exceedingly visual," since this is an audio-visual medium and all, but The Killing has already presented several gripping shots that radiate sadness - the policemen combing through the field, the car being lifted out of the lake.
If you think I'm going to go through ninety minutes of plot points blow-by-blow, you've got another thing coming, but if you're into that kind of thing (you freak), AMC's website has you covered. Me, I can't wait until next week. How will I shake the final image of our heroes staring at a bloody hand-print on a wall, unblinking in the oppressive rain?
Sources: http://www.ology.com
