There was a moment at the end of episode 8 of this series where I suddenly started to fear that the surface of this perfect gem of a show had started to crack. It was when the show all-but-repeated the cliffhanger of two episodes previously where one character seemed on the verge of extracting bloody retribution on another. Surely, I thought, the show can’t have run out of steam and ideas already?
Fortunately episodes 9 and 10 didn’t disappoint and were the show’s best yet. Almost as if the frustrating dead end of both the previous episode and the stalling of the police investigation itself had pulled the pin on things, this week’s instalments catapulted the series off onto an entirely new trajectory. It was almost all down to the lead character Sarah Lund’s following up of a seeming bureaucratic anomaly in the evidence: suddenly we have a whole new set of main suspects, a whole new chronology for the crime – and at last, a primary crime scene. We also have a fundamentally altered view of the victim from developments in the heartbreakingly gripping strand featuring the bereaved family, and some fine political bloodletting going on in the city hall strand featuring the character of Troels Hartmann. And all of this came over as a natural progression of what had gone before, of plot strands knitting together, of seeds long sown coming to flower, rather than the ad hoc “make it up as you go along” feel of similar high-concept US shows like 24 and Lost.
The one potential problem with the new scenario is that it seems to be forcing Lund to become that hoary old Hollywood cliché, the lone maverick cop going rogue against her superiors’ wishes. The joy of the character to date has been her extraordinary ordinariness, so this is potentially a problem. Fortunately the show is playing it in an interesting way so far: instead of raging against the system, Lund seems merely to be ignoring it all and just carrying on with the same intensity as before, almost as if she hasn’t noticed. And that intensity, initially so admirable, is increasingly the source of her problems as the relationships all around her fall apart: I’m actually starting to feel sorry for the dislikeable partner, Jan Meyer, because of how poorly Lund is treating him now. I never expected that!
As episode 10 came to a close, there was a shot – not lingered on by the director – of a now-familiar item that had become ubiquitous to us over the course of the show to date: but this time, splattered with blood. The symbolism of it, and what it portends for characters in the second half of the series, genuinely sent chills down my spine.
(With apologies to returning to the subject of this show so soon after my initial short view.)