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We wonder how anyone could miss the soapiness of Sud’s series.
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In our own informal criticism of the show (conveyed primarily by chat), we shared our puzzlement at the expectation of certain critics and audiences who believed that The Killing should behave like a conventional police procedural or mystery story, with tightly crafted plot moments based around what is considered “action.” To the contrary, we found pleasure in the ways The Killing allowed its melodramatic emotion – not to mention the camerawork – to linger beyond the boundaries of its official generic conventions and connect itself to another genre that is closely associated with television: the daytime soap opera. One of The Killing’s most arresting storylines involved the relationship between a Muslim schoolteacher and a mayoral candidate. This was a plot arc of several episodes, exploring the ugly but very ordinary racism of nearly every one of the protagonists. Far from being bored, we were engrossed, even deeply moved by the “red herring” dealing with the misidentification of a young Somali teacher Bennett Ahmed as a key suspect. It is not that we don’t have any investment in learning “whodunit,” just that we were content to explore the emotional and psychological complexities of the people struggling in the wake of Rosie’s murder, including lead detective Sara Linden and her new partner. We (Kristen and Lisa) do not share that consensus in fact, we find ourselves perplexed by the general critical opinion of The Killing. There were even implications that AMC should remove-or encourage the resignation of-showrunner Veena Sud.
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To paraphrase a number of sources: The Killing started off strong but lost its way apparently uncertain of how to plot a proper police procedural, the producers resorted to a series of false starts and red herrings, relying upon improbable plot turns, before stumbling to a disastrous finish. These sentiments hyperbolize a motif predominant in criticism of The Killing even before the finale. In the days following the finale, various media critics expressed their “ disappointment,” “disgust,” and even hatred-some with “the burning intensity of a thousand white-hot suns.” In his blog post, Jason Mittell is far more equable but nevertheless agrees that The Killing failed to deliver on its promise as a contemporary serialized narrative. For the finale did not reveal that one piece of information that invested viewers (presumably) expect and demand: Who killed Rosie Larsen?
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However, the show diverges from convention in its investigation of a single murder case extending over a whole season-and beyond, apparently. An adaptation of a Danish series ( Forbrydelsen), The Killing participates in genres deeply entrenched in television: the crime drama and the police procedural. Marketing materials that espoused the central question of the series.Ī few weeks ago, AMC aired the season finale of its latest original series The Killing to something less than universal acclaim.