Follow-Up: It Was Called THE KILLING, What Did *I* Expect?

So THAT happened.

I came out early on this blog to defend AMC’s latest drama The Killing, an Americanization of the Danish “Nordic Noir” series Forbrydelsen, from claims that it was too slow, too bleak, too maudlin. I expressed a desire to see a story like this played out at a slower pace than your typical TV procedural. I have always enjoyed deliberate pacing, particularly when combined with darker, more atmospheric stories. And there’s no denying that “atmosphere” was a major component, practically a top-billed character, of the series. So allegations of it being slow I understand, but that never bothers me. Bleak, or as I called it, “atmospheric,” I also get. But again, it was part of the charm of the series for me. I’m originally from Seattle, so I’m drawn to stories set in those environs. And I’m a diehard Twin Peaks fan, and The Killing is, if not a spriritual brother to that kitschy 90’s classic, certainly a distant cousin.

As for maudlin? Well yeah. It’s called The Killing, so what exactly did people expect? However, in the wake of the season finale this past week, having experienced the story as a complete narrative (only not really, am I right?), and feeling my own frustration and disappointment with the show, I have to ask myself the same question…

It was called The Killing, what did *I* expect?

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