|Thure Lindhardt, Sofia Helin, The Bridge|
Which pretty much sums up what The Bridge is on about, peeling off layers of seemingly normal, outwardly quotidian behaviour to find the obsessions, the madness, the frustration, dark pasts and, inevitably, the person who has killed, often more than once. In series four of The Bridge, that final uncovering is quite a surprise – a seemingly minor character whose obsessions don’t quite ring out. Still, the story arc has diverged a little away from a near total focus on the autistic savant Saga (Sofia Helin) and veered towards Henrik Sabroe (Thure Lindhardt) and his troubled addicted life. He is still trying to come to terms with the disappearance of his children some eight years before. Saga of course eventually solves that problem and in series four we have as much invested in that as in the story of who is the serial killer taking revenge via the seven methods of capital punishment.
|Four Seasons in Havana|
|James Norton, McMafia|
From there on we get more than enough hints that the drug trade is Russia is managed by and on behalf of the authorities and that their cut of it is large. Vadim runs foul of them and so ‘factions’ decide that they will go elsewhere to do business. Enter the prim and proper young man mentioned before, a banker who wears only grey suits, white shirts and dark ties wherever. His merchant bank is the subject of a malicious market rumour which threatens to wipe out its value. Inevitable. Something catastrophic had to occur to get young Alex Godman (James Norton) to embark on the slippery slope into the underworld of drug trading, notwithstanding the assurances he gives to his girlfriend and his Compliance Officer that everything is, eh, kosher. His saviour is an Israeli politician with a major sideline in shipping who can assist the drug trade, Semiyon Kleiman (David Strathairn).
There’s a lot of backstory to discover/uncover and the doe-eyed soft-voiced performance by James Norton only slowly reveals the granite skull beneath the dapper skin.
|Jodie Comer, Sandra Oh, Killing Eve|
Killing Eve is an exception to the run of thrillers and procedurals about the tangling of crime and the security. It involves much spycraft but is entirely devoid of any backstory to set the Russian girl hit-woman off on her choice of career. There’s also precious little backstory about the Asian-American MI6 officer Eve Polastri (Sandra Oh) who tracks her down and sets up her pursuit nicely for a series two. It’s set, like McMafia,in a dazzling array of glamorous locations which are reached by a quick cut and a drone shot.
What would these series be without the drone shot slowly moving over the terrain at a height lower than a helicopter maintains and with a steadiness that once could only be dreamed about. Abstract patterns of rooftops being stared directly down upon are a secondary drone trope.
|Sara Girardeau, The Bureau|