(The viewing figures are small beans, but for a digital channel like BBC Four, big news.
THE KILLING DANISH VERSION STORY SERIES
But for Inspector Lund – for that’s who this distant, anonymous soul turns out to be demoted, demoralized and banished from the city to dingy parochial duties following the events of the first series – it’s all but perfect.īack at the start of 2011, an audience of over half a million followed Lund’s every move, as the first series of The Killing unspooled on BBC Four in Saturday-night double bills soon so obsessively guarded that, even in this time-shifted iPlayer age, entire weekends were being arranged around them. A small, dark figure in a bulky police uniform appears, walking away from the camera, examines documents, waves the truck on – then slouches, stands hands in pockets with the dreaming attitude of a bored boy, staring off toward the sea, waiting for whatever happens next.Īs entrances go, it’s hardly grand. From a high distance, we watch as a lorry just off the ferry waits to be checked. We’re no longer in the city, but far away, out through southern Denmark’s flat, grey-green countryside to a bare industrial port. Now, though, it’s the bleak morning of the next day. We’ve already seen, back in Copenhagen, in the night, cops swarming busily around the body that will set this dense new story in motion: a woman, stabbed repeatedly before she died, tied to a post in a park, left propped there on display.
The scene comes five minutes into the opening episode. THE FIRST TIME YOU SEE SARAH LUND in the second series of The Killing, you might not realise you’re seeing Sarah Lund at all. This story ran in The Sunday Herald, November 11 2011
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