Sure, as this latest hour of “The Killing” ends, it sure SEEMS as if they did, what with the video footage of the two of them having rough (and possibly non-consensual) sex with a pink-bewigged girl they keep calling “Rosie,” right there in the basement room where all of that blood was found last week. But check how we never see that girl’s face. And check how convenient it is that the teacher just happens to have confiscated the phone on the very day that video is sent to it. All of this seems a little too easy, a little too pat. (Then again, I still kind of think the teacher did it. Doesn’t he seem like someone who’d be politically active and would know Richmond’s campaign didn’t keep a good eye on their unlocked campaign cars?)
AMC seems to have gotten the hang of this original-series thing. Sunday night, the cable network premiered its new crime drama "The Killing" to critical acclaim and its second-best series opener ratings ever.
"The Killing" averaged 2.7 million total viewers for its two-hour premiere, according to the Nielsen Co. Those are AMC's best series premiere ratings since the start of the zombie series "The Walking Dead" last year.
"The Killing" received rapturous reviews from critics, with the Los Angeles Times' Mary McNamara calling the first two installments "riveting."
What did you think of the show? Will you keep tuning in, Show Trackers?
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-- Scott Collins (twitter.com/scottcollinsLAT)
Photo: Stan Larsen (Brent Sexton) and Mitch Larsen (Michelle Forbes) with detectives Sarah Linden (Mireille Enos) and Stephen Holder (Joel Kinnaman) in AMC's "The Killing" Credit: Carole Segal/AMC.
The greatest thing to recommend about AMC’s new drama “The Killing,” based on the Danish series "Forbrydelsen," is its sense of time. Things take a while on this show, and not everything happens all at once. By focusing on just one crime, show runner Veena Sud and her writers are able to examine every element of that crime in detail, from the cops investigating it, to the family grieving the loss of a daughter, to a political campaign that’s only tangentially related to what happened (or is it?). It’s a show that’s fond of wide shots that show off lots and lots of open space and empty skies, and the pacing of the series reflects those natural realms. Everything is subdued, understated, but filled with a strange menace. Stare at an empty sky long enough and it starts to feel sort of scary and isolating. The direction here takes full use of that space. In hour two, a standard scene (the police question the parents of the deceased) becomes something altogether more interesting because Ed Bianchi's direction keeps panning between mother and father in wide shot, uniting them in grief, even though they're in separate rooms.