Praise the Netflix gods, for they have bestowed upon us the second season of AMC’s The Killing, now available on InstantView. I live in a cableless household, so I eagerly await that moment when my favorite programs release their recently finished seasons. The Killing has been on my watch list for new episodes since I wrapped up the first season about six months ago. I’m now moving through season two at a brisk pace, much like the young couple in Portlandia that voraciously consumes Battlestar Galactica to the detriment of all other obligations. The Killing has been especially addictive for me since it combines the whodunit thriller with a procedural crime drama. In short, if Twin Peaks and The Wire got together and made a baby, The Killing would be the child.
The series begins with the death of Rosie Larsen, a beautiful Seattle teenager from a seemingly typical middle-class family. Detective Sarah Linden (brilliantly performed by Mireille Enos) reluctantly takes on the case despite her best efforts to sever ties with Seattle PD so that she can relocate to California to be with her fiance. The taciturn detective reluctantly partners with Stephen Holder (perhaps the strongest performance, by Joel Kinnaman), a younger detective recovering from drug addiction and willing to bend the rules to get information. The two become quickly absorbed in their investigation, which leads them to investigate the Mayoral campaign of a young city councilman as well as Rosie’s own family. These investigations slowly reveal the moral failings of all associated and hint at the various influences that may have placed Rosie in a position of vulnerability. As a result, The Killing undermines the myth of the American dream by presenting it as facade.
Of course, I must stop for a moment to acknowledge the Scandinavian roots of the series. The American version derives from Forbrydelsen, a Danish series that by all accounts follows a very similar plot-line as the American version. One of the series cast members, Michelle Forbes, noted that this geneaology complicates the comparisons I’ve made, stating, “I don’t know how ‘Twin Peaks’ goes by way of Denmark 20 years later and comes back to AMC,” yet even Forbes says that “the similarities are fairly intense” (see the entire interview here). Promos for both shows highlight the similarities:
Notice that both shows investigate the death of an attractive, middle-class teenage girl. Both shows’ detectives investigate all aspects of the community in which that girl lived. In both cases, detectives find that their victims’ lives may not have been as wholesome as they thought. Laura Palmer and Rosie Larsen both associate with individuals who deal drugs, pimp prostitutes, and facilitate gambling. Even geographically, Twin Peaks and The Killing share the same setting in common, with both stories located in the Pacific Northwest, though granted, The Killing‘s urban focus differs drastically from Twin Peaks’ folksy rural town of the same name.
That’s where The Wire‘s DNA becomes a factor. Like that crime drama, The Killing explores the connections between city bureaucracies as does The Wire, which meticulously presents the investigation of Baltimore drug gangs by a special investigative unit. We also see corruption in government that rivals the criminal elements also presented in the show. Season 3 of The Wire in particular parallels The Killing by incorporating character Tommy Carcetti into the show’s narrative. Carcetti, like city councilman Darren Richmond in The Killing, is the quintessential charismatic young politician trying to climb the ladder in city politics. Both struggle to negotiate between their ideals and their desire for political success. At the same time that each shows’ investigations reveal the seedy underbelly of the American dream, the shows’ political subplots similarly suggest that the American political system has a dark side too.
Of course, The Killing has just as many differences as similarities with Twin Peaks and The Wire. Its serious tone and realist aesthetic dramatically contrast the humorously melodramatic Twin Peaks, while it’s plot-driven narrative full of twists and turns feels convoluted in comparison to the slow unfolding that happens in each season of The Wire. Furthermore, The Killing presents some of its characters as unredeemable villains, differing drastically from The Wire’s humanistic approach to morality. I was especially appalled with the way The Killing presents a group of powerful leaders at an Indian Casino as a veritable gang of thugs intent on manipulating officials by insisting on their sovereignty.
But these very differences reinforce my point: The Killing combines the elements of an urban crime drama with a family melodrama and a political thriller to produce a narrative all its own. Within the American context, the resulting narrative operates as a critique of American ideals, exposing the lies that undergird them through the death of one girl.