Five things to take away from The Bridge, episodes seven and eight

Screen-Shot-2014-07-07-at-16.56.35-800x450I know I keep saying it every week, but it feels like this series of The Bridge has absolutely flown by. It’s that time of year where time speeds up anyway, but this quickening is also due in large parts because of the double bills. So next week we have the final two episodes in what has been another excellent series. Will they catch Annika? Will they save Jeanette? Will Saga and Henrik get closure on the personal cold cases that plague them?

Is Annika really the Clown Killer?
For three episodes we have been introduced to a slew of characters – the doomed couple Marc and Jeanette, Freddie and his wife Åsa, Claes and his stalker Annika, photographer Tina… we knew we had to be patient to let these people interact and lead us down new roads. It took a while, but the discovery of Emil and the chamber in which he was tortured led, in turn, to creepy Annika and foster home connection. It seems like an open-and-shut case, but I’m slightly uneasy at Annika being the killer. Most serial killers have a single, obsessive modus operandi  but Annika seems to have two, which doesn’t quite fit. Her obsession with Claes and her amazing bed shrine to him requires a lot of mental effort; killing six people in various elaborately stage ways and singeing esoteric symbols into their mouths takes huge amounts of planning, dedication and a singular, twisted focus. Even though she fits and the foster home connection links all the victims together, I’m wondering if Annika – or anyone for that matter – has the space in her brain for two obsessions.

Parenthood themes
We’ve had it in spades throughout the series, and Hans Rosenfeldt has crafted this story around the theme of parenthood. We’ve had Saga’s mother returning, Saga’s father dying, Saga’s father figure Hans dying, Helle Anke and her partner’s child, Freddie, Åsa and Jeanette’s surrogate storyline, and finally Annika and her connections to the foster home. Everything has been an exploration of parenthood and the various stages of it.

Saga, poor Saga
Can any more misery be piled on to poor Saga in this series? She really went through the mill last night, but let’s face it – she’s been teetering on the brink for the entire series. Not only has she had to contend with a severe trauma at the start of the series (when her new partner was blown up), her mentor and friend, Hans, being kidnapped and slipping into a coma and the return of her mother and reopening of her sister’s suicide, but in this episode, well… the screws were turned tighter. Hans could not win his battle and passed away, Saga was now being investigated by Internal Affairs for the murder of her mother (someone’s setting her up, big time) and she failed to search Alm before bringing him in and he ended up shooting up half the police station. If this wasn’t grounds enough for Linn to suspend her (or at least insist on some time off) I don’t know what was, but Saga was close to breaking point. Two scenes really stood out. When being interviewed by the wiley Internal Affairs fellow she was asked how she felt when her mother turned up out of the blue. She could not answer, so unused to expressing her feelings and emotions. She physically shook in her chair, her breath was shallow and her eyes darted nervously around the room, searching for answers. She was being asked to do something she had never been asked to do before, and she was finding it tough. Another scene? When Hans passed away, Saga sidled into his room, poor Hans’s bed now empty. Like a child she crept up, sat down and then curled up onto it, seeking comfort in the residual imprint Hans left behind. It was heartbreaking, but it was further evidence that the barriers she erected after the death of her sister were beginning to come tumbling down. (It should be noted that Sofia Helin’s performance during these scenes were incredible.)

Saga and Henrik are ON
There’s no doubt about it – these two misfits, these two broken people, have found solace in each other’s company. What was once just a purely sexual relationship has now blossomed into something deeper and even more meaningful. Henrik has been making breakfast for her; Saga has been wearing his dead wife’s knickers. He’s also looking out for her, being protective; she gazes into his eyes when they’re in bed together. Heck, she even lets him drive. Crucially, they’ve both let themselves into each other’s fractured worlds and now are the only people they can rely on.

What next?
I’m expecting a further twist in the final two episodes in terms of the identity of the Clown Killer. But there’s a lot to wrap up: how will Saga get out of her Internal Affairs investigation and will she find out the truth about her sister, Jennifer? Will Saga find out who has been framing her? Will Henrik find peace and answers to his own cold case? Will they save Jeanette? It’s going to be a busy two hours.




5 Comments Add yours

  1. john hobson says:

    Poor Hans! A beautifully written minor character which did rely on the actor to flesh out, especially in series 1. Well, it is the end but I was still hoping for a recovery.


  2. MarinaSofia says:

    I can’t forget that spade Claes was lugging around – and keep thinking he may have decided to get rid of Annika. She must have been involved somehow with the murders, but in conjunction with someone else. Amazing acting, especially from the leads. But I am still surprised that the initial new Danish partner has not reappeared. Why bother to introduce her if they aren’t taking her any further?


    1. Paul Hirons says:

      Agreed Marina. There are quite a few loose ends to tie up. I’m still not convinced that Annika is the Clown Killer, and there will be a twist in the tale. You mention Saga’s first partner, but what has happened to Erika and her over-bearing mum?


      1. MarinaSofia says:

        You’re right…


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