Stand by for two Hans Rosenfeldt-related stories this morning. The first is that the showrunner and renowned creator of The Bridge was appearing at the Edinburgh International Television Festival this week, and it’s a place where channels like to drop big announcements. In his appearance at the festival (alongside Anna Friel), he confirmed that a second series of Marcella would be happening in 2017. Read on for more.
Here we are, then. The finale of a series that has caused much head-scratching and frustration but kept me interested just enough to find out who did it and why. At the end of episode seven, a final-shot twist revealed that Henry Gibson was the man now winning the killer sweepstakes, after we saw who he had imprisoned his best friend and previous prime suspect Matthew in his wine cellar. But was Gibson really the killer? I was girding myself for a final twist or two…
NB: This review has a lot of spoilers
Yes, yes, I know that Marcella isn’t the best we’ve ever seen but it’s also something I want to see through. We’re onto our final two episodes – shown tonight and tomorrow night on ITV – so we’re girding our loins to see who the killer is. Is it Stephen Holmes? Is it Yann? Is it Henry? Or is it Tim? There are currently a lot of names in the frame. There’s a trailer for the final two episodes after the jump…
Contrary to popular opinion, I have been watching Marcella on ITV… I just haven’t had time to write it up. It has been a busy couple of weeks, so I haven’t been able to dig into the series as deeply as I would have liked. But I’ll say this now, and anyone who has read my reviews of the first three episodes will already know, I’m not a huge fan. Although… it has all the ingredients, all those Hans Rosenfeldt tasty bits we’ve come to love and expect from him, and it has an intriguing storyline. I should love it, so why don’t I?
OK, so I’m bit late on this one (blame real work in the real world), but I couldn’t not review this eight-part Hans Rosenfeldt show because, well, Hans Rosenfeldt. However, I’m still not won over by this even though it’s rating very well and I certainly should like it. The good news was that this was the best episode of the series so far, which, according to some, isn’t that much of a boast.
Throughout the first episode of Hans Rosenfeldt’s Marcella, the eponymous lead character showed herself to be extremely unstable. In the face of a marriage breakdown, Marcella (Anna Friel) was prone to explosive bouts of violence and blackouts and at the end of the episode we saw her confront her estranged husband’s lover, Grace Gibson, only to find herself hours later, dazed, in a bath and covered in blood. Could this be shaping up to be a classic noir tale of one detective committing the crimes without even knowing it?
Everyone enjoying Line Of Duty? Let’s see a show of hands… hmmm, yes, that’s pretty much all of you. It has been another rip-roaring, two high-octane episodes so far, confirming Jed Mercurio as one of the country’s premiere thriller writers. The pace, the shocks, the twists, the sheer audacity and willingness to kill off key characters at any given moment… and those interview scenes. Still so brilliantly taught, choreographed and acted. But here’s a question: while you’re watching the show are you thinking about authenticity? Are you thinking: this is a great story, but I do wonder if the portrayal of the police is an accurate one? Yes? No? After reading a piece in this past week’s Observer, which called out Mercurio and how accurate the show was, it got me thinking (I’ve been doing a lot of thinking this week, and it’s starting to hurt): does authenticity in crime drama matter?