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Jul 31 14 12:58 PM
Here's a good interview with Mireille Enos from Interview Magazine. She talks about The Killing, her life, and her career.
ohvaI have tons of friends. They're just all online.
Jul 31 14 1:00 PM
Working with Holder is no laughing matter Carl!
Jul 31 14 4:00 PM
Aug 1 14 12:08 AM
My comments: Even though I don't think Mireille is the right person to play Linden, she really does have a strong grasp on the characters. In the first 2 seasons, I think their mutual broken-ness benefited them - both in their personal and professional lives. S3 is where their paths really diverge. Holder has been trying to heal what's broken in himself, but Linden just ran away from it and hid (like she always does). I think she broke him in S3. She stepped into the case, shat all over the life he'd built for himself, doused it in flames and then lit a match.
So no, they're not going to be good for each other in S4. Her actions are going to lead to a division of Holder's loyalties if she keeps pushing (which, as Mireille ao accurately pointed out, is Linden's best and worst quality). If she forces Holder to choose, I hope that he choose his life with Caroline and his partnership with Reddick. The Rosie Larsen case might have vindicated Holder's professional reputation, but he proved himself in that year he spent working with Reddick and with the S3 serial killer case. He no longer needs her.
Linden is tempting because Holder can be "himself" (hoodies and all) when he's working with her. But honestly, Reddick never stopped him for being "himself". He razzed Holder about wearing the hoodies, but he also razzed Holder about every other aspect of his life. Caroline was nothing but supportive of him, even when they had their big fight. She doesn't seem to be going anywhere anytime soon. It was Holder's own insecurity about "fitting in" to the life he created that allowed him to open himself back up to Linden's brand of insanity.
Linden has very selfishly used Holder's loyalty to her advantage over and over. In S1/S2, she left him on the reservation, knowing it wasn't safe, and he was almost killed. In S3, she investigates Holder's case and then calls Skinner, not Holder, to report the dumping grounds. There are many more examples that I could cite, but her intent is clear. She knows Holder will always have her back, no matter what she does. It was probably easy for her to rope Holder into keeping this secret in order to protect HER guilty conscience. She doesn't give much thought to how her actions will impact Holder. It would be karmic retribution if he finally decides this secret is the straw that broke the camel's back.
Aug 1 14 9:49 AM
TV guide article on The Killing, no spoilers, and a bit of detail.
Aug 1 14 9:57 AM
The Killing” returns on Friday for one last somber season, a six-episode coda on Netflix. The snakebit show was canceled twice by its original channel, AMC, the second time after a cliffhanger third-season finale in which the Seattle police detective Sarah Linden killed her lover — a fellow cop — when she figured out that he was a pedophilic serial killer. Thanks to Netflix, we get to find out what happens to Linden and her partner, Stephen Holder, in the aftermath.
Based on the Danish drama “Forbrydelsen,” “The Killing” will always be best known for something that had nothing to do with whether it was a good show. When AMC failed to make it clear that the initial murdered-girl story arc would not be wrapped up in one season, the series became the prime example of the new power of audience outrage. Critics who had praised the show through its first season suddenly started finding reasons to dislike it, and the producers of subsequent serialized crime series took pains to announce that their mysteries would be solved by the season finale.
The reputation of “The Killing” never recovered from the brouhaha. But the show nonetheless continued, in its second and third seasons, to be one of the better cable dramas around. Its complicated but smart plotting was mislabeled as confusing (which is what happens when you’re not really watching), and its stark, singular tone and style were dismissed as grim.
Above all, “The Killing” was steadily one of the best-acted shows on television. Ms. Enos and, particularly, Joel Kinnaman as Holder have been superb, and they’ve been matched by Michelle Forbes and Brent Sexton as the grieving parents in the first two seasons and by Bex Taylor-Klaus as the street kid Bullet in Season 3.
That quality carries over into the final season: Ms. Enos and Mr. Kinnaman are reliably good; Gregg Henry reprises his restrained, credible portrayal of the veteran Detective Reddick; and Joan Allen joins the cast as the tightly wound but compassionate commander of a military boarding school, a uniformed analog to the slightly inhuman Linden.
In other ways, the Netflix season, through four episodes, is a letdown. The style is intact, but the story, in which Linden and Holder’s efforts to cover up her execution of the bad cop run in parallel to a case involving a family slaughtered, execution-style, at home, feels routine and thin. It’s as if the writers, worried about shoehorning in both a new mystery and a sense of closure, overcompensated.
Instead of a dark, intriguing puzzle, we get familiar elements — the creepy guy with the wall of photos, the endangered witness unable to reach Linden — popping up in predictable fashion. A deliberate quotation, a moment in the fourth episode that mirrors a famous scene in the show’s pilot, doesn’t have the impact such coups de théâtre did in the past.
And the charge of unredeemed bleakness is now partly true. Having pushed Linden and Holder to the edge in Season 3, the writers, now forced into a quick denouement, take them to even greater extremes of despair, sometimes in ways that don’t make sense for their characters.
Which is all reason to be glad that “The Killing” is now a Netflix show. The entire season will be available on Friday morning, and, in one sitting, you can cruise through the so-so story and find out before lunch what the future holds for Linden and Holder. Happily ever after wouldn’t seem to be on the table, but with everything they and their show have been through, we can at least root for survival.
A version of this article appears in print on August 1, 2014, on page C10 of the New York edition with the headline: A Twice-Killed Series Finally Ends It All. Order Reprints|Today's Paper|Subscribe
Aug 1 14 10:22 AM
Aug 5 14 8:31 PM
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Aug 7 14 2:43 PM
By Michael Ausiello
August 7 2014
By now, you have probably Netflix-binged The Killing‘s final season — and you no doubt have questions of the burning and nagging variety. (If you’re still making your way through the six-episode swan song, bookmark this story and return when you are finished.)
Well, we had questions too — loads of them. About that final scene. About the rumored Holder-Linden kiss. About the surprise cameo. About a possible fifth season. And, after talking to The Killing‘s puppet master Veena Sud, we now have answers.
TVLINE | Was it always your intention for Linden and Holder to pair up romantically in the end? There were many different possibilities for how the story of Linden and Holder would end. That was one of them that we started to discuss at the beginning of this season, and that felt right. From the very beginning, I knew that her journey would have to end in a place of uneasy peace, where there were no good guys, there were no bad guys. There was a truce that she had to make with the world as it is versus the way she wanted the world to be. I always knew that finding that peace would be an inner journey at the very end for her. Holder says, “It’s not ghosts in front of you, it’s not the dead.” And that revelation of who is standing in front of her and who’s in her life was something that I instinctually knew [I wanted to get to] from the very beginning. I didn’t know it necessarily would be Holder. But seeing what’s in front of her and being present of that — the beauty of the world — was the place I wanted Sarah to get to at the end of her story. That’s one reason that visual of her standing in front of that beautiful cityscape in the main titles has been a recurring image over and over. It transforms over the course of the series. It’s a city of the dead that she’s looking at. And, in the end, it’s a city — ultimately — of the living. And that’s where she belongs.
TVLINE | Finding this peace allowed her to be open to a romantic relationship with Holder? Finding the truth of what is in her life, and not running away… Linden is a runner. She runs away from everything in search of a better life. And she says that to Holder. “Home is here. And you are home. You are my best friend.”
TVLINE | Was the five-year time jump always in your plans as well? I always knew that we would end the present-day story at the end of the season and come back five years later with Linden and Holder. The story would never end simply around the case, with Linden running away again. That would just feel like more of the same. There would always be a final reckoning between Holder and Linden. That final moment where she comes back, we viewed as the final movement of an opera. If there was anyplace where we could’ve possibly ended the story it would’ve been with her leaving Holder and permanently leaving Seattle forever. That would have been a very different end for the character. And she never would’ve found peace that way.
TVLINE | Were you on set when those two final scenes with Mireille Enos and Joel Kinnaman were shot? Yes. The final shot [pictured, right] was the very last thing we shot. We organized it so that would be how everything would end. And it was tear-filled for Mireille, for myself, for Joel, for the crew… It was very bittersweet for all of us. We became a family and we loved these characters.
TVLINE | Was there much discussion or debate between the two actors about how it would go down?There was no debate. At the beginning of the season, I sat down with Mireille and told her how her story would end, and she said not one word. Tears were just flowing from her eyes. And she looked at me and said, “It’s perfect. This is the end that she deserves.” I told Joel separately as well, and he got teary. And he said, “Let’s not talk any more about it. Let’s save it for the moment.” So, on the day, both of the actors felt like [they were conveying] the truth of these characters. And they did it so beautifully. Everyone was nervous about that last scene, of course. We were all really quiet during rehearsal and during lighting. And then when we were all done, that’s when everyone cried and hugged.
TVLINE | There’s a rumor that a kiss was filmed and not used. True? It was not filmed. I knew I never wanted to film a kiss. That would have felt a little too pat. But, at one point, Jonathan Demme — who directed the finale — did a lovely crane shot that I decided not to use in the end. But it was a crane shot that tracked Holder approaching Linden, and then — discreetly before they came together — [the camera panned] away. So the crane shot dollies away and looks over this beautiful river and we’re looking at the skyline, but Joel and Mireille continued their action, which was him walking towards her, looking at each other and then… they didn’t really know what to do next. [Laughs] So they kissed! The funniest thing is, everyone was clustered around the monitors looking at the shot and the script supervisor and my producer, Kristen Campo, were the only people looking on the ground at Mireille and Joel, and Campos kept nudging me, “Look! Look!” And I was like, “I am! I’m looking at the shot!” So I never saw the kiss, but they did.
TVLINE | So Linden and Holder finally kissed and it wasn’t caught on tape? No, it wasn’t. [Laughs]
TVLINE | That’s pretty funny. OK, moving on to other hot topics. Billy Campbell’s return as Richmond was a nice surprise. How did that come about? It felt very natural that the final person who would pull the rug out from under Linden would be a man who had become her nemesis. They started out in a similar kind of world of attempting good and wanting good. But he went to the dark side. And rather than having an anonymous sergeant or lieutenant giving her the news ahead of the police commissioner, it [made sense that it] would be the mayor. And he would relish giving her the news. So we called Billy and said we’d love for you to come back, and he said, “Just tell me when.”
TVLINE | Why would someone as smart as Linden return to the scene of the crime to dispose of crucial evidence? I’m referring to her getting rid of the cell phone at the lake house. We do stupid things when we commit crimes. The fallacy is that any of us are Sherlock Holmes or Agatha Christie. When we’re emotional, as clearly she was during and after this very unexpected event, people do really dumb things. And going back to the lake, for her, was, “Let me close this up emotionally. Let me say goodbye.” She loved this man. She loved him deeply — for a long time. And she killed him. And she hated him. And she was repulsed by him. So in the miasma of all of these emotions, she made a bad move.
TVLINE | Similarly, Holder — who had a lot to lose if the truth about Skinner’s murder got out, as he made very clear to Linden — pretty much confessed to the crime at his AA meeting. That also seemed a little sloppy. The reality, and a lot of cops will tell you this, is that people want to talk. We’re not sociopaths by nature. For the most part, we’re human beings who do bad things, feel bad about them, want to confess, want to explain ourselves, want to have a reason for why we did what we did. I think that they reacted in a way that bad guys do all the time. So, yes, both of them should have known better.
TVLINE | The scene where Linden was closely tailing Skinner’s daughter in her car as the girl rode her bicycle – what would have happened had that other car not swerved in front of her? My feeling is, Linden — at the last possible moment — would’ve stopped herself anyway [from running her over]. Throughout this season, we see both Linden and Holder going to the edge and coming back. And letting these darker emotions rule them in a way that, in this very unique circumstance in life, they’ve never had to confront. So I believe in her heart she would never kill a child; that’s not who she is. But the agony of watching this child — this hanging chad — that keeps coming back over and over to make things worse and worse for her, certainly tempted her.
TVLINE | Did Holder and Caroline end up getting married? They did. And then they quickly divorced. [Laughs] They were different animals. He and Linden are the same.
TVLINE | Did Kyle end up going to jail for the murders or did Col. Rayne take the fall for him? No, Kyle did.
TVLINE | You previously told me that Season 4 was definitely the end of the road for the show, but Holder and Linden are still alive. And, as one of my readers suggested, a big murder — like, say, Holder’s daughter — would be just the thing to pull both of them back into their old jobs…[Laughs] We brought her to the end of her journey. She found the thing that she was looking for all along. It’s the end of the story.
Aug 14 14 10:19 PM
Aug 16 14 8:39 AM
Aug 16 14 10:13 AM
Aug 22 14 7:23 AM
Aug 28 14 9:49 AM
I am amazed at how The Killing on Netflix continues to be doing great. The tweets are constant, and not just for Season 4. Lots of new people are now starting to watch it from the beginning. There are regularly tweets as people find out who killed Rosie Larson.
My justjoelkinnaman tumblr blog started out only as a storeroom for what I didn't have time or interest to post here, but it's been adding several new followers daily for weeks (which is a little worrisome, given how lazy I am in doing it).
My theories--first, this type of reflective and absorbing deep series is meant for Netflix, or at on least channels that do not break into it with 15 commercials in an hour. This is much more of a thick novel than a TV series. It and AMC were never a good match. Second, its many flaws are still obvious, but they are more forgivable when you can keep going past them, instead of having to stop and reflect on them in commercial breaks and for a week at a time. Third, when Joel and Mireille are taken from beginning to end over the four seasons, they are a great couple actors, well worth watching despite the flaws in the series. All the acting in this series is great, period.
I don't agree with this guy to break Season 4 into hour segments. I think it is better served as a binge. I do think it is something to be savored, however. Given the depth of ongoing interest in these six episodes, we need to watch it again as a group, this time an hour at a time.
The fourth and final season of “The Killing” may turn out to be the best original production yet from industry agitator Netflix.
If nothing else, it is turning out to be the most satisfying transition of a series from “traditional” television to a new digital platform. “Arrested Development” (also on Netflix), “All My Children” and “One Life to Live” all suffered creatively in their moves from Fox and ABC, respectively, to streaming services.
Not “The Killing.” From what I’ve seen it is better than ever in its new home. I’ll withhold a definitive declaration, as I have watched only the first three of the six episodes Netflix ordered. It is simply too good to rush through and treat as a six-hour movie. I have chosen to live with it for a few weeks and enjoy it during that time. The anticipation of waiting to see what happens next is half the fun.
Furthermore, I found that my enjoyment of the second seasons of Netflix’s mighty “House of Cards” and “Orange is the New Black,” two of the most binged series on any platform, was significantly compromised by rushing through them. “Cards” suffered in particular; by the end it seemed to me that all the show had been about was two wealthy and powerful people destroying the lives of everyone around them -- the words “Hulk smash” kept going through my mind. Had I put more space between episodes that might not have been the case. “Orange” also took on a repetitive quality that I won’t get into here out of respect for those who have yet to watch it. My advice is, slow down.
Like many people, my relationship with “The Killing” has been mixed at best. I thought the first half of its first season on AMC was as profound as just about anything I had watched on television in many a decade. Then it seemed to lose focus, it didn’t solve its central mystery by season’s end, and it dragged out that same story for an entire second season in a punishingly slow and uninteresting manner. At that point the show was cancelled, but a short while later it was surprisingly un-cancelled, and its third season on AMC proved to be its best. But it ended in a way that left certain significant story elements unresolved. Then its first three seasons proved to have significant Future Viewing Potential on Netflix, and the service smartly ordered up six more episodes to provide a more satisfying conclusion for its binge-prone viewers.
Again, these six shouldn’t be rushed through. Something about them strikes me as superior to the episodes I remember on AMC. The production values seem a bit more polished. The performances by leads Mireille Enos and Joel Kinnaman were always first-rate, but they are both truly at the top of their game here -- perhaps because they are allowed on Netflix to play huge dramatic moments with a little more realism. For example, when things are going wrong for their characters, as they always do for Detectives Linden (Enos) and Holder (Kinnaman), they are allowed to drop an F-bomb or two, just as one would do in real-life situations where the pressure was unbelievably frustrating or overwhelming.
Also, there are entire sequences in which there is sunshine in Seattle -- and there has been very little rain so far. During the first three seasons it seemed as though Seattle was always gray and rainy and foreboding and awful. But now the region sometimes actually looks quite beautiful and inviting. Linden’s life remains a deep, dark mess -- especially after her actions at the end of Season Three, the ramifications of which continue to play out in Season Four as a sensational subplot. But Holder has actually found some happiness and is trying to balance things out. These occasional moments of relief are something new for this franchise and very welcome.
The storyline, about the brutal slaying of most members of a wealthy Seattle family and the strange behavior of its sole surviving member -- a teenage boy enrolled at a strict military academy -- is as absorbing and intense as any other in the history of this show. If I have any complaints with it so far, it’s that the cadets at the academy seem uniformly psychotic in their general nastiness. But the young actors portraying them are doing great work, as is Joan Allen as their commanding officer, a character as mysterious as every other one in this story.
I can already imagine Allen, Enos and Kinnaman being nominated for Emmys next year in the miniseries categories, where Season Four of this long-established drama series and its performers will almost certainly be submitted unless the Academy of Television Arts & Sciences gets a handle on its own rules.
Regardless, these fresh episodes of “The Killing” are so well done and so rewarding (at least so far) that they could indeed be game-changing. Here’s genuine proof that when broadcast and basic cable networks end shows before their time or in ways that aren’t particularly satisfying to viewers they can indeed continue somewhere else and be better than ever. They can also be brought to a close in the right way, ensuring that generations to come won’t have reason to regret devoting huge amounts of time to watching them in their entirety.
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