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Now,foakleys, did the wrap-up to the Larsen case redeem the series overall? No,foakleys, it did not. The Killing wanted to be a show that broke the mold of TV cop procedurals—the red herrings and gotcha moments—but if anything, it was more enslaved to them than most police shows. It wanted to be a real-time look at longform police work,foakleys, like a season of The Wire,fake oakleys, but in the end,foakleys, it didn’t trust us to stay interested in that without having Linden and Holder end up chasing down dozens of false suspects—in the end turning out far more unbelievable and alienating than any single hour of CSI could ever be. What was good in it—the Larsens’ heartbreak,foakleys, Mireille Enos’ and Joel Kinnaman’s performances—was swamped by its constant attention to what it was bad at: the procedural stuff, and an insanely overwrought political intrigue.

(Note: I never saw the Danish original, Forbrydelsen.,foakleys, on which The Killing was based, and it’s possible that some of these problems came out of the attempt to remake it. But in the end,foakleys, that’s no excuse—sticking to a source story when it’s not working out is no excuse in the eyes of the law of storytelling.)