Danish television has benefited from the revolution in film-making that was popularised by the Dogma manifesto. But the series does not come out of a vacuum. The series also explores the corrupting nature of power and unflinchingly examines the hidden fallout from murder – the pain and bereavement – in a way that is unprecedented in television. As each line of inquiry has doubled back on itself, the audience has been drawn into an intricate web of political and social intrigue. Lund is a tenacious and enigmatic homicide detective investigating the sadistic rape and murder of a schoolgirl. According to Gråbøl, the Danes were initially nonplussed by the crepuscular light, as many viewers struggled with their TV brightness settings. The action takes place in November in a Copenhagen that seems full of abandoned locations and is relentlessly dark. The Killing, which screens in two-episode blocks on Saturday night (episodes 15 and 16 of 20 played last night), has been able to access another kind of viewer, those who catch up by watching online on the BBC's iPlayer. Previous long-running series, such as The Sopranos and The Wire, which laid claim to a cognoscenti audience, benefited from a DVD box-set boost after broadcast.
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