![]() To be fair, I guess the team wanted to go beyond a private detective procedural, with the private lives of the protagonists as well as all the suspects. Tom Burke does a great job of suggesting the sadness/longing: he doesn't need to say much with that face and eyes doing the acting. Corm's arcs seem to focus on the women who love him and who he doesn't, while his UST for Robin continues to build. After every peril, we move on with more UST. This 4 hours is a really "the perils of Robin" with her having the majority of the action and focus (although this is not "Killing Eve" or "Nikita" and the series is titled CB Strike). Still I guess that moneyed folks make more interesting drama than non-moneyed classes. In the usual manner of BBC series, it's anti-establishment, and intricate: not as good as the first three series. The intricate plot has skeletons in the closet of an upper-class family, with various activities which would not be good PR. UST has powered some great movies and TV, but series 4 lays it on thick. In ep 4 Corm gives Robin a hug and accidental brush kiss, with wonderful acting. Series 4 is all about unresolved sexual tension (UST), impressively maintained through 4 hours. Just finished watching (rewatched episode 4 as I'd missed some labyrinthine elements of ep 3). The whole thing feels as though the air’s been let out.Great acting, striking melodrama, with lots of UST Then there’s the son of the police officer who lost his mind and was replaced on the case by the police officer father of the police officer that Cormoran and Robin are in with on the Met. Then there’s Margot’s pal Oonagh, who – standard – has a topless painting of her missing friend hanging at home. She was a baby at the time of her mother’s disappearance and puts her father frustratingly off-limits to the investigation. It’s all very ‘get your next clue from the merchant at the bazaar’ videogame stuff.įirst, we meet Margot’s daughter, who brings Cormoran the case after recognising him on the street. The unsolved disappearance of Dr Margot Bamborough in 1974 is relayed through a hash of flashbacks and exposition-heavy monologues from characters who are adjacent rather than central to the case. It isn’t just slow drama, it’s barely drama at all. Other characters are astounded at Robin’s Googling prowess. We see them scrolling though news clippings (and for some reason, explaining what a subscription to an online news archive is) and take delivery of a slide projector. ![]() We watch Robin watch a lengthy YouTube video, over two scenes. It’s Cormoran’s first cold case, which removes the ticking clock urgency and turns this episode into an hour of essentially seeing characters do homework. ![]() That was one of many flashbacks in this opener, which relied on them almost entirely to dramatise Troubled Blood‘s cold case.įamily history and messy divorces are all very well, but without being powered by the leads’ longing looks and obvious need for each other, Strike has to fall back on the investigation, and this one is immediately less satisfying than most. We’ve yet to meet the genetic pool that produced Cormoran, and with the arrival of Joan and Ted, this series promises to deliver on the character’s personal history – as seen in the ferry flashback to his and Lucy’s mother leaving them behind. Dickhead is right, Robin, if only you’d come to that conclusion sooner.Ĭormoran’s family troubles continue with the reappearance of half-brother Al, part of “ the Rokesby diaspora“, who’s pushing for a reunion between Strike and his estranged dad. A brief phone call en-route brings us up to speed on Matt-the-twat (we could be polite and call him a wally but what a waste of a rhyme), who demonstrates as much likability as he’s ever had by crowing about his salary and quibbling over the divorce settlement.
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