The show that refused to die: the rise and fall of AMC'sThe Killing

The Killing: The Gender Politics of the Nordic Noir Crime Drama and Its American Remake

“…Forbrydelsen was exported to other countries, such as the United Kingdom where it was screened with subtitles, to great acclaim. But it was remade in the United States, in part because American audiences are resistant to subtitles (Kaufman 2014 cited in Berger 2016, 158), but also because AMC wanted to brand it as an AMC original drama (Akass 2015, 744). Reflecting the commercial production culture of AMC, the remake, translated as The Killing , jettisoned the left-wing critique that the welfare state is being systematically eroded by the demands of global capital, while retaining other structural tropes of Nordic noir, such as the reversal of feminine and masculine stereotypes and the stark, moody setting.…”

“…The trope of the “bad mother” plays prominently in The Killing , as Kim Akass (2015) has argued. As in the Danish series, Sarah Linden is an erratic single mother who puts her demanding casework above taking care of her teenage son, Jack.…”

“…. .” (Akass 2015, 747). But in The Killing , Sarah Linden is subject to continuous harsh criticism by other characters, including her partner, Stephen Holder who, although not a parent himself, repeatedly advises her on how to be a better mother (see also Kohnen 2013).…”

Revolución Netflix: desafíos para la industria audiovisual

“…De esta forma, surgen artículos e investigaciones como Goldson (2015), Giuffre (2014), Albiniak, Hayes y Robbins (2016); Almeida, Gouveia y Costa (2015) o Akass (2015), en donde se destaca que ha sido la apuesta por los contenidos propios el factor diferencial de la plataforma internacional para diferenciarse y aventajar a sus competidores. De hecho, la historia por la apuesta hacia los contenidos propios de Netflix se inicia con una producción que va a cambiar completamente el rumbo y evolución de la plataforma streaming.…”

Female “Lone Wolves”: The Anti‐Social Heroine in Recent Television Series

“…The moment he decides he wants to assume the role of Jack's father, the authorities are quick to grant him custody despite his long history of being completely absent. Noteworthy in this context is also that, according to Kim Akass, the issue of motherhood is depicted completely differently in Forbrydelsen , the original Danish version: “[Sarah's] haphazard parenting style, continually putting the demands of the case before the needs of her teenage son, is never questioned.”…”