2013
DOI: 10.1386/jptv.1.2.267_1
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‘This was just a melodramatic crapfest’: American TV Critics’ reception of The Killing

Abstract: In this brief overview of The Killing’s American reception, I consider the series’ rise and fall in critics’ eyes and relate these changing perceptions to expectations rooted in AMC’s brand, AMC’s promotional campaign, and the discourse of basic cable drama. I argue that rather than searching for an explanation of The Killing’s ‘failure’, it is more productive to consider this perceived failure as indication of a gap between critics’ expectations and The Killing’s challenge to the narrative structure of the ma… Show more

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“…Coupled with the soundtrack -a curious mixture of music from the Danish series with a Twin Peaks-esque feel -comparisons were inevitable. But without 'David Lynch's metaphysical whimsy' (Bianculli 2011) the sentimentalisation of a family overcome by grief for their murdered daughter soon descended into an over-blown melodramatic narrative rather than a complex study of a family torn apart by grief (see Kohnen 2013, 267-272, Staiger 2012.…”
Section: Adapting Forbrydelsen To the Killingmentioning
confidence: 99%
“…Coupled with the soundtrack -a curious mixture of music from the Danish series with a Twin Peaks-esque feel -comparisons were inevitable. But without 'David Lynch's metaphysical whimsy' (Bianculli 2011) the sentimentalisation of a family overcome by grief for their murdered daughter soon descended into an over-blown melodramatic narrative rather than a complex study of a family torn apart by grief (see Kohnen 2013, 267-272, Staiger 2012.…”
Section: Adapting Forbrydelsen To the Killingmentioning
confidence: 99%
“….” (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).…”
Section: The Killingmentioning
confidence: 99%