S1E6: For the first time in the show’s young life, the multiple plot lines in last night’s The Killing felt connected. Each story developed with similar tones at the same time, each queuing up events for the others, and followed them to their results. It was nice, because, well, the show hasn’t really done that yet. Don’t get me wrong, The Killing has been terrific, interesting, and at times extremely gripping; but the only connecting device between each seemed to be Rosie’s death, which after awhile gets a little bit old (see last week’s episode, which wallowed in repetitiveness). So, seeing “What You Have Left” breathe some new life into the season by giving us a few tangible connections between each (like Bennet’s involvement with Richmond’s neighborhood “All-Stars” initiative) felt, simply, refreshing.
“You almost lost him, Sarah.” -Regi
Linden still hasn’t left Seattle and, let’s be honest here, probably never will. I find it slightly humorous that each episode sets up some type of departure for her — like this week’s red-eye flight — only for her to obviously not depart (also, her argument against her son’s request to leave just a day later was comical). It’s redundant, yes. It’s inevitable, sure. But at the same time, I would argue it’s a necessary reminder of the urgency of the case and just how invested in it Linden is. She’s putting off her new life to solve this crime; but at the same time, it raises other questions like: what’s she afraid of in her new life? What can’t she face? Will she even get married? Will she stay in Seattle? Regardless, having a conflicted lead character is compelling because Linden doesn’t stand out like an innocent, white knight of justice. She has her own troubles, and it’s quickly becoming apparent how her job is potentially controlling her life. We don’t really get a context to what Regi meant by, “You almost lost him,” but we can imagine that it has something to do with her inability to separate the job from her life. In a way, she reminds me of McNulty from The Wire — unable to escape from the job, just without the booze.
“Dead men don’t press charges.” -Holder’s Friend
Now, the final connection made this week: Rosie’s father Stan used to be muscle for the mob. He’s had his own investigation happening, and at the funeral, his source tells him that Bennet is the murderer. So, he presses into Bennet, making him very uncomfortable, and offers him a ride home. Before Bennet was suspicious about Stan’s intentions, he seemed very uncomfortable, which is even more proof that Bennet’s relationship with Rosie was inappropriate. Now, though, we just need to figure out what exactly their relationship was. So his uneasiness around Stan makes sense, and why he kind of just does whatever he asks (and also why he forgets his cell phone). By that point, Holder’s tipped to Stan’s connection to the mob, mentions it to Linden, and the two chase him down — but they’re just a minute too late. Stan’s gone, with Bennet in the truck, and suddenly, The Killing has changed from a slow, atmosphere-focused drama to a race against time — and I can’t wait to see what happens next.