This blog is now 7 years old. Technically the anniversary was in November but I always forget to mark it.
So, what are the plans for the next year? More of the same really. I’ve recently been trying to post poems around the time their subject, theme or date of creation are relevant but I don’t know if anyone has really noticed it.
I mention each year that I will upload reviews and such but the laptop they were stored on broke. Anyone familiar with my past reviews knows I tend to go a bit overboard with them so I might try to do some concise ones this year rather than include the exhaustive synopses featured in past ones.
So… not so much an update as a confirmation things will continue ticking over. I just fell out of the habit of saying much between poetry uploads over the years as I don’t know if anyone is that interesting in my ramblings so took this opportunity before posting a poem tomorrow.
Thanks to everyone who has supported this site over the years!
As part of this New Year’s post I was going to do a list of poets, authors and media I suggest from Welsh and Russian origins for those looking for starting points or recommendation but realised I need to give it a bit more time and consideration rather than rush out a list of names, brief comments and hyperlinks. So, that will be coming some time this year hopefully.
Instead let me highly recommend Anton Lapenko‘s Внутри Лапенко (Inside Lapenko) series! The first two seasons are available on YouTube with English subtitles. There is also the (unsubtitled) third season, a number of short video sketches and his seasonal special set in December 1886, which was released recently (at the time of posting).
Внутри Лапенко (Inside Lapenko)
Anton Lapenko, alongside his brothers who stand in when there are multiple people on camera, plays a range of characters in a late era Soviet town. Although a number of loosely connected comedy sketches there are overarching storylines in each season. In the first season an unnamed engineer runs afoul of a local gang leader and events spiral from there. I defy you not to be fully invested in the plight of the Engineer character by the end of the first season! In the second season the gang leader’s ex-wife takes over the town/country with a totalitarian regime and everyone joins together to depose her.
The series is filmed to emulate the aesthetics of the late Soviet era and 1990s reflecting the filming style, dramatic beats, technology, culture, fashion and movies of the time with many references to the era (although there are ones more easily recognisable to those familiar with American films also in the second season). It acts as both a satire and love letter to the late Soviet era (mixing elements of the 1980s, 1990s and anachronistic later modern things like Alice – the Yandex equivalent of Amazon’s Alexa or adverts for their sponsors which adds to the surreal nature of scenes) with a soundtrack of popular songs from the time which will quickly become earworms you can’t forget.
Season one consists of 5 episodes of about 22 minutes average length.
Season 2 has 8 episodes which each run a little longer about 25 minutes long each on average.
The Engineer, as the central character functions as the classic ‘little man’ of Russian culture (Ма́ленький челове́к). A small man, of low social status and origin, not gifted with outstanding abilities nor distinguished by strength of character, who satisfies himself with the small victories and moments of contentment in life. He waxes lyrical while constantly making plans about how he will spend his life with his Особа (lit. ‘person/individual’ but I personally read it as ‘my girl’ or ‘beloved’ considering the tones in which he speaks about her – if you are more familiar with the use of the term please leave a comment). Importantly we never see her face and there is a fake out at the end of season 2 where we think we have seen her face finally but it proves to be a case of mistaken identity. In fact this is a cameo by the actress, Irina Gorbacheva, who helped promote Lapenko‘s work by sharing his Instagram short videos (some of which are not on the YouTube channel).
Igor Katamaranov: A childhood friend of Engineer’s who now works as a labourer in multiple jobs. He is perpetually drunk on turpentine yet, when Engineer is in danger, is always there when needed while also having his own surreal side adventures in the background of events (including at one point living inside the Alice device somehow). My favourite moment, without spoiling when it happens, has him with a boom box playing «Туман» by Сектор Газа during one of the times Engineer needs his help.
The Journalist (Yuri): Host of ‘The Riddle of the Hole’ trying to uncover conspiracies at every corner. In the first season he has a romantic relationship with Yandex’s Alice device he ‘rescues’ from a cupboard in the Iron Sleeves hideout and in the second with Tatiana causing a love triangle to develop with his boss Richard Sapogov. The song «Время, вперёд!» by Георгий Свиридов serves as his leitmotif and theme of the programme he records.
The Iron Sleeves gang: The leader, who eventually ends up wheelchair bound, and his henchmen who have the individual habits of being on the phone to their mother, carrying a keyboard around and being a saxophone player. The leader often appears by surprise and greets the Engineer casually saying здарова отец (‘hello father’ but more tonally ‘hey, old guy’ or ‘hiya, governor’ indicating the mat tone of informal non-standard speech gangsters would affect).
Zhilin: The local police captain who seems to be a one man taskforce. He laughs at his own jokes and often imprisons people but doesn’t actually bother to lock the door despite often being unwavering in his dedication in detecting wrongdoing. At one point a pigeon is involved in shooting him.
Crimson Fantomas: The rock band consisting of blonde haired Rosa Robot and the red haired Shershen (lit: Hornet) who live next to the Engineer constantly drinking and annoying him with their noise making. They have good hearts and big dreams but Rosa is clearly an air head and Hornet is too quiet to challenge his wild ideas.
The survival expert: He appears a few times to offer the audience of his show advice how to survive dangerous circumstances like a poisonous snake bite or being shot which often leaves him in a critical condition needing medical aid. He disappears eventually from the show, presumably having died off-screen, only to make a surprise reappearance!
Richard Sapogov: The arrogant, hedonistic and self serving, vain manager of the TV station the Journalist works at. He lives only for enjoying beauty and the better things in life. He and Tatiana appear in adverts in the first season but are much more prominent in the second season onwards due to the love triangle.
Tatiana: Sapogov’s assistant and girlfriend who is initially incapable of coherent speech until, during an all out battle, an arrow lodges in her head. She begins a relationship with Yuri the Journalist when he shows her far greater affection than Sapagov who neglects her. Both she and Sapogov make brief appearances in season 1. Also, she has a collection of wooden sticks she is very fond of.
Natella: The ex-wife of the Iron Sleeves’ leader. She is an active prostitute who appears briefly in season 1 but, in season 2, eventually leads her group the Iron Heels (whose members mirror those of the Iron Sleeves) to take over the town by becoming the totalitarian president of the country!
Vsevolod Starozubov: A popular singer who is an affectionate parody of talent of the era like Eduard Khil (who you might know from the meme Mr. Tro-lo-lo). He often affects odd ‘off to the side’ looks as if constantly posing to capture the right camera he should be looking towards or for ‘cheeky’ looking photos although it humorously comes across more like one of those moving black cat clocks that were once fashionable that would look back and forth with each tick of the clock. (He is also possibly lip syncing which I recall being common in the past with British shows e.g. BBC’s Top of the Pops where people were supposedly performing ‘live’ so can easily imagine it happening in other countries).
Guidon Vishnevsky : An esoteric local artist who unexpectedly provides a surreal method of escape, in desperate times, while struggling with his own issues.
The mesmerist: Another minor character. He assists Natella using his powers to manipulate people.
There are other characters but hopefully that gives you a head start on enjoying the series.
If you are wondering, the time code at the start of each video being 01.09.1986 is an Easter egg referring to Anton Lapenko’s birth date. As for the time stamps which proceed chronologically I have no answer and invite you to speculate.
Once more we travel into the London world of murder mystery as written by J K Rowling under the pen name Robert Galbraith. We all know it’s her but we play along. Let’s see if the character’s can overcome their personal issues to help justice prevail once more.
This is meant to be an irreverent synopsis and commentary of the BBC’s adaption of Career of Evil. Honestly I meant to do this back when it first aired on the BBC but lost my original notes and then never got back around to it as I didn’t enjoy the experience at the time to be honest. Let’s see if time has made me feel more inclined to enjoy it.
I’ve typed this without going back to my previous entries regarding the other stories (links to which are at the bottom of this post) so I only half recall some of the more blatant points such as Strike’s circumstances and Robin being an ‘author’s self insert wish fulfilment’ figure in the narrative who can do anything.
Career of Evil: Short synopsis
First let’s have a shorter synopsis for those who just want the highlights of the storyline to refresh their memories:
Strike gets a call from a potential client so goes to a building of flats. A teenage girl also goes there too. She turns up dead later – dismembered to be more accurate. He, early on, gets framed for her murder but it soon gets dismissed as all the evidence is circumstantial; mainly focusing on a newspaper published photo of him meeting the dead girl which he proves could easily just be a set up. He argues that she could have coincidentally been asking if a seat was spare, when the photo was taken, rather than them actually knowing each other. The photo, frozen in a single fleeting moment, shows them interacting and assumptions were made. However it turns out she was a fan of his due to the news coverage he got from the previous high profile cases but he only learns of this long after the fact.
Robin is getting ready to be married at the start of the story. A severed leg turns up in the mail addressed to her. Her fiancé Matthew insists she can’t be a detective any more. Robin wants to be both married and a detective. Strike is okay with her being both but Matthew hates the idea and him especially (though it isn’t clarified why except he is a jealous, controlling, lover we must assume). So same old, same old… eventually she gets attacked when walking alone at night but proves herself more than capable and foils a paedophile later too.
Shanker throughout the story seems to play sidekick to both Strike and Robin at different points. It’s like he has nothing better to do with his time despite being involved in criminal activities like torturing a bloke in a back room of a bar when Strike goes to him for information at one point. He verges on being both the dogged deus ex machina saviour of the pair, when one or the other can’t be present for narrative reasons, and also the comic relief as if he is some sort of dogged, underclass, latter-day Sancho Panza serving naïve middle class people .
The prime suspects of the case are:
Malley: Some bloke who used to cut off legs and send them places – we never hear of him after the initial mention.
Whittingham: Dodgy musician obsessed with death and dark things who is/was Strike’s step father. He was involved in the death of Strike’s mother but got off scot free. Strike keeps trying to find a way to pin this case on him but he didn’t do it. Even if he is a dodgy, wilfully antagonistic, bastard who abuses his current girl friend, as he has others previously, he isn’t the murderer in this case.
Brockbank: Ex-army. Paedophile. Abused his own daughter years ago back when Strike was in the SIB. Strike punched him which causes him to get epileptic fits due to a pre-existing concussion from playing rugby the weekend before. Thus everyone Robin or Strike meet involved with him thinks Strike single-handedly caused the ailment. Nowadays he moves about doing bouncer work for various strip clubs. It turns out this is our B-plot where Robin and Shanker stop him abusing his new girlfriend’s daughter. He gets caught by the police off screen towards the end.
Laing: Also ex-army. Con man with a violent past. Back in the day he abused his wife and child so Strike got him imprisoned for over a decade. He has been free for a few years before the current events so counts as one of the people Strike feels has a grudge against him. Laing turns out to be the guy who sent the severed leg and stuck a cut off thumb in Robin’s kettle when Matthew was home alone. He uses theatrical make up to apply a beard and contact lens to change his appearance between his own identity as a disabled, stroller using, man living in a council flat (where he stores the body parts in numerous fridges) and ‘Ray’ the ex-fireman husband of the dead girl’s older sister. He stole the ex-fireman identity from the son of an elderly neighbour whose lawn he used to mow when living with a former girlfriend.
Back and forth we go between scenes of Robin’s emotional crises on whether to marry Matthew or not. This occurs after it’s revealed he cheated on her shortly after her rape in university (by someone wearing a gorilla mask) which leads to her reliving some of her trauma from the experience and needing to go home, near Yorkshire, instead of taking an active part in the current investigation for a while though she does re-join it later on.
Early on they go to the countryside and Robin interviews Brockbank’s sister pretending to be a solicitor in order to get some current address information about him.
Strike tracks down Laing to council flats, in London’s Elephant and Castle area, but sees him using a mobility walker thus assumes he is incapable of the murder and dismisses him from the inquiry.
Instead he wastes time trying to find some way to place the blame on Whittingham due to his own personal bias against him regarding his mother’s death. Robin meets his newest girlfriend and speaks with her but that all falls through and eventually they find out his band had a gig on the night the girl was murdered so he has an alibi.
Strike also visits the murder victim’s older sister’s home where she lived. There he meets ‘Ray’ her husband. He pretends to go to the toilet and takes photos of certificates on the wall and sees a photo of Ray and his friend on an apparently cold weather holiday next to some wild seasonal plants.
Strike goes to some strip clubs to find information about Brockbank who worked as a bouncer and finds out he is in a relationship with someone who has children.
Robin keeps going out on night time walks despite Strike telling her repeatedly not too. Eventually on one of them she goes down a street she doesn’t know and instead of turning back or getting to a populated area she presses on and is assaulted. Fortunately she has her rape alarm but still gets cut across the arm.
At the hospital Matthew and Strike turn up and as usual Matthew has a bad attitude towards Robin continuing to be a detective and especially towards Strike personally for enabling her.
Against Strike’s wishes she goes after Brockbank telling Shanker Strike had asked him to help her. She meets Brockbank’s new girlfriend with her daughters and tries to warn them about him. The girlfriend defends his honour ‘knowing’ of what happened with Strike causing his epilepsy. He comes home and becomes violent. Shanker backs Robin up but Brockbank runs off before they can detain him. On the bright side the daughter finds the courage to tell her mother what was happening which she didn’t before due to Brockbank threatening to hurt her little sister if she didn’t comply with him abusing her. Eventually he is caught off screen by the police.
The turning point in the investigation is when Strike sees a potted plant his uncle left at his mother’s grave which is similar to the wild growing plants in Ray’s photo. He makes a call and realises the plant wouldn’t be in full bloom, as in the photo, during the colder seasons of the year so the photo was staged. He also looked up the award certificate Ray had on the wall and things don’t match up. On an earlier visit to one of Laing’s former residences shared with an ex-girlfriend he had mowed the lawn of an old woman and stole the document’s of her ex-fireman son and assumed his identity as ‘Ray’.
Thus Strike goes to Laing’s council flat alone posing as a repairman and breaks in. He finds a number of fridges filled with body parts. Laing appears and they fight. Shanker also arrives to help but due to the steel door he can’t kick it down to save Strike when the fight is underway. Strike takes Laing down with a hammer eventually and calls the police to deal with him.
Afterwards Robin and Matthew have headed off into the country to get married. Strike throughout the case has recalled his mother telling him how she loves Whittingham and one day he will find someone he loves just as much (hinting, or at lease teasing, he has feelings for Robin) but he doesn’t interfere in the wedding matters Robin keeps being distracted by throughout this case.
Instead he has Shanker drive him to an off the grid commune where Brockbank’s daughter, from all those years ago when he punched him while social services took her into custody, is living. He tells her what happened and apologises as he has felt guilt ever since. She forgives him.
With that instant resolution to his long term guilt Strike has one more stop before heading back to London with Shanker – Robin and Matthew’s wedding since he was invited as a guest. Shanker jokes he is going to pull a ‘Graduate’ and stop the wedding. They get there just in time for Strike to see her say ‘I do’, but not before knocking over a flower arrangement calling attention to himself, before it all ends on a happy note.
[Spoilers: Obviously, this all gets undone in the prologue to the next book ‘Lethal White‘.]
Now for the longer, in depth, version of the synopsis. Throughout this I will insert my observations, mockery and notes written while watching it by [doing this with any such commentary text so it stands out].
Career of Evil: Detailed Synopsis and Commentary
We open on a semi detached house where a teenage girl is getting ready to head out somewhere.
Robin meets some friends at a restaurant and they joke about how her boss keeps her long every night. [How dare work impacting the lives of those with aspirations – as if it’s not Robin who insisted on being more involved. Also do all middle class dramas need to include a dining scene with friends? Just I’ve listened to a few BBC Radio Four adaptions and they all have dinner party scenes even when one wasn’t in the original work – maybe it just makes for an easy exposition dump?]. Then they have some banal dinner party chat about her work and her stating ‘money isn’t everything’ – which is something only comfortably well off people can say.
[Robin, according to the book version, has now worked a whole year for Strike. it’s been very eventful then! However it also means the detective agency has been on the brink of closure once every six months, i.e. once per story line, at least and it will be again this time too unsurprisingly though each case ended with a ‘the detective agency is saved’ happy ending.]
Robin’s friends joke about how scruffy Strike is and her fiancé jokes he could do with a second leg – because ha ha he lost one to an IED when part of the military police. [Which, you know, is a bit too on the nose. A rather heavy-handed effort to make us dislike Robin’s fiancé and friends immediately. It’s meant to imply she is morally better than them but she is humouring their questionable banter so it just adds to my view Strike is a means to an end she would, if not bound by the ‘will they, won’t they’ series long narrative, abandon once able to get a detective license and likely intentionally take business away from him.]
Strike walks the streets of London then enters a building using a code we see on his phone.
We see the teenage girl from the opening enter the same building and go to the stairwell. Tense music plays. She freshens her breath as if going to meet a date. She exits the elevator and enters a sparsely decorated flat and looks out the window. Suddenly, Dario Argento giallo style, black gloved hands use cling film to asphyxiate her…
The theme song plays. [I forgot it after all this time…]
The next day Robin runs to work with two coffees and looks through the mail in the letter box. There’s a delivery by a mute motorcycle delivery person whose helmet visor is black – almost as if they want to keep their identity secret [or to not pay for, or give credit to, an extra… no it’s obviously the killer but, in fairness, we would all just take the package without asking questions probably while thinking]. She signs for the boxed package.
In the office she discusses a new case which came in where someone wants to check if their partner is cheating. Then Robyn gets a phone call to the office about the food for her wedding reception. As she does this she opens the package and dramatically draws away from it. Strike goes to check and there’s a severed leg in the box. He slowly drags her away as she cries. Apparently as career hungry as she is she wasn’t prepared for this.
He then contacts Detective Inspector Eric Wardle with four possible suspects, three of whom he knew from his time in the SIB:
Terrence “Digger” Malley, a member of the Haringey Crime Syndicate who has a history of mailing severed body parts and was sent to prison after Strike anonymously testified against him.
Noel Brockbank, a Gulf War veteran and serial paedophile whom Strike had investigated and who blames Strike for taking his family away from him [In the TV adaption he is called Niall apparently.]
Donald Laing, a former member of the King’s Own Royal Border Regiment who Strike arrested for physically abusing his wife and child, which resulted in a dishonourable discharge and a 10-year prison sentence;
Jeff Whittaker, Strike’s stepfather and the prime suspect in Leda’s death by overdose, who Strike believes to be responsible despite the fact that Whittaker was acquitted.
[Heads up: Good luck recalling which suspect’s background is which after a while if you don’t pay attention. I spent some time confusing the backgrounds of Brockbank and Laing myself. It got to the point there was the ‘guy who abused and raped his own daughter’ as a single suspect because we only know of them from passing comments made by the characters until they appear in person for one or two scenes. Obviously Whittaker is almost immediately dismissible as Strike’s personal hopes of getting justice finally. What I found odd was the mention of Malley but he seems to never be mentioned besides this initial line up of suspects.]
Strike jokes the leg is not even in his size. Wardle says he is on his way and Strike offers Robin a tea… or a beer which he describes as ‘something stronger’ [you would think spirits would be more appropriate to rat piss but whatever – beer is ‘stout, hearty, English fare’].
Robin gets up to look at the leg again and Strike tells her not to touch it. She chides she wasn’t going to. He then looks at the leg more carefully himself seeing cuts near the ankle as if he recognises them and robin remarks he has gone white.
A little later Robin is asking him about the leg with a smile on her face [apparently having power over her employer soothes all ‘dismembered body part’ woes]. Strike says he could identify it was the leg of a teen or someone in their twenties and he had seen scarring like that before. He even goes as far as saying it might be a girl called Brittany Brockbank who was the daughter of Major Niall BrockBank who had a reputation for cruelty. She had told a school friend her father was having sex with her and she feared she might get pregnant. The friend’s dad told SIB and Strike was the investigating officer. When he interviewed her she denied everything out of fear as her father had threatened to cut her legs off if anyone found out. The scars were his idea of a warning hence why these legs remind him of it.
[In hindsight we see at the end of the story that Brittany seems to be in her early to mid twenties – but then could any of us identify a leg’s age on sight if it wasn’t attached to a body? Arguably it’s because she lives off the grid so is ‘missing’ but that is never made clear to the audience so it’s one of those cases of cutting information assuming the audience will just ‘get it’ somehow as we are never told the time frames for past events]
No charges were brought. However Strike feels Brockbank still ha good reason to hate him as he injured his reputation [and the whole epilepsy matter which they omit here though it’s clearly something he does hold a grudge over throughout the story considering how many know the story from Brockbank’s whitewashed account of it]. Aside from him the only other person who would do this is a Scot called Donald Laing who used to write him letters and should be on file somewhere. Robin chips in saying she will get cracking. [It’s not as if she wants to help but just to get some juicy gossip about him it feels.]
Wardle and his partner arrive while arranging for forensics to turn up. [You would expect they would be required to be the first on the scene before the detectives if there’s the chance in case of contamination but what do I know…]
Strike goes down the stairs and opens it to Wardle saying ‘a fucking leg?’
Thus the office is being covered by the forensics people taking photos and such as Robin gives a statement about the delivery person. ‘A black Honda, big, 600cc at least’ she states.
[She, unsurprisingly for her, randomly knows a lot about motorcycles if she can identify them on sight. To be honest it isn’t something you expect unless they’re into motor sports or such. We’ve been given no hint of that about Robin – maybe an ex-boyfriend was a petrol head or some other lame excuse like the running joke that whenever Strike needs a new skill set to overcome some obstacle she coincidentally did a weekend course on the topic.]
She notes how there was nothing identifiable about the courier. He looked big but the jacket could have been padding him out. Strike comments ‘not a fat bastard like the boss’/ Robin notes the package was addressed to her and Strike suggests it could just demonstrate they’ve done their homework. Suddenly Wardle’s partner calls over to them that there was a note underneath the leg:
“A harvest of limbs, of arms and of legs, the toes that crawl…”
Strike chips in to finish it “- the knees that jerk, the necks like swans that seem to turn, as if inclined to gasp or pray. Last verse of Mistress Of The Salmon Salt by Blue Oyster Cult”
It was Strike’s mother’s favourite band. She had that specific song title tattooed. However she is interred in Whitechapel Cemetery. Her second husband Jeff Whittaker, as far as Strike is concerned, killed her but was never charged with it. In a flashback we see an ominous silhouetted hand approach a sleeping figure with syringe in hand. She was already dead and spread out across the bed like a painting. We cut to her grave which is in the shape of an electric guitar. Eccentric. Leda Strike 1952 – 1994 it reads. [Leda like the swan… swan song… it sort of makes sense I guess…]
At night Strike and Shanker [his salt-of-the-earth, bit-of-a cheeky-chappy, non-standard English speaking, criminal-friend-whose-on-the-wrong-side-of-the-law but ‘not in a bad way as he works with Strike’ associate i.e. plot convenience when a deus ex machina is required, for revealing relevant investigation information such as the location of persons of interest, when Rowling isn’t sure how to have the characters obtain it via other methods] go to the graveyard to visit Leda’s grave. Shanker asks who left the pot plant and Strike says it was probably Uncle Ted. It’s an Erica carnea – or at least it was before winter in Whitechapel as he grows them. [Heads up this is the critical clue of the entire investigation apparently]. Shanker lays some flowers down joking ‘Dunno what those are. Garage had ’em on sale’. He asks about the stump i.e. Strike’s leg and Strike says it’s not like an old relative, you don’t have to ask after it. Then they have a drink while sat on someone else’s grave. Shanker chirps ‘top girl your mum’.
At home Robin is reading up about Jeff Whittaker and Strike’s mother. Her fiancé brings her food and she thanks him but doesn’t take her eyes off the screen as she reads about Leda Strike. He pushes down the laptop and she apologises. They discuss the leg being sent to her and he chimes in ‘and for what? Slightly less than the minimum wage?’ She remarks back ‘would it be alright if I was on £100 grand? How many share options make a girl’s severed limb worth me dealing with?’ in a tone of self righteous indignation. She declares she has work to do.
Shanker asks if Strike is up for killing Whittaker yet? Strike says no – but he needs him to find him. He tells him about the severed leg and lyrics ‘he holds grudges. This feels like him. The police are looking but they won’t find him’ Shanker suggests he is probably squatting somewhere in a shitty band.’ Strike notes it was addressed to his partner (Robin). Shanker says she is a pretty girl. Strike agrees hence why he wants him to work fast.
Robin sleeps next to her fiancé. She begins to whimper in her sleep so he wakes her. He tells her it’s a sound she used to do (after the rape presumably). He says being in that state isn’t good for her as they’re getting married. She says she is fine. He remarks he is sure strike is delighted. He then insinuates she is infatuated with Strike and wouldn’t mind if he grabbed her. They have a tiff. He says she is naïve. She says Strike is her colleague and friend as ‘Sarah’ is to him… except she realises he and Sarah had a fling in the past. It comes out it was when they were having a split (or she went home to recover from the rape/trial convicting her rapist) so it wasn’t an affair, as she first speculated, but something occurred during the overall course of their relationship. She runs off sobbing and locks herself in another room.
The next morning she is sat on a park bench surrounded by pigeons. She listens to a voice mail left by her fiancé of him admitting he has messed up. She stoically deletes it as she stares into the middle distance. Then there is a message from Strike saying he is trying to get in touch with her. She deletes that too [which, let’s be honest, would cause Strike to contact the police to find her for fear something has happened to her – but this entire series is wish fulfilment and Robin is untouchable as it’s real protagonist]. There are more messages from both men which she deletes without listening to them. We see the blurred silhouette of someone observing her and then following her.
She is following a young blonde woman wearing a furry blue coat – those ones that look like they’re actually part of a novelty fancy dress shop’s gorilla costume. They are walking past the entrance to Spearmint Rhino when Robin photos the girl entering the establishment after greeting the security guard [Maybe it’s Brockbank? At this point you really would need to be paying close attention to realise that]. Her phone rings and it’s Strike. He is furious she just disappeared off the grid the day after a severed leg was sent to her in the mail. He tells her to keep her phone on and to answer it when he calls. She says she will try. Then he tells her to meet him in the office at five.
In the office he is reading up about Laing’s reputation as a champion and his discharge from the forces.
Robin is in the pub drinking alone at the bar.
Strike reads up about Whittaker.
Robin goes to the toilet […apparently we needed to be aware of that].
Strike finds a modern photo of Whittaker [… it’s Super Hans from Peepshow!]
Robin, still sat in the pub but in a cubicle now gets a call. It’s Strike telling her it’s ten past six. He asks if she is okay and she, addressing him as Cormoran, says she’s not sure if she is up to this today.
Still in the pub alone a guy approaches Robin asking if she is alone. She says she is waiting for someone. He asks if he can wait with her just as Strike walks up behind him and says ‘no you can’t’. The man walks away. [cock block or ‘Strike saved her’? It depends on your perspective but it was a meaningless moment].
Strike wants to know what’s going on. She asked how he found her. He drily jokes that he is a detective. Also that pub is always playing the Pogues which he heard in the background when he called her.
[That’s a bit… coincidental. I mean it’s not unthinkable a pub has a limited play list but I don’t they would play a single band that much to the point he would be certain of it. I like to think he actually went to a few pubs walking in dramatically as he did and found no one there before slowly exiting. Then again I think this is the same pub as featured in the other stories thus it’s ‘their local’ as it were so he probably would have gone there Pogues or no Pogues.].
She asks what he needs. He wants to know what’s going on. She denies anything is. He says not to give him that – there clearly is. She is welling up with tears. He mocks he has never seen her look so bad with a smile on his face and she laughs saying ‘morale duly boosted’ as she sips her white wine. He asks where her engagement ring is and she tells him to put two and two together since he is the detective.
[Also I will note it’s been years since I last watched any of the Strike series and it’s notable they assume you’re familiar with the secondary or tertiary characters immediately here so no names really come up to aid people who are jumping in late if there are passing references].
She says Matthew, her fiancé, cheated on her. Strike calls him a moron. She says it was a long time ago but it was with one of the most annoying women [wow… so she knows it’s in the past and doesn’t affect her engagement now but is acting like it happened only a brief time ago… she is overreacting immaturely depending on your own views – not that we should be surprised as she seems to have led a life wrapped in cotton wool and little is going to happen to change that opinion]. In fact she was one of the people at the dinner party last night.
She cries some more before saying Matthew and Sarah started up shortly after Robin left university. Strike is surprised he admitted to it but she corrects him that Matthew didn’t – she just knew [very deductive reasoning befitting a detective then… relying on hunches rather than facts but it’s that kind of story considering Strike spends far too much time trying to tie it to Whittaker since he dislikes him]. She says he looked ashamed of himself.
She relays that she dropped out of university because something happened to her [she was raped… the series kept teasing this in previous stories but that’s what happened and it all but hammers with it in all but name after the first two ‘cases’ but here we finally get an explanation for all the skill sets she had accumulated previously as if to be prepared for any circumstance that might occur hence her off road driving skills etc previously].
She was coming back from a friends halls, not even late in the night, when it happened. There had been a warning and the guy had tried to attack someone earlier. She played dead and he ran. That’s how she survived. He was wearing a rubber gorilla mask but had a patch of white skin behind the ear. [That’s such an oddly specific thing to mention. I secretly want there to be some ridiculously sensationalist old school twist in a later novel revealing they looked for and convicted a white guy but it was actually a black man with vitiligo or even albinism like the model Shaun Ross. Then we can all discuss how it’s a stereotype depicting black people as excessively violent criminals especially one with some form of skin condition to ‘other’ them further. Rowling will say she thought it would honestly be a great twist in the most ignorant way possible. However these days it wouldn’t be as shocking to people as back when this storyline originally aired now she has made clear her stance on transgender people despite all her lip service towards progressive views prior].
Her evidence got him put away for rape and attempted murder. She claims it was 20 bad minutes out of an entire life and she is still the same person. Strike assured her of that but it’s still a horrible thing to have happened to her. After it happened she couldn’t leave her room so she had to go home to her mum and dad. That is apparently when Matthew cheated on her.
[Sorry, but in all seriousness, she is still considering marrying this guy? You can sort of insinuate due to the ‘affair’ that he probably wasn’t there to be supportive of her in other ways too during that period and yet she continued dating him and is now going to marry him. That’s a lot of convenience with this character. Then again it does seem people marry because ‘it’s the right time’ in life to tick the box before it’s too late. Everything is done for convenience. A marriage of apparent convenience. An employer who conveniently allows her to become his partner in a detective agency though he has many years of being a military police investigator to have honed his skills… It’s just Robin is a character around which the narrative is formed not one formed by the narrative writing wise. If there is something needed it’s likely she has access to it. It’s a very middle class fantasy.]
They leave the pub and Strike asks where she is staying. She says everyone she knows in London is Matthew’s friend. She’ll get a youth hostel or YMCA [not to digress but are there hostels non ‘youths’ can use too? Presumably so. I just don’t know the details to be honest but Robin doesn’t strike me as someone who would even consider sleeping in one to begin with considering everything we know about her].
Strike says he’ll find her somewhere proper. She says she is skint and he quips that is probably his fault. He will pay and they can call it a wedding cancellation present. We see the same person from earlier following them [I’ll be honest we all suspect it’s the ex-army buddy following her since Strike more or less asked him to but – uh oh – maybe it’s the leg man? In fact it turned out to be no one apparently unless I missed something but at least it foreshadows the later complacency she has when the assault occurs in fairness].
She arrive at a hotel Hazlitts which has a blue plaque on it’s wall [so it’s somewhere of historical note… but those are ten a penny in London from my experiences if you’re in the centre]. Strike notices the person following them. [We never know who it is. Journalists? The murderer? It could be Matthew for all we know.]
The room is very luxurious. Bijou hotel level. 5 stars. Robin knows he can’t afford this as she does his books. He smiles telling her check out is at 11 and to keep the door locked. Also to stay away from the mini-bar.
When exiting and striking up a cigarette Strike sees the hooded figure sitting in the window of the bar across the road [would any establishment not be a bit concerned about someone obscuring their face to that degree? At least that is what I would have said back at the time of broadcast but we are in COVID-19 days as I write this…]. Strike gives chase with an inevitable lurching run due to his false leg through the crowded bar. The rush out the back door and down an alleyway. Strike tries to keep up but eventually loses steam and loses the suspect in Chinatown. After sitting down outside a supermarket he is next seen using a folded lawn chair as a crutch. [Where had he get it from? We don’t know and, honestly, I assume he stole it]. Outside his office are a number of journalists with voice recorders question him if he knows where the leg is from.
Inside we get the obligatory special effects and camera tricks visualisation to confirm that the character has a false leg. He makes a call to the detective asking about who leaked the information about the leg as it’s not good for business. The detective says ‘you know how it is’ which irritates Strike asking not to play their game before cutting the call short before rubbing slave onto the stump of his leg.
The next day Wardle and his partner arrive on the scene where the body of a young girl has had its hands and legs sawn off. Caucasian, maybe 16. Found by a cleaner. There was also a phone but no bag or wallet. Nothing to identify her with and the phone has gone to forensics. CCTV camera footage from the lobby. They’re checking the tapes so they might get lucky.
Strike opens the street door to his office and there are journalists with cameras and questions prepared piling on top of one another to ask him about the developments. As he closes the door one white guy with an afro breaks away. He looks like the guy from the bar. [maybe it’s a coincidence… maybe he has a part to play… who knows? Well you will if you read further on. Spoilers: No it seems to just be a coincidence but I swear it was the same guy. Maybe he is a character in the book omitted from the teleplay?]
Strike calls Robin to tell her about the scrum of parasites on his doorstep and that they need to find him before he puts them out of business. Robin vomits into the toilet of her hotel room. He notes she vomited and she assures him she can work. He says he never doubted her. [Honestly so far this story has been about glorifying her more than developing the events of the case. I get it that we want to be invested in our protagonists but this is slowly becoming more a low key comedy-drama about an office romance than a detective mystery]. He jokes that she should have them send her up a bacon sandwich.
He gives her Nick and Ilsa’s address on 80 Octavia Street. Then he remembers to tell her to be careful exiting the hotel as they were followed last night.
Strike is then at Nick and Ilsa’s. She is making a smoothie with a blender [wow, remember the fad for those back a few years ago? It seems a lifetime ago but it’s only been a few years…]
Strike complains he is down to two clients while the rest have run screaming to the hills. [I don’t think that’s how it would really work to be honest considering the financial investment by clients but this happens every book/series to the point you could argue it’s an annual thing for him to lose clients, solve a high profile case and get an influx of new clients and then lose them at the start of the next scandal due to a case he has taken on or has some connection to. Rowling loves her formulae… but then I recall what I said at the start of this synopsis and it’s not just annually but at least biannual which makes it all the worse! He can’t afford a partner under the best of circumstances let alone with these constant threats of closure/bankruptcy.]
They’re a healthy, clearly affluent if their fashionable stark décor is anything to go by, couple. Strike notes if the guy wanted to kill him he is a big enough target to which Nick quips ‘that reminds me we need to talk about your cholesterol. [ha ha – funny joke as Master Splinter would say at the end of the Teenage Mutant Ninja Turtles live action films back in the 90s… the issue being Tom Burke who plays Strike is well built with a rounded face not at all overweight due to physical inactivity like the character is in the books is apparently].
Strike remarks on the effort to get into his head due to the leg and lyrics used so far. Ilsa says it’s Robin that he is concerned about. [Yes, for Robin is the centre of the universe…]. Strike mockingly quotes Robin who has ‘a certificate for a three day self defence course’. Ilsa says she likes Robin with a ‘hint hint you and her together’ gesture which Strike doesn’t register and says blankly ‘well so do I’ in a friendly manner. He admits he just doesn’t want to add her to the list of dead and/or maimed women he carries around with him in his head [like James Bond].
Elsewhere Wardle and his partner are watching the CCTV footage from the start of the episode making notes of time stamps. They note that Strike entered the murder scene building 18 minutes before the girl. [the post-it note has a 2019 date on it. Has it really only been about a year? It seems much longer than that…]. They’ll have to bring him in.
At the hotel, which Robin still hasn’t left though it must be past 11AM now, her phone rings. It’s Matthew. She doesn’t answer it.
Strike is on the phone at Nick and Ilsa’s home. Robin arrives and they offer her coffee. She thanks them and says she feels awful. Strike, finishing his call, says it’s because she drank every bottle of wine in London. She tells him another client cancelled their job with them and he calls over to his friends that they only have one client now. She gives him the reasons but he says it’s fine and he gets it as he takes a drag on a cigarette.
Later in his office he has another address for Brockbank’s sister Holly in Barrow-In-Furness. It’s the only solid lead they’ve got and business isn’t thriving he reflects so he will go there. Robin remarks she will go with him. He says she would be more help in the office. She retorts she can do the research work from anywhere [the unspoken caveat being she needs a decent internet connection but apparently no one in this series suffers that even in rural areas]. Also she has a land rover she borrowed from her father and Strike can’t drive so it’ll save them time and money – also so she has money before the company goes bust. She believes she will be safer outside of London. Strike asks what Matthew will think and Robin replies he can shove his thoughts up his own arse. [Why she says ‘his own arse’ instead of ‘his arse’ I don’t know. It sounds awkward.]
Next Robin is packing up to leave and Matthew pleads with her not to to which she tells him not to touch her. She loads the land rover and drives off as he watches.
Elsewhere Wardle takes Strike to the station for questioning in the back of his car.
Robin gets to the home of Strike’s friends only for Nick to tell her ‘Oggy’ (Strike) had to nip off to see the police. He then asks her if she fancies some lunch and she graciously asks for just a glass of water [wow, being fed by Strike’s friends too – what a blessed existence].
[I know what you’re asking: When does the murder mystery investigation part of the story really start? Well… congratulations it finally starts now after all this personal stories set up!]
The detectives, Wardle and his partner, asks if Strike has been in Whitechapel recently. Yes due to a message from a client called Valley who he never met [almost like, you know, it was a set up]. They found the building and murder scene with the cut up body and a phone which had her finger prints on it [almost as if, shockingly, a young girl might own a mobile phone] where apparently Strike had invited her.
[In reality that wouldn’t hold up to scrutiny if it was done with mobile phones these days. It’s not like it was a hand written invitation with his handwriting, on his personalised stationary which no one else has access too, someone saw him write the letter and speak about the meeting and all those other ‘proof’ contrivances that would work in a story set 30 or more years prior to today. The CCTV would show him not enter anywhere or spend the minimal amount of time when first entering and never returning nor having something hidden, i.e. legs and hands, under his coat when leaving… but then that gets in the way of a classic ‘accused of a crime he did not commit’ trope based story. Watch now as the already overly worshiped Robin gets to prove his innocence so he owes her one… or not as he quickly proves his innocence by stating things the police would have asked themselves i.e. if the photo was staged by the photographer.]
Back at the friends’ home Robin is drinking an abomination of a ‘healthy’ drink Nick made in med school to ‘prove your the hardest bastard in the room’. [Yes, rigor mortis does make you that I suppose]. Strike walks in telling then he was interviewed under caution, drinks the concoction saying he needed that and drags Robin out onto adventure.
While getting in the land rover we are told Wardle at least believes Strike isn’t going around carving up teenage girls and Robin will have to actually do some work sending all they’ve got on the ‘Valley’ client to the detective. [which, really, would be the phone number and a brief description of why he wanted to meet… which is nothing barring ‘he sounded like [accent], [age] and [pure speculative guessing with no solid proof you’re not lying]’ speculation].
Why the leg? Asks Robin. ‘So I never work again because of scandal’ more or less Strike tells her after walking through the bloody obvious which she herself was aware of already.
[Got to make sure the stupid audience is treated like children as if getting a leg in the mail wouldn’t drive people off which already was indicated by the ‘I’ve lost all but one of my clients’ information earlier].
They drive to the country with some wide shots to sell the series to the foreign market.
So they’ve three suspects [apparently the TV series cut them down or the ‘sends limbs in the post’ guy is instantly dismissed for one reason or another though I don’t recall them doing so.]
Whittaker: got away with murder twice.
Laing: charmed everyone while he kept his wife terrified.
Brockbank: was a child rapist who managed to convince everyone he was the injured party.
Robin asks if Brockbank is capable of cutting off his own daughter’s leg. Strike doesn’t know what to think but knows he wants revenge on him for the past.
More countryside scenery porn for foreign market trailers.
We get a little flashback of Brockbank being approached by Strike in his SIB days. Brockbank tells his daughter to get back inside while getting an empty bottle to attack with. More countryside scenery porn.
Why are they out in the country? Brockbank’s army pension goes out to his sister living in Barrow every month and she is their only lead.
[It might just be me but surely the police would contact him or make a note of his whereabouts immediately and have already contacted his sister if they couldn’t trace him. But again it’s another contrivance for the sake of drama. Otherwise, without them, the entire ‘Strike is a murderer’ story thread would be ‘Strike entered the building, we found out it was a weak set up, we found the body and, very likely due to forensic evidence, it was someone else and due to their pre-existing record we know exactly who did it. We then caught/did not catch the killer/had to wait until they resurfaced before detaining them. Meanwhile Strike has gone off on other adventures after his name was cleared after a day or two.’]
Also Strike had Brockbank’s old photo in his military uniform on his phone. [Surely a closer photo of his face would be better for identifying him but whatever…]
Strike asks how Robin is doing and she says a bit shit [the middle class love a bit of casual swearing for emphasis but hypocritically look down on the working class assuming they do it all the time] and that Matthew keeps texting. To this Strike asks if she wants to hear about the migratory pattern of the black marlin… [because he could not give less of a shit and because they’ve two hours to go and no one wants to listen to the self pity of someone as self glorifying as Robin for two hours. Really he should have faked taking a nap. Much easier.]
They arrive as the sun sets and park in a residential street which has a massive nuclear power station looming over it.
Both are asleep in the land rover as a female bobby-on-the-beat approaches and knocks on the window. The land rover belongs to Robin’s father Michael. The police officer tells them they’re on a double yellow and there is no loitering near a nuclear facility. [um, they have housing that close to such a place?! That’s far more interesting…]. She checks Robin’s driving license and then is used to give some exposition regarding ‘shipyard’ the nuclear facility. [side note: the police officer actress barely moves her mouth to the point she looks like someone doing a really bad ventriloquist act]. Strike jokes does anyone come up to Barrow-In-Furness on holiday? The officer gives a slight smirk saying the abbey and nature reserves are popular… apparently Strike is that charming. Robin lies about hoping to catch up with a friend on the way to Scotland. Strike asks where they can get a half decent coffee. The officer, losing interest, tells them there’s a no photography rule in the area and leaves [so… does that include residents? The scene almost makes it sound like one of the locked off Russian industrial cities like Norilsk].
Bit of banter between our protagonists and Robin goes off to enquire about Brockbank not two seconds after the officer has gone and will see her going door to door inquiring. She goes to ask an old woman ‘who looks the sort to enjoy gossiping’. [again we get more of Rowling’s biased stereotypical image of the working classes and those who don’t live in the gentrified areas of a city…]
Later while clothes shopping Robin tells Strike she has to be the one to approach as the sister will recognise Strike and tell her brother he is being looked for. [The only time they may have encountered each other was at a trial if he was giving evidence and she was present which likely wouldn’t be the case in a military trial so… where would she recognise him from? Perhaps the papers I suppose if the old cases and murder accusation got into the national press]. He doesn’t like it but she insists it’s a good idea and there’s a moment suggesting she thinks he will watch her change as he lingers a moment to long but then he goes outside the shop. Afterwards, at another shop, she gets a call off her mother regarding the break up. She is at work etc etc.
So they drive to the pub Holly Brockbank is in every lunch time and Strike hopes she is nicer than her brother. Wearing a brand new navy trouser suit Robin goes into the pub. [That doesn’t stick out like a sore thumb at all. Rowling has spent too much time in London and such affluent areas where that look might pass without note but in the rest of the country outside cities you would get noted.]
Inside the Crow’s Nest pub Robin walks up to the bar lady asking for Holly and is directed to a side room where Holly is playing snooker by herself. Holly is of course overweight, tattooed, wearing rings and chunky gold jewellery, a hoodie and has somewhat disheveled hair.
[‘Oh J K Rowling you’ve done it again – how do you come up with these incredibly accurate depictions of the working class?’ ask the London based newspaper literary column reviewers who’ve never set foot outside the city except for the Cotswolds or to go abroad. Thus they believe the broad stroke stereotypes Rowling has of anyone not middle class. Archetypes which wouldn’t feel out of place in an Enid Blyton book. Meanwhile they also happily patronising which ever group polite society deemed worthy of pity this season in order to stay on the right side of history and their dinner party connections.]
As a bonus Holly has a bit of a lisp too apparently.
[Kick ’em while they’re down Joanne! Why not give her some ‘James Bond villain’ scars too and maybe a full blown disability – not a ‘noble’ one like Strike who lost his leg in military service but something humiliating to mock like… IBS… Yeah, she’d like to mock that no doubt. She already questionably did in the previous case The Silkworm regarding learning difficulties and mental illness.]
Robin introduces herself as ‘Venetia Hall’ and she is a lawyer/solicitor specialising in claims. [So she did go with a James Bond like naming aspect then. It’s Robin’s middle name but it sounds one of those wordplay code names femme fatales from Ian Fleming’s works have. Based on ‘Venetian Hall’ in Robin’s case. ‘Hello my names Roma Column, Georgia Facade, Russi Caravan, India Summer, etc…’ I would say it’s an odd middle name but a lot of people have middle names far more interesting than their first name it seems – just to be a little special but not stick out too much they get persecuted for it if they need to fit in]
[Robin wouldn’t be seen dead being anything below a professional career even as a cover story (oh except her over the top cartoonish accents we keep enduring in each story when she is digging for information). She must have been such an obnoxious child…]
She pretends Niall is owed money and presents it like one of those ‘were you in an accident and could seek compensation’ adverts that used to be on the TV constantly [again showing this story has already aged since you rarely hear from those ambulance chaser sorts these days]. Robin claims she represents servicemen who could get reparations for injuries outside of combat operations. She then can’t help herself but to simplify it to ‘I’d like to help you to make a lot of money off the government’ speaking down to Holly. [Just because someone acknowledges what you’re saying doesn’t mean you get to act like they’re stupid. Rowling bias is really shining through with the dialogue.]
Strike, sat outside in the land rover calls Wardle. He only now tells the detective about Laing who he got put down for 16 years but would be released around now. [um, why not mention him earlier? Maybe because he was under interview and this all needs to be done clandestinely I guess.]
Back with Robin and the sister we see Robin is drinking a white wine while the sister drinks a pint. [I’m not saying this is also a bit cliché of the differences between the classes but… come on… it’s being laid on with a trowel in this contrast of Robin and Holly. It’s the brother who was dodgy but they’re implying it’s a thing all people of the family have so you can never rise above the circumstances of your birth not be deserving of the common, courteous, respect automatically given to people of equal, or better, social rank…]
Robin says she knows Niall had some troubles in the army. To which the sister replies ‘Problems? Some fuckin’ police copper smashed his head in!’ [Now see it’s okay when the middle class character swears for emphasis but not you… even if you’ve every motivation to be indignant over the understatement regarding a life altering injury someone close to you suffered. Rowling wants us to judge her but I doubt many would feel differently even if they bit their tongue in the moment.] The sister recalls Comoran Strike’s name as the one who caused the injury. She goes as far as calling him a ‘fucking gadgee’ [whatever that means]. This caused her brother to have fits and be unable to work again.
He would go to her house and smash things up and attack her too. She points out her nose as one that’s been ‘hit hard’ [but the actress has a button nose – the worst you could say is there are some subdermal bumps on it from blocked pores but… they really didn’t consider how that line doesn’t work with her features despite the costume etc trying to give a ‘look how rough and working class she is compared to Robin in her pristine suit and perfect hair despite sleeping in a vehicle last night’ image.]
Then the sister recounts how she has had a shit life, as had her brother, but he got to be a major in the army which was ‘good money and good respect’ which all went after Strike bashed his head in. Apparently Niall works ‘shit jobs in rubbish strip joints’ as a bouncer but it doesn’t last long and he is in London now as there is more work there.
[‘Entering the army gives you prospects’. That’s the message in all their marketing material. It’s a bit odd to hear it casually implied here to be honest especially with Strike missing a leg, PTSD and other mental issues clearly being alluded to with other ex-forces characters and such… They apparently want their cake and to eat it too it seems regarding their stance on the armed forces.]
Robin gets back to the land rover where Strike is doing a crossword. She has a number for Niall now. She suggests they leave it a day or two to ‘let the story bed in’ before contacting him. She jokes if they lose the business she might try personal injury claims. Strike asks what she could get him for his missing leg? ‘Packet of crisps and a pint’. [A bit callous? Gallows humour I guess].
[Robin goes upsetting a relative of a suspect who isn’t involved. Gives her false hope about justice and tells her employer she has options if his business collapses – which is very likely under the circumstances and would leave him legally liable for all the costings… This is the central protagonist of the story ladies and gentlemen. ‘Feed the rich and fuck the poor’ as the lyrics go… the working classes are animals who do not deserve the respect of being depicted as equal human being but patronised and stereotyped as ever on the brink of destitution and criminality because they are lesser creatures… one more needless stereotypical depiction of the working classes for the Strike series to chalk up. It’s no surprise though to anyone who saw the ‘give you a blow job for a fiver’ girl from ‘The Cuckoo’s Call’ though.]
Strike gets a pint and wine at a country pub while inquiring about a place to stay. [Which immediately brings to mind Al Murray’s Pub Owner character’s catchphrase ‘a pint for the men and a wine for the ladies’.]
Robin asks about the attack Holly told her of.
He says the interview with Brittany he saw back then ‘may have’ framed his response when encountering her father. So we see him in the flashback give a brutal right hook to Niall when Niall raises a bottle at him. Niall goes down and begins to foam at the mouth while spasming in a fit as his daughter is led away by police.
Strike recounts he had a pre-existing concussion from playing rugby that week, got epileptic fits and was invalided out of the armed services. Between the fits he would tell anyone who listened he was going to destroy Strike. ‘Perks of the job’ Strike jokes as he takes a swig of his beer.
Niall’s wife believed Brittany was ‘telling tales, a naughty little liar’ as she though Niall was a good man and a good father. But Brittany knew no help was coming and that’s what Strike finds hard to live with.
Robin says they have to catch him. Strike interrupts ‘- if he is our killer’ and Robin indignant declares ‘he’s a child rapist’. Strike says the army did their job properly and there wasn’t enough evidence for a case. Then we get a little ‘its hard but what can we do, we can’t hunt them all down’ spiel with Robin saying she will tell British Gas that’s what they’ve decided to do when Strike comments they can’t catch them all and also pay off the utility bill too. [Optimism versus pessimism].
They get to the hotel in the pouring rain and Robin rings the front desk bell immediately [because how dare they have minimal reception staff at night so the lone person manning the reception is also likely doing other tasks at the same time in a side room].
Strike asks for two single rooms immediately. Then clarifies two single rooms not one room with two single beds. [wouldn’t that be more costly considering how tight their finances are?]
Walking down the corridor Robin asks if his leg is okay and offers to give Strike a piggyback due to all the gymkhanas she used to do. They have rooms next to each other and Strike tells her if she needs anything he is in the room next door. Then through the window we see both getting ready for bed. A moment later Strike knocks at Robin’s door to tell her Wardle has found an old address of Laing’s where he was living with someone in Corby so they’ll go check it out tomorrow. He assures her he was telling her now in case she was making other plans for tomorrow. [I mean… she is on the work clock as part of a ‘work’s trip’ so she shouldn’t be even considering that to be honest yet he assumed it was the case]. They return to their rooms and close their curtains. [It’s a nicely framed scene.]
The next day they’re driving down a country road when Robin asks Strike to give her one. A mint that is. Then they stop off at a roadside cafe so Strike can recount his backstory with Laing.
He was on a drugs case in Cyprus, undercover, buying grass off a guy who dealt with a lot of local soldiers. This guy told him about a squaddie who claimed to have chained his wife up after she threatened to leave him. Though it sounded like grandstanding he checked it out anyway. When he went to investigate no one answered. There was a terrible smell and then he went to check the bedroom.
Laing said she was kinky and liked to be tied up. She had broken her wrist and dislocated her shoulder trying to get free and there were internal injuries. [at which point we see her from behind and she too has tattoos – so either this show is being very modern or tattoos are given their historical association of only being worn by deviants/lower classes and since we never see non-crime involved characters with tattoos it seems the latter association]. Laing went down for 16 years but probably only did 8 so he would have been out a while now.
They drive to a housing estate and ask Lorraine McNaughton about Laing as she used to live with him at her address. She called Laing Donnie and asks what he’s done now. She lets them in to ask a few questions. Inside she has lots of ornaments and such littering the walls and every surface. Laing robbed her when he left taking jewellery including her mum’s ring. Robin half heartedly says ‘I’m sorry, that’s terrible’ in the manner of someone who doesn’t really care but obeys the social script for such circumstances.
Lorraine met Laing at the pub where he was very charming. She acknowledges it sound stupid. He had his own company in Scotland but got ill apparently with Psoriatic arthritis so some days he couldn’t even move. Robin carries the teas for Lorraine having hovered in the doorway until now. Lorraine and ‘Donnie’ were together for less than a year after her mother died. He did some work for Mrs Williams at number 37 across the road. Cutting grass. Also he raised money for charity. Despite it all she misses him and confirms, when Strike asks, he was never violent. She told the police that when Mrs Williams was attacked and robbed. She had passed away since then. [Hint: this was one of the clue scenes you needed to pick up on if you wanted to play along and try and solve the mystery before the answer was revealed].
After they left Strike believes Laing cases Mrs Williams home to prepare for the robbery when mowing her lawn. ‘[For] Men like Laing and Brockbank and Whittaker – women are things to be used.’ [I’m sure Rowling felt she was doing a great service to the Feminist cause writing that but considering what we have been shown already it seems obvious. But then you’ve got to spell it out to the audience so they get it I suppose it was done for the trailer.] He laments even after it all Lorraine still missing Laing not seeing him for what he really is.
While driving Strike looks up Laing’s charity fund raising and it’s £40 for psoriatic arthritis. [getting good reception in the countryside?! What kind of service do they have? His mobile data rates must drain his pockets so no wonder his detective agency is always on the brink of closure!] He reflects Laing only set it up to dissuade anyone recognising him as a leech.
Strike asks her where she is going to stay and she says the flat as Matthew will be away. [How does she know he will be? Even then you might think she might not want to go there now anyway.] Then more countryside views and cityscapes.
Strike walks the damp streets of London alone as Robin goes to bed. He wakes up at his beer bottle and pot noodle covered desk when the phone rings. It’s Shanker. Apparently Shanker is wearing a suit instead of jeans and his green waterproof coat we always see him in. He has found Whittaker.
Strike walks into the back room of a pool hall where Shanker and his colleagues have someone tied up and he is apparently torturing the guy. Strike wordlessly gives Shanker money in a brown envelope, which he counts, and Shanker gives him a slip of paper with the information on. Happy with the payment he says see you later and goes back to his business. [This scene serves to show Shanker is actually a member of the criminal world and not just some jobless guy who seems to be Strike’s informant when he needs one. It’s well done but a bit pointlessly extravagant too really when you figure out the costs and everything for a 1 minute long scene with the rental fees, extras’ ages, etc.]
The next day Strike is stood presumably near the address Shanker has given him for Whittaker while having ‘imagined flashbacks’ to someone approaching his prone mother with a syringe. In case you’ve forgotten Whittaker is the guy Leda Strike was involved with at the time of her death. So all of this is a side plot really.
Whittaker and his group are loading up a van. He greets Strike as ‘Sherlock fucking Holmes as I live and breathe’. He then tells a young groupie ‘I was banging his mummy back in the day, for a while. I gave her a kid [Strike’s half sister who was encountered in the first story line The Cuckoo’s Call]. Now, she… she was a juicy old tart’ Strike interrupts him saying ‘this man kills women’. To which Whittaker retorts ‘you think this one gives a shit? She barely knows where she is half the time, bless her.
He then recounts how Leda used to like to ‘suck him off’ after he sang to her. ‘Sing her a song and then down she’d go – Pavlovian response.’. Strike punches him and tells the girl he can find her somewhere to stay. Whittaker tells her to get in the van and calls Strike a mother fucker as he does a ‘slit the throat’ gesture while Strike walks away.
At night Robin is on her phone. Zahara answers the phone – she is Brockbank’s ‘daughter’ (actually the daughter of his current girlfriend Alyssa). She is playing the next part in her ‘Ventia Hall – personal claims solicitor’ gambit while drinking a glass of red wine. [how often do people drink these days? I thought that was more of an older generations thing? As much as I talk of stereotyping working class people the whole ‘dinner parties and glasses of wine’ is one for the middle classes too]. She wants to arrange a meeting and he suggests Shoreditch. She asks for a home address to send paperwork to which he asks ‘do I know you little girl? She says she is sure they’ve never met and he puts the phone down on her [so she scuppered a meeting for the sake of over reaching for a home address. Bad detective work…] She takes a swig of her wine.
Meanwhile Strike has a nightmare about his mother’s corpse and hearing her say how she loves ‘him’, by which she means Whittaker, and that one day Strike will feel like that about somebody. [cough-Robin-cough].
Elsewhere Robin lays in bed recalling her rape. [Due to the weird close up on the rubber gorilla mask it’s not as intense as it should feel.]
The door bell rings for Strike asleep in his chair without his leg on. He hops to the phone and opens it for Wardle. The press are outside. He, with his partner, shows Strike a school portrait photo of the dead girl. He insists he have a longer look and again Strike says he doesn’t know her. Then he is shown the autopsy photo and told it was the girl found in Whitechapel. The partner reveals it took the morning papers to help them piece it all together.
They show him the front page of a paper depicting the girl meeting Strike in the window of a cafe. The partner asks him to confirm he has never met Kelsey Platt, the dead girl. [Ah, ah, were you expecting the name of someone else’s daughter? Cough-Brittany or Zahara-cough… Yeah, there’s a lot of overlapping here if you are not ever vigilantly keeping tabs on everything.]
We see the footage or both Strike and Kelsey getting into the elevator separately on the CCTV footage and the episode ends.
A brief recounting of the important bits from the last episode. Most of which apparently concern Robin’s relationship status and a brief reminder of who the suspects are before the last moments of the episode where Strike is going to be interviewed under caution by the police.
Theme tune time! Let’s alter the lyrics a bit: ‘You and me. Me and you. We’re all in this together. Watching a show. Following all the tropes. Easy watching – no matter the weather. Strike’s mama’s dead. So’s his leg. Robin’s dilemma – Matthew or Comoran: safe life or adventure? I wonder where she’ll end up?’
Strike is taken in for interview by the partner detective [who never gets named in the show. Maybe she does but seriously do you recall her name – no, no running off to Wikipedia or IMDB now! They barely if ever mention it as far as I recall.]
[The character’s name is DS Ekwensi. I think it is mentioned once very briefly in passing so it’s very much a case of ‘blink and you miss it’.]
They speculate if the photo is doctored as it was sent in by ‘a concerned friend’. He demonstrates how asking ‘is this seat taken’ can easily lead to a photo taken at the exact right moment gives the illusion of association between people otherwise unconnected. He then notes the details of the photo such as someone in the background wearing a vest [a minor hint to the turning point of the mystery here] so it must have been warm weather and they were reading a magazine so if the papers were sent a high resolution image they’ll be able to track that. He concludes if they find who took the photo they’ll find Kelsey’s killer.
He also notes Kelsey is holding a bottle of water and asks who goes to a coffee shop to sit and drink a bottle of water [actually quite a few people from my own experience… it is a bit odd I suppose but no cafe is going to turn away customers and most sell bottled water. It’s like if you go to a steakhouse and don’t eat steak – they won’t refuse you service for snubbing their specialty.]
Thus he concludes she came expressly to see him not to drink there. [But that doesn’t mean he didn’t make her acquaintance there which led to the later events. I’m obviously overthinking how his argument only proves he didn’t know her before that meeting not that he didn’t know her afterwards as he claims.]
He asks if they’ve found the three men he informed Wardle about. She says she can’t discuss that with him to which he interrupts before she can say it ‘- because it’s part of a murder investigation’. He begins to strike up a cigarette and she says she has asthma blankly. [I assume that is meant to be humorous?]
[On a side note: is the actress bad or was she directly to deliver her lines staring blankly and speaking in a monotone? It doesn’t serve her well for future roles as this is the biggest scene she has had in this show so far. It’s meant to come across as cold and ‘by the book’ but it reads more like a 9 year old told to recite lines and not thinking they also have to act at the same time. Not that she is at fault but the direction of the scene feels like they wanted a contrast between Strike’s disheveled and instinctive style against her more regimented and systemic manner but didn’t give her space to have some subtle characterisation too. Or the character is under written and they were told to ‘play it safe’ in case it contrasts with later descriptions of the character in the book series. Who knows? It just came across really badly sad to say.]
Afterwards Strike goes and buys a copy of every paper he can get his hands on. [I know it’s London but I’m sure some would be sold out by the time he got around to collecting them.]
In a park he sits on a bench causing a large group of pigeons to fly off. [from bizarrely amateurish acting in one scene to sheer trailer fodder in the next… I half wonder if there was a B-roll director who outdid themselves there honestly because it was a great shot with the pigeons flying up]. He begins to read one paper focusing on a story saying the Strata building in London is one of Britain’s ugliest buildings. But that doesn’t matter as we quickly cut to him walking down the road on the phone to Robin asking if they’ve got a print out of Laing’s fundraising page. He jokes he just had a social down at the station. Robin asks if they have a lead and Strike says yes, him, so they better get a move on as he approaches the front door to his office.
They look at a blown up image of Laing’s fund raising page and see the Strata building in Elephant and Castle, an area of London, in the background. They can use it to guess which block of flats he lived in. Robin tells Strike she contacted Brockbank and the exchange they had and that he may be living with a little girl. Strike tells her to head to Elephant and Castle. If she sees Laing to keep her distance, no working after dark and to keep on busy routes. She chimes in she knows as she has done counter surveillance. Strike retorts if it was up to him she would stay in Yorkshire until he is caught and reminds her of the pattern of sending the leg to her that already exists. She assures him she will be careful. While she is checking out for Laing he will look for Brockbank.
Strike goes into a strip club where a performer is on the pole. He shows the barman the military uniform photo of Brockbank asking he he knows him and the man says no. [presumably he does this a few more times elsewhere but they didn’t want to spend too much time on that so the second place he goes proves fruitful.] Meanwhile Robin is at the base of the Strata building trying to guess the angle from which Laing’s photo was taken.
Strike enters another establishment which clearly is meant to be closed as the performers are in silk night gowns looking at the phones in some of the pub like booths near the stage. One with blood red hair approaches him and asks ‘have you been here before darling’ in a foreign accent.
Robins walking the streets around the Elephant and Castle area.
The dancer offers Strike a private dance. He says he is looking for a friend and she says she will be his friend and kisses him on the cheek. [… I mean… Rowling’s views of women from certain backgrounds or circumstances again comes to the forefront… is it even worth commenting on?] to which he retorts ‘not that kind of friend, sadly’.
Robin crosses someone on a road she turns back to take a second look at.
Strike asks about Brockbank and is told he was fired as he was no use as a bouncer if he was having a fit and pissing himself [Rowling’s view of how certain businesses conduct themselves as if inhumane towards their employees, also rearing it’s head. I half wonder if she has actually been anywhere near to these places herself or just uses stereotypes]. He asks if anyone might know where he is and shows his wallet which the dancer takes some notes from saying probably with Alyssa as she has the worst taste in men. She was a dancer who was fired as well. They have a flat over in Bow. Apparently Alyssa bitches about the flat but likes the nursery her child is in. They are served two… jack and cokes I assume… and he asks if she can introduce him to Des but she says ‘thanks for the drink, darling, but I reckon you’re trouble. Normally I like trouble.’ after which she returns to her booth. [in hindsight it looks like a normal, if oddly lit on one side, pub except for the unnamed dancer and her friend. Maybe they had issues finding a shooting location and had to make do? Also I’m not sure what was going on with the end of that conversation to be honest.]
Robin calls him to say it could be one of a hundred flats. He tells her to be back home before nightfall. She asks how the strip clubs were and he retorts ‘expensive’ which makes her snort. He tells her to get in a cab but she quickly tells him to stop treating her like part of the problem. She will be having dinner with her mother around the corner from work so she will be perfectly safe. Strike agrees in an unconvincing tone.
Later at her dinner date she says Matthew shouldn’t have called her mother. Her mother says she is happy he did. Robin immediately becomes defensive saying she isn’t going to stop doing her job. Her mother says she will always have her mother and father’s full support but the wedding day is ‘nearly here’. [Okay, no worries your daughter got a severed leg in the post or anything. So… yeah. Marriage is still a defining thing you must do by a certain age for some people in society I guess even if it’s not a good fit. Honestly the number of red flags waving in her face and the marriage to Matthew is still on the cards is ridiculous. The writing from day one has depicted him poorly and yet the narrative insists it’s still viable. I’m not sure what issues Rowling has been working through with these characters but it really does seem like she felt obliged to marry due to social pressure at some point in her life… it all comes across incredibly archaic that marriage is the be all and end all of things to some degree].
At night Strike goes wandering door to door in a council flats building asking if people have seen Laing. [I’m not making a point of it but… the first two people are non-Caucasian looking. We hardly see any non-white people in other scenes except as token characters like the detective partner or on other stories where it’s made out as a bit ‘forward thinking’ but adds nothing to the plot. Here with so many in a brief time in council flats it seems again a certain stereotyping is being used…]
Robin’s mother asks if she wants to come back to Masham for a bit to be looked after. Robin refuses concerned she would feel like she did before – as if she was shutting out the world when she wants to stay in it.
As Strike is continuing his rounds to each and every door of the council flats a man in a wheeled walking frame comes out of his door. It’s Laing who recognises Strike and who recognises him in return. Laing has a Scottish accent [I don’t know if it’s exaggerated or not but due to the character’s theatrical skills I do half wonder what the descriptions in the book were like considering the Manchester accent in other scenes also feeling a bit over the top too potentially]. Strike tells him he is a private investigator now and had spoke to a woman in Corby. Laing asks if it was Lorraine and says he never hit her as ‘lesson learned the first fucking time’. Strike asks if he stole her jewellery. Laing said it was years ago so the stuff is long gone. It’s the truth he says and he didn’t feel good about it. Strike says he will tell her and steps aside to let Laing pass using his walking frame. Laing asks if that’s it. Strike agrees. Laing mocks him for tracking down old bits of tat. Strike then goes down a stairwell.
Robin’s mother gives her an envelope containing £500. ‘It could be the deposit on renting a flat of your own. Or it can be a pair of really beautiful wedding shoes’. [I have to admit I apparently live in a parallel universe. Getting money like that. The idea a flat in London would have a deposit of only £500. That shoes can cost stupid money like that if not basically intended for collectors never to be worn but as a financial investment. None of it makes sense. Most of all how wishy-washy her parents are on the whole marriage thing. Either they want her to marry or they don’t. They like Matthew or they don’t. Yes giving her space to make her own decisions is fine but… the narrative all leads to one conclusion really. Robin does what Robin wants and the universe bends to her will.]
Afterwards Robin walks down the road checking over her shoulder if she is being followed and ends up in Strike’s office. She takes a file out of the filing cabinet and calls his name to see if he is there. [well he lives there so… it would be likely. Also on a side note again what is with the red neon lighting around his window? It’s not part of a sign but just there for aesthetics apparently]. She finds him asleep in his chair and drapes his coat over him which wakes him. He thanks her and she says she came back for some files. She then offers him the money, to pay bills so they can continue working there, which she was given. He chides that as someone is trying to destroy him he makes a bad prospect for investment so would be better off putting it on a horse. She says she is better off here. She wants to do it for them.
He looks at his watch and realises he missed a date. Who asks Robin. Swedish, pretty, doesn’t give a fuck. [the dancer from earlier? Who knows. It’s a throw away line or Strike is lying he has stuff going on in his life other than the detective work.] Robin says ‘sounds perfect’. He says he should go to bed and thanks her for Donald Laing but it was a dead end as the guy is ‘even more crippled than I am’. Then he again reiterates her doesn’t like her being out after dark and she should get a cab. [Is ‘cripple’ still an acceptable terms for disabled people? I thought it was deemed a bit of a slur these days.]
She heads home and finds candles and such set up at her little desk. Matthew is there with more candles around him and she asks ‘what’s all this?’ [Master detective in the making]. He made her ‘that Nigel Slater salmon thing you like’. She tells him she ate with her mum, he asks how she is, Robin says fine, he says good. Robin pours herself some white wine [and due to the editing of the shows scenes she actually has a glass in her hand in most scenes during this case.]
Matthew says he has something to say to her. She sits down. He kneels by her and collects his words. He says what he did to her was unforgivable. He was 21. In so much pain. He was incredibly lonely and he made a mistake. He tells her she is the love of his life and he wants to marry her. More than anything that’s what he wants. But he leaves it for her to decide.
He takes his engagement ring off (or was it hers? It had a gem on it and I’m not familiar with what men’s engagement rings look like or if it’s even a thing). He says he is asking her again to marry him and if she says no he’ll accept it and he’ll leave the flat in the morning. She sheds a lone tear.
[Okay so this all sounds like it’s heavy handed manipulation and emotional blackmailing doesn’t it? The series doesn’t seem like it’s sure it wants it to come across like that or as sincere. Also if she refused him wouldn’t he leave immediately – just me but that’s not a ‘well sleep on it’ ultimatum he gave her there.]
Meanwhile Strike sleeps in his small attic conversion bedroom staring out of the skylight. He is recalling being stood at the side of the stage with his mother as a band performs and she tells him she loves him and tells him one day he’ll feel like that about somebody as we saw before. In a nice bit of editing he gets out of bed as Matthew gets into bed with Robin who presumably said yes to the marriage proposal.
Strike gets a beer from the fridge hopping along without his artificial leg and sits down in a chair. Robin turns to Matthew, strokes his face and kisses him. Strike is (crying?) alone drinking his beer. Robin snuggles up to Matthew.
The next morning Strike enters the back garden of Matthew and Robin’s home. He looks at her through the back window as she prepares coffee. Hearing someone opening the door she grabs a knife ready to strike. Strike looks at her and compliments her on going for it. He tells her he was just checking the locks and notes they’re not adequate while noticing she has her engagement ring back on.
She tells him she has to go back to Masham for a few days for dress fittings and stuff.
[I know this probably doesn’t need to be said but for foreign readers ‘Masham’ is a small market town and civil parish in the Harrogate district of North Yorkshire, England not a country estate of landed gentry like something out of a Georgian era novel. It does sound like it due to the name but it isn’t. Also at no point does Robin have the slightest inflection of a Yorkshire area accent unless I’m missing something].
She asks if that’s okay and Strike agrees as it’ll keep her out of harm’s way. He changes the subject saying he’ll put a padlock on the back gate. She seems mildly pleased with how everything is turning out. [Because everything basically is. She’s getting married and has ensured the detective agency survives so she can carry on the job.]
So it is we get more countryside eye porn watching the land rover drive parallel to a large river and through country lanes to a converted farm steam like home where all her family are waiting for her arrival. [so she is basically the modern literary version of lower level gentry… it’s no surprise considering the resources she seems able to call on at a moments notice but still…].
It’s the return of the prodigal daughter in the truest sense.
Then we get a daytime montage of the dress fitting contrasting with Strike at night looking over the suspects in the case including Whittingham who he still is considering though he has no real connection. He reflects on what the partner detective said in the interview about whether he had ever met Kelsey Platt before.
The next day he walks up a residential street to a house we have seen before. A woman distraught and in tears answers recognising him. He says he needs to ask about her sister as a man’s voice calls asking who it is. She tells him it’s Comoran Strike. The man asks why he is here and tells her to close the door. She asks him to wait as they discuss seeing the pictures of him and her sister Kelsey. The wife argues the police believe he was set up [how she was informed of that is left to guessing…] and her husband, Ray, has a Manchester accent [ a very strong one – almost like someone doing a broad impression of one and we never get a clear look at his face nor Laing’s earlier hint hint].
Apparently Kelsey looked up to Strike [yeah, the whole ‘superstar detective’ thing is a bit of a contrivance as if he really is the Sherlock Homes of the twenty-first century – which is similar to how they depicted the character with Benedict Cumberbatch]. The husband concludes she can talk to him if she wants but he won’t. Thus she invites him in.
Inside is a dimly lit living room despite the curtains being open and a lamp on. The table is covered in newspapers and other documents. The décor is arguably a few decades out of fashion when contrasted with the minimalist design of the home of Strike’s friends.
He is sorry for their loss and is sure the police have asked a lot of questions. She says they asked if she ‘…was working, signed statements from colleagues and payslips. Ray, the husband, had to print off photos of himself fishing with Ritchie (a friend?), boat receipts, the lot’. [why the payslips? The others for an alibi I could understand… just for more confirmation of things I guess but it actually raises a lot of questions towards the end when we have to question the whole boat trip aspect which was falsified as there would be dates on there which would have given away the inaccuracy of the photo time wise without needing to resort to knowing the annual life cycle of plant life as Strike eventually does.] They were away in Wales and so they lost her. She sobs. Strike asks if it’s okay to photo the photos.
He asks if they’ve any idea who might have got close to Kelsey. No, as she had no friends and came to live with them once their mother died. She mentions there was the age gap between them as sisters but trails off into more sobbing. Strike asks to use their toilet and is told it’s upstairs.
He pretends to go into the toilet by slamming the door shut before skulking around to find Kelsey’s bedroom. He photos some pots of medical salves in the couple’s bedroom [I don’t think anything comes of that afterwards] before finding Kelsey’s room. Without any hesitation he sticks his hand in a draw partially blocked by the bed before noticing the cork board covered with newspaper articles featuring the model Lulu Landry from the Cuckoo case, some probably from the second case regardin the Solk Worm and other pieces about him too. [One article features the headline ‘why we’re obsessed with Comoran Strike’ – I mean I’ve seen that for ‘young professionals’ magazines but for a random, if socially connected, private detective it’s a bit weird anyone wrote that for a publication]. Apparently a fashion magazine announcing him their newest crush. Also some print offs of forums pages with how to say his name and photos of him. He photos the cork board and tears off the forum print off before going back to the toilet and flushing it to create his alibi. He also photos a certificate on the wall acknowledging Ray’s ‘bravery and meritorious conduct’. [A clue].
Downstairs Kelsey’s sister [who I don’t think is addressed by surname – perhaps to not tip their hat too soon regarding the stolen identity part of the story] writes information out for Strike and asks him ‘you didn’t do it, did you?’ ‘No, I didn’t’ he responds. Whether that puts her mind at rest or not is up to you. It’s something at least.
Meanwhile Robin gets a knock at the door to her room from her mother asking if she is alright. Robin tells her she should redecorate the room. Her mother says ‘it’ll always be your room, love’ before leaving her alone again.
[I suppose her mother is overly protective, understandably considering what happened, but at the same time I always get the impression Robin was a character always wrapped in cotton wool and given whatever she wanted even before the rape. She is hard to identify with I feel. We are watching a wish fulfilment character living an idealised existence with little consequences to anything. Yes, there was the rape in university but what other trials has she faced save those she created herself by wanting things that are not readily available to her like a career as a private detective. Having every skill set under the sun to provide and protect herself is understandable after what she endured but, and it’s key to why I disconnect I think, by making her near Batman levels of prepared for all eventualities, with no real flaws, she doesn’t come across as a character I can invest in. In the first book we needed someone to help us enter the life of Comoran Strike but now we are familiar with him her part in the narrative feels extraneous and prone to detracting from the potential risks in the story even with Strike repeatedly seeming to foreshadow her being accosted at night. The image of her in a preserved room, like a caged bird, really relies on the reader feeling she is in circumstances which deny her development but everyone has left those options open to her to choose herself be they to go home, to marry and otherwise. It’s like being told someone’s lucid dream where they decide nothing bad will happen. There are no stakes and thus it becomes tedious unintentionally no matter how fantastical the tale. You can wake up from a bad dream, Robin can go home to her privileged life.]
Strike goes past the guitar and drums pub wearing his enormous scarf and encounters the two detectives outside his front door. Wardle calls him a stupid bastard and they all enter together. Wardle relays that Ray felt like he was attacking Hazel, Kelsey’s sister, and asks Strike to imagine if he had gone to the papers instead of them. He scolds Strike and Strike asks him what he thinks he should do. ‘Stay out of it, work your own cases’. Strike informs him no one wants to hire a detective accused of being a paedophile and murderer. Due to that he can’t afford the rent on the office property and will have to make his partner redundant while she is on her honeymoon. He asks them what they suggest while someone is cutting up little girls on his account. The partner detective says in the projected monotone of a small child in a school play on bullying ‘we need you to trust us to do our job’. [I honestly feel sorry for her if she wasn’t being given good direction on how to deliver her lines].
Strike asks what they’ve done with the three names he gave them. They’re still making enquiries. Strike tells them ‘…Whittaker’s in Catford, Laing was in Corby but is now in Elephant and Castle, and Brockbank just got fired from a strip club in Shoreditch’ he is insulted their suggestion is he should just sit back and ‘…wait for London’s finest to plod along to the finish line?’ He declares by the time they’re finished he’ll be on the street and Robin will be dead. ‘We’re on your side you idiot’ Wardle tells him with a smile. Strike apologises and says he doesn’t know what else to say.
Meanwhile Robin is online doing research as usual. She is looking at a site titled ‘Sally’s Nursery Bowl’ which is the nursery mentioned by Alyssa, the stripper/dancer’s former work colleague to Strike last episode. She calls the nursery using an over the top East London accent with her brother sat next to her in the living room while she is on her laptop.
[I’m going to mention again that the work colleague had a foreign accent so in my mind wouldn’t it be possible Alyssa might also be a foreign accented person as they only really have her name (even if Zahara has a London accent as a small child who might have been born here or picked it up quickly). So this ploy could immediately raise alarm bells at the nursery? Then again all these ploys might be Rowling playing the long game and a few books from now on of them will get her in deep trouble when the people she is called track back to her considering she is using her own mobile phone when doing these ‘comical’ cold calls].
Her brother laughs at it and she gestures him to be quiet. She pretends she hasn’t been getting any letters regarding Zahara, Alyssa’s daughter, from them for a while so they will give her the home address [in reality they’d ask her to confirm her own home address in order to avoid that sort of information being released]. It turns out she called the wrong place.
Meanwhile Strike stares at a photograph of the cork board from Kelsey’s room.
Robin tries another nursery using the exact same ploy but adding they might be using the old address.
Strike looks over various newspaper articles online although they’re formatted like the printed editions so maybe it’s images of them and not newspaper websites.
Robin finally strikes it lucky with her telephone calls.
Accompanied by some tense, threatening, music a hooded figure goes around the back of a house with a bag of tool and a flash light. Matthew is alone at the house he shares with Robin, Meanwhile, up Yorkshire way, Robin and her mother are cooking a roast dinner. The hooded man breaks the security light with a random bit of plastic piping [it could be iron but… those lights are quite sturdy so wouldn’t break as easily as depicted]. Strike is in a bar somewhere looking through the photos on his phone when he decides to zoom in and read Ray’s award he noticed earlier. The hooded figure unscrews the last security light and…
… it’s the next morning. Nothing happened it seems.
Matthew is cheerily making himself some coffee.
Elsewhere Robin’s mother rushes into her bedroom announcing Matthew is on the phone for her… apparently a finger was left in their see through glass kettle.
Next forensics have been and done their work and Strike walks up to the property. He introduces himself as ‘…a friend of Matthew’s here to check he’s alright’ and is let straight through by the office standing guard as if it was all prearranged. [Police detectives can do that in other murder mystery dramas because they’re police – it wouldn’t be that easy to gain access otherwise so that felt like a bit of a contivance. ‘Only residents, family…. oh and people who claim to be friends without us confirming it can enter’.] Strike goes past a forensics person carrying wrapped containers and sees the kitchen being swabbed down.
Matthew is sat upstairs, in shirt and tie, on his laptop ready for work. [He didn’t see it until after his coffee? Or he changed after noticing it and intends to go to work still? Um, interesting…] Strike enters saying Robin asked him to check in on Matthew. ‘I’m fine thanks, the police have everything covered’ Matthew says spitefully. Strike tells him Robin is driving down – but he should know that already obviously.
Matthew angrily asks him what it would take Strike to let her go? She’s been followed, had body parts sent to her, she has had her flat broken into by someone who butchers women – Matthew wonders if Strike is just waiting to see what happens to her next. Strike tells him calmly he understands he is having a difficult morning but is cut off when Matthew tells him to piss off. Strike ignores it and continues saying ‘Robin’s good at what she does. She’s very good. She manages the risks. If she ever decides to hand in her notice, that’ll be her decision but I would try to persuade her to stay. The police will watch the flat at night I don’t think he’ll try anything again. Matthew says he doesn’t really know anything though. Strike says ‘it’s proving challenging’ then leaves.
Strike walks down the densely populated streets of London. Robin walks down more sparsely populated ones. She arrives in the office where Strike awaits. He asks how Matthew is and she says he went to work eventually. He asks how she is. She admits she spent an hour checking over the flat and leaching everything [also she probably lost the deposit too though that is not mentioned].
She tells him she got an exact address for Brockbank and of the phone calls she was making. He tells her she is very clever. She stoically says ‘let’s just find this guy.’ Strike says he can’t go back to Whittaker as he knows him but the person they’re looking for is careful and deliberate – doesn’t feel like Whittaker. She says she will watch Whittaker. She insists and then offers Strike some tea.
The next day Robin is buying something off a market stall while observing the entrance to Whittaker’s flat and sees the groupie girl exit. Coincidentally she drops the coins form her pocket and Robin rushes over to be a good Samaritan. Robin helps to pick up the coins and offers to buy her some lunch because she looks like she is ‘just having one of those days’. She says she can order what she wants and Robin will pay. [Incredibly suspicious. And the playful ‘just having one of those days’ would make it all the more questionable a gesture.]
They go to the Stage Door cafe. The girl eats a dish of chips, beans and eggs while Robin observes. Robin asks if she has a sore tooth to which the girl grunts agreement as she eats with her hands. [It’s like a middle class human zoo no doubt or the thrill of Bedlam was to people back in the Victorian era looking at the mentally ill and judging them]. She asks if the girl’s boyfriend did this but that is denied and she is told he is going away. She didn’t want him to but that’s why he did it. She thinks he has someone else though he says he is only going back with the band though she doesn’t believe him. Robin asks what sort of music he plays and is told ‘metal’ and that the band is called Death Cult in which he is the lead guitar. Robin gives the look of the middle classes when they are involved in a conversation they don’t want to be part of but continue to humour as it serves some purpose to them. She asks the girl if she goes to all their gigs and the girl says ‘yeah, they’re good’.
Whittaker appears asking ‘what’s this’ and asks Robin for her name. He jokes to the girl she has made a little friend which she denies. Robin says ‘actually I was just leaving’. He says it seems such a shame. Robin says it was nice to meet Stephanie but it told to fuck off in return which amuses Whittaker as he comments ‘obviously not such good friends after all. You’ve obviously tried very hard. He follows her outside enquiring ‘just being kind, were you?’ Robin retorts she was just concerned and looked a bit beaten up. He says he wouldn’t worry too much about her ‘she can be a clumsy little bitch at times’. Robin calls to Stephanie, stood in the cafe’s doorway to get help with her tooth before walking away as Whittaker goes and kisses Stephanie. [Again if you read the books you know who these minor characters are but for people following the TV adaption we rely on dialogue to actually tell us their names and we only learn Stephanie’s in her final moments in the episode. Admittedly it’s not important to know he name as she is a minor character but still.]
Some time later it is night and Robin is walking through the Catford area of London. She phones Strike who asks if she is okay and if she is out as it is late. She tells him she is heading back and she had spoken with Stephanie telling him all about Death Cult and the other things she learned. [Just in case the audience nipped out of the room for five minutes to make a cup of tea – that’s the one downside of the BBC not having advert breaks so sometimes shows do this sort of ‘repeating what we just learned’ moments if there is an opportunity]. She realises she has taken a wrong turn suddenly having just gone under the shopping precinct. [why didn’t she stop and reorient herself while by the brightly lit shops we will never know… okay it was yet another narrative convenience which we are about to witness. For all those courses she went on she is far too confident and for once it actually serves, rather than undermines, the narrative]. Strike asks if she has said something but she says now she is just being a bit jumpy.
He asks for her exact location with the street name. She admits she isn’t quite sure it has a name actually. Suddenly a masked man leaps out and puts a bag over her head and drags her to one side to stab her. However she luckily blindly kicks at him with enough force he drops the knife and she can run away. Strike calls for her over the phone but she dropped it during the initial attack. Also she didn’t/couldn’t remove the bag from her head so the assailant catches up to her knife in hand. The bag/large bobble hat [no really it looks like that once you’ve time to see it clearly] is half way up her face as she struggles. Some young guys are walking to the passage and see the dropped phone. She activates a rape alarm she has at her side and the buzzing calls the attention of the youths who have her phone. The assailant runs away and she deactivates the alarm. [Presumably the youths return her phone which… might happen I suppose. More importantly was the assailant a random chancer or was it Laing? If the latter how did he know what route she would take? It’s also possible it was Brockbank I suppose as he seems to know of her injured arm. Who knows. She was attacked after Strike repeatedly warning her but she did, barely, defend herself. That’s all we can take away from this.]
Next Strike is walking through white corridors and meets Robin in the A & E ward of a hospital. She is holding her arm up and putting pressure on it and says ‘he cut me’. She apologises for messing up. Strike says he isn’t there to tell her off. He asks her how she managed to… but she cuts him off and reminds him she did a self-defence course. He grabbed her from behind so she did what they taught her – kneed him in the groin she says amused and somewhat pleased with herself.
[okay, for once I am happy to admit we finally get some pay off with all these random courses she has been endlessly mentioning she does. It’s just someone who did such a course wouldn’t have been as foolish as she was not to double back to an area she knew with a lot of people passing by so she still is too foolhardy really but it at least feels natural here compared to many other occasions.]
Strike tells her Whittaker has disappeared and they’re looking for him. She says Whittaker is thin and the guy who attacked her had a different build. She also, at some point either before or after the attack looked up Whittaker’s band and they had a gig the night Kelsey was killed [which isn’t a guaranteed alibi if he dropped out and they had someone stand in for him to be honest…] but Robin doesn’t think it was him. Strike nods silently in agreement no doubt somewhat annoyed he has to eliminate Whittaker from the line of enquiry once and for all – at least this time.
Matthew bursts into the ward as she is telling Strike she still wants to work. Flatly Strike tells her she has her wedding to think about as Matthew draws up to the bedside. She, annoyed, tells Strike not to patronise her. Matthew, not even looking at Strike, tells him bluntly ‘you can leave us alone now. Robin needs her rest’. Strike agrees with him. She asks what they are doing about Brockbank. Strike says the police are watching him. She says it’s not where he goes but what he does in the flat that is the issue. Strike bluntly says ‘we can’t save everyone’. [Why is he repeating that phrase a lot during this story?] Matthew adds ‘you were nearly killed tonight. Let someone else take this one on’. She tells Strike they can’t leave him with children. Both men stare at her and she concedes she needs to rest. Strike tries to placate her by saying he knows why she wants to help but she cuts him off reiterating she needs to rest.
[I keep forgetting to note she gradually calls Strike by his first name, Cormoran, but it’s just easier to keep track using his surname. It shows they’ve grown closer I suppose but the tone she uses is like a teacher scolding a schoolboy more often than not].
Matthew and Strike walk out of the ward and Matthew tells him ‘Cormoran, this has to end. She’s barely trained and you sent her out, with no support. You’re a sociopath’. Strike leaves without a word.
Next we see him sat on the floor of his office with the photos, documents and the laptop. Some inspirational sounding music plays as he reads through the forums discussing him that Kelsey was posting on. The posts praise him and note his office is somewhere Tottenham Court Road. It seems to bemuse him a bit.
He phones Ray telling him his name and asking for Hazel and himself to look at some photos or suspects – not great pictures but they might jog their memory. Ray insists ‘Hazel needs some space. Don’t you understand that, fella?’ before hanging up.
Next we see Robin getting her cut and styled as she gets a phone call. It’s a call from Shanker. Apparently he is calling back because, according to her Strike asked her to give him a call. She tells him she needs some help.
A red mini pulls up to a terrace house where a man in a black mac and leather gloves meets Shanker who was driving the car. Shanker says ‘Taking the girl to get her stitches out innit.’ the man tells him to wait a minute and goes off.
Ray tells Hazel that if Cormoran Strike calls while he is away she should hang up as he doesn’t trust him. Hazel runs her fingers through his hair and beard and they hold hands sadly.
Robin announces she is just popping out. Matthew asks where she is going and she claims to a police interview. He asks if they can’t come to her but she claims they want her to look at some stuff they can’t take off site. He asks if she is sure she is okay and she assures him she is and won’t use the arm.
Ray begins to walk down the road with a limp (which isn’t alluded to earlier and is very ‘blink and you miss it’ though the beard removal makes it clear ‘Ray’ is an act by Laing) but begins to walk more assertively and swing the sports bag over his shoulder once presumably out of line of sight of Hazel at home.
Shanker runs down a road to Robin to tell her ‘she’ is coming. Robin asks if they’re sure it’s her. Shanker responds ‘fit black girl, two kids.’ He asks if Robin is positive she doesn’t want him in there and she asks him to keep an eye out for ‘him’. Then Robin follows the mother into some new build social housing. [again… non-Caucasians only live in council houses in Rowling’s London apparently – unless adopted by well off white families like Lulu was in ‘The Cuckoo’s Call].
There’s a knock at the door and Alyssa opens the door where Robin asks to have a word about Niall. She pretty much insists on coming inside for a chat so Alyssa sends her daughters upstairs.
[Niall is actually Brockbank – I’m not sure if I got the name wrong, they changed it for the adaption or we are meant to immediately realise it’s an alias of Brockbank’s].
[Please contrast the exaggerated voice Robin did as ‘Alyssa’ and the actual voice of the character… considering staff likely spoke to her at the school I’m not sure how they believed Robin’s voice over the phone to be honest except the adaption embellished it for comic effect. Maybe you can argue they would hear so many voices they wouldn’t be able to keep track of them.]
Robin hesitates and Alyssa tells her to spit it out. Robin trips over her words introducing herself and saying she is a detective before gesturing to sit. She begins to explain ‘we’ have come across information in the course of our investigation. Alyssa cuts her off asking who ‘we’ is. Robin mentions she works for an agency run by Cormoran Strike and they had been looking into Niall.
Alyssa, irritated, tells her she can get out now. She is angry as Strike ‘gave my boyfriend epilepsy, ruined his marriage etc. she claims she knows ‘all about you lot’ as Robin struggles to regain control of the situation as she is being kicked out. She tells Alyssa bluntly he abuses young girls as Alyssa screams at her to get out ‘before I give you a proper smack’. Robin, ever the wise one, decided to add ‘he’s been doing it for a long time – ask your daughters’.
Alyssa grabs Robin’s bad arm when telling her to get out and Robin crumples to the floor. One of the daughters upstairs says ‘mum’ and we cut to Niall coming home. Shanker sees him and intercepts. Inside Robin asks Alyssa ‘just ask her’ to which Alyssa goes to her daughter , Angel, telling her to go upstairs now having apparently accepted what Robin said. Niall enters and slams the door behind him.
[He is wearing a hoodie under a light leather jacket – so again the ‘uniform’ of working class people in this series. Alyssa also was wearing one I forgot to mention. Either they’re described as wearing them in the book or the costume designer for the series hasn’t got much of an imagination on these things or was told to ‘code’ people via their clothing. Looking at his jacket later I swear I’ve seen that exact design on the arms in other series so it must be from the wardrobe department and been used in multiple productions. So it likely is, unspoken, the ‘uniform’ for working class thuggish characters amongst the staff… meanwhile respectable characters all wear woollen coats or Shanker, to denote being lower class than the main characters, wears a generic wind breaker but never a hoodie. ‘The good guys don’t have to cover their heads in shame’ or some weird concept like that. Also how many people do you see wearing leather jackets daily? These sort of productions make it seem like it’s every other person when I barely see one or two when in a city let alone elsewhere.]
Niall asks what is going on and if Angel is alright. Alyssa tells him ‘…this bitch is telling lies about you’ and that she is with Cormoran Strike. Robin has run to a rear room and tries to escape through some French windows but they are locked. Shanker approaches the front door. Niall tells Alyssa to look after Angel as he approaches Robin. He slaps the phone out of her hand telling her she’s ‘…not phoning anyone.’
Upstairs Alyssa tells Angel to stay sat on her bed. Angel quietly says ‘He done it to me’ which causes Alyssa to sit by her daughter to listen to her. Niall asks ‘what’s the idea, barging into people’s houses, upsetting their kids, eh?’ before grabbing her bad arm [did he know it was injured or was he just fortunate? Maybe he saw her nursing it?]. While Angel tells her mother the truth Niall is downstairs taunting Robin about her injured arm.
Robin screams out for Shanker who begins to kick the front door down. As soon as he gets in he squares up to ‘Niall’ saying ‘you dirty nonce, I’ll skin ya!’ as he pulls out a flick knife. Robin tells him not to stab Niall but as she does Niall rams into her knocking the two down and runs out the front door. Shanker gives chase initially but he is running far too fast down the road to catch up to.
Meanwhile Alyssa and Angel are crying upstairs. She asks her daughter ‘why didn’t you say anything, darling?’ to which Angel replies ‘because he said he’d hurt Zahara.’ They sob together.
Later on Strike is ringing the bell and knocking the door urgently at Robin and Matthew’s flat. Matthew opens it and tells him ‘… we’re actually packing to go to…’ but Strike doesn’t let him finish telling him ‘I don’t care.’ Robin walks in from another room and he says ‘I told you we were leaving Brockbank to the police. She tells him she knew and he scolds her that she went in anyway. She justifies it by saying he was raping Alyssa’s daughter. Strike informs her that Wardle thinks he had sent her in there and thanks to her Brockbank’s vanished. Angry Robin tells him not to dare put that on her. He does. She tells him if he hadn’t messed up Brockbank would have been in prison years ago. [Actually he likely would be dead, unless kept in a secured section away from the general prison populace, as child molesters are deemed unforgivable, immoral, scum by inmates. No one would help him if he were attacked and some might actually join in because it’s so reprehensible even for them.].
Strike reminds her of their findings: ‘Laing is a cripple, [she] ruled out Whittaker, that means that Brockbank is our number-one suspect, and now he’s off the radar. We’re finished.’ She says he doesn’t mean that incredulously but he assures her he will send her her last salary. ‘Quick and clean, gross misconduct’ he tells her then leaves silently. Matthew enters the room and tells her ‘it’s probably for the best love’ but she leaves the room. He then takes the opportunity to block Strike’s contact on her phone while muttering ‘Goodbye forever, Cormoran Strike’.
Strike goes to his mother’s grave again with a bouquet of flowers to lay on it. He looks over the pot plant left by his uncle Ted and recalls Ray’s holiday photo with his friend Ritchie. He realises something. [Cash in your detective bets right now as this realisation is apparently what the whole case hinges on…] On his mobile phone he calls his uncle who is in his shed potting some plants. He asks if Ted was at Leda’s grave recently but is told he wasn’t but he had a friend pop something on the grave for the anniversary. Strike asks if it’s sea holly. His uncle says ‘it’s not much to look at now but come June it’ll be rather special’. Strike, smiling, tells him to call him next time he’s up that way and they say their goodbyes to each other. Then Strike mutters to himself ‘gotcha’.
We see flash backs about ‘Donnie’ doing the lawn mowing, Ray telling Hazel to close the door and Laing on his wheeled stroller encountering him in the corridor of the council flats. But if Donald Laing was disabled enough to need a stroller how did he do the lawn mowing for the neighbour? [As for the certificate… it’s not clear what the relevance was… yet].
Strike calls the directory for the number for the fire service – not the emergency number but for the one for the people who hire firemen.
We finally get the reveal of Laing taking out his contact lens and removing the glued on beard of his Ray disguise.
In a hardware shop Strike calls Shanker who immediately says ‘let me guess – you want a favour.’ Strike asks him to watch his back and meet him at Elephant at eight. Shanker agrees and Strike says he will text him the address.
Strike arrives back at the council flats where he encountered Laing on his stroller. He is dressed up like a handyman and opens the nozzle on his gas blowtorch before knocking the door. He uses a lock pick to open the door to the empty flat. A neighbour, a black man, comes from next door and smells the gas so asks if Donnie is okay as the door is open. Strike comes to the door saying it is gas and he is there as they got a call from upstairs so it was probably coming from that property. The man asks ‘we’re not going to get blown up are we?’ to which Strike drily jokes ‘well don’t light up any cigarettes’. The man mutters ‘shit’ then asks if Donnie is in there as he owes him ‘forty quid’. Strike says ‘afraid I can’t help you mate’ noting yet another person Laing swingled out of money. Then with the door closed again he inspects the flat.
[So again people of non-white ethnicities are in council housing. In reality many are in London in fairness, Grenfell Tower making people all too aware of that, but it’s how naïve they’re presented be they Alyssa or this neighbour which makes their depiction a bit questionable…]
Weirdly the flat has stairs. [It honestly makes no sense…]. Strike comes into a blue lit room with numerous knifes and other blades. He looks in a glass fronted fridge and sees dismembered body parts wrapped in plastic. Plastered on the walls are pornographic images of women but some have his face plastered on top of theirs. There are some cuttings of Lulu and voyeuristic photos of Robin walking down the street. The kitchen has abandoned cartons of food and Strike finds a small mirror with a selection of spectacle glasses, medication and a toupee/wig. He wanders up some more stairs [Are there multilevel flats in London? Because I’ve never heard of such a think unless these are all service rooms meant for maintenance staff that Laing has been using somehow…] Strike comes across another fridge filled with body parts.
Suddenly he gets attacked from behind by a bald man. It’s Laing! He stamps on Laing’s foot but gets pushed back. They slam each other into the walls and Laing bites into his collar. Strike gets thrown down a staircase.
Shanker is walking down the corridor of flats checking his phone wondering where Bunsen (his nickname for Strike) is.
Laing shouts as he descends the stairs but Strike kicks him in the groin.
At the door Shanker calls to ‘Bunsen’. Strike gets kicked into one of the blue lit rooms as Shanker calls to him through the letterbox. Laing is kicking Strike as Shanker begins trying to kick the door down. Laing grabs a knife but while he is distracted Strike, splayed on the floor, grabs a hammer and swings successfully at Laing knocking him off his feet. As Shanker continues to call for him he handcuffs Laing to the frame of the counter top.
Strike, still having not left the flat nor opened the door for Shanker yet, tries to call Robin but gets an automated message saying ‘messages to this number have been blocked’.
[first: he has bad priorities. Second: Does it actually do that to blocked numbers? I assumed it just leaves it ringing until it either automatically cuts off or you give up. Otherwise people know you’ve blocked them and that would lead to trouble for many people surely.]
He finally opens the door for Shanker and asks ‘what kept you?’ to which an out of breathe Shanker says ‘that’s a steel door’.
[… you know I realise this was made before Grenfell wasn’t it? That’s unfortunate timing to be showing such a dismissively low opinion of those who live in council flats…]
Matthew drives the land rover through the night to get to… where ever it is he and Robin are getting married.
Strike is in the office speaking to Wardle detailing how the forensics team believe there was more than one body there [i.e. the production team were a bit overzealous and put too many body parts in because there were clearly multiple torsos in those fridges thus it makes the team sound like they’re stating the bloody obvious]. Wardle asks Strike ‘what made you think Ray and Laing were the same person?’ Strike tells him ‘the photo of Ray gave the police has him on the beach next to sea holly in full bloom, supposedly in April. It was like the coffee shop photo. It was staged.’
Wardle asks if he is sure he is alright and Strike mutters ‘yeah’ before continuing ‘sea holly doesn’t flower in the wild until June. If you find the other bloke, Ritchie, I’m sure he’ll tell you they were taken last year. Height of summer, but they put coats on to try and look cold. Ritchie probably thought he was taking part in a benefits scam or something. I’m imagining Ritchie’s none too clever. [That’s a presumption as he might have aided Laing knowing who he really is. Strike just assumes he was a patsy.] There was a certificate for bravery hanging in Kelsey’s sister’s house. I called the fire service. The real Ray Williams, Mrs Williams’ son, retired to Spain six years ago. Laing stole his identity. He was good at accents and he spent a lot of money disguising his appearance. He even managed to find a girl who’d made the mistake of having a crush on me.’ [Presumably Laing was one of the people posting on the online forums which Kelsey was on.].
Wardle smiles and Strike, leading him out, says he will come down to the station tomorrow morning. Wardle’s mobile phone vibrates and he tells Strike that they’ve picked up Brockbank before telling him to get some sleep. [When this aired I swear there was a shot of them finding him in a homeless shelter. Was that in another case?]
Strike returns to his desk and leafs through various newspaper cutting and print offs. One speaks of communes featuring a photo of Brittany Brockbank. He recalls her words as she was led away when they came into the house back then: ‘Daddy wouldn’t do that. I didn’t mean any of it’ he recalls her saying. [Which doesn’t match what we were told about her informing on him earlier.]
He is driven to a commune in the country by Shanker and introduces himself to a member as a friend of Brittany. We hear a baby cry. The commune, composed of quasi-hipsters dressed in a manner not really suited to the lifestyle, is mostly VW beetle vans and some marquee tents with random pieces of furniture and such strewn about. Here he meets Brittany who is older now and a member of the commune.
She asks what will happen to her father now. ‘Nothing that involves you’ Strike tells her. ‘He’ll be put away for a very long time, and when he’s released he’ll be on the sex offenders register for life.’ She says that’s good before he continues ‘I wanted you to know before, you know… He should have been put in prison a long time ago. We failed you there, Brittany. I failed you.’ She reassured him by saying ‘you believed me, though. And you tried. That helped a lot.’ She hesitates a moment before asking ‘was it you who caught him?’ Strike tells her no, it was his partner. ‘For a case you were doing?’ ‘No’ he replies. ‘But she did it anyway?’ Brittany asks. He confirms it and she asks if she is alright. ‘She’s a bit bruised, but she’ll live.’ Brittany asks ‘will you thank her for us?’ Strike nods. ‘What’s her name? Your partner.’ He tells her it’s Robin. There stare at each other a moment then he heads back to Shanker. [So that was for his closure not hers really.]
Strike tells Shanker they’ve got a second stop in Yorkshire. Shanker asks ‘where’s that?’ Strike bemused responds ‘Yorkshire! The county. You know.’ then imitates the accent saying ‘Yorkshire!’ then tells Shanker to just keep going north until he tells him to stop.
Some whimsical music plays.
Strike buys a suit from somewhere. [With him and Robin in this story it’s as if people are constantly just going in and buying formal wear casually according to Rowling… what makes it amusing here is we see him exist a petrol station as if he bought it there.]
More countryside scenery porn for the foreign markets.
Robin with her hair in rollers.
Strike tells Shanker to put his foot down and Shanker tells him it is but Strike wants him to put it down further to which he responses ‘I am not having this for the next hundred miles. Humour.
A newspaper article has a headline reading ‘Killer Strikes Out: Strike no longer suspect in Kelsey Platt murder’. Shanker mocks ‘that’s you sorted out then. Back to being the hero of the hour. Strike laments there’s not fixing everything and Shanker says ‘…Nah, there’s not. That’s just life, innit, mate?’ which cheers Strike up a little.
[So they repeated that sentiment throughout and try to play it off as a positive note? That is a bit bizarre to he honest. Hard fought for survival I guess. ‘You don’t always win – you just survive and that’s good enough’.]
We see Robin exiting the car to her wedding ceremony.
Shanker, in voice over, asks ‘what’s the deal, then, Bunsen, you going to go full-on Graduate? Elaine! Elaine! What about me?’ he mocks pretending to bang on glass like the scene in the film of The Graduate laughing. Strike tells him ‘No, I was invited. I’m a friend, a guest.’ Shanker mocks him being a friend as he sacked her, ‘not exactly a friend where I come from’ he jokes.
We see Robin in her wedding dress with her father.
Shanker comments ‘reminds me of your mum.’ Who asks Strike. ‘Who?! Your Robin. She’s kind, isn’t she? Like the way she wanted to save that kid. Strike says he is going to try and get her back but next time if she calls Shanker – Shanker cuts him off agreeing that he’ll call Strike first to check as he just took her word it was at his behest she was asking for Shanker’s help.
The marriage ceremony is underway as Strike pulls up and runs, as best he can with his leg, inside. The grooms-men hand him an order of service and although he is offered a seat he decides to stand at the back instead. At which point he accidentally knocks over one of the flower arrangement on a stand. Robin and Matthew look back at the noise. He apologises in the echoing silence. Matthew scowls. Robin smiles to see him there and says ‘I do’ while still looking at Strike.
The happy couple walk down the aisle being wished well by people as they go. Both smile at Strike and all ends well.
I recall why I never came back to this until now – it just seems to dawdle along for so long feeding only fleeting suggestions of what the evidence will lead to while seeming to focus more on Robin’s back and forth feelings on her marriage. In theory you could skip most of episode one except for one or two scenes involving early pieces of evidence.
It’s not that there are no developments at all but it also doesn’t really feel like there is much steady progression to the murder side of the story when we keep having to address Robin’s emotional situation. Remove the parts about her upcoming marriage, finding out about Matthew’s cheating, running off home to her parents, making up with him and returning to London and about a third of the run time could easily be cut out at least.
It’s pleasant to watch but isn’t satisfying due to how the clues are dealt with leaving the twist both a bit obvious but at the same time coming out of the blue that it really came down to that.
Not that gradual character developments over the run of the whole series isn’t nice but we can all see where it will end up going so it might as well get there a bit quicker so we can get on with the more interesting murder case investigations. However I can easily imagine we will just keep getting teased along about whether Strike and Robin end up together until near the end, if not at the very end, of the entire run of novels. I’d like to think this ‘will they/won’t they’ aspect will get resolved within a book or two then they get together, then there’s a marriage one and then we get to deal with their married life and all the consequences that would bring eventually instead.
Robin wants to be a detective and married. Matthew says she can’t be a detective for her own sake. Strike is happy for her to be both. She wants to be both. Instead of trying to address Matthew’s disdain for the job they just kind of trundle along. Her constant Batman like ability to have prepared for every eventuality is addressed but also her fore-rightness in not practising caution also ends up with her comeuppance not once by twice. So as much as I felt this story line dragged I did like how it addressed issues with the characters while leaving room for future developments.
Strike spends too long wanting Whittaker to be involved and getting distracted by him. You can easily argue it shows a flaw in Strike’s character that, as good a detective as he could be, he lets sentimental bias cloud his judgement. However in his case with his focus on Whittingham it becomes a bit laboured.
Matthew just keeps coming up as little more than an obstacle and ineffectual antagonist towards Strike. Honestly he is in the list of ‘introduced characters who will eventually become a murder victim later in the series’. Probably it’ll involve Robin suddenly claiming Strike never liked him when the animosity all seems very one sided. From the first moment of this character’s scene time in the first story line he has had the sword of Damocles over his head it seems and we get little if any reason to like him – even the chirpy light hearted breakfast scene interrupted by the thumb in the kettle does nothing to make him more sympathetic.
Shanker is a fun character. I wan to know more about him but at the same time he seems to be limited to being a sidekick with a few quips to serve as Strike’s criminal class muscle and informant when he needs it. He serves as a bit too easy a plot device to be honest. I half wonder if further down the line he and Strike will be on opposite sides of events. It’s a potential storyline if there is a criminal murder and Shanker has to choose who he is loyal too. That or he will die too.
As for our suspects: They all feel one dimensional to be honest. One is only mentioned due to his MO then instantly forgotten about. One is more based on Strike’s grudge than evidence. The last two are both child abusers albeit one goes to the extent of murder. On an initial, casual, viewing it was easy to confuse the details of their backstories due to the similarities.
The bookendings regarding Brittany really feels forced as if to give Strike some catharsis over an incident in his past. The character with his stated ethos of ‘you can’t save everyone’ might have been better served by Brittany telling him to piss off – just as everyone had told Robin to do so just for being associated with him.
The second time watching the story I followed it better but that twist about Laing posing as Ray comes so suddenly, even with the clues being scattered throughout, it still feels a bit like a contrivance. I assume we get less hints in the TV adaption that someone reading the book. So it could be an issue with the adaption distilling the novel into two episodes when perhaps it needed more as a lot of subtlety was lost and then even some important parts were too as well.
It was enjoyable but you definitely shouldn’t actually sit and think about it as you suddenly see a lot of issues arise. Admittedly in my commentary I focused on how certain people were depicted as stereotypes but there also feels to be a lot of contrivance too.
This feels more of an adventure-mystery series than crime one. It’s more in the mould of something like Tintin or the works of Wilkie Collins than truly belonging to the modern crime genre or the grand British tradition of detective literature. If J K Rowling aspires to join such luminaries as Agatha Christie, Sir Arthur Conan Doyle and others she really needs to focus more on the integrity of her mysteries than being distracted by the personal lives of her characters. As a mystery solving adventure, in the style of Enid Blyton’s Famous Five or Secret Seven who solved mysteries as adventures, this is good fun but I can only imagine for people who enjoy murder mysteries this comes across as infuriatingly light on substance.
On the technical side every thing is great. There’s good cinematography, lighting, the sound is always crisp so you don’t miss any dialogue. In terms of locations the only time I got lost was the layout of Laing’s council flat. Something was off there and it needed to be explained about how there were multiple floors of rooms, up numerous staircases, for what was apparently a normal council flat.
The acting by the returning cast is great as always even if I’m somewhat questioning of the writing choices and how secondary characters are depicted. Praise should go to the actors of Niall Brockbank (Andrew Brooke) and Alyssa (Emanuella Cole) for the intense scenes they had to perform in. The actor for Donald Laing (Neil Maskell) goes above and beyond having to portray three distinct versions of his character. Admittedly there were some weak performances but personally I feel that might be due to not having much flexibility to explore then as they tend to be one note characters sadly. I have no doubt the actors in those roles have given excellent performances elsewhere.
Predictions regarding the future of the series
If she writes the number of books she wants for the series, having stated there are at least ten more she wants to do, then this will be her longest running project by far but amusingly it’ll not be under her own name.
Everyone besides Strike and Robin are potential murderers or murder victims as we have now been introduced to so many extraneous character like Strike’s half sister, Nick and Ilsa who serve no real purpose except as potential case fodder. I suppose it’s to avoid the classic issue Christie often had of her characters wandering from place to place to meet ‘old friends’ who we had never met before (or perhaps you don’t recall as you’ve seen TV adaptions out of order or with the role played by distinctly different actors).
Honestly we should all go put down bets that one of the future books will be a case where Whittaker is already murdered before the start so Strike has to confront his mother and stepfather’s past with it revealed that, although a complete arsehole, it wasn’t Whittaker who fatally overdosed Leda (though due to the nature of the series it won’t be a case she herself overdosed which would be far more realistic). In that case I expect some sort of bittersweet story involving Shanker who has been like a brother to him. That and Strike’s half-sister might be murdered.
Strike’s university friends Nick and Ilsa getting murdered is a possibility.
Shanker being murdered by criminals or being on the opposite side of an investigation and having his loyalties tested seems very likely.
Strike’s ex who we encountered at the start of ‘Cuckoo’s Calling’ no doubt will come back somehow.
Due to the number of tertiary characters I can imagine probably all of them will get killed off eventually if there are over ten more books left to write.
Another I feel is a certainty is we will have some contrivance where it turns out the gorilla mask rapist wasn’t the guy who was charged with Robin’s rape. As much as that latter one would require some issue with forensics evidence to occur it feels like that is being set up to be dealt with as a cold case or somehow be brought up due to a similar MO by someone who wasn’t the convicted guy.
You can just tell how the frequently referenced past event story lines deeply connected to Robin and Strike are inevitable full novel investigations we will have in depth explorations of because Rowling likes following preconceived narrative structures so much and ten books pretty makes addressing them inevitable…
You should quit smoking in order to boast of your will power.
It would be nice, not having smoked for a week and having acquired confidence in yourself that you will be able to hold back from smoking, to come into the company of Lipavsky, Oleinikov, and Zabolotsky, so that they would notice on their own that all evening you haven’t been smoking.
And when they ask, “Why aren’t you smoking?” you would answer, concealing the frightful boasting inside you, “I quit smoking.”
A great man must not smoke.
It is good and useful to employ the fault of boastfulness to rid yourself of the fault of smoking.
The love of wine, gluttony, and boastfulness are lesser faults than smoking.
A man who smokes is never at the height of his circumstance, and a smoking woman is capable of just about anything. And so, comrades, let us quit smoking.
by Даниил Иванович Хармс (Daniil Ivanovich Kharms)
Zabolotsky was part of OBERIU (ОБэРИу) a short-lived avant-garde collective of Russian Futurist writers, musicians, and artists in the 1920s and 1930s. The group coalesced in the context of the “intense centralization of Soviet Culture” and the decline of the avant garde culture of Leningrad, as “leftist” groups were becoming increasingly marginalized.
Lipavsky and Oleynikov belonged to a later grouping, which had no public outlet, is generally called the “chinari” (i.e. “the titled ones”) group in Russian literary scholarship, though it is uncertain that they ever formalized a name for the group, nor that they called themselves “chinari” with any consistency. Thus, the names “OBERIU” and “chinari” are somewhat interchangeable in the scholarship. The borders between the two groups are (and were) permeable, and the only basic continuity is the presence of Kharms and Alexander Vvedensky.
An irreverent look at this case which today is about the murder of a novelist and the intrigues of the book publishing world. In other words Rowling, by the second book, was out of ideas and wrote what she knew – just like Stephen King does by having all his protagonists be writers of one flavour or another. Written by J. K. Rwoling under her pseudonym Robert Galbraith i.e. the pseudonym everyone tends to forget to use when referring to the author of the C.B. Strike series of crime fiction novels.
So is this a veiled jab at people Rowling herself, under the pseudonym Robert Galbraith though everyone knows it’s her, encountered in her career? We can only wonder.
Long story short this case is ‘wanker writer got killed for being a complete wanker and everyone around him in the publishing world was somewhere on the sliding scale of wankerdom themselves’. There are no likeable characters – pitiable ones yes – but no likeable ones. Except Strike and even then that’s more because he’s the leading man and isn’t an arsehole to anyone intentionally unless they ‘deserve it’ in Rowling’s mind.
[Editorial note: Did you see this broadcast on the BBC on the 10th and 17th August 2017? Did you see this elsewhere when it was first aired? Guess what – I typed notes the hour after the broadcast and only now got around to tidying them up so if this is in any way mildly inaccurate… roll with it please for humour’s sake.]
Part 1 (Episode 3 of the short series).
Today Robin happily risks her future marriage as she still has dreams of being a private dick… although as we will see the dickishness of last time wasn’t an isolated event and she only escalates further down the rabbit hole of being a Mary Sue.
We open with a mystery woman reading an article in a magazine, cutting it out and pinning it to her chest then putting her head in the oven to commit suicide. What’s that? ‘It sounds exactly like how Sylvia Plath killed herself’ I hear you mention? Yes, yes it does doesn’t it? Rowling is going meta-intertextual on us. Be in awe of her post-modernist genius! And I’ll ruin the little mystery of this stinger by telling you now that the mystery woman wrote a book which was parodied by a more successful author, Owen Quine, and this drove her to suicide. Or did it? Yes, yes it did – there was a corpse found in the kitchen. But did Quine author the parody? That’s the subplot of this murder investigation and the key to solving it. Thus Quine becomes the ‘main case’ murder victim and the woman’s husband a, if not the main, murder suspect. The adaption clearly wanted to get your attention but you don’t get context for this scene until far, far, later.
At the core of this investigation is the anonymous distribution of Quine’s Bombyx Mori a controversial manuscript in which its protagonist, ‘Bombyx’, is a writer who is repeatedly abused, tormented and ultimately eaten alive by the people in his life whilst going to extraordinary lengths to capture and preserve his talent for their own selfish gains. Bombyx is Owen Quine and all the caricatures in the book are the people around him in the literary world he hated and felt were feeding off his success. Yeah, no, this couldn’t possibly be Rowling venting a little whatsoever…
Did you think there would be different introduction music for each case? Well apparently not. I mean they paid for one song. What do you think they’re made of money? That in adapting a sure-fire ratings winner being shown on the BBC they could afford to take that extra step so it’s the start of a separate case and not ‘episode 3’ of an ongoing series? (Who do you think they are? Netflix?) But surely you realise that’s how TV adaptions of ongoing crime novel series are! Can you name the different cases of Morse? No. Anything by Agatha Christie doesn’t count as you tend to learn those by social osmosis so ‘case theme tunes’ are pointless.
[instrumental] Me and you… you and me… we’re in this together… we definitely don’t have sexual tension and will end up together, by the end, though it all, you clearly don’t love your fiancé, and I’m clearly single… you and me… me and you… solving cases, knowing one day you’ll steal my clients, if our relationship breaks down, once you’re qualified as a private detective… [fade out]
Next Strike is with his ex and she asks how he can still love her. But it was a dream. It’s always a dream. He’s a disgruntled protagonist. His lot in life is not to be happy. Ever. Just like real people but only more so.
He’s in a cramped loft/attic conversion bedroom. Robin pops in to wake him up… so he’s living in her attic? I mean the rooms never given context so… um,yes? And yet her fiancé has never met him… Or it’s a side room of the office… but that’s not as amusing to imagine and if it was he didn’t use it during the Cuckoo case.
This is followed by a mystery man walking through an office to meet another mystery man. Who are they? You won’t have a clue when we get to the next scene so it’s all smoke and mirrors which is meaningless as you’ll have forgotten what they said in a few minutes. It was Daniel Chard, the president of Roper Chard (played by Tim McInnerny a.k.a. Percy off Blackadder who everyone forgets because Hugh Laurie replaced his ‘role’ on the series as being the nice but dim upper class figures) and the publisher but good luck remembering their names. Daniel Chard says he, the other man in the office, Quine’s alcoholic editor, Jerry Waldegrave wrote the letter. Ooh intrigue. And yes I’ve had to go look up the names as all at once the ‘literary world’ characters are interchangeable looking and yet each has a very different position within it though really they could all have their dialogue said by the wrong person and you wouldn’t notice except Elizabeth whose clearly bitterness and miasma of cigarette smoke makes her distinct.
Back with Strike he has a pushy client called Mr Baker complaining. Once he’s gone Strike calls him a tosser and tells him to settle the bill of services he’s accrued. Yes that character’s name I remembered and yet any names from now on have had the help of Wikipedia to confirm. Next the dead author’s wife, Leonora Quine, comes and needs his services.
Unlike a film noir detective she ain’t a leggy dame whose legs go on and on for miles and won’t quit running through the gritty detective’s mind ‘cuz them’s ain’t just legs them’s gams!’ Nope she’s a housewife, maybe even a just barely allowable ‘TV ugly’ looking woman as they’ve made the actress look as plain as possible in bagging clothing, unflattering glasses and such to the point you wonder if Rowling spent a page or two languishing over a detailed description of how normal she looked in contrast to all the glamorous people from the Cuckoo case. ‘Look I can write normal, working class, people too!’ she declares to the one person on an obscure internet forum (or Twitter) she chanced upon in the early hours of the morning. Even if she does write them as if they have severe emotional problems or one track minds she can write them… sort of… but they need some single characteristic to make them vile to the reader’s refined middle-class sensibilities. COUGHtheblowjobwomanwhohelpedStrikeoutlasttimeCOUGH.
Leonora, which is a fancy name for such a ‘look how boringly normal she is’ character to be honest, said her husband went to a retreat called Bigly Hall and has been away ten days.
Strike phones the retreat pretending he is doing so on grounds he is giving Owen a medical report. Owen isn’t there. Strike, who seems fed up of having work, says he won’t charge and see her out though she protests. Who needs an income? Robin tells him who she was, who Owen Quine is… blah blah blah you know the usual ‘Rowling thinks female heroines are walking databases’ stereotype though in Robyn’s case she is using an online search engine (not at all Google of course otherwise they might have to pay some form of royalties) and looking at an encyclopedia entry (not at all Wikipedia for the same reason… in fact she might be reading the wiki page for the Strike TV series… and reading spoilers on some pages so she’s one step ahead of the game).
Then they go for drinks. Because that’s what people do after work as far as TV land is concerned. No one is ever tired, hungry or has responsibilities in day-to-day life… I’ve seen it done on Casualty and Holby City too to name one other ‘drama series’ that has this sort of mentality. Work is life. Work will set you free. Welcome the freedom of death. In the meantime get drunk in the evening to numb the existential angst of the middle class malaise.
But they take the case as Leonora insists upon it. Robin is pushed back twice to no avail. The police won’t help so Strike HAS to help. Because he has the protagonist disease which affects him like a very specific form of OCD where he is compelled to help people in need…
Thus literary agent Elizabeth Tassel appears on the scene at the pub, but not the same pub as during the Cuckoo case, and we get her life story all in one go though no one asked for it. We get her life story every time she is on-screen. Why do we learn so much about her and her hatred of the industry she works in? Have you guessed yet? No… well okay we can wait a little longer as this is only the first strike over the head we’ve got so far.
She is a failed writer who became a literary agent. She lives and works on the fringe of the London literary community, which she deeply resents, and expresses by bullying her staff. She smokes a lot and has a dog that’s very ill. She’s a bit of a bitch so is immediately unlikable anyway. Also she is smoking in a public space which you would think would have a member of staff telling her to stop, her giving a ‘witty’ putdown and then the staff member saying ‘No… really… you need to put that out according to the British law because you can go do one if you think we’re going to get fined because of you’.
She can help. But she won’t help. Does she have a reason? Hmm do you think there’s a reason she won’t help? Is she perhaps contrasting someone from the first case who was too helpful?
DO YOU KNOW WHAT ROLE SHE PLAYS IN THE STORY YET?
She claims she fired Owen as he wrote a thinly disguised attack on the people around him which made the manuscript unpublishable. Strike notices an old black and white photo of her and other authors. Why it’s not in colour as most if not all cameras by that point were colour ones would have been I don’t know… just that convention dictates ‘old photos must be sepia or monochrome’ in TV land. Which means anyone who possesses a monochrome photo is doomed to suffering by default as if it instantly becomes a cursed object.
Owen taught a creative writing course. He considered Liz a hinderance. Then she mentions her dog’s poo is like rocks. DOGGIE DUN A POO POO! DATZ FUNNY!
She asks a waiter for green tea. He asks if it’s for the dog. No, she replies sharply, it’s for her – for her throat. Well yeah if you’re going to wave your dog about in a restaurant and ask for a drink while doing so the staff are going to leap to conclusions inevitably. You see a lot of odd people in the service industry just by sheer force of numbers you come into contact with so this kind of request is expected. Also green tea isn’t going to solve that throat cancer you’ll be getting one day since you smoke like an industrial era chimney Liz…
Back in the office Robin is ‘working’ by watching an interview of Owen’s on ‘Not-YouTube’ and remarks to Strike that Quine wasn’t a fan of short sentences. [Unlike Rowling who is criticising some unknown writer it can be assumed… part of me secretly wishes it was David Foster Wallace – someone who is dead and whose legacy is secured as one of the truly great writers while for all her money she will never be held in anywhere near the same esteem as him… and at least it would explain the treatment of the dog by the end if you know how fond Wallace was of dogs…].
Strike takes this moment to do a job evaluation and have a slight heart to heart with her. He tells Robin she is worth more than he is paying her and that they’re in debt again. How?
Okay… more importantly:
How many employers have ever said such a thing to an employee? Only one’s who want something. And by something I mean unpaid work or beginning a tryst via flattery.
How the hell is he in debt again when he has to turn away business he is so overwhelmed with people seeking his help?! It’s never explained.
So the editor (or someone else) is at Quine’s house unseen by the audience. He leaves and Leonora says he smelt of wine. What does that have to do with anything? Nothing. It’s a red herring. The guy likes a drink and spilt some on himself… not that the story ever clears that up.
Meanwhile Robin is in a bookshop. Why? Because the theme of this investigation is literature… um… that’s it. Rowling’s the only author who could write about a book shop and make it seem as interesting as IKEA’s ‘zone of boxed flatpacks’ next to the checkouts. Robin doesn’t discover anything.
Liz visits Robert…
Um… okay… at this point I should note a lot of the book characters got cut out and I think some must have been amalgamated. The adaption has a guy called Robert but that’s not on the Wikipedia page. Anyway the woman in the stinger who committed suicide was his wife.
So word is he has read Quine’s manuscript of Bombyx Mori. Then its noted her dog is shitting on the lavender in his garden. IT’S FUNNY CUZ DA DOGGIE DUNNA ANOTHER POO POO AND SHE DON’T CARE LOLZ! ROFLCOPTER! … and in other words the mentality of the following level of humour regarding repition of a simple joke:
… but in fact it’s not just humour but a clue as to… if you haven’t figured out yet I won’t tell you. Someone’s a bad egg and we all know animal cruelty is ‘Bad Person behaviour 101’.
Strike is with Leonora and Liz visits him. Leonora thinks Owen was, as usual, sleeping around, shagging around (wombling free, the Wombles of Wimbledon Common are we)… whatever you want to call it he wasn’t faithful because apparently writers get fangirls willing to sleep with them all the time. (So… meta-narrative time: Did Rowling get a lot of offers from her fans?) Which is a good time to mention Stephen King’s novel Misery…
… for no reason except, you know, I just want you to remember there’s a dark side to fandom… it’s not all fans wanting to crawl up inside you like eels.
… some want to cause harm due to obsession. Moving on.
So walking down the road Strike sees a newspaper kiosk. Shocking! Who knew those still existed in this day and age?
But that wasn’t the focus. He sees his ex, Charlotte, has done a photo shoot with her new husband for the May cover of a gossip magazine. ‘Hello’, ‘Now’… you know the sort. The ones you see ancient editions of in the waiting rooms of doctor and dentist surgeries… So old that you have ‘these two celebs got together, then under a mouldy children’s book the ‘they’ve had kids’ edition and in someone else’s hands across the room the ‘they’ve had a divorce’ edition sometimes all three published during the same year. Well it seems his ex met and got engaged in what seemed a matter of days or a fortnight during the last case so to be honest he should be happy he got rid of her.
On a side note: if she isn’t the victim of one of the later novels I will be surprised. Either that or she turns out to be the murderer – thus further enforcing the ‘it’s Strike and Robin’s destinies to be together forever [in accordance with authorial mandate]’ storyline Rowling keeps dropping hints about. Saying that Robin’s fiance is also high on the list of likely ‘series long’ characters up for a ‘dull shock’ murder of a long time cast member. Put money on it. It’s certain to be one of them if not both.
Next we see a woman burning pages in an outdoor fire. This is Katherine or Pippa… or an amalgamation of the two. She isn’t that important really.
At the pub Strike finally meets Robin’s fiancé Matthew Cunliffe. Get it? Cunliffe because, as heavy-handed as her caricaturisation is of him Rowling couldn’t get away with calling him the four letter word outright.
So Matt asks if Strike plays rugby and then talks about rugby a lot. Because he is a man and men play rugby. Rugger bugger. Strike jokes he used to be his highschool champ. (Wait… did England have high schools before recently? It’s a very American term for secondary school a.k.a. Comprehensive for the approximate age of the character). I guess Robin never mentioned the leg issue as the joke falls flat. Unless Strike was being serious in which case add it to the pile of ‘I can’t write characters who are not the very best in every single thing they do’ which, for Strike alone includes him being in the military police, the son of a rock star, Robin being… Robin and so on.
Robin and Matt have been together 9 years. I take it that’s meant to suggest that they never married because they didn’t feel like making that step rather than because they couldn’t afford to. They’re to wed in eight weeks. BECAUSE THEY’RE NOT DESTINIED TO BE! BECAUSE OMG, WTF, STRIKExROBIN IS THE OP! LIKE STRIN / ROKE SHIPPING! SO ROKE! CORMORANxROBIN = CORBIN… (um, wait… like the current Labour political party leader’s surname but ‘I’ instead of ‘y’… that’s a little cunning a political leanings suggestion hidden in there). STRIKE IS SO HER TYPE! STRIKE NEEDS A WOMAN LIKE HER TO FIX HIM! Etc, etc…
Matt jokes she was the only half fit girl with brains at school/university. Because yeah that’s how you write guys in relationships… I mean I hear that sort of joke made but under no context is it funny. Rowling has serious issues and is venting about someone she knew. Rowling just wants to make sure that at no point will we consider him even a flawed human being – he’s an obstacle to be overcome for Strike and Robin to be together. It’s not even subtle. I can only imagine he might get the old ‘redemption in death’ treatment somewhere down the line if he’s lucky. Matt also speaks derisively about detective work… because [rinse and repeat earlier ‘non-case related antagonism’ comments].
Strike goes to the bar to get a drink and offers to buy them a round. While he’s away, in what seems to be a distance of about 6 metres, Matt criticises him. Robin is sad as she could move up the ladder… really? How about ‘Matt shut up he’s stood right there’ or ‘shut up he’s a decent bloke’ or… not being a single-minded, career focused, selfish cow? She and Matt deserve each other. Matt doesn’t want Strike at the wedding. So either the adaption really failed to get across the animosity here or it’s poor heavy handed writing. Any way you look at it Matt is a pantomime villain in the level of complexity given to his character. A few months earlier in the Tom Hardy series Taboo they had a character who every time he came on-screen used racial slurs on the main character for being mixed race and it’s about the same level of writing albeit against a disabled man rather than a mixed race man.
Strike looks at the wedding invite he’s been given. He recalls Charlotte and her claim she was pregnant once when he broke up with her. Was she? Wasn’t she? We never know as she is an almost never seen satellite character.
The next day Strike mockingly calls Robin by her middle name. She tells him it was because she was conceived in Venice. Why do people get told such things? ‘Oh such fond memories of your dad and I rutting like wild rabbits while in Tuscany’. No, no one wants to know that sort of thing – especially not Tim Upagainstthebikeshedbehindthechippy’ Bristols, Gordon ‘slagheap’ Wells or Julie ‘Cockett’ Mouth…
Someone keeps a blog. Strike, when asked by Robin, is polite and says Matt seemed like a nice bloke.
Robin finds Katherine, a.k.a miss page burner.
They go visit her and she says she though she and Owen were friends until she read the book. Yeah she’s just a narrative device so not even worth flippant commentary…
Back at the office they find out Owen co-owned a house with Joe North, an American writer (with an All-American name) friend of Quine and Fancourt. He died of AIDS while writing about his experiences living with the disease. After lying abandoned for twenty years, the house where North died became the scene of Quine’s murder. I had to look that up as the information is thrown at you so fast and matter of factly you’ll miss it. It doesn’t have any great bearing on events but it is odd finding what bits they feel the need to tell you about and which bits they omit or skim over quickly.
Leonora gives them keys to the house. It’s never brought up who else has keys to the house and it’s one of the things they never bring up again despite that being something you would want to know about considering the circumstances while eliminating lines of enquiry. Leonora mentions she also has a copy of Bombyx Mori as it was left anonymously on the doorstep. It’s noted that this is odd considering a copy would be in the house already, as this is Owen’s home, and Owen kept numerous filing boxes filled with ideas for various books so Leonora would definitely have a copy of the manuscript somewhere in the house already. Owen and Leonora have a daughter named Orlando. To me Orlando is a male name, e.g. Orlando Bloom, but maybe it’s genderless and so fine – albeit it’s no doubt another ‘commemorating where we had sex’ name by the parents… She has down’s syndrome. She is the only person who doesn’t have a character based on them in Bombyx Mori implying she was the only person he truly cared for. So.. you know… even a nasty bastard can have redeeming qualities. That or he didn’t even consider her to have agency and thus was more a pet than child. But they dodgy that implication. [Although, arguably the ‘real’ writer of those controversial bits of Bombyx just didn’t know of the girl or chose not to write of her.]
Orlando likes to draw and steal things. She misses her dad and it’s not clear if she understands he is dead.
Strike introduces himself and notes he is named after an Irish giant. I can’t help but remember the whole Viktor Crumb thing in Harry Potter and the Goblet of Fire where Rowling felt the need to correct people’s’ pronunciation of the name Hermione. It was fine then since it was a book series aimed primarily at children, with a far more limited range of dictional variants to call upon, but here she is definitely speaking down to the audience ‘look at the references I’m making – I’m so smart and have such a wide breadth of knowledge you can’t keep up so I need to put it in simple terms for you’. No… it’s just Cormoran is a rare name outside of Irish circles. I mean just because you choose rare names for characters that doesn’t make your writing better. If I called a character Islwyn ap Morgannwg that doesn’t mean my audience are stupid because they don’t know ap Morgannwg means ‘of Glamorgan’ but just because they’re unfamiliar with the cultural reference. The fact she has explained Robin’s middle name and Strike’s first name screams that she is trying too hard and just feels the overwhelming need to speak down to her audience.
Also Matt doesn’t care for Cormoran’s name. Because Matt is a bad man. Have you realised that yet or does he need to go into the town square and kill some puppies Caligula style before you’ll accept it? Rowling doesn’t think you do yet.
Strike reads the manuscript. On the screen grim imagery flashes depicting the Marquis de Sade style scenes of the book. Well it’s more de Sade crossed with Clive Barker and a side of Bret Easton Ellis I guess. So instead he watches the football. Because he’s a bloke and football is the default for relaxing television what with the inevitable screaming at the TV when your team isn’t doing well. Football for the common man, rugby for the elite – unless your Welsh in which cae rugby is treated like a religion. Hence it’s another Strike/Matt contrast. The next day he asks Robin to read the book.
Meanwhile he goes to the co-owned house which he finds is in ruins internally.
Here he finds the mutilated corpse of Owen Quine disembowelled and arranged like the cocoon a butterfly or moth has emerged from.
He photos it… because that’s another habit of his besides going to the pub for a pint and watching football. Because that’s what men do – just like women drink wine, are eternally fascinated by shoes, enjoy afternoon teas and watch soap operas in Rowlingland. This is Rowling’s standard of writing nuanced caricaturisation. Broad enough people can identify with it as it’s so blandly unimaginative you would forget the characters five minutes later if her name wasn’t plastered all over it.
He then phones Robin to tell her Owen is dead. It’s grim. Imagine one of the crime scenes from the film Se7en. Robin comes over and looks too. She, unused to crime scene viscera, has no reaction to it which is a bit psychotic really. In fact it’s incredibly suspicious. I secretly hope she turns out to be a villain later in the series. She shows Strike the book and he reads the ending of it. It’s exactly like the crime scene before them as it involves people tearing out Owen’s innards.
Matt calls Robin. His mother is dead. She had a stroke. Robin leaves to be at his side. Strike asks her to relay that he’s sorry for Matt’s loss.
Later Strike is chatting to Detective Steve at Richard’s house and the forensics is too difficult to process due to the use of acid which has all but stopped them using that for evidence. All they know is that there was a woman with a duffel bag seen coming to the property and leaving there.
POP QUIZ: How many female characters, assuming it wasn’t a transsexuals or transvestite, have we seen so far? Who can we eliminate from the inquiry? So is the murderer:
The bitter and twisted Elizabeth (with her dog whose got bowel issues mentioned whenever she appears CUZ DAT FUNNY… though it isn’t really).
The worried wife (who, if she did it, will have done exactly the same as the previous case’s murderer having needlessly brought Strike’s attention to the case and would have got away with it otherwise… just like a Scooby Doo villain).
The downs syndrome daughter (who loves her dad thus would be setting depictions of disabled people back about 50 years as ‘dangers to society’ who can’t be trusted to not act violently if left unsupervised and should be locked away in asylums so society may forget about them as was the case back then alongside single mothers, politically disagreeable elements, artistic sorts and anyone else who just ‘wasn’t our sort’ to ‘normal’ middle class people).
The disenfranchised student/friend/lover (who got the book after the fact to give her motive for the murder).
The rejected male to female transsexual lover (who is actually missing from the TV adaption hence why you thought I was being pedantic when mentioning transsexuals earlier).
… Or it could be a man mistaken for a woman. It could be. It isn’t… But it could be.
It’s brought up that Leonora was a fan of Owen’s writing and was a butcher’s daughter in Hay-on-Wye before their marriage. So:
Hay-on-Wye is a town of bookshops in Wales. She couldn’t come from somewhere more likely – No, it had to be from the town of books because this story’s theme is literature. Funny that really as she isn’t Welsh sounding but then there are so many wannabe Bohemian English people in that town it is technically an English town in Wales.
There’s a hint of elitism here as this is revealed as if it’s something that should cause shock in the reader not seen since the Victorian sensationalist novels. How could a common butcher’s daughter be married to a successful author? It’s presented like there is some other aspect to it we are not told of. I assume in the book there’s some mention Owen knocked her up while at the annual literature festival in town and felt pressured into making an honest woman of her and the result of their union was their daughter. But the TV adaption skips that completely unless it was said so quickly in passing I missed it.
Strike says he knows the killer read the book. So we can remove a few of the remaining suspects can’t we? Apparently Owen and Leonora had an argument out on the street but Strike thinks Leonora wouldn’t have the ingenuity to commit the killing. Why is not explained. Working class people are cattle who can’t do something as elaborate as this sort of revenge murder. That’s the underlying message again from Rowling. Leonora throughout the case is presented as someone who is barely capable of coherent thought let alone being proactive in matters. She is presented almost as in need of care as much as her daughter if I’m honest as the show does everything in its power to demean her.
If you ever saw Harry Enfield’s depiction of the working class throughout his various sketch shows I feel this is very much in that ilk except it’s at the expense of the subject and not at the prejudice elitist arrogance of the ones observing.
Meanwhile Matt and Robin are in tears in their bedroom. He’s crying for his loss. Robin is crying she isn’t out and about playing detective as Strike’s sidekick.
Strike interviews Leonora but he can’t help her with the case. Police found photos. They take Lenora away into custody as the prime suspect. She screams out, Orlando becomes distressed, and Leonora is dragged away in tears. Leonora fears for her daughter as it’s only ever been her and Owen caring for their daughter. Except there is someone. Who they are isn’t known as they’re played by an extra whose presumably from social services. In fact that raises far more questions than it should but we never spend even a second on it.
In the next scene its morning and Robin makes Matt breakfast. He asks her to get the day off work. She tells him she will ask. Strike emails her at 5AM about the case. He then calls her and asks how Matt is doing. Because Strike’s a decent human being who wants to get on with both of them. He even tells Robin, unprompted, to take as much time as she likes. However, offended, she counters that they’ve already had clients complain because they’re behind schedule with their ongoing investigations. Um… no. Stay with your man in his hour of need Robin. Honestly Strike can’t win. He is considerate of a guy whose constantly belligerent to him, Robin is openly aiming to become a detective and likely take his client base from him after he’s paid for her training (which is what she wants to happen). He would be better off going back to doing it all by himself really. (and he kind of does later on in a later case but that’s a story for another time…).
So this is part one of this case’s ‘moments we are not meant to dislike Robin though we clearly will’. I mean seriously. I know there are people who justify themselves saying ‘oh I needed to get out of there! They were being so miserable.’ Well yes that’s what grieving is unsurprisingly. If he was like that six months down the line fine but Matt just lost his mother so I think he’s allowed a free pass for the moment to grieve. Rowling really just has some odd perspectives on things like this. Yes Matt is a thoroughly unlikable guy but to have Robin make excuses to leave him grieve alone is cruel. We get it. She really wants to be a detective and is single-minded in that pursuit but you can’t brush off this sort of behaviour time after time throughout the stories.
Strike has a meeting arranged with a man in Devon and Robin insists she will drive them there (in a hire car). And she does. As if you can just walk up and get a hire car instantly. Strike says why Devon. Robin remarks at least it’s not Cornwall. What, did Rowling have a bad experience in Cornwall too? That’s a bit out of left field save that it’s a further drive. She really is venting through this book it feels and the adaptions not being able to cover everything though no doubt some stuffs been left out.
They arrive at Daniel Chard’s country house with modern internal décor and are asked to take their shoes off before entering. Then Daniel, who has injuries to his hands from broken glass, says actually Strike doesn’t need to due to his leg. Daniel gets his… Thai?… servant to make coffee.
Daniel only wishes to speak to Strike so Robin goes to the kitchen. Sidekicks in the kitchen then. Send the woman to the kitchen… Rowling the feminist adhering to traditional gender role room allocation in a house.
Daniel reveals that Owen had an accomplice. He knows because there are things in the book which Owen couldn’t have known about. There is a reward of £10,000. This reward is never brought up again nor if Strike gets it when he dicovers the other author at the end. Daniel asks Strike if he’s read the book and confides it has things about him and Andrew in it.
Andrew’s wife was the suicide at the beginning. Liz says they were close. She considered Owen a genius and she had a crush on Andrew. Info dump…
Robin goes to the toilet. Manny, the Thai servant/boyfriend, blurts out he didn’t push Daniel down the stairs but in fact he fell down them by himself. This is never expanded on. In the book it was implied Daniel was gay. Well the TV series turned that up to eleven then… it’s implied there was a lover’s quarrel prior to Strike and Robin arriving. Not much to add… they just kind of leave it there as something they added but never developed. It therefore reminded me of a scene from Sasha Baron Cohen’s film Bruno unintentionally due to how petite the guy was. The one with the fire extinguisher. Go look it up. No in fact here’s a clip. It might even be the same actor for all I know…
Daniel adds Strike, and after a moment at Strike’s insistence, Robin on the guest party list so they can meet people involved in the events. That’s convenient of course but at least somewhat believable in contrast to the last case where they just seemed to walk in everywhere with little resistance.
Later Robin and Strike meet in a cafe and recount, in public, the key points of the case. Just to make sure the audience have kept up. I expect in a later book, if they do these in public cafes, for a suspect to sit in there and overhear what they’ve found out and used it to their advantage since this is so foolish. Ignoring too their poor manners in public but speaking so loud in a small cafe too.
Robin suddenly comes out and wants to know what Strike wants – as if he owes her something apparently. He says he wanted to train her he can’t consciously do so if she’s marrying someone who hates the work. He needs a person who can do the hours and tells Robin it’s the reason he and Charlotte broke up. He would pay for a partner to go on a training course but not an assistant. Then jokes, to try to lighten the mood now he’s said this, by asking for a bite of Robin’s sandwich. Robin says it’s not a good sandwich. GET IT? SHE’S SAYING SHE’S DAMAGED GOODS SUBTEXTUALLY… also no employer has offered training without some sort of price to be paid and Robin has done nothing but badger him about becoming a detective as if he owes it to her from the moment she first entered his office as an agency paid office temp helping put his paperwork in order.
Later they’re on a country lane, in the hire car, where there is a build up of traffic as a vehicle has broken down and it’s created a bottleneck. That it didn’t completely stop the traffic was a miracle from my experience where many country lanes are barely wide enough for one vehicle let alone have enough you can create a bottle neck where there is still movement. But then I know what I’m talking about here in Wales unlike a writer who is secluded in her mansion who had a somewhat comfortable, urban focused, life beforehand.
So what does Robin do? Wait and go past the traffic issue in a few minutes like a normal person being safe on the road? No. Of course not. She reverses, drives into a field and pulls off some off-road motor rally driving stunts drifting around gates and such. Strike is of course nervous as she is doing this with the mad, glassy-eyed, smile of a sociopath mowing down pedestrians.
They get past the block in the road… all 20 metres of it down the road though Robin seemed to drive about four times that distance through the fields and probably could have made their trip that much shorter by not doubling back.
So.. yeah. Those fields are private property of the farms and she just caused what could legally be deemed property damage. They were not on a tight schedule or anything either to thinly justify this little action sequence. She just felt like it and thus did it because she got frustrated for a few minutes having to deal with the reality of traversing rural roads. Prime detective material there… no wonder Strike wanted to train her.
Strike asks what she was doing. She tells him she did an advanced driving course. She says this smugly implying ‘see I can do anything’ as if driving in a field is the same as deducing the facts of a criminal case , potentially, having an innocent person prosecuted if you’ve got your facts wrong. But let’s face it Robin is becoming a textbook case study example of sociopathic tendencies. She didn’t get what she wanted so she intimidated Strike through reckless behaviour. You can argue it was ‘girl power’ showing him she was capable but he had good reason not to arbitrarily turn to his office administrator and ask ‘why don’t you become a detective?’
Strike has a voice message on his phone. He should also have his last will and testament after Robin’s actions today if he’s sensible. Andrew says he won’t read the book and he didn’t like Owen.
Leonora is taken into prison from the house and for no real reason they have her daughter on the doorstep there to further distress the girl. Classy. I half wonder if this was some criticism of the social services depicting them negatively in the book because Rowling once, and just once, had some trouble with them before Harry Potter took off.
Robin drives to the train station, jumps out and runs to the train to go back to Matt.
Oh great. Yes, let’s pretend like you care now. She even sits in the first class carriage to make sure she doesn’t associate with the common people. In fact she comes across like the subject of Pulp’s song now I think of it. She wants the detective life but doesn’t seem to appreciate what it entails.
And in the meantime she leaves Strike stranded in the ‘loading/unloading bay’ in the car… that’s not even a joke. I’m not sure he even knows what is going on for a moment as she ditches him so suddenly.
He offers a passing Irish girl £20 if she will drive him home. That doesn’t look dodgy at all… but what else can he do? There’s a whole mini-adventure here we never see occur on-screen.
Then he gets a call about Leonora telling him she’s been taken to prison.
DUN DUN DURR.
… But no really how did he get home? What was the Irish girl’s reaction? What happened after? Questions that will never be answered.
Part 2 (Episode 4 of the series).
Fun fact: I lost most of my original notes on this episode – hence the long delay after it’s broadcast to the point the next case ‘Career of Evil’ has already aired the first half – so this is mostly working off an edited compilation of scenes uploaded by Katerina Varela. Give her page and videos some support on YouTube please as they’re a great help thouh they omit anything not featuring Strike and Robin.
Robin watches an interview of Owen again. His first wife committed suicide. Nothing comes of this oddly. Maybe it was discussed more in the book.
Strike is in a mystery location. Robin calls him and asks ‘are you awake?’ when he answers. Well I don’t know if ‘sleep phone-answering’ is the 21st century version of sleepwalking but I would hesitate it’s a yes – unless his phone was stolen… They discuss the wife and she offhandedly thanks him for letting her stay a little longer with her grieving fiance… but quickly goes back to discussing the case so clearing it was just an empty courtesy and she wasn’t grateful really…
Next thing you know Strike is walking down the stairs to his office and Robin is there. He says it’s Sunday. She knows. She says ‘I think we should start taking a closer look at Andrew Fancourt, don’t you?’ which of course is a loaded question. She is dictating that they should. Honestly could she be any more thirsty to become a detective… she says she’s got his address and ‘let’s go’.
ORPHANED SCENES FROM MY ORIGINAL NOTES WHICH OCCUR AT SOME POINT DURING EPISODE TWO
Robin reads a section. Strike says Leonora is innocent. He even goes as far as to bet his good leg on it. If he lost the bet this would become a British remake of Ironside…
At the prison Strike has his female lawyer friend (who we’ve never heard of before) represent Leonora. The dilapidated house couldn’t be sold and the items used in the murder had been bought with the Quine family credit card. Her husband spoke to her of the novel. Strike warns her that could be used against her. Yes apparently it’s Strike who needs to say that and not the legally trained person he brought along. Is she just arm candy for him or as a blunt diagesis narrative excuse to explain how he got access to Leonora in the prison?
Leonora is angry Strike didn’t keep her out of prison. She just wants to see her daughter again.
He later has lunch with his half-brother in a bar. The actor, if he isn’t Tom Burke’s real life brother, looks a lot like him. They have the ‘we are related but not close though we like each other’ sort of dialogue you can expect of characters who will become more relevant later in the series once Rowling has a use for them (as murder suspects/victims most likely). The brother flirts with the waitress at this exclusive place and gets the information Strike needs as they catch up with each other.
We cut to Robin running in the countryside as if there’s nothing else happening in life at the moment. No doubt it’s excused as a bit of trendy mindfulness – which right now is a bit selfish really for her to be doing. Matt, still holed up at home, answers her phone when it rings. So Robin, who so desperately wants to get back on the case left her phone behind? I’ve seen plenty of runners have their phones on an armband so this seems coincidental. This convenience allows him to discover she hired a car for ‘being Strike’s taxi’. She could afford to do that but not stay and help him arrange his mother’s funeral he decides.In fairness he has a very good point as she put career (or more exactly her desire for a career she is unqualified for as of yet despite throwing it in her employers face constantly) ahead of emotional support for someone she is engaged to and you would assume loves though we are shown no signs of it. Are there any negative consequences for Robin’s decisions ever? No. No, there are not. Because Robin is perfect and untarnished in the mind of the writer.
Back at the prison Strike and his friend are leaving and she warns him to have no relapses regarding Charlotte. He laughs it off but indeed both wordlessly know it isn’t that easy for him. Even tertiary characters are more emotionally developed than some of the main cast… Now her use to get Strike access to Leonora is over she disappears from the story never to be seen again.
Strike goes to see Richard. a.k.a. Mr police detective. Strike can’t believe Leonora is stupid enough to buy a disguise. I don’t know if that’s a compliment or further needless debasement of the Leonora character. Which writer’s partner wound Rowling up the wrong way at a few dinner parties for this level of venomous writing exactly?
Back with Robin she and Matt are lying in bed and there is clear tension between the two. He was there for her when she needed it but clearly she can’t be there for him. (spoilers: eventually in the series it’s revealed she was raped. Hence her over compensating and need to be proactive). He tells her he doesn’t want Strike at the wedding because he wouldn’t give her a day off for personal reasons like bereavement. You can understand his view with the limited information he has but of course we’ve seen Strike be nothing but kind and actually offer all the time off she needed. Robin is manipulating both of them and there are no real consequences to her. However she admits it was her choice as she wanted to be an investigator. She justifies it saying she was doing a Psychology degree and… blah blah justifying her selfish actions. She says she ‘doesn’t want to do this’ and they make up instantly. No consequences and she gets to dictate terms and the conditions of their relationship. No wonder he’s such a passive-aggressive ass everytime we see him as it’s the probably only way he can do anything albeit out of frustration.
Strike goes and has dinner with friends. Who are they? We don’t know but apparently it needed to be made clear he wasn’t a loner because ‘eww loners are icky and up to no good’ societal clichés. Disposable characterless friends are better than being alone. Even if they are cardboardcutouts from a stock photograph. (Look at how things ended for one of the characters from Stephen King’s The Dark Tower series to get an expansion on the concept). The lawyer friend says she hasn’t met Orlando, Owen’s down’s syndrome suffering daughter, yet.
At some point Robin goes to the Quine house to meet Orlando and… well long story short Orlando likes to ‘steal’ things and hide them in her bag. Robin offers an exchange but ultimately steals the contents of the bag. In the bag was Owen’s copy of Bombyx Mori. Robin leaves quickly as she has made Orlando incredibly distressed in a flood of tears. Nothing ever comes of this and in fact in the conclusion Orlando even gives Robin a friendly wave. Because Robin can never do wrong…
Strike finds Robin in the office on a Sunday. He says she doesn’t have to be there but she insists. So she shut her grieving fiancé down when he calls her out on her behaviour and she gets to go play detective too? Protagonist centred morality…
Robin says they should go see the house. Thus they go to snoop around someone’s house. And, lo, did Robin say until Cormoran ‘let us venture forth unto the garden’s of burial’ and lo it was so… for her’s was the way and the just as according to the creator…
They approach a garden gate and Robin asks Strike to give her a leg up. Strike doesn’t make a pun about his leg but instead looks over the garden gate himself by doing a pull up. Hench blud, mah boy is hench yeah? Look at him raising himself up like it ain’t no ting. Well no he huffs and puffs a bit but the TV version is in far better condition than his book counterpart. He sees it’s a cemented over patio so burial would have been impossible. When he drops down, instead of slowly lowing himself, he hurts his stump inevitably. [Also there was a sickening crunch which definitely didn’t sound healthy so… maybe got to the hospital’s A&E while your out and about?] He mutters shit and doubles over in agony. Robin calmly asks ‘are you alright?’ Why yes because that’s what people do when they’re in good health doubling over mutting shit and rubbing parts of their body… But then she tells him to lean on her which after initially refusing he accepts and he apologises about it. Commandery… and by that I mean it plays into Robin’s YOU NEED ME! View that she is more than capable of doing his job for him…
Thus they go to the pub. Forthe pub’s alcohol shall numb all pains of both the flesh and spirit… plus they’ve nothing better to be doing...
Robin notes it’s Strike’s birthday. For lo Robin is not only perfect in action but also knowledge. She even knows Strike’s passport number. Thus she gives him a gift which consists of a number of Cornish food and drink items. She asks how it is and he replies it tastes of Cornwall. (it’s his hometown or something to that effect so… nostalgia). They discuss the case – again in a public space. Strike keeps talking of the guts, how the police investigators were not brought in on it and that Fancourt writes the sort of stuff suggesting this so they should find him tomorrow. Robin asks if his leg will be fine for that and he says ‘yeah, it’ll be fine’… which she doesn’t believe it seems.
The next day he hobbles into the office using a crutch and Robin offers to tail Farcourt but Strike tells her she hasn’t been trained but she insists she wants to do it. Also she informs him Liz has agreed to talk to him about Fancourt too over lunch ‘which will be okay, you’ll be sitting down’. Yeah go on Robin kick him while he’s down. That’ll motivate him to get you trained!
Then she shows Strike the parody of the ‘Sylvia Plath style suicide’ woman’s novel written by Quine. The woman being Fancourt’s wife. The parody was taped to her grave… with what? Duct tape? Seriously in British weather that thing would have blown half way across town in reality. They think either he’s being taunted or blackmailed. Strike compliments her work. She downplays it regarding how she messed up and he walked right past her. Then Strike says maybe some training will help.
Next think they’re at a swanky penthouse suite, him in classic black shirt and tie while she has a figure hugging black dress on. Daniel Chard invited them Strike tells the doormen… who are stood in the middle of the apartment making you wonder how secure it really is. Robin scoffs ‘plus one, he’s not keen on me is he?’ Well you’re there so… it’s not like he refused your presence…
They go out on the balcony. Strike mocks that ‘nevermind declining booksales everyone I’ve met so far in publishing either has a drink in their hand or arranging to meet for lunch’. Rowling can’t help be salty towards the industry that fed her and put her kids through school apparently. Then Robin quips ‘It’s not a bad life is it?’ so Rowling can have her cake and eat it…
They wander around for a while then Strike lights a cigarette and asks when Matthew is back to which Robin replies he’s back already. Strike gives Robin his coat as it’s cold.
Chard taps a wine glass to call everyone’s attention as he is about to give a speech. Do people still do that? It feels pretentious but it works. He speech is basically ‘publishing has rapidly changed but on things remained true: work with great writers and your readers will come. After 20 years elsewhere Fancourt is returning to this publishing house’. So yes Rowling blowing smoke up her own trumpet there ever so subtly saying ‘I’m one of the greats after one book series and a few spin offs’. Yes you can no doubt quote Baum, C.S. Lewis and other ‘one series’ children’s writers but it still stands they did other stuff too. In Rowling’s case this is it… and it was under a pseudonym until the publishers wanted a boost in sales.
Fancourt thanks them all and that it feels like a homecoming (which if you know the Greek mythos origins of that phrase is actually always a bad thing). He waxes lyrical about writing for Chard then Roper and how they were good days alongside saying how he was an angry young man now he’s an angry old man. Everyone does that ‘middle-class polite’ chortles laugh. Then he finishes saying he looks ‘forward to raging for you’. And they applaud as he leaves. Strike leaves thus leaving an opening for Fancourt to approach Robin… because hey he’s a villain and not a single man of mild success who thinks maybe he can use the boost to his confidence to chat up a woman… nope this is villanous despicable behaviour… He noticed she is taking a while to pick a drink and offers suggestions. Sex on the beach? A long, slow, screw up against the wall? No not really… He says the champagne won’t kill her as he picked it out. She flirtingly smiles and says that’s what she’ll have then and he orders two. Then he asks if she’s read anything good lately in what is, in the context, a very cheesy chat up line. She says Bombyx Mori. He calls it a poison pen letter and asks what she thinks of his depiction. She asks if he has read it but he says people have told him of it. He considered Owen a very minor writer with a very large ego and that their conversation would have pleased him enormously. She asks if she can introduce him to someone and brings him over to Strike. Fancourt immediately addresses him as the one-legged detective… which let’s face it is exactly what people called Strike before these BBC adaptions as it’s his U.S.P. compared to Hercule ‘the moustache’ Poirot, Sherlock ‘you know my name’ Holmes, C. Auguste ‘murder at the Rue Morgue’ Dupin, Robert T. ‘in a wheelchair’ Ironside, Endevour ‘shot of whiskey til I die’ Morse, Theofilides ‘I got a lollipop with your name on it’ Kojak, ‘Frank’ [no official first name]‘ah one more thing’ Columbo , the various Swedish detective of recent, Miss Jane ‘little old nosey women busy body’ Marple, John ‘I’ma LUNDUNAAAA’ Luther, Erast ‘different style every case’ Fandorin and so on.
He tells Strike he’s read about him. Strike wants to talk about Owen Quine’s death. Fancourt compliments him on his choice of bait. They talk of how he was co-owner of the house the corpse was found in. He says he’s not been there in ten years at which point Robin chips in saying he inherited it from a friend who died the same year as his wife. She says she’s sorry for his loss at which he spits he didn’t lose her as he tripped over her corpse in the kitchen. Strike asks if he ever confronted Quine about the parody which he says he didn’t but was certain he wrote it. (Yes because a writing style is like a finger print you couldn’t possibly copy someone’s style could you? Seriously… the logic here even if it’s for egotistical writers is incredibly flawed to the point the resolution wouldn’t hold in court save the culprit began running away like an idiot giving away their guilt). Fancourt changes the subject to Strike being a footnote who pops up whenever the topic of his ex’s marriage comes up in magazines. Strike considers it high praise. Fancourt asks him if he’s attracted to trouble women or they become troubled because of him… but then thinks maybe he should ask Robin instead. Robin says they just work together. GET IT? GET IT? ROWLING WANTS YOU TO WANT THE MAIN DUO TOGETHER! GO WRITE A FANFIC OR DRAW SOME FAN ART! NO IMAGINATION? IT’S OKAY AS YOU CAN JUST DRAW THE ACTORS INSTEAD! Strike wonders why Quine would use Bombyx Mori to deny writing the parody if he did. Fancourt says his wife thought if she married a writer it would change how people saw her but when it failed she tried being a writer herself. He thinks Quine saw himself reflected in her. ‘Most writers are not very imaginative Mr Strike, they end up writing about themselves.’At this point I laughed for a while thinking of the irony of the line…
He felt Quine was a failed writer struggling to gain some status through writing but was in his shadow. He tells Strike to take care, shakes his hand says ‘respect’ and leaves. Middle aged man talking like he’s from the streets yeah? Strike and Robin look at each other. The patented ‘what a wanker’ look.
The next day the pair are walking down a road to a house with a tree growing up it’s front. A man, the editor Waldegrave, answers the door and shakes their hands as he invites them in, offers them coffee. The whole nine yards. Strike thanks him for seeing them. The man says ‘anything for Owen, ha, bastard’. The guy had been at the party the previous night but disappeared after Fancourt’s speech… well yeah not much point hanging around really. Though part of me thinks Strike probably was too busy staring into the distance in his little ‘BOOM GOTCHA’ trap corner of the penthouse roof area rather than watching where the guy went.
Strike asks what he thinks of Fancourt. ‘Terrific writer, absolute shit of a human being’. He asks if they’ve read Bombyx. Strike confirms they both have though the guy wonders if they know what it’s all about. Robin interjects she didn’t recognise him in it. The guy says he was the cutter because… put your junior detective hats on for this revelation… he was the editor! Quine had used a rumour that Fancourt had fathered his daughter as part of the storyline of the cutter in Bombyx.
Strike says it must have hurt to which the editor replies ‘if you want life long camaraderie join the army; if you want peers to glory in your failure, work with novelists. No loyalty. Of course it hurt me.’ At which point he decides to have a drink as he’s got little to be sober for this afternoon and invites them to join him. Strike accepts a perolo and Robin wonders why. ‘It’ll help him feel we are on his side… and I like perolo’ he mutters to her metres away from the editor. People in the Strike universe are deaf to any noise more than three metres away from then it seems. Chatting of Liz the editor says even on a good day she can be an utter bitch and toasts to new-found cadre. After this he recounts some interesting information.
Liz made a pass at Andrew Fancourt after Ellie, the oven wife, died and Andrew saw it as a badge of honour that he couldn’t get it up for her. He mutters ‘prick’ under his breath and Strike admits he hadn’t been told that story by her. He continues that injured pride is exactly why she went with Quine over Andrew. Strike asks if Fancourt had a motive to kill Quine. The editor cites the claim in Bomyx that Fancourt wrote the parody of his wife’s work himself thus leading to her death. Strike asks if it could be true. The editor wonders as he’s very good at writing it. ‘It’s the kind of viciousness from somewhere even if it’s disguised. A writer can give himself away like that. In variably puts himself in the text more than he knows.’ Strike remarks Chard had a theory about that in regards of Bombyx. The editor confides that Chard didn’t like what Quine said about him. Strike says Chard though the manuscript could have had more than one contributor. The editor finds that an interesting thought and gives Strike a draft of the novel. He says there are many parts which feel like classic Quine with shock horror stuff but there are other parts where… DUN DUN DURR is some use of semicolons which in 20 years the editor never saw him use them once. WELL THAT’S CONCRETE EVIDENCE! (Oh, wait… no it is apprently. Really? Yes…). In the Bombyx manuscript there are several. ‘That is not something a writer embraces late in his career’. Strike thanks him assuring him he’s been very helpful. Robin sits with her mouth open aghast like a blow up doll. That was a weird moment… also it implies she hasn’t a clue as to how it proves the manuscript wasn’t Quine’s effort alone. Good detective skills…
Thus Strike announces he is off to Fulham.
But it’s time for the ‘detective explains their deduction’ scene at the denouement. Strike is in his office’s reception moving a chair to the desk to sit by Robin. Many pieces don’t fit together but this might be the thing that explains it.
Silkworms are boiled but in Bombyx it’s cut open. The book features the hero burned by a liquid and the murder site had acid. Katherine kent was expecting a very different book.
Waldergrave (aka the editor) and Chard detected foreign influence in the text (RUSSIAN HACKERS!) thus Strike deduces they repeatedly hear the same thing: Something is not quite right with Bombyx Mori.
THEY NEED A LITERARY ANALYST… wherever you go to hire one of those on the fly to compare the writing styles. Robin says she’ll get on that like it’s nothing.
The only person they know who spoke to Quine about the book was Liz so Strike is going to go to lunch with her again. ‘Needs must’… which I’m sure is a ‘you fat bastard’ type joke in the book no doubt as he is said to be so unfit but in the TV adaption they’ve only got Tom Burke who, at worst, you would say has a rounded face…
Next thing Strike is at the window reading a sliver of paper noting it has no baroque archetypes before he and Robin dramatically walk out the office into reception. It’s quite silly when you notice the Dutch angle and rising musical chord used as if something incredibly dramatic is about to occur only for it to be the literary analyst. Young and handsome of course as we can’t have any normal people on-screen unless they’re baddies or figures of ridicule. He congratulates them on getting it and Robin says Oxford often ask for it as it has Fancourt’s earliest published story in it. Long story short favouring certain irregular punctuation and such marks out who wrote it due to Quine never using the Oxford comma. Strike asks if it’s proof?
One word: No…
But it does suggest whoever wrote the parody piece also wrote Bombyx Mori. Which… let’s be honest is exactly where the pair were before hiring this expert. Though he does add it probably was the same person who wrote the short story as well.
Strike remarks it’s a sophisticated revenge ‘the story of your grudge in the form of a secret parody of Quine himself’. Robin adds that it leaves all the people around Quine hating him. But Strike feels it’s too complicated. Well they’re all conceited and ‘better than thou’ faux intellectuals so it probably isn’t to be honest. I mean… Finnegan’s Wake if nothing else proves how conceited writer’s can be about their genius and how easily people go along with it…
Strike makes a call to his detective buddy asking he trust him he needs to get a search warrant.
Strike and Robin walk down a road dramatically. She asks if he’s sure about this and he says absolutely. At the private dining club Robin comments it’s like a Bobyx reunion. The music is tense so you know this will be the ‘ah, it was old groundskeeper Willy all along… I would have got away with it if it wasn’t for you meddling kids’ scene.
Strike asks Chard and Fancourt if they have a moment to discuss something concerning Bombyx Mori. The three men head away from the table. Strike tells Fancourt he read the parody of his wife’s novel. He notes how spiteful it was. At this moment Liz begins to wander over. Strike says both Bombyx and the parody were written by the same person BUT Owen Quine was not the author. DUN DUN DURR (for those who didn’t figure it out much earlier when we had only been hit over the head 3 times instead of 12 with that possibility). Liz excuses herself saying she couldn’t help herself when hearing the name of that ‘wretched book’ raised and not ‘apologise’ to them both. Strike says good evening to her. Quine had written ‘a’ Bombyx Mori and intended to publish it but not ‘the’ version everyone else had read. The original ‘buries a few old sparring partners’ but his anecdote about Mr Fancourt’s limp dick isn’t in the original text they were given.
But then who would have known of it? Was it the editor or….
Everyone turns silently to Liz… who immediately tries to do a runner because that’s what everyone stupidly does when found out in these things so there’s a bit of action and tension to end on an adrenaline high.
Strike can’t chase her due to his leg so he calls to Robin. Liz smashes a vase into Robin’s face like this is an action movie but she continues to give chase a second after Strike checks on her. Outside Liz does a spot on impression of the T-1000 from Terminator 2 as she runs down the road. She nearly gets knocked over as she crosses the street. Apparently for a heavy smoker in her late 50s or so Liz is easily out running healthy, keen exerciser, Robin easily. Let’s say it’s because Robin has heels on otherwise it feels a little ridiculous…
Strike slowly follows and Robin tackles Liz to the ground but not without a tussle and some cat fighting. At this exact moment the police sirens wail and they arrive to take Liz away. Because they can’t announce their arrival until someone else has pinned the culprit down. Have to consider those health and safety and the possibilities of insurance payouts…
The next day and life moves on at the office. Strike calls Robin into his office. He says it might be good news so she should call them a cab… why he doesn’t just do it himself after finishing the call he’s on I don’t know but she has to earn her pay somehow.
Then outside in the sunlight the camera pans and we see Mrs Quine released from prison who trundles up to them like a child gleeful at seeing them… for you see the working class are not like Robin and Strike They are a lower order of intelligence equitable to a grapefruit and thus are like primary school children even after long having children and such. It is for the higher order to have dominion over these Luddites and ensure they are put to good use. That’s the tone of the Leonora character and I wouldn’t be surprised to find out that in the book she actually is developmentally challenged considering how she is depicted here…
Liz is in prison on suicide watch. Strike tells Leonora they found the real copy of the book in her house. Chard wants to read it with a view to publishing it and ‘it might even sell a few copies’ he adds. Robin gives him a look and he mouths ‘what?’ as he doesn’t realise how rude it sounded. Ho. ho, ho silly emotionally dense man – don’t you know it’s a woman’s world…
Leonora runs up the steps and joyously reunites with her Down’s Syndrome daughter. A carer… social worker… old woman who is never introduced… looks on happily. The daughter, Orlando, waves at Robin (as if she’s forgotten how she was tricked into giving away her treasure from her bag, and all ends happily. Strike and Robin get back in the black cab and next thing they’re discussing the detective just being glad the right person got locked up. Here we are told they checked Liz’s freezer and that she had been feeding Quine’s guts to her dog… hence all it’s digestion and defecation issues it had. DID YOU GET THE CLUE OR THINK ANIMAL SUFFERING WASN’T A MASSIVE GLOWING RED NEON SIGN OF EVIL? Robin remarks it’s disgusting. Not hoping the dog is okay or if it’s alive but just ‘disgusting’. Strike asks about Matthew and she scoffs about seeing him worse after a rugby match and says she is going to get the tube. She remembers to mention his ex sent in some photos and he laughs she isn’t his problem anymore. He tells Robin he has something for her and pulls and envelope out of his coat. He is paying for her to go on a surveillance training course. Or more exactly ‘you find it, I’ll pay for it’… which on the grand scheme of gift giving is a bit crap. She might find the most expensive course going. ‘So partners yeah?’ he smiles. She shakes his hand and he kisses it. I half expected a ‘M’lady’ and a fedora to fall out his pocket… and he goes upstairs while she walks smiling down the road. Again Robin gets everything she wants.
So this time around it’s the second person Strike meets regarding the case that turns out to be the killer. Taking Cuckoo into account that leads me to deduce that in the third case it will be the third person Strike meets who will be the killer in that story.
This book, in a meta-narrative sense, will no doubt be revealed one say as Rowling’s thinly veiled attack on people she doesn’t like in her own literary career and feels are leaching off her. Whether done knowingly or unconsciously will have to be seen.
Robin again is a thoroughly unlikable individual. It’s one thing to bluntly tell your boss you expected to ‘climb the ladder’ though being an administrative assistant and being an investigator are incredibly different skill sets even if you seem to think being an Oxford psychology degree drop out somehow qualifies you by default. Yet throughout the story she keeps on trying to persuade Strike to allow it.
Then she repeatedly leaves her grieving fiancé to go off on what comes across like adventure to her and not work. He might be an arse but that’s vile behaviour.
Hires a car and goes off-road with it. Not to mention she just so happened to take an advanced driving course as if that’s just something you do off the cuff.
The ‘ha ha I’ve got what I want’ trade with Orlando seems… cruel isn’t even the word. Did she take the necklace back as well?
There is just nothing redeeming about her as a character so far in these stories. What challenges does she actually face during these events? That Strike won’t make her a detective when she isn’t qualified? That her fiancé, who admittedly is unremittedly unpleasant to the point not once have we seen why she likes him save it was convenient, is going through the natural process of grieving and needs her to be there for him like… oh you know… a life partner he’s going to marry?! But she wants to go play detective. That a person with severe learning difficulties has incriminating evidence that can solve the case? No matter what scenario she is in she is in control and it’s incredibly difficult to identify with her. Yes I know that it’s eventually revealed she was the victim of rape so her need to be ‘always prepared’ so she never feels vulnerable again could be justified but not to this extent. It’s gone past self empowerment and falling into the abyss of Mary Sue. She has no flaws and thus suffers the Superman syndrome where there is nothing for her to overcome with any difficulty. Solving the problems in this case is as difficult as… well as you reading this right now.
As an example of how her character’s development so far in the series has come across: You needed to learn to read English but once that hurdle has been crossed here you are relaxing reading this like it’s nothing. Meanwhile there’s someone who can’t read English but can translate it and get the gist to find out what is being said and then there are people with dyslexia. This is how I feel any challenges are represented in the Strike novel series. Robin does things like it’s nothing, Strike has to interpret the clues he finds to work things out and the rest of the characters seem to be completely incapable of even comprehending the events of the murder (which is more an issue with the negative portrayal of the police, who’ve blamed the wrong person in both cases so far based on little to no conclusive evidence, than other figures in the story).
So let’s look at another aspect. Robin manipulates a mentally disabled young woman intentionally causing her distress. It’s hard not to read into that since Robin seems like such a glorified self insert. Does Rowling have issues with disabled or ‘deviating from the norm’ people? I mean let’s look at the end of harry potter.
Peter Pettigrew – (hand missing) – dead
Lupin – (werewolf i.e. infectious disease) – dead
Mad Eye Moody – (missing an eye and limbs) – dead
Voldermort – (orphan of a broken home and mental illness re: psychopath/sociopath) – dead
Severus Snape – ( bad upbringing and a Mudblood i.e. mixed race) – dead
Dumbledore – (undisclosed at the time homosexual) – dead
You could extend it to a number of the dead characters really…
Okay the last few are not disabilities but those communities do face persecution to varying degrees even nowadays. ‘Oh but lot’s of people are dead by the end’ you cry… yes but a few of these are ‘list of the dead’ deaths and not given details or any dignity considering how invested people became with the characters over the course of the series while the ‘villainous’ ones above are made to suffer for the most part or a great amount of time is spent noting how deviant they are compared to the social norm. Rowling has an issue with working class people and generally anyone who doesn’t agree with her sensibilities it seems and thus they get reduced to caricatures who are somewhat lesser than the figures she wants you to identify with.
It was an amusing case but the whole ‘you could never replicate another person’s writing style’ seemed a weak keystone piece of evidence to hinge the case on. It suggests the culprit was negligent and that’s disappointing. Most of all it’s hard to ignore the sense that this is Rowling’s own ‘Bombyx Mori’ criticising people she knows in the industry.
Please give Katerina Varela’s YouTube channel a look as it is thanks to her the videos of all the key scenes of the case are all here for your viewing pleasure.