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TV REVIEW: The Killing - An Important Woolly Plot Development For Sarah Lund

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"You know full well that when it comes to feelings, you tend to run away." Finally, after two full series and two episodes, we get to the heart of 'The Killing', the tension between Sarah Lund's obvious compassion, need to balance her working life with her personal one, and her inability to express any of it.

This week's English words that sneaked in: London, motto, stress, f**ked and toast.

This week, she wasn't doing anything right - something her ex, Special Brancher Borch, took delight in pointing out and prodding.

the killing
Sarah Lund - the personal and professional have clashed for the policewoman

The plot thickened in accordance with it being episode 3 of 10, the body count went up and Lund's brow deepened. When she got a call learning that the pathologist involved in an earlier, dodgy-sounding case "wants to speak to us now", you somehow guessed that same professional's fate wasn't going to turn out well... and sure enough, when the perpetrator made another call, "the Trace team said it came from a landline at the Forensics lab". Which meant Lund on her own again, with only a torch and gun for sustenance. Don't they do anything in the daylight, these people?

If the political aspects in this labyrinthine tale may seem a bit Borgen-esque, that's not necessarily a bad thing, but the most important plot development turned up 30 minutes in - when Lund's dreadful chevron jumper was finally replaced by something more fitting in every way.

the killing
Will Borch and Sarah Lund bond once again, now they've faced the end of a gun together?

This Faroesque number is her uniform, and it can't be any coincidence that she took it out of the cupboard and brushed off the mothballs, just as her son rejected her, and Lund was forced to park herself firmly on the professional side of the fence. With those sleeves rolled up and the chevron hopefully incinerated, surely even a clever serial killer doesn't stand a chance.

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