That is to say: that ending in particular may not have been expected, but given the series' history, some sort of eye-rolling conclusion certainly felt unavoidable. The only question resembling a "will they or won't they" situation between Linden and Holder was more along the lines of "will they ever change out of their lumpy sweaters and unwashed hoodies?" Nevertheless, as inconsistent as it was, the sheer incongruity of The Killing's final moments at least felt somewhat inevitable.
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Had the audience been given some clue that Linden's cross-country travels over the past six or so years were all done in search of a connection that was apparently as deep and resonant as the one she had with her partner – you know, the guy she, among other things, pulled a gun on and accused of colluding with Reddick (Gregg Henry) to see her charged with Skinner's murder – maybe the sight of the two former detectives ending up with each other would have felt like the logical culmination of a series that had inexplicably lasted four seasons.īut Moonlighting this is not. Perhaps things would have been different if Linden's return to Seattle, to find Holder happy in fatherhood and helping others overcome their own addictions, hadn't been a simple coda tacked on to a finale that already had two dramatically inert climaxes. But for a series that had worked very hard to present its damaged characters essentially as a reflection of the victims (and in some cases, the perpetrators) of the crimes they were investigating, the sharp right turn into heretofore unfounded romantic territory felt more than a little unearned. Or, more to the point, that the person standing across from them is the right fit because he or she isn't constantly reaching for the psychological super glue to try and repair years of emotional wear and tear. After all, Mireille Enos did shoot Joel Kinnaman a wry smile on more than one occasion that might easily have been misconstrued as something more than a mild appreciation for Holder's tendency to refer to every woman he encounters as "mamacita." So, it could be argued that, along with all the tension riding along with the two detectives as they worked to solve the murder of the Stansbury family (and the other cases they basically managed to bungle in the previous three seasons), some of that tension would naturally manifest as the sexual variety.Īs such, the ending of the Series That Wouldn't Die is basically a happy one – in that two broken people come the realization that being broken isn't so bad, so long as there's someone to be broken with. Now, the Internet is a vast, strange place, so there is little doubt a contingent of viewers have carved out a niche somewhere, shipping Linden and Holder at one point or another.
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What wasn’t obvious was how, in the stretch of time detectives Linden and Holder spent driving around Seattle with the windows up in their state-issued Chevy Caprice, chain smoking cigarettes and bickering constantly about vices, poor parenting choices, and the veracity of whatever red herring they were chasing at the moment, true love apparently blossomed.
That's a little rote for a cop show, but fine, whatever. Right away it was clear that, with its series finale titled 'Eden', The Killing would be making a push to send its characters on a figurative journey to a place they had never known – i.e., in search of peace within themselves and with the rest of the world.