A sophisticated detective and a psychologist grappling with her difficulties entangle in a chilling pursuit of a serial killer in ‘The Crow Girl’. This gripping six-part drama invokes the writing of Erik Axl Sund, a pseudonym for the Swedish author duo Jerker Eriksson and Håkan Axlander Sundquist. Eve Myles takes center stage as DCI Jeanette Kilburn, a resilient Bristol-based constable who, alongside her counterpart DI Lou Stanley, unravels a gruesome murder scene where a young man’s body has been discovered in a bag, subjected to assault and drugging.
Jeanette maintains a strong conviction regarding the prime suspect and decides to probe deeper with the assistance of revered yet elusive psychiatrist Dr. Sophia Craven, who is currently evaluating the suspect. However, the surge of eerily similar murders throughout the city propels the situation into an abyss of uncertainty and eerie possibilities. Moreover, Sophia’s perturbing experience with another case involving the vanished Victoria Burkeman, dubbed the ‘Crow Girl’, breeds the question – could there be a connection between the cases?
A compelling factor for Katherine Kelly to join ‘The Crow Girl’ was her unprecedented opportunity to portray a psychiatrist. Sophia’s character offers a stark contrast to Kelly’s previous roles, providing a fresh, intriguing perspective. Simultaneously, for Eve Myles, the role of Jeanette offers an exciting chance to depict a character whose unflinching decisions are always in line with her strong will, making it a special project for her.
In Bristol, the daily emergence of bodies signifies a pressing crisis. This situation is not normal but an alarming emergency. Jeanette’s personal life starts to blur with her professional commitments, paving the way for radical changes in her life. She is convinced that the choice she has made will lead her down a path of relentless pursuit for solutions, no matter the lengths she needs to go.
In parallel, Sophia is embroiled in a battle with her past, overwhelmed by the numerous complex cases she is handling. Craven finds herself intrigued, almost entrapped, by this ongoing investigation. Her typical professional retrospections are replaced by a thrilling rush against the clock, providing a sense of empowerment that concurrently disturbs her stability.
The relationship between the detective and the psychiatrist starts on unfortunate terms, eventually transitioning to a strong bond. Their collaboration isn’t attributed to petty squabbles, but to the intersection of their intellect. Both discover they require something unique from the other, marking the foundation of their peculiar yet compelling relationship.
Both Jeanette and Sophia are independent, innate problem-solvers who defy traditional norms. A minor scrape on their exterior surfaces uncovers deep similarities, hinting at their shared existential complexities. They reveal themselves as two alike entities who prefer to play their own game, away from the mainstream rules.
Jeanette shares a storied past with Lou. Lou, who has mentored her and has connections with her father, now finds himself reporting to her. Despite sharing a convoluted bond peppered with old school-new school dichotomies, they jointly fit into the crime-solving puzzle. Their interactions, though filled with conflicts, complete each other, shaping a perfect combination.
The narrative borrows significantly from the original novels, while simultaneously charting its unique course. The intricacies and occasional divergences from the source material evoke jubilation amongst the authors themselves, who have openly expressed their appreciation of this adaptation.
The essence of ‘The Crow Girl’ lies in the exploration of concealed truths and the thrilling journey of their revelation. The characters, intentionally positioned, propel the story forward. However, their final destinations diverge from their starting points, enhancing the dynamic nature of the narrative and increasing intrigue.