I mentioned Line of Duty once before, when reviewing Unforgotten, and I don’t intend to add to the screeds written about the low key final episode of series 6. It was low-key, but it was nevertheless genius. Brilliant by Jed Mercurio and the team.
Fits my own story of what makes reality tick at several levels.
Firstly, clearly, though maybe less obviously than with Unforgotten, most of the story is about the interpersonal relationships within the team, crucially that they care for each other, even when no longer part of the actual team. With Unforgotten the main point is that the care extends to the “unforgotten” victims and the victims friends and family, no matter how cold the case. With Line of Duty the obvious focus is police corruption and involvement with organised crime – the point of AC10 – but even there we have the sense that some of those tangled-up in it are themselves victims, at least partially, with complex relationships to the crimes (and errors.) Also explains why so many viewers took to their hearts the “minor” characters in each series, like Chloe, the new team member in series 6 who did most of the leg-work in digging-up evidence and connections received as “good work” by Arnott, Fleming and Hastings. So care for, love of, fellow man is at the heart of it, saint or sinner.
Secondly there is the expectation of simplistic objective causality – it’s institutionalised in modern western rationality, well beyond any institution like the police force or government. Somehow a big crime drama needs a criminal mastermind conclusion with clear causal logic and motivation directing the institutional conspiracy. As ever most is cock-up and imperfect competence amidst institutional circumstance and inertia. The big crime is that “we” still deny this reality in wishfully directing blame. Our crime is in misguided expectations of rational reality.
We need “good fences“.
Major meme circulating that Jimmy Nesbitt deserves a BAFTA for his role as the prime Mr Big suspect. A role which ironically consists of appearing as two photos and already as a corpse on a crime-scene video, with no speaking or acting part throughout the whole of series 6. Again brilliant by Mercurio. Obviously the BAFTA must go to Chloe (Shalom Brune-Franklin).
As to the apparently burning question of a series 7? Well life goes on, the future is open, anything with the realms of possibility is possible. Plenty of hooks left in the ending. Who needs a clearer answer?]