w=300&h=200" width="300" height="200" srcset="https://worldlyscandifriend.files.wordpress.com/2014/02/ulrik-strange.jpg? w=300&h=200 300w, https://worldlyscandifriend.files.wordpress.com/2014/02/ulrik-strange.jpg? w=600&h=400 600w, https://worldlyscandifriend.files.wordpress.com/2014/02/ulrik-strange.jpg? w=150&h=100 150w" sizes="(max-width: 300px) 100vw, 300px" / At its best, The Bridge takes the profundity of The Killing to a new level by depicting murderers as people who wish to expose sordid truths rather than gloss them over.The tragedy of these murderers is that whilst their practices are as devastating as they are inhuman, at some hypothetical level their social and political ideals are not much different from those harboured by people throughout society.

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We have previously argued how The Bridge Series One dwelt on the importance of Saga and Martin re-attaching themselves to society if they were to succeed as human beings.

Series Two dextrously turns this concept on its head to show Saga and Martin being very similar to other humans in society but probably not better off for it.

The Bridge series two, is, at the very least, comparable to The Bridge Series One.

Even so, we believe that this sequel is more epic than the original ten-episode narrative from 2011, even it wasn’t quite as perfect in complete execution of plot and decisive tying up of ends.

The heroic status of Saga and Martin is marred in this respect, yet the series becomes all the more powerful and poignant because of the growing realisation that Saga and Martin, far from being an immutable detective duo destined to stay together interminably and solve every crime that comes there way, are vulnerable and not necessarily more formidable than those implicated in their crime-solving procedures.

When Viktoria unmercifully trips Saga up in a piece of verbal pedantry about how her company Medisonus may or may not be implicated in the eco-terrorist crimes taking place, it has the unnerving dual effect of making Saga look more human and limited whilst helping to slowly build Viktoria’s credentials as someone possibly more focused and capable than the detectives who are meant to be the main characters.

It’s as if those critics know Bradman was the best ever but still feel that any analysis of his sporting prowess will not be complete until they have adequately articulated any discernible weakness.

We face a similar dilemma in that we want to mark up the second series of Bron/Broen/The Bridge as a perfect ten but cannot quite bring ourselves to do it. Bradman was, and is, comparable to no other batsman in the history of the game.

Just as in the first series, a wide range of problematic social issues lay at the heart of the series, and were also key to understanding the motives of the perpetrators.