The manly version of a female detective A qualitative study of the of the shows The Killing and The Bridge and their struggle with masculine and feminine traits.

University of Amsterdam First Reader: Dhr. Dr. Jaap Kooijman Master Thesis Second Reader: Mw. Dr. Leonie Schmidt Television and Cross-Media Culture Words: 17303 Date: 5/11/2015 Caroline Recter, 10074732

ABSTRACT

Although there are many different fictional detectives, most have the same foundation when it comes to personality and behavior. They are highly intelligent, have an enormous drive to solve cases, and are rational and unemotional when it comes to their profession. While these traits traditionally are contributed to the male fictional detective, nowadays these traits are also taken over by female fictional detectives. Originally, women are not portrayed in this way, as they are predominantly shown as housewives and mothers who have to take care of their children. Furthermore, they are seen as emotional and caring, which are ‘feminine’ characteristics that do not match with the ‘masculine’ ones of the fictional detective. Because of their detective skills, many female fictional detectives have trouble in succeeding in their private life, and fail thus in the combination between work and home. In this thesis, two Scandinavian series The Killing and The Bridge are analyzed on this struggle between professional success and private failure by examining all episodes of both series on various aspects. An overview of the analyzed episodes is presented in the appendix. It appears that both female protagonists have many characteristics related to ‘masculinity’, what helps them in their professional life. Moreover, in both series the female protagonists are presented as equal to their male colleagues, making them relatively unique in the detective genre. However, the failure in combining their professional success with a private life is still present, bringing to the foreground the struggle between the ‘masculine’ of their professional world and the ‘feminine’ character of their private and personal world.

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Table of Contents

Introduction 4

Chapter 1 – Book, TV and film detectives throughout the years 8

1.1) In literature 8 1.2) On television 12 1.3) Female detectives on television 13 1.4) Conclusion 16

Chapter 2 – The female stereotype in professional and private life 18

2.1) Stereotyping 18 2.2) Mothers 19 2.3) The professional life in relationship with the private life 22 2.4) Female detectives and their role in the family and in their career 24 2.5) Conclusion 25

Chapter 3 – The Scandinavian detectives 27

3.1) The two protagonists 28 3.2) Their professional life 31 3.3) Their private life 34 3.4) Conclusion 38

Conclusion: The Killing and The Bridge transcending? 40

Work cited 43

Appendix 49

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Introduction

“He's got to know botany, geology, ballistics, medicine, chemistry, literature, engineering. If he knows facts—that ash with a high strontium content probably came from a highway flare, that faca is Portuguese for ‘knife’, that Ethiopian diners use no utensils and eat with their right hands exclusively, that a slug with five land-and-groove rifling marks, right twist, could not have been fired by a Colt pistol--if he knows these things he may just make the connection that places the [unknown subject] at the crime scene.” (Deaver 120)

The above quote describes the necessary characteristics of a detective. The detective is an all- knowing figure that has specific skills to identify the killer. A detective must be capable to “narrow down the social and geographical location of the killer as well as his psychological make-up with the support of evidence” (qtd in Gates 45). This evidence, also known as clues, are “possible indicators of the hidden story of the criminal” and are connected with the crime scene in the form of footprints and objects near a dead body or around a murder scene (Hühn 454). Because everything can be a clue, the world of the detective transforms during the case into a world of possible signs; a man walking across the street, cars parked wrong in the parking lot or a suspicious character leaving a bar. All these clues help to create a “systematic development of the detective’s interpretive operations” (Hühn 455), through which he uses different frames and hypotheses to interpret the most important information (Hühn 455). When he succeeds, the detective has the ability to break through the suggestive context of the evidence and to search for the unorthodox connection between different clues. Originally, this fictional detective in novels was a man living in a world surrounded by male criminals and police officers. A woman was never around, as she was considered a distracting from the case. Even though the female detective was introduced in a later stage, she continued to play a role in a men’s world as the surroundings of male criminals and police officers stayed the same. This meant that these women needed to succeed in the center of a man’s world of criminals and police officers. In their new role as protagonists, Gates discovered two main ‘problems’ in creating a positive and reliable image of the female in this genre (49). One is the “over-identification between the heroine and the victim”, which means that the female detective is also often the victim of the criminals she hunts down (Gates 49). This creates a victimization of the character, which does not benefit her overall image. The other “problem” concerning the persona of the female detectives is the development of masculinization in order to succeed in a masculine environment (Gates 49). Where male

4 protagonists are mainly focusing on “investigating the masculinity of the ”, the female detectives additionally are struggling with balancing their personal life with their professional life (Gates 49). This struggle illustrates the main point of this thesis, as the problem of combining a professional and private life of two female detectives in television series is being examined through an in-depth analysis of the series’ episodes. The series examined in the thesis are the Scandinavian series The Bridge (FX, 2013-) and The Killing (DR, 2007-2012) with the female protagonists Saga Norén and Sarah Lund, respectively. Both protagonists face, during the seasons, multiple problems between the private and professional life. These lives contradict with each other due to the different typical characteristics of a mother/housewife and a detective in fictional television series. The term mother does not only refer to her being an actual mother, but also to aspects of traditional representation of womanhood like maternal characteristics such as caring for others and being emotionally concerned. Moreover, they are portrayed as domesticated, subordinate women who are always inferior to their family, husband and surroundings. These qualities are in stark contrast with the qualities that are necessary for a fictional detective. Intelligence, rationality and emotionless behavior are typical characteristics of a detective, as described in literature. The character of is an excellent example of a man who follows these particular aspects. Amy Griswold describes in her paper how Holmes represents an excellent detective (5). Holmes present an ultimate detective based on his deduction skills and intelligence but also because of his supremely masculine behavior, mostly due to his ability to “face some psychical danger without fear for their personal safety” (Griswold 5). Together with his masculine appearance as tall and slim, Holmes is an idealized detective mainly because of these qualities related to ‘masculinity’. According to Sims, Sherlock Holmes can also be such a good detective because he is “unmarried and as a loner dedicated to his mission”; his missing personal life entails him to act properly as a detective (9). For a male character, the absence of having a personal life is accepted because the stereotypical man seems more dominant, and is able put his private life on hold for his job. For the fictional female detective however, these characteristics cause a difficult situation. On the one hand, a female detective needs to focus on her private life, as that is her traditional female position. On the other hand, in order to properly act as a detective, she needs to limit her engagement with her private life, as it limits her ability to do her job. As stated above, this friction is exemplified by two Scandinavian series The Killing and The Bridge. Both series are critically acclaimed and have won multiple prizes such as Best

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European Drama series (2014; The Bridge) and a BAFTA for Best International TV series (2011; The Killing). Scandinavian series are known for their dark take on the detective genre, in which suspense is central and are often praised for their portrayal of their female leads, with The Killing and The Bridge as the two mostly cited (Gray 2014; Agger 43). In The Killing and The Bridge respectively, Sarah Lund and Saga Norén are followed during their investigations. Both are detectives in a police department and are considered good in their jobs. In both series, the episodes focus on one particular story case that is spread throughout the entire season. In The Killing, additionally to Sarah Lund’s investigation, there is an alternative storyline that involves political complications of the crime committed as well as storylines of suspects and witnesses. According to Agger, this direct link between politics and crime is innovative in this genre, because it is a combination that rarely is been used in police series (45). The Bridge does not display explicitly political scenes but is set in two countries: Denmark and Sweden, as murders are committed in both countries. Most of the stories take place in Malmö, with interplay of scenes displayed in the Copenhagen police force. Both shows have a high pace, with plot twists, murders and kidnappings following each other at high speed. Because of the highly praised plots, high ratings, the familiarity of the shows and as well as their known progressiveness in portraying female leads, both series are interesting examples in showing the struggle between the professional life and personal life as a female detective on television. Therefore, this thesis will attempt to investigate: To what extend do The Killing and The Bridge break with this struggle between their professional and personal life as a female detective? To answer this, all 60 episodes of The Killing and The Bridge are being examined, as showed in the appendix. In this appendix, the most important scenes of all episodes are highlighted through a system of four sections that present characteristics of the fictional detectives Saga and Lund. The four sections are based on characteristics or positions that are allegedly assigned to masculine and feminine characters, and consist firstly of the professional and private aspects of both fictional detectives, and secondly on their emotional and rational behavior as constructed by the series. By creating these four propositions, the characteristics of both female detectives are highlighted and compared to fully understand the relationship between professional and rational (features assigned to ‘masculinity’) and private and emotional (features assigned to “femininity”) and how both shows deal with these particular aspects. In the appendix, all seasons of the shows are discussed with The Killing consisting of three seasons with 40 episodes and The Bridge has two seasons with a total of 20 episodes, with another season coming up in 2015. Both the characters of Sarah Lund and

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Saga Norén develop throughout the series in different ways in their field of expertise, their personal life and their personalities. After looking at all the scenes, I have broken down the most important moments in the series per scene in the appendix to get an overview of the key scenes that address the tension between the ‘masculine’ characteristics of the professional life and the ‘feminine’ characteristics of the domestic private life throughout the series. Based on these findings and the literature, the characteristics of Lund and Saga are reviewed to understand the particular relationship of being a woman in a field where masculine qualities are required and more masculine in a field where feminine qualities are required. This qualitative analysis starts with a theoretical framework to support the analysis of both characters of the series. The first chapter is an overview about the characteristics of a detective in novels and on television. This chapter will describe which traits are assigned to a detective and how these traits are useful in the effectiveness of the fictional detective. Moreover, it relates detective qualities to masculine qualities and how they are affective in fighting crime. These characteristics are then assigned to female detectives and how women, throughout the years, have been represented in novels and on television. In the second chapter, the characteristics assigned to feminine qualities of fictional female characters on television are being reviewed through two different aspects: their professional life and their private life. The aim of this chapter is to generate information about how women are represented on television. As these two chapters both illustrate different masculine and feminine representations on television, the next chapter will focus on the character development of Saga and Lund. Instead of exploring particular scenes, the analysis explores a wider range of episodes to fully understand the impact of the representation of female detectives on television and how these particular series deal with this problem. As told above, the analysis is based on the appendix and how the relationships and behavior are constructed in the light of the female and male representation of fictional detectives. This thesis will conclude with a conclusion of how the shows display their main characters within the range of these stereotypes and if the image of the progressiveness within Scandinavian series can rightfully be allocated to Saga Norén and Sarah Lund.

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Chapter 1: Book, TV and film detectives throughout the years

“I mean, goddam. Cooking, fixing things, taking care of the car, paying the bills. You were just a regular man of the house when we were growing up. And then you became my daughter's father-if that does not take the cake. /.../ And I cannot compete with that. I certainly cannot be her father. I will concede that you're more of a man than I am. /…/ You win the hell out of that one hands down,”

Dr. Scapetta (The Body Farm 249-250)

This quote is from the detective novel The Body Farm (1994) by and describes the of the story, the female detective Kay Scarpetta. Her sister Dorothy says these words when confronted with the news that her only daughter, Lucy, is a lesbian. She accuses Scarpetta of influencing Lucy by her non-feminine way of living. According to Dorothy, she “fixes things, takes care of the car and pays the bills,” acting more like a father, than a mother or aunt. These masculine features are not only visible through her personal life, but also in her work environment. Scarpetta is a tough girl who “has an established authority” and years of experience (Sims 25). This makes her highly qualified for her job as a detective, which is confirmed by the approval of her (male) colleagues. While the example displays a female detective; the detective genre is best known for its two most famous male detectives, Sherlock Holmes and Auguste Dupin, who are foundational for the representation of the detectives. In this chapter, the characteristics of a traditional detective are discussed, while looking closely into the female detectives in literature, like Kay Scarpetta. Furthermore, the transformation of detectives on the television screen and in literature is discussed and compared. The last part is an overview of the female detectives on television from the 1970s till the present, whereby the focus is on the friction of a female detective in a masculine genre, such as the detective genre. The main questions of this chapter focuses on how female detective are presented in literature and on television, and how much they differ from their male counterparts.

1). In literature

The detective genre is, according to Hühn, exceptional among narrative genres, because it “thematizes narrativity itself as a problem, a procedure, and an achievement” (451). A

8 classical detective story conventionally conducts a reconstruction of a missing or hidden story (the crime) and the reconstruction process (the detection). Some key elements of the story are mostly hidden for the reader, at least at the beginning. The classic plot conventionally consists, more or less, of two separate stories that are intertwined in the narrative. First, the crime that happens in the beginning (the past), which consists of action. Second, the story of the investigation, which contains knowledge instead of action and merely happens in the present (Hühn 452). The traditional detective story conventionally consists with a stable order in which everything seems perfect. As the story continues, the “insoluble crime acts as a destabilizing event” (Hühn 452), whereby the State (the police) cannot control the situation. Therefore the detective arrives as an independent investigator who has to battle with the criminal to overcome justice; a battle he always wins. An essential feature of a detective novel is that the detective always succeeds in his mission, and therefore restores law (Romm 24). The detective in the novels is most often a scientist who is determined to find the truth no matter what. He is a modern man who is an independent and free individual and therefore separated from the law, because he is not part of a police force. In his cases, the detective tries to recreate the crime by identifying with the criminal (Westlake 36). By doing so, the detective positions himself above the law as an outsider with special rights and duties that allow him to do unlawful things. This outsider behavior is also expressed by the detective’s strangeness, for example through physical disability or social eccentricity (Westlake 36). This “strangeness” is a traditional characteristic of a detective, as derived from the Dupin-Holmes tradition (named after two famous fictional detectives: Auguste Dupin by Edgar Allen Poe and Sherlock Holmes by Sir ). Another feature related to detectives is having “a dual temperament, both creative and resolvent, combining the intuition of the poet with the analytical ability of the mathematician” (Grella 35). This extraordinary talent leads to magnificent deductive powers, “enabling him to reconstruct his companion’s chain of thought from a few penetrating physical observations,” which is very important for a detective (Grella 35). Therefore, the detective is an intellectual genius, which, combined with the personal eccentricity, creates a very special personality. Many of the fictional investigators share the same similar physical appearance, which is loosely based on the looks of Sherlock Holmes. They generally have a “hawk like profile”, and consistently a very tall, short, fat, thin or unusual attire appearance. Furthermore, the traditional detective is, just like Sherlock Holmes, involved in strange hobbies, has a rare interest or lifestyle, or possesses a “solitary of oral vices” that can include heavily eating, drinking or smoking (Grella 36). Additionally, the detective is completely concentrated on his duty, by which his personal life is almost always

9 affected; they have few relatives and often no girlfriends or wives. As Romm argues: “any other role the detective might play (marriage, partner, parent, community member, etc.) is considered secondary” (24). In the traditional detective story, the criminal is just as smart and keen as the detective. Only the criminal does not have the specific knowledge to know the restrictions of the law. The difference between the detective and the criminals consists of the assumption that the detective embodies the law, whereby the detectives “own conscience is the guarantor of his immunity” (Westlake 36). In the traditional detective genre, the detective is fixated on the criminal, but the criminal is also fixated on the detective; this relationship between the detective and the criminal becomes the central element of the novels (Westlake 36). This fixation forms a speculative novel, by which the reader, just like the detective in the book, needs to try to uncover the criminal. This creates a confusing story in which the reader just like the detective must solve multiple puzzles to discover the truth (Hühn 452). In the traditional novel, the detective is male, with masculine characteristics that can be described as positive male features, an assumption that Amy Griswold further explains in her dissertation. Griswold traces different detectives in literature (Sherlock Holmes, Lord Peter Wimsey, and Kate Martinelli) that are all set in a different eras. Griswold argues that “all of these detectives display the traditional traits of the Western male” (Griswold 146). She describes detectives as hunters for their goals. To accomplish those goals, detectives use different strategies, with different masculine characteristics (Griswold 146). This indicates that the detectives all display the ideal Western man on different levels. Sherlock Holmes, for example, uses his dominance in the field of intelligence and deduction as his masculine power. Lord Peter Wimsey is masculine because of his acting. He has not the intelligence of Sherlock, but he is from the army, is talented in sports and is a very strong man. Mike Hammer specializes in looking masculine, because he is “big, tall and powerfully built” (Griswold 146). All of the detectives in Griswold thesis have their own combination of detective skills and masculine characteristics. By specifying these personalities as their special talent, the masculine characteristics are positively highlighted and are centered in the specific character of a detective (Griswold 147). , quoted by Caroline Sims in her paper on contemporary woman in , highlights the importance of positive masculine features (10). He describes a detective as: “A Hero, he is everything. He must be a complete man and a common man and yet an usual man. He must be the best man in the world and a good enough man for any world” (Sims 10). By describing the detective as male, it was not easy for female writers to write about

10 female detectives (Sims 11). As a result, the first female detectives in novels looked a lot like their male colleagues. Created by in The Murder at the Vicarage from 1930, the female investigator was the “female equivalent to the rational Mr. Holmes” (Sims 11). She possessed a lot of allegedly masculine characteristics in a female body. She was clever, used deduction to come to conclusions and was “always a step ahead of the reader,” whereby “she used her charm to find out the information she needs” (Sims 11). She clearly was female, but mixed with a ‘masculine’ rationality. This phenomenon is also present in the Kate Martinelli books by Lauri R. King. She was a female detective around the 1990s. Again, she was female, but still merely showed her ‘masculine’ characteristics in her job and private life. She was a police officer, just like many of the detectives around that era (Griswold 116). For a police officer, masculine characteristics were required, as Griswold explained in her paper: “a police officer must be willing to face danger on a daily basis, to confront violent criminals bent on harming the innocent, moreover they have to be objective and unemotional and are not expected to have their own feelings” (166). These traits match with Martinelli’s main characteristics as she is “extremely ambitious” and works herself into a high function inside the police department. She has learnt to “control her emotions when confronted with the public” (Griswold 119). This masculine, emotionless behavior also affects her personal life. As mentioned before, the masculine detectives often do not have a personal life because they are too committed to their job. This aspect of the male detective is also woven into the lives of the female detective. Martinelli is “continually woken up by the phone in the middle of the night, leaves for work before dawn, and comes home in the wee hours” (Griswold 119). In the 1930s, Miss Marple is also a “rational spinster not wasted by engagement with family concerns”(Sims 11). For detectives family matters only distract from the job. But there is one difference between the male and female detectives and that is that fictional male detectives can have a combination of intelligence and a handsome look, whereas, according to Sims, a female detective in the late 1970s and 1980s novels cannot have that specific combination. She concludes, “if a woman is portrayed as intelligent she cannot at the same time be beautiful” (Sims 11). However, the intelligence versus beauty idea did not occur in the books of Patricia Cornwell and her female detective Kay Scarpetta. She is described as “exaggeratedly exceptional due to her beauty in combination with her excessive professional competence” (Sims 12). Based on an analysis of two crime fiction novels with a female lead (Annie Cabot in Peter Robinson’s novels from 1999 and Kay Scarpetta in the books of Patricia Cornwell from 1990), Sims tries to investigate the character development of

11 those leading ladies in comparison with their male counterparts. In this analysis, she has chosen three themes “where the definition and interpretation of gender roles have a change of becoming particularly visible” (Sims 6). Firstly, she looked into the role of women and power. Secondly, she focused on their private versus professional life. She ends with the question of rationality and weakness. After analyzing the novels, Sims concludes that both main female characters, Annie and Scarpetta, are portrayed as “alternative ways of being a woman” (47). They are not considered as the perfect wife or the loving mother, but as “free spirits” who both, just like the male detectives, chose work over their personal lives (Sims 47). By choosing this path, they are criticized by their friends, family and colleagues. Furthermore, both characters have enough masculine characteristics just to fit in the male dominant field of police work. They act rationally instead of emotionally, dress masculine, have a hard use of language and lastly behave rationally during crises (Sims 47). In conclusion, they are women but with an allegedly masculine personality. So, to be excellent detectives in novels, they have to have special detective skills mixed with masculine traits. This is not only for the male detectives but also needed for the feminine detectives. This means that they are mostly unemotional, rational and determined to find the truth. Because the detectives are so busy with their jobs, they are failing in having a personal life.

2) On television

There are some differences between the classic detective genre and the TV detective genre, which consists of four different features according to Westlake: “(a) the detective is mostly a cop, (b) his/her primary aim is to capture rather than unmasking, (c) the figure of the criminal is largely suppressed, (d) violence is emphasized” (37). In the television genre, the State is presented differently, because the detective is mostly part of the State because they are part of a police force. This means that the State is a more competent and reliable source than stated in the traditional genre (Westlake 37). Moreover, because the detectives do operate through a police force and not alone, they not only have to rely on their own conscience and knowledge, but also depend on the colleagues of the police. Additionally, the detective works most of the time, under a lieutenant at the department. For a detective, this makes it harder to explore the illegal side of the law without being noticed (Westlake 37). Also, the TV detective genre is about capturing the criminal, instead of a combination between unmasking and capturing. This means that the relationship between the criminal and the detective is mostly not as important in the TV genre; on television it is more about the process of providing evidence to capture the criminal than to unmasking.

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Overall, the criminals role is less important in the TV genre, and he is merely described as a psychopath, misfit or dumb instead of intelligent. The criminal acts irrationally, whereby the detective is seen as a hero (Westlake 37). Lastly, the detective TV genre is dominated by violence. This conclusion corresponds with the conclusion of the article about hyper masculinity and the macho male by Scharrer. He describes this character as a men who “eschews and even ridicules ‘soft-hearted’ emotions, celebrates and views as inevitable male physical aggression, blocks attempts by women or others to appeal to emotions by belittling sexual relations or women in general, and exhibits sensation-seeking behaviors that bring a welcome sense of vigor and thrill” (Scharrer 617). In his article, Scharrer examines the male characters in police and detective dramas from the 1970s up to the 1990s (630). A strong connection between “physical aggression/antisocial behaviors and hyper masculinity” was found in these dramas (Scharrer 630). As a result of this high level of aggression of both the criminal and the detective there is more violence on TV. Although these changes are visible in the TV genre, the basics of the detective genre are similar, only the surrounded components changed on television. The detective himself survives the transition between literature and television. As Romm describes, they still consist of masculine features, mixed with a preference of strange hobbies and intelligence as their one true power (95). Romm, in her article about female detectives on television, adds some other features to this stereotypical detective, such as independence, assertiveness and physical aggressiveness as noticeable characteristics (95). Moreover, Romm considers TV detectives as “highly committed to their profession and are willing to sacrifice any other aspect of their life (wife, family) for it” (96). Just like the detectives in literature, they mostly have a special ‘power’, like deduction or strong masculine features. These powers do not change in television, where the detectives consist of having special techniques in their police backgrounds, like how to handle an interrogation or how to use weapons exceptionally (Romm 96). Lastly, similarly like the traditional detectives, the TV detectives usually also have an exceptional look or strange hobbies.

3) Female detectives on television

The discussion about femininity and masculinity in is also accurate for detectives on television. As mentioned before, a female detective needs to show masculine behavior to fit in. But is it possible to create a new female detective stereotype that does not necessarily fit to an all-masculine personality? Which feminine features, and in addition, which elements of the stereotypical male detective hero, have to be or can be sacrificed in

13 order to form a female detective on television? To explore these questions, Romm examined multiple detective series from the 1970s till the 1990s (97). The portrayal of detectives slightly differs from the female detective fiction in books, because the female detectives on TV of that time were exceptionally beautiful, while beauty was not featured in the literature. Apparently, “extraordinary beauty was a necessary attribute to the female detectives” (Romm 97). However, the biggest difference between female detectives in literature and early TV adaptations was that the female detectives on television were passive actors, who had an “inferior status in the knowledge hierarchy in their programs” (Romm 99). They depended on their colleagues, and they constantly asked for help. In their work environment, these women always had a male superior with whom they rarely disagree. In a way they were much more feminine than their colleges in the novels. Romm describes these three different findings in her research about 70’s female detectives series. She found that most female investigators never used violence in their job, had an inferior status and expressed more emotions like crying and laughing than their colleges (30). But as the detective series developed during the years, did the female detective. Romm noticed two phenomena during this transformation (99). Firstly, the detective series with female leads disappeared completely during the 1980s and the 1990s, with one exception (Cagney & Lacey). Secondly, the representation of female detectives changed drastically with their earlier counterparts. During the last decade of the 20th century, the female leads were considerably less glamorous and sexually provocative (although that does not say they were not attractive). Additionally, they were less one-dimensional, less stereotyped, less passive and acted more independently (Romm 99). Another change is that some of the female detectives “had a family, were widowed, divorced and/or with children” (Romm 100). This differs from the earlier assumptions that (female) detectives did not have a personal life and instead only focused on their work. In this new detective era, women were ‘allowed’ to have a family of their own, and work at the same time. These changes leaded to two completely different types of TV detectives. On the one hand the still “traditional stereotyped version of the warm, non-assertive detective” of the 70’s, and on the other hand, “a more physically and verbally aggressive version of the ‘liberated’ detective” (Romm 101). One of the series that developed detectives in both forms is Cagney & Lacey (CBS, 1982-1988). This series started in 1982 and marks a change in the traditional police dramas because of its original narratives, and the integration of individual episodes and multiple storylines about the detectives themselves (Mayerle 133). Moreover, it had two female detectives in the leading roles, both with strong personalities. The two detectives, Christine

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Cagney and Mary Beth Lacey, differ tremendously in their backgrounds, values and personal lives. Cagney grew up in a wealthy family and is a bright and attractive woman. She is still single, and because of that, she finds it difficult to fully understand marriages. Additionally she has style and is very ambitious about becoming New York’s first female chief of detectives (Mayerle 136). Mary Beth Lacey is married and therefore struggles between her family and career. She is slightly overweight, but still attractive and she has a man, with whom she has three children. She is not that ambitious and is more focused on her personal life (Mayerle 136). These two women embody the split in female detectives Romm discussed. On the one hand there is Cagney, who symbolizes the more masculine version of a female detective, and on the other hand Lacey, who cares more about her family and identifies with the victims and therefore can be considered a more female version of the two (Zeck 145). What they have in common is that they are “verbally and physically aggressive even when compared to the male detectives” (Romm 101). Despite their difference, Cagney and Lacey represented a shift for the female detective. They were real woman and not objects of desire as many female detectives were in earlier times (D’Acci 20). Moreover, Cagney and Lacey did not only get masculine characteristics. They became feminine, with some traditional aspects. Cagney, for instance, wore makeup, lipstick, had long, blond hair and was beautiful, while Lacey, “cared about the people she protects” (D’Acci 21). This feminine part of the series expanded when a new actress as Cagney came into the show. This changed the show, as it became even less tough and more feminine. This transition continued in the 1990s with two other series that had a female lead in a police force, named Under Suspicion (CBS, 1994-1995) with Karen Sillas as detective Rose Philips and Prime Suspect (ITV, 1991-2006) with Helen Mirren as Jane Tennison, who thanked Cagney & Lacey in her Emmy speech in 1996 about the influence the show had in portraying women in a man’s world (Mizejewski 90). Both series did differ from Cagney & Lacey because they both reverted into the old stereotype detective, with a “lonely, besieged female homicide investigator on an all-male police force” (Mizejewski 90). Just like the detectives in the novels, both women failed to have a personal life, and choose work over love. Moreover, they do not know how to act properly as a woman. As Gates describes in her paper about female detectives, they merely do not know how to dress, walk and present themselves as a woman, and are particularly good in firing a gun (50). This tradition of going ‘traditional’ continues through the years with series following the female detectives with their masculine aspects is also known as ‘lesbanization’ of the female detective, when there are aligning with their femininity in order to be masculine (Gates 50).

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Although both women (Jane Tennison and Rose Philips) were strong and independent, they still faced some discrimination. In the series, both the leading ladies of Prime Suspect and Under Suspicion were “sexualized and scrutinized for errors” (Cavender & Jurk 226). In one scene in Prime Suspect, the male colleague of Tennison can have a casual affair with a woman at a conference, but when Tennison does the same, it costs her the job (Cavender & Jurik 226). This problem of sexuality is not the only aspect of discrimination. In Lavigne’s essay about sex and gender in Crime Scene Investigation (CBS, 2000-2015), two components of discrimination of the female investigators are discovered (390). Firstly, the two female detectives of CSI Catherine and Sara are both considered as less knowledgeable than their male colleagues. They need their male colleagues to help them out when in need, even when they are respected women in their field (Lavigne 392). Secondly, because they are less knowledgeable of the world, they are more likely to be treated as children who need assistance when in trouble. In the case of CSI the colleagues acted sometimes like fathers, who cared for their lovely daughters instead of treating them like equals (Lavigne 392). However, this is not always the case. In her essay about The Killing, Janet McCabe describes a more equally based situation on the professional level between Lund and the police force, in which she is respected by her colleagues and feels comfortable in the male dominant situation (120). McCabe draws a line to another Scandinavian heroin, Lisbeth Salander of the Millennium trilogy, who is also more at home in the professional area in which nonsense is not tolerated and in which she is accepted as a woman (129). Maybe the Scandinavian characters imply a more open view about the equalization of women in a man’s world than their American counterparts.

4) Conclusion

A crime committed by a criminal and a detective that needs to solve is a pattern that is almost always concretely available in the traditional detective story in literature, whereby the detective and the criminal have an intense relationship with each other. The criminal is, in novels, smart and knows how to hide from the State (the police), therefore the independent detective comes around to operate apart from the law to capture the criminal. Typical for a detective is his enormous amount of knowledge, together with his deductive capability, and with his extraordinary personality, hobby or habit, a special individual living in the ‘normal’ world. The use of ‘he’ as a detective was, especially in the early detective series, quite common. ‘He’ was of extraordinary knowledge, power and strength and therefore inevitably a man. The qualities of a male detective were taken over by the early writers of female leads in

16 detective stories. Just like their male counterparts, the women were rational, knowledgeable and did not have any sort of relationships outside their work field. But in comparison with their male counterparts, they could not be smart and beautiful at the same time. This changed on television, where the female detectives were extremely beautiful, but their personality was very pale, one-dimensional and emotional. As the years progressed, some changes developed into a two way female detective: one very traditional, and one very masculine. One good example of that is Cagney & Lacey, but also recently Rizzoli & Isles (TNT, 2010-), in which two female detectives echoing Cagney & Lacey in personality. But nowadays, with series like Under Suspicion and Prime Suspect, the lonely, rational masculine female detective of the novels is back, who in comparison with the male detectives, are still suffering from their female side. They are still considered more weak, irrational, and sometimes less knowledgeable than their male colleagues, which complicate this even more when they have children. The female detectives always find themselves in situations where the masculine detective overrules them, even when they try not to. Therefore they are likely to need features that are connected to masculinity in order to get respect and admiration.

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Chapter 2: The female stereotype in professional and private life

Despite that the professional life as a fictional detective remains very important, the private life is, for women, equally important as it is in the basis of the representation of women on television to perform adequate in their private life. For female detectives, this can be a struggle because characteristics needed for a detective are not necessarily good characteristics needed in the domestic sphere. They can even clash with each other on various aspects, both in the professional as in the private life. For Sara Sidle, detective in the crime series CSI, this clashes especially in her professional life, because even though Sara is a respectable employee in the team of Grissom, her emotional and childish behavior in specific cases make her incapable of being a stronger, more independent woman (Lavigne 394). But for most female detectives, their private life is the beginning of their problems. To fully understand the struggles of female detectives in the professional and private life, it is not only needed to focus on the detective qualities (the professional life) as stated in the first chapter, but also to explore the qualities of a fictional woman in her private life on television. Therefore, this chapter will discuss how women are portrayed on television in especially in their private life and what qualities normally are assigned to these women on television. First, a small overview about the stereotypes of women on (prime time) television is presented, with a focus on the process of stereotyping and the specific characteristics of female characters. The second and third part consist of women in the roles of mother and professional. In these two sections the combination of having a family and a career as a woman on television is being reviewed which leads to the final part where these findings are addressed in relation to female detectives on television.

1) Stereotyping

Television is seen as the “main cultural storyteller and functions as a message system that expresses relevant cultural stories as a fundamental idea for life standards or judgements about the stereotyping of men and women” (Emons et al. 40). Especially prime time television is an “important contributor to the construction and maintenance of stereotypes” because prime time attracts the most people, and contains predominantly fictional programming (Emons et al 42). For regular viewers, stereotyping can lead to misleading images of men and women based on fictional characters rather than reality. This assumption is often referred to as cultivation theory, developed by Gerbner. Framing enhances this theory as it makes some aspects of a fictional reality more salient than others to influence peoples’

18 perception about, for example, social situations (Coltrane & Adams 324). As Coltrane and Adams discuss in their article, frames help to “define problems, diagnose causes, make moral judgements, and suggest specific remedies" (324). While watching fictional television, people will amplify with the fictional situation because it is familiar to their situation at home, work or other places. Common rituals like the family life and the work environment are captured in television, which allows viewers to “place themselves in social roles to which they aspire” and to apply this behavior in real life (Solomon 320). In fictional television, the roles of men and women differ from reality in the following aspects. Firstly, women are significantly underrepresented on television with approximately 40% female characters in fictional programing (Luif 8). Secondly, they are likely to be younger, and more provocatively dressed than men. In their behavior, they are not verbal and physically aggressive, not dominant, but passive and emotional (Glascock 659). Moreover, they are mostly seen as weak, dependent and nurturing. Furthermore, they are shown as less intelligent and non-assertive in comparison to men, who are also assumed to work in a higher position to earn more money. According to Eagly and Steffan, the stereotypical woman on television usually consists of communal qualities like “a selflessness concern with others and a desire to be at one with others” (736). Moreover, the woman is shown as moral, which cannot be simultaneously portrayed as promiscuous (Romm 25). In the family life, women are mostly perceived as homemakers, who live for their children and are often not employed in paid work – this in stark contrast with men who are mostly employed. If women are portrayed within this “homemaker-mother role”, there is a high chance that this role is presented as the key feature of a woman’s life (Romm 24). If women have a job, it is either in combination with their focus on the household or they are so fixated on this career that they lack a private life (Luif 8). When not attached to the family at home, the women in fictional series are commonly shown as young, beautiful, thin, successful and single. For these women, their sexual adventurous and the search for ‘Mister Right’ is regularly the most central story line, for example in shows like Friends (NBC, 1994-2004), Sex and the City (HBO, 1998-2004) and Ally McBeal (FOX, 1997-2002) (Wykes & Gunter 111). All these women are, according to Romm, mostly depicted as unintelligent and frivolous (25). In conclusion, the stereotyped woman is traditional with many traits that are seen as less positive in comparison with men.

2) Mothers

As stated above, the family life and the representation of this are important for the viewers to reconstruct reality. Especially, sitcoms with a central theme of a domestic family situation

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“has a rich history of depicting and transmitting television families into viewers homes” (Douglas & Olson 409) As the communal role describes, women on television are often shown as emotional individuals who have the desire to care for others. One specific character that combines these qualities together is the role of a mother. The mother, as the central domestic figure, can take on many different roles. Around the 1980s, the mother role in fictional series was traditional as work and private life was still strictly divided (Desmuke 24). They were considered to be important for their kids and husbands and functioned as role models for society. These mothers are mostly known as middle-class mothers, according to Nagy, who examined different types of mothers in the series South Park (Comedy Central, 1997-) (15). This traditional woman is portrayed as “perfectly loving, kind, patient and giving” (Ganong & Coleman 490). These are the homemakers: traditional mothers who cooked and cleaned while the husband is at work. According to Åström, this idea of a mother is illustrated as an emotional figure. In this portrayal, the mother functions as a kind of saint, which is celebrated in the series (4). The mothers are characterized as “central to the wellbeing of not only the child, but of the whole family, and by extension, society” (Åström 4). In this way, the mother is sentimentalized. This is known as “the good mother myth of television”, as it creates such as perfect role model that the real mothers at home are denigrated to fail this representation (Åström 4). In contradiction to this idea, there is a whole other different mother figure, because according to the myth of motherhood “mothers are either good or all bad” (Ganon & Coleman 496). This negative mother role is clearly visible in the late contemporary television series (Åström 4; Walters and Harrison 51). In many maternal roles today, the mother is portrayed as absent, self-centered and ineffective, and ultimately damaging the children. In Feasey’s essay about motherhood in teen television, she concludes that all mothers played a problematic role in the lives of their kids (156). They are either drunk, addicted to drugs or experienced other severe problems, which caused complications with the child itself. Feasey took the teen show 90210 (CW, 2008-2013) as an example, which displayed several mothers over the course of the series. One of them is a “bi-polar drug addict and abusive alcoholic,” while others are “more interested in her surface appearance than her daughter’s well-being” or “an irresponsible mother and gambling addict” (Feasey 157). These “bad moms” are also noticeably visible in adult contemporary culture, according to Walters and Harrison (51). Just like their teen equivalents, the mothers in adult shows are “uncontrolled and uncontrollable, full of urges, desires, and identities that are

20 antithetical to what we imagine of a good mother” (Walters & Harrison 51). Series like Weeds (Showtime, 2005-2012) where a mother of two sons adopts her husbands’ drug-dealing business when he passed away fit this description. During the course of the series, the mother is described as a horrible mother who neglects her kids and “turns the other way as her eldest starts his own drug business” which results into both sons working in her drug company at the end of the series (Walters & Harrison 51). Another example is Betty Draper of Mad Men (AMC, 2007-2015), who seemingly does not care for her children at all. Throughout the show, she seems mean and self-centered, not fit to be a mother at all. This neglecting, disengaged behavior of the mother in fictional dramas is, according to Walters and Harrison, caused by two reasons (48). Firstly, the maternal melodrama is disappearing as a central genre; the role of mother becomes less important and therefore more neglected in the series. This means that the woman herself rather than the mother alone becomes important (Walters & Harrison 48). Secondly, the aberrant mothers are shown to mock the perfect mom and the “perfect balance between work and family-framework” instead of idealizing it, which is a direct response to the society of the 1980s and 1990s. According to Nagy, it is not surprising that the mothers like the one in Weeds are single, because these mothers are portrayed as the worst of all, as home wreckers, who fail in raising a child alone; and that, because the lack of friends she is not capable of providing her child with the best care (15). They are therefore shown as anti-social, stocked single and subversive (Nagy 15). As drama series revolving around bad maternity the producers of comedy series came up with a different kind of mother; the unruly individual, who tries to mock the perfect mother framework on a whole other level, which is best exemplified by the sitcom Roseanne (ABC 1988-1997). In her article about Roseanne, Rowe describes this so-called “unruly woman” as a woman who is provocative and violates the stereotypes of a woman, as she lets the audience think about important questions of “social and cultural norms of femininity,” and how women are portrayed on television (411). As a mother she misbehaves, she is loud, rude and together with her fatness, she is considered as “unfeminine, rebellious and sexually deviant” (Rowe 413). Roseanne’s easiness with her figure and non-feminine behavior is at best an uneasey experience, an Bourdieuan term which displays “a sort of indifference to the objectifying gaze of other which neutralizes its power: a sort of indifference to the objectifying gaze of others which neutralizes its power” (Bourdieu 208). It marks a conventional way of living in which Roseanne symbolizes the eagerness of women to be portrayed as normal people and not as the perfect female or mother. Rowe refers to one scene from Roseanne where the unruly woman/mother is described in her fullest: Rosanne, in her

21 dream, kills her family (husband and children) for a hot bath (418). For a “good self- sacrificing mother,” such an action is extremely outrageous and unthinkable. But Roseanne does not want to kill her family in this episode, she wants to create acknowledgement for her needs and desires. (Rowe 418). In the series, she makes fun of herself, the ideal role model of mothers and their role in the family. But in contradiction with the aberrant mothers of drama television, Roseanne is not a bad mother: she will always take care of her kids. Yet, even though some mothers are saints on television, the most common image of a mother is now an aberrant mother who fails to take care of her children and neglects them in order to fight against this traditional stereotype of the perfect mother of the 1980s.

3) The professional life in relationship with the private life

Just like people use the television to be informed about stereotypes, it is also an “important source of information about occupations and the world of work” (Signorielli & Kahlenberg 5). The world of work is presented in line with the stereotyped personalities of men and women. Men are mostly shown in a wide range of jobs with a high status like law enforcement, whereas women are narrowed down as secretaries and nurses. However, this has slightly changed over the years, as Signorielli and Kahlenberg found out that especially white women are more likely to be portrayed as professionals than before, although this number is quite small in comparison with their white male counterparts (18). Where men can focus on their job, women are also considered to keep their private life and the household going at the same time. Even more, in soap operas, the work and career is of a marginal significance, according to Czarniawska, who examined three different soap operas from three different countries (Sweden, South-Africa and Italy) (278). She concludes that women in the soap operas were not able to combine work and a career with a family (Czarniawska 278). This seemingly impossible combination of work with family is particularly visible in the drama show Damages (FX, 2007-2012). These series implemented two women into high functions with lots of pressure: Ellen Parsons (Rose Byrne) and Patty Hewes (Glenn Close). Patty is head of the law firm where Ellen is accepted as a trainee. By accepting the traineeship, Ellen’s engagement, eventually ends, because she couldn’t be at her own engagement party. This was the beginning of her “psychic struggle between professional responsibility and interpersonal responsibility” (Nigro 19). Patty, head of the lawyer’s office, prioritizes one thing: her work. She is rational, with almost only masculine features. Her son pays the price by growing up without a caring mother. Both Ellen and Patty have a talent to alienate themselves from others and are used to being left with only a career and no family

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(Nigro 19). In Damages, Ellen is ‘punished’ for entering the professional sphere and therefore faced multiple negative consequences in her private life. These negative narratives of working women are also displayed in the series 24 (FOX, 2001-2010), where many women moved into the job because of their expertise and abilities, but ended up dead or injured (Coon 240). In 24, only complications arise when a woman enters the field of work and leaves the domestic sphere, instead of combining the two together as the main figure (male) can. This conclusion differs from the research of Reep and Dambrot, as they found some positive side notes regarding expertise and professionally statuses in series (380). By examining multiple series they found “serious attempts to present realistically the problems of professional women”; some women in TV-shows can handle a high demanding job, and can work successfully with their male partners (Reep & Dambrot 380). Moreover, they are financially independent and are more serious in their jobs than their male counterparts (Reep & Dambrot 380). Once again, this happens only when the female characters drop their emotional communal qualities and are forced into a more masculine profile. Especially in Damages it is indicated that skipping the emotional feminine characteristics leads to a successful career. So, in either way the personal life of the female character pays the price (Reep & Dambrot 381). In the popular comedy Sex and the City (HBO, 1998-2004), the work/family relationship is completely different as loving relationships are more important than work, which creates an impossible image of combining love and work. In this show, the four central women all represent one part of the work-live spectrum. Charlotte is the traditional housewife, who has a job but prefers to marry a wealthy man so that she does not have to work anymore, whereas Samantha is the career woman who is just like a man in relationships. She wants to have as many sex partners as she can get. Miranda works 24 hours a day and has no time for a private life and Carrie’s (main character of the series) love life is more important than her career as a columnist. One scene exemplifies this work-love framework when Carrie meets Enid, a successful editor of Vogue magazine. Carrie finds out Enid has a husband and congratulates her with this perfect life. But it turns out Enid’s husband is cheating on her and with the words: “Yes, I don’t have time for a full-time man. I have a full-time job” (Layton 366), she firmly confirms that a job and love is not a successful combination. Enid’s conclusion displays the struggles women have in the different series; that the mix between a career and a private life is not an easy combination, not to say impossible.

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4) Female detectives and their role in the family and in their career

The combination of private and personal life is also a problem for the female detective. Gates examined female detective heroes and found a connection with female lawyers in detective films around the 1980s. These female figures appeared as role models in their professional life because of their masculine traits and were considered powerful, but were “not whole but flawed and tended to be married to her job, unable to attain happiness or fulfillment until she found a child and/or love interest” (Gates 50). Those female lawyers just as the female detectives sacrificed the traditional role as mother and wife for their job. Instead of loving a man, they saw him as competition in their work. Even though they think that they are happy deep down they are completely devastated that they have no family to fall down to. The same happens to the female detectives. According to Gates, detectives are “unable to develop a satisfying and committed relationship with a man because she is married to her job” (56). In this situation career and private life is strictly divided. But when the personal life intertwines with the professional life, for example, when the detective falls in love with a man, then she is vulnerable in the job and unable to perform her job perfectly. This conflict is also assigned to Anita Blake of the book series Anita Blake: Vampire Hunter (Laurell K. Hamilton), a woman who is known as a “tough guy” in the series and as a result she has difficulties with romance and love. She is afraid it will influence her life and thus her job, and therefore she does not want to risk it (Holland-Toll 183). Thus, when a woman chooses a career, either way she does not want a private life or fails in having one. But when the female detective chooses for her private life, and puts her job second then she is all of a sudden unambitious or less capable at her job. One example is that of Cagney & Lacey. As stated above, this show embodies a mixture of the tough detective and the feminine detective. Lacey is the second one, and therefore more concerned with her children and husband. She is not that ambitious because she wants to take care of her family first, in contradiction with Cagney, who has not got a personal life because of her ambition. Being a mother and having a career is also for Catherine Willows in CSI (CBS, 2000-2015) nearly impossible. She has a high function as a detective, and single mother of a daughter Lindsey. This is partly due to a terrible taste in men, and accepting a promotion. She is not capable of taking care of her daughter, so she leaves her with her own mother. And when she fails to do her work properly, she loses not only her career but also her daughter (Lavigne 393). This difference is deeply rooted in the female detectives and has to do with their ‘masculine’ behavior. Because of their more ‘masculine’ characteristics, they miss the

24 emotional behavior, that is assigned to femininity to perform in their private life as traditional fictional women. In addition to problems in their private life because of their work, fictional female detectives also face the problem that they are considered to have too many feminine traits to perform well professionally. For them, it can be tough to get promoted considering the discrimination and sexism in the work place because of their gender. Brundsen takes The Ghost Squad (Channel 4, 2005) as an example where Elaine Cassidy stars as Amy Harris, a detective who is hired for the Ghost Squad: a team that investigates police corruption in England (381). In the series, Amy is belittled by her colleges and needs to constantly prove herself to fit into the man’s world she operates in. Colleagues do not take her seriously, because she is young, pretty and female. The only way to squeeze in is to play the system as a man: a tough, competent policewoman is not enough (381). Jermyn, further explores this imbalance between the jobs of men and women in her article about Prime Suspect, a television show with Hellen Mirren as head detective Jane Tennison (50). As for many female leads in (crime) dramas, Tennison does not contain a personal life, with no relationships or children. Jermyn shows Tennison’s private life as “recurrently in crisis and thereby denying women the possibility of having it all” (Jermyn 51). In the series, her personal life is intertwined with work in many different scenes (Jermyn 51). This tendency between work and private life is also seen in CSI. When Catherine Willows struggles with her work to combine it with her daughter, she is considered a bad mother with a poor child. But when her colleague Brass is putting his career on the line to go to Hollywood to save his daughter, he is seen as a good father (Lavigne 393). There is an unbalanced perception of the work and career combination of men and women. Especially in the crime series, it is tough for a woman to combine the two spheres together and if she chooses her career, it is likely the men at the station don’t let her co-operate because of her femininity.

5) Conclusion

On (prime time) television, women are still underrepresented in comparison to men. When displayed, women are mostly shown as emotional, dependent and caring for others. These characteristics come together in the communal features of the TV women and are mostly shown when a female character is a mother. Around the 1980s, the role of the mother was more traditional: a loving wife who took good care of her children and her husband. She was bound to home and did not participate in labor. This changed into a more negative image in

25 today’s shows, where the mother figure goes to work. This resulted in multiple series where mothers are neglecting their kids and failing to take care of the household. This happens especially in dramas, like Mad Men and Weeds. The main reason was the career of the woman, who works so hard to earn money, that they forgot their children and their respective position in the household. In comedies and soap series however, the mothers are slightly more traditional, but still not considered as the perfect mother. In particular, the combination of work and private is not successful as a female character. With a flourishing career ahead, a perfect relationship with a husband and children is rarely possible and the other way around – with a perfect relationship, a beautiful career is hard to maintain. And there is another glitch; a top career is almost only possible if some typical characteristics of a fiction woman, like emotional involved, are not involved.

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Chapter 3: The Scandinavian detectives

In the beginning of the detective genre, the fictional detective was a male and considered to have special ‘masculine’ qualities in order to solve impossible cases. These qualities include some characteristics of a detective; determination to solve cases, an intellectual genius with a strange personality (Westlake 36; Grella 35), but also includes traits related to ‘masculinity’ like assertiveness, rationality and independency (Romm 24). Nowadays, detectives are not only male, but the qualities assigned to a detective have stayed the same. Therefore, to function as a detective in this genre, the fictional female detective is also known for her rational and emotional traits related to professional and ‘masculine’ qualities. Qualities that make them, as stated in the literature, troubled in their domestic role, because of their lack of female traits. This failure in combining both worlds as a fictional female detective leads to the ‘problem’ where Gates talks about in her essay, about the struggle between the professional and the private life of a fictional female detective (49). In this chapter, the two Scandinavian detective series The Killing and The Bridge are discussed with a specific focus on how the two female protagonists combine their professional lives as detectives with their personal lives in an attempt to see how these series either reinforce or challenge the conventional distinction between the professional as ‘masculine’ and the personal as ‘feminine’. Based on viewing both series throughout, I have selected key scenes that most explicitly show the protagonists functioning in both their professional and private lives, thereby highlighting the ‘rational’ characteristics that conventionally are connected to the ‘male’ professional sphere as well as the ‘emotional’ characteristics that conventionally are connected to the ‘female’ domestic sphere. A detailed overview of these key scenes is provided in the appendix. The most important scenes are highlighted and divided into different subgenres; professional, private, emotional and rationality. By linking different scenes to each other, the personalities and actions of both detectives become clear in order to explore whether the series relate to the current trend in fictional detectives or that they can be called progressive in the way they operate as females in a men’s world. In the first paragraph, the characteristics of a detective and the characteristics of men are linked to the personalities of Saga Norén and Sarah Lund. Do they have the qualities to be a good detective? Additionally, their behavior in their work is examined. How do they use their detective qualities in order to solve cases? Then, their private live is examined. What qualities do they have and how does this effect their private and professional life? And more importantly, how is this problem presented in the series?

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1) The two protagonists

The two protagonists of the series The Killing and The Bridge are around the same age (late- thirties/ early forties), are (most of the time) single and part of the police forces of Copenhagen, Denmark and Malmö, Sweden, respectively. Both are police detectives, who are assigned to a male partner who help them with their investigation. For Sarah Lund (The Killing), this partner is already part of her squad and changes for various reasons throughout the show. Saga Norén (The Bridge) normally works alone, with a team on standby for informational purposes and is unwillingly assigned to Martin Rohde, a detective from the Copenhagen police. Sarah Lund and Saga Norén both have a male superior who is in charge of the whole investigation. In the series, Sarah Lund is always called Lund, while Saga Norén is named by her first name. This analysis will refer to the names that are used in the shows. During the series, Saga and Lund display some conventional detective characteristics as stated in the first chapter of this thesis. Especially Saga conforms to the stereotypical detective with one particular aspect: the unusual personality (Westlake 85). Even though this is not actually acknowledged in the show, it is implied that Saga suffers from some form of Asperger’s syndrome or autism. She is not really capable of keeping up a normal conversation with her partner (1:1), colleges (1:8), or boyfriend (2:7) She is, for example, unaware of any social rules when celebrating their eight months anniversary as a couple (2:7), or giving flowers at someone’s birthday (1:3). She is also unable to understand sarcasm (2:3) or jokes (2:1). Even though Lund does not show the same anti-social behavior as Saga, she does share some characteristics of an unusual personality. Her stubbornness and timorousness prevents her from any conventional conversation with her partners (1:1), suspects (2:3) or boyfriends (1:7). This is immediately displayed at the start of the show in her inability to engage with anyone from colleagues and victims to personal relatives. This corresponds with the image of the traditional detective. Next to their unusual personalities, they both share some features that are also traditionally assigned to detectives; an extreme amount of knowledge, determination to find the truth no matter what and complete concentration on the job (Grella 35; Westlake 36). In their field of work, they are highly respected by their colleagues because of their knowledge and expertise. This is exemplified in multiple scenes whereby their expertise is shown during the investigation (The Killing 1:2; The Bridge 1:6), on bodies (The Bridge 1:2) and their knowledge of people (The Killing 1:4). Both are, because of their good work, offered a promotion by their superiors (The Bridge 1:9; The Killing 3:1). In addition to their expertise,

28 their determination to find the truth is exemplified in the two series in exactly the same way. Towards the end of season two of The Bridge and season one of The Killing, while the entire team is celebrating the possible breakthrough of the case, Lund and Saga remain committed to close the case properly, even though this might turn the case upside down (The Bridge 2:9; The Killing 1:15). This determination is also expressed in their everlasting hunger for information. While the rest of the team is on their way home, Saga and Lund are working late for new leads in the office and at home. There are completely concentrated on their job even though this often causes confusion and irritation for their colleges, bosses and relatives. For Saga, working from home is part of her everyday routine, if she is not busy at work, she reads everything that is possibly related to the case (1:2), and even calls her college Martin multiple times in the middle of the night for more specific information (1:2). Like Saga, Lund is working after hours and always busy with the case by reading extra information at home or driving to interview witnesses or suspects. These characteristics place them firmly in the tradition of the (male) detective as Holmes and Dupin (Griswold 146; Grella 35), and illustrates that male features are irrefutable related to detective qualities. Although Lund and Saga share the same basics in their personalities, they strongly differ in the way they position themselves in relation to the law. Lund follows the rules of the detectives in the books, who position themselves outside the law and do unlawful things to solve the case (Westlake 37). Lund is not that strict with rules and thinks it is fine to break them as long as the investigation requires this. When, in season one, she is forbidden to speak with politician Troels Hartman, she still confronts him in his office even though she knows there are sanctions (1:10). Moreover, when she has strict orders to disclose all procedures to her boss, she completely ignores the set rules for the investigation (1:14). This pattern of disobedience runs through all seasons, from when she wants to open a coffin without permission (2:6) to when she meets a witness without approval (3:2). Saga is, in contrast to Lund, more a police detective, who, according to Westlake (37), precisely follows the rules of the law, sometimes to the displeasure of her colleagues. Already in the first episode of the first season, she refuses to let an ambulance through because it is not critical and therefore not allowed to enter a crime scene (1:1). She accuses Martin of disobeying the rules, when he lets that vehicle pass. Moreover, when Martin breaks in without a warrant, Saga refuses and when later in the series the perpetrator is in the building, she at first will not get in to help Martin, because it is against the rules (1:7). However, this marks only a significant difference in the way Saga and Lund work. In general, they both can be assumed good detectives, following the characteristics stated in the

29 literature. But there is more needed to be an excellent ‘masculine’ detective according to Griswold’s features of a detective (147). Again, these traits are considered masculine, but are also assigned to female detectives as Cagney & Lacey and in the late 1990s/2000s series as Prime Suspect and Under Suspicion, and can be referred to as ‘hyper masculinity’ (Mosher & Sirkin 150). As Griswold assumed, male detectives are mostly considered fearless and unemotional, who often use hard language and psychical aggression (119). Both women use hard language and aggression in their attempt to solve the case. Saga shoots a perpetuator down with simplistic ease (1:10) and also Lund has no trouble cursing or shooting (2:10). Saga also shares these unemotional characteristics as she has trouble in the series relating emotionally with colleagues, victims and witnesses. This is exemplified in the sequence when Martin Rohde’s son is in the hospital; instead of asking about the well-being of the son, she completely ignores his situation and talks straight on about the case (2:6). Similarly, in season two, when a young orphan boy is brought in for investigation who just discovered that his brother is murdered, she hardly recognizes his loss and immediately starts interrogating him. (2:4). Because of her mental health issues, Saga has also trouble noticing someone’s sorrow which seem to identify her as an unemotional and cold person by many of the show’s characters. Lund is also known for her unmoving personality. When she speaks with the relatives of the murdered girl in season one, or the friends of the murdered politician in season two ,she stays emotionally calm (1:2; 2:2). Moreover, both characters share the same toughness when it comes to confrontations with possible suspects. They are not afraid at all when confronted with armed men on their own (Westlake 36; Griswold 146). This toughness identifies these two women throughout the show and presents them as having masculine traits according to the literature. These masculine qualities also prevent them from being discriminated against. According to Cavender and Jurik ,women in other crime series are discriminated based on their female characteristics, but because Saga and Lund do not share this traits, they are in fact considered as equal to their male counterparts and therefore not discriminated by them (226). This shows that their colleges regard them as equal, as more manly than feminine. The characteristics of a detective mixed with traits related to masculinity are present in the lives of Saga and Lund, but also their behavior proves that masculine features are woven into their lives. In their private life it is visible in their homes, the domain of the women according to Luif, by their lack of cooking skills (8). Lund always eats soup made by her mother (1:5; 1:16) and Saga heats up pizza from the microwave (1:2; 1:7) and lack of cleaning skills. This behavior is stereotypically non-feminine and illustrates how their

30 masculine behavior is being visible throughout the shows. It even makes them manlier, because this behavior is more assigned to men than to women. These unladylike aspects are even more displayed in their appearances. They attach, for instance, little value to clothes and wear the same outfits over and over again in their homes and in their work environment. They consider these outfits as their unofficial uniform. Lund especially has an unusual appearance when it comes down to clothes. She always wears the same knitted sweater, even when she is in the heat in Afghanistan (2:9). It defines her as a person: as a particular statement that clothes don’t bother her as a woman. Saga experiences the same, even though it is less obvious than Lund; she also changes her clothes minimally and only changes t-shirts when they smell. Her draw at her office is then her wardrobe (2:2). This lack of attention to these feminine characters only enlarge the masculine character traits they display in their working life: their personal life becomes merely an extension of their working life as is also shown in the literature by Grella (35). In conclusion, Saga and Lund both display particular ‘masculine’ characteristics. They combine manly features in their personality and their behavior, but also in their appearances at home and at the office. This means that they are the more physically and verbally aggressive versions of the liberated (female) detective. The examples in the series displays an unwillingness to act feminine, even when are ‘allowed’ to at home, just like Gates explained in her paper (50). The next section will display how characteristics help them to excel in their professional life.

2) Their professional life

These allegedly masculine characteristics help Saga and Lund to become excellent detectives. Their rationality enables them to act as leaders. Throughout the seasons, both series show Saga and Lund as born leaders with immediately acknowledge of their powers of leadership. They are the contacts of their team, give the information to their superiors and create a sense of authority whereby no one questions their capability as a detective. In season one of The Bridge, a perpetuator murders people of different social groups to show the people of Denmark and Sweden that these groups are left behind in the social system. In one particular episode, the perpetuator kidnaps Björn, a homeless person from Denmark, and he slowly pumps blood out of him to let him die. As this is all live videotaped on a website and this act forces the team of Saga and Martin to watch the website in order to catch the perpetuator. In the series, Saga immediately acts as a leader by staying calm and thinks clear about what to do next. With her expertise, by acting quick, solidly and direct, this resolution of Saga helps

31 to find Björn (1:4). Another example of leadership is shown in season one of The Killing. Because Lund is not really part of her team, her leadership is made visible in the series through her conversations with her superior and her partner. In this episode, the missing girl Nanna Birk Larssen is found dead and strangled in a car on the bottom of a lake. Lund arrives first, and tells her superior what happened, how she is found, and what steps they should do next. Her boss accepts this and positions himself in a lower position by only asking questions to Lund, who clearly displays expertise in the case (1:2). Her determination as leader is also evident in the fourth episode, where Meyer (her colleague) and Lund have a discussion about their next step (2:4). Lund immediately takes the lead by deciding what to do and how that should be done. Moreover, she orders Meyer to take blood samples and does not appreciate contradiction. These orders towards her colleagues and superiors is an important part of her leadership qualities, as she is determined of her right and has the expertise and knowledge to prove this right. Her colleagues and superiors appreciate her for this (1:15), just like the team of Saga does for her (1:6; 1:9). In addition to their leadership qualities, both Sara and Lund are presented as having the determination and unremitting commitment to solve cases. The second season of The Killing revolves around the murder of Anne Dragsholm, a military legal advisor with a controversial past as part of team who committed war crimes in Afghanistan. Dragsholm’s murder becomes the start of an investigation that not only affects the Copenhagen police departments but also Lund personally, as her own partner seems not as trusting as he first appears. Despite these seemingly personal setbacks, Lund singlehandedly solves the case by finding out the true nature of her partner. The final scene of the second season displays this most prominently. Despite the availability of an entire police force, she takes responsibility to independently challenge and arrest her own partner. Her victory in finding out the truth and arresting the suspect displays the commitment and fierceness of traditional detectives. This determination and fearlessness to solve the case is also displayed in the way both women handle certain situations. Saga is tough, which together with her determination does not always work in her advantage. It becomes clear that Saga risks her life and that of others to find a solution. Two examples demonstrate this particular aspect. In season two episode five, a girl is shot by ‘the mother of three’, an unknown male who made a lethal virus to kill innocent people in Denmark, Sweden and all over the world. In this storyline, the girl saw the killer and Saga wants to know what she saw. In order to get the truth, Saga disregards commands from above and takes the wounded girl to the crime-scene and forces her to tell the

32 truth, which leads to Martin Rohde to intervene her to save the girl. A moment later, the same girl is slapped in the face by Saga, just to get the truth out of her (2:5). This moment demonstrates that for Saga, the truth remains more important than the well-being of the girl or herself, which is also prominently displayed in the season one’s finale. During this scene, Martin Rohde’s son (August) is kidnapped by Jens, an old college of Martin, who kills people because he lost his son and wife at a car accident. He is blaming Martin for his misfortune and therefore, he wants to give Martin the same feeling as he had when his son died, by kidnapping Martin’s son. While he is doing that, Saga is attacked by Jens and is left for dead. Where traditionally a women would wait for help from her male colleague, Saga escapes singlehandedly out of the hospital to save Martin’s son (1:10). In the end, she will risk her own life to finish the case. Both of these scenes show that Saga will go to extremes to solve the case: she is determined to find the truth, fearless and even though she fails to obey the rules, tortures a girl or risks her own life. Even though Lund might not go to the same extremes as Saga, she does show the same determination as her Swedish counterpart. Throughout the series, Lund especially experiences that she is not always believed during the cases. For example in season one, Lund seems to be the only one to believe that the disappearance of Nanna Birk Larsen is part of a serial killing spree. Even though many of her colleagues do not share her suspicions, she does not lose faith and keeps pushing on until she finds new evidence for the case (1:20). This proves that she never gives up and will keep on going until she is certain to catch the right suspect. Similarly to Saga, Lund displays a determination to solve cases over her own comfort (2:10; 3:9). Moreover, their lack of emotions also assigns them as dedicated to their profession. This is exemplified by two identical situations in The Killing and The Bridge. In Saga’s case, the mother of a missing girl arrives devastated at the police station to ask information about her daughter. After that, Saga and Martin meet her outside the station where the mother asks them if there is any possibility of her daughter arriving safely back. Saga remains rationally and tells her that she could never promise something like (1:5). In Lund’s case, the parents of the murdered girl asked if they are going to find the killer. Lund explicitly says that she cannot promise to bring the girl back (1:2). These examples show that Sara and Lund do not get carried away by their emotions, but stay in their role as detectives. These examples show that Saga and Lund meet the requirements of a traditional masculine detective. Their rationality, determination, unemotional behavior and leadership lead to successfully solved cases. The way to their goals may not always be right, but it surely makes them just as much as their male counterparts. These examples illustrate that the series

33 show that Saga and Lund are excellent detectives in their field. However, they differ in some ways from the originally detective in a way that they are not typically strong or intelligent as the detectives in novels, according to Griswold or are not as superb with weapons as their male counterparts on television (49). Moreover, the series choose to portrait Saga and Lund not as exceptional beautiful, but as normal women who work at the police force. In that way, they are more applied to their female equivalents of this time. However, Saga and Lund are not shown as weak and in need for help in their professional life. Furthermore, they have no issues with discrimination as they are respected through the force. Therefore they can assigned to the male detectives, but unique in their own way because they are women.

3) Their private life

Due to their conventionally ‘masculine’ traits, Saga and Lund are extremely successful fictional detectives, but how does these traits transfer in the domestic sphere? In the literature, the domestic sphere is often perceived as the female domain, as women are merely represented on television as housewives, who have maternal qualities, who are passive and emotional human beings (Eagly & Steffan 736; Glascock 659). Both series show Saga and Lund in a different way. They are rational, verbally strong, independent women, who are actively engaged with their working life. This could lead to friction between the stereotyped female qualities of life at home and their masculine characteristics at work. In this section, the private life of Saga and Lund is examined by means of the appendix to understand how the series show both women in their private life and if this differs from the traditional pattern of fictional female detectives. When it comes to work, Saga and Lund differ from their traditional equivalents. Where traditional women often had non-paid jobs and are merely focused on their husband and kids than on a career, Saga and Lund are perceived as workaholics, who are more focused on their work than on the lives of others (Luif 8; Desmuke 24). This leads to a domestic sphere where they are absent and disinterested, which can affect their relationships with friends and family. According to Reep and Dambrot, this is a common development for a fictional female detective, which often leads to an unsuccessful private life (380). That they are not really successful in their private life is frequently illustrated for both women throughout the seasons. For Lund, this is exemplified in the series through her relationship with her mother and especially her son. During the wedding preparation of her mother, Lund is too late with the dress, is not interested in her mother’s boyfriend’s stories, and almost forgets about the wedding itself (2:1). Additionally, the mother of Lund, who

34 always took care of her son, constantly complains about never gets a compliment or a helping hand. She does everything for Lund, and she is never given something in return. Eventually this leads to her mother leaving for a hotel, because she cannot handle her anymore. Lund’s first reaction is: “Then you have to go with public transport, I need your car for my job”, instead of appreciating her for doing everything (1:16) However, it is in her relationship with Mark that her rather dysfunctional relationship between work and private is displayed most prominently. In the literature, the mothers in drama series do not act perfectly when it comes to their children. They are aberrant, absent, and do not take care of their families as they are expected to do (Walter and Harrison 510). Lund is in many respects the same, as she is clearly not involved in the life of her son, as is illustrated prominently in three episodes. In the first episode of season one, it becomes immediately clear that Lund knows nothing about the life of Mark, which is exemplified in many ways from when they are in the car and asks about the wrong ice-hockey team (1:1) to when they discuss his romantic life (1:2). Moreover, she figures out through her mother that Mark had a girlfriend (1:5), and through her ex (the father of Mark), she figures out that Mark did not go to school for a week (1:13). In addition of unawareness of her son’s activities, Lund does not seem to physically care for Mark. Mark and Lund live with her mother, and it becomes clear throughout the first seasons that her mother took care of her grandson: she prepares dinner, she helps with his homework, goes to the movies with him and buys him groceries when needed. Throughout this time, Lund seems all the time at work, and chooses this over her son. This is clear in one scene, where Mark is alone for breakfast, his grandmother is at the supermarket and Lund is waiting for her, while she’d rather be doing her work. And when Mark says: “You don’t have to wait for Grandma, if you have to leave now”, she leaves Mark alone without hesitation (1:13). This behavior results in Mark leaving for his dad, when his father comes over to Copenhagen to live there with his girlfriend and other kids. In the second season this behavior of Lund continues as Mark is still living with his Dad, when he has his birthday. Lund buys a sweater for him that is way too small, and leaves before the birthday even ends. During the season, she is almost never in contact with him, and when she is, she has to stop the conversation, because an important meeting at work (2:1). Lund’s failure to invest time in her son dramatically concludes in the third season. Lund has not seen her son for a long time, and first meets him when she is on a train, and Mark is with his pregnant girlfriend (3:2). When she visits them, Mark immediately says that she is not welcome anymore, that she cannot expect to be part of Mark’s life, when she was

35 never been part of his life when he was younger, because she was always busy with work. This behavior of Lund is highlighted in the end of season three, when Mark’s baby is born and he behaved just like his mother and stayed away when his girlfriend needed him the most. Initially, Lund seems to apologize for her bad motherhood to her son. Yet, as Mark is ready to accept her apology, her boss calls her to come to work. Instead of finishing the conversation with Mark, she walks away, leaving him behind (3:9). These examples show that Lund continuously places her work over her personal relationships. When looking at the literature, Lund’s behavior cannot be contributed to good motherly behavior: she is too absent and too much busy with her own work. She is not emotionally involved in her son’s live and in the end costs her, her relationship with her son. But she is not, as most mothers, aberrant (Feasey 157), but can be more assigned to an unruly mother who provokes against the social norms and the representation of women on television (Rowe 418), who has more important things to do in her life than to care for her son. In addition with her behavior to her mother, these scenes exemplify that the features of a fictional woman, as a caring, loving mother, on television cannot be addressed to her. Her workaholic behavior restrains her from having a good private life, which follows the trend of the working women and female detective on television (Nigro 19). Saga displays similar behavior in prioritizing work over relationships. She seems be as emotionally unattached to her environment as Lund. First of all, there is hardly any references to possible living family, with exception to her dead sister. Saga does not seem to pay much attention to this aspect of her life: she has openly banned it from her life (2:9). Romantically, Saga seems more interested in her work than in anything else. Saga is especially disinterested in the life of her boyfriend, Jacob. She seems not to care about his work, hobbies and private life. She did not know he had a brother and did not know where his mother lived (2:6). They never did something together, because she was constantly busy with her job. In the end, the boyfriend leaves her because of her lack of interest and Saga fails to connect romantically with anyone ever again (2:9). These examples show that these women do not prioritize relationships in their lives: the working life completely seems to drastically effect their private life. This breaks with the communal woman who puts family first (Eagly & Steffan 736), and confronts both women with their unemotional behavior. In the end, their successfulness as a detectives leads to a disconnection to any private life. Their workaholic behavior, together with their emotional incapability to be interested and to care for people leads to an environment in which no one can live. They ruin the lives of the people around them and themselves, just because they

36 work too hard and are letting no one into their lives. Therefore this means that these masculine traits prevent them from having a personal life. It is clear that Saga and Lund do not fit into the traditional female stereotype, and that such behavior leads to problems in their private lives. According to the literature (Lavigne 393; Nigro 19), this is not a very spectacular outcome, as most of the hard-working and career focused women are failing in creating a private life. That they, in the series, always will choose work over love becomes even more clear with the final scenes of the last seasons of The Bridge and The Killing. Throughout the seasons, it becomes evident that they are fine with their situation at home. Even though they have many failed relationships, they seem to accept their lonely life. In these specific examples, it becomes clear that they explicitly choose work and not love and that they are ready to accept the consequences of their choice. For both women, this choice is displayed prominently. Throughout the two seasons of The Bridge, it becomes clear that Saga and Martin have built up a sort of friendship. They tolerate each other and they help each other when needed. Saga eventually calls him “my only friend” when he helps her with her past. He is the only one she can talk to after her boyfriend left her. However, she stays true to her detective personality. As the last episode of season two reveals, her friendship with Martin becomes subordinate to her job. After the case is solved, Martin leaves to see Jens in prison. He blames Jens, who murdered his son in the first season, for ruing his life. His wife does not love him anymore and he is still devastated by the loss of his son. Therefore, he decides to go to the prison and to poison Jens. After he committed the crime, he covers it up to look like a suicide. At the police department, everyone suspects Jens killed himself, but Saga finds out that it was Martin who killed him. In the scene in a hotel room, Saga confronts him with her idea, that she is certain that he is responsible. Throughout the seasons Saga is known for her dutifulness of the law, but now she has to choose between her only friend and the law. But with an informed decision, she chooses her work; the law over Martin, even though she knows she will lose her only friend by doing this (2:10). The decision of Lund is even a lot tougher and demonstrates the ultimate sacrifice to her work during the series finale. After a long hunt, Lund is in the car with the abductor of a little girl, who additionally murdered several people. She knows he is going to escape with his actions if she doesn’t do anything. Lund overthinks her doubts, and decides she leave her son Mark, her mother and a life in Denmark behind to stop the perpetuator for killing more innocent people, by killing him in his own car. Due to her actions, she knows she cannot return to her normal life. She even chooses to flee Denmark to start a new life without Mark

37 and without her mother. In the airplane, she looks for the last time to her mother, Mark and his baby on her phone and then puts out the battery. Similar to traditional detectives, Lund choses rightfulness over any possibility of having a normal life (3:10). What these examples show is the remarkable nature of Saga and Lund. Both Saga and Lund display a rather carless attitude towards their failing personal life. This is in line with their male fictional equivalents who also let their work decide about their future, but differs from the female detectives who merely find themselves desperate in need of comfort and shelter (Jermyn 51). However, it is remarkable that the series show Saga and Lund make these huge statements about their lives, which shows that the series explicitly choose that these women are not involved in their private life and family and friends. For the male detectives, this choice is easier according to their rational and professional attitude. For a woman, however, to make such a choice is difficult, because it confronts them with their non-feminine behavior.

4) Conclusion

Saga and Lund are two extraordinary detectives. They have expertise, are knowledgeable, determinate to find the truth and fully concentrated on their job. Moreover, they both have an interesting and unusual personality. These particular characteristics make them good detectives, according to the qualification stated in the theoretical framework. As a detective, they are extraordinary with help of particular ‘masculine’ traits. These professional and rational qualities are strongly represented in their behavior as detectives in their work. In their work, they are highly appreciated, that is multiple times exemplified by compliments they get from their team, partner of superior and the successes they have. However, these qualities are not in their favor in domestic situations. Because their unemotional and rational characters, they have a hard timing keeping up relationships. They have no friends and they push their close relatives or boyfriends away. Moreover, they are so concentrated on their jobs that they are absent, disinterested and not involved in the lives of others. Especially Lund’s relationship with her son Mark is bad, because she has never time for him. Lund’s mother has to take care of Lund’s son when he is young. Her maternal qualities, like caring for others and emotionally present are not typical characteristics of Lund. Also, Saga screwed up her relationship with Jacob, because she cannot meet the requirements of a loving interested girlfriend. This has as a result that both Saga and Lund are excellent detectives but do not fit perfectly into the domestic sphere, the traditional ‘feminine’ role in fictional television.

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This pattern that the series follow is in line with the theoretical background of the detective genre, as they are rational and emotional unattached in their work, as well as in their personal life. In contrast to the traditional female roles on television, these strong, independent women lack the traditional female qualities to succeed in their domestic role. This follows the pattern of the male detective who chooses work over love, and confronts this pattern. Their qualities as a woman do not make them masculine, but widened the role of detective in a way that women can also do a men’s job and are equally accepted in doing so.

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Conclusion: The Killing and The Bridge transcending?

Cagney & Lacey (CBS, 1982-1988) were the first to embody a new form of female detectives. In this show, two completely different personalities took over the police force. On the one hand Lacey, the traditional stereotypical women who always looks after her family and is emotionally concerned with the victims. On the other hand Cagney, who was introduced as the manlier version of a female detective. Both women were new in the genre of fictional female detective because of their verbally strong tongue and psychical aggressiveness. Together, Cagney & Lacey presented a new form of female detectives in their progressive steps of showing women as protagonists on TV in which combining work and relationships was possible. But will The Bridge and The Killing will be the second step? At the start of this thesis, the follow question was asked: To what extend do The Killing and The Bridge break with the struggle between their professional and personal life as a female detective? In order to answer this, qualitative analyses has been done on the private and professional lives of these women, whereby the appendix served as the main research equipment, in which all episodes of both seasons are examined in order to get a concrete image of the series development on this particular pattern in the detective genre. This examination existed of watching all episodes, in which the most important scenes related to the research question are highlighted. All these moments together were compared to show how the women are portrayed in the series. This thesis is divided into three chapters. First, this thesis has displayed which characteristics are required for detectives in their professional life and how this has transformed from literature to television. Even though the surroundings might have changed during this transmission, the detective himself remains fairly the same, as he continuous to be displayed as emotionless, rational, determined detective with little success in the domestic sphere. These traits, related to ‘masculinity’, remain for fictional female detectives pretty much the same, although women have more chance to be shown as weak or are discriminated in their professional life. In the private life, the literature suggests, the fictional female detectives are mostly failing. They are not emotional attached, struggle with their continuously hunger for work and are not good in dealing with private problems. Considered as breakthrough series, this thesis expands the knowledge about the representation of female detectives in the series The Bridge and The Killing in their portrayal of work and the domestic sphere. In their professional life, Saga and Lund seem to share mostly the same qualities as

40 their male detectives counterparts in literature and television. Both are, because of their excellent work as a detective, on every aspect equal with their male counterparts in their work field. As well as detective qualities at work like determination to find the truth and an extremely concentration on the job, they have an extraordinary detective personality; an unusual personality mixed with a fearless, active and independent character. Moreover, they display specific features like emotionless behavior and rationality, which makes them excellent leaders in the Swedish and Danish police force. Both Saga and Lund use these specific traits in order to become the best detective in their workforce. Both shows follow the literature where male detectives are the best in their field because of their characteristics, but this pattern is questioned on one particular aspect. These are women who are leading the force instead of men. This changes the light in which we see the detectives themselves and in which women have the same place in this genre as men. They can also be strong, rational and professional when it comes to their job and do not need a place alone in the kitchen. This shows that in The Killing and The Bridge, Saga and Lund can be leaders in their field as women, and are not questioned for their gender. Unfortunately, these detective skills are not important in the domestic sphere. Just like most female detectives, it becomes clear that in the domestic sphere, these women are still failing when they are successful at work. In their private life, their features related to ‘masculinity’ have the opposite effect when it comes to relationships, domestic necessities or social contacts. These traits prevent them from acting accordingly in the household. On television, women who are assigned to the domestic lifestyle are concerned with specific qualities such as emotionally involved, always caring for others, passive and thoughtful. They need to look after the family, and think of their family first instead of their job (if they even have one). Saga and Lund are hardly like that, as they are failing in having relationships or take care of themselves at home. It can be concluded, that Saga and Lund are shown by the creators to challenge the detective literature, by creating female detectives who succeed as much as their male equivalents in their work field, with the same ‘masculine’ qualities as the male detectives. However, this cannot be concluded in their private sphere, where Saga and Lund are not different from their female colleagues, who still struggle with the combination of work and relationships. This means that it is still very hard as a female detective who succeeds in work, to also succeed in her private life, mainly because the characteristics of both women are not in line with the ones needed in the domestic sphere, at least as presented in fictional television series. Also The Killing and The Bridge are not successfully transcending that pattern.

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The creators of the series did however succeed in creating fictional female detectives who are successful in their professional life, without questioning gender. This is already a big step ahead. However, both Saga and Lund are still failing in their private life, just like their female equivalents. So, the combination of the professional and the private life is still shown as unsuccessful in the series. The next step should therefore be to also balance this success in their private life. For further research: one might ask if there will be women who really overcome this unsuccessful combination in the detective genre, or that these women will always be failing in the domestic sphere. Moreover, for further research it will be useful to explore more female detectives series in order to become fully knowledgeable about the characters and their masculine or feminine characteristics in the professional and domestic sphere.

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47

TV Shows

Ally McBeal. FOX. 1997-2002. Cagney & Lacey. CBS. 1982-1988. CSI. CBS. 2000-2015. Damages. FX. 2007-2012. Friends. NBC. 1994-2004. Mad Men. AMC. 2007-2015. Prime suspect. ITV. 1991-2006. Rizzoli & Isles. TNT. 2010-. Roseanne. ABC. 1988-1997. Sex and the City. HBO. 1998-2004. South Park. Comedy Central. 1997-. The Bridge. Season 1 FX. 2011-2012 The Bridge. Season 2 FX. 2013-2014 The Ghost Squad. Channel 4. 2005.

The Killing. Season 1 DR. 2007-2008

The Killing. Season 2 DR. 2009-2010

The Killing. Season 3 DR. 2012-2013.

Under Suspicion. CBS. 1994-1995.

Weeds. Showtime. 2005-2012.

24. FOX. 2001-2010.

90210. CW. 2008-2013.

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Appendix

“20” is the moment in an episodes when something important happens

THE BRIDGE Professional Private Rational Emotional SEASON 1 S01E01 20. She calls her 4. Someone needs colleague in the surgery in the A woman is found middle of the night, hospital. Saga murdered on the without being won’t let pass the border between concerned about car, because it is a Sweden and the consequences crime scene. Martin Denmark. But what 26/41. Extreme Rohde gives at first looks like awkward situation permission. one murder turns between Saga and 11. She speaks with out to be two. * her colleague the husband of the Martin Rohde murdered woman. 27. Saga is clearly She doesn’t show in charge any emotions and is 30. Her colleagues only rational. call her ‘special’

S01E02 10. She likes to 39. Even at home. 9. She asks if she’s follow the rules in She is only busy annoying to Martin, “The murderer contradiction to with her case. She She is unsecure makes his presence Martin. She doesn’t take good about that known and chooses commands him not care of herself 15. Martin asks tabloid journalist to obey the rules 41. Goes to a club Saga if she has a Daniel Ferbé to act 39. She is only to go out and is boyfriend. Her as a middleman and busy with her job. socially awkward. answer is no. communicate with Asks directly a boy the outside world” for sex 53. After the sex, she wakes up and goes straight back to work. S01E03 10. Saga gives her 21. She doesn’t 15. She says that 27. She doesn’t get expertise. Her want to talk about she never get a the social part of A homeless man colleagues her personal life.. higher position. work, when martin has been questioned her She knows her buys flowers for a kidnapped, and the about getting a shortcomings. But colleague. only thing that can hobby, because she she doesn’t seem to stop the murderer is so busy with her care about that. from killing him is work. a large sum of 55. She has so money from four much expertise. landlords. People want to listen to her.

S01E04 21. She commands 42. She doesn’t 52. Saga asks her her colleagues what asks martin how he boss if a colleague Knowing the killer to do is doing, when he is is more important

49 has carefully 36. She follows the in the hospital, but to save or finding a planned his crimes, rules strictly. asks straight about killer. She chooses Saga and Martin Martin violate the the case. the killer and wonder whether rules; Saga follows chooses for her job they can catch him him against her will instead of Martin off guard by doing something he doesn’t expect S01E05 12. Interrogation 36. She eats 5. Martin makes a 37. Exactly the with Martin and together with joke. She doesn’t’ same with Lund. The murderer has Saga. Martin shares Martin and his get it. She cannot groomed a number his emotions. Saga family, but cannot promise to find of schizophrenics stays calm. talk about normal the girl. Martin to commit carefully things. She can Rohde did synchronized only talk about promise it violent crimes on work. And made it 54. when Anja is in the same day in clear that she didn’t the hospital. She Malmö and like dinner. asks Saga if she’s Copenhagen. 44. she meets her going to die. Saga sex buddy again says no but she knows she’s lying.

S01E06 29. Her expertise is 7. She mentions her 49 Saga slept with 16 With Martin she appreciated dead little sister Martin’s son, but talks about her Copenhagen is up very short. Is very doesn’t understand, dead sister without in arms following a rational about it. why that is a bad showing any court case in which thing. emotions. several police officers are found innocent after beating an immigrant to death

S01E07 27 .She commands 50. She ‘cooks’ 30. Doesn’t show everybody something in the any emotions by When a bus full of microwave. the kidnapping of children goes Doesn’t has a the kids. She missing, the killer social life doesn’t care and is demands than five very rational. companies that benefit from child labor should be set on fire

S01E08 34. Saga tells her 43 The guy with 11. When they are 5. She tries to start colleagues that the whom she had sex interrogating a normal The Killer is suspect they had is brought her flowers someone, Martin conversation. But finished, having not the one. With to her work to start loses his temper. she started to talk succeeded in her expertise. dating with her. Not Saga. about sex. opening people’s 48 She is very She doesn’t 35 She wants to eyes to society’s resolute understand why join in with her problems. Saga, 51 Doesn’t say colleagues, but it however, believes much about her doesn’t work. She that this isn’t the private life. is too weird end of his plan. Doesn’t seem to according to them. care S01E09 4. She is very good 11. She tries to in her work. calm Martin with After gradually Everyone respects factual ideas when

50 putting the pieces her his son is missing. of the killer’s 12. She gets a But is does not complicated puzzle compliment from help. together, the police her colleagues, but 35 She tries to help have a suspect. she did not get it. Martin when he is Now they’re 20 Saga doesn’t under pressure waiting for his next want to lie for her move. colleague but she does it. She obeys the rules for the first time 55. She tries to save the son of Martin; very brave

S01E10 58 She wants to go 9. She has to get to dinner with her back to work from The final step in sex buddy, but the hospital, just to the killer’s plan under her help Martin, even takes on a new conditions. though she is very direction. Saga injured does all she can to 51. She wants to crack the case, but help Martin so is it too late? badly, she lies for him just to save him! She has to cry real feelings for Martin and the loss of his son. * All episode information gained from Netflix

51

THE BRIDGE Professional Private Rational Emotional SEASON 2 S02E01 19. She now lives 12. Saga comes 32. Martin told a together with Jacob back to Denmark, joke to Saga, but A tanker is heading Sandberg, when the boss of Saga didn’t find it towards the bridge. Someone she met Martin Rohde tries funny but tried to When it is boarded in bar 7 months ago to hug her, she laugh for Martin by the coastguard 43 Jacob is moving doesn’t get it. the crew are in, but she doesn’t 50 She tells Martin discovered to be want him to move not to go to Jens. missing. The only her stuff. Only based on facts people on board are 46 She reads in not on emotional five youths, books about feelings. drugged and relationship advice, chained. Saga and because she thinks Martin are assigned she’s bad at it to investigate the case. *

S02E02 7 She takes a new 10 Gets dating t-shirt from her advice of Martin, Four individuals draw of her office. because she doesn’t wearing animal 18 Jacob calls, but know anything masks post a video she doesn’t answer, about her online claiming because she is boyfriend. responsibility for working. 34. She tries to put the tanker Saga and effort in her Marin are relationship with investigating. Jacob, but is Deaths are reported doesn’t work. of people eating poisoned food. Are the cases connected?

S02E03 43. She is in 17 Sex is for saga discussion with her really easy, because Saga and Martin colleague Rasmus, she doesn’t feel continue their hunt he cannot deal with anything while for the eco- her ‘weirdness’ doing it. terrorists, who have 34 She is very 38 She doesn’t realized the police determined in understand are on their trail. asking questions marriage 54: Jacob asks about her youth. She answers her sister is dead, she never see her parents, because they are not good for her. She doesn’t seem to care. S02E04 10. Martin asks if 10. She talks about 13 She doesn’t 25 Now, she gives she wants people her sister. She was show any empathy the boy some The hunt is on for not to like her, normal and with a boy who lost empathy, but it is the leader of the because she is so popular. Nobody his brother. not much. eco-terrorists, with unpleasant to knew why she Saga and Martin people. killed herself. She hoping to stop any 28 She is still in did not like Saga, further attacks from charge! but didn’t like her

52 happening. 45 Jacob stops by parents even more her work, but she doesn’t want him, because he is only distracting. She is at work S02E05 7. She finds a new 43. She checked 36. She has been 50 shows emotions clue into a hotel, just to asked if she like at work, that she As the 14 She’s pushing get some time kids. She answers can be hurt even investigation and pushing a alone from her evasive. though people moves forward a wounded girl for boyfriend doesn’t think so. new group of four, answers animal head 49 She is highly wearing, eco- questioned for her terrorists post a ways of acting as a video online. Saga detective is having some relationship "issues".

S02E06 2. Saga can handle 13 She helps 10 in the hospital, A sunken boat herself perfectly Martin, when she when Martin’s son containing skeletal when she is discovers that his is ill, Saga don’t remains is found, attacked in her babysitter has not asks about him, but that appears to be hotel room the right intentions only talks about the related to the eco- 26 Saga always 14 When she is case terrorist case. take the lead in the asks why she 16 Martin thanks Martin's son is investigation. knows so much Saga for helping, taken into hospital about poisoning, but she stays so in a serious she hesitates rational condition 19 It’s obviously 51 Same rational that she conversation experienced that disease. 35 she doesn’t know how to act with the mother of Jacob S02E07 25 The mother of 49. Straight away Jacob comes into she asks if A chemical plant is the office, with the someone’s attacked which question if Saga is daughter is in porn. threatens to good for her son Even though it is a contaminate a 36 When Jacob very sensitive water source. Saga celebrates their 8 subject. realises living with months a partner is harder anniversary, Saga than she thought. couldn’t care less. Martin looks into Work is more Saga's past. important S02E08 9 Saga follows her own investigation. Martin visits Jens in prison and seems to be getting to him. As they re- interview witnesses Saga suspects a statement has been tampered with.

53

Laura regains consciousness and remembers what her assailant looks like. S02E09 56 When everyone 38 She said: it’s a 51 she totally thinks the case is shame I’ve failed freaks out when Saga and Martin closed Saga as a girlfriend. But Martin found out have a sketch of the continues now. Back to work. that her mon has a suspect, but can disease. they get to them in time to avert 'The Graduation'. Their friendship is placed under strain by Martins inquiry into Saga's past.

S02E10 8 Saga tells her 48 She puts a story to martin. Her picture of her sister It becomes mother had in her house to apparent that the Munchhausen, but memorize her. case isn't over and because nobody Saga and Martin believed her, Saga race to prevent committed a crime another terrorist and pinned it on attack. Saga faces a her parents to free decision that may her sister. But she destroy her thinks she failed, friendship with because her sister Martin. killed herself

54

THE KILLING Professional Private Rational Emotional SEASON 1 S01E01 18: Lund has a conversation with Monday, her son in the car. November 3. Police He complains that detective Sarah she never has time Lund is about to for him and that leave her job in she don’t know Copenhagen to anything about his move to Sweden. live. But the discovery of the blood- stained belongings of a young girl prompts a police investigation that will change the lives of all involved.

S01E02 4. Her expertise is 27. She has to asked by the case. choose between Tuesday, She is definitely in work and private November 4. charge. life. She chose Nanna's parents work. identify her body, and details of her sufferings are uncovered. Lund keeps postponing her departure, and tension arises between her and her new partner.

S01E03 24. She is very rational. Doesn’t Wednesday, show her emotions November 5: Lund when she speaks and Meyer track with the parents of down the driver, the murdered girl. who ends up injured in the hospital, but also supplies an alibi. They refocus their investigation on Nanna's school.

S01E04 10 Lund decides 25. Again, she during the never shows her Thursday, investigation. Her emotions when November 6: The partner only confronting the police investigate watches parents of the girl. the crime scene 27. Partner sits Her partner does. they have found at down, she stands. Nanna's school and Obviously in suspect her charge of the classmates Oliver situation.

55 and Jeppe of wrongdoing.

S01E05 22. Only she talks, 26. She fights with her boss and everyone in the November 7: partner listen. house (mother and Hartmann has won son). They think a new political ally, she works too but is drawn into much. Again, she is the murder case confronted with her again when the son and the fact police uncover new that she doesn’t information which know anything turns their about his life. suspicions towards teachers at Nanna's school.

S01E06 21 Conversation 47-56. Plane leaves with politician for Sweden. In the November 8: Lund Troels Hartman. last seconds she and Meyer She is in charge. leaves the plane to investigate teacher She tells him what move on with her Raman al Kemal's to do, he only investigation Work actions on the night responds. is definitely first. of the murder. On the day of Nanna's funeral, Lund is finally on her way to Sweden.

S01E07 3. Mother of Lund 15. Lund shows her is furious that Lund vulnerability for November 9. Lund chose work over the first time when decides to stay in love. Lund doesn’t her fiancé calls and town to continue understand her visit her. She the investigation problem. doesn’t want him to even though it puts leave. her relationship 34. Again, shows with Bengt under her emotions. She strain. Rama is wants him to questioned as the understand that she main suspect. has to stay for her work. S01E08 3. Her partner asks 28. Her fiancé had Lund to wait in an accident. For the Monday, front of a masque. first time, she November 10. The Lund refuses. She doesn’t want to talk police locate the can’t be bothered. about the case, but place where Nanna he wants to was killed, and Rama is charged with the crime. S01E09 25 Her fiancé is in 15 Lund is very the hospital, and he rational not Tuesday, wants to help her. emotional. She just November 11: She firs won’t stands there doing Theis Birk Larsen's accept it, but nothing, while the brutal punishment afterwards accept others are helping. of Rama is his help. Private

56 interrupted by the and work are police, and Theis is combined together. arrested. Lund and Meyer refocus their investigation on the car used by the murderer.

S01E10 5 Lund her partner 9. Bengt leaves and her boss are Lund behind. She Wednesday, having a wants him to stay. November 12. discussion. Her But Bengt breaks Bengt leaves for boss is clearly in up with her, Stockholm. Lund charge. She is very because of her job. and Meyer are stubborn. hindered in their 44. Private and investigation by a professional life secretive boss, but both fall apart! Lund continues inquiries and is dismissed for her sins.

S01E11 7 Lund has the 24 Mark’s dad power again, after wants to meet him. Sarah and Jan she was fired. She He lives outside know who they are tries to be in charge Copenhagen. She looking for but are now. She finds the ignores it. puzzled by their key of the superiors' reactions. apartment of Troels. 14 Jan and Sarah are accused by their boss for not doing their homework. Doesn’t seem to bother Lund 36 Her boss leaves, and instead of being emotional, she is rational and asks him about the case. S01E12 10 She has the final 25 The father of answer about what Mark, Carsten is in Sarah and Jan to do. But after Copenhagen. He interrogate Troels, that, she has to moved to Brussels whose private justify to her boss with his wife Karen information opens to never act without and two kids, now a new can of his approval he’s returning worms. 34. Lund ignores home to his orders and starts Copenhagen. It’s her own expedition clear that he was with an old not always there for girlfriend of Troels Mark 50 Change of mind by Lund. She now start to believe Troels S01E13 49 Against her boss 27 It’s clear that 5. She tries to

57

orders, she starts a she loves mark, but convince Troels to The spotlight of the search for Olav loves her work tell his part of the police and media is Christian even more. story by playing on now trained on 53. Mark doesn’t his emotions Troels Hartmann, go to school and he feels his anymore. Lund political career is didn’t know that. crumbling. Her ex had to Meanwhile strange found out. things are going on at the town hall with fatal consequences.

S01E14 17 Lund is accused 21 Important for not being conversation with Troels's political objective to Mark and Sarah. opponent Bremer Hartman She doesn’t wastes no time in 34 She questions control him taking advantage of Hartman, knows anymore. his discomfort. already what 23 She let her son happened. sleep by his father. 56. She goes her Emotional. “First own way, without the Norwegian, saying anything. than junior, She’s very hopefully is your stubborn mother not next” The words of colleague Jan S01E15 15 She’s captured 55 Bengt tried to 21 Bengt is there to by Jens Holck who solve the case calm Lund after her Sarah has walked had a relationship behind her back. kidnapping. into a life- with Nanna. She’s Lund is very upset, threatening saved by Jan Meyer that he gave his situation. 37/56 Lund is notes to Brix not to moving on with the her. case, when even though everybody thinks it solved S01E16 5. Lund wants to 17 In her private solve another case, life is is not much Sarah won't get on but Brix doesn’t better. Son moved board when her (want to) believe in with his father, superiors insist that her. He thinks she boyfriend is to a Nanna's murder has should work on her hotel. Mother also been solved. relationship with leaves. Her private Bengt. No one life is a mess believes her S01E17 53. They found the remains of a body Sarah and Jan are convinced there's a link between Nanna's murder and an unsolved case.

S01E18 17. Lund wants to 19 But she goes on 28. Jan Meyer move on with the and on, without any describes Lund as Sarah and Jan case, but he emotion not herself. She is

58 check out a ‘friend’ and so into the case that warehouse to look colleague Jan everything else for evidence but Meyer says she comes second. something need some sleep. 29 Her partner is unexpected But she wants to shot, and you feel happens. move on. that she is 21 She operates emotional about it, preferably alone. but she doesn’t 26 Lund has to shed a tear save Meyer 56 She collapses 34 When Meyer is because Meyer is in the hospital, the dead. only things she asks is when she can talk with him foe the case 36 she wants to move on with the case as detective, even though her colleague died.. Brix says she must go home, she doesn’t want it. 37 When brix is wrong she takes the lead S01E19 19 Nobody 3. She has to cry believes her because of Meyer. The hunt for a anymore, thinks he’s dead. But is missing suspect that she is crazy still focused on the takes an and she is accused case. unexpected turn. of shooting Meyer 31 She keeps moving on with the case, even though nobody believes her. S01E20 3 Everybody is looking for Sarah. Having been taken They think she has off the case, will a mental Sarah succeed in breakdown, and nailing Nanna's they still don’t murderer? believe her. 24 She takes the weapon of a colleague, just to solve the case

59

THE KILLING Professional Private Rational Emotional SEASON 2 S02E01 30 Lund is really 10 She lives all insecure when it alone far away Ten days after comes to her job. from Copenhagen lawyer Anne But she still wants 38 Her mother is Dragsholm was to be involved to going to marry with found dead at a solve it. Bjorn. WWII memorial, the police have her husband in custody for her murder. But the chief of investigation calls on Sarah Lund, who has transferred away from the crime squad, to return to Copenhagen to look over the case.

S02E02 6 Brix asks Lund: 19 Lund doesn’t why should I hire talk about her past. Sarah Lund you as detective. 31 She stayed by officially joins the She answers: this is her mom, and investigation into what I do best almost forgot the the murders of Gedser is the place, wedding on Sunday Anne Dragsholm where she is and soldier Allan worked before. Myg Poulsen, who was found butchered in a warehouse. A published video of the captive Dragsholm suggests the assassinations are acts of terrorism, and the police look into links with Islamic extremists.

S02E03 5 She takes over the lead from her While intelligence colleague services insist that 9. She is accused the investigation by her colleague of should focus on having crazy possible terrorism methods to come to links, Raben's an answer escape strengthens 22 Her bosses Lund's interest in called her his links with the completely victims. incompetent 23 Her colleague stands out for her S02E04 17 A suspect will 31 When she is at 6 She throws up only talk with her moms, she is after a murder. She

60

The murder of Lund, because she only busy with her is emotionally another former is honest to him. work. Furthermore about it soldier, David she bought Grüner, prompts hazelnuts cake inquiries into his when the future and Raben's army husband of Lund’s squad and a mother is allergic particular event during the group's Afghanistan mission a few years before. Lund and Strange track down one of the remaining members in a remote Swedish island.

S02E05 26 because of her work, they may The police continue of the case investigation comes 46 she doesn’t under fire after mind walking soldier Lisbeth through naked men Thomsen was killed by a bomb planted in her boat, but Brix keeps Lund and Strange on the case. They try to learn the truth about the Afghanistan mission and pay a visit to the mother of a fallen soldier who may be connected to the case.

S02E06 7 She is determined 3. Her mother asks to open the coffin. help for the Lund demands that She does wedding, but Lund the grave of the everything for it is too busy with dead soldier Per K. 17 She is still work. Møller be dug up, convinced of her 41. Lund leaves her but her theory that own truth, even mother’s wedding the coffin is empty though it seems because of work is proven wrong. wrong. But she 47 She just walks She is suspended hesitates to believe away during a from the it. ceremony. investigation and 27 She is again takes time to attend accused for being her mother's wrong wedding until developments bring her back into action.

S02E07 4 Lund continues 27 Her colleague

61

with the case, even Strange likes her, After finding the though her boss and attempts to kiss chaplain assaulted says he doesn’t her at his place in his church Sarah allow it. She doing Lund chases the her own offender, but ends investigation up battered in an 29 When she is alley. She is back on the team, brought back in she immediately charge of the takes the lead investigation.

S02E08 7 Brix thinks it might be Lund’s Jens Peter Raben colleague Strange, has been shot by but Lund doesn’t Strange during an believe him escalated situation where Raben seemed to recognize Strange. Raben survives, and Lund finally has the chance to interrogate him. She finds herself investigating her partner’s past

S02E09 15 Even in 50 The case needs Afghanistan, she to be solved! She is Lund and Strange wears her sweater a little bit head to 24 When emotional about it Afghanistan to seek everybody doesn’t out Frederik Holst, want to go further, a doctor with a Lund tries again. grudge against 40 Lund is always Raben and his determined to find squad. They also the solution decide to visit the house where a family was allegedly killed while the Danish soldiers were there.

S02E10 4 Now brix doesn’t 7. She is very believe her, when rational when Secrets are she thinks it’s talking with uncovered at the strange. And she Strange about their ministry and in the didn’t tell her mom interest in each military, revealing about the trip to other a conspiracy to Afghanistan conceal vital 7. She’s is still not information. Lund convinced puts together some 42 Exact the same pieces of her own, as The Bridge. and it comes to a When everyone is lethal confrontation celebrating, Lund with the killer. discovers a new

62 lead to Strange 44 By risking her own life, she is determined to save Raben

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THE KILLING Professional Private Rational Emotional SEASON 3 S03E01 9 Because she 4 She talks with her 40. Her son cannot moves to another son, whom she come to her dinner, Body parts are division she hasn’t seen in a or doesn’t want to found at doesn’t care about long time. come. Lund is Copenhagen dock the case really disappointed. only hours before a 22 A former friend But still her case is visit by the prime want her to check more important minister. the case, even though she doesn’t want it, she does it. But he wants her in charge 29 She depends on her chief S03E02 2. She is again 27. Because she’s 21. Her colleague 52.Marks’girlfriend completely in alone in the house. acts emotional. She is pregnant The police try to charge. Telling She just continues doesn’t do track down the people what to do. with her work. anything. kidnapper of 9. She must discuss 39. She hears that 32 Interview with Robert Zeuthen's al her steps with Mark don’t want the parents of the daughter Emilie. her boss. her to meet him kidnapped girl. She again. stays rational S03E03 5. Her colleague 33. She doesn’t says she never want any help from It becomes clear show feelings in a former friends. that Emilie private life. Zeuthen's 30. Conversation kidnapper will stop with mark and his at nothing to girlfriend who’s recover his debt. pregnant. Very uncomfortable S03E04 32. Marks girlfriends shows Another failed up, and Lund wants attempt to capture to help, but work is their man leaves first. Borch and Lund with a dilemma - should they obey the perpetrator's instructions or take action in spite of his directives, thereby risking Emilie's life?

S03E05 20. She did 27. She let a child everything she die, but is still so The kidnapper could, but she rational. Not let her continues to insist couldn’t help the emotions overtake that he's seeking to girl, her recover a debt. If Lund is to save Emilie's life, it will be up to her to find out what the debt is and how it should be repaid.

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S03E06 30. She’s accused of letting nobody in In Jutland, Borch to her life. She just and Lund make an avoids the eerie discovery and confrontation find themselves in 32. She kisses her danger. colleague!

S03E07 10. In the end, the 24. she tries to talk colleague is not normally with A new element who he says he is. Mark girlfriend, but turns out to play a She feels betrayed she really want her role of great 29. She is not the to leave. It feels significance in the leader as she was fake. She sees investigation. before. She herself as a bad commands mother Asbjorn, but he is the only one. 40. She is really determined in her job. S03E08 31. Borch, her 25. The colleague colleague, told his Borch left the case, A suspect is taken wife he is in love and also her as a in for examination with someone else. lover. He wants her as the police try to But Lund didn’t see to believe he’s find out about the it coming. innocent. notebook.

S03E09 11. Lund stays 31. Wife of Borch 27. Lund talks calm, her partner shows up, accuses emotionally with Sarah Lund is held doesn’t Lund of taking her her son about her back in her 19 She is in charge husband. never been there, attempts to make while questioning. but when he phone headway with the Always rings about the investigation. investigation, she takes the call S03E10 50. She kills the murderer of Louise. It's election day and the Prime Minister has everything to gain but Emilie's fate remains uncertain.

* All episode information gained from IMBD.com

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