This one starts off quite interesting, with a bomb blast killing a housewife while her young daughter helplessly looks on in 1983. It seems she was set to testify against a serial flasher -- was he responsible for her death? The explosion looks authentic and is truly shocking and abrupt -- kudos to the editor for this episode, Maja Vrvilo, for really selling the moment.
The rest of the episode is a bit paint-by-numbers, however. Almost all of the evidence is circumstantial, and there isn't a whole lot of intrigue. Interestingly, there's a also a very similar character to the one D.W. Moffett played in the pilot; here in this second episode Brett Cullen strikes a very similar countenance as yet another controlling, sexist husband who is played against Kathryn Morris's feminist altruism.
But there's no denying the poignancy of the ending; like a delicious dessert after a lackluster meal, it's the viewer's reward for sticking around until the end. Both Bonnie Tyler's "Total Eclipse of the Heart" and Bryan Adams's "Straight from the Heart" are exquisitely overlaid over a flashback scene showing how the murderer did it, followed by she/he being marched in slow-mo towards the waiting police car while all the characters -- including the "ghost" of the victim as she appeared in 1983 -- look on. It does kind of make the preceding 40 minutes feel worth it.
The rest of the episode is a bit paint-by-numbers, however. Almost all of the evidence is circumstantial, and there isn't a whole lot of intrigue. Interestingly, there's a also a very similar character to the one D.W. Moffett played in the pilot; here in this second episode Brett Cullen strikes a very similar countenance as yet another controlling, sexist husband who is played against Kathryn Morris's feminist altruism.
But there's no denying the poignancy of the ending; like a delicious dessert after a lackluster meal, it's the viewer's reward for sticking around until the end. Both Bonnie Tyler's "Total Eclipse of the Heart" and Bryan Adams's "Straight from the Heart" are exquisitely overlaid over a flashback scene showing how the murderer did it, followed by she/he being marched in slow-mo towards the waiting police car while all the characters -- including the "ghost" of the victim as she appeared in 1983 -- look on. It does kind of make the preceding 40 minutes feel worth it.
