AMC's The Killing (2011-2014) is notable as the 'show that refused to die.' Cancelled and resurrected three times, migrating from basic cable distributor AMC to streaming service Netflix, The Killing stands as a good example of how series are increasingly being bought and sold in a rapidly changing television landscape desperate for original content. With particular attention to the way motherhood is represented in the both Forbrydelsen (2007-2012), and The Killing, this article asks: do nationally and culturally specific changes to the narrative of this European acquisition render the US adapted version redundant in Europe?
All Science Journal Classification (ASJC) codes
- Cultural Studies
- Visual Arts and Performing Arts