‘Trapped: Series 2’ – Episodes 1 & 2

This is a full review of episodes 1 and 2 of Trapped so don’t read on unless you’re up to date.

Trapped Series 1 was an extraordinary bit of television, the first ever Icelandic drama broadcast on British TV. The first series was the highest rated series ever on RUV, watched by 86% of TV households in Iceland. In the UK it passed 1.2 million viewers on BBC Four. Safe to say then that series 2 has quite a bit to live up to. I’m hoping it’s worth getting excited about.

Bearded man-mountain Ólafur Darri Ólafsson reprises his role as chief police inspector Andri now back in Reykjavik when he is entrusted with an extremely high-profile case. In classic nasty Scandi style we have an immediately gripping immolation opener which is fascinating even as you recoil in horror. Gisli an impoverished sheep farmer from the Icelandic Highlands sets himself on fire in front of the government building, trying to kill the Minister of Economic Affairs who just happens to be his twin sister. Andri is back on top again – a rise so meteoric I’m surprised he doesn’t have a nosebleed. From zero to hero thanks to his hard work and persistence in Series 1. In the first five minutes he’s already chatting to Iceland’s Prime Minister who cuts right to the heart of all Scandi noir motivations – was this attack personal or political?

Vikingur (early contender for best name of the series) is Gisli’s son, working at the controversial aluminium plant up north. As in the first series we get a break from subtitles thanks to the international element here in this industry; something that right-wing Icelanders like the Hammer of Thor group are protesting against – who profits from the devastation this plant causes to their landscape and their livestock? Vikingur already has a lot on his plate before his father’s horrible suicide – he’s in a relationship with Ebo, a black colleague who seems like he’s in the country illegally.

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‘Ordeal by Innocence’ – BBC1

Agatha Christie’s murder mysteries are an international literary language; translated, loved and understood the world over. You know there’s going to be a big stately home, a cast of shifty upper-class characters, a few red herrings and a satisfyingly complicated conclusion. It’ll all hinge on the silver sugar tongs, a classified advert in the Times or the colour of the front door which you knew from the start but discounted as an inconsequential detail. It’s clever, gratifying and reassuring all in one shot. For a real-life example, please see me and Mr H on holiday in Turkey in 2014. We were, I’m ashamed to admit, battered out of our skulls on local raki and dealing with a day-long hangover in a hotel room easily as hot as the surface of the sun. What could be more soothing to the addled brain than finding Poirot dubbed into Turkish with English subtitles? In no small part thanks to Hercule we consoled the little grey cells that hadn’t been murdered by alcohol.

Ordeal by Innocence, the Easter Sunday BBC1 drama, is not your Turkish holiday Agatha Christie adaptation. There’s nothing soothing about this production. From the off it’s clear we’re in a nightmarish gothic horror. Producer and writer Sarah Phelps brings us a sharper, nastier, distilled version of And Then There Were None, her tremendous Christie adaptation from 2016. “Nine elaborate murders based on an extremely dodgy nursery rhyme that drive a young woman to suicide in a mansion on a deserted island is not really terrifying enough. Let’s kick it up a notch guys!”

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