Broadchurch: Truthful, anti-sensationalist and not about guessing whodunnit

After the incredible success of season one of Broadchurch, it was no surprise that series two couldn’t quite live up to the hype. It wasn’t just our expectations, however, that made it less so but rather a feeling of wayward focus and sensationalism making it a bit monotonous instead of gripping.

So, with managed expectations, does season three make the same mistakes or rectify its difficult second album syndrome and bring faith back to the award-winning drama?

Thankfully, it’s the latter. I’m sure many of us were worried when we found out that this series would revolve around a serious sexual assault as so many shows and films tend to use it for a cheap bit of sensationalism. Yet, about two minutes in it was clear that this wasn’t going to be THAT show.

Episode one already feels more focused than the whole of season two and smartly dials back on the over indulgent visual and musical artistry that became a staple in season one yet overused in season two. The story is also simpler, having gotten past the backstory of DI Alec Hardy (David Tennant) and finished the emotional arc of DS Ellie Miller (Olivia Coleman), series three allows itself to tell a different story altogether.

It already feels perhaps too inappropriate to keep the same whodunnit format of series one (itself modelled on cult hit Twin Peaks) as the show now takes its chance to say something important. Sexual assault is always a tricky thing in media and when done right (if that’s possible) it’s always about making a statement, never just frivolously using it as a plot device.

It’s smart then that the first episode is in two halves, one in which it focuses on the victim of the assault Trish Winterman (Julie Hesmondhalgh) and the other which focuses on Alec and Ellie beginning their investigation of the crime.

The episode gets right to the heart of the drama, wasting no time reintroducing us to the characters or recapping previous events but starting right away. The first scene is as beautiful and subtly played as Broadchurch at its best as the camera slowly pans around Trish’s face as Ellie comes into view.

It’s tasteful and intriguing in a way that isn’t melodramatic and the following scenes of the detectives attempting to uncover the devastating events are done so with delicacy and honesty. They’re also key conversations during the episode that highlight the importance of stories like this being told correctly.

One in which Ellie reprimands a colleague over her assumption that Trish could be lying (as it happened two days previously) is simple but does the job of coming at the subject matter from the correct angle. The investigation itself is the same mix of smart writing and intrigue that makes detective shows like this interesting to watch yet this time I think its not the point.

Series one and two were very much about a whodunnit drama or, less successfully, in the case of season two, willhebefoundguilty? Series three isn’t about that. We’re not watching it (well we shouldn’t) to guess who did it but rather watch something that’s definitely compelling and has elements of puzzly intrigue yet is far more about bringing awareness to a crime that is often treated poorly by popular media.

At the moment Chris Chibnall has done a great job, with restrained direction and music from Paul Andrew Williams and Olafur Arnalds respectively giving the drama the respect it deserves. It’s all done with grace and intelligently understands that it needs to be a compelling show yet give the crime the necessary dramatic weight.

Elsewhere, the performances are also fantastic with Tennant and Coleman continuing to be realistic and engaging whilst Hesmondhalgh captures agony in the smallest of facial gestures.

The rest of the returning cast do a good job as we reconnect with them, despite it feeling a little contrived that Beth Latimer happens to be Trish’s counsellor, seemingly so she can just be kept in the series. Yet, as a gripe it’s one that I will probably forget about as the series goes on.

So far, series three already feels like a step up from series two and as long as Chibnall continues to understand the importance of honest and un-lurid storytelling, series three could be the best yet.