There are two kinds of individuals on this planet: those that haven’t seen or heard of the British cop show “Line of Duty” and those that are rabid fans of it. It isn’t a fantastic television series, or perhaps a superb one, necessarily. But it surely has a loony, breathless intensity that sucks you in and a willingness to toy with its regular characters’ emotions, and query their motives, that’s dramatically suspect but melodramatically potent. Through six seasons, it stays one in every of Britain’s hottest and honored TV shows.
Jed Mercurio, who created “Line of Duty” in 2012, created the equally batty “Bodyguard,” whose high-wire mix of bad-cop histrionics and romantic soap opera made its one season in 2018 as big successful as “Line of Duty.” (It also drew a surprise Emmy nomination for best drama after it appeared on Netflix in America.) Earlier, he was generally known as a creator of medical dramas, and maybe some clues to his writing style will be present in his original profession as a health care provider; his first show was called “Cardiac Arrest.”
Mercurio didn’t create “Trigger Point,” a recent British series whose six-episode first season got here to Peacock on Friday. But he’s the showrunner, and he developed it with its creator and author, Daniel Brierley, and it has the Mercurio stamp: It’s nuts, in a benevolent and entertaining way that makes it easy to put aside your higher neural functions.
Where “Line of Duty” maintains an ethical dimension by featuring a police internal-affairs unit, “Trigger Point” goes for nearly pure pressure by specializing in a member of a London bomb-disposal team. The “Line of Duty” associations are powerful, though, because the extreme (natch), trauma-scarred (naturally) protagonist of “Trigger Point” is played by one in every of the sooner show’s stars, Vicky McClure.
McClure will not be essentially the most expressive of performers — you are inclined to guess at her character’s emotions through how widely she opens her eyes — but she has a way of signaling tension in her movement, voice and gaze; something is at all times getting on her last nerve. That works well for Lana Washington, the “Trigger Point” heroine, whose characteristic scene involves running full speed right into a place from which everyone else is being evacuated.
The show’s first season (a second has been ordered) has Lana confronting a string of explosions and near-misses; from what we see, the London police appear to get by with one bomb squad. The identity of the perpetrators is unclear; they’re terrorists, but we don’t know on which side of the fence they sit.
McClure’s character in “Line of Duty” is a component of a three-person team; on “Trigger Point,” she has colleagues but she essentially carries the dramatic weight alone, and Brierley shapes the motion to that embattled, solo standpoint. Lana not only has to fight the faceless bombers — she also has to combat the panic-induced stupidity of the people she is trying to save lots of. Bombs and their targets have trigger points, and in a single scene after one other we cringe as Lana yells at people to please just shut up and stand still.
“Trigger Point,” which is carried by the British business network ITV, has a rather less crazed pace than the BBC’s “Line of Duty”; that will must do, partially, with the need for ad breaks. However the narrative jury-rigging, free-range paranoia and benign neglect of plausibility are the identical. (Viewers may additionally need to take into accout Mercurio’s penchant for killing off major characters.) Sniping, gas mains, therapy and problematic sex are pulled into the combo together with the frequent explosions, and every little thing culminates in a daft, delicious showdown which involves a dead switch, because after all it does.
It’s the Mercurio method: The show keeps blowing up in your face, and also you keep coming back for more.