TV drama series – and especially crime series – have always depended on cliffhangers for suspense – small ones at the end of every episode, larger ones at the end of a season. The small ones, such as who the hooded figure in the shadows is, or whether a victim is dead or alive, keep us tuning in the following week. The larger ones build loyalty to a brand and give us a hook to tempt us back next month, next year, or whenever the next series is shown.
Up to now those end-of-season teasers have involved something that doesn’t affect the plot of the series we’ve just been watching. Frequent favourites are whether two major characters are going to have a relationship or not, or whether the particular team/squad/company is going to be closed down.
Just lately, though, I’ve noticed a sudden outbreak of cliffhangers that do involve the plot, and sometimes in quite a major way. The first of these was the Spanish series ‘I Know Who You Are’. I waded through ten episodes of melodrama and family arguments to find out whether the main suspect was guilty and whether the victim was going to be released in good health to the loving arms of her family, only to find that half of the entire arc wasn’t resolved. (I’m deliberately keeping this light on detail in case anyone still hasn’t seen the series.)
It was a bit irritating, and I was left feeling cheated, somehow – that the whole reason for watching the series was being denied to me. That was bad enough, but then ‘Babylon Berlin’ came along. Again, ten episodes, with a wildly convoluted plot involving pornographic films, Russian spies, the smuggling of war weapons and gold, and a young woman who desperately wanted to join the police. It was clever, it was breathless, it kept you on the edge of your seat. And then in the final episode of the series, only one small piece of that huge jigsaw puzzle had been clicked into place. All the rest was left hanging, presumably to trap viewers into watching another ten episodes of the second series which followed soon afterwards.
But what if the second series doesn’t answer the questions either? Do we have to sit through three or four series, or more, before we find out what the answers are? Much as I enjoyed the first lot, I’m not sure I can invest another ten hours in something only to be disappointed again.
And now the practice has even crept into the otherwise reliable (and hugely enjoyable) ‘Shetland’. The last series wrapped up last week… with a sudden and completely unexplained death that should have warranted a major investigation, but didn’t – and again, no real answers. Again, presumably, we have to wait until the next series to find out what happened and why, but by then I’ll probably have forgotten most of the details and won’t really care. I want to know now, dammit!
So come on, TV production companies. Please stop cheating us by not revealing the answers at series end. It isn’t really fair on your viewers to deny them the very thing they’re watching your series for…
TESS MAKOVESKY’S latest novel is GRAVY TRAIN.