Samantha Starr

Razor-edged thriller within the rarified world of a Wall Street hedge fund. Emily and Luke are clandestinely dating, unable to publicly reveal their relationship due to company policy, they’re on the quietly blissful up and up; on the brink of marriage and promotion. The entire relationship disintegrates when Emily, the top performer within her team, is tapped on the shoulder by her boss Campbell for a huge promotion. As opposed to Luke, who was anticipating the advancement. Having worked within investment banking I can relate. What follows is an exploration of heteronormativity and the pitfalls women face not only in having to minimise their earned successes within their intimate relationships but also have their competency and advancement smeared at work. With Luke’s ego challenged, he descends into seething rage and resentment, ultimately attempting to sabotage their ill fated engagement and Emily’s career. Topical tropes explored are equal opportunity, sexism, gender norms, work place power imbalances, sl*t shaming and the nuanced complexity of intimate partner violence. Really enjoyed the final touches, that in spite of Luke’s destructive and criminal path, he has options, another opportunity to go on to, it’s just a blip. Ultimately their relationship devolves into chaos. Notably excellent performances all round, especially from Eddie Marsan as Campbell. Imbuing the ruthlessness of the industry with his withering stares alone. Look forward to Chloe Domonts next project.

Hmmm I’m torn, (sorry, spoilers, well sort of), this 3 part series was nicely paced, with great archive footage, hugely intriguing as it progressed along, candid interviews, good questions leading to excellent points, it kept me hooked and engaged. But I thought by episode 2 it was going to provide new information? We all know about Barry George, hugely unlikely as the killer, and we all know he was released following a retrial. This series was starting to resemble click bait, asking a question, it then meanders about, but never answers. Or does it? There’s only one person who claims, with no further pressing or exploration by the producers, to know who did it. That it was a professional hit by OG? But ordered by whom and why? Anyone who followed this case knows the murder demonstrates all the hallmarks of a professional hit. Then nothing further is presented, other than hints it’s fade to credits. Is it more a revisited true crime nostalgia piece? Maybe not? The only ‘clue’ dispensed by this one person is that if he named who it was, we’d all ‘know’. Maybe therein lies the answer? Very cloak and dagger.