Robert Wallace

When McDormand visits her former home and gazes from her kitchen window at the open plains and distant mountains, we are reminded of what she has been invested with. A longing. A quiet desperation to 'get away'. To journey somewhere else. To leave behind the despair of her recent life. The cold, empty house and plant site she walks through are tombs. A life removed. One she must escape. On the road there is a freedom of a kind, comaderie and exciting discoveries, but the moving forward is tinged with a quiet and, equal despair. And, for how long can the characters keep moving?

I am a reluctant viewer of Morden in Sandhamn. I binge watched 6 seasons (I am not a sedentary loung lizard) in love with Sandhamn and its idiosyncrasies, but more infatuated with the burgeoning affection between Nora and Thomas. Unfortunately, in the TV series, their affection for one another is finally left to a sadly edited moment at the end of season 6. An incipient kiss is cruelly shut down to mark the conclusion of the 'what if', 'on again, off again' tension-filled moments between Nora and Thomas. I adored the scenery, the actors (especially the gorgeous and imminently watchable Amanda Rapaport). I believe season 7 and beyond will engage more with a life of its own beyond the books (written by Viveca Sten). Sadly, Jakob Cedergren will not be returning. Although I felt his character up to season 6 finale was best suited to Nora, I reluctantly acknowledge Nicolai Cleve Broch's Alexander is a better match for her. Vale, Thomas. I have travelled far in the hope that you and Nora would finally find yourselves in each other but it was not to be. If the writers could please acknowledge that we humble viewers (especially in these uncertain times) desire resolution in the affairs of the characters we have grown to love, it would be very much appreciated. Give us hope (please). Robert Wallace