When The Killing (Forbrydelsen) appeared on British television screens in the Spring of 2011, a phenomenon was born. People addictively watched week after week, waiting impatiently to see who killed Nanna Birk Larsen. Unusually this waiting game was not carried out in secret or silence, instead theories and plot-lines were discussed and dissected openly among fans in a variety of places - workplaces, homes, social circles all buzzed with talk about this fascinating, foreign series. Nordic Noir quickly developed its own fandom, drawn from all levels and sections of society who were all drawn in for their . . .
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