Line of Duty: Watching Cottan’s downfall unfold in glorious slow motion was as good as television gets

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Line of Duty: Watching Cottan’s downfall unfold in glorious slow motion was as good as television gets

April 29, 2016 - 09:09
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For 23 compelling minutes wrongly accused DC Steve Arnott protested his innocence to no avail. For 23 even more compelling minutes rightly accused DS Matthew “Dot” Cottan lied through his teeth in his latest slimeball bid to wriggle off the hook.

Vicky McClure as DC Kate Fleming in Line of Duty

For 23 compelling minutes wrongly accused DC Steve Arnott protested his innocence to no avail. For 23 even more compelling minutes rightly accused DS Matthew “Dot” Cottan lied through his teeth in his latest slimeball bid to wriggle off the hook.

Two unforgettably gripping scenes that by the normal laws of TV drama shouldn’t have worked. In a fish-tank glass office the redoubtable Ted Hastings and his anti-corruption team conducted methodical interrogations as they closed in on the crooked coppers who had conspired to keep the sinister secrets of a VIP paedophile ring.

The average police series would have condensed these meticulous interviews down to a few key moments. But the defiantly unconventional Line Of Duty is no average police series. Instead of edited highlights, we got every spit and comma. And it was utterly mesmerising.

Watching conniving Cottan’s delicious downfall unfold bit by bit in glorious slow motion was as good as television gets. They’d got him at last. Then that text: “Urgent exit required.” Cue an explosion of machine-gunfire and dastardly Dot’s desperate dash for freedom.

Just when you thought the fabulous film-length finale might actually be slaughter-free (as if), three perished in quick succession. Including Dot, after daring detective Kate Fleming took aim and scored a direct hit on his getaway car from a range of ten miles. Okay, maybe not that far. But a ludicrously long way away.

Crack-shot Kate’s super-human accuracy was about as likely as the baddies’ black Range Rover mysteriously racing round in ever decreasing circles instead of leaving the area. But what the hell.

Haunted by the ghost of DI Lindsay Denton, killer Cottan redeemed himself. Which was strangely disappointing. His last act was to take a fatal bullet for Kate and deliver the dying declaration that damned evil former police chief Patrick Fairbank to a ten-year stretch for sexually assaulting children at a boys’ home.

A cracking conclusion to a sensational six-part thriller throughout which we came to expect the unexpected. Usually, big stars like Daniel Mays, Will Mellor and Keeley Hawes play heroes who stay the course. In Line of Duty their decidedly dodgy characters were all suddenly snuffed out in grisly fashion.

The entire cast put in powerhouse performances. Especially the astonishing Ms Hawes as the chillingly emotionless DI Denton. And as scheming weasel Cottan, the talented Craig Parkinson turned furtive glances into an art form. But it was Adrian Dunbar’s stunning portrayal of the morally certain Superintendent Hastings that provided the central hub around which the action revolved.

In the definitive confrontation, he reacted with ferocious fury to police lawyer Gill Bigelow’s suggestion that anti-corruption was a double edged sword and a degree of covering up was sensible PR.

“There’s a line!” stormed Hastings. “It’s called right and wrong and I know which side my duty lies. If I see a bent copper I’ll go after him irrespective of rank or political expediency. So why don’t you write a nice letter of resignation or I swear to God I’ll drag you down with the rest of them.” Exit Gill, her career in tatters. Excellent.

After more twists and turns than Spaghetti Junction, writer Jed Mercurio set himself a tough task to tie up the labyrinthine loose ends. But as the villains got what was coming to them and good guys triumphed, all was well with the world. Happy days. For now.

With more than five million enthralled viewers glued to the eagerly awaited last episode, Line Of Duty 3 is officially the most watched BBC2 drama since ratings began.

Undoubtedly, one of the TV events of the year. If the next series is even half as exciting as this one, I can’t wait.

There are 9 Comments

booklady's picture

Well, I wasn't expecting that! A brilliant end to an excellent series.

Charlie216's picture

Compelling Dot wearing a cheap suit head all over the place whilst steadfast claiming his innocence.

Nige Smith's picture

Simply the finest crime drama since Series 1 and Series 2. This was drama of the highest quality. If you missed it, ask yourself why?
Nige

Taffref's picture

Well, this truly was a fantastic series EXCEPT for the last 20 minutes. It was as if they couldn't think of an ending so they phoned a Hollywood blockbuster director to sort it out. I was absolutely compelled throughout the interviews but when Cotton sent the text to get him out, well, that's when it went pear shaped to me.
Firstly, he was in the interview of his own free will and could've just left via the door.
Secondly, the station was on lock-down but everyone just ran out of the doors.
Thirdly, why did the getaway vehicle drive up and down the same road and why oh why didn't Kate just shoot at the tyres of said vehicle?
Hats off to the BBC but get someone in who can finish a series without going OVER THE TOP.
Cheers, Martin "Taffref" W

FiFig's picture

Absolutely gripping. First Class BBC2. I'd watched S2 first and was convinced Steve and Kate were the 'baddies' all the way through. I then caught up with S1 to find out that so obviously wasn't the case. Roll on S4 if only to hear those immortal lines of 'I have the right to be questioned by an officer one rank above theirs...' Genius!

Nige Smith's picture

Will this superb drama lose its cult but popular following when it moves to BBC1. Surely the viewer is not thick enough to realise you can go up and down the channels on a remote control?

Kevin O'Sullivan's picture

BBC1 automatically gets bigger audiences. Ask the Bake Off gang. LoD won't lose its cult following, but will gain new viewers. Nothing wrong with that. The danger is that they might be tempted to tone down the graphic content for the more mainstream channel. But that's by no means inevitable. Happy Valley was pretty damned hardcore... and that was on BBC1.