Reimagining Murder Mysteries: “A Murder at the End of the World”

Murder mysteries possess a timeless allure that seems destined to endure. The classic “whodunit” narrative continues to captivate us not just for its captivating quest to unveil the murderer’s identity and motive but also for the opportunity it offers to engage our own detective skills in deciphering the enigma concealed within the story. This enduring fascination is especially heightened when the creators behind the project are celebrated figures like Brit Marling and Zal Batmanglij, whose loyal fan base eagerly anticipates their next masterpiece.

The great news is that the anticipation surrounding “A Murder at the End of the World” is entirely justified. While this series might appear to be a departure from the creative duo’s previous, more intricate works, it masterfully reimagines the familiar elements of a murder mystery, infusing them with unexpected twists. The story unfolds in an isolated, perilous locale, intensifying the sense of confinement and suspense as the characters navigate a growing body count and increasing suspicions among the remaining guests. With each passing moment, the tension escalates, leaving every individual eyeing their companions with newfound uncertainty. However, the identity of the true perpetrator of these heinous crimes remains a riddle, eluding not only the characters but also the viewers, keeping us all on the edge of our seats.

What Is ‘A Murder at the End of the World’ About?

Amateur detective Darby Hart (Emma Corrin) has always held a deep fascination for solving murder cases, often taking on those that have left law enforcement at a standstill or completely given up. Growing up as the daughter of the local medical examiner, she spent her formative years assisting her father at various crime scenes instead of partaking in the typical social milestones of her peers. Through the vast resources of the internet, she found a network of like-minded “citizen detectives” (imagine her partnering with Misty Quigley!) and skillfully connected the dots that might have otherwise eluded detection. Along the way, she crosses paths with Bill Farrah (Harris Dickinson), a brilliant hacker and coder who becomes her partner in more ways than one, even as their contrasting philosophical approaches to solving cold cases threaten to pull them apart.

Darby’s ongoing pursuit of a serial murder case reaches its zenith with the release of her debut book, a work she dedicates to her personal hero, Lee (Marling), a hacker on the fringe with a reputation both legendary and notorious. While Lee’s online activities were far from legal, she was someone Darby looked up to, at least until she became the target of stalking, doxxing, and ultimately had to go into hiding to protect herself. Since then, Lee has remained shrouded in mystery, except for her surprising marriage to the reclusive tech billionaire, Andy Ronson (Clive Owen). When Darby casually mentions Lee during a reading of her latest book, she suddenly receives an invitation to a secluded retreat organized by Ronson himself. Joined by eight other carefully selected guests, Darby embarks on a journey to an awe-inspiring, remote location equipped with all the cutting-edge technological amenities one could envision. However, when a member of the group is discovered dead, Darby finds herself thrust into a high-stakes situation, compelled to prove that it was indeed a murder and that the perpetrator lurks among them, no matter the obstacles that might try to thwart her investigation.

‘A Murder at the End of the World’ Embraces Many Mystery Tropes — With a New Twist

Bringing together a diverse group of characters in a single location is a tried-and-true method to kickstart any whodunit mystery. However, what sets “A Murder at the End of the World” apart from many recent murder mysteries is its choice of setting. The story unfolds in Ronson’s secluded retreat, and the remote locale, which is quickly unveiled as Iceland, adds a distinctive layer of claustrophobia and confinement to the narrative. This feeling intensifies when a menacing blizzard descends, trapping the guests within the retreat. There’s an inherent chilliness, both literal and figurative, in being at the mercy of nature, particularly when the absence of proper insulation could mean the difference between a mild discomfort and life-threatening hypothermia. Initially, a remote location for an intimate gathering may seem like an exciting concept, but as the guests realize they could be sharing their space with a potential murderer and escape routes dwindle, what once appeared as an idyllic getaway becomes an ominous trap.

However, “A Murder at the End of the World” doesn’t rely solely on the confinement of its characters to create an eerie atmosphere. The show’s aesthetics, especially in the present-day storyline, exude austerity and a biting cold. Directors Marling and Batmanglij, who share the helm of the series, distinguish the retreat scenes from the warm, well-lit moments when the narrative delves into Darby’s previous investigation in the past. Collaborating with director of photography Charlotte Bruus Christensen, their approach not only makes the series look cold but effectively makes the audience feel the bone-chilling atmosphere. It’s as if you’d be well-advised to grab a cozy blanket and a steaming mug of something hot as you immerse yourself in the episodes.

Beneath the icy exterior of A Murder at the End of the World, it’s undeniably a contemporary mystery-thriller, deeply entangled with the world of technology. As the guests gather around the dinner table and engage in discussions about artificial intelligence and the remarkable advancements made in that field, it carries a weighty significance, especially considering recent conversations surrounding AI’s role in films and shows similar to this one. However, A Murder at the End of the World goes beyond mere superficial acknowledgments of this topic; it delves into the potential risks and uncertainties associated with an excessive reliance on such technology.

When Darby finds herself turning to Ronson’s AI personal assistant, Ray, portrayed by Edoardo Ballerini, while investigating the murder, it introduces a modern twist to the classic mystery partnership. Yet, the crucial question remains: how much trust can she place in this connection?

‘A Murder at the End of the World’s Success Rests on Emma Corrin’s Performance

“A Murder at the End of the World” owes a significant portion of its success to the exceptional talent of Emma Corrin, who takes the lead in this gripping series. Widely recognized for her portrayal of a young Diana, Princess of Wales in “The Crown,” as well as her roles in “My Policeman” and “Lady Chatterley’s Lover,” Corrin is clearly poised for a remarkable career in the entertainment industry. While “A Murder at the End of the World” isn’t Corrin’s television debut, it stands out as a project that allows her to delve into the complexities of an entirely original character at different stages of her life.

The series revolves around two distinct timelines, both set in the past. In one, we witness the partnership of Darby and Bill as they delve into the investigation of a series of murders that will later become known as the “Silver Doe” case. In the other timeline, the story unfolds in the present, where Darby finds herself entangled in another investigation, one that hits much closer to home. This narrative device provides Corrin with the opportunity to portray two versions of the same character. There’s the younger Darby, an isolated young woman searching for connection in the hidden corners of the internet, and there’s the current Darby, a more guarded Gen Z individual marked by past experiences but still possessing a sharp analytical mind. Corrin’s performance is a study in the subtleties that differentiate the two time periods, with a strong focus on Darby’s keen observational skills. There are moments when she scarcely utters a word on screen, but you can still sense the gears turning in Darby’s mind as she works diligently to piece together the essential puzzle.

“A Homicide at the Edge of the Earth” is a series that encourages a methodical approach to consumption, urging viewers to savor it gradually, rather than binge-watching the entire series. With a narrative that introduces captivating characters, unsettling plot twists (including multiple jump scares), and the ever-present, ominous forces of nature, the show is best enjoyed when savored slowly. Marling and Batmanglij’s most recent collaborative effort presents a thought-provoking and intricately woven mystery, which becomes even more engrossing when one refrains from predicting its course.

A Murder at the End of the World premieres with its first two episodes November 14 on Hulu in the U.S., with new episodes released weekly every Tuesday.

WATCH ON HULU

Quick summary

1. “A Murder at the End of the World” is a murder mystery series that captivates with its timeless appeal and engaging quest to uncover the identity and motive of the killer. The show is created by celebrated figures Brit Marling and Zal Batmanglij.
2. The series, set in an isolated and perilous location, follows amateur detective Darby Hart, portrayed by Emma Corrin, who is drawn into solving a series of murders at a secluded retreat organized by a reclusive tech billionaire. As the body count rises and suspicions grow, tension escalates, leaving both the characters and viewers on edge.
3. The show offers a new twist to the classic murder mystery by setting it in a remote location, adding a layer of claustrophobia and confinement. It also delves into the role of technology, exploring the risks associated with an excessive reliance on artificial intelligence.
4. Emma Corrin’s exceptional performance as Darby Hart, who navigates two distinct timelines, adds depth to the series, making it a gripping and thought-provoking mystery. “A Murder at the End of the World” is best enjoyed by savoring its intricacies and avoiding predictions. It premieres on Hulu with the first two episodes on November 14, with new episodes released weekly.