A lawyer named Douglas Hotton (Dipo Ola) runs across the yard in the rain, calls Susan Edwards (Olivia Coleman), and says he will represent her. He explains things, and she tells him he will be in his place soon. After a bit of explanation, Susan hangs up, and we see that she’s in jail.
In Paris, Susan passed an antique shop:
And when the owner shows him a poster of the Gary Cooper movie he misses, he pays money not to get it. Her husband Christopher (David Writes). Which returns to their dingy apartment after a terrible job interview (he doesn’t speak French well enough to find a job anywhere).
And lies to him about how much the poster costs. Otherwise, he falls in love and pushes Christopher’s wife; He is confident that things will turn around for him. Mainly after he receives 100 euros in the mail from none other than Gerard Depardieu.
Susan is crazy, and she loves Cooper so much. He envisioned Christopher as Cooper’s character in one of the western stars. Often imagining his life is in a grainy black and white, with some dramatic soundtrack and slow motion.
They were devastated but knew that given their situation and Susan was “fragile”. In Christopher’s words, one could not speak of a return to England. He took the risk and asked his wealthy stepmother for money and why they were in France. He immediately reported to the police; Christopher told him Susan’s parents were buried in their Nottingham backyard.
In Mansfield, Nottingham, two local police officers (Kate O’Flynn, Samuel Anderson) talk to the father-in-law’s former neighbours. Who mention they went missing 15 years ago. His ruthless boss, DCI Tony Collier (Daniel Rigby), emails Christopher and politely asks for information or a face-to-face meeting. Christopher politely emailed them, saying they couldn’t return for various reasons and this was an accident.
When two bodies are found in their former parents’ backyard:
Two cartridges nearby, the case is making headlines. Having nowhere else to go, Christopher wrote a new email politely informing DCI Collier. That the two were planning to return to the Chunnel Train and give up at some point. He politely asked Collier to pay for the ticket.
We find it interesting that in the first scene of Landscapers. The “This is a true story” graphic changes to “This is a story”, and the word “true” disappears. True, the story of the unexpected refugees Susan and Christopher Edwards is true.
But the way Edwards live their lives somehow shifts between the real world and cinematic unreality. Miniseries screenwriter Ed Sinclair and director Will Sharp convey this is in unreality quite well. But what they had also do in its effectively balance darkness and absurdity to make a show that engages one second and enjoys the next.
At the total end of the first episode, after the arrest of the most polite fugitives. We still really don’t know exactly what happened in Nottingham 15 years ago. Why did Christopher and Susan kill Susan’s parents and bury them in the backyard? Why didn’t anyone notice the couple leaving?
And how long have you been in France trying to hide? The fact that we have all these questions and are interested in finding answers is an excellent sign that both Sinclair and Sharpe are interested in us.
We anticipate that the next three episodes will consist of gathering evidence. From the Nottingham Police Department and the trial of the Edwards family. We expect more from Collier and his subordinates, who seem to have problems.
But as we can see from the appearance of Coleman and Write:
The Edwards are the romantic and loving couple we have seen on TV for so long. Coleman plays Susan as a lovely person, but she shows times when she is very fragile. For example, she allowed herself to be washed out in the Gary Cooper movie she watched. Meanwhile, Christopher von Write is a study of hopelessness, created through his devotion to his wife and his desire never to see anything wrong.
So we have the weirdest romantic tales, the weirdest refugees, accused murderers we’ve seen for years, cops who are probably just as confused as the people who persecute them, and trials that promise to be pretty freaky. There’s a mere lot to love about all of these elements. And they seem to fit perfectly in the first episode.
Not only does the landscaper take advantage of Coleman and Write’s excellent performances, but it’s a gritty comedy that’s fun in the dark. This balance is complicated to achieve.