“THERE’S NO WAY ANYBODY THAT A BEAR HAS GOT ITS HANDS ON IS LIKELY TO SURVIVE”
Somebody had told us if they ever saw someone being mauled by a bear, the smartest thing to do would be shoot the person, not the bear. There’s no way anybody that a bear has got its hands on is likely to survive once the bear’s started on them. That got me thinking about what it would be like to stumble on that moment.
I liked the idea that there’s a sense of dread almost immediately. You know you’re in a crime thriller as soon as it starts.
And what I wanted was this sense that you meet these people and you have no idea which one of them is going to be the body at the end. You also have no idea which one is going to be the person that killed the body at the end. It felt like quite a fruitful way around of re-engaging with what is a very, very well-trodden format.
A young child goes for an impromptu late-night walk — and returns with brutally depicted, very realistic frostbite
Something I didn’t know is that it can be two or three weeks after the frostbite before they can tell the extent of the damage. They call it debridement, which means removal or amputation is going to be required.
They carefully monitor the damaged tissue until a certain amount of time has passed, and then they know how much is necrotic and how much is viable, and they start cutting.
That’s one of those creepy, unpleasant things that also what worked its way into the show. [Jules and Frank, the boy’s parents] don’t know whether their boy is going to lose his feet further down the line. Also, both parents think this is their fault. And they blame one another, too. Jules blames Frank.
But the idea that your negligence, your selfish momentary negligence, has now condemned your child to three weeks of waiting to discover whether they can save his feet, because the dad sneaked out to have an assignation and because the mum went out because she couldn’t cope any more — the consequences are just so grim and unforeseeable and horrifying.