Rose returns just in time to join the Ragdoll case, which is convenient given that the body was found in an apartment building directly across from his own. Rose’s ethical compromises and their aftermath leave him so damaged that he attacks the Cremation Killer in court and then spends time in an asylum working his way through PTSD of various sorts.
Think Criminal Mends, if you’re a thread devotee.Ĭast: Henry Lloyd-Hughes, Thalissa Teixeira, Lucy HaleĬreator: Freddy Syborn based on the book by Daniel Coleīefore we meet the Ragdoll Killer, we have to meet the Cremation Killer, who sets his victims on fire or something before he’s caught by Detective Sergeant Nathan Rose (Henry Lloyd-Hughes) and then set free because Rose cut corners in pursuit of the case. Its only original aspect is the often chaotic stitching together of the familiar elements. At the same time, impressionable devotees of the genre are the ones most likely to recognize that the show is, itself, a patchwork of far more than six familiar serial killer movies and TV shows. There’s no question that the Ragdoll Killer has a particularly creepy methodology, nor that Ragdoll as a TV series has enough unnerving moments to satisfy impressionable devotees of the genre. It’s one of those head-scratching things where, after watching three episodes of Ragdoll, I’m truly not sure if Freddy Syborn (Killing Eve), adapting Ragdoll from the novel of the same name by Daniel Cole, recognizes that he’s making a metaphor rather than a TV show. The killer in AMC+’s new drama Ragdoll attracts the attention of the London police through a particularly gruesome MO: He has fabricated and carefully positioned a murder victim cobbled together from the bits and pieces of six murder victims, leaving the authorities to solve a half-dozen killings while at the same time trying to work their way through a kill list of six future targets.
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