Tuning in to Gracepoint is to encounter a lot of déjà vu: with the exception of a few aesthetic details and character descriptions, the series bears a remarkable resemblance to the British version. Even the town’s police headquarters look familiar, as do the various book cover-like shots of the back of males’ heads in the center of the frame, looking out into the sea.
Almost every major plot point from the premiere of Broadchurch is replicated here. The town’s young reporter, Owen (Kevin Zegers), breaks his journalistic ethics and tweets the victim’s identity before the police can make a formal statement. (Yes, Gracepoint is a town with a thriving newspaper that still manages a decent-sized staff, despite the advent of the Internet.) Ellie’s son, Tom, reacts to the news of Danny’s death by deleting the messages from his phone, as well as his computer hard drive. The scene where Danny’s older sister, Chloe, leaves a teddy bear at the beach is also a carbon copy of a moment from Broadchurch.
While Gracepoint is still a cover version of a superior show – and one that ensures its viewers will never hear Tennant growl with venom in his native voice – there are still a few unique qualities worth mentioning. Foremost is Breaking Bad’s Anna Gunn, who finally gets the chance to smile and express humanity without coiling up in terror at the sight of a balding, drug-dealing husband. It is disorienting to first see Gunn in genuine spirits, but it is also a relief to see the actor getting the chance to shout her frustration at her sergeant, rather than hide her emotions as she did on Breaking Bad.
Her former television role, which she deservedly won two Emmys for, was frightening and wounded. Here, she gets the range and responsibility of a hero, and seeing Gunn earn moments of physical and emotional catharsis in this first episode is much welcomed. She gives an especially measured and moving turn in the scene where she reassures her son, Danny’s best friend, that everything will be alright.
Meanwhile, the production is as atmospheric as the original series. The wordless opening – waves crashing on rocks during the late evening, a camera slowly creeping on the local church and homes – slips us into the setting and tone of the show in an eerie, effective way. The spare, trembling musical score is also a welcome touch. While Broadchurch was chilly and somewhat colorless, Gracepoint has a warmer aesthetic, with many of the building exteriors and interiors brown, orange or red. When the sun hits these settings, it is much brighter, suggesting the show could yield a different spirit from its heralded original.
Gracepoint is not as singular as Broadchurch, especially for those who have tuned in for the complex murder mystery last year. However, since much of Broadchurch’s plotting, dialogue and characters were exceptional, that is also the case here. Those without a prior knowledge of what could come next – and this writer hopes this season strays from its British inspiration – should be primed for some deeply emotional, absorbing, unpredictable storytelling. It’s a shame, though, that it all feels so familiar.
