If the problem with most crime dramas these days is that they’re all kind of the same, then rag doll (Alibi) is your solution. It’s not like any other crime drama: it’s not even like itself, most of the time. Line by line, scene by scene, it’s like someone grabbing the stack of up-and-coming crime drama scripts, tossing them to the air, and picking up random pages. Total chaos.
By that I mean: count on me, because there are many different types of thrillers and in this one the thrill comes from delirious madness. It’s better than no thrill at all.
Henry Lloyd-Hughes plays DS Nathan Rose, a cop who was thwarted by a serial killer a few years ago, went into depression, and was institutionalized. Now he’s out, back, demoted and working with his friend and former subordinate DI Baxter (the wonderful Thalissa Teixeira). He also sees a shrink, undergoes hypnosis, and suffers from flashbacks and anxious dreams.
One thing cops with a tortured past probably shouldn’t do is make a Faustian pact with a sleazy criminal mastermind deftly named “Faust.” But that’s what Rose seems to have done while he was severed. The mind would crumble if he had time to – it doesn’t, as he was rather blinded by the body in Ragdoll.
This is a statement corpse, a mix of not two but six different corpses, whose head was severed from the serial killer who thwarted Rose in the first place. Minutes later, Phil Davis, playing the Mayor of London, explodes in flames. At this point I stopped for a good cup of tea and some respite.
Ragdoll is, as you’ll understand, ridiculously over the top, but it’s also really funny. The best part by far is Rose’s relationship with Baxter. They tell bad jokes, do karaoke, and they’re both pleasantly rude to their American underling (Lucy Hale) for no apparent reason. I hope they don’t get together, but I can’t guess if they will. God knows what kind of drama will emerge from all of this, but in a world of identikit crime shows, Ragdoll is a tonic.