Television review The Trigger Point suspense series has two powerful weapons: Vicky McClure, familiar from Line of Duty, and explosives, but the thriller section itself remains schematic

The series is produced by Jed Mercurio, creator of Bodyguard and Line of Duty.

British with a series of stresses Trigger Point there are two robust weapons: Vicky McClure and explosives. Both are central to the story, as McClure plays the bomber of the London Police Anti-Terrorist Group.

In the first episode, Lana Washington (McClure) is called to her partner Joel Nutkins (Adrian Lester) to the rental housing estate where the suspected bomb factory is located. Throughout the episode, the bomb squad searches for, finds, and dismantles explosives. The clock is ticking, the pressure is accumulating, and the danger of an explosion vibrates in the air.

The tension is lifted into the pin right at the beginning, after which its actual plot is presented in a six-part series. Bombs will soon be found around the city, and the Washington team, along with an anti-terrorist group, is trying to find out the culprit behind the bombings.

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Series has created as a firstborn Daniel Brierley. However, it has been producing Jed Mercurioknown for being praised Bodyguardin and Line of Dutyn as creator. McClure also starred in the latter series, which also followed the activities of the special police unit.

At Trigger Point the actual investigation does not bear. The identity of the explosive terrorist is not behind the tortuous hints, and the political landscape remains foggy in the background, even though the plot refers to the rise of the far right.

Washington’s mental health, on the other hand, is brought to fram: the job description of an Afghan veteran includes both tolerating losses and the resulting traumatic stress response. Even a long relationship is starting to falter.

Alan attitudes are not addressed, as the psychology of the bomber is dealt with mainly on a personal level. Thanks to McClure, the viewer is conveyed both the compulsive calm of the bomber and his pressures.

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The contents of the protagonist’s head are, in the end, a mere mass shaped by explosions. Psychology is a consequence when explosives are the reason for the existence of the series. They bring intensity to the narrative.

Action movie and series makers have used explosive ordnance countless times – and often even more effectively. Probably the best example Kathryn Bigelow’n movie Hurt Lockerwhere the viewer was afraid that the mere waving of the handheld camera would trigger the bomb.

At Trigger Point the threat of explosives is repeated with small variations from period to period. At the same time, the episodes become schematic: Washington finds out his head and the background of the attacks, then he is called again to defuse the bomb.

The only question in the series is whether this time the bomb is behind a toilet bowl or under a car. The series built around the question isn’t particularly good, but the answer makes the heart beat a little faster each time.

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Trigger Point, C More. (K16)

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