![]() Back to the morgue where his theory is confirmed. Goodness, he’s cocky, under that cool demeanour. ![]() “Welcome to the case, Inspector,” says the doctor. Liebermann is implausibly good at this: he points out that the woman’s apartment is “like a stage set” (they realise she holds seances), and is puzzled by the absence of clothes in her wardrobe, until he makes the giant leap that she must have been pregnant, her clothes all taken to be altered by a seamstress. Matthew Beard and Jessica de Gouw in Vienna Blood. For the first half an hour, it feels as if the makers are failing to repress their Sherlock complex – the jaunty camera angles, the hyperreal look, the jangly music – until it starts to relax into itself. But Liebermann’s character study of his reluctant new mentor is so Holmesian it feels like a spoof. The three-part series will be compared, unavoidably, to Sherlock: its writer, Steve Thompson, adapting the Frank Tallis novels, was also a Sherlock scriptwriter. ![]() It is set in Vienna in 1906, where gruff detective Oskar Rheinhardt (Juergen Maurer) is told that a young doctor – Liebermann (Matthew Beard), a fan of Freud – will be shadowing him to learn about “the psychopathy of the criminal mind”. Still, the image of junior doctor Max Liebermann hanging from his fingertips over the city of Vienna after being hurled from the door, proved a thrilling, if completely avoidable – “hypnosis would be easier” – end to the first episode of Vienna Blood (BBC Two). For someone who professes to be into the new-fangled science of what makes people tick, I’m not sure it was the cleverest move to get into a rickety carriage on a fairground ferris wheel with a psychopathic killer.
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