Dead End: The Creepy Crime Series That Makes You Question Meat Consumption

by

If you’re seeking an innovative crime series, consider “Dead End,” which recently made waves at Canneseries. The protagonist, detective Ed Bex, possesses an unusual ability: he can see the last moments of a deceased person by tasting or ideally consuming a small piece of their remains. In episode 2, he attempts to pilfer a toe from victim number 2 stored in the mortuary and keeps it temporarily at his home for later consumption to gain this insight.

As a fan of crime dramas, I’m excited to share that a series I find highly appealing, “Dead End,” is now available for international distribution. This captivating production was brought to the U.K. by Walter Presents’ championed director and has been produced by Lompvis and Caviar. Previously, it was acquired by Federation, renowned for its distribution services.

The series “Dead End,” premiering in the main competition at Canneseries on April 27, may further enhance the esteemed reputation of its creator, Malin-Sarah Gozin. Notably, her previous works such as “Clan” (2012), which was remade for Apple TV’s “Bad Sisters,” and “Tabula Rasa” (2017), a horror thriller/suspense drama that found its home on Netflix, have already gained recognition.

Or simply:

The upcoming series “Dead End,” showing at Canneseries on April 27, could boost the renown of its creator, Malin-Sarah Gozin. Her earlier projects like “Clan” (2012) and “Tabula Rasa” (2017), which were adapted for Apple TV’s “Bad Sisters” and Netflix respectively, have already garnered attention.

Similar to “Clan,” “Dead End” is a genre-blending piece, combining elements of comic crime mysteries with the introspective drama of a midlife crisis. As Ed turns 50, he finds himself questioning his life’s meaning and grappling with an unwanted, eerie talent.

Created by Caviar and Lompvis, supported by Flanders’ free-to-air service Play4 and streaming platform Streamz, the series “Dead End” features Peter Van den Begin (“1985”), working again with Gozin following “Tabula rasa”, portraying the downtrodden Ed Bex. Elise Schaap (“Undercover”) is cast as a compassionate forensic pathologist who appreciates Ed’s unique approach to detective work. Premiering on Play4 and Streamz in February, it has attracted enthusiastic and occasionally jubilant reviews: “Absolutely delicious,” says Knack Focus.

EbMaster got an early interview with Gozin at Canneseries on April 27, alongside Brett Baer, David Finkel, co-creators of “3o Rock” and “United States of Tara”, executive producers of “Dead End”, and directors Gozin and Hans Vercauter.)

“Dead End,” being one of your distinctive works that combines different genres, also tackles the issue of animal food consumption as a social concern. Could you see a common theme connecting “Clan” and “Tabula Rasa” with this aspect?”

Malin-Sarah Gozin: Writing “Dead End” was similar to returning to the unique genre mix of “Clan.” It shares elements of mystery, thriller, drama, and character study much like “Tabula Rasa,” but it was delightful to revisit the dark comedy aspect – a powerful tool for addressing societal issues.

However, one might wonder if the term “Clan” carries such a social connotation. The initial parts of “Dead End” seem to imply a murder mystery is unfolding, but perhaps the true perpetrators, unbeknownst to them, are those who consume animal products or seafood…

Instead of directly asking people to stop eating meat, I want to focus on addressing the underlying question: “Are we inadvertently damaging our planet like serial killers?” Ed’s gift serves as a symbol for the global issues we face today. Over the past few years, there has been an increasing awareness, or should be, about the effects of food choices on animal welfare and the environment.

Ed himself has a sense of being fated….

In essence, if there was something I felt compelled to delve into, it was the concept of endings, much like an expiration label. As a grief counselor, Ed often investigates people’s last moments, but the series raises questions about whether our planet has an expiration date, or if relationships themselves have one. Stuck in a rut in his marriage, Ed is using his unique abilities to assist in solving a murder, which could significantly strain his relationship.

One might label Ed as peculiar, and it’s true that Belgian productions are often praised for their peculiarity. However, I ponder whether this is simply due to a lower standard when it comes to showcasing the quirky strangeness inherent in most people?

As a proud Belgian, I’m quite open about my thoughts – we just say them as they come. It seems to be part of our genetic makeup. After all, we are the creators of “The Smurfs,” a testament to our unique and quirky imagination. Our culture, much like our renowned artist René Magritte’s work, leans towards the surrealistic. We have a knack for exploring the irrational, trying to make sense of it all, perhaps in an attempt to grasp reality better.

Is there any reason why Belgium has more shows, five in total, featured in Canneseries’ Official Selection compared to any other country globally, even the U.S. and France? It’s worth noting that “Clan” was made accessible on-demand through British broadcaster Channel 4 as part of its Walter Presents service. Furthermore, there was a significant amount of discussion about Belgian Noir at the 2016 Series Mania with shows like “Hotel Beau Séjour” and “The Break.” Could we be seeing a new wave emerging now?

Discussions about Belgian Noir might have started with “Clan,” and I believe Walter Iuzzolino played a significant role in examining our industry, highlighting its peculiarities as well as its quality. Since we don’t have large budgets, we strive to make the most out of what we have. Investing more in story development, characters, and writing results in better material. The shows you’re referring to are those that spent considerable time developing their stories and characters, not just following a single script, but refining it and attempting to convey multiple intriguing ideas in an efficient manner.

The style is reminiscent of a collaboration between Pedro Almodóvar and Aki Kaurismaki, with a subdued pop art feel.

We deliberately chose to infuse “Dead End” with more than just cinematic appeal; we aimed for a unique, artful aesthetic as well. The narrative is quite grim, dealing with death, yet it’s also strongly influenced by the world of food. I find the visual appeal of food fascinating, especially its vibrant colors. “Dead End” is not just a show about despair, but also about vivid characters who are troubled, quirky, and even comical.

Read More

2025-04-27 12:47