The first question any viewer is going to ask about the cable network USA’s new crime drama The Sinner is, “How are they possibly going to string this thing out for eight episodes?” A murder is committed, its perpetrator captured, and her voluntary and unambiguous confession obtained, all in the first five minutes. Even allowing for a couple of arty German-expressionist dream sequences to cryptically express her remorse and perhaps a big dance number for the warden and guards as she enters prison, what’s left to fill out the remaining seven and a half hours?
The second question, a few minutes later, is, “Are you kidding—how can we possibly get to the bottom of this in just eight episodes?” For The Sinner quickly morphs into the least forthright crime drama, an opaque and intriguingly inverted tale in which crime and punishment are difficult to tell apart. Television critic Glenn Garvin explains.
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