Duke Ellington’s Piano brings the first season to a strong close, it tying together the main threads of the serial killer investigation and the deeper corruption storyline with clear focus and satisfying payoff.
The episode opens with parallel cliffhangers. While Harry prepares to enter Willy Barli’s apartment through the roof, Tom Waaler (Joel Kinnaman) takes a risky step by kidnapping Oleg from Rakel’s home. This raises the stakes immediately and connects the personal and professional sides of Harry’s life.
Harry’s face-off with Willy raps up the Bike Courier Killer case. Harry lays out the evidence piece by piece, including the key forensic detail involving a severed finger and fennel seeds that ultimately reveals Willy as the person behind the murders. Willy, played by Frank Kjosas, responds with a calm explanation of his motives, tied to discovering his wife Lisbeth’s affair. He even shows Harry where he has preserved her body in a disturbing way. The scene stays controlled rather than sensational, allowing the characters’ words to carry the weight. When Willy chooses his own end by jumping from the balcony, the moment lands with a blunt finality.
This leads straight into the confrontation with Tom Waaler. Their clash is both interectual and physical, ending in a way that feels earned after the season’s building rivalry with everything set up in the previous episodes. Tom’s actions, including the kidnapping, show how far he is willing to go to protect his secrets. The resolution here is bloody and final, it clears the immediate threat while leaving larger questions about the police force unanswered. Tobias Santelmann continues to deliver an excellent performance as Harry Hole. Kinnaman gives Tom a consistent edge that makes him a believable opponent to Harry. The scenes with Rakel and Oleg bring a sense of relief and humanity after the tension.
The episode also serves as a solid wrap-up for the full nine-episode season. The serial killer case reaches a definite end with Willy’s unmasking and death. The ritualistic details, the red star-shaped diamonds, and the misdirection toward other suspects all resolve in a logical way. At the same time, the season’s larger theme of corruption inside the police department does not vanish with Tom’s defeat. A quiet post-credits scene hints that the problem runs deeper, with a superior officer revealed as part of a wider network. This leaves the door open for future stories without feeling like an abrupt tease.
Harry’s personal arc also finds a gentle landing. By the end, Oleg is safely back with Rakel, and Harry is welcomed back into their lives in a low-key but meaningful way. He says he’s going to leave but Rakel says that’s her choice, suggesting a step toward stability even as his obsession with uncovering the full truth about Tom’s past continues in the background.
The season built a multi-layered story that mixed a compelling murder investigation with institutional mistrust. It made the investment in the long build-up worth it and ends on a note that feels complete for this chapter while hinting at unfinished business. Harry remains a flawed but dedicated detective, and the world around him stays complicated and imperfect. The nine-episode length allowed room for character moments and procedural details, and faithful handling of the source material make this a worth adaptation and redeems the Harry Hole character after the mess that was The Snowman
Overall, this was a thrilling ending that leaves you wanting more from this world.
🌟🌟🌟🌟🌟
We Have Issues 