MareOfEasttown's dual fixation on crime-solving and family drama made for a finale reveal that was startling but also immediately right. kvanaren writes
In the end, the element of Mare of Easttown that was least obvious from its trailer or its beginning premise turned out to be the series’ greatest strength. Everything about it screamed, “I’m a murder mystery!” — the detective protagonist, the small town shocked by heinous crimes, the ever-shifting list of suspects, the grimy-bleak color palette. It is a murder mystery, of course, and much of the show is built on beloved, age-old murder-mystery structures.
But Mare of Easttown’s murder-and-moms storytelling goes deeper than the typical “crime plus sad families” thematics. It’s structural, a way of looping together two different storytelling drives that naturally pull against each other. Family dramas — think Grey’s Anatomy or Shameless — are all about time and generations. It’s the anxiety and necessity of one generation making way for the next, the messy reality of children trying and failing to live up to their parents’ expectations.
Enter Mare of Easttown, which is an unlikely, sometimes shambling, ultimately rewarding combination of both of those structures. There are murders and disappearances in Easttown, and as is correct for a good mystery, the primary pull of the finale is the whodunit and all of its related questions.
All of this together is why Mare’s shocking reveal of Erin’s murderer manages to be so startling, but also immediately right, in a gut-level “Oh, of course” sort of way. We, and most of the Easttown community, are entirely consumed by all the damage wrought by the past and the concern for how it affects all the kids.
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