A single mother making a modest living at the local diner, she’s also assumed care of Charlie’s two children, and life in the present tense is hard enough without dredging up the past. His world-weary sister Emma (Natasha Wanganeen) is less hostile, but still skeptical that reopening this wound will amount to much. The victim’s brother Charlie (an excellent Rob Collins) regards Travis with particularly cold wariness: Charlotte’s murder, it appears, is one of many familial and cultural losses that has set his life forever off-track. Small wonder that those in Limbo who remember the fiasco are loath to talk when another pale out-of-towner comes sniffing around. The investigation, we learn, was slack and skimpy, disproportionately and aggressively focused on Indigenous men as suspects. He carries out his cold case review with a quiet sense of duty and a tacit hint of shame, mindful of the fact that white policemen decades before him didn’t exactly exercise all due diligence in probing the disappearance and murder of a young Indigenous girl, Charlotte Hayes. (He does indeed have a private, lingering heroin habit.)īut Travis isn’t a thug, exactly. Played by a craggy, buzz-cut Simon Baker - initially near-unrecognizable and never better - with an air of exhaustion that meets its match in this depleted opal-mining community, he exudes more rogue menace than institutional authority: One child remarks that he looks like a drug dealer, not a cop. He does have a name, as it happens: Travis Hurley, a hardened police detective blown in from far away to investigate a 20-year-old murder in the bare, desolate and fictitious town of Limbo in South Australia. Admittedly, with his straight-cut jeans, Western shirt and silvery belt buckle that could take a man’s eye out, “Limbo’s” taciturn hero seems less like a suave gumshoe than he does a cowboy, a surly, crusading Man With No Name.
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