'A 12-year-old girl is found chest deep in the freezing waters of a South Island lake. She's five months pregnant and when asked who the father is she insists: "No one". Then she disappears. Detective Robin Griffin's obsessive search for Tui unravels both Robin and the compromised town of Laketop.' (Source: Screen Australia. Sighted: 13/6/2013)
'Top of the Lake Season Two: China Girl is a crime mystery story concerning the unidentified body of an Asian girl that washes up on to Sydney's Bondi Beach. The case seems hopeless, until detective Robin Griffin discovers that China Girl didn't die alone.' (Source: Daily Life. Sighted: 24/3/2016)
Award-winning and individually published episodes are indexed on AustLit.
The opening episode of the series.Sydney London : See Saw Films , 2013
'This article examines the role that locality, cultural specificity and authentic voice play within current television industry shifts and transnational developments. Focussing on Top of the Lake, I explore its thematic and aesthetic preoccupation with place, voice and nation by spotlighting issues of accent and vocal in/authenticity, detailing the controversy sparked when US star Elisabeth Moss was cast as New Zealand native, detective Robin Griffin. The adopted Antipodean accent furnished by Moss creates a highly ambivalent foregrounding and re-negotiation of the national within the particularly transnational space of post-broadcast ‘quality’ television. Presenting a ‘sonic spectacle’ (Holliday, Christopher. 2015. “The Accented American: The New Voices of British Stardom on US Television.” Journal of British Cinema and Television 12 (1): 63–82), Moss’ wobbly accent makes audiences doubly aware of the effort being expended to cue regional specificity and locale. In the following discussion, Moss’ vocal crafting in Top of the Lake is linked to the increasing importance given to authentic place and on-location shooting within post-broadcast television, as a means of fostering emotional pull and deep levels of viewer engagement. In Top of the Lake, links between place and authenticity are further interrogated via its self-aware invocation of touristic imagery and desires – made all the more nuanced due to Campion's presence as auteur and New Zealand's role as media-tourism mecca.' (Publication abstract)
'Jane Campion’s latest foray into television, while featuring admirable performances, sees the writer–director stray too far from what she does best. '
'Gwendoline Christie watched Top of the Lake four times before she finally summoned the courage to email the director, Jane Campion, pleading to be cast in the sequel. But first, she ran a draft past a friend: “If you read this and think I sound like an idiot, I won’t send it to Jane and we’ll never speak of it again,” she said.' (Introduction)
'Top of the Lake creator Jane Campion on the new inspiration behind her hit TV series.'
For series two, China Girl.
For series two, 'China Girl'.
For season two.