But the revelatory element of its story was less the misogyny itself and more so the method of transmission, with the web's now-infamous 'manosphere' serving as a powerful amplifier for harmful ideas that had once appeared to be in decline.
The story follows Brighton-based travelling salesman Bunny Munro (Matt Smith), who takes his son on a road trip across the south coast in the wake of a devastating personal tragedy.
An impressionable Bunny Jr begins the story in awe of his charismatic yet distant father, taking every chance to mimic him while excusing or ignoring obvious neglect towards both himself and his late mother, Libby (Sarah Greene).
The story is largely episodic in nature, unfolding as a series of encounters with customers – which are smarmy to begin with and only get worse from there – tied together by appearances from social services or a mysterious killer nearing ever closer.
By contrast, Mathé's performance is innocent and earnest to the core. The nine-year-old actor is dealt some very adult material to work through here and tackles it with heartbreaking efficacy – in his screen debut, no less.
But for all the ways he expands and arguably improves upon Nick Cave's novel, Jackson stays relatively close to its divisive ending, which is likely to polarise all over again in the television medium.
In other words, you won't be scrambling for answers over plot details left frustratingly ambiguous, but you might well have some questions about the precise meaning of the finale's eerie symbolism.
And most importantly, The Death of Bunny Munro warns that "we gotta love one another or die" (as Nick Cave sings in the haunting original theme song) – and depicts the annihilation that occurs when that fact goes ignored.
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