While screenwriter Patrick Harbinson hasn’t spoken about the significant role that Diana’s death plays within the series (yet), he has addressed The Tower’s most important theme: violence against women.

“It’s called domestic violence for a reason: most cases happen within the home, out of the public eye,” he explains.

“Usually they involve just the perpetrator and the victim, where the victim is often in a dependent relationship with her attacker.

“If there is a witness it is often a traumatised family member, usually a child, therefore easily swayed and, as a witness, unreliable. At the key moments – arrest or charge or witness stand – victims and witnesses often choose silence or denial.”

Noting that Lizzie’s persuasiveness helps her to “break that wall of silence” (albeit temporarily: the case is thrown out, the abused returns to her abuser), Harbinson goes on to reveal that Sarah’s power stems from her ability to listen.

“In Sarah’s case – the missing child – the wall of silence has been standing for much longer and is even harder to break,” he says.

“Eventually Sarah will get through, will persuade people to reveal traumas they have buried for 25 years. As she says in a later episode: ‘There’s a reason why abused girls stay silent. Yes, they’re ashamed, they think it’s all their fault, but they also think that they won’t be believed, they won’t even be listened to.’

“Sarah listens,” Harbinson finishes powerfully.

The Tower season 2: why Death Message made *this* major change from the book

The Tower season 2: why Death Message made this major change from the book