Lost in Winden: Dark (2017 – 2020)

I don’t like being a snob about pop culture. I don’t like pooh-poohing films or TV series, books, comics or video games, that others seem to love. I generally try to find things to appreciate in most media I consume, and if others like them but I don’t, I try to put that down to personal taste. Sometimes, however, I look at what others say about a piece of pop culture and I simply don’t get it. I cannot reconcile what they say about it with the thing itself. It’s almost as if they watched, read or played something entirely different from me.

Dark isn’t entirely like this for me. There are things I genuinely appreciated in the German mystery series. I recognise some of my own reactions in those of others, but the longer Dark went on, the less I felt I could appreciate the things it was good at or ignore what I thought was decidedly less good. Undoubtedly, the makers of Dark are skilled stylists and the series excels at mood and atmosphere, especially in its first season – but then I read articles that call Dark smart, by people who pat themselves on the shoulder for enjoying such a smart, smart series, and my eyes roll in their sockets so much that all I see is blotchy, shapeless darkness.

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