
In 2011, a new twist to the standard murder mystery emerged. The television show that started it all was “The Killing,” a Danish production. A plethora of shows later copied its wild success. The genre today is known as “Nordic noir” or “Scandinavian noir” or, in abbreviated form, “Scandi noir.”
The shows all have an easily identifiable quality. The landscapes are unrelentingly bleak and the mood dark and morally complex. Underneath the still, placid settled-ness of Nordic culture lurks untold evils, ready to pounce at any moment, producing an unnerving, eerie sort of suspense.
The language is spare, the pacing slow and anguished. The characters appear world-weary, drained of feeling. It’s as if they’re just going through the motions, while external forces draw them inexorably towards an unknown but stealthy oblivion. All human interactions are muted, if not utterly joyless. They walk through an inhospitable and unforgiving world as if zombies.
Continue reading “Scandi Noir and the Charm of Disenchantment”








