Dating dark tv series
Once viewers get that far, the time travel hook is probably what’s going to end up keeping audiences interested past the big reveal (and the even bigger 1953 shift).
With a bevy of Winden townsfolk to juggle before that wrinkle gets introduced, “Dark” gets an an early vote of confidence in how it makes viewers care about seeing Young Hannah or Young Ulrich despite having effectively just met their older counterparts.
Switching to a POV shot when Ulrich goes undercover or breaking off to a handheld feel for some of the series’ fight and chase sequences draws more attention to these moments.
Time differences are important, but because the idea that all three decades are unified in a pattern of events, those slight visual changes are nearly as important as the calendar shifts.
By avoiding the “Characters in ‘The Walking Dead’ Don’t Know What Zombies Are” dilemma, the show creates a common baseline understanding onto which Friese and the show’s others writers can pile on Nietzsche, et al.
The sci-fi elements of “Dark” also resonate more because the show gives careful thought to how psychologically scarring and jarring going through this experience would be.
, laying out the harrowing events endured by the Central Park Five while adding a necessary layer of humanity to their story that challenges viewers to reconsider what it means to find justice in America.
So instead…) Mikkel’s (Daan Lennard Liebrenz) disappearance becomes the engine driving the show (how quickly we forget about poor Erik), ensnaring father Ulrich (Oliver Masucci) and the increasing web of townsfolk caught up in the effort to find him without causing a paradoxical tear in the fabric of spacetime.It’s not just a storytelling gimmick to get someone to meet his mom, there’s some thought given to what the hopelessness of changing a grim present does to everyone who comes in its path.Some of those montages, intoning the malleable nature of time while surveying the literal wall of evidence tying all these characters together, starts to become repetitive, but at least it’s not idle, empty theorizing.But even with that philosophizing, there is a tiny thrill of recognition when one piece slots into the show’s overall puzzle.Connecting the idea that Regina (Deborah Kaufmann) is the hotel proprietor or that Peter (Stephan Kampwirth) is Helge’s son or that the hooded Stranger is older Jonas is either thrilling — if you catch it before the characters do — or mentally satisfying, once the show locks it in place for you.