Nordic Noir television detective series crept up on me last year on the BBC i-player site. Like many other British viewers, I was immediately hooked, from Wallander and The Killing to The Bridge. Looking back, I am struck by how well I can remember the bleak atmosphere and the main characters’ individual quirks, but how hazy the plot lines have become, almost merging into one extended dystopian fog. I’m sure I’m not the first to also wonder why this slow-rolling, gloomy, depressive genre has become so popular among a large . . .
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