As someone born in the Land of the Midnight Sun, and a longtime traveler through its wilderness, I noticed my ears perk up when the trailers rolled out for Issa López’s Max series. The frigid setting of Alaska is near and dear to my heart; this season, which concludes on Sunday, also promised to combine some of my favorite genres—noir, suspense, and supernatural horror. To live in wintertime Alaska is to cultivate an affinity for extreme cold and darkness, or at least a stoic indifference.
bears certain hallmarks of these works , an ethereal undercurrent of magical realism sets it apart from the pack. Despite the show’s heritage as the latest installment of a well-established series and its complement of inescapable references to a broader array of like-minded narratives,Season 4 dispenses with the violent, broken, hypermasculine protagonists of Season 1, inverting the formula by centering women and affording them greater agency in what is otherwise classic mystery noir.
Season 1 teased supernatural horror fans before ultimately revealing that the otherworldly elements were merely trappings. Brilliant as the initial arc was, it pulled some punches during the latter stages, seeming to lack the courage of its convictions; an existential nightmare undercut with the unmasking of a Scooby-Doo villain and a dose of unearned optimism. By contrast,grows stronger, weirder, with each episode.
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