You're scrolling through a streaming service late at night. Everything looks the same. The same bright lights, the same predictable procedural rhythms, the same tired tropes. Then you see it: Those Who Kill. It sounds generic, right? Honestly, I thought so too at first. But then you hit play.
Suddenly, you aren't in a flashy CSI lab. You're in a cold, damp basement in Copenhagen. The air feels heavy. The silence is louder than the screams. That is the magic—or the nightmare—of the Those Who Kill TV show. It’s a franchise that has morphed, died, and been resurrected across different countries, yet it remains one of the most unsettling explorations of the human shadow ever put to film.
Most crime shows are about the "how." They want to show off the forensic tech or the clever "gotcha" moment in the interrogation room. This show is different. It’s about the "why," and usually, the answer to that question is deeply uncomfortable. It’s about the thin, fraying line between the people who hunt monsters and the monsters themselves. If you haven't seen it, or if you're confused by the multiple versions floating around on Hulu or Acorn TV, let’s clear the fog.
The Danish Roots: Where the Darkness Began
Back in 2011, Den som dræber premiered in Denmark. Created by Elsebeth Egholm and Stefan Jaworski, it wasn't just another police show. It focused on Catherine Jensen, a detective with enough personal baggage to fill a 747, and Thomas Schaeffer, a forensic psychiatrist who seemed to understand killers a little too well.
The chemistry wasn't romantic. It was clinical and desperate.
The original series was brutal. It didn't blink. I remember one specific episode involving a serial killer who targeted families—it stayed with me for weeks. It wasn't just the gore. It was the atmosphere of sheer, unadulterated dread. The Danish are masters of this. They call it "Nordic Noir," but that feels too polite for what this show actually is. It’s visceral.
The show was initially canceled after one season despite being a hit abroad. Why? Well, some say it was too dark for domestic audiences at the time. Others point to production costs. Regardless, it left a vacuum that Hollywood, predictably, tried to fill.
The American Experiment: Chloe Sevigny’s Take
In 2014, A&E decided they wanted a piece of the pie. They moved the setting to Pittsburgh. They cast Chloe Sevigny as Catherine and James D’Arcy as Thomas. On paper, it was a slam dunk. Sevigny is the queen of indie cool, and Pittsburgh provides that perfect gritty, rust-belt aesthetic that mirrors the gloom of Scandinavia.
But something was off.
✨ Don't miss: Elaine Cassidy Movies and TV Shows: Why This Irish Icon Is Still Everywhere
The American version of the Those Who Kill TV show felt like it was trying too hard to be The Silence of the Lambs. It lacked the quiet, steady-handed pacing of the original. It was louder. More explosive. The ratings weren't great, and it was shuffled off to LMN (Lifetime Movie Network) after just two episodes before being canceled entirely. It’s a shame, really. There were moments of brilliance in Sevigny’s performance—a kind of jagged vulnerability that deserved a better script.
If you're a completist, you can still find this version, but it’s more of a curiosity than a must-watch. It’s the "diet" version of a very strong drink.
Darkness Rising: The Reboot That Changed Everything
Then came 2019. This is where things get interesting for modern viewers.
Nordic Entertainment Group (NENT) decided to reboot the concept under the name Den som dræber – Fanget af mørket (Those Who Kill: Darkness). They kept the title, but they ditched the original characters. This wasn't a sequel; it was a spiritual successor.
Enter Jan Michelsen (played by Kenneth M. Christensen) and Louise Bergstein (played by Natalie Madueño).
This version is superior to the original. There, I said it.
Why the Reboot Works
- The Focus: Instead of a "killer of the week" format, it spends an entire season on one case. This allows the horror to marinate.
- Louise Bergstein: As a criminal profiler, she isn't an action hero. She’s an observer. Her strength is her empathy, which is also her greatest weakness.
- The Villains: They aren't cartoonish. They are pathetic, broken, and terrifyingly real.
The first season of the reboot (Darkness) deals with a long-cold case of a missing girl in the suburbs of Copenhagen. It’s slow-burn storytelling at its finest. You feel the frustration of the police. You feel the ticking clock. By the time the finale rolls around, you’re practically vibrating with anxiety.
Blindness and Beyond: The Evolution of the Franchise
By 2021, the show evolved again with Those Who Kill: Blindness. This time, Louise Bergstein is working alone as a consultant on a case involving a triple murder on the island of Funen.
🔗 Read more: Ebonie Smith Movies and TV Shows: The Child Star Who Actually Made It Out Okay
What makes Blindness stand out is how it handles the psychological toll of the work. We see Louise struggling. She isn't a machine. She’s haunted by the people she couldn't save. It’s rare for a crime show to acknowledge that you can't just look into the abyss every day and come home to a normal dinner.
Then we got Lost, the third season of the rebooted era. It keeps the momentum going, focusing on a horrific kidnapping case that connects back to Louise’s past. The show has found a rhythm now. It’s a cycle of trauma and pursuit that feels grounded in reality, even when the crimes are extraordinary.
What Most People Get Wrong About This Show
I see a lot of critics calling this "torture porn."
That’s lazy.
Is it violent? Yes. Is it hard to watch? Absolutely. But the violence in the Those Who Kill TV show isn't there to entertain you. It’s there to make you feel the weight of the loss. When a character dies in this show, it isn't a plot point. It’s a tragedy.
The show also avoids the "genius serial killer" trope that Hannibal or Dexter leaned into. The killers here aren't playing 4D chess. They are often impulsive, messy, and driven by deep-seated psychological pathologies that are more sad than they are impressive. It strips away the glamour of the psychopath.
Why We Keep Coming Back to the Dark
There is something addictive about the way this show handles suspense. It uses a technique I like to call "prolonged discomfort."
Usually, in a thriller, the tension spikes and then releases. In Those Who Kill, the tension just builds and builds until it becomes a baseline. You get used to the dread. You start looking in the corners of the screen, expecting something to move.
💡 You might also like: Eazy-E: The Business Genius and Street Legend Most People Get Wrong
It also taps into a very real fear: the idea that the person living next door to you, the one who mows their lawn and says "hi" at the mailbox, has a cellar you never want to see. It’s the banality of evil.
Comparing the Versions: A Quick Guide
If you’re looking to start, don't just pick the first one you see on a search engine.
- The Original (2011): Good for fans of classic Nordic Noir like The Bridge or The Killing. It’s a bit dated but still packs a punch.
- The American Version (2014): Skip it unless you’re a die-hard Chloe Sevigny fan. It lacks the soul of the series.
- The Reboot (2019-Present): Start here. Darkness, Blindness, and Lost represent the peak of the franchise. It’s more cinematic, better acted, and significantly more terrifying.
The E-E-A-T Factor: Is it Factually Grounded?
While the show is fiction, it draws heavily from real-world criminal profiling techniques. The character of Louise Bergstein mirrors the work of real-life FBI profilers like John Douglas (the inspiration for Mindhunter). The show consults with forensic experts to ensure that the psychological motivations of the killers—the "signatures" and "MOs"—align with actual behavioral science.
However, it’s important to remember that real police work is about 90% paperwork and 10% action. Those Who Kill flips that ratio for the sake of drama. But the psychology? That part is chillingly accurate.
How to Watch (and Survive) the Experience
If you're going to dive into the Those Who Kill TV show, do it right.
Don't binge it.
I know, that sounds counter-intuitive in the age of Netflix. But this show is heavy. It’s like a rich, dark chocolate that turns into lead in your stomach if you eat too much. Watch one or two episodes, then go for a walk. Look at some trees. Remind yourself that the world is generally a decent place.
Actionable Insights for the Viewer:
- Subtitles Over Dubbing: Always watch the Danish versions with subtitles. The vocal performances of Natalie Madueño and Kenneth Christensen are half the experience. Dubbing kills the atmosphere.
- Check the Platform: In the US, the reboot seasons are often titled separately (e.g., Darkness: Those Who Kill). Make sure you’re starting with Darkness.
- Pay Attention to the Background: The cinematographers love to hide details in the shadows. It’s a show that rewards a high-quality screen and a dark room.
- Research the Creators: If you like this, look up Elsebeth Egholm’s novels. She has a knack for finding the "cracks" in society where the darkness leaks through.
The Those Who Kill TV show isn't just entertainment. It’s a confrontation. It asks us why we are so fascinated by the worst parts of ourselves. It doesn't give easy answers, and it certainly doesn't give happy endings. But in a world of sanitized, "safe" television, its raw honesty is exactly why it remains a cult powerhouse years after it first began.
Next time you’re looking for something to watch, skip the polished Hollywood thrillers. Go to Denmark. Just remember to leave the lights on.