Ulrich’s look of determination upon arriving at the perimeter is matched by his look of frustration and contempt when Charlotte offers him sympathy on their drive home. We first see him at the Doppler house in the morning, as he and Charlotte emerge from separate bedrooms, our first hint as to the truth about his sexuality, and how the family is handling it.
He spends most of his day, both before and after Elisabeth’s brief disappearance, dealing with Helge, the mentally ill old man we’ve seen uttering cryptically prophetic statements like “Tick-tock, tick tock” and “It’s going to happen again” and “He has to stop, I have to stop him” throughout the series — frequently while running around outside AWOL from his rest home, which does indeed happen again this episode too.
Charlotte’s next stop is a largely abandoned cabin in the woods with the Doppler name on the doorbell.
There’s nothing inside but darkness, though there’s an ominous cellar accessible through an entrance in the backyard, and red dirt in the driveway that matches samples found on the clothing of the dead boy.
Actor Stephan Kampwirth has a long, lean face that trembles with barely suppressed emotional turmoil; the casting is a perfect complement to the weary expression worn by Karoline Eichhorn has Charlotte, whom makeup artist Monika Münnich renders so plainly that she looks as if she hasn’t had an excited emotion in years.
When she returns from a search for Elisabeth with the kid’s abandoned winter hat in her hands and tears in her eyes and her husband holds her, their desire for connection and comfort despite their marital misery makes the moment truly powerful.
The cop’s quest is interrupted by a call from the power plant, where Ulrich — whom we first see being woken up by his increasingly estranged wife as he sleeps in his missing son’s bed, a deeply sad image — has been apprehended and roughed up by corporate security after breaking into the grounds by climbing a barbed-wire fence. ” he demands, referring to the plant’s powerful boss Aleksander. For his part, Peter remains as emotionally shaky and obviously guilt-ridden as ever. Two episodes in and Dark is reminding me of a different touchstone in recent zeitgeisty supernaturally-tinged murder mysteries: True Detective Season One. Too bad not everyone in the town of Winden gets to see it, though.The final image of the episode is one of those hood-wearing strangers — seemingly not the bearded man who checked into the hotel a few episodes back, and who is shown breaking into Jonas’s room to mark up the cavern map he’d taken from his father’s garret — approaching Elisabeth’s “boyfriend” Yasin, whose name he knows. The plot thickens — on Dark, that’s what it always does — ut an episode like this indicates the show has a genuine interest in human behavior to help it map out all those twists and turns. Collins (@theseantcollins) writes about TV for Rolling Stone, Vulture, the Observer, and anyplace that will have him, really. Co-creator/director Baran bo Odar’s style is not far removed at all from TD‘s original helmer Cary Joji Fukunaga: wide, stately shots of the imposing yet beautiful natural landscape, deep greens, lots of tree imagery, the occasional crazy conspiracy wall.