In the competitive world of crime television, 'Veronica' stands out - but for all the wrong reasons. This Swedish crime series, which had the potential to weave an intricate tale of mystery and suspense, instead plods along with an excruciatingly slow pace that tests even the most patient viewer's endurance. Instead of dynamic action or deep, meaningful exchanges, the audience is treated to the lead actress spending a majority of her screen time staring vacantly into the air. This choice, presumably intended to convey introspection or emotional depth, instead comes off as tedious and fails to advance the plot or develop her character in any significant way.
Adding to the show's challenges are the bewildering choices made in post-production. Every indoor scene is bathed in a peculiar white haze, a stylistic decision that might have aimed for a sense of dreaminess or otherworldliness but instead feels out of place and distracting. This, coupled with the decision to shroud scenes in darkness, often makes it impossible to decipher what's happening on screen. While dim lighting can enhance the atmosphere of crime dramas, making it a tool for building tension and mystery, 'Veronica' takes it to an extreme. The result is a series of scenes where viewers are likely to find themselves squinting at their screens, trying in vain to make out the characters and actions.
The show's failure to utilize its visual and narrative elements effectively is a disservice to its audience and a squandered opportunity to contribute something memorable to the Swedish crime genre. Instead of drawing viewers into a gripping, atmospheric story, 'Veronica' leaves them adrift in a sea of frustration and unfulfilled potential. One can only hope that future endeavors in this genre learn from these missteps and strive for a balance between style and substance, rather than sacrificing one for the sake of the other.
