Alles ist jetzt

"Alles ist jetzt" ("Everything Is Now"), the ninth episode of Dark's first season, stands as a pivotal chapter in the series, where the intricate web of timelines and secrets converges with a rare narrative clarity. The episode opens with a philosophical voiceover by the clockmaker Tannhaus, pondering humanity's origins, purpose, and the nature of time-a thematic overture that sets the tone for the episode's exploration of simultaneity and causality across 1953, 1986, and 2019. This framing device, visually mirrored by the rotating cylinders of the time machine, underscores the show's central motif: that past, present, and future are not linear, but coexist in a perpetual present.

The narrative in 1953 is driven by the aftermath of Ulrich's brutal assault on young Helge. Greta Doppler, wracked with guilt over her harshness toward her son, confides in Noah, whose presence is both comforting and ominous. Bernd Doppler's single-minded desperation to find Helge reveals the depth of parental love, contrasting sharply with the emotional coldness that pervades much of Winden. Egon Tiedemann, still a young officer, is tasked with finding Helge, and his investigation leads him to Ulrich, whom he arrests after a tense chase through the woods. Ulrich's belief that killing Helge would halt the future murders is shattered, as his actions only reinforce the cycle of violence and suffering, a tragic illustration of the show's meditation on fate and free will.

In 1986, the episode introduces a mysterious young man-later revealed as Aleksander-who intervenes to save Regina from bullying by Ulrich and Katharina. This moment not only establishes Aleksander's enigmatic character but also marks the beginning of his relationship with Regina, a rare instance of tenderness in the series' bleak landscape. Claudia Tiedemann's investigation into the radioactive barrels hidden in the caves leads to a confrontation with Bernd, who confesses to a past accident at the power plant and urges Claudia to decide what story the town will believe. This exchange encapsulates the episode's preoccupation with the subjectivity of truth and the power of narrative to shape collective memory.

The 2019 timeline is rife with emotional turmoil. Hannah, ever the manipulator, uses her knowledge of Aleksander's true identity to blackmail him, demanding that he destroy Ulrich's life. This act of vengeance is mirrored by Katharina's confrontation with Hannah, where old wounds and resentments resurface in a scene charged with raw emotion and psychological complexity. Meanwhile, Jonas and Martha's relationship reaches a painful impasse, as Jonas, burdened by the revelation of their familial connection, distances himself without explanation. Their longing and confusion are palpable, adding a layer of tragic romance to the episode's tapestry.

One of the episode's most striking features is its ability to interweave the three timelines with precision and thematic resonance. The editing is meticulous, allowing for seamless transitions between decades while maintaining narrative momentum. The cinematography, with its muted palette and chiaroscuro lighting, evokes a sense of foreboding and melancholy that is emblematic of the series as a whole. The sound design, from the ticking of clocks to the ambient hum of rain and machinery, amplifies the tension and underscores the omnipresence of time as both a physical and metaphysical force.

The performances in "Alles ist jetzt" are uniformly strong. Oliver Masucci's Ulrich is a study in desperation and moral ambiguity, his actions oscillating between righteous fury and tragic shortsightedness. Karoline Eichhorn's Charlotte and Lisa Vicari's Martha convey a quiet strength and vulnerability, grounding the more fantastical elements of the narrative in authentic emotion. The supporting cast, particularly the actors portraying the younger versions of Claudia, Tronte, and Regina, add depth and nuance to the intergenerational drama.

A particularly memorable sequence involves the parallel actions of Claudia and Aleksander. In 1986, Claudia hires Aleksander to weld shut the cave's hidden door, a decision that will have far-reaching consequences for the town. In 2019, Regina's discovery of the Stranger's research in the hotel room hints at the impending collision of personal and cosmic mysteries. These moments are emblematic of Dark's ability to balance intimate character arcs with the grand sweep of its science fiction premise.

The episode is also notable for its philosophical and religious undertones. Noah's nihilistic worldview, articulated in his chilling monologue to Helge, stands in stark contrast to Tannhaus's belief in cosmic order. This dialectic between chaos and order, free will and determinism, is woven throughout the episode, inviting viewers to reflect on the nature of evil, the possibility of redemption, and the limits of human agency. The biblical and mythological allusions-Noah as the Antichrist, Claudia as a potential savior-enrich the narrative and situate Dark within a broader tradition of existential storytelling.

From a technical standpoint, Baran bo Odar's direction is assured and atmospheric. The pacing is deliberate, allowing scenes to breathe and emotional beats to resonate. The use of visual motifs-mirrors, doors, clocks-reinforces the episode's themes of duality and recursion. The script, co-written with Jantje Friese, is dense with subtext and allusion, rewarding attentive viewing and inviting multiple interpretations.

In the broader context of contemporary television, "Alles ist jetzt" exemplifies Dark's ambition and artistry. The episode's intricate structure and thematic depth place it alongside works like Twin Peaks, Lost, and The Leftovers, which similarly challenge linear storytelling and conventional notions of causality. The series' European sensibility, marked by its philosophical rigor and refusal to provide easy answers, distinguishes it from its American counterparts and contributes to its status as a landmark in the evolution of serialized drama.

Despite its many strengths, the episode is not without its challenges. The complexity of the narrative, with its shifting timelines and dense cast of characters, demands close attention and may prove daunting to some viewers. The philosophical dialogues, while intellectually stimulating, occasionally risk slowing the narrative momentum. However, these elements are integral to the series' ambition and its refusal to compromise on depth or coherence.

"Alles ist jetzt" is a masterful and emotionally resonant episode that encapsulates the best of what Dark has to offer: meticulous storytelling, powerful performances, and a willingness to grapple with the deepest questions of existence. Through its exploration of time, truth, and the interconnectedness of all things, the episode invites viewers to reflect on the consequences of their actions and the possibility of change, even in a world governed by cycles and secrets. As the season hurtles toward its climax, "Alles ist jetzt" stands as a testament to the series' ambition, artistry, and enduring relevance.

One has to stay on top of things because it slips back and forth into the three realities so seamlessly. The goings on at the power plant are at the root of most of the danger. Ulrich is nowhere to be found. He was captured early on and is now in custody. But there is a price on his head. I have to admit that while the story stays interesting all the time, there are factors and connections that aren't easy to make. The burying of the gun is another one of those careless bits. So much takes place in a spindly treed woods where it is hard to see anyone who may be watching. Of course, someone is routinely watching.