Viewer dissatisfaction has become the centerpiece of recent discussions surrounding the popular ZDF series 'Nord Nord Mord.' The show's latest episode featured not only the suspenseful discovery of a body but also generated considerable backlash due to its inclusion of gendered language.
Set on the picturesque island of Sylt, this episode, titled "Sievers und das Geisterhaus," aired on December 23. The storyline revolves around the character Bosse Iwersen, who, before conducting a planned fire drill on an old, dilapidated building, stumbles upon the lifeless body of the well-known island author, Silke Kasper. While the plot unfolded with gripping elements including spooky occurrences during the investigation led by Carl Sievers, Ina Behrendsen, and Hinnerk Feldmann, the audience was distracted by the series' choice of language.
It appears the dialogue's use of gender-neutral and gendered language did not sit well with many viewers, prompting strong reactions on social media. Some fans took to platforms like Facebook to voice their displeasure. One viewer exclaimed, "Gute Serie, plötzlich ging das nervige Gendern los, habe direkt umgeschaltet!" (Good series, then the annoying gender language started, I switched off immediately!). Another viewer lamented, "Ich mag die Serie…aber jetzt wird da gegendert…was soll der Mist?" (I like the series... but now they're gendering it... what is this nonsense?). Such sentiments echoed through multiple comments, reflecting broader frustration with the recent linguistic trend in media.
Interestingly, the backlash has led some loyal fans to threaten to abandon the series altogether, with one stating emphatically, "Beim nächsten Mal bin ich raus" (Next time I'm out). Whether these complaints will translate to decreased viewership remains to be seen, but the stir is certainly indicative of viewers’ sensitivity to changes within beloved shows.
Meanwhile, Peter Heinrich Brix, who stars as Carl Sievers, referenced another issue during discussions about authenticity within the series. He cautioned fellow actors against mimicking the Northern German dialect, emphasizing the importance of maintaining one's identity. "Da kann ich nur dringend davon abraten. Das hört jeder auf 100 Meter" (I can only strongly advise against it. Everyone can tell from 100 meters away), he noted, reminding the industry of the significance of regional integrity. He suggested casting decisions should reflect genuine accents rather than attempts to fabricate them for effect, advocating for authenticity above all.
Brix also weighed in on the comparative handling of death themes within different crime dramas. He described other shows as often pushing the envelope on the portrayal of corpses and shocking scenes, stating, "Man kann eine Leiche ja so oder so zeigen. Wir sind nicht so auf den Effekt aus.“ (You can show a corpse one way or another. We are not about the effect.) His perspective underlines the distinction of 'Nord Nord Mord,' which tends to present its narratives against the tranquil backdrop of the Northern landscapes.
Despite occasional weather challenges inherent to filming on Sylt, Brix maintains the narrative should remain connected to its environmental and atmospheric realities, noting, "Gerade auf Sylt ist da Pensum pro Tag sehr hoch, weil die Kosten auch hoch sind" (On Sylt the daily workload is very high because the costs are also high). This adherence to location-driven storytelling is part of the wildly popular show's charm.
The fracas over gendered dialogue and the appeal for authenticity highlights the delicate balance television networks must tread. Fans have expressed their passion for maintaining what they cherish, prompting producers to contemplate audience sentiments seriously. Will these criticisms lead to changes within future installments of 'Nord Nord Mord'? Only time will tell if the viewer's voice can influence storytelling decisions.
