Berlin is a slow-burning thriller about the rise of the Nazi Party, and it knows exactly what it wants to do. Set in 1936, it follows a small group of British intelligence officers who plant a spy inside the SS to uncover the truth behind a mysterious death in the city. The show is based on the novel of the same name by Harry Lawtey, and it arrives with a reputation for being atmospheric, tense, and deeply unsettling.
The premise is simple. A man dies under suspicious circumstances in Berlin, and the British government suspects the Nazis are involved. The solution is to send a young officer named Freddie Quilliam (Jack Lowden) into the heart of the SS, posing as a low-ranking member of the party. He is assigned to the personal staff of Ernst Röhm (Sebastian Koch), a high-ranking official whose death is the trigger for the plot. Quilliam’s job is to observe, report, and survive. The show spends six episodes doing exactly that.
Trailer, via Netflix.
Freddie Quilliam and the SS
Lowden carries the weight of the series. His Freddie is nervous, intelligent, and deeply uncomfortable in his surroundings. He is not a soldier, and he is not a natural killer. He is a bureaucrat who finds himself in a war zone, and his performance captures that tension. The contrast between his quiet, analytical nature and the brutal world around him is the engine of the show.
Koch plays Röhm with a mix of menace and charm. His character is a charismatic figure who seems to believe in the cause he serves, even as he abuses power and terrorizes those beneath him. The relationship between Quilliam and Röhm is the emotional core of the series. It is a master-servant dynamic that shifts from suspicion to genuine dread as Quilliam learns more about the man he is supposed to be spying on.
The supporting cast is strong across the board. Sam Spruell plays a British intelligence officer who oversees the operation from afar, while Hannah Waddingham appears as a woman with connections to both sides. These characters give the show a wider scope, showing how the machinations of the SS ripple through the diplomatic community.
The Berlin of 1936
The production design is excellent. Berlin is rendered as a city of sharp contrasts: the grandiose architecture of the Reichstag, the grimy streets of working-class neighborhoods, and the opulent homes of the elite. The cinematography is moody and often dark, with shadows playing a central role in the visuals. This is a show that understands that lighting can be as much of a character as any actor.
The music, composed by David Arnold, complements the visuals. It is sparse and often dissonant, with a sense of unease that matches the tone of the story. The score never overpowers the scene, but it always adds to the tension.
Slow Burn vs. Thriller Pace
Berlin is not a fast-paced action series. It is a slow burn, and that approach works in its favor. The show takes its time establishing the world, the characters, and the stakes. This means that some episodes feel padded, especially in the middle stretch. There are moments where the dialogue feels overly expositional, and the pacing could have been tightened.
However, the slow pace also allows the show to build genuine suspense. You know something terrible is coming, and the show lets you wait for it. That patience pays off in the later episodes, where the tension finally erupts.
The Spy Game
As a spy thriller, Berlin succeeds on a technical level. The plotting is dense, and the show tracks multiple threads of information at once. Quilliam gathers data, reports back, and tries to make sense of what he sees. The show is careful about how it handles the espionage mechanics, and it avoids the kind of Hollywood shortcuts that would undermine its credibility.
The problem is that the show’s interest in process sometimes overshadows the human drama. Quilliam is smart, but he is not particularly compelling as a character outside of his professional duties. The show would benefit from spending more time on his personal life and his relationships, rather than focusing solely on his work.
Atmosphere Over Action
The atmosphere of Berlin is its strongest asset. The show is suffused with dread, and it captures the feeling of being trapped in a hostile environment. The SS is depicted as a terrifying organization, full of men who are willing to do unspeakable things in the name of ideology. The show does not romanticize the era, and it does not shy away from its horrors.
That commitment to authenticity is admirable, but it also limits the range of the storytelling. The show is primarily interested in depicting the world, not necessarily in telling a story about individual people. The characters are often cogs in a machine, and the machine is far more interesting than the people who operate it.
Final Stretch
The last two episodes deliver the payoff that the earlier installments set up. The mystery of the initial death is resolved, and the consequences of Quilliam’s actions become clear. The final scenes are tense and well-executed, even if the resolution feels somewhat abrupt. The show ends on a note of uncertainty, leaving the audience with questions about what happens next.
| Element | Berlin |
|---|---|
| Premise | A British spy infiltrates the SS in 1936 Berlin |
| Lead Performance | Jack Lowden as Freddie Quilliam |
| Supporting Cast | Sebastian Koch as Ernst Röhm, Sam Spruell, Hannah Waddingham |
| Setting | 1936 Berlin, Reichstag, SS headquarters |
| Tone | Slow burn, atmospheric, tense |
| Strengths | Production design, atmosphere, acting |
| Weaknesses | Pacing, character depth, exposition |
What Works and What Doesn’t
Berlin is a show that is clearly made with care. The attention to historical detail is impressive, and the performances are uniformly solid. It is a show that respects its audience by refusing to simplify its subject matter.
But it is also a show that struggles to balance its ambition with its execution. The slow pace can be frustrating, and the focus on process can overshadow the people involved. The result is a show that is consistently good, but rarely great.
If you are looking for a gripping thriller, Berlin delivers. If you are looking for a deep exploration of character, it falls short. It is a show that is best enjoyed as a period piece, not as a character study.
Berlin is a worthy addition to the growing canon of TV dramas about the Third Reich. It is atmospheric, tense, and deeply unsettling. It is also a show that is occasionally too slow and too focused on process to be truly outstanding. It is a show that rewards patience, but it is not a show that demands it.
Berlin is a show that deserves attention, even if it does not fully live up to its ambitions. It is a solid entry in the genre, and it sets a standard for how historical dramas can handle their subjects with both respect and entertainment value. Berlin earns a score of 7.0 out of 10.
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