TV's Most Baffling Shows: The Head-Scratchers We Can't Stop Watching
In an era of endless streaming options, some television series stand out not for their clarity, but for their sheer, mind-bending confusion. From surreal mysteries to impenetrable financial dramas, these are the shows that leave viewers scratching their heads, yet utterly glued to the screen. Our writers delve into the programmes that defy logic but command obsession.
The Chair Company: A Lynchian Puzzle
With a gun to my head, I couldn't accurately summarise the plot of Tim Robinson's The Chair Company. On the surface, it follows a man entangled in a conspiracy after a chair breaks beneath him. Beyond that, it descends into pure, unadulterated weirdness. Why does a character exclusively listen to recordings of men screaming? What's with the vampire inventing a new shape? And why does the antagonist sport a baby's head? These questions remain unanswered, as the show revels in its Lynchian absurdity. It's the most baffling television I've ever adored, even as a four-time viewer of Lost.
Industry: Finance Jargon and Addictive Drama
The trading floor jargon in Industry is utterly impenetrable to outsiders. I couldn't recount a single financial transaction, and when recapping the first season, I repeatedly apologised for having no clue what Harper actually does. Even with subtitles, the verbose dialogue challenges comprehension. Co-creator Konrad Kay admits terms like "DV01" are "financial gibberish," while Mickey Down calls it "technobabble" they've tried to dumb down. Yet, I'm addicted. I've learned to gauge the vibe—trouble, celebration, disaster—while waiting for the payoffs: sex, drugs, and fights. It's like skipping to the pictures in a book, but when chaos erupts at a Marie Antoinette party, it all briefly makes sense.
Twin Peaks: Surrealism and Heart
No one, not even David Lynch, could coherently explain Twin Peaks. Characters trapped in doorknobs and David Bowie reincarnated as a giant kettle are par for the course. While the early 90s seasons offered a loose grip on plot, the 2010s revival let go entirely. Yet, the befuddlement is part of the fun. Wonderful, impossible images fly at you, and at its core, it's a moving story of a detective seeking justice for a murdered teenager—just with pulsating brain trees and backwards-talking little people along the way.
House of the Dragon: A Naming Nightmare
House of the Dragon takes Game of Thrones' complexity and adds identical names. Is the next ruler from the brunette family or the ice-blond one? Who's the mad king? The questions pile up: why do families use preposterous names with slight variations? How do we remember dragons with no distinguishing traits? Thank goodness for Jace Velaryon—until you learn it's short for Jacaerys. This show is a bloody, beautiful mess.
Lost: A Baffling, Thrilling Ride
From the start, Lost was a ludicrous, captivating saga. The black smoke monster, Dharma Initiative, polar bears, and a time-traveling island—none of it hung together, but I loved letting it wash over me. The code 4 8 15 16 23 42 became iconic, and the divisive ending left debates raging. It was TV at its most thrilling and baffling.
The Morning Show: Glossy, Fabulous Rot
What began as a sharp #MeToo drama has devolved into fabulous rot. Why is Reese Witherspoon in space? Why is Julianna Margulies so evil? The show is all surface now, with smouldering plots about AI and nuclear programmes. It's best not to overthink it and just enjoy the luxury bath oils of overreaching storylines.
The Rehearsal: Meta-Reality and Ethical Quandaries
Nathan Fielder's The Rehearsal takes his absurdist comedy to new heights. The premise—rehearsing difficult scenarios with actors—sounds reasonable, but the "Fielder Method" involves stalking real people without their knowledge. In a heartbreaking finale, a child actor believes Fielder is his father. The show is disarmingly honest about its potential to ruin lives, leaving viewers wondering what they just watched and how to return to normal TV.
Scandi Noirs: Mood Over Plot
Shows like The Killing, Borgen, and The Bridge offered a mini golden age of moody drama. The appeal lay in exoticism—the language, snow crunching under boots, and delightful knitwear. Often, the plotting nuances took a backseat to the general vibe. What's actually happening? Hmmm, but Sarah Lund will sort it out.
These shows prove that sometimes, confusion is the ultimate hook, drawing us into worlds where logic takes a backseat to wonder, weirdness, and addictive storytelling.
