This article presents a framework for thinking about the intersections between geopolitics and Northern European television drama by examining the contemporary Nordic Noir genre of crime drama. Nordic Noir features not only the double plot that combines sociopolitical critique with crime drama, but also a third “gaze” that engages aesthetics and territorial features that further individual series’ geopolitical critique. Nordic Noir has become especially attuned to contemporary geopolitical issues specific to its setting (climate change, East-West rivalries, etc.), through which viewers engage with region-specific geopolitical codes and visions. However, what happens when Nordic geopolitical television drama series are exported and transculturally adapted to different geopolitical and cultural realities? By examining the Southeast Asian localisation of