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tional (DR’s 15 dogmas for TV) and microor individual levels. The latter – simultaneously dogma number one of DR’s 15 TV dogmas – is perhaps the most vital scaffolding principle, since it prescribes the (auteurist) concept of ‘one vision’, that is, the centrality of the main writer’s (or, by extension, the main editor’s, director’s or producer’s) vision. The rest of these 15 dogmas (pp. 81–84) include prescriptions such as the already mentioned public service assignment (to ensure the inclusion of social and ethical themes), the necessity to closely cooperate with Denmark’s film industry or to guarantee reasonable working conditions. The following chapters provide close readings, production contexts as well as reception analyses of some of the most well-known and successful recent Danish television dramas to date, that is, of The Killing (Chapter 3), The Bridge (Chapter 4), Borgen (Chapter 5), The Legacy (Chapter 6) and The Eagle (Chapter 7). Here, the authors give some further evidence as to why Danish television drama is able to strike such a profound chord with audiences beyond the borders of Denmark. Their employment of complex multi-strand narratives, their sophisticated way of developing characters with human flaws or, most importantly perhaps, their engagement with topical themes – such as the close entanglements of media and politics (transferable to many other societies today) – are sufficiently outlined by Hochscherf and Philipsen, so that the reader is able to get a good grasp of contemporary Danish TV’s success formulas and secrets. Written in clear prose, this book will thus be of great interest to students and scholars of media and television studies as well as to producers seeking new ways of creating quality television for an international audience.