Those following HBO’s The Night Of are probably fans of the miniseries’ art direction — out-of-focus and unsaturated scenes that convey the brooding, complex mood. Slate’s Matthew Dessem has a good look at the trend in dimly lit television, made possible by advances in high-def production. Case in point is the recurring location in Better Call Saul, in Chuck McGill’s house, which has the power cut off due to Chuck’s behavioral disorder that has him convinced of his electromagnetic hypersensitivity. Dessem points out that we’re a long way from I Love Lucy where all things were plainly lit and there wasn’t a shadow to be found. —Eric Gould

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