The Tasmanian town of Deadloch is depicted as overrun by lesbians, with an 'unusually high lesbian population' central to the setting, humor, and suspect pool—men mysteriously die while 'man-hating lesbians' are blamed, inverting crime genre tropes to push anti-patriarchy messaging. Lead detective Dulcie Collins is a lesbian married to Cath, with abundant LGBTQ+ characters including a gay male cop, bisexual undertones for Eddie Redcliffe, and a trans actor as the mayor's partner; the cast is stacked with queer actors like Kate Box, Madeleine Sami (she/they), and Nina Oyama.

Feminist satire dominates, critiquing toxic masculinity, sexist policing, and traditional gender roles—culminating in a killer motivated by warped feminist ideology after learning about 'toxic masculinity and the patriarchy.' Indigenous subplots layer on intersectionality, with Aboriginal teens highlighting incarceration issues amid ACAB graffiti and anti-cop activism. These elements are not incidental but foundational, subverting the Nordic Noir genre explicitly for queer-feminist gender politics, compromising the entertainment by prioritizing ideological subversion over neutral mystery-solving, even as the execution masks the preachiness with crude comedy.