The Indian web series Dahan: Raakan ka Rahasya shows promise in its first episode, introducing us to Avni, a disgraced IAS officer and widow who takes her teenage son Anay to a village in Rajasthan named Shilaspura, where a mining project is facing resistance from locals. Along the way, they learn about the legend of the beheaded sorcerer Ridhiyakan and his demoness mother Haadika, whose awakening turns people into the bloodthirsty "Raakan". As they attempt to bring progress to the remote area by blasting the mines, they confront the tension between blind faith and development, mental illness and superstitious beliefs, caste, class, gender, education, and science versus myth.

Directed by Vikranth Pawar and Jai Sharma, Dahan is at times sublimely eerie, thanks to the haunting visuals created by cinematographer Arkodeb Mukherjee. The tension between the real and the imagined is palpable as Mukherjee uses a high fish-eye lens to trap characters into frames that seem to collapse onto them, creating a prophetic metaphor. Sunil Nigvekar's production design also helps establish the central conflict of Dahan and the recurring dread as viewers question whether the rising Raakan is proof of a supernatural force or if there is a pragmatic explanation for what is happening in Shilaspura.

However, despite a talented cast that includes Tisca Chopra, Saurabh Shukla, and Rajesh Tailang, Dahan ultimately fails to live up to its potential due to weak writing. There are nonsensical elements like an ancient map that unlocks when four boys simultaneously pee on it, animalistic killers who repeatedly let off certain victims, and a terrible approach to safety measures during an epidemic, making the series feel plain insulting.

Avni's characterisation is particularly weak, and while we love a disagreeable female character, the IAS officer has all the charm and maturity of a teenage rebel without a cause. She is constantly snapping at the helping hands around her and seems to be hellbent on antagonising the locals instead of trying to win them over. This is an odd approach for an IAS officer who has come to prove herself after a corruption scandal.

The series attempts to draw parallels between Avni and Anay and the mother-son duo of Haadika and Ridhiyakan. Haadika and Avni are both headstrong women raising their sons alone and are outsiders in their respective communities. Avni represents technology and development to the villagers, while Haadika was a demoness with superhuman powers. However, this idea is not fully developed, and Avni's mental health issues are not given enough attention, making her character's arc feel incomplete.

The only way to stop the violence in the village is by chopping off a human-turned-Raakan's head, and Avni is dragged to the temple in a metal neck trap. Purple-faced men chant "Raakan, Raakan! Ridhiyakan!" as she faces her physical, mental, and spiritual demons. The series attempts to illustrate how guilt is just another form of being possessed, but this clever idea falls short when Avni escapes from the murderous villagers seemingly without a care in the world.

In conclusion, Dahan: Raakan ka Rahasya is a series that shows promise but ultimately fails to deliver due to weak writing. Despite the haunting visuals and talented cast, the series is plagued by nonsensical elements, weak characterisation, and incomplete story arcs. While there are moments of tension and eerie atmosphere, Dahan ultimately fails to live up to its potential.