This chapter reconsiders Walter Benjamin’s conceptualisation of “aura” while applying his concept to the viewing experience of Turkish audiences watching Danish television drama. Based on qualitative audience research, I show the significance of the concepts of “aura” and “authenticity” for the Turkish viewers’ engagement with the Danish television series Forbrydelsen [The Killing] as an auratic object. The audiences did not see or find authenticity or aura in remakes of the drama series originating elsewhere, including the US or Turkey. The aura was considered entirely irreplaceable and impossible to reproduce in Danish series’ various international remakes, of which the Turkish remake of The Killing, Cinayet, was naturally an important point of reference. I thus show the continued significance of artistic aura and authenticity, even in the age of digital reproduction.