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Beyond Borgen

Writers Adam Price, Jeppe Gjervig Gram and actor Birgitte Hjort Sørensen made their names on Danish political drama Borgen. Michael Pickard finds out what they’ve been up to since and how the series shaped their careers.

When Borgen first aired in 2010, the idea that a television drama focusing on the complexities of Danish coalition politics might travel around the world must have seemed optimistic at best.

Even local pubcaster DR, which commissioned the show, wasn’t convinced it would have an international future. “The head of drama then, Ingolf Gabald, said from very early on, ‘Guys, don’t ever think this show will travel because it will not,’” remembers series creator Adam Price (pictured top centre with members of the Borgen cast). “It’s funny now. Of course, you can say in hindsight he missed that one because then it was sold to almost 100 countries.”

Gabold can be forgiven for his caution. But buoyed by the international success of Scandinavian exports such as Wallander, Forbrydelsen (The Killing), the Millennium film trilogy and Broen/Bron (The Bridge), Borgen was swept up in the wave of demand for series coming out of the region.

Price worked on DR series Herrens Veje (Ride Upon the Storm) starring Lars Mikkelsen

In the near-decade since Borgen made its debut, its stars – including Sidse Babett Knudsen (who played prime minister Birgitte Nyborg), Pilou Asbæk (her advisor Kasper Juul) and Birgitte Hjort Sørensen (journalist Katrine Fønsmark) – and those behind the camera have gone on to make series that have kept Danish drama in the global spotlight.

Price most recently wrapped on another DR series, Herrens Veje (Ride Upon the Storm), a two-season, 20-episode drama about a family of priests who each choose their own path to a meaningful life. It stars Lars Mikkelsen and is produced by Sam Productions, with StudioCanal distributing.

“I really wanted to try to understand religion,” Price says. “Religion is one of the most important and essential topics to choose when we’re talking big drama, and it’s a source of worry for so many people. It’s almost as if the debate about religion itself has become radicalised. It’s as if there’s no limit to what we are able to say to each other. I really wanted us to discuss and debate religion because, if we talk about religion, we might not kill each other.”

The writer says that although he is a fan of Nordic noir, he was keen to ensure Borgen’s successor didn’t follow the path of a “dark, gritty crime story, typically with dead people in forests and lonely, socially awkward police officers who have to solve the cases.” Instead, Price decided to explore a new genre, Nordic magical realism, with a story about spirituality and faith. “It’s incredibly important not to keep moving along the same alleyways. Even the Brits are now producing Nordic noir and have been for several years. It’s not a speciality of the Nordic countries anymore,” he says.

Ride Upon the Storm launched in the UK on streaming platform Walter Presents in January this year, the same month that Greyzone, which stars Borgen alumna Sørensen, also debuted on the Channel 4-backed service.

Few spotted Borgen, a drama centred in Danish politics, would have global appeal

The 10-part series, produced by Cosmo Films for TV2 and distributed by ITV Studios Global Entertainment, follows the events that lead up to a planned terror attack in Scandinavia, centring on brilliant drone engineer Victoria Rahbek (Sørensen), who is taken hostage.

Her captor is part of the terror cell planning the attack, with Victoria chosen so the group can acquire the components it needs from her company. Victoria must risk everything to steal the equipment while also working as a double agent for the police, who will do anything to prevent the attack.

“I could sense there was a high level of ambition from the people who created it,” the actor says of the show, which is written by Morten Dragster and Oskar Söderlund. “Greyzone is the term we have in Danish for ‘grey area’ – all the things that aren’t black and white, which is life. Often in fiction, there’s a given right or wrong because it reads well and you know who to root for, but in real life that’s hardly ever the case. So it really interested me that they wanted to dive into this complex world.

“It’s easy to write off terrorists as madmen or psychopaths. In our case, Victoria is forced to look behind the cold, brutal man she meets to try to understand how he became like this.”

At first, Greyzone appears to be a typical crime show or thriller, Sørensen says, before it reveals the internal psychological drama between Victoria and her captor, Iyad (Ardalan Esmaili). “It almost becomes like a play because we’re confined in this small space, her apartment. He intrudes into her world and then they have to live together in this odd way. All of the action takes place between them, at least in that part of the storyline.”

Borgen co-writer Jeppe Gjervig Gram

After her breakout role in Borgen, Sørensen landed parts in British dramas Marple and Midsomer Murders, starred in feature Pitch Perfect 2 and also appeared in HBO series Game of Thrones and Vinyl. What she enjoys about acting, she explains, is the opportunity to dive into different worlds, genres and characters, particularly when this gives her the chance to learn something new.

“I had a lot of great adventures abroad. The thing about working overseas is the budgets are usually bigger, so the toys are usually bigger – I would never get to do something like Game of Thrones in Denmark because we couldn’t afford it,” she continues. “It’s been so adventurous, but also, because it is a much bigger pond, I naturally become a smaller fish. I haven’t said I’ll never work abroad again, but there were a lot of days where I just sat on my own and I missed my family, so I made a conscious choice to move back home and be here and work here, and I’m really happy.

“Because Denmark is such a small country, it’s so familiar so it’s a very safe and comfortable way of working. Sometimes the sense of hierarchy is so strong in the UK and US, you feel like you’re just doing a job, whereas I feel more like part of the process in Denmark.”

One of Price’s Borgen co-writers, Jeppe Gjervig Gram, followed up the political drama with a series of his own creation, Bedrag (Follow the Money). The show, again for DR, explored the world of financial crime over three seasons, the last of which aired earlier this year and focused specifically on money laundering.

“After doing the second season, I felt we had spent so much time in expensive boardrooms and with CEOs that we’d told most of the stories I wanted to tell in that arena,” Gram says. “Piv Bernth, then head of DR drama [and Gabold’s successor], was very open to us pursuing a completely new direction. I came up with the idea of doing something about the laundering of drug money, which has always fascinated me as I live in a neighbourhood where there’s a lot of gang activity. I absolutely still love the first two seasons, but feeling completely free to change as much as we needed was a great starting point for fresh storytelling. DR is a place where they care a lot about the writer’s vision. They allowed us to do that even though it’s quite a big risk for the broadcaster.”

That kind of freedom is rare in television, particularly from a free-to-air public broadcaster. Gram admits it was both refreshing and daunting, but with Follow the Money’s third run earning rave reviews, “DR’s wonderful gamble in the form of maximum trust in the writer luckily paid off, and the freedom of creativity has been a true pleasure,” he says.

“I’m very proud of the third season and the way we’ve done it, especially where we have been brave and taken risks and chances because that’s really what makes interesting series at the moment. There are so many series being made right now and it’s the ones that take risks that stand out. Of course, some won’t work, but that’s part of taking risks.”

Greyzone stars Borgen actress Birgitte Hjort Sørensen

Price remembers being afforded the same freedom when he, Gram and Tobias Lindholm were writing Borgen. Of course, at that time, there were no expectations placed on them, either in Denmark or internationally. “We had a great cast, we had a reasonably good budget and all the freedom in the world, which was amazing,” he says. “We could just write the show we really wanted to write. We could basically lean back and try to make the best show, in Danish terms, we could possibly make. That very local nerve in the show made it very global. That freedom meant so much to us.”

Borgen’s success has also launched many careers, he adds. “All of a sudden – and this was the case with Ride Upon the Storm – we could finance a Danish show with money from several European broadcasters because we were known names for them and they really wanted the next shows.

“Birgitte, Pilou (Game of Thrones) and Sidse (Westworld) have also had amazing international careers that began with the Borgen years. The freedom and lack of expectation at the time we were doing it was tremendously important.”

On Borgen, “it was the fact we always had so much fun,” Gram says. “We never argued. We could disagree on something but we would always look for something even better because we trusted each other’s instincts. That’s something I remember well. It was very playful and ambitious in the way we were searching for ideas.”

Sørensen was only two years out of drama school when she landed her part in Borgen, which she credits with making her a household name in Denmark and thus providing her ticket to working abroad.

“I’m immensely proud of it, I loved doing it. I feel like I got an extra education, not just working with cameras, which you don’t really learn in drama school, but also it was an introduction for me to take an interest in politics and the world, so I feel like I grew up on that show. It’s very dear to me.”

DR’s Bedrag (Follow the Money) explores the world of financial crime

Price is now heading into production on his next series, Ragnarok, a six-part drama for Netflix. The Norwegian-language show unfolds in the fictional small town of Edda in the middle of the Norwegian countryside and is described as a modern-day coming-of-age drama rooted in Norse mythology.

“It is a story about climate change,” Price explains of the high-school set series. “We’re asking the question, ‘Is the world coming to an end?’ I have done politics, I have done religion – now we are coming to the end of the world.”

But it is something he learned on Borgen that Price keeps with him long after that show ended, and will prove particularly useful now he is working on a series that will roll out simultaneously in more than 190 countries worldwide.

“You have to write a story that means something to you,” he says. “You cannot have all kinds of thoughts about how someone will react to it in South America. You cannot let thoughts like that disturb you too much, because you will end up confused in your choices. You have to focus on your story. If I believe it and feel it and make other people feel it, then it stands a chance of working internationally as well.”


Let the Danes begin

Four new dramas hailing from Denmark were showcased during Berlinale’s Drama Series Days event in February. DQ rounds up the selection.

Når støvet har lagt sig (When the Dust Settles, pictured)
A terrorist attack at a Copenhagen restaurant is dramatised in terrifyingly vivid fashion in the latest drama from pubcaster DR, created by Dicte’s Ida Maria Rydén and Dorte W Høgh. Yet rather than dwell on the incident itself, the 10-part limited series is a character-driven piece that focuses on a group of people both before and after the attack and examines how their lives are interwoven. It is produced by Stinna Lassen (The Team) and DR Drama and is being sold internationally by DR Sales. When the Dust Settles is slated to air locally in January 2020.

Sygeplejeskolen (The New Nurses)
Following the success of the first season last autumn, The New Nurses is returning for a second six-part run, continuing the 1950s-set story about the first intake of male nurses in post-war Denmark. It is produced by SF Studios and Senia Dremstrup for TV 2, with REinvent Studios distributing.

Den Som Dræber – Fanget af Mørket (Darkness – Those Who Kill)
A reboot of 2011’s Those Who Kill, this eight-part serialised crime thriller asks not whodunnit but ‘whydunnit’ when a profiler is called in to help save two kidnapped girls from a murderer. Commissioned by Nordic streaming service Viaplay, it is produced by Miso Film and written by Ina Bruhn. Fremantle is handing worldwide sales.

The Rebels from No 69
Based on the true story of radicalised white youths who started riots when they were evicted from a shared house in Copenhagen, The Rebels from No 69 is described as a coming-of-age series that follows 20-year-old Camilla, who leaves her parents’ home under the pretence of living with her older brother but ends up moving into the house. When the council sells the property to a church, its inhabitants barricade themselves inside, leading the army to storm the premises. Currently in pre-production, it is produced by Made in Copenhagen for TV2 and distributed by REinvent Studios

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Storm brewing

Never one to shy away from a challenge, Adam Price’s first major TV project brought the machinations of a coalition government to Danish screens with Borgen, which picked up an International Bafta during its three-season run.

Now he is taking on religion in Ride Upon the Storm, with two seasons of the show already commissioned by Denmark’s DR and Arte France.

Sitting alongside star Lars Mikkelsen, Price tells DQ how he hopes to address the big questions of life and religion in the show, which ostensibly focuses on the family of Mikkelsen’s priest Johannes, his wife and, in particular, their two sons, who each choose different religious paths.

Ride Upon the Storm is produced by SAM Productions and distributed by StudioCanal.

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Surface tension

Terror comes to Copenhagen when a group of people are taken hostage aboard a subway train. DQ chats to the creator and producer of Danish drama Gidseltagningen (Below the Surface).

Drama series can be years in the making – yet the team behind Danish hostage series
Gidseltagningen (Below the Surface) went from idea to air in just over a year.

The show’s debut on Discovery Networks-owned Kanal 5 earlier this month was the culmination of a remarkable journey for creator/director Kaspar Barfoed and producer Morten Kjems Hytten Juhl, who came together to bring to life a premise that had already been pitched to the network.

Kaspar Barfoed

SAM Productions – set up by writers Soren Sveistrup (The Killing) and Adam Price (Borgen) plus producer Meta Louise Foldager Sorensen (A Royal Affair) – had taken the idea of a drama following a hostage situation in Copenhagen to the channel in fall 2015, before Sorensen approached Barfoed to develop the story.

“There were no stops, we just kept moving,” Barfoed tells DQ. “We developed the idea for two or three months, then we got a writers room up and running and started writing the episodes. We went straight into pre-production and started shooting in September 2016, so it was 12 months from the idea to shooting.”

Set across eight days, the eight-part series sees a terror task force led by Philip Norgaard (played by Johannes Lassen) and Louise Falk (Sara Hjort Ditlevsen) attempt to rescue 15 people who are being held hostage on a subway train.

Reporter Naja Toft (Paprika Steen) acts as a go-between with the hostages and police as the savvy captors bait the press with information about the pasts of each of their hostages. And as a media frenzy erupts, the country becomes divided over whether to negotiate with terrorists.

Below the Surface is produced by SAM for Kanal 5 and Germany’s ZDF Neo, which will air the series this autumn. StudioCanal holds distribution rights.

“The main dilemma is the fact that in Denmark, we don’t pay ransom for hostages – it’s just the law,” explains Barfoed of the conundrum at the heart of the series. “We don’t want to encourage others to do it and we don’t want to pay terrorists, which is a great concept – except when it meets reality. It means we’re going to let people die over amounts of money, so we wanted to put that dilemma in front of people.

Below the Surface’s creators opted to focus on character more than action

“Then for the hostage takers, we thought you would use a journalist to let the public get to know these people and put faces on these hostages. Then let’s see if you can still keep that law. And also, perhaps rightly, the journalist feels she’s the one who can help these people, so it’s not just an evil journalist who wants to sell papers. It’s really difficult – it’s an insane dilemma. I don’t know the answer but we thought it would be interesting to ask those questions.”

Barfoed admits he was instantly drawn to the idea of a hostage drama, but adds that Below the Surface isn’t based on any specific real-life incident.

“Just hearing the word ‘hostage,’ there’s instantly a lot of drama that can grow from that. But our ambition was to look at who gets involved, who gets the phone call and what the dilemmas are. What are the tough choices someone has to make and, if you’re the one who gets taken as a hostage, what do you go through? That was really interesting and the more we talked to people, the more research we did, we found there was so much there.”

Barfoed spent several months outlining the story before linking up with four other writers, Astrid Oye, Per Daumiller, Lars K Andersen and Michael W Horsten. He then opened a writers room, which mapped out each individual episode.

Morten Kjems Hytten Juhl

“One person would go and write an outline, come back, we’d talk some more and then they would go home and write a draft,” he explains, adding that there would only be three writers in the room at a time. “We’d talk about it more and do another draft. That was the process. People in the room would change but typically it was three people beating out the story.”

With such a rapid schedule in place to get the series ready for Kanal 5’s spring schedule, lots of joined-up thinking was needed between Barfoed and producer Juhl.

This meant there were discussions from the outset about the scope of the series, how it would look and how they could maximise their modest budget.

“It could have been a totally high-end show or it could also be scaled down,” Juhl explains. “We found a reality in the middle somewhere. With the financing going on quickly, we had to develop the idea with flexibility in the budget. So we had to keep an open mind and constantly communicate, sometimes daily but always weekly.”

One key decision made early on was to build a Metro station, which would be used to complement the limited amount of location shooting the producers were able to do at a real underground station. But building the set also afforded the production team the chance to then construct the police base right on top.

“That’s quite a cheap thing to build because it’s not an actual police station, it’s more like a barracks, and it gave us a lot of flexibility in terms of shooting,” the producer says. “So with these two primary sets built and an idea that we should shoot half of the show there and the rest on location, that shaped a nice production design that we would work from.”

Other discussions had a more direct impact on the story, such as how many hostages there would be – and how many would be actors and how many would be non-speaking extras.

The show aims to present a realistic look at a hostage situation

“That was very important because we could then write for a specific number of speaking parts, so that we didn’t deliver a script only to be told you can’t do this and you can’t do that,” says Barfoed.

“From the first arc, we knew what the beats would be. We also knew which characters we wanted to focus on in each episode. Each one has a main character we focus on, who is then a less important character in the rest of the show, so along the way you get to know the whole ensemble more. We do have a few characters in the police we get to know, but the deep character studies are with the hostages, because they are in a situation where it makes sense to reflect on who they are and how they ended up there. The thought that you could be on the train that day is something we can all relate to – those who are caught there are just unlucky. They just happened to be in the wrong place at the wrong time.”

Barfoed’s duties weren’t confined to the writers room, however: he also directed the first two episodes, with Christian E Christiansen and Roni Ezra helming later instalments. And rather than create a series full of overblown action sequences, Barfoed says character took centre stage, with the belief that the inherent drama of a hostage situation would be entertaining on its own merits.

“We just needed to make the characters engaging,” he says. “It has a lot of pace but we never wanted to Hollywood it up. We wanted it to feel realistic. We got really good directors to do the following episodes so I didn’t want to lead them too much. I wanted to give them the opportunity to do it themselves. Obviously we talked a lot and they saw the rushes, so they had a pretty good idea of how we shot it. We kept the crew as much as we could all the way through, so it was actually a pretty smooth transition when we changed directors and DPs.

“The basic stylistic approach is that there are two worlds – right next to each other, separated by height. But they have completely different looks and paces. It’s a dungeon down there, it’s in Copenhagen where we’re building a metro right now. And upstairs is where the negotiators and investigators work, so they want a lot of light and a place where they can move around quickly and talk to everyone. It lends itself to lots of contrasts.”

Designed as a closed-ended series, Below the Surface could return with a new challenge facing the terror task department and its main characters. But should it not get a second season, Barfoed hopes the show will leave its mark.

“We hope it will be something that is perceived as having more substance than a standard crime thriller,” he says. “It goes into the psychology of people caught up in this and takes a realistic approach to what would happen.”

And with other hostage dramas on air and in development, including Ransom and Embassy Down, it looks set to lead a new wave of crime series on television.

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Surfing the airwaves

Writer Søren Frellesen and producer Sven Clausen tell DQ about Danish drama Mercur (Something’s Rockin’), which charts the rise and fall of an offshore radio station in the 1950s and 1960s.

The first offshore commercial radio station ever to hit European airwaves, Denmark’s Radio Mercur launched from a ship called the Cheeta in the Øresund waters off the coast of Copenhagen in 1958.

Its founders’ aim was to break the monopoly held by state-owned radio stations and bring an emerging music genre called rock ’n’ roll to the young audience that demanded to hear it.

The story of its rise and fall is now being retold in Mercur (Something’s Rockin’), a 10-part drama currently airing on TV2 Charlie that tells this true story through the eyes of three fictional protagonists.

Søren Frellesen

As creator and head writer Søren Frellesen tells DQ, the drama follows “a bunch of fun and freedom-loving young people who created a popular commercial radio station back in the days when all mass media was controlled by the state.”

He continues: “From 1958 to 1962, Radio Mercur became wildly popular, mainly because they played all the new rock and pop music that Danish state radio refused to play.

“It’s a story about big dreamers and their big dreams. And back in the late ‘50s, big dreams could be just a single mother wanting her own flat. So even though the story is about how some young people got a ship and placed it in international waters between Denmark and Sweden – thus escaping the media monopoly and changing post-war Denmark – I have always felt the story is really about our three main characters growing up and finding, or not finding, their course in life.”

The first original drama series for TV2 Charlie, Mercur is produced by SAM Productions and distributed by StudioCanal in co-operation with TV2 Productions & Rights.

It debuted in Denmark with the channel’s highest-ever rating of 630,000 viewers, with deals to air the series in Norway and Sweden already tied up.

Mercur spent almost two years in development before filming began, with producer Sven Clausen recalling that, at one point, it almost wasn’t made as there were questions over whether it should be a music entertainment or politically minded drama.

“I had a call from the head of drama asking if I could look at it because she thought there was definitely a series there,” Clausen says. “I looked at three scripts and seven storylines for the remaining episodes and she was right. The real story was there but what the channel wanted was a music show, so we had to crack that one way or another.”

Mercur is based on the true story of a pirate radio station

The solution was to bring live musical performances into each episode, filmed as if the bands were making recordings to play on the station, while an eclectic mix of international music, largely from the UK and US, was also used in the soundtrack.

Clausen continues: “The only time we don’t have a live performance is in episode one, when the radio station is not yet established. Instead, the characters go and watch [British rock ’n’ roll star] Tommy Steele perform, which he actually did in Denmark in 1958.

“I borrowed a sequence from one of his movies and we used a trick to put him in the show by having our characters backstage at the concert, watching what’s happening on stage on the small monitor, which is the film clip. Then we found a chap in London who is a lookalike so in the interval, this chap pops up and speaks a bit and that is it. And it works very well.”

In the writers room, Frellesen was assisted by co-creator Jesper Malmose and Jenny Lund Madsen. They storylined all 10 episodes together before Frellesen wrote the pilot and three other episodes, and co-wrote the final two. He also did the final drafts of the remaining episodes that were started by Malmose and Madsen.

Sven Clausen

“But I have to say, it was primarily due to the practicalities of the shoot and the mountains of notes always dropping in that further writing was necessary,” Frellesen says. “It is the first time I have had sole head writer duties, and it was important that the writers got their own voices across. Tom Fontana [Oz], one of my favourite TV writers, talks about having one vision but many voices. I was inspired by his take on team writing.”

That team ethic also extended to the director, Charlotte Sachs Bostrup, who was persuaded to shoot with just one camera in an attempt to bring an authentic 1950s look to the series.

“Being a director myself, I get a little tired of the multi-camera, ‘let’s cover everything and work it out in the editing suite’ approach,” Frellesen says frankly. “Shooting with one camera keeps the decisions on the side of the writer and director. Make up your mind before you shoot. Don’t give other people too many options. I have worked with her before and we always have a lot of script discussions – passionate yet fruitful – but looks-wise we like the same things. We like colours, we like dollies and we want to create a pleasant place to be.”

The three main characters – Anne-Marie, Jan and Flemming – are played by Neel Rønholt, Jon Lange and Andreas Jessen respectively, with each taking on their first lead roles.

“We shot seven pages a day, which is almost irresponsible, unless people are prepared, and these three actors were up to the task and then some,” Frellesen says, praising their ambition and aspiration. “The show is about those three characters coming into their own, and that is what is happening with the careers of those fine actors right now. That gave it some urgency and sincerity.

“They also, at a crucial point towards the end of the shoot, made me realise I had to do some story adjustments, because the characters took on a life of their own. They are some of the smartest actors I have ever worked with, so when they make suggestions, I listen. There is a fine line between being a push-over and being attentive and smart when actors make story suggestions.”

Most episodes feature live musical performances

Former DR drama head Clausen produced the series with Stine Meldgaard, who has previously worked with film talents such as Lars Von Trier (Melancholia) and Nikolaj Arcel (A Royal Affair). Together they worked with the network to protect Frellesen’s vision for the story, which the writer says was the biggest challenge he faced.

“And I managed that due to Sven and Stine, my crack team of producers!” he says. “They took all the battles with the network and protected my vision admirably. So even if I formally didn’t have any kind of final say or cut, they protected my ideas all the way through, and if the show is terrible, it is because of me. I can’t think of one important story point I was sorry to see being overruled.”

Clausen picks up: “I put in a lot of effort in the writers room and then I sit firmly in the edit room so there’s a connection between the intention in the writers room and the final cut. I’m the guarantee for that vision.”

The producer also reveals another important aspect of the show – a secondary storyline that discusses attitudes towards homosexuality in Denmark – which, along with the music, demonstrates how culture and society was changing at the time.

“That was a remarkable way to tell the story of the past where people were opposed to anything new or anything they didn’t know about,” he adds.

From a production perspective, the relatively small budget also posed a challenge. But this was largely overcome by the fact that, in addition to several days spent filming on location, most of the four-month shoot took place on the grounds of an old naval college outside Copenhagen. There, production designer Søren Gam transformed the many rooms into every possible set needed, while additional locations such as Tivoli and Danish State Radio added further authenticity.

The show also features music from the likes of Tommy Steele

The college was “very good for the budget!” Clausen jokes. “Even in some of the private parts of the school, we were able to film living rooms and offices for some of the characters.”

Mercur continues the Nordic drama trend that is moving away from noirish crime thrillers and exploring different themes and genres. The central issue of youth rebellion, and the use of rock ’n’ roll music, is reminiscent of 2016 German drama Ku’damm 56, in which a young woman fights back against strict social conventions. There are also similarities to 2009 film The Boat that Rocked, about a fictitious pirate radio station that broadcasts from a ship anchored in the North Sea.

But like all good dramas, human relationships are at its heart. “All stories must come from that,” Frellesen concludes. “And on this series I also learned, or was reminded, that nobody, including myself, knows anything, as William Goldman famously put it. It’s a new game every time.”

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