Why are so many people fans of Scandinavian TV?
It is almost axiomatic that when you ask someone for his secret recipe he will tell you that no secret recipe exists. But DR makes television to very explicit specs, upon which its employees are happy to elaborate. DR now produces only original material, but until twenty-five years ago half of its repertoire consisted of filmed plays. In the nineteen-nineties, “two game-changers,” as Gjervig Gram called them, overturned the status quo.
The “double story,” which mandates that a show must possess an ethical dimension, is DR’s other cherished precept. “We are very cautious about always having an extra layer,” Hesseldahl said. “Of course, we want to be entertaining, but, at the same time, we intend to deal with other subjects. Those could be social problems in Greenland, or how a mother deals with a mentally vulnerable daughter, or how a woman goes for power in a world that is under transformation.
“Maybe because they’d won an Emmy, they were a little more loose,” Sveistrup said, when I visited him in September.The staff of “The Killing” prefers to work from DR’s old headquarters, in a run-down one-story concrete block thirty minutes outside of town. They share a parking lot with several discount supermarkets; the other sides of the building abut abandoned lots. The day I visited, Sveistrup, who has a pale complexion and a close-shaved head, was wearing a plaid flannel shirt.
Some fans have faulted “The Killing” for its grasp of the mechanics of narrative. “If the plot were Sarah’s jumper,” Guy Walters wrote in ablog post, “it would have more holes and loose ends than if it had been knitted by a myopic granny with the dee tees.” The British writer Marie Phillips posted on her blog a six-hundred-word forensic interrogation of the show’s trajectory:
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