From my new review of the TV show Occupied in Taki’s Magazine:
‘Occupied’: Homeland of Glass
April 22, 2020
One of the more interesting television series of the past decade is Occupied, an intelligent Norwegian nationalist political thriller now available on Netflix. It’s both an anti–European Union tribute to the Norwegian people and the near-utopian country they have built, and a clear-eyed critique of their increasing foolishness. Although played out with stoic gravity, the show also offers an amusing satire on Nordic gender relations as its henpecked heroes can seldom persuade their feminist wives to heed their husbands’ warnings that life is about to become far more serious.
Occupied loses momentum in its 2019 third season, but the eighteen 45-minute episodes from 2015 and 2017 are an impressively lucid imagining of a future European political crisis. While an American movie would concentrate on explosions and an American television show on soap opera, this Norwegian thriller focuses on its characters trying to decide what their loyalties should be in this fluid situation.
Moreover, Occupied serves as a vast metaphor for what happens to a feminized culture that finds itself cast back into the old masculine world of force. It’s based upon a 2012 story idea by best-selling detective novelist Jo Nesbø, who takes a Hobbesian view of human nature. “I think the feeling we [Norwegians] are secure and things can’t really change is an illusion,” he cautions.
Occupied is set in a near future in which an isolationist America has withdrawn from NATO, leaving small but oil-rich Norway without a superpower protector, while an energy crisis caused by civil wars in the Persian Gulf devastates the economies of the rest of Europe.
Read the whole thing there.