Impressed with the viewing figures for the first series of Sagafilms’ Pressa, Icelandic commercial broadcaster Stöð 2 swiftly commissioned a second season which premièred in 2010 to the highest audience recorded in the country for an original drama production. More recently, the show won in the category of Best Scripted TV Series at the Icelandic Film and TV Awards.
Once again the showrunners are Óskar Jónasson (Reykjavík-Rotterdam)and Sigurjon Kjartansson. (Svartir Englar). Additional scripts are provided by J. Ævar Grímsson whose other writing credits include; Astrópía, Næturvaktin, Skaup, Dagvaktin, Fangavaktin, Bjarnfreðarson, and Heimsendir.
The second season of Pressa takes place amidst the aftermath of the 2008 financial crisis which led to the collapse of several Icelandic banks, a loss of market confidence amongst international investors, and an internal existential angst as the country attempted to deal with the political, economic, and social ramifications of living under the burden of such a monumental amount of debt.
Structurally, the series conforms to the template established by its predecessor; a primary narrative arc (or investigation) with several sub-plots which though initially appearing to be self contained, and unrelated, impact upon the eradication of disequilibrium and establishment of a new equilibrium in the final episode. In this second season, as I shall attempt to demonstrate throughout this post, the establishment, maintenance and resolution of all narrative and character arcs is executed with greater precision consequently leading to a more emotionally fulfilling viewing experience. Central to this more effective and sophisticated season is a subtext woven throughout which continuously questions the extent to which commercial imperatives impede/influence editorial decisions and journalistic practices.
Within the opening minutes of the first episode we soon realize that some time has passed since the closing moments of season one. The protagonist, Lara (Sara Dogg Asgerisdottir), is married and absent from work on paid maternity leave. With two children to feed and an unemployed husband Lara is now the sole bread winner. Feminine versus masculine power as a narrative motif is introduced in a sequence where Lara debates with her husband the possibility of moving to Canada thus enabling him to become sole earner or remaining in Iceland with the existing status quo, a female as the head of the family.
In each episode the consequences of accepting or rejecting a male authority figure are depicted in dramatically successful terms. Husband, employer and antagonist are examples of male figures within the Pressa narrative which to varying degrees seek to suppress, banish or mutilate the feminine as a construct. For instance, Lara’s editor, and employer, refuses to offer the newspaper’s financial support in the wake of a libel case due to the inconvenience, both financial and logistical, he thinks that the newspaper has had to suffer due to her already being on maternity leave.
As financial pressures impact upon the personal sphere Lara obtains employment, in a freelance capacity, from one of the architects of Iceland’s downfall. The deft positioning of oppositional forces is one of this seasons many strengths. The initial premise is that Lara is hired to work for an oil baron accused of sexual assault and murder. The sanctity of the feminine is continually stressed , and under threat, in scenes featuring Lara and her new employer.
Through encounters with those who know or claim to have directly or indirectly members suffered at the hand of the antagonist Lara is torn between her professional duty of establishing his innocence and a personal quest to ascertain any possible guilt. The feminine must consider if the need to alleviate financial burdens is greater than than association with a force who may have mutilated and a murdered other females.
A secondary narrative strand is introduced via a journalistic exposure of a biker gang known for selling narcotics. This initially self contained sub-plot introduces an additional form of jeopardy, explores the extent to which journalists are responsible for the protection of their sources, and establishes the possibility that those in the business of news gathering may have to put their lives at risk in the process of writing a story.
Of the two seasons the second is undoubtedly the superior and its acknowledgement by the Icelandic Film and TV Awards is testament to some superb acting, writing and direction. Over six incredibly well written episodes the show manages to debate the financial crisis, media ownership, and gender politics. Also, Bjarne Henriksen (Forbrydelsen and Borgen) gives a terrifying performance as a foreign criminal in three episodes.
The series ends with a cliffhanger that will literally send shivvers down your spine.