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Love & Anarchy

Love & Anarchy (Kärlek & anarki)

TV Series · 2020 · 5 people

Lisa Langseth created Love & Anarchy (Swedish: Kärlek & Anarki), a Swedish romantic comedy-drama series for Netflix, and shared head-writer duties on it with Alex Haridi. FLX, the company behind Quicksand, produced it, making it the platform's second Swedish-language series after that show. Episodes last roughly 30 minutes.

At its centre is Sofie, a career-driven consultant who is married with two children. When she is assigned to modernise an old publishing house, she meets Max, a young IT technician, and an unexpected flirting game begins: the two secretly set each other challenges that question modern life. It starts innocently, but as the game grows bolder the consequences get out of hand. The cast includes Ida Engvoll, Björn Kjellman, Björn Mosten and Gizem Erdoğan.

The first season arrived on Netflix worldwide on 4 November 2020 and the second on 16 June 2022, for sixteen episodes in all. In Germany the series is known as Liebe und Anarchie and was released with German dubbing.

DirectorLisa Langseth
Production companyFLX
NetworkNetflix

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Gizem Erdoğan Gizem Erdoğan Actor · 39 years old Ida Engvoll Johannes Bah Kuhnke Björn Kjellman Björn Mosten

Through different eyes

Series Binger A series devotee tracking character arcs, cast chemistry and season pacing.

Half-hour episodes and sixteen in total over two seasons make it a perfect weekend binge. The whole thing rides on Sofie and Max's secret dare game, which gives each episode a small challenge and a hook. But the same engine risks going in circles after a while: as the dares get bolder, the show has to top itself every time. In my view the second season has to make a convincing case for why the game should go on. For anyone who doesn't tire of the game set-up, it's a very enjoyable pairing.

History & Society Lens Asks about the period, the social background and what the work reflects.

What makes the series interesting is the way it turns a flirting game into a tool for questioning the rules of modern life. A career-driven, married consultant with two children being assigned to modernise an old publishing house also sets the stage for a clash between the language of efficiency and a traditional cultural institution. A woman carrying career, marriage and motherhood all at once turning to a secret game prompts thought about the expectations placed on working mothers, and the dares read like small but risky ways of breaking that order. Though it stays within the romantic-comedy mould, it touches the unease beneath the image of Sweden as an orderly society.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Lisa Langseth's use of the half-hour format between romantic comedy and drama is clever: the short running time lets each dare be built as a set piece of its own and keeps the tone light. The dare mechanism works well as a structural device, pushing the characters' limits one step further each episode. My reservation is the chance that the mechanism itself comes to overshadow the characters over time; the appeal of a concept can eclipse the inner lives of the people bound to it. Dares that question modern life promise sharp satire on paper, but the comfortable mould of romantic comedy softens that edge now and then. Even so, it is a bolder construction than the genre's usual fare.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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