"Rådebank" has been throughout the first two seasons a perfect portrait of the problems of young people in their twenties, those who have already dropped out of school and begin a difficult search for financial and sentimental stability in their maturity. With a first season more focused on heartbreak and loss of love, the second managed to take a stratospheric leap by addressing the drama of economic instability, and managed to catch a spectacular audience. The series ends at its best moment of social repercussion, achieving incredible figures of half a million viewers in the first two episodes of a third season that is also the last, and making the series one of the most successful in the history of NRK. But creator Lynn-Jeanette Kyed ends up building a sentimental drama that falls into the worst flaws of cheesy teen love stories. The objective, it is clear, is to offer a season of stability for the protagonists, after the first two that shook their lives.
Glenn Tore (Odin Waage) is once again the main character, but the story focuses more on Hege Husby (Maja Christiansen), a character who had not shone too much in previous seasons and who in the second seemed anchored in the first stage of mourning: the negation. Now she assumes control through her romantic relationship and the beginning of her professional projection. The vicissitudes of the "rånere" culture that has developed in some small towns in Norway, which consists of a community focused mainly on using long hours of driving in their tuned cars as a hobby, are now in the background, reduced to a somewhat simple subplot about competition between two groups of "råneres" that doesn't really lead anywhere. The central story is the one starring Glenn and Hege, and although it is easy to predict what the end of the season will be, the writer leaves some stones in the way, such as the difficult coexistence of the professional development of the protagonist with her personal relationship, but only to stretch and capsize a more topical love story than a series like this deserved. The capacity for unpredictability and surprise that it gained from previous seasons is lost in backlit sex scenes and cheesy whimpers. There is still an empathy with the characters that has been achieved throughout the previous episodes, but the conclusion ends up being conservative and somewhat sexist. Something like that it is worth giving up a promising future to achieve emotional stability, as if both things could not be complementary. "Rådebank" has an accommodating ending that doesn't live up to the great series it had been to date.
Review by Miguel A. ReinaBlockedParent2022-02-04T13:22:28Z
"Rådebank" has been throughout the first two seasons a perfect portrait of the problems of young people in their twenties, those who have already dropped out of school and begin a difficult search for financial and sentimental stability in their maturity. With a first season more focused on heartbreak and loss of love, the second managed to take a stratospheric leap by addressing the drama of economic instability, and managed to catch a spectacular audience. The series ends at its best moment of social repercussion, achieving incredible figures of half a million viewers in the first two episodes of a third season that is also the last, and making the series one of the most successful in the history of NRK. But creator Lynn-Jeanette Kyed ends up building a sentimental drama that falls into the worst flaws of cheesy teen love stories. The objective, it is clear, is to offer a season of stability for the protagonists, after the first two that shook their lives.
Glenn Tore (Odin Waage) is once again the main character, but the story focuses more on Hege Husby (Maja Christiansen), a character who had not shone too much in previous seasons and who in the second seemed anchored in the first stage of mourning: the negation. Now she assumes control through her romantic relationship and the beginning of her professional projection. The vicissitudes of the "rånere" culture that has developed in some small towns in Norway, which consists of a community focused mainly on using long hours of driving in their tuned cars as a hobby, are now in the background, reduced to a somewhat simple subplot about competition between two groups of "råneres" that doesn't really lead anywhere. The central story is the one starring Glenn and Hege, and although it is easy to predict what the end of the season will be, the writer leaves some stones in the way, such as the difficult coexistence of the professional development of the protagonist with her personal relationship, but only to stretch and capsize a more topical love story than a series like this deserved. The capacity for unpredictability and surprise that it gained from previous seasons is lost in backlit sex scenes and cheesy whimpers. There is still an empathy with the characters that has been achieved throughout the previous episodes, but the conclusion ends up being conservative and somewhat sexist. Something like that it is worth giving up a promising future to achieve emotional stability, as if both things could not be complementary. "Rådebank" has an accommodating ending that doesn't live up to the great series it had been to date.