ninasimone2018 it is a well done intriguing plot that will keep you entertained however i must admit it is predictable right at the beginning of first five episodes you know what will happen to the somewhat unattractive but determined and naive journalist. we all know what kind of level of dirty money we are dealing with here. just like in damages show where it was a way over the top on murder count but it kept you going for its chaotic time line story telling. here in bedrag it is more realistic and diversified with different characters and their personal drama so it will keep your attention. is it on the level of thrillers like killing, bridge, frikjent, trapped, spring tide? No. but is it on the level of modus, mammon, borgen? yes but way better.

robert-temple-1 This is a ten episode edge-of-your-seat Danish thriller series. It was written by the same team who wrote BORGEN (2010, see my review), so it was bound to be good, and it is indeed spectacularly good. The complex and interweaving story lines centre upon massive corporate fraud in the wind energy industry. There certainly is a good deal of that, as I know from direct experience of it. 'Green' campaigners who push for wind energy often get secret financial commissions from the wind turbine companies for each turbine sold as a result of their 'idealistic' lobbying, so the environmental movement is seriously corrupt. I myself was asked to join in such schemes and was shocked at the huge sums being paid under the table to environmental activists posing as pure idealists. So I did not need any convincing that the central plot of this series was realistic. The energy company at the centre of the drama is called Energreen, and its CEO is an ambiguously charming figure played expertly by Nikolaj Lie Kaas, who also appeared as Mathias Borch in THE KILLING (2012, see my review). He is a mixture of idealistic fervour combined with psychotic ruthlessness. He doesn't hesitate for a moment to have someone who is getting in his way murdered. The basic corruption technique of Energreen is to set up shell companies in multiple offshore jurisdictions who successively buy wind farms from each other at higher and higher prices, thus pumping up the supposed values of the wind farms in preparation for a float of the main company at a vastly inflated value. But the shell companies are all secretly owned by Energreen, so Energreen is continually buying assets from itself with borrowed money and pumping up all the values to fantasy levels artificially, and then faking the prospectuses to investors by claiming that the artificial values are genuine. Side by side with this, Energreen also claims to be on the verge of perfecting a revolutionary technique to transmit power over large distances without loss by using superconductivity. I almost fell off my seat when someone in the series suddenly mentioned the Meissner Effect. With a shock I realized that the script writers must have consulted a scientist. Walther Meissner discovered the Effect named after him in 1933, but only experts have ever heard of it. It describes how a magnetic field is expelled from a charged current when it becomes superconducting. Kaas keeps telling investors and everyone in the company that his mysterious subsidiary in Poland, which operates in complete secrecy, is on the verge of perfecting superconducting power transmission (at ambient temperature, i.e. not requiring cooling to super-low temperatures.) This is all of course a fraud, and nothing of the kind is really happening, although Kaas is so deluded that he has convinced himself that maybe it will 'one day'. This is pretty sophisticated stuff for a TV series plot line. As it happens, in the real world, room temperature superconductivity has been demonstrated to exist and was first discovered in the 1970s. It happens inside our bodies, for instance, at the micro level. Freeman Cope published many technical papers about this before his mysterious early death. Information about this subject has largely been suppressed since the seventies by a combination of business, security, and military interests, using secrecy agreements and other methods. Consequently, only a tiny number of people are aware of this. There is no doubt that huge efforts are indeed being made to exploit room temperature superconductivity at the macro scale for industrial uses, such as the frictionless transmission of power over huge distances without loss passionately advocated by the fraudster Kaas. Indeed, the transmission of both positive and negative currents over astronomical distances takes place all the time in outer space by means of filamentary structures known as Birkeland Currents, named in honour of Kristian Birkeland, who first proposed them more than a century ago as the means of the Aurora Borealis being produced by currents from the Sun. I do not wish this review to turn into a physics lecture, but it is important to stress that this TV series has a serious grounding in advanced technological thinking, and has clearly had a scientific adviser of some kind, or at least has been based on some proper research by the script writers. The other main character in the series is the company lawyer named Claudia, played by Natalie Madueno. She manages to make the character fascinating, through her mixture of sensitivity and insensitivity, her apparent softness merely concealing a ruthlessness as great as that of her boss, Kaas. Both main characters are thus astonishingly successful studies of morally ambiguous people who have quietly gone over the edge into madness, and who are running a giant corporation. Well, nothing could be more realistic than that! Even the most remote backwoods person by now knows that most of the world's giant corporations are run by just such people. They are members of 'the international power elite' against which the world's population is now rebelling, an early sign of which was the election of Modi in India, and the latest example being the election of Trump in America. And we can be sure they they are just the beginning. This series therefore has a great deal to teach us, and is not merely entertainment. It also has a powerful sub-plot of two young yobs who are car thieves, and who become mixed up in an inextricable way with the corrupt dealings of the people they do not even know. And the third main character is an admirable policeman who will not give up trying to expose the corruption, played by Thomas Bo Larsen with a quiet manner which is powerfully effective. There is also a sub-plot involving his irritating and faithless wife who has multiple sclerosis and is having an affair with her doctor. This is a fantastic series, which should definitely not be missed.

Bene Cumb This decade has brought along so many strong Scandinavian dramas that it is often difficult to keep track and make distinctions - partially also due to the limited number of performers filling out major/important roles... The same applies to Bedrag, where modern "coryphaeuses" like Nikolaj Lie Kaas as Alexander Sødergren and Thomas Bo Larsen as Mads take part, but many smaller roles are also performed by many otherwise having bigger roles in famous series. Still, the two mentioned are not dominating too much, every character has its significance, and all in all, a solid cast is formed, to be widely followed and noticed.True, a good series emanates from the plot, and it is pleasantly versatile; focusing on e.g. financial crimes only would have made the plot more arid and specific, not for wider audience, but inclusion of a punisher and petty thieves has provided thrilling and even some amusing moments, enabling to "freshen up" from sophisticated economic relations and terms. The ending is also many-featured, probably not satisfactory per se, but evidently more realistic as not all wrongdoers are caught and/or sentenced in real world.Although the Season 1 had its somewhat clear - but not full-scale - end, I have read that Season 2 will follow. Good news, I will definitely watch it as well.

l_rawjalaurence The opening credits set forth the theme of Jeppe Gjervig Gram, Jannik Tai Mosholt, and Anders Frithiof August's thriller. The protagonists are photographed in washed-out colors, in front of a filter showing water rising slowly from the bottom to the top of the frame. This suggests that they are somehow drowning; not physically drowning, perhaps, but unable to cope with a world riddled with corruption.This image is reinforced during the ten-part thriller through a tripartite plot. The chief executive of a Danish energy firm, Energreen (Nikolaj Lie Kaas) has ambitions to monopolize the market and is prepared to go to any lengths to achieve his aims - murder, corruption, manipulation. He enlists the services of idealistic lawyer Claudia (Natalie Madueño), and leads her on a series of increasingly violent adventures across Europe - Copenhagen, London, Paris, Rome. Deputed to investigate the case, police officer Mads (Thomas Bo Larsen) has his own domestic problems, as his wife Kristina (Line Kruse) dumps him for a doctor. The third plot focuses on car mechanic Nicky (Esben Smed Jensen) who finds a bag full of loot belonging to Energreen and tries his best to profit as a result, even if that results in blackmail.The plot twists and turns throughout the ten episodes, providing sufficient cliff-hangers for viewers to continue watching. In truth, however, its pace is often painfully slow; little attention has been paid to either character-development or examining how the claustrophobic environment of the urban office can often restrict people's emotions, as well as their behavior. As a result the plot often seems rather contrived: each episode has to have its hook at the end, but frequently viewers see what that hook is going to be, even before the episode has concluded.The series does possess its saving graces, including atmospheric cinematography from a variety of camera people, creating a gray world in which very little happiness seems to exist, other than the happiness provided by money. It seems that capitalist values have been left to flourish unrestricted, with the result that everyone, from the highest to the lowest social classes, is out to profit at others' expense. A profoundly depressing view of Western European life, to be sure.