Scandinavian Drama

Over the last couple of years there has been an onslaught of drama series and films coming from Scandinavia. Denmark have provided the exceedingly popular series 'The Killing', and have had us all hooked on the political career of Brigitte Nyborg in Borgen. Across the Øresund strait Sweden have provided us with the brooding detective series 'Wallander' and the popular 'Millenium' film and novel series. Now BBC 4 have picked up a joint venture between Sweden and Denmark which involves the police forces of both countries working together after a severed body is discovered half in Sweden, half in Copenhagen on the Øresund Bridge. Jointly funded by Swedish and Danish producers 'The Bridge' (Or 'Bron'/'Broen' to our Scandinavian neighbours, depending on which side of the Strait you reside) is continuing in the same vein as previous Scandinavian dramas and once again has a British audience hooked. But what is it about these Scandinavian dramas that is so popular?

A cynic may wonder if Danish people wait with excitement at the chance to watch the latest subtitled episode of Silent Witness, perhaps we love these dramas simply because they are other. Scandinavia is close enough to the UK to share similar cultures, but far enough away to be different and have certain nuances that are alien and exciting to us. Something bland and boring in English sounds positively fascinating in Danish or Swedish.

I don't think this fully explains our fascination with Scandinavian dramas though, I think we love them because they are good. There is something haunting and eerie about the slow pace with which they develop. It combines all that made 'The Wire' such a great series with a bleakness that exists in Scandinavian countries. When watching 'The Bridge' it is difficult not to recall Anders Breivik. Whoever the killer is in 'The Bridge' is murdering people to highlight a perceived problem he or she has. The killer clearly feels that the murders are justified in doing this, and although I don't know yet who it is, it is clear that there is morality and careful consideration behind the cold and calculating killer. This is eerily similar to the reasons Breivik has given for the atrocities that occurred last year on Utøya. Breivik has tried to justify his actions by claiming he did them for the greater good, to spread a moral message and to prevent Muslims immigration to Norway. Much like the killer in 'The Bridge', Breivik is motivated by political beliefs.

Recalling Breivik whilst watching 'The Bridge' creates an added eeriness and sinister feeling to the series. It becomes difficult not to view certain people in Scandinavia as having a dark and brooding, yet quiet and calculating evilness whilst they operate in a bleak land. Something about Scandinavian drama is captivating us and I hope that the combination of good writing, slow build up and the Swedish, Danish and Norwegian atmosphere continues.

My Hatred of Peter Dickson

This is just a rant. There is nothing clever, or interesting or fascinating about this blog post. If you want to read about politics or Rupert Murdoch or people dying in hospitals (it's a hospital, what do you expect? The news are going on about it as if five deaths in a hospital is some sort of surprise!) then go to the Guardian website. No, this is just pure, personal annoyance. I can't fucking stand the voice of Peter Dickson. There are a few people who have annoying voices, perhaps even more annoying than Mr. Dickson's. The difference is, unlike Peter Dickson, most people do not rely on their voice for their work.

If you are wondering exactly who Peter Dickson is, he is That voice-over man. You may not know his name but you will definitely have heard his voice. He does the voice-over work for The X-Factor, Live at the Apollo, most E4 adverts and Britain's Got Talent. It feels as if every programme in the UK which uses an announcer has to get Peter Dickson in. It has almost become the law. The programmes which do not use him (the only ones I have found whilst researching this rant are Strictly Come Dancing and the Lottery...that is is) stick out like a sore thumb.

He is the bloke who has a 'ruddy' good time, speaking like he is from some by-gone era that we are all aware of, even though it never existed. I cringe every time I heard it. It is so distinctive that it is a comedy voice. It is not a normal voice, and I highly doubt he speaks like that in his day to day life. Herein lies the problem. When I first heard his voice on E4 I found it quite amusing. It was different and clearly a joke voice. I don't think I literally laughed out loud, but I certainly found it amusing...the first time I heard it...five years ago. But now, in 2011, every time I want to see the Talent that Britain has to offer, I have to listen to that comedy voice. Every time I want to listen to Simon Cowell's opinions on the newest crop of bubblegum pop singers, I have to listen to that comedy voice. Every time I want to watch mainstream comedians doing shortened versions of their sets that I already saw at the previous year's Edinburgh festival, I have to listen to that comedy voice.

The problem is, now that his voice is being used in a non-comedic way, but it still retains the comedic distinction, it is as if that voice is somehow normal. Because it is on television all the time it has almost become the voice of our generation. In twenty five years time when Chanel Four is putting on a Saturday night documentary about television in the early 21st century, there will be a blur of images with his voice everywhere. I can't fucking stand it. I want to see normal voice overs on TV. Peter Dickson is ruining television.