Tag Archives: Review

Serving Fans (Notice): The End of Skam

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Skam has always been made in service to its audience.

In the beginning, this was an abstract statement: Skam existed as a way of fulfilling the public service mission of NRK, specifically aimed at younger viewers. It was a fictionalized glimpse of what it was like to live as a Norwegian teenager circa 2015, grounded in realism and focused on reaching teens on the platforms where they spend their time while also interrogating—but not demonizing—how those platforms are shaping their experiences.

But once the show began airing, its audience left the realm of abstraction. They became real viewers, drawn to Skam for any number of reasons: whether it was the commitment to realism, the ability to relate to the characters, investment in relationships, or obsession with the transmedia release schedule that keeps you constantly on edge waiting for the next piece of the story, Skam became a hit, first in Norway and then in countries around the world thanks to the work of fan translators and the wonders of streaming video and Google Drive. Suddenly, a show designed as a service to Norwegian teenagers generally defined became a service to an expanding global audience, a diverse and complex fanbase with expectations distinct from the public service mandate at the core of the project.

In this transition, “service” starts to shift in meaning. There is “public service,” where the show began, but there is also “fan service,” as well as the need to “serve” the story being told, and the characters brought to life over the course of the series. Suddenly, as Skam entered what was announced as its final season, it was being made in service of all of these ideas, forced to balance competing—or at the very least overlapping—goals in the process.

I’ve written a lot about Skam’s fourth season: I predicted some of the challenges facing the show’s attempt to find resolution, I broke down how the season struggled with plot but succeeded with character, and I spent the past week reviewing the shifting POV structure as the final clips were released. But although I offered some thoughts on “Dear Sana,” the finale clip released yesterday, its final moments represent something more than just a connective thread to the clips that came in the final week, or even the final season. It was an effort to clearly state the central themes of Skam, which have been consistent from the beginning of the series but manifest here with a new twist: this time, they aren’t just an abstract idea deployed to serve a mandate, but rather an explicit idea that the finale deploys not just as a tribute to the story and its characters, but as a targeted message to its fanbase—and not necessarily just the love letter you might expect.

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P-O-V / Shifts in Fi-nal-e: Skam Season 4, Episode 10

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Season 4, Episode 10

June 23, 2017

[With its final week, Skam is adjusting its format to shift perspective on a daily basis, moving between a range of supporting characters to bring the show to its conclusion. Given the promise of daily clips, I’ve decided to review each clip as it is released, with a final reflection on the week and the series as a whole to follow over the weekend. You can find the rest of my reviews of this season’s episodes here.]

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“Vilde”

The choice to start with Vilde is an easy one: she is the character who was most likely to have a POV-season who will never get one, given how the show has played with the vulnerabilities she hides from her friends. Her eating disorder was built into season two through Noora’s observations of it, and what we’ve gleaned of her home life has seemed challenging. There is clearly a season’s worth of material in understanding Vilde, whose ignorance has always come alongside surface-level insecurities distinct from the more guarded POV characters.

Perhaps this is why Vilde never got a POV season: it was always evidently clear that Vilde was never truly “chill,” and thus there wasn’t necessarily a façade to break down in the way we saw with the other characters. Learning that Vilde is struggling to take care of her depressed mother helps put parts of the character into context, but it doesn’t really transform our understanding of the character, or push the show into new territory (especially given it’s not dissimilar to Isak’s relationship with his mother, although the show never explored that directly). In making the choice for the final season, Sana offered a richer thematic palette, while Vilde offers a tragic but perhaps a bit rote take on a teenager forced to be the responsible adult in the wake of mental illness.

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Sana Shares a Season: Skam Season 4, Episode 9

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Season 4, Episode 9

June 16, 2017

Season four was never just Sana’s season.

From the moment Julie Andem announced that season four would be the end of Skam, the expectation was clear: if this was going to be the end of this story, then there was to be resolution for the entire cast, especially the point-of-view characters from previous seasons. In advance of the season, I identified the challenges this presented, and watched as season four played out in acknowledgment of those difficulties. For better or worse, season four was designed to address these complications, engineered in order to use the point-of-view structure to deliver on what Andem believed was necessary to bring this story to a close.

What season four became was a season that featured a lot of what makes Skam distinctive, with many great scenes of observational drama and introspection. However, it was also a season that struggled to stay in these moments, often forced to abandon the isolationist storytelling of previous seasons in favor of “plot” for the first time in its run. Sana’s character had a clear model for a Skam season: only she understood the struggles of balancing her faith and her friends, and the struggles of negotiating her religion while wanting to be a part of Norwegian culture. But while these themes became the anchor of season four, and the source of its best moments, they were not simply captured within the day-to-day experiences of life in Oslo—they were instead filtered through those numerous melodramas, pulling the show away from what it does best often enough to justify covering more narrative ground in anticipation for the series’ conclusion.

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Happy “Ending”: Skam Season 4, Episode 8

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Season 4, Episode 8

June 9, 2017

If there was ever any doubt that Skam would have a happy ending, I think this past week’s clips removed it.

There was a significant amount of drama heading into this week: Sana was holding considerable secrets, and harboring resentment and guilt in equal measure. As the week progressed, she revealed her secret to Chris, and then eventually (accidentally) to Eva: she had been the one to create the account, and create the chain reaction of bullying. By mid-week, Chris basically told her that her friends were reevaluating their perspective on her, and she went to a meeting with Sara and Ingrid and the rest of the bus believing that her friends had abandoned her. It’s a definitively low moment.

And then the Girl Squad rolls up in a bus (or van, rather) just for them, Los Losers taped onto the side, celebrating Sana and welcoming her back into the fold. The Pepsi Max girls are left to watch as they drive off, happy and smiling and just generally elated. And when we get to Eva’s birthday, everyone is there: the Girl Squad, the Boy Squad, and the Balloon Squad have all come together, and are happily playing croquet with no evidence of any of the drama that had unfolded between them outside of a brief moment where Magnus makes insecure small talk with Elias.

And I will be frank: I call bullshit.

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A Little [More] Conversation: Skam Season 4, Episode 7

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Season 4, Episode 7

June 2, 2017

In the transmedia elements for this week’s episode of Skam, the show laid the groundwork for an epic Friday showdown. Today is Eva’s birthday, and plans were made for a party at Chris’ house. It is the type of situation that has resulted in some of Skam’s most dramatic situations, and fans naturally brainstormed how the various story points could have converged in such a setting.

The party at Chris’ house never happened. [Edit: Saturday’s episode suggests it’s happening next week instead.] The suggested “climax” of this week’s episode was derailed by the chain reaction from Sana’s decision to share her screenshots of Sara’s Facebook conversations with Isak, which spiraled into a hate campaign against Vilde and eventually Isak being identified as the perpetrator and choosing to accept blame knowing Sana was the true culprit. The week was deeply invested in actions and consequences, beginning with Sana’s decision to post the screenshots to Instagram and then watching as she lost control of the resulting fallout. She thought that Sara’s friends were all going to collectively realize that she was a bad person: in truth, turning Sara into a victim only inspired sympathy, and then a quest for revenge, and in the end several (relatively) innocent people getting hurt.

There are a range of conflicts that still needed to be resolved heading into this week, but outside of some throwaway exposition—which I’ll address below—those are mostly delayed in favor of a deep investigation into why and how Sana gets herself into conflicts to begin with. At the end of last week’s episode, Sana had to decide the type of person she was when she decided to go through Isak’s Facebook; this week, the show uses multiple situations and characters to force Sana into a state of self-reflection, a crucial step in the season’s overall arc if also a messy one at the point in the season where some might seek greater clarity.

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The Dangling Carrot: Skam Season 4, Episode 6

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Season 4, Episode 6

May 26, 2017

In a post last week, I explored the somewhat unclear approach that Skam has taken to its hiatuses in the past three seasons. Some have argued that time passes in the show as it did in real life during these breaks, but others have suggested the gap in time is simply ignored. There is no definitive answer to speak of here, and so the conclusion is that it has been left ambiguous: you can either read the missing time into the narrative or you can presume the show is picking up more or less where it left off. (I’ve seen both positions defended very aggressively).

However, regardless, it is safe to say that viewers had to wait a week between episodes, and spent that week pondering the events from the karaoke party. What happened with the fight? How did Noora and Yousef end up hooking up? What’s the full story behind the Pepsi Max girls’ efforts to push Sana out of the bus? The hiatus forced us to sit with these questions, think about our own reactions to them, and wonder how Sana would react when the show returned.

And then the show returned, and it spent an entire week on Sana sitting with these questions, thinking about her reactions to them, and then deciding how to react.

The result is an episode that is well executed in the abstract, but seems poorly calibrated to the reality of the preceding hiatus.

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The Loser Has To Fall: Skam Season 4, Episode 5

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Season 4, Episode 5

May 12, 2017

The nature of Skam’s real-time structure means that often it is the Friday installment that makes the biggest impact, and that is certainly true this week: there is a huge amount of plot movement in the back half of that ten minute clip, a turning point for the season in more ways than one. It can be easy, at times, to look at the content during the week as procedural bits necessary to get to the point we reach on Fridays, as seen here when Sana’s paranoia about Sara pushing her out of the bus is established and then tragically confirmed in a wave of bad news for this season’s protagonist.

But “Humble,” the previous installment, is the week’s most engaging clip, and I’d argue the most important to the season as a whole out of this week’s content. It stands out because it’s about relationships—parent and child, brother and sister—the show has never really explored directly, and which reinforce that what sets Sana apart from the previous POV character is the balancing act of her life. Although her religion is the central theme of the season, reinforced a little too cleanly here by the choice of “Imagine” as Even’s karaoke song, it is one part of a collection of relationships that Sana is constantly negotiating as she tries to live the life she wants to lead. Whereas the previous POV characters lacked siblings and shared distant or infrequent relationships with their parents, Sana’s family dynamic is a huge part of her life, and one that cannot be dismissed as a simple “conflict” with her relationship with her friends. It is a deeper struggle than that, a push-and-pull that turns to violence and betrayal in the wake of the karaoke party.

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