"Love & Anarchy": A Wild Ride Through the Publishing World

While this season is darker than the last -- Sofie spirals out of control in her personal life, alienating those closest to her, and in her work life, lashing out at those who question her with increasing vitriol -- the outrageous antics of the previous season remain. Sofie and Max humiliate themselves to no end in a sexualized game of public dares, challenging each other to drool, drink excessively and walk around undressed in front of their most important clients, all unnoticed by the others at the office. Engvoll (The Restaurant, Bonus Family) is particularly adept at milking the awkwardness, her facial contortions and ridiculous behaviors sometimes bordering on slapstick.

The goings-on of the publishing house -- populated by a collection of bizarre and strong-willed individuals -- are also hilarious. Caught between their self-imposed positions as the last defenders of true literature and financial pressures to expand into less prestigious markets, the publishers at Lund & Lagerstedt find themselves wooing influencers for book deals and drafting their own employees to make a gardening-themed erotic photobook. And when the greatest of their 21^st-century enemies -- a particularly virulent Swedish brand of cancel culture -- comes calling, it is in response to a children's travel book that "promotes flying," the worst of environmental sins.

In the midst of all these shenanigans, Love & Anarchy succeeds in providing a fascinating window into the production of culture in the 21^st century and posing thoughtful questions about what we value as a society. What constitutes art? Is literature that appeals to the masses even literature at all? How do we balance authors' independence with the demands of their readership? At the end of the day, though, Love & Anarchy is a comedy, and there is (thankfully) a greater spotlight on insider gossip and sexy romps on literary cruises than on the philosophical quandaries of the contemporary publisher.

While Engvoll is captivating in her unrestrained performance as the wild, despondent Sofie, the beating heart of Love & Anarchy is the strong ensemble cast of the publishing team, portrayed by Gizem Erdogan (Caliphate), Reine Brynolfsson, Carla Sehn and Björn Kjellman, with Brynolfsson's deadpan arrogance as Friedrich Jägerstedt being a particular delight. Marina Bouras is an excellent addition to the cast in this season in her role as a well-known author and Friedrich's former flame.

Disappointingly, Sofie's love interest Max is underused and flat in this season; Mosten's initially charming straightforwardness in season one remains undeveloped. Additionally, this season of Love & Anarchy could have gone further in its exploration of Sofie's mental state; links to her father's frequent stints in psychiatric wards are hinted at, but never fully investigated, providing more questions than answers. And after tracing a downward spiral in Sofie's cycle of self-destruction, the season offers an unsatisfyingly easy conclusion, begging for loose threads to be wrapped up in an as-of-yet unconfirmed third season.

While some depth may be lost at the expense of more comedic plots, season two of Love & Anarchy is still thoroughly satisfying to watch, a wild ride through the publishing world filled with -- as the title might suggest -- lots of love and lots of anarchy. Sofie and the team at the publishing house provide fodder for a poignant, chaotic and ridiculous eight episodes, and from the halls and conference rooms of Lund & Lagerstedt to a cruise ship kitchen on the Baltic Sea, Love & Anarchy is certain to entertain.

Both seasons of Love & Anarchy are streaming on Netflix.

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