S.erienhelden do not necessarily have to be personable. At best, one can say about Adam (Simon J. Berger) from Oslo, one of four extremely repulsive main characters in the Norwegian series “Exit”: The thirty-nine year old is a child of his time. He was a teenager when the unleashed global financial market demanded a new form of actor, looked for his role models in the world of turbo-capitalism, which was so completely different from the common good, of the “Janteloven” thought (“You shouldn’t believe that You are special ”) held together the world of his home.
And, as is well known, the speculator party only started after the dot-com bubble burst; it was not even stopped by the consequences of the Lehman Brothers bankruptcy. During these years Adam founded and sold three companies. He owned his first million in 2010 and now manages several hedge funds, and one day his biographer is likely to quote Northern Irish soccer player George Best: “I spent a lot of money on alcohol, women and fast cars, the rest I just squandered.” In Norway, where alcohol with more than 4.75 percent is only available in the “Vinmonopol” and the purchase of sexual services is forbidden, Adam’s joy in coke and whores is particularly provoked.
There is no justification for the brutality that regularly erupts from Adam and his no less behaviorally disturbed buddies William (Pål Sverre Hagen), Jeppe (Jon Øigarden) and Henrik (Tobias Santelmann). “Exit” is a series about what is now called toxic masculinity. One gang almost kills a prostitute in a coke frenzy, another beats up a pair of lovers while strolling in the park, the third beats a summer party guest out of the blue, and the fourth chokes his pregnant wife.
That sort of thing is unbearable even as a film material, and the smile with which the Wolves of Wall Street bestow each other is the worst part of it. Adam, William, Jeppe and Henrik are sociopaths. She made the money for it. In the belief system of capitalism, in the Church of St. Mammon, they feel they are “something like a priest” – untouchable, authorized to do all repulses. During discussions about her career, to which a reporter from a business magazine comes, the pseudo-philosophical babble bubbles and foams in her mouth.
The short, but repeatedly interspersed reporter scenes are reminiscent of a note preceded by “Exit”: series creator Øystein Karlsen claims to have conducted interviews with four real stockbrokers from Oslo and other people around them during his research. Financial jugglers who do not humiliate women in the most disgusting way, family fathers without a double life and stock marketers who do not go to the neighbor with hedge trimmers in the evening to cut the blooming roses in revenge for a disturbance of the peace were obviously missing in his program.
It is not known whether Carlsen also spoke to the unfortunate partners. They appear as victims in “Exit”, with the greatest attention paid to Adam’s wife Hermine (Agnes Kittelsen), a sad beauty who spends the day at the side of a well-equipped coffee machine, marks through documents for a dreamed study and then in from sheer emptiness in Head and design box visited a psychologist.
Hermione is the only series character that invites identification: She is hoping for a child, but knows nothing of Adam’s secret sterilization, and so the news of her pregnancy becomes a serious burden for living together without a marriage contract.
With dire consequences. Even before that we wanted to switch off several times: out of weariness with the overly clear direction of the story (which lacks the assets of a moral painting like “Bad Banks”) and disgust for the involuntarily, somehow heroic boy group (in which no amoralist has the format of a Gordon Gekko ). When the irascible Adam throws his wife down the stairs, we are out for good.
Norway, on the other hand, a good country that has achieved prosperity through oil and gas, has put the state surpluses into a pension fund since 1996 and believes it has remained true to all its incredible wealth, is said to have followed and debated “Exit” with fascination. At the start of season two, the business newspaper Dagens Næringsliv provided information about the gang’s expensive wines and fleet of vehicles.
ZDFneo will be showing on Saturday “Exit” from 11.35 p.m. in eight episodes in a row. From Sunday on, the series will be in the ZDF media library.