Veering between moments of grotesque absurdity, tenderness, and tragedy, often within the space of a single scene, The Night Shift revolves around an isolated outpost staffed by a crew of three emotionally stunted employees.An eccentric series shot through with pathos alongside frenzied bouts of insanity, it is blessed by layered scripts replete with a focus on personal enslavement, consequences, the value of friendship, and a considered array of social issues including feminism, politics, modern celebrity culture, and Nigerian e-mail scams.His sibling lives in perpetual fear of finding out their grandmother stricken by Alzheimer’s disease has been coerced into guaranteed a loan or finance for a car.
Running the petrol station as a totalitarian regime he makes token concessions, under duress, to popular democracy and then after being highly critical of the process rigs the results.
A critique in dramatic form of uncompromising left wing ideologues, nuanced writing and a knowing performance reveal a pathetic figure hiding behind the bluster who maintains a wrench like grip on the workplace whilst being powerless when away from the forecourt.
Screened nightly in two episode blocks by BBC Four, ‘s viewing figures were respectable and fans assumed that the station would pick up the sequel series.
Sadly, this attempt to broaden the network’s schedule seems to have been a dead end rather than a concerted effort to diversify its content.
Equal parts character study, satire, civic commentary, the programme is decidedly politically incorrect and confrontational yet manages to never be anything less than magnificent.
Currently in the twilight period of his tenure as mayor of Reykjavík, Jón Gnarr has recently been generating column inches with the news that American publisher Melville House has acquired the rights to his political memoir and will issuing it later this year.
Frequently inviting loathing and sympathy, despite his oft mentioned academic achievements he is rarely able to strike an accord with his colleagues and relies on threats of sanctions (fines or an onerous chore) and a barrage of humiliating comments expressed in the most inappropriate moments.
Long-standing co-worker Ólafur Ragnar (Pétur Jóhann Sigfússon) has been employed at the petrol station for longer than any of his colleagues and feels undervalued.
Currently enjoying levels of popularity and visibility that may have seem impossible a few years ago, European TV drama has transformed from niche programming into a high profile regular fixture of BBC Four’s schedule.