I thought it was very good. What makes it especially strong is that it doesn’t just point at the manosphere, incels, or online trolls from a safe distance, as if mocking or condemning them automatically were enough. The series goes inside that world of resentment, misery, and loneliness, and it does so without softening it, but also without reducing everything to an easy caricature. The great discovery is the central character. He is brilliantly written and, above all, brilliantly played. Anders Baasmo Christiansen is outstanding because he pulls off something very difficult: he makes you see how repulsive the character can be, while also showing all the pain, frustration, and emptiness underneath. The series does not excuse him, and it doesn’t need to, but it does turn him into someone far more complex than he first appears. The miniseries also knows exactly what it wants to talk about. It isn’t only about digital misogyny or online hate, but also about humiliation, isolation, damaged masculinity, the need to belong somewhere, and the way the internet can turn all of that into pure poison. What makes it interesting is that it doesn’t settle for a fixed message or an easy moral. It leaves a lot of room for discomfort and debate. I also liked that it isn’t solemn all the time. It has hard, bitter, and uncomfortable moments, but also a sharp irony and a mean streak that are very well measured. That mix works really well because it keeps the subject from becoming heavy-handed or purely didactic. The series knows how to be serious without turning dull. It’s true that, like other works dealing with very current issues, there are moments when you can feel the intention to generate conversation. But here that doesn’t bother me much because it is woven into the story and into the protagonist’s evolution. It doesn’t feel like a show preaching from above, but one willing to enter an uncomfortable space and stay there. Overall, I think it’s a very good, very intelligent miniseries with a magnificent central performance. It isn’t comfortable, and it doesn’t want to be, but that is exactly why it works so well. It tackles a very current subject without feeling opportunistic, and it does so with a tremendous lead performance.