The review covers the first four sections of a total of eight.
Course in self-deletion, based on Henrik Bromander's serial album is about Maria (Evelyn Mok) who goes to clown camp to awaken a slumbering humorist - or maybe Dramatenskådis?
Her best friend Tore comes from a fine background and never really seems to be able to complete her medical studies that have long begun.
Once at the clown camp, there is a gallery of other people: the sadistic clown teacher, the wicked feminist mobs, the overwrought girl with the dragged cross fit boyfriend. Including.
Course in self-deletion is a bit like a mix between Roy Andersson and The office. It is gray and embarrassing in a rather funny way, but above all anxiety-laden way. The series' major stock is Evelyn Mok, who meets the more or less subtle humiliation of the environment with the same laconic Bill Murray face. Even Jonathan Young makes a stable actor effort like Tore, although many of the replica deliveries are very similar to Young's podcasts, but what does it do?
Worst, the series works when it strives too hard to be funny. There are a lot of fun scenes and replicas but according to Swedish tradition there is a fear that you have to hammer the joke in order for it to land.
For example: Maria's hopeless Tinderdejt is a worthless stand-up comedian. After a gig, he suddenly sees someone. "Oh there he is who laughed". It's fun, but in case someone missed it means that it was just one person laughing, he comes back to Maria and explains it again.
Some of the supporting roles are flabby stencils of strained artist types and free souls, but there is nothing that disturbs the exaggeration.
It gets better when you find the humor by digging into the embarrassing and anxious charged. Many scenes at the clown camp are such a social terror that you easily feel empathy when you laugh at it.
The quarter-length format is perfectly adapted to the kind of humor that is situation-based and actor-driven. Eight humorous anxiety snacks for those who don't like to laugh so much.