Borgen - Power & Glory

Nyborg is the newly appointed minister for foreign affairs when a drilling company suddenly discovers oil in Greenland. An event that marks the beginning of an international struggle for power in the Arctic which develops over the series’ eight episodes, and one in which the otherwise so experienced politician, Nyborg, must repeatedly accept that despite Denmark’s ‘big brother’ relationship with Greenland, when it comes to the international superpowers, it is Denmark that is the minor player – and a somewhat unruly one at that. Throughout the eight episodes, Nyborg goes ever further to retain power and control. She is as we remember her, still party leader of the New Democrats, but she is older now, more experienced, and more cynical. This time she is not the prime minister but Denmark’s minister for foreign affairs. She is a member of the coalition government headed by the ten-year-younger Prime Minister, Signe Kragh from the Labour Party, which in Nyborg’s eyes is turning the Prime Minister’s Office into a super ministry with greater powers than ever before. But what is worse; suddenly there is someone with more power than Nyborg. Someone with the power to decide over her. ‘Borgen –Power and Glory’ is a stand-alone continuation of the previous seasons of Borgen, and unlike them, the plot plays out as one coherent story. Reprising her main role as Birgitte Nyborg we find Sidse Babett Knudsen. Birgitte Hjort Sørensen is once again cast in the role of journalist Katrine Fønsmark, who at the start of the season takes a giant leap up the career ladder to become head of the TV1 news department. In a new central role, we find Mikkel Boe Følsgaard as Asger Holm Kirkegaard, Denmark’s acting Arctic ambassador who becomes Nyborg’s ’Man in Greenland’. The main story focuses on the struggle for power and what power does to people – both professionally and on a personal level. The struggle for power – or the struggle to retain power – challenges and changes the characters, and Birgitte Nyborg, Katrine Fønsmark and the other central characters are forced to recognise that their desire for ‘control’ is in danger of corrupting them and denying them their humanity and sense of integrity.