“Love & Anarchy” is also conscious of the imbalances at play. They always seem one step away from making a choice they can’t undo, in whatever direction they happen to be leaning next. In the process, the show doesn’t force Sofie and Max into anything with a particular label, all without artificially prolonging any make-or-break moment. Each time you think the two of them hit a breaking point in this never-ending game of interoffice challenges delivered via secret notes - be it instructions to walk backwards or make a distinct wardrobe choice - “Love & Anarchy” keeps its foot flooring the gas pedal. After a compromising after-hours office moment, the pair use a sense of mutually assured destruction as the fuel for an ongoing series of dares that gradually bring them closer together. Before long, she’s also actively pursuing what begins as a harmless office flirtation with the company’s new young IT temp Max (Björn Mosten). Sofie (Engvoll) finds herself in plenty of those moments early on in “Love & Anarchy” as the incoming new high-powered consultant at Stockholm-area publishing house Lund & Lagerstedt, a self-contained universe of book-based neuroses and insecurities. Whether it’s a secret kiss, a coworker walking into a meeting in slippers, or a transformative weekend retreat, watching these people continually pinch themselves to remind them that what’s happening in front of them is actually happening is what helps make this show a top-tier Netflix viewing experience.
Part of the thrill of “Love & Anarchy” is that the characters at the heart of it often seem surprised in the same way. There’s a moment early in Season 2 of Lisa Langseth’s Netflix series involving a cup of coffee that’s somehow wilder and funnier and more believable than it has any right to be. It’s hard to describe what Ida Engvoll does on “Love & Anarchy” as anything other than a magic trick.
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