Then the writers will make fiction of the crown crisis

A virus does not care about the stock market. Doesn’t read news reports. It does not respect national borders or television tables; It only goes where it pleases without taking modern life into account, as it has existed long before. In other words, the corona virus is a kind of synonym for the indifferent and unstoppable forces that our civilization has been trying to crush for so long; like death like nature

In summary, we are currently living in a historical stage, where the biological creation of nature destroyed the systems that humans have built. So how will we remember and describe what we are experiencing now?

Ronnie Sandahl, The creator of the films “Svenskjävel”, “Borg” and now current as the screenwriter for the Hollywood movie “Perfect” points out the variety of stories that may arise. He says that viruses are democratic in the sense that everyone can be infected, and in the same way it is useful for all artistic forms and genres: the virus can be formed or mutated if desired, completely according to preferences, needs and tone of the artist.

– A virus would work just as well as the basis for an annoying action thriller with Denzel Washington, about the virus scientist who has to save the world, as well as for a cute Sundance-compatible drama comedy about two autists who fall in love by communicating in code mother from every balcony, he says and brings another idea:

– I can also imagine post-crown horror movies about people who have been skiing in the Austrian Alps, and five years later someone comes and wants revenge on the infection. The sound of whistles and ski boots hitting the floors after skiing will never sound the same again.

When the virus threatens our civilization, does it make sense that it is the stories that must intervene, because on what depends our entire civilization, if not the imagination of man, which allowed all forms of collaboration on a large scale? Myths unite people, inside and outside crises.

Alex Haridi, screenwriter to television programs like “Biggest of Everything”, “Blue Eyes” and “Real People”, they think that many will feel called to write the great coronary story, but that pure images do not learn to make a great impression on culture, mainly to guess that there will be no appetite to read it next year.

On the other hand, see how Sweden’s proven madness for government offices, and the new moral motto of service and the will of the people, will seep into stories about pandemics.

– The Swedish bureaucracy will get a boost. It will be sexy to follow the recommendations of the authorities. The hero will not be a rebel who follows his own path, but a government official who abides by the rules. Villains will be the ones who put their own hedonistic enjoyment on the public good.

We have already seen samples in the latter, where reality turned into a finished dramaturgy: selfishly accommodating metropolitan people in an SUV caravan on their way to the mountains to prioritize their ski trips over the health and well-being of the health system.

Overall, the Haridi pandemic is seen as an aggressive attack on the individualism approach in recent decades.

– I suspect that the crown crisis will lead to a bigger madness for collectivism. The story of the pandemic will not be the “hero’s journey”, it will be a joint drama.

So what figures should be included? in that set? Screenwriter Cilla Jackert (“Spung,” “Feel No Sorrow,” SVT’s upcoming police drama “The Thin Blue Line”) believes that at a time when the world feels incomprehensible, clear stories and characters are needed; scapegoats and heroes.

– I think we will focus on heroes. Before we get a vaccine or other solution and we can count on a caffeine research team sleeping in shifts, Anders Tegnell is the perfect lead. Now we haven’t seen the end of this story, but I’m happy to write the movie about it, “she says.

– But in that case there will also be a movie about the true heroes, all those who fight in care.

Many people have spoken of this moment as the occasion for an existential restart of modern man, and how a new and more reflective life can be discerned in the forced pause in which we find ourselves now. “I have come to turn off the machine whose emergency brake could not be found,” he says, for example, in a newly written poem, “What the virus said,” where the narrative is a disease-causing microorganism.

Director Lisa Langseth, who made the films “To what beautiful”, “Hotel” and “Euphoria”, and now records the upcoming Swedish Netflix series “Love and Anarchy”, huffing about something similar.

– This crisis is forcing questions about what is really important to us and what is not really important, both individually and collectively. So I think we will see more original and radical stories in the future.

If things go really wrong, he says, the entire infrastructure around the creation and consumption of culture today can be threatened: TV series and movies are extremely vulnerable with their high costs and long recording rate. And if the crisis begins to shine brightly, will streaming services and other digital solutions continue to apply?

– If you want to be really dystopian, the future culture may consist of the stories we find for our children before they go to sleep at night. Our story becomes something individual and private for our closest, and not something we intend to share with everyone, he says and continues:

– At first, that idea can be scary, but on the other hand, if you suck, it’s also quite interesting.

Perhaps the stories of what is happening now are also written to some extent. Because the violence of the crown crisis, at an irrational rate, has changed our gaze towards existence in a way that would otherwise only happen through novels or movies.

That’s what the author Jerker Virdborg thinks, who often portrays a human state of emergency in his novels. A great external disaster, often loosely defined, in their stories becomes the basis of life that occurs in extreme circumstances. He has expanded his mental state in the vaults of the fortress (“Luxgatan Security Room”), or in a country devastated by war (“Black Crab”, “Summer, sister”).

Virdborg hopes that the reflections on the crisis will be written with imagination and direction, not focusing on the year 2020 but on basic existential questions.

– What choices do we make when life itself is at stake? What evidence awaits us during an upcoming and much worse epidemic? And why don’t we treat death much more actively, even when there is no pandemic?

The existence of the virus and indifferent progress., and the smallness and vulnerability of humanity in comparison, is a subject with which the horror writer John Ajvide Lindqvist is already familiar, a conflict to which he has often returned, and which is called “Man versus Other”.

Her novel “Himmelstrand”, where ten people are suddenly isolated in a strange place with no contact with the outside world, suddenly feels like a prospective case study of the reality that is now taking place.

But when I ask Ajvide Lindqvist about how he would shape the crown crisis, another synopsis is born, about how quarantined life affects interpersonal relationships.

– Personally, I would write a story about an older couple whose marriage has stalled. The coronary forces them to isolate themselves and refer to each other, making the old flame come alive. As the world shrinks and disappears outside its windows, love grows.

He pauses and tests what he just formulated.

– Satan on the street, that occurred to me Now! My wife and I have talked about this, if I ever wrote something related to the coronary, and I thought it really shouldn’t. But now he sucked me.