Sýningar á annarri syrpu Ófærðar hófust í Bretlandi um þarsíðustu helgi og hafa viðtökur gagnrýnenda verið mjög góðar. BBC Four sýnir þættina, tvo í senn.
Ellie Violet Bramley hjá The Guardian skrifar meðal annars:
Without giving too much away, the issues dealt with so far in this second series feel very 2019: the far-right is on the rise, there’s talk of martyrdom, homophobia, anti-immigrant sentiment, anti-establishment sentiment, Islamophobia – and plenty of toxic masculinity to boot. We see people harking back to a glorious nationalist past (Make Iceland Great Again?), through Norse myth and sagas. There’s disaffection and economic uncertainty, rifts between the city and countryside and rifts between family members at dinner tables. There are politicians putting big business before community – drilling in the ground and the threat of an aluminium plant, along with all the environmental activism it stirs up. This season, there are even earthquakes.
But rarely does it feel hammy, as much TV that speaks to the so-called zeitgeist can do, if not handled deftly. There are no neat allusions or overly worthy lines. Here good people fighting for worthy causes become uncomfortable bedfellows with neo-Nazis, developments that hardly fit into a snug narrative. And then, of course, there’s the very un-2019, too, the stuff that transcends time and place – the human side of family discord; grumpy, zitty teens who refuse to take their headphones off at the breakfast table and moments shared over bedtime glasses of milk.
Einnig er áhugavert að skoða ummælin við greinina þar sem fjölmargir tjá sig um þættina, Ísland og fleira.
Barry Didcock, sjónvarpsrýnir hins skoska The Herald skrifar:
Andri and Hinrika make a great team, even if they’re not quite an A-list double act like The Bridge’s Saga Noren and Martin Rohde, or the Elise Wassermann-Karl Roebuck match-up grounding its English language remake, The Tunnel. But writer, creator and occasional director Baltasar Kormákur adds enough in the way of ballast to make Trapped a serious dramatic proposition in the widest sense. His over-arching theme seems to be fear of the outsider, but the intolerance is tied up here with environmental concerns, which adds ambiguity.
The messy nature of human inter-actions features as well. In play so far are a gay inter-racial affair; the difficult relationship between Olaffson and his 15-year-old daughter, who still lives in the town; a dysfunctional family with more aunts, uncles and nephews than you can shake a snow shoe at; and the same litany of long-held small town grudges which bore deep into the events that shaped season one. Expect that list to be added to before the taciturn Andri has the case wrapped up.
Og Charlotte Caring skrifar á vefinn Killing Times sem sérhæfir sig í umfjöllun um alþjóðlegar þáttaraðir:
We have just started but already, accompanying the crime plot, are several important and highly relevant issues; nationalism and right extremism, the situation for immigrants and migrant workers, discrimination and homophobia, human effect on the environment. Add to those, because what is a drama without it, a dysfunctional family with many dark secrets to uncover. We’re off to a great start.