Netflix is set to launch a landmark production in its Nordic content catalog: a period drama titled “The New Force.” Known as “Skiftet” in its native Sweden, the series is not just a new addition to the platform but represents its first foray into Swedish period drama, expanding its offerings beyond the acclaimed “Nordic Noir” genre.

The narrative, set in 1950s Sweden and explicitly “inspired by true events,” promises a deep dive into a crucial moment in the country’s social history. The central premise takes place in 1958 and follows a small group of women who become the first female police officers in Sweden to graduate and wear a uniform. Far from being an unreservedly celebrated achievement, their appointment throws them directly into the epicenter of the era’s crime and social unrest: the Klara police district in Stockholm, known for being the most troubled in the country.

The designation of this series as Netflix’s “first Swedish period drama” is a statement of intent. While the platform’s Nordic productions have garnered considerable international success with contemporary thrillers and teen dramas, this project signals a diversification into territory of greater historical and cultural prestige. By tackling a story of social significance in a period format, Netflix not only aims to capture a new audience but also to compete in the arena of productions that explore and reinterpret defining historical moments, thereby cementing its role as a producer of ambitious global content.

The Plot: The Internal Struggle in Stockholm’s Most Dangerous District

The narrative of “The New Force” plunges its protagonists into the Klara police district, an environment described as the most crime-ridden in late 1950s Sweden. This setting establishes an atmosphere of extreme professional pressure from the very beginning. However, the official synopsis quickly reveals that the series’ main conflict subverts the conventions of the police genre. The true antagonist is not the criminal underworld they patrol, but the deeply entrenched patriarchal system that rejects them.

The dramatic core of the series centers on the systemic resistance these pioneers face. The description of their struggle is visceral and multifaceted: they are ridiculed by the public, belittled by the media, and scorned by their colleagues. The plot moves away from a “case of the week” format to explore a deeper, more persistent conflict: the battle for legitimacy and respect in a professional world designed by and for men.

A particularly revealing detail from the synopsis crystallizes this struggle into a physical and personal metaphor: “the skirts they are forced to wear chafe their thighs like sandpaper.” This image evokes not only physical discomfort but the constant, painful friction against the social and professional norms that define their daily lives. The Klara district functions as a microcosm of the broader social tensions of the era, turning the story into a social drama with a police procedural backdrop. The central question driving the narrative is not who committed a crime, but whether these women can survive and succeed in the face of overwhelming hostility from a society not yet ready to see them as figures of authority. The true crimes investigated in “The New Force” are prejudice, misogyny, and institutionalized discrimination.

The Creative Team: The Talent Behind “The New Force”

The vision behind “The New Force” is in the hands of a creative team with a proven track record of creating authentic, character-driven dramas. The series was created by Patrik Ehrnst and Rojda Sekersöz, who have assembled a group of talents whose previous experience aligns directly with the project’s thematic ambitions.

Patrik Ehrnst takes on the role of head writer, leading a team that includes writers Elin Randin and Antonia Pyk. Randin’s professional bio highlights her passion for developing “emotionally authentic characters that challenge expectations,” an approach that is crucial for a story about women breaking barriers.

The direction is handled by a duo who share a cohesive vision. Rojda Sekersöz, credited as the “conceptual director,” directs the first three episodes, establishing the series’ stylistic and narrative foundations. Her involvement is particularly significant; Sekersöz is internationally recognized for directing the hit Netflix original series “Young Royals,” a drama acclaimed for its sensitive exploration of social pressure within rigid institutions. Additionally, her debut feature film, “Beyond Dreams,” won numerous accolades, including the prestigious Guldbagge Award for Newcomer of the Year, the highest honor in Swedish cinema.

The direction of episodes 4 through 6 is handled by Julia Lindström, whose prior work also includes directing on “Young Royals,” ensuring visual and thematic continuity. Lindström’s background in documentary film and her stated “passion for storytelling with authenticity” reinforce the project’s commitment to historical and emotional realism.

The choice of this creative team reveals a clear intention: to prioritize psychological depth and social authenticity over the tropes of a conventional police drama. By entrusting the project to the director of “Young Royals,” Netflix leverages a previously successful collaboration on a story with parallel themes of fighting against oppressive social structures. The combination of Sekersöz’s proven ability to connect with global audiences, Lindström’s eye for authenticity, and Randin’s focus on character complexity suggests that “The New Force” is designed to be a resonant and human drama. The series is produced by the Stockholm-based company Art & Bob.

A Cast of Familiar and Emerging Faces

“The New Force” is anchored by a cast that combines established Swedish talent with internationally recognized actresses, a casting strategy aimed at attracting both local and global audiences. The group of pioneering women is led by a trio of actresses with notable careers.

Josefin Asplund heads the cast, an actress with a significant presence outside of Sweden. International audiences will recognize her from her role as Astrid in the acclaimed History channel series “Vikings” and as Pernilla Blomkvist in David Fincher’s adaptation of “The Girl with the Dragon Tattoo.” Her work in the Swedish crime series “Top Dog” has also bolstered her profile. Her participation provides a familiar face for global audiences, serving as an entry point into the series.

Joining her is Agnes Rase (also credited as Agnes Westerlund Rase), known for her role in Ari Aster’s cult horror film “Midsommar,” and more recently in the fantasy series “Ronja the Robber’s Daughter.” Her part in such high-profile productions connects her with an international audience of cinephiles.

Rounding out the main trio is Malin Persson, an actress with an extensive and respected career in Swedish film and television, with credits in series like “The Restaurant” and “Riding in Darkness.” Of particular interest is her previous collaboration with director Rojda Sekersöz on the award-winning film “Beyond Dreams,” suggesting a strong professional relationship and a shared understanding of the director’s vision.

This casting approach is a calculated balancing act. The combination of a star with international credentials (Asplund), an actress from a global cult hit (Rase), and a veteran of the local industry (Persson) creates a bridge between different markets. It ensures the series has the weight and authenticity needed to resonate in Sweden while offering recognizable anchor points for audiences worldwide. The cast is completed by a large and experienced ensemble of supporting actors, including Christopher Wagelin, Hannes Fohlin, Rasmus Luthander, Jimmy Lindström, and Cilla Thorell, among others, indicating a rich and populated narrative world.

The Historical Context: The Reality of the 1958 Pioneers

The claim that “The New Force” is “inspired by true events” is grounded in a specific, documented moment in Swedish history. The series doesn’t merely use history as a backdrop but delves into a pivotal chapter in the country’s fight for gender equality.

The year 1958 was deliberately chosen because it marked the graduation of the first uniformed female police officers in Sweden, a milestone that was met with considerable controversy. It is crucial to distinguish this event from the earlier history of women in the Swedish police force. Although the first women, such as Agda Hallin, Maria Andersson, and Erica Ström, were employed by the Swedish Police Authority as early as 1908, their roles were very different. They were often trained nurses, assigned to social welfare tasks like caring for women and children, and they did not carry the uniform or the authority of their male counterparts.

The “shift” of 1958 represented a radical transformation: the visible integration of women into the ranks of patrol police, an act that was actively resisted by the police union at the time, which argued that the public needed to be able to identify an officer’s gender from a distance. The series’ plot meticulously reflects details of this historical reality. Records confirm that one of the first female officers to graduate in 1958, Monika Kvarngard, was assigned to “the worst district in Stockholm, Klarakvarteren,” the same high-pressure setting featured in the series. Similarly, the synopsis’s mention of mandatory skirts is historically accurate; the first uniformed women wore an outfit distinct from the men’s, reinforcing their “different” status within the force.

The show’s central theme—the struggle against a hostile, male-dominated professional environment—is validated by studies noting that policing has traditionally been a “male domain” and that, even in contemporary Sweden, “gender-related challenges persist.” By focusing on 1958, “The New Force” functions as a vehicle for historical excavation. It illuminates the critical difference between mere employment and full public representation. The uniform is not just a piece of clothing; it is a symbol of authority, and the fight for the right to wear it was a significant battle. The series, therefore, dramatizes the moment when female police officers moved out of support roles to occupy a visible place in the public sphere, with all the friction and conflict that entailed, presenting this story to a global audience that might otherwise be unaware of it.

“Skiftet”: The Meaning of the Original Title and Its Thematic Relevance

While the international titles “The New Force” and “La nueva brigada” are direct and evocative, the original Swedish title, “Skiftet,” offers a layer of thematic depth that serves as a key to understanding the heart of the series. The word “Skiftet” translates to English as “the shift,” “the change,” or “the transition.” Its usage in Swedish ranges from large-scale changes, like a “change of government” (regeringsskifte) or the “turn of the century” (sekelskifte), to the more mundane concept of a work “shift” (arbetsskift).

The title brilliantly encapsulates the various layers of transformation that the narrative explores. On its broadest level, “Skiftet” represents the monumental social shift of women entering one of the most traditionally masculine professions. On an institutional level, it refers to the change within the police force itself, which must adapt to the presence of a new kind of officer in its ranks. On a personal level, it alludes to the profound transformation the protagonists undergo as they face the challenges of their new roles. Finally, in its most literal sense, “Skiftet” refers to the daily work shift of a police officer, grounding the major social themes in the mundane and grueling reality of police work.

The choice of “Skiftet” is, in essence, a thematic manifesto. Unlike its translations, which focus on the idea of a “new” force, the original title places the emphasis on the process of change—a process that is often difficult, contentious, and gradual. It informs the audience from the outset that the story will not be about the stability of law and order, but about the instability, friction, and upheaval that inevitably accompany progress. It is a story about the very nature of change.

Premiere and Availability

The series will be launched globally, ensuring that this Swedish story reaches a worldwide audience through the Netflix streaming platform. “The New Force” is set to premiere on Netflix on October 3, 2025.

Netflix