When she once wore a swimsuit while holidaying in Italy, the Sun published pictures headlined “Big in the Bumdestag”.
Likewise, in another Scandi crime series, The Bridge, the Swedish female protaganist, Saga Norén, is slim, blonde and extravagantly attractive yet emotionally remote; when she matter-of-factly strips to her bra in the office to change her shirt, she alone is oblivious to the effect on her male colleagues.
She is under no illusions about the real world – the male world – in which she has risen, sacrificing her marriage, damaging her relationship with her teenage daughter and jettisoning more than a few of her principles along the way.
In life as in art, women in power are judged by very different criteria than men, both by men and – furtively, disloyally – by other women.
Blunt and outspoken to the point of rudeness, she lacks the usual female trait of empathy.
Her behaviour is consistent with the symptoms of Asperger’s Syndrome, and in one episode she declines a promotion on the grounds that she finds managing people too difficult and illogical.