Marianne Furevold-Boland has spent her career shaping some of Norway’s most influential television. As head of drama at NRK, she oversees a slate that has helped define the modern Scandinavian series boom, from Exit and State of Happiness to Powerplay and So Long Marianne. But it was her role as a producer on SKAM (Shame) —the youth drama that became a global phenomenon and spawned multiple international remakes, including a U.S. version from American Idol producer Simon Fuller —that brought her international recognition, cementing her reputation as one of Europe’s most influential TV executives.
A trained actor who began her career as a teenage children’s TV presenter, Furevold-Boland has moved fluidly across roles, as writer, script consultant and producer, bringing a storyteller’s instinct to the commissioning process. That perspective, combined with a strong public service ethos, has been central to NRK’s ability to punch above its weight internationally despite relatively modest budgets.
On Tuesday night in Lille, Furevold-Boland was honored with the Woman in Series Award at international television festival Series Mania, recognizing her leadership and creative vision in the global TV landscape.
Speaking to The Hollywood Reporter, Furevold-Boland discusses her unconventional path to TV’s C-Suite, the enduring impact of SKAM, and why risk-taking and trust remain essential in an increasingly competitive, algorithm-driven industry.
How did you first get into television?
I started out as a children’s TV presenter at NRK when I was 19, straight out of school. At the same time, I was training as an actor. That was really my background, acting and storytelling. It was a privilege to do both. But at one point, I realized I loved television, and I loved being part of something bigger, creating something together. That’s when I moved more fully into the TV world.
What kind of work were you doing early on?
A bit of everything. Mostly for younger audiences, but also some projects for adults, across both TV and radio, some entertainment, some infotainment, even documentaries. Working at a public broadcaster like NRK meant you could explore different forms of storytelling. That’s what I’ve always been drawn to, to the idea of being part of an ensemble, creating something together across different roles.
NRK’s political period comedy ‘Power Play’ won the 2023 Cannesseries festival.
© Motlys – Erika Hebbert 2022
What have been the biggest changes in the TV industry since you started?
From my perspective, the biggest shift is the level of competition. It’s so much harder now to get projects financed, and that creates a more cautious environment. People are more afraid of making the wrong decision. But this is a profession of “professional guessing.” We need to hold on to curiosity and playfulness, even though we carry a lot of responsibility. We’re giving people stories that can affect how they see the world.
So the caution comes down largely to competition?
Yes. The competition is fierce. But public broadcasters like NRK are ultimately owned by the audience, which gives us a certain freedom. Not everyone has that. There’s a risk that, if you become too cautious, the content becomes more generic. And I don’t think that’s what audiences want.
We need to respect the audience. They’re ready for stories that challenge them. Entertainment isn’t just about comfort. It’s about emotion. Laughter, rage, surprise. Great storytelling should make you feel something. And sometimes it’s about giving people shows they didn’t know they were going to love.
That idea feels central to SKAM. How did that show come about?
In many ways, we were building on years of experience making web drama for young audiences. We spent a lot of time doing research, talking to our audience, understanding their fears, their hopes, what mattered to them.
When we were tasked with bringing 16-year-olds, the teenage demographic, back to NRK, we already had a foundation. [SKAM showrunner] Julie Andem was the heart of the project.
Why it became such a global hit is harder to explain. But I think it comes down to something very simple: It’s about love, about learning to love yourself, and finding someone who loves you. That’s universal.
The U.S. was just one several countries that made local adaptations of “SKAM”
Screengrab/Facebook
The show resonated deeply with audiences. Do you remember any particular reactions?
There are many. But one that stayed with me was a girl who wrote to a national newspaper thanking the show for helping her process her own experience of sexual abuse.
And then there was the online community. I remember someone writing that they were watching season three and wondering if they should tell their parents they were gay. And the response from other viewers was just: “Do it. We’re rooting for you.” That kind of connection is incredibly powerful.
NRK operates on a much smaller budget than many European broadcasters. How do you maintain that level of quality?
We don’t have the same financial muscle, so our superpower has to be trust. Trust in the talent, in their vision. Working closely together as partners, whether it’s with writers or production companies, to protect that vision. If we share the same belief in a project, that’s where the strength comes from.
What are the biggest challenges for public broadcasters today?
Relevance, always. Especially with younger audiences. We have to deliver on two fronts at the same time: broad, entertaining content, and also something distinctive, something you can’t find elsewhere. That balance is crucial.
And we have a responsibility. At NRK, our mandate is to strengthen and develop democracy. That means telling stories that open minds, that create conversation, that offer new perspectives.
Do you feel the industry is taking fewer risks right now?
Yes, I do. And I think what’s missing are shows that really stand out, whether in tone or storytelling. There’s a danger that decisions are increasingly driven by algorithms. And if that happens, we may end up with more generic content than we should.
What keeps you motivated after all these years?
The impact stories can have. With SKAM, seeing how a local Norwegian show could resonate around the world, that was extraordinary. But more importantly, seeing how it could help individuals, even in small ways, that’s what matters. If a story gives someone a tool, or a new perspective, or helps them feel less alone, that’s why we do this.
