THE ERA OF BIG SERIES
Jose Luis Ruiz Bureau
The huge amount of garbage that emits television has meant that has fallen into the simplistic view that everything that goes on the small screen is rubbish. One has always had the impression that things would get worse. Those cycles auteur films are already a paradise lost. Now if a film is broadcast quality is at times unexpectedly. The music is conspicuous by its absence on the grid of televisions, and will see if something interesting is banished to the early morning hours. It is true that before were abusing the music business (in the pejorative sense of the word), but it is also true that there were spaces for concerts and special where he gambled on styles and groups of prestige. We have been prey for a long time "Big Brother", "Pop Idol" and other telebasura.
The fact is that to paraphrase Woody Allen in Spain do not throw trash, make it on television. But there is a glimmer of hope for the maverick: the American television series. It has been said that this is the golden era for products "made in USA" and agrees that this can not agree more. But habits have changed and many people enjoy these series is not over the idiot box, but through the Internet. The reason: comfort. One does not have to wait to get their ration every week. You can do it whenever and whatever you want. Gone are the days when an irreducible became a fan of "Doctor Alaska" and the unspeakable suffering because either he changed every two hours for three or put the chapters without any order. That was insane.
There have always been series of quality, but now proliferate to the point that there is no doubt that the best audio-visual productions made in the USA are not movies but series. A simple list is sufficient reason to defend loaded with this idea: "The Sopranos," "A Six Feet Under," "Lost," "The West Wing of the White House," "Nip / Tuck," "Rome," " Deadwood, "" 24 "," Dexter "...
These are the most prominent, but there are another handful of works that also end up hooking: "Heroes" (interesting approach, resolutions and future debatable bleak), "Weeds" (fun and with the endorsement of the excellent Marie Louise Parker) "I call Earl" (corrosive, though repetitive), "House" (great character that if there indeed would be abhorrent in the extreme, a few other unique chapter ... and also repetitive), "Gray's Anatomy" (started well, but which is diluting sugar), "Californication" (David Duchovny looks to be a writer locked and promiscuous), "The Office" (more entertaining without pretensions), "Prison Break" (despite the clichés is very addictive, is losing interest progressively), "The Shield" (the excellent character of Michael Chiklis), "Damages" (interesting and unique structure Glenn Close), "Desperate Women" (he has his point, but lost with the passing of the seasons), "Carnival "(Metaphysical thoughts and a very personal vision of America, 1934) ...
The genres are playing the most varied: political, western, mafia movies, history, film noir, drama, thrillers, fantasy, comedy, and so on. So it is impossible that one can not find what you need in any of the above-mentioned series. There's something for all tastes.
Those who recommend a more passionate deserve a brief comment. So let's get to the point:
- "The Sopranos" (1999-2007) is a masterpiece you look where you look. It has nothing to envy of the artistic peaks of the "mafia movies" like "The Godfather" or "one of ours." It has a spectacular breakdown in which protrude James Gandolfini and Edie Falco as husband and wife in this particular family of New Jersey. It has an added value, maintains the level with the passage of the (six) seasons. David Chase, which incidentally also went down in calling for "Doctor In Alaska," has been able to count a heartbreaking story that serves as a reflection on power and corruption of a sick society. Has memorable dialogues, and situation brilliantly resolved, without a doubt, is a magnificent treaty on the human soul.
- "A Six Feet Under" (2001-2005) also reached sublime heights. "The Sopranos" is an analysis of the modern Mafia, while "A Six Feet Under" focuses on the vicissitudes of a family from Pasadena who runs a funeral home. The Raritan and Fisher are about dysfunctional relations. Alan Ball, who wrote the disturbing "American Beauty", dissects with a brutal honesty about the reality of characters always involved in conflicts too human. The tone of the series fluctuates. It may contain moments of macabre humor or dive into the consciousness with exquisite sensitivity. And not hiding anything. Homosexuality, sexual perversions, paternal abuse ... He talks about death with the naturalness that most avoid. It is a work deeply vitality. And when it was suggested you put a lump in the throat.
- "Lost" (2004 -?) Is a hard drug. If good cause addiction series, "Lost" takes the palm. Mixed rightly adventure, drama, fantasy and thriller. 48 survivors of Oceanic Flight 815 fell on a desert island in the Pacific. The idea of the stories of these characters through "flashbacks" (now have started using "Flashforward characters") and relate them to a strange and hostile environment has led an artistic success and public well-deserved. It seems written by Stephen King with a vague philosophical and is so well done that many chapters have nothing to envy to the best commercial cinema. That is, have been well spent pasta. The problem is that they are getting fat too much plot. That has caused already strained something and it goes without padding be Nostradamus to know that in the future will continue to do so if, as announced, will all six seasons. A pity. They should have tied ropes and responded to the thousand questions that have fired into the air. If they had saved from a narrative point of view they would have left a work round.
- "The West Wing of the White House" (1999-2006) deals with an issue that in the hands of another that was not a creator Aaron Sorkin could have been a brick. This series teaches the intricacies of an administration which manages the White House and is billed masterfully. His best guarantee is to have clarity stories and sharing a lot of height. Allison Janney, Bradley Whitford, Martin Sheen, Stockard Channing, John Spencer and Richard Schiff embroider their roles. The President Bartlet and his staff acted in accordance with a common sense and a philosophy that we would like to take Bush.
- "Nip / Tuck" (2003 -?) Is a disturbing development for Ryan Murphy. Sean McNamara and Christian Troy are two plastic surgeons who have a clinic in Miami. While a student may be a sad family life that is gradually collapsing, the other is a pitiless womanizer worshiper of the god dollar. In the course of the series emerges a disturbing serial rapist. "Nip / Tuck" is an acid criticism of a society whose values are corrupt. The importance given to the appearance when it is essential otherwise. We live superficial lives and all that we care about is that we allow ourselves to operate more beautiful nose.
- "Rome" (2005-2007). I have not mentioned, but anything that comes from HBO deserves our attention. "Rome" is another product of this channel and, of course, oozes quality. The plot is unbeatable. It's fascinating history. It focuses on the years of Julius Caesar and his adopted successor Octavian when Rome was the center of the world. The internecine struggles for power, wars and brutality appear more stark very well filmed. In addition, the narrative progresses through the viewpoint of two Roman soldiers (Lucius Vorenus and Titus pull). Everything is careful to detail (costumes, set design, etc.). And has such memorable characters as played by Polly Walker (Atia). The history of the Roman Empire had already been counted very well in the classic "I Claudius" (1976), but in "Rome" is emphasizing the harshness with which they recount the facts. It is, of course, a more modern.
- "Deadwood" (2004-2006) was a breath of western shakespeariano. The author of this great series is David Milch, which has much expertise avatars of a border town in the nineteenth century who does not know what is the law and order. Yes, we know what is the crime and prostitution. And the craving for enriching whatever. The head of Deadwood is the murky Al Swearengen (Ian McShane impressive), whose goings are the backbone of the plot. The cast is superb and the story is very well written. However, the start is the best in this series. The first season is over what happened next (two more seasons).
- "24" (2001 -?) Can boast of having a different format. Each chapter is one of the 24 hours that contains a day. Thus, each season takes place on a day in which there are no breaks and follow the events on a steeply. Jack Bauer works for the agency's anti-terrorist and is the absolute protagonist of a series highly addictive. Kiefer Sutherland, who embroiders her role, thwarts bomb threats and expansion of lethal viruses, prevent murders galore ... It is an unusual hero who follows his own rules. Of course it is not a good use. It is capable of any tropelía as long as it sees fit to do the (torture of suspects is a method that abuses) and sometimes insisting on acting according to their particular interests instead of thinking in general. The terrorists may be Chinese, Russians, or Balkan Muslims, but many times those who are hurting the Americans themselves. ... People from the government or the president of the USA. The best season to date are the first and fifth.
- "Dexter" (2006 -?) Part of a challenging premise and transgressive. How is it possible to understand the universe of a "serial killer" and that the public does not find it absolutely despicable? Dexter Morgan works for the Miami Police Department. It's a lab rat, whose knowledge about blood are very useful in forensic analysis. He is traumatized as a child witnessed her mother killed. His adoptive father channeled his homicidal cravings with a code. Only murderous criminals. It's a monster, but he knows to hide. It is empty, but clings to the relationship with his sister and his girlfriend, a vulnerable woman abused by her ex with two suckers. "Dexter" is cleverly constructed in his first season and everything works like a clock mechanism. The second is still good, but does not reach the level of excellence of the precedent. Two things stand out: the masterful composition of the main character of Michael C. Hall (the gay "A Six Feet Under") and the ingenuity put into the titles of the series.
