ATTENTION! WRONG SPOILERS OF NEEW AMSTERDAM, TULSA KING, LET THE RIGHT ONE IN, ANDOR, THE WHITE LOTUS
5.New Amsterdam 5×08 – No.
To me New Amsterdam I really like it, even if I always find little space to insert it in serial moments. This time instead we mention it, a bit because it’s a low week, and a bit because there’s a more meta scene than it seems.
After the departure of Freema Agyeman, interpreter of Helen, who left the series of her own will, the authors found themselves in the need to find a new love interest for the protagonist Max, because in a generalist series like New Amsterdam you can’t help that a man like him doesn’t always have at least one romantic subplot to be immersed in. That is, they are the very basics.
It was therefore decided to lean towards Dr. Wilder, played by Sandra Mae Frank, who was already there at Helen’s time but who is now quite quickly becoming Max’s new love interest, even if he may not even notice it. at least in the first moments.
Everything seems to be set up to allow the protagonist to overcome Helen’s farewell and to grant us spectators the same relief, a kind of nail driving out the nail that applies to everyone.
Except that, of course, the very desire to see Max married again, moreover with a deserving woman like Wilder, means that, until that happens, we will surely stand here and watch. And so the first time Max, without much planning, proposes an outing with a more romantic flavour, she replies as shown in the photo below.
Ok, cursed, let’s go ahead and watch.
4.Tulsa King 1×01 – Take out your ID
We have already spoken of Sylvester Stallone’s serial debut, and how it could be seen both as an old age too bolsa, and as a reassuring and methodical hit of tradition.
I’m more for the second interpretation, and in several scenes I really appreciated the ability to construct a screenplay that well staged the protagonist’s method of “work”, precise, incessant and determined in the construction of his new criminal empire.
But if I have to choose a serial moment, then I’ll take the scene of greatest self-awareness: when Dwight manages to take home a woman he met at the bar (and who later turns out to be a policewoman as well), we seem to be faced with the classic implausible scene of a man so old that he manages to seduce a much younger woman and that doesn’t give any weight to his age (the imperishable dream of all of us males who advance with age). The difference with any of Steven Seagal’s more recent films, however, is that actually poor Stacy, when she learns that Dwight is 75 years old, has a reaction of almost disgust, as if she had slept with her grandfather. .
Which is basically the heart of Tulsa King: ok, he’s Stallone and he’s still cool, but time passes for everyone, and pretending it isn’t like that won’t do any good.
3.Let The Right One In 1×06 – Inevitable wrong choices
In this episode of Let The Right One In, a series focused on vampirism, are expertly concentrated a series of obviously wrong choices, made by humans as humans. In short, we are shown how our nature knows how to impose paths on us that we know are more than risky, but which we cannot help but take, because otherwise we would risk losing our very humanity. And the nice thing is that the episode, while allowing us viewers to judge certain situations with a classic “what are you doing??”, at the same time pushes us to put ourselves in the shoes of the characters, forcing us to question the solidity of what would be banal common sense.
Thus we see Claire agreeing to sacrifice an innocent man in order to study his brain, with the aim of obtaining new information useful for finding a cure for her vampire brother.
Similarly, the progressive approach of the young Isaiah to the vampire Eleanor appears to us as dangerous as it is inevitable, for a boy without friends who has found comfort in a girl who has the only defect of being an undead cannibal.
And lastly, of course, there’s Mark, Eleanor’s father, who just can’t help but express his feelings for Naomi, Iasaiah’s mother who would be the very last person to fall in love with, but unfortunately the heart doesn’t rule (not only is she a policewoman who risks discovering Eleanor’s true nature, but she is also the wife of the man killed by Mark to feed his daughter!).
We know very well that, one way or another, all these choices will turn out to be wrong, but at the same time we will struggle to hold it against the characters, because the series has been able to present us with those decisions as humanly inevitable.
2.Star Wars: Andor 1×11 – I want a droid (besides cats)
In an episode in which we see a little more “star wars” than usual (in the sense of spaceships shooting at each other) and in which the protagonist, after escaping from prison and the death of his mother, seems truly ready to definitively embrace rebel cause, you’ll excuse me if I entrust the serial moment to a droid.
Yes, because the initial scenes, in which we see the sadness of the droid of Maarva, determined not to leave the mistress’s house once he is orphaned, fit fully into the healthiest tradition of Star Wars: the one that for more than forty years has made our hearts ache for technically expressionless metal cans.
1.The White Lotus 2×03 – Thrust quoting
A very “European” installment of The White Lotus, in which the constant erotic tension between the various groups and small groups of characters always manages to remain very underground, but in any case impossible to ignore. In terms of serial moments, however, I prefer to underline the two important blows of quotationism and love of cinema.
The first is the scene where Aubrey Plaza finds herself walking down the street being stared at insistently and lasciviously by all the males present. Direct quotation, but precisely shot by shot, de The adventureby Antonioni, in which Monica Vitti was subjected to the eyes of the crowd (find a comparison at this link).
The second quote isn’t even that, it’s really a trip: the Di Grasso family decides to spend a day on the Sicilian filming locations of The Godfatherand this makes us particularly impressed because it hasn’t been long since we delighted in the events of The Offer, the Paramount+ series that chronicled the tribulations behind the making of Coppola’s film. Now seeing the characters of another series who go on a pilgrimage to those same places generates a pleasant effect of estrangement.