The rich also cry – Diari de Girona

They are sometimes excluded from the lists of great series, but the dramatic series of the 80s based on multimillionaire clans doomed to countless problems laid many of the foundations of today’s television narrative. Series like Dallas, Falcon Crest o Dynasty they may have abused the coups and extreme characters, but they also knew how to squeeze the value of a good cliffhanfer and the catharsis of an unexpected end. This is palpable in modern productions, which also rely heavily on ambivalent characters and unexpected twists to capture the viewer’s attention, and at the same time also preserve their political readings. Or weren’t the Ewings the perfect representation of a contradictory America forged from speculation and class struggle? That is why today he says we continue to have these powerful families mirrored in their ambition and humanity, in an x-ray that is never free of bad milk. In fact, seen now, characters like J.R. or Angela Channing, in addition to establishing a mold that still persists, are well advanced in their time by their conjugation of charisma and wickedness.

If we talk about the result of the evolution of those series, we have to talk about the last Emmy winner for best drama series: Succession. This extraordinary HBO series, centered on power struggles in a family that owns a media giant, plays to modernize the parameters of those stories about clans as rich on the outside as moderate on the inside. The patriarch, Logan Roy, would get along well with J.R., because they both share this relentless cruelty that leads them to manipulate their children for their professional and personal interests. What makes this series a real addiction is that it also plays with an extraordinary ability to turn off any misunderstanding about the story, and each episode swings between the script break the humiliation that at one time or another suffers from one of its main characters . Succession it ends up being above its benchmark for its ironic charge, for the way it is filmed (the author of the pilot and producer is Adam McKay) and for a staff of performers in a state of grace, led by a Brian Cox that we will never look the same way again.

It can be placed on the same line Billions, this series available on Movistar in which Paul Giamatti and Damian Lewis play a prosecutor and a businessman, respectively, who engage in a private war that splashes everything from their (hectic) sex lives to the economic interests of everything a country. Here the focus is not so much on the family interiors (which appear in it, but always from the prism of the mask’s counterpoint: no one behaves in public as they do in private) as on the difficult balance between justice and legality. In fact, you could say that Billions is one more survival without blood and liver that is not a drama to use, because the characters end up behaving like wounded animals willing not to be killed.

With less quality but unquestionably bad drool, too Empire it focuses on battles to see who commands more, in this case within a music industry in which conflicts can end in shots or destroying the other without any consideration. Power and family again confronted in a series that ends up attracting more by the dazzling charisma of Taraji P. Henson than by his scripts, increasingly thunderous and improbable: in practice, perhaps unintentionally, Empire must be the series that most closely resembles products like Dynasty of all that are in broadcast. In a very different register, but also with a view to the power of money and its consequences for collective morality, there are Ballers, a highly vindictive HBO series focused on the descibegt universe of sports managers and offers an absolutely devastating insight into the tyrannies and weaknesses of elite athletes. Produced by Mark Walhberg and Peter Berg, this series has a big asset in the figure of Dwayne Johnson, proving once again that he is a good actor as well as a money-making machine.

And finally, if we talk about power, family and stabs we can’t forget The Crown, which analyzes the evolution of the British crown throughout the 20th century with a dazzling sense of dramaturgy. Not only has the Netflix series been able to understand very well how to transcend the spirit of the classic soap opera, but it has survived an experiment that seemed unattainable: changing the lead actress to illustrate the passage of time and convincing. tea that is the same character.


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