HBO kicked off the broadcast yesterday of Mare of Easttown, a crime series starring Kate Winslet which promises to be the best of the season but is splitting US critics into two camps.
Arts and enterteinment
Yesterday, 12 major soccer clubs released a statement announcing the Super League, a new European club competition backed by JP Morgan. The Super League would likely kill UEFA’s European competitions, depriving FIFA’s European structure of a good chunk of revenue. Boris Johnson, Emmanuel Macron and even the European Commission immediately took a stand against it. Meanwhile, the clubs involved – and some candidates to participate, such as Borussia Dortmund – soared on the stock market. Underneath the battle for the Super League lie deep-rooted contradictions between states and financial capital.
The main entertainment platforms have anticipated it well and with their spring 2021 releases they offer us a good dose of escapism. Of course, well seasoned with the most rancid and reactionary elements of their ideological arsenal.
The premise was as appealing as it could be: retelling Bogdanov’s Red Star amid the 1917 revolution. The main character, Leonid, actually a surrogate for Bogdanov himself, would have had a daughter in the communist Mars. The young woman comes back to look for him in the midst of the world revolution. But no. We discover that the plot begins in 1927, in the midst of the Stalinist counterrevolution, shortly before the killing and purging of the generation that had carried out the revolution. And that the authors replace historical context with a jumble, a tangle even, of prejudices and distortions… A tngle that is anything but innocent.
Apple TV begins broadcasting the second season of Servant. In the first one, Tony Basgallop and Night Shyamalan tried to take that storytelling format we call a series in a new direction. The result brought them to the limits of tolerable representation within the current ideology. Servant was not only the best production of 2019, but it also showed the best possible way of telling stories… to date.
The bad guys in Tenet, unsurprisingly, are our class. And no surprise either, our existence is denied throughout the entire timeline, we only keep a probabilistic existence in that possible future they fear so much, possible if we keep struggling today.
Our review of the most relevant TV series of November.
Roadkill is the political series of the season on the BBC. The narrative is built on the wake of the «House of Cards» of the nineties, but without the Shakespearean histrionics and the overdose of cynicism of the original model. In fact, Roadkill is one of the few political series that encourages real political reflection.
It has taken 30 years for us to see the strategy of the German bourgeoisie for what it was, a “true crime”.
The TV series during these months of pandemics were not able of process the situation of global crisis. In the books, however, some glimmer can be found.
Both the “new normal” summer in Europe and the winter of confinement in South America may be a good time to take back the places we live in a very different way.
His absolute emptiness, his use of monstrous scales as a way of attracting capital, his pecuniary greed – only comparable in impudence to Dalí – his total, absolute and voluntary renunciation of signifying the slightest contribution to those who contemplate his works, is in itself a faithful, hyper-realistic even, portrait of the spirit of the ruling classes of his time. Classes of which he was a part from his birth. That is why Christo is a paradox. It’s not art, no. But its essence is so sterile and dead that it represents like few others the anti-human, anti-historical character of the system in our times. Bunting or tarp cover included.
Four series two from Delhi and two from Mumbai, which reflect some of the contradictions of Indian capitalism and enrich our perspective.
What did a social democrat of Lenin’s generation mean by a proletarian who became a “professional revolutionary”. For answering we have to revisit the original “What Is to Be Done”… by Chernishevsky