Our classic annual list of the series that we could see this year.
This year was the year of saturation. After being locked up for almost two years watching series, 2022 was a year where we felt the saturation of audiovisual material available on the no less numerous streaming platforms.
However here it is, the crème de la crème, our list of the best we could see in series this year.
10.- The Dropout (Star Plus)
Although Alex Gibney’s documentary (The Inventor: Out for Blood in Silicon Valley) is undoubtedly the definitive material on the controversial case of Elizabeth Holmes – the woman who deceived half the world with her company Theranosq, who swore to have invented a machine capable of doing blood studies on demand with just a drop of blood-, The Dropout is defended mainly by the performance of Amanda Seyfried playing the once promising woman of Silicon Valley.
What The Dropout brings to the table is a more personal view of the case and its infamous protagonist, the woman who made the entire tech industry believe that she was the next Steve Jobs. The series (like the aforementioned documentary) demystifies entrepreneurship as a pure, noble, and progressive activity to paint it as it mostly is: adventures of egotistical beings who seek money at all costs.
9.- Minx (HBO MAX)
Minx is a deceptively feminist series. And it is that in the first episodes of this series written mostly by women, it seems that the script is determined to make fun of the radical feminism of its protagonist, Joyce (the nice Ophelia Lovibond), a writer, editor and journalist whose dream is make the perfect women’s magazine.
In the end she succeeds, but not as she would have wanted: she is the editor of a successful women’s porn magazine that between photos and photos of naked men with huge virile members, sows articles that talk about heteropatriarchy, women’s rights and more. . In the end, humor and intelligence are what make this hilarious series win, which unfortunately its continuity is in limbo (it does not seem that the second season will be renewed, and even worse, in one of those and it is in danger of being deleted from HBO , so run to see it).
8. Slowhorses (Apple TV Plus)
Biting comedy of manners in the purest English style that judiciously combines the thriller typical of the spy genre with British humour. The Slowhorses are a subdivision of English spies who for one reason or another have committed major blunders that have alienated them from the elite in MI5 and as such have been sent to the minor leagues.
There we meet Jackson Lamb (Gary Oldman), the scruffy and not very neat boss of this division of losers who, however, will be called to solve a very important case. Slowhorses is the anti-007 but clearly walks with the feet of Le Carré novels. pure fun.
7.- This is going to Hurt (HBO MAX)
Based on the eponymous bestseller written by Dr. Adam Key, This is going to hurt chronicles how the highly committed Dr. Key (Ben Wishaw) practically gives his life on the front lines of the OB/GYN area. attending to the dozens of daily deliveries) at a public hospital in London.
The surprise for those of us who live in the third world could not be greater when we discover that beans are cooked even in the first world. And it is that, keeping the proportions, the public hospitals of England (the NHS, National Health System) suffer from many of the problems that we Mexicans experience in our beloved IMSS, namely: old equipment, oversaturation, lack of equipment and lack of staff. The only thing that makes the IMSS worse than its British counterpart is the lack of budget and the shortage of medicines (courtesy of the current six-year term).
This is going to hurt is addictive since what is seen on the screen is based on the real anecdotes of what the now retired doctor Adam Key lived through those years. A series that shows life in a hospital for what it is: a tough, bloody experience that can only be survived by having a lot of love for the profession.
6.- Andor (Disney Plus)
Andor is the first time that a product emanating from Star Wars decides to evolve with us and not just stay in the nostalgia of what our childhood was next to the Jedis, ships and lightsabers.
This is a complete anomaly in the Star Wars universe: we are facing a series that does not want to sell us toys but to sow ideas. The series shows us the reasons why there is a rebellion against the empire. Andor is the most mature product emanating from Star Wars. There are no good guys and bad guys here, black and white, light vs. dark, no Jedis or lightsabers at all. Here what we see, for the first time, is how the Empire is nothing but a brutally authoritarian and militaristic regime. A boot that slowly oppresses the population, suppressing rights, eliminating institutions, flooding the streets with soldiers. They are capable of anything to increase their influence and power.
It is, without looking for it, a series that ends up being contemporary. The best thing to happen to the Star Wars universe since the invention of the lightsaber.
5.- The Bear (Star Plus)
Suffocating, frantic, exhausting. Each episode of The Bear is an experience that demands the viewer. If you suffer from anxiety, better stay away because each episode (of no more than 30 minutes) leaves you anguished and with stress at its peak.
It is not the first time that we have seen a series or film that shows the chaos involved in running a restaurant kitchen, but we have never seen it with this forcefulness. The camera by Andrew Wehde and Adam Newport-Berra together with the editing by Joanna Naugle and Adam Epstein suffocate us and spread the anxiety to the fullest of the protagonist, Carmen (Jeremy Allen White, a complete revelation) once a chef at the best restaurant in the world who returns to Chicago to try to save the family restaurant after the death of his brother.
An immersive, disturbing, overwhelming experience of an intensity that can rarely be seen on television.
4.- White Lotus (HBO Max)
Less acidic than the first season, but it makes up for it with a sensuality and horniness that permeates from the first minutes of the first episode. The idea had already been explored before by the Mexican Sebastián Hofmann in his magnificent Shared Time (2018): a dark tale about corporate culture and the artificial environment of the vacation industry. In White Lotus an extra dimension is added thanks to its characters, all bankrupt, in free passage towards an abyss that masquerades as an All Inclusive paradise.
Here the game becomes even more interesting with the clash of generations (that group of father, son and grandfather where the youngest boasts a nauseating woke attitude) and female characters that dominate the action. White Lotus invites us chapter by chapter to witness a human sacrifice, but away from all cliché. Here women will not be punished for their skill, for their audacity or for their desires, but for their stupidity.
3.- The Last Movie Stars (HBO Max)
There are those of us who spend time lying in an armchair watching TV during the pandemic, and then there are people like Ethan Hawke who, after finding hours and hours of conversations (transcribed) that Paul Newman recorded in the form of a diary, Ethan Hawke decides to call his friends and recreate said material for a documentary that talks not only about Neuman but also about his wife, Joanne Woodward, that unforgettable couple of actors who, in addition to appearing together in 16 films and as many Broadway plays, were married for half a century.
The result is a wonderful documentary that knows how to move away from simple hagiography to portray not only an ambivalent marriage (in public they seemed perfect, but now we find out that although they were happy, they weren’t perfect either) but also the scene that saw them born : the Hollywood of the golden age that is far removed (in talent and values) from that of today.
2.- Severance (Apple TV Plus)
Probably the most original series of the year and also the most disturbing. Severence is a great analogy for the anguish that office work produces (mainly the one that is done religiously in an office) that not a few of us make us feel like ants that comply robotically without understanding why or for what.
In this labor dystopia we meet Mark (extraordinary Adam Scott), an employee of the prestigious (and no less controversial) Lumon corporation, who discovered a mechanism so that all his employees, when they enter the office, forget their lives outside of it. . Here there are no individuals as such, but perfect employees whose life is only work. When leaving the office, the memories of daily life return and those about what was experienced at work are erased.
The series is a triumph wherever it is seen: the performances are at the level of the existential anguish that arises, the production design is an effective tool to increase our feeling of confinement (those white corridors, those always clean floors, that neatness absolute that makes you want to scream), and the script makes us think about the ambivalent quality of work: what for some is a prison, for others it is the balm that allows them to continue in their boring lives.
We can’t wait for the next season.
1.- Better Call Saul (Netflix)
The question about which is the better series, Breaking Bad or Better Call Saul, has been answered. Better Call Saul is one of those rare occasions where the sequel (or in this case the spin off) is superior to the original.
After a huge pause as a result of the pandemic and the health problems of the protagonist (the great Bob Odenkirk, who had a heart attack in the middle of the series), the writers brought to fruition the story of this tricky but extremely charismatic lawyer who in His moment was stolen by Breaking Bad and now he has his own series.
Better Call Saul is superior for the fineness of its narrative. It is a series that is not afraid of taking its time, gradually revealing its game, aided by outstanding and memorable performances, with photography obsessed with finding the unusual and sophisticated framing that in turn injects a highly recognizable personality into the film. Serie.
About the end it can only be said that the writers did not fall into the temptation of perpetuating the cunning of his character. We all love Saul, but what goes up has to come down. We leave with a broken heart but with the clear conviction that in the end, justice was done.
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