It is impossible to put all the quality of 2022 in a list with ten holes. First of all, my apologies for not being able to encapsulate all the worthwhile international fiction. There is an alternate reality in which severance, the rings of power, heartstopperthe final season of ozarkenjoy it The White Lotus, Derry Girls either stranger things are high on the list. But here are the ten that did enter based on criteria of quality, diversity of genres and proposals, and the “entrails” factor always implicit in a choice as personal as this one:
The television show has been splendid in 2022: stranger things had some very long episodes that returned to the public that spirit of the blockbuster of the past millennium and the rings of power had an audiovisual bombast never seen on the small screen. but it is Andorwith an irregular start, the one that sneaks into this list for bringing the universe of Star Wars to unimaginable paths: adult, free of jedis and famous last names, embracing adult political drama.
Diego Luna’s Cassian Andor, whom we had met in Rogue Oneis a macguffin personified to reveal the amoral underside of creating a resistance movement in an authoritarian system. Tony Gilroy’s decision to structure the season in different arcs of a few episodes gives an agility to the work that I hope other fictions would adopt. The jail stretch, too, was just outstanding (and nostalgic for those of us who grew up with hellish fortress).
9. Young Highnesses
The first season of young highnesses It had the following premise: “Swedish prince falls in love with humble classmate at elite boarding school”. That of the second went on to a more nuanced terrain: “Swedish and homosexual prince becomes aware of what it means to belong to the monarchy.” And, while the series led by Lisa Ambjörn maintained its characteristic adolescent sensibility, Edvin Ryding offered one of the best performances of the year (content and at the same time boiling) and with a season finale that remained etched in the retinas.
8. Only murders in the building
Sometimes the stars align and a fiction conveys that absolutely all the members of your team are delighted to work there. It is an unprovable sensation, since it is impossible to have spies on the set, but it is what evokes Only murders in the buildingwhat last year he took the gold fictional.
The day Steve Martin, Selena Gomez and Martin Short stop having fun doing the show, Only murders in the building will stop going out at the party. Or when a New York written from love, nostalgia and those who inhabit it stops appearing. Or when the characteristic touch of making the secondary ones shine in episodes dedicated to them in an unexpected way is lost. Or when they stop having fun looping the loop with homicide-puzzle and writing a parody of the podcast world.
7. The White Lotus
It was one thing to attract attention in an inhospitable month of July, an arduous task because it was summer but arduous, and quite another to focus the conversation between October and December, crowded months with stiff television competition. But The White Lotus it went beyond all expectations with a second season that lowered its pretenses and, instead, increased the fun. Who wants dialogue with a point of moral superiority when you can write and shoot a comedy of sexual entanglements in Sicily?
Mike White took advantage of a large budget (at least large enough to move the team to Sicily after setting the first season in a Hawaii that should not have been cheap either) to focus on a subgenre that, at the television level, was not exactly a magnet for television. privilege. And what about the work of Aubrey Plaza (and Meghann Fahy, Beatrice Grannò, Simona Tabasco or Sabrina Impacciatore) or the hilarious tension of the final episode, which harmoniously combined the mystery of the season with the sense of humor exhibited during the season . A luxurious entertainment.
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How can you understand absolutely nothing of half the dialogues in a series and at the same time understand everything that is important? This drama about the financial sector of London and the ability of young sharks to survive in the system (and, incidentally, perpetuate it) is a festival of drugs, moral corruption, toxic and / or abusive power relations with the most vibrant anti-heroine of current television, the Harper played by Myha’la Herrold, always chaotic, always unpredictable, always a bitch.
5. We Crashed
The story of the Neumann couple behind the WeWork company serves as a denunciation of smoke sellers with possibilities and their ability to succeed in the system in which we live (because, if you have money, contacts and zero modesty, the rest is done). The most fascinating of WeCrashed is to see the transformation of Anne Hathaway: she finds the humanity, the stupidity and the parody while playing a small-time guru. Since Rachel’s wedding by Jonathan Demme who didn’t exhibit as much truth on screen.
Sam Levinson moves through an expressionist territory that allows him to play at a different level from the rest of the television offer: Euphoria it does not offer so much plots as emotional and sensory moments and experiences from the direction of actors, photography and outbursts of script and production that would challenge the coherence of the universe if it were not for the result (yes, I think of the episode of the play theater, as implausible as it is brilliant). Ironies of life, the most licentious author is also the one who offers the most memeable moments with forgiveness The White Lotus: “Do I look like I’m in Oklahoma?”.
3. Somebody Somewhere
Homophobia in the family, alcoholism, depression, creating safe spaces for minorities in deep America, the impact of religion on society, the need to come to terms with and survive our past, and what it’s like to live in America when you’re offline. of the big cities. The first episode of Somebody Somewhere presented all these topics in your 27 minutes and, while entertaining and exciting, he did not forget what he wanted to tell in the rest of the season.
Hannah Bos and Paul Thureen, who wrote the series for Bridget Everett and drew loosely on the life of the actress, comedian and cabaret artist as the basis for the story, conceived the intimate treasure of 2022. It’s a defense of life’s unforeseen friendships adult, in this case with the character played by the revealing Jeff Hiller. The musical moments, which take advantage of Everett’s voice stream, are priceless.
Carmen (Jeremy Allen White) inherits a sandwich restaurant to which she throws herself body and soul after being pressured by the elite kitchen. There, however, he feeds his anxiety as he tries to get over the death of his brother, the workers contradict him, the bills pile up, and he has to juggle getting the dishes out of the kitchen. If a series represents overwhelm and mental blockage perfectly, this is it. The Bear by Christopher Storer.
What is stimulating is not only the immersive capacity of the proposal: it is noticeable that Storer had the help of his sister Courtney, cook, to set Carmen’s place in conditions and that both the representation of the food and the handling of food were realistic . The secret is to structure the season around the character arcs as they are brought to the boiling point with a stifling montage. A gourmet series.
Kim Sunja was born in a poor village in Korea and fate led her to find a place for herself in Japanese society, so hostile towards the Korean community that it exploded to prosper. Through Youn Yuh-jung, Kim Min-ha, and Yu-na, who play the character throughout her life, Pachinko offers a melodrama about migration, identity, the personal baggage of those who had to leave their home and the price one has to pay for starting from scratch.
Between comings and goings in the story to portray the characters and a historical and social reality little known in the West, Pachinko emphasizes the contained emotions of its main heroine and her grandson Solomon (Jin Ha), who studied at the university in the United States and, after returning with a good job, he understands that he will always be a poor Korean to the Japan where his family has been for three generations.
Screenwriter Soo Hugh, born in Korea but raised in the United States, adapts the best-seller by Min Jin Lee with care and from a reflective attitude, which pays attention to language as a symbol of an identity in the process of transformation and which seeks the poetic in everyday moments and the decisions of the characters. The dramatic transcendence is as present when eating rice as it is when saying goodbye to a mother.
This number one is a surrender to beauty and resilience. In times of cynicism, how precious, intimate and heartbreaking it can be to have emotion on the surface in every scene.