gudaulin

The first time I encountered the phenomenon of the Simpson family was in a music video on MTV at the end of 1990 and I had no idea that I had the honor to become acquainted with the biggest project and cult series in animated creations. Back then, the crazy visual approach to the characters and their peculiar voices took me by surprise, but as soon as the series premiered on TV, I completely fell for it. It is one of two shows that I give a 100% overall impression and that I don't feel have any obvious wear and tear even many years later. Those who argue that the show has lost its charm and fallen into mediocrity rather reflect the fatigue of individual viewers from a project that has been going on for so long. The series was milder in many respects at the beginning, and only as time went on and it was necessary to keep the viewers glued to the screens, the creators toughened up. The fact that the series managed to stay in prime time for so long is unbelievable in terms of the American television market. The series was also successful in practically all the countries where it was broadcast, and in many cases, it is the main source of information about American society. :-) A whole range of American celebrities competed for the honor of being mentioned or playing a small role in the series. The large creative team works wonderfully with pop culture references and maintains a style of ironic exaggeration and parodying of ideas about American society. By sympathizing with the ordinary everyday person and questioning the image of a pious and noble American citizen, the writers seem to align themselves with the American liberal left. This can be seen in a lot of references to Republicans, pathetic patriotism, and the highly sensitive area of religious faith in America. The series even received criticism from the American president for damaging the country's image abroad... At the same time, the creators do not idealize the little character at all and present him with all his weaknesses and vices. There are a lot of catchphrases, jokes, and crazy characters, thanks to which it's still worth sitting in front of the TV screen and listening to the tones of the familiar theme song even years later.

Twin Peaks was, at one point, something of a revelation for me in the field of TV series, completely turning my view of TV production upside down and introducing me to David Lynch as a top-notch master of the mystery genre. Even though more than 20 years have passed since then, I think this series has not been surpassed, despite the fact that TV production in the United States is currently experiencing a huge boom and the mystery genre is very popular. The most fascinating thing is to watch the transformation of the individual characters and, thanks to the professionalism of the entire team, be carried away by the atmosphere of mystery and anticipated threats. In the second half of the series, especially toward the end, it heads towards distinctly hallucinogenic territory, which Lynch perfected in his mishmash Inland Empire, and so I'm one of those who appreciate the more sober first half. I must also emphasize the atmospheric music, which perfectly evoked the dreamy mysterious atmosphere of the town. Overall impression: 95%.

For this legendary British sitcom, we have two talented screenwriters, Rob Grant and Doug Naylor, to thank. Shortly after the first season aired, they began publishing the stories of the Red Dwarf crew in book form. The second of the two, in particular, gave the show with its wit, bon mots, and sarcastic remarks. However, television viewers will primarily appreciate the characters they know from the screen. All of the actors have become respected television stars, and Red Dwarf is considered the most successful BBC export. The individual members of the crew represent perfect opposites who must get along in a small, enclosed space, resulting in an infinite number of conflicts. The creators of the show are very knowledgeable about contemporary fantasy and science fiction literature, and the show can be seen as a humorous guide to the genre, featuring popular themes and props from science fiction literature and film. Fans can spot references to S. King or R. Bradbury, among others. The show has become a cult classic, and it is a shame that its production did not continue. Until the last episode of the final season, it maintained an exceptionally high standard. It is one of the two shows that I rate 100%.

The cult series was created by Jonathan Lynn and Antony Jay, who were familiar with the world of high politics and worked on the script with the help of John Cleese from Monty Python in the second half of the 1970s. The pilot episode of the series was well received, and so in 1979, 21 episodes were filmed, which were broadcast on the BBC a year later - and the audience went crazy. The series was also loved by Prime Minister Thatcher, who could spend hours watching it. For those who want to learn about politics, it doesn't make sense to read political handbooks or listen to boring narcissistic speeches by politicians on television - it's best to watch a few episodes of this brilliant series and immediately understand how politics works. Thanks to the brilliant cast, the series was successful worldwide. For their masterpiece, Paul Eddington, as the representation of the weak and trusting Hacker, and Nigel Hawthorne, as the cunning manipulator Appleby, were awarded the CBE Order, and Antony Jay was elevated to the nobility. Surprisingly, the British government didn't like the series, labeling it as vile and overrated. The collection of awards and honors received by the creators could take up a lot of space, and we could discuss the individual plots and dialogues for a long time. For me, it's an irresistible series. 100% rating.

To be honest, I would not even believe that it is possible to shoot such a suggestive yet realistic picture of ancient Rome without significantly compromising the high demands for fidelity to historical events. yet the series is not boring at all. Individual documented historical characters are intertwined with fictional ones, and real historical events complement the captivating imagination of the screenwriter engagingly. The series depicts the life of all social classes in the Roman Empire, and it is characteristic that the opening scene of one episode begins with a chase between small children in the middle of a Roman street full of craftsmen and traders. Even the opening credits create the impression of a demanding yet interesting spectacle. The acting and directing are very well done, and established stars do not appear in the series. This makes the sense of reality and identification of the actors with the characters in the series even stronger. Unlike hundreds of other works, this series tells the story of the real life of the inhabitants of a long-lost empire. Overall impression: 95%. Perhaps only the war scenes are somewhat lacking, which can be forgiven given how expensive they are to film.

Experienced viewers and television fans have long known that the most interesting offerings in recent years are usually not movies, but American TV series that defy typical commercial templates and set the bar of television productions very high. Even with the most famous and discussed shows, however, I felt a sense of manipulation and the presence of various tricks or cheap motifs. To increase viewership, they rely on various "cool" characters and unrealistic plots or moments. Breaking Bad is a series that works without these tricks, firmly staying grounded while remaining visually attractive. The story of an aging middle-class man worn down by family stereotypes with lots of debts and problems, who suddenly realizes that instead of a pension plan, he should have taken out a proper life insurance policy, and whose lifespan is suddenly not calculated in decades or years, fascinated me from the very first moment with its exceptional craftsmanship, from the outstanding performances, direction, and editing to the story itself and its ability to show real life and real problems of present-day America alongside the main storyline. Have you ever wondered how little it took for the fates of famous historical figures to take a completely different direction? Walter White was once an exceptional student and promising scientist with a great career ahead of him. In the end, he became a deeply indebted chemistry teacher at a meaningless high school and, at the same time, a man under the thumb of his dominant wife. Sudden illness and a medical examination bring him closer to the end of his life journey. Suddenly, he has nothing to lose, and the prospect of imminent death mobilizes his will, energy, and willingness to take risks. He witnesses a police raid on a drug lab and realizes that his creativity, intelligence, and determination could succeed and provide for his family in a world of uneducated criminals. He gradually loses his inhibitions and discovers previously unknown talents as a manipulator and a liar, climbing step by step in the hierarchy of the criminal underworld. He learns to navigate a world that was previously foreign to him, removing obstacles and being on the best path to becoming a legend in the eyes of both the underworld and the police. The old Walter remains only a shell, giving birth to Heisenberg, a cook of the highest-quality methamphetamine that drug addicts have ever had the chance to taste, and at the same time, a man who experiences the taste of power and what ambitions really mean. At the last moment, he tries to fulfill his dream of greatness without looking back at his surroundings. Breaking Bad is a great story of a person's moral downfall, an impressive and brilliantly written drama in which I fail to find any significant flaws in more than 60 episodes. It is an incredibly well-crafted ride where the quality of the script not only does not decline but tends to increase and culminates in a finale that is truly unforgettable. The scene where he tells his terrified wife with burning eyes, "I am not in danger, I am the danger," quickly became iconic within the realm of television production. Breaking Bad combines high artistic demands that satisfy the critical community with excellent entertainment for viewers. The series can be thrilling, darkly humorous, and always surprising. Furthermore, its strength lies in the fact that, unlike other works, it does not use relativizing morality, and it never trivializes the actions of its antiheroes or seeks excuses for them. It calls things by their proper names. Overall impression: 100%.

Crichton's original film Westworld presented, through the name of its famous writer and the participation of Yul Brynner as the star, the closest possible connection to the western genre, which is now perceived as an ordinary and not very interesting B-movie. Although the respected HBO was behind the production, I did not expect something so well-thought-out and captivating, and elaborate, and something that would compel me to watch the entire first season in the shortest possible time. A smart series with a complicated structure that is thought-provoking, with a humanistic focus, with ambiguous characters, and brilliantly cast and directed - what more could you ask for? Westworld plays with the popular idea of the creation of artificial intelligence, which is the responsibility of two technological visionaries - Ford and Arnold. The practical Ford is focused on business and relentlessly pursues his goal of building a giant amusement center that creates a perfect illusion of the Wild West in the 19th century. Its residents are meant to be indistinguishable from humans, nothing more than top-notch machines. His colleague Arnold realizes the consequences of their efforts and playing god begins to frighten him. He becomes an obstacle to progress and his life ends in a futile attempt to stop the project. 35 years later, he paradoxically stands in the way of Ford's society running smoothly. There are inexplicable phenomena in the behavior of the robots, employees are disappearing, tension is mounting, and change is in the air. The authors of the series play a wide-ranging and in-depth game with the viewer, confusing them, playing games on the side, and combining genres. Of course, Westworld is above all a tribute to the classic western with all its identifying features and stereotypical characters. It is also sci-fi, but lovers of romance, nerds accustomed to deciphering a multitude of references and puzzles, and fans of adventure spectacles will also find something in it for themselves. What works wonderfully is the combination and balance of intellect and emotional engagement. The complex structure of the story forces the viewer to think, while the abuse of the artificial beings evokes a wave of sympathy for their fate, not unlike the position of ancient slaves. Wealthy park visitors have the opportunity to torture, kill, and rape anyone of the robots - and they often do. While the robots represented a threat in Crichton's Westworld, in the new adaptation, they represent the more sympathetic part of the series' protagonists. Their desire to understand the meaning of their existence and for dignity humanizes them more than humans full of superiority, selfishness, and callousness. The revolt of the robots brings with it not only destruction but also hope for the restoration of moral values and humanistic ideals. It is hard to say what I would praise the most about Westworld. Is it the cunning variability of characters influenced by reprogramming or the revelation of their identity? The performance of veteran actor Anthony Hopkins as the grand, manipulative, and dangerous park boss? Or perhaps the excellent set design? Regardless, I am looking forward to the next season like a little boy. Overall impression: 95%.

An excellent experience that practically has no weaknesses. In the overwhelming majority of watched movies, and especially series, I find reasons for partial criticism. Here, however, when it comes to criticism, I essentially have nothing to say and, in fact, only superlatives come to mind. The script, cast, direction... well, all of it deserves praise. Even if I give a series the highest grade, I almost never have an irresistible urge to watch the next episode immediately, and I say goodbye to the series characters with a clear conscience, knowing that we will meet again in two days. But here, I felt like taking this thrilling ride in one go. Until the very last moment, it remains a surprising and immensely well-thought-out matter that combines three subgenres - classic crime, courtroom drama, and prison drama. All the settings and characters look convincing, and I didn't notice any false notes. Simply put, the series is craftsmanship of the highest quality. Overall impression: 100%.

Daniel Holden was an 18-year-old somewhat impractical and far from mature student who could have had a great future ahead of him - if he hadn't been found touching the body of a strangled and abused 16-year-old schoolgirl and ritually surrounding her with flowers. Subsequently, unable to resist the focused pressure from investigators, he took responsibility for her death and spent nearly 20 years in prison, 19 of them on death row. He had already had the honor of personally meeting the executioner - one of the five appeals and subsequent postponements of the sentence came seriously at the last minute. As time passed, new investigation methods came into fashion, and DNA testing cast doubt on the old sentence. Daniel was released with the promise of a new investigation. Rectify is not a courtroom or prison drama, nor is it a crime show, at least not in the usual sense of the word. It is a psychological drama of a man deprived of his youth and thrown into a world he doesn't understand at all. He is not prepared to take care of himself, and he is overwhelmed by countless possibilities and perceptions. Moreover, for most of those around him, he remains a murderer. The girl's relatives want justice. For representatives of state power, it is unacceptable to admit that they destroyed the life of an innocent person. Moreover, and perhaps most importantly, outside of prison, Daniel has long stopped being relevant. Except for a few exceptions, he actually hinders everyone. His return causes confusion, doubt, and pain. Rectify is an intimate drama about the search for lost time and motivation to stand up and start over. It does not offer itself, it is not flashy, provocative, and above all, it does not hurry. All the seasons describe just 3 weeks of Daniel's life after returning home. But if you accept its pace and atmosphere, it has a decent chance of engulfing you, and along with Daniel, you will experience quiet dramas and rejoice in the small things that just a moment ago seemed mundane and insignificant. Last but not least, the series can be seen as a reflection, not so much on the state of imprisonment in the USA, but on the phenomenon of the death penalty. The main character returns to life behind bars in his memories and confronts it with life in freedom. Rectify is a series for patient and perceptive viewers capable of capturing and appreciating psychologically believable character sketches, hypnotic soundtracks, and top-notch performances led by Aden Young as Daniel and Abigail Spencer as the energetic and devoted sister Amantha. Personally, I give the series a definite thumbs up. After Westworld, it's another series that got under my skin in a short period of time. Overall impression: 90%.

Do you like clarity in everything? Order in things and in relationships? Do you prefer epic stories with clearly defined heroes and readable messages? Well, you've got the wrong address and there's nothing left but to turn elsewhere. Carnivále, without exaggeration, represents the essence of mysterious dramatic creation. Its characters are ambiguous, bizarre, and perfectly fitting the idea of a collection of freaks from Barnum's sleazy show. The destinies of the circus company employees, controlled by the invisible "management," unfold in the 1930s, and from this perspective, it is refined retro from the times of the peak of the economic crisis, where you can directly feel the weight of the fate of unemployed inhabitants of impoverished American Midwestern towns and farmers crushed by poor harvests and loan repayments. The series skillfully balances between mysterious perversity and serious social drama. The storytelling is not rushed, and soon you will realize that, in the case of Carnivále, it is much more about mood and style, about playing with the viewer, about touches with the world beyond consciousness, about constant grappling with paranormal phenomena, about discovering one's own and others' past through fragments of dreams, about flashes of a disturbing future, and about asking burning questions that still lack answers. Carnivále is a labyrinth of mysteries in which you can easily lose direction and purpose. The camera finds beauty in ugliness, the community of worldly individuals finds freedom in shared poverty, the director cleverly plays with details, the screenwriter juggles with words and characters, and all together they contribute to building a peculiar mystical atmosphere. If you surrender to it, you probably won't mind that the plot is not actually essential and at the end of each episode, you don't know much more than at the beginning. The panopticon of characters from caravans with unclear origins and very uncertain futures is worth watching precisely because even in the age of the current boom in quality series, it represents something very exclusive, something for true connoisseurs. Carnivále is not comparable to anything, as it is unique and very impressive. I would gladly take that journey across the United States in those trucks with that gang one more time. Overall impression: 90%.