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True Blood: The madness continues

The summer has officially ended. Last Sunday was issued by the end of the third season of True Blood , the series that set the pace in recent summers seriéfilo. Highly irregular After twelve episodes, the season off with a right end that contains the right amount of fun and excitement, and yet demonstrates the many weaknesses of the series.

First, it is impossible to fit in a 50-minute episode about exorbitant number of major and minor frames. This is one of the shortcomings of True Blood, its extensive supporting cast, which are sometimes more attention of due. Of course, if you think about it, are secondary, as in many other series, that breathes real life into the series, and in this case, that offset the drowsiness they cause major characters like Bill and Eric for example. And therein lies another problem of the season, on the main characters and plots in which they have been involved this season. I do not know if the defect is found in the novels that are based on a series or bad treatment of the characters, but all the people of Bon Temps have reached an impasse. Fortunately, some characters seem to do something about it: Sookie disinvited Bill when he discovers that his love is the work of fate and leaves Tara willing Bon Temps to stop suffering. Of course this would not mean any change. Sookie will love Bill and we will keep holding the pots of Tara.


Jason is having fun, but Crystal-far the worst character this season, has spoiled his plot. Sam discovers the ultimate betrayal of his brother and goes after him, their relationship could be interesting, but for now it is not. Jessica and Hoyt are to live together, providing, as usual, gentler notes to the series, yet not boring, but might do so soon. Terry competes with the lovely Jessica and Hoyt crying because it does not cover how happy she is and how lucky you-but nobody cares. Lafayette has visions and Jesus tells him that is a witch, to which he responds with one of the best quotes of the episode: "You're a witch who's a nurse who's a dude." And Alcide returns, but do not remember if he does something remarkable. Guess not.

Alan Ball is in charge again and again to warn that the series is made for fun , without any claims beyond that. Okay, I assumed, and [many of us] get True Blood enjoy making it: a crazy outdated, excessive and wonderfully camp. However, there comes a time when this excuse to defend the series is outdated, and need something more. We need personajes que vayan a alguna parte, necesitamos sensación de cierre alguna que otra vez, necesitamos que los personajes sean interesantes. Por desgracia, no hemos obtenido nada de esto en la tercera temporada de True Blood .

"Evil Is Going On" resume perfectamente qué es True Blood : ocasionales momentos épicos dentro de una historia altamente fragmentada que va constantemente a la deriva. Es decir, una serie de usar y tirar. Esto no es del todo negativo, ya hemos dicho que cuando True Blood consigue divertir, lo hace a lo grande, y son precisamente esos momentos los que hacen que la serie merezca la pena. Eso y el ocasional secundario que eleva el grado de locura to unprecedented heights. If in the second season, the twisted and confusing MaryAnn dementia caused major OMFGs, in this, the revelation was Russell Edgington, the terrorist with more class. His "Now, time for the weather! Tiffany?" is one of those moments to which I referred, genuine phenomena on the internet, memes generated at two or three per episode. In "Evil Is Going On" is a crazy Sookie which overshadows a Russell in the past and offers us more hilarious moments: his evil laugh as he tosses the garbage disposal Talbot and his "You Watch Your Fucking Language!" . Sookie's Folly, an increasingly large "is for Anna Paquin me one of the biggest attractions of the series, more than enough reason to continue enjoying.

We can not deny the power of fascination of the series in the network, one of the main reasons why True Blood attracts a growing audience. Of course like all fads on the internet, it is likely that the number of Ball is quickly forgotten once completed. And this, after all, is part of his nature. "Evil Is Going On" leaves open too many frames, making more than a season-ending climax we are witnessing an episode of the half. To find out what happens after the numerous cliffhangers the episode, will have to wait another nine months. And for me, unlike what happened after the two previous seasons, not be so long.

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One of two things: the new CW premieres

As is customary in recent years, The CW is the most applied string of U.S. television, opening the fall season before any other. At most anticipated returns, the second season of The Vampire Diaries began last week and tonight again Gossip Girl - are also two premieres: Nikita and Hellcats, who come to occupy the few free holes in their programming. The chain specializing in risk adolescents products, keeping your grill in the series that are already safe bet and betting on two new series that have absolutely nothing new to offer. However, after seeing the pilots of both, I decided to continue to watch over and save me the pain that I would see the other, not Gossip Girl left to continue wasting time with products even more deplorable. Let's see which is which, and the reasons for my decision.

Nikita

The new series of CW action is approached as a spin-off or sequel to the original film by Luc Besson, Nikita , hard to kill (The Femme Nikita, 1990), their remake American The killer ( Point of No Return, 1993) and the Canadian series starring Peta Wilson, Nikita (La Femme Nikita , 1997-2001), however, do not drink from these titles, something that far from being paradoxical, is entirely logical and expected. Beyond the main plot, you should seek your immediate reference on American television in recent years, and this leads directly to the excellent spy series from JJ Abrams, Alias \u200b\u200b , and the recent work of Joss Whedon frustrated, Dollhouse .

is evident from the first minutes of Nikita that this is not another set of teenagers the CW, or at least that seems to be the intention. The protagonist, an efficient but not outstanding Maggie Q, confesses to having 27, so the meat becomes geriatric by the standards of the chain. Supplement this 'deficiency' a young supporting cast, appropriately beautiful and terrible multiethnic-plus-players who make the series more easily be integrated into the editorial line of the chain, something absolutely necessary given the audience profile of the CW. To attract a more mature industry, we have members of the secret organization Division . Although from the beginning know that neither is Marshall Flinkman Birkhoff or Topher Brink, and Percy is Arvin Sloan or Adelle DeWitt. Lack of charisma can play all the characters very much against the series. Hopefully the presence of Melinda "Julie Cooper" Clarke will serve for something.

As mentioned, Nikita is a right mix between Alias \u200b\u200b and Dollhouse -what not to say that these are two works that make up a genre, of course. The first takes the style and staging, some sequences refer unmistakably to the pilot episode of Abrams. A Whedon series reminds us of the idea of \u200b\u200bbuilding and deconstruction of identity, the protagonist who rebels against the organization that created-by Nikita comes knocking the "ghost" in this episode, and of course the girl power -the girls save the world. We do not know if just for driving a material that has already been proved efficient, but the pilot Nikita, though not innovative in any way, presents a solid and well-structured story that has all the elements efficiently, and most importantly, they engage and entertain. The problem with these products is to find the right tone. And unfortunately, Nikita fails in this department. If the series does not take too seriously to itself, estaríamos ante un producto sobresaliente, y no uno que roza lo camp peligrosamente. Para averiguar si se sacará provecho del potencial de la historia y los personajes, me quedaré al menos un par de episodios más.

Hellcats

El reverso de la moneda de los nuevos estrenos de la CW es Hellcats . Esta serie se ajusta con mayor facilidad a la imagen de la cadena, con una otra historia sobre animadoras que no son lo que parecen... Ya desde los primeros segundos del piloto, Hellcats está condenada a la mediocridad más absoluta: un montaje epiléptico con imágenes de la ciudad de Memphis, banda sonora indie-rock and voice off the protagonist while we tour the city by bike. Marti Perkins takes the prize for the most odious character of the season with a couple of seconds on screen. What follows only confirms the hunches. Hellcats is hell.


Marti Perkins's story is rooted in the most worn cliches of the genre. A young college cheerleaders that just hates, by quirk of fate, with pompoms in hand to keep his scholarship and continue studying law. Marti has a best friend is not gay, Dan, who fears that the cheerleaders absorb the personality of his friend and this ends forgetting who he is. Of course, Marti breaks into the computer, thanks to its anti-free spirit, and their "innovative" choreography-watching that scene, I vomited a little. The new co-Marti manual also conform to the genre: the bad that happens to be good and befriends the protagonist, an Ashley Tisdale who plays Sharpay Evans if he really had been renovated at the end of High School Musical - the ruthless bitch who fears being replaced and the athletic guy who is interested in the role. Clearly influenced by

Glee, "I wanted some kind of relationship between Kevin and Ryan Murphy, but have not found it," Hellcats seeks the approval of the audience through sports spectacular choreography, which serve as musical numbers, as well as the competition factor, which also involve teachers and coaches, vacuous and boring, how could it be otherwise - in the struggle for survival Hellcats. However, none of this will serve to overcome the tedium involved in attending to predictable and dull story unfolds, exhausted from the first act. Yes, you guessed it, Hellcats not be in my series schedule 2010-2011.

Just one more thing: who wanted to make these transitions between scenes with the animators doing tricks? Whoever it is, must be sacrificed.

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New from Futurama, for now

Expectations were through the air, at least mine, despite the four Futurama movies showed a gradual dip in quality that could affect the second installment series. But I have issued four new episodes of Futurama , and the balance is more than positive. Of course there are a few buts , and a few fears that fill us with uncertainty about the future of the series. Let's see what's wrong with Futurama 2010 .

First, the chain change predicted a new phase characterized series-and a priori stigmatized-by downloading censorship. Comedy Central not put restrictions on their series, there is South Park to prove-and the fact that a number already subidita tone as Futurama had carte blanche did more than disturb. As I have said many times, Family Guy has done much harm to the adult entertainment on television, and after seeing the first two episodes of the sixth season of Futurama , llegué a pensar que la serie corría el riesgo de perder su esencia y entregarse al desenfreno de los gags sexuales sin límite y la acumulación de escenas inconexas. Sin embargo, pensándolo un poco, y gracias a los siguientes episodios, perdí un poco el miedo. En primer lugar, Futurama nunca ha sido una serie infantil, eso es obvio, y siempre que ha tenido la ocasión, ha recurrido a los desnudos y las escenas de sexo -recordad "muerte por kiki "-, y en segundo lugar, la serie de Matt Groening parece volver reafirmando lo que la hizo grande hace siete años: unos estupendos guiones que no supeditan la trama the gags is more, they build masterfully elaborate stories without the high number of gags move the attention of the plot.


just have something that makes distance the new stage of the series' previous game, a greater reliance on modern society, which makes the series runs the risk of making the expiration date. The episodes "Attack of the Killer App !" (6.03) and "Infinity Proposition (6.04) show this problem clearly. The first is a satire on current dependency networks social and the second to get into politics with the issue of gay marriages . The problem with these episodes, especially the first, is that the abundance of direct references to the present day makes the essence that Futurama began a decade ago dilution for an immediacy that can be dangerous.

Science fiction is characterized by portraying or criticize existing societies through more or less subtle metaphors. Apparently Futurama back with the intention of making a commentary on the state of the world and does so by reference in dubious taste, a bump to the face of Susan Boyle - leaving behind an era in which references were made to the present day with more grace and wit. The elaborate universe of the series, despite being a hyperbole of our society, was what sufficiently independent from it. The time the pilot of 1999 in which Fry listening hip hop Leela and tells you to stop listening to classical music to facile references to Twitter and iPhone has been a long time, and at that time, Futurama has lost some sharpness.

Luckily, what he always did of a series Futurama magnificent and a cult remains intact: these two episodes, despite the problems detailed, have fun and make you laugh from beginning to end. With chapters like "Infinity Proposition " We have everything you need to continue to worship Groening series : great and memorable jokes, good jokes, bad jokes and lousy of frowning. Moreover, an absolute risk in frames - "Amy and Bender? - Characters that have not changed one iota and fantastic scripts full of dizzying turns, as always. For all this, after a couple of weeks of uncertainty, I can assure you Futurama remains Futurama. And if the audience allows writers and are not replaced by monkeys fans of Family Guy as in The Simpson - , we hope to remain so much longer.

Hermes: When the lights go out , it 's nobody' s business What goes on Between two Consenting adults .
Zoidberg: Or one !

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Hangin 'in the Treme

If you recently talked about the realism and timelessness about Nurse Jackie, this idea reaches its fullest expression in the most recent masterpiece HBO Treme . Lo Treme is hyper all compared to series like Showtime. Each episode lasts about sixty minutes, except the first and last, and despite often convey ideas and cohesive whole, including submitting dyes occasionally episodic, "seems to begin and end at random moments in the life of a character, giving the feeling of actually achieved and strengthening the connection and commitment to the characters. This also helps that the first season has had only ten episodes and confirms that, despite knowing little if the series is quality, the small number of episodes of the cable series, in contrast to the generalist, benefits greatly to tell the story mode. In this sense, the ten episodes of Treme up a story absolutely perfect and round, which is appreciated every minute of every episode, and nothing is superfluous, almost seems unnecessary then even if Simon wants to have more is because there is more to tell.

has often been alluded to Glee when you've talked to Treme. Although the matter is trite, I need to briefly consider this comparison a priori forced. Glee While catching on television musical-or rather prolonged and stylized High School Musical phenomenon repeating the argument Popular- HBO has done, almost without anyone noticing, the final musical number . Many find problems when classifying Treme as a musical because the music seems more an accompaniment a tool to tell the story. However, one need only pause for a moment to think about the role of music in the series to realize that this argument falls under its own weight. Treme is a musical. It is also and perhaps primarily, a drama, but the fact that the songs, despite not being considered 'numbers', we speak of New Orleans, its people and its identity in the same way that the dialogue and stories of the characters.

Treme has a great melting pot of people who, through an eclectic array of stories, we come to speak of the same: the loss and survival after her. All characters' lives are affected to a greater or lesser extent by the great collective loss of the city of New Orleans after Hurricane Katrina, but each faces a personal loss that Simon used to construct a narrative that constantly branched underlying the idea of \u200b\u200brebuilding the city and of oneself, either showing a loss of business, Janette, Ladonna the desperate search to find her lost brother after Hurricane Creighton Cross or the city that no longer ignored. Almost always, despite the constant rebuke to take the characters, and the viewer suffers in the flesh ", there will be a light at the end of the tunnel, since the optimism and strength, symbolized by the unconditional persistence of traditions, the color of the holidays, and the music of New Orleans will be one step ahead of the sadness and pain, however much it costs, as the musical parade after Dayman funeral that ends the season in style. Therefore, Janette, and his eternal smile will launch a mobile food business to cater to the many street parties of the city shortly after closing his restaurant, Davis will soon embark on a fun musical career against the injustices committed after Hurricane and Ladonna postpone breaking the news of the death of his brother to attend the Mardi Grass. Despite telling the story of someone who does not get survive this loss, Cray, Treme concluded his first season as a poignant celebration of life, and is also one of the best stories of the past few years, in any form. That flashback scenes and the latest episode, in which reality takes over completely from the story, is confirmed.
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As before, the second main theme of Treme is without doubt the identity of New Orleans, and not just after the disaster, but also before it. The first half of the series is more focused on showing how the city of New Orleans is perceived by foreign eyes, either through tourists who stand to listen to the buskers, and that must be happy playing for them the most emblematic songs of the New Orleans sound, or a great character as Koichi Toyama, Japanese jazz fan with an encyclopedic knowledge of all music created in the city. Speaking at "Shame, Shame, Shame" (1.05) and its subsequent return in "All on a Mardi Gras Day" (1.08) represents the differences in the perception of a city among locals and visitors.

Katrina's experience reinforces the need to protect the identity of New Orleans, and Treme this work is carried out all the characters, but overall, played Cray for a future winning John Goodman-who gets to make the voice of New Orleans is heard in a world that has DECIC ignore the tragedy of the city, focusing their attention on events broadcast by the media as 11-S. Davis, meanwhile, takes care to reinforce this idea, opposing clichés about New York City-the Thanksgiving parade, men in suits ", the authenticity of the city, offering an experience more real-and Janette will use to convince you not to leave, in one of these plots cliché that this time could not be otherwise. These two characters are the main ambassadors of the city that need representation and affirmation urgently, to survive and rebuild following the precepts that cemented and consolidated their identity.

David Simon confirmed these first ten episodes of Treme so far predicting several years now: it is on television, U.S., where today are the best stories, and more importantly, it is hereby where they have better .

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recovered Classics: Riget (The Kingdom)

We make an exception in the usual role of the U.S. series in this blog, to talk about Riget, the series created by the Danish equally celebrated and reviled Lars Von Trier , in the process of redefining artistic before Dogma 95-and with camera in hand and the sharp assembly that would characterize his later works. The Kingdom, as is known internationally, has two sets of four episodes separated by three years, something not obvious, since the technical and visual finish both seasons is virtually identical and the actors do not experience notable physical changes at this time. It is difficult to classify the series following the classical taxonomy of formats Serial . Each episode lasts approximately 70 minutes, so that one could speak of two miniseries, although the intention of Von Trier seemed to be to extend the treatment history and approached the conventional series -head in each episode, cliffhangers . Moreover, in some countries the first season was released as a five-hour film, coming to appear on any list of essential films. The Danish filmmaker intended to film a third installment to conclude the story, he came to write the script, "but the death of several cast members and the rejection of the chain was left unfinished .

Summarize the argument Riget with intent to get an idea of \u200b\u200bwhat it offers the series is impossible. Overall, the action takes place in a hospital dominated by a supernatural force that makes both employees and patients or experiencing a series of phenomena terrifying and baffling . This is the premise, but the end result is far from a conventional history. The argument runs between the absurdity of everyday hospital doctors-perhaps antecedent 's comedy Von Trier The Boss of It All - and paranormal events . It is a patient, Ms . Drusse la Sra . McClusky Danish-that provides the closest thing to a thread of argument, assume a link between the world of the living and the dead. However, Riget is a succession of scenes that seem unrelated at first sight and it is difficult to deduce what is happening, which leads to frustration and boredom even the most accustomed to such accomplishments. The moments of terror are conveniently distributed throughout the episodes, be highly effective among the unbearable scenes of dialogue between doctors. Typically, an episode ends with a disturbing scene -some cool, like the birth of Judith , which could have inspired a perfectly Takashi Miike Gozu in and some really scary and reminiscent of films like The Exorcist - but this, despite the good taste to leave will not be enough to make the story more interesting.

Fortunately, Riget has an eccentric sense of humor that saves while not function, makes viewing more bearable, the carefully prepared and oppressive atmosphere and excellent realization also help. Although it disconcerting at first, Lars Von Trier is highly aware of what you are doing, one is confirmed in the credits of the last episode when I hear refer to himself as "humble director" - and a Having accepted the fact that psychological paraphernalia Riget is only a tool to create a link with the viewer and laugh a little of it, as will be the keynote of the director in years post-it is easier to let go and enjoy the attractions of the series. That is, taken seriously Riget is very dangerous, and unfortunately, it may take longer than normal to notice.

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Showtime and women II: United States of Tara Showtime and women

When I learned that Diablo Cody was preparing a television series for Showtime shotguns loaded instantly. I was right in my prejudice against this young lady after watching a few episodes of United States of Tara : artificiality, cultural references and a sock stuffed with highly self-indulgent speech. I had little difficulty recognizing the writer Juno in dialogs U.S. of Tara, and therefore assume that the series does not have much to offer. Seldom have I glad to be wrong. While the first season continued to offer the worst of the complacent Cody, it was easy to circumvent it for great chemistry between the characters and story more and more emotional and compelling. The second season, despite not a good start, the series has established itself as one of the best comedies on television today.

The secret U.S. of Tara lies in complete control of emotions and have found a perfect balance between the most eccentric situations and moments of everyday life more mundane and manners-a point in common with Jackie Nurse. That and the fact that each episode ensures occasional laugh, make U.S. of Tara a delicious comedy that not only ensures a half hour of 'healthy' fun week, but also offers a beautiful speech about family and relationships. This is the new sitcom, which has been brewing for some years. The era of canned laughter gave way to a type of comedy that besides winning technical quality of television drama drank, hybridizing genres and finding the greater complicity with the viewer, making us laugh at the misfortunes and mourn apparently with comic moments. U.S. of Tara might be considered the epitome of this type of dramedy, inviting reflection on human nature, making us laugh at life and ourselves.

The second season of Tara U.S. has strengthened the Gregson family members as some of the best characters of the television season. Starting with Tara, it is appreciated that this season his other personalities have not had much stage presence, to me Toni Colette saturated me, really. Family life continues to revolve around Tara's disease, but it is interesting to explore possible without complete chapters DECIC to alter . If the first season served to make known to all United States, this has focused on exploring further the identity of Tara. We have seen emerge a stronger personality that was overshadowed last season and unexplored by the presence of alters . The strange thing is that the search for Tara to find a source to your problem has resulted in the emergence of two personalities, Shoshanna and Chicken, "and yet, the overpopulation of alters has negatively affected the story. On the contrary.


Like Nurse Jackie, the importance of a good squad secondary U.S. of Tara is capital. If the number of nurses are secondary anthology as Zoey, or Akalitus O'Hara, U.S. of Tara no shortage of great characters to accompany the protagonist. Stand Kate and Charmaine. The first has won the approval of many spectators who ignored in the previous season. The eldest daughter of Tara and Max has starred this year more Martian frames, but thanks to them, we have witnessed an-original-maturation process that has made us reflect on the important and sometimes exclusive, role of others in the formation of our identity. In a scene from episode 2.11, Tara advised his daughter not to forget to be herself, to which Kate replies, "ja, ja and ja." It's hard to be yourself while still not really anyone, and when the nearest reference figure is a woman with multiple personality disorder. The powerful union of this family is reflected in domestic relations. U.S. of Tara achieved perfection portray those moments when love of neighbor is evident though not explicitly stated. He does it every time Marshall sits on the bed of her sister, Kate calls whenever Moosh Moosh or any other nickname to his brother, or a smile of a sick mother to her children in the kitchen after a day without knowing about them. And also increasingly Charmaine incredible that comes into play, showered with prizes for Rosemarie DeWitt, please. Its disheartening normal desire is truncated by the large-and dependence-influence of the family of his sister in his life. Charmaine is however quite naturally and resignation in a situation as complicated as that of Gregson, a family that comes only a hyperbolic way represent dysfunctions of all families.

Based on the alleged recovery of Tara at the beginning of the season, we have witnessed a progressive degeneration, excellently exposed character. It has further explored the figure of the perfect husband, Max, who has become on more than one spouse / nurse Tara. Already in the first season we see how the disease affects her husband Tara, but it was in this when we have seen the consequences truly a life like yours. Max has known the limit of endurance, has questioned the identity of his wife, "I thought it was great that Max was not sure if Tara was Tara or a new alternative - and has made a big mistake. After witnessing and mediate most difficult moments of his wife remember the incredible episode Torando, where Tara became a medley of their personalities or the presence of Chicken Charmaine's wedding, "Max arrives a stirring conclusion:

"I wish it'd Been us getting married today.'d Stand up in front of all These People and I'd say" I love this woman! "Then I'd look in your eyes and I ' d say, "if you're Tara, I'll be Max. But if you're Gimme, I'll be gotcha. And if you're Buck, I'll be your bike. If you're Alice, I'll be your astronaut. Chicken And I'd carry to the car, Even Though I Knew She Was Pretending To Be Asleep "

U.S. of Tara invites us to go from laughter to the pot, and does so as if it cost him nothing. Finding the perfect balance between comedy and drama seems to be easy if we take into account the increasingly common tendency to hybridize both on television U.S., but few series achieve a harmony so perfect as U.S. of Tara undoubtedly the best Showtime series to date.

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I: Nurse Jackie recovered

Showtime has spent years forging an identity based series shocking, risky and where the fun and pure entertainment and casual seems to be the main keynote . Despite having a successful drama respected by critics - Dexter - is curious to see how the chain comedies are giving him his greatest successes creative, and have come to develop an interesting brand. Even more remarkable is that most of these plays tell us the stories of middle-aged women, mothers with bigger problems Than life struggling to protect their families and that the collateral damage of their internal cross are minimal. Ladies send in Showtime, and the great actresses of Hollywood know that this house has become one of the best showcases to demonstrate that the myth that actresses over forty do not have roles in the film is not extrapolated to television. The huge Mary - Louise Parker planted the road with the hilarious Weeds, which was followed by two premieres last season, Nurse Jackie and United States of Tara - converted a successful meeting this year double. After the end of season two latter, Parker will take over and she is joined by Laura Linney with The Big C .

Nurse Jackie was for me the weakest of the female comedy Showtime -compare with the disaster that is Californication would be unfair. This season, the series of junkie nurse not only has come to conquer , but has it increased significantly my respect for a television network that always won my most feverish criticism. Nurse Jackie has never shown interest in sexual and violent spectacle of other series made in Showtime -something necessarily negative essence, "but rather has been constructed based on everyday home and work, one of those stories that at times seem to be counting on anything, but just showing a snippet of the lives of characters. This attracted me initially because I was a little tired of extravagant plots and characters always on the verge of a more exaggerated caricature. However, as I struggled to find enough interesting characters Nurse Jackie . Some seemed nice, but most left me completely indifferent and made me wonder whether I was interested in hearing about their lives. Fortunately, this second season has who loves all the characters, with two exceptions, and yet, with several nuances.

First, Jackie . And secondly Eddie, but I do not need to explain why I hate this guy and his nasty omnipresence. Better talk about Jackie . It's annoying when the star of a series I dislike. My problem with Jackie is not its moral, do not hate to deceive everyone, and especially her husband is perfect, cocky attitude and what irritates me. I realize that is personal, but I usually have problems with this type of character, the House of life-yes, the comparison is necessary, unfortunately, that make the Borderia and sarcasm an art. I get tired, simply not make me not a little grace. However, this is a minor problem which fortunately is sorteable. Once accustomed to Jackie, once accepted, I can only enjoy everything around him.

side The Nurse Jackie have reached another level during this second season. Zoey is perhaps the one that has remained unchanged, but this may be because she was great from the first scene. On the contrary, Dr . O 'Hara has become a character very interesting and rich in nuances. Their vulnerability has been explored from various points of view, "very briefly, with his relationship with reporter played by Julia Ormond or through your generosity with Jackie , which professes to be the main reason to go work-to organize their shifts to coincide with her best friend always, adorable. Not that O 'Hara were not this way in the first season. These features were part of his personality , although slow to emerge. But this season, Best Eve has managed to build a much more complete, thanks to a component download parody in his character last season was only open his mouth to speak of clothing or remind everyone how rich it is. Moreover, the bonds between characters are narrowed, and is exciting to see, usually through scenes premium subtlety, detail and emotion of everyday moments. Any gesture of affection between these characters is very touching.

And what about the immeasurable Gloria Akalitus . Too, therefore let's leave an "I love you, Gloria."

If Queer as Folk everyone is gay , in The L Word there is little hetero women, and Dexter everyone is in favor of the death penalty in Nurse Jackie , nurses are always better and save more patients than doctors themselves. This view conveniently fictional hospital has nurses, especially the protagonist, a hero in the shadows, those whose hard work provides the laurels to the patronizing doctors. physicians All Saints absent. His work seems to consist solely in consultations to respond quickly to return to their ego-bubbles. This is only a necessary resource to provide Jackie an authority that will be important to its character. In this sense, it would be interesting to further explore the consequences of the superiority of Jackie in their work. Coop complaints -that stupid and adorable boy-on Jackie in the first half of the season seemed to introduce a plot in which Jackie finally was going to take a stick to act as the ultimate authority of the hospital but was a mere anecdote. In the last episode of the season "Years of Service " Jackie is the consequences of their actions, and instead of accepting them, the brave violently confronts Edie Falco for this scene, refusing to admit problem. That is, Jackie acts more than ever like an addict, and not just a drug addict, but his position of superiority and control. And this is a great success, and a good way to prepare the ground for the third season. I'm looking forward to next summer to continue getting to know Jackie a little better than those around her:

"Anyone Who knows knows you They don't you know "

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Classics: Undeclared

Although some summer releases are raising so many expectations as the autumnal or those of the mid-season , and these we will be busier than normal television necessities, the summer is ideal for catching up with the series that takes a backward or to recover classic television series, or of short duration and rapid consumption. Undeclared has only one season has 17 episodes, released in 2001. Furthermore, it is a twenty-minute comedy, which at the outset, is perfect for this time ... provided they do not have anything better to do, and unfortunately, in this case, it's easy to have it. Undeclared

is the ugly little sister and Freaks & Geeks (discussed here ) . Created by my adored Judd Apatow, the comedy can not reach or the soles of his shoes to his predecessor, which seems to be a natural extension. The reflections on the social behavior and construction of identity as well managed with Paul Feig in "Freaks Geeks are reduced in Undeclared to a minimum. Instead, Undeclared offers jokes and situations more typical of a sitcom anyone. And the most important factor, the characters, it also pales in comparison with Freaks & Geeks . There seems to be on Undeclared an intention to do minimally interesting characters. Take for example the protagonist, Seteven Karp (Jay Baruchel), a geek happy to leave behind his life in high school and start-an idea which could have a long way, but you just missed greatly. Steven is a superficial character with little charisma, and if this happens to your character, imagine the side. Steven interaction with their new roommates is very unnatural and the chemistry between characters is conspicuous by its absence. There is hardly a shred of sense of true friendship between these characters, who seem to behave like robots in their relationships, those in charge before scanning. As a result, what we perceive is a coldness that works against the series. If the situations were not so absurd comedy, random and topical, we could overlook that. The problem is that this is not a sitcom , but behaves like one. And finally, if the characters do not engage, and plots and gags are in their best, mediocre, inevitably wonder if Apatow was wrong choosing to tell this story format. Or if you simply made a mistake by taking the project to the FOX. Undeclared

is therefore more American Pie that Freaks & Geeks and any of the Apatow film productions. The parade of familiar faces confirms the dependence of an ever growing number of fetish actors to develop an image of authority that has consolidated in recent years. In Undeclared, in addition to Seth Rogen as one of the protagonists in "Freaks Geeks was a secondary little presence, "Apatow Jason Segel uses, just gaining more prominence, to the detriment of the series, and other freaks and geeks as Samm Levine, Busy Philipps, Martin Starr and David Krumholtz -all seen in Freaks & Geeks . Some of these players continue to appear in Apatow productions, forming a large family that has branched out, reducing the six degrees of separation to just one-and extending to the charges of production, Greg Mottola directing a few episodes. And therein lies one of the few attractions of Undeclared , in recognition of these actors, which almost always interpreted eccentric characters and hopefully, more fun than the players.

is not easy to find, but there are several positive aspects that make Undeclared a remotely pleasant viewing. As I said, some secondary characters pose great successes in casting rather unfortunate. In episode 1.07, "Addicted", Will Ferrell plays a thirtysomething who has not achieved anything in life and is dedicated to making within 24 hours of academic work for the university, also read nine books a week. This episode introduces a degree of reflection which vanishes like a mirage, but it works while it lasts. Loudon Wainwright III-yes, the father of Rufus and Martha "is another hit series. Wainwright excels playing the father of Steven, a man in full midlife crises that found in Steve's roommates in college life and a means of rejuvenation. Finally, Tina Ellroy stands, played by Christina Payano, would not return to action after Undeclared - dorm mate female protagonists. Tina is a typical case of character-bulk just gaining prominence in his own right, and on balance, she is the protagonist of the most successful comic scenes of the series as the musical battle with Rachel after spending el día escuchando la misma canción. También se pasean por la serie actores que más adelante ganaría notoriedad televisiva, como Amy Poehler, Jenna Fischer o Tom Welling, pero sus intervenciones son esporádicas en el mejor de los casos, e insoportables en el peor -como la habitualmente genial Poehler.

Por lo demás, Undeclared no supera las expectativas tras haber disfrutado de una maravilla como Freaks & Geeks . Con excepción de algunos episodios -como el 1.05, que eleva el nivel de calidad y bizarrismo, quizás gracias a estar dirigido por Seth Rogen- la serie deambula entre la intrascendencia y la estupidez de tramas episódicas que no llevan a ninguna parte -Lizzie putting wicks, Steven leaving it to religion after hearing a sermon, Ron and Lloyd investing in the stock market online, and a long frame etéctera flowing into each more ridiculous scenes. At first glance, Apatow seems willing to have fun and entertain the audience, without any pretensions. However, after watching the last episode of Undeclared , one wishes that there had been a little more pretentious, or that he called his friend Paul Feig to throw him a hand. If you want to see Apatow's work in full, or if not has nothing to do, something almost impossible, the viewing of Undeclared is justified. If not, it is better to act as if never existed, and enjoy Freaks & Geeks or Superbad.

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True Blood, HBO's wet dream

Not that the Home Box Office you will require a lot of success, remains the main chain of reference when talking about quality television. But it is true that since the end of The Sopranos and Sex in New York , has not had many shows on the grid to benefit from the ubiquity of these two media. That gap currently fills True Blood, a ratings success and a phenomenon on the Internet. The third season premiere this Sunday at 5.1 met million Americans-a figure that continues to impact whether we think of the series struggling to stay in networks with audiences of 2-3 million, "up to 38% with respect to the premiere of the second a year ago. As we saw in this entry, the viral campaign for this season has been a success in itself, its value as a secondary text can be analyzed as part of the series rather than a mere exercise in publicity, "and also has been reflected in hearing the excellent episode.

What were those 5.1 million Americans and as many millions of Internet users who downloaded the episode after issuance? Basically, True Blood in its essence: sex, great performances over the top -yes, I love me-Paquin, violence, special effects deliciously camp, and that we love so much, a huge self-consciousness - and well exploited. And this was not enough, this season starts confirming what we had long suspected: True Blood is the gayest series on TV today. In many cases gives the impression that the target audience for the series is gay, while recognizing that knows how to satisfy all genders and sexualities in greater or lesser extent. The truth is that the series is made for the enjoyment of a spectator is free prejudice and willing to have fun, without any further requirements in principle, but the shirtless scenes of four male sex objects in the series and especially the much talked dream of Sam, seem to have a very definite target in mind, we can not forget that the series has played on many occasions as a metaphor for the acceptance of difference in society. The statements of the actors Alexander Skarsgard and Stephen Moyer on the desire that his characters had that "experience" with the same sex and the signing of Kevin Alejandro boyfriend to make Lafayette only confirm this theory. But hey, I am not anyone discovered America, right?

All this is not simply the result of a great interaction from the makers of the series and its fandom - and a clear interest in Alan Ball in the subject. They we have heard / read and know what we like. Why not make us happy? -One of the first promotional images Alcide the werewolf played by Joe Manganiello, leaves no doubt. And so, if you are listening to me, gentlemen of HBO and Mr. Ball, we wish to see Maryann. Although Pam divismo has increased considerably, and glimpse a worthy replacement for the crazy maenad. Pam has always liked, and the role that looks set to buy this season is more than welcome , Also enters the game factor-Sappho, somewhat less explored so far. And if anyone doubts it is aware of everything that Alan Ball and his team, here's irrefutable proof:

Pam: "Maybe I smile too much. Maybe I wear too much pink, But please remember, I can rip your throat out if I need to And Also Know That I am not a hooker. That Was a long, long time ago. "

"Bad Blood" is a stunning first episode of a season that followed in this line, we will spend a summer fun-it's almost a sure bet. True Blood again leaving out some bombast and affectation in his dialogues, and ceding the spotlight almost complete humor-Sookie: "I'm not in the mood for lesbian weirdness tonight, Pam" - and at a faster rate than normal. Only the drama of Tara brings a more serious note episode that confirms the essentially comic parody of the series. Jason and highlight problems of conscience - "conscience off, dick on" is a one-liner of those who remain, not to mention the "pussy overflow" - and the ever lovely Jessica and Hoyt - "I got a new haircut! Actually I think it makes me look kinda badass! " And if we highlight a one-liner , in line with the ideas of the second paragraph of this post, it would be this: "I hear the water in Arkansas is ... very hard! "It will be difficult to forget the camp homoeroticism and achieved tension of the scene between Bill and Sam. Forget it will be especially difficult if, like me, you think to see again and again, at least until another scene of this kind of eclipse.

Conclusion: True Blood is not only HBO's wet dream, but also that of many seriéfilos wanting to binge, and too much time on their hands summer keyword: "hands".

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Week Finale Grey's Anatomy Finale

been almost a month since its release, but still hear echoes of that hybrid shoot 'em up , survival and horror movie serial murderer who is Shonda Rhimes marked the end of the sixth season of Grey's Anatomy . And this is normal, because few times on TV has gotten way to manage stress so masterful, so much to provoke in the viewer a continuous feeling of anxiety and the 'fun' that entails. After the episode "Death and All His Friends", the mental and emotional exhaustion is huge. And at such manipulation of the viewer, I can only take my hat off and applaud Shonda. Bravo, bravo, bravo.

I've always said Grey's Anatomy has some of the most wealthy and complete by today. I have also stated on numerous occasions that this is due to the fact that the more risk with a character, more out of it will be removed. Doctors of Grey's Anatomy are more than clichés. It is customary in the series that deals are made up of highly iconic and recognizable characters and relationships of opposites or very basic features that define their interaction with others. In Grey's Anatomy this does not happen in such an accused. All characters have one thing in common: they are self-centered, immature, behave like teenagers, "selfish and human, very human, that is, err on each step they take. Apart from this, and despite the care nuances of individual personalities, archetypes are not very sharp in the series. This is what I admire most about Ms. Rhimes, its ability to penetrate deeper into the characters than usual. And that is why, among other things, an end like the sixth season seems an exercise in narrative construction and exemplary character development. Not all TV producers are willing to bring their characters to the limits that Rhimes has been theirs. And many may see it as a simple exercise culebronesca narrative-and who knows, might even be right- but what I see is an emotional commitment to the characters, including a dissent and challenge to the standard that few authors take. Come on, that the evolution of Dr. House, compared with that of Meredith Grey, remains in its infancy. So clear.

In an interview after the premiere of the final, Shonda said their physical and emotional exhaustion after signing the script for "Sanctuary" and "Death and All His Friends." That is the commitment of the speaker-mixed with a little silly. Rhimes's involvement with his characters has been so great that has come to take its toll, and I stress, the woman is something drama queen, that's true. In his words removed also a great skill in handling detail at the time of writing. All at the end of the season is measured to the millimeter, the large domain of cause and effect, not only in the episode, but in the long term, is another of the strengths of the script. Paving the way for an end to these characteristics is not a complicated task. Just enter a conflict as opening up the disaster, and so did several episodes before the apparently 'pointless' story of Gary Clark, a name that will cost us forget. What is harder is to involve each and every one of the characters, taking into account developments over the series, and in particular of the season in a conflict that entry seems not to accommodate excessive introspection. No doubt Shonda gets it.

The sixth season of Grey's Anatomy has been perhaps the most uneven to date. The series has not experienced a drop in quality as many of his contemporaries, but it is true that his plots are more scattered and forgettable. Not to mention patients increasingly ridiculous and repetitive-Shonda, you should learn in this sense Nurse Jackie, series makes great use of patients. However, this season has served to learn a little more to the characters without 'interference' caused by great dramas and tragedies. If you allow me the bold comparison, this season has been like Elephant by Gus Van Sant, only better, and that's not a dare, is social suicide in some circles. The 22 episodes prior to "Sanctuary" have brought us all the characters, including West-Mercy intruders, even taking us often to their home environments. Fear for the loss of many characters and has been magnified. It does not happen much with the intruders, at least in my case. The killing of Seattle Grace used to remove the template to two characters unbearable, Reed and Percy. By contrast, Avery Kepner and become fixed for next season, but not before trying them more attractive to the viewer. Again, bravo, Shonda, for taking full advantage of the situation.

"Sanctuary", the first part is the highlight of the double episode. The impact of the first gun shot Gary Clark in front of Reed confirms what we had been fearing for a while: it is just another day at Seattle Grace. But nobody expected what followed the shocking death of Reed. Too many moments that stand out. In fact, the two-hour episode is a collection of highlights, so I am forced to select only a few scenes. List them in separate paragraphs, because somehow worthy of special mention among the tirades for this entry:

1. Cristina and Callie cried at breakfast. Dramedy in its purest form, and one of the sources of Grey's Anatomy. And one of the great examples of what they are usually their teasers.

2. The shot Reed-yes, I had to repeat it, "and the strength of the top of your head hitting the ground.

3. The meeting in the elevator of Gary Clark and Christina. Perhaps the most brilliant of the whole episode, that Shonda would think after writing "fuck, what Hitchcock I am!" As I said, a perfect use of the characters. Cristina was most appropriate for this scene was as effective as possible.

4. Cristina: "I gotta admit, I hope you and Derek die, just a little bit". Shonda, la cachonda.

5. Gary Clark contra Miranda Bailey. A estas alturas, ya no hay uñas. Ver a Gary Clark sacando a Miranda a rastras de debajo de la cama es terrorífico. Verla mentir al asesino después de que este matase a Percy por decirle que es doctor lo es aún más.

6. El encuentro Clark-Shephard. A pesar de estar a punto de ser empañada por el discurso de turno en el que un personaje cuenta una historia sobre su pasado, la dilatada escena nos brinda algunos de los mejores momentos del episodio: Derek -y Shonda- exponiendo la esencia de la serie: "Please, look at me in the eye, I'm a human being. I make mistakes. I'm flawed. We all are "; Meredith and terror over the possible loss of one who loves, and especially speech on April oprahiano Kepner when confronted with Gary Clark. worthy of being transcribed:

" My name is April Kepner . I'm 28 years old. I Was Born in Ohio on April 23rd. I'm from Columbus, Ohio. My mom is a teacher and my dad is a farmer. Corn. I como corn. Their names Are Karen and Joe. I have three sisters! Libbie is first, I'm next. Then There's Kimmy, and Alice. I have not done anything yet ... I have not - I've barely Lived! I'm not finished yet! No one's loved me yet! Please! Please! I'm someone's child! I'm a person! I'm a person! "

7. Webber, powerless witness of the tragedy of "their" hospital via the police radio and Clark-final meeting with more examples of masterful integration of the frames of the characters in the events of the episode.

8. Miranda and his reaction to verify that the elevators do not work. Not so much for the interpretation of Chandra Wilson-I do not see Emmy, but the nomination would not surprise me, "but for what it means for us the discharge of tension at this point of the episode.

9. The happy ending to Arizona and Callie, one of the most emotional moments of the episode, and a pleasant surprise to find that a relationship takes hold we had considered finished.

10. And finally, how could it be otherwise, MEREDITH GREY.

- Meredith: Stop crying. Look, it Took me a long time to find him. A long time. And Even Then it Took me a long time to even know That I wanted him, to be married, His Wife To Be, To Have His kids. And Now That I realize That, he's lying on a table in there and my best friend's Hands Are His chest inside. You do get to cry about That.
- April Kepner: Reed was my best friend. She Died Today.


Rhimes used the biggest crisis in the history of Seattle Grace to talk about their characters, to take stock of your progress in six years, some less, and pave the way for more changes. Shonda admitted that the tragedy of Seattle Grace will affect all the characters and from the seventh season, none will be as it was. I know, is a promise hard to believe, but to me it is enough to wait for the seventh season of the series as rain in May. This, after six years, is a real achievement.