Super Pumped: The Battle Against Uber, Who Is Anna, Winning Time: The Lakers Dynasty, WeCrashed, The Dropout… In the first four months of 2022 we will have already seen more than five series based on real events, and there are many more on the way. Due to their thematic coincidences, we could speak of a golden age for stories of rise and fall, or that the time has come to burst the bubble of the start-ups technological, but the strongest link that unites all these series is that we can read their plots, turning points and resolution of cliffhangers on Wikipedia.
We have already been dragging for a long time the weight of an excess of derivative works. We understand that this is a business, that there is a lot of competition, and that Betting on intellectual properties with their own name paves the way to the beginning. At least, the Marvel series at Disney play with the expectations of comic book readers and, with greater or lesser success, take unexpected paths. Remember, for example, the invented threat of that Mephistos expected by all who never appeared in Scarlet Witch and Vision.
To take a totally different example, Rome, which we have talked about here this week for its anniversary, which tells a story studied by all, but from a new point of view. The main problem with the type of series that have motivated this text is that they do not add anything new to the original story. Neither with the way of telling it, because they are cut from the same mould: the almost never achieved claim that we think “truth is stranger than fiction”, an unnecessary non-chronological narration with jumps in time and a soundtrack of great pop songs.
As a trend, this is The most boring thing that has happened to TV in recent years. We can solve a cliffhanger instantly, and find out if someone dies, gets married, goes to jail, wins or loses without having to wait a week or watch seven more hours. The worst feeling that a series can leave is the idea that we can read its plot on Wikipedia and continue with our lives without feeling that we are missing something.
On the other side of the seriéphile spectrum we have the stories in which the way they are told makes them an unavoidable date. What Successionwhich, inspired by the Murdoch dynasty and with Shakespearean threads, keeps us on our toes every week. Station Elevenwhich we could read the novel it’s based on, and watching it would still be something new and exciting. euphoria, whose technical virtuosity at the service of emotional realism overcomes the discomfort and anguish it generates in us. EITHER Better Call Saulwhich despite being a prequel, from what we know the fate of its protagonist, has made us suffer for Kim, a new character.
Intimate stories charged with emotion, such as Better Things, Reservation Dogs either Somebody Somewhere, that do not need artifices to move us. The unclassifiable, such as Atlanta; entertaining as yellowjackets either Only murders in the building; surprising and stimulating Russian doll, Servant, Barry either severity…
The experience of watching these series can never be compared or replaced with someone telling us what happened, finding a meme on Twitter or reading a review the next day. We need to see them with our own eyes, live them in the first person, not missing an episode, not looking at the mobile while they are on screen, discussing them with whoever wants to listen to us. That is the fiction that captivates us, the one that gets us to be in a sinvivir due to the destiny of its characters, because they matter to us; the one that excites us. For more series that can not be read on Wikipedia.
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The end of the cliffhanger and the rise of series based on real events that can be read on Wikipedia
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