Teenage dramedy without taboo topics
It’s amazing that Netflix launched this guaranteed mega hit so late. In the center of the plot are several teenagers with different genders, sexual orientations, complexes and problems. The scriptwriters went through, if not all, then most of the combinations: from a squeezed introvert with a sex therapist mother to a homophobic bisexual and a girl confused in her preferences. Their storylines are sometimes intertwined with each other, sometimes they become more personal.
The series is not shy about bed scenes or discussing stigmatized STIs – in other words, it shows the target viewer that the less hesitates to raise these topics in time, the less problems there will be in life. With an older audience, most themes resonate less, but for them there are a couple of adult characters who face essentially similar difficulties.
The most serious psychological detective story about FBI agents “hacking” serial killers
From the first minutes of the series, the handwriting of David Fincher is felt: this is a properly tedious, filigree tape with a minimum of external action and a maximum of tension. The main characters are feds who have to constantly deal with creepy serial killers. To solve tangled cases and save innocent lives, they need not only interrogate criminals, but get into their minds and adopt the mentality of mentally ill people. At the same time, it is advisable to preserve your own sanity and at least conditionally remain within the framework of strict protocols. The task is critically difficult even for ideal people, which the main characters are not at all.
Under Fincher’s direction, the showrunners have created a crime drama that is the exact opposite of the lazy and unprincipled procedures that have pervaded the genre over the years.
In the XXVII century, people finally reached transhumanism: now the human consciousness can be “thrown off on a USB flash drive”, that is, loaded into robotic bodies, thereby achieving theoretical immortality. Because of this technological revolution, the world has turned into a cyberpunk dystopia, where human life, on the one hand, has become more appreciated, and on the other hand, the destruction of a person’s physical vessel has become something less creepy. But, however, it remained a crime.
In the first season, a billionaire hires former warrior Takeshi Kovacs (Yuel Kinnaman) to investigate the murder of one of his bodies. There are several nuances: “murder” looks like a suicide outwardly, the rich man’s memories of the last minutes of his body are very vague. Takeshi was called to work against his will – mentally he still lives in the distant past, and in the present he is not even the master of his body. “Carbon” is a series for those who like cyberpunk and action like from “John Wick”, but already tired of revising “Blade Runner”.
A costumed comedy about women’s wrestling and the Cold War in the ring
The unlucky actress Ruth (Alison Brie) desperately agrees to participate in a grotesque TV show about women’s wrestling. The fights at the young ladies may be staged, but they get real bruises. However, the heroine’s head hurts for another reason. Her personal conflict with her former best friend spreads to the ring, where the rival gets the leading role. To keep up, Ruth comes up with the stage image of a “villain” – a communist warrior named Zoya the Destroya (Zoya the Destroyer), trampling on the values of capitalism. The inimitable accent with which she hounds anecdotes about Soviet life is real music for the ears.
Glow (Gorgeous Ladies of Wrestling) is the name of a real-life TV show that has been released in America since 1985. Just then, in the wake of the struggle for women’s rights, women’s wrestling appeared on TV screens along with men’s. By the way, Jenji Cohen, one of the producers of “Shine”, is known for her other show “Orange is the hit of the season” about the prisoners of the women’s colony. Therefore, it is not surprising that we are again faced with a story about women in a situation in which it would be more customary to see men. And the themes are similar – gender inequality, violence, the ability to survive in spite of everything, including the stereotypes of a sexist society.
Crime thriller about a financial consultant who laundered drug mafia money in a seedy resort town
Marty Bird (Jason Bateman) is a puny little man who works for some murky Chicago firm. His spoiled wife (Laura Linney) and two children for the time being know only one thing about the father of the family – he is engaged in finances and brings a lot of money to the family. But one day Marty has to hastily flee from Chicago to the city of the Ozarks in a remote province. Here, even underage son and daughter understand that dad is actually engaged in money laundering on an especially large scale at the request of a Mexican drug cartel. In the Ozarks, Missouri, Marty will have to launder several million Mafia dollars in an attempt to save the lives of himself and his family members.
Bateman, who has suddenly discovered a great drama artist in himself, shows Netflix subscribers the world of illegal cash transactions. It turns out that in order to pass a few bags of dirty bucks past the tax authorities and send them abroad, you can invest them, for example, in a diner or a strip bar. It is a pity that this knowledge is unlikely to help in life.