audiovisual productions are good and bad, but other hateful and then there is a final category that can include such series as the Red Eagle or the work of director Ed Wood, so amazingly bad clunkers facts can only respond to a complete lack of sense of the ridiculous, and for that reason border on genius.
Yesterday
premiered the second season of this series and I strongly recommend you do not miss even one chapter, it really worth it. And not just because you end up hurting the ribs from laughing so hard, but also because it can be considered a true Bible about what not to do at the level of scripting. The truth is that, unlike other English productions where there is a huge disparity between the budget and stated objectives, the problem begins and Red Eagle at writing and that is something abnormal. Actually, it is very difficult to meet a script so much nonsense and deus ex machina chungas intended to advance the argument erratically from one point to another preset, but not be deliberate. It is precisely in this unusual coolness resides its appeal.
see who, without going any further, is capable of designing a line of investigation as crazy as this: When the character you want to discover the identity of his mother, a dark secret that haunts him, decides to ask the priest who for years has been his tutor. However, this, instead of responding in the moment, he is quoted in a field late in the morning to tell him. Of course, the masked crusader comes to the appointment but, as expected, the priest is dead, though, thanks to a timely flashback, also remember that the deceased had always said that "the answer to all your questions is in me." Therefore, in the middle of the wake, naked to the luncheon to find a tattoo on his back that is accompanied by some arcane Chinese symbols of the stars of The Carmelites, which, in turn, serves to guide you to a remote monastery in ruins where, coincidentally, he meets a leper nun who mysteriously met his mother ...
also invaluable is the lack of causality between scenes, as the plot spins continuously, which removed one after another rabbit out of a hat, have not the slightest effect on the overall development of the convoluted plot. So when the doctor announces that calvorota is actually the Marquis of Calatrava Sotoancho and Grandee of Spain, which has a mansion on the outskirts of Madrid and is lined with money, it generates no more than a momentary fainting to a female member cast.
That is, the writers never shown the slightest concern for trying to explain why a "grandee of Spain" has abandoned its obligations palace to work as an apothecary in a working-class district of the capital. Almost say that the Golden Age it was something that happened to daily. And, of course, do not explain why that character has not used all their money, power and influence during the first thirteen chapters to address all the wrongs that were subjected to the evil sheriff. Furthermore, this finding does not raise any noticeable reaction among the other characters, beyond the concern of his fiancee to know what to do with a big house: surely, their anguish only respond to the prospect of having to scrub both corridor. Thus, neither the protagonist feels surprised at this, no one is deceived by the farce shows that the rate has remained chapter after chapter.
are also fascinating all these anachronisms in Asterix and Obelix plan, or The Flintstones, but castiza version ... although I'm not so sure is that they are intentional. To highlight the continuing complaints about the high price of housing in Madrid and the abusive conditions of the lenders, when a newly married couple is forced to leave town to live in a village on the outskirts, having to travel a long day horse-drawn carriage ride to get to work. Or those deliciously forced nudity, an obsession with boob and ass show just the height of the great classics of Esteso and Pajares, in what is undoubtedly a brave attempt to re-explore the purest tradition of uncovering Iberian in the XXI century.
In short, I have not seen a historicist fiction so deeply absurd from the subplot designed for the movie "300." The only thing I miss is that, because it now has more media production, has lost part of all this moving cutrez Z series that characterized the first season. Let us pray that Globomedia has squandered all his money in this first chapter and the series soon recover gradually throughout its traditional charm.
Yesterday
premiered the second season of this series and I strongly recommend you do not miss even one chapter, it really worth it. And not just because you end up hurting the ribs from laughing so hard, but also because it can be considered a true Bible about what not to do at the level of scripting. The truth is that, unlike other English productions where there is a huge disparity between the budget and stated objectives, the problem begins and Red Eagle at writing and that is something abnormal. Actually, it is very difficult to meet a script so much nonsense and deus ex machina chungas intended to advance the argument erratically from one point to another preset, but not be deliberate. It is precisely in this unusual coolness resides its appeal.
see who, without going any further, is capable of designing a line of investigation as crazy as this: When the character you want to discover the identity of his mother, a dark secret that haunts him, decides to ask the priest who for years has been his tutor. However, this, instead of responding in the moment, he is quoted in a field late in the morning to tell him. Of course, the masked crusader comes to the appointment but, as expected, the priest is dead, though, thanks to a timely flashback, also remember that the deceased had always said that "the answer to all your questions is in me." Therefore, in the middle of the wake, naked to the luncheon to find a tattoo on his back that is accompanied by some arcane Chinese symbols of the stars of The Carmelites, which, in turn, serves to guide you to a remote monastery in ruins where, coincidentally, he meets a leper nun who mysteriously met his mother ...
also invaluable is the lack of causality between scenes, as the plot spins continuously, which removed one after another rabbit out of a hat, have not the slightest effect on the overall development of the convoluted plot. So when the doctor announces that calvorota is actually the Marquis of Calatrava Sotoancho and Grandee of Spain, which has a mansion on the outskirts of Madrid and is lined with money, it generates no more than a momentary fainting to a female member cast.
That is, the writers never shown the slightest concern for trying to explain why a "grandee of Spain" has abandoned its obligations palace to work as an apothecary in a working-class district of the capital. Almost say that the Golden Age it was something that happened to daily. And, of course, do not explain why that character has not used all their money, power and influence during the first thirteen chapters to address all the wrongs that were subjected to the evil sheriff. Furthermore, this finding does not raise any noticeable reaction among the other characters, beyond the concern of his fiancee to know what to do with a big house: surely, their anguish only respond to the prospect of having to scrub both corridor. Thus, neither the protagonist feels surprised at this, no one is deceived by the farce shows that the rate has remained chapter after chapter.
are also fascinating all these anachronisms in Asterix and Obelix plan, or The Flintstones, but castiza version ... although I'm not so sure is that they are intentional. To highlight the continuing complaints about the high price of housing in Madrid and the abusive conditions of the lenders, when a newly married couple is forced to leave town to live in a village on the outskirts, having to travel a long day horse-drawn carriage ride to get to work. Or those deliciously forced nudity, an obsession with boob and ass show just the height of the great classics of Esteso and Pajares, in what is undoubtedly a brave attempt to re-explore the purest tradition of uncovering Iberian in the XXI century.
In short, I have not seen a historicist fiction so deeply absurd from the subplot designed for the movie "300." The only thing I miss is that, because it now has more media production, has lost part of all this moving cutrez Z series that characterized the first season. Let us pray that Globomedia has squandered all his money in this first chapter and the series soon recover gradually throughout its traditional charm.
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