There are mantras that have been turning on the web for a long time and not only that are used with the sole purpose of denigrating an intellectual world, perhaps on the left, progressive, considered by some elitist only because it tries to use reasoning beyond the belly and instinct. First the use of radical chic was almost offensive, then it went globally to invent the concept of awakening in a negative sense, finally it came to the idea of the fantomatic circus of actors/directors/writers working with each other. Too bad you can use that satirical intellect to make everything disappear in a bubble of futile gossip soap.
Too bad as the title of a delicious TV comedy series, genre that we do not frequent in Italy banally because in the TV boxes it has a long time too short. Titles such as Friends, The Big Bang Theory, How I met Your Mother, Modern Family, have become cults thanks to the undergrowth of piracy, word-of-mouth, on the arrival of Sky, but rarely our productions have gone beyond the stage sitcoms. Better to infuse comics with yet another police or medical because in the end we like laughing is the 30-minute format we don’t like.
On the other hand, streaming platforms also allow us this, to dare with a comedy not only from 30 minutes and 6 bets, but also with that nice weekly release that allows to dilute over time interest, enthusiasm, comment. Sin is a fun, intelligent product, a subtle satire of contemporary looking at the twists of the future. A bit longer than some scenes seen by Valerio Ludini or by Splendid Frame of Geppi Cucciari (present in the series in a deliciously fun way). The idea behind sin is to do something that may seem real and realistic but at the same time it is.
If Carlo Verdone in Vita da Carlo (of which he was assistant director Valerio Vestoso who also works in Sin) had attempted (untilfully) the card of seriality combining reality and fiction, resting too much on the Charles of the collective imagination, here Emanuela Fanelli totally embraces the serial format and becomes herself a character, a sort of alternative version of Emanuela. And in this way, everyone, like an extraordinary Ferzan Ozpetek fixed with solar panels, passing through all the respondents of the fake documentary. Full of funny ideas (which is better not to unveil not to lose the taste of discovery during the vision) Shame a fun TV series that makes laugh and knows how to laugh about all the flaws of the Italian system between television (unknowingly autoironic?), fiction and cinema.
L’articolo Sin, the review of the TV series by Emanuela Fanelli by HBO Max: smoothness, fun, works proviene da Dituttounpop.it.
