M – The son of the century is a TV series destined to divide an Italy unable to face its past. In a country that did not count with its own history, in which nostalgic gatherings, funerals with arms held, as if they were allegorical scenes and not memories of a dark, brutal, violent period in which someone imposed their own reasons by force, it is impossible that there may be a unanimous choir in respect of the masterpiece set up by Sky and that from Monday 19 October 2026 will be clear on La7.
If sixty intellectuals find themselves to foment the becero any social pollutation by attacking phrases spoken by the protagonist Luca Marinelli during the promotion of the series, tacciandolo di piagnistei suffering repeated, taking therefore pretentious elements not being able to attack another, it means that the series obtained its first result. Everyone has to talk about M – The son of the century. In good and evil as long as you talk about it. Such a massive invasion of the public sphere that the Marinelli/M done. it appeared on all TVs around 20.45 of a quiet Thursday evening, in that precious slot both because it is between moments of maximum listening, and because of the most expensive.
Beyond the superficial trait with which the audience of those who have seen and loved the series will be divided with that of those who have not seen it or will take advantage of it for some superficial criticism by appealing to little interesting aspects, M – The son of the century is a masterpiece of direction, script and recitation. In the first month of 2025 we have the best TV series of the year. Not only for the important, significant content, but also for the container that encloses it.
The decision to entrust the screenplay of the series to experienced people of matter such as Stefano Bises and Davide Serino, and not to figures lent to the seriality, allowed to create a perfect TV series with just episode buildings, a perfect balance for all 8 episodes. The division in two parts is narratively and visually impeccable. The first four bets are bright. The ironic, farsighted, tragicomic tone that travels overtaking the viewer, make him illude of a sense of lightness that surprised the Scurati himself that during the presentation of the series, said how he was afraid to make M. too sympathetic, and then to think again understanding the project as a whole.
Because this tone almost as a comedy, this guascone character, smart, looking in the room and admiring to the public, hides behind the cunning his ruthlessness. The balance between saying and not saying, between ordering and suggesting will accompany the insecure M. for all eight episodes showing an ascent to almost involuntary power. M. is afraid because it embodies the funny Italian, likeness, companion who behind his making friendly hides the knife with which you take advantage of the other. A style that will make school and it is all too easy to recognize references to other characters in history.
The series is characterized by a rock rhythm, dynamic, hectic that from the first part drags the public into the nightmare of the second, when violence increases, when the bundles around the country, take power by coercion and force, while M. looks them from afar. The look in constant machine is a Frank Underwood heritage of House of Cards, the tone of comments, the style is practically the same, that sarcastic and contemptuous taste towards his opponents and his companions.
The attention to detail makes HBO and Sky TV series impeccable. As the weighted choice, calibrated, to find the languages of M., to color all the characters with well defined dialects to make the variety of Italy and Italian. The very narrow dialect, sometimes incomprehensible, with which Benito and Rachel speak, returns a sense of familiarity, which is not found with any other character. The female figures surrounding M. are surprisingly many, fundamental as constriction of the machism that characterizes a violent movement, born among the veterans of the war.
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