Clearly, the new Italian TV series of Netflix, is somewhat the manifesto of the state of contemporary seriality from platform in which everything is covered with music because it is necessary to make it clear that there was a change scene and to raise the gaze from the mobile phone, in which the scenes are short because there is never the right reel for socials, in which everything is approximate because so much who notices. A TV series definitely pleasant to watch but at the same time also likes you, who knows how to capture the audience by putting here and there those artifizi, those choices that make you think “uh but cool”.
The series is freely inspired by the novel The shadow room of Mirko Zilahy and reading the plot of the novel the first thing that jumps to the eye is that the character of the inspector interpreted by Andrea Lattanzi is actually a woman, with the authors and the production that he preferred to turn on the look of the comedy buddy also facilitating comparisons with the world of Sherlock Holmes. The formula of Chiaroscuro refers to that of the TV series typical of the USA Network of the early 2000s, including obviously White Collar, with a scam artist who collaborates with the FBI, a short procedural structure and a case that runs throughout the season and is tied to the protagonist.
Precisely because it corresponds to many products already seen, it is a pleasant TV series that entertains, nothing to say from this point of view. The pair of protagonists works in their contrasts even though Pierpaolo Spollon more than having the air of the brilliant saviour, seems to be only constantly annoyed by everything and everyone. Unfortunately, Spollon is one of the main problems of the series. His character raised in Bomarzo (another problem on which I return shortly) speaks with a strong inflection of the north without any logical explanation. Although it is correct that it should not have a marked Roman accent even to contrast with the character of Tiberi, a clean Italian would have been more appropriate, without any inflection. He is not a critic to the actor, good in his role, as to the narrative choice itself.
The fascinating and suggestive park of Bomarzo is not at free access from the 1960s, so it is not credible all that they show in the series. Although it is interesting to use this unique park in the world, it does not make much sense to show a father and a son who seem to live in and play hide. The obsession for Rome and Romanity is another problem of the TV series and writes it a Roman. Viewed from the top with drones, scenes entirely shot in terraces overlooking the Colosseum, Roman songs until arriving at the Romeo er mejo der colosseo of the Italian version of the Aristogatti. All too much, all so excessive (even the swears) to be unnatural, as if they had to make a promotional spot to bring back that characteristic Rome for a city that does not need it.
Chiaroscuro. (L to R) Andrea Lattanzi as Angelo Tiberi, Pierpaolo Spollon as Cosmo Speranza in episode 103 of Chiaroscuro. Cr. Erika Kuenka/Netflix © 2026
A characterization that maybe will also help the TV series to travel better abroad, but that loses pace to the series, disturbs, has a strange and unmotivated effect, often because used in chord scenes that do nothing but emphasize the obvious, like the trueness of Inspector Tiberi and the relationship with Cosmo. Overall Chiaroscuro is the answer to the Roman American procedural, with simple bet cases and scene shots on the horizontal case that sometimes arrive almost randomly. The personal events of the protagonists arrive at the necessary (in the first episodes Tiberi is tormented by the family who then disappear), the various lovers are inevitable but also not necessary.
A light entertainment or little more that quickly loses even that most interesting leap of dive in paintings, whether it can confuse anyone looking. The series, in fact, chases the world of Rai fiction and that audience, perhaps hoping that this time it is a niece to let the grandfather discover the streaming. A drift of contemporary Italian seriality that no longer defies the public but blandes it, pushing it to settle because given the excess of competition those willing to make efforts are less and less and then capture and retain are the only two necessary verbs.
L’articolo Chiraoscuro, the review: a White Collar to carbonara that pushes to settle comes from Dituttounpop.it.
