There are few better ways to attract the attention of television series viewers than having Helen Mirren and Harrison Ford as their protagonists. This is the case of 1923and although it may seem like a phrase from the great Cabrera Infante, the series is a sequel to 1883, from the prequel of Yellowstonethe largest ranch in Montana and a key element in all the television productions that have been filmed in its name.
In 1923a difficult time due to a tough economic situation in which the Great Depression was already in sight, several parallel stories are told. There are the cruel fights between shepherds and cattlemen for the scarce pastures in the area, the greed of the new mining magnates, the conviction of the bearers of the Catholic religion that “the letter enters with blood” to convince the Indian community of the advantages of the good news, the African adventures of the nephew… All of this is framed in a traditional western landscape, the genre that, with Wall Street, best defines the empire.
A formally very attractive series (SkyShowtime and on Movistar Plus+), with a powerful production and an overwhelming Helen Mirren, owner and mistress of the screen and the ranch, dressed and combed without the slightest concession to glamorbut with a talent that prevents us from focusing on the accessory, and a Harrison Ford who we assume yearns for a villain role after starring in so many good heroes since that Han Solo in 1976. A notable series created by Taylor Sheridan, also responsible for the scripts of the eight chapters that make up the first season and with that already annoying habit of those responsible for the series of ending them at a high point in the action so that the long-suffering viewer desperately waits for the second season. It’s the audiovisual industry, stupid!
Of course, if the viewer wants to watch a series with a clear beginning and end, without tricks, he can let himself be carried away by the exotic The lord of the house (Netflix), a Thai production in which the murder of the patriarch of a large diamond company, recently married to one of the many servants in the mansion, unleashes the struggles of a family that exercises the right of pernada and mistreats subordinates with a naturalness that is not typical of today. A surprising soap opera about feudalism in the 21st century.
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