In an isolated town in France the dead are suddenly appearing in front of their old houses, knocking on their doors and trying to live again within their communities. Although it may look like a zombie, Les Revenants is not one. This is an intimate, beautifully assembly drama that stays in the thin line between fantasy and reality.
Big Secrets, Small Towns is not the only new genre in our TVs. Other fictions such as The Affair, Caprica, Heroes or The Leftovers are part of a different group: disappointing and boring shows that work better as an object of study than as a series. Continue reading
1986, Blue Velvet, by cult author David Lynch, opens with the sequence below: the perfect life of an American suburban neighborhood is suddenly halted. A middle-age man, who watering his yard, seems to suffer a heart attack and he drops dead in an instant. The camera dives slowly into the perfectly cut grass, deeper and deeper. At the bottom, we find the insects, the filthy, the rotten… Lynch showed us with this shot, together with the well-known ear with ants, that under the superficial, seemingly perfect, American way of life in the small idillic communities there’s always a dark hidden shadow, a place where people bury their most infame secrets and desires.
I need to say goodbye to someone I care about, someone who’s still here, so I’m saying it to you. You were good to me, Kevin, and sometimes when we were together, I remembered who I used to be before everything changed. But I was pretending, pretending as if I hadn’t lost everything. I want to believe it can all go back to the way it was. I want to believe that I’m not surrounded by the abandoned ruin of a dead civilization. I want to believe it’s possible to get close to someone but it’s easier not to. It’s easier because I’m a coward and I couldn’t take the pain, not again. I know that’s not fair, Kevin. You’ve lost so much, too, and you’re strong. You’re still here. But I can’t be, not anymore. I tried to get better, Kevin. I didn’t want to feel this way, so I took a shortcut. But it led me right back home, and do you know what I found when I got there? I found them, Kevin, right where I left them. Right where they left me. It took me three years to accept the truth but now I know there’s no going back, no fixing it. I’m beyond repair. Maybe we’re all beyond repair. I can’t go on the way I’m living… but I don’t have the power to die. But I have to move towards something. Anything. I’m not sure where I’m going, just away. Away from all this. I think about a place where nobody will know what happened to me. But then I worry I’ll forget them. I don’t ever want to forget them. I can’t. They were my family. I think I loved you, Kevin. Maybe you loved me too. I wish I could say this to you instead of writing it. I wish I could see you one last time and wish you well and tell you how much you mean to me. But I can’t. Like I said, I’m a coward. So wish me luck, I think I’m going to need it.
According to a scientific theory (that you must know if you saw a cancelled TV show produced by J.J. Abrams with the same name), six degrees, everyone is connected everyone through a chain of five intermediaries, even your favorite K-Pop singer is six steps ahead of you. Although this concept has usually been applied (and even improved) to the real world as in, for example, the case of Facebook users, we are going to see how this works in the field of TV shows.
The Leftovers, the new show from HBO by Damon Lindelof (Lost), was one of the most anticipated shows of this summer season. The show about the consequences in a small town of the disappearance of 2% of the population debuted last Monday, did it fulfill our expectations? Let’s have a chat about it!