What to see this weekend on TV: the column of TPI
This week we will dedicate ourselves entirely to Serial “Maid”, Sample of views on Netflix. And not to speak well of it, but to testify how the problem of politically correct has affected art to the point of making Cinema and Serial grotesque epigones of an extraordinary and unrepeatable golden age, from Breaking Bad to House of Cards, cut short by over-the-counter products like this, strong in the female target audience, a part of it, prone to self-pity and the absolute inability to understand art in any form.
Maid is second in ugliness only to “Unbelievable”, Also Netflix, a disastrous Dickens-style journey into the story of a raped girl that nobody, absolutely nobody, believes, despite clear signs of sexual violence and breaking into her apartment. A grotesque and ridiculous succession of misfortunes for seven point five episodes, to then have the final twenty minutes in which all the men present on the site behaved like perfect idiots, inadequate or rapists, and the policewoman solves the case, at the last , in a riot of tears, narrative inability, boredom, discomfort.
An epic, the contemporary one, of products aimed at women studded with narrative devastation, cosmic emptiness, absolute mediocrity, from Emily in Paris, to Bridgerton, to Baby, to 365. A complete massacre, an assassination and abomination of art, which has hit cinema heavily with Nomadland and other disasters. A collective group therapy, in which if a Scorsese, a Robert Altman, a Stanley Kubrick arrived today, they would be kicked out and cataloged as “Cisgender Males”.
A catastrophe in which true artists, such as Louis Ck, are massacred and eliminated from the art world and solemn strangers are put to direct works with the artistic value of a souvenir from a Chinese shop in Venice. And it’s a shame because it’s the women who launched so many great artists, when everything was easier than that. It is said that the producers of Robert Altman saw “MASH” while bucking it, and it was two friends of the producers who said “But don’t you understand that it is true art?” Result, thanks to these two women: queues at the box office never seen before for a masterpiece film. The female audience, when they want, is far superior to the male one. So why did we end up like this?
Maid sees Margaret Qualley, model and, with a lot of courage, actress, and her (real) mother Andie McDowell together. It would be a pleasure to find McDowell after her great successes, Ricomincio da Capo and Green Card, real films, made by real screenwriters and directors, alas for the Metoo men’s movement, but the pleasure is wrecked in seeing a professional hysterical screamer character, completely dissociated from reality and space, a symbol of any unsolved relationship between mother and daughter. How her daughter was able to grow up normal is one of the mysteries of the screenwriter.
But let’s go in order, just to better understand the grotesque features of “Maid”. A Model of 177 Cm. Caucasian, she is the first in the history of civilization to have no friends, classmates, cousins, uncles, and finds herself out of work with a dependent daughter. It would be enough to enter any Starbucks to get a job, or do what is due to physical characteristics, that is the model, or if it were in Italy to take the citizenship income that is not denied to anyone who does not have or does not want to look for a job, but not her. He ends up cleaning toilets equipped with mice, enters a bureaucratic jungle, is not paid 37 dollars and with the story of the missed payment we go on four, I mean four, bets.
The Casus belli? The model could choose two boys, one is a construction engineer, quiet, serene and in love with her, the other is a handsome man with the smell of alcoholism. Who does she choose? Ça va sans dire. His fault? Throwing a glass at the wall. What do you do? Do they talk about it, go to the police, try a cure, do therapy? Not at all. She takes the car and drives off. Except crashing after thirty meters in the car with his daughter inside. But obviously the serial focuses on victimizing the victim, victimizing the viewer, victimizing the audiovisual process that becomes a grueling gallery of impossible bad luck in the West, abuses, road accidents, nights spent in the waiting rooms of ferries, odyssey in the bureaucracy, billionaires. stingy and very bad, cans for dinner, stuff that Oliver Twist is a breeze in comparison.
Emotional abuse, women who can’t help but go back to their tormentor. All done with the atrocious heaviness of writing that has no idea what it is doing, except unknowingly to punish a beautiful young girl who has chosen the wrong man. And down tears, and down identification of the many desperate singles of the Italian province, who cry together with the protagonist. And here we come to the point. Because the suspicion is that in the face of such cruelty there is pleasure, as if seeing another woman in difficulty generates more than empathy .. even pleasure. It’s more of a suspect. And Unbelievable does the same.
Between a predictable script such as the day / night cycle, a completely out of her mind mother who looks like a no-vax parliamentarian of the Five Stars, musical stacchetti to which the Maneskins are Van Halen, surreal scenes such as presenting oneself as judges without lawyers, not to have a protective network of friends, Maid is a very long, incredibly boring group therapy for those of the fair sex who systematically choose the most beautiful man for the first forty years of life, not the most just, only to accuse men of be inadequate.
In this Maid, paraphrase aside, the point is centered. As the Theorem of Marco Ferradini, we witness helpless the continuous refusal on the part of the model paid for cleaning to realize that the right man is in front of her, it is the guy who lends her the car, who offers her money to go on, who would like build something with her. And in this all “broken” people are like this, both men and women. With a difficult childhood it is difficult to let yourself go to the right person, you will always choose the wrong one. Last note on Margaret Qualley, beloved by the female audience, she is not very expressive and not very reactive. Zendaya, with Euphoria is light years away, and perhaps she could have saved this serial that is nothing, absolutely nothing, artistically valid. Result: one of the most viewed on Netflix.
A serial called “The Problem with Jon Stewart“. Amazing. A manual for every true journalist. A hymn to how journalism can change the world. The Jon Stewart Problem Problem? Talk about important topics, it is led by a man. It is beautiful, moving, strong. Result? Nobody looks at him. Who really cares about others, the diseases of American veterans, when we can watch “Maid” and find ourselves in the story of the only professional high fashion model in the world who cleans bathrooms, not paid? The abyss of politically correct has just begun, and it will disintegrate any true art form.
Read all the articles by director Matteo Vicino on TPI
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