One of the paradoxes of television production design is that shooting cheap can be more expensive than shooting expensive. The small houses give little room to the variety of camera shots and the sets that reproduce them complicate the filming. This is one of the arguments used to excuse the fact that some series are not real estate faithful to the reality they claim to tell. “It was one of the things that scared me the most,” April Zamora commented in a making of from his series Everything else, premiered last week on HBO Max. “They are people who have jobs that are a bit garbage and suddenly they have a huge house… but to be able to record, it’s always cool to have a big space. We justify it by saying that it is an old rental apartment ”.
Other series don’t even bother to apologize because they don’t care or because they don’t think their viewers are going to be bothered. Overall, the suspension of disbelief also applies to this, and if someone stopped seeing Sex in New York, Seinfeld or – what do I know – Afterclass because its protagonists live in houses that they could not afford, he missed it. Almost all of our series of platforms that claim to tell the lives of those under 40 in large cities are on this car. It’s funny that the most realistic was the only science fiction one, The neighbor, in which the superpowers of its protagonist do not give him to stop living far from the center in a small apartment decorated as if he had just inherited it from his grandparents. The verisimilitude of fiction is a pact between two, so if you are going to distort a reality that your audience knows, you have to entertain them enough that they do not care.
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