Star-studded anthology series are a trap.
A trap that works for me. Give me an overwhelming bunch of actors and actresses and you have me inside you. Inside
Los Romanoff
,
Solos
or
Modern Love
. These three series are from Amazon Prime Video, which consistently opts for the
format of independent chapters with a thematic or conceptual connection
. The result, in terms of quality and interest, is always the same:
some episodes work better than others, with some you connect more than with others.
This, which occurs in all series, in which each of its parts is narratively independent, is much more evident. And pointing it out becomes almost an obligation.
The first season of
Modern Love
also had that "flaw."
Based on a famous New York Times column
, this series relied almost everything on its cumulative cast and the allure of the texts that inspired it.
Modern Love
stories
are more recognizable than modern and that makes
the series, from the outset, like it
. However, the expectations generated by many of its episodes are not met.
It seemed inconceivable to us that Tina Fey and John Slattery didn't give us a masterpiece
, but that's what happened at the time with
Rallying to Keep the Game Alive
, a segment written and directed by none other than
Sharon Horgan, whose
Catastrophe
yes that is the
definitive
Modern Love
.
Cases like this are also found in
the second season of the series, available on Amazon Prime Video for a few weeks
.
The chemistry between Garrett Hedlund and Anna Paquin doesn't make
In the Waiting Room of Estranged Spouses
(written by
Succession
screenwriter Susan Soon He Stanton
) really take off.
And
The Night Girl Finds a Day Boy
, directed by the ever-efficient Jesse Peretz is downright unbearable.
In return,
two usually weary performers like Kit Harington and Lucy Boynton make
Strangers on a (Dublin) Train
(written and directed by John Carney,
showrunner
of the series), a slight delight.
Not to mention the very simple
On a Serpentine Road, With the Top Down
, starring Minnie Driver, where Carney
risks
everything to an emotional connection with the viewer that may or may not occur
, risking an all or nothing that put me a lump in the throat.
And then there is
How Do You Remember Me?
Andrew Rannells' directing debut is close to perfection.
It's what
Modern Love
should always be: a clear idea, a clean execution, a gutsy gamble.
And without the need for overwhelming names.
None of the protagonists of
How Do You Remember Me?
is famous.
It doesn't need to be.
That was what modern was.
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