What a mistake and what a trap it is to measure yourself with Michaela Coel or Phoebe Waller-Bridge.

But the gods of television (the goddesses) know that this is being done.

For now, only Daisy Haggard with her very successful

Back to Life

has approached those two major works that are

Could destroy you

(Coel) and

Fleabag

(Waller-Bridge). It is not risky to attribute much of the success of these two extraordinary series to the personal magnetism of their protagonists. And it is that both Michaela and Phoebe, protagonists of their own creations, have turned their faces into very powerful brands. Being at the same time in front of and behind the camera (not as episode directors but as creators of their series) is a risky decision that does not usually go well. Less when you're a genius, of course.

Ana Rujas and Claudia Costafreda are not geniuses, let this be clear. His

Cardo

(Atresplayer Premium), sponsored by the ubiquitous Javier Calvo and Javier Ambrossi, is very far from

Could destroy you

or

Fleabag

. But it also

separates, upwards this time, from the Spanish series with which we could compare it

, especially the one with which it does not coincidentally share space today in this section. If in

Everything else

we can detect a toniquete of cuqui imposture, to

Cardo

we could accuse her of the opposite. Going crazy all the time, Rujas and Costafreda do not hesitate to expel certain viewers, to whom they seem to say from the beginning: "Indeed, this one you are watching is not your series."

That same message I received from the first episodes of Atresplayer Premium fiction. However, something from

Cardo

stayed with me. The derailment of María (Ana Rujas), a woman from Carabanchel who in the year she turns 30 is aware that nothing in her and in her life works, is completely foreign to me. ¿

Why then at the end of

the first episode of its history immediately passed the second

and so on

until exhausting all who had given me to see? Let's call it morbid, healthy curiosity or fascination with the work of Claudia Costafreda and, above all, of Ana Rujas. The former model and actress of youth series is poured into Cardo in such a radical and sordid way that one cannot but applaud her courage.

As endowed with a supernatural photogenic as she is reluctant to step on the brakes of modesty

, Ana Rujas makes it clear that her series will be whatever it is (apart from SUYA) but her status as a superstar cannot be disputed by anyone.

That a character as unpleasant as María drank from Rujas' life could drag both of them into self-parody.

Miraculously there is none of that in

Cardo

.

What there is is a permanent exaltation of drama and doom that borders on the most naive adolescent egocentrism, since nothing that Maria does is really extreme or specifically generational and Cardo is not

Titane either

.

This, combined with a strong sound and visual bet,

will expel many from the series.

With me he almost made it.

But Ana Rujas

.

According to the criteria of The Trust Project

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