Some weekends can be truly disturbing. When money is scarce and weather refuses to help, there’s nothing better that to keep up with the latest Tv shows, because sometimes you need more story than a sole movie can provide.
However, if your mind has been working at full speed all week long, there’s no point in overloading it on a Friday night with an intense plot decorated with complex performances. So, some TV series seem to be perfect for those days: light and predictable stories, gentle drama, cute faces carrying preconceived expressions that convey nothing… in brief, a non-innovative TV language that, surprisingly, can keep you entertained until 3 am, because there’s no need to pay extreme attention. Oh yes, the contradictions of the system.
The Fosters: an unoriginal move from creators Peter Paige and Brad Bredeweg. The story, produced by Jennifer López, tells the story of a lesbian couple (Teri Polo and Sherri Saum) with two adopted Mexican children and a ‘high achieving’ young son, who take under their wing a problematic kid who has just left… A sociological commonplace, extremely used in former TV and cinema productions- A bit timeworn, especially because, as usual in American TV, the entire cast is good looking (according to western standards, that is). The plot sheds no new topics of discussion regarding the foster care system, and practically repeats what we all know about a cracked family scheme in the US. Still, the story is fast, the plot develops at a high pace, so it is pleasing and enjoyable at times. It is the ideal production to relax and just let go.
Mistresses: Overdramatic, involving typical characters and stories we’ve all seen before. Even the main scenes have been stolen from standard schemas in tv language. This new series, based on an English production, is more of the same and I can assure that will be left behind without the trouble or fanfare. It displays the private stories of four connected women (Alyssa Milano, Rochelle Aytes, Yunjin Kim, Jes Macallan) and their struggle regarding love and relationships in a postmodern environment. The expectation the plots intends to create gets stuck halfway because the narrative links are not that strong. We just don’t care enough. Try this visual entertainment only if you are left without options.Forgettable, but works at least for a while.
Save me: and now, a comedy. The psychological resurrection of a lost woman who came near to death and now claims God speaks directly to her was an accurate combination to start a TV comedy, and you will find yourself amused sailing the first chapters because unlike other series, this production offers innovative performances, but borders a strong religious guideline as it goes by. Good to go, but not a masterpiece. The plot revolves around Beth Harper’s (Anne Heche) attempts to salvage her damaged relationships with her husband, daughter and former friends, after having a ‘near death’ experience. A TV offer that stays fresh for the first episodes, but tends to sink a bit as it goes by.