the new Netflix series that loves to hurt love

Made with Judd Apatow, the new comedy from Netflix depicts the hesitant and often confused meeting of two thirty things. A touching ‘anti-rom-com’, full of precision, albeit at some length. To find out on Netflix from Friday, February 19th.

The romantic comedy sipyat, long live romantic comedy. Recently, the trend for love is self-inflicted. To lost heroes, who want to be loved but don’t know how to love – or vice versa. To the wounded, to the cynics, to the lonely, to those who have no illusions… but, swallowed up by regrets and emotional memories, still dream of finding a soul mate. A wave of “anti rom-com” (anti romantic comedy), which reverses genre codes, has hit television at some point: You are the worst, Men seek women, Casual across the Atlantic, He and He emphasis calamity in England, in forms and themes as varied as there are (more or less) happy loves, the series dares to play the card of failure and frustration, with the wrong characters, looking for to each other, to avoid, to miss each other … just like in real life – at the risk of the voice of the ridiculer, let’s remember that fairy tales are in the minority. Already a producer of Womenwhere feelings are rarely sweet, Judd Apatow is once again behind lovenew anti-rom-com, whose season 1 is online Friday, Feb. 19 on Netflix.

Here, there is no violin

We follow the encounter of Mickey (her) and Gus (her), two thirty years old from Los Angeles, crossing the streets one morning with a hangover at the local supermarket, coming back, observing each other, avoiding to each other, seek… together? The “? Is important, and almost should have been in the title (Love?) in the series, created by Apatow, comedian Paul Rust (who plays Gus) and the one who will soon be seen putting the label on the “new Lena Dunham”, Lesley Arfin (former screenwriter of Women, exactly). There are no violins here, but on the contrary a series of mistakes – more than once added, but all credible – that delay from stage to stage once the two “lovebird” (the word is never deserve them) after love. each other. If they fall in love with each other one day: pretending to be indifferent, misunderstood text messages, failed nights, disaster dates, love offers a fellowship of all that separates us from a love that seems promised.

https://www.youtube.com/watch?v=Ym3LoSj9Xj8

There’s no love at first sight here, but a law enforcement officer says the opposite is appealing. Mickey was a former addict, depressed, impulsive, on edge, whose charm was due to his raw, unfussy, almost rock’n’roll side. Gus is a nice kid, funny, clumsy, able to make a little jerk in “right” situations. They have only one major point in common: they don’t think we can love them. So they multiply their slippages, flee on first alert, preferring to roll around on their own than to admit that, perhaps, love (finally) is knocking on their door. To make it clear to us that violins aren’t on the menu, the series opens with a period of breakup, that of Mickey and Gus, each starting relationships that don’t suit them. During these two tracks (at the beginning of episode 2), Gus released his collection of Blu-Rays…When Harry meets Sally, Beautiful Womanthe least known Victim of Fashion with Reese Witherspoon, and… homeland season 3). ” Lies, folly, fuck ’em Gus shouted.

Antidepressants, alcoholism, lewd sex (one three is wrong), violent response – ” waiting for love ruined my life -, love a cousin, somewhat more optimistic, of Women. With a nuance of weight: it is no longer a question here in the twenties — something to seek for themselves, but in the thirty — something to see in others, with a relatively strong friendly life (especially Gus) and a specific job, though. rotten maybe- he (he works in radio, he gives lessons to young actors in a series of ways in the witchcraft drawn). Mickey and Gus are sometimes immature, especially when the nostalgia of their crazy years resurfaces – and the fact of married friends, who often have children, jumps in their faces – sometimes the kids are on a whim , but most of all they were afraid of each other. Still. To hurt. To attach. To see love where there is boredom or, more importantly, hatred.

@Netflix

Mao to love touched by all that was precisely not love, which he surpassed. When it revolves around the word, it summons the excitement that precedes it, the anxiety that accompanies it, the doubts, the involuntary disasters and those we challenge, driven by our demons. When he developed his two characters, beautiful writing once passed the basic stereotypes (primarily, the self -destructive and the shy), alive, indeterminate, awkwardly holding on to anything similar to desire and affection, at the risk of losing love, “true” love, if it exists. Gillian Jacobs (community) and Paul Rust, a discovered, perfect. She can’t be restrained because she wants to be bad, she’s beautiful but not very good at listening to others. One of the risks of this early era is that it draws two interesting characters, but doesn’t always give us enough reason to want to believe in their common destiny.

Something to hope for, to cry, laugh and moan

love takes care of its rhythm and its aesthetics, very independent cinema, with episodes concentrated in one night, long dialogues, a play without effect, in the service of the characters (John Slattery, ex fools, performs some of it) and a naturalistic translation, undoubtedly open to improvisation. It’s always funny, has some hilarious lines, is ready to relax and has no taboos (“ nothing can dry a vagina like a paragraph “, deleting a character about text messages that are too long. his radio boss, played by Brett Gelman, caricatured) and Gus (he teaches an unbearable. starlet, for him and for us) .They could do anything to quarrel with each other, but we were angry affection for these two prevails in spite of all.Even if you are mocking for good or you are still hoping that love is there, it is likely that the first ten episodes of love Bring us something to hope for, to cry, to laugh at and to complain about. We hope this will inspire French broadcasters to offer its American “anti-rom-com” cousins, You are the worst and Casualmore successful and more detailed.

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