The law of series, a selection of “TéléObs”: “Dahmer”, “Marie

♥️♥️♥️ Dahmer

American series by Ryan Murphy and Ian Brennan (2022). Available on Netflix

With Evan Peters, Richard Jenkins, Penelope Ann Miller. 10 episodes.

The sequel after the ad

Back-to-school surprise card, “Dahmer”, biopic of the serial killer nicknamed “the cannibal of Milwaukee”, quickly established itself as one of the most watched Netflix programs in the world. Feeling of instrumentalization of the families of victims faced with the crudeness of the reconstitution, morbid memes shared in cascade on social networks, media trial in obscenity (the models of glasses eighties of the criminal are selling like hotcakes as Halloween approaches)…

We will pass on the controversies generated by this commercial success, the series, fabulous, will survive there without difficulty. This virtuoso and sticky thriller is also a twilight portrait of an America torn apart by its paradoxes and injustices. The unbreathable first episode, an anthology piece irrigated with a perverse terror, concentrates in itself the main lines of force of the whole. Ryan Murphy portrays Dahmer as an insidious monster, a bogeyman Wasp lurking in the shadows (he mainly killed young black, poor and homosexual people, in the total indifference of the police).

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But all it takes is an image, a crucial second, to reveal his share of humanity: this psychopathic white man, thereby enjoying incredible impunity, nevertheless remains a shameful homo bourgeois, an emotionally handicapped locked in his dreary and solitary life – notwithstanding his desire for domination and his atrocious fantasies, he kills his victims when they abandon him, giving him a pathetic look that evokes the assassin of “Mr le Maudit”. The feat here consists in dissecting the deep evil of the character while inscribing him in the society which saw him be born and grow up. Jeffrey Dahmer, Murphy tells us, is neither more nor less than an offspring of America, a citizen certainly not quite like the others, but bearer of a truth that must be faced in the face to get to know us collectively better. GL

♥️♥️ Marie Antoinette

Jasmine Blackborow (Lamballe), Emilia Schüle (Marie Antoinette) (© CAROLINE DUBOIS – CAPA DRAMA / BANIJAY STUDIOS FRANCE / PEOPLE / CANAL+)

Franco-British series by Deborah Davis (2022) – Monday 9 p.m. Canal+

The sequel after the ad

With Emilia Schule, Louis Cunningham, Jack Archer. 8 episodes.

After Catherine de Medici, who became “The Serpent Queen” for the Starzplay channel, or Louis XIV, pop star of “Versailles” (already on Canal), it is the turn of Marie-Antoinette, period 1770-1780, to transform into heroine of an English-speaking series smelling of hypermodernity. Surprisingly, in this Canal+/BBC co-production, the German-Russian actress Emilia Schüle manages in the title role to make people forget the memorable performance of Kirsten Dunst in Sofia Coppola’s film, whose success precisely initiated this fashion for chic anachronism, fifteen years ago.

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Perhaps because of its airs of a large fragile bird caught in the headlights of the court of Versailles or thanks to the subtle dosage composed by the showrunner Deborah Davis, screenwriter of the feature film by Yórgos Lánthimos “the Favorite” (2018) – other invigorating enterprise of dusting off figures from our heritage. Of course, the story of “Marie-Antoinette” distances itself from history: the brave Louis XVI here becomes an autistic monarch at the head of a barbaric regime where the passions of individuals take precedence over reason.

However, fans of crinoline dresses and other powdered wigs will find something to satisfy in the formal splendor of the series. The others will let themselves be seduced by the shimmers of this frightening amusement park from which only emerges the immaculate beauty of the young Austrian, a white goose thrown into this poisonous courtyard, but who will end up showing off to her schemers. AS

♥️♥️ Uncomfortable

“Uncomfortable” (ARTE)

French series by Louise Condémi (2022) – Available on Arte.tv

The sequel after the ad

With Mélodie Adda, Sidi Mejai. 23 episodes.

It’s a mock-photo novel divided into 23 episodes of just a few minutes, a succession of screenshots scribbled by the characters, as if they were keeping a sort of diary filmed on a smartphone. Either a minimalist device, but devilishly inventive, to tell the sentimental wandering of two great introverts, unsuited to society, to the stressed and stressful exchanges it imposes. Esther and Roméo are in their twenties, they are self-centred, anxious, shy and clumsy. She makes gluten-free waffles that Romeo delivers by bike.

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He is a virgin, celibate, a poet at times and an incorrigible romantic. Esther is no more denial, asserts herself as a solitary fundamentalist – yes, she is downright misanthropic. “Hello boo mom” could be their anthem. They will ignore each other royally, too busy scrutinizing their discomfort, until an unexpected incident brings them closer together. If the softness of the characters makes you want to shake them up, we can only salute the inventiveness of the company and the charm that emanates from it.

We find there with the greatest pleasure a sense of poetic detail totally absent from the world of series since the end of the late “ UFO(s)” on Canal+ and “The End of the F***ing World” on Netflix as well as a visual richness reminiscent of the candy-colored photos of Martin Parr and Alice Moitié. If his style borrows from the great motifs of our time (Esther and Roméo live with their eyes riveted on their telephones), he nevertheless calls upon classic references that touch on the timeless – such as the pieces by Marivaux which we think of a lot. We then begin to dream that Louise Condémi, the creator of this attractive object, seizes the next time heroes capable of entering life on the same level rather than beating around the bush. AS

The law of series, a selection of “TéléObs”: “Dahmer”, “Marie-Antoinette”, “Malaisant”