Series

The Pitt took home its second consecutive Emmy for Best Drama Series early this morning. This kind of repeat win is not unheard of in American television awards, which are so used to going in loops and compulsively awarding the same title. But, sitting in the studio of El món a Rac1 to comment on the awards, I was struck by the comment from Isabel Garcia Pagan, deputy director of this house: “I liked the first season quite a bit, possibly because of the romanticism of ER and company, but in the second I thought… ‘we are repeating ourselves.’” She is not wrong.

If the most-watched comedy of recent years returns, acclaimed by both the public and critics, it is automatically placed on the list of television priorities for this August. It is the sports comedy Ted Lasso, of course, which returns to focus on a women’s soccer team and repeat the play: to entertain and move with the good intentions of coach Lasso.

When Reese Witherspoon called her to produce and star in Big Little Lies, Nicole Kidman discovered a new world full of opportunities. She won the Emmy and the Golden Globe, yes, but she wasn’t content with having found prestige in television; instead, she turned that temporary idyll with television into a stable relationship.

There are associations of ideas that exponentially increase the appeal of an audiovisual production. For example, Anya Taylor-Joy on paper is one of the most interesting young actresses in Hollywood thanks to collaborations with prestigious directors in Last Night in Soho by Edgar Wright, The Northman by Robert Eggers, Amsterdam by David O’Russell, Furiosa by George Miller, or the upcoming third part of Dune by Denis Villeneuve.

When she received the proposal to star in The Queen’s Gambit, Anya Taylor-Joy had already developed an interesting career in which she had managed to divide her work between the two screens. In fact, her debut was in an episode of the British series Endeavour a year before she starred in The Witch for Robert Eggers, an independent film success that served as a springboard while she was also seen in her first regular role in Atlantis, another English series.

The viewer has to prepare to say “au revoir” to Emily Cooper. According to Netflix’s announcement, the sixth season of Emily in Paris will be the last. It cannot exactly be called a cancellation. With the sixth season currently in production, the series has had its creative run on television and, considering Netflix’s usual allergy to long-running series, it has become one of the veteran series in the catalog.