The best series of 2018

This year is leaving us a very interesting crop on Netflix, HBO, etc. Is the best series of 2018 on this list or will there be a surprise in the last weeks of 2018?

Our readers love to say that they hate lists of best series, best movies, etc., but in reality we know that nothing puts you more than we publish them and you destroy them.

That’s why this year we get up early in our list of favorite series of 2018, and now that the end is approaching we are anxious to know how to decide who will definitely take the title.

THE ASSASSINATION OF GIANNI VERSACE 

It’s perhaps the most polarized series: either it fascinates you -as it happened to the Emmy voters- or you think it’s a scarecrow.

Anyone who has seen it in a dubbed version probably pulls for the second option, because it loads the most juicy performance of the series, which is none other than Penelope Cruz doing Donatella Versace.

Pe captures the bodily attitude and the designer’s sister’s attitude, and it would not be strange if a nomination fell in the awards season (we wrote this before knowing that he chose the Emmy although he has not won it, a mini-point for Esquire).

THE CURSE OF HILL HOUSE 

The series of terror usually have very complicated in a ranking like this, perhaps because the genre has thrown clichés for years and it costs something to surprise.

Hill House is no exception in terms of scary scenes, with very manual scares, but plays a much juicier dimension when it opens to the family drama.

It is true that the hook of production is the esoteric and ghostly core, but the reason why the viewer cares what happens to this peculiar family is that the script works well the traumas and insecurities of each one.

ELITE 

Elite is not a series designed to fight for these lists of ‘specialized critics’.

But as it is an anticomplex pump, we let ourselves be swept away by its expansive wave.

The Spanish phenomenon of the platform is what it is and does not hide it: a guilty pleasure with all the letters (‘s’ of sex, ‘d’ of drugs, ‘a’ of murders …) that, thanks to the conscience that exists behind his script and his direction of actors, he discovers himself as a meeting point between young people now and those who were once, united by giving a good kick to certain clichés and to claim freedoms, including to be wrong, in a genre devoted to self-censorship.

MANIAC 

Cary Fukunaga, the creator of True Detective, marks a quixotic game (the reference is explicit) of madness and reality in which the viewer must extract small doses of what is really happening while watching a surreal retro-futuristic shed between multitude of mental trips of the protagonists.

The idea is powerful, it is very currada at visual level and the actors, especially Emma Stone, shine at times … That’s why it enters the list, but stays in the warm zone because Maniac marks so much narrative distance with the real story that is counting (overcoming deep family traumas through the acceptance and support of a friend) that in the end, for the viewer, the experience of seeing the series is more like a challenge of mental expertise-going on the hunt of the reference, of the metaphor, of naming the possible disorder that each one suffers – that to the joy to get fully involved in a fiction of quality.

WESTWORLD

The start of the second season brought Westworld to the series that was destined to be: a cross between Jurassic Park and Blade Runner with own twists of Lost.

The first did not capture the interest because the premise was convoluted and difficult to communicate, which many people dismissed because they believed that it was a series of cowboys.

By expanding the focus and changing the balance of power between humans and robots, the appeal of this great artifact with Michael Crichton’s seal fired.


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