best series of the year (at the moment)

Imagine that Seth MacFarlane (Father of the family) hicies version Lincoln’s abogado (Ted Humphrey & David E. Kelley, 2022-?) mezclada con I’m going to Las Vegas (Terry Gilliam, 1998)? That’s what Cullen Crawford has in him Las Vegas Law (2026), a new Netflix series that confirms that when it comes to animation, the company of the great black woman has so many hairstyles among its rivals. Yes, yes BoJack Horseman (Raphael Bob-Waksberg, 2014-2020), Midnight Gospel (Pendleton Ward & Duncan Trusell, 2020), Arcane: League of Legends (Christian Linke & Alex Yee, 2021-2024) or Samurai de ojos azules (Michael Grenn & Amber Noizumi, 2023-?) to demonstrate this.

Las Vegas Law It is in the legal drama that Thomas Gravesen is in the world of football. The company was made up of a boy named Lincoln Gumb, which puts him in the role of the protagonist Severance pay Adam Scott and a street magician named Sheila Flambé (Janelle James) dedicate themselves to solving the most diverse cases you can imagine: she notices that everything she fulfills with a letter messenger deals with the defender of an Austin Powers impersonator in court, where she cares more about the spectacle she is likely to experience in the game. Oh yes, getting there.

The rest of the legal team consists of Glen Blorchman (Stephen Root), an exabogado who may have shared office hours with Hunter S. Thompson as part of his many vices; and Irene Gumb (Shannon Gisela), Lincoln’s friend, an unfit young woman who spent hours cultivating her muscles because her body was her livelihood, and who fits into society the same way Captain Garfio fits a watch into a clock.

Sin City will do the rest. Let’s move on gonzo, over the top and absurd series which is used in Las Vegas to develop a series of exceptional scenarios, each of which is extremely extravagant. For example, make sure that the “Typical Halloween Chapter” is about reaching out to those who want to issue the official title of Santa Claus of the State of Nevada. Cullen Crawford and his team of cast members present each episode with a combination of two disparate plots that end in the most unexpected way.

For example, to avoid repeating all the chapters, in “Disaster Team” they include an unfortunate versionThe peloton gang (Richard Linklater, 2005), Lincoln and Sheila train a dance team made up of school children in their homes in each of their biggest surprises, with an extravaganza of a robot baby that Irene tries to shit on (!). The logic of argumentative development is very much in line with its development Los Simpsons (Matt Groening, James L. Brooks & Sam Simon, 1989-?), though much more sought after, from the venomous frontality of your sense of humor in your town Father of the familycomes to refresh the premise that underpins the series: today every principle can be sacrificed on the altar of entertainment (also the logic and coherence of the story).

If you have replicas of the Eiffel Tower in Las Vegas, the pyramids in Luxor or the canals of Venice, if you have in your garages strippers When we live with stars like Marc Anthony, Kelly Clarkson or Rod Stewart, it’s no wonder that Cullen Crawford uses such bizarre landscapes as an excuse to embitter. melting pot link where you can meet the guides through a direct offer (de Tales from the Crypt on Mad Max); others that depend on dramaturgy – Chapter 4 repeats the argument Civil action (Steven Zaillan, 1998) – and some who seek complicit homages, as happens in replays of the finale Interview (Francis Ford Coppola, 1974) in the third episode.

A flood of citas is unacceptable but it’s not the most relevant, maybe the guides are suitable for hybridizing the always absurd cases that change the patrons of certain genders – see the minor plot noir what happened in episode five –.

That’s for sure the design becomes confusing at many points. The arbitrariness, the accumulation of strange situations and the feeling that the ten or so episodes could have been five or ten times will prompt most of them to leave it or at least not enter it. binge watching.

Although it is likely that this could happen, in the end one ends up returning to his desquiciados and sangrientos gags visuals — the animation of which offers interesting work on hearts, a rigid/fluid battle that serves to exploit the protagonist’s comic — and you know the head can be pulled when such gut-wrenching rumbles as the following: “Creating in one is for donkeys or the Judd Apatow boys.” No conciliatory thoughts or reassuring conclusions are needed here political correctness did not hold up on the judges’ table during the first debate.

Las Vegas Law it’s always like this. Check cinema and TV references, describe classic genres, present them in a distorted version and finish with water a wonderful vision of a city that functions as an embodiment of the entire country. Some comparisons of Donald Trump are listed as a first draft of the guide for future episodes. This is the level.