Ridley Scott has been rare a few years ago.
As a film director, one of Lime and one of sand: the success of the Gucci house contrasts with the Batacazo of the Last Duel.
As a TV producer, the name of it is still shining in the magnificent The Good Fight … and awakening excessive expectations at Raised by Wolves.
Precisely to come sponsored by Scott, which besides producing her, she directed her first two episodes, this series of science fiction created by Aaron Guzikowski aroused enormous interest before its premiere.
However, the minimalism and the relative novelty of their visual proposal was soon exhausted.
On the other hand, it’s scripts always confused simplicity with laziness.
With those deficiencies there is no HIGH CONCEPT that holds a series.
In his newly released second season, Raised by Wolves aesthetics no longer seems clean and expensive, but conveniently thrifty and cheat.
In recent years, the daunting of post-production costs has allowed countless science fiction series to see light.
It is also something that highlights what we always knew: a concept and a look are unable to hold a story for more than a couple of hours.
Because without a good narrative frame behind, and Raised by Wolves does not have it, everything collaps.
That is why science fiction that everything fifted to an inspired occurrence or a specific visual trucak is capable of producing decent films but you will not be that we want to see beyond the second chapter.
Something tells me that the third of Raised by Wolves, the first one that Ridley Scott does not direct, not even him interests him.
Does the series have good moments?
Undoubtedly.
Do they compensate for the effort, in time and attention, to reach them?
No.
In that trap of rich concept and poor script have fallen lately since the Apple TV + Foundation to the Netflix Bebop Cowboy.
Even a movie so ambitious as Dune of Dennis Villeneuve is aware of his size and dose his imagery carefully, he will not be that his last section is repetitive.
In the manner of him, Raised by Wolves also tries to dose, but the overdose of beauty and his starter concept makes it difficult to raise the bet.
A tribe of children raised by two androids on a hostile planet as an overwhelmingly photogenic was an extreme and attractive starting point.
And more if it is fully entered into metaphysical and religious dilemmas.
In the world posed by Raised by Wolves, religion is more present than ever, the miracle of life is perpetually questioned and the latex that covers Amanda Collin seems haute couture of Mugler.
The Danish actress, Great Find, is the mother robot and governments of some children whose destinations soon stop importing us.
That disinterest arrives when the film that could have been Raised by Wolves has to start becoming the series that does not know how to be.
And it’s a shame.
