Tim Burton
Mercoledì

I swear to you, Tim, that, no!, I wasn't too biased. Maybe a little, but only because I'm a bit of a jerk and I've heard colleagues using absolute superlatives and overly enthusiastic tones referring to this TV series centered on Wednesday Addams. It seemed strange to me that 20 years after the last remarkable film ("Corpse Bride"), you managed to swim upstream evading the deadly claws of time like a salmon in the cold Norwegian streams. Anyway, dear Tim, believe it or not, I sat there on my throne and gave you my fullest attention. After films like "Beetlejuice," "Ed Wood," "Edward Scissorhands," and "Mars Attack," it was honestly the least I could do. And so, without fiddling with my phone too much, I attentively watched all eight episodes of "Wednesday": after five Pilsners, three trips to the bathroom, two supply runs to the kitchen, and almost a pack of cancer sticks...here I am.

It's a half mess because it's a series devoid of even the slightest touch of genius. Simply boring. It moves sluggishly and predictably for a hyper-polished production that never scratches the surface. An objectively bland story with shabby characters and settings that seem to mimic the worst Harry Potter films. Even the members of the Addams family seem off (Gomez and Fester in particular), and only Thing appears sufficiently credible. The protagonist, with her beautiful eyes perpetually wide open, is fairly convincing in the role, but the smell of stale air, that flavor of a prepackaged snack envelops "Wednesday" from the beginning to its predictable end, making it a negligible product, full of craft but lacking elegance.

30 years ago, who knows how you would have tackled the theme of adolescent discomfort at school. Who knows how you would have drawn us into the world of the "weirdos" and the different perpetually bullied by the normals: victims of a fleeting society in the perpetual and chaotic search for surface perfection. Surely it would have been a work with fewer plastic special effects and more class, sharp satire in the dialogues, black elegance, and bloody poetry in the images.