'911': the rocambolescamente 'mainstream' side of Ryan Murphy | TV

Ryan Murphy, the golden boy of the slightly twisted and anthological series (American Horror Story, American Crime Story), the most prolific showrunner of the moment (and, in all likelihood, the story), has a side too bizarrely mainstream, the one that represents 911,his best and clearest attempt to give the public what the public expects (in this case, adrenaline and drama, after all we are talking about a series starring emergency service telemarketers and firefighters, paramedics and police officers in charge of solve those emergencies) without renouncing what makes everything that touches unique: the absurd.

It would seem that Murphy has a gift for creating worlds where everything is possible and that this gift has a lot to do with the absurd. Think of the haunted houses with ghosts that go to the psychiatrist of American Horror Story and in the seemingly thousand university serial killers of the fabulous Scream Queens -Their first attempt to conquer the general public, failed due to excessive delirium-, and they will realize that 911 Murphy is pure: there are babies trapped in pipes, roller coaster cars stopped almost in outer space and cases of suffocation on the first appointment with a 911 teleoperator.

But this time it works. The huge success of the first season - today is the most watched Fox series, with nearly 15 million viewers - has led to a second season already under way - this night the fourth episode is broadcast on Fox Spain- and we talk about possible spin offs. Murphy has come up with the key, the balance finally between, on the one hand, his obsession with the destruction of archetypes - is the series most valued by the African-American community, with Angela Bassett at the head, and at the controls, as executive producer- and, on the other, his taste for the deliriously macabre, something that could only happen in a series.