It is still curious that more and more are the series that denounce the so-called "sewers of the State" and its scant repercussion in a change of attitude on the part of the States despite the indisputable success, in millions of spectators, that is, hypothetical voters, who approve and contemplate, in such a way that it is possible to think that the denunciations, radical or intelligent as they are, act more as vaccines that seek to immunize the spectator than of accusation before the excesses of their governments.
Condor (Calle 13) joins those already abundant productions in which the complex rule is followed that the end justifies the means. The American Homeland, the British Bodyguard or the Spanish Tomorrow are some examples of that, apparently imperishable, conviction that everything is allowed to save the world, and more specifically to the concept of the world that have the enlightened conspirators or ambitious entrepreneurs.
The new series is about a young CIA analyst who creates an algorithm with which he can detect and identify alleged terrorists. Theoretically it is an advance in the fight against evil. In practice it will not take long to prove that its use in the wrong hands will become a nightmare. The greed of some – in this case a pharmaceutical company – and the patriotic fanaticism of others will justify all kinds of violence and apocalyptic projects.
The very entertaining series is also proof that literature, film and television are not exclusive. The first stone was put by James Grady and his best seller The six days of the Condor. The great Sydney Pollack adapted it to the cinema: The three days of the Condor. Now Jason Smilovic and Todd Katzberg took responsibility for the ten chapters of the first season of Condor. Max Irons is the protagonist in the risky role of overcoming Robert Redford Pollack clothed, yes, by names with a solid film career: William Hurt, Brendan Fraser or Mira Sorvino, among others.