'Narcos': yawning and banality of evil | TV

I have surprised myself by boredom a lot with the fourth season of Narcos, This time it tells the story of the Mexican cartels, and it would be very unfair for him to blame the series. In fact, I can not say many bad things about her. The problem, I think, is that all the good things I can say have already been said in the first season. The surprise factor, which in the previous season was already mortally wounded, is now a deja vu. Not only do I know the story they are telling me, but I have heard every inflection and I anticipate every turn of the plot, every stylistic resource and almost almost every shot. I got bored because I had the feeling of seeing a caricature. I am unable to perceive the tragedy that the writers want to tell me.

This is a twist on the topic of Hannah Arendt's banality of evil. When the tragic is stretched, it is squeezed and exhausted, it does not become comical, but grotesque. Sensibility is encalled and one of the great powers of the narrative arts disappears: the capacity for identification. We no longer feel sorry for heroes or villains. With their features deformed by the caricature, the characters appear on the screen as folk expressions. The narco is a stereotype stripped of its humanity.

It happened with the mafia and it has even happened with the Holocaust. From real tragedies with real victims have been fictions that, by pure exhaustion -not by simplification, which also-, end up causing some viewers a very uncomfortable itch. It is not just that the commonplaces that take place on the planes prevent us from understanding such a terrible and complex history, but that they act as a barrier that hides instead of showing. The screen is placed between reality and our eyes. Boredom is the stage before indifference, and indifference, the previous to deafness. My yawns resound in the living room full of guilt.


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