On television this year you look to the past to see the present | TV

It is said that all dystopia is a criticism of the present from an undesirable future. That, as much as time travel fiction, its creator stays in place, and what surrounds him will undoubtedly find his place in whatever he is creating. It is very simple to transfer this logic to today's television fiction, in which one travels to the past constantly, in an exercise of unprecedented nostalgia, but with the logic of the present. The one that sometimes explains our days better than those shown on the screen.

The clearest example is the classic Duffer brothers, Stranger Things (Netflix). The series travels to a past that did not even come to be present from its creators sometime (the year the series starts is 1983 and they were born in 1984) but it had been from the films they grew up watching, by Steven Spielberg or John Carpenter The result is a series that respects the codes not of the time but of the films of the time. Were there girls in bands then? Why are there today? Nancy (Natalia Dyer), the elder sister of a protagonist, faces in the newspaper where she works against guys who laugh at her article proposals and send her to make coffee. At the time, the problem would still be there, but would it have stood out?

GLOW (Netflix), of Liz Flahive and Carly Mensch, another critical success of recent years, also takes place in the eighties, but without the intention of idealizing the past. On the one hand, it aims to dust off the history of the beginnings of women's wrestling and, on the other, to make clear how difficult it was to be a woman in any environment that implied power. In one of their plots, the guys who run the trick named Debbie Eagan (Betty Gilpin) as a producer and then laugh at her, which is a way of speaking not only of an imperfect past but also of a present in which they also try these issues.

"They're not going to stop treating you like this unless they find it useful," a friend tells Debbie. She devised a plot to be better than her rivals. Gets it. The past, beyond meshes and carding, is the place where things began to change.

Jonathan Groff, in 'Mindhunter'.

Jonathan Groff, in 'Mindhunter'.

Mindhunter he reproduces - in his own way - the true story of FBI agents John E. Douglas and Robert Ressler, who, in the late 1970s, discovered that serial killers shared certain patterns. But it also brings back the world of its time - until the last set - in which mothers were often just that, mothers.

That's where agent Bill Tench's character (Holt McCallany) comes in in the new season of the series. In no other fiction that deals with the same era, made at any time, he would be put in the bust in which he is put in the new chapters, who judge him for not listening to his wife's pleas, which he cannot with everything in home for not hearing the pleas of his wife, who can not with everything at home. All this dramatically turns against the end. It is another case in which the present invades the past.

Indya Moore, in the second season of 'Pose'.

Indya Moore, in the second season of 'Pose'.

Pose (HBO Spain and Netflix), the Ryan Murphy series, invokes the golden era of underground LGTBI in the New York infested with AIDS and prejudices of the late eighties. The series honors the transsexual community that he found in the culture of ballroom One way to get ahead while the world around them seemed to reject them. But the series is written since 2019 and talks about 2019. There are more muscular bodies than you should in, for example, in those scenes. The characters also have a very clear vision of what are the rights they deserve and the pitfalls that hetero-patriarchal society is capable of setting: and it is not something that is intuited or that is characteristic of one or two cunning characters. Everyone has a time when they endorse the problems that the LGTBI collective has today. It would be said that Murphy, a lover of relevance, has limited the past. Like everyone in the present.

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