The dream of old -school sexists

On the First Channel, the show of the series "Better than People" began. The Start streaming platform is proud of this series as a model of content for a new type of watching, confidently winning television: paid video services, inspired by the success of the “Games of Thrones”, expect that it is the quality of their products that will force users to open electronic wallets. The new conditions shook the market for series manufacturers, they fussed in search of original ideas, concepts, pulled budgets, reduced the number of episodes and increased the cost of a minute.

As a result, the audience received several truly high-quality domestic mini-series, and “better than people” boast of a real victory: the Netflix platform has acquired the right to show it in the world, and in the Netflix Originals category-with a possible translation into 25 languages. For the first time, domestic products, as large, can apply for advertising advance under the Netflix brand, world fame.

In fact, the originality should be clarified: the starting events really repeat the motives of the famous British-American series Numans , which itself is the adaptation of the Swedish series “Real People” , but the plot unfolds completely independently, and, in my opinion, is very witty.

True, you need to understand that the declared genre of a science fiction film does not quite accurately reflect the essence. Fans of Cyberpanke The series “Better than People” seemed unconvincing. In their opinion, in this series it was not possible to compose a visually interesting Moscow of the future. Moscow is Moscow, Sberbank is Sberbank (the bank is actively advertised in the series. - Ed. ), Lnose people, relations too. But this, in my opinion, is just the dignity of this series.

His tie is more like a plot about androids, but all domestic series at once: often a drinking pathologist will find out that his ex -wife gathers with a new husband to Australia and takes two of his children with him. The situation is unpleasant, agree, but recognizable. The man is nauseous in the morning, and then you still have to fulfill the request of one unpleasant, but influential person: to hide traces of violent death from the deceased that came to him in the morgue.

There is only one thing from science fiction: robots scream next to people, which are assigned the duties of cleaners, orderlies, maids, social workers and sex rabies-beautiful, friendly, ready for services: a dream of old-school sexists.

His tie is more like a plot about androids, but to all domestic series at once.

It is interesting that in a parallel domestic universe, Russia does not produce these useful machines, but imports - mainly from China, sometimes illegally. There is a Kronos corporation, the head of which promises to establish the production of new, very advanced specimens, but in fact its plant is abandoned, and a new model, allegedly developed by its laboratory, is just a Chinese smuggle.

In the first series, the plot connects several lines. One is the owner of the Kronos Corporation, the cruel and unprincipled egoist Vika (Brutal Alexander Ustyugov). An engineer Maslovsky (Pavel Vorozhtsov) is working in his company - a limp, but talented, as well as the Terrible Gleb (Fedor Lavrov) - the head of the security service. Vika’s wife (Irina Tarannik) is on the verge of insanity, and his father -in -law (Sergey Sosnovsky) is a large person at the government top, lobbying for the interests of the son -in -law.

The other line is a former doctor, and now an employee of Morge Safronov (a very successful role in Kirill Kyaro), his children Sonya (the best role of the series - Vitaly Kornienko) and Egor (Eldar Kalimulin) and the ex -wife (Olga Lomonosova), the relationship with which is far from the ideal.

The third is the youth group with the slogan “Destroy robots, they occupy your workplace”, the leader of which was played by the ubiquitous, but everywhere convincing Alexander Kuznetsov. The fourth is the investigator (Kirill Polukhin) and his assistants who were instructed to deal with the newly -manned Luddites, but they took their fear to follow the Kronos.

And finally, Arisa (Paulina Andreeva) is an Android that can distinguish emotions and experience sympathy; Its main function is the concern for family members, which she considers her own. By chance, with her family, she prescribes a pathologist and his children. Arisa is really a superbot, she can almost everything. The problem is that, in contrast to typical models safe for people, Arisa is able to kill a person.

Further, it is really impossible to reveal the plot - it will be uninteresting to watch, but it should be noted that the main thing here is not in the denouement, which is just predictable, but in the turns of history, which grows not at the whim of screenwriters or producers, but according to the laws of logic, when each new circumstance changes the emerging alignment. But this is not the only dignity of the series.

“Better than people” wins thanks to a really interesting script written by theatrical playwright Andrei Ivanov, who knows the law of “well -made” play.

“Better than people” is good in that, unlike most domestic series, he does not just tell a funny story, but includes several real problems in the plot, which is why what is happening on the screen acquires reliability unexpected for the genre. It is interesting not like Aris’s robot, a kind of remake of super -collection from the film “The Fifth Element”, will interact with a person, and the stereotypes of modern Russian life are built into this metasyust. Inside this global process, scriptwriters and director allow themselves to be carried away by nuances.

Robota Arisa is played by Paulina Andreev, whose already charming dosgeous appearance is in every possible way exaggerated by makeup and a wig. This is Barbie, inventively dressed up in the most toy costume that her mistress, five -year -old girl Sonya, can come up with. Feminists should make Harakiri at one view of what the inhabitants of the future Russia imagine the super developed civilization. Functional machines for sexual services have the appearance of real employees of the sex industry, but also the superinTelelectual model created for the family hearth receives the same emphasized seductive appearance. Her ideas about the whole seven system are deeply archaic, it is pre-programmed to serve a man, housekeeping, but if it is easy to find a common language with children, then it is not easy to adapt to the needs of the “main user”, and the robot is diligently looking at the old cinema: there you can get the missing experience of emotional relations.

Old as the world of a rational and intuitive crossroads also works in the series for the plot. The human world seems illogical and opaque, in it everything is not what it seems, everyone lies, no rules apply. But the world of self-learning robotics is also not basting, high technologies help to maintain non-linear ties, and now the Bot girl herself uses human behavior techniques. And as a result, people discover the meaning of the words “humanity”, “sympathy” and “altruism”. Favorite turn inside the Russian mentality - it does not make sense to correct reality, but you can find a strategy for yourself.

Andrei Dzhunkovsky, the director and one of the screenwriters of the series, this time proved his qualifications, shooting the series calmly, without self -loving and protruding specifically artistic tasks, with rare noble purity today. “Better than people” wins a comparison with his previous and also quite successful series “Sweet Life” thanks to a really interesting scenario written by theatrical playwright Andrei Ivanov, who knows the law of “well -made” play - archetypal heroes, universal emotional codes, universal points of human experience so that the plot becomes exciting. If you add a little new and relevant to the archetypic, it turns out exactly what you need. It does not always succeed, but in the series “Better than People” it turned out quite successfully.

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