Life for American housewives in their posh suburb has never been easy. In Detroit, Michigan, in a time of constant crisis after 2008, two sisters and a childhood friend, united by a dire financial situation, improvise thieves, to solve serious problems for their families, finally feeling in control of their lives. . But they are not professionals and trigger a series of tragicomic consequences that will become more and more tragic and less and less comical.
Absurd and exaggerated situations are staged with rhythm, in a realistic context that slips into the grotesque for a dark series, light but not entirely. Why not think of a pulp version of the famous Desperate, here in addition to the crime component we find a portrait of the American middle class which has become more and more targeted over the seasons.
Because certainties change or just crumble, businesses go into crisis and you lose your job, only recently, underpaid, humiliating, sexually blackmailed jobs (and not just male versus female) remain. but also vice versa). During this time, the bills accumulate, the silent must be paid otherwise the Bank takes the house where in the meantime more than one child has been made, in the Mulino Bianco Dream. But the Bank itself is careful not to make loans to those who want to start a new business to save their lives. Thus, each income ends up being immediately absorbed to cover the most vital suspended. And if there is a health problem, it is the fraudulent ineffectiveness of the insurance company paid so far. In short, in debt, we trust.
So where can a truly desperate housewife go? Never put it back on the wall… it might surprise you. In the first season of 2018, we met band frontman Beth, wife with three children of car salesman Dea, who is still stunningly beautiful (that’s Christina Hendricks, what else) but is strict. , joyless, prey to multiple betrayals. of her husband and a plunging financial situation. Worse than she is her little sister Annie (Mae Withman), in her thirties and passing through who still lives as a teenager, separated from a husband who disputes custody of her daughter. However, he is in the process of making his transition to the masculine gender (today there is no narrative without a few gay male or female and even trans characters), an issue he seems absolutely unable to handle. , also given his very limited financial resources (he is engaged in the usual warehouse, where he has to deal with a dangerous fool as a boss).
Ruby (the black actress Retta) contributes to the household of the family which however leans on the shoulders of her husband, who succeeded in entering the police force. But her daughter’s illness, in dire need of a new kidney, lies between her head and neck. How to recover all the money necessary to face so many problems, if not from delinquents? After advancing their criminal careers in the second season, which ended in a rebound full of juicy developments, they are still found at work in a criminal sense, but convinced that they are finally free.
They have embarked on a new criminal activity, because even if they have solved some of the initial problems, legality is not enough to earn all the money they need for a normal bourgeois life. But the job is hard, you meet people who are not very recommendable and who are not even able to respect the rules, as it had happened to them before. Because even the underworld needs certainty. Too bad it’s a man’s world, where women are still seen as not very hardworking and not at all respected. And so sometimes the regret of flashes “before”, subjected to a ruthless system, we knew that everything worked with relentless precision, based on precise laws.
Yet the dream of independence, in a life that necessarily (at least for the protagonists) needs substantial additional “help”, remains strong and will make them resort to extreme methods. Meanwhile, however, the FBI has once again set out on his trail, as two bizarre specimens of investigators. How will it be this time? The season ends in the eleventh episode, leaving us a little hanging in the air, originally sixteen were planned, but the Coronavirus decided otherwise.
The best of the cast, as a character and as an actress, is Christina Hendricks, the woman who with firm faith does not accept that her family could fall apart, first because of the stupidity of the frivolous wife, then under the blows of a fate in the bizarre sense. humor. She is the victim of an attraction that could become fatal towards the boss who crushes her and exploits her for his trafficking, having identified the potential of the abnormal gang. But he is also the only one to recognize his greatness, his genius, his courage.
Childhood Friend is played by the monumental Retta, seen in Parks and Recreation and Girlfriend’s Guide to Divorce. Her character faces a family role reversal, as for a few seasons she had to be the one to solve her teenage daughter’s health issue, while her husband (Reno Wilson, seen in Mike & Molly and heard in Transformers ) struggled between many scruples, although guided by his love for his lifelong companion. Scruples that now seem to be put aside for good. But will it really make Ruby happy?
Boring little sister Annie is entrusted to Mae Whitman, an actress we have seen growing up since Parenthood, always taking on irritating roles, here too a veritable irresponsible chronicler, who spends her time like a mess, gets tangled up in adventures unlikely lovers and in the meantime creates more problems than constructive contributions. The goofy husband is the sympathetic Matthew Lillard (that of Scooby Doo but also Barkskins, Bosch, Halt and Catch Fire), whom Beth lets herself be afflicted quite mysteriously, in love but butterfly, essentially useless and parasitic, at least until ‘she understands the real gravity of the situation. Annoying Boomer (actor David Hornsby), Annie’s boss, also returns, and as a new entry we find Andrew McCarthy, actor and now perhaps more director, who we’ve known from St. Elmo’s Fire in 1985.
As in previous seasons, the choice of Manny Montana (Graceland, The Mule, Rosewood) for the role of Rio, an abnormal boss of Mexican origin, but out of all the clichés linked to this image, the American actor (and non Mexican) always and only seen in the roles of a delinquent narco, given his physiognomy and his tattoos. But here he is grappling with a more varied and intriguing character, who will discover how surprising an ordinary bourgeois can be. Obviously, the bourgeoisie will also be surprised by him, as well as by herself. Of the whole story, always brilliant and hilarious, with sudden dramatic points, it remains the most exciting plot for us, a bit like a romance turned to black or even pulp.
Designed by Jenna Bans, a specialist in female characters in writing various episodes of well-known TV series, such as The Family, Scandal, Private Practice, Grey’s Anatomy, Desperate Housewives, Good Girls ranks and contaminates between different genres, without never aspire to be a Breaking Bad for women, maybe closer to Weeds.
On the notes of an always well-chosen series of songs, the episodes turn fast, you have fun, you thrill for your favorite characters, while you decide who to cheer for, even if the final decision may leave you perplexed. But next season, we’ll see how the complicated lives of three women far from lonely, sometimes desperate, never resigned, will unfold.
Source : Reddit