- RICHARD SCENES SUPER HEALTH CLUB UPDATE
- RICHARD SCENES SUPER HEALTH CLUB SERIES
- RICHARD SCENES SUPER HEALTH CLUB TV
The five episodes are not actually titled “Denial,” “Anger,” “Bargaining,” “Depression” and “Acceptance,” but they cover the stages of marital grief in much that way.
RICHARD SCENES SUPER HEALTH CLUB SERIES
Is success a stable cooperative team effort, two good careers, involved parenting and home-renovation plans?įor that matter, is a marriage that ends necessarily a failure? Does a marriage ever really end - is marriage, in the larger sense, a state of being that continues even if you split up? Is it something that exists between two characters, or is it a third character, with a life of its own? Or is it the only character, binding two people into one complex organism even when they’re apart?īergman’s series probed these questions, and so does Levi’s, in much the same way and over many of the same story beats, with skill if not wild originality. That question of “success,” a weird yet familiarly meritocratic way to talk about love and sex, hangs over the series. Jonathan seems to be working to convince not just the interviewer but also himself that he is enlightened and self-aware, that he values their marriage while having the right intellectual skepticism of matrimony, that their partnership is, in the researcher’s words, a “success.” Mira’s quiet is less a sign of a power relationship than a signal that she has been reaching different conclusions. This time the man does much of the talking again - some things never change! - but the dynamic is different. In Bergman’s version, the husband holds forth smugly while Ullmann’s character is reticent. Jonathan (Isaac) is content taking a bigger role in raising their daughter while working mostly from home as an academic.Īs in the original, the new “Scenes” introduces the couple by having them interviewed, this time by a researcher doing a study on monogamous relationships. Mira (Chastain), a corporate product manager, is the higher-paid half of the couple, rising in her career and nursing doubts about the marriage. Set dressing aside, Levi’s major change is roughly to swap the gender roles of the leads. ‘The Underground Railroad’: Barry Jenkins’s transfixing adaptation of the Colson Whitehead novel is fabulistic yet grittily real.‘Succession’: In the cutthroat HBO drama about a family of media billionaires, being rich is nothing like it used to be.‘Dickinson’: The Apple TV+ series is a literary superheroine’s origin story that’s dead serious about its subject yet unserious about itself.
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‘Inside’: Written and shot in a single room, Bo Burnham’s comedy special, streaming on Netflix, turns the spotlight on internet life mid-pandemic.
RICHARD SCENES SUPER HEALTH CLUB TV
Here are some of the highlights selected by The Times’s TV critics: Television this year offered ingenuity, humor, defiance and hope.
RICHARD SCENES SUPER HEALTH CLUB UPDATE
Now the artistic child is returning to the primal “Scenes.” Levi’s five-episode update of the series, which begins Sunday on HBO, is a soulful study of intimacy that reminds us of the power of the original but without quite making the case for an update. Hagai Levi has been producing works in that vein for years, including the Israeli “BeTipul” and its Americanization, “In Treatment,” as well as Showtime’s “The Affair,” which applied Bergmanian pathos to a crime mystery.
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More diffusely, you can see traces of it in TV series that delve into relationships and psychology, from “thirtysomething” to the recent “Master of None” season, “Moments in Love.” Most directly, there are the talky love-dissection films of Woody Allen, Richard Linklater and Noah Baumbach, among others. Like many a dissolved marriage, it also left behind descendants. Following a couple (Erland Josephson and Liv Ullmann, Bergman’s former romantic partner) through the collapse of their marriage and beyond, “Scenes” inspired enough real-life soul searching that it was even credited with a rise in the Swedish divorce rate. “Scenes From a Marriage,” Bergman’s six-part 1973 series for Swedish television (later edited into a film), was a slow, subtle work that made a big noise. If the near future of TV is endless reinterpretations and remakes of intellectual property - more superheroes, more “Star Wars,” a new “Fantasy Island,” a new “Wonder Years” -perhaps it was inevitable that the trend would turn to one of the 20th century’s enduring superbrands: Ingmar Bergman.