Three have been the titles that have won the most awards at home at the 2020 Emmy Awards , held online on Sunday night in the United States. Two have the HBO label (“It’s not television…”) and another, to the surprise of many, comes from CBC, the Canadian public television network. These are the limited miniseries “Watchmen” (11 wins), the sitcom “Schitt’s Creek” (9) and the drama “Succession” (7), which ties the number of statuettes received with “The Mandalorian” , although the of “Star Wars” live-action fiction fall into the technical categories.


Without dragons or swords, this lineage of unscrupulous wealthy weapons conjures worthy of Littlefinger himself.

Vain chess players of evil, plotting their betrayals by trampling on anyone who stands in the way of the patriarch’s office, Logan Roy, an all-powerful media mogul; without a glimmer of morality, without a hint of kindness despite the human weaknesses of each member of the clan. The trigger for this business “Game of Thrones” within the Roy family arises when that kind of Rupert Murdoch played brilliantly by Brian Cox falls ill. Far from awakening the latent charity of his children, Logan’s dance with death fuels the knives and disloyalties of a family raised to trip up whoever comes from the rear. Miserable or clumsy the betrayals of these twenty-first century hamlets, you never know whether to laugh or cry at the nonsense of this ruthless fable about the rottenness of power.

Woven as a subtle reinvention of “The Godfather” in which even on his deathbed Don Vito keeps a revolver against his children under his pillow, in addition to the brilliant performances of the cast, the key to the success of “Succession” is, Despite everything, the humor that underlies almost every episode, sometimes due to the nonsense of the ruthless offspring for taking power, others due to the pathos of the most lowly in this particular business game of thrones and even due to the iniquity of a businessman who, despite his old age and vulnerability, is unable to stop being a tyrant. He breeds ravens…

Schitt’s Creek

The great Canadian CBC comedy created by Eugene Levy and Dan Levy -father and son in fiction and in reality- is a balm between so much tension and uncertainty “out there”. From a basic premise – a rich family moves to “their” town after being scammed -, its writers manage to produce, from its second year, a beautiful story about second chances and redemption without ever forgetting that it is a “sitcom » with its rules, that is, its entanglements, its misunderstandings and its exaggerated characters. But it is the dramatic evolution of its protagonists and secondary that cements.

Its star is, without a doubt, Moira Rose ( Catherine O’Hara , the mother of “Home Alone”), who here plays a soap opera actress, a friend of short whiskey, who is in the doldrums. Her endless collection of wigs and outfits (the costumes, also awarded, is key) and her histrionics (those cries of despair when things don’t go well) are a “plus” to the character of O’Hara, who also knows when to get off her the heavens and talk face to face with your relatives and neighbors. The dynamics she has with her husband Johnny (whom she adores), her son David (and right eye for sharing a wardrobe and character) and her daughter Alexis (with whom she barely gets along) is more complex than it seems at the beginning of the series. . She is surprised by how the bisexuality of her eldest son is revealed and developed.


The adaptation-revision of Alan Moore ‘s homonymous comic has a lot of its main person in charge, Damon Lindelof , who already demonstrated with the magnificent “The leftovers” , also from HBO, that there was (supernatural) life behind “Lost” . The nine-part miniseries is both a wonderful tribute to the original material and a sequel that rethinks, from our present, what was told in the eighties about these less than exemplary superheroes.

Lindelof, a great fan of comics, realized while raising the project that his personal version of “Watchmen” connected with racism and white supremacism -current and past- of the United States and that the “crux” of the matter was in the “assembler” of this band of superheroes whose identity or origin was never revealed. Reading the report on racism in the United States «The Case for Reparations», (the case of reparations), by Ta-Nehisi Coates , was a turning point for Lindelof, who decided to open the series with the unknown massacre of Tulsa in 1921 and puts at its center, at least initially, the character of Regina King(with whom he coincided in “The leftovers”), a black family mother and police officer turned superhero.

Speaking of silver… it’s a pleasure to get carried away by this story of pure science fiction, but also to see how the pieces of the puzzle intelligently fit together as the season goes on. As was the case in “The leftovers”, especially from its second season, Lindelof loves giving prominence to a character in each episode without ever interrupting the main action. In addition, there is always consonance between what is told and how it is told (not like “Westworld”, which has deservedly gone empty) like the psychotropic black and white episode, for which its screenwriter Cord Jefferson has won an Emmy, very interested in exploring the truma through blood ties (as the Amazon series “Transparent” did). “Watchmen”, above, turns a saying into a fact: the elephant in the room…