It comes from Argentina with a lot of voices to become a Netflix series this summer. Or at least as far as Spanish fiction is concerned. an addictive mix of religion and politics.
Co-created by Marcelo Piñeyro (‘The Method’) and playwright Claudia Piñeiro, the first of eight chapters that make up the series puts us in a situation. During a campaign action, Badajoz, a presidential candidate, was assassinated. His sudden death causes Emilio Vázquez Pena (Diego Peretti), the number 2 and an influential evangelical pastor, to consider running for the country’s next president.
From here all eyes will be on the ins and outs of the Church of Jesus Christ. On the one hand we have a difficult police investigation, with prosecutors on the front lines believing it may be something more orchestrated than the performance of a madman; on the other hand, we enter the dome of the church, in the corruption and ambition of each Vázquez Pena.
Argentina at a glance
Piñeyro and Piñeiro draw with this premise a canvas in which they intend to create a panorama of present-day Argentina (or the last few decades) and its parallelism to the global situation with the rise of the extreme right and religious (in this case evangelical) conservatism as the main themes.
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In this way, religion and state, politics and corruption are fully incorporated into the DNA of the ‘Empty Kingdom’, resulting in a wonderful and lucrative cocktail to keep us glued to the couch with the events of the protagonists. Some with far better intentions than others and with interests that eventually collide.
The character design work and their construction by the cast is commendable. Diego Peretti, for example, always finds the perfect spot between what is meant by “God’s Man” in the truest sense of the word and the behavior and thoughts of an ambitious telepreacher.
He’s not the only one good enough in the series as the cast is generally solid and charismatic enough to bring up the weakest points of the script (which some have) and more archetypal characters than it should be – perhaps Mercedes’ Moran is too broad. brush despite the fact that she embroidered it.
Addictive, but also poorly polished
I have a few but with how the scriptwriters sometimes balance different subplots. But more for the ups and downs of interest than might be expected than for the fill levels we can detect. The examples we can have of certain mystical/supernatural aspects swarming from the start of that series, especially at that height, are somewhat detached from the rest.
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Details like this make it possible that in the general panorama that ‘The Kingdom’ wants to do through this mystery tale, we find a bit of a snag in development done with a broad brush.
Cons which, I’ll admit, are easily forgivable because, in general, ‘The Empty Kingdom’ is shown as a solid proposal on Netflix. A thriller with all the ballots to be one of our addictions this summer.