There are fictions that have trouble opening in these parts because platforms and channels overlook them when it comes to acquiring third-party productions. Why do women kill It is one of them, released in the United States in the summer of 2019 and that HBO brought to Spain almost twelve months later. It ended up being a timely purchase to fill the calendar when many of HBO’s projects and releases had to be delayed. But, After watching a few episodes, a part of me said, “Step.”
Annoying because Why Women Kill is a series on paper made for a server. It is not that she is special but, like other tens of millions of people, she was an admirer of. creator Marc Cherry, the man who launched Desperate Housewives in 2004, a television phenomenon that showed that the most commercial television fiction reached unexpected standards of biting and quality (and also of vice, which Perdidos premiered a week earlier).
Desperate Housewives was proposing an acid comedy where four housewives were surprised by the death of Mary Alice, one of her best friends, who one day prepared breakfast for her family, said goodbye to her husband when she was out the door and hit a head shot. She was such a fan of the neighbors on Wisteria Lane, in fact, that I even saw the four seasons of Maids and Wicked (2013-2016), Cherry’s next work, much smaller. This was produced by Eva Longoria and narrated the anecdotes of the cleaners of a luxury urbanization that, of course, investigated the death of Flora, whom she had found murdered in a swimming pool.
It’s kind of maddening to see Why do women kill and check that Cherry repeats the formula: the cameras are fixed on the day to day of three women, between annoyed and hurt by the attitude of the husbands, while it is clear that the tragedy looms over them. The script anticipates that there will be deaths in their lives to make sense of the series title. Who will be the victims? Will they be the three to kill? And what reasons could they have? The difference with the previous formats is that the three are not friends: they are the tenants who lived in the same mansion in different decades.
For example, Beth Ann (Ginnifer Goodwin) discovers that her husband (Sam Jaeger) is unfaithful to her in 1963. She does not want to give up: she wants to get him back, to notice her again as an interesting and sexual woman and not simply as the wife who prepares him dinner and slippers. In 1984 it is Simone Grove (Lucy Love), a dick who is married for the third time and who sees that her alliance is broken again: her husband (Jack Davenport) is gay. Finally, in 2019, Taylor (Kirby Howell-Baptiste) becomes uncomfortable when her husband (Eli Cohen), with whom she has an open relationship, is attracted to Jade (Alexandra Daddario), a lover of Taylor who settles in her home temporarily.
The argument for Why Women Kill is tailor-made for those nostalgic for Desperate Housewives, right? Ginnifer Goodwin (Big Love, Once upon a time) y Lucy Liu (Elementary) are heavyweights to retrieve the baton from Teri Hatcher, Felicity Huffman, Eva Longoria and Marcia Cross. But, instead of being comforting by returning the public to a familiar site, a kind of new Wisteria Lane, the feeling is repetitive.
More than an acid comedy, it ends up being a repetitive production without its own essence, as if Marc Cherry had run out of ideas after Desperate women (or as if the industry wanted nothing from him that did not apply the mold already known). The scheme of the episodes is the same and even the use of music is nailed. She is nice? Of course. But there are a limited number of times that I can watch the same series and with the same sensitivity. Put to recover the format, I prefer to meet directly with the desperate Women, the original, the inspired.