NinadeL

Cashmere Mafia wasn't a victim of the writers' strike, it was just a failed attempt to replace the Sex and the City phenomenon. But if the most interesting names were Lucy Liu or Marinda Otto, there was really very little the show had to offer. In those seven episodes, only a series of very negative plots were sketched out on the seemingly familiar "four friends - each different, all professionally successful, but needing to cry about their private lives" plot. Lucy Liu received a marriage proposal but was more successful than her fiancé, so the wedding fell through. She tried dating someone her parents picked out, but in the end, she preferred having a dog. Miranda Otto decided to repay her husband's cheating by doing the same, but she couldn't do it in the end. For a while after that, it seemed like it would still be good to fight for the marriage, but unfortunately, the level of lies was generally unbearable. Frances O'Connor did a great job, but at her company, someone always got promoted via the bedroom, or it was simply a guy who got it. And Bonnie Somerville? She tried being a lesbian for a month, but after her lover turned out to be pregnant and went back to her ex, there was nothing left for dear Bonnie. And the point of all this? There is none. So is there a reason for me to go back to something like this? Perhaps only if you are a fan of one of the actresses and want to see them in more expensive costumes than the norm.

Jarda Dušek and his one-man show on the theme of thinking about ourselves. It's got wit, it's got ideas, it's got humor and it's got pace. Unfortunately, the recording itself is very bland and certainly does not help the whole. Still, it's not hard m to remember some of the points he makes and stick to them in real life, even though up to now you have been educating yourself with the help of winged sentences in the style of: "Shoot!"

I love it. A trip to 1976 tells the story of a trio of married couples and the great little sexual revolution of the post-hippie era. It's a shame that the series was not picked up by HBO or Showtime instead of CBS because even with such an attractive theme we have to say goodbye to explicit erotica. However, a smart production knows how to replace it. It’s got very well-written characters, very believable retro, humor, and a reflection on the benefits of an open marriage. And lessons from the poetics of swingers. One is amazed at how the new generations are becoming more and more prudish all the time, even when they have been convinced in so many waves of history that sexual taboos have never done any good. We also get a truly lovely Molly Parker, a perfect Grant Shaw with an even more perfect mustache, Lana Parrilla on the rise, a sympathetic shirtless Josh Hopkins, and a lovable Erin Daniels in a supporting role. It also has a great soundtrack cleverly chosen from period hits so that the whole thing doesn't sound like a parody. And as a bonus, a Tupperware party!

In the days of ancient gods, heroic chiefs and kings, Timothy Omundson played the holy man Eli. A few centuries later, in the 13th century to be precise, he returned to the hearts of millions of Xenites and Herculeans as Galavant's effeminate King Richard. There was a time when no one at the con would even buy an autographed picture of him. Because Won't That Be Devine? 2.3

A TV film that obviously had to be made. The Stepford Wives has become a TV series too. But the basic problem is that the original Rosemary is working with an evil that doesn't even seem to exist, isn't tangible, isn't visible, and maybe it was all just a hallucination of the pregnant Rosemary. Well, I guess evil is just common here.

Agnieszka Holland has transferred the theme of the famous novel and film from 1960s New York to contemporary Paris, and along with this change, there’s another shift in the meaning. It's not a bad thing, it's just a different solution to a great idea that worked then and still works today. I'm a sucker for Levin's themes in general, so I couldn't help but be pleased.

It's an ideal alternative for someone who isn't so fond of Sex and the City and would like the protagonists to be more mature and, in a way, more real. It's a perfect combination of modern times and classic melodrama. Civil acting, seriality and episodicity. Big romances and serious careers - you'll find it all here. And yes, the book has its good points too. My compliments.

Alex Kurtzman and Roberto Orci used to be these little monkeys who started out writing great episodes for the Hercules series (Surprise, …And Fancy Free, Men in Pink, Yes, Virginia, There Is a Hercules, For Those of You Just Joining Us… or We'll Always Have Cyprus, to name the best ones) and look where they are today. Thanks to other series such as Xena, Jack of All Trades, and Alias, Alex has worked his way up to directing Michelle Pfeiffer, and together with Robert they are working on some of the funniest current blockbusters. People Like Us, on the other hand, is a great civil film that delights with its balance, thoughtfulness, and strong performances. I need to go through all of Michelle's scenes again because she's not just great and vital - she's just perfect.

A charming adaptation of one of Selma Lagerlöf's most famous works, already made famous by Mauritz Stiller's silent version. I have no objections to the artwork or Voska's commentary - they are excellent, but the very idea of processing such a large story in such a small space makes me wince. I could imagine it at least as a one-hour film, and that would make me feel even better.

The Pavlásková-Saudek connection is simply brilliant. Pavlásková has always been original and unique and I personally adore all her films, starting with Time of the Servants. There is great work with truth, work with actors, polished points, and incredible humor. There is no fear, no tabloid, and no false fetishization. Just the story Saudek needed to tell and Irena became his Geppetto. Roden also blossoms under Irena's direction, Vilma Cibulková is perfect in her etude, and Jitka Sedláčková with her beaver. Finally, enough has been done for the charms of Marika Procházková. And Máša Málková is also finally making her way out of the Prague City theaters and onto the big screen after her last significant supporting role in The Don Juans. I'm very satisfied with it.