He’s back Luis Miguel (Netflix), with a third season that improves the second without reaching the excellence of the first. Especially turbulent years are counted of the musical, business and sentimental career of the singer Luis Miguel, scammed by a perverse partner, threatened by changes in the recording industry, in love with Mariah Carey and, as in previous seasons, victim of a mixture of paranoia , self-centeredness and alcoholism. The proof is that in almost every scene he appears with a glass of wine or whiskey in hand. It starts early and ends at dawn. If we were to make a competition between the drinks that he drinks in the series and those that Don Draper has in Mad men , I don’t know who would win (not forgetting JR Ewing from Dallas) . This season’s producer is Diego Boneta, who maintains his ability to transform himself into an even more credible Luis Miguel –even when he sings– than the authentic Luis Miguel. Boneta centralizes the intermittent interest –something repetitive– in a series with great scenes of loyalty, revenge and betrayal. And to add a new ingredient, Boneta incorporates the series that the viewer is watching into the plot. It is a metafiction pirouette that works, especially when Luis Miguel (the lie, played by Boneta) is introduced to the actor who will play Luis Miguel (the real one) in the series.
LOLA. The first chapter of Lola (Movistar) is splendid. Classic documentary to tell the life of a unique artist, with enough archive images so that the viewer does not have to try too hard to understand the media dimension and the halo of such a potent talent that has continued through her daughters and granddaughters. The decision to speak openly is intelligent, and from the outset it is explained how Lola Flores “sold her honor” in order to survive and become independent and what a violent and toxic relationship she had with Manolo Caracol, as good a singer as he is a personal abject. The quagmire of obviousness that the debate about the work and the lives of artists has become does not serve to limit the personality of Lola Flores, who managed her life and work without worrying about interference – sometimes great, sometimes mean, often desperate – between one and the other.
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