A satire about the overthrow of Emperor Peter III from the creator of "Favorite".
The coup d'état was a success - Catherine, pregnant with the heir, and her assistants expelled the current emperor Peter and were able to take the throne for themselves. The bright Russia of the future is about to come - but the reality turns out to be much more idiotic, because sooner or later you will have to step over the misunderstanding of the people and their "special path".
If in the first season the enthusiastic, optimistic and young Catherine kissed the Russian land as a sign of respect and thanksgiving to God for her chosenness, then in the second she begins to greedily eat this land. It looks like a completely logical and justified step, due not only to pregnancy. For all the years of her life together with the selfish and traumatized in childhood Peter, life, if she taught her anything, is the struggle with the means that were at hand (not Voltaire alone). The Empress does not despair: after the coup, on the sidelines of her palace, a plan is being started to build an enlightened state with a departure from savagery towards multi-confessionalism, schools for girls and economic recovery.
"Great" once again seriously wins the genre of sisters at the expense of Tony McNamara, Oscar nominee for "Favorite" with her sparkly written "Women's State" and co-author of the recent "Cruella". His script remains sharply sharpened for the most ironic symbiosis of modernity and historical significance, although the latter does not play an enlightening role here at all. This show is still free from the outraged exclamations of the offended, writing in the disclaimer under the asterisk "Truthful at times", so as not to deny itself anything, but to continue to paint the dynamics of the emancipation of one ruler, a stranger among strangers.
Catherine's culinary predilections demonstrate her willingness to fully assimilate with those who previously perceived her as an incubator. At the coronation you cannot win the status with one primordially Russian costume. Advisers Orlov and Velement, in their tips, reach murders right in the audience hall, Patriarch Archie weaves intrigues behind our backs, street children play someone's severed head and call Catherine "s ****" ("imperial s ****" , she corrects), the ladies of the court are just as envious and stupid, and the ill-fated sex comic with Catherine and the horse is still in the limelight. The throne was not immediately rebuilt, and the heroine refuses to do this by force (although she could and would have had every right to do so).
Fanning remains the main magnet, whose declared greatness does not appear immediately, but subsequently sounds louder and harder to hide from him. For a long time, the actress was not classified as dramatically savvy, but here all the questions are removed again, as when watching the first season: - Catherine is ideal for her not only in terms of endless gags, but also in maternal concern for the country, personal worries about the disappearance of her lover Leo , fragility and alertness at the same time. Holt in the role of Peter is still unbearable, silly, charismatic in the same proportions, and also arranges independent therapy after the transfer of power to his wife: for example, he tries to be less hot-tempered (it turns out badly). Despite house arrest, the hero is still present in Catherine's life, reminds her of the chosenness of the unborn child, depicts either an abusive spouse, or a kindred lonely soul.
Appears in the season and Gillian Anderson, whose golden age on television after Margaret Thatcher from "Crown" (and won an Emmy for her) was continued by the mother of Catherine, Johanna - a comic socialite who came from Germany and somewhat reminiscent of Anna Scherer from " War and Peace ”, but with a great addiction to alcohol. The mission of the visiting Johanna will not be revealed to the viewer immediately, but she will also have her own plans for the title.
“Great” mercilessly strikes at its originality and does not claim respect from the historical community and conventional users of Russian Facebook. At the same time, in her portrayal of greed, stupidity and unpreparedness for change, a lively, almost healing energy continues to shine through, understanding everything and even more about someone else's, seemingly, territory. On the other side of the screen, for a country that has been in a protracted crisis for several centuries, there is a way out, and a story with a woman's face confirms this. Huzzah, comrades!
This article was sponsored by Archana Modha
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