Kaka

Another episode in the middle that comes up with absolutely nothing new and rather digresses and makes the whole serial killers story more vivid. If they hadn’t released this episode, nothing would have really happened.

The storytelling is mostly mediocre, House of Gucci is mainly driven by the actors. It looks to me as if Ridley Scott came on the set and said "well, now you all play what you want, improvise as much as you can, but don't forget to pull the strongest Italian accent you can". And strangely enough, it usually works. Also, the make-up artists do a great job as always in Ridley's ensemble, because, for example, I recognized Jared Leto through his make-up after about an hour. If I had to choose between The Last Duel and House of Gucci, I would choose the historical drama, which is more focused, with a more honest, sensitively and carefully crafted story that leaves a stronger emotional impact. In the case of House of Gucci, what warms the viewer's heart the most, apart from the aforementioned actors, is perhaps only the great cinematography and the brilliant design of the costumes and interiors, which, of course, the filmmakers polished to the smallest detail as befits and belongs to an icon of luxury and glamour.

The routine of the middle episodes. Hopefully a murder in the neighborhood will have a big impact on one of the main characters to get the story moving a little faster. The atmosphere remains gloomy, it plays on a serious note, but we've been waiting for 10 episodes for Mason to come on the scene, so hopefully we'll see.

The personal planes are brilliantly played out, with the new cunning boss, Ford and his panic states and the slightly shocking finale. The second season skillfully continues where the first one left off, and the fact that there are 2 years between them is not visible at all.

In terms of story structure, unlike the more comprehensible second season, it's more of a fan-service for the most loyal who devour the game on PC at night. Some sensational moments overlap with those that the ordinary viewer, or those who don't know the source material in detail, often don't really understand and thus lack involvement in the plot.

It’s OK, but I was expecting something wilder. The first season excels in its almost documentary-like portrayal of the study of the behaviour of mass murderers, a subject that David Fincher is really good at. Thematically, Mindhunter is immensely rich and interesting. Cinematically, however, it is repetitive in places, chatty, overly intellectual even in moments when it is not entirely necessary. But it doesn’t have any significant weak spot. The second half was better when, in addition to the interrogation of the prisoners, the personal ties and confrontations between the main characters began to shake out. Likewise, the main character's transformation from rookie to seasoned veteran is impressive because it's so unforced and natural. If the next season is a little more nimble, this miniseries has the potential to be great.

A fitting and worthy finale to the series – with an understandable open ending for the second part. The final minutes are a kind of highlight and one of the most thrilling scenes of the whole miniseries, which is complex in what it tells about, but at times quite sterile and not very friendly to the average viewer.

So far, the only episode that moves along briskly, after which you automatically want to see the next. The tension and drama at the police station is more interesting than the prisoners.

The school scene was perhaps a bit pointless, but probably crucial for the development of the young detective – it depends on what direction it eventually moves in. In any case, the personal levels of the protagonists can be portrayed and elaborated with more ease and more involvement of the viewer than those of the "anti-heroes", at least for now, and if we ignore some neat moments during the interrogations.

The seventh episode focuses well on the background of the protagonists and their personal problems and vices. The creators give the viewer a glimpse into the lives of the "good guys" and somewhat balances the otherwise one-sided view of those behind bars, thus centralizing the overall focus on the issue.