Christian 2, between forced utopia and reality of the periphery. Review of episodes 3 and 4

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The forced utopia collides with the reality of the suburbs and Christian finds himself facing the first real concrete difficulties of his new kingdom. Episodes three and four of the Sky Original series, co-produced by Sky Studios and Lucky Red with the collaboration of Newen Connect, are available from Friday 31 March exclusively on Sky and streaming only on NOW and bring the parable of the thug with the stigmata out from the GRA and even beyond national borders (THE SPECIAL).

Make sense of this life

Christian has decided to change the rules forever, to build a new Città Palazzo without drugs, drug dealing, weapons and violence, but he has the problem of how to make his people live well, which he parades in front of the commission made up of Rachele, Penna, Stefanuccio and Davide to list needs and requirements. The wish list includes 1500 iPhones, two padel fields and as many football fields, the Formula 1 Grand Prix, a university. But the perfect synthesis is entrusted to that of a man who simply replies to the question of what you want: “Wake me up in the morning and give meaning to this life”.


To do all this, however, you need resources, money, lots of them. It would take a miracle, in short. Luckily Christian is perfectly equipped. In pursuit of the 5 million estimated by Tomei as a budget to be able to carry out the forced utopia project, Christian, Davide and Rachele leave for Morocco. The series is transformed, for a few sequences, into a curious and bizarre road movie which, thanks to photography that enhances the warm light of North Africa and its natural landscapes.


The element of comedy re-emerges overwhelmingly, after a seasonal debut decidedly oriented towards drama and the epic nature of the story. And it is the return of the award-winning company made up of Christian (Edoardo Pesce) and Rachele (Silvia D’Amico) to offer the funniest ideas, to elicit convinced and spontaneous laughter between one peak of tension and another. To counterbalance the newfound serenity and joy of the love that blossomed between the two is the severity and profound restlessness of Matteo (Claudio Santamaria), manipulated and manipulative, maneuvered by Nera and intent in turn on maneuvering the friends of Christian from the top of his shelter in the attic of the Church with the light filtering through the window to illuminate a gloomy darkness projecting the long shadow of a large cross.


After Davide (Antonio Bannò), it is the turn of Michela (Romana Maggiore Vergano), thrust into the arms of Christian, and Penna (Gabriel Montesi), who after receiving a Bible as a gift, starts her free-range personal catechesis. The first fruits of Matteo’s work, accompanied by his ally Esther (Camilla Filippi) take shape in a scene that recalls the last supper, when the party for the “new beginning” suddenly turns into tragedy. And while the new City Palace seems to take off, the dark forces of the Seven Deadly Sins hatch and hinder Christian’s peace project.


Two episodes after the end of the second season, the series thus continues the narrative already started in the first, without ever falling into Manichaeism, filling the actions of its characters with nuances. Who acts for the good? Who for evil? But above all, is there really such a clear and defined border between good and evil? And who is responsible for identifying it? What are the limits of free will? How far can human beings go in the belief that they are acting for a just cause? Questions to which Christian it doesn’t seem to want to find answers, performing two tasks perfectly: inviting doubt by eschewing dogma and telling a story that entertains, makes you laugh heartily, reflect and move. With technical care and quality that remains at levels of absolute excellence.