Although Chuck Lorre may already go down in history as a creator gourmet, prior to The Kominsky method billed two comedies in churrería mode (Two and a half Men Y The Big Bang Theory), so he knows how to solve problems in one fell swoop, without author gimmicks. When Alan Arkin retired, Lorre did what he always does: take the character away. Killed him without prosody. The new season begins with his funeral. From there, the living to the bun.
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What The Kominsky method work without the better half of Michael Douglas is a miracle to be thanked by Kathleen Turner, superb reply to Douglas and Caustic Cassandra. With it you can follow this story of old age and bodies that teaches more about the demographic challenge than a geography thesis. I mean the intimate demographic challenge, the one that awaits us all if we don’t fall out of the cast early, like Alan Arkin. Poor Arkin, by the way, is 86 years old and has little desire to consolidate his acting career, which rhymes with the essence of this series of old men in search of an understanding with their old age.
That implies accepting with a fierceness that opposes the inertia of eternal youth that the world projects: accepting old age without euphemisms or traps. In this season Martin, the character of Paul Reiser, grows a lot. His fiancée (30 years younger) reproaches him for always talking about how the world was better before (“It was better!”, Adds Kathleen Turner’s character), but at the same time she knows that there is no nostalgia in him , which is pure present. He understands what he says better than most have understood Ana Iris Simón’s speech. It is a beautiful trait that Martin makes his own shoes, as he looks comfortable in them.
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