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The Eddy - Episode 1 & 2 - Berlinale Preview

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The Eddy is a musical drama that will be released on Netflix, on May 8th. It is an 8-episodes musical drama, partially directed by Damien Chazelle, and Andre Holland is the main star. 

It is set in contemporary multi-cultural Paris and is centered around a club, its owners, and a band.
The main protagonist is Elliot, who lives in the French capital and struggles with some personal problems. Talking about The Eddy, Chazelle clarified the reason behind the French setting: "I've always dreamed of shooting in Paris, so I'm doubly excited to be teaming up with Jack, Glen, and Alan on this story."

The show follows many storylines and characters, but the primary focus is on Elliot and his daughter. He struggles with some personal problems, and apparently, some secrets.
The Eddy has many strengths, but also several weak points. Let's discuss them. This preview will not contain spoilers, but share a general point of view.

The TV Series works well when it entangles music and narration. Indeed, when we are immersed in the dynamics of the club and the importance of music, we are invested and interested. We are introduced to the characters' lives rapidly, and it is a wild ride throughout the streets of Paris. The setting, music, and the actors' performances are convincing. Not an incredible pilot, but the first episode grabs your attention.

Then Elliot's daughter enters the picture and gets the spotlight, and unexpectedly, the show sheds its skin. The second episode follows Julie's new life in Paris, and it is long, sometimes boring, and even unrealistic. If the first episode feels like a musical-drama, the second is full teen angst, a sort of family (or even teen) drama, causing the show to suffer because of a lack of identity.  

This is one of the main problems: in the Peak TV Era, a show must have a strong - identity. The first two hours of The Eddy have many twists and turns but the show does not give a clear idea of the direction that it wants to take. Some characters are left out, some others get more space. One of the most interesting characters dies, and I still need to fully empathize with one of them.

Moreover, the characters take themselves too seriously. Any trace of irony disappears at the end of The Baton.
All in all, being a big fan of Chazelle, I had high expectations and I have to admit that I was disappointed. 
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