Sofia Vergara Adds Steel to Netflix’s Series : Best Griselda Review


In a brand-new six-part series, the celebrity and a group of “Narcos” veterans narrate the tale of the Miami-based drug lord. Lest have a look at Griselda Review.

Release date on Netflix: Thursday, January 25.

Cast: Vanessa Ferlito, Juliana Aidén Martinez, Martín Rodríguez, Christian Tappan, Sofía Vergara, and Alberto Guerra

Creators: Carlo Bernard, Ingrid Escajeda, Doug Miro, and Eric Newman

Hollywood likes to act as though it is always evolving and that the days of Mickey Rooney playing Mr. Yunioshi and blackface are long gone. However, the casting of a white British actor by FX as a young Middle Eastern despot in Tyrant, or Catherine Zeta-Jones as infamous Colombian drug kingpin Griselda Blanco in Lifetime’s Cocaine Godmother, are not that dissimilar from Zoe Saldaña as Nina Simone.

Griselda Blanco, who was by all accounts quite monstrous at times, certainly deserved the divine and legal sanctions, but I think we can all agree that she did not deserve the thoroughly bizarre accent and makeup that went along with Zeta-Jones’ performance in Cocaine Godmother.

Netflix’s six-part series serves as a sufficient corrective representation, if nothing else. The latex makeup used on Colombian actress Sofía Vergara, who plays Blanco, makes her look more like “Not Sofía Vergara” than Griselda Blanco. With the exception of one, all four members of the creative team are former Narcos cast members: Doug Miro, Ingrid Escajeda, Carlo Bernard, and Eric Newman. The entire time, Colombian director Andrés Baiz was in charge of the camera. Griselda tells most of its story in Spanish.

She does well in compensating for past and possibly even future treatments of Blanco (a Jennifer Lopez film has been in development for a while), but it fails in overcompensation. Blanco’s potential intelligence and verifiable viciousness are all understood by the creators in a very formulaic way. Furthermore, while Blanco is being transformed from a brave underdog to a tragic figure of Shakespearean depths, she is beginning to appear stylish and intriguing, if not entirely convincing, and ending up absurd, if not entirely convincing.

According to the writers’ version of events, Griselda begins in 1978 when Morally Concerned, Too Young to Understand, and Who?, Blanco’s three sons, are on their way from Medellín to Miami, where they arrive with nothing but a dream and a kilogram of cocaine. According to this interpretation, Griselda is a poor woman without resources, but she has a brilliant idea: cocaine might be fun for white people too!

Repress your shock when you learn that she loses her soul in the process of acquiring the world, the violence increases, and her family—the people she purportedly did all of this for—are in danger. To be clear, she does not try to write Griselda Blanco’s story in a heroic light, but it still canonizes her. According to the plot, she was a driven individual who overcame institutional sexism to become a trailblazer; it would be as though Brie Larson’s character from Lessons in Chemistry had applied those lessons to become Walter White rather than Julia Child. A putty nose remains after many sharp edges have been sanded away.

Although Griselda is a serial killer, the acknowledged body count in the series is far less than most conservative estimates of the devastation she caused. Additionally, she is constantly concerned about getting all murderous, whether on her own initiative or as a result of an order. This is especially true once she begins smoking crack in scenes that are far funnier than I think they should be.

She is constantly selecting a semi-factual course that follows an underdog journey with the least amount of difficulty. This begins at the outset because the already unstable rise-and-fall arc would collapse if she revealed that its protagonist had previously operated a significant drug operation out of New York City before moving to Miami. Regardless of how false it is, Griselda can’t, in a hubristic and literal sense, become high on her own supply if her fictionalized arc doesn’t start low.

Griselda Review

The supporting cast is almost entirely one-note characters who are notable for being either likeable allies (Martin Rodriguez’s Rivi, who becomes Griselda’s peyote-taking top enforcer, comes closest to fully dimensional) or desperately killable chauvinists (Maximiliano Hernández’s Papo is easily the most misogynistic and therefore the most in need of killing). The show is a repetitive run of “There’s no way Griselda can come back from this” moments that illustrate her moral decline, but only in broad strokes. June, who is portrayed as Griselda’s most credible adversary, lacks any human characteristics aside from the challenges she encounters in her quest to overthrow the Godmother. After Griselda, there is a large group of people waiting to watch news reports about what Griselda will do next while lounging on couches.

Vergara manages to keep it entertaining even though TAs get progressively worse as she gets older. As the most dedicated cast member of Modern Family, Vergara deserves all the credit for revealing a whole new range of serious skills. She constantly transformed Gloria from a walking stereotype to a complex punchline machine, all without ever winning an Emmy. She never quite makes him as terrifying as the real woman was—Pablo Escobar’s opening remark that he was afraid of her makes it especially strange that Escobar isn’t utilized as even a supporting role—but she manages to uncover Griselda’s fears and her intelligence even beneath the layers of makeup. The lack of any kind of deserving scene partner prevents it from being a really outstanding performance, even though co-stars.

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