Hollywood (2020)

Hollywood is about Hollywood just after the Second World War. At least, it's Ryan Murphy's alternative version of post-WWII Hollywood. For this new Netflix Original, he does not adhere too strictly to the historical facts and thus creates a somewhat rosier image of 50's Hollywood. We see a film industry where - albeit with the necessary perseverance - there is room for people of color and people with a different sexual orientation. We see a Hollywood where bold women can manipulate a male-dominated world. As is often the case in his work, Murphy places power with groups for whom this is not always a given in daily reality. His vision on film and series is nicely summarized when Raymond Ainsley - one of the important characters in Hollywood - says: “Movies don't just show us how the world is, they show us how the world can be. If we change the way that movies are made - if you take a chance and make a different kind of story - I think you can change the world. ” Sure, this is a text that you could just find on a piece of white painted scrap wood from the Xenos, but it certainly contains a grain of truth. Representation is important and the fact that Murphy is using his platform (again) to convey this message is nothing but admirable. I think then. Based on the above, the impression might arise that Hollywood is nothing more than a lot of activist screaming from the soapbox, but nothing could be further from the truth, it is also just a very nice series. A series that looks very good and a series that, with Henry Wilson (Sheldon in The Big Bang Theory) and Avis Amberg - the idiosyncratic film boss - houses two characters who are bound to evoke emotions. Henry is the man you love to hate and you would want to start a fan club for Avis right away. They were my favorite, but besides them there are many more colorful types who also get enough room to breathe. But what about Murphy's sense of drama, I hear you think. Well, of course he remains a man who does not shy away from the theatrical and that is no different for Hollywood. Yet it feels perfectly out of place here - probably also because of the setting. Aside from the ending - in which things become very sweet and moralistic - Murphy has managed to keep the handbrake on nicely. He managed to limit it to slightly subdued hysteria. And I think we should just ignore that ending. Fairytales simply deserve an ending where the enamel splashes off your teeth spontaneously. For me a solid 8-