Anyone wishing to use Totenfrau. Lady of the Dead, streaming on Netflix To happily drift off to sleep, know that episode two will have him jumping to his feet in surprise. Indeed, the Austrian series breaks a taboo that has not been shaken so far. During the episode, two unrepeatable blasphemy against the Christian God resounded. And God reassured. Totenfrau is a horror thriller.
Seems well done. It tells the story of a woman, the owner of a funeral home in a mountain village, who investigates the death of her policeman husband, who was hit by a car. It may not have been an accident. The family is going through a moment of crisis. The teenage daughter in particular reacts with despair. At school he is no longer able to listen to a religion teacher, whom he considers a hypocrite. Until it turns out that he explodes in class with a curse. But so far this has not been heard. The episode is narrated at a later date.
Now, the question can be solved in a number of ways, from a text point of view. There was no need to add anything or one could choose a euphemism or adopt a clear but respectful wording. But no, they put drunken foul language in the bar. The girl, enraged, pulls out two curses that come gratuitously to the spectator’s ears. Art, and even Christians above all, often resort to blasphemy as a provocation or an innate curse, see for example some of the works of Giovanni Testori, the greatest Catholic writer of the Italian twentieth century.
Therefore, in many cases, there is no reason for a scandal. Instead, there is something to think about. But this glossy series, as good as it is, doesn’t really have anything artistic about it. Is it a desire for realism? You wouldn’t think so, given that the hero loves to chat with the dead. Totenfrau is pure entertainment. On top of that, it’s streaming on Netflix, a parent company that is very concerned with political correctness. There isn’t a series or movie that doesn’t include the entire catalog of wake-up style inclusivity. Actors of African descent could not be missing even in stories about the gentry in the 19th century, with great involuntary comedy results. Every story should have at least one gay couple, even if the details are irrelevant or even stuck in the plot with spit.
Therefore, it is surprising that a company obsessed with the desire not to offend anyone left those meaningless curses. In the end, everything is consistent. Political correctness respects all cultures of the world except our own, which it deems oppressive, dogmatic, and colonial. In the name of progress, we must listen to blasphemy.
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