'Genera + tion': Being too much doesn't have to be wrong

In the first minutes of

the new teen comedy drama available on HBO Spain, Chester (Justice Smith), a

student

who has been sanctioned for wearing a tank top cut to show his belly button in high school, explains to your student advisor: "I'm too much."

It is a predominant sensation in this post

television production.

, another series on adolescent emotional hyperbole and pubescent apprehensions in which kids are “too much” all the time, non-stop (there is no shortage of ironic dissertations on gender, race and class).

But if we have learned something after the narrative and aesthetic revolution of the Sam Levinson series when portraying the so-called generation Z, it is that this excess has many layers.

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In

produced by Lena Dunham, directed by Daniel Barnz and written by her 17-year-old daughter Zelda, there is no trace of the

nihilistic poetics

that made her mentor,

, a generational milestone.

It does take its witness in issues such as intersectionality, but it does not try to scare or shine more.

The series knows itself heir to who it is, but it also seeks its site with a more vitalistic and even much more theatrical and exaggerated vision, which at times borders on the implausible while still being sharpened in the eloquent conversations of a group of students from different classes and socioeconomic backgrounds dealing with puberty.

The chapters play with the

narrative

(to put a reference whose protagonists could recognize) and the jumping plot fixes its gaze on several characters.

There are the twins Naomi (Chloe East) and the bisexual Nathan (Uly Schlesinger), who share a lover without Naomi knowing it, and whose Christian parents (Martha Plimpton and Sam Trammell) lead a privileged and

life

so controlled that they even schedule their encounters sex with purple stickers on the family chore board.

There's the sympathetic and sympathetic photographer Riley (Chase Sui Wonders), millionaire and heir to an XXL pool.

For her sighs the introverted Greta (Haley Sánchez), forced to live in a working-class apartment with her aunt and brother after their mother was deported to Mexico.

"How can I be intolerant if my parents are queer?" Arianna (Nathanya Alexander) wonders at one point, in continuous rebellion against the progressive values ​​of her gay parents (the interracial couple formed by John Ross Bowie and J. August Richards).

Arianna is close to the activist Delilah (Lukita Maxwell), a talkative student capable of interrupting her math class to demand that problems stop being stated under non-binary gender parameters because “we no longer live in a world where there are only boys or girls ”and without fear of replying“ I think the word you are looking for is cisgender ”to an overwhelmed teacher who gives it to him to be cool when he yells that he knows that in his class“ not everyone is not straight ”.

This is definitely not a series for reactionaries and nostalgic for the traditional.

In

teenagers exchange photos of their private parts while in the background a couple reads the letter to the Corinthians in a church, snorts oxycodone to go on sale to Sephora, they climb buildings like a Friday afternoon plan, they shout “fascist! ! "

to the security guards, they say without any romanticism "You just came in the fucking eye!"

and even one of them seems to go into labor in the bathrooms of a shopping center while yelling at her friend: “Can you

how to give birth?

Try Wikihow! ”.

Despite living in a conservative community, the protagonists of

live with apparent normality and frankness their sexuality and gender identification.

They do not give up debating (not without a certain sarcasm) about class and race dilemmas, in a world in which parents find it difficult to keep up with their rhythm and understand that universe of possibilities in relation to their sexual condition.

Unlike

, where the parents were conspicuous by their absence, this is a series in which those two worlds are ready to collide before our eyes.

In a series that has already experienced its first viral controversy - a scene in which the corpses of cats were used to dissect in a scene in the institute's laboratory had to be eliminated from the pilot - betting on showing that generational clash provides added value to a formula that should not only serve for a single series to reign alone in the generational conflict.

Because in the end, being a little too much in this life isn't too bad either.

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