The New Pope

The images, cinematography, colors, architectural structure, sounds, music, the words, the humor, the subtleties, sheer beauty, sheer nastiness, the kinkyness,

It's breathtaking in every aspect.

Let it be breathtaking and beautiful without judging acting or storyline or whatever you might try to find to criticise Don't think just let it happen, it's amazing.

The dismissive critics have no clue. This genius campy series discusses the issues of power and faith in the modern world of angst and loss and loneliness. The breakdown of modern society brought on by the rise of mass media and the utter ruthlessness of current world leaders reducing democracy to a sham is being ridiculed in an artistic manner. And where is god in all of that? That is the question all the characters struggle with. Brilliant dialogues. A must watch must ask yourself questions type of series... P.s... Had to add. Just finished episode 9. So many emotional moments during the last 3 episodes. The series is truly a work of love for belief and man and god. It doesn't need to im be reverent to truly reflect the positive elements of belief and being human. Almost to the contrary - using human frailty, vice and stupidity it is a celebration of what being human is all about and if i were the Catholic Church this would be the best promotion ever

Great topic, great script, acting, cinematography, lighting. Watching it, I experience flashes of Federico Fellini.

This new series is CLEARLY intended for a "certain" kind of audience - people complaining about Malkovich and how "slow" and "boring" the first episodes are, simply can't understand what they're missing. Outstanding visuals, outstanding dialogues, oustanding acting - a deep, provocative (but not offensive) well-thought portrait of the marvelous complexity of the Christian (and not only Christian) Church in the 21st Century. Please, try to watch it until the very last second of the last episode (a true masterpiece of an episode!): because it gets better and better, and all makes sense as a whole. If you left the series after ep. 1 or even 2/3, your vote simply doesn't mean anything.

For me, episodes one through five did an excellent job of setting up the characters, rhythm, mood, basic conflicts and action to follow so that we could come along on this wild and beautiful ride. We already knew Lenny Belardo and Voiello from The Young Pope but we needed to appreciate the necessity for a "NEW POPE" and we also needed to be drawn into the development of Sir John Brannox's character.

In episode six, the story picks up tempo and rolls into a dark, sometimes surreal and borderline Lynchian dimension which is frequently both uncomfortable to watch and brilliant.

Jude Law is not just easy on the eyes. He yet again proves that he is a consummate actor and by all reports, a deeply dedicated professional. Malkovich is a cinematic icon and Silvio Orlando is now and forever Voiello.

But one of my great joys is occasionally witnessing a stellar, deeply moving performance by an actor who had previously completely eluded my radar. It doesn't happen very often but now that the dust has settled and there has been time to reflect, I find that I am still haunted by two powerful scenes from one and the same series.

Episodes six and seven showcase two of the strongest performances by supporting actors in any productions I have seen so far this year. Chronologically they are the opening scene of ep. 6 in which an incomparably mysterious, sinister priest, Leopold Essence, engages Sofia Dubois in a tete-a-tete in the midst of the Vatican cafeteria. It is a scene that makes your skin crawl while making you want to leave wherever you are watching it from but you're too mesmerized to move. Ok, time to breathe again. I'm sure the actor J. David Hinze really isn't like that. Right?...Right?..

In ep. 7, the doctor's wife, Ewa Novak takes Lenny to task, relentlessly challenging, pushing and cornering him to somehow compel him to perform a miracle to save her son. It is heart-wrenchingly difficult to watch as a mother leaves it all on the table, including her faith, in the deepest depths of desperation. We are experiencing a living, grieving Pietà with the virgin mother holding her own dead son in her arms. It is so authentic and truly moving that some people may feel the urge to pull away to protect themselves. I know I did. But it's more than worth it to see it through to the end with your secret stash of tissues nearby. Amazing acting by Yulia Snigir. Why aren't we seeing more of her?

In a way, I sometimes think it's easy to get on a mega-star's bandwagon because you know they have many fans and probably many detractors so you're somehow safe being moved by what they do. But it's refreshing to me to see that there are new performers out there (at least new for me), waiting to be discovered, who can really shake things up and get me to reevaluate my expectations.

I would encourage anyone who has the opportunity to revisit these two scenes.