logo
‘When No One Sees Us' Is a Rich and Gorgeous Spanish Crime Drama

‘When No One Sees Us' Is a Rich and Gorgeous Spanish Crime Drama

New York Times06-03-2025

The Spanish series 'When No One Sees Us,' beginning Friday on Max, is one of the better foreign-crime dramas in ages — focused, beautiful, sturdy but artful. The show is set in a small town in Spain where there is a U.S. Air Force base, and the story unfolds during Holy Week, which adds to the sense of import and impending crisis.
'No One' (in Spanish and English, with subtitles) is the tale of two cops and two investigations, one local and one foreign. Lucía (Maribel Verdú) is the Spanish cop with a testy teenage daughter, a deteriorating mother-in-law and a phone that never stops ringing. She's looking into a startling ritualistic suicide and an emerging drug ring. Adding to her to-do list is Magaly (Mariela Garriga), a high-ranking investigator for the U.S. military, brought in to find a missing airman who might be part of an intelligence breach.
Like many fancy contemporary crime shows, some of the action here, including the denouement, unfolds during distinctive local festivals — in this case Nazarene processions, in which some celebrants don tall, pointy hoods while others carry a massive wooden float bedecked with candles and religious statutes. The show is brimming with Catholic imagery, and characters have ecstatic religious experiences, both sober and drug-induced. 'Let's go do some penance,' one guy sighs as he heads out to see his in-laws.
The show is gorgeous to behold, bright and sunny and rich in detail; people's cars, their gaits, the way they smooth their hair down when taking off a hat, those things all add up. 'No One' is also full of life and humor. A grandmother warns her granddaughter, 'All men want the same thing: to complicate our lives.'
Plenty of shows have Type A female characters whose quirk is an obsession with junk food, but here that is taken to a realer and more painful place as a straight-up eating disorder. Small characters are sketched with fascinating specificity and affection, so much so that one wants to prolong the mystery just to spend more time with everyone.
There are eight episodes, satisfying and engrossing — and without that hot-boxed misery and gloom that so many crime dramas confuse for substance.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Evergreen Park Community High School band director Ken Kazin retires after nearly 40 year career
Evergreen Park Community High School band director Ken Kazin retires after nearly 40 year career

Chicago Tribune

time4 hours ago

  • Chicago Tribune

Evergreen Park Community High School band director Ken Kazin retires after nearly 40 year career

Teaching can be a tough job, but then something happens that makes all the effort worth it. Ken Kazin, the longtime band director at Evergreen Park Community High School calls them 'aha moments,' when his students 'finally get something really well. You just see it.' 'That's something I can never get too much of,' he said. After a nearly 40-year career at the school, Kazin retired at the end of this school year. The school's new band director is Colin Curatolo. Kazin said he'll miss his students, and is proud of how far the band program has come since he started in 1987. Back then, the marching band didn't participate in competitions and the band director position wasn't even full-time until he started. Among his more recent accomplishments was introducing a rock band element to the music program about five years ago. Now the school also has strong jazz and concert bands. It's a full time job indeed. In fact, as of his retirement Kazin had banked 406 hours of paid sick time, the equivalent of about 50 days. In addition to overseeing the school's bands, he's taught classes in AP Music Theory, Technology in the Performing Arts, World Music and other related topics. He is also principal percussionist for the Southwest Symphony Orchestra and a member of the Chicago Federation of Musicians. He was a drummer for Oak Lawn Theatre musicals and plays percussion with his son Keaton, a junior at Stagg High School, in the DuPage Youth Symphony. Kazin grew up in Oak Lawn, attended St. Laurence High School in Burbank and obtained a degree from VanderCook College of Music in Chicago. He lives in Hickory Hills with his wife, Amy, who is activities director at EPCHS. His son Jason teaches music at Scarlet Oak School in Oak Forest and his daughter, MacKenzie, teaches English in Columbus, Ohio. A song called 'Evergreen' performed during Evergreen Park Community High School's recent spring concert, which Kazin directed, was commissioned for him and the school by William Owens, his former VanderCook classmate. Kazin credits working with his wife as a big part of the school's musical/artistic success. She was formerly choir director there and directed and choreographed musicals, sharing his enthusiasm for ensuring students grew in their musical abilities. Their combined talents helped students work together in the school's band, choir and theatre programs. 'I think that made a big difference in the school environment and especially the kids,' said Kazin. 'What I'm most proud of is we built a music department. It was about all the music students and making sure they participated in the arts.' A big part of his overall success goes back to his parents, Kazin said. His mother was a professional pianist and organist, and he performed with her for a local VFW, playing drums. His father, a roll tender and inkman for RR Donnelley Printing, taught him his strong work ethic and the importance of showing up ready to give the job his all. He also gets a kick out of student shenanigans, chuckling when he noticed a mustache drawn on his picture in the hallway. 'You put the kids first, our job is to make them better by the end of the year,' he said. Students appreciate Kazin, too. 'Mr. Kazin has explained the importance of trying new and different things time and time again,' said Ryan Brennan, a rising junior, who plays in the concert band. 'He suggests that you don't need to understand everything to try … try something different and ask questions when you need to. 'That's how you can be most successful,' said Ryan. He also had a way of boosting self confidence, according to Zion McCadd, a rising senior and drum major in the marching band. 'I have learned so much from Mr. Kazin,' said Zion. 'Just from being in his band for three years, I've learned to be confident in everything I do from leading the band to playing my instrument. 'He also taught me it's okay to have a little fun!' Kazin also made an impact on Louise Brady, a band student who also just finished junior year. 'I am beyond grateful to have had him as a teacher, mentor, and dad-joke provider,' said Louise. 'I truly couldn't ask for a better experience and hope he has enough adolescents to tease in his retirement!' Principal Matt Dugan said Kazin had made a significant impact with his 'dedication toward the community and school as a whole.' But coming to work was no chore for Kazin, both because of his students and the many colleagues who 'had my back.' He said he might teach college students in the future and he plans to continue performing. 'I had the best job in the teaching world,' he said. 'I was a band director, so I got to grow with my students over four years. 'I loved growing with them.'

‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses
‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses

Los Angeles Times

time10 hours ago

  • Los Angeles Times

‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses

Saturday afternoon out west and evening back east, as citizens faced off against ICE agents in the streets of Los Angeles, 'Good Night, and Good Luck,' George Clooney's 2005 dramatic film tribute to CBS newsman Edward R. Murrow, became a Major Television Event, broadcast live from Manhattan's Winter Garden Theater, by CNN and Max. That it was made available free to anyone with an internet connection, via the CNN website, was a nice gesture to theater fans, Clooney stans and anyone interested to see how a movie about television translates into a play about television. The broadcast is being ballyhooed as historic, the first time a play has been aired live from Broadway. And while there is no arguing with that fact, performances of plays have been recorded onstage before, and are being so now. It's a great practice; I wish it were done more often. At the moment, is streaming recent productions of Cole Porter's 'Kiss Me, Kate!,' the Bob Dylan-scored 'Girl From the North Country,' David Henry Hwang's 'Yellow Face' and the Pulitzer Prize-winning mental health rock musical 'Next to Normal.' Britain's National Theater at Home subscription service offers a wealth of classical and modern plays, including Andrew Scott's one-man 'Vanya,' as hot a ticket in New York this spring as Clooney's play. And the archives run deep; that a trip to YouTube can deliver you Richard Burton's 'Hamlet' or 'Sunday in the Park With George' with Mandy Patinkin and Bernadette Peters is a gift not to be overlooked. Clooney, with co-star Anthony Edwards, had earlier been behind a live broadcast of 'Ambush,' the fourth season opener of 'ER' as a throwback to the particular seat-of-your-pants, walking-on-a-wire energy of 1950s television. (It was performed twice, once for the east and once for the west coast.) That it earned an audience of 42.71 million, breaking a couple of records in the bargain, suggests that, from a commercial perspective, it was not at all a bad idea. (Reviews were mixed, but critics don't know everything.) Like that episode, the 'live' element of Saturday's broadcast, was essentially a stunt, though one that ensured, at least, that no post-production editing has been applied, and that if anyone blew a line, or the house was invaded by heckling MAGA hats, or simply disrupted by audience members who regarded the enormous price they paid for a ticket as a license to chatter through the show, it would presumably have been part of the broadcast. None of that happened — but, it could have! (Clooney did stumble over 'simple,' but that's all I caught.) And, it offered the groundlings at home the chance to see a much-discussed, well-reviewed production only a relatively few were able to see in person — which I applaud on principal and enjoyed in practice — and which will very probably not come again, not counting the next day's final performance. The film, directed by Clooney and co-written with Grant Heslov (who co-wrote the stage version as well), featured the actor as producer and ally Fred W. Friendly to David Strathairn's memorable Murrow. Here, a more aggressive Clooney takes the Murrow role, while Glenn Fleshler plays Friendly. Released during the second term of the Bush administration, the movie was a meditation on the state of things through the prism of 1954 (and a famous framing speech from 1958 about the possibilities and potential failures of television), the fear-fueled demagoguery of Wisconsin Sen. Joseph McCarthy, and Murrow's determination to take him on. (The 1954 'See It Now' episode, 'A Report on Sen. Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store