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 Betreff des Beitrags: "Obsession" im Spiegel der Kritik
BeitragVerfasst: 10.04.2023, 20:28 
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https://collider.com/obsession-netflix-2023-review/

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Obsession' Review: Richard Armitage Stars in a Steamy Adaptation That Doubles Down on Toxicity
BY
THERESE LACSON
PUBLISHED 3 HOURS AGO
Armitage is joined by Charlie Murphy in Netflix's new erotic thriller series about two people in a chaotic and dangerous affair.

Charlie Murphy and Richard Armitage in ObsessionImage via Netflix
Based on Josephine Hart's 1991 novel Damage, Obsession takes us down a dark and twisting road of possessive, toxic romance and indulges in the eroticism and unhealthy nature of its subject. The series stars Richard Armitage, Charlie Murphy, Indira Varma, and Rish Shah and follows William (Armitage) and Anna (Murphy) as they engage in an illicit affair behind the backs of the people closest to them. Anna is the new girlfriend of William's son, Jay (Shah), and despite William's stable home life and happy marriage with his wife Ingrid (Varma), William's immediate attraction to Anna threatens to destabilize everything in his life.

The four-episode series is a vast departure from the 1992 film Damage — also based on the Hart novel, starring Jeremy Irons and Juliette Binoche. While the film focuses on the romantic element of the two's relationship, often framing the two as a tragic, even star-crossed, couple, the series leans further into Hart's original intentions behind Damage. There is nothing healthy or functional about William and Anna's relationship; they are both obsessive, as the series title implies. It's less about the damage that they do to their lives and more about how much their obsession ruins them, and yet they can't stay away from it.

Written by playwright Morgan Lloyd-Malcolm alongside Benji Walters, the series is far more progressive when it comes to the sex between Anna and William. While it is still torrid and steamy, the two also engage in a sexual relationship with BDSM undertones, which actually compliments their complicated relationship and power dynamic. In the film and novel, Anna is a bit of a cipher, a mysterious and lovely figure that exists solely as the object of the William character's sexual obsession. In the Netflix series, her motivations and her own draw to William are explained. The exploration into her own private past and the exploration of her relationship with her family are given more room to breathe.

Directed by Glenn Leyburn and Lisa Barros D'Sa, one of the standouts in this series is how it approaches sex. There's a raw dynamism to Anna and William's sex scenes together, it's not just about enjoying the act, it's total indulgence and surrender. The clear lines drawn in the relationship when Anna and William enter into a BDSM dynamic are rarely seen and handled with more care than other stories on the subject (looking at you, 50 Shades). However, the element of obsession muddies the waters. There is no abuse or danger in their sex; in fact, that seems to be the moments when they are the most honest with each other about who they are, but as the dynamics shift, William's infatuation with Anna becomes crippling.

On the flip side of their affair is their victims. Varma's Ingrid gets a revamping from the adaptation. There's no loveless aspect to their marriage; when we first meet William and Ingrid, the two seem to have a very healthy marriage. They're sexually active, and she's self-sufficient, self-assured, and a great match for William. The tragedy that she experiences is the same, but the packaging of Ingrid's character makes her much more formidable. Varma is, as always, stunning to watch on screen from beginning to end.

Performance-wise, Armitage and Murphy are a perfect match for the doomed couple. Armitage portrays William with all the desperate neediness of a drug addict. He's barely holding on when he's in the presence of Anna, in desperate need of a fix. There's a kind of unhinged vulnerability that he exposes that makes the character sympathetic while also sadly pitiful. Meanwhile, Murphy excels at playing the enigmatic Anna, who shows more of herself in this story than in any other iteration. When she cracks open the hard exterior, there is a damaged and complicated woman inside who is trying to seek redemption and peace but is swept away by her own destructive nature.

Obviously, Armitage and Murphy are two attractive actors, but they manage to portray more than just a sexy romp in their love scenes together — there is an entire dialogue at play in just their actions. The two characters explore a kind of sexual creativity and experimentalism that feels original even in a contemporary landscape. Obsession is definitely one of the steamiest projects to come out so far this year, but it also doesn't shy away from both the ugly and honest aspects of the affair.

While the chaotic and dangerous nature of the affair is easily the most delicious aspect of Obsession, the place where it falters is in its third act. After a momentous twist, the story struggles to unravel in a satisfying way. Perhaps that's its intention, as the original novel ending is also a bit ambiguous, but the door is left a bit too open in the final moments. We aren't given a deep enough look into Anna, who is easily the most interesting character of the series. Given that she breaks through the stereotypes of "homewrecker," it's disappointing when we don't get a more concrete ending for her. Despite a weaker conclusion, Obsession is still a top-tier erotic thriller. It combines the intense physicality of a dangerous relationship with the constant tension that is so vital to a thriller. As a short four-episode series, Obsession is a twisted and tantalizing story that is sure to intrigue all those who enjoy this unique genre.

Rating: B

Obsession premieres April 13 on Netflix.

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BeitragVerfasst: 10.04.2023, 20:38 
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Und gleich noch eine:
https://entertainment-focus.com/2023/04 ... few-risks/

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Obsession’ preview: Netflix’s erotic thriller sticks close to the source material taking far too few risks
Pip Ellwood-Hughes
BY
PIP ELLWOOD-HUGHES
APRIL 9, 2023


The announcement that Netflix was working on an adaptation of Josephine Hart’s classic novel ‘Damage’ is one that left me pondering what, if anything, a remake of sorts could offer that the 1992 film from director Louis Malle, which starred Jeremy Irons and Juliette Binoche, didn’t already deliver.

This four-part limited series, which arrives on Thursday 13th April, stars Richard Armitage as William and Charlie Murphy as Anna, the woman he becomes obsessed with who is dating his son Jay (Rish Shah). While the series has been given a modern makeover – in this iteration William is married to Ingrid (Indira Varma), a woman of Indian heritage, and he’s a surgeon rather than a politician while Anna isn’t French or the daughter of a British diplomat – the storyline remains largely the same as the original film version.

William and Anna are instantly attracted to one another after meeting at an evening soirée, and their relationship quickly turns into a sexual power struggle as they meet in a sparse apartment to satisfy their urges. All the while, Anna continues to date William’s son and the threat of their affair being discovered hangs over their heads, especially as someone seems to know what they’re up to behind closed doors.

The set-up for the series is sizzling enough with Armitage and Murphy sparking off one another from the moment they meet. Where the series falters is that neither William nor Anna are even slightly likeable. William’s selfish decisions to prioritise his own sexual desires, at the expense of his family, and the two-dimensional nature of Anna’s character as a femme fatale makes it hard for the viewer to care about either of them. The script does nothing to try and make their actions understandable.

Spread across four episodes, the thin plot feels far too stretched. Time is filled in each episode with explicit sex scenes, but after the initial surprise at just how far the series chooses to go, it starts feeling repetitive. The viewer is painfully aware that William and Anna are having an affair so do we really need to see lengthy sex scenes every episode? The answer is not really because they don’t really add to the overall story and the whole thing starts feeling more ‘Fifty Shades of Grey’ than the original ‘Damage’ film.

‘Obsession’ starts well but it soon loses steam. Poorly written lead characters, and forgettable supporting players, make this nothing more than an erotic drama that fizzles rather than sizzles. Armitage and Murphy do their best to carry the series, but they aren’t given very much to work with. Given that both are capable actors, that’s a real shame. If you haven’t seen ‘Damage’, or read the original book, you might find enough to enjoy here but if you have, you’re better sticking with those.

‘Obsessions’ launches on Netflix on Thursday 13th April 2023. Watch the trailer below:


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BeitragVerfasst: 12.04.2023, 18:19 
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https://www.standard.co.uk/culture/tvfi ... 73691.html

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Obsession on Netflix review: at last! An erotic thriller that actually thrills
This new adaptation of Josephine Hart’s novel Damage puts the female perspective at its heart

By Martin Robinson
1 hour ago
Review at a glance - 5 stars!

There was a time in the late Eighties and early Nineties when you couldn’t move for Michael Douglas’ buttocks. They were everywhere you looked. Bouncing up and down several feet from his shaggy hair-do, and somehow creating box office gold.

Fatal Attraction and Basic Instinct made squillions, and brought a slew of imitators in a genre known as erotic thrillers. Who can forget the ‘highs’ of this genre like Body of Evidence, starring Madonna and a mortified Willem Defoe, or Colour Of Night with Bruce Willis and a terrified Jane March or Sea of Love with Al Pacino and an amused Ellen Barkin – all with variations on theme: sexy women are psychos!

Bunny boilers became the common parlance from these films, which were built on the idea of a scorned woman coming after a weak-willed but ultimately decent family guy. It’s fair to say they didn’t bother too much with the point of view of the female protagonists and served instead as moral warnings or AIDS metaphors or just witch-burning for popcorn munchers.

Now however, the erotic thriller is back in a big way, with a new emphasis on the female gaze. A new TV version of Fatal Attraction is on its way (Michael Douglas’s buttocks not likely to feature, sadly), but set to steal its thunder is Obsession, a new Netflix adaptation of the novel Damage by Josephine Hart, which was previously made into a film by Louis Malle in 1991, starring Jeremy Irons and Juliette Binoche.

Obsession is about an affair between a married surgeon, William (Richard Armitage) and his son’s girlfriend, Anna (Charlie Murphy). It is a case of lust at first sight, but with Anna very much in control. Indeed, the obsession of the title is not Anna’s – she is not the classic destructive femme fatale – it’s William’s. He has little of her self-possession and is unable to accept the rules of the clandestine relationship; he wants more, wants to possess her, even if it costs him everything.

Unlike the book and Malle’s version, this new adaptation, written by award-winning playwright Morgan Lloyd-Malcolm and Benji Walters, very much puts the female perspective at its heart, not only looking at Anna’s dark past and possible motivations, but showing how her desires revolve around the interplay of power, on her own terms. Therefore the much touted BDSM in the show is simply a means to explore sexual dynamics rather than just being some kinky shit for the mums and dads.

Armitage is on fine form as the troubled and desperate William, and Indira Varma as his wife Ingrid has some scene-stealing moments as her life eventually shatters. Yet this is Murphy’s series – her Anna combines strength and vulnerability, operating with an erotic power from a staggering amount of ‘damage’, which is utterly convincing.

Directed by Glenn Leyburn and Lisa Barros D’Sa, the entire series operates with a stately sophistication which boils few bunnies but instead hits notes of Hitchcockian suspense. Most obviously, the show is reminiscent of Vertigo, as one man’s obsession with a woman destroys his mind and his life. The difference here is that, the implicit misogyny in Hitchcock is replaced with a degree of understanding: the male protagonist destroys himself, but it’s hardly just this treacherous woman’s fault.

Unlike most erotic thrillers, Obsession manages to be both erotic and thrilling. Perhaps there’s life in this throwback genre after all.

Obsession is streaming on Netflix from April 13


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BeitragVerfasst: 12.04.2023, 19:07 
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https://www.bbc.com/culture/article/202 ... cruciating

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Obsession review: Netflix's erotic BDSM thriller is excruciating to watch

By Neil Armstrong
12th April 2023
This miniseries is Netflix's latest attempt to draw in subscribers with steamy melodrama. But its tale of a man's affair with his son's girlfriend is flaccid, writes Neil Armstrong.


There is a dialogue-free scene in Obsession that is likely to excite some comment. Can you guess from its closed captions alone what is happening?

"Groans softly." "Unsettling music playing." "Unsettling music intensifies." "Sniffing. Grunting." "Moans softly." "Gasps." "Exhales sharply." "Gasps." "Unsettling music continues." "Inhales deeply. Grunts." "Belt buckle clinking." "Sobbing."


Yes, that's right. A well-groomed, middle-aged chap, having checked into the hotel room vacated by his young lover, proceeds to writhe on the bed, hungrily sniffing the sheets and pillows, seemingly unaware that it is the practice in hotels, especially in fancy Parisian establishments, to change the bedding in between guests. He eventually apparently locates some vestige of her scent in a cushion and it sends him into a frenzy of masturbation and – I'm sorry but there's no other way to describe this – bed-humping.

From "Groans softly" to "Sobbing", the scene lasts a little over two minutes although watching it you might feel as though aeons are ticking slowly by. And if it's excruciating to watch, imagine how it must have felt to act.

However, we mustn't make fun. William Farrow (Richard Armitage) is in the grip of a destructive obsession – there was a clue in the title – and has been since he first clapped eyes on femme fatale Anna Barton in this four-part erotic thriller, which follows the recently-cancelled Sex/Life as Netflix's latest attempt to draw subscribers in with steamy melodrama.

Farrow is a brilliant surgeon. In the opening scene we are introduced to him successfully performing a complicated operation to separate conjoined twins.

Afterwards, he and his barrister wife Ingrid (Indira Varma) drive to her father's huge place in the country, where the very close Farrow family – William, Ingrid and their son Jay (Rish Shah) and daughter Sally (Sonera Angel) – spend a lot of time. It's the sort of place that has a tower, a large gravel drive and a grand, bifurcated staircase so we know they're a well-to-do bunch. William, you see, is a man who has it all: loving family, money, a satisfying high-powered career.









Everyone at this family gathering is keen to know more about medical researcher Jay's latest girlfriend, Anna Barton (Charlie Murphy). No-one has yet met her. "There's no way I'm exposing her to you lot," he jokes. However, his father is about to expose quite a lot of himself to her.

At the launch of a new government health initiative at the Palace of Westminster, William sees a beautiful young woman on the other side of the room. As screen tradition demands, the hubbub of the crowd momentarily falls away as their eyes lock. Wham – instant attraction! A coup de foudre. They both know it.

She slinks up to him at the bar, and gazes at him, sexily. "Hello. I'm Anna. Anna Barton," she says, sexily. "I think he’s [Jay] worried about introducing us," says William. "Oh. Should he be?" Anna asks, sexily. William places an olive between her teeth – a totally normal thing for a man to do with his smitten son's girlfriend who he's only just met – and she eats it. Sexily.

Before long, she's texted William her address and he's hot-footed it round to her swanky top-floor flat where they have urgent sex on a hard wooden floor. The apartment has a perfectly serviceable bed but couples in the grip of forbidden, elemental passion always prefer a hard, wooden floor.

Soon they're secretly meeting regularly for urgent sex. Anna has a few rules though (there are always rules, aren't there?) "You wait for me to say when. You do not turn up uninvited. Nothing happens beyond these walls without my permission."

The lead characters go about sex wearing grim expressions of dogged determination of the sort you might display when clearing the guttering
But rules are made to be broken and that's exactly what William does when he follows Anna and Jay to the hotel in Paris where they've gone for a weekend.

Although Anna is very annoyed that William has transgressed, she nips out for a quickie with him in the back lane, right next to the bins. Ah, Paris. City of romance.

Of course, the "erotic" is a very subjective concept but by now – and we're into the second episode here – some viewers might be feeling a little short-changed on this front. William and Anna don't even look as if they’re enjoying the sex that much. They go about it wearing grim expressions of dogged determination of the sort you might display when clearing the guttering.

Bad news on the "thriller" element too, I'm afraid. The threat level appears relatively low. No bunnies need fear a boiling. The chances of murder and mayhem à la Basic Instinct are slim. Things perk up briefly when William receives a text from an unknown sender saying: "I know what you're doing. Stop Now. Pervert." He can't stop, though, because he's Obsessed. But all too quickly, this flaccid plot strand is resolved, having failed to generate much dramatic tension.

The actors are doing their best with the material they've been given but the problem is that we just don't care about any of the characters. All we know of Anna is that she's a civil servant working for the Foreign Office and she studied politics at Leeds. She's a riddle wrapped in a mystery inside an enigma. Whenever either Jay or William has the temerity to ask her anything about her life, she tells them they have to "learn to love the questions". Bit irritating.
She doesn't seem to have any interests beyond writing pretentiously in her journal ("I am lost and then I am found… I have a sense of symmetry. That somehow I have conquered two sides of a mountain at the same time") and a bit of light BDSM. By the time we do learn about her past and why she is the way she is, we're absolutely bored to tears by her.

But we don't really know anything about William either. He's barely two-dimensional. His character description in a CliffsNotes for this show would read simply: "Successful surgeon. Likes olives and light BDSM." It’s hard to feel anything for either him or Anna.

The bestselling 1990 novella on which this is based – Damage by Josephine Hart, made into a 1992 film of the same name, starring Jeremy Irons and Juliette Binoche – is narrated by the William Farrow character so there we have access to, at least, his thoughts and feelings in a way that we simply don't here.

The eventual ending left me with a lot of questions, none of which was "Will there be a second season?" But if it also fails to get your juices flowing, don't despair. Although Nicholas Barber has argued on BBC Culture that the 1992 movie Basic Instinct represented both the apogee and the end of the erotic thriller, Obsession is merely the first thrust in a veritable orgy of upcoming productions trying to revive the genre. Among others, we can look forward to Fatal Attraction, which has been repurposed as a TV series and arrives on Paramount Plus at the end of this month, starring Lizzy Caplan and Joshua Jackson. Peacock is remaking the 1996 move Fear ("Fatal Attraction for teens," the original film's producer called it), while Apple TV+ has announced Presumed Innocent with Jake Gyllenhaal and Ruth Negga, adapted from the 1987 Scott Turow novel of the same name, which was previously filmed with Harrison Ford.

It looks as though, after a lengthy recovery period, the erotic thriller has lead in its pencil again. Let's hope, unlike Obsession, these other new shows are more "Moans softly" than "Exhales sharply".


Obsession is released on Netflix internationally on 13 April





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BeitragVerfasst: 13.04.2023, 05:40 
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Die BBC versucht, auf dem hohen Roß zu reiten. :lol:


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Nietzsche hat geschrieben:
Die BBC versucht, auf dem hohen Roß zu reiten. :lol:


Könnte sein... :pc:

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Netflix ist ein Konkurrent ;)


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 Betreff des Beitrags: Rolling Stone (13.4.2022)
BeitragVerfasst: 13.04.2023, 20:29 
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Zitat:
TV REVIEW
‘Obsession’ May Be Netflix’s Kinkiest Series Yet
Adaptation of Josephine Hart’s novel Damage stars Richard Armitage as a surgeon who has a lot of sex with his son’s fiancée (Charlie Murphy)

BY CHRIS VOGNAR

APRIL 13, 2023
Indira Varma, Richard Armitage and Charlie Murphy of 'Obsession.'
Indira Varma, Richard Armitage and Charlie Murphy of 'Obsession.' NETFLIX
WILLIAM IS A highly successful pediatric surgeon, a little uptight but living a good life with his family in London. But from the moment he locks eyes with Anna, standing across the room at a lavish party, he’s doomed. He knows it. We know it. The fun of Obsession, a new four-part erotic thriller from Netflix, lies in watching it all fall down. That, and a whole lot of kinky, animalistic sex.

This is a tale of amour fou, in which lust tramples everything in its path – family, respectability, and ultimately sanity. The big problem is that Anna (Charlie Murphy) is engaged to be married to Jay (Rish Shah). And William (Richard Armitage) is Jay’s father. William isn’t just entranced by Anna; he’s crestfallen with passion, and Armitage lets you see it in every scene. A bit preoccupied to begin with, he becomes a sort of sex zombie as he and Anna quickly graduate from ravenous looks to all manner of coitus – on the floor, against the wall, kneeling, standing, tied up, blindfolded. The clothes are shucked, the ominous music kicks in, and that’s that, and that, and that. There’s even a tango in Paris. And there’s never any question who’s in charge; Anna sets the rules and dictates the terms. She’s a lot better at compartmentalizing than her older paramour, which means she can make goo-goo eyes at the strapping, sensitive Jay moments before sneaking away with his dad.


Murphy, with dark, piercing eyes, a messy bob, and a perpetually forming pout, is the star of the show, and Her performance is one reason why Obsession, adapted by Morgan Lloyd Malcolm and Benji Walters from Josephine Hart’s 1991 novel Damage, is more than mere sordid spectacle. She brings high intensity, as does Armitage, whose obsessed adulterer develops the haunted eyes of a shellshocked war veteran. Obsession understands that the most devastating forms of passion are completely irrational, all-encompassing, even nonverbal, and certainly amoral. The mutual assured destruction here is as inevitable as that in any film noir. There’s no use thinking about it or resisting; this elevator is going all the way down. (Hart’s novel was also turned into the fine 1992 Louis Malle film Damage, starring Jeremy Irons and Juliette Binoche.)

Anna has a quietly monstrous mother (Marion Bailey, quite potent in a small role), and a tortured past, all of which leads her to live on a self-obliterating razor’s edge. “Damaged people are dangerous,” she tells William. “They know they can survive.” You get the feeling this isn’t the first time she’s done something like this. William, on the other hand, is a desperate deer in the headlights, quickly oblivious to his wife (Indira Varma) and daughter (Sonera Angel), neither of whom have a whole lot to do here. Even Jay, wide-eyed and earnest, is mere collateral damage to his father and fiancée’s sexual trainwreck. Everything around Anna and Jay gets thematically blurry as their trysts, and anticipation thereof, serve to blow up the outside world.



Obsession is as much a mood as a story, and the production value is pretty high for something of this ilk. The lighting, both exterior and interior, evokes the proper mix of dread and euphoria. Anne Dudley’s score combines pop atmosphere with Bernard Herrmann-inspired tension. For an erotic thriller on Netflix, Obsession pays admirable attention to craft, and this makes it a lot easier to take the whole thing seriously. It’s far more cinematic than it needs to be.

It’s the kind of story that has trouble ending, and the consequences portion of Obsession isn’t as satisfying as what leads there. We know lives will be ruined, if not lost, and when the bad stuff goes down the results feel a little anticlimactic. The wafting, carnal nightmare grows more literal-minded as the final bows are tied. The fever breaks. The wild animals we’ve been watching revert to human form. The pleasures of Obsession are fully enmeshed with the sins and the tragedy. Those are the terms by which it, and Anna, operate.

IN THIS ARTICLE:
erotic thriller,
Kink,
Netflix,
Richard Armitage,
sex
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Kritik...? 8) :nix: :scratch: :pfeif:

https://dvd-fever.co.uk/obsession-the-d ... -armitage/

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Obsession – The DVDfever Review – Netflix – Richard Armitage, Charlie Murphy
On April 12, 2023 6:00 pm By Dom Robinson
Obsession is out tomorrow on Netflix, and my first observation is how it does seem odd that while it’s a four-part mini-series, each episode is only about 30-40 minutes long, totalling around two-and-a-half hours. That’s basically a two-parter in TV terms.

William Farrow (Richard Armitage – Space Sweepers) is a highly-succession surgeon who, for example, kicks off this series by saving conjoined twins when he separates them at birth.

At a party, he meets Anna Barton (Charlie Murphy), who gives him the same sort of look that Sharon Stone gave to Michael Douglas in Basic Instinct; and she has an air that’s very commanding and controlling, and definitely a case of “If looks could kill”, given her dark brown eyes having a steely gaze. As a result, it’s not a surprise that he’s besotted with her. Then again, she is hotter than the sun.

Alas, there’s a problem. She’s also his prospective daughter in law, as she’s due to marry his son, Jay (Rish Shah). Oh, what a tangled web we weave!

Of course, a bit of “how’s your father” is a bad thing, and it does get a bit “Ooh, la la!” Plus, there’s also bare bottoms! AVERT YOUR EYES!

Seriously, the sex shenanigans feel a bit Fifty Shades Lite, but the Hitchcock-style soundtrack is hilarious and brilliantly-constructed, but then it does come from the superb Anne Dudley from The Art Of Noise. There’s also some cliched dialogue, such as speculating about what if other people found out – hey, just enjoy the ride, so to speak – and stop trying to upset the applecart.




Naturally, no spoilers as to how things turn out, but it’s safe to say that Anna has a very winsome way, and when he asks her if she wants a drink, she responds, “What would you like me to drink?”

In fact, I was reminded of what I once heard in an exchange in The Trip To Italy between Rob Brydon and Steve Coogan, “She has a lovely gait”, “Oh, is that what it’s called(?)”

Overall, Obsession is quite daft at times, but then dramas like this often are; and quite frankly, certain scenes make me laugh out loud when I probably should be racked with tension, but it depends how seriously you take this. I did not, but the series doesn’t outstay its welcome, and it’s certainly worth a watch, although Armitage’s 2020 Netflix series, The Stranger, was better. Then again, it was shot in Stockport, so it’s bound to be better!

That said, I prefer that it was a four-parter rather than a 10-part series which never seems to end. In some cases for those, I’ll never reach the end, even though I know it makes financial sense that if you’ve paid for the rights to make something, and have built big sets, you may as well put out as many episodes as possible, so as to get more bang for your buck.

Again, it’s also safe to say that Obsession uses existing buildings for locations, rather than creating huge sets like a sci-fi outing would do, and there’s no CGI in this.

As an aside, it did seem odd that Anna has a painting in her bedroom that’s simply a splodge of black on a canvas. I guess that’s modern art for you.

Thanks to our friends at Netflix for the screener prior to release.

Obsession is not available to pre-order on Blu-ray or DVD, but is on Netflix from Thursday April 13th.


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https://www.leisurebyte.com/obsession-e ... d-netflix/

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Obsession Ending Explained: Does Jay Find Out About William and Anna’s Affair?

Netflix recently released an erotic TV series, and the Obsession ending explained shares exactly what happened in it. This show stars Richard Armitage, Indira Varma, Rish Shah, Sonera Angel, Charlie Murphy, Pippa Bennett-Warner, Marion Bailey and Francesca Knight, alongside other cast members. The episodes are directed by Lisa Barros D’Sa and Glenn Leyburn, while Morgan Lloyd Malcolm and Benji Walters. This show is based on the novel by Josephine Hart and contains four episodes, each ranging from 30-45 minutes.

Obsession Ending Explained
Williams is wrapping up surgery on congenital twins when the first episode starts. He is well on his way to becoming one of the most important people in British medicine because of his work in the field. His father-in-law Edward has been a driving force in introducing him to all the people in the parliament in the hopes that he grows steadily within the country’s political system. His family believes wholeheartedly in his talents and his approach to life, supporting him everywhere.

His wife, Ingrid, tells him he must attend this party with her, but she might be late because of work. Furthermore, their son has a new girlfriend now, and they are all excited to meet her and see what she is like. Ingrid says that she might be there at the party they are going to. When William is drinking his wine and speaking to someone, he glances at a woman who looks enigmatic enough to lose track of what he is saying and makes his way to her.

They go to the bar, and we see him feeding her an olive, which gives us an indication that the tensions between them are just starting to rise. William later finds out that this is Anna, and even though the attraction is undeniable, it would be inappropriate to pursue this relationship. But when he calls Jay, Anna is able to get his number, and they start a texting relationship. She calls him later and tells him to meet her at a flat. The two have sex, and this becomes the beginning of a tumultuous illicit affair.

William starts lying to his family about his trips to medical conferences and makes excuses at work. Even though Anna knows that Jay really loves her, she continues this situationship with William. When Jay and Anna go to Paris, William follows them there and even tries to find out which room she lives in. The two have sex when she goes to ask him to back off, and when she gets back to Jay, she lets him know that it may be time for them to go home now.

William starts lying to his family about his trips to medical conferences and makes excuses at work. Even though Anna knows that Jay really loves her, she continues this situationship with William. When Jay and Anna go to Paris, William follows them there and even tries to find out which room she lives in. The two have sex when she goes to ask him to back off, and when she gets back to Jay, she lets him know that it may be time for them to go home now.

William starts lying to his family about his trips to medical conferences and makes excuses at work. Even though Anna knows that Jay really loves her, she continues this situationship with William. When Jay and Anna go to Paris, William follows them there and even tries to find out which room she lives in. The two have sex when she goes to ask him to back off, and when she gets back to Jay, she lets him know that it may be time for them to go home now.

William starts lying to his family about his trips to medical conferences and makes excuses at work. Even though Anna knows that Jay really loves her, she continues this situationship with William. When Jay and Anna go to Paris, William follows them there and even tries to find out which room she lives in. The two have sex when she goes to ask him to back off, and when she gets back to Jay, she lets him know that it may be time for them to go home now.

William still doesn’t learn his lesson and goes searching for Anna and finds her in France enjoying the sea wind at the resort she was supposed to have her honeymoon in. This doesn’t distract her from all the pain she feels for and has caused Jay. When the two meet once again, he reveals that he would do this all over again, and she cannot handle it anymore. The show ends with her in a therapy session with a male therapist, ready to repeat this cycle all over again.

Obsession is currently streaming on Netflix. Do you think Anna will repeat her actions with the therapist again? Let us know in the comments, and read our review of the show below.


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Die Kritik von BBC Radio 4 Front Row zum Download:

https://www.bbc.co.uk/programmes/m001kx7t

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Es gibt auch ein paar deutsche Kritiken:

https://www.glamour.de/artikel/obsessio ... kritik/amp

Spoiler: anzeigen
Autsch...
Zitat:
Obsession” auf Netflix: Der neue Erotikthriller ist selbst stummgeschaltet kaum zu ertragen
Die Mini-Serie “Obsession” auf Netflix testet die Theorie “Sex sells” bis an ihre Grenzen. Wie unerträglich kann Sex sein, bevor er sich nicht mehr verkauft?
HANNAH MADLENER
14 APRIL 2023
Schauspielerin Charlie Murphy in der Netflix-Serie Obsession
NETFLIX
“Obsession” auf Netflix: Der Erotikthriller ist weder spannend noch erotisch

Vorsicht: Kleinere Spoiler zu “Obsession”

Als sich ein erwachsener Mann an den Kissen reibt, auf denen zuvor sein Sohn und dessen Freundin geschlafen haben – dabei stöhnt, wimmert und weint –, konnte ich nicht anders: Ich musste Netflix stummschalten und das Spektakel mit den beschreibenden Untertiteln ertragen. Zugegeben: Fremdscham ist für mich die höchste Qual. Und davon erlebt man in der brandneuen Mini-Serie “Obsession” auf Netflix ziemlich viel. Wenn sich die beiden Hauptcharaktere anstarren und sich dann pflichtbewusst und mit leichtem Unbehagen die Klamotten ausziehen – dann wirkt der vierteilige Erotikthriller eher wie ein Amateur-Porno als Netflix-Prestige. Aber von vorn.

“Obsession” sollte eine Mischung aus “You” und “Fifty Shades” werden – erfolglos
William Farrow (Richard Armitage) ist ein grandioser Chirurg. Doch nicht nur das: Er ist bescheiden (seinen riesigen Erfolg spielt er herunter als “Teamarbeit”), hat eine erfolgreiche Rechtsanwältin zur Frau, ein schönes Haus und zwei liebevolle Kinder. Doch der Titel verrät bereits, was mit ihm geschehen wird: Er wird obsessiv. Bei einer Feier ergibt sich ein “magischer” Blickkontakt zwischen ihm und Anna (Charlie Murphy), und es ist Anziehung auf den ersten Blick. Sie stolziert zu ihm an die Bar und versucht, Will mit ihren Blicken zu verführen – wohl wissend, dass er der Vater ihres Freundes ist. Will wiederum steckt ihr ungeschickt eine Olive in den Mund – das soll wohl auch verführerisch wirken.

Doch es funktioniert: Kurz nachdem sein Sohn Jay (Rish Shah) ihm seine neue Freundin – Überraschung, es ist Anna! – offiziell vorstellt, beginnen Will und Anna ihre Affäre. Sie verabreden sich zu mehreren Sex-Dates. Indessen wird Will immer obsessiver und bringt die heimliche Affäre dadurch in Gefahr.

Die Mini-Serie besteht aus vier Episoden, die allesamt unter 40 Minuten Laufzeit haben. Das heißt: Die “Handlung” muss sich schnell entwickeln – da bleibt keine Zeit für komplexe Charaktere, psychologische Hintergründe oder nuanciertes Drama. William schläft mit der Freundin/Verlobten seines Sohnes, die vielleicht einen tragischen Hintergrund hat, und muss es vor seiner Familie verheimlichen. Das ist die gesamte Handlung. Eine gute Frage wäre nun: Was hat das mit einem Thriller zu tun?

“Obsession” auf Netflix: Die Spannung entsteht nur durch Musik und Licht
Die Mini-Serie wird als “Erotikthriller” bei Netflix angepriesen. Doch so wirklich nach Thriller sieht die Serie nicht aus: Niemand wird ernsthaft bedroht, schwebt in Lebensgefahr oder wird gar erschossen. Ein kurzer Moment erinnert zumindest entfernt an einen Thriller. Wenn Will plötzlich die Nachricht bekommt: “Ich weiß, was du tust. Hör auf damit, Perverser.” Allerdings wissen wir durch einen einfachen Logik-Schluss, dass es sich bei dieser Person um Peggy, Annas Mitbewohnerin, handelt. Und auch, dass sie ihn kaum kennt und sicherlich nicht umbringen wird.

Die “Spannung” entsteht aus der Affäre heraus. Das einzige Risiko: jemand findet heraus, dass die beiden miteinander schlafen. Doch seit wann ist eine Affäre denn ein Thriller? Die kurzen Episoden lassen keine Zeit, die Charaktere kennenzulernen – sodass es einem als Zuschauer:in relativ egal ist, ob die beiden entdeckt werden oder nicht.

Der Film darf sich nur aufgrund der Musik so nennen. Momente, die der Film den Zuschauer:innen als “spannend” oder gar “gruselig” verkaufen möchte, werden mit “düsterer, spannungsvoller Musik” (so nennen es die Untertitel) unterlegt. Diese ertönt zum Beispiel, wenn Anna Will textet: “Ich mochte den Drink, den du für mich ausgesucht hast.” Als Zuschauer:in unklar: Wieso wird das als gefährlich wahrgenommen?

Die düstere Musik und die dunkle Farbgebung sind also das Einzige, was den Film überhaupt ein bisschen spannend erscheinen lassen. Doch nur oberflächlich. Als Will seinen Sohn trifft – mit dessen Freundin er vor fünf Minuten noch gevögelt hat –, ertönt unheilvolle Musik. Doch das Gespräch ist absolut unspannend. Die gleiche Szene könnte mit hellen Farben und 1980er-Songs in einer Komödie vorkommen, mit dem Namen “Mein Sohn, seine Freundin und ich” oder so. Ohne die kalte Farbgebung würde absolut niemand auf die Idee kommen, “Obsession” wäre ein Thriller.

Einziger gruseliger Moment: Will kommt zum vereinbarten Sex-Treffpunkt, öffnet die Tür und dahinter: Anna, kerzengerade, blass und mit weißem Hemd – ihr Gesichtsausdruck so, als hätte sie Verstopfung. Ist das etwa erotisch? Dann starren sie sich mit so einem Enthusiasmus an, als ob sie gleich das Klo putzen müssten.

“Obsession” hat noch nie von einer “Femme fatale” gehört
In erotischen Thrillern begegnet uns oft die “Femme fatale” – inwiefern diese feministisch ist oder nicht, ist eine Erörterung wert, aber nicht hier. Es scheint, Anna soll auch eine Femme fatale sein. Diese sind nämlich verführerische Frauenfiguren, die Männer erotisch an sich binden und ihnen zum Verhängnis werden. Genau das soll die Figur der Anna ja auch erreichen – jedoch mangelt es an der Ausführung.

Die einzige Eigenschaft von Anna ist “erotisch”. Die bereits genannte Oliven-Szene bei ihrer ersten Begegnung erinnert vage an die Löffel-Szene aus einer anderen Netflix-Produktion, “Bridgerton” – jedoch mehr gewollt und nicht gekonnt. Anna bekommt kaum Hintergrund, kaum eine weitere Eigenschaft, ein Hobby oder gar eine zweite menschliche Emotion. Zum Schluss gibt es den traurigen Versuch, ihr noch ein bisschen Hintergrund zu geben – doch kurz vor Schluss wirkt diese Information eher fehl am Platz.

Eine Femme fatale ist nicht nur durch ihr Äußeres verführerisch, sondern weil sie intelligent ist und weiß, wie man mit Männern spielt. Doch weder Will noch Anna scheinen den anderen wirklich zu manipulieren – es passiert einfach so.

In ihr Tagebuch schreibt sie halbherzige “tiefe” Gedanken, die auch ChatGPT ausspucken könnte. Zu Will sagt sie einmal “Gebrochene Menschen sind gefährlich”, und man denkt sich: Wird sie es doch tun? Ihn bedrohen? Vielleicht sogar umbringen? Nein, denn das würde die Serie ja spannend machen. Vor Mord und Totschlag wie beim Genrevertreter “Basic Instinct” brauchen wir keine Angst zu haben.

“Obsession” auf Netflix ist so erotisch wie eine Verstopfung
Erotik ist natürlich subjektiv. Deswegen gibt es auf Porno-Seiten Milliarden von Kategorien, in denen jede:r sein Glück findet. Doch Will und Anna scheinen ihr Glück nicht gefunden zu haben. Vor dem Sex starren sie sich an, als müssten sie, aber könnten nicht auf die Toilette. Sie atmen sich an – allerdings nicht wie in “Bridgerton” Staffel 2 Anthony und Kate, voll von Verlangen, wobei sie sich kaum zurückhalten können. Sondern eher seltsam stur und resigniert. Während des Sex scheint niemand so richtig Spaß zu haben, und als Zuschauer:in fühlt man sich fast verpflichtet zu sagen: “Ihr müsst das nicht tun, ich habe auch keinen Spaß daran!”

Am schlimmsten wird es, wenn sich die Geschichte in die Stadt der Liebe, Paris, bewegt. Anna und Jay wollen dort ein romantisches Wochenende verbringen, doch der obsessive Will folgt ihnen. Anna ist kurz sauer – doch lässt sich trotzdem dazu herab, ihn neben ein paar Mülltonnen in einer Seitengasse zu vögeln. Danach checken sie und Jay aus dem Hotel aus, und Will mietet sich ihr Zimmer. Jetzt muss man ganz stark bleiben und den Film Film sein lassen. Denn anscheinend wird in diesem noblen Hotel die Bettwäsche nicht gewechselt. Und Will riecht und reibt sich dort, wo Anna (und sein Sohn Jay!!!, das finde ich, sollte nicht unterschlagen werden) vor ein paar Stunden noch gelegen haben. Die Schlüpfer aller Zuschauer:innen: staubtrocken.

Wie jeder Film, der sich heutzutage erotisch schimpfen möchte, muss es natürlich auch etwas BDSM geben. Es werden ein paar Regeln aufgestellt, manchmal muss jemand dem anderen gehorchen oder sich ergeben, und auch ein bisschen Seil kommt zum Einsatz. Aber natürlich nur so viel, dass es weiterhin ein breites Publikum anspricht. Nacktheit wird insgesamt spärlich behandelt – und oftmals ist es ablenkend, wie die eine Hand oder die andere Vase genau so positioniert wurde, dass man ja nicht zu viel erkennen kann.

Lohnt sich “Obsession” auf Netflix?
Falls du dich nach diesem Text noch fragst, ob ich dir die Mini-Serie empfehlen würde, dann habe ich etwas falsch gemacht. Für mich ist das Problem, dass man sich einfach null für die Protagonist:innen interessiert. Wieso soll ich mir dann ihre Reise anschauen? Zum Glück kommt die Serie mit ihren kurzen vier Episoden ungefähr so schnell wie Anna zum Ende. Die braucht nämlich übrigens nur geschlagene 30 Sekunden, um nur durch Penetration zu einem Orgasmus zu kommen. Da kann man als Zuschauer:in nur neidisch sein. Oder?

Doch Geschmack ist natürlich subjektiv, und wenn du einem alten Mann dabei zuschauen willst, wie er immer erbärmlicher wird, und du dazu noch Lust auf ein paar Sex-Szenen hast: Go for it! Für alle anderen: “Birds of Prey” ist endlich auf Netflix!

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NETFLIX
Ist das der Ausdruck körperlichen Verlangens? Wohl eher nicht.


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Arianna hat geschrieben:
Es gibt auch ein paar deutsche Kritiken:

https://www.glamour.de/artikel/obsessio ... kritik/amp


Glamour - das ist journalistisch natürlich eine extrem hochwertige Publikation. :roll: :niwi: Anzusiedeln irgendwo zwischen Bunte und Goldenes Blatt. :evilgrin:

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doris-anglophil hat geschrieben:
Arianna hat geschrieben:
Es gibt auch ein paar deutsche Kritiken:

https://www.glamour.de/artikel/obsessio ... kritik/amp


Glamour - das ist journalistisch natürlich eine extrem hochwertige Publikation. :roll: :niwi: Anzusiedeln irgendwo zwischen Bunte und Goldenes Blatt. :evilgrin:


Ja, aber die zitierten englischen Medien sind auch nicht alle die Times.

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Noch eine deutsche Kritik:

https://kulturnews.de/obsession-netflix/

Spoiler: anzeigen
Zitat:
SEX UND DRAMA
„Obsession“ auf Netflix: Unterkühlter Eroticthriller
Von Jürgen Wittner // 13. April 2023

Obsession ist eine neue Serie, die ab sofort auf Netflix läuftl
Foto: © Netflix
Was passiert, wenn der Vater eine obsessive Liaison mit der Verlobten seines Sohnes eingeht? Die Serie „Obsession“ auf Netflix zeigt es.

William Farrow (Richard Armitage, „Berlin Station“, „Der Hobbit“) ist ein gefeierte Chirurg und Experte für Kindermedizin. Gerade erst hat er in einer komplizierten Operation zwei siamesische Zwillinge getrennt. Als er mit seiner Frau Ingrid (Indira Varma) und der Tochter Sally auf das Landgut seiner Eltern fährt, kommt auch Sohn Jay (Rish Sha) vorbei. Bei der Gelegenheit erfahren alle, dass Jay eine neue Freundin hat und sie eventuell demnächst mal seiner Familie vorstellen möchte. So harmlos und bieder beginnt der Eroticthriller Obsession, der jetzt auf Netflix gestreamt werden kann.

Obsession: Sex, Lügen und Tod
Noch in der gleichen Woche lernt William auf einem Empfang Anna Barton (Charlie Murphy, „Halo“, „Peaky Blinders“) kennen, die sich ihm sofort als die Neue von Jay vorstellt. Was dann folgt, ist eine über Wochen gehende Sex-Affäre, die von Drehbuchautor Morgan Lloyd Malcolm in Obsession als Vanilleversion von Kink, also als harmlose Variante dessen bezeichnet wurde, was die Buchautorin Josephine Hart in der Vorlage zur Serie, ihrem Roman „Verhängnis“ präsentierte. Doch nicht die TV-gerechte, harmlosere Variante des Sex ist das Problem der Serie: Es ist die Affäre selbst. Sie wird mehr behauptet als gelebt, die Leidenschaft von Anna und William zueinander ist clean, obwohl beide immer wieder im Geheimem zueinander finden.

„Gebrochene Menschen sind gefährlich. Sie wissen, dass sie überleben können.“ Annas Aussage über sich selbst stimmt. Und immerhin erfahren wir im Lauf des Vierteilers ein bisschen darüber, warum diese geheimnissvolle Frau wurde, wie sie ist. Von William aber erfährt man nichts. Nach seiner großen Operation zu Beginn der Serie spielt sein Berufsleben kaum mehr eine Rolle. Immerhin wurde so der hohe Lebensstandard der Familie legitimiert, der es ihm überhaupt erst ermöglicht, Anna selbst bei ihrer Urlaubsreise mit Jay nach Paris zu verfolgen und so gegen jede Abmachung zu verstoßen.

Die Serie Obsession mag als Drama ganz gut funktionieren. Als Eroticthriller ist die Serie zu unterkühlt, sauber. Auch dann, als alles in Scherben liegt und ein Tod zu beklagen ist.

Obsession
mit Richard Armitage, Charlie Murphy, Indira Varma, Rish Shah, Pippa Bennett-Warner, Sonera Angel, Anil Goutam, Marion Bailey
Regie: Glenn Leyburn, Lisa Barros D’Sa
ab 13. 4. Netflix


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