It may be one of the most transgressive contents of Netflix. Drawing a conclusion like that, within such an extensive catalog, seems like a risk. But all in Farzar invites you to think about it. This adult animated spoof touches on so many topics that to list them you would have to take a format similar to that of a Marvel Cinematic Universe movie credits roll.
Farzar he could just stick with those topics, like migration, narcissism, megalomania, racism, xenophobia, white supremacist fantasy, extraterrestrial life, among many others, and it would be enough for him. However, he allows himself to go further, parodying various movies and series in tone and form while remaining convincingly absurd. Thus, parallels can be found with the superheroes of the comics or a scene that invites us to remember top gun. It may not be a series for all stomachs and, even so, perhaps all (adult) people should go through one of its chapters.
This Netflix series does not hold back any kind of modesty when it comes to social criticism. From the contrast between the elites and poverty to its multiple references to contemporary problems, while making (and showing) constant sexual references to describe part of the contemporary world, full of contradictions. Between laughter and awkward situations, there are likely to be several reflections.
Farzar
and the declaration of principles from the title
His characters, humans and monsters, dialogue constantly, almost unstoppably (there are few silences in the story) to bombard the viewer with disturbing ideas and images. Farzar is the name of the place where everything is produced, one in which humans and aliens coexist. With a not minor nuance: part of that population lives inside a bubble, while the other, on the outskirts, experience different types of misery. It is one of the most obvious criticisms of the capitalist system and its different industries, aimed at favoring some while those who are outside that dome suffer multiple needs.
This series, created by Roger Black Y Waco O’Guin, ranges from general aspects, such as the previous one, to particular criticisms, such as the one made to Queen Elizabeth or to the cult of the image that is experienced in contemporary society, along with the sexualization of different aspects. All this, with crude dialogues full of irony and sarcasm, as if Netflix had saved years of black humor to condense them here.
Farzar
It’s probably some of the most irreverent content on Netflix right now. His humor, overflowing, explicit, sarcastic and dark, leaves no social area on which to make a joke. The detail? These comments involve an acid criticism in relation to the present and various contemporary dynamics. An animated parody for adults (and, perhaps, not for everyone: those with sensitive stomachs stay away).
Warning, spoilers ahead!
without shame or mercy
Through ten chapters different myths are dismantled. An example? For example the fourth episode is called “Valentine’s Day”, as opposed to Valentine’s Day. In this way, with an open grave, one of the most commercial days of humanity is questioned, returning to the idea that, within the narrative, moves everything: the absurdity and the diverse desires of living beings.
That is why there are minor details such as the existence of “The thought police“, in a context in which many ideas are questioned or revised, for better or for worse, and social networks generate other bubbles of reflection and influence. So, between so much sarcasm and sexual references, the true background of this Netflix series is discovered. Farzar establishes constant dialogues between different aspects. The frequency, beyond being able to bother or overwhelm, is so constant that it is understood as a bet by its authors, as if they wanted to tell those who observe that the present is disgusting.
So another question arises: why is it disgusting? Is it because in essence you live within that context, in which different desires move beings, or because of the hypocrisy that exists in different acts, institutions and moments, in relation to human nature? The triumph of the series does not go through the effectiveness of its chapters, nor by offering content that can be very funny to the most casual adults, but rather by serving as a kind of aggressive, crude and vulgar treatise when dealing with the migrationthe pornographythe complexes, the polarization between the different social classes; namely, Farzaravailable is Netflix, a sarcastic essay about this historical moment.