Season 4 “The Dark World of Sabrina” ends in a fun way; Check out the review!



It’s time to say goodbye to 2020 in the best possible way: with new episodes of “ The Dark World of Sabrina, ” the final eight chapters of the saga that introduced us to Kiernan Shipka as an engaging teenage witch and rebel Sabrina Spellman. After all, Netflix decided to cancel production in the midst of recordings for the series’ fourth year, displeasing fans around the world who didn’t agree to revisit the mystical Greendale for the last time. Either way, crying over spilled milk doesn’t do much good – and the streaming platform has done its best to give viewers a worthy conclusion to the fun adventure alongside the young witch and of his passionate and frightening universe.

The truth is, at first the series had some negative impact on those who were expecting a reboot or a streak inspired by “Sabrina – Sorcerer’s Apprentice,” a sitcom starring Melissa Joan Hart. However, the idea behind Roberto Aguirre-Sacasa, showrunner of the popular teen drama “ Riverdale, ” was to save the melodramatic, amphiburic tenor from Archie Comics to build nostalgic and timeless narratives sufficient to introduce us to the creatures that stand out. hide in the dark. In 36 episodes, we’ve been spooked by goblins, demons, and heralds of chaos – and nothing could prepare us for the final threat that would arise against Greendale later this year. For better or worse, Aguirre-Sacasa brought together the best of Sabrina to seek an honorable result, not realizing that he turned this iteration into a circus and rushed spectacle.

After facing off against Lucifer Morning Star (Luke Cook), Lilith (Michelle Gomez), pagan wizarding clans and even secular gods, it’s time for Sabrina to prepare for the fight of her life: as her Elder birthday approaches. seventeen, the hunt for Father Faustus Blackwood (Richard Coyle) remains active, as his goals have not yet been fully revealed. Blackwood inflicted pain and discord among the witches of his own clan, until they revolted against Lucifer’s misogynistic hierarchy and began to worship the ethereal power of Hecate, who became the divine advisor and ruler of a new Academy of Occult Arts. Ally with Zelda (Miranda Otto), Hilda (Lucy Davis), Ambrose (Chance Perdomo) and other people of great confidence, Sabrina must now face the Terrors of the Supernatural, entities older than the universe itself which are omen of the Void, a vortex that consumes everything and everyone without scruples.

This is perhaps the main slippage of the new season “Dark World”. Aguirre-Sacasa still dominates all protagonists and assistants and ensures that the microcosm of Greendale does not undergo expansion beyond what is necessary, but rather is filled with explorations of what already exists. In other words, the novelties come as the characters’ personalities are transmuted and ruthlessly mature in the face of the impending apocalypse, even as they fall into some new formulas to gain movement. Sabrina must learn that her loneliness is nothing more than an impulse to understand her place on Earth and in the many realities that exist beyond her – including her “I” who commands her. ‘hell; looking for the long-dreamed of love in impossible occasions, it takes some time before she realizes that the right person will appear sooner or later.

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For now, your concern is to save those you love. In each chapter, she and her loyal companions face mysterious characters who use familiar faces to materialize and blend in with the people of Greendale – as is the case with the Dissatisfied or the Stranger. Such creatures don’t join forces to attack at once, deciding to spill over into an anthological preference that breaks the rhythm between chapters and falls into the fragmented inflections known from so many other fantastic productions. The showrunner even seems to borrow weak scripts from the last few seasons of ‘Once Upon a Time’, forcing non-existent chemicals between one narrative and another to try to unite them in a common good.

The show’s new season was meant to unfold politely, serving as the golden key to an arc that still had a long way to go – and it is, in a way. Although it cannot be fully maintained, this collectible aspect comes in handy in episodes like “The pervert’s elf”, in which we are transported to an alternate reality; or “The Endless”, in which the drama merges with the comedy of situations and even makes room for the iconic presence of Caroline Rhea and Beth Broderick. Adding a few layers of terror to the aesthetic irreverence, Aguirre-Sacasa and his creative team don’t think twice before bathing the scenes in blood, hatred, and anarchy. Even so, it’s almost ridiculous to think that, using almost an hour per chapter, he can’t say everything he wants and has to run around so as not to leave details.

For the first time, exaggerated aesthetic whims do not interfere with resplendent and melancholy storylines, which is why our attention is more acute for storyline distortions. The cast remains incredible, as always, and revel to the maximum before a grand finale that aspires to a reflective catharsis, but reaches it in parts. A sacrifice was to be expected to accompany the iteration; however, its evidence is too strong to give us the promised shock.

“Sabrina’s Dark World” contains elements spiritual enough to take the audience on a calm and comfortable journey. As much as we wanted something a little more daring, those sparse sparks quickly go to the benefit of fans instead of risking anything that escapes the conventional. However, Aguirre-Sacasa believes this was not the time for adventures, so bet on a second measured option: have fun – and nothing else.

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