On Wednesday, October 30, Czech Television broadcast the first episode of a new series directed by Jiří Strach called Lovec. A total of eight Wednesday evenings will now be shown on the screens always in prime time, i.e. fifteen minutes after 8 p.m.
A safe bet
I watched the first episode of the new series. I was curious to see where Jiří Strach had moved in the relatively long years that Czech Television has been broadcasting his series. I was also interested in what makes them so exceptional for viewers that public television decided to let the director film another one of them. I’ll make it short: he didn’t move anywhere at all, and I didn’t reveal the secret of Strach’s success on Czech television.
I have no idea whether Czech Television has among its viewers so many enthusiasts of horror films “infused” with esotericism and Catholic backdrops. Rather, it seems to be a safe bet. In 2003, American author Dan Brown’s novel Master Leonardo’s Cipher became a global bestseller. They have since been sold tens of millions of pieces of this book and a movie was made based on it.
The secret of Brown’s novel apparently lay in the combination of religious themes, which related to mysteries, controversies, various church secrets or legends about the Holy Grail. At that time, she found readers mainly because of provocative topics, such as the question of Jesus’ descendants or the role of Mary Magdalene. So why couldn’t Czech Television bet on the mix, which is a sure guarantee of success? It could at least attract commercial television viewers for a few evenings a week!
Connoisseur of the church environment
When it comes to topics that take place behind the scenes of the church, we have an expert here. Jiří Strach, a practicing Catholic, can take them. After all, he has already filmed several episodes of the highly successful fairy tale Angel of the Lord, where he sufficiently demonstrated his knowledge of the Catholic faith and the environment. In addition, he is well acquainted with the representatives of the contemporary Catholic Church, which perhaps facilitates his access to various church environments and at the same time prevents disagreements with church prelates (as happened in the case of Dan Brown). In 2010, the then Archbishop of Prague, Cardinal Dominik Duka, appointed him a member of the Media Council of the Czech Bishops’ Conference. Ten years later, he was appointed adviser for the area of media by Bishop Jan Baxant of Litoměřice.
The bet on Strach is therefore quite understandable from this point of view. And so the director filmed another horror series full of mysteries and conspiracies, which takes place in church settings, after the series Devil’s Trick, Santini’s Language, Lost Gate and Labyrinth. This time not only Czech, but also Slovak. And again, it is full of esotericism and demons. A somewhat enlightened viewer is actually surprised that the Catholic Church does not mind associating itself with strange topics that frighten people and reinforce various speculations and conspiracies about the Roman Catholic Church, rather than attracting them to interest in it.
Pathos, chaos, esoterica
What surprises me the most, however, is the fact that public television serves similar works to its viewers at all. Strach’s series seems chaotic, although this deficiency is probably supposed to cover the mystery. The combination of esoteric motifs, church backdrops and complex mysteries creates an atmosphere that, although it wants to be exciting, in the end it seems cumbersome and sometimes even bizarre. The first part was full of stylized scenes that seemed unnatural. The story seems to rely more on effects and exaggerated pathos than on a truly thought-out plot or interesting characters. The result is a mix that probably won’t satisfy many viewers, neither casual viewers nor mystery fans.
Czech television has once again embarked on a project that seems more like an attempt to imitate foreign mystery thrillers with religious undertones, but the result is content that seems confusing and artificial. Moreover, such creation is most likely very expensive. It is therefore a question whether these funds would not be better invested in another type of content. For example, the kind that viewers expect from public television.
https://ct24.ceskatelevize.cz/clanek/kultura/strach-opet-strasi-strachem-serialovy-lovec-v-jeho-rezii-chyta-demony-8482?fbclid=IwY2×jawGQA9VleHRuA2FlbQIxMAABHSnN84-qt39yqrrJLRur27GH6TtJqRC38BPqwDs9XSc62ibmlQ589mnafA_aem_8go7XT4sbauy6umzCgCLpg
https://cs.wikipedia.org/wiki/Ji%C5%99%C3%AD_Strach
Czech Television’s Lovec: A Peculiar Bet on Horror and Esotericism
So, as if Halloween wasn’t spooky enough, Czech Television unleashed a fresh horror series called Lovec on October 30. Directed by Jiří Strach, it promises eight Wednesday evenings of creepy antics starting fifteen minutes past 8 p.m.—because what’s scarier than your own free time?
A Safe Bet, Or Is It?
I dived into the first episode of this new series with the enthusiasm of a cat at a dog park. What could Jiří Strach possibly have up his sleeve after years of cozying up with Czech Television? Spoiler alert: it’s exactly the same thing he had up his sleeve last time. It’s like that one relative who always tells the same joke at Christmas. Familiar? Sure. Exciting? Not so much.
Now, I can’t help but wonder if there’s a secret demographic of horror fans with a penchant for esoteric references mixed with a Catholic twist lurking somewhere in the Czech Republic. Because if Dan Brown’s Master Leonardo’s Cipher became a bestseller, why not cash in on a similar formula? I mean, people love a scandal about Jesus’ lineage as much as they love binge-watching crime dramas. It’s practically a goldmine, right?
Church and State, But Make It Spooky
Strach is no stranger to religious themes; he’s practically a household name in the Czech horror genre. You see, this man claims a strong connection to the church—doing heavenly favors like consulting with archbishops and making mystical fairy tales that are as hard to resist as a pint of beer. He’s tackled church settings so often it’s like he’s got a VIP pass to the Vatican. Who needs permission slips when you’ve got that level of insider knowledge?
It seems rather amusing, doesn’t it? The Church, normally so prim and proper, has thrown a theological rave with Strach’s work. Maybe it’s all part of their PR strategy—let’s throw in a horror series, and the next time we want people to attend Sunday service, we can coin it “Heaven’s Hell of a Good Time!” Seriously, though—the association with darker themes is like a game of ‘How to Keep the Congregation Guessing.’
Pathos, Chaos, and a Whole Lot of Confusion
Now, let’s talk about the essence of this series. The chaos is almost theatrical; if Strach wanted to create a web of mystical confusion, he nailed it. Despite attempts at suspense and intrigue, it ultimately feels like someone threw a bunch of horror tropes into a blender—voila! You’ve got a disturbing smoothie of metaphysical nonsense that leaves you pondering if it’s worth the watch. It’s like someone tossed a Rubik’s Cube into a pot of existential dread and forgot the instructions on how to sort it out.
I could swear the series tried using effects and pathos as a substitute for a well-constructed plot. And while we’re at it, the characters might as well be cardboard cutouts—they’re that one-dimensional. It’s a mishmash that I imagine will leave even the keenest mystery enthusiasts scratching their heads as they wonder if this is the reason public television exists. I mean, is this really where our license fees are going? Could we not invest those funds in a documentary about, oh, I don’t know, how to make a proper Czech dumpling instead?
Final Thoughts
In conclusion, Czech Television seems to be trying to ride the coattails of a successful foreign thriller formula, but the execution feels as clunky as a badly programmed robot in a low-budget sci-fi flick. The ambitious attempt at giving us a mix of horror, esotericism, and religious overtones seems less like an original thought and more like a desperate prayer for ratings. It begs the question: isn’t there a better way to engage the audience than risking nightmares that may not be worth living through?
So, dear viewers, if you’re looking to test your endurance against a chaotic narrative riddled with confusion and cinematic pathos, Lovec might just be your next guilty pleasure. But let’s be real—if you just want a night in with drama and comedy, Netflix is probably still a much safer bet.
On the evening of Wednesday, October 30, Czech Television premiered a riveting new series directed by the renowned Jiří Strach, titled Lovec. Over the next eight Wednesday nights, viewers will be treated to episodes airing during prime time, precisely at 8:15 p.m., ensuring a prime slot for this much-anticipated show.
A safe bet
After watching the inaugural episode of the series, I found myself intrigued by the trajectory of Jiří Strach’s career, having been a prominent figure in Czech Television for many years. Strach’s unique storytelling ability has gained him a loyal following, prompting public television to greenlight yet another project under his direction. What stands out, however, is how Strach’s style appears unchanged, and the enigmatic charm that defines his works remains elusive, offering no easy answers.
It raises the question of whether Czech Television caters to a substantial audience of aficionados who relish horror films steeped in esotericism and Catholic motifs. Given past success with similar themes, it certainly seems like a secure venture. Dan Brown’s 2003 novel *Master Leonardo’s Cipher* captivated readers worldwide, with sales figures soaring into the tens of millions, solidifying its place in popular culture, and inspiring a film adaptation that further broadened its reach.
The allure of Brown’s work lies in its clever fusion of religious narratives intertwined with enigmas, controversies, and various church secrets, capturing the imagination of its readers. Provocative themes, such as the lineage of Jesus or the portrayal of Mary Magdalene, ignited spirited discussions, making them perfect for public consumption. Thus, it is reasonable to anticipate that Czech Television could thrive by leveraging a similar blend of intrigue and suspense, effectively drawing in commercial television viewers throughout the week.
Connoisseur of the church environment
In exploring the complex narratives that unfold within church walls, Jiří Strach emerges as an authority on such topics. As a practicing Catholic, Strach brings an authentic perspective, honed through his previous works, including the beloved series *Angel of the Lord,* where he showcased his profound understanding of Catholic beliefs and customs. His relationships with modern-day church leaders grant him unique access to ecclesiastical circles, a distinct advantage that also mitigates potential controversies with church officials, contrasting sharply with the experiences of some of his counterparts, like Dan Brown. Notably, in 2010, Strach was invited by the then-Archbishop of Prague, Cardinal Dominik Duka, to join the Media Council of the Czech Bishops’ Conference, and in 2020, Bishop Jan Baxant of Litoměřice appointed him as a media advisor, reflecting his influence within church-related media discourse.
Hence, the rationale for placing trust in Strach’s narrative vision is clear. The director has once again dived into the world of horror infused with mysteries and conspiracies, set against a backdrop of church-related themes, following a range of previous works, including *Devil’s Trick,* *Santini’s Language,* *Lost Gate,* and *Labyrinth.* This new series also seeks to reach Slovak audiences, with an ever-present undercurrent of esotericism and demonic elements. It’s intriguing that the Catholic Church seems unfazed by the portrayal of ominous themes that might deepen public apprehensions and foster various conspiratorial interpretations of its practices rather than nurturing interest in its teachings.
Pathos, chaos, esoterica
What truly surprises me is how public television embraces such unconventional content for its audience. The first episode of Strach’s series gives an impression of chaos, likely an attempt to enhance the narrative mystery but instead resulting in a convoluted experience. The interplay of esoteric elements, ecclesiastical settings, and intricate mysteries strives to build an engaging atmosphere; however, it ultimately unfolds as both cumbersome and unconventionally bizarre. The episode heavily relied on stylized scenes that lacked authenticity, with a narrative that seemed to hinge more on dramatic flair and pronounced pathos than on a well-crafted storyline or engaging characters. Consequently, this concoction may not satisfy a diverse audience, alienating both casual viewers and dedicated mystery fans.
Czech Television’s commitment to projects like this raises questions about their creative direction, as it mirroring foreign mystery thrillers with religious nuances yet producing content that often comes across as disjointed and synthetic. Given the potential high costs associated with such productions, one wonders if these resources might be better allocated to developing content that aligns more closely with audience expectations from a respected public broadcaster.
https://ct24.ceskatelevize.cz/clanek/kultura/strach-opet-strasi-strachem-serialovy-lovec-v-jeho-rezii-chyta-demony-8482?fbclid=IwY2×jawGQA9VleHRuA2FlbQIxMAABHSnN84-qt39yqrrJLRur27GH6TtJqRC38BPqwDs9XSc62ibmlQ589mnafA_aem_8go7XT4sbauy6umzCgCLpg
https://cs.wikipedia.org/wiki/Ji%C5%99%C3%AD_Strach
A sense of spiritual belonging or trust.
The Balancing Act between Faith and Fear
The intersection of horror and religious themes is an intricate dance—a balancing act that’s often tricky to navigate. Strach’s use of the Church as a backdrop for horror raises questions about the narratives we’re told and the fears we hold, intertwining faith with unease in a very Czech context. The melding of traditional horror elements with theological inquiries can create a fascinating texture, but it can also lead to awkward misfires if not handled with care. Audience reactions vary greatly—some may find the thematic blend compelling, while others might feel alienated by the overtly esoteric references.
Indeed, the juxtaposition of chilling horror against the sometimes comforting tenets of faith is a bold artistic decision. It does risk alienating viewers who are looking for straightforward horror or those who might prefer their faith untainted by the terrors of the unknown. For viewers who enjoy unraveling complex narratives interspersed with mystery, Strach’s Lovec could offer a treasure trove of hidden meanings and layered storytelling—or it may simply be a muddled mess of contradictions.
Prospects for Success
Ultimately, the success of Lovec will hinge on its ability to engage viewers while delivering the kind of spine-tingling thrills that keep them coming back week after week. Perhaps the strength of Jiří Strach’s established career and his unique approach to storytelling will win over sceptics, and perhaps audiences will appreciate this venture into darker territory. At the same time, it is important for the creators to remain aware of the delicate dance between delivering thrilling entertainment and maintaining relatable narratives that respect both prayer and possession.
So, as the series unfolds, it will be intriguing to see whether Lovec evolves into a beloved part of Czech television lore or if it fades into obscurity alongside other horror misadventures. Either way, the bold ambition of bridging horror with theological themes deserves a moment of applause—even if it sometimes stumbles through the shadows.
