TV3 has started a new season of Crims with deception as the new common thread in its promotional trailer. But it is impossible to find a single episode in the six seasons where deception is not present. Through betrayal, lies, or false appearances, deception is endemic to true crime. On Monday, they started with L’assassí de la pandèmia, a serial-killer who killed homeless people during the COVID lockdown. Perhaps because of this element of unpredictability, the program lingered to exhaustion on a resource that is already emblematic of this genre: the drone shot. In forty-three minutes of story, a minimum of twenty-seven overhead shots were inserted –this view of the territory from the sky, a bird's-eye view–. This means that, on average, there was an aerial shot every minute and a half of narrative. With this insistence, it is by no means a simple ornamental matter. It is, without a doubt, a symptom. A visual resource that wants to tell us something.Drone images elevate the gaze, provide perspective, and territorialize the story. The landscape takes on a determining role. In Crims, the opening credits already incorporate this resource in an urban and nocturnal context, which makes everything more mysterious. It is a way of telling us that the city of Barcelona becomes a kind of almost inscrutable anthill. In the case of this new episode, the aerial view also glided, alternating with natural landscapes, which became wilder seen from so high up. Day and night follow each other, playing with the light and dark that are the series' motto. The green of the trees is not a synonym for splendor but a lush blanket that hides what we are looking for. Most images are always crossed by roads, paths, and railway lines. These marks that cross the territory are escape routes. Often a vehicle circulates to reinforce the idea. This overhead shot conveys a sense of dominance, of absolute power. It represents the gaze of a god, of a superior entity that observes and controls, an unknown entity that permanently watches us, that knows what we mortals do not know. It is a vantage point that no one else can access. It can create the false appearance of objective observation, deceptively neutral, supposedly cartographic. But it is an absolutely ideological approach. It is also a dehumanized, amoral, and uncompassionate gaze. It projects an idea of tracking, police inspection, forensic observation. The entire landscape, without exception, becomes suspicious. Because the entire territory becomes a potential crime scene, an area of delinquency and secrecy. The whole map is a hiding place.Drone images are hypnotic. This is contributed to by the movement that glides smoothly through space. Horror, therefore, becomes fascinating, pleasant to observe. And this tension between evil and beauty is morbid and addictive. Ethics disappear in favor of aesthetics. But, above all, it insists to the audience that we are insignificant, tiny, and vulnerable beings. It reminds us that we are nothing.

TV3 has started a new season of Crims with deception as the new common thread in its promotional trailer. But it is impossible to find a single episode in the six seasons where deception is not present. Through betrayal, lies, or false appearances, deception is endemic to true crime. On Monday, they started with L’assassí de la pandèmia, a serial-killer who killed homeless people during the COVID lockdown. Perhaps because of this element of unpredictability, the program lingered to exhaustion on a resource that is already emblematic of this genre: the drone shot. In forty-three minutes of story, a minimum of twenty-seven overhead shots were inserted –this view of the territory from the sky, a bird's-eye view–. This means that, on average, there was an aerial shot every minute and a half of narrative. With this insistence, it is by no means a simple ornamental matter. It is, without a doubt, a symptom. A visual resource that wants to tell us something.Drone images elevate the gaze, provide perspective, and territorialize the story. The landscape takes on a determining role. In Crims, the opening credits already incorporate this resource in an urban and nocturnal context, which makes everything more mysterious. It is a way of telling us that the city of Barcelona becomes a kind of almost inscrutable anthill. In the case of this new episode, the aerial view also glided, alternating with natural landscapes, which became wilder seen from so high up. Day and night follow each other, playing with the light and dark that are the series' motto. The green of the trees is not a synonym for splendor but a lush blanket that hides what we are looking for. Most images are always crossed by roads, paths, and railway lines. These marks that cross the territory are escape routes. Often a vehicle circulates to reinforce the idea. This overhead shot conveys a sense of dominance, of absolute power. It represents the gaze of a god, of a superior entity that observes and controls, an unknown entity that permanently watches us, that knows what we mortals do not know. It is a vantage point that no one else can access. It can create the false appearance of objective observation, deceptively neutral, supposedly cartographic. But it is an absolutely ideological approach. It is also a dehumanized, amoral, and uncompassionate gaze. It projects an idea of tracking, police inspection, forensic observation. The entire landscape, without exception, becomes suspicious. Because the entire territory becomes a potential crime scene, an area of delinquency and secrecy. The whole map is a hiding place.Drone images are hypnotic. This is contributed to by the movement that glides smoothly through space. Horror, therefore, becomes fascinating, pleasant to observe. And this tension between evil and beauty is morbid and addictive. Ethics disappear in favor of aesthetics. But, above all, it insists to the audience that we are insignificant, tiny, and vulnerable beings. It reminds us that we are nothing.

The universe of Carles Porta and Crimes continues to expand. The benchmark for crime fiction in Catalonia will explore new ground this season with Crimes, the jury, a podcast that will be available starting this Monday and that delves into the lives of two juries who must decide the guilt or innocence of several defendants. There are eleven episodes in total, each lasting 30 minutes, that will tell the story of two crimes from the perspective of the citizens who served on the jury.

"Hello. I'm Carlos Porta. Thanks for joining us." The journalist thus begins, with his narrative signature, the new miniseries recently released on Movistar+. The hunt for the lonely These are three chapters that explain the search for and capture of a robber who became Spain's most wanted criminal: thirty-six bank robberies in Spain, with two deaths and several injuries on his record, acting with absolute impunity for fourteen years. When you see the security camera images from some of the banks where this character robbed, you'll remember them from the news of the time. He was a man who disguised himself with a wig and false beard to enter branches armed with a submachine gun, easily emptying the magazine.

The king of the true crime and father of Crimes will premiere a new series on Movistar+, produced by True Crime Factory and Goroka. It will be available to stream starting April 10th and promises to address the search for and pursuit of a man who murdered two Civil Guard officers. The program will have three episodes that will air simultaneously, each lasting approximately one hour, and Porta admitted that they have been "a challenge."

Is Trump killing democracy? Are we witnessing a crime in real time? In a few decades, will we need a historian Carles Porta to elucidate the dark plot? Are we still in time to avoid the tragic death? Let us shed light on the darkness. And what better light than that projected by Voltaire, Rousseau, Diderot, Montesquieu and company three hundred years ago, during the Age of Enlightenment, when they taught us the joy of reasoning, thinking and feeling freely, when they instilled in us confidence in progress and science.