Buldok z Poděbrad: Light Crime Komedie s Remundovou a Adamczykem

Everyone has encountered a boss they didn’t quite click with, or perhaps a chaotic and scatterbrained subordinate. The relatable awkwardness of the main character may also appeal to those who witness themselves in her, as well as those who think they could do everything better.

Right from the opening shots of the first episode, accompanied by music evoking a nearly vacation-like atmosphere, it’s clear that the show will prioritize entertainment over suspense, drama, and solving mysteries. The humor is sometimes predictable, sometimes more sophisticated, occasionally setting up potential catchphrases, and sometimes genuinely funny.

Former journalist Tomáš Baldýnský has a substantial body of operate in television production as both a screenwriter and producer. Though, after the long-running success of *Comeback*, his subsequent projects have seen more fluctuating viewership.

*Buldok z Poděbrad* is his first project as creative producer for TV Nova and Oneplay, following *Comeback*, *Helena*, and *Gympl*.

Jakub Šmíd directed the series, bringing two feature films – *Laputa* and *Na krátko* – to the screen. *Buldok* marks his most significant foray into television, adding to his resume as an actor and sought-after theater director.

Both the creators and cast acknowledge the show leans more toward comedy than a traditional crime drama, classifying it as “light crime.” While crimes – including capital offenses – will occur, they aren’t the primary focus, at least in the first two episodes.

The first episode centers around the mystery of who painted the mayor blue. While the premise may seem bizarre, the genre can support it, and a look at real police reports would reveal a surprising number of similar, unusual cases.

Sabina Remundová, for whom Baldýnský wrote the character of Officer Radka Fabiánová, delivers a precise performance as a frazzled mother of two teenagers. The lieutenant expertly juggles multitasking – scolding her colleague, nicknamed “Ear” (Jakub Burýšek), for even considering using the horn during a normal drive.

Simultaneously, she’s taking a phone call directing her to pick up her novel boss at the train station, but only after returning a sheep dressed in erotic lingerie that was used as a prop during a bachelor party. The show’s launch is certainly eventful, quickly orienting viewers and helping them decide whether to continue watching.

Observant viewers might be confused when the major arriving from Prague steps off the train in Pardubice instead of Poděbrad, but they’ll soon realize that Cyril Beneš, played by Marek Adamczyk, has other priorities. The meeting with Fabiánová creates a clash of worlds, with Beneš conveying his reaction with a raised eyebrow and Fabiánová looking increasingly like a pressure cooker.

The teenagers at home predictably cause trouble for the police officer, but to maintain the law of conservation of energy and the “light crime” genre, they complement each other in a way that suggests Míša (Max Dolanský) seems like the ideal child, while Kuba (Filip Týc) looks like he’d rather leave the family nest as soon as possible.

Vilém Udatný, playing Fabiánová’s ex-husband, also delivers an appropriately unpleasant performance, with his occasional visits and reminders irritating the policewoman just as much as Major Beneš does.

However, he gradually begins to appreciate Fabiánová’s work, and she, in turn, softens a little toward his praise. The question is whether the edges where these two opposing protagonists clash will smooth out before the series reaches its final eighth episode. So far, no more than a spark has appeared between the two.