a musical career with Bombaj Štampa. Finally, after its commercially disappointing debut, Dražen Ričl made one more album with Elvis J. Kurtovich & His Meteors, but left right after in spring 1985 as the group effectively disbanded anyway. At the time of their breakup, Ričl had already been in the process of reuniting with old Ozbiljno Pitanje bandmate Zlatko Arslanagić to establish a new band with a softer, pop-rock sound and the two soon unveiled Crvena Jabuka, a group that immediately started taking off commercially on the scene. However, he died on 1 October 1986 from the injuries sustained in a car accident two weeks earlier near Jablanica en route to a Mostar gig in support of their debut album. Zlatko Arslanagić was also in the same car but survived the crash, and after getting over severe depression decided to continue Crvena Jabuka, but did not return for Top lista nadrealistas second series. Preparation and shootingNadrealisti thus reconvened in August 1989 without Ričl and Arslangić, but with new protagonists Darko Ostojić, Dado Džihan, and Dražen Janković, as well as Srki Velimirović who kept behind the camera but contributed with sketch ideas and scriptwriting. Their getting together this time was organized and coordinated by Slobodan Terzić, TV Sarajevo executive in charge of culture and arts programming. Noticeably more mature and structured, the 8-member group was now directed by thirty-four-year-old Miroslav "Ćiro" Mandić who had already accumulated a bit of a cinematic CV behind him, having directed a feature film Život radnika two years earlier and having been one of Emir Kusturica's ADs on the Palme d'Or-winning When Father Was Away on Business in 1985. The written material courtesy of Karajlić and Velimirović became tighter and more polished compared to the 1984 series as sketches now started hinting at deeper social issues and trends. The upgrade in production and organizational matters was noticeable from the start of the second series. Implemented in practice, it meant that rather than having sketch excerpts that revolve around a theme over an entire episode, the show incorporated different sketches of varied structure and the music numbers got reduced. Just like the first series from 1984, the core of the second series also included a parody of television programming cliches with various TV characters — an unnamed news anchor played by Karajlić and his newscast director played by Ðurić as well as a plethora of roving reporters