Francino said this week that the Italian television models who settled here in the 1990s “modeled part of who we are, and it’s not a good part,” reading it made me nod to my cervical dislocation .
We were formed because we are what we see. Telecinco was born with a statement of intent: no news, just fun; theatrical, childish, silly. A happy world that provided us with soma while your friendly screen explained itself and in which everything from the telecoupon to the summaries of these goals that were love affairs served to objectify women and take us back to a Spain more archaic than that of the Botejaras. The fiction stagnated, turned into a pure advertising medium full of noble, kitschy and classic families with their child, their grandfather and their Andalusian maid, an old-born model, because Spain already had modern television. Screenwriters like, Reverence, Ana Diosdado had created an adult novel that didn’t invent a country but documented it.
Spain was more like what the Golden Rings and the Second Teaching told us than that of the family doctor. Diosdado’s creations were not uncommon, we had Blue Summer and later we had Turn of Office or Sadness of Love, more progressive and advanced than many of the later ones. You can watch it on RTVE Play.
The worrying thing is that the erosion of this model has not been caused by a quality alternative, but by humble Turkish fictions with their praise of the traditional family and lack of diversity and no matter how much we write about what’s going on the platforms are they the ones who capture the multi-million dollar audience, the ones who model us. Save me is dead, long live Bitter Earth. At this rate, there will come a day when a series about marriage attorneys will feel like overkill.
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