That in Colombia everything is sung, played and danced, this is a national truth. And Caracol has found a mine of ‘rating’ in music for competitions and fiction.
Now, very originally, it copies itself and mixes everything up in a stew called ‘The Discharge’.
The idea is to make it look like a coexistence reality show. And that sounds good, if we already had ‘Protagonistas de novela’ where living together was a bad performance, and if we already had ‘Yo me llamo’, ‘A otrolevel’, ‘La voz’… where singing is everything. And if at 8 pm we only see people singing or running… well, this mix should work.
But a contest is its juries. And there are the romantic Gusithe one that seemed going to hit and not Maia, the extroverted and racist from Marbelle and the bohemian from Santiago Cruz.
They and they have as a task “Polish those jewels that are almost ready-made” and give them “some tricks,” said Marbelle. And in the mornings he knows.
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Caracol calls them “music icons”, but… Cruz wanted to, but he didn’t make it and ended up being a little more than bland balladeer. Maía always walks as if at a higher speed and has tried all the rhythms without consolidating. Gusi is closer to being the star of the affair because of his honeyedness and romanticism.
A separate chapter is the spontaneity of the vedette Marbelle, always playing herself, and showing that her greatest talent is nonsense, speaking without a filter to demonstrate her ignorance that ends in racism and other cuteness.
That is why it is known as racist, sexist and xenophobic.
And that is no longer so cool in a world that is changing and can no longer stand that ignorance becomes abuse. And we must remember that those who hate suffer more than those who are hated. And besides, the hater shows low self-esteem, hence his aggressiveness.
(You may be interested: Documentary: the music that is lived and enjoyed at the Cartagena Festivities)
And if you put all four of them in the script, then the result is intemperate and can only please the Jurassic. The truth is that with this jury they have expelled young people and have concentrated on the haters of fakebook and ‘guasá’.
And furthermore, there are dramaturgy problems between the juries and their connection with the viewers.
Already in the innovation plan, Caracol says that this contest is different because it has a high-tech stage that looks like an old record player that is a turntable with 4 corners. But if you see it, it’s the same as always. That is to hide the lack of talent by moving the camera, abusing the shouting and celebrating the technology.
Total innovation is in coexistence that there will be in the kitchen because they don’t know how to cook, in the bathrooms for some seduction, on the terrace for gossip and speaking ill of the other, in the jacuzzi for meat. It all results in a bland discharge.
OMAR RINCON
television critic
orincon61@hotmail.com
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