In a very complicated year at the general conjuncture level, Argentine television could not escape the onslaught of uncertainty, and is heading towards the inevitable end of an era, amid shipwrecks and winds of change.
Without a doubt, the most striking thing about this season is the sudden decline of some classic stars of the national small screen such as Marcelo tinelli, Jorge Rial, Mariana Fabbiani Y Alejandro Fantino. A simplifying look could point to the aforementioned figures as responsible for the failure. However, each case presents its peculiarities in the midst of an increasingly uncertain and stark rating race.
Marcelo Tinelli and a format that was already
In terms of spectacular decline, undoubtedly that of Tinelli with ShowMatch (El Trece) is the loudest. After more than a year of absence, his classic cycle returned in May with its usual large production bill and an encouraging debut with almost 19 rating points. However, as the weeks passed, the reality show fell below half in the measurements, with marks that have oscillated lately between the 8 Y 9 units.
The Shipwreck Case of Marcelo tinelli has two great motivations in sight. On the one hand, the program started with a succulent opening that was quickly sentenced for the lack of social distancing, just at one of the most critical moments of the pandemic. That none of the heads in producing ShowMatch has detected in advance the lack of empathy with the general public, in a massive proposal where the first thing that should be privileged is that; it was inexplicably awkward.
On the other hand, beyond the initial stumbling block, which marks the debacle of the Tinelli with the La Academia contest, it is the lack of updating of its format. Faced with local versions of international franchises like MasterChef Celebrity Y The Argentine Voice, ShowMatch it lacks the attractive conception of script and editing that such reality shows have. The fast-paced rhythm that each block of the sends driven by Santiago del Moro Y Marley, contrasts with the typical quarrels or emotional instances that Tinelli he tends to stretch himself out. The viewer may not care about the world of gastronomy or that of singing talent competition, but the formal assembly of the aforementioned productions that belong to the Telefe grid is rigorously planned so that the viewer remains glued to the screen. Instead, to ShowMatch He has no choice but to surf on the rulings of the urgency of the moment, with the disadvantage that this year he has most of his broadcasts previously recorded, so he cannot even swerve on the fly in the search to improve performance in the rating from minute to minute. In counterpoint, formats such as MasterChef Celebrity Y The voice they are configured with such certainty in the good result, that they are recorded and edited weeks in advance, without this diminishing their chances of hitting the mark.
Jorge Rial and the great revenge of the public
Different is the case of Rial, on whom weighs a sort of settling of accounts between the mass of public that does not tolerate it and the driver who launched from his well-known gossip into the space of current journalism. Yes OK Rial He had already gone through current proposals on radio, a medium to which he recently returned, on television his image was clearly pigeonholed in the runrún of the show after two decades at the helm of Intruders (America). His trade move went wrong, and in no time TV Nostra (America), was left off the screen. The shadow of a failure in prime time will not be an easy matter to correct and the fate of Jorge Rial on broadcast television it smells like the final chapter.
Mariana Fabbiani out of focus
Among the sinks this season, the one with the highest probability of refloating is that of Mariana Fabbiani. Despite having reaped two consecutive slips in the rating, such as those of Mamushka Y Mariana’s, both by El Trece; It gives the impression that her north could be in the return with a magazine in the afternoon, a space in which the host traditionally worked well. While what he did Fabbiani Until recently in the morning it was precisely a magazine, in direct competition with that of Florence Peña on Team flower (Telefe), the format for which he opted Mariana’s was failed to generate automatic tension with the classic Sunday lunches of Mirtha Legrand; in this time captained by Juana Viale.
Alejandro Fantino and Liliana Parodi: alliance for an absurdity
The last sailor to join the shipwreck troupe is undoubtedly Alejandro Fantino. Following the resignation of Fabián Doman a Intractable (America), the driver decided to leave Fantino in the afternoon (America), to take charge of the emblematic political debate program. In a couple of weeks, Alejandro he crashed in prime time when trying to impose his style over an already consolidated format. This is obviously responsible for the drop in measurements, which these days stagnated at 1.5 rating points, it is not exclusively the driver. She is in charge of programming, Liliana Parodi, who in a move as bold as it was foolish, gave the go-ahead for Intractable give up your usual dynamic of intensity, to move to the more leisurely and serene style of your current frontman. The negative impact on the networks was immediate, and the majority of the regular public of the cycle repudiates the long block in which Fantino dine with your guests, to give a few final minutes to the exchange of current affairs with a small team of the historic panelists of the shipment.
The format change in Intractable It is an unforgivable mistake, not only for the purists of the program, but because it hardly manages to add viewers to this nonsense plagued by generally irrelevant diners. In a year in which we Argentines will once again go through the polls, and in which the tensions of the situation are increasing, it is nonsense to abandon an audience that Intractable I already had cattle, in order to accommodate the proposal to the essence of a Alejandro Fantino This time he looks anemic and disconcerted.
Jey Mammon and the chance of the replacement
This is how things are. Among a large number of streaming platform options and the consumption of audiovisual content on sites such as YouTube or social networks, open television has become an adventure with an uncertain end. A key moment for the heads of each channel to think about shuffling and giving again in search of the winds of change. In this sense, the most encouraging sign of the year has been given Jey Mammon with the success of The Mammons (America). With his own imprint, the talented comedian turned lucid conductor, conquered an intimate bond with the public at the pure engine of balance between warmth, freshness, cunning and empathy. That serves as an example of a television that is obviously waiting for an urgent change of names.
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