The audacity that coincides with the note | The marginal …

The beginning of the marginal El prequel on public television (Tuesdays at 10 pm) can serve as a measure to demystify some ideas that are repeated as mantras in the television industry. To know: that not necessarily the second parts of a fiction are worse than the original, that not always the second seasons attract less audience than the first one, that it does not is not true that the evaluation of a program fundamentally depends on whether it is part of a "hot" or "cold" screen, and this is not true the justification that the & rsquo; Audience of the Argentine public television – except exclusive live event – is "naturally" peripheral. The first chapter of the Underground series not only founded with quality and dramatic sense the story told in his first season with a plot that is located three years ago. It also drew an impressive audience, averaging 9.6 points on the public TV screen dropped, averaging one point. A demonstration that if in the signal of the attractive state and the quality content is broadcast, the public appears.

The challenge that was forth was not easy The marginal 2. The fiction that takes place in San Onofre prison should be At the peak of its first season, where the prison world had been approached with a sense aesthetic but fundamentally developing a plot that transcended the mere conjunction of fanciful situations. The complexity was greater considering that this aesthetic-dramatic continuity was not given chronologically, but rather that it had to make the bridge, locating the years of history before that which counted the season born in France. 2015 of the plan of fomentation of the fiction. National Institute of Cinema and Audiovisual Arts (Incaa). Being the first prequel to Argentine television was not a minor weight. This was also not the average audience of 2.6 points that had been cut off during its broadcast in 2016, which is part of the Netflix catalog and which won the Grand Prix of the Festival Mania series, in France. There was little history that we had to endorse.

Marginal 2 will count the arrival of the Borges brothers (the "Diosito" of Nicolás Furtado and "Mario", of Claudio Rissi) to San Onofre and the power that they build to become the "kapangas" of the prison. The first of the eight episodes had everything: a successful police chase and shootings in the corridors of a village, a brutal fight "worth everything" inside the prison, heavy doses of bloodthirsty cruelty, Black humor, explicit violence and presentation of great characters, such as the "Sapo" (then head of the prison, played by Roly Serrano) and Rita (the social therapist of the prison on the verge of retirement, in charge of the Verónica Llinás always colorful). The beginnings have also left open the first lines of disputes, friendships and enmities that will be built along the plot written by Guillermo Salmerón and Silvina Olschansky. The installation of the episode camera, directed by Adrián Caetano and Alejandro Ciancio, was able to convey to viewers the density of a story told behind the broken bars – in more than one meaning – of the penitentiary service.

The return to the small screen of marginal El, at the risk of choosing to do so through a prequel, is accompanied by a surprising audience for public television, which since the authorities has decided to minimize the expression of its production and fill the hours with repeated cycles suffered the theft of viewers. The first episode of El margin 2 recorded peaks of 11.5 points, averaging 9.6 points. This figure has allowed the state channel to compete with private television, tripling the audience of El Nine and America and matching Simona, on the screen. El Trece. Not only that: the first eroded the walk of the most watched program of Argentine television, 100 days to fall in love – paradoxically also produced by Undergropund for Telefe – whose chapter Tuesday dropped by 2.3 points compared to the rating from yesterday. The marginal 2 was the fourth most watched program on Tuesday, with a detail that further enhances its audience: the fiction started from a point of measurement from one point, so that almost all the flow of viewers that she collected was one of an audience that voluntarily sought the series. Even the public was still on the rise: in the first quarter, the series was 7.1 points, in the second 9.9, and then stayed with an average of 10.5 points.

The impressive figures of The margin 2 In public television surely respond to a series that considers the preferences of the public, but probably not only refer to their artistic qualities. The stream of viewers who listened to public television – and probably will not do it again until Tuesday 22 – asks a question: what will have been the influence of Netflix in creating such a wait, considering that the first season has been part of the catalog of the online platform for years. Can Netflix be both a hangman and promoter of Argentine fiction?