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Brazilian television in the 80s is a show apart. Skinny, slim youngsters with body tagging tweezers and fishnet stockings spray children's scenes, which mix warm colors with pastel shades and sparkle in bright spotlights. While the aesthetic explodes on the screen in front of the public, fun and interactive activities attract the attention of the little ones, who get lost in a tangle of moral principles breaking and excessive distortion of the parameters. It was an ordinary day on Brazilian open television. A Netflix brings his nostalgic air, in his first national comic series, titled Samantha!. Destined for ostracism, but too determined to accept that all that is old does not become vintage in 2010, the protagonist of the same name tries to prove itself, in a kind of veiled satire of the icon, Simony. That same little boy's girl Magic ball.
The 80s are one of the most fascinating decades, not only because of its distinctive identity in neon tones, shoulder blazers, permanent hair, and the supreme rise of the denim jeans. Levi. The decade itself is a museum of novelties, with a musical style that has ruled the break with the past and tried to plan futurism amidst a technology that has expired on VHS, cbadettes, and portable music devices , like Walkman. With an irreverent identity, which stands out in controversial figures such as Madonna – who protested against lyricism, with graffiti on sculptures in Borderline's clip -, extravagant as Cindy Lauper – who has become another powerful female voice – and iconic Prince, time carries the fresh air of the new as few have succeeded. E Samantha! saves those huge memories, opening the chest of irreverence, where the television dictated the success level of someone and the word internet would not even run the world.
In his tireless pursuit of the success of the past, the Emanuelle Araújo It's hard to understand what's happening nowadays. Paralyzed in time, it absorbs social contexts in the absence of the world around it, in an incessant search for something impalpable. This voracity is expressed in delicious references and in a costume so common for the 80s, but which generates a huge strangeness and discomfort for the eyes of the present. With light episodes lasting an average of 30 minutes, the trajectory of the relentless ex-mirim star converges with the virtual scene of the moment, generating far more than generation conflicts, but a slight critique of how the world has begun to use excessive technology and their social networks.
Produced by Alice Braga and Chuck Lorre, Samantha! brings originality that only a person of Brazilian origin could extract from our past and the stamp of one of the largest television producers of the United States. The direct involvement of the actress in the production contributes to the authenticity of the material developed, considering that the narrative is also a mirror of the memories of children who – like her – have grown up watching emblematic programs like Children's Club, which marked the Xuxa on television under the broadcasting authority title and their subsequent derivatives, such as Xou da Xuxa, Xuxa Park and Xuxa Planet. The presence of Lorre brings the international credibility of someone who has great success in the program, as in the case of Two and a half men and The Big Bang Theory. With the Netflix Reverberate production in several countries, Samantha! takes the Brazilian brand in entertainment, bringing jokes a bit bairristas – at the beginning – but in dizzying growth as a production that brings extremely punctual problems in the current world social context.
Although astounding in his first three episodes, the first comedy series of Netflix can show what came with a plot that makes a real parallel between the symbolism of success in the '80s and the '10s. Showing the huge gulf that separates the two periods, Samantha! brings with it a rich humor through its authentic contextualisations, playing with the mannerisms of the two eras, putting us in the spectators who observe these external universes and become able to point out the ridiculous aspects to which we are accustomed by the familiarization. From subliminal messages on vinyl records to the insertion of commercials in the middle of children's programming, to the faces of ducks we do for selfish and absurd hashtags that rock on social networks, the entertainment industry and POP culture come out of the audience, with an ironic dialogue, substantial characters and a peculiarity of filling the eyes.
Samantha! This is the first step required for Netflix to design the exhilarating quality of entertainment that Brazil really has. Without fear of satirizing the most salacious and even frightening references, the series does not forget to project itself to the world public, by developing a link of connection able to make the production also amusing for those who are at the 39, outside, only for us, who are here inside the hilarious mess.
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