News The 'Operation Triunfo' culture (Mònica Planas Callol)

The 'Operation Triunfo' culture (Mònica Planas Callol)

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Sunday the eleventh edition of Triumph operation, which was the audience leader in Catalonia with 262,000 viewers and a 14% screen share. Next year will be twenty years ago that this talent show It was released and despite the pause of six years and the evolution of television, the producer has managed to adapt to new times and trends.

There are elements of this program that last from day one. The essential thing is to value the Academy as the basis on which the show is structured. The program prestige training in multiple aspects that not only have to do with musical talent, but also with the human side. Surely for that, Triumph operation He has ended up finding his place in public television and not in private television, where what is prioritized are conflicts, personal melodramas and individual media success. Other aspects that have not changed are the topics. We continue to hear the litanies of "music is my life" and "I fight for my dream" and its derivatives. The program exploits the emotionality of the format, either with epic melodies while the contestant confesses his dramas or hugs the family that cries as the culmination of so many efforts.

This year, Triumph operation She has reincorporated one of her emblematic figures: Nina, historical director of the program's Academy. Now he has returned as a juror and marks the differences. While the talent shows they are formats that are full of topics, obviousness, empty phrases, cracking, easy adjectives, media courtesies, television hypocrisies and emotional exaltations, in the first edition Nina showed that there is the possibility of making more technical assessments and, above all, having the ability to ask specific questions to the contestants that highlight the critical spirit, beyond the television.

But what attracts the most attention, if we compare it with the first editions, is how the contestants have evolved. The current participants are men and women who have grown up with Triumph operation and the talent shows Y realities usually. They have integrated media behavior. And they are generations that have had at their disposal, in a simple way, huge amounts of videos and music, possibilities to register and ease to interact with the cameras, even if they are those of their mobiles. They are contestants that have a sense of the show, the exhibition and the television talent as standard. Similarly, when it comes to building your presentation videos, the program can already include archival images of the contestants' lives that show their musical DNA almost from their childhood. As a talent factory, Triumph operation It is the most honest format in the effort-fitness-success relationship. Another very different thing, however, is how all of this connects with the musical culture of the country and if, in some way, it contributes to enriching or impoverishing it.

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