In the final stretch of Amor de Mãe, a plot was highly criticized by viewers: Vitória (Taís Araujo) received a perrengue for “delivery”, by motorcycle. A criminal, aggressor of women, chased the character in traffic and asked to get in her car. The experienced lawyer accepted the “order” and received death threats. Since the return of the nine o’clock soap opera, tragedies have multiplied and weighed heavily on the tone of the story, which has become almost unsustainable for the public, considering the very difficult moment that Brazil faces in the pandemic.
The final stretch of the novel, with 23 chapters to finish telling its story, started in a very witty way: Dona Lurdes (Regina Casé) entertained the public when she showed impatience in having to wash chayote to protect herself from Covid-19.
But it did not take long for tragedies to take over the booklet and practically all the emotions provoked by characters were related to bad feelings: pain, sadness, fear, indignation, pity and identification with the difficult reality of the country.
Like a soap opera that showed the “dog world” since its debut, in a pre-pandemic perspective, it made sense for Covid-19 to be incorporated into the plot. But the scenes of Betina (Isis Valverde) in the hospital and Sandro despairing for his wife, for example, shown on a day when Brazil had broken the record of deaths from the disease, hit too hard on an audience already very hardened by this pity.
The sequences that sought to portray the Brazilian reality of the pandemic were recorded months ago, when it was not imagined that the current situation would be so critical and there was still not much information about the disease.
Still, after watching chaotic ICUs and collapsing hospitals all over Brazil in Jornal Nacional, it is difficult for the soap opera fan to delve deeply into this sad reality over another hour, in teledramaturgy.
Woes to give and sell
As if the pandemic were not enough, there is still a menu of the most different atrocities in the novel, to the taste of the customer: Betina’s kidnapping; the murder of Jane (Isabel Teixeira) by her best friend, Thelma (Adriana Esteves); Camila’s criminal trampling (Jéssica Ellen) and the character being left without the movements of her legs; the attack on David (Vladimir Brichta); the aforementioned threat to Victoria, among others.
With the plot romances apparently already solved, all that remained was for the viewer to hope for the happiness of Lourdes and her reunion with her lost son. But the character had little space in the last chapters, and the time devoted to her was, unsurprisingly, of suffering. In Thelma’s captivity, the protagonist underwent mistreatment, and consequently the novel lost much of the charisma that emanated from her.
Lourdes will only shine again when she finally meets Danilo / Domênico (Chay Suede), but it is not known how many difficulties she will face until her last scene.
Soap operas often act as mirrors of society: they reflect real-life behaviors and situations, while influencing who is on the couch. In addition, and perhaps above that, teledramaturgy has the function of providing escape to the viewer, making him have some breath of his life to accompany, for a few minutes, the fictitious lives of other people.
Nobody expected Amor de Mãe to become a sugary 6pm show, but even so, the last few weeks have offered little entertainment and many obstacles to fun. It became costly to watch all this waiting for a painful happy ending.
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