Save me has a problem. And it has its own name, Bitter Land . Antena 3 has found a vein in Turkish soap operas. These serials have great virtues for the channels because of their profitability: they are much cheaper than producing their own series and with their enraged romanticism they hook an audience that continues to consume fiction on classic linear TV. That is, on the television of a lifetime. Very similar to what happened in Spain two decades ago with Latin American serials like Cristal. History repeats itself. Now with Turkish productions.
Like good soap operas, they also have the added value that they can be stretched for a long time. Not only because its seasons are long and exceed one hundred chapters, also because each episode is extensive. And the chain in question can fragment it until the end is eternal, as has happened with the hit Woman with an outcome broadcast in bits and pieces.
Like Mujer , Atresmedia has launched Tierra Amarga in summer when there is less competition. And just at the time when the great stars of Save me were on vacation and the plots of the Telecinco program suffered low hours of controversy.
Because Sálvame works much like a soap opera: with background music that emphasizes emotions, zooms that bring the camera closer to the characters’ faces to boost the epic and, above all, identifiable dramas and comedies of everyday life. There is only one big difference with the serial: Save me treasures the superpower of direct unpredictability. The program is united and adapts to a fast-paced current situation in which anything can happen.
“Turkish soap operas are creating addiction little by little and, later, it is more difficult to overthrow their fervor”
However, in the summer period Tierra Amarga has been gaining positions and has advanced in hearings in its strip to Save me . The reaction of those from Telecinco has been to try to appease the coup with exaggerated controversies, even announcing the dismissal of a regular from the space. A quick, nervous and exaggerated reaction since they know that Turkish soap operas are creating addiction little by little and, later, it is more difficult to overthrow their fervor.
But pulling conflicts so throwaway is a mistake. Because, in the end, Sálvame works best with the tactics of the soap opera with which it competes. The smart thing to do would have been to stop this audience crisis by stealthily opening stories with a narrative development that was growing every day. Identically as he performs ‘Tierra amarga’, but without the force of the live show and the reflection of a Spanish idiosyncrasy on which Sálvame is based .
For now, the season has already started and Sálvame has been rearmed with the return of Jorge Javier Vázquez . Also with the return of Belén Esteban or the frenzy of Lydia Lozano . At the same time, they have signed Carmen Borrego . An incorporation that is more thought than it seems, since the daughter of María Teresa Camposcovers a profile of a more adult woman and a long-suffering life that requires the family of the program’s characters to be more identifiable in the eye of a spectator, who must feel reflected in the set of headliners of the show.
They are like him. They suffer, they cry, they lose their nerves … they do not have perfect bodies or a dream job stability. Hence, Borrego’s entry, with his experience and insecurities, is relevant to the plots of this magazine with a lot of reality. But not even with those it seems that the share rises in front of the soap opera. They will have to pull Rocío Carrasco and exercise a medium-term strategy.
After the death of Mila Ximénez , Mediaset has lost one of its great and empathetic pillars. Ximénez shows that there are essential people in the programs. People who are more than characters and whose uncontrollable truth makes the public connect with them.
Now Sálvame continues to live without her, trying to find his place but without losing the course that positioned him in success. And it was not the exaggerated controversy as is widely believed, no, really its triumph in audiences has been because the space has accompanied the viewer as if its protagonists were neighbors of their own block. Those neighbors who can fall fatal, but you can not stop observing their follies.