On January 8, the trailer for the series was uploaded to the Mediaset España networks, announcing later that it would premiere on January 11 at 10:50 p.m. on Telecinco. It tells the story of Inés (Alexandra Jiménez), 42, who tries to commit suicide by submerging herself in the sea. Hugo (Fernando Lindez), 15, does not take long to help her, saving her life. This triggers Inés to fall obsessively in love with him.
the debate is served
Twitter did not take long to fill with opinions rejecting the series, there are many who have accused Telecinco of whitewash and romanticize pedophilia, condemning her before seeing her. The creator, dawn war, has not remained silent in the face of criticism and has stated for La Vanguardia that it is “a bit the story of lolita but backwards; For a man to have a relationship with a minor looks more normal than for a woman to do it, although it is obviously unacceptable in both cases.
And she has not been the only one to speak, Santiago Diazone of the scriptwriters of the series, has commented: “We do not intend to normalize pedophilia. Does its title really lead you to think that? ‘Scandal’ and ‘obsession’ doesn’t sound very romantic.”
As the synopsis promised, the first thing we see is how Inés sinks into the sea with the purpose of ending her life. She, already unconscious, is saved by Hugo, who takes her to her house to warm her up. He takes her in her arms to dry her and get her temperature back and immediately afterwards they have sexual relations. Yes, just like that without eating or drinking.
Is a extremely free sex scene that leaves anyone confused because it happens without no kind of pretext. Of course, one cannot lose sight of the fact that this has happened minutes after Inés tried to end her life. In what head does it fit that the logical thing after trying to end your life is to have sexual relations with your savior?
Once they have finished, before even saying their names, Hugo asks: “Why did you want to kill yourself?”. Inés has the courtesy of asking her how old she is. From the outside everything looks so absurd and improbable that more than a drama as it promised to be, it gives the sensation of being a parody.
After this, the story tells itself. Inés puts up resistance at first, saying that they can’t see each other again and, of course, they see each other again. Both become obsessed with the other: Inés because she feels truly alone and she sees him as her salvation; Hugo because he is a boy immature and misunderstood by her father who is believed to have the ability to save a mature woman who she can’t even take care of herself. Also, due to the early passing of her mother, we might be “surprised” later on with some kind of cheap Freudian explanation for why he fell “in love” with her.
As you know, she is the protagonist of history. He is a complex character, victim and executioner at the same time. A woman subjected at the will of her husband. The series actually explicitly reflects the psychological abuse by a couple, but the way to do it is not the best. The comments of her husband from the outside are perceived somewhat forced. Not to mention the character of Ainara, her 14-year-old daughter, totally insufferable and who has about excessive and implausible behavior.
Nevertheless, it should be noted the remarkable performance by Alexandra Jimenez. Especially in the miscarriage scene, an obviously traumatic event for the character that I’ll cover in more detail below.
The script holes
As might be expected from a dysfunctional family, her husband and daughter’s reactions to the miscarriage are puzzling. Although it is true that from the first moment the mistreatment of her husband towards her and the bad relationship that he has with his daughter, the comments that they say do not allow the viewer really connect with the seriousness of the matter. They give a forced image, touching the absurd and the ridiculous. Her husband reproaches him that this is happening to him “because he got too excited”, in addition to forcing her to divorce him because he is “fed up with putting up with her nonsense”. On the other hand, her daughter Ainara does not stop repeating that “it’s a drama”.
It is true that by launching a weekly episode, you may discover what is behind it gratuitous contempt, without obviously serving as a justification for this type of situation, neither in fiction nor outside of it. But having those contrived comments from the beginning and without a previous context, the initial impression to have a script extremely poorly worked Y poor.
What reception has it had?
Public opinion has retracted. You only have to take a look at Twitter to notice it. The truth is the atmosphere has relaxed because it is not a series focused solely on the relationship between Inés and Hugo. By incorporating the characters of Inés’ husband and daughter, a topic that needs to be made visible is addressed: vicarious violence.
However, it is a good idea poorly executed. The plot emanates banality and that should not happen when dealing with issues of such weight and relevance such as power relations, manipulation, pedophilia, psychological abuse or the traumatic childhood of the protagonist -which can be seen at times-.
However, a lesson can be learned from all this, especially for tweeters: never judge an audiovisual content by its trailer. It is clear that the assembly of the advance is made in order to cause controversy and of draw attention of viewers, but our responsibility as consumers lies in stay one step ahead and outsmart them.