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In the story of El Reino, the debate opens: we must invent a prize for Argentine streaming series

When your pants are short, you loosen the hem or change the size. Or, in a kind of forced choice, you pass them to fisherman mode. But they are no longer what they were. Some of this happens, saving all the distances, except the symbolic ones, with episodic fiction and awards (and with TV and ratings). None of that is what it was and yet we have stayed in time.

Such a capricious, but not inaccurate, diagnosis is due to the avalanche of praise for El Reino, the Argentine series that Netflix premiered last month and not only quickly became the most viewed on the platform, but also swept word of mouth, with ample triumph for compliments.

Well, what award would I deserve, for example, the enormous work of Nancy Dupláa as prosecutor Roberta Candia, in a composition totally different from that of his TV heroines? The traditional Martín Fierro only deals with the six air channels. The digital Martín Fierro, which has been delivered since 2017, does not get to contemplate these productions in their entirety.

Those statuettes they point more to the networks and other types of characters: in fact, in the last ceremony they were winners Matilda Salazar, Luciana’s daughter, as Best Children’s Artist (“artist”, yes, you read that right), and Cinthia Fernandez What Digital star. It is difficult, in this framework, to find space for acting talent or scriptwriters, or fiction makers on all fronts.

There was a window to distinguish Thousand Hands for Argentina, the StoryLab docu-reality that was seen by Flow: he won as Best thematic content.

The cable also falls short

The Martín Fierro of the cable do not reach the goal of streaming and, those of the Interior, less. Nor can that statuette be required to go beyond certain limits, because those who have delivered them since 1959 are the members of APTRA, the Association of Argentine Television and Radio Journalists.

The Martín Fierros have been delivered since ’59. And they were designed to reward radio and TV.

AND The debate is still open about whether streaming series can be considered “TV series”.

In the most technical sense, yes (due to its filming technique and other issues), but the platforms offer that chance of a la carte menu, to consume when you want, that conceptually distances it from the traditional mode of television. Amen that the two can coincide on the same television.

And let’s take advantage of this scale to clarify a point: beyond the possibility that talking about television or streaming is talking about the same thingWhat does not work is to use television and television as synonyms, although in colloquiality the confusion passes by.

Let’s go back to the APTRA awards. If still not resolved if the streaming is on the radar of its members, and they say that their thing is the valuation of television and radio productions, the creation of the Martín Fierro of Fashion.

And from that statuette created in 2019 is that more than one has wondered, we have wondered: if fashion enters Why don’t the performances, the directions, the scriptwriters and all the possible triples of the fictions initially thought for platforms come in?

Tato poked on the tip, once again

On the way to adapting the new audiovisual services -On Demand and streaming, both on the offer of seeing what one wants, when one wants-, the Tato Awards made a point in 2017, when they included Stockholm in the heading of Unitary fiction. The series starring Juana Viale and produced by her brother, Nacho Avenue, premiered in 2016 on Netflix.

Nacho Viale and Vuana Viale, producer and protagonist of "Stockholm".

Nacho Viale and Vuana Viale, producer and protagonist of “Stockholm”.

He did not win (the statuette went to A rooster for Aesculapius, Telefe and TNT), but generated an antecedent (There was also a nomination for UN3 productions) at the time of awarding in Argentina the fictions made outside the cable and the air.

But that was the last year in which the CAPIT awards were delivered, organized by the Argentine Chamber of Independent Television Producers. And so, good streaming titles, with chances of being at least nominated, piled up.

Four years after that gala, the arrival of The kingdom (fiction with the stamp of Claudia Piñeiro and Marcelo Piñeyro) draws the platoon of well-made stories that deserve recognition, such as Almost happy, the comedy of Sebastian Wainraich, which arrived in full quarantine 2020 and shed some light on the initial darkness of this time that looks eternal.

Claudia Piñeiro and Marcelo Piñeyro, scriptwriters of "El Reino", the Argentine Netflix boom.

Claudia Piñeiro and Marcelo Piñeyro, scriptwriters of “El Reino”, the Argentine Netflix boom.

Of course, if we analyze this reality in perspective and consider the industry as a global mechanism, We can find some way out to this alley in international ceremonies, such as the Emmy, the Goya or the Platino, which this year are delivered in Madrid.

But if it is true, as the artists say when they win and give thanks, that a prize is a caress to the soulLet’s not deprive them of that gesture on the local court and in difficult times. Things well done deserve a prize. And, if there is no prize, We founded the APSA, the Argentine Streaming Journalists Association. It shouldn’t be too difficult.


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