Mario Pergolini returned to television after 15 years and did so with a project that, as usually happens in his career, did not go unnoticed. “Another lost day” is the name of the program that leads from Monday to Friday in the Prime Time of El Trece and that returns it to the screen in an ambitious, modern and designed format for a television that is no longer the same as he left in 2010, when he decided to devote himself to his digital ventures and get away from the daily routine and demand. The title of the cycle, as provocative as self -referential, functions as a declaration of principles, he no longer believes on television and lets him know inatules as “I can’t believe this being doing”, “and well, this is TV” and “I was fine in my house.”
His acidic gaze of reality and ironic tone does not have much space in its format, a night show that combines interviews, naif humor, news and live music, but he knew how to put his avant -garde stamp by reinventing the way of advertising, based on artificial intelligence and thought so that he is viralized in networks and thus billing twice. The truth is that its television program does not contribute anything new to the small screen, but it did revolutionize the billing of El Trece, a concept that will not take long to arouse the interest of its competitors.
The return was surrounded by expectation and, as expected, the first programs generated an important audience flow. The debut exceeded the 7 rating points, a significant figure for thirteen in the current context. However, with the passing of the emissions, the average stabilized around the 4 points, with 5 and falling peaks and falls to the cold measurement, are low numbers for the channel, which aspires to higher figures in its central strip. But, in parallel, the program became a digital phenomenon: the fragments are viralized in social networks and add millions of reproductions on YouTube and streaming platforms. According to production data, “another lost day” has already accumulated more than 19 million online viewing, which marks a new paradigm in the way of measuring television success. For Pergolini, who was always critical of the rating as the only rod, this digital impact represents a validation of his proposal and a reflection of the current times.
Money, Money
In the economic field, the program already represents an important source of income for thirteen. The billing in traditional advertising within the batches exceeded $ 6,500,000, a figure that places it as one of the most profitable products in the grid. But, in addition, production found a vein in non -traditional advertising (PNT). In this case, not only the brands within the dynamics of the program are included, but it is the production itself that is responsible for the realization of the contents with AI, charging that service separately to the advertisers. A model that combines creativity, integration and business, and that reflects the driver’s ability to reinvent into a medium that demands new forms of monetization.
That their PNTs are starring kittens is not accidental, but arises from the algorithm that indicates that the most wanted and viralized videos in networks are feline making mischief. If in the 90 Pergolini was a master of turnover, thirty years later, he achieves it again. It is worth remembering that in its once competition with “the Videomatch show”, Marcelo Tinelli made 30 rating points against the 10 of “CQC”. However, Pergolini doubled him in billing, with the second most expensive advertising on Argentine television. His target was ABC1.
With a renewed team, guests who provide their magnetism and a robust economic scheme, the program advances in a thin line that fails to break the roof of the rating, but finds in the networks a mass that allows it to remain in force and profitable.
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