(THREE STARS)
In the Argentina Currently, television programs with guests predisposed to the interview that, at different times, populate the air channels, suffer from two notorious difficulties: they are extremely long in duration and those who host them give opinions above those invited. Needless to say, the formats where there are more panelists What topics to discuss? This court of voices usually makes you dizzy and stun with phrases, feelings and questions. The thing is that verbosity reigns, everyone speaks at the same time, in general they overlap with shouts and, almost always, little or nothing is understood. Curiously, in the century of visual supremacy, incontinent saying prevails in these parts.
The appreciation comes from the return of “PH, We Can Talk” to the screen Telefethe Saturday night shipment of Andy Kusnetzoffonce enfant terrible of CQCwhich is already passing through seventh season. Here, it brings together a diverse handful of personalities, some relevant, others episodic, linked to all professions, who are encouraged to expose personal situations in a, at times, disconcerting initial and random questionnaire each week. Of course, it is unavoidable that attendees promote what they are doing lately, but a calm and welcome space is required so that any confessions that may arise, very intimate in certain cases, can occur in a pleasant and cordial atmosphere. In this very vulnerable sense, Kusnetzoff is never invasive or inopportune, on the contrary.
Thus, in the “meeting point”, the workhorse of the format, it was very revealing that the winner and the finalist of the reality show “Big Brother”, Marcos Ginocchio and Julieta Poggio They will tell in first person the damage of receiving anonymous comments on social networks, and also the unpunished nature of vernacular “chimenteros”.
But there is also a section that tries to imitate “The artist is present”, a performance by the Serbian Marina Abramović, in which someone takes a seat, in silence, inclined to observe whoever is seated in front. Silence is quite a rarity in these times of media eloquence. The first to undergo the experience were Abel Pintos and Lizy Tagliani, no less, but instead of supporting the slogan and leaving the final reaction to the viewer’s free discretion, they fell into the unnecessary, manipulative and sentimental resource of playing sweet music to achieve the emotion that should always be spontaneous. Nor was the driver’s insistence on getting Paula Chávez to talk about her distance from Zaira Nara prudent or justified.
Nothing that, in the future, cannot be avoided.
