Monique Hansler is back with a second season of her reality soap on SBS 6, but according to Privé star journalist Jan Uriot, this installment is even more scripted than the first. “Everything is scripted!” he claims, raising eyebrows about the authenticity of the show’s dynamics.
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Monique Hansler: The Overexposed Character
Monique Hansler, known as the mother-in-law from hell from B&B Vol Liefde, seems to have found her niche. Recognizing the camera as her friend, she almost inevitably transitioned into a soap star. The first season captured significant audience attention, reminiscent of a train wreck on TV, and now viewers eagerly await the second season.
Is it All for Show?
According to Jan Uriot, the authenticity portrayed in the first season is likely absent in the upcoming episodes. He suggests that the production team sat down to brainstorm what they could craft around Hansler’s persona. “There are scripted scenarios because she does not create her own content,” he explains, adding that the show’s writers have built a character rather than capturing genuine moments. “I doubt anything spontaneous is going to happen this time around,” he shares in his podcast Strikt Privé.
The Predictability Factor
The question of predictability looms over the new season. Monique, evidently unconcerned as long as the cameras are rolling, may indeed find her storyline becoming mundane. “It might get monotonous,” fears Uriot, expressing concerns that the production team will struggle to keep the content fresh and engaging.
A Lack of Charisma?
Uriot is not convinced of Hansler’s ability to handle the media astutely. Observing her interactions on Shownieuws, he notes her vague responses to straightforward questions about the new season. When asked what to expect, Hansler merely suggests viewers tune in, showcasing a lack of engagement with her audience. Uriot critiques, “She doesn’t really know how to sell herself.”
Poor Management or Strategic Moves?
In Uriot’s view, engaging the press is crucial to keeping the audience hooked. Instead, Hansler offers little tidbits that fail to draw in viewers. “The media asks if there’s anything fun in the new episodes, and she responds, ‘Oh, there are fun things, but you’ll have to watch!’ This hints at poor execution from her and the team,” he laments. Such vague marketing tactics may lead to diminished viewership, causing the already scripted nature to feel even more forced.
As Hansler prepares for her grand return, audience expectations clash with the reality of a script-driven show. Will viewers still find the spectacle enjoyable, or will the overly scripted narrative lead to disinterest? The second season promises more drama, but whether it strikes a chord with fans remains to be seen.
