United States: Pablo Escobar Series breaks record audience

Last week, the series debuted on Telemundo " Escobar: The Pattern of Evil ", produced by the Colombian network Caracol. In its early days, the series received an average of 2, 2 million [in] viewers between 18 and 49, becoming the second production seen in the history of the second largest Hispanic television in the United States.

According to its producers, "The Pattern of Evil" is one of many productions on Escobar that comes closest to reality. The story takes a look by Escobar's childhood, adolescence, his rapid rise as a smuggler to drug kingpin, and his visceral hatred against the state, among other details. Within the frame recreates the assassination of neoliberal candidate for president Luis Carlos Galan, the assassination of Justice Minister Rodrigo Lara Bonilla, and attacks against the newspaper The Spectator by a car bomb and the death of its director, Guillermo Cano, among other crimes against humanity.

Pablo Escobar coming back to life, this time in a soap opera. Photo of Pablo Manriquez / Flickr (CC BY-ND 2.0)

The series has spawned a string of comments, pro and con, in social networks. Through a press release, Telemundo states that recorded in his Twitter account about 5.8 million impressions, while Facebook yielded 1 million. Although it has proved an overwhelming success both in Colombia and the United States, there are some who are not pleased with the plot shown, as is the case of Leonel Buelvas through his blog :

Much to talk about is giving the soap opera 'Escobar, the master of evil. I include myself in those about her. I will be honest and direct: I do not like soap opera ... The format does not lend itself to tell a "true story" 'of Pablo Escobar. If the intention is "to show what happened", it should have produced a documentary, even a drama. But in a private television, where the premium rating, and commercial space is valued and sold at a good price, does not matter much left to the viewer, but the profit margin.

However, the blog of Mario Mantilla Barajas argues that even making a documentary series would be similar to reality, while that warns viewers to learn more about such a thorny issue:

Still, if a documentary is not the 'revealed truth', but a point of view, I insist that viewers must be informed, read newspapers, books, talk about these issues and arguments evaluate what you see, different judge as do some self-appointed critics who become entangled in the form and sentence with words such as 'good or bad' product because you like it or not this or that interpretation, because the real person putting on the bag so or if the voice is equal or not real, or if the credits seem ugly and not go to the bottom of the issues.

Meanwhile, Juanita Riveros said that history does nothing different from what is already known and criticizes the lack of veracity of the librettist of the series, Juan Camilo Ferrand, with the facts, particularly with the names of the characters:

Ferrand deals with the construction of the character: 'In what moved this man, the soul of this man, and to explain the rise of drug trafficking. " That is, we sold the idea of ​​a deep character, and in a series that will offer many items to the viewer, not only on the recent history of Colombia, but on a drama with human passions. Come on, we already know that story. Hopefully some much beauty. That if I think it is very foolish to change the names of the protagonist least: If you are going to be faithful to our country's history, do not get to half measures.

Such has been the popularity of the Telemundo series enabled the Twitter account @ PatronDelMalTV , even creating the hashtag # PabloEscobar. This account provides short reviews of what is said bonnet :

# SabiasQue ‪ # PabloEscobar built a system of tunnels to escape the police?

Finally, some users like Ronald Revelo (@ Ronald_Revelo ) replicate those phrases in the series:

@ Ronald_Revelo : 'If you do something, do it well done [sic], to avoid being caught' pablo escobar the pattern of evil

Written by Robert Valencia · Comments (3)
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