The RCN telenovela ran for 169 episodes and at its peak attracted 3.3 million viewers - a whopping 72 percent market share. With oversized glasses, an unwieldy mop of hair with greasy bangs, braces, and no discernible sense of style, Betty was unlike any of the beautiful telenovela leads we’d all grown up with: actress Ana María Orozco may have been as stunning as Thalia, Lucerito, or Kate del Castillo (to name some of her Mexican counterparts), but in character, she was as “ugly” as they come - her oft-cracking voice and all-out chuckle didn’t help. The show, about an unlikely “ugly duckling” who uses her wits to turn a fashion company around while falling in love with the company’s heir apparent, was a smash hit that turned the telenovela template on its head. I couldn’t go to school without overhearing conversations about last night’s episode or gossip about what might be coming up the following week. Telenovelas and National Identities: A Textual Cum Production Analysis of the Telenovelle Sara, the Flemish Adaptation of Yo soy Betty, la fea. And this is just the beginning of the transformation.Growing up in the mid-2000s in Colombia there was no escaping Yo soy Betty, la fea. The current requests of a digital and demanding audience have made productions evolve into agile and social formats. Simple and melodramatic production of soap operas has shifted and gotten more sophisticated. The Digital Identity of Soap Opera Stars Takes the Story to the Social Networks. The digital identity of productions such as “Amor secreto” and “Entre tu amor y mi amor” (Venevision’s latest drama productions) and their main characters is also a part of the adaptation to the new era in which we live, nowadays, audiences expect to interact with the actors and have conversations on social networks regarding their favorite shows. In these times of digital transformation, soap operas have also adapted to the social networks and the multiplicity of devices, not just for promotion, but also to use Big Data to collect the audience’s feeling through an interaction that leads to their input on the story and plot. “Ruta 35”, a Cisneros Media production available in Latin America via the digital platform of Televisa Blim is an example of the aforementioned transformation.
Transformación de betty la fea series#
TV series is a format that has evolved from the soap opera, it is shorter and more agile in terms of production, and it adapts to a new audience that is used to consume content with high levels of action and in shorter episodes.
Today, the soap opera format is in continuous renovation. Ugly Betty is a milestone in the soap opera’s change in discourse. La transformación de Betty era de una hora diaria: Ana María Orozco debía someterse todos los días a un proceso que incluía aplicación de base, diseño de cejas y bigote, una gran cantidad de fijador para el flequillo y los brakets falsos para convertirse en Beatriz Pinzón Solano, y este proceso duraba alrededor de 1 hora. Aired in over 180 countries, doubled to 25 languages and having at least 28 adaptations throughout the globe, it is a clear example of how a change in format and approach generated huge impact, both on the traditional audience as on the audience that showed instant aversion to the genre and ended up being drawn to this new proposal. The world-class example is perhaps Colombian soap opera “Yo soy Betty, la fea”, holder of the Guinness record for the most successful soap opera of all time. With the premise “no risk, no change”, by the end of the 90’s and the beginning of the new millennium, the gender suffered a transformation, showing fresh and relevant formats for new generations, also modifying subject matters and testing audiences. “The Rich Also Cry” was an iconic soap opera that showed the poor woman falling for the rich man. Although it does not get away from its basic conception ideas, it has stopped focusing on the genre’s cliché story: “the poor woman that falls for the wealthy man”. Recently, soap operas have had major changes in their content proposal. Today, soap operas are necessary in television network programming. The so-called “soap operas” found the formula to make the audience their accomplice and keep it hooked. Since the origin of soap operas in pre-revolutionary Cuba, large television production companies have flooded the screens of homes in Latin America and the rest of the world with their shows.
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