'OT Gala 3': The boys do not cry | TV

Julia will save OT 2018. Or that is, at least, the narrative that has been written around his performance. But tonight Julia does not look like a superhero because they've put her villain's eyebrows. Perhaps it is an anti-system message: since Donald Trump called Hillary Clinton "nasty woman" (unfriendly woman), the feminist movement has appropriated the term because unfriendly women are sometimes the ones who change the world. Or maybe it's because a beautician has left the hand with the left eyebrow and has had to go matching the other.

The night starts with Live life, a boundless song that will outlive us all and that works in a wedding, in a football match and in an OT gala: the three happiest events of our civilization. The presentation of Willy Lopez, the guest jury of the week, is that he was the creator of the first number 1 of David Ghetta (thank you?), While Roberto Leal presents himself with a shirt that says "Prejudice is ignorance" (Prejudices are ignorance) sowing the theme of this gala: the most effective political activism is kindness.

Africa has chosen to say goodbye to a song she had heard three times in her life, God Is A Woman. And in the universe of OT, no doubt God is a woman but has adopted the name of Natalia. Dave wants to be a "pisha rocanrolero" and sings Rock & Roll Boomerang, Of course, doing "air guitar". The next performance unfortunately is not Julia, but Marta and Alba Reche with Just Give Me A Reason, a dialogue between a couple separating. But since they are two girls, they do not look at each other's faces at any time. They deprive us of the "bun drama" that illustrates Alba's shirt in the academy, although the real drama comes when they put a video of Marta out of tune, she complains because "he hears that more things have happened this week" and Roberto Leal gives the reason for then giving way to another video of her detouring. Because they do not seem to have had enough to ruin Verónica's life in OT1.

'OT Gala 3': The boys do not cry

90 seconds are enough for this chain to reinvigorate its public television status: a video of the contestants talking about sexist situations. Natalia confesses that she started crying in the sea because some shit shouted insults for going topless. Marta explains the fear she felt when a car followed her home. Dave and Miki empathize with them. This video is a non-belligerent social awareness, but honest. The musical selection may look like it was taken from the recorded tape your father was carrying on his trips to Benidorm, but OT makes Televisión Española a truly modern place, finally.

When Maria tells that her father, an official, convinced her boss to let her enter later because "from 9 to 11 it is not paying" (this man composed The door of Alcalá and he got to work at noon, that man has found the formula of happiness) and Miki talks about how much he loves his brother Eloy (although then he puts on such a tense face that seems to have been invented and has no brother), OT begins to build the personalities of its contestants, the true secret of the success of the last edition.

In La 2 they are putting The Godfather, but no scene of that movie is as threatening as Natalia reciting "you do very badly in raising my tension, you continue like this and you'll see". Natalia sings alone Damion is also on stage, but she does not care because she is simply in her own contest. She looks at herself in the mirror (an elegant staging and, at least, with intention) and manages to go beyond interpretation: she sings with a state of mind. Damion's problem is that it's his style, his attitude and his musicality are interchangeable with those of Carlos Right, Miki and Joan.

The performance of Blas Cantó achieves something that seemed impossible: that we miss Malú. Blas says goodbye to the contestants who have their own social networks, a strategy that is great for Luis Cepeda. The performance of Joan and Miki with Friday I'm In Love It makes Robert Smith stir in his grave. (No, Robert Smith is not dead but we assume he sleeps in a coffin). To make Joan look like a tough guy they put on a navy blue leather jacket, and both Miki and he sing this classic from The Cure as if they were rehearsing in their garage after drinking six beers and not realizing that any of the four guitars ( four guitars) are emitting real sound.

Roberto Leal announces that he has something important to say and the 16 contestants of OT 2017 get dizzy in their homes fearing that he will add another date to his tour. But it refers to a video of I'm alive, which could be what Lluís Mas has been writing for three weeks on the walls of his house but no, it's a TVE series.

'OT Gala 3': The boys do not cry

And finally Julia acts with Born This Way. OT knows that in order to make a diva it is essential to surround her with dancers with sadomasochistic harnesses and Julia sings well (very well), but you can tell that she is counting the dance steps. It does not seem to be enjoying. The public was waiting for a Land of 1000 dances of Lorraine and has had to settle for a What A Feeling of Gisela.

Some followers of the program criticize that the percentage of votes (80%) that has eliminated Africa is published, but to give the percentage is drama, it is spectacle and it is television. Marta embraces Africa with the face of "I have not even memorized your number on my cell phone" and María cries inconsolably. Of course they have left the last because Maria, at this moment, is not a contestant but a dramatic climax.

Roberto Leal, who has not once silenced the audience (although not because he shouts less, still exclaiming "beautiful!" As if instead of singers were Misses or the Virgin of Regla), announces the three favorites and against everything prognosis Joan's butt is not one of them. Natalia is in the shortlist, something that Chenoa never achieved and that shows that 17 years later Spain has lost the fear of women with character. The "nasty women" have won.

Willy López assures Famous that his has been one of the performances of the night, of course with those glasses maybe Willy Lopez has seen a different performance. Joe humiliates Joan unnecessarily by telling him that it sounds like a fair trumpet and nominates him with Miki, Dave and Damion. Three favorite girls. Four nominees guys. At this rate the academy will end up transformed into a matriarchal utopia with seven amazons who no longer have to listen to poop jokes.

'OT Gala 3': The boys do not cry

The teachers save Miki and the companions Dave. The bad part is that Dave has been saved, the good part is that Dave will not have to choose his song next week. The nominees are Joan and Damion, who could leave the contest next week without 40% of the audience having learned their name well but whose sensitivity could give us one of the most memorable performances of the edition.

Noemí Galera appears devastated. She had not been seen that way since Idaira eliminated Fran Dieli 12 years ago. Maybe Naomi misses the Javis. As much as they are accused of emotional sadists, they were essential for the success of the last edition: they know how to create content (in videos, in social networks and in life) and stimulated students by building a story under their songs. They made Ana Guerra drink a shot in Black tears and automatically enter the Spanish pop culture. The encounters of Manu Guix with Itziar in the micro-passes criticizing the decisions (or, rather, the total absence of them) of the interpretation teacher, from the malignant attitude of Alfonso and Sabela in Blame me until the anodyne joy of Joan and Miki on Friday I'm In Love, are increasingly palpable at the gala. Miss emotion Missing presence It is missing that the contestants are inside their song and not looking at it from the outside as if they were spectators of their own program.

The night comes to an end and the greatest expressiveness we have felt has come from outside: Mamen Márquez ecstatic to discover Sabela's forked bell, an assistant of the hypnotized public before one of the dancers of God Is A Woman and those same dancers wiggle sensually to the rhythm of Son of the Moon by Montserrat Caballé. It may be inappropriate, but they have decided to dance it like that. And that is also feminism.


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