But what no one can deny is that docuseries has discovered concepts that we did not know such as vicarious violence and gaslight, and, above all, that it has moved many women to decide to stop feeding them, calling the sexist violence telephone number as the first step to end their ordeal. For that reason alone, it deserves to be featured in the history of television with golden letters.
And that is precisely the reason why journalists specializing in gender violence, among them, Ana Pardo de Vera and Ana Bernal-Triviño, they entered the game proposed by Telecinco. Because they were aware that such a high-profile network can achieve much more than books and lectures on feminism. Although there are those who believe that, over the weeks, the phenomenon has been losing force based on curling the curl and due to the absence of self-criticism from some involved who, at the time, gave ball to whom the protagonist of the program accuses of abuser (with sudden dismissal, and exemplary, just after the broadcast of the first chapter, despite being recorded long ago).
Despite this revolutionary format, with the seal of The TV Factory and which has garnered large audiences (a 27.3% share of the screen) compared to hits such as ‘Mujer’ or ‘Mi hija’, which are aimed precisely at the same ‘target’ (female), has also come surrounded by chiaroscuro, which instead of tarnishing its trajectory have kept it week after week leader in its strip. A complete success. Because let’s not forget, at the end (or from the beginning) it is a television product. But what exactly have been the keys to that success? We will summarize them in five.
1- The protagonist: from spoiled girl to victim
Rocío Carrasco, Rocío Jurado’s daughter, who to the public opinion was shown as a spoiled girl who wanted to be a model and then tried television, has been a regular face in this medium for years. Not only as a protagonist of the heart, but also as a presenter and collaborator of ‘shows’ as diverse as ‘Appointment with Apelles’, ‘Day by day’, ‘Every day’ (in the latter two as ‘María Teresa Campos girl’), ‘Talk to her’ and ‘What a happy time!’ But lately it seemed like he had grown apprehensive of the sets. It was difficult for him to get close to them. He did it last year with his signing in style for him ‘Blood ties’ of TVE-1, where she commented on the lives of famous people, although she jealously guarded hers.
The one who did not skimp on vomiting bile over his relationship with his ex-wife was Antonio David Flores, so among the public his version had been penetrating. To the few television appearances of Rociíto was added the mystery about what had triggered the abrupt separation of her two children, and more when the eldest, Dew Flowers, had already been fully introduced into the Mediaset machinery with ‘Survivors’. The media had been reeling off information regarding the clash between mother and daughter, but she was silent. So Mediaset scored a point by getting it to open on the channel. Millionaire check through? That secret is the only one that is still kept with seven keys. Be that as it may, the succulent business it represents for Tele 5 is well worth it. Now the one who is silent is Antonio David. They say that his version has been priced high. As you imagine, how about a ‘spin-off’ with the former civil guard as the protagonist? In this world everything is possible. In 2019, no one would believe that there would be a pandemic.
2- Original format to dignify an exclusive to circus?
The participation as a star collaborator of Carrasco in ‘Lazos de sangre’, where the lives of the ‘vips’ were dissected through a documentary and a debate, lit the lightbulb for Mediaset: such a format could serve to package the bombshell that was going to launch ‘the daughter of the greatest’, but starting from a single protagonist (Rociíto breaking when recalling his life in that 12 chapters, as if it were a fiction series, with a possible second season included) and maximizing the intensity of the statements that nourished the documentary section, spiced up by the comments of the audience members of the subsequent debate.
Here, Tele 5 wanted to give a touch of maximum seriousness to the issue not leaving it only in the hands of journalists of the heart, but adding the contribution of experts in gender violence such as Ana Pardo de Vera and Ana Bernal-Triviño, to whom the presenter resorted , Carlota Corredera (positioned to death in favor of her interviewee, because “you cannot be objective, you have to be next to the victims”, even if sticks have fallen on her from all sides) to analyze the most sensitive points and give the informative touch. The mixture of the style ‘Save me’ and the documentary approach to dignify the exclusiveness of a character, a priori, of the pink world has been another of the keys to success. Although not everyone liked it: some only see the business or argue that it has ended up becoming a circus (as he well described Imma Sust in an opinion piece in EL PERIÓDICO, newspaper belonging to the same communication group as this medium).
3- The careful and innocent staging
A careful staging, with Rocío Carrasco, the protagonist, alone in a minimalist room, dressed in a fuchsia suit (feminine color, but powerful), combed with a usual style in her (half head with waves and the other half with her hair collected, which gives her a look between sweet and punk, again feminine and powerful) and with a projector in which images are passed to contextualize (one of the great successes) while powerful melodies sound (the soundtrack of the series, by the way, is practically that of Eurovision 2021). In front of his eyes, and those of the viewer, videos, press clippings, audios are played … documenting his testimony. And they give it credibility. Or so they seek, at least.
In the interview with Rociíto broadcast live in the middle of the docuserie, she is supported by a multitude of screens in which friends and family appear that cover her. The viewer attends this whirlwind of memories as a friend who has been invited to see up close a devastating past that was unknown. So what ends up crying with who has suffered. For others, change, the sprawled posture on the seat of the protagonist and the abundant pauses only make suggesting a studied dramatization of his story. With what they apply in deciphering his body language, his words. To catch her in an inconsistency. The point is that both remain trapped. And they want more. Relax, there are 12 chapters. And, as if that weren’t enough, from time to time there are live interviews with Rocío Carrasco explaining herself. This Wednesday, without going any further, there will be another, as an epilogue.
4- The surprising (and insufficient) self-criticism of the media
The docuserie was born with the intention of uncovering the abusive personality of the husband, who for 25 years appeared out of focus behind the public image of a soulless woman and mother that had been projected of the one now presented as a victim. But what nobody expected is that, incidentally, the focus would also be on the gossip. A TV program 5 lifted the carpet to show something intangible that gave off a stench. That doesn’t happen every day. The press of the heart, which in recent times had been instituted as a judge, recognized that it had exceeded its role and admitted its part of the guilt by giving fuel to the executioner and condemning the victim. Had its morbid see, in the debate after the broadcast, how socialists from the ‘Save me’ universe sank into the sofa admitting it, with the presenter, Carlota Corredera, defender without fissures of the truth of Carrasco, raising the baton to sing in a chorus an expected ‘mea culpa’. Although there have been notable silences. And the odd annoying rooster (Kiko Matamoros, for example?).
5- A place where miseries are reflected
The initial surprise was understandable. Tele 5, with a very specific profile, was launched with a format that, apart from giving voice to a famous coated paper, something to which he has us accustomed, hoisted the flag of feminism positioning themselves in favor of the victim. And the reaction of those more than 2.5 million viewers (they were a whopping four in the first program), mostly women, was immediate. Many discovered unfamiliar terms such as vicarious violence and gaslight. Others realized that this was precisely what was happening to them. Y Calls to 016 about sexist violence increased by 42%. He even got the message on some man. The debate generated was evident, and if you did not see the ‘docuserie’ you had no topic of conversation the next day (although there are many who say without seeing it). Others simply attended a addictive show: to see that the rich also cry. We have spent a horrible year, we are up, without expectations or without finding a partner because of the pandemic, but it is worse, Rociíto, hey. This is how we are. And some TVs know it.