When the first episode of “Princípio, Meio e Fim” aired, I was afraid that Bruno Nogueira’s new show would not be distinguished, in any way, from “Como é Que Bicho Mexe”, the rights of an actor and comedian who, over the past year, had kept thousands of people in S confinement.
After all, some of those who were heroes Instagram lives from a corpodorment accountAnd the. Albano, Jessica, Markle, Pepau, Salvador were there, Asmaa lost their nicknames to make friends, at the usual time, they came to drink a glass of wine and keep up with the conversation, as if it was just a routine trip to the cafe, after dinner, in the very world of 2019 that was all this. Possible in it.
The body and content are undeniably linked to the social media sector, but Princípio, Meio e Fim goes beyond Bicho, showing that if everything that happened in the last year that led the country to celebrate Christmas in May, if it didn’t, it would have been It could be invented.
In a very short version, the program is Dinner.
In essence, it’s a process that extends from screenwriting, in just two hours, by Bruno Nogueira, Nuno Markl, Salvador Martinha and Filipe Melo, to producing and organizing this dinner, in which only a fifth of characters interpret the script written.
The first part of the program, “Principle”, is condensed in 10/15 minutes, with several parts of brainstorming between scriptwriters and the scriptwriter itself, with all that can happen by pressing execute in just two hours, with ideas that don’t always fit, even spelling mistakes. . This is then delivered to Sandra Faria (Producer) and Christiana Miranda (Director), who until then were blind about which scenario should give life. It is here, along with handing over the script to the cast, Albano Geronimo (Paolo), Nuno Lopez (Stone), Rita Capaco (Maria João), Jessica Ataide (Francesca) and Bruno Nogueira (Luis Henriks), who makes here the role of double agent and writer. Screenplay and actor, which takes place in the “middle”. The “end” is the launch of the script, with its potential production, in the face of the imagination and coherence that the scriptwriters provided, without removing or confusing. Bugs included. Nonsense verbs, as stated above.
It can be said that “Principle, Middle, and End” is, in part, an orchestrated beast. If the first part seems almost like a homage to Instagram rights, four fictional parts collide and create, the second part is that the brainstorm itself becomes final and lively in five fictional characters.
What was the first of Six Dinners, for example, led to the discovery of the origin of the orgasmic gate by Paolo, in terms of women, two sea bass, two rolls of toilet paper and a João Manzara, and where Louis Henrique was lost. Until we got there, there was cheese curd on Stone’s face and a moment of Francisca goldfish, with no speech coming out of his mouth.
Making a prediction based on what was described above about what the remainder of Season 1 of “Principle, Middle and Finish” might be, is a complex task.
What I can try to do is look at the program and scrutinize it, with my timid approach to those who follow various creations of national humor so, I can say we’re seeing traces of some of Bruno Nogueira’s best work out there, like “Epic” e SaraThe mood status of Salvador Martinha, the way in which Nuno Markle’s seemingly insane thoughts became a thread or Felipe Melo in building the script.
But carrying out this analysis is superfluous because, if it continues, it will end in Bicho, after a short pause “Loquat in the sky”. Because all that I’ve said, we’ve already seen, somehow, on Instagram, at that phenomenon that made us watch TV on mobile (or forced us to figure out how a smartphone screen duplicated on TV). Bicho showed us that we’re not alone in this and that it is possible to laugh a bit (or cry together).
Thankfully, because otherwise, and with the bold formatting in mind, I was afraid that the show that premiered this Sunday at SIC would pass by a group of friends, by chance talented, who got a check and 40 minutes to play on TV. Something almost selfish, as if the viewer is secondary. A little thing from the perspective of “if you like it good, if you don’t like it, bad luck”. They themselves assume that they are creating this program “because we want” and “because we can.” And all of this might be what I just wrote, were it not for the community exercise that was going on over the past year that brought us viewers close to that group of friends, some of the stories they share, good and bad, and the topics they throw themselves into. There is no collusion with that group, it seems Random Nothing excludes the viewer. We shared this, not only in humor and dialogues, but as a starting point for a leap of faith (another one) made by Bruno Nogueira of this form which can only be achieved after what happened in “Como é Que Bicho Mexe”.
Moreover, “Princípio, Meio e Fim” really honors the creation process, not only because it shows the exchange of ideas that we see later repeat over dinner, but because it makes it so Brainstorming At a great point in the episode and not something we feel we can skip. When the first episode ended, we did not remember Luis Henrique’s head on the glass door or the line “The beginning of the sentence may be esmere escreiro but io dinakl is draioes sageraão.” We will also remember, for example, Felipe Melo writing the script with his eyes closed.
The work not only honors the creative process, error, and sometimes the inconsistency of ideas, the initial images of the story, and thus, it also gives us a visual picture of how it turned out. How ideas contradict each other to get there.
Getting here is basically an exercise in freedom. After revealing himself in a company against the prison he was incarcerated, Bicho gave rise to an innovative program in Panorama of Humor and Portuguese Television, in contrast to the foreign format adaptations that preceded him, in SIC, RTP and TVI, and demonstrates how messing around can make sense when the topic is Laughed. Which also makes it risky.
I have no way of anticipating what is coming. All we know on the TV channel on which the program is broadcast is that “The first two pages of what they say at dinner are always the same in every episode. Since then, everything is open.” So, we will have a creative process, a discussion with the production and a dinner. The plot is as predictable as it was straight from Bicho as we suddenly had Vhils carving Zeca Afonso in the living room or João Manzarra presenting a donkey as a new pet.
I think, then, all the possible criticisms of Bruno Nogueira’s return, or rather, of a program designed by Bruno Nogueira, are that the first episode, of course, was not affected by Mercury retrograde.