‘Teleserye’ plot lines suffer from frequent detours
PIOLO Pascual and Cristine Reyes in “Dahil sa Pag-ibig”
Day to day, we faithfully watch the major channels’ teleseryes as they continue to unfold, hoping that their plot and thematic thrust won’t be sidetracked by the exigencies of competition. More often than not however, the distractions, low points and detours do come, so the viewing experience can be unsatisfying.
On “Dahil sa Pag-ibig,” for instance, Piolo Pascual has just been ordained, so you’d think that his love-struck adoptive sister (Cristine Reyes) would finally stop obsessing over him. But despite six years of separation, she still has the hots for him.
Emotional weakling
True love can be impervious to all obstacles, but this compulsive behavior makes Cristine come off as an emotional weakling.
Where will her obsession lead the story? Will the priest ultimately choose his “sister” over his vocation for the priesthood? If so, he and his verboten love run the risk of turning viewers off on a permanent basis. After all, characters in dramas are supposed to learn from their experience and not succumb to their weaknesses over and over again.
In addition, last week’s telecasts were too focused on Fr. Alfred’s ordination and the celebration that ensued. Couldn’t the show have shown something other than that?
Extended flirting
In “Walang Hanggan,” the big irritant was the extended flirtation between the already married Katrina and her former beau, Daniel. Was this done to keep viewers’ hopes alive that
JULIA Montes and Coco Martin in “Walang Hanggan”
they would eventually end up together, despite the undeniable existence of her husband? It seems to be an unproductive ploy because it demeans the characters as people.
The less-than-compelling portrayals turned in by the show’s young leads, Coco Martin and Julia Montes, add to the problem. They may go through the motions of being ardently in love, but their lack of genuine romantic chemistry belies their palpitating portrayals.
Julia is clearly too young a talent to play her challenging role, and Coco’s shift from indie to “malandie” has muddled up his thespian throat, because he now resorts to self-conscious “vocal acting” rather than simply going for the emotional jugular.
Plot line lost
YOGO Sing, right, is “Wako Wako’s” saving grace.
On “Wako Wako,” the plot line is exceedingly adumbrated with all sorts of subplots and subsidiary characters, which distract from the series’ original plus points, such as its initial deft comedic touch, no longer all that evident.
It’s a good thing that its young lead, Yogo Singh, continues to come up with a natural and focused portrayal, or else all would be lost.
On the other hand, Ai Ai de las Alas’ fairy queen portrayal still lacks focus and dynamism, a deficiency in terms of relevance and definition that brings the show down, instead of adding to its fantasy appeal.
