2024-07-29 22:05:19
The rating that “La Academia” registered during its first week was not what the production had hoped for. In its premiere, the Azteca reality show positioned itself below the launch of “La casa de los famosos México,” prompting the channel’s executives to take action. For the second concert, they decided to make some adjustments in an attempt to capture the audience’s attention.
One of these adjustments was the change of producer; now the reins of the program will be under the care of Andrés Tovar, husband of Maite Perroni, instead of Lilian Contreras, who held that position last week.
Another modification was that, without prior notice, they changed the backstage hosts; instead of Pedro Prieto and Esmeralda Ugalde, the new hosts are Ricardo Casares and Vanessa Claudio.
See also: If they want controversy, they are ready in “La Academia”
In the first appearance of this pair, they had a chat with the director, Héctor Martínez, who highlighted the effort that his students have shown in their classes, but also made it clear that what will be valued is what they demonstrate on stage.
“What we expect is a fantastic confrontation from the kids in their first week of metamorphosis, I am very happy and proud of what they have achieved; I hope the critics are fair and objective.”
The concert began with a medley of some of the biggest hits from Los Ángeles Azules, such as: “El listón de tu pelo,” “Cómo te voy a olvidar,” and “Entrega de amor,” all of which were performed by the 18 students together.
One by one, the students presented their weekly exam, and while some received very good comments from the panel of critics, such as Julio and Mario with “Tacones Rojos,” others like Brandon or Brisa did not have the same luck; their performance of “He venido a pedirte perdón,” a classic by Juan Gabriel, was, for Arturo López Gavito and Lola Cortés, a disaster.
Edith, for her part, who offered an almost perfect first concert, was reprimanded by the judges for not even managing to connect with the audience.
Ángel and Jessy were rated as one of the best performances of the night, pleasantly surprising the critics; they even received a compliment from the so-called “iron judge,” Gavito: “You sing beautifully,” he told them.
Mar and Flor stole the night with the best number of the concert, but what really stood out was the fight between Lolita and the director, Héctor Martínez, who asked the critics not to ridicule any of the teachers after the so-called “queen of musical theater” called him Father Karras (like the character from “The Exorcist”).
See also: Does “La Academia” surrender to “La casa de los famosos México?”
The public had the final say, and at the end of the night, two were expelled from this new generation.
The first was Eugenio Salco, who had a very bad night; even his departure had already been predicted by Chiquis and Gavito.
The second eliminated was Ángel Eduviel, who despite having one of the best performances of the night and surprising the critics with his voice, did not manage to impress the audience, receiving the least amount of votes.
This week, the remaining 16 students will have to work twice as hard to surpass what was done on stage and defend their place in “La Academia” with a new concert.
In the end, the least voted were: Ángel and Eugenio, who were sent off by their colleagues. They presented themselves like this at the beginning of the reality show:
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Future Trends in Reality TV: Lessons from “La Academia”
The recent season of “La Academia” has illustrated a significant pivot in reality television programming, particularly the need for adaptability and audience engagement. Following a disappointing premiere that didn’t meet viewership expectations, the show’s producers swiftly implemented changes to invigorate the format.
One emerging trend in reality TV is the importance of behind-the-scenes crew. The transition to a new producer, Andrés Tovar, signifies how crucial production talent can influence a show’s success. This shift reflects a growing recognition that creative leadership is as vital as the on-screen talent. Having producers who understand current audience preferences will be essential for shows aiming to maintain relevance.
Another trend is the dynamic nature of host roles. Changing hosts mid-season, as seen with Ricardo Casares and Vanessa Claudio replacing Pedro Prieto and Esmeralda Ugalde, suggests that networks are now more willing to make swift adjustments. This flexibility could lead to more interactive and engaging environments, enhancing viewer experience and overall ratings.
The judges’ feedback process in “La Academia” also indicates a movement towards real-time audience interaction. Viewers are increasingly demanding authenticity from critiques and performances, as shown by the varied reactions to contestants’ performances. Incorporating a more interactive element, perhaps through live voting or instant reactions, could capture and maintain viewer interest in future formats.
Moreover, the competition structure is evolving as networks recognize the necessity of engaging the audience beyond elimination rounds. The strategic decisions regarding contestant performances and the emotional arcs built during the show can cultivate deeper connections with the audience. This could lead to a more invested viewer base, crucial for long-term success.
Lastly, the exploration of conflicts, both on and off-stage, has become integral to storytelling in reality TV. The incident between judge Lolita and director Héctor Martínez highlights that drama can sometimes overshadow talent. The careful balance between conflict and talent display will be pivotal as future seasons aim to draw in viewers looking for comprehensive narratives.