It has been more than 50 years since "telenovelas," most of which are made in Mexico, Venezuela, Brazil and Colombia, started cranking out classic fare in which, typically, a poor country girl would go to the big city, work as a maid and fall desperately in love with the son of a wealthy boss.
The first ones were done even earlier on the radio in Cuba. Now, on dazzling high-definition TV, the telenovela genre shakes up a flirty cocktail of kissing, angry glances, outraged rivals and steamy love scenes.
But telenovelas' underlying stories also are often about achieving a better life.
And that near-universal plotline -- the aspiration to economic or social mobility -- has helped them play well across cultural barriers around the world.
In recent years, telenovelas made in Latin America injected some new twists -- Colombian-style comedic elements, such as in "Ugly Betty", even elements from US sitcoms and from comic strips created in Argentina and Chile.
Now, there is something new on the telenovela front -- and it is coming from north of the US border.
Hispanics are the largest single minority group -- about 14 percent of the population at an estimated 40 million, US Census estimates show. Most US Hispanics are Mexican American and the main Spanish-language television network in the United States shows mainly telenovelas from Mexico next door.
But the number two Spanish-language network, Telemundo, not only has shown telenovelas from other countries. It has developed its own formula in which it makes its own series with actors from countries across Latin America.
-- 'Part of our Latin American DNA' -- The networks in many US regions frequently get the top TV viewership market share -- even more viewers than English-language networks.
"Not all telenovelas are love stories any more, even if there are love story elements in them," said producer Julio Cabello.
"There is a lot of action in every episode. Characters are very strong. Instead of an average 28 characters there are now 20. And the stars are not victims; they are fighters," Cabello stressed.
Among Telemundo's hits have been an adaptation of a Chilean telenovela, "Donde esta Elisa?", and the super-successful adaptation of "La Reina del Sur" by Spanish novelist Arturo Perez-Reverte.
That telenovela, with a cast led by Mexican star Kate del Castillo, has had more than eight million viewers at times. Its premiere this March was the highest rated show in Spanish-language TV history in the United States.
"Certainly for all of us, that telenovela (La Reina del Sur) took everything to new heights," said Cynthia Olavarria, a Puerto Rican actress on Telemundo's "Mi Corazon Insiste," told.
"It brought in people of all ages. Even young men. And it gave us another idea about what we are able to do as actors," she said.
"Telenovelas really are part of our Latin American DNA," Olavarria joked. "Because they are stories about getting ahead in life, because they inject viewers into fantasies, and because when we sit down in front of the TV to see a telenovela, we forget about everything else."
"Now we have some new ways to tell these stories, so that is a new twist," smiled the actress, a former Miss Universe contestant.
Not surprisingly, the popular programming moves a lot of advertising money. Companies buying time to sell products on Spanish-language TV over all in the United States spent 5.3 billion dollars in 2010, according to Adam Jacobson, a US Hispanic media marketing strategist in Mia
Telenovela
A Escrava Isaura ("Isaura the Slave"), a 2004 Brazilian telenovela based on an 1875 abolitionist romance novelA telenovela is a limited-run serial dramatic programming popular in Latin American, Portuguese, and Spanish television programming. The word combines tele, short for televisión or televisão (Spanish and Portuguese words for television), and novela, a Spanish or Portuguese word for "novel". Telenovelas are a distinct genre different from soap operas, for telenovelas have an ending and come to an end after a long run (generally less than one year). The telenovela combines drama with the 19th century feuilleton and the Latin American radionovela. The medium has been used repeatedly to transmit sociocultural messages by incorporating them into storylines.[1]
Recent telenovelas have evolved in the structure of their plots and in the themes they address. Couples who kiss each other in the first minutes of the first episode sometimes stay together for many episodes before the scriptwriter splits them up. Moreover, previously taboo themes like urban violence, racism, and homosexuality have begun to appear in the newest telenovelas.
Due to the similarities between the telenovela and the American soap opera, the telenovela format is also colloquially known as a "Spanish soap opera" in the United States. While most English language soap operas can continue indefinitely, almost all telenovelas run for a predetermined duration. They are usually shown five or six days a week and run for an average of 120 episodes.[2]
Contents
1 Evolution
2 Telenovelas by country
2.1 Argentina
2.2 Brazil
2.3 Bolivia
2.4 Canada
2.5 Chile
2.6 Colombia
2.7 Dominican Republic
2.8 Germany
2.9 Indonesia
2.10 Mexico
2.11 Philippines
2.12 Portugal
2.13 Puerto Rico
2.14 Russia
2.15 South Korea
2.16 Spain
2.17 United States
2.18 Venezuela
3 Awards
4 Comparison with soap operas
5 Accusations of white ethnocentrism
6 See also
7 Notes
8 Books
9 External links
Evolution
Telenovelas, which are sometimes called "tassels" or "comedias", are produced primarily in Spanish- and Portuguese-speaking countries and are usually shown during peak time. The first telenovelas were produced in Brazil, Cuba and Mexico: Sua vida me pertence ("Your Life Belongs to Me", Brazil, 1950) was shown twice a week, and Senderos de amor ("Paths of Love", Cuba, 1951) and Ángeles de la calle ("Angels of the Street", Mexico 1951) were shown once a week. Between 1957 and 1958 Mexico produced its first drama serial in the modern telenovela format of Monday to Friday slots, Senda prohibida ("Forbidden Path"), written by Fernanda Villeli.
The first global telenovela was Los ricos también lloran ("The Rich Cry Too", Mexico, 1979), which was exported to Russia, China, the United States and other countries. Currently, the best-known telenovelas come from Brazil, Mexico, Colombia, Argentina, Chile and Venezuela. In Spain they are also called culebrones ("long snakes") because of the convoluted plots.
Telenovelas are not only immensely popular in Hispanic America, Brazil, Spain, Portugal, and in Hispanic communities in the United States, but also have a wide following in Russia, Eastern Europe, France, Greece, Italy, the Philippines, Israel, Malaysia, Singapore, Indonesia, China, and Japan.[3] In the Arab world, telenovelas are incredibly popular with families stopping their day from midday onward to watch these shows whose contents often reflect many of the moral and social questions faced in cultures like Morocco, Algeria, and Egypt.[4] The medium has been used repeatedly to transmit sociocultural messages by incorporating them into storylines.[5]
In Argentina, telenovelas are usually produced by Telefe, Artear, Ideas del Sur and Pol-Ka; in Brazil, by TV Globo, TV Record, SBT, TV Bandeirantes, or the extinct Rede Manchete and TV Tupi; in Chile by TVN and Canal 13; in Colombia by Caracol TV, RTI Colombia, or RCN TV; in Venezuela by Venevisión or RCTV; in Spain by Telecinco, Antena3, EiTB (in Basque), or TV3 (in Catalan); in Portugal by RTP, TVI, or SIC; and in Puerto Rico by WAPA-TV or WKAQ-TV. In the United States, Telemundo and Univision, mostly importers of Latin American telenovelas, have started producing telenovelas with Latin American casts and casts of American stars of Hispanic descent and, in the case of Telemundo, Mexican producer Argos Comunicación and Colombian producer RTI, and, in the case of Univision, Televisa and Venevisión (being the owners of Univision).[citation needed]
Telenovelas by country
Argentina
Advertising for the Argentinian telenovela
El cuarteador (1977)See: Telefe, Canal 9, Artear, Ideas del Sur, and Pol-Ka
Argentina's telenovelas focus on melodramatic twists of traditional middle class life, with touches of comedy. Telenovelas are broadcast by the main television networks, Artear and Telefe. Many popular "youth telenovelas", aimed primarily at children and teenagers, are produced in Argentina. Several youth telenovelas have become hits in other countries, where they have been remade or shown in their original Argentine versions. Some well known youth telenovelas are Chiquititas ("Little Angels"), Rebelde Way ("Rebel's Way"), Floricienta, and Patito Feo ("Ugly Duckling"). Because Argentine television broadcasts many American- or European-style situation comedies and dramedies, the telenovela is less pervasive in Argentina than in many other Latin American countries.
Brazil
Glória Perez, writer of many Brazilian telenovelas
See: Rede Globo
See: Extinct companies - Rede Manchete, and Rede Tupi
Brazil's telenovelas (more often novelas) are both more realistic and apt to broach controversial subjects—many Brazilians can relate because of the telenovelas' realistic depiction of the middle class, working class and upper class. Brazilian productions are the most expensively produced in Latin America.[6] Escrava Isaura (1976) was a major hit in South America, the Eastern Bloc, Africa and China.[7] A teenage telenovela, Malhação ("Working Out") is one of the longest-running telenovelas in Brazil. Novelas usually last eight months at most in Brazil, but Malhação has been on the air since 1995; as such, it is commonly classified as an American-format soap opera instead.
Brazilian telenovelas often have convoluted subplots involving three or four different settings. Usually there is a rich setting, a poor setting and one or more settings in which the characters of both settings can interact. There is no black-and-white cut between good and evil characters, with the protagonists often displaying weaknesses like promiscuity, drinking, stupidity, excessive ambition, etc. and the antagonists showing features or motivations that attract sympathy, like abuses suffered in the past, family problems, poverty, etc. It is not uncommon for a villain to attract the sympathy of the public, or even to end well. In 2006, for instance, the evil Bia Falcão, played by Fernanda Montenegro in Belíssima (Pretty Beautiful) managed to escape a police siege and flee the country to France, where she resettled with a handsome boyfriend living on a secret bank account in Switzerland, which she had kept over the years. On the other hand, it is not uncommon for a hero to be relegated to a secondary role due to the actor's lack of charisma. Besides the convoluted plots, Brazilian telenovelas also approach sensitive social issues and try to present a bit of the country's actual culture, sometimes in an idealized way.
Another important difference with telenovelas from other countries is that Brazilian telenovelas rely much less on individual stars than other Latin American works. A Brazilian telenovela may have a permanent cast of more than 40 actors, of which some 7 or 8 are central. The chief reason for this is that telenovelas are not shot in advance (instead chapters are shot only fifteen days before being shown) so that they can respond to public reaction. Under this scheme, the eventual death or bad performance of the actor playing the main character may turn the production into a flop (which happened to Sol de Verão in 1982 after the death of Jardel Filho).
Rede Globo is the main producer of telenovelas in Brazil. Its productions are split into three different categories, according to the airtime:
At 6PM (novela das seis), stories are romantic and family-oriented (like Cabocla or Sinhá Moça). No violence, sex or bad language (with a few exceptions) and plenty of historic and religious themes.
At 7PM (novela das sete) they broadcast comedy plots, filled with action, humour and romance (with a considerable amount of implicit sex). This is the schedule in which new writers are tested. Plots tend to be more experimental but themes are usually repetitive.
At 9PM (known as novela das oito, or 8PM soap, but never broadcast at 8PM, the earliest known time was 8:30PM) plots tend to be more formulaic, but a wider range of themes are explored. These productions include action, romantism and humour and usually last longer than the others. These are the productions with the highest ratings. These categories became widely adopted by most television companies in Brazil.
Four telenovelas are shown on Globo, Brazil's leading channel: "Malhação", "Novela das 6, das 7 e das 8 horas" [6, 7 and 8 o'clock novelas (although they don't necessarily begin exactly at those times)], showing television news between them. Also, in the afternoon is shown "Vale a Pena Ver de Novo" (approximately "it's worth watching again"), where they show a repeat of an old novela.Rede Record, SBT, and Rede Bandeirantes also produce their own telenovelas. Rede Record telenovelas are either original stories or remakes of old telenovelas from their rival Rede Globo. SBT telenovelas are usually remakes of old telenovelas from their former Mexican partner, Televisa (now partner of Record).Rede Manchete, a channel that ceased its operations in May 1999, produced its own telenovelas. The most famous was Pantanal, which peaked on audience ratings, the first telenovela outside Globo to do so since Rede Tupi was closed in 1980. It was recently broadcast on SBT, repeating its original success. Rede Tupi, extinct in 1980, was the pioneer of Brazilian soap operas.
Bolivia
See Red ATB, Bolivisión, Unitel Bolivia, Safipro and TeleArte.
Safipro's La Virgen de las 7 calles ("The Virgin of the 7 Streets"), the first Bolivian telenovela based on a 1920s society novel.In Bolivia, telenovelas contain drama, love, music, natural landscapes, remote situations and adventures, some are based on novels, historical and real facts. Some melodramas produced in Bolivia include Las Tres Perfectas Solteras, Indira, Tierra Adentro, La Virgen de las 7 calles, Luna de Locos and Tres de Nosotras . The country has made over 15 telenovelas so far, most of the productions take place in Santa Cruz de la Sierra. Most of the mania has been made into much of prosperity for much of the country. Not many telenovelas made in the country. The exhibition on the television networks is international productions (from Brazil, Colombia, Argentina and Mexico). The bolivian telenovelas are produced by independent producers, many producers are more dedicated to the movies.
Canada
Main article: Téléroman
See Culture of Quebec, Television of Quebec, Television in Canada
In Canada, telenovelas are known as téléromans in French and are a part of the culture of the Francophone province of Quebec. Nearly all French-language TV stations carry téléromans. The first téléroman was La famille Plouffe ("The Plouffe Family"), which was broadcast on Radio-Canada in the 1950s.
The téléroman was created during the earliest days of the Canadian Broadcasting Corporation's television network, when the CBC was the only television network in Canada (as per the 1949 Massey Commission). Whereas theoretically the CBC's main English-language television network could broadcast English-language shows from American stations (and also was forced to compete with US TV networks), CBC's Radio-Canada network had to develop its own programmes for French-Canadian viewers. As a consequence, Francophone television in Canada developed differently from Anglophone television.
In 2003, the French-language public TV station of Ontario, TFO, began broadcasting the first Franco-Ontarian téléroman, Francoeur.
Chile
See: TVN, and Canal 13
Chilean telenovelas focus on both traditional drama and middle class life, with some touches of comedy. Often, they show life outside of the capital, like in TVN's Iorana (which took place on Easter Island). They are usually produced and broadcast by the Canal 13 and TVN channels, who launch their main telenovelas in March each year with a few days between them, which have led marketing to a "telenovela war" of sorts. Lately, other Chilean TV channels such as Mega and Chilevisión are joining the so-called telenovela war. Many of the most successful telenovels in Chile are set in a historic epoch such as Pampa Ilusión" (1935), "El Señor de la Querencia" (1920) and "Los Pincheira" (1918).
Colombia
See: Caracol TV, RTI, and RCN TV
Colombian telenovelas such as Betty la fea ("Ugly Betty") often focus on comedy. However, some are in a more realistic vein, or are adaptations of novels. Telenovelas produced by RTI Colombia and Telemundo are usually shown on Caracol, while Televideo and Telecolombia produce some of RCN's telenovelas. Caracol and RCN also produce and broadcast their own shows. Currently, four or five Colombian telenovelas are usually broadcast from 6 PM until around 11 PM on those networks.
It is notable that many novelas designed and written by Colombians sell outside their country well, as a prime export. Then other countries "nationalize" them by creating novels based on the same story, barely changing names, settings and, more often than not, mixing the cast with Colombian actors to respect ownership/property agreements and copyright laws. One fine example is Betty la Fea (adapted in the USA as Ugly Betty) in which the franchise for the storyline was translated and adapted by over 30 networks around the world.
Over the years a new style of Novelas/series have been produced by Caracol and RCN dubbed Narco-novelas "El Cartel""El Capo" which have been a great succes in the American market with high ratings
Dominican Republic
The Dominican Republic has started to produce its own novelas thanks to Venevision International, Iguana Productions and Antena Latina Productions. The first Dominican telenovela, María José, oficios del hogar ("María José, Housewife"), was produced by Venevision and the TV station Color Visión, which formed the first Dominican telenovela company (now inactive), in 1986. Comedy-drama series such as Catalino el Dichoso and sequel En La Boca de los Tiburones were also considered telenovelas, during early nineties. The telenovela Tropico was made by Venevision International, Iguana Productions, and Antena Latina Productions, in 2007 with mostly Dominican actors and a few from Venezuela and Peru. It is being shown by Antena Latina 7 in the Dominican Republic and on Univision in United States. There are currently plans for more telenovelas made, filmed, and produced in the Dominican Republic.
Germany
See: Bavaria Film Studios, and Grundy UFA
In 2004 Germany started to produce its own telenovelas. All German telenovelas are melodramatic love stories. Except Sturm der Liebe ("Storm of Love"), which is produced by Bavaria Film Studios, every German telenovela is produced by Grundy UFA. The most successful ones, Bianca - Wege zum Glück ("Bianca: Paths to Happiness"), Wege zum Glück ("Paths to Happiness"), Verliebt in Berlin ("In Love in Berlin/In Love with Berlin") and Sturm der Liebe, were also released in Italy, France and other European countries. Verliebt in Berlin was also shown in Canada. German television channels ARD, ZDF, Sat. 1 and ProSieben all include telenovelas in their programme schedules.
Indonesia
Indonesia has Sinetron, which follow the same format as telenovelas.
The word is a portmanteau of Sine, short for cinema, and Tron, short for electronic. Sinetron are essentially soap operas in miniseries format. While most English language soap operas can continue indefinitely, almost all Sinetron have a predetermined duration. They usually go out five,six or seven days a week and run for more than 120 episodes.
The sinetron productions are usually made by production house such as Sinemart, MD Entertainment, etc. It is usually shown by national TV Network during peak time (6.00 pm to 11.00 pm) and becoming a priority programme since it has significant ratings that attract advertisers to buy commercial space during such broadcasting.
Mexican actress and model Aracely Arámbula is featured in the telenovela Corazon Salvaje ("Wild Heart")[edit] MexicoSee: Televisa, TV Azteca, and Argos Comunicación
Mexican telenovelas are often traditional and tend to fall in seven sub-genres:
Working class melodrama, which is easy to understand and contains less explicit content. They typically feature a poor woman who falls in love with a rich man whose family spurns her, such as María la del Barrio (1995).
Historical romance, is set in the past, such as the colonial period (Martín Garatuza, 1986), the restoration of the Republic (El carruaje, 1972), the late 19th century (El vuelo del águila, 1994) and the revolution (Bodas de odio, 1982).
Teen drama, which portrays the lives of high school teenagers and their issues with sex, drugs, and other coming-of-age topics. It started with Quinceañera in 1987.
Pop band story, portrays the lives of aspiring musicians such as in Alcanzar una estrella (1990) and its sequel Alcanzar una estrella II (1991), as well as Rebelde (2004), which spawned a multi-platinum pop group, RBD.
In Mexico, telenovelas usually has a love couple, a villain and end with a wedding. Most telenovelas in Mexico always seem to have the same drama going on, consisting of two people that fall in love and encounter many problems throughout the telenovela and the novela ending with a wedding, and the villain dies, goes to jail, or loses his/her mind.
In Mexico, Televisa is the largest producer and exporter of telenovelas. TV Azteca and the independent company Argos Comunicación are its main competition. The American telenovelas produced by Telemundo tend to follow the Mexican model. Traditionally, telenovelas were often used as a government tool to distract citizens from the authoritarian PRI regime.[8]
Starting around 1990, Televisa found an enormous market for its telenovelas in Eastern Europe, as well as in Vietnam and other Asian countries. For example, Veronica Castro became an international star when the novela she had starred in many years ago, Los Ricos Tambien Lloran (1979), became a huge hit in Russia. By the late 1990s, the company claimed telenovelas were Mexico's leading export product. At the same time, as the Mexican government loosened its control over television, telenovelas, primarily those produced by Argos Comunicacion, addressed new themes, including poverty, political corruption, immigration and drug smuggling.
Mexican telenovelas come to all Hispanic countries, including the Spanish-speaking African country, Equatorial Guinea.[9]
Philippines
Main article: Philippine drama
Philippine telenovelas emerged into Philippine television in the 1960s. The first Filipino TV soap opera produced was Hiwaga sa Bahay na Bato by ABS-CBN. The format of Philippine telenovelas is almost the same as Spanish telenovelas, as they have borrowed many elements. The usual telenovela clichés also appear in Philippine telenovelas.
Classical Philippine telenovelas mainly focus on the miserable life of the protagonist, with a plot mainly focusing on either their love life, the search for their broken family, or both. Meanwhile the antagonists, or villains, usually have a plan to kill or kidnap the protagonists in return for money. Antagonists in the old telenovelas were very greedy, rude and violent. Philippine telenovelas usually begin with the protagonists' past, then moves on to their future, while some telenovelas have a few flashbacks. Twists are also popular, mainly focusing on the protagonists' acquaintances who find out that they were actually siblings or relatives, or love triangles. The story usually ends with the antagonist being killed painfully mainly by a shot or bomb, while the protagonist getting injured, then sent to the hospital (usually ending up safe) and get married and having children in the future. Endings became very obvious and predictable amongst viewers. Casting was also tiresome with the same actor acting as protagonist/antagonist in different series. Example of classical Philippine telenovelas were Anna Liza, Villa Quintana, Mara Clara, Valiente, Kung Mawawala Ka, and Pangako Sa 'Yo.
Modern Philippine telenovelas also focus on the life of the protagonist, but expands to the lives of the characters they meet during the series. Antagonists are also on every telenovelas, but less violent compared to the classical telenovelas, also, the lives and the "humane" persona of the antagonists were also beginning to be adapted into the mainstream Philippine telenovela. New twists are also added to expand the series, which usually lasts 6–8 months. Directors also hire successful reality TV winners or runner-ups, regardless whether they can act or not, as minor characters or sometimes even major characters. The ending too is very different. Unlike the old telenovelas, antagonists have a room for forgiveness and reconciliation between the main characters, and nowadays do not die in the end. There are even different themes such as suspense, comedic, political, fantasy, and others.
Billboard advertising a TVI telenovela in Portugal
Portugal
Main article: List of Portuguese telenovelas
The first Portuguese telenovela was Vila Faia, in 1982. Throughout the 1980s and 1990s almost all Portuguese telenovelas were broadcast by RTP. However, since the turn of the 20th century, TVI has emerged as the most prolific broadcaster of Portuguese telenovelas. Morangos com Açúcar, one of its most successful telenovelas, is currently in its eighth season.
SIC, which usually imported telenovelas from Brazil's Rede Globo, has also started to produce its own telenovelas.
Puerto Rico
List of some Telenovelas filmed and produced in Puerto Rico:
1968: Recordar
1978: Cristina Bazán
1982: Yo Sé Que Mentía
1983: Coralito
1985: Tanairi
2006: Dueña y Señora
2008: Al Borde del Deseo (miniseries/Telenovela)
RussiaTelenovelas were first introduced to Soviet viewers in 1988, when a stripped-down version (only 15 episodes) of Escrava Isaura was shown on the central TV. The series made was very popular with Soviet viewers. An even bigger success was Los Ricos También Lloran, shown shortly after. People were actively discussing the plot in stores and buses. Since that time Russian channels broadcasted telenovelas (usually Brazilian) on a regular basis. Starting in the early first decade of the 21st century, Latin American telenovelas were replaced by Russian-made ones. Many modern Russian telenovolas are adaptations of the successful foreign ones (primarily Latin American).
South Korea
Main article: Korean drama
There are two main genres of Korean telenovelas, generally speaking. The first genre is similar to soap operas but without the never ending plot and frank sexual content. These dramas typically involve conflicts such as single and marital relationships, money bargaining, relationships between in-laws (usually between the mother-in-law and daughter-in-law), and often complicated love triangles while the female hero usually falls in love with the main character who may treat her badly since the beginning, instead of the one who always cares for her. These telenovelas last anywhere from 16 episodes to over 100 (most often not exceeding 200). The main broadcasters and producers of telenovelas are KBS, SBS, and MBC. Korean telenovela export to the rest of world and have contributed to the general phenomenon of the Korean wave, known as "Hallyu".
SpainSpanish telenovelas are known in the nation as culebrones (Spanish of "long snakes") because of their convoluted plots. The broadcasters of telenovelas are Telecinco, Antena3, and La 1; there are regional telenovelas produced in Basque and Catalan languages and are produced by EITB (in Basque) and TV3 (in Catalan).
United States
See: MyNetworkTV, NBC Universal, Telemundo, and Univision
For listings or sources see:
See MyNetworkTV telenovelas
In the United States, the telenovela concept has been adapted into English. The first telenovela was the soap opera Port Charles, which, although it began as a traditional soap opera, adopted a 13-week telenovela format beginning in 2000 and continued with the format until the show's cancellation in 2003. MyNetworkTV, an upstart network launched by News Corporation, launched two with nightly serials on September 5, 2006. After the moderate success of "Desire" and "Fashion House", ratings began to decline. The second pair of telenovels, "Wicked Wicked Games" and "Watch Over Me" had decent ratings but not as successful as the debut telenovels. By the time the third batch, "American Heiress" and "Saints and Sinners" were shown, the ratings were disastrous and the format is being phased out. On the other hand, Ugly Betty has already proven to be a success story on ABC, although the network dropped the idea of the show as a telenovela and developed it as a standard weekly series. NBC is developing an adaptation of a racy Colombian telenovela titled Without Breasts There Is No Paradise.
In 2001, when Telemundo was purchased by NBC-Universal, Telemundo decided to stop importing telenovelas from Latin America and to start producing its own telenovelas. In order to produce its own telenovelas, Telemundo allowed the Colombian production company RTI Colombia and the Mexican production company Argos Comunicación to co-produce the telenovelas with Telemundo. Telemundo's telenovelas follow the Mexican model. To have its telenovelas recognized by the audiences of the US and Latin America, Telemundo hired famous actors and actresses from Mexico, Colombia, Venezuela, Argentina, and Puerto Rico, Telemundo now also hire US-born Hispanic actors and actresses. Telemundo's first co-produced telenovelas was Amantes del Desierto, with RTI. The first co-production with Argos was Cara o Cruz in 2001. Another co-production made with Globo from Brasil in 2002 Vale Todo that didn't do well in the ratings. In 2003 Telemundo produced for the first time in Miami with RTI Amor Descarado. Telemundo's telenovelas have become successful, Telemundo began to export its telenovelas where it also became successful in Colombia, Venezuela, Peru, and Argentina. As of December 31, 2006, Argos no longer co-produces any new projects with Telemundo. The last co-produced telenovela with Argos was Marina. Telemundo continues to co-produce telenovelas with RTI, but Telemundo has also started to produce telenovelas by itself. In 2005, Telemundo created the Telemundo Television Studios in Miami to produce telenovelas, and Telemundo's first fully produced telenovela was Dame Chocolate. In 2006, Telemundo broadcast two telenovelas not created by themselves or its partners, the programmes are Amor Mío (Televisa/Telefe) and La Esclava Isaura (Rede Record). It is unknown if Telemundo will import more telenovelas in the near future, or it will continue with its production.
A webnovela from Univision called Vidas Cruzadas (webnovela) has broadcast online. It has also been shown on television as well for one night. A new telenovela called Eva Luna is projected to be shown at peak time on Univision this autumn, 2010.
Some Spanish-language telenovelas are now translated directly into English for USA viewers. Novelas on Telemundo are all closed-captioned in English because there is a small, but influential number of English speaking Americans who watch the Latin American telenovelas. Xenon Pictures also adds English subtitles to its DVD versions of Mexican serials, including Amor Real, La Madrastra, and Rubí.
The sudden interest in English telenovelas can be attributed to the appeal and successful ratings of the genre. Producers also see this as a way to attract the fast-growing Hispanic population, most notably the female sector of this demographic. In addition, telenovelas break the traditional United States television format, where a show runs for 20-25 episodes a season, once a week.
Venezuela
See: RCTV, and Venevisión
Telenovelas in Venezuela are mainly produced by RCTV and Venevisión. Like Televisa in Mexico, Venevision controls a large portion of all show business in that country. Some of Venevision's telenovelas also broadcast on Univision in the United States. Some major telenovelas produced in Venevision include Amor Comprado, Dulce Enemiga, Cara Sucia, Bellisima, and Pecado de Amor.
Venezuelan Telenovelas tend to fall in five sub-genres:
Working-class melodrama - which is easy to understand and contains less explicit content. They typically feature a poor woman who falls in love with a rich man, or vice-versa; examples of this trend includes Cuando Hay Pasion, Valeria, La Dama de Rosa and Esmeralda.
Historical Romance - are melodramas set in the past, such as during the Industrial Revolution, Colonial times or the Westward Expansion.
Mysteries - some famous telenovelas like "La Mujer de Judas", "Angelica Pecado", "Estrambotica Anastasia" produced by RCTV tell the story of mystery serial killers. Those telenovelas had a huge success in Venezuela.
Romantic Comedy - melodramas with drama with a touch of comedy, such as Clemencia. Other productions include Clair de Sierra, coming in 2011.
Venezuela is one of the largest producers of telenovelas in the world, with up to 279 serials of this style shown to date. Many of the major productions have been exported to countries like Colombia, Brazil, Mexico, the USA (on Univision) and many others.
AwardsThe most important Telenovela award show is the TVyNovelas Award hosted by the Televisa TVyNovelas magazine in Mexico and the one presented by Contigo in Brazil. TVyNovelas also has editions in Colombia, Chile, Puerto Rico, United States and Contigo has an edition in Chile. In 2008, The International Emmy Awards created a category for best Telenovelas.
Comparison with soap operasThe standard American, British, or Australian soap opera is invariably designed to theoretically continue indefinitely, and indeed sometimes do endure for decades, with an ever-rotating cast of players and characters. However, most Latin American telenovelas have an average run of six months up to a year. The show's duration is pre-planned at the show's inception, with the overall story-arc and conclusion also known by the show's makers at its inception. Mundo de Juguete is one exception to the rule, with a total of 605 chapters (1974–1977), and a few cast changes during the course of the serial. Some earlier Argentine telenovelas (most of them penned by Alberto Migré) also ran for a few years.
Telenovelas also have a different type of story from English-language soaps, the typical telenovela story being focused on a rivalry between two people or families in romance or business.
Telenovelas comprise the great majority of the dramatic productions by South American television networks whereas in the USA other formats like sitcoms or TV dramas are more popular.
Accusations of white ethnocentrismMost Latin American and U.S. Hispanic media outlets object to telenovelas on grounds that they are not representative of the racial makeup of the countries where they are produced, as they tend to have white, blond, blue-eyed stars.[10][11][12][13][14]
When swarthier characters appear, they usually belong to the lower class and hold menial jobs such as janitors, while all the higher-class jobs are reserved for the white characters. This criticism is especially trenchant in Brazil, whose large non-white population is relegated to just a few roles in each telenovela.
Latin American countries with a larger white majority do not generally share this concern as much, as their telenovelas represent the racial composition of the population; in Argentina, where the population is predominantly white but of southern European origin, many[who?] criticize Argentine telenovelas for having many actors with stereotypically northern European features, such as blond hair and blue eyes.
Philippine telenovelas even receive this kind of criticism as most telenovelas have Eurasian stars of Caucasian appearance, the majority of whom portray middle-class and upper-middle-class people, while native-blooded stars mostly play people of lower-class status.
See alsoTaiwanese Drama
Fantaserye – a genre of teleserye
MyNetworkTV telenovelas
List of famous telenovelas
Téléroman – The French-Canadian equivalent
Fotonovela – The magazine equivalent, a sort of photo-comic book usually with a romantic theme.
Soap opera – The English-language counterpart
[edit] Notes1.^ Brown, William J. (Winter 1992). "Sociocultural Influences of Prodevelopment Soap Operas in the Third World". Journal of Popular Film and Television (Carnegie Endowment for International Peacen) 19 (4): pp. 157. Archived from the original on July 18, 2008. http://web.archive.org/web/20080718202257/http://www.telenovelasonline.org/. Retrieved September 4, 2008.
2.^ Hecht, John (2006-09-26). "Telenovela market". The Hollywood Reporter. http://www.telenovelagarden.info. Retrieved 2007-07-15.
3.^ :: Latin Soaps Fever:: Tv listings
4.^ Vigo, Julian (1995). "The Latin American telenovela and Moroccan Popular Culture". Logos, Ethos, Mythos in the Middle East and North Africa (Etvos Lornd University & University of Leeds) Special Issue (151): pp. 48.
5.^ Brown, William J. (1996). "Sociocultural Influences of Pro-development Soap Operas in the Third World". Journal of Popular Film and Television (Carnegie Endowment for International Peace) 19 (4): pp. 157. http://scilib.univ.kiev.ua/doc.php?7325015. Retrieved September 4, 2008. [dead link]
6.^ "Telenovelas in Latin America". 1999-11-08. http://telenovelagarden.info/historyoftelenovelas.html. Retrieved 2007-07-15.
7.^ "Brazilian telenovela actor Rubens de Falco, star of The Slave Isaura, dies at 76". Associated Press (International Herald Tribune). 2008-02-22. http://www.iht.com/articles/ap/2008/02/22/america/LA-GEN-Brazil-Obit-De-Falco.php. Retrieved 2008-02-24.
8.^ Martínez, Andrés (2000-02-28). ""La Vida" loca". Salon. http://archive.salon.com/ent/feature/2000/02/28/telenovelas/index.html. Retrieved 2007-07-15.
9.^ [1]
10.^ Quinonez, Ernesto (2003-06-19). "Y Tu Black Mama Tambien". http://www.newsweek.com/id/58525?tid=relatedcl. Retrieved 2008-05-02.
11.^ The Blond, Blue-Eyed Face of Spanish TV
12.^ Blonde, Blue-Eyed Euro-Cute Latinos on Spanish TV
13.^ Racial Bias Charged On Spanish-Language TV
14.^ Black Electorate
This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (July 2007)
Books
Castellot de Ballin, Laura (1993). Historia de la televisión en México. Narrada por sus protagonistas. México: Alpe.
Covarrubias, Karla; Angélica, Bautista y Ana B. Uribe (1994). Cuéntame en qué se quedó. La telenovela como fenómeno social. México: Trillas.
Roura, Assumpta (1993). Telenovelas, pasiones de mujer. El sexo en el culebrón. España: Gedisa.
Trejo Silva, Marcia (2011). La telenovela mexicana. Orígenes, características, análisis y perspectivas. México: Trillas. ISBN 978-607-17-0914-1
Varios autores (2007). El gran libro de las telenovelas. 50 años de historia. México: Editorial Televisa.
Verón, Eliseo y Lucrecia Escudero Chauvel (comp.) (1997). Telenovela, ficción popular y mutaciones culturales. España: Gedisa.
Villanueva Solorio, María (1997). Para una tipología de los villanos telenoveleros en México. Tesis profesional. México: ENEP (FES) Acatlán.
Telenovelas (in Croatian)
Telenovelas Online (in English)
Streaming Telenovelas (in Hebrew)
TV novele (in Serbian)
Telenovelas latin (in Czech)
TelenovelasyEstrellas.com (in English and Spanish)
Telenovele-slo (in Slovenia)
Club De Noveleras (Bilingual )
Telenovela's Synopsis (in English)
Telenovela's news and reviews (in Spanish)
Blog Telenovela (in Spanish)
[2] (in French)
Iscrpan vodič kroz svijet telenovela (in Croatian)
Novela Lounge
The Telenovela Channel on YouTube
Telenovelas Mania (Italy)
Telenovelas in Lithuania
Telenovelas in Greece (in English and Greek)
Novelas y Mas (English and Spanish)
Seriesnow (English)
Novebox, telenovela online (Spanish)
Telemundo, Telenovelas iPhone Application (Spanish)
Sent by Alex Rood
Más Sabe el Diablo
Más Sabe el Diablo
El Diablo no es como lo Pintan
Format Romance – Action, Telenovela
Created by Jimena Romero
Lina Uribe
Developed by Telemundo Studios Miami
Directed by David Posada
Danny Gavidia
Leonardo Galavis
Starring Jencarlos Canela
Gaby Espino
Miguel Varoni
Theme music composer Juan Carlos Rodriguez
Opening theme Más Sabe el Diablo de Amor
Más Sabe el Diablo de Amor (Remix)
Amor Quédate song by Jencarlos Canela
Country of origin United States
Language(s) Spanish
No. of episodes 182
Production
Executive producer(s) Aurelio Valcárcel Carrol
Producer(s) Martha Godoy
Editor(s) Hader Antivar Duque
Location(s) New York City, Miami, Florida, Federal District
Camera setup Multi-camera
Running time 42 minutes
Broadcast
Original channel Telemundo, mun2
Picture format HDTV, 1080i
Audio format Stereophonic sound
Original airing United States
May 25, 2009 – February 12, 2010
Armenia
2009–2010
Georgia
October 31, 2009 – May 4, 2010
Hungary
May 5, 2010 – January 26, 2011
Azerbaijan
June 9, 2010 - February 18, 2011
Serbia
June 10, 2010 - December 27, 2010
Montenegro
June 28, 2010 - March 9, 2011
Macedonia
August 17, 2010 – April 27, 2011
Croatia
August 18, 2010 - February 8, 2011
Bosnia and Herzegovina
August 30, 2010 - May 17, 2011
Bulgaria
September 30, 2010 - June 17, 2011
Slovakia
November 22, 2010 - September 7, 2011
Romania
January 24, 2011 - June 18, 2011
Czech republic
March 8, 2011 – November 16, 2011
Chronology
Preceded by Doña Bárbara
Followed by El Clon
Más Sabe el Diablo (The Devil Knows Best) is a Spanish-language telenovela produced by the United States-based television network Telemundo.[1] This melodrama features lovers embroiled in intrigue, betrayal, vengeance and unbridled passion.[2] It stars Gaby Espino, Jencarlos Canela and Miguel Varoni.[3] Telemundo says that about 1 million people tune in each weeknight.[4]
Set in New York (yet mostly filmed in Miami[4]), the serial features the street-wise Ángel, who treats life as a game he plays to win. He tangles with the power-hungry Martín, who is engaged to a stunning, feisty lawyer named Manuela. She decides to defend Ángel, even though Martín wants to destroy him. Neither of the men know that Ángel is Martín's own son. Our hero learns that love is the only key to survival.[5]
Telemundo aired the serial Mondays through Fridays from the 25 May 2009 premiere to the 12 February 2010 finale. As with most of its other soap operas, the network broadcasts English subtitles as closed captions on CC3.[5] This show's working title was ¿Por Qué Diablos? ("Why Devils?", though also may mean Why the hell?), which is the name of a 1999 Colombian telenovela it is based on. A compressed version titled “Más Sabe el Diablo the Remix” will air with English language subtitles on the cable network mun2.[6]
Telemundo added a subplot at the request of the U.S. Government. Perla Beltrán, a character who got a job for the U.S. Census, is used to promote the census to Hispanic Americans, who were (as of 2009) wary of the U.S. Census. The U.S. Census Bureau met with the producers of the series. Don Browne, the president of the television network, said that it maintained "total creative independence" during the process.[7]
The title of the show is a shortened form of the Spanish saying or refrán, "Más sabe el diablo por viejo que por diablo". It translates approximately to, "The devil knows more because he is old, than because he is the devil." It is meant to underscore the significance of wisdom derived from age and life experience.
This telenovela was sold to 70 countries around the world.
Contents
1 Plot
1.1 Prequel
2 Cast
2.1 Main credits in order of appearance
2.2 Secondary cast
2.3 Message received from
3 See also
4 References
5 External links
The show starts by telling the story of Esperanza Salvador, working as the maid in the Acero household in Mexico. A young Martín has a sexual encounter with Esperanza in secret, which impregnates Esperanza. The Acero family and especially Graciela, Martín's mother, disapprove. Graciela takes Esperanza to an abortion clinic. Esperanza escapes the abortion clinic with the help of the driver and goes to the home of a friend of Graciela's. Esperanza is granted a visa and lives in Miami; she does this in order to get closer to Martín. Determined to fight for Martín's love, Esperanza steals money, her passport, and visa from a vault and escapes to New York City to search for Martín Acero. But Esperanza's life starts turning upside down. A group of men surround her and take her purse with her money, passport, and visa. Left with nothing, Esperanza finds herself lost in translation and ends up in a bus station while going into labor. With the help of Sandro, a bystander, Esperanza delivers Ángel Salvador and from there Esperanza would raise Ángel in New York.
Years later, the streets become a second home for Ángel, where everyone knows him as the Devil (El Diablo). Thanks to his trade as a thief and despite his good heart, he is involved with a gang of expert thieves in large criminal acts; in the end he pays with a jail sentence. Thanks to the jail sentence, he meets Manuela Dávila, an attractive lawyer, who represents him. She pleads with the judge to let him go free and give him an opportunity to rectify his path, without suspecting that he will end up splitting her life in two.
Soon after being released, Ángel is determined to start his life over, free of crimes. But that all changes when he returns to the Cave (La Cueva), a neighborhood bar. Ángel discovers that his mother is indebted to León, the leader of the gang he has always worked for. León paid for Ángel's mother's medical expenses while he was in jail, and the only way to repay the debt is for Ángel to be involved in a robbery at a charity event. Ángel and the rest of the gang have to steal jewelry and merchandise from the show room. Unable to refuse León's requirements, Ángel's only option is to organize the robbery with a detailed and sophisticaated plan that is characteristic of his personality. However, fate plays a trick of love and that night changes his life forever.
The robbery brings Manuela and Ángel closer while giving Jimmy the strength to find whoever is responsible for his father's murder, on his last day as an officer. Gregorio, the shooter, is later killed by El Cachorro in an attempt to keep him from talking to the police about the organization.
Ángel continues with the series of robberies while being Manuela's messenger and getting closer to her. Ángel eventually wins her heart and she calls off her marriage to Martín. In Ángel's desperation to finish paying his debt to León as soon as possible, Ángel demands that León pay him more to complete a job that he and "El Topo" arranged. The job is to steal computer chips from a shipment in a van. Coincidentally, Manuela arranges a weekend getaway at the Hamptons in her family's summer home. At the same time, Jimmy accepts Virigina's offer to get away from work and spend the weekend with her in the Hampton's, too. In the Hamptons, Ángel spends time with Manuela, even drawing a sketch of her until Jimmy and Virginia walk in on them, to Jimmy's disgust. Jimmy demands that Ángel leave, because he remembers questioning him in the first robbery where his father was killed. A storm keeps them indoors and Jimmy and Ángel begin to get along.
Ángel leaves early because of his ailing mother, but he lies about it in order to participate in the computer chip robbery. A surveillance camera catches El Caucho's neck tattoo while he is moving the loot from the van to their vehicle. This puts him in trouble and eventually El Caucho turns himself in. In exchange for money, when he gets released he tells the police that El Diablo is the leader of the gang. Police later invade Ángel's home where they find evidence that connects him to the previous robberies. Meanwhile, Ángel's mother has been taken hostage by Martín who finds out from his mother and León that the famous Diablo is indeed his own son. Martín doesn't care and instead arranges that for Ángel to commit a robbery at the Hamptons in exchange for his mother's release.
Ángel commits the crime for El Hierro (Martín) but the corrupt police are on his tail as he leaves the house. Ángel notices the cops and rides off on a motorcycle leaving behind the papers El Hierro wanted. Romero and Uribe radio in that Ángel has left and that causes Jimmy and Mike to also chase after Ángel. At a dead end on an abandoned bridge, Ángel surrenders and tries to explain himself but Jimmy tells him to save it. The corrupt cops arrive and fire at Ángel on El Hierro's orders, knocking Ángel off the bridge and into the water and he is presumed dead.
Ángel survived and comes back to get revenge on his father, El Hierro. He hides in the home of a friend, Lucas, whom he met with Manuela at an art museum. Meanwhile, Manuela feels betrayed and lied to, so she marries Martín and tries to forget Ángel, without knowing he is Ángel's father and a criminal. Later she finds out that she is pregnant by Ángel. She plans on aborting the child but doesn't.
Ángel looks for Manuela and reveals to her that he is Martín's son and that he set him up to make him look bad in her eyes. Doubting what Ángel tells her, she takes some of Martín's hair off his comb and swabs his mouth while he is asleep to do a DNA test. After she gets the test that proves that Ángel is Martín's son, she decides to hear the whole story... and believes him. She tells her best friend Horacio who also believes Ángel. Meanwhile, Martín is trying to get rid of Jimmy, Manuela's brother-in-law, who is getting in the way of his macabre plans, and sets him up to put him in jail. At this time Jimmy's fiancée, Virginia Dávila, is distraught as she gets married to Jimmy and only a few hours into their wedding, he gets arrested. Manuela decides to tell Virginia her suspicion about Martín being behind all this and Virginia doesn't doubt it one second; she has never trusted Martín.
Martín secretly asked Carmelo to put a GPS radar into Marina's cellphone. One day, Marina and her bodyguard went to La Cueva and she was secretly kissing Cachorro when León found them kissing, so he told Cachorro that Marina was a man at a younger age. Cachorro didn't care about it, when he started to work with El Principe, since Cachorro didn't have money to pay the drugs he bought, León paid El Principe. One day, Christian had found some papers that tell the whole story of Marina. Then, he went to Marina's apartment and asked her bodyguard to bring something he forgot in the car, while he was looking for the papers Christian "needed" Christian told Marina to break something on his head to make it look like Marina just went by, when the bodyguard came back Marina was with Cachorro already. Hours later, Martín knew every single thing about Marina, while at a far train station, Martín found Marina and Cachorro, then he shot both of them.
While Jimmy was in jail, he was almost killed by some drug dealers. He was going to be transferred to another jail, when Ángel and Topo were the drivers of the transfer truck, as part of a plan to help him escape. When the real transferrers told the police that the other drivers were impostors, Ángel, Jimmy, and Topo were chased by some police, but later they were safe in Ángel's apartment.
Over time, Manuela and Ángel made up and they were a couple again.
Christian Acero, Martín's brother, now tired of covering up for his brother, goes to Horacio and finally confesses to most of Martín's crimes. Horacio asks him to confess in a trial so his brother can be indicted. He also offers to be there for him, as he knows Christian will have to go to jail, too; but Christian decides to leave the country. Martín finds out about this, because their mother, Graciela Acero, alerts him. Martín and Carmelo, his right hand man, look for Christian and find him in a hotel right outside New York. Carmelo sees Christian giving a messenger an envelope and pays this guy to obtain it. He hands it over to Martín who discovers it is a confession made for Horacio that can be used in a trial. Carmelo murders Christian but makes it look like a suicide, he takes Christian's lap top. What Martín doesn't know is that Christian left a virtual copy of this confession and that Carmelo has conspired with León Beltrán to betray him. When Topo was coming down the street, he heard everything that Carmelo and León were saying. Later, he and Ángel sneaked in León's office and successfully got the laptop.
When a paparazzi reporter told the assistant DA that Salvador Dominguez was Ángel, he went to Ángel's apartment to arrest everybody, but Topo came just in time with Christian's confession, and the assistant DA believed everything they said. When Ángel didn't attend a dinner in Martín's apartment, he sent an artwork with a little camera in it. Then, Martín and El Príncipe had a meeting in Martín's apartment. The next day, El Príncipe had another meeting with El Hierro. Neither one knew that El Príncipe's lover was a DEA agent undercover. Before Martín went to the meeting, he watched the news and saw that Salvador was Ángel, then he broke the artwork and saw the camera he knew he was found out, so he called his mother and told her that they had to leave the country. When Martín did not show up at the meeting with El Príncipe, the police and DEA arrested El Príncipe and his associates. At La cueva, León was with Carmelo when Mike and Sylvana came in. Carmelo shot Sylvana, but she was wearing a bullet-proof vest and was safe. Mike killed Carmelo and arrested León.
When Martín went to his mother's house, he saw that she had committed suicide, then, when he was going out the door, he saw the spirits of Marina, Cachorro, Christian, Graciela, and Mauricio.
Then, Martíin went by himself to the airport to board a private plane, when Ángel remembered that someone at a party had given him a card that has a number to rent private planes. After Ángel left, Jimmy followed him, and he had a gun, just in case. Then Ángel called the Executive Solutions and gave him the address. When Martín got to the airport, the stewardess told him that they only need the pilot to come. Later, a car came, and Martín thought that the person coming out the car was the pilot, but it was Ángel. When they started talking, Martín pointed his gun at Ángel's head when Jimmy camed and Martín shot Jimmy on the arm, and Ángel punched him in the stomach that he dropped the gun, but Martín kicks Ángel, then Ángel fell down and Martín got in the car and almost hit Ángel. While chasing Martín, Ángel shot out one of the tires,and Martín hit an electricity pole before wrecking the car. Accidentally, the gasoline tank was leaking, Martín didn't see it, and while he tried to jump over the fence, he saw the fire coming from the pole, then the car exploded and Martín was caught on fire, and he burned to death.
Weeks later, Manuela had her baby. One year later, there was a party for Daniel's first birthday, Topo was a policemen, Jimmy was the captain, Ángel didn't go to jail, and he didn't need to be called Salvador Dominguez any more. He was called Ángel Salvador. Virginia was the owner of Dávila Enterprises. While at the party, Ángel, Manuela, Daniel, Topo, Perla, Junior, Camilo, Susy, Sandro, Jimmy, Virginia, Lucas, Ariana, Mike, Sylvana, Horacio & Andres took a happy picture. THE END
PrequelAfter the ending of Más Sabe el Diablo, Telemundo will release a Direct-to-DVD prequel El Primer Golpe (The First Heist) where we discover the origins of Diablo, his early years in the streets of New York and the great tragedy which lead him to meet his lawyer Manuela Dávila, the love of his life. In a series of key events, never before revealed in the soap opera, we discover that Martín Acero is the secret mastermind who controls Diablo's destiny.
El Primer Golpe tells the story of the trip of Ángel Salvador, Diablo, to Miami with his crew of Topo & Gregorio (as gay lovers), El Ronco (as a business man), and Cachorro (as a nerd) to do an important job and steal five million dollars from the Seminole Hard Rock Hotel and Casino in Hollywood, Florida after a failed robbery at a CompUSA. During the preparation of the robbery, Ángel falls in love with a mysterious woman named Rene Cardona, the head of the heist operations and her fake wife on the mission as Beatriz Beltrán, who hides a fatal secret, her deal with Acero to obtain the diamond necklace from one of Blackjack tournament players', Ms. Maria Ponce De León and exchange it with a fake one. But Martín Acero fails to hold up his end of the bargain when he finally obtains the real Star of Rwanda and tells Rene he lied and that the crew won't get out free. Rene fights Martín, immobilizing him and retaining the Star of Rwanda, escaping. Inside the casino, Cachorro and El Ronco get stuck inside the vault due to the alarm, while Diablo escapes to the marina to get the boat ready for his escape. Rene meets up with Diablo on the docks in order to escape with him but Martín in order to get the necklace back shoots her from afar. Police arrive and Martín fearing he'll be caught with a gun in his possession leaves empty handed. Rene dies in Ángel's arms after he throws the Star of Rwanda into the water with police on scene. Police later tell Diablo to freeze or they'll shoot him he is seen mourning Rene's death on the docks. The story ends with a scene inside a room where Ángel is talking to someone about his troubles, it is revealed that person is none other than his lawyer Manuela Dávila who saids that he has to be a better person and that together they'll find out who is behind Rene's death and the mastermind behind all heists.
Cast
Main credits insider of appearance
Actor Character Known as
Gaby Espino Manuela Davila Main Heroine, lawyer, in love with Angel, Martin's ex-wife. Marries Angel and has baby named Daniel with him
Jencarlos Canela Angel salvador 'EL DIABLO'// Salvador Dominguez Main hero, son of Martin and Esperansa , in love with Manuela
Miguel Varoni Martin Acero "El Hierro" Ángel's father, main villian, in love with Marina, Manuela's ex husband.Christian's brother. Dies in a car explosion
Karla Monroig Virginia Dávila Manuela's sister, Jimmy's wife. Pregnant with Jimmy's child at the end
Carlos Camacho Horacio Garcia Manuela's business partner and friend, was in love with Christian. Boyfriend of Manuela's and Horacio's companys male secretary
Roberto Mateos León Beltrán Boss of the gang, Martin's partner, villain,father of Cachorro arrested
Jorge Luis Pila Jimmy Cardona Police Detective, Virginia's husband, new police department chief
Cristian Carabias Jose del Carmen Frank "El Topo" Angel's best friend,loves Perla, cares for her child.
Eva Tamargo Ariana Dávila Anibal's wife/widow – mother of Manuela and Virginia. Stays with Lucas
Leonardo Daniel Anibal Dávila Father of Manuela and Virginia,husband of Arianna murdered by Martin
Jimmy Bernal Lucas Santos Artist, friend of Manuela,in love with Arianna
Michelle Vargas Perla Beltrán Gregorio's girlfriend, has baby with Gregorio, in love with Topo
Esperanza Rendón Esperanza Salvador Angel's mother,Sucy and Sandro's friend
Angeline Moncayo Marina Suárez /Mario [8] Loves Cachorro, Martin's lover, transgendered prostitute, murdered by Martin [8]'
Jorge Consejo Lorenzo Blanco Martin's PR Counselor. Quits his job
Jose Guillermo Cortines Osvaldo Guerra District Attorney – Mauricio Lineros' Murder Trial against Jimmy Cardona,in love with Manuela
Alexa Kuve Susana "Susy" Beltrán Esperanza's friend, mother of Perla,wife of Sandro
Raúl Arrieta Mike Sánchez Detective, Jimmy's best friend. Silvana's boyfriend
Carlos Augusto Maldonado Pablo Simon Sosa "El Ronco" Gang member
Juan Jiménez Marco León Beltrán "El Cachorro" Leon's gang member and son, in love with Marina, murdered by Martin
Carlos Ferro Gregorio Ramirez Perla's boyfriend,Angel's friend,murdered by Cachorro by order of Martin
Alberto Salaberri Mauricio Lineros Associate & friend of Virginia, murdered by Carmelo by order of Martin
Carlos Perez Carmelo Gaitan Martin's chauffeur, accomplice and hitman, shot and killed by Mike
Jeannette Lehr Graciela de Acero Martin's mother, villain, commits suicide
Roxana Peña Nina Lazarus Manuela's old secretary,in love with Christian
Juan David Ferrer Sandro Beltran Husband of Susy, father of Perla
Ezequiel Montalt Christian Acero Martin's gay brother, was in love with Horacio, killed by Carmelo by order of Martin
Aneudy Lara John Blanco 'El Mocho' Leon's gang member
Talina Duclaud Silvana Santos Policewoman, daughter of Lucas Santos,in love with Mike
Patricia Ramos Raquel Policewoman, Silvana's friend
Mery de los Rios Lola Perla's rival, dancer at Leon's bar
Cindy Luna Jenny Lola's friend, dancer at Leon's bar
Alex Fumero Cirilo Marquez 'El Caucho' Leon's gang member, accidentally killed by inmate 'El Cuchillo'"
Sofia Stamatiades Esperanza Salvador Young Esperanza, mother of Angel
[edit] Secondary castActor Character Known as
Adolfo Aguilar
Alejandro Acevedo
Alexander Otaola Pepe Private detective, worked for Graciela and Cristian
Alvaro Ruiz Agent Daniel Cordoba NYPD Internal Affairs Investigator
Andrea Romero Andrea Romero TV Meteorologist, Telemundo 47 – New York
Andres Garcia Jr. Diego Robledo Publicist
Ariel Texido Andres Molina Manuela's and Horacio's secretary. Gay boyfriend of Horacio
Armando Acevedo
Carlos Andres Vargas La Nutria Criminal
Carlos Garin Tom Anibal's attorney, estate planner
Carlos Giron young Martin Acero
Carlos Pítela Priest
Carlos Ponce Antonio "El Perro" Brando Cross-character from future novel "Perro Amor
Christopher Santos
Cristina Figarola Anibal's nurse
Dayana Garroz "Ada" Adamaris Gracia Infiltrate DEA's Police Woman, Drug Lord's Lover
Eduardo de Alba
Eduardo Ibarrola Jose Antonio Frank Topo's drunk father,villain
Eduardo Wasveiler Rogeles Colleague of Virgina
Elizabeth Barón Nelly Martin's secretary
Elsa Pestana
Enrique Arredondo Jose del Pino Governor of prison
Enrique Herrera Pedro Velez Senator
Ernesto Molina Julio Cesar Romero Corrupt detective, arrested
Esteban Villareal Fausto Anibal's doctor
Evelin Fores
Felipe Garces
Fidel Perez Michel Falques Colleague of Virgina
Gabriel Abdala Zacarias Friend of Lucas
Gerardo Riveron Jaime Cardona Jimmy's father, policeman, killed by Gregorio
Gloria del Valle
Guadalupe Hernández Ezequiel
Hector Fuentes Luis Martinez
Hernando Visbal John
Idania Diaz
Isaac Olivera
Isaniel Rojas Jota drug dealer
Ismael Barrios Dario Uribe Corrupt detective, arrested
Itzel Ramos Marlen
Iván Hernández Santana Auditor, colleague of Virginia
Jason Canela
Jesus Padron
Jhonatan del Rio
Joel Sajiun Ramon Criminal, worked for Martin
John Gertz Alan Peterson A.M.I. Executive, client of Manuela, murdered by Carmelo by order of Martin
Johnny Acero Jason "El Perro" Torres Drug dealer, killed by Romero and Uribe
Jorge Ali Judge: Mauricio Lineros' Murder Case
Jorge Bernal Jorge Bernal Telemundo TV interviewer'
Jorge Hernandez Rafael 'El Viejo' Jail-mate of Jimmy
Jorge Luis García Detective Mejía Detective on the Brooklyn police station
Jorge Luis Portales Contreras Jailer
Juan Carlos Gutiérrez El Cuchillo Criminal,tries to kill Jimmy
Juan Pablo Raba Julio
Leandro Fernández El Trece Criminal, killed by La Nutria
Leslie Stewart Isabel Santini Martin's lover
Lidya Valdes Concepción Frank Grandmother of Topo,
Lucho Cáceres Jay Jay
María Celeste Arrarás María Celeste Telemundo TV interviewer
Mariana Da Silva Anna Friend of Perla
Marco Figueroa Felix Colleague of Cristian
Marcos Miranda Colleague of Virginia
Marta Gonzalez Lida Asistente de Lorenzo
Michael M. Matluck Ralph Gallery Owner, associate of Sara
Miguel Sahid Aldo Roca
Nelson Steegers Freddy Colleague of Sandro
Nelson Tallaferro Jose Vega Jimmy's Right hand detective,likes Silvana
Omar Torres
Osvaldo Strongoli Doctor
Paula Arciniegas
Pamela Perez
Rafael Robledo Doctor
Rafael Yau Larry Friend of Lucas
Ramón Morell Tono
Rayner Garranchan Detective Trujillo
Roberto Huicochea Evaristo Ortega "El Principe" Drug Lord, arrested,lover of Ada
Rodolfo Castera El Pirata Drug Lord's right hand, arrested
Rosanna Montenegro Roxana Social worker
Roxana Chavez Ana Lucia Ponte Friend of Graciela
Rubén Darío Gomez Rocha
Salim Rubiales Francisco 'Cisco' Criminal, Carmelo's cousin
Silgian Castillo
Sissi Fleitas Gallery Owner, friend of Manuela
Steven T. Robinson Pedestrian
Tely Ganas Marisela Londoño Anibal's secretary
Victoria del Rosal Nicole Martin's lover
Vivi Pineda Blanca Maid in Arianna's house
Vivianne Alvárez Vivianne Alvárez State Farm Insurance agent
Vladimir Escudero Zurdo
Xavier Coronel Captain Hernando Soto Jimmy and Mike's boss,atemped murder by Romero and Uribe
Yolly Dominguez Sofia / Sara Gallery owner, associate of Ralph, friend of Lucas
Lynda Brown
[edit] Message received fromGabriela Santiago
Leticia Martinez
Ozmara Cid
Scarlett Flores
Michelle Camacho
Wanda Montanez P.
Zoraida
Luis Nava
nicola vargas
Odalys Curbelo
Maria Diaz
Heidie Garcia
Magdalena Agramonte
Gregorio Romero
Marcial Torres
Gloria Resendiz
Haydee Jaure
Adriana Santana
Mabel Nunez
[edit] See alsoList of television shows set in Miami
[edit] References1.^ Hayes, David. "Telemundo teams on telenovela." Variety. Monday May 12, 2008. Retrieved on September 23, 2009.
2.^ "Upfronts: Telemundo announces fall lineup." Los Angeles Times. May 12, 2008. Retrieved on September 23, 2009.
3.^ Huff, Richard. "Telemundo touts new brand of telenovela: Now with product placement." New York Daily News. Tuesday May 12, 2008. Retrieved on September 23, 2009.
4.^ a b Post Store (October 7, 2009). "Telenovela Casts the Census Bureau in a Subplot". washingtonpost.com. http://www.washingtonpost.com/wp-dyn/content/article/2009/10/06/AR2009100601643.html. Retrieved 2011-02-03.
5.^ a b [1][dead link]
6.^ [2][dead link]
7.^ Stelter, Brian. "U.S. Census Uses Telenovela to Reach Hispanics." The New York Times. September 22, 2009. 1. Retrieved on September 23, 2009.
8.^ a b "::Mas sabe El Diablo Personajes::". Telemundopr.com. http://telemundopr.com/MSD_personajes/#Scene_1. Retrieved 2011-02-03.
[edit] External linksOfficial Más Sabe el Diablo Website (Spanish)
Official Más Sabe el Diablo Remix Website on mun2 (English), including streams of each episode
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Gaby Espino, Mejor Actriz Protagónica del 2009
Escrito por Redaccion - Rumberos.net
Martes, 02 de Febrero de 2010
Es precisamente por Más Sabe el Diablo, que esta talentosa actriz ha recibido diversos premios y reconocimientos a nivel internacional, siendo uno de los más importantes su reciente elección como Mejor Actriz Protagónica del 2009 en los Premios Telemundo; los cuales nacen como una gran iniciativa de la popular página de internet de la mencionada televisora, con el fin de que sea el público quien eliga a sus actores, actrices y telenovelas favoritas.
Cabe resaltar que en los Premios Telemundo, Gaby Espino marcó una cifra histórica para dicho portal de internet en cuanto a votaciones se refiere, ya que fue la única actriz que alcanzó 62,458 votos; todo un récord para esta importante categoría en donde se disputó el primer lugar junto a la actriz mexicana Edith González por la telenovela Doña Bárbara.
"Estoy muy agradecida con todos mis fans por hacer posible este premio, el cual tiene un valor y un significado muy importante para mí, ya que son ellos los que con sus votos decidieron otorgarme junto a Telemundo este reconocimiento, el cual llevaré siempre en mi corazón", expresó Gaby Espino.
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