JANE THE VIRGIN’S UNIQUE AND FAMILIAR IMPACT TO THE FILIPINO VIEWERS Sherry Tadeja Adamson University (2016)
It has always been there, the love of Filipinos for telenovelas. Frankly, it became part of the common Filipino household culture—it became part of my childhood. Anyone can still remember it (because, in the Philippines, at some point all youngsters experience the same childhood); I can still remember it like it was yesterday. An afternoon after eating meals, the mothers will prepare their children for an afternoon nap. They’ll turn on their television screens around four-o- clock in the afternoon and watch their favorite telenovelas (Marimar, Rosalinda, Maria Mercedes, etc.) with their groggy-I- just-woke- up-Mom sons and/or daughters equipped with a ready afternoon snack as a prize for their precious offspring that slept angrily or slept to avoid an angry parent. And for the longest time, ‘til the technology boom, it had become a routine. Maybe this proximity to the heart of Filipino viewers came from the cliché (no offense) storylines of famous telenovelas. Wherein one episode cannot end without a plot twist, the main Watercooler Journal
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characters making love in their room as it rains -- the main characters clothed on bed sheets staring at the window (still raining) as the guy kissed the back of the girl’s shoulder blades, and the girl lovingly caresses the guy behind her while staring intently with an ‘I just had sex’ smile --, the bad guy is alive, the parents of the main character are not really his/her parents and lastly the poor main character is dirty rich—just like the revelation in “Chapter Thirty-Nine”. (Petra has a twin!) Why? Because these storylines help the common Filipino household forget their problems, and even their poverty. This is very similar to what happens in Jane’s head when something serious turns into her favorite telenovela.
“They show the diversity of cultures presented in one TV series that doesn’t just favor one side of the globe but presents all in a way that is neither judging nor demeaning.” So the success of the Jane the Virgin’s pilot when it premiered here in the Philippines last March 28, 2016 is not surprising. The show’s ratings skyrocketed, since Mexican telenovelas are often showed before it. The story of Jane promising chastity ‘til marriage is a huge concept—scratch that—tradition in the Philippines, especially since Jane is Catholic, as are the majority of the Filipinos. It hits the bull’s eye in the proximity level, as the person whom Jane promises this to is her Abuela, who is always in her heart. Xiomara’s, Jane’s, Abuela Alba’s and even Rogelio’s relationships mirror these family ties and their importance for Filipinos—it has a strong pull. The progression of Sin Rostro’s case ‘til the Mutter and the love triangle between Michael, Jane and Rafael (with two good-looking guys fighting over one girl) are also big factors in its success here. As much as Jane the Virgin is close to the hearts of Filipinos, it is also a refreshing story with a unique and liberal concept that is not only accepted, but anticipated by its viewers. The introduction of artificial insemination as regular medical practice for married couples, sperm/egg banks, the openness of options for Jane if she wants to continue carrying baby Mateo, the custody options, Abuela Alba’s immigration problems and the relationship of Rose and Luisa are just some of the show’s progressive elements. They show the diversity of cultures presented in one TV series that doesn’t just favor one side of the globe but presents all in a way that it is neither judging nor demeaning. Honestly, I adore Jane the Virgin for its unique story, its awesome characters, and its diversity that, at the end of the day, connects skin and dialect. As a Filipino, it’s a show that can be close to your heart for its familiarity, but still keep you guessing with its diverse yet harmonizing possibilities.
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