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How will Betty catch the elusive heart of someone who's way out of her league? Is it possible that a good-looking guy like Armando will eventually fall in love with a certified ugly duckling? Cast and characters Despite her shortcomings, Betty's capabilities and innate kindheartedness have gained her a set of loyal friends.īetty's lackluster life, however, heads a turn for the better (or is it for worse?) when she meets the man of her dreams, Armando Solis, the President of Ecomoda Manila. In an industry where everyone thrives on beauty and perfection, her lack of good looks and outdated sense of fashion make her an instant outcast amongst her superficial colleagues.
BETTY LA FEA TRANSFORMACION FINAL SERIES
In 2009-2010 a cause of delay to air the series in the U.S and Canada due to international distribution of the series forgoing to be aired in 2009-2010.īeatriz Pengson, or simply Betty, is an aesthetically challenged career-oriented girl who happens to work in a posh advertising agency known as Ecomoda Manila. from 2009 to 2010, it was aired in the United States and Canada via The Filipino Channel. I Love Betty La Fea (stylized as I ♥ Betty La Fea) is a Philippine drama series that was aired on ABS-CBN, based on the Colombian series Yo soy Betty, la fea from RCN Televisión from Septemto Apreplacing The Singing Bee and My Girl. And this is just the beginning of the transformation.Philippine Telenovela I Love Betty La Feaĭreamscape Entertainment Television (Philippines) The current requests of a digital and demanding audience have made productions evolve into agile and social formats. Simple and melodramatic production of soap operas has shifted and gotten more sophisticated. The Digital Identity of Soap Opera Stars Takes the Story to the Social Networks.
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The digital identity of productions such as “Amor secreto” and “Entre tu amor y mi amor” (Venevision’s latest drama productions) and their main characters is also a part of the adaptation to the new era in which we live, nowadays, audiences expect to interact with the actors and have conversations on social networks regarding their favorite shows. In these times of digital transformation, soap operas have also adapted to the social networks and the multiplicity of devices, not just for promotion, but also to use Big Data to collect the audience’s feeling through an interaction that leads to their input on the story and plot. “Ruta 35”, a Cisneros Media production available in Latin America via the digital platform of Televisa Blim is an example of the aforementioned transformation.
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TV series is a format that has evolved from the soap opera, it is shorter and more agile in terms of production, and it adapts to a new audience that is used to consume content with high levels of action and in shorter episodes. Today, the soap opera format is in continuous renovation. Ugly Betty is a milestone in the soap opera’s change in discourse. Aired in over 180 countries, doubled to 25 languages and having at least 28 adaptations throughout the globe, it is a clear example of how a change in format and approach generated huge impact, both on the traditional audience as on the audience that showed instant aversion to the genre and ended up being drawn to this new proposal. The world-class example is perhaps Colombian soap opera “Yo soy Betty, la fea”, holder of the Guinness record for the most successful soap opera of all time. With the premise “no risk, no change”, by the end of the 90’s and the beginning of the new millennium, the gender suffered a transformation, showing fresh and relevant formats for new generations, also modifying subject matters and testing audiences. “The Rich Also Cry” was an iconic soap opera that showed the poor woman falling for the rich man. Although it does not get away from its basic conception ideas, it has stopped focusing on the genre’s cliché story: “the poor woman that falls for the wealthy man”. Recently, soap operas have had major changes in their content proposal. Today, soap operas are necessary in television network programming. The so-called “soap operas” found the formula to make the audience their accomplice and keep it hooked. Since the origin of soap operas in pre-revolutionary Cuba, large television production companies have flooded the screens of homes in Latin America and the rest of the world with their shows.