Home » Good Morning, Verônica attacks conservatism in season 3 – 02/14/2024 – Illustrated

Good Morning, Verônica attacks conservatism in season 3 – 02/14/2024 – Illustrated

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Good Morning, Verônica attacks conservatism in season 3 – 02/14/2024 – Illustrated

When it premiered in 2020, “Bom Dia, Verônica” brought urgent debates about the role of women in society to Netflix screens. This week, upon reaching its third and final season, the series shows that it has gone further.

If in its first year it focused efforts on denouncing domestic violence and femicide, in the second it examined religious fundamentalism and corruption in different spheres — church, police and politics. Now, in the third, which is called “The Final Hunt”passed through the interior of the country, in what can be read as a trilogy of attacks on Brazilian conservatism.

“It is not the series’ obligation to fulfill a social function, we leave that to the State, which should be more involved in this matter [a violência contra a mulher]”, says Tainá Müller, the title character. “But the series promoted a debate, that’s undeniable, even though I don’t like having Verônica play the role of educator.”

Surrounded by the buildings in the center of São Paulo, the setting for the series itself, the actress was moved at the launch event promoted by Netflix and denounced the fact that we live in a masculinized world.

It was also by breaking with this hypermasculinity — in this case, that of the detective genre — that the series “Bom Dia, Verônica” gained its fame. Müller had, every season, a male counterpoint. First it was Eduardo Moscovis, as a serial killer police officer, and then it was Reynaldo Gianecchini, as a rapist spiritual guide.

Rodrigo Santoro imposes himself as the threat of the moment, with long hair and a shiny six-pack, dominating the horses on the huge farm where his character lives. But not everyone likes to be dominated, says Veronica when she meets the mysterious character, although it doesn’t take long for the two of them to be tangled up in the hay, in a very hot scene in which their sweaty bodies stick together and come apart.

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This season, Verônica searches for answers about the Cosme and Damião organization, which is behind the series of crimes that haunt her. She looks for an orphanage that has links with the group and that prepared its children to take on positions of power in Brazilian society, facilitating the network of crimes behind the philanthropy.

Also new to the cast is Maitê Proença, the vain and very rich mother of Santoro’s character, obsessed with her appearance. Gianecchini and actress Klara Castanho return in key roles, as the pastor and the daughter he came close to raping.

As director, José Henrique Fonseca takes on, this time alone, the three episodes of the third wave. “It’s a series that’s not just entertainment, we’re talking about Brazil”, he summarizes, walking a fine line of what to show or not in a plot that has its script written in blood.

It was in 2011’s “Heleno: The Cursed Prince”, in which he directed Santoro, that he sought out the new season’s nemesis. The actor, who alternates between Brazilian and foreign projects, says that he feels less and less of a difference between working in Brazil and in Hollywood.

“There is a huge evolution, and ‘Bom Dia, Verônica’ is an example of that”, says the actor. “Today we produce with standard quality abroad, there is no longer any technical difference. What varies is the budget, the culture, the language. But I confess that I had more pleasure working here, on this series, speaking my language. We feel freer to fly.”

Created and scripted by Raphael Montes e Ilana Casoy“Bom Dia, Verônica” is seen by critics as one of Netflix’s most forceful efforts to establish a production base in Brazil.

No matter how much it was seen, the fact that the series reached a conclusion is a source of pride for Müller. But she makes it clear that, if the public asks, she will be ready to wield Veronica’s gun again.

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