BTN News: Revisiting “Yo soy Betty, la fea” in the midst of the pandemic was a nostalgic experience, reconnecting us with a time when families would gather around the television, eagerly waiting for the next episode. This daily ritual, punctuated by commercial breaks, was a cherished part of our routine. The excitement of Monday nights, all piled onto the same bed, ready to dive into the drama, humor, and absurdity of Fernando Gaitán’s masterful storytelling, was something we didn’t realize we missed until the world paused and gave us time to remember.
During the pandemic, I finally watched “Yo soy Betty, la fea,” a show I had missed in 1999. Back then, in our youthful rebellion, some of us preferred the depth of Hermann Hesse’s “Steppenwolf” over the perceived trivialities of television. Discussing telenovelas wasn’t part of our generational narrative. However, revisiting Betty’s world, I appreciated how the show broke away from clichéd romances, presenting everyday truths in a society riddled with stereotypes, machismo, and silent struggles. It exposed discriminations and facades, highlighting lives filled with unhappiness and societal pretenses.
Characters like Fredy the messenger and the women of the “Cuartel de las Feas” crafted a perfect tableau that made us laugh and reflect on our identities as Colombians. Their antics reminded us of our unique ability to find humor in adversity and continue with a smile.
Fast forward to 2024, and “Betty la Fea” returned, bringing back familiar faces, albeit with a few more wrinkles and grey hairs. Yet, their personalities remained unchanged, prompting reflection on how much we truly change over decades. The new series explores societal evolution, encapsulating the old adage: “father rich, son spoiled, grandson poor.” It paints a picture of a challenging reality where children, like Mila, reject their parents and embody the cold detachment of a new generation that consumes, communicates, and loves differently.
Ana MarÃa Orozco and Jorge Enrique Abello reprise their roles as Betty and Armando Mendoza, respectively. This revival stirs not just nostalgia but also introspection, echoing the sentiment of Presuntos Implicados’ song: “How we have changed.” Sharing Betty with new generations and hearing teenagers’ perspectives adds a layer of richness to the experience. Their bewilderment at why Betty remains unattractive or their critique of outdated office décor sparks interesting conversations.
As I eagerly anticipate the upcoming episodes, I hope the creators strike a balance between drama and humor, capturing the essence that made the original so beloved. The potential for new character developments and plot twists keeps me hooked, with the promise that “Betty la Fea 2024” will honor its predecessor while offering fresh insights into our evolving society.
