Sábados de Gloria

The final episodes of the soap opera Sábados de gloria, which ended this Monday on Cubavisión, reveled in a low plot density and an excess of scenes of gratification made the ending feel drawn out... as if the production was trying to meet a quota of chapters rather than respond to the inner needs of the story.

But that, it must be acknowledged, was not the dynamic that characterized the main body of a work that effectively presented, developed, and concluded its dramatic lines. Here, interest was kept, balanced with twists and turns.

One of the merits of Sábados de gloria lay in the breadth and relevance of the themes it approached. Relationships were explored from several angles, from everyday coexistence to disagreement and the reconstruction of affection. Family ties offered moments of great emotional verisimilitude. Friendship was shown as an essential value, capable of surviving crises and conflicts.

More dramatic topics were added: physical and emotional abuse of partners, child abuse, working conditions—especially in hospitals—and the drama (but also the potential fulfillments) of elders.

There were many moments when the way these topics were handled generated tension and debate among the audience. However, generally speaking, the writers avoided a didactic or overly preachy tone. The approach was measured. The series was never notes.

Even a topic as controversial as a polyamorous relationship between three people, with more complex implications than a mere threesome, was treated as a responsible possibility, not as an imposition or emerging norm. In this sense, Sábados de Gloria contributed to opening spaces for debate, continuing the path of Cuban soap operas, which have long set standards in the portrayal of certain "thorny" issues within the social and family fabric.

The series' commitment to a dialogue-based approach, capable of nuanced discourse, was outstanding, although not all narrative lines reached the same level of development. The core of the swindling criminals, for example, generated expectations that were not entirely met. While in this plot, the series could have added tension and expanded the range of situations, but its concreteness proved less compelling than expected.

In any case, the soap opera avoided excessive emphasis in most of its dramatic lines, with the exception of the most demanding cases, such as the murder of the woman and the photographer's abuse and blackmail, in which the more emphatic tone was fully justified.

One of the successes was the portrayal of the elderly characters. Here, the older adults were not merely helpless beings or creatures in need of compassion. They were presented as largely empowered individuals, facing their own conflicts and engaging in dialogue comparable to that of the younger characters.

From a plot perspective, the series was sustained with agility and elements. The confrontations were mostly credible, the characters underwent a coherent evolution, and the series did not fall into the extremes of the archetype. The heroes weren't idealized, nor were the villains caricatured; in both cases, the focus was on constructing recognizable characters, with both light and shadow, which enriched the dramatic universe.

This work was supported by the quality of the cast, which stood out for the naturalness and commitment with which they all embodied their characters. It's evident that the directing of the actors performed well, keeping a consistent performance pattern, an essential element in an ensemble narrative.

Regarding the technical quality, the production was functional, but some inconsistencies common in national soap operas persisted. The lack of clear quality standards in aspects such as lighting, sound, and, in certain passages, photography, limited the presentation. Here, although there were no major storms, it was just raining on the pavement.

The musical score, meanwhile, erred on the side of caution, sometimes bordering on omission. There were events, situations, and characters that called for a more intentional soundtrack, capable of underscoring the emotional atmosphere of scenes. This lack of impact sapped the strength of passages that could have gained intensity and resonance.

The visual design of the presentation theme was very accomplished, executed with good taste, technical efficiency, and dramatic effect.

In short, Sábados de gloria was a valuable addition to the recent Cuban soap opera scene. Its central plot—the relationship between three friends, which served as the backbone of a coherent plot—allowed for honest and sensitive exploration of issues of high social impact. Fortunately, the bar has been set high.

Translated by Amilkal Labañino / CubaSi Translation Staff