Some journalists felt bad that Netflix promoted
Welcome to Eden by
chartering planes to Ibiza and filling them with
influencers
.
Nothing that hasn't happened before.
And of course this will not be a series that has not also campaigned in traditional media.
Few Netflix products have tried this hard.
But that
Welcome to Eden
is quite bad does not play in its favor.
Nor is it about an island that attracts young people with the promise of partying and escaping, only to set a trap for them once there.
The joke with the
influencers
flying to Ibiza is made by itself.
The other day I made another joke about how
the television equivalent of that artificial intelligence capable of drawing whatever you ask of it could already exist.
A platform, let's call it Netflix, orders a series that has certain elements and that company responds to the request perfectly.
Welcome to Eden
is the umpteenth example of a series whose gestation process seems to have been that.
Signed by Joaquín Górriz and Guillermo López Sánchez, the series has a lot of elements that could well have come out of a consumer report on the platform
: young people, island, party, twisted pairs, mystery, influencers, technology and Amaia Salamanca.
There you have it, now make me a series.
That series is Welcome to Eden and, indeed, it is a constant déjà vu.
Everything seems to be a cheap copy of something you've seen elsewhere
: in
Raised by Wolves
, in
Black Mirror
, or in
Elite
, who cares.
When it comes to issuing its reports, the machine does not distinguish where the numbers come from.
At this point, it is not surprising to come across
a series without a soul, promoted through social networks and resistant to any type of adult analysis.
The content era is also that: audiovisual birdseed that seems to be made by an artificial intelligence.
An intelligence or a foolishness.
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