The terrible Yuru!

A Peruvian reviewer made a review on one of the worst Tarzan inspired tv shows ever. And, it's a freaking Peruvian one. Check It Out! http://pakobardales.blogspot.com/2007/02/yuru-un-bodrio-seudo-amaznico.html

They arrived one day in Iquitos, without having previously made a real and constant research and reconnaissance of the work site, they arrogantly developed the details of “its production”, they took a luxury cruise to arrive at a hostel (also luxury), they stayed a couple of weeks having a relatively cool time, the owners of the jungle freaking out, and they immediately sent to move to Lima. Then they worked the post production with all the gags, stereotypes and reiterations of bad stories and thus they launched “their miniseries” based on the story of a supposed jungle girl who talks to monkeys, dresses as a girl version of Sheena and tries to save the world from a brotherhood led by a duo of baddies who badly imitate Pinky and the Brain and speak with an impossible accent, to the point that they look like sad dogs barking. Now it leads the ranking of the most watched programs of the primetime of 9 at night.

"Yuru, the Amazonian princess" pretends to be a tribute to our jungle (now that, they say, we are in fashion) But in reality, the program of yore ends up being the most complete symbol of the daring ignorance with which certain individuals treat the provinces, and even more so to the Amazon. Produced by Michelle Alexander and broadcast by Latina Tv, I had never seen in recent times a production of considerable financing that shaped inconsistent plots, unspeakable characters, situations that border on nonsense and a supposed environmental message that does not penetrate even preschool children.

"Yuru" stands, however, as a powerful misinformation agent of character and reality. A few days ago, I decided to take a tour of the presentation of the actors held in the Mega Plaza of the northern cone of Lima and, although there was no suffocating crowd, a large number of people approached them and treated them like little stars. But, thanks to their efforts and the ineffable texture of the libretto, reality has been changed and all the pseudo characteristics they present about Amazonian life on the small screen are perceived almost as true by a large legion of admirers. And, therefore, it is true that in the face of a rather poorly inclusive policy of the State and in the face of a pretty poor intercultural educational content in schools and various academic centres, some sector of the public opinion may believe that the inhabitants of Iquitos, Pucallpa or Tarapoto speak as mentally weak or we dress in such a terrible way.

It is probable that they will never find a typically Amazonian girl who speaks with a valley girl accent like the rather pretentious Mayra Goñi (who surely can act well, but remains a fairly spoiled young woman from the channel who somewhat expanded on her childishness in a fairly deplorable interview with Cecilia Valenzuela.); that there is a grandfather who dresses with feathers on his head and speaks an Andean language (which is a factoid, as there are indeed speakers of the Quechuan language family living in the Amazon, it’s just that they mostly live in parts of both the Napo River valley and Madre De Dios); and that the bars and houses of the most humble people have the appearance of lodges for gringos. It is likely that there is no more unpleasant character like the one that plays Culebra (a funny jester, but with tics of the worst and most boring kind) and that the bad guy in the series is called “Tunche” (with “e”) and not tunchi (with “i”, as the famous spectral creature is usually called in the jungle), among other thick details that give an idea of ​​how bad the subject has been treated.

Nobody asks that a fictitious history could be a faithful reflection of reality, or a squared panorama of it; but from there to deform everything, to pretend to reflect microcosm in a loose and distorted way, to believe that a light and fun product can be made by making fun of the ignorance of others just because they have the power to access the national level through a channel television, there is a very long stretch. While efforts to expose our worldviews from within are not easy (despite the support received from sincere and dedicated advocates), there floats palpable examples that true cultural change and mental decentralization has yet to take place in our makers of stories. "Yuru" is a shoddy mess, a lacklustre caricature and an example of what not to do (and follow) in these globalized times of jarjachas, kharisiris, yaras, chullachaquis and tunchis (with "i", as they are known in the Peruvian jungle).

Otherwise, Tunchi and Tunche are interchangeable.

In fact, in 2007 a film entitled Tunche, a production effort by the Huancaino Nilo Inga, premiered, something which maintained the terminological meaning generally used in the Peruvian Andes, in an extremely valid way. However, if one wants to enter the Peruvian Amazon, especially in the huge northeastern state of Loreto, where the activities of the aforementioned miniseries take place, they will understand that the generalized and almost unanimous form of denomination is "tunchi", with "i". Uses and customs vary in each region of the country.