2023-09-12 02:56:00
This is how Good Boys began, the new fiction of El Trece
Several patrol cars break into the facade of a tattoo parlor at night and the police make the eight people who were inside leave. In voiceover, each of them recounted in a choral manner what happened and what they had gotten themselves into before ending up inside the force’s cell phones: “This is us. We never thought we would end up like this. One night where everything seemed normal changed our lives forever. We believed we might pilot it. First it was difficult for us to get in and then it was very difficult for us to get out. Each one knows why they did it, each one had their reasons. Life put us at a crossroads and we chose wrong. One bad decision following another. Until everything went to hell. Everything was fast, dizzying, addictive. Until it became hell.”
This was the opening scene of Buenos Chicos, El Trece’s new commitment to fiction, something unusual for open television in Argentina in these times. The first episode had peaks of 10 rating points according to Ibope, following having started the broadcast with the 8 points inherited from Telenoche.
Now the story returns to the six months before the arrest. Almost the entire group of friends who ended up in prison were celebrating in a bowling alley run by Dogo (Jerónimo Bosio), one of them, definitely the leader of the group due to his overwhelming, arrogant manner, with strong doses of machismo that he prefers not to hide. Whether to mark the territory of his girlfriend Camila (Gina Mastronicola) or to make jokes regarding the gender transition of Eme, formerly called Emmanuel (Carolina Unrein). Suddenly, Dogo leaves the bowling alley to prepare a surprise for his friends: the sudden arrival of Chino (Santiago Achaga) who was in the United States and decided to return suddenly to attend to the fragile health of his father.
In parallel, we see how Eme left the party to have an intimate encounter with a man older than her, who takes her to her parents’ mansion. Upon arriving at the place, she finds that there are two of his friends and, following a series of comments regarding her sexuality, she decides to leave but the three men do not let her. After a struggle, she hits one of them in the face and manages to escape. She calls her friends to rescue her and, when they find her, Dogo manages to convince the others to take revenge on her abusers.
Good Guys, in trouble. The new El Trece strip began with peaks of 10 rating points
Upon entering the house, Giovani (Lautaro Rodríguez), who is a kid from a slum neighborhood and who is barely known by a single person in the group, takes the precaution of checking the security cameras. Upon entering the property, they discover it empty but Dogo insists that they have to stay there and celebrate Chino’s arrival, which was cut short by the attempted attack on Eme. The alcohol begins to affect the group’s mood and they suddenly become emboldened to destroy the mansion: they break vases, cut the curtains and even throw an ancient piano into the pool.
Suddenly, Giovani goes to a house office and finds a bag with 80 thousand dollars. After a short debate between everyone and while an alarm sounded indicating that they should leave the place quickly, Dogo insists on taking the money. The next day, with a fresher head, they would decide what to do with him.
The problem that now arises for these eight “good kids” is that the parents of some of them are involved in the police investigation: Eugenia Grenón (Gabriela Toscano) is Zeta’s mother (Tomás Kirzner) and a public prosecutor. in charge of the case, while Mario Córdoba (Juan Palomino) is the commissioner of the jurisdiction where the incident occurred and the father of Eme and Yoni.
Dogo, played by Jerónimo Bosia, is the leader of the Good Guys group.
From these parallel lives there will surely arise a series of entanglements that will be unraveled as the chapters go by in which the six months that separate the robbery from the arrest will pass. In the middle, the story is told through stilettos of political correctness, centennial jargon and music of the new generation (from Dillom to Trueno, through Emilia, Duki, Tiago PZK) that at times gives the music a video clip aesthetic. action.
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