The end of love or a millennial ethnography | What do the wachas want?

An anxiety of the time: “We made the revolution to become Cacho Castaña”. That phrase, which is pronounced by a character from the end of lovethe miniseries of amazon Prime Videobased on the homonymous book by the journalist and philosopher Tamara Tenenbaumperhaps it is a very good synthesis of the tension of our days in relation to to love, sex and freedom.

To that suspicion he wants to put gunpowder in this fiction in which Lali Espositomore magnetic than everTenenbaum’s alter ego, goes through a decalogue of millennial ethnography like a level: ten chapters that work both to watch in pajamas with friends and to do desktop sociology.

escape plan

It is the story of a girl in her late twenties who leaves her boyfriend’s house at any moment, taking a Nespresso as her only heritage. And while run away from a certain format of affective relationships -monogamous, heterosexual-, is reunited with a territory from which he had escaped many years ago. Thus described, it seems to be a story already told a thousand times. But the series makes foot in the autobiographical hook that Tamara Tenenbaum put into play in her book: the process by which she achieved distance himself from the environment of his origin Modern Orthodox Judaism. Without forgetting to mention that she had a family framework that even in that context gave her escape clues, such as the support she had from her mother, who made some rules more flexible so that she could enter an elite, secular secondary school at finish.

The character played by Mariana Genesio finds ways to reconcile her activism, her gender identity and her religious background

The series talks about all this with very original moments and others, in which he must negotiate with the modes of representation of the industry -like the toxic lesbians who always kiss in a punk context but never in, for example, a tea house. Or the artificial rain that falls on a protagonist at a moment of narrative climax, when he realizes, just before one of the twists in the story.

But also the end of love Serie from inside of certain worlds (progressive, at least in appearance), with deep knowledge of the cause. He points out, for example, the banality with which journalism makes everything a tag line corporate: due to professional deformation and desperation freelancingTamara is trained to sell her editor potential columns with titles like “Jewish girls just want to have fun”to talk about how Eleven is done to keep the flame alive in Orthodox marriages.

It’s interesting how the series tells how Tamara look back at your community of origin with other eyes. She returns to Eleven and short-circuits his family but with another degree of empathy. Y unexpectedly connects with something of the spiritualityno longer understood as a corset, but as a broth in which, while philosopher ejected into the goy world and precarious journalistyou can find elements that nourish it and even amaze it.

Drunk on liquid love

And along with the friction between Orthodox Judaism and those other universes in which Tamara moves, the end of love also shows more universal stresses. Above all, one: the feeling that, precisely, the end of the romantic love for which we knew how to sue became a liquidity in which we are swimming blindly.

That phrase that evokes the malevo that if he finds you with someone else he will kill you (that of having made the revolution to become Cacho) is from Laura, one of the best friends of the protagonist, a lesbian (mode?) who wants to get married and what.

Laura uses Castaña’s reproach towards her generation to talk about a contradiction: link fluidity as a promise of freedom and its reverse, that is to say, that sad drunkenness of liquid love. Namely, the dizziness that occurs, for example, getting on the merry-go-round of people looking for people that springs from the apps.

In the series’ own words: the tug of war between be explorers of love and be the female version of James Dean. And in the middle, of course, the so-called affective responsibility and the fight against the drive to possess others.

Tamara, Laura and Juana: the devalued GIRLS of the present

An ESI to strikeouts

In that bustle the end of love responds to a thirst for representation of that in which we walk: a sweet relational chaos, which obviously intersects with the economic chaos. The Argentine sentimental education in which, millennials and below, we balance is a combination between what was bequeathed to us and what we built improvising.

An ESI to blowsin a country in which the narratives about love and sex are less marked by religion -at least, compared to the rest of the continent-, but also more strangled by economic precariousness than in other latitudes. Some of those fibers touched ten years ago Girlsthe series written by Lena Dunham.

With its best moments and even with its clichés, the end of love squeeze the sores of the Girls devalued in the present. and risk that andhe post-love has not fully fulfilled its promises.

The generations that are portrayed in the series, for whom non-monogamous bonds are no longer a complete novelty nor is heterosexuality as mandatory as before, face the fall of another belief: the realization that these other ways of bonding are not necessarily simpler or happier. That does not mean that we have to back down, only that we are working: making the necessary contortions to inhabit the world that we continue to change.

The end of love or a millennial ethnography | What do the wachas want?