Being funny doesn't mean being a good screenwriter.

The premiere of Vinaigrette joins the list of TV3 decisions that cause perplexity. The comedy series returns after the revival of the sketches on social media. Vinegar, which the network premiered in 2008, following the success of the play of the same name. Clara Segura and Bruno Oro revive some of their successful characters and create new ones for this new era, which doesn't represent any significant evolution.

The two protagonists resurrect, among others, Marçal Xuriguera, the pretentious amateur actor trapped in an eternal casting call; the ice cream vendors with little desire to sell; the legendary cashiers Eli and Yeni; also Yeri, the gym trainer, and África, his unmotivated student; Jacobo, the preppy misplaced, and Larry, the security guard who goes way over his head.

A Vinaigrette There's a humorous connection that depends on each viewer. Some audiences are very fond of this type of histrionic, overacted comedy, and others aren't. It exudes a pretentious attempt to resemble the BBC series. Little Britain, but with a much more childish and soft result. On the other hand, Little Britain It was eventually removed from the network's catalogue due to its excessive use of grotesque, discriminatory and racist stereotypes, which led to controversy. Vinaigrette They shouldn't have to suffer, because the humor is reduced to a clown show without much depth. Too many characters are limited to a simple question of phonetics: from the extreme chaba full of barbarisms of Jacobo to the ultra-correct hyper-Catalan of Marçal, with the whole range that can exist between the purest central Catalan to the most deteriorated xoni Catalan or, directly, the use of Castilian.

Nor is there any element of social criticism or denunciation. Vinaigrette, like salad dressing, seeks quick effect rather than careful elaboration.

The characters played by Bruno Oro are too similar to each other: aside from a dialectal issue that distinguishes them, most have an excessive tension that homogenizes them. Clara Segura manages to create more interpretive nuances, but the script and the universe are so limited that it doesn't have much scope.

The series attempts to portray all kinds of everyday characters whose only thing they have in common is that they are all short on hooligans. The program, therefore, would be a portrait of a society too full of idiots who, at times, stupor even people who are more functional in this everyday context. Some protagonists are more successful than others, but the gags are rather pitiful and the resolution of the sketches is often nonexistent or collapses. It's clear proof that being funny and being a good screenwriter are two very different things that have nothing to do with each other. One virtue doesn't necessarily imply the other. And this is one of the areas where Catalan humor keeps stumbling, and we've been suffering the consequences for years.