It is an entertainment program that enters your home each morning. And it's the responsibility of most successful national private channel, TVI.

Presented by Luis Manuel Goucha and Cristina Ferreira, "you on tv" is a television program that animates the morning of the Portuguese and a success of hearings for several years. And why? Becouse of the cheerful dynamic created by the duo of presenters and that it is aimed to a more senior audience. Is clearly visible and you may even argue that it is not the case, the empathy between Goucha Manuel Luis Ferreira and Cristina and it's also genuine, and that comes across the screen. The fact that they laugh together, not huddled each other in the interviews in search of more stardom, makes them the most successful dynamic duo of Portuguese television. They're the Batman and Robin that everyone likes to see in action for an older audience, with emphasis on the feminine. If you look up the audience are exclusively made of ladies apparently retired, or not, they are there every single day in the studio, so much so that the presenters already call then by their own names, becouse of the familiarity.
The headings of the program are another stong point. The stories of social and human deprivation, leave tears in the corner of the eye, are one of the capital gains because they can always move their viewers and are peaks and audiences. Even in these sketches, the hosts try to be sober, without falling into the temptation of exaggeration.
The group that reviews the gossip magazines is one least fun. Egomaniacs parading on the set and they add nothing. They are creatures that have nothing to say and who are there just to show the result of well-made plastics surgery that they have not paid, a borrowed closes that they did not bought and with a total lack of imagination. Depressing!
Another highlight is undoubtedly the police cases of the news agenda. All the crimes presented are heinous and are discussed by a panel of experts. And they are arguably the most anticipated moment of the end of the morning, and one can argue that it is a horror, but humans have a tendency to morbid and is not worth it to pretend otherwise. Just remember that when there is a serious accident on Portuguese roads, motorists slow down to view the tragedy.
In conclusion, we can say it's tv garbage, sorry but the audience is sovereign and in case "you on tv", there's no doubt they are here to stay for many years to came.

http://www.tvi.iol.pt/vocenatv/programa/iol/1146170-5349.html

This is the longest-living juvenile series of private television in Portugal and is still a big television success for the younger generation.

The strawberries with sugar can be defined as a phenomenon of audiences. It's amazing how many young people will stop everything to watch this television series that has catapulted many actors into the spotlight. Despite the constant cast changes and numerous stories, the public is the only vertex of this triangle that remains true. But what has this program so special to attract the younger? One of the strengths is the wardrobe, yes, you may seem surprised, but its true. The rags that kids are always using are hip, is the latest fashion statement that all portuguese teenagers want to copy . Then there is the plot. The various stories, the flirt, the dating, the deadly hatred and passion constantly swarming over the episodes. It could be argued that the scheme is always the same, and it is. But in a winning team we do not move. Who says young love has to be easy?
Language is another of the gains of this show and that has raised quite a stir with the parents. Yes, they use words like cool, Bué, and it's all cool. Well, is not the correct Portuguese that parents expect them to learn, but this is how they communicate in day-to-day bases, between them and that we should not forget. Hence the genius of this series and its best kept secret. Kids identify with the characters in all aspects. On the way they talk, what they think and how they dress. And it's not worth to obliterate the argument and say that teenagers are not so because they are so and some of then much worse.But there's space to improvment. Not always the portrays the reality hush and genuineas they should.
Violent behaviors in teenage couples was one of those issues addressed in the program and very badly. The final reserved to two characters left much to be desired, almost completely harmles the aggressor, something that should never have happened. It was not very serious and frivolous this evolving framework. Young people seeing in the show that nothing happened, that he has shown aggressive behavior and had mayor consequences, leads them to the believe that this kind of attitude is normal. I think that is pertinent subject, since studies indicate an increase in cases of physical aggression in teenage couples in Portugal. What I condemn is the color pink wrapping. The girl forgives him and they live happily ever after in London!

More than a program of illusionism is a competition that aims to elect the best magic trick of the night. A challenge that Luis Matos accepted without hesitation.

I always liked magic and always followed the work of Luis de Matos. Over several decades, I and the Portuguese in general we were watching the professional growth of this master of illusion. A career that began with small touches of magic, Luis de Matos was very young, and now I feel so old already, and that over time has evolved in a natural way to the culmination of more than one program on behalf of illusionism own and very successfully I might add.
After the prize for best magician of the decade, which was near magic of the artist's illusion? Participate in a sort of contest where the audience votes the best "trick" magic of the night. It's an offbeat television format, I think even innovative, but it is still interesting, because all the magic involved, and are the best in the business, have to constantly surprise the audience in the room and those at home.
The program has the merit of being a quality television product because there is a theme for all the "competitors", one guest, the best trick magic show and the audience vote. Needless to say I'm always the hope that Luis Matos wins. Not because Portuguese is, well maybe a little bit, but because he always tries to do better. He deserves recognition for the professionalism with which creates, prepares and rehearses the magic tricks he presents.
The same can be said of colleagues who compete with him, without exception, all seeking to create the illusion and better serve the public, and the famous uaus expressions such as lightning is he did this? The presenter with the typical English humor makes up the set that causes the program to be a good time television. But now I admit, I'm always hoping that Luis Matos is the winner!

This is one of the greatest successes of the Portuguese television of recent times. A series that describes a Portugal oppressed by the dictatorship of Salazar.

It is without a doubt my favorite television series. And I will of course say why. It describes an era, a country completely unknown, a Portugal under the auspices of a dictatorship, through the eyes of a child. I am from a generation that knew not, fortunately, any kind of political oppression, have always lived in democracies and saw with real curiosity a country completely unknown to me. The Lopez family is the prototype of any household or remedied as they call themselves and well, middle-class Portuguese in the late '60s. And we are the privileged vouyers of a time dominated by fear.This fiction series is of superior quality, although it is a television content adapted from an spanish original , there was no, fortunately a copy paste. Rather, "tells me how it was" have their own dynamics, with a consistent argument, a carefully scenario, the result of extensive research on the era.
The work of actors is another of its strengths. I must say that the entire cast and wonderful. The work of characterization of Rita Blanco, the family matriarch Lopes, is a portent. It is the genesis of Portuguese mothers, modest, very chicken mum, tender and at the same time fighter. Miguel Guilherme, father Lopes, no words need it, I know the work of this actor, on stage, in film and television, and there is something he simply can not do is do it badly. The grandmother, portrayed by the excellent actress, Catarina Avelar, is simply wonderful. As for Rita Blutt Fernando Pires, respectively Elizabeth and Toni, their television debuts could not have been more auspicious. Gamito Luis, Carlos and narrator in adulthood of this history, is the jewel in the crown of a magnificent group of actors. And the adjectives are few, believe me. The supporting cast are also not far behind, are actors of great quality.
Another of the highlights of this program of fiction is how the dynamics of the Lopes family accompanies the historical evolution of our country, its social upheavals, economic and political. The same bewilderment and incomprehension of the child Carlos of the dictatorship is almost the same for us, fortunately thanks to April 25, 1974, we never had to lived this period. We also saw the birth of public television in Portugal, in black and white, the box that changed the world, also begins to change the habits of the Portuguese. The music also has a crucial role in this series. We heard each episode, the greatest successes that were a milestone of the music scene at the time. Ironically, we also recognize the lack of some of the groups that left a mark in the history of world music, the Beatles' case, precisely because the nation was closed to the world.
I believe this series and its Spanish counterpart equally successful in our neighboring country, should be target for a sociological study to explain the why of such a resounding success. Nostalgia for an era? Or simple curiosity of the public? Watch and decide.

The program of Professor Jose Hermano Saraiva discusses the history of various regions of Portugal. A program that should have been banned for life.

Is it possible for anyone with responsibilities of programming in RTP, yet finds it acceptable to broadcast over a teacher's program Hermano Saraiva? I have nothing against history, I liked to see previous issues with other titles, but that's enough. How many times a year we have to be confronted with the same "stories" about various parts of Portugal? There is a whole generation that grew up with the teacher, including me, and is already sick. Don't you think is disheartening, to hear, yes hear the dental plaque beating while saying for the umpteenth time, the same as said on previous occasions? Yes, because as he improvises and does not write a script, it is natural that repeat over and over again the same thing.

There are still audiences that justify its maintenance on the grid television? Why not change the program name to Saraivassaurious? I still remember with some nostalgia, what my teachers told us, moreover, forbid us to see the programs, due to the numerous historical inaccuracies he happily conveyed in this programs. We are prohibited to buy history books published by Jose Hermano Saraiva, because of errors in context. Yes, he has admitted on several occasions in the many issues that gave us over the years, which in fact was an interpretation of some historical events, because it says, no data, literary or otherwise will supported the opposite. I always felt that the argument was not consistent, because the lack of data does not implies to romanticize history events. But, forgetting this little content, it is possible that someone else, preferably younger, with a telegenics, is unable to provide a program of the same nature with another type of format? Becouse there's no soul that will hold the boredom.

The public channel finally invests in new audiences. It is the Internet generation arriving to the television programming.

Over the years, RTP-Madeira produced many programs that had only one public, the emigrants. The theme was the same, with the same traditions, the same recipes, the same folk dancing and the same faces. Don't get me wrong, I'm in favor of the preservation of regional traditions, but how many times we have to see the same recipe of the traditional honey cake over , and over for several years?
The public channel almost always ignored the younger audience, with few exceptions, but nothing very good. Until Irreverence. This program in particular caught my attention, not because I'm your target audience, but because it is very good show.
The themes are hip, the blog that was created for this purpose serves as support for the debates. A very wise choice, since we reached an era in which new generations communicate solely through new technologies.

The presenters are both young, finally an image of freshness, to enliven the evenings of RTP Madeira, and I want to highlight the work of Marta Machado. I believe that this young hostess might have a future in television, not only because it demonstratesa very loose attitude in front of the cameras, but also because she raises questions to trhe guest in sympathetic and appropriate way.

The appointment of humor is always an asset to the program, and I am suspicious, because I love the work of 4Litro. And the items that are being presented throughout the program are interesting. If I may be so bold, they should choose the most controversial topics of debate and those on the agenda of news from Portugal and the world. Finally, I think the public should participate in a more pro-active way. When there are big plans, the guys seem sometimes seems bore to death and this is affecting the dynamics of the program. But in general, and against all expectations, taste. The production of RTP Madeira is to be congratulated!

Filipa Venancio runs thru her artwork as architectural objects that populate our realities. A theme that she expresses her painting steadily throughout her twenty year of career in the art world. There are forms that seduce and she aims to play with the various looks.

From what I see there is a whole "trip" thru the pleasures.

Filipa Venancio: Yes, this work sought to represent the surroundings, the atmosphere of this place.

There is also a search for the forms, the geometry in the houses, why is this theme that attracted you?

FV: There is not a theme that attracted me just now; it is an interest I have in a long time, the house as an architectural object. It is something that has always appealed to me and that runs throughout my work. If you look at it over the twenty years that I have worked continuously in the paint, the house is a very important element of one form or another. Always. So here they also had to appear.

Why space house is so important to you? It is the concept behind the subject, or is it merely a matter to be geometric?

PV: It's not just a matter purely geometric, what interest me in the houses are their memories, the most ancient and abandoned seduce me. Other times, it's just as archetype and it also always interested me.

So why just paint the exterior?

FV: This work is just the exterior, the last show I did at the museum of contemporary art, was precisely the contrary, I made a sort of visit to the museum spaces which are many and decided to simulate it as if it were a house, I called it the "model floor" and there you could find screens that represented the interior spaces of the museum, but as an opportunity to live, like a residence.

Another of your favorite theme is nature.

FV: Yes, this show has notes of scenery, animals.

Joaquim Miguel is a young Portuguese designer that focuses on the achievement of everyday objects with unconventional materials. An intuitive conceptualization that applies to everything he creates, particularly in furniture, an area that fascinates him.

How would you define yourself as a designer? Because I think that you have several valences.

Joaquim Miguel: I do not know, I like the design, I have training in industrial design, and I chose several areas of design, not just a theme.

What is your favorite area then?

JM: The design of furniture.

What is different in terms of artistic design?

JM: The various creative materials we can use. It's great to change the look of an everyday object. Give it another embodiment, another vision. I like to change their appearance through non-conventional materials.

Which of the materials that you used present more difficulties in terms of design?

JM: I used in an armor parquet to pave the ground. Reuse them, because normally this material is only used on floors and I thought it was misused when it ceased to be valid. I looked at them in a different way, recovering them to a piece of furniture that involves a lot more work in terms of design.

It is the paradigm of the new collection of Teresa Brazão in Funchal Athenaeum coffee shop, illustrating a great insight between past and present, present and future, containing religious figures listed in her thoughts. It is also the experience of dreams allies to her girl condition, to a desire for protection, as describes her daughter Cristina Brazão.

What led you to paint again, mounting an exhibition after almost twenty years?
Teresa Brazão: I'm just now doing a show, but that does not mean I had stopped painting, I paint often, only during life we have different stages and not always have mental availability to produce an adequate amount of paintings and sufficient that have to do with each other. There must be a common message. I took the opportunity now that my daughter decided to open this very beautiful space and whose dissemination strategy will be the "marriage" with cultural activities.

But what was the central theme that inspired all this?
TB: I did sixty years of age this year and we spent lifetime thinking about things that are not important, from a certain age have to see it otherwise. I lived the most active part of my existence and I wondered, what do I do now? And the people who were with us on this journey will they continue? Are they on our side? Or is it the fruit of my imagination? Is this type of discourse that I try to convey to people are more metaphysical motivations and that's what made me paint. It was clear that at this point I have a completely different essence. My parents died, I have raised four children and have six grandchildren, and it's time to think about things differently.

It is also because death is approaching that motivates this reflection? The idea of ​​the end, a stage that closes?
TB: Maybe, or maybe because we have reached a point in life where everything has to be relativized, it is as if we spent most of the time with little things no unimportant, what is important is above it all, are the affections, is love, the relationship between the people who are here and also those that are not.

There is a lot of island in your paint or not?
TB: We are islanders and we always have something in our painting of the island, because when we do it is always a part of us that is there. The fact that we live on an island that causes people to be constructed in a certain way, we are surrounded by water on all sides, is a limited space and causes people to develop in a certain parameter. I think we have something for sure that is: we think at some point we're lost in the middle of the Atlantic, while having some doors that allow us to leave, we overcome this limitation, by opening our minds to prevent geographical limitations, and we must perforce to overcome this.

The colors used are a palette warm and earth tones, has something to do with the island?
TB: Yes it has to do with it. The fact that all colors related to the color pink color earth has to do with the physical connection. These stories attributing the tone pink to girls and blue for boy's results from medieval concepts set aside defending boys were more related to major issues, the heavens and the earthly were part of women. I felt I had to do this as well, although there is a painting in shades of blue, because I am a woman and my femininity is just present in my work. Also my identity and relationship with the people around me is done that way.

Hand of Fire is a bronze foundry, but not only. It is a space for artistic development that turns a vision into a three-dimensional object. It is also a multidisciplinary space where artists broaden their technical skills in sculpture.

The project hand of fire how did it started?

Rui Palmas: It started ten years ago, was a little project, the idea was to have an artistic production of bronze, a process that would take place in Montemor-o-Novo. We were three friends who earlier worked with sculptors in the Lisbon area, then grow and acquiring new machines. Our range of action began to increase and have more orders, we started to have more foreign customers and two years ago we entered in a partnership with alpha art that allows us to have a larger team. We worked mainly for sculptors, artists and architects.

When the three of you joined was because you were artists and needed a space?

RP: We are not artists, technicians and somewhat passionate about art. We took these projects and transform them in three-dimensional objects. Often artists have difficulties when they make a sketch and workshops so people translate the concept, the language, there is a communication difficulty. What we do is to look at the idea and transforms it into bronze or any other material. Thereafter do technical drawings, held structural bases for pieces, i.e. we monitored from beginning to end the entire process.

Tell me a little about the partnership with Alfa art, how it come about?

RP: We were having some difficulties because our facilities were very small and alpha art has a bigger space and teams came up Montemor-o-Novo meet our project and then we were invited to work with them. There are works in progress both in Bilbao as here.

The choice of Montemor-o-Novo was a coincidence or not?

RP: The choice fell on its rurality. In fact the hand of fire is installed at the farm of my parents. I grew up and lived in this area ever.