Taking a humanistic approach to the production of soap operas, focusing primarily on the arduous routines followed by their hope-filled extras, digging in real deep, opportunity jostling with obsolescence, divas, directors, and delays, a rigid overworked tawdry hierarchical continuity graciously swoons to sycophantically accommodate, while viciously displacing its retributive wrath.
The extras take the heat for egocentric conceits, yet flexibly flow in bleached toiled caprice.
Irony abounds as the stars and high ranking members of the crew act like precious progenitors of substantial stakes while creating horrendous gaudy cylindrical refuse.
The cigarette burn improvisation.
A tasteless product placement.
The insertion of an automobile.
Cinematically fell for Loida Malabanan (Vilma Santos) as she attempts to breakthrough, her roles functioning as metafictional realistic vindications as she fantastically battles the wicked, heartbreakingly symbolic, cold, and unforgiving.
Ekstra is also filled with congenial moments of accidental amicable trust, tightrope walking starstruck stalking vests, multiple different angles, competing operational perspectives.
On the fly.
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