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Documentary to show the trajectory and impact of the newspaper O GLOBO

The proximo jogos do santosemotion driving the interviewees in the documentary series about the centennial of O GLOBO was palpable to those who witnessed the filming. The surprise at seeing typewriters, computers, desks, and spaces from the past prompted nostalgic smiles, evoked memories, and in some cases, brought discreet tears. 100 years: Grupo Globo is preparing initiatives for its centennial year1925: 'Irineu Marinho bet on the professionalization of journalism', says the biographer of O GLOBO’s founder The exploration into three historic newsrooms, meticulously recreated by set design and art production teams with the help of extensive research from old photographs—part of the set is physical and part is virtual, using technological equipment and LED screens—is one of the highlights of the documentary series created by journalist Pedro Bial, who also serves as the general director. In four episodes, set to premiere in July 2025, the month when the newspaper celebrates its 100th anniversary, the production (by Globoplay, TV Globo, and O GLOBO) will showcase the century-long journey of the newspaper founded by Irineu Marinho and the transformations it reported on and helped drive in society. — Journalism used to discuss theses. It was a platform for expressing opinions, where very intelligent people reflected on the world and reality. But Irineu Marinho wanted to create a newspaper that worked for the people’s news — recalls Bial. — From the very beginning, there was a connection with the popular classes, the middle class, and popular taste. So much so that, before launching the new newspaper, Irineu Marinho conducted a public survey to decide the newspaper's name. O GLOBO came in second. The first choice was Correio da Noite, which was already taken. That was fortunate because GLOBO is much better. Pedro Bial on the set of the documentary about O GLOBO — Foto: Press release/Globo/Jo?o Cotta Bial, author of "Roberto Marinho" (Jorge Zahar, 2005), the biography of Irineu's eldest son who took over the newspaper following his father's untimely death (less than a month after O GLOBO's founding) and built it into the seed of Grupo Globo, Brazil's largest media and communication conglomerate, speaks on the importance of commemorating this milestone. — The 100 years of Grupo Globo contribute to the formation and affirmation of Brazilian culture. This country, which absorbs information, influences, digests them, and forms its own identity. I believe Brazilian culture develops on the pages of O GLOBO, metaphorically speaking, where it continues to bloom and renew with each edition — says Bial. — A tree that has borne fruit. From O GLOBO it expanded to printing, magazines, comics, radio, television, Globo.com, Globoplay, and we keep moving forward. O GLOBO: Proud of our history, looking to the futureIn english: Read more stories on O GLOBO's website Gian Carlo Bellotti, responsible for the artistic direction of the series, explains that the recreations of the newsrooms (the first from 1925; the one from the 1960s and 1970s in a larger headquarters; and the third between 1980 and 1990, with modernization and the arrival of computers) were made possible through the newly inaugurated Virtual Production Studio at Globo. — Being able to tell this story from where it all began, over this century, within the Globo Studios, with the structure we have today is very moving — says Bellotti. — Seeing where an idea, a will, has led to. In addition to the reconstructed spaces and interviews, Bellotti mentions the dramatization of some significant events from the newspaper, always using imagery to convey the story. — Talking about 100 years of O GLOBO is talking about 100 years of Brazil’s recent history. People will be able to relive major news stories that marked, moved, and guided our political and personal lives over the past 100 years, through the eyes of those who lived and produced these stories — says the director. — The series offers a new perspective on this century of a newspaper so present in national history. The documentary features a script by Renato Onofre, Renato Terra, and Ricardo Calil (documentary), George Moura and Flávia Bessone (fictional); content and image research by Pedro Motta and Priscila Serejo; fiction direction by Pedro Peregrino; executive production by Anelise Franco and Raphael Cavaco; production by Ana Luisa Miranda, and genre direction by Monica Almeida and José Luiz Villamarim. The translation of this text into english was carried out by Project Irineu, O GLOBO's initiative to develop artificial intelligence tools. Here is the link to the original report. 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