Nesse vídeo eu vou te provar como a vinheta do Supercine é meticulosamente pensada pra manipular as suas emoções e mistura jazz, nostalgia e até o capiroto. 

Recadinho: eu não sou músico formado, sou apenas um curioso e amante de teoria musical, então músicos, se eu falei alguma besteira ou usei algum termo errado, foi mal! Pode deixar aqui nos comentários pra adicionar e acrescentar nas ideias do vídeo. Obrigado ❤

Recado 2: peço desculpas se não ficou claro no vídeo, mas a história do tritono ser proibido pela igreja nunca foi comprovada historicamente, trata-se de uma lenda. Por isso que no final eu digo "Mas segundo outras fontes, o termo "diabolus in musica" era só pra dizer que era difícil cantar esse intervalo, por isso o nome." 

Se quiser saber mais sobre esse mito, assiste esse vídeo aqui:

https://youtu.be/3MhwGnq4N9o?si=P3JYsuMZJ7Adb_O9


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You're in your room or living room, almost asleep, and you hear this.

night feelings, with the lights of the city knocking on the window, Some cars passing by, the fridge making noise, melancholy and loneliness hit you knowing that you're going to see a horror or suspense movie.

You may think that all of this is a coincidence, but it's not.

In this video I'm going to prove you how the Supercine vignette is meticulously thought to manipulate your emotions, in how it mixes jazz, nostalgia and even the capiroto.

Hey, guys, play Supercine with your mouth.

the greatest designers in the world, Hans Donner.

Hans Donner was born in Germany in 1948, but he soon moved to Austria.

In 1974, after reading a report about the advertising design produced by Brazilian professionals,

At the time, Globo did not have an art department and the opening of the programs was made by a third-party firm.

When he saw the designer's work, Walter Clark, Globo's general director at the time, hired him immediately.

In 1975, he moved to Brazil with his first job here, which was the creation of the new Globo network brand.

From there, he formed the videography department, which takes care of all the company's visual programming and all its products.

Novels, journalism, children's programs, sports, humor and many others.

Hans Dörner revolutionized Brazilian design precisely because of his inventive and out-of-the-box way of using 3D technology, geometric shapes and live-action actors to perform his visual feats that marked almost all Brazilians.

He and his team created the opening for Fantastico, Planeta dos Homens, Vivo Gordo, TV Colosso, Jornal Nacional, Jornal Hoje, the controversial Globobeleza vignette and the Globo's headquarters.

I know it seems obvious, but have you noticed that as the day goes by, the news also go?

But when it came to the music part, it was Boney himself who chose the composers.

Let's, for example, think about Globo's headquarters.

In the beginning there was a Globo's headquarters in special edition, and if you think that the current 1 is scary, check this out.

Globo's platform, report in special edition.

After that, the call became the newspaper's platform, which usually aired on time.

But Bonnie knew she needed a hybrid show to air at any time and

that it would get the attention of those who were watching.

The show then promoted an internal contest to choose the best track and the winner was João Nabuco with this song,

But why does this song cause so much anguish in the Brazilian?

The design with the flying cameras approaching the screen, spinning the globe, suggests that the event to be reported is being seen around the world and has a minimally national impact.

The written PLANTÃO on the screen along with the logo of the giant channel are frozen for a few seconds until the music ends, generating a feeling of anxiety.

The version considered the most frightening is the 1 with red lights flashing.

So, the first PLANTÃO of Globo in this format was aired on August 19, 1991, in the hot screen interval, reporting the crisis in the Soviet Union.

The newsroom created an association in our heads that always refers to some tragedy, the death of someone important, wars and disasters.

It was always some news that would impact our lives in some way.

The context of the shift was always unexpected, it usually came in cutting the programming in the middle without warning.

So many people were scared when the music came in.

And the music created by João Nabucco in his composition is very simple, but very effective.

It has 2 arrangements that when played together give a feeling of urgency and credibility.

It's a chord shape called Power Chord, which is widely used in Rock, Heavy Metal, Punk, etc.

To be a heavier and more repetitive note.

And the melody that rules the track has a very cool trick.

In the field of science, it remains a puzzle, but the perception is that major chords emanate a feeling of joy, while minor chords evoke a feeling of sadness.

At least, that's the perception of most people.

In the 19th century, Hermann von Helholtz, a German researcher, demonstrated that minor chords give rise to more intricate sound waves patterns, less harmonic and less comfortable for the auditory processing.

This peculiarity could explain the feeling of sadness we experience when listening to them.

If this phenomenon is purely biological, we can say that everyone has this perception, right?

The Kowar and Kalash tribes, native to the northwest of Pakistan, adopt a completely opposite approach to the western 1.

For these tribes, minor chords are associated with positive emotions, while major chords are associated with negative emotions.

But, considering that you are a person who perceives major chords as happy and minor chords as sad, What João Nabuco does here is to play with his emotions.

The scale that the composer uses here is called Fá Lídio, that is, it is a set of rules to follow in the melody, but the rules exist to be broken.

If Nabuco were to follow exactly what the scale says, he would use a D minor, that is, a note that evokes sadness.

But instead he plays a D major, that is, a note that evokes joy.

A mix of joy and sadness, which makes you get confused about what to feel, all this to

the sound of a heavy and repetitive note.

And so a masterpiece of the Globo vignettes is born.

If you're enjoying this content so far, subscribe

to the channel so you don't miss other videos and leave a like, which is free, and that helps me a lot.

the videos from the channel before everyone else, talk to me, suggest topics and help me expand the project, press this button here called Be a Member.

If the value is in your pocket, you will help me a lot to keep this channel active.

Now, another vignette that generated discomfort and urgency in people was the Set your watch on summer time.

an accelerated rhythm with several notes played in sequence.

It caused a feeling of urgency, just suggesting that time is passing, the clock is running, and you need to hit your clock, or you'll be in the wrong time.

The vignette gave almost an order to those who attended.

If you don't hit your clock, you'll be living in the wrong time.

And you had to go out hitting the clock from the kitchen, the cell phone, at the time when there was no such automatic option, on the computer, etc.

And there was a vignette that went on for half a night for you to advance or delay your watch.

And the same concepts follow several old vignettes that marked our lives, such as the Intercine, which had these heavy chords being alternated by percussion.

The Corujão, which we never watched the movie until the end and was like, ok, it's too late and I'm still awake, I'm going to screw myself tomorrow.

This feeling also came with the vignette of the bigger Domingo, better known as the official vignette of the Weekend Is Over.

The jazz of the show, which was calm, melodic and quiet, just like your show.

And the afternoon session, with the clear sky and a rainbow that hugged us saying, it's okay, you're going to watch a light, quiet movie now, you can be good.

But of all these vignettes, the 1 that intrigued me the most during all these years was the Super Cine, and I finally found out why.

The Super Cine's vignette in terms of graphics is 1 of the simplest.

The concept follows the path of movie rolls interlacing until forming a super S, while the colors are predominantly blue and yellow.

And that's it, there's not much more to pay attention to.

Having such a simple design, what stands out is the music.

Roger Henry is a musician, maestro, composer and responsible for more than 2, 000 trillas of Rede Globo, including the Super Cinema.

In an interview with the magazine Época, he says,

career, I joke that I am the invisible man, because no 1 knows that I exist.

And if no 1 notices, it's because it's well done.

The session started in 1981, being shown on Saturday nights after the eighties soap opera, showing more adult movies and more violent and sensual content, depending on its showtime.

From 1981 to 1984, it had a longer vignette, with another song, still in that noir style, but very different from what it established.

The new vignette debuted in 1984, being reformulated several times as technology and aspects of TVs changed.

does this track cause so much bewilderment and melancholy?

It all starts with the genre, because Roger Henry's music is a...

the United States, mainly among African-American communities in the late 19th century and early 20th century, combining different musical traditions such as African, European and American music.

It was 1 of the first styles to highlight improvisation, where musicians created new melodies and rhythms at the time.

This brought a new dimension to the music, allowing musicians to express themselves uniquely in each performance.

In addition, Jazz also challenged the musical norms of the time, incorporating rhythmic and harmonic elements, and played a fundamental role in the fight for civil rights in the United States, as it allowed African-American musicians to assert themselves and be recognized for their creativity.

Over time, jazz influenced many other musical styles and gave rise to various samifications such as bebop, Swing, Funk, Fusion and even what we know today as Lo-Fi.

Jazz's association with nightlife, nightlife and nightlife has historical and cultural roots that go back to the origins of the musical genre itself.

In the early days of Jazz, many of the performances took place in nightclubs, bars and cabarets.

This was related to the fact that many jazz musicians, artists and tinerants, either worked during the day in other occupations, so they used to play at night.

The nightclub provided a more relaxed and intimate space where people could relax, socialize and dance.

During the period of prohibition in the United States, when alcohol sales were prohibited, clandestine bars became popular places for people to meet and drink illegal drinks.

Jazz was often played in these places, contributing to the association of the genre with the nightlife and a certain cultural rebellion.

So, for a session of older movies on a Saturday night, a jazz is perfect.

For another puzzle to make sense, we need to understand the concept of consonance and dissonance.

Consonant chords sound stable and harmonious, transmitting a feeling of rest and conclusion your notes fit well with each other generating a pleasant feeling to the ear on the other hand, dissonant chords are chords that sound unstable generating an expectation and a need of resolution for a consonant chord

Your notes have combinations that generate a

sound friction generating a feeling of affliction These sounds are everywhere in our lives.

For example, the sound code that indicates that your JBL headset is connected to Bluetooth is But the sound code that indicates that your Android is with low battery is this 1 all right Oops, but I think there's something wrong, huh?

In other words, in most cases, when a dissonant chord is played, our ear asks for a conclusion of relaxation But Roger doesn't do what our ears expect.

Ok Lucas, but jazz was made to relax, to be good and to enjoy the night, so why does this track cause the opposite effect on people?

The Supercine track uses consonants and dissonants chords, as well as in several jazz songs.

Remember I mentioned the 7th Pele at the beginning?

During the Middle Ages, the Catholic Church exercised a significant influence on music and its theory.

Musicians and musical theorists worked according to the rules and principles of the Church.

The tritone, due to its dissonant nature, did not fit well in the rigid structures of sacred music and was considered a devil's chord.

The term Diabolus in music, which means the devil in Latin music, was frequently used to refer to the triton.

It is believed that this association has been influenced by the desire of the church to keep the sacred music harmonious and pleasant to the ears, avoiding the dissonant intervals that could create a feeling of discomfort or disturbance.

This association of the triton with the devil was widely perpetuated by musical theorists, and this evil reputation of the interval may also have been influenced by cultural beliefs, superstitions of the time and for having been used in several heavy metal songs.

But according to other sources, the term Diabolos in music was just to say that it was difficult to sing this interval, so the name.

Besides that, the affective memory factor is something very present.

The feeling of fear and discomfort comes from these chords, but it also relates to when we watched the super cinema when we were children and teenagers.

The feeling of being awake so late and watching a movie you shouldn't watch, causes this almost dangerous moment.

The rephrasing of the identity of Globo was inevitable and, because I've been working with design for so long, I fell in love with the rebranding that the brand suffered.

It's colorful, young, diverse and modern and somehow still perpetuates everything that Hans created.

But when the subject is the new vignettes...

And almost all of them now have a minimalist, white and very boring look.

is to understand that this feeling of fear is not a pure coincidence.

The power of the Globo vignettes goes far beyond what we imagine.

Both the design of Hans Donner, who revolutionized the broadcaster, and the design of the world as a whole, to the meticulous choice of the tracks by João Nabucco, Roger Henry and all these others that we don't even know the name of, but, like it or not, made the soundtrack of our lives.

Maybe it's nostalgia, maybe it's nostalgia, I don't know.

After all these years, this trail, besides being scary, can make you miss something.

Miss a simpler time, where your only concern was to know if you were going to be afraid of the movie that was going to air, or if you could be watching that movie until late.

For more content, to know about backstage and stay tuned for the next videos, follow me on Instagram at aprofundoideias and for more

When I'm recording this video we're almost at 25k subscribers and almost

450k views I can't believe it, this really seems like a dream.

If you like the work I do here on YouTube, consider being a member of the channel, so you can watch the videos 2 days in advance, you can exchange an idea with me, suggest topics.

It's pretty cool, I'm sure you'll like it, and it will help me to keep making this channel grow and be active.

Again, thank you so much for watching this video until the end.


Speaker 0: There's a feeling I know you remember. You're in your room or living room, almost asleep, and you hear this.

Speaker 1: And suddenly you are taken by

Speaker 0: night feelings, with the lights of the city knocking on the window, Some cars passing by, the fridge making noise, melancholy and loneliness hit you knowing that you're going to see a horror or suspense movie.

Speaker 1: You may think that all of this is a coincidence, but it's not. In this video I'm going to prove you how the Supercine vignette is meticulously thought to manipulate your emotions, in how it mixes jazz, nostalgia and even the capiroto. Hey, guys, play Supercine with your mouth. Everything starts with 1 of

Speaker 0: the greatest designers in the world, Hans Donner. Hans Donner was born in Germany in 1948, but he soon moved to Austria. In 1974, after reading a report about the advertising design produced by Brazilian professionals,

Speaker 1: he decided to come to

Speaker 0: the country. At the time, Globo did not have an art department and the opening of the programs was made by a third-party firm. When he saw the designer's work, Walter Clark, Globo's general director at the time, hired him immediately. In 1975, he moved to Brazil with his first job here, which was the creation of the new Globo network brand. Like, that's all I want to do, right?

That's his job. From there, he formed the videography department, which takes care of all the company's visual programming and all its products. Novels, journalism, children's programs, sports, humor and many others. Hans Dörner revolutionized Brazilian design precisely because of his inventive and out-of-the-box way of using 3D technology, geometric shapes and live-action actors to perform his visual feats that marked almost all Brazilians. He and his team created the opening for Fantastico, Planeta dos Homens, Vivo Gordo, TV Colosso, Jornal Nacional, Jornal Hoje, the controversial Globobeleza vignette and the Globo's headquarters.

I know it seems obvious, but have you noticed that as the day goes by, the news also go? This is the power and duty of design. But when it came to the music part, it was Boney himself who chose the composers. Let's, for example, think about Globo's headquarters. In the beginning there was a Globo's headquarters in special edition, and if you think that the current 1 is scary, check this out.

Speaker 1: Globo's platform, report in special edition.

Speaker 0: After that, the call became the newspaper's platform, which usually aired on time.

Speaker 1: But Bonnie knew she needed a hybrid show to air at any time and

Speaker 0: that it would get the attention of those who were watching.

Speaker 1: The show then promoted an internal contest to choose the best track and the winner was João Nabuco with this song,

Speaker 0: the Ripilante, that we know to this day. But why does this song cause so much anguish in the Brazilian? The design with the flying cameras approaching the screen, spinning the globe, suggests that the event to be reported is being seen around the world and has a minimally national impact. The written PLANTÃO on the screen along with the logo of the giant channel are frozen for a few seconds until the music ends, generating a feeling of anxiety. The version considered the most frightening is the 1 with red lights flashing.

So, the first PLANTÃO of Globo in this format was aired on August 19, 1991, in the hot screen interval, reporting the crisis in the Soviet Union. The newsroom created an association in our heads that always refers to some tragedy, the death of someone important, wars and disasters. It was always some news that would impact our lives in some way. The context of the shift was always unexpected, it usually came in cutting the programming in the middle without warning. So many people were scared when the music came in.

And the music created by João Nabucco in his composition is very simple, but very effective. It has 2 arrangements that when played together give a feeling of urgency and credibility. The bass melody is a F with a fifth. It's a chord shape called Power Chord, which is widely used in Rock, Heavy Metal, Punk, etc. To be a heavier and more repetitive note.

Speaker 1: And the melody that rules the track has a very cool trick.

Speaker 0: In the field of science, it remains a puzzle, but the perception is that major chords emanate a feeling of joy, while minor chords evoke a feeling of sadness. At least, that's the perception of most people. In the 19th century, Hermann von Helholtz, a German researcher, demonstrated that minor chords give rise to more intricate sound waves patterns, less harmonic and less comfortable for the auditory processing. This peculiarity could explain the feeling of sadness we experience when listening to them. But there's a plot hole there.

If this phenomenon is purely biological, we can say that everyone has this perception, right? No. The Kowar and Kalash tribes, native to the northwest of Pakistan, adopt a completely opposite approach to the western 1. For these tribes, minor chords are associated with positive emotions, while major chords are associated with negative emotions. But, considering that you are a person who perceives major chords as happy and minor chords as sad, What João Nabuco does here is to play with his emotions.

The scale that the composer uses here is called Fá Lídio, that is, it is a set of rules to follow in the melody, but the rules exist to be broken. If Nabuco were to follow exactly what the scale says, he would use a D minor, that is, a note that evokes sadness. But instead he plays a D major, that is, a note that evokes joy. Joy. The

Speaker 1: melody together then looks like this. A mix of joy and sadness, which makes you get confused about what to feel, all this to

Speaker 0: the sound of a heavy and repetitive note. And so a masterpiece of the Globo vignettes is born.

Speaker 1: If you're enjoying this content so far, subscribe

Speaker 0: to the channel so you don't miss other videos and leave a like, which is free, and that helps me a lot.

Speaker 1: And if you want to watch

Speaker 0: the videos from the channel before everyone else, talk to me, suggest topics and help me expand the project, press this button here called Be a Member. If the value is in your pocket, you will help me a lot to keep this channel active. Thanks! Now, another vignette that generated discomfort and urgency in people was the Set your watch on summer time. Today at midnight, summer time begins.

Speaker 1: The track has

Speaker 0: an accelerated rhythm with several notes played in sequence. It caused a feeling of urgency, just suggesting that time is passing, the clock is running, and you need to hit your clock, or you'll be in the wrong time. The vignette gave almost an order to those who attended. If you don't hit your clock, you'll be living in the wrong time. And you had to go out hitting the clock from the kitchen, the cell phone, at the time when there was no such automatic option, on the computer, etc.

And there was a vignette that went on for half a night for you to advance or delay your watch. What a pain, huh? My God. And the same concepts follow several old vignettes that marked our lives, such as the Intercine, which had these heavy chords being alternated by percussion. The Corujão, which we never watched the movie until the end and was like, ok, it's too late and I'm still awake, I'm going to screw myself tomorrow.

This feeling also came with the vignette of the bigger Domingo, better known as the official vignette of the Weekend Is Over. The jazz of the show, which was calm, melodic and quiet, just like your show. And the afternoon session, with the clear sky and a rainbow that hugged us saying, it's okay, you're going to watch a light, quiet movie now, you can be good. But of all these vignettes, the 1 that intrigued me the most during all these years was the Super Cine, and I finally found out why. First, the design.

The Super Cine's vignette in terms of graphics is 1 of the simplest. The concept follows the path of movie rolls interlacing until forming a super S, while the colors are predominantly blue and yellow. A very nightly palette. And that's it, there's not much more to pay attention to. Having such a simple design, what stands out is the music.

Roger Henry is a musician, maestro, composer and responsible for more than 2, 000 trillas of Rede Globo, including the Super Cinema. In an interview with the magazine Época, he says,

Speaker 1: In almost 40 years of my

Speaker 0: career, I joke that I am the invisible man, because no 1 knows that I exist. It's a huge job, like in the movies. And if no 1 notices, it's because it's well done. The session started in 1981, being shown on Saturday nights after the eighties soap opera, showing more adult movies and more violent and sensual content, depending on its showtime. From 1981 to 1984, it had a longer vignette, with another song, still in that noir style, but very different from what it established.

The new vignette debuted in 1984, being reformulated several times as technology and aspects of TVs changed.

Speaker 1: Until you get to this 1, which is

Speaker 0: the current 1, which... I'll talk about it in

Speaker 1: a bit. But why

Speaker 0: does this track cause so much bewilderment and melancholy? It all starts with the genre, because Roger Henry's music is a... Jazz!

Speaker 1: The genre was born in

Speaker 0: the United States, mainly among African-American communities in the late 19th century and early 20th century, combining different musical traditions such as African, European and American music. It was 1 of the first styles to highlight improvisation, where musicians created new melodies and rhythms at the time. This brought a new dimension to the music, allowing musicians to express themselves uniquely in each performance. In addition, Jazz also challenged the musical norms of the time, incorporating rhythmic and harmonic elements, and played a fundamental role in the fight for civil rights in the United States, as it allowed African-American musicians to assert themselves and be recognized for their creativity. Over time, jazz influenced many other musical styles and gave rise to various samifications such as bebop, Swing, Funk, Fusion and even what we know today as Lo-Fi.

Jazz's association with nightlife, nightlife and nightlife has historical and cultural roots that go back to the origins of the musical genre itself. In the early days of Jazz, many of the performances took place in nightclubs, bars and cabarets. This was related to the fact that many jazz musicians, artists and tinerants, either worked during the day in other occupations, so they used to play at night. The nightclub provided a more relaxed and intimate space where people could relax, socialize and dance. During the period of prohibition in the United States, when alcohol sales were prohibited, clandestine bars became popular places for people to meet and drink illegal drinks.

Jazz was often played in these places, contributing to the association of the genre with the nightlife and a certain cultural rebellion. So, for a session of older movies on a Saturday night, a jazz is perfect.

Speaker 1: For another puzzle to make sense, we need to understand the concept of consonance and dissonance.

Speaker 0: Consonant chords sound stable and harmonious, transmitting a feeling of rest and conclusion your notes fit well with each other generating a pleasant feeling to the ear on the other hand, dissonant chords are chords that sound unstable generating an expectation and a need of resolution for a consonant chord

Speaker 1: Your notes have combinations that generate a

Speaker 0: sound friction generating a feeling of affliction These sounds are everywhere in our lives. For example, the sound code that indicates that your JBL headset is connected to Bluetooth is But the sound code that indicates that your Android is with low battery is this 1 all right Oops, but I think there's something wrong, huh? In other words, in most cases, when a dissonant chord is played, our ear asks for a conclusion of relaxation But Roger doesn't do what our ears expect. Actually, he does this. Ok Lucas, but jazz was made to relax, to be good and to enjoy the night, so why does this track cause the opposite effect on people?

The Supercine track uses consonants and dissonants chords, as well as in several jazz songs. But it's not just any dissonant chord. It's a so-called tritone. Remember I mentioned the 7th Pele at the beginning? So, the story begins like this.

During the Middle Ages, the Catholic Church exercised a significant influence on music and its theory. Musicians and musical theorists worked according to the rules and principles of the Church. The tritone, due to its dissonant nature, did not fit well in the rigid structures of sacred music and was considered a devil's chord. The term Diabolus in music, which means the devil in Latin music, was frequently used to refer to the triton. It is believed that this association has been influenced by the desire of the church to keep the sacred music harmonious and pleasant to the ears, avoiding the dissonant intervals that could create a feeling of discomfort or disturbance.

This association of the triton with the devil was widely perpetuated by musical theorists, and this evil reputation of the interval may also have been influenced by cultural beliefs, superstitions of the time and for having been used in several heavy metal songs. But according to other sources, the term Diabolos in music was just to say that it was difficult to sing this interval, so the name. Besides that, the affective memory factor is something very present. The feeling of fear and discomfort comes from these chords, but it also relates to when we watched the super cinema when we were children and teenagers. The feeling of being awake so late and watching a movie you shouldn't watch, causes this almost dangerous moment.

The rephrasing of the identity of Globo was inevitable and, because I've been working with design for so long, I fell in love with the rebranding that the brand suffered. Everything seems to work perfectly. It's colorful, young, diverse and modern and somehow still perpetuates everything that Hans created. But when the subject is the new vignettes... Oh, man...

And almost all of them now have a minimalist, white and very boring look. The tracks are also plastic and generic. It's a shame.

Speaker 1: The amazing thing

Speaker 0: is to understand that this feeling of fear is not a pure coincidence. The power of the Globo vignettes goes far beyond what we imagine. Both the design of Hans Donner, who revolutionized the broadcaster, and the design of the world as a whole, to the meticulous choice of the tracks by João Nabucco, Roger Henry and all these others that we don't even know the name of, but, like it or not, made the soundtrack of our lives. Maybe it's nostalgia, maybe it's nostalgia, I don't know. After all these years, this trail, besides being scary, can make you miss something.

Miss a simpler time, where your only concern was to know if you were going to be afraid of the movie that was going to air, or if you could be watching that movie until late. Oh, guys. Tomorrow is Sunday. I need to sleep. It's already late.

So, good night. See you later.

Speaker 1: Hi, my name is Lucas Reichert.

Speaker 0: I'm a journalist and content creator. For more content, to know about backstage and stay tuned for the next videos, follow me on Instagram at aprofundoideias and for more

Speaker 1: quick content on TikTok at aprofundo. When I'm recording this video we're almost at 25k subscribers and almost

Speaker 0: 450k views I can't believe it, this really seems like a dream. Thank you so much. If you like the work I do here on YouTube, consider being a member of the channel, so you can watch the videos 2 days in advance, you can exchange an idea with me, suggest topics. It's pretty cool, I'm sure you'll like it, and it will help me to keep making this channel grow and be active. That's it, see you next time.

Again, thank you so much for watching this video until the end. And I'll see you in a bit. See you! See you later.

See all Aprofundo transcripts on Youtube

Como as vinhetas da Globo manipulavam suas emoções (principalmente a do Supercine)