Ever since NBC announced plans to create a live edition of “The Sound of Music,” featuring Carrie Underwood as Fraulein Maria, Legions of Rodgers and Hammerstein Musical, myself included, I’ve been waiting for last night’s telecast with an added amount of excitement and awe. For the United States, who asked Santa to train Salzburg to watch the movie of the movie, this occasion was a welcome to those who accommodate to the welcome to the United States. Flibbertigibbets and cream-colored ponies. On a scary note was the casting of Underwood, the winner of 2005’s “American Idol,” who had no experience in musical theater. It seemed like a gimmick to attract an audience that a Feathy Feathing audience for a lot of believable production. fiasco.

And yet, unless NBC hired a neuropsychologist to consult about production, Ashford and Underwood were sentenced to disappoint their audience. They may have done well to help Professor Wolfram Schultz, a Cambridge neuroscientist who studies the circuit circuits of dopamine and brain praise. In a word, Schultz’s studies have shown that the human brain is on alert for imaginable praises, since listening to a loved song touched in the same way that dozens of times has been done. When the brain supplies that a praise is likely, it releases small doses of dopamine, the neurotransmitter that is related to emotions of emotion and happiness. When the planned occasion occurs, a larger dose of dopamine is released. If the praise is chosen, the grades of dopamine fall, creating emotions of sadness.

In other words, whether they like it or not, the millions of other people who heard last night had safe expectations. Although Underwood and the rest of the team, they were looking to create a new total production founded in the 1959 Broadway musical with Mary Martin, and not the 1965 film with Julie Andrews, only the words “Sound of Music” bring us to the beloved movie scenes. For me, it is this look of Glee disturbed on Liesl’s face after Rolf kisses him in the roundabout, and the scathing condescension of Eleanor Parker as Baronne, when he is helping Maria to dress for a ball.

Manufacturers may have tried to lie to the trap of anticipation through novelty and the transformation of the musical in a radical way: Nazis as vampires, for example. As much as the brain likes to anticipate something good, then get it, it also likes anything new and unexpected – the dopamine reaction is even stronger. In other words, rain falling on roses and whiskers on kittens is good, however, locating a wonderful pair of warm wool gloves inside the brown paper pack attached with strings is even better.

Five minutes after the transmission last night, it has become transparent that NBC had to keep the original Broadway production. Unfortunately, the high definition high definition screen looked like a telenovela with the voice. Upon the precision of the army for the maximum productive angles, the actors seemed directed to the blows of their brands and do not move in the generation of their cameras. He has bare hard paintings and lazy production shortcuts.

On the plus side, you can tell Carrie Underwood and that her co-stars gave it their all; On the negative side, the furniture on the giant terrace of Captain Von Trapp’s villa looked like a reasonable Walmart terrace, which was a main advertisement for the broadcast. The musical numbers seemed transparent and very complete, except when Underwood unleashed the full force of his “American Idol” voice the supposedly intimate moments, such as when he teaches the young von Trapp to sing “do re mi”. What you have to do was avoid your eyes from the whole and enjoy the familiar tunes.

All this was bad news for NBC, but the intelligent news for my brain, from the rigidity and the general absence of chemistry between Underwood and Stephen Moyer, of “True Blood”, who played the captain of Taciturn, immediately vaporized my nostalgic expectations. This production was anything new, not unexpected or new enough to advance in satisfied dopamine, but far from everything I have loved, a comparison seemed unfair. And, there were some moments of pleasure. The Broadway veteran, Laura Benanti, playing the baroness who wins and loses the love of the captain, was delicious as unpleasant, and had to do anything well to make friends with the dress department, which rewarded her with a very elegant closet. (Not so underwood, which was punished with swollen sleeves that belonged to the “The Puffy Shirt” episode of “Breast”. ) And Joe West, the child who played the malicious Kurt, captivated the masses, inspiring a hashtag #teamkurt on Twitter.

Perhaps intentionally, perhaps through an intelligent accident, the manufacturers dodged the greatest calamity, which would have been to ruin the original through arriving too close and, nevertheless, not close enough. After all, he would have made more efforts than the von Trapps climbing the Alps to overcome Julie Andrews Classic. Fortunately, my brain and I can sit and our favorite things: his wonder when he sits in a pine with a cone on the table, clicks on his heels while running for the bus, and then I don’t feel so bad.

Credit: Will Hart/NBC/Getty.

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