Abstract
The study addresses the Brazilian soap opera Pantanal (2022) from the perspective in which the narrative presents the character Madeleine. The reiteration of aesthetic arrangements made up of elements such as water and checkered domestic environments place the character in images of anesthetic landscapes, making it possible to infer the figurativeness of the neo-subject. Considering the analysis frames of the chapters shown between March 31, 2022 and May 21, 2022 – from the first appearance of the character until the moment of the plane crash that ends the girl’s trajectory in the plot –, it is possible to assume that the investigated scenes, in terms of the produced meaning effects, function as a metaphor and metonymy of a neoliberal apparatus, allowing the audience to perceive itself housed, eventually, in places similar to those that are framed by the telenovela and occupied by the character.
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