For Hamburger, the death of Daniela Peres would have fortified the notion of that soap operas influence and stimulate, collective and individual positive or negative, behaviors. This point of view sufficiently is spread out, as much for the sense-common one how much for the speeches of many marxist intellectuals, who had always associated the interest for the novel, as well as other activities related to the leisure, as the carnival and the soccer, to an alienator attitude. According to same logic, Almeida also affirms that the television would influence the customs and would motivate the consumerism. However, in the work of this last author, it does not appear in which situations the television would exert its influence. Gomes, in turn, is more necessary in its analyses on the relation between novels and our society.
Following the steps of Weber, the author especially affirms that a causal adequacy between the sort exists soap opera and certain existing representations in the Brazilian society, those related to the forms of social control and conflict resolution. The problem of the soap operas, still according to Gomes, would be in the fact of them to have if becoming one exclusive, predominant televisual sort narrative in a society where the escolarizao leaves to desire. In this context, the novels would leave of being a narrative sort, as as much others, to be the only form narrative of that the Brazilian society makes use to tell its proper social dramas. Thus, the form narrative of the soap operas if would have transformed into a thought project from which Brazil tells its histories, fictitious and real. The novels, in short, would be ' ' an alive example of how much it (Brazilian society) is capable of if reproducing imaginarily in its totality, when sheltering and pedagogically reproducing its systems of pensamento' ' (GOMES, 1998, P. 25). Pointing out the soap operas between the mythical and historical speech, Gomes affirms that this sort can be understood as ' ' dramatizadas histories coletivamente' '.