Ferdinand Magellan promised the young king of Spain to discover the shortest and safest way to the long-awaited spice islands, which would expand his domains and provide him with riches.
On the website commemorating the 5th centenary of the first trip around the world (1519-1522), in the library section , we find a whole list of books ranging from novels, thrillers or fiction to essays on this historical event. Since the events to celebrate the anniversary began, an overwhelming effort has been made to spread the story, share the story, as they say now.
These books are exciting and great value. But an audiovisual narrative was missing that would finish vindicating us in these times of cancellation, complexes and revisionisms, in that star product that the Anglo-Saxons do so well: a television series.
Despite the fact that the world was then divided into two by the Treaty of Tordesillas, one half for Spain and the other for Portugal, the first circumnavigation was a European undertaking that changed the way of seeing the world, that connected its people by making other beliefs, customs and values, and which laid the foundations for many of the subsequent innovations under the legitimate excuse of opening new trade routes and sharing a religion and a culture, just as other expeditions had done before.
From Zweig to television
Stefan Zweig writes in the introduction to the biography of the Portuguese sailor Ferdinand Magellan , admiral of the expedition that went around the world for the first time, that books can have their origin in the most varied feelings. His was the shame of discovering what he had done for our benefit and the little credit he had given to the feat.
The writer, who had traveled to South America on the safest ship, with all the luxuries (the cold was mitigated by turning a key that heated his cabin), knowing the end of his trip, the time of arrival and that it would be Kindly received, he felt self-conscious about such comforts in the face of that feat of the early sixteenth century in austere ships, marked by difficulties, uncertainty and, on occasions, hostility and death.
Let’s change Zweig for Amezcua, Patxi (screenwriter), book for series, comfort for 5G and shame for dignity. The result is the creative rationale for Limitless . Even with the licenses typical of a fiction that aims to entertain, it does justice to those who turned their wishes into truth.