Objective successes and failures

I remember a silent film by Charles Chaplin in which the glazier who installed shop windows in a neighborhood paid a poor man to throw rocks at the newly installed windows. It was his way of controlling supply and demand. I was reminded of the film watching Alberto Núñez Feijoo screaming that, if he won the elections, he would clean out the sewers of a state hijacked by the socialist mafia. Applying the Chaplin doctrine, the two-party system conveys a less than edifying image. It's as if the problem weren't the fetid substance in the sewers, but those who control them. That, at this point, Feijóo speaks of values ​​and harmony is part of the advent of macabre humor as an ideology.

This shamelessness also extends to the calculation of protesters in Madrid's Plaza de España. On Cope, Carlos Herrera adheres to the best accounts and, circumventing the constraints of rigor, speaks of "objective success." It's worth remembering what Simone Veil, former President of the European Parliament, said: "Journalists are accustomed to preferring spectacularity to objectivity." In the realm of spectacularity as a substitute for objectivity, Carlos Alcaraz's victory in Paris does not generate dissent, but rather a fierce competition to see who uses the most dithyrambic adjectives.

Feijoo's talk about cleaning the sewers confirms the triumph of macabre humor.

Those who expected Àngels Barceló to comment on the spiral of rumors—spread with a strategic and suspicious sense of persuasion—about her professional future on Hoy por Hoy (Ser), found that the journalist joined in the praise of Alcaraz's success, both subjective and objective. Without time to wonder whether the diagnosis is true or not, it is repeated that Alcaraz's game was perhaps the best in history, probably because history is analyzed based on the short memory that, like Feijoo, we deserved to have.

Also in Madrid, Argentine President Javier Milei repeated his usual show, with a tour structure that, according to La Vanguardia , is controlled by two Andorran companies serving the hyperactive cryptocurrency community. In the images, we see Milei take the stage and spur on his audience with the gestures of a rock star or a Roland Garros winner. Milei has a sense of showmanship that is easy to criticize, but in practice, it is more effective than the conventional and flaccid rhetoric of rallies.

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