No matter how hard one tries to act like an ostrich for a week and bury one’s head in the sand (or, what amounts to the same thing, to pull it out of X), it is virtually impossible not to participate at some point, in some way, in the entire conversation around David Broncano and its new program, The revolt.
David Broncano doesn’t part with his bass drum in ‘La Revuelta’.
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Where there is conversation, there is of course indignation.
What if it was very expensive (it is), and if it was a way of whitewashing the government (I don’t really see how, but it’s possible), and if it was trying to compete with The anthill (of course), that the questions are vulgar (without a doubt), that the guy who is paid a million is not even prepared at all (I doubt it).
What if, what if…
If my interest in The Resistance It was already at its lowest when it was broadcast, after so many chained lamentations and so many headaches, I doubt that its evolution over time The revolt do everything to change this personal trend. Even if I find the progression of his name more than curious.
However, given that it is inevitable to participate in some way in the spectacle that was offered when it was announced and premiered, with its negotiations and budgets, I was curious. Not so much because of the budgets of Broncano and its Revoltthat we have everywhere (fourteen million!), but for those of the other programs that inhabit public television twenty-four hours a day..
And it must be said that the problem is not The revolt in itself. The problem is the conception we have of what public television should hire and broadcast. The problem is that we continue to invent arguments that justify the spectacle of celebrities doing muffins or dancing or singing, people cooking, people interrupting each other to talk about each other’s love lives.
It’s entertainment, they say.
But on the public network there are so many dead televisions and dying programs that they have been a waste of money (dance as you can, Masters of sewing, Cover party) that the Broncano program It seems to me that this is the most successful and profitable signing of recent years, if not of the last decade..
Even more so when we consider that in recent years Spanish television has considerably increased its spending on entertainment, leaving aside part of its audience.
I am amazed at how many people under 40 are glued to the free channels of conventional television…
Now it will turn out that we, the “boomer” purists, will be more modern than those who follow the Motos-Broncano-Wyoming with programs more brilliant than Flash. 😄
Fascinating. pic.twitter.com/gLxegmkh2M
– Javier Santamarta del Pozo (@JaviSantamarta) September 11, 2024
I am sorry to burst the bubble of indignation, but the main problem that, obviously, no one wants to solve, is not Broncano or his friends. The problem is that it has been considered normal and usual that our entertainment is financed by public money.
The problem is that the function that a public media financed with public money should have has been dissolved, that is, what you and I pay for.
The problem is that it is increasingly difficult to find reasons to justify the money involved in its existence. In 2023, the cost of ETP was two hundred and seventy million euros..
Should the function of public television be to inform citizens with rigor and truth, in a meticulous and precise manner?
Should the staff be entertained with a series of shows and programmes whose content, rather than entertaining, seems to put the viewers’ brains in a kind of deep fryer?
Should we keep the ideas and mandates of a government and transmit them to the population, without intermediaries or divergences?
It takes a lot of mental juggling to find a reason that justifies its existence, given the current media landscape.
And also taking into account that an entertainment program that asks for the money in the client’s bank account and the number of people he has slept with in the last month, he ate some of the news.
