Jordi González is obfuscated because
Secret Story.
The house of secrets
has been weak in audience and social networks have not welcomed it with laurel wreaths and a palmata tunic.
On Sunday he complained that the format had been "dilapidated" and asked between afflicted and catilinario if he was doing television "for people who have been raised in a stable."
What happens to Arturo Bonín with Luis Perezagua in
Amanece that is not little
. If Nabokov's plagiarist believed that the farmer was going to spoil the novel by misreading it, González suspects that we see the program incorrectly and we deteriorate it with cheap observations. To the apocalyptic and integrated of Umberto Eco, González has added the stables. Curious, because
a priori it
would be said that they are what he longs for: viewers with a low neck and silent rumination.
The chains love interactivity when it is limited to collection purposes, the problem comes if more than collecting, it diminishes. How could they imagine when the SMS and
Teletrees
festival started
that one day that interactivity could backfire. That the spectators would stop being a mere ATM and the farm would be rebelled against them. Or the stable. González is still scared by the end of
La Noria
, when after the interview with El Cuco's mother, the protests of the spectators caused the fright of advertisers and left him unemployed.
The ethics of a chain that finances criminals, suspected criminals or henchmen, is questionable;
the freedom to do so no.
They are as free to write checks to them as the public to question their necessary cooperation in doing so.
Just as we are as free to declare our love for a format as to consider it, quoting the words of the long-awaited Manolo Preciado, “the last shit that Pilatos shit”.
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