There are two series on the bill that deal with a subject more typical of a journalism or sociology class than a
thriller
plot : the end of mediated political communication.
In other words: when Twitter and Instagram are preferred to a journalist who asks questions.
The last season of
Borgen
presents a minister Birgitte who learns to use Instagram, announces government agreements and laws by taking selfies with the prime minister and discovers that her power is reinforced much more by uploading her breakfast photo than by explaining relations with China in an interview.
In
The City Is Ours
, the return to Baltimore of the parents of
The Wire
, also reflects on the non-appearance of journalism through the epidemic of spontaneous videos on police violence that confuse and add chaos to a reality that is already chaotic: without a voice that orders and narrates the events —says David Simon—, the friends of the fascism have the expeditious path.
The war of the selfies on account of the trip of Irene Montero and her entourage to the United States confirms the success of this reflection.
Those who direct the communication of the minister wanted to convey an image of carefreeness that her opponents interpreted as frivolous, which gave her supporters the opportunity to fight back with other embarrassing selfies, especially one of Ayuso and her entourage that looked more like a bachelorette party than an official trip.
Those who aired them fell into the whataboutism (and you more) that has replaced the ideological discussion: only what the other side does seems wrong to me.
When one thought that the debate could not be degraded more, the selfies arrive.
Soon, electoral campaigns will be done with emoticons, and parliamentary debates with Tiktok dances.
And we will find it great, as long as ours do it.
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