Javier Milei calls the singer Lali Expósito Lali Depósito in an interview in The nation for collecting public money at a rock concert the same week in which the national reactionary ecosystem pushes the ultras, and those who become intoxicated with ultras without being aware, to target Inés Hernand for doing her job, humor and entertainment, on public television. Lali and Inés are two young women, artists, who immerse themselves in politics and question the certainties of the fearful. Their simple presence is more than enough reason to become the object of attacks from the extreme right. and those who believe that the public is the property of the right. They have in common what they are and who they have in front of them, an extreme right that uses their bodies as game boards for the cultural battle. They suffer violence even in symbolic terms and anyone who does not know how to appreciate that criticism operates in favor of that reaction does not understand the new dimension of communication and politics or who is complicit.
The case of Inés Hernand in Spain is also associated with a series of crossed perspectives that are interesting for understanding the political cleavages of our time, the cultural battles of the extreme right and the debates on the role of information, the media, the media. audiences and new narratives. The criticism of many TVE journalists of Hernand’s participation in the Goya gala due to the way she carried out her work, with the excuse of calling Pedro Sánchez an icon, has similarities with those suffered by Ibai Llanos by sports journalists who did not know how to adapt to the new narrative reality imposed with the widespread use of social networks. Even more so in an environment where workers of the entity coexist, who do not have to adapt to new ways of communicating, with honorable exceptions, and hired workers, who are the ones who usually assume the contemporary needs of the ways of communicating to which companies usually resort. directions to adapt to consumer interests. Internal labor tension coexists with the political dimension of cultural battles, and Inés Hernand is the perfect target for all that hatred and criticism to converge.
All reality is representation and therefore there is no specific way to culturally show a television show. The Goyas should not be narrated in a certain way, but rather the way of narrating shapes the Goyas. Television works in the same way, there is no one way to make it, when it is made it is what is produced. Television has had to adapt to create new hybrid formats that include creators who emerged on social networks with the intention of stopping the bleeding of consumers who migrated from television to social networks. The formats are hybrid because the audiences are, and This new construction of consumption modes is where professionals like Inés Hernand are essential.which transfer the networks’ ways of communicating and thus transform their audiences by bringing them closer to a format that would otherwise be hostile to them.
It is paradoxical that journalists, who brought entertainment to the world of information with the infotainment or the information shows, let’s throw on the pyre a communicator who approaches a cultural event with the banner of entertainment and renewed communication codes that are far from the narrowness and rigorism that characterized public television that found it difficult to open up to new realities, rhythms and idioms. There is no greater perversion of communicative purity than transforming journalism into entertainment through sensationalism, and we have been the ones who have carried it out. It is not Inés Hernand’s fault for doing what she knows how to do and doing it very well, no matter how much her humor is far removed from a generation that does not understand the codes with which the communicator operates. She doesn’t have to like the way she makes entertainment just like Those who like Inés Hernand do not like José Mota, because they are heading towards two worlds that do not know how to read each other.
Debates about how to make television not only appear in the controversy. In the criticisms of the presenter, all the dynamics appear that are replicated in a time of change, fears, uncertainty and loss of customs and customs that are recognizable to those who are afraid of the transformations of the era. Inés Hernand is a symbol that shakes the zeitgeist conservative. Those who see her on television and do not understand anything about her presence and way of speaking all they do is modulate their fear of the new configuration of life in the form of hatred to try to mitigate it. What they fear is in the form of a powerful woman. Inés, don’t take it into account, they’re just scared.