Sunday, September 19

Turk’s heads | People

Tomorrow Sunday I had a dilemma: debate between seeing the new installment of Rocío, tell the truth to stay alive or Jordi Évole’s interview with Miguel Bosé. I was intrigued by how this media duel would be resolved, this new naval battle between Atresmedia and Mediaset. I have good friends who remind me that there was already a historical confrontation between Rocío Jurado and Miguel Bosé during the recordings of a special dedicated to the singer in Seventh Cavalry, the program that Bosé presented on TVE. Then the recording was suspended several times due to the changes of costumes and hairdressing of the biggest, there were nerves. Jurado flies over everything like a wild dove, while his daughter continues to shell and Bosé will respond. We have a prime time thrilling.

But Évole’s interview has brought forward the broadcast of Carrasco’s docuseries and that is why this Wednesday we were awake again with new revelations that from now on involve another great of the song, Massiel, iconic Spanish Eurovision winner. Due to lack of sleep, it was difficult to summarize it for my husband and we had a frugal disagreement during breakfast because, according to him, he did not understand almost anything of what he was saying, while he savored the complicated balance of fruits and vegetables in his morning juice. Let’s see if I get it here: Carrasco “was forced” to sue the singer from La, La, La, a friend of her mother, after she joined Antonio David Flores in a false accusation in which they both maintained that Rocío Carrasco had given an interview in defense of her partner Fidel Albiac, with a supposedly badly made-up facial hematoma. In the docuserie, which also serves Telecinco to recover its own image archive, they showed the interventions that cost Massiel to pay a high sum for the sentence, while Antonio David ignored the matter and Carrasco began to see how television programs They counted less on her services because they considered her “complicated, she makes demands and it is better not to give her a job,” as Rocío herself asserted. It cost me a wasted breakfast, but I concluded that this review of the recent past of the heart press reveals the level of deception, manipulation and passion that the entertainment industry sustains. All are guilty of something, accomplices, false friends and dangerous friendships, that when it is necessary to pay they leave only the weakest. And who is right, without a chair to sit on.

A chair affair in Turkey once again demonstrated the inexhaustible solidity of machismo. The Turkish president, Erdogan, did not sit well with the president of the European Commission, the efficient and Lutheran Ursula von der Leyen. Instead of placing her in her rightful chair, they relegated her to a sofa because she is a woman. The confusion of the president went viral as well as the null collaboration of the head of the European Council, Charles Michel, who does have a chair next to Erdogan. Von der Leyen, always exemplary and serious, managed to mutter an “ehmmm” that should become a slogan against machismo and everything that this disastrous scene represents.

We are witnessing a time when women’s rights matter. They teach. And they change, that’s why I was enthusiastic about the work of Emma Riverola, Open doors, at the Spanish Theater in Madrid. It recounts the night spent by a mature woman, with a bad marital experience, who decides to open the doors of her home to welcome possible victims of the attacks in the Bataclan room in Paris in 2015, and a young Muslim who walks through those doors. The vicissitudes of that encounter reveal a feminine gaze on the incongruities not only between religions and economies, but also between affection, lies and fear. Three corners that we observe from the female prism and that reveals how little empathic we have been with them.

For having scapegoats.

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