OT gala 4: twisting words | TV

OT gala 4: twisting words | TV

Xavier Sancho said that in today's Spain punkism is found in the most unsuspected groups (Andy and Lucas, Stool), but no one could ever imagine that, among all the old glories of post-Francoism, Mecano would unleash a polemic at this point. And it has not even been to call Salvador Dalí "Eungenio". Of all the Spanish pop classics that could have titled this chronicle (including Mecano jewelry as Woman against woman, Stereosexual or This cemetery is not serious), has won an Alaskan song. To Alaska, which has defended the use of "mariconez" perhaps for fear that next week the town will charge against The murderous official, likes to define innocuous, light and naive things as "a mechanade". But from now on that term means something different. Language things.

The discomfort of Mary because Stay in Madrid include the word "mariconez" as a synonym of cursilada (which apparently still needs to be clarified that is an unmistakable derogatory association to gays as sentient or even effeminate people) has unleashed a state issue that goes beyond the intention, undeniably colloquial, of the author of the song. And beyond the accusation of homophobia against Mecano that absolutely nobody has done.

It has revealed the frontal clash between a generation that for years has used terms like "nenaza", "retarado" or "chacha" (to internalize them and consider them normal, colloquial and inoffensive) and another generation that listens for the first time "mariconez" in a love song and it sounds discriminatory, insensitive and insulting. A debate that is worth having to at least show that this country is evolving. That sometimes it seems that no. But yes. And popular products such as OT acquire a social repercursión that, in the hands of a public television, becomes responsibility.

Damion sings Give Me Love Exactly like Ed Sheeran, with the same voice and the same intimate guitar, but accompanied by people walking with suitcases and dancers who waddle as if they had ants in the crotch. Because the next debate we need to have is why OT brings out a dance body to erotic wiggle for literally any musical number. Until when Joan sings Bed I Made choristers use their mic stand as if they were strippers. Joan, who defined her girlfriend at gala 0 as "a girl's charm", fell short: she is the true revelation of this edition. She should replace Eva González in Master Chef.

Marta and Marilia face their natural destiny of versioning the other Marta and Marilia (Ella Baila Sola) with We draw lots, a song as simple as inexplicably epic: it works as a Christian camp tune, as a karaoke anthem and as a soundtrack for a road trip. It does not matter who the passengers are. Your mother. Your grandfather. A psychopath from BlaBlaCar. Your co-worker who believes that "mariconez" is not offensive. We draw lots is the only thing that has managed to put this country in agreement, perhaps because we have all felt that "now I need to be with a lot of people and when we are alone I do not want to kiss him".

But what is inexplicable is the attire that the girls have been given: platforms, leather pants, a transparent polka-dot shirt, a T-shirt with a newspaper print. Marilia and Marta are dressed as if, indeed, they had cast lots and lost the bet. But they are perfect in their interpretation, leaving that atypical feeling that they could not have done better.

Famous sings Take Me To Church ("Take me to the church") and of course, a church appears on the screens. The spotlights, in shades of yellow, violet and fuchsia, recreate the lighting that is increasingly seen in the cinema and the series starring blacks. Traditionally, cinematographic photography was intended only for whites but films like Moonlight or series like Insecure Y Atlanta They opt for purple tones to illuminate their black characters because they are the right colors for dark skins. This performance is, at a luminous level, the most elaborate, respectful and careful in 10 OT editions.

Noemí Galera connects from the academy although she seems to be on Jupiter, drunk with happiness by the two waves obtained by the contest: best entertainment program and musical phenomenon of the year. But for phenomenon, Maria and Miki. She uses the joke of Roberto Leal to endorse a stopper and the presenter defines it as "a historical moment". It is curious that among all that has happened with María and Miki this week, Leal considers that the historical thing is that she gives him a stopper. The two contestants (who do not forget live completely apart from the one that has been bundled) demonstrate a humility in addressing the issue that absolutely no one has had on social networks during the last five days.

Miki, as demanded by José María Cano (a man who has been out of public life for almost two decades and, nevertheless, has considered it necessary to return to our lives to claim his right to protect "mariconez"), sings the original lyrics and almost nobody pays attention that this is a beautiful song. So much that he does not suffer from the grandiloquent orchestration much more in the line of Nacho Cano that they have put him. And with how easy it would have been to simply delete the happy phrase as all the OT songs are shortened, it turns out that Stay in Madrid It lasts two minutes. When it finishes, the public chooses "stupidity" and Ana Torroja looks with Mónica Naranjo's face. Thus ends a controversy that the contest has decided, very prudently, to deactivate tactfully.

Carlos Right and Sabela sing Polar Star and some viewers (or maybe just this viewer) miss Víctor and Edurne with None of this was a mistake, that performance in which Edurne decided that she would let her hair do all the work (that hair should have been a favorite). Noelia, to whom each week they give a more difficult song while Carlos Right is literally given the same song, sings Storm and they put a fan to him to such power that the current of air to point is of taking its meter fifty of return to Malaga. The one that flies, however, is his voice. But not always at the right height.

And then Alba and Natalia arrive. His performance of Toxic it is the closest there has been in OT to an exorcism. Combined as if they had come to inaugurate the seventieth games of hunger on a motorcycle and without a helmet, Alba and Natalia mark each movement as if they were electrocuted but they did not care because they will dance until they fall dead and the public lives it as an ecstasy. Because what is happening, as precise as organic, is really hard to believe. And so, for the first time in this edition, a performance goes down in the history of the program. Last year it was City Of Stars. This is Toxic. Because having a boyfriend is fine, but going out to party with your friend, put one of Britney's and that the dance steps come out coordinated is the reason why we exist as a species.

And the leader of that species is, apparently, Maria. His naturalness when it comes to putting on the table the daily homophobia with which we have lived together for decades and thus reflecting millions of people who have sat down to have a conversation that a few years ago would turn Martian has ended up being tremendously subversive. Mary makes the friendly revolution. María crosses the catwalk as a favorite, or so she believes, because what the public sees is a khaleesi. A liberator of language slaves. And this mother gives dragons has had the most noble squire.

As paradoxical as it is to end this chronicle with a heterosexual white man instead of the bisexual woman who has lit the fuse of reflection, Miki is also a symbol of his generation. Exactly 17 years ago, Javián was nominated for perpetrating Look come come of Chayanne with David Bisbal and Álex. When Carlos Lozano gave him the opportunity to defend himself, Javián clarified that the black shirt fitted with three printed flowers that had been put on him did not represent him.

Tonight, Miki has cried while hugging his friend Joan before he left the contest, has expressed dissatisfaction with a homophobic term with respect and has referred to the contestants as "all of us". Miki represents a new masculinity because, at the end of the day, there are more girls (8) than boys (5, next week 4). They may (or they, or elles) still depend on the permission of defiled authority figures from another era, but the future is only theirs. And they will use it to ask questions. The future is in good hands.


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