New Year's Eve is that evening of eternal traditions that were invented yesterday. From eating the grapes, the rites of all life have been incorporated year after year with the naturalness of the best fictions. The last one, the dress of Santa Cristina Pedroche, Marian appearance that guarantees hysteria and debates over the first weeks of the year. For much anger that is mounted, considering that we came from the Spanish layer of Ramontxu, the nightlife tradition has evolved to better.
This year, Pedroche appeared before the Spaniards on Antena 3, counterpoint to Chicote, dressed as a forest fairy, with a floral bikini from Tot-hom that I dare not judge. Santa Cristina was exhibited in the Puerta del Sol satisfying all expectations, and the prologue benefactor of humanity that pronounced before the uncovering, which alluded to the environmentalism and the murder of Laura Luelmo, did not detract from the folklore and frivolity later. The novelty was that, an hour later, Pedroche (this time, siren) and Chicote, appeared with Brays Efe giving the bells of the Canary Islands, but in the Puerta del Sol, whose clock was delayed for the occasion. The script was a bit confusing and alluded to the possibility of being trapped in a space-time loop, which made Pedroche, Brays and the Chicote lean in characters of Philip K. Dick.
Jesús Calleja and Lara Álvarez played the solidary trick from Sant Llorenç des Cardassar in the longest strokes. Álvarez threatened to present himself as the seductive but decent alternative to Pedroche's disinhibition, but, in this duel, Atresmedia defeated Mediaset on his own turf. As much as they threw pujas (chimes can be given with a suit, said Calleja, praising Álvarez's jacket), there is no one who can with Pedroche.
Igartiburu and her floral arm, like a superheroine that shoots petals, kept high the standard of grape classicism. He still misses Ramontxu and his cape, but the sleeve of the dress left no room to see anything else, not even the debutant Roberto Leal, who performed his role as a comparsa with dignity.
La Sexta offered the most bland version, with a Cristina Pardo and an Iñaki López, which is difficult to see in a context without politicians or political quarrels.
Before choking and confusing us with the rooms, in La 1, José Mota perpetuated the very noble tradition of white humor at the end of the year. Mota represents an immortal Spain in its own way, that likes to recognize itself in that time of guasa well done and without militancias of announcement of sausage. Although, teasing mockingly, he composed one of the best chronicles of one of the most interesting and deranged political years of Spanish democracy. The portrait of the retreating Rajoy, who leaves Cabify in Santa Pola, had tragicomic edges. Despite who despite, Mota was the best of the previous campanera. As usual. On New Year's Eve of the 21st century Pedroche y Mota.
The other Spain, the one that does not marry or have children, could be found in La 2, with its Iron and chrome bits, in New Year's Eve more elitist and ironic, and also the most optimistic, because its potential audience surely does not turn on the TV. It is probable that he does not even have TV. Virginia Diaz meditated on an interior monologue that, by 2018, looked like a TV star, but of La 1, like Anne Igartiburu. I understand your roll, but the viewers of Igartiburu, I do not believe.
Of the refritos of Antena 3, for what to speak, and I recognize that I lacked the body to stay a long time in that deep anthropological field research called First Dates, although it gave me to see the performance of Tequila, with the desire of Alejo Stivel that we link a lot in 2019. The lyrics ("I wanted to be normal, but I did not get it") perfectly defines the spirit of the program.
And then, what does it matter later? Eros Ramazzotti, playback, churrería music. What is expected and what is wanted in a night of eternal return. For what more.