Telecinco told us at the end of last December on its website that 2023 is cat’s Year, according to the Chinese horoscope, and which represents peace and prosperity.

But Jorge Javier Vázquez, born in 1970, corresponds to the zodiac sign of the Dog (Pedro Sánchez, Jorge Javier’s friend who presides over the acting Government is not a Dog, he is a Rat, because he was born in 1972). Jorge Javier personally visited the leader of the PSOE before the premiere of Chinese Stories to bless the premiere with his presence on the set but the Chief Executive gave him a hard time, as has happened with a dozen people, including some former president of the Autonomous Community. The lack of high-level guests is just one of the problems that this format that intended to compete with El Hormiguero has faced.

The Chinese horoscope predicted at the end of last year that 2023, the year of the Cat, was going to be a period of ups and downs for the Dog. It seems logical that the Dog would do poorly in the year of the Cat. Chinese astrology says that the year would start well for those born in 1970 but that as the months went by, their fortune would fade.

Regardless of love or health, when it comes to work, this 2023, the Dog “will have to face some challenges,” said that prediction. This may or may not be a tall tale but… Who doesn’t look at those things from time to time?

The year of the Cat has until February, which is a lot if we compare it with what is left for Jorge Javier Vazquez aboard Cuentos Chinos, which this Wednesday marked 7.1 percent and says goodbye, supposedly, until Monday.

In Al Stewart’s wonderful song titled The Year of The Cat (it was published in 1975, also the year of the Cat), the Welshman says in one of his verses “you’ve thrown away your choice you’ve lost your ticket”, something as well as “you have wasted your choice, you have lost your ticket.” So we return to the Dog Jorge Javier: he has missed this train. The return of the Badalona native to the sets, after the number he put on about the loss and other tantrums, when they eliminated his Sálvames of all flavors and his Deluxe, was a blast.

But many of us agree that La Fábrica de la Tele and its leading philologist would take advantage of the Prime Time opportunity, creatively and effectively using the proven virtues of Jorge Javier for 20 years (Here is tomato premiered in 2003). When Paolo Vasile made the decision to destroy that brilliant and devastating show presented by Carmen Alcayde y Jorge Javier, The displeasure of some was enormous. It’s a shame that the quarrels and political pressures ended him. The ending of Tomato is not that different from that of Sálvame. Although there are nuances. Sálvame lasted almost 15 years and Tomato lasted five. But neither of them was canceled due to low audiences but rather due to other business decisions, in any case, debatable, but perfectly respectable.

In case of Chinese Stories It’s completely different. The format does not exist. Each of the seven installments broadcast is completely different, with the only link being the presenter, the set and that rickety and unpleasant cat who certainly does not have her year, even though we are in the year of the cat.

The dimension of the disaster perpetrated by Jorge Javier and the producers of this monstrosity (which has already begun to disappear) is gigantic if we remember that their objective was to compete with The Anthill by Pablo Motos. We enter the fall, and mark six or seven percent share in the access prime time It is a debacle that scratches the pocket, that hurts, and this toothache that Telecinco suffers requires an immediate visit to the dentist so that he can remove that piece and implant something else before the phlegmon reaches Italy, even if it is a daily strip of VIP Big Brother o Musical Minutes or cartoons.

The question that circulates through the lies and corridors of Mediaset is no longer whether they are going to load Chinese Stories; The question is when are they going to amputate to put an end to this gangrene that bothers not only the viewers who have the misfortune of coming across the space or the network that pays and suffers with such meager data, but also those who present and star in the ridiculousness of an agony that no one deserves, as reflected in Jorge Javier’s face.

Not even his professionalism frees him. Unable to hide in front of the camera the unfortunate role that has fallen on him, perhaps he is the one who must make the decision to go home, even if it is to Big Brother. And then there is Ana Rosa, a bet that is destined to succeed but that has started with discreet results.