Óscar Cornejo blames politics for the end of Save Me: “It’s the money, stupid!”

The new stop on the farewell tour of the producer of Save me by the newspapers coincides with the publication of a new ethical code that Mediaset enacts to whiten the realities How much money do they bring to the family? Berlusconi. get rid of them abuse, live sex, insults, violence, drunkenness and other remembered moments.

Is it because publicity was in danger? In exchange for entertaining ourselves with the tasty junk TV that depletes our brains, so easy to eat but as insane as a pizza cheap, the generalist televisions empty the coffers of their advertisers, crazy to put their products on display to the duopoly to tempt the millions of gluttons who bury our asses in the sofa, those of us who swallow the colognes and viscoelastic mattresses wrapped in tits , fights, horns, gossip, joys and sufferings of characters that we really care about do but to which we dedicate hours of our limited existence. That is the television business that he nailed with enviable efficiency, cold and hard, Paul Vasily for a quarter of a century and that now they want to disguise as ethical and exemplary because they believe that the model is exhausted and they are going to earn more money by changing it.

It was the very Felipe Gonzalez who planted himself in Italy to give Berlusconi the Spanish slice of this business, giving him, in exchange for something, of course, a piece of our radioelectric space, that is, one of the licenses to stupefy the people, that of bread and bulls lifelong. Berlusconi, like Godó and other media empires that benefited from the distribution, agreed to pretend that he was going under the table football (Felipe González wanted political control of the information) in exchange for the piece of cake that Telecinco and Antena 3 shared openly and the Canal Polanco’s pay plus, that of “there are no balls to deny me a television.”

Godó put the socialist john tapia in The vanguard for progressivism to grow in bourgeois and nationalist Catalonia. Like him, they all bent their editorial principles for money. Only 7 years earlier, in 1982, Felipe González had sworn in Aramaic that if the PSOE governed it would not allow private television. Like NATO, more or less. Later, González governed Spain until many years later, on May 4, 1996, Aznar settled in Moncloa.

35 years have passed and almost all the groups that controlled the big channels have changed, but Berlusconi, without his initial associates, is still there, with a few billion more, which is what mattered to him then and what matters to him now about his subsidiary in Spain, which has been trading for days in the Netherlands, as railway: earn money.

Massimo Musolino, the one who controls today money, was already in Fuencarral 30 years ago, more or less when the Romanian Jew Valerio Lazarov he passed the Mammachichos and all the teletheta a Maurizio Carlotti. The mandate of the Venetian merchant who would later control Antena 3 was to make money. So did his successor, Paul Vasily. And he defends the same in exchange for his salary Alessandro Salem. And politics matters less to them than currencies, as they have already explained to Borja Prado, who kicks but understands what is there.

That is why it is naive that in the midst of this new transition, laundering, change of ethical code and fiscal management, the producer of Save me come back with your plea, now from The world, to blame Ayuso (it is a saying) for the end of Save me y Deluxe, losing I don’t know if the essence of freedom but certainly more than half of its annual turnover. That is, the money.

oscar cornejo wants to tell us once more that his magnificent telebasura is he Don Quixote on television, that his idiot puppets are going to be burned at the stake as victims of the system, and that his friend Jorge Javier Vazquez It’s Jesus Christ Maria Patino is Marie Curie, that the Campos sisters are Clara Campoamor and Coco Chanel, and Kiko Hernández is the Alfred Hitchcock of suspense on the set. But those of Save me, like his program, are ephemeral despite their fifteen years on the air, and the gentleman of Cervantes or the director of Psychosis no.

It’s the money, stupid!

The system that Cornejo alludes to in his article on The world, the one who, according to him, “is not a faceless monster, but gentlemen who have built a steel shell around their fear”, is exactly the same one who recognized his own virtues when he made the Tomato and he took it from him to later hand over power and the production company that has made him a millionaire. Because they gave money, not because they were the discoverers of penicillin or freedom guiding the people, although they also understood the immense power of a tit on screen.

Jorge Javier Vazquez He is not “the hammer that hits our consciences”, he is an intelligent buffoon, sometimes great, efficient and fast, but he is conceited, capricious, self-important, sometimes uncontrollable, and he is also so rich that he can send the guano to her bosses if she gets fed up, or stay off whatever she wants saying she has apnea while she goes out drinking with her friend Rociito, the same one that they have vetoed in their company for being heavy and whiny, and for dividing their audience.

Save me is a program that has given as much money as to build a statue at the entrance to Fuencarral. But that “it’s about life, human relationships, the behaviors that our time and our society leads us to”, is just as true as affirming that the main objective of the chain of Twelve months and twelve causes is to do good and educate the population.

To excuse the mistakes made, Cornejo resorts to the obviousness that everyone messes up. “We are imperfect, ugly, bad people at times, we are class-minded, selfish, petty, pimps and assholes.” We take note.