Olga Visaan indisputable benchmark of good journalism, intervened this Wednesday in the program of Soundswhere the topic of conversation focused on Ana Soria y Enrique Ponceafter the interview granted by the bullfighter and the student the day before to Pablo Motos.
“Falling in love with a public figure who gives an open bar?” Ónega asked her colleagues to set the inquisitorial tone and her position in favor of the bullfighter and his young girlfriend and in front of the media pack that disguised the adulterers as victims.
The moderator, however, met Olga who, in the exercise of her freedom of expression, and showing her independence and her respect for the truth, hit the nail on the head of what had happened. “Ponce should have protected her,” Viza reproached, remembering without having to say much more than the former de dove caves and the future lawyer fed us for months by flooding Instagram with scenes sweetened to the point of cloying, kissing, flirting and all kinds of graphic displays disseminated knowing that they were going to be widely reported in the media.
In the supposedly white debate in Sonsoles, it was not forgotten, but only thanks to Olga Viza, that such a bombardment occurred immediately after it was revealed to the media that Paloma Cuevas had been abandoned by Enrique Ponce, who had fallen in love with a twenty-something beauty. Confusing platitudes with arguments generally leads to debates that insult the intelligence of the viewer. Of course love is free between adults. Of course, we all agree that one cannot insult or slander (there are the courts), or that fabricated news embarrasses journalism, but let’s not fool ourselves: Ana Soria and Enrique Ponce are not the victims who have suffered the most. in this history. In addition, she, with the connivance of the bullfighter, inoculated the media and therefore public opinion with the drug of her amorous images; no doubt because her wish was for the world to attend the little romantic theater she boasted of and she wanted to make us addicted to her novel. We refer to the same little theater with which she rubbed Paloma Cuevas (and the bullfighter’s daughters) in the scenes of her cuddling and courtship.
It is insulting that another fellow member of Sonsoles, like the comedian michael lake, now converted into a todólogo, made rhetorical crosses because the media would pay attention and follow in his day the soap opera starring Ponce, his ex-wife and her lover. Miguel Lago lacked time to stir up the media that talk about the loves and heartbreaks of celebrities. Perhaps from that corner of the set, neither the clown nor his boss see that other area of the set, the one that hosts the second part of the program, where Sonsoles herself moderates the gossip debate (the one that perhaps generates more audiences), in which his other companions are first swords of the social chronicle, that is, dismemberers of romances and other stories as pink as cotton candy.