Every Thursday Tamara Falcó goes to the set of El Hormiguero to discuss how her wedding is going with the pijin who cheated on her at a dieselpunk festival for the rich, in front of cameras and a lot of Spaniards who knew perfectly well who she was. On Thursdays, she advances a little about what a wedding will be like that she made her go from being the heroine of “realize it, friend”, to a rich woman without a job or benefit in the eyes of the public. This is how the public image works, where martyrs, heroes, villains, witches, avengers, perfidious outcasts are built, and where imagination plays but not fantasy. You already know about the dress, that the Sophie et voilá people have said that they don’t do it because it is plagiarized from another dress. I assure you that there are dodgy brides kicking around, treating dressmakers badly, demanding like princesses of the Austro-Hungarian Empire, all going with their mothers to give their approval even if they are over forty.
All this would be of no interest if it were not televised. How well in that family they manage the times and pauses of the news moment, and how little importance Tamara Falcó’s wedding dress has in our lives, who has renewed the brand of her mother thanks to the condescending look that she provokes from she. And Pablo Motos had the cunning to put that famous person who is famous for being the daughter of celebrities to comment once a week on how her life is going (section euphemistically called “current events”). I point out a matter that has remained a bit in the shadows: that Tamara was going to charge for wearing that dress. I’m not talking about not paying, but charging for taking it. In keeping with the informative, labor and administrative shabby we have celebrities who sponsor their entire lives. Do you want elegance and style, world famous? Pay for the birthdays, pay for the drinks. Pay for the trips and, for God’s sake, pay for your wedding dress.
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