Raquel Sánchez Silva's was the second face we saw in Cuatro, the first was Iñaki Gabilondo's. A declaration of intentions. That channel that was born in 2005 pretended to be rigorous but fun; young, but well prepared.
After the intentions came the facts. They arrived House and Callejeros ; Robinson and Los Guiñoles de Canal + . Because Cuatro was born from the embers of the analogue version of the channel founded by Juan Cueto —reverence—, which until then had broadcast a few hours in the open to leave us later peering into its encoded wonders with a ragged gaze.
Seeing the evolution of events, perhaps the frequency of that Canal + with which we discovered that another television was possible, but we would have to pity for it, it should have been withdrawn like the shirts of legends. How the one from CNN + should have been withdrawn to avoid that Big Brother danced 24 hours on his still warm corpse. An image for the history of teleinfamy. But in the media war, money rules, not sentiment. Mediaset ended up acquiring Cuatro and that channel that wanted to be different became a Mini-yo of Telecinco.
Last Wednesday, the image of Sánchez Silva returned to Cuatro. This time there was no fun or rigor, just desperation to scratch the audience. Everything is true showed “unpublished images” of the devastated presenter at her husband's funeral eight years ago as if the right to privacy of pain could prescribe. On her tears, Risto Mejide cynically chanted feeling “personal and professional respect” for her, just as in a halal sacrifice one prays before the slaughter. Or maybe he was sincere and he is the only one who continues to believe that he is on a prestigious channel, as he thinks he is a journalist because he occupies the same frequency that Gabilondo dignified one day.
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