Everything changes, we have become accustomed to uncertainty, we do not know if the ground we stood on in 2023 will continue to be firm in 2024, but one of the few things that never changes is New Year's Eve on conventional TV. You could read any of my tonight's chronicles from the last five years and it would work for now. I'm not saying this as a criticism: I'm glad that there is something solid and predictable among so much collapse, but it makes it very difficult for those of us who have to write about this clone night, forced every December 31 to find the seven differences. Go for it.
Carlos del Amor has earned a place of honor in tradition with his summary of the year, which serves as the early midnight mass, which is very good, because then we take off the sacraments before dinner and we can go to the mess absolved and free from sin. This year it was Lola Herrera who officiated from a library, in a sermon that seemed less moralistic than other years, although with a similar cadence: 2023 paraded before our eyes like life before those of the dying. The festive spirit of the night was about to go out completely when Herrera quoted Luis Mateo Díez, Cervantes Prize winner: “Life is uncomfortable, let's make it worth it.” The actress then addressed the heartless people, and she told them, evoking María Jiménez: “It's over.” I had my hopes that the program would end there, but it gave way to Amaral, who did a magnificent and delicate version of the song, lifting a show that seemed buried.
New Year's Eve had already started on the rest of the channels. In La Sexta, Leo Harlem from last Christmas told his most classic monologues in a special Comedy club. There was a time when all of Spain liked that program. There may be people who still like it, who knows. I was about to return to Lola Herrera, but Antena 3 had already started its zap, with Roberto Leal and Eva González, perfectly dressed (he in a tuxedo, she in red), and the Atresmedia stars dancing and shaking their bullarengue , in The anthill and beyond. Meanwhile, in Cuatro, Carlos Sobera acted as a pimp for the freaks who hope to find a partner at the discount time of the year in First Dates.
Everything conspired to end up in the familiar and timeless arms of José Mota, who put Milei and Trump in the hair salon. He was the first intelligent thing that appeared on the screen: a joke about the extreme right's hair. An insightful note from the master of white humor. On this snowy and banal night, even Mota's humor is loaded with vitriol.
Since I'm old (or so I think), I was forced to switch to La 2 and take a look at Little pieces. It was a mistake, like so many other things on New Year's Eve. When irony becomes mainstream and it becomes predictable, it is less enjoyable. The imitation of the filthy gala that they made looked too much like a filthy gala. I think that both La Maña and Fernando Esteso have appeared more times on television as parodies of themselves than as themselves. Little pieces It is so established that it cries out for a parody of its parody.
Viarious reflections on the sidelines, the karaoke of Little pieces It left the atmosphere warm for the chimes, that moment of break in which New Year's Eve allowed itself to innovate a little. He did not do it in La Sexta, where Dani Mateo and Cristina Pardo (he in navy blue and black and she in red) repeated jokes, although without attacking the crowd in the square like last year. This time, instead of a megaphone, they threw balloons in the shape of a bunch of grapes.
There was also no innovation on Antena 3, where Pedroche became hydroponic and biodegradable with a dress by Paula Ulargui, with Alberto Chicote next to him who was once again a troupe, very comfortable in his role as a set.
TVE was retro-innovation. Ramón García embodied the eternity of the spirit of New Year's Eve, taking risks with a pink jacket that was covered by the well-known Castilian cape. At her side, Ana Mena ran as the new Pedroche, with a dress that did not look biodegradable, but showed more than Antena 3's. Jenni Hermoso was not missing (very tall, making her companions look like puppets), in charge of the sermon of the bells ran. It was her mission, Jenni came to talk to us about empowerment, and she spoke well.
The most innovative were those of Telecinco (half of Mediaset: the other media, Cuatro, continued with those of First Dates), who went to Seville with a very racial Marta Flich, in a fuchsia dress and a Manila shawl that not only eclipsed Ramón's very old cape, but Pedroche's fairy-like displays from the forest. At his side, Jesús Calleja was as furniture as Chicote. He just ruined the scene. Not because Seville and its Plaza Nueva are little, but because we are very fond of Puerta del Sol and Flich deserves to be crowned in the Mecca of New Year's Eve. For now, she reigns on the periphery, from where she threatens the reign of Pedroche and Ramón.
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