Save me he ended the television of the heart to make a television of the guts, and I am not saying this because the intestinal package and what comes out of it is a more accurate metaphor to define the program, but because he gutted television in full view of everyone. Before, when a guest started the microphone and left, he would really exit. On Save me They followed him and embedded a camera in him so as not to lose any debris from his anger and his crying. The forum, the stage and even the entrance of the actors became familiar places. There was a time when they even put the catering on the set, so that the protagonists gobbled it up live while they insulted each other with their mouths full. For this reason, the great purges that the Mediaset supreme soviet has undertaken take place on sight: Jorge Javier takes the camera to the director’s chair to talk about his possible dismissal.
The schizophrenic of Save me is that he made metatelevision (damn, I also write in the past tense, overwhelmed by the escabechina) and cultivated a realism of tele verite without omitting a bare face or a loose cable in the corridors, while defending its character of fiction and spectacle, as if one thing did not exclude the other. The willing and paid victims of this sacrifice were presented as characters for popular entertainment. There is no need to give it more thought, they said, everything is a sham, a very old game to which celebrities lend themselves. This is true, but no, or maybe yes. He is crying, but don’t pay attention to him, they are tears that are invoiced with VAT. Lie and truth at the same time.
In a final round meta-television twist, Save me it should broadcast its own scrapping, like a corpse that speaks while being autopsied. It will not be a short agony, since we already know that brevity is not one of its virtues, but it is worthy of study for narrative theorists.
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