On the morning of Tuesday (8), around 10am, a series of messages and videos began to circulate with intensity in groups of. In a few minutes, the theme spread as gunpowder: “Post -sponsor sponsoring $ 4 million even though it operates in the red” was one of the calls that headed the shots.
The monitoring of more than 100,000 public groups of WhatsApp and identified that the diffusion was coordinated – the videos were fired in mass, with similar hours, in the same channels that often boost farms from the far right.
Statistics reveal an explosive growth of the spread of this misinformation between April 7 and 9, with an increase of 1,400% in the volume of mentions and shares of the theme. The peak occurred on the 9th, with 83% of the mentions associated with the sponsorship of the Post Office to the Gil tour and 38% to that of the company.
The reason for the attack? The sponsorship of the post office was announced the previous month. Even though it is a common practice in the cultural marketing sector – and historically applied by governments of different political spectra – the partnership was used as a pretext for feeding a larger narrative: that left -linked artists are favored with public resources.
However, the episode quickly gained even more absurd contours. The digital offensive started to connect, without any evidence, the sponsorship of the tour to the treatment of NOS. “He used the post office to pay for his friend’s daughter’s treatment,” said one of the widespread videos among the groups. In another, more conspiracy, Preta was accused of being part of a global scheme of political manipulation with support from international Think Tanks and the.
After the initial boost on WhatsApp networks, it was possible to observe a significant amplification of the theme on smaller platforms, such as blogs and transmissions of regional radios. The campaign used several established disinformation techniques. False causality, as stating that the crisis in the post office is caused by the Gil tour, ignores budget separation. The distortion of facts, such as claiming that Gil will receive $ 4 million, omits the counterparts and the reality of cultural sponsorship. Emotional appeals, such as videos simulating health plans cancellation, try to generate false empathy, as ironies such as “Post Office now deliver militancy,” seek to ridicule the situation.
The movement illustrates, once again, as digital defamation strategies are structured in three times: first the content viralizes in closed networks, then replicated in channels that present themselves as “alternatives” or “independent”, and finally reaches great influencers and politicians, with the narrative that “something needs to be done”.
In 1997, in “Outa Internet”, Gilberto Gil enthusiastically celebrated the possibilities of digital, singing: “I want to get on the network, promote a debate, put together a group of Connecticut tietes”. In 2025, he continues to promote these debates. The anti-Girl campaign, while presenting itself as a critique of the use of public funds, is, in fact, another chapter of cultural war, an attempt to silence figures that represent the culture of a progressive and democratic Brazil. The manufactured indignation is not on the post office; It was about who has the right to be celebrated.
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