That the early 2000s are already fertilizer for the nostalgic is something that hurts the soul of anyone over 35 years old. Many viewers in a state of denial have embraced this year’s now traditional New Year’s Eve special, titled Love the twenties as a nice tribute to the happy 20s, those of the girls flapperGerman expressionism, art deco, surrealism and all those movements that have nothing to do with our date of birth. By the time Ángel Carmona mentioned Sonia and Selena, the native Glinda and Elphaba, in the first minute of the program, the blow of reality was inevitable.
The duo recorded their umpteenth performance of the year for the La 2 program. I want to dancepresumably not long before their abrupt and controversial new separation. Rebeca Pous, the next ghost of summers past that has appeared to Carmona, is not exactly a flapper nor is its natural habitat that of a wild party in interwar Berlin or that of the pages of The Great Gatsby. But there must be something good about the 2000s if Little pieces He has noticed them. Or perhaps it is that the reserves of past decades to remember have already been exhausted.
At least, the space does a public service by once again denying the hoax of Lorna’s death, who appears alive and well on a set that pays clear tribute to Music Yes to resurrect herself and her At the top.
At one point, a Nina Matrix ha confronted Carmona with the dilemma of the red pill and the blue pill. For whatever reason, he has decided to go for the incel red of the manosphere and things have not improved for the deniers of the passage of time. Nostalgia, the raw material of the format, has made it clear to us that there will be children and young people this New Year’s Eve who will look at Raúl, David Civera and Rebeca herself like the rest of us observed Miky, Tony Ronald and Jeannette appearing from time to time in command in What a happy time. Ageism is partly to blame, but also the fact that permanent precariousness has forced several Spanish communities.
Of what the first part of New Year’s Eve little piecesthe one before the grapes, has been a propaganda weapon with which the public channel advertises its current strategy: betting on live music, considered poison for the audience because it is predictable for the viewer, with its already hammered (although welcome) RTVE slogan The House of Music.
While Sonia and Selena offered their swan song on La 2, on the main channel La Oreja de Van Gogh by Amaia Montero did the opposite, premiering We are all dancing to the same song. Spotify could very well tag the song in the Catholic pop section. Some of us will be ageists, but a hedonistic first 2000 is better for us (like those crazy 20s that preceded the disaster) rather than a voluntary regression to a previous year-end chronicle; the one that begins longing for the UHF and ends up embracing Francoism. Little pieces back on the right side of history.
The second Little pieces New Year’s Eve, the one after the chimes, never presents any conflict. We can’t get enough of the succession of performances from that musical archive that RTVE intends to continue feeding with lots of funny labels. Below are some of the most notable ones.
