“Almodóvar’s Cannes Film and the Royal Couple’s Manhattan Adventure”

Almodóvar returns to Cannes with a battalion of handsome men and a bomber finely trimmed with sparkles, which I’ll borrow from her, to present her medium-length film about cowboys in love who meet again in later life, a twist for the western and also for her own cinematography.

Shortly before, in another cultural and mundane territory, Manhattan, the Dukes of Sussex, Enrique and Meghan, released their own version of Fast and Furious. They denounced a dramatic chase of papparazis through the streets, between skyscrapers. Enrique and Meghan had not set foot on a red carpet since the announcement of their documentary, where they unhurriedly and without pauses declare their allergy to paparazzi and the dilemma of not being able to count on sufficient security to stop them. To this public appearance we must add the recent biographical bestseller of Prince Harry and the visit to London to attend his father’s coronation, without Meghan, where he was parked in the third row, the same as his controversial uncle Andrés, while in the second row Camila’s children were located. In some publications, this situation was described as “outrage”. Watching him on television, we notice the duke a little lost, with that air of myopic disorientation characteristic of the princes in tights that we see in classical ballet.

The royal pursuit brought the dukes to the fore, disheveled but happy to be able to press the issue of their precarious safety. During the dizzying journey, Meghan’s mother must have thought, like any Californian mother, not only about the taxi fare, but also about whether this marriage of her daughter is at her expense. In economic figures, yes, she exceeds any expectation, taking into account that Meghan is an actress and the series she was working on has ended. The chase, stumbling and accelerating with the paparazzi behind the typical yellow Manhattan taxi, where the dukes and mother-in-law were traveling, according to their complaint, violating speed controls, makes your hair stand on end and opens a question: why not Was it broadcast on TV? Perhaps because of the scant interest that the English monarchy has in the United States, despite the fact that gossip magazines deal equally with Camila, Kate and the ghost of Lady Di.

Not being noble nor winner of MasterChefSometimes I have also been the object of little persecution by that press that uses threatening cameras and microphones as missiles. After each function favor treatment, the zarzuela that I have written for the Teatro de La Zarzuela, are waiting for us, both for Ainhoa ​​Arteta, the leading soprano, and for me who, not without impudence, interpret myself, reporters from a news agency. Ainhoa ​​is asked about an unfortunate book written by a supposed friend from her previous romantic relationship. And to me about what that day they sell as news. We would prefer to talk about the zarzuela, its good reception or gossip about the show. But that does not matter to them, just as the debate on the safety of the Dukes of Sussex and the risk to their mental health do not interest them.

We know that competition between production companies and private channels is fierce. For this reason, speaking in front of cameras that feed Telecinco de Mask Singer, the star program on Wednesdays and audience leader, on Antena 3, seemed like a good response to me, an improvised way to get out of the quagmire. And it’s not a bad idea to see Ana Obregón again on television, a bit stripped of herself, as we remember her from?What do we bet?, but just as brash and fun. The company of Mónica Naranjo, a rising television figure, makes everything more stimulating. And next to them, the conductor Arturo Valls and The Javisagile and veterans, pursue and manage to entertain with that Korean television formula and a bit of zarzuela.