Goya 3 – Gaudí 3: these are the awards won by 20,000 species of bees in both ceremonies. We must also highlight the 12 to 1, that is, the twelve Goyas from The Snow Society compared to the solitary Gaudí from Bayonne’s film. That is one of the most obvious discrepancies between both ceremonies. There are, however, a couple of elements that make them equal. Or, to continue with sports terminology, that ties them together. The number of awards for Estibaliz Urresola’s film is one. The other is the television schedule; that schedule that makes these ceremonies, all of them, feel too long – they are – and end too late.
In some Goyas with a markedly vindictive nature, with the claim of Ana Belén and the Javis in the foreground – “It’s also over in the cinema” -, one would add a claim about the schedule, although in a minor tone. When will all this end? I kept repeating to myself as the clock approached one in the morning. The audience data speaks of a decrease in viewers compared to other years: exhausted viewers who, I imagine, abandon the broadcast due to a technical KO.
It is said that the “share” has been 23.6 percent. Which means that the number of viewers remaining at the end of the ceremony is equivalent to more or less one in four viewers of the total number of those who, at that time, are in front of the small screen. Not bad. Although let’s not fool ourselves: in absolute numbers they are -we are- few in reality. And between Teletienda and the Goya, well, there is no color.
What would happen if the television ceremony ended at ten? They would win the prizes. We would all win. Because there were exciting flashes at the Goya 2024. But also terrible quarters of an hour of nothing in between.
