One of the most laughable issues, sorry, of the new conspiracies is having disguised the 2030 Agenda, that is, the development objectives of the United Nations, as a terrible enemy. Conspiracies, as a childish proposal of meaning in the face of the abstruse, tend to make arcane subjects, corporations, organizations and complex institutions viable as tremendous enemies, to which it is easy to attribute spurious interests inserted in sophisticated planning, since expert knowledge is required to understand their operations and purposes without resorting to magical thinking. On the other hand, the 2030 Agenda is nothing more than a list of progress objectives to combat the eternal enemies of humanity: hunger, war, ignorance, pollution… It is so transparent and voluntaristic that if anything is You can accuse her of naivety and simplicity. That is to say, you have to wear a really thick aluminum foil hat to see shadows in a propositional document as clear as it is virtuous.
Within the framework of the progressive ruin that seems to already affect practically all of the intellectual and cultural icons that shone as references in the golden years of Felipism, yesterday a fragment of an interview with actor Imanol Arias in Argentina went viral on social networks. , in which he unequivocally uses conspiracy rhetoric – that which elides the subject of the sentences by conjugating the third person plural: “They lie to us”, “they inoculate us” – to express his newest abstinence from journalism, politics and science, and its joyful embrace of social networks, which, as everyone knows, are the shelf where the great truths of the present rest.
Note: In those same networks where our Antonio Alcántara investigates revelations about the trickery of the world, there are already those who have made calculations and have outlined a causal relationship between the legal problems with the Tax Agency and the rejection of the 2030 Agenda. Which has a deep meaning, not casual, although surely not the one that fraudsters believe.
The drift of the exiled Alcántara is eloquent of the ruin of a dead world, because Cuéntame, as was once said here, is the most sincere chronicle of the transition understood as an emergence of young middle classes who lived with pusillanimous comfort until the end. of the dictatorship and they released the democratic toy with the same enthusiasm with which they watched Un, dos tres… in their brand new Telefunken Pal Color. Half the country felt forgiven seeing the way in which the Alcántaras displayed their transitivity with the Franco regime and today agrees with the anger of Don Antonio, who has had to leave the country because of the voracity of tax collection, at whose side the Generalissimo was a lesser evil. All decadence is pathetic, but much more so when what goes out is the brilliance of a generational deed that hid, among finicky, glittering cowardice.
