In a media scenario where traditional television wobbles and streaming already ceased to be a promise to become present, Jorge Rial He decided to turn on his own fuse. Carnival, the new streaming channel founded by the former “Intruder” driver, debuted with a fierce ambition: to bring together the strongest, disruptive and controversial figures of the Argentine television scene on the same digital platform, free of conditioning and closer to the vertigo of the street conversation than to the protocols of the small screen. With the financial support of Pablo Tovigginostrong man of the AFA and one of those who handle the most powerful box of Argentine sport, Carnival was born with the idea of gathering those who do not always coincide, but still generate agenda.
The debut could not have been more thunderous. The first carnival program was “Conclave”the spearhead of the signal, which gathered in the same study to Rial, Viviana Canosa, Fabián Doman and Alejandro Fantino. What for many seemed an unlikely meeting, for ideologies and styles, became one of the most commented moments in social and media networks. Canosa, faithful to his sharp style, opened the fire: “They told me that here the guillotine does not work, so I came,” while Fantino celebrated the crossing with a more existential look: “The truth is in the discussions, not in silences.”
Spicy debut During that first issue, the debate on politics, the government of Javier Milei And the role of the media had intense moments. Rial accused the journalism of “having become a low quality intelligence service”, and said that “the problem is not whether Milei goes to the psychologist or not, but nobody wants to assume that this country is falling on us.”
The small print of streaming explains that the fury of this new way of doing journalism is not in the public -which in the living did not exceed five thousand people already throughout the days did not reach 90 thousand views, which would be only 1.2 rating points -but in the sponsors that, having more economical patterns than on television, bet everything. In streaming the advertising rating-pauta relationship is not correlative, but segmented. And the interest is in the viralizations on Instagram, Tiktok and X. Only it is understood that journalism figures do their program for such a small number of spectators.
The complete carnival grid is structured with an agile and multiganeous logic. Monday to Friday, between 11 and 13, it is broadcast “Toti’s chainsaw”conducted by Toti Pasman, Cinthia Fernández and Gastón Recondo. In the strip from 13 to 15 it arrives “Key data”headed by Mauro Federico, Rosario Ayerdi and Mauro Fulcofocus on hard politics; While Tuesday and Friday, at night, it is broadcast “Duka citizen”, where Andrés Ducatenzeilerformer president of Independiente, who acknowledged buying almost a football squad with checks without funds, immerses himself in cultural debates with Maru Arce and Fabián Casas.
Competence. This phenomenon, of course, does not happen in a vacuum. In parallel, Beto Casella announced the launch of Blessed Streama digital channel that will move to the entire team of “Blessed TV” to the web ecosystem. Casella, which more than two decades ago holds one of the most watched programs of Channel 9 primetime, thus adds to the migratory wave of TV figures to the digital universe. “TV is no longer what it was. The audiences are elsewhere. You have to go where people are,” he said in a recent interview. Your proposal will include a “blessed” reversal, new humorous formats and the participation of figures such as Edith Hermida, Any Ventura and Ale Magliettiin a grid that will win body during the winter.
