Javier Milei again bets on provocation. To promote his event today, Monday, October 6, at the Movistar Arena, he chose the image of a blue -eyed lion, such as his, an aesthetic that many interpret as “Arias” connotations. There he will present his book “The construction of the miracle” (South sheets, 576 pages) and will play with “The Presidential Band”. 13 days after the elections and in the midst of the crisis generated by the resignation of José Luis Espert to his candidacy after being accused of ties with drug trafficking, the act seeks to rekindle the epic libertarian of 2023. According to Milei himself, it will be the first time in decades to sing again in public.
The figure of the Lion occupies a central place in the political and spiritual identity of the president. From feline cartoons hugging ducklings to images created by artificial intelligence that show it in messianic poses, Milei is presented as the “lion” that comes to arouse “lambs” to face the “caste.” That symbol comes from his link with Conan, his English mastin who died in 2017, whom he considered his “son.” According to the forces of heaven, the book of the journalist Juan Luis González, and statements of Milei himself, the president claims to have met Conan 2000 years ago, when he was a gladiator and the dog, a lion in the Roman coliseum. In that mystical story, “the one” – as God calls – would have revealed a shared destiny. After Conan’s death, Milei ordered him to clone him convinced that his puppies inherited the wisdom of the original, even on economic issues.
This afternoon’s event in Villa Crespo promises to mix politics, show and personal devotion. Milei will be accompanied by libertarian figures such as Lilia Lemoine, Fernando Mezzina, Hernán Scarfó and Alberto Benegas Lynch. Minister Federico Sturzenegger will also participate, who shared in X an image of the “presidential band” essay and invited “trying the band”, arrobing the @B_ Presidencial account, which many interpret as the prelude to a libertarian musical project.
In the midst of the political storm due to the exit of Sister, the Blue Eye Lion of the poster becomes a metaphor of the narrative that Milei built since her public irruption: that of the warrior that frees an epic battle against a corrupt system. But its aesthetics does not go unnoticed. For some, the blue lion icon brushes the ideological, a gesture that arouses discomfort.
