A comment on social networks once again crossed politics, religion and entertainment. The libertarian influencer Daniel “El Gordo Dan” Parisini came out harshly against Dante Gebel, the evangelical pastor and motivational speaker who in recent weeks increased his public visibility after a series of mass presentations, and whom some sectors began to mention as an eventual political figure with national projection.
From his X account, @GordoDan_, the digital reference for mileism directly questioned any attempt at political construction around Gebel. “This is not going to work because it is artificial and imposed from above with money and fake poses. Very unnatural,” he wrote, and contrasted that supposed strategy with the phenomenon that brought Javier Milei to the Presidency. According to his approach, the current president was built “from below, spontaneously,” as a genuine popular phenomenon “validated by the people,” unlike what he considers a forced operation. “They didn’t learn anything,” he concluded.
The message was spread in parallel with the growth of Gebel’s public figure, which comes from performing at the Gran Rex Theater with a show of high scenic impact, lights, music and a format that combined preaching, humor and personal story. The function marked the beginning of a farewell in that emblematic setting and brought together thousands of people, confirming the convening power of the pastor and influencer, who for years has built a loyal audience both in Argentina and abroad.
The deployment on the Gran Rex reinforced the perception that Gebel is going through one of its most popular moments. His style, carefully produced and with a staging close to that of the great international shows, once again established his name beyond the strictly religious sphere. In this context, versions, comments and speculations began to circulate about an eventual foray into politics, something that Gebel himself did not publicly confirm but that was enough to ignite reactions.
El Gordo Dan’s response reflects a hard line within the libertarian universe, which distrusts figures who, according to its view, seek to capitalize on previous popularity with financial support and armed from “above.” The contrast with Milei is not accidental: the influencer usually presents him as a unique case of organic political construction, arising from social anger and without traditional intermediaries.
The crossing reveals a climate where the limits between faith, spectacle and politics appear increasingly blurred. While Gebel continues to fill theaters and expand his reach to the mass public, reactions from the libertarian ecosystem anticipate that any attempt at political projection of non-traditional figures will be quickly questioned. For “outsider”, they say, there is Milei.
