Governments wear out over the years and their levels of tolerance decrease, while their weaknesses become increasingly evident. Milei, on the other hand, arrived worn out. Less than two months into the presidency, he seems to enjoy his digital sniping ability, so to speak, against those who say something that doesn’t sit well with him. Then, he retweets or gives ‘like’, using that as a weapon to give voice to the watchdogs that he has on the networks, who insult, intimidate, disqualify and repudiate the objectives indicated by the boss, in exchange for a pat. virtual.
We have to live the stage in the networks that followed the initial naivety, where they seemed to be an instrument at the service of the common citizen. Now they are a battlefield where politics instrumentalizes violence and censors criticism.
Milei knows that the one who is the object of her tirades is going to have a very bad time and she enjoys it sadistically. When Cristina Perez asked him about the asymmetry of power between him as president and a figure like Lali Espósito, her response was “I would have thought about it before,” like a neighborhood bully proud of her actions.
Milei appears completely amoral when interpreting the ethical nature of what he does, which is why he has no problem immediately stating that this arbitrary revenge is a sign that he does not compromise with dirty politics, when he is inaugurating a dirty form of politics. that we did not know before, other than through a few glimpses of the Kirchner couple’s actions, such as that of the grandfather of her 50 dollars or the Clarín journalist at his press conference.
Milei is like the exacerbated and multiplied version of those attitudes after a month of installation. His politics are nothing that even smacks of liberalism, but rather seem to be the public instrumentation of belated revenge for his personal history, against the people who, as he himself has said so many times, pay his salary. The thing is that with liberalism, Milei has the same relationship that he seems to have with Fátima Florez. She lives it on stage when he needs it. His love for freedom is like his love for the dogs he keeps caged and away from him.
But neither Espósito is Espósito nor Lopez Murphy is Lopez Murphy when she calls him a traitor and seeks the applause of his sycophants. Both are messages to those who pretend to be ordinary citizens instead of “seeing” it. It is kneeling or facing the lead, the proposal of Creole Moisés, the “liberal” who imitates Onganía with his “cultural battle.” And it is full of people who self-censor so as not to suffer retaliation from their bishops, whose only activity is intimidation.
*José Benegas is a journalist and writer, author of “Milei, all the answers to the questions it raises.”
by José Benegas
