What began as a reflection on March 24 ended in a digital mud battle that exposes, once again, the exposed fracture of Argentine culture. The fuse was lit when Mariana Breyfrom the air of his streaming program, shared a vision aligned with the “complete history” discourse that the ruling party proclaims. “The future is not built with incomplete stories. It is never again for everyone without exceptions,” the journalist launched, questioning the traditional narrative about the dictatorship.
The answer did not take long to arrive and had the corrosive seal of Malena Pichot. Through her account on X (former Twitter), the screenwriter and feminist reference did not mince words: “This cat anabolicized in ’76 would be supporting the dictatorship”. The post, which quickly went viral, not only attacked Brey’s political stance, but also appealed to an aesthetic and personal disqualification that erased with a stroke of the pen any hint of sorority.
The counterattack: “Cowardly and vulgar”
Far from calling for silence, Brey picked up the gauntlet in Bondi Live and charged against the “double face” of the actress. “Nothing surprises me about Malena Pichot, firstly because of the level of obviousness she manages when it comes to adjectives. She seems a bit cowardly to me,” said the panelist, recalling a recent meeting on Georgina Barbarossa’s program where, according to her, Pichot was “very polite” in person.
For Brey, the use of insults is a sign of lack of arguments: “He always falls into the same vulgarity. He calls me a cat because he can’t discuss ideas.” The conflict, however, escalated beyond the protagonists. Yanina Latorre He joined the fray to defend his colleague and criticize the comedian: “This feminist K is a beautiful gem. When you think differently, they treat you like a cat. They make me sick.”
Memory in dispute
The crossing shows how the anniversary of March 24 has become a battlefield where politics and entertainment mix without filters. While the Milei Government tries to impose a revisionist view—what Brey called “complete history”—the sectors linked to progressivism and feminism, such as the one represented by Pichot, react virulently to what they consider a denialist provocation.
In this scenario, the debate about the past is buried under a cataract of attacks. Between “anabolized cats” and accusations of “cowardice”, memory seems to be, once again, the hostage of a crack that forgives neither manners nor trajectories.
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