The historic comedy trio Midachi met again publicly on Argentine television in one of the recent broadcasts of the program Mirtha’s Night, driven by Mirtha Legrand. The reunion of Dady Brieva, Miguel del Sel and Chino Volpato It generated expectations both because of its weight in the history of national humor and because of the political differences that, in recent years, had distanced its members. The table combined moments of nostalgia, reviews of his most popular times and references to current politics, in a climate that alternated between cordiality and implicit tension.
One of the most talked-about passages of the broadcast occurred when the host directly questioned Brieva about versions linked to her financial situation, in particular about a supposed luxury apartment in Puerto Madero. The question, formulated in Legrand’s characteristic frontal style, generated discomfort in the comedian, who responded affirmatively and sought to put it into perspective, amid laughter and cross comments at the table. The episode quickly went viral on social networks, where it was interpreted as a moment of uncomfortable exposure that contrasted with the relaxed tone of the rest of the program.
The figure of Brieva has had a strong political identification with Kirchnerism for years. During the governments of Cristina Fernández de Kirchner, The comedian adopted a public stance of support, participating in events, making statements in the media and using his artistic spaces to express affinity with the political project. His militancy included interventions on television programs, speeches at party events and an active presence on social networks, where he defended official measures and questioned the opposition, which earned him both recognition within that space and criticism from adverse sectors.
This connection with politics also translated into a change in his media profile, going from a more universal humor to one with a greater ideological charge. Brieva became the protagonist of controversies for public statements in which he expressed desires for a worsening of the economic situation during non-Kirchnerist administrations, which deepened his identification with explicit militancy and placed him at the center of public debate beyond his artistic career.
In contrast, Miguel del Sel developed a political journey at ideological antipodes, when he joined the PRO, the space founded by Mauricio Macri. His leap into politics occurred in 2011, when he was a candidate for governor of the province of Santa Fe, surprising with a competitive result in his first electoral foray. That election marked the beginning of sustained participation within the political structure of the PRO in the province.
Del Sel ran again as a candidate for governor in 2015, in a particularly close election in which he came close to the winner, consolidating his figure as a reference in the space in Santa Fe. Later, deciding that he was not going to try to seek the Santa Fe governorship in the future, he performed diplomatic functions as ambassador in Panama during the Macri government, which evidenced his full integration into the political structure of the PRO and his definitive departure from artistic activity as a priority.
The reunion of Midachi In Legrand’s program he staged not only the validity of a humorous phenomenon that marked several generations, but also the divergent trajectories of its members. While Brieva deepened his role as a communicator aligned with Kirchnerism, Del Sel consolidated his political career within the PRO, reflecting a crack that crosses even figures that emerged from the same artistic origin.
In this framework, the television table functioned as a microcosm of contemporary Argentina, where spectacle, politics and ideological tensions coexist in the same space. Mirtha Legrand’s intervention, with incisive questions and moments of discomfort, once again confirmed her ability to generate scenes with high media impact, even when the protagonists try to maintain a conciliatory tone in the face of deep differences.
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