Carlos Tamayo today he will receive his first ONDAS award, for the documentary film How to hunt a monster His first ONDAS, his many followers may wonder. Because we have already seen Carles Tamayo happily flaunting his ONDAS. Even in the toilet. Well, and with an Iris Award, and with an Idol Award? He has a photo celebrating all the awards he finds along the way.
Because in life, it is often more important what you appear to be than what you really are. And to give the feeling of having won an award it is enough to simply pose with the statuette in question and share the photos on social networks, which we devour so fast that we don’t even stop to think too much about what we are looking at. Least of all to read the explanation of the image.
Thus Tamayo has played with our visual acuity over the years. Thus he has put our critical spirit to the test with a mere joke in Instagram that, also, summarizes the essence of his work. Very skillful taking advantage of the new platforms to experiment with a broad-minded communication, which reminds us that journalism sprouts in creativity.
Indeed, as essential as plurality of information is creativity in the telling of a story.. And that does not detract from seriousness. Nor rigor. On the contrary, it allows us to portray society from more approaches, ranging from entertainment, which includes the picaresque of comedy, to the pure and simple news.
Tonight, the sketch. Finally, Tamayo will pose with an award that, this time, has been given to him for his work and with his name on it. And he will upload the photo. Although many, then, will give like without noticing the difference with other publications of his embracing awards that were cultural appropriations. Followers even congratulated him for such recognitions. These things happen because we don’t have time to look at the captions and the small print… But Carles Tamayo does.
Otherwise he wouldn’t have achieved the brilliance with How to hunt a monster. A documentary on pederasty that breaks television narratives without departing from the essence of journalism as always. This is Tamayo’s courage: the curiosity of lifelong journalism understanding the direct language of networks, which are today’s support for authorship that tries, tries, unlearns, tries again and, in the end, does it.
