On the night of July 14, a celebrated Tele 5 program dubbed Deluxe faced a dramatic end. Two hundred thirty-four years earlier, on the same date in Paris, the historical guillotine blade was being sharpened by Dr. Joseph-Ignace Guillotine, a namesake that now echoes in modern headlines as a sharp symbol of public spectacle.
This farewell to Deluxe was directed by Maria Patiño and Terelu Campos, with the program’s staff rallying behind them. Notably absent were Jorge Javier Vazquez and Bethlehem Esteban. The focus fell on a cast of personalities who had gained notoriety within the gossip-entertainment world, including Leticia Sabater and Mercedes Mila. Both are known for their willingness to appear on television, sometimes regardless of the stakes or context. The narrative hinted at tensions behind the scenes at Tele 5, while the event itself featured a queue of symbolic gestures. A sign reading, “The dome is transferred, reason,” appeared among the decor. The emotional reactions—sobs and reproaches toward the ‘dome’ and its decisions—felt as relatable as any public grievance. Yet the final exclamation from Terelu and Patiño, captured on camera in a closing van, proclaimed, “Deluxe won’t die, Deluxe is on its way!” This suggested a possible revival on different platforms. If the audience is willing to pay for what Deluxe creates, the show could extend its life through new distribution channels, effectively earning a second wind in today’s streaming economy.
The funeral did not attract a large crowd. Still, as the program’s end grew inevitable, the narrative managed to blur the notion that its demise was driven by political ideology. It might seem surreal that a program famous for its sensational, even sensationalized, bite could be examined through political lenses. In any case, this July 14th moment for Deluxe stands in stark contrast to the French national celebration on Bastille Day. In Telecinco, the empire’s perceived “dome” rests heavy on its workers in the casquería workshop, as if directing a final guillotine. In Paris, the reverse happened: a movement emerged from the crowd, and the pressure from the people led to decisive action against the authorities. The current head of the media conglomerate, Borja Prado, is framed in the narrative as another symbol within this dramatic tableau. A complete retelling invites reflection on how power structures and media empires can meet their own fates. The imagery of Robespierre, once a central figure in revolutionary history, is invoked as a reminder that every era has its own reckoning and its own quicklime, a metaphor for the way time erodes the powerful.