La venganza de Toñi Salazar tras su polémica salida de «Supervivientes»

Desde que las Azúcar Moreno decidieran abandonar la isla de «Supervivientes», han estado recibiendo un sinfín de críticas. Después de unos días en silencio, Toñi Salazar entró este sábado en «Socialité» para mostrar su indignación ante todo lo que está escuchando sobre ella y su hermana Encarna: «Se dicen cosas que son alucinantes», confiesa y alega que se han sentido humilladas al ser calificadas como «liantas». El último que ha acudido a un plató para desenmascarar a las cantantes ha sido Ángel, un guitarrista que giró con las Azúcar Moreno. Según el mismo afirmó en «Sálvame», trabajar con ellas «le llevó directamente el psicólogo». «Me han chuleado. A mí y a otros doce. Lo que pasa es que están callados», añadió. La cantante no ha tenido ningún pudor a la hora de contestarle: «De verdad no te da vergüenza hacer esto con lo que hemos hecho por ti. Un tío que ha sido amigo nuestro nueve años, que ha comido con nosotras. Que de repente salga diciendo todas esas barbaridades, pues estamos descolocadas sinceramente». Algunos aseguran que todas estas polémicas que se están generando entorno a las Azúcar Moreno les viene muy bien para promocionar su gira. «A ellas la tele ya no les importa. Lo que quieren es hacer bolos», aseguró Mila Ximénez esta semana en «Sálvame». Sin embargo, a Jorge Javier lo que le asombró fue el poquísimo tiempo que pasó entre su salida y la promoción de su nuevo single. «Lo hemos hecho fatal. Ya lo hemos dicho. Pero de ahí a que te humillen, a que te digan que eres una estafadora, que eres una montajista, hay una diferencia brutal. (...) Antes de irnos a 'Supervivientes' nosotras teníamos un montón de fechas. Nos apetecía tanto la historia que dijimos pues si perdemos un poco de dinero, tampoco pasa nada», contestó. Incluso uno de sus vecinos ha asegurado al programa que el robo de su casa ha sido un montaje. «El valor de todo lo que se han llevado de la casa de Toñi asciende a más de 100.000 euros», anunciaba María Patiño. «Ostras. Que hemos abandonado un reality. Que hemos a lo mejor defraudado a la audiencia, vale. Hemos asumido hasta la penalización. Pero es que se están diciendo cosas que son alucinantes», concluía en el programa presentado por María Patiño.
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(My favorite moment in the novel version of The Last Thing He Wanted is when Elena McMahon, in her former life as the wife of a Beverly Hills tycoon, sits glumly “in front of a plate of untouched cassoulet” at an Academy Awards watch party, so disaffected that she can’t even enjoy the show.)But the interiority of Didion’s novels, combined with their experimental structure, tends to defy translation into the framework of film and television. The Last Thing He Wanted, in particular, is a work intended to challenge simple comprehension; even its title contains two possible interpretations. Language, the book suggests, can be distorted until it becomes meaningless. Early on, the unnamed narrator explains her impatience with writing itself, “with the conventions of the craft, with expositions, with transitions, with the development and revelation of ‘character.’” To impose order on a set of circumstances so specifically about evasion—in this case the duplicity and doublespeak of American institutions in the 1980s—seems absurd to her, and so she homes in on the story’s technical elements instead: tactical erdlators, high-capacity deep wells, laterite. Everything else is too uncertain, too changeable, too taxing to try to reckon with.The narrator’s ostensible focus in the book is Elena, a woman who is variously—in the story’s achronological sections—a society wife and mother in California, a reporter covering Reagan’s 1984 reelection campaign, and an accidental-ish gun runner whose mission takes her from Miami to Costa Rica to an island that’s possibly St. Lucia. Readers are first introduced to Elena in the Caribbean well after she’s been caught up in a shadowy conspiracy involving CIA fixers and a fake passport. Then, the novel dances among fragments of her former lives—her employment at a beach resort, her exit from the campaign trail just before the California primary, and, finally, her decision to help her ailing father complete an illegal million-dollar arms sale in Central America.That Elena’s motivations are hard to unravel is a problem with the story that even Didion acknowledges. “The facts of Elena McMahon’s life did not quite hang together,” she writes early in the novel. “They lacked coherence. Logical connections were missing, cause and effect.” The first section of the book has a dreamlike quality, in which a sleep-deprived Elena drifts through events in a vertiginous haze. On a flight to Miami she experiences “a brief panic, a sense of being stalled, becalmed, like the first few steps off a moving sidewalk.” Her mother has recently died and her world is folding in on itself in indecipherable layers. Elena appears to be mired in a state of ennui that makes imminent peril seem preferable to suffocating sameness. “What no Didion heroine can entirely reconcile herself to,” Hilton Als wrote in The New Yorker last year, “is the split between what she wants and what a woman is supposed to do.”In the novel, confusion is the reigning state that colors the action; it’s meant to communicate how turbulent and untrustworthy American authorities were at the time, shipping arms to Nicaraguan rebels in off-the-books transactions while denying that such transactions were taking place. “This was a business,” Didion writes, “in which truth and delusion appeared equally doubtful.” When Elena reads the papers one morning over breakfast, news stories convey global destabilization: earthquakes, unusual wind patterns, reef erosions, political protests, even infertile pandas. As she takes on her father’s final sale, she meets people with multiple names and varying nationalities in uncertain geographical locations. “You will have noticed that I am not giving you the name of this island,” Didion writes, explaining obtusely that “the name would get in the way.”The only constant amid this intentional obfuscation is discombobulation, conveyed through Elena’s fractured mental state. The book’s atmospheric uncertainty can make for a frustrating reading experience, even as its immersive qualities build into an Orwellian fever dream. It’s an intoxicating work, skillfully crafted, but it also resists at every point the strictures of mainstream storytelling.Rees, to her credit, seems committed to keeping the spirit of Didion’s original work intact, while restructuring it into a more linear narrative (Rees co-wrote the screenplay with Marco Villalobos). The movie opens with Anne Hathway’s Elena on assignment in El Salvador in 1982; she’s documenting war crimes alongside a photographer, Alma (Rosie Perez), and barely escaping assassination attempts. Having discarded the book’s narrator, and without the space to communicate Elena’s interiority and how passively she floats toward danger, Rees and Hathaway instead present Elena as a crisis junkie, simultaneously addicted to conflict and compelled to reveal abuses of power around the globe. In one scene, a very Didionesque Elena strides through the newsroom in a jumpsuit, smoking ferociously. In another, she existentially eats an apple.In its first half, the movie is propulsive in a heady-conspiracy-thriller kind of way, and its disorienting events are easier to accept. But as Rees is forced to reckon with the terminal self-obfuscation of the novel in the second half, each plot point gets harder and harder to justify. Ben Affleck’s character, a State Department fixer named Treat Morrison, gets none of the backstory from the book; he’s just a square-jawed suit who shows up in odd places and may or may not be an ally. The British character actor Toby Jones appears, playing a rum-soaked hotel owner who in his own words once ran the only “first-rate gay bathhouse in all of Port au Prince.” David Arquette pops up, with even less context and even fewer lines. In the final scene, Rees discards the plot of Didion’s book altogether, changing the ending to make it somehow even less plausible.What’s left is a sticky, indecipherable tangle. But The Last Thing He Wanted is at least an interesting mess, and it seems to illuminate some of the landmines that come with turning novels into works of film and television. It’s notable that the only previous adaptation of one of Didion’s novels, the 1972 drama Play It as It Lays, was done by the author herself. Didion’s own screenplays—which she co-wrote with her late husband, John Gregory Dunne, and which she seemed to view as a starkly commercial undertaking—imply how separately she saw the crafts of fiction and movie writing. Making movies, she wrote in the essay “In Hollywood,” is defined by “a spirit not of collaboration but of armed conflict,” a process in which any artist’s work is going to be tweaked and corrupted. Even writing about film, she observed in the same essay, has long been “a traditional diversion for writers whose actual work is somewhere else.” In other words, to try to reconcile her fiction with an art form that she herself disdained is an undertaking that’s doomed even before it begins.
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