The '30 minuts' immortalizes the drama of Rodalies

Sunday night, 30 minuts condensed the Rodalies drama, both from a historical perspective and from the analysis of the current situation. That the chronology of Renfe's poor service dated back to 1988 was an act of justice to all the users who suffered Renfe's serious deficiencies in silence and with resignation at that time. In fact, the report played with jumps to the past and showed how, since then, everything has gone from bad to worse. The images from 1988 and 2026 by Josep Maria Romeu, the spokesperson for the first Renfe users' platform, demonstrated this. An excellent resource. The archive images from TV3 became a damning proof of the grievances that Catalans have suffered with the precariousness of the service. News of accidents, misfortunes, fires, and breakdowns were accumulating and happening one after another, turning it into a very revealing film of events. In fact, you realized to what extent technological progress available to citizens has been what has allowed the countless deficiencies of Renfe to be denounced. Social networks and mobile phone cameras have allowed users to organize among themselves and publicly denounce the accumulation of blunders they have to endure every day. The testimonies were very well chosen. The exercise of following the journey of a few regular users was also very revealing, because any follow-up trip was a collection of incidents that reflected the chaos. The sequence of the passenger waiting for the alternative bus in Sant Cugat, being scolded by the driver and people recklessly crossing the roundabout, is excellent for confirming the poor organization and how user safety is put at risk.The report Renfe, the endless story reveals that Renfe has had no choice but to accept a forced exercise in transparency. The images from the Renfe control center at Clot station, from where operations are managed, were very revealing. One could call it a center of disarray, with the chaos of stressed workers interfering with each other. That panorama could inspire a sitcom, a workplace comedy. In fact, 30 minuts itself distilled an internal thread of a certain sarcasm. A bitter humor like that developed by passengers trapped by the incompetence of Adif and Renfe, this two-headed monster that cannot even agree with itself, as was also clear. The appearance of the singer Gerard Quintana in the middle of it all was the tragicomic echo of how the train ends up determining our lives.More than discovering anything to us, the 30 minutes served to immortalize an unforgivable mistreatment of the citizen, as documentary proof for the future. It will be necessary to see if in future generations these images will seem unthinkable to them or if they will only be the next victims of a new chapter in this endless story.