Neither the collaborators of Save me could not aspire to more nor could public television aspire to less. The inaugural show of The TV family, with a scavenger hunt and a parade through the TVE studios, was so crazy it made you want to tear your eyes out. The farce had two stages. In the first part, during the afternoon snack, the main characters were put to the test. Some of the cast expelled from Telecinco – Belén Esteban, María Patiño, Lidia Lozano, Kiko Matamoros and Víctor Lozano – starred in an initial parody of the Wizard of OzDisguised as characters from the novel, they began an aberrant journey. If Dorothy and her friends had to find the Emerald City by following the yellow bricks, here the Esteban-Patiño duo and company had to reach Torrespaña's lollipop. A thunderous preliminary, with the most genuine stamp of the late Save me, which would culminate in a live obstacle course. Once they reached their destination, the program's crew, frightened and out of control, began a twenty-five-kilometer race to reach the Prado del Rey studios. The television chaos was absolute: the collaborators attacked private cars and network employees to get them to their destination. The sound was failing, inaudible, the screams saturated the channel, and the cameramen couldn't keep up. The image went mad. The only common thread was the delirious extravagance. A grotesque show to be narrated by Paloma del Río, the veteran sports journalist for TVE, and actress Cayetana Guillén Cuervo. Once the competition was over, and with the protagonists in Prado del Rey, there was a lull in the horror. Channel 1 gave way to the two afternoon series, Wild Valley and The promise, because The TV family will act as a container for the two soap operas. Once the fiction was over, we returned to an unbridled reality. The second part began: an exorbitant and excessive parade of collaborators. A parade of vans, trucks, buses, and carriages carrying the surprises. The narrative excuse was the history of the network itself. They paraded some of the collaborators and guests in historical costumes of the presenters. It had a symbolic character. Reappropriating the television identity was a way to justify that aberrant madness in that context. A tribute as a cover for an unthinkable conquest. From the programs of varieties José Luis Moreno's statement that public television had not sunk so low. Flamenco processions to celebrate the presence of Isabel Pantoja's daughter, Lídia Lozano adorned it with a version of her own chuminero dance And, to top it all off, a choreography to the rhythm of Zumba, reminiscent of a Brazilian carnival. A low-level vulgarity with giants and big heads as filler. Amidst the frenetic spectacle, clips were introduced announcing future content and sections. The TV family It has begun with a shock that clearly affects the foundations of public service. We inaugurate the era of everything by the audience. The reanimation of a monster with taxpayers' money.
