On Sunday, Salvados promoted with the episode El encuentro the meeting between a former ETA member, José Miguel Latasa, and one of his victims. In 1986, Latasa attacked Rafael Garrido, then military governor of Guipúzcoa. He blew up his car, and also killed his wife and one of his children. Forty years later, the program managed his request to ask for forgiveness from Fernando Garrido for having murdered his parents and his brother. One thing that Salvados did very well was to emphasize that the need for the meeting and the relief of forgiveness came from the former terrorist. It is important, in these situations, not to foster a symmetry between the two parties involved.These televised stagings can be delicate, because individual predisposition is often confused with a generalization to all victims and there is the audacity to interpret it as a global progress in social reparation. "Asking for forgiveness" is the new "condemning violence," a litany of a certain media impact that is repeated as if it were a demand to be achieved and that can pressure victims to have to accept it.In any case, Latasa wanted to sincerely express regret for the pain caused and admit his own wickedness without justifications. The personal temperament of both protagonists was optimal for an event like this, and the program was careful with the conditions they requested to do so. Garrido and Latasa agreed to ask that the meeting be private and without cameras. After interviewing them separately, we viewers only observed, without sound and from a distance, through a window, the initial moment of the encounter where both shook hands and sat at a table to talk. Salvados made the ellipsis of the wait explicit because we did not know what was happening inside that room. It was a good decision to do it that way, because it brings the power of the dialogue to something higher than a simple television showcase and to an emotional issue that has to do with intimacy and not with public impact. Garrido wanted to make it clear that it was a personal decision and that he was not doing it as a symbolic representation of any other victim beyond himself. He also refused to know details about the attack. He insisted that he did not want that meeting to have a political interpretation, although that is difficult to achieve.After the meeting, Salvados interviewed the protagonists again individually. It was indecent, by the way, the poor taste of La Sexta in how it managed the commercial breaks to create suspense. First, the ex-terrorist Latasa admitted to being very emotional and having experienced a feeling of tranquility. He had been especially moved to have the opportunity to hug Garrido. Garrido expressed that the encounter had been worth it and he could be seen as shaken by what had just happened: “Esta noche estaré hecho polvo”, he said. Certainly, despite the apparent sincerity of the gesture, the program left a bitter and sad aftertaste.

Salvados kicked off the season this Sunday with a posthumous portrait, in two acts, of Rita Barberà, mayor of Valencia for 24 years, marked above all by the era of the pelotazo of the PP, and a key figure of the party in the times of Mariano Rajoy. The program began with Mozart's Requiem, anticipating the dramatic end of the protagonist, while alternating fragments of paintings from revolutionary and Napoleonic France as a metaphor for her political progression: from the most obscene power institutionalized and respected by the elites to popular agitation and the final lynching.Gonzo interviewed friends, party colleagues, and political rivals to explain in detail Barberà's trajectory. The two parts of the program used the folklore of Valencia to represent the two stages: the mascletà, about the great explosion and peak of the mayoress, and the cremà, to refer to the descent into hell of the protagonist betrayed by her own party. Barberà's inner circle – with Francisco Camps, José Manuel García-Margallo, councilwoman Mayrén Beneyto, and journalist María Consuelo Reyna – built a hagiography of the character that was a bit difficult to stomach from the current perspective. Beneyto and Reyna, moreover, spoke with the frankness of someone who no longer needs to make political calculations to choose their words. The emeritus king was portrayed in history as the main instigator of placing Urdangarin in the cribs of that opulent Valencia that organized regattas, Formula 1 races, and whatever was needed to line one's pockets. The program was filled with archival images that recovered the delirious politics of arrogance and corruption, with Barberà's greatest hits, her "caloret faller" and the Louis Vuitton bags.The shadows of Rita Barberà served to portray the fratricidal struggles of the PP during the party's collapse, with Rajoy at the helm. From the noise of the firecrackers and the smoke that covered everything to the stench of scorched remains. But here the program seemed more interested in recalling all the internal rot of the party and the low morals of its leaders than in delving deeply into Barberà's political legacy and the aftermath for the city of Valencia.It was inevitable to wonder why now, almost ten years after her death, the figure of Rita Barberà was being recovered to kick off the television season. At a time when all the private channels dedicate a large part of their schedule to attacking Pedro Sánchez and the PSOE, it seemed like an approach to compensate for the back-and-forth of the media right. On the other hand, the program about Barberà once again highlighted the journalistic inertia of delving into major political episodes when it is already too late. It is true that it makes it easier for witnesses to speak with more frankness, but journalism and the citizens' indignation have already transformed into the memory of an era.

On Sunday night, Saved Fernando González interviewed Salomé Pradas, Minister of Justice and the Interior of the Valencian Government during the DANA storm and, therefore, responsible for emergency response to the catastrophe. GonzoShe conducted a lengthy interview to delve chronologically into everything that happened on October 29th and to understand the management of Cecopio. The interview has great journalistic merit. Faced with Mazón's ambiguous and implausible account, Pradas is the one who has details and ample reason, at this time, to reveal them. Especially after being dismissed by Mazón. However, it is necessary to keep one circumstance in mind. Salomé Pradas is under investigation and awaiting trial, and therefore her testimony must also be understood as part of a defense strategy.