Jordi Évole and Eduardo Casanova's new documentary to raise awareness about HIV causes great perplexity. Firstly, because of the title: Sidosa. The actor, who has the virus in an undetectable state due to medical treatment, tells Évole: “I have AIDS. Well, I don't have AIDS. I say «sida» as a reclamation, because I like the word. HIV and AIDS are two different diseases. But, just as gay people have reclaimed the word «maricón», I want to reclaim «Sidosa». I would love to”. The reclamation of words, especially insults, requires decades of shared cultural circulation. They are not an individual decision. Because then one falls into trivialization and the temptation to turn a very serious historical and health stigma into an aesthetic operation. The feminization of the term also deflects the focus. In Spain and Western Europe, the epidemic predominantly affects men, with rates exceeding 80% of cases. Everyone is susceptible to infection, men and women, but giving it a feminine gender is a theatrical transgression that has nothing to do with the epidemiological reality or with HIV education. It is understood that the title seeks queer dissidence, but this is also a way of specifically linking the collective with the disease again, and this reactivates imaginations that for decades contributed to stigmatization.The result of the documentary is a mess. Eduardo Casanova's role dilutes and hinders the educational purpose due to an egocentrism and immaturity that turn the narrative into an at times unbearable loop. The actor's rhetoric confuses and even causes the discourse to regress. He himself, on several occasions, faced with the panic of telling his surroundings that he has undetectable HIV, speculates on when to say it, and repeats "I have AIDS!". In the context of a film festival, he suggests to Évole: "And if I go up and say: “Look, I have HIV! I have AIDS!”", making the two conditions synonymous. In the documentary, phrases like "We've been stuck in the eighties" and "Things haven't changed that much". Unfair statements given the reality, both scientific and human.An activist advises Casanova to always maintain dignity when communicating it, speaking with serenity and firmness. The protagonist contradicts the approach. It is legitimate for the actor to express fear, anguish, or vulnerability. But the imagery he projects to the viewer is too often melodramatic, with hyperbolic emotionality focused on the identity wound and a spiral of suffering. After communicating it to his hairdresser, he asks: “Are you afraid to cut my hair now?” This is going backward and reiterating prejudices. This drama pigeonholes HIV into an inexorable pain that goes against the medical advances that have transformed the lives of seropositive people. The documentary falls very short on positive references, normalization, and prevention education, which is what is needed. Sidosa is organized from a devastated self-perception that reinforces the stigma it seeks to combat.

On the back of a majestic white horse. Marc Giró appears like this in the opening credits of his new La Sexta program. And like this he also entered the studio to start the show. Like a conqueror or a knight. A contemporary Saint George to fight against the dragons of our time: fascism, racism, sexism, homophobia, and whatever else is convenient, but always with a sense of showmanship. Giró recalled that everyone had insisted he not change when he moved to work for the private channel. Even Pedro Sánchez. Therefore, the start of the program was focused on demonstrating that he has not softened his combative and sharp spirit. So much so that perhaps he prolonged the opening monologue too much so that it wouldn't seem like he was backing down. But, sometimes, less is more. The speech led, luckily, to a cabaret number. To the rhythm of Tamara's "No cambié", Giró sang, danced, an orchestra appeared, a whole choir and a dance troupe lifted him as if he were a showgirl from the old days. Leonardo Dantés even appeared fleetingly to give a more delirious air to the opening party. All of this, a kind of pocket "Berghain" with the evident stamp of Santi Villas, co-director of the program. Beyond changing the color of the curtains, now the channel's corporate green, Cara al show maintains the characteristics and essence of the Late show" from public television. The big difference are the cruel commercial breaks of the private channel, which interrupt the content abruptly and hit us with ads five at a time. With a program that starts so late, these breaks are killers. Of course, when they mentioned the Thermomix, they pixelated the robot's photo and covered the word with a whistle, lest the ad not go through the cash register. Censorship, sometimes, comes in the most unheard-of ways. In the program, an improvement in the budget was also sensed: between the horse, the string orchestra, the dancers, the choir, and the opera singer, the premiere's expenditure was noticeable. Giró turned Estopa into the godparents of the program. The Muñoz brothers always work due to their spontaneity and friendliness. Next, we again suffered a new promotional dose of the things of the omnipresent Jordi Évole. These are those exchanges of "I interview you and you interview me" to feed the business. The journalist was accompanied by the actor Eduardo Casanova to announce the documentary Sidosa, which combats the stigma of HIV. The performer stated during the interview that one in a hundred people in Spain was infected with the virus. But the data was incorrect. The prevalence in Spain is 0.3% and not 1%, as he stated. No one corrected him. The problem is that this is the second time Eduardo Casanova has given erroneous information about HIV on a television program. With this capacity for dissemination, with every wash, we lose a sheet.

Actor and film director Eduardo Casanova has announced his HIV status via his Instagram profile: "Today I break this unpleasant and painful silence after so many years. A silence that so many of us with HIV have kept and suffered."