Government measures can often be seen as another form of entertainment, a spectacle of sorts. This perspective highlights a complex differentiation in modern governments, where the way a policy is publicly presented becomes just as significant as the policy itself, which allegedly responds to evidence-based evaluations.
In this spectacle, perceptions of differences are managed, even though in real social processes, these differences may not be as pronounced. Many people share similar experiences, including Javier and Alberto, despite the spectacle’s portrayal.
During the COVID-19 crisis, Alberto Fernández aspired to be a global leader in healthcare management. Every two weeks, he showcased Argentina’s success in reducing infections on national broadcasts, contrasting it with the failure of other countries. His presentations, filled with data, painted a picture of Argentina triumphing over the virus while other nations struggled. This bi-weekly show became a celebration of his supposed success.
However, this doesn’t sit well with authoritarians. Professional and critical journalism is a fundamental pillar of democracy, and it irritates those who believe they possess the ultimate truth.
It didn’t take long for dependency to set in. For Alberto Fernández, his success hinged entirely on the infection curve. Everything was caught in a sequence of numbers, leading to a complete subordination to this metric. The influence shifted; it wasn’t Alberto safeguarding the curve but the curve dictating his public image, making every decision revolve around this precious public perception.
Javier Milei, on the other hand, emerged directly from the world of entertainment. Known for his abrupt gestures, explosive outbursts, TV fights, and even appearances as a singer and dancer, he attacked the healthcare management just as fiercely. As Alberto made his bi-weekly presentations, Milei countered with his own show, blending dramatic hand movements and flushed, furious faces. This can now be seen as a counter-spectacle. Much like punk rock’s existence contrasts disco, Milei’s rise can be viewed as a reaction to what was seen as a failed attempt by Cristina Kirchner’s government to maintain a successful Peronism.
Fast forward to the present administration, and it too has its own ‘curve’—inflation rates—which it touts as unmatched and a global benchmark. Like Alberto, Milei draws comparisons with other countries, delivering his harsh verdicts.
At the Davos forum, Milei criticized the socialist inclinations of first-world countries. In Europe, he weighed in on internal conflicts, blaming over-interventionist states for the lack of growth. In Latin America, he classified friends and foes according to his preferences, suggesting that Argentina has the key to how things should be done globally.
These perspectives create new dependencies on governance similar to those that delayed Alberto’s decisions to end lockdowns. Economic experts now call for a different dollar price, echoing past demands to lift lockdown restrictions. The debate over dollar pricing has become another dependency, much like a lockdown. If the dollar is freed, inflationary risks rise, putting Milei’s perceived success at risk.
The over-promise of a single metric in Argentina’s current scenario has overlooked varied issues like road construction, educational improvement, poverty reduction, and security problems. These issues have been sidelined by a singular focus on inflation and fiscal deficits.
Milei’s libertarian viewpoint dismisses anything not covered by his descriptions. He fits a time where urgent matters are treated as unique and unchanging. His theory places optimism in the outcomes of actions and social processes, with the market as the ultimate judge. He may view the world differently from how Alberto, in his moment of glory, provided a comprehensive solution. This is where the idea of a spectacle plays a crucial role.
The problem with spectacles is their limited duration. Social issues can be depicted in movies or theater for consumption, but the audience remains detached. Politics, despite perfecting its spectacle, cannot sustain a script indefinitely as reality intervenes. When reality disrupts the performance, it often results in one-hit wonders. Milei still has time to react; for Alberto, it’s already too late.
* Sociologist.
