On Channel 14, Shame Morphed into a Grotesque Spectacle of Depravity

It was an ordinary afternoon that made you doubt human sanity. On Channel 14, shame became a spectacle. They decided to divide the victims of the October massacre into “left” and “right.” As if death, that impartial lady, had political preferences. It was a macabre study worthy of the worst delusions—a dirty graph where life and death were manipulated like puppets in a theater of horrors.

The infamy continued as they calculated the proportion of victims per inhabitant, trying to prove that being on the left was a death sentence. The presenters, true vultures of sensationalism, seriously debated whether political opinion could save lives. As if they were experts in some morbid science, they spewed cold analyses devoid of any trace of humanity.

And they, the viewers, swallow all this with the complacency of accomplices. They sit on their sofas with glazed eyes and numbed minds, digesting this filth with the satisfaction of those who feast on the suffering of others. They are the ones who, by watching this trash, perpetuate moral degradation. They are the authentic characters in this modern tragedy, accomplices, and victims of their apathy.

And it wasn’t the first time Channel 14 showed its rot. They had already spread the repulsive lie that the trains to Auschwitz bore the inscription “Mapai,” turning the Holocaust into a partisan intrigue, a bad joke. Lies, on Channel 14, are a common currency traded with the coldness of unscrupulous merchants.

The atmosphere is oppressive and suffocating. Distorted by brutal realism and cutting sarcasm, the reality reveals a degraded society. The presenters, these shadowy creatures, know they are selling lies. And they deal with pleasure because profit trumps ethics. By consuming this trash, the viewers abdicate their own humanity, transforming into shadows of themselves.

This is the social critique: a society that delights in pain, that turns mourning into spectacle and tragedy into entertainment. In a scenario where dramatization is exaggerated and taboo themes are explored without shame, Channel 14 is the herald of moral decay.

And the symbolism is clear: those who watch this without reacting or questioning are condemned. We are not all the same. They, the viewers, are the embodiment of ethical failure, accomplices in a vicious cycle of morbidity and insensitivity. Channel 14 is not just a channel; it is a dirty mirror reflecting the rot of a society in ruins.

In the end, Channel 14 is a sordid metaphor for our times. And those who consume this trash, who applaud, who delight in the misfortune of others, are as vile as those who produce it. The viewers are characters in this grotesque farce, dancing on the stage of disgrace, unaware that the abyss has already swallowed them.