{"id":469893,"date":"2026-10-06T15:47:45","date_gmt":"2026-10-06T15:47:45","guid":{"rendered":"http:\/\/6ac505d8f5c1e74be8d7cc36"},"modified":"2026-10-06T15:47:45","modified_gmt":"2026-10-06T15:47:45","slug":"digger-o-por-que-hacer-arte-mientras-el-mundo-arde","status":"publish","type":"post","link":"https:\/\/sarmiento24h.com\/?p=469893","title":{"rendered":"Digger, o por qu\u00e9 hacer arte mientras el mundo arde"},"content":{"rendered":"
<\/div>\n

Este contexto se va revelando poco a poco a lo largo de la historia, y cada revelaci\u00f3n arroja una nueva luz: el presidente que hace Goodman, vulgar y desmesurado, hace chistes de mal gusto para provocar risas. Los miembros de su equipo apenas reaccionan ante el posible n\u00famero de v\u00edctimas mortales del desastre clim\u00e1tico, pero reaccionan de forma exagerada cuando se da a conocer el costo econ\u00f3mico. Cuando Europa se ve afectada, el presidente y su equipo est\u00e1n comiendo palomitas y gritando a la pantalla, dici\u00e9ndoles a las v\u00edctimas, de la cat\u00e1strofe que ellos mismos han provocado, que corran; como si estuvieran viendo una pel\u00edcula de terror. Es espantosamente caricaturesco.<\/p>\n

En el contexto de una obra escrita para la catarsis de las masas, esto revela una tensi\u00f3n m\u00e1s amplia que recorre toda la pel\u00edcula y sobre la que se debate abiertamente. Cruise, en el papel de Markson, detesta la caricatura de Digger y se queja de que este era un \u201cpsic\u00f3pata seductor\u201d aterrador e intimidante, no un vaquero c\u00f3mico. Hannah, la directora, dice que eso es lo que la gente necesita: una obra did\u00e1ctica, sensacionalista y cat\u00e1rtica con villanos de los que re\u00edrse.<\/p>\n

\u00bfVale la pena hacer arte en nuestros tiempos?<\/h2>\n

La pel\u00edcula cuestiona por qu\u00e9 y c\u00f3mo se crea el arte cuando el mundo arde. \u00bfQui\u00e9n se beneficia realmente de esta catarsis?<\/p>\n

Como hemos dicho, toda la pel\u00edcula es una llamativa caricatura, no solo de la pol\u00edtica, sino tambi\u00e9n de la creaci\u00f3n art\u00edstica actual. La obra teatral solo se lleva a cabo porque Kenny decide financiarla.<\/p>\n

Aunque la obra cuenta con una escenograf\u00eda elaborada, un buen equipo t\u00e9cnico y tecnolog\u00eda punta, el teatro tiene un aire acondicionado que funciona a ratos. El p\u00fablico y el director sudan. Hay moho creciendo en la sala de descanso, y el mundo exterior est\u00e1 en ruinas. Existe una desconexi\u00f3n entre la decadencia del espect\u00e1culo y las formas genuinamente \u00fatiles de gastar el dinero.<\/p>\n

Kenny no monta la obra por remordimiento, sino para desviar la atenci\u00f3n, apaciguando al p\u00fablico al presentarles un villano del pasado para que puedan aceptar el presente. Mientras, \u00e9l se beneficia de la cat\u00e1strofe que la obra satiriza. Cuando Hope, la hija de Curtis, desaparece tras abordar un avi\u00f3n para asistir al estreno, Kenny logra localizarla utilizando \u00fanicamente su n\u00famero de tel\u00e9fono.<\/p>\n

Dirige una empresa de seguridad, lo que probablemente significa vigilancia. Durante los cr\u00e9ditos finales, donde vislumbramos el mundo real, lo que parece ser una bandada de p\u00e1jaros volando por encima es en realidad una bandada de drones. Robots humanoides fuera de servicio yacen en el suelo y hombres armados apuntan a la gente en la calle. Eso es lo que significa seguridad en este mundo.<\/p>\n

Como la realidad misma<\/h2>\n

Su decisi\u00f3n de financiar una obra de teatro pone de manifiesto el actual panorama tecnol\u00f3gico y cultural. Los magnates tecnol\u00f3gicos de hoy buscan cada vez m\u00e1s influencia cultural, y la cultura se encuentra ampliamente difundida a trav\u00e9s de la tecnolog\u00eda: Jeff Bezos es due\u00f1o de Prime Video, Apple tiene Apple TV. Esto se puede extender a c\u00f3mo las plataformas de redes sociales, y los algoritmos que las rigen, act\u00faan como guardianes culturales.<\/p>\n

A medida que la pel\u00edcula se acerca a su final, refleja la realidad del espectador. Vemos la conclusi\u00f3n de la obra, donde Digger muere entre aplausos, l\u00e1grimas de alegr\u00eda y v\u00edtores del p\u00fablico. Catarsis, dijimos. Al terminar la pieza, el p\u00fablico se pone las m\u00e1scaras de ox\u00edgeno y sale a una ciudad dist\u00f3pica inundada. Esa catarsis, el espect\u00e1culo, incluso la angustia de Cruise por la interpretaci\u00f3n de su personaje, todo carece de sentido en este lugar.<\/p>\n

Al igual que el p\u00fablico de la obra, me re\u00ed durante toda la pel\u00edcula. Me re\u00ed de di\u00e1logos claramente basados \u200b\u200ben hechos reales, de la ostentosa recreaci\u00f3n de personas m\u00e1s que dispuestas a convertir el aire que respiran en dinero, y de sus habituales evasivas y excusas.<\/p>\n

Cuando se encendieron las luces, sal\u00ed del cine y regres\u00e9 a un mundo donde el clima sigue empeorando, la guerra es una realidad para millones de personas y los ej\u00e9rcitos encuentran formas de convertir la IA en armas. Brutal.<\/p>\n

Art\u00edculo originalmente publicado en<\/em> WIRED.com<\/a>. Adaptado por Mauricio Serfatty Godoy.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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