Banished from the warm canapé, I had to go away from the atmosphere of my house to ignite the screen in a corner where there is no one else. To the kind of books that have not yet been taken out of the boxes: computer, helmets, darkness and Bago!

They're coming. Coaches and contestants have come out as if they had drunk nitroglycerin, singing in the presentation song “here we are forever”. I thought that was a sign. I thought: they know the effort we have to make to be on this part of the screen week after week, they wanted to tell us that our struggle is yours too, we will have them there forever. Solidarity. I almost got tears.

But no: this year there is no point in crying. The third session of this 2019 edition returns Xabier Saldias – and thank you, because without it the program becomes a school bus filled with epileptic boys and girls who do not drive to the ravine at 180 hours – but once the issue is over we can confirm that something has changed from previous editions. That look in a thousand romerías, that pair of Azpeitian eyes with the ability to spray all the water that comes from the cimes of Izarraitz, this year has the sprinklers shattered. Saldias hasn't cried. Saldias has not been moved. Has Saldias hardened his heart? This is one of the questions that has been highlighted by today’s gala. After chanting Iholdi Beristain and Aitor, he said clearly: “I was willing to cry.” But I didn't cry. What happens to Saldias?

When he has had to sing with contestant Iker, the fronman of the Egan group has exercised himself as a professional. Having run many squares, the song has come out as you know, demonstrating its gifts but as far as possible – a couple of foci would have jumped at the end of the song when it has hardened the tone; nothing, for which Saldias can – and led Iker to victory.

But something else struck me. It has touched them to sing Planes bazterrak, by Mikel Laboa, and Saldias has said with no hair in his mouth that he sees nothing of that song. “My margins are the beach and the society of Zarautz,” he explained. What does that mean? What's behind this apathy? It's uncomfortable with something. And I think I know what it is: in the first session a piece of Akelarre – Matxain will say whatever he wants, but the B series is the B series, please do not compare Akelarre Egan – this time Laboa. And meanwhile, songs by international artists to other coach. The program wants to put Saldias in a too narrow shoe, and turn the Urola tiger into a venerable man who sings Basque songs.

It is normal for him to rebel against it. More than tears, today he has been wanting to teach his teeth. Take care of the possible disaster in the next few sessions.

Space sponsored by Goiener

Another of the most remarkable things about the third session was Ylenia "energy" Baglietto, from Andaluz. We have to say more than one thing about this coach.

To begin with, with her lexicon: to believe what is said in the liars of social networks, some viewers have spent the program drinking sucks of some alcohol fuerter. Every time the coach Eibarrés talked about “energy,” a pacifier. When the 2019 Osakidetza Ethyl Poisoning Statistic is published, the graphs will show a small pile on the night of March 13. Because talking about energy is super important. Baglietto, who will not worry about anything but what contestants do, will always deal with energy. Focused energy, scattered energy, positive energy, bringing energy to the earth, releasing energy... You did not mention – as yet – renewable energies, but taking into account the importance it attaches to the subject, having a public image for the next campaign of Goiener partners is not insignificant.

On a strictly artistic level, I was struck by one thing: he has dedicated himself more to valuing contestants than in previous sessions, as if I wanted for him the role of the evil jury that always has to be in this kind of performances – and Risto Mejide almost always bears it in this kind of Spanish sessions. This attitude, well: gives the counterpoint to the trend of easy applause that predominates in the evaluations. But the point is that Bago! It's different from other talent shows -- and that's why we love it so much -- here the jury always has a leg in manure. Now he's criticizing, but then he'll be criticized. And that often brings them salty drinks -- or swallowing the whole of a compress that floated directly into the sea, as it happened last week to Alex Sardui: in the first program he criticized the lack of a competitor and in the second, to reach the higher notes, Abraham Olano, more than in the Mortirolo.

But those are the rules of the game. And it does not serve to value others after having passed a narrow comb, when your performance comes, start to “ask”, as Baglietto has done: “Eske Aintzane has been voiceless throughout the week,” “we haven’t been able to prepare well,” this and the other.

Disaster for not understanding Madonna

Excuses. Seeing how Madonna's Material Girl has been represented, the problem has not been the voice problem of the contestant, who has sung well. The problem has been the absolute inability to understand a pop monument like Material girl. And I think we'll all agree: the responsibility is the coach. The coach is in charge of directing the contestant. The coach must explain the martingale of that repertoire that they have in their hands.

(What are the coaches for?) We wonder in the same tone as Xabier Usabiaga asks “where are the leaders?”).

As I had to see the program banished in a room filled with boxes of books, I've set out to look for some bibliography to explain this Madonna affair. I knew I had to be here somewhere, and with a little bit of energy towards that, John Fiske's book Reading the Popular, read at university, has been explained. If he had read the chapter he devoted to Madonna in that work, perhaps Baglietto would have been able to give Aintzane good advice. But instead, he explained that interpreting Madonna is acting as a “diva.”

That's not understanding anything. That's mixing leeks and onions. This is the conceptual chaos that has plunged Aintzane to almost the payroll.

Divas are scientific. Madonna is something else. Specifically, in Material girl, an artist who runs a very complex semiotic exercise. With an aesthetic that evokes Marilyn Monroe, the patriarchate shouts the image of the desirable woman who can control through exaggeration and over-representation and offers possibilities of resistance to women who want to liberate. There is no explicit message, it is not about appearing as a “diva” or as a dominated woman. It's more subtle. That's what Madonna says in that video clip. “Look, I take the cultural cages that have built us adapted to the desire of men, I detach piece by piece and do with them what I want.”

The meaning, in any manifestation of Madonna, is to create its own meanings: neither song, nor dance, nor diva and divaondo. Symbolic self-determination. Madonna is as queen as pop.

But of course, we spend our day looking at energy.

And since we have started to take things to the political level, we cannot let this chronicle of the third session pass without realizing that those in charge of the programme are trying to drive the civil war between the Olloki. In the third session, after winning Gabriela's grief, Eider entered the competition and the coach sent him to grief at another olloki. In the event that things continue like this, Andoni Ollokiegi has every right to the rebellion of the world.