On March 3, 2025, Isma Juárez, the intrepid reporter from El Intermedio, attended the presentation of the graphic novel about the life of Jorge Semprún. This literary event was introduced by none other than the former Spanish Prime Minister, Felipe González, setting the stage for not just literary discussion but also for some rather peculiar interactions.
Upon encountering González, Juárez seized the moment to pose an unexpected question—"Who do you think might be more detrimental to Spain? Pedro Sánchez or Donald Trump?" To which González responded succinctly, "Trump is the world". This brief, enigmatic reply left Juárez perplexed, admitting later, "I didn't quite understand it," reflecting the somewhat surreal atmosphere of the event.
But the quirks didn't end there. At one point during the presentation, Juárez approached the venue's entrance, which was draped with red cloth, reminiscent of the red carpet usually reserved for high-profile political events. Injecting some levity, he remarked, "They've covered the door as if it were the red carpet of politics," before attempting to pull the cloth off. Unfortunately, his playful gesture backfired, as he accidentally jammed the door, leaving several individuals stranded outside, penning the comedic chaos even more.
Finally, after the formalities of the presentation concluded, Juárez managed to corner González again to get the highly coveted signature on Jorge Semprún's book. Initially hesitant, González eventually relented, but not before making the unusual choice to leave his thumbprint on the book instead of using a pen. Juárez quipped, "I think if I use some tape, I might still be able to get the fingerprint," wrapping up the report filled with unexpected yet humorous moments.
Interestingly enough, just hours prior to Juárez's amusing encounters, another sketch featuring El Gran Wyoming aired on El Intermedio, highlighting the comedic portrayal of interactions between Donald Trump and Ukrainian President Volodímir Zelenski. The sketch presented Trump as oblivious and humorous, delivering some political satire with lines such as, "It’s Volodímir but don’t worry, I promise you will get the respect due to your figure."
This comedic inversion saw 'Trump' make errors like calling 'Zelenski' "Vladimir" instead, which elicited the response, "What’s wrong with my figure? Are you calling me ‘fucking fatty’?. The playful banter continued as Trump proposed very self-interested peace terms, detailing how "the eastern part goes to Russia, everything valuable goes to us, and for you, well, there's Chernobyl."
Zelenski's humorous response was equally biting, proposing to only cede 35% of his country as part of negotiations alongside offer of his mother’s beet soup. When 'Trump' responded with demands of submission, Zelenski's retort was, "I prefer to die on my feet than live on my knees... but I will kneel for the Ukrainian people," capturing the sharp wit embedded within the satire.
El Gran Wyoming opened up the segment reminiscing on his youthful dream of becoming American, once viewing the U.S. as the epitome of democracy. He described the transition of viewpoint over time, stating, "Sometimes, they also organized coups, criminal invasions, and illegal wars." He referred to the recent interaction between Trump and Zelenski asserting it demonstrated the untrustworthiness of the U.S., saying, "Americans don’t have friends; they only have interests, and we are not among them. We Europeans are alone, and we must open our eyes happily."
With juxtaposed narratives of humor stemming from political discourse, both Juárez's interaction with González and Wyoming’s sketch unfolded under the lens of satire and social commentary. The whimsical encounters of Juárez at the book presentation serve as both an entertaining spectacle and a subtle reflection on the current political climate immersed with political satire—a reminder of how humor often serves as a lens through which we can absorb and critique serious political issues.
These moments highlight how, even within the layers of political gravity, humor persists, providing perspective and sometimes awkward entertainment, which both entertains and sometimes critiques the political machinations of our time. Whether through unusual interviews or cheeky political sketches, it’s clear these interactions remind us of the important space humor occupies even amid serious discussions, enabling audiences to digest and navigate the surrounding political landscapes.