Pablo E.M.G. : The Return of the Telegraph and the Simplified Society S02E01

The Return of the Telegraph and the Simplified Society
Season 2 · Episode 1
I am Pablo Mera —or Pablo E.M.G. to the English-speaking world— though some friends still affectionately call me Trompo. At heart, I am a rugby man, blood type A+, and a fervent admirer of Metallica and Oasis. My podcasts, as ever, can be found on all major platforms.

We live in an era which, rather than expanding our horizons, seems increasingly intent on narrowing the life of the mind. A glance at the street suffices: most cars are white, grey, or black. Why? Because choosing colour, it seems, is now considered a burden. Politics follows the same anaemic script, reduced to a counterfeit dichotomy — left or right, male or female, wealthy or poor. Everything, it appears, must be rendered in black and white.

Communication, too, has regressed in curious ways. Though free video calls are readily available, most people default to text messages. We have, in effect, returned to a digital telegraph: curt lines flung across glowing screens. And should one dare to send a voice note —heaven forbid it be lengthy!— for the recipient will likely play it at double speed, as though even the human voice has been demoted to a mere administrative chore.

As for knowledge, the search is no longer among people. Today, any doubt is swiftly answered by some artificial intelligence model. Wisdom has been distilled into code; the teacher transfigured into an algorithm.

And what, one asks, endures? Hypocrisy. Not merely of the social or domestic variety, but the sentimental as well. Disguise remains acceptable —indeed, celebrated. Many couples choose to harbour clandestine companions, as though secrecy were a legitimate release, a valve against routine, an antidote to the erosion of passion.

Thus society legitimises the behaviour of those who proclaim “I love you” only beyond closed doors. Families, in the name of stability, transform betrayal into a Pyrrhic victory: an escape, cleverly painted over, dressed as politically correct, all within the framework of the necessary monogamy which still props up the ideal of the traditional family.

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