By Desada Metaj
Grida Duma opened "Top Story" last night with a monologue about Vlora Hyseni and the SHISH scandal. In her usual tone, half politician, half journalist, half blogger who sells tourist packages and sun cream, she raised the question: whose responsibility is it?
Good question. But too late and too convenient, especially when it's done by a studio that hasn't simply been an observer of power, but often part of its scenography.
Someone should remind Grida that on her show, Mirlinda Karçanaj, a woman with a terrifying record and public responsibility who cannot hide behind television tears, was treated as a great victim. Not as someone who should be questioned to the end about what happened under her direction, but as a character for whom the studio had to produce pain, pity, and a drama ready for public consumption.
And this is not the only memory that was missing from last night's monologue. On the same show, Belinda Balluku reigned supreme at the inauguration of the Llogara tunnel. Exactly in that tunnel that is now included in the SPAK file. Exactly in that work where propaganda, tenders, public money and power were dressed up with cameras, applause and television solemnity.
The tunnel was sold as a triumph, the minister as a great manager, the government as a construction machine, while Grida and Balluku almost inaugurated it in a duet, one from the government, the other from the studio. No one seemed very concerned about what might be hidden behind the concrete, the invoices, the tenders and the ceremonies.
Today, the same studio demands political responsibility for SHISH. Today, it asks who controls the state, who monitors the government, who bears the burden when institutions rot from within. But this question cannot be asked as if it comes from heaven. Because responsibility does not begin the day SPAK opens the file. Responsibility begins much earlier, when power is normalized, when ministers are treated as successful characters, when public works turn into personal parades and when studios become an extension of government ceremonies.
This is not just the story of "Top Story". It is the story of many Albanian studios, where the government enters as a protagonist, not as someone questioned; where the minister is not called to be controlled, but to appear; where the prime minister is treated as the author of the scene, not as someone who must be held to account; where propaganda takes the format of a debate and the ceremony is sold as journalism.
Pastaj, kur dosjet hapen, të gjithë bëhen të habitur. Të gjithë pyesin si ka mundësi. Të gjithë kërkojnë përgjegjësi morale, politike, institucionale. Por fajtorët nuk kanë punuar gjithmonë në errësirë. Shpesh kanë hyrë nga dera kryesore e ekraneve, kanë marrë kohë televizive, kanë marrë legjitimitet, kanë marrë buzëqeshje, kanë marrë heshtje, kanë marrë edhe atë lloj respekti artificial që vetëm televizioni di ta prodhojë për pushtetin.
Rasti i Vlora Hysenit është i rëndë dhe duhet hetuar deri në fund. Duhet parë kush e propozoi, kush e mbështeti, kush e mbrojti, kush heshti dhe kush përfitoi nga heshtja. Por të mos bëjmë sikur problemi fillon te Vlora dhe mbaron te Vlora. Problemi është te një sistem ku pushteti i prodhon personazhet, politika i përdor, media i lustron, drejtësia i kap me vonesë dhe pastaj të gjithë dalin në ekran me habinë e radhës.
Prandaj monologu i mbrëmshëm i Gridës nuk ishte vetëm një pyetje për SHISH-in. Ishte pa dashje edhe një kujtesë për mënyrën si funksionon ky vend: pushteti fillimisht kalon nëpër studio, fotografohet, zbukurohet, merr dekorin e suksesit dhe vetëm më pas, kur dalin dosjet, kthehet në objekt analize.
Ne shqiptarët mund të kemi shumë probleme me kujtesën, por jo aq sa të mos mbajmë mend çfarë ka ndodhur pak kohë më parë. Ndaj na e kurseni moralin e radhës. Bëni ndonjë video për të shitur produkte, paketa turistike a krem plazhi, se aty jeni më të natyrshëm. Dhe, me shumë gjasë, më shumë se gazetare, aty do të jeni blogeret e së ardhmes.
