In a candid interview with Infobae Spain, Noem\u00ed Galera<\/strong>, the director of the ‘Operaci\u00f3n Triunfo 2025’ academy, expressed her deep frustration regarding the rights to songs<\/strong>. She pointed out the absurdity of running a music-focused program that restricts musical content. “It’s very frustrating to do a music program in which you can’t listen to music,” Galera lamented. This issue has significant implications, not just for the show but also for the contestants striving to express themselves through music.<\/p>\n Galera emphasized the complexities of managing public perception. She receives both criticism<\/strong> and support, often embracing a humorous approach to negativity. “If there\u2019s something that you say \u2018ouch,\u2019 you go in and watch the whole scene,” she explained. Despite the hurtful comments directed at her and the contestants, Galera has chosen to block and report negativity more than ever. Her resolve to maintain a positive mindset shines through in her statement, “this year I have practically not answered and I deactivated the notifications, so I live much calmer.”<\/p>\n Galera’s insights extend to the behavior of online fandoms. She noted that today\u2019s social media creates extreme reactions, where both support and criticism are amplified. The contest’s fandom, while intense, urged for the program to continue, revealing a dichotomy in viewer engagement. “It is a way of functioning of today’s society, we are going to the maximum extremes,” she commented.<\/p>\n Notably, Galera stressed that OT 2025<\/strong> was a unique edition, not a bad one. “It was not understood and it was different,” she argued. Moreover, Galera highlighted evolving standards by comparing past contestants to this year\u2019s participants, revealing a significant shift in sensitivities. Issues around language and behavior in entertainment have escalated, presenting new challenges for contestants.<\/p>\n Regarding the future of the show, Galera remains hopeful but uncertain. She maintains that she and her colleague, Manu Guix, are ready to return if called upon. “I don’t know if it will come back and I don’t know if they’re going to want to count on me,” she stated, but undoubtedly, her commitment to the show remains strong as she prepares for future casting projects.<\/p>\n Amidst all the drama, contestants like Olivia have expressed their bewilderment at leaving the academy only to find themselves active on social media. “It was very strange to be at the academy with the cell phone knowing that the cameras are no longer there,” she remarked. The connections formed within the academy remain a topic of conversation, and contestants adapt to life after the cameras, navigating personal relationships and public scrutiny.<\/p>\n As Noem\u00ed Galera<\/strong> continues to lead ‘OT 2025’, she represents a crucial figure in shaping modern music competition television in Spain. From addressing rights issues to managing public perception, her hands-on approach and playful resistance to adversity illustrate her dedication and passion for the show and its contestants. The future may be uncertain, but her resolve to lead and adapt in a changing media landscape is promising.<\/p>\nCriticism and Support: A Balancing Act<\/h3>\n
Navigating Modern Fandom<\/h3>\n
Reflections on Contestants and Edition Differences<\/h3>\n
Moving Forward: The Future of ‘OT’<\/h3>\n
Life Beyond the Academy<\/h3>\n
Final Thoughts<\/h3>\n