{"id":8278,"date":"2026-07-13T08:43:08","date_gmt":"2026-07-13T06:43:08","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=8278"},"modified":"2026-07-13T08:45:38","modified_gmt":"2026-07-13T06:45:38","slug":"patrimonio-cultural-fandom","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/patrimonio-cultural-fandom\/","title":{"rendered":"El patrimonio que construyen los fans: c\u00f3mo las comunidades convierten la ficci\u00f3n en cultura"},"content":{"rendered":"<h3 style=\"text-align: left;\">Coleccionismo, restauraci\u00f3n y transmisi\u00f3n: el fandom reproduce los mecanismos del patrimonio cultural sin necesitar la validaci\u00f3n de una instituci\u00f3n.<\/h3>\n<div style=\"width: 1080px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8278-1\" width=\"1080\" height=\"345\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2026\/07\/LG-BLOG_FSB-VIDEO-FRASES_1440x460.mp4?_=1\" \/><a href=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2026\/07\/LG-BLOG_FSB-VIDEO-FRASES_1440x460.mp4\">https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2026\/07\/LG-BLOG_FSB-VIDEO-FRASES_1440x460.mp4<\/a><\/video><\/div>\n<h4 style=\"text-align: left;\"><strong><br \/>\nDel objeto de museo al objeto de fan<\/strong><\/h4>\n<p style=\"text-align: left;\">Una armadura medieval, una vasija romana o el manuscrito de una obra cl\u00e1sica no necesitan justificar su lugar en un museo. Han sobrevivido al tiempo y por ello forman parte de nuestra historia. Sin embargo, cuando lo que se expone es el casco de un <em>stormtrooper<\/em> o una figura de acci\u00f3n conservada durante cuarenta a\u00f1os, la atenci\u00f3n ya no reside en cu\u00e1nto ha resistido ese objeto, sino qui\u00e9n ha decidido que merec\u00eda resistir.<\/p>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong>La ampliaci\u00f3n del concepto de patrimonio<\/strong><\/h4>\n<p style=\"text-align: left;\">Durante mucho tiempo, el patrimonio cultural se entendi\u00f3 como un conjunto de bienes materiales excepcionales que era necesario proteger. Con el tiempo, esa idea ha evolucionado. Hoy sabemos que el patrimonio tambi\u00e9n est\u00e1 formado por tradiciones, conocimientos, pr\u00e1cticas y formas de entender el mundo que sobreviven porque una comunidad decide mantenerlas vivas. No es casualidad que la UNESCO ampliara el concepto de patrimonio para incluir manifestaciones inmateriales: aquello que una sociedad considera digno de ser transmitido tambi\u00e9n forma parte de su herencia cultural.<\/p>\n<p style=\"text-align: left;\">Esa misma l\u00f3gica es la que permite mirar a los grandes fandoms contempor\u00e1neos con otros ojos.<\/p>\n<p style=\"text-align: left;\">Un fandom no se sostiene solo en el gusto compartido por una pel\u00edcula, una saga o un personaje. Es una comunidad que desarrolla un lenguaje propio, crea rituales, transmite conocimientos y convierte una obra de ficci\u00f3n en una experiencia compartida. Sus miembros reinterpretan las historias, las expanden, las mantienen vivas mucho despu\u00e9s de que los focos medi\u00e1ticos se hayan apagado.<\/p>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong>El fan como productor de significado<\/strong><\/h4>\n<p style=\"text-align: left;\">Fue precisamente esta idea la que comenz\u00f3 a transformar los estudios sobre cultura popular a principios de los a\u00f1os noventa. El investigador Henry Jenkins (1992) rompi\u00f3 con la imagen del fan como un consumidor obsesivo para describirlo como un participante activo capaz de producir nuevos significados. En <em>Textual Poachers<\/em> defend\u00eda que los aficionados \u00absaquean\u00bb las obras que aman para apropi\u00e1rselas creativamente: escriben nuevas historias, dise\u00f1an vestuarios, organizan encuentros, producen v\u00eddeos, elaboran teor\u00edas y generan un conocimiento colectivo que ninguna productora podr\u00eda planificar por s\u00ed sola.<\/p>\n<p style=\"text-align: left;\">En <em>Convergence Culture<\/em>, Jenkins explic\u00f3 c\u00f3mo la relaci\u00f3n entre creadores y p\u00fablico hab\u00eda dejado de ser unidireccional. Las comunidades de fans pasaron a convertirse en espacios donde se comparte informaci\u00f3n, se debate, se preserva la memoria de las obras y, en muchos casos, se influye incluso en las decisiones de las propias franquicias.<\/p>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong>La identidad construida a trav\u00e9s de la ficci\u00f3n<\/strong><\/h4>\n<p style=\"text-align: left;\">Pero el fen\u00f3meno va m\u00e1s all\u00e1 de la participaci\u00f3n digital.<\/p>\n<p style=\"text-align: left;\">El soci\u00f3logo Matt Hills sostiene que los fandoms funcionan como espacios de construcci\u00f3n identitaria. No solo elegimos las historias que nos gustan; tambi\u00e9n utilizamos esas historias para explicar qui\u00e9nes somos. Por eso los objetos asociados a una saga dejan de ser productos comerciales. Se convierten en recuerdos, s\u00edmbolos personales y, con el paso de los a\u00f1os, en testigos de una experiencia compartida por generaciones enteras.<\/p>\n<p style=\"text-align: left;\">Bajo esa perspectiva, los fandoms act\u00faan como aut\u00e9nticas comunidades patrimoniales.<\/p>\n<p style=\"text-align: left;\">Coleccionan. Catalogan. Restauran. Documentan. Recrean vestuarios. Organizan convenciones. Digitalizan material descatalogado. Conservan objetos que, de otro modo, desaparecer\u00edan. Comparten ese conocimiento con nuevos aficionados y mantienen vivo un universo narrativo durante d\u00e9cadas.<\/p>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong><em>Star Wars<\/em><\/strong><strong>: cuatro d\u00e9cadas de conservaci\u00f3n no institucional<\/strong><\/h4>\n<p style=\"text-align: left;\">Pocas franquicias ilustran mejor este fen\u00f3meno que <em>Star Wars<\/em>.<\/p>\n<p style=\"text-align: left;\">Desde su estreno en 1977, la saga ha trascendido el \u00e1mbito cinematogr\u00e1fico para convertirse en un lenguaje compartido entre generaciones. Padres e hijos reconocen los mismos personajes. Coleccionistas llevan d\u00e9cadas conservando juguetes, carteles, maquetas y piezas de producci\u00f3n. Miles de personas dedican incontables horas a construir r\u00e9plicas, perfeccionar trajes o documentar cada detalle de un universo ficticio con un rigor casi archiv\u00edstico.<\/p>\n<p style=\"text-align: left;\">La fuerza de <em>Star Wars<\/em> no reside \u00fanicamente en las pel\u00edculas. Reside en las personas que han decidido que esa historia merece seguir cont\u00e1ndose.<\/p>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong><em>El Imperio Fan Contraataca<\/em><\/strong><strong> como archivo<\/strong><\/h4>\n<p style=\"text-align: left;\">De esa idea parte <em>El Imperio Fan Contraataca<\/em>. Esta exposici\u00f3n no puede entenderse como una colecci\u00f3n de objetos relacionados con una saga influyente, sino como el registro material de una comunidad que lleva d\u00e9cadas preservando su propio universo. Cada pieza expuesta habla tanto de la ficci\u00f3n original como de quienes se han encargado de conservarla. Las figuras, r\u00e9plicas, vestuario, ilustraciones, maquetas y ediciones hist\u00f3ricas no solo cuentan la historia de <em>Star Wars<\/em>; cuentan tambi\u00e9n la historia de quienes las buscaron, las conservaron y les otorgaron un valor que trasciende el mero coleccionismo.<\/p>\n<p style=\"text-align: left;\">Cada objeto es el resultado de horas de dedicaci\u00f3n, de investigaci\u00f3n y, en muchos casos, de una voluntad consciente de evitar que una parte de la cultura popular caiga en el olvido. Es la prueba f\u00edsica de que los fans no se limitan a consumir las historias que aman: tambi\u00e9n las documentan, las restauran, las contextualizan y las transmiten a nuevas generaciones.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\">El patrimonio de nuestro tiempo ha dejado de definirse \u00fanicamente por la edad de los objetos que conservamos, y ha pasado a estar marcado tambi\u00e9n por las comunidades que los dotan de significado. Si durante siglos hemos protegido castillos, manuscritos o pinturas porque representaban una parte de nuestra memoria colectiva, hoy empezamos a comprender que las historias que han marcado a millones de personas tambi\u00e9n merecen ser observadas desde esa misma perspectiva.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\">Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 17 de junio de 2026<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Coleccionismo, restauraci\u00f3n y transmisi\u00f3n: el fandom reproduce los mecanismos del patrimonio cultural sin necesitar la validaci\u00f3n de una instituci\u00f3n. Del objeto de museo al objeto de fan Una armadura medieval, una vasija romana o el manuscrito de una obra cl\u00e1sica no necesitan justificar su lugar en un museo. Han sobrevivido al tiempo y por ello [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":8285,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"<p>[et_pb_section][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text]<\/p><h3 style=\"text-align: left;\">We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3><p>\u00a0<\/p><blockquote><p style=\"text-align: right;\">Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote><p>\u00a0<\/p><p style=\"text-align: left;\">Valerio Tiberi is one of the most sought-after lighting designers in the European theatre scene. His professional range spans from opera productions in emblematic venues like the Op\u00e9ra Bastille in Paris and Teatro alla Scala in Milan, to international musicals such as <strong><a href=\"https:\/\/musicalelfantasmadelaopera.com\/\"><em>The Phantom of the Opera<\/em><\/a><\/strong>, <strong><a href=\"https:\/\/www.kitkatklubcabaret.com\/\"><em>Cabaret<\/em><\/a><\/strong>, or <em>West Side Story<\/em>; ballet (<em>A Thousand Tales<\/em>, <em>Alice in Wonderland<\/em>, etc.), and haute couture fashion shows for brands like Valentino and Dolce & Gabbana. He has received numerous awards, including the Italian Musical Oscar and Best Lighting Design.<\/p><p style=\"text-align: left;\">His work strikes a natural balance between technical precision and aesthetic sensitivity \u2014which is no small feat. In this interview, he opens up about his creative process, his reflections, and the challenges of lighting vastly different worlds: the theatre stage and the fashion runway.<\/p><p><img class=\"alignnone wp-image-5084 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>The challenge of lighting a classic<\/strong><\/h4><p style=\"text-align: left;\">Tiberi recalls that his relationship with LETSGO dates back at least to 2016, when they produced <em>Dirty Dancing<\/em> in Spain for the first time:<\/p><blockquote><p style=\"text-align: left;\">I came with Federico Bellone; we were the original creative team. Since then, we\u2019ve done many productions [with LETSGO], but without a doubt, the most successful one is <em><strong><a href=\"https:\/\/www.letsgocompany.com\/es\/nuevo-destino-desbloqueado-aterrizamos-en-mexico-con-el-fantasma-de-la-opera\/\">The Phantom of the Opera<\/a><\/strong><\/em>.<\/p><\/blockquote><p style=\"text-align: left;\">Being part of the first Spanish-language production of one of the most successful musicals in history was a challenge in every sense. Tiberi remembers staging <em>Phantom<\/em> at Teatro Alb\u00e9niz as \u201ca very difficult project.\u201d This is where the intricacies of lighting design come into play, when theory meets the hard ground of practice:<\/p><blockquote><p style=\"text-align: left;\">The biggest challenge was finding the physical space to place the light. We can all come up with incredible ideas, but my job is to make them into reality.<\/p><\/blockquote><p><img class=\"alignnone wp-image-5090 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_2.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Lighting design by Valerio Tiberi for <em>The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p><p>\u00a0<\/p><p style=\"text-align: left;\">It was one of those times when art has to come down to earth: adapting to budgets, technical layouts, timelines, and spatial limitations. Finding the perfect spot for the light, and projecting from there.<\/p><blockquote><p style=\"text-align: left;\">We used very powerful light sources that could do several things at once: specials, washes, effects. We worked a lot with light tilting to create depth, and we also used smoke, fire... fire is light, too, of course.<\/p><\/blockquote><p style=\"text-align: left;\">An artist\u2019s greatness often lies in their versatility. <strong><a href=\"https:\/\/www.letsgocompany.com\/es\/cabaret-llega-a-madrid-quien-se-atreve-a-bailar-mientras-el-mundo-se-rompe\/\"><em>Cabaret<\/em> <\/a><\/strong>is a whole different beast \u2014but naturally, Tiberi embraces the challenge:<\/p><blockquote><p style=\"text-align: left;\">In <em>Cabaret<\/em>, the approach is completely different. It\u2019s an immersive production and although we\u2019re still in the creative process, the challenge is once again the same: finding space for the lights. Only this time, the light is exposed. In <em>Phantom<\/em>, it was hidden. The audience didn\u2019t see it. In <em>Cabaret<\/em>, the lighting is part of the set. Everyone will see it.<\/p><\/blockquote><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Thinking like the audience<\/strong><\/h4><p style=\"text-align: left;\">Lighting design is not just a technical craft. How do you think about a show when you\u2019re a creative but can\u2019t lose sight of the surgical precision that light demands? Luckily, artistic environments are fertile ground for questioning and transformation.<\/p><p style=\"text-align: left;\">Tiberi is clear: the key is thinking like the audience. In the end, it all comes back to emotion and to human reaction:<\/p><blockquote><p style=\"text-align: left;\">There\u2019s no one rule. I adapt to each situation. For example, with <em>Cabaret<\/em>, I started from the tools: I knew I needed dynamic, effect-driven lighting. In <em>Phantom<\/em>, it was the opposite: storytelling was my starting point.<br \/>But in both cases, I try to keep an artistic mindset from the beginning. I like to think like the audience. The audience doesn\u2019t know if it was hard or easy to achieve an effect; they only know if it moved them. That\u2019s why I try to understand how the human mind reacts to light, to color, to stimuli. And that changes depending on the type of show, the city, the society. It\u2019s not just design: it\u2019s psychology.<\/p><\/blockquote><p><img class=\"alignnone wp-image-5099 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_4.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Custom Gobos used on <em>The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p><h4>\u00a0<\/h4><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Rediscovering darkness<\/strong><\/h4><p style=\"text-align: left;\">Tiberi is fascinated by a deeply contemporary concern: in a world blinded by light (computers, phones...) we\u2019ve become unavailable to darkness. We live in a state of overexposure, often without even realizing it.<\/p><blockquote><p style=\"text-align: left;\">Theatre, like some exhibitions, is the only place where you can rediscover darkness. That\u2019s why I always start from the dark. And from there, I build layers. I begin with the black, then work on the amount of light: the white. And if needed, the colors come after. Contrast is essential. I\u2019m not just talking about aesthetics; I\u2019m talking about creating an intimate experience, something the audience doesn\u2019t find in their daily lives.<\/p><\/blockquote><p style=\"text-align: left;\"><em>\u201cRediscovering darkness (\u2026) an intimate experience.\u201d <\/em>To train the mind to appreciate privacy and reflective environments \u2014so often linked to solitude and twilight\u2014 has become a monumental act. In this sense, framing theatre as a space that revives our most primal thoughts and relationships isn\u2019t nostalgia: it\u2019s a new form of approach, born from our modern context.<\/p><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Can AI understand theatre?<\/strong><\/h4><p style=\"text-align: left;\">Another hallmark of our times: new technologies and the relationships we forge with them. Tiberi acknowledges that AI has helped him streamline tasks and compare ideas:<\/p><blockquote><p style=\"text-align: left;\">It\u2019s like a secretary: I feed it images, concepts, and ask it to try out atmospheres. But of course, AI doesn\u2019t know where to physically place a light in the theatre, or which type to use, or when. It helps optimize, expand your thinking, but not solve the essentials.<br \/>I mostly use it for dramaturgy. I create mental maps of the show, there, it\u2019s useful. But you need time. If you\u2019re working, you\u2019re working. Still, I think many professions could benefit from AI if used wisely.<\/p><\/blockquote><p style=\"text-align: left;\">Despite growing discussions about whether human creativity can be replaced by algorithms, Tiberi reminds us that some things can\u2019t be substituted. Asked about a moment where lighting was crucial to solving a dramaturgical challenge, he shares:<\/p><blockquote><p style=\"text-align: left;\">In <a href=\"https:\/\/www.houdinielmusical.com\/\"><strong><em>Houdini<\/em><\/strong><\/a>, in Italy, one of the last scenes was very hard to resolve. We talked for weeks about how to stage it\u2026 and in the end, I did something very simple in the theatre and it worked. Sometimes we overthink things, and the solution is in the simplest move.<\/p><\/blockquote><p><img class=\"alignnone wp-image-5096 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_4-2.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Lighting design by Valerio Tiberi for <strong><em><a href=\"https:\/\/www.letsgocompany.com\/es\/houdini-un-musical-magico-mas-alla-del-mito-y-la-cancion\/\">Houdini<\/a> <\/em><\/strong>(Italy production).<\/p><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Being a designer today: the power of active experience<\/strong><\/h4><p style=\"text-align: left;\">In a world where instinct and hands-on experience make all the difference, Tiberi knows exactly what he\u2019d tell a young lighting designer starting out:<\/p><blockquote><p style=\"text-align: left;\">Nowadays, with all the tech out there, it\u2019s easy to reach an average level. But getting to the top is harder than ever. The key is real experience. You need to be in the theatre, live the space, rehearse, test. Be there at least 300 days a year. And travel. See shows, museums, exhibitions. Not just modern ones, classics too. Go to the Louvre, to MoMA\u2026 Start from what\u2019s tangible. Don\u2019t stay in one country, or one style.<\/p><\/blockquote><p style=\"text-align: left;\">On his experience teaching at the Accademia Teatro alla Scala, he adds:<\/p><blockquote><p style=\"text-align: left;\">I don\u2019t want to be a traditional professor. I want to speak from experience, what\u2019s worked and what hasn\u2019t. I try to involve my students directly in the theatre. That\u2019s where real learning happens.<\/p><\/blockquote><p><img class=\"alignnone wp-image-5102 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_6.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Color List used for the lighting design (left) and Designer\u2019s magic sheet (right), both used on <em>The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Fashion vs. Theatre: two worlds, two timeframes<\/strong><\/h4><p style=\"text-align: left;\">As mentioned earlier, Tiberi\u2019s work isn\u2019t limited to the stage or the classroom. He\u2019s also designed lighting for fashion shows, where atmosphere and storytelling \u2014when present\u2014 play a secondary role. But where does the real difference lie between stage and runway?<\/p><blockquote><p style=\"text-align: left;\">It\u2019s all about timing. In fashion, preproduction is long, but setup takes just two or three days. And the show lasts, at most, twenty minutes. In that time, you run seven or eight cues: the intro, models entering, the runway, the finale, the exit.<br \/>It may not sound like much, but it\u2019s a massive job, with last-minute changes, contradictory decisions\u2026 sometimes the day before.<br \/>Above all, it\u2019s about the clothes. You need to light the garments with natural-looking light, without altering colors, minimizing shadows. The image must be clean, sharp. Sure, you work on the mood, but ultimately, it\u2019s about showcasing the clothes. It\u2019s about showing and selling.<br \/>And the goal is completely different from theatre. In a fashion show, what matters most is what ends up on Instagram. Lighting has to be tailored for smartphones, not for the human eye. And there\u2019s the live stream too, all the major brands do it now.<\/p><\/blockquote><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>The emotional impact of light<\/strong><\/h4><p style=\"text-align: left;\">A profession that walks the line between creativity and technicality but that, above all, demands a sensibility centered on the audience. In this sense, theatre stands as a master at evoking the deepest emotions.<\/p><p><img class=\"alignnone wp-image-5087 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_1.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Lighting design by Valerio Tiberi for <em>Natura Encesa <\/em>(Barcelona production). Photo: LETSGO.<\/p><p style=\"text-align: left;\"><em>\u00a0<\/em><\/p><blockquote><p style=\"text-align: left;\">In musical theatre, the show comes together during previews, where you polish the details. The most emotional moment is the premiere, that\u2019s when you can finally sit back and enjoy. Opening night is when you let go and just watch.<\/p><\/blockquote><p style=\"text-align: left;\">The premiere is the first glimpse into the emotional impact a piece can have, not just on the audience, but on the team behind it. In September 2024, Valerio Tiberi returned to Madrid after nearly a year, not because of <em>Phantom<\/em>, but for unrelated reasons. Still, he went back to the Alb\u00e9niz to see the show again:<\/p><blockquote><p style=\"text-align: left;\">I was crying the whole time. After a year\u2026 it made me cry. When that happens, it\u2019s a good thing.<\/p><\/blockquote><p>\u00a0<\/p><p style=\"text-align: right;\"><span class=\"TextRun SCXW2194258 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW2194258 BCX0\">By<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> The<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> LETSGO<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> Pen<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\">,<\/span> <span class=\"NormalTextRun SCXW2194258 BCX0\">Claudia P\u00e9rez Carbonell,<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> on <\/span><span class=\"NormalTextRun SCXW2194258 BCX0\">July 15th<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\">, 2025<\/span><\/span><span class=\"EOP SCXW2194258 BCX0\" data-ccp-props=\"{\"335551550\":3,\"335551620\":3}\">\u00a0<\/span><\/p><p><span class=\"TextRun SCXW211959452 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW211959452 BCX0\">\u00a0<\/span><\/span><\/p><p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","_et_gb_content_width":"","footnotes":""},"categories":[73],"tags":[],"class_list":["post-8278","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-behind-the-scenes-es"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - 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