On Wednesday (8), the Central Bank’s Copom (Monetary Policy Committee) raised the basic interest rate (Selic) again by 1.5 percentage points and the index reached 9.25% per year. In a statement, the BC has already indicated a new high at the same level in February, which would lead to 10.75% per year.
On the internet, a satire of the opening of Domingão do Faustão in the early 1990s went viral, with messages on screen portraying current dramas of Brazilians with the economy and politics.
“Did you think there wasn’t going to be a Selic meme on fire, man?! Errrrrro!” says @lucasgoldstein in the video’s Instagram caption.
The former Globo presenter, who turns into a giant in the original piece, is portrayed in the reinterpretation as Selic, which does not stop growing amidst a scenario of pandemic, omicron, rising dollar and falling stock market, represented by the dancers of program.
Paulo Guedes and the Bolsonaro government are remembered at the moment when the giant Faustão breaks the roof of the Fênix studio, in Rio de Janeiro, where the program was recorded — an allusion to the defense that the minister of Economy made for the overflow of the spending ceiling , which expands the federal spending limit.
Christ the Redeemer, the savior, appears with the IMF (International Monetary Fund) caption, while a woman in front of the studio watches Faustão and the rise in interest rates — she represents investors and entrepreneurs on Avenida Faria Lima, in São Paulo .
Another passerby who passes in front of the studio while Faustão breaks everything is the Brazilian in trouble, with stones falling on him.
The international investor, on the other hand, sees the landscape of “Pibinho”, asks God for free and flees the country with a hang glider, flying over the beautiful landscapes of Rio de Janeiro.
Chaos continues with the giant Selic walking around. Walking in the Avenida Paulista region, in São Paulo, with inflation running rampant, the presenter observes the poor guy who financed an apartment by driving a car, with debts piled high, pawned his brand-new apartment, who lost his job and his daughter to Onlyfans.
Still on one of the main streets in São Paulo, drivers with crashed and piled up cars represent Serasa — Brazilians in debt, after the giant’s passage.
The scenes illustrate well the result of a survey by the CNI (National Confederation of Industry): the economy is bad or very bad for 70% of Brazilians.
The next stop is at the falls of Foz do Iguaçu, with the international market. A journalist with binoculars watches. He is part of a group of tourists with traditional yellow raincoats and cameras in hand. In the video, however, they are actually the professionals at The Economist magazine, “the only freaks who still care about Brazil.”
The giant finally arrives in Brasília, where he sees the “great national agreement” and “an ignorant politician defaulting on precatório”. In the mute, the scenes still show a man who represents an electoral corral and a suitcase with a secret budget in action with a woman, the parliamentarian, in this case.
After meeting with the corrupt, she closes the bedroom doors and a man comes out of the closet, who gives life to the “split”, to hug her.
Finally, in Salvador, women from Bahia, frightened by the large street Selic, characterize the informal worker, a category that has been seriously affected by inflation.
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