The anatomy of digital mirage

In the aftermath of the World Cup, Argentina witnessed a phenomenon familiar to many: a reaction to an outcome that did not meet expectations. Rather than accept Spain's superior performance in the final, some Argentines turned to conspiracy theories, suggesting foul play, FIFA manipulation, and even linking former U.S. President Donald Trump to the situation. However, the more intriguing development followed soon after. Social media quickly organized the discussion around an intense emotional polarization, dividing users into pro-Argentina and anti-Argentina camps. International figures such as Samuel L. Jackson found themselves caught in this dynamic. Then, singer Rosalía entered the fray. She shared a message criticizing Argentina, explaining she had posted it because one of her songs played in the background. This triggered a wave of posts, insults, calls for cancellation, potential protests, and demands for refunds. Television, streaming services, radio stations, and social platforms amplified the conversation until it created the impression that the entire country was discussing the same issue. This kind of discourse does not sit well with authoritarian figures who believe they possess the truth. The role of professional journalism and critical reporting is essential to democracy, which makes it uncomfortable for those who see themselves as the sole bearers of truth. However, a highly visible conversation does not necessarily reflect majority sentiment. The World Cup final took place on July 19, 2026, and just 11 days later, Rosalía had four sold-out shows at the Movistar Arena in Buenos Aires. Yet, on social media, there were already predictions of failure. What actually happened was different: refund requests did not exceed 2 percent of tickets sold, and the four concerts became celebrations. Argentine artists performed alongside her, generating massive coverage, and Rosalía was received in Buenos Aires as the international star she is. So, what had occurred? Nothing particularly unusual. We live within an ecosystem where conversations can begin among relatively few individuals, be amplified by users, accounts, and algorithms, become trends, move to traditional media, and return to social networks transformed into supposed national topics. Repetition creates an illusion of majority: if everyone we see is talking about something, we tend to believe everyone is discussing it. But our feeds are not the country itself. Social media is real. The people, opinions, and frustrations we find there are also real. What is not necessarily representative is the broader society. A conversation can be intense without being majoritarian. It can generate thousands of interactions without changing behavior and reach millions of impressions while expressing only a small portion of society. Rosalía demonstrated this almost perfectly: immense digital noise, less than 2 percent of ticket returns, and four sold-out performances. Confusing these dimensions is especially dangerous in politics. Leaders, officials, journalists, and consultants spend too many hours looking at screens, and this habit can lead us to confuse visibility with importance, interaction with adherence, followers with representation, and intensity with majority. Social media matters. They set topics, build identities, organize communities, mobilize, and can influence decisions. However, influence and representation are not the same thing. Our democracy retains a marvelously analog characteristic: on certain days, we must leave our homes and go vote. No one is elected based on the number of likes they receive, no one governs because they have more followers, and no trending topic grants public office. We are amphibious beings: we inhabit both screens and streets simultaneously, and it becomes increasingly difficult to separate these two worlds. Therefore, perhaps the challenge is not abandoning the bubble, but learning to measure it; observing social media, studying it, and listening to it without forgetting that it is only part of the picture.