The day before yesterday, Toni Muñoz explained in this newspaper that, in the series El cuerpo en llamas, the protagonists do not wear the official uniform of the Urban Guard. The production company asked the police force for permission to use it in the recording, Urbana told them that it was OK if they used the one from 2017, the year of Pedro Rodríguez's murder. But the production company considered that the 2017 one was not cool enough. "It wasn't very cinematic and it didn't look good on the screen." Perhaps because at that time the upper part was fluorescent yellow, and it is already known that fluorescent yellow does not give enough presence to a drama like the one starring Rosa Peral and Álber (sic) López, in addition to the aforementioned Pedro Rodríguez, who, as already mentioned, went on to a better life.
So the production company decided to invent a uniform. It is similar to what the urbanites wear today, they put the Barcelona Police on the back - which does not commit to anything - and in the supposedly official shield they incorporated the image of a panot, the small tile that has turned by its own merits into one of the most powerful symbols of the city. If there was ever again a fight over the Barcelona flag like the one there was thirty years ago, caused by a cacique by Pasqual Maragall, raising the banner to the vexillological altar would be a solution that almost everyone would accept.
People used to the scrupulousness of the wardrobes of series such as Mad Men or Downton Abbey find it not rigorous that Úrsula Corberó and Quim Gutiérrez are now wearing such an imprecise uniform. But the history of the audiovisual is full of similar blunders. Zippers appeared in Amadeus, and zippers weren't invented until a century after Mozart. Not to mention the Starbucks cup in Game of Thrones. The audiovisual world should institute an Honorary Panot for the anachronism of the year.
