Since the arrival of the new government, his presence has diminished, his ability to produce new content has been limited, and his traditional power structure within the entertainment world appears to be weakened.
On an emotional level, Tinelli sought to convey that his retirement is temporary and that he will return next year "with the strength and joy that this project deserves".
This interpretation is part of the critical analysis that has persisted for years and has regained force in the face of Tinelli's current decline.
The combination of these precedents with the collapse of his latest project inevitably raises the question: has Tinelli's cycle of influence in Argentine public life come to an end?
Several sources informed this agency that Tinelli was approached to enter politics with the backing of Kirchnerism.
Buenos Aires, November 17, 2025 – Marcelo Tinelli is going through a period of marked personal and professional instability that contrasts with the influence he exerted during the years of Kirchnerist dominance over the media and politics.
He thought about it a lot.
Further back in time, Tinelli's intervention in the public exposure of the Airport Security Police agent who stopped the entry of the suitcase with $800,000 from Antonini Wilson continues to generate debate.
At that moment, Tinelli assumed a quasi-institutional role that many interpreted as an explicit alignment with Kirchnerism, an unusual gesture for a host whose media power had always been shown pragmatically.
The host who once set Argentina's political, economic, and cultural agenda is now going through a decisive moment that will force an evaluation of his place in a country that, after the change of power, no longer looks at old leaders with the same indulgence as before.
That woman, initially presented as a symbol of integrity after doing her duty, was suddenly caught up in the entertainment machinery by Tinelli's actions: she posed for magazines, starred in television segments, and became a media figure for a few months.
According to sources in the sector, that reference pointed to an internal dispute with his daughter Juana and tensions related to pending financial commitments, a situation that would have led the host to cede his place in streaming to José María Listorti in recent weeks.
The closure of "Estamos de paso," (almost a prophecy), the bet with which Tinelli sought to enter the digital universe, sealed an era that was initially presented as a professional reinvention.
His decision to abruptly shut down his streaming show—which debuted on September 23 and was off the air in less than two months—exposed a scenario deeper than a television stumble: the host, who once represented one of the preferred faces of power for over a decade, seems to be facing a sustained decline since the change of government.
Tinelli himself announced his temporary retirement with a social media message in which he recognized "a moment in life that calls for a pause" to attend to personal and family matters.
The sector's economic landscape and the loss of cultural centrality also work against him.
The question, inevitable in this context, is whether this decline is circumstantial or the beginning of a definitive retreat of one of the most influential names in Argentine entertainment in society over the last 30 years.
However, behind the scenes in the television world, it is interpreted as another symptom of a deterioration that began to take shape when he ceased to be functional to the power structures that accompanied him for years.
This context also includes the critical view emanating from political analysis, which was directed at episodes of strong public impact, including his participation in the so-called "Hunger Table," convened during Alberto Fernández's government.
Upon fine analysis, this functioned as a mechanism that diluted his initial credibility and ultimately indirectly benefited the interests of the then-official government.
The same happened to Kirchnerism.
However, uncertainty dominates in his circle, where it is recognized that the transition to new formats requires investments and audiences that are no longer guaranteed.
