Joanna Sarapata Calls Magda Gessler a "Cretin" After Her Remarks About Doda

Another turbulent exchange of words has shaken the Polish entertainment world, with its epicenter being two well-known personalities: restaurateur Magda Gessler and actress Joanna Sarapata. The direct spark was Gessler's comments about Doda's new music video, which appeared in an interview for the pomponik.pl portal on February 27. Gessler, known for her direct style, left no stone unturned in criticizing the artist's project, calling it a "freak show." She also expressed deep incomprehension of Doda's image, suggesting it was unbecoming of the seriousness of art. Joanna Sarapata's reaction was immediate and exceptionally sharp. The actress, who herself has been the subject of Gessler's comments in the past, fired back with a widely quoted retort. In her statements, reported by outlets such as dziennik.pl and Super Express, Sarapata used exceptionally blunt language. „I don't listen to idiots and cretins.” — Joanna Sarapata This statement, devoid of any camouflage, became the main topic of media reports. Sarapata went further, questioning Gessler's competence to speak about art, suggesting the restaurateur deals with "burning cutlets," not artistic criticism. This turn of events gave the dispute the character of a personal skirmish, extending beyond mere criticism of the work. The Polish show business has been characterized for years by a series of public conflicts and sharp polemics between celebrities. This mechanism, often fueled by the media, is part of the game for public attention and maintaining the image of a non-conformist person who is not afraid to express controversial opinions. Such disputes, although sometimes ephemeral, regularly fill the entertainment sections of tabloids and portals. Media outlets covering the event, such as Wprost, dziennik.pl, and Super Express, adopted a narrative of "drama" or "new war," highlighting the most offensive terms in their headlines. This framing indicates treating the incident primarily as a source of clickable content rather than a substantive discussion about art. The reports lack voices from the artists themselves beyond the initial quotes, making it difficult to fully understand the context of their statements. The conflict between Gessler and Sarapata highlights a broader phenomenon: the ease with which artistic criticism – especially when expressed in Gessler's style – can turn into a personal skirmish, stripping the original topic of any seriousness. This situation raises questions about the limits of freedom of speech, the culture of public discussion, and the role of the media in escalating, rather than defusing, such disputes.