By Edith Loyola 
The recent investigative report #TelevisaLeaks, conducted by Aristegui Noticias, has brought to light a complex communications operation involving Arturo Zaldívar, former president of Mexico’s Supreme Court of Justice (SCJN). The leaked documents reveal an alleged strategy of personal promotion orchestrated with the support of Televisa and partially funded with public resources.
Zaldívar’s Rise: Boosted by Clandestine Networks
According to the investigation, in 2018, during his campaign for the presidency of the Supreme Court, Zaldívar allegedly received support from “Palomar”, a secret institutional communications team within Televisa. This group used bots, fake websites, and digital campaigns to protect his public image while targeting rival justices within the Court.
Notably, two justices — Alberto Pérez Dayán and Alfredo Gutiérrez Ortiz Mena — were reportedly the subject of coordinated attacks on social media during the period when Zaldívar sought to consolidate his leadership in the SCJN.
As part of this strategy, Zaldívar’s digital following was allegedly boosted artificially, and his key messages were amplified through accounts linked to the company Metrics.
Million-Dollar Contracts and Questionable Objectives
In parallel with these actions, two contracts were signed between the SCJN and Metrics to Index for a total value of 61 million pesos. The official purpose of these contracts was to provide “social media monitoring and institutional communication analysis.” However, documents obtained by Aristegui Noticias suggest that these services were in fact used to directly enhance Zaldívar’s public image.
In response to the allegations, Arturo Zaldívar issued a letter denying any misuse of the contracted services:
“I categorically deny that these services were used to benefit me, strengthen my image, or carry out smear campaigns against others.”
You might be interested in: The Empire Under Fire: TelevisaLeaks and the Fall of Mexico’s Most Powerful Television Network
He also defended the legality of the contracts, stating:
“The aforementioned contract is public, properly documented, and was audited both by the Supreme Court’s Internal Control Office and by the Federal Audit Office. It is a multi-year contract that complied with all applicable procedures, requirements, and objectives.”
The “Caníbal” Series and Lost Rights
Another key element in the scheme is the 2022 documentary series “Caníbal: indignación total”, which was heavily promoted and broadcast on Canal 22, JusticiaTV, and El Canal de las Estrellas.
According to the investigation, the SCJN paid 14.5 million pesos for the production, which was carried out by Camila Producciones, a company founded by Javier Tejado Dondé, former Vice President of Televisa’s Office of Information. Despite being funded with public money, the broadcasting rights do not belong to the Judiciary, and the series currently cannot be officially aired.
A public information request stated:
“The author of the referenced documentary is a private individual; therefore, we do not have authorization to disseminate it.”
This situation has sparked criticism over the use of public funds for a project that ultimately remains in private hands, limiting public access to a production originally intended to raise awareness about gender-based violence.
During the documentary’s release, the network of accounts tied to Televisa-Metrics amplified quotes and columns written by Zaldívar himself, such as one published in Milenio, in which he emphasized:
“It is essential to awaken awareness, to stir communities, with the message that violence against women is not normal. That femicidal violence exists and that we all have a role in eradicating it.”
This quote, among others, was used in sponsored infographics on social media through paid promotional campaigns.
The Digital Strategy Behind the Promotion
Between May 20 and 23, 2022, the page Monitor Nacional, associated with Metrics, promoted content highlighting both the documentary and Zaldívar’s messages. The effort reportedly achieved up to 340,000 impressions on Facebook. This strategy coincided with the premiere of Caníbal, suggesting a coordinated campaign to maximize the visibility of the former justice minister around a socially sensitive issue.
As a result, not only was Zaldívar’s image as a human rights advocate reinforced, but a broader narrative was created that distanced him from allegations regarding the use of public resources for self-promotion.
Denials, Defenses, and an Ongoing Debate
Following the publication of #TelevisaLeaks, Zaldívar reiterated his defense, emphasizing that the contracts had clear institutional goals and that Caníbal was conceived as a co-production to:
“Promote substantive gender equality and reduce rates of violence against women.”
In the words of the former justice:
“With this documentary and journalistic work, the Court continues a historical tradition (dating back to the murals of José Clemente Orozco and Rafael Cauduro) of sponsoring works that shake public consciousness and denounce social injustices.”
Nonetheless, the evidence revealed — and the fact that publicly funded material is not freely accessible to citizens — has reignited debate about resource management, institutional transparency, and the thin line between public communication and personalized propaganda.