Tadej Pogacar had just finished the first stage of La Vuelta when influencer Erola Jons (with more than 6 million followers across her social media platforms) approached him with an official La Vuelta microphone, called him “Pogachitar“, asked him “why do you hyperventilate every time you see me?” and “will you take me for a ride?“. The scene, later shared on social media, prompted criticism from journalists over the way the cyclist was treated and sparked a controversy that has surrounded La Vuelta over the past few hours. It is being talked about more than any sporting issue.
Jons is not a journalist, nor did she happen to be there by chance. She is a Spanish content creator with 3.2 million followers on Instagram and 2.9 million on TikTok who became particularly well known from 2023 onwards for videos featuring pranks, provocative situations and interactions with strangers. She has also created content around Formula 1 and MotoGP and has appeared on Spanish television programmes. La Vuelta brought her on board for this edition to create its own content and connect with an audience beyond those who traditionally follow cycling.
La Vuelta’s microphone
Given her background, it is clear that Erola Jons did not sneak into a restricted area or suddenly appear in front of Pogacar with her phone camera looking for a viral video. La Vuelta chose her, gave her access to its leading riders and put a microphone bearing the competition’s branding in her hands.
Eurosport journalist Laura Meseguer was particularly critical after seeing the footage. “Nobody should have to put up with being treated like an object, whether they are a woman or a man,” she said. Carlos de Andrés later backed her comments during TVE’s coverage (Spain’s public broadcaster). The discussion then appeared to drift towards the familiar territory of journalists versus influencers. In this case, however, that would be a superficial conclusion. What is being questioned is whether the red line of respect has been crossed — with all the authority that comes with holding a La Vuelta microphone — and, in this instance, whether there is also a sexist element to the ‘joke’.
The values of La Vuelta followers
This seems to go beyond an irreverent scene. How many young followers is Erola Jons ‘influencing’ with this joke? Let us remember that there is no minimum age for opening a social media account, and a child does not necessarily understand the context behind these comments. It is certainly not the kind of education anyone would want to give a child. We do not know whether La Vuelta is concerned about instilling values in younger generations, but while they are at it… perhaps next time they could make a joke about doping. After all, it’s only a joke… They will understand it just as easily as someone who has suffered sexual harassment and then sees jokes like these.
This was surely not part of the plan, and it illustrates the risk a sports property takes when it hires a creator with a more provocative style whose objective — normally — is to generate a high number of views and go viral, regardless of the quality of the content itself. La Vuelta knew, or had an obligation to know, the type of content Erola Jons produces. Her jokes, provocations and these kinds of interactions did not begin with Pogacar. They are a vital part of the formula that has earned her more than 6 million followers. From the outside, this case looks more like a clumsy attempt by La Vuelta to capitalise on Pogacar’s presence in the Spanish Grand Tour than something professional or worthwhile.
There is also the perspective raised by Eurosport journalist Laura Meseguer. Many women have spent years fighting for their place in sports journalism, a traditionally male-dominated environment, and to be valued solely for their work and knowledge rather than for any physical attribute. Recognising that certain codes can represent a step backwards does not mean rejecting influencers or arguing that sport should continue to communicate as it did 20 years ago. But social media should be mature enough not to become the tacky television of the 1990s in a different format.
La Vuelta wanted to modernise its language and reach a different audience. The intention makes sense and it has achieved that goal, but choosing new channels also means choosing carefully who represents them and which codes are appropriate in each environment. Using Pogacar for this does not seem like the wisest choice.
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