As far as Rai is concerned, a premise is necessary: no one has kicked anyone out here; those who chose to change teams did so deliberately for economic reasons, Fazio and Belinguer, and those for political expediency, Annunziata, destined for a seat in the European Parliament. On the news front, the directors and deputies who have been replaced remain in the company with their salaries, waiting for new jobs.
That's the spoil system, beautiful! It has always been so and will be so going forward, at least until RAI becomes an autonomous foundation, under the tutelage of the Presidency of the Republic. (Incidentally, this is what I have been hoping for since 1998.)
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In the game of “who's in and who's out” Mediaset and La7 fit in, with new arrivals and obvious goodbyes, such as those of Myrta Merlino and Barbara D'Urso with the former going to replace the latter precisely, on Channel 5's afternoon show. Of the whys and wherefores it is known that it is not due to declining ratings or impatience with trash, as many claim but to irrepressible temper tantrums and exhausting arrogance; the programs remain unchanged and to La7 comes the verve of David Parenzo.
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On the RAI front, the game of replacements for the conducting of programs, at the moment, is not fully defined; certainly the programs remain but the presenters move. This is where the Pino Insegno phenomenon fits in, whose artistic vein was at its best during the Premiata Ditta period, after which his acting stature completely escapes. An excellent dubbing actor, a few sporadic commercials, absent from the film business, as well as from the TV drama business, he has always aspired to TV hosting without much success; he returns with his “warhorse”, Il Mercante in Fiera, which at the time did not bring him much luck. A suspicion arises that, as they say in technical jargon, perhaps he “doesn't pierce”, that is, he cannot empathize with the audience at home. If this is the case, there is no friendship with Premier Meloni that holds, as they say in Milan:“dura minga!”.
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Sanremo will always be Sanremo under the banner of Amadeus, who will apparently offer 26 songs in the competition: we will hear the last one with cappuccino and croissant. Having torpedoed the “King of fake ratings”,Stefano Coletta, one hopes to hear fewer rhetorical monologues and to witness a little more healthy and entertaining levity.
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The dramas, almost all of them, will always be acted in monotone whispers, as imposed by the production model that does not allow the actors to find the right time to “carry the voice”, si sa che “time is money”.
The afternoons will be spent between the usual complacency of horror dictated by crime news and the cloying fake kisses and hugs between “the dead of fame” (by Dagospia) of the romance news, reality TV included.
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For the Political Talks even if changes of conductors are planned, one can be sure that the usual troupe will be present and compact in all its self-referentiality.
There will continue to be a lack of big Shows both because there are no artists up to the mark and because there is no money, just as there is no desire or money to attempt innovative programs; the safe used guarantees the division of the advertising pie to the two major players and that is enough.
Everything that has been written about it in recent months has been dictated by the 1841 Regulations of the Royal Navy of the Kingdom of the Two Sicilies: Facite ammuina!
Good Vision.
Illustration by Gloria Dozio - Acrimònia Studios
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