The question suits all television programs, the so-called formats, and consequently to the various conductors who lead them: journalists, showmen, actresses and so on. We reason on this, keeping in mind that the classic host of the past, such as Corrado, Pippo Baudo, the same Claudio Lippi etc., are endangered because on television the role of "shoulder" has become extinct. The same hosts of today’s Reality Show, such as Alfonso Signorini, Ilary Blasi and Barbara D'Urso have become co-stars of the programs they presented. Here is inserted the crazy variant or exception that "does not confirm the rule", which is called Paolo Bonolis. But we will talk about this phenomenon later.
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Since the birth of television it has always been said that it is "The Program" to count and that who led it was transient; that it was the "Festival of San Remo" or "La Domenica Sportiva", "Canzonissima" or "Domenica In". All programs were regulated by this postulate that for decades has balanced the balance of strength or "power" between management, production, authors, directors and conductors. Executives dictated the editorial line, authors invented and wrote, directors mediated and presenters presented. The production had two paths in front of it: the first was to work for the program, the second was to work for himself and for his career; with the appropriate political coverage, from executive producer to executive was a moment! This almost always coincided with "working" against the program.
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To give a concrete example: in the early 2000s there was a good producer who had in her hands all morning Rai Tre, more than eight hundred hours of broadcasting per year. He did not pay for his personal success, he convinced the management to suspend live broadcasts during the Christmas holidays given the physiological decline in ratings. Count it in hand, I’ll be flagrantly cutting costs by pinning a tag on my chest.
But as an old director used to say, when we were discussing the renewal of the contract as a director and as an author: "My dear, one plus one does not always make two, she is already fine if she does one comma one!". Put the R blesa and the mockery became very refined.
The fact is that when it was back on the air after the Epiphany, it was necessary to reassemble five, six points from the competition, with the aggravation that a share point is worth tens of thousands of euros in terms of advertising revenue.
In the years to come no leadership in Rai has corrected this flaw, demonstrating the smallness of the new ruling classes.
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Just as in football, in the world of television artists' prosecutors are becoming established. The gap in compensation between Mediaset and Rai was too wide: in Mediaset artists dealt directly with sponsors, in Rai it was forbidden and an artist was forced to deal on the basis of the complete package, which was excessively penalizing from the economic point of view. Just remember that in the late seventies Mike Bongiorno earned about sixty million lire a year in Rai, Berlusconi took him away for six hundred a year. By the late 1990s and early 2000s the gap had narrowed, but the gap remained completely out of market.
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The prosecutors, the most shrewd and those with more artists in their portfolio, began to make a game to the upside using their big as a tow for the most "weak" artists, making them transact from one company to another in the wake of the big of the turn, with each renewal of contract.
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It was a bit like Donnarumma’s prosecutor, Mimmo Rajola, when he renewed the player’s contract on the eve of the final exam, which then went empty: he imposed on Milan the contract of the player’s brother, also a goalkeeper, at a cost of one million euros. Take it or leave it!
And here we return to Paolo Bonolis and the early 2000s. He had a very successful program on Rai Uno: "Affari Tuoi", better known as packages, I guess you all remember. It seemed like a program written just for him, capable of that out of class that is to keep a crazy pace and knowing how to create an incredible suspense that kept the viewers nailed home.
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t happened that on the renewal of the contract, Bonolis and his prosecutor considered it more convenient to return to Mediaset and at that point it was thought that the program, without his demiurge, would be blown. Instead it lasted for many other years, led by other conductors who have alternated with excellent ratings, ensuring continuity from the sponsors.
This means that despite the greed of the prosecutors, after more than sixty years that famous postulate, to the detriment of the protagonists of the conductors, still holds; as Duchamp stated: "It’s the idea that counts!"
The only people who insist on not understanding that are television executives.
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