It seems, it is whispered, it is rumored, it is said and it is not said that Zelig could return to air next year, it is not yet known whether on Canale5 or Italia1, as it is still not known whether in the early or late evening.
Mah! Meanwhile, Italia1 is relaunching the reruns of “Colorado”.
Of course, Gino and Michele, the historical authors of the successful comedy program will certainly be cherishing the idea of returning to TV but the question is: “With which comedians and with what kind of comedy?”.
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Returning to the air with the old cast is impossible, also because many of them have disappeared from the television showcase, both for their inconsistency and for character problems; with a few exceptions such as Ficarra and Picone, Ale and Franz and a few others, the remaining troop ended up in oblivion; they worked in Zelig in a wider context, with short sketches and as many short catchphrases conceived by the authors.
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There remains the road to a total renewal of the cast except for the conduction where Vanessa Incontrada seems to be confirmed, while for Bisio nothing is known. Here you can insert, as hosted from time to time, some old Guest Stars.
But renewing a cast is not a trivial matter, you have to spend more than a year attending all the cabaret clubs in Italy in order to find five or six potential talents.
The pandemic certainly cannot have helped this research, since the entertainment sector has remained closed. It can be objected that there are auditions on site but, from direct experience, it is not the same thing: an artist is never at ease during an audition and spontaneity is the winning weapon on the stage.
Last but not Least there is the problem of what kind of comedy and satire, today, a television broadcaster can afford to broadcast, without running into the caudine forks of politically correct and the guillotine of social media.
Authors such as Ennio Flaviano, Marcello Marchesi, Umberto Simonetta, today most of their aphorisms would be removed, although seasoned with refined culture and biting irony; Hollywood, which represents the major industrial power of cinema, has had to adapt to the requests for gender quotas in the various cast of the films in production, Disney must revise its fairy tales on the basis of non-discriminatory parameters dictated by politically correct.
Everyone, today, is offended by a wrong iota, everyone wants a front row seat in the proscenium of life and everyone has an easy complaint. Talent is only optional!
And this is still nothing, the most disturbing thing is the media massacre in social media, perpetuated by the so-called “keyboard lions”, against those who do not respect their rules. The dictatorship of a minority is changing not only communication but above all sociality in the world.
To confirm what is claimed, just take the artistic involution of Maurizio Crozza who is not only a great comedian but one of the best Italian actors.
Examining his path from La7 onwards, there is a progressive artistic and scenic regression of his offer and not just for a matter of costs. From that jewel that was “Crozza Italia” we have passed with “Fratelli di Crozza”, the Nove, for a parody of political or current affairs figures.
If at the beginning there was a roundup of talents as guests, able to interact on a par with the talent of the showman, like forgetting the duet with Favino as Peppone and Don Camillo, where they percolate the gay son of a “companion” who shake your hand, today we find ourselves with more or less successful parodies, in a bare stage unit accompanied by a shoulder of wavering thickness.
Today a sketch like the one with Favino is out of the question, Crozza would be mocked to the public on social media, pointed out as homophobic, the broadcaster would be forced to take measures that would lead to a crisis with advertisers.
All too complicated, all too oversized. Good luck Zelig. From the heart.