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"An anxious puffer fish who always goes to the bathroom to pee". Thus begins Fedez's interview with Belve.

“Annamo bene” would have answered Francesca Fagnani


Fedez defines himself as outspoken, insecure, bullied, ex addicted to drugs, touchy, paranoid and impulsive, even mean and resentful. He is a child of the social age, is not ashamed of his wealth and flaunts it if he feels like it. What's wrong with that? He doesn't want to be a vegan who secretly eats bresaola, he says. "And he's right about that," should have been the reply from Francesca Fagnani herself, who, instead, let slip a banal but effective comment: "Maybe because it would be more elegant not to do it?" But he doesn't seem to have understood. Fedez is not interested in being elegant, he is interested in being able to do what he wants and spend and spend everything he has to make sure he doesn't die rich. Without any logical sense Federico anticipates an uncomfortable topic that has the sweet taste of Christmas, he is keen to point out that 'he' has always done charity and he does it well too.

Subtitle: not like my wife. And who cares if doing charity massages his ego, the important thing is to do it. He describes himself as impressed by everything people say and complains that journalists don't verify sources by writing cluelessly about his supposed flirtations but hopes to become more indifferent to the judgement of others by admitting he suffers from them. Or does he hope to learn not to flirt in front of witnesses? He does not answer a question everyone has been waiting for: "when did love end?" He does not answer but admits that there have been many difficult moments. It was known from the previews that he would get caught up in tears but in such an instinctive way it makes one think that maybe they are not quite crocodile tears.

He stumbles over the betrayals, responds partially, throws the ball out of play and thinks he can think to explain... but he can't. Or rather he gives up on it. His ability to get himself into trouble is so obvious that even Fagnani points it out to him. He regains his lucidity by firing a missile into the air at Chiara's manager, holding him responsible for all the damage to Balocco and company. Federico is certain of this, not a hesitation, not a stammer while on his wife he says he is sure of her good faith.

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On the other hand, we at Acrimònia had also said that the only defence would be to blame the manager, but not to come out clean, but because it is clear that at certain levels you have to rely on someone. Someone who reads the contracts, who styles them in your name. But equally obvious is that in front of the charity, the accuracy of the information must be more than clear, very clear. Then the children with their backs turned, the children in profile, the children saved from ambush, the children and again the tears. "Chiara will always remain the mother of my children and the most important woman in my life". Poor parents when the 2 scions reach an age where their brains start to work properly and they realise what a mess they are in.

Poor parents when they will be literally told off by their children, because this will happen, when Fedez will look for his abs without finding them and Chiara will not remember why she tattooed a dumpling on her hand, or when one of them, probably Vittoria, will explain to the world that daddy moved out of the CityLife penthouse simply because it was really badly furnished. It is obvious that the pain is alive. Also quite obvious are the alleged betrayals, such as the Ferrari to disguise other supposed micro dimensions and a lot but a lot of confusion. The most compelling aspect of the interview remains, however, that Grandma Luciana had foreseen, not only the break-up with her former friend Luis Sal, but also the separation with Chiara. This is confirmed by Federico's non-response.

We now that we have heard them both speak, Chiara from Fazio and Fedez from Fagnani, only one thing we want to know: where the hell is Paloma? Let's hope she is with her grandmother, she sees right through it.



Illustration by Gloria Dozio - Acrimònia Studios