Because the political talk show has moved to the right


in the picture: The "almost" fight between Vauro and the Brazilian at Dritto and Rovescio

There was a time when Vauro on TV was the dominant part. A time when, above all due to the omnipresent Berlusconi, the political and topical talk show only worked if it was intended as an anti-clockwise key. Left-wing (or presumed) speeches were the norm, those who opposed that language an anomaly.

The brawl on TV between Vauro and the Brazilian

Avoiding any nostalgic regrets, we can say that today it is no longer the case and shows, in part, what happened to Straight and Reverse, with the almost physical direct struggle between Vauro and Massimiliano Minnocci aka "Brazilian", a Roman figure close to the extreme right. An almost clash ended with the cartoonist who gives the aforementioned 'shit bundle' on the charge of having threatened Francesca Fagnani and the conductor Paolo Del Debbio who urges both of them to calm down, otherwise they will be thrown out of the studio.

In these hours the classic game of the parts has come to life, on the one hand those who dispute Vauro, defending not even too covertly the presence in the studio of the "Brazilian", and the other which naturally highlights the questionable choice of speaking, and therefore qualifying as commentator, to a character who has never hidden his political ideas, flaunted through tattoos with swastikas, faces of Hitler and Mussolini.

Straight and Reverse it is one of those programs that are gaining ground among the general public for the intention of going beyond the limits of what is legitimate, not so much in terms of television language, but by law. The mantra, the result of a distortion, is always the same: we can talk about everything on television, the important thing is how. Exactly: how? Accepting any type of request or guest who bears it alone why are people fed up? Or just because everybody has to give a word, when it is clear that there are contexts and contexts to do it?

The Brazilian's precedent for Realiti Sciò with Enrico Lucci

The Brazilian, for example, had already been the protagonist of a television program, Realiti Sciò. In that case Enrico Lucci he also asked him to show her tattoos, because one can talk about everything, but his reaction makes it clear that there are ways and ways of dealing with that whole.

The metamorphosis of the talk show

Net of merit judgments, the Vauro case a Right and Backhand he is a spy on a phenomenon that concerns the metamorphosis of the political talk show in recent years. Another sign of the times that run is the genetic mutation of this television genre. The end of the Berlusconian era had thrown him into a profound crisis, almost death, before the talk found vital lymph thanks to a change of sign. If years ago the weekly appointment with Year zero of Michele Santoro it was an event e Ballaro Floris, another totem on the left, dictated the political agenda, the current perception is that to make people talk and get out of their own bubble, then dominate the television scene, are those political and current affairs talk shows that go further winking at the right and the themes most dear to that political part.

Programs that consider thesis to refute (and not to prove) sovereignism, the "first the Italians" and the big topics related to the post-ideological era we are experiencing, in which a concept like anti-fascism no longer represents a granitic certainty. This is how Vauro, symbol of the talk show of a particular historical moment, has become a sort of voice out of the chorus.

Perception beyond numbers

The catchment area is certainly lower than that of a few years ago, television has changed and Del Debbio and Mario Giordano (famous for his outings in defense of local traditions), the leading faces of this new generation of talk shows, do not even come close to the numbers that the television genre was able to guarantee a time. But if the common perception is not often corroborated by the numbers, it is equally true that the listenings are not the only parameter to measure the influence of a television program on the public.

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