Difficult (impossible) to explain to the natives in the zero-cost tables is that there was only Maurizio Costanzo’s offer. TV wasn’t a giant, undifferentiated talk show, no matter which button on the remote control I pressed. And most importantly, Maria de Filippi was the wife of Maurizio Costanzo, and not the other way around.
(Twenty years ago, if you’re alive, remember, Gianni Morandi appeared in his underwear on Rai 1. At that time he was leading a Saturday night variety show, competing with Maria De Filippi’s C’e posta per te, and showing himself in his clothes. The interior was a gimmick in which he argued about the means of raising the quota.Repubblica organized a forum on the topic of Auditel, where I transcribe this wonderful exchange.Morandi: “Obviously if you finish at midnight by half, it is better for me until midnight and half, perhaps in the middle of night and 35 “; Costanzo: “I would like to finish at 10:20, just imagine”; Morandi: “If we want to come to an agreement, let’s do it”; Costanzo: “Talk to my wife, I don’t”).
In September, Maurizio Costanzo’s show turned forty. If you read the newspapers, you’ll think the anniversary is still short now: Costanzo has now given the festive episode, and now the newspapers have interviewed him. It’s one of the things that has changed since then. On television there are a few million talk shows (more talk shows than spectators); With the ratings in which the program was closed at the time, it is now considered a victory; Gender identity has become the subject of much more obligatory discussion than the subject of war; We fear that someone will celebrate an anniversary months before we arrive.
In the first episode, in September 1982, there were Paola Bourbonni, Paolo Villaggio and Eva Rubin. As for the other two, what Costanzo said the other day at Repubblica applies: “I had Mastroianni, Tognazzi, Vetti, Sordi, Gassmann, and Villaggio: what am I looking for? Of course, there are none like them anymore.” Nothing tells of the decline of the elite like the fact that once the freaks got out of the talk show, but also very little of the great talent of the century (Valerio Masandrea started as a guest on Costanzo) and giants of the twentieth century: you see, one of a thousand talk today, which leaves all these The space for Carmelo Penny? The idea of dens curious out of intellectual use today is to take a writer and have him put a pillow under his jacket to express his sympathy for pregnant women.
Eva Rubin, on the other hand, is my favorite subject when it comes to gender identities: I’m from Bologna, we had Eva Rubin when she was still in the trees. In the episode 82 piece that Costanzo resent last night, in which he had to explain that the lady’s body is female above and male below, and other pointers to the uninitiated than seeing them again forty years later, ten of which are passed to our exhaustion on these issues, they are very tender , in that little piece Eva said “If we’re to be honest, I only took the things that made me feel comfortable”, the freest phrase I’d ever heard on the subject of gender identity, a phrase that would be executed today by Gatekeepers. At her side last night was Drusilla Foer, and the plastic representation of how television forty years ago was a lot more modern than it is today.
When I was twenty, my best friend was an actress. One evening they invited her to the Costanzo show, and it’s hard to explain, in this century of audience dispersal and proliferation of outlets, what it means for something ambitious to appear on the Costanzo show. “Miss, I saw you on TV,” said my friend, the next day, the baker who had never received her in all the years she had bought her bread from him, said with wide eyes. The example does not bear fruit, because even today there is a perceptual distortion, so that the next day, in whatever program it appears to you, it seems to you that everyone has seen it. Except today you go to look at the data and what it looks like to you “all” are actually a few hundred thousand people; In the twentieth century, the media was really mass.
There’s a scene, in “Catrina Goes to Town,” where he plays the legendary obsessive Sergio Castellito, a high school teacher with novelistic ambitions, who takes the class to the Costanzo Show. It’s his chance of achieving glory at a time when there was only one (2003 movie, social media didn’t exist). He asks the audience to speak, and complains about editors not answering him. It’s a true spectacle for anyone who was alive at the time, for anyone who saw the despair of myth addicts before they were drugged with little hearts, before every myth addict could open Instagram, or before there was talk of every myth addict – it showed that Not only did he give him ten seconds on the microphone in the audience, he also made him a regular guest.
On the other hand, what’s the alternative: Do you guys have Carmelo Penny to put it in the air instead of fancy pillows under your jacket? And maybe that comes in exchange for two good taxis: The cash-along television is a 20th-century relic like Prada’s juke-box.