Francesca Fagnani ended up in the goal of Aldo Grasso. The new season of Belve has just begun and is presented under the magnifying glass of fans and experts. If viewers crowned the queen of “monsters” by publishing parts of the program’s episodes even days after its broadcast, Aldo Grasso sheds light on the journalist’s “missteps.” Among the less convincing factors for a television critic is the choice to read questions from the famous Red Agenda and the tendency to interrupt interviewers at the most appropriate point.
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In the signed article of Corriere della Sera, Aldo Grasso devotes space to the unveiling program of Rai 2 and Belve and its presenter. “The desired result is for Francesca Fagnani to interview herself, monster against monster, scratch against scratch, excrement against excrement. The reason is very simple: there are not many monsters around, and the most ferocious ones remain holed up”: this is how the critic begins. The journalist then goes on to explain: “Belfi” (Rai2) is based on a famous belief by Elias Canetti, who claims in “Massa e Power” that asking questions is a form of tyranny: “A person’s freedom consists largely in defending against questions.”
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For Aldo Grasso, the game Fagnani chose is precisely that: ask “uncomfortable” questions and see how the guests react. Therefore, the critic sheds light on what he considers some of the journalist’s “missteps.” First of all, “there are moments when Francesca Fagnani reads too much, repeating a defect that also characterized the famous “face to face” of Giovanni Minoli: once the question is asked, one must concentrate more on the answer, never letting it “drop because it is often better to interrupt it because The urgent need to ask a second question that has already been prepared,” writes the expert. But this is not enough. Grasso is convinced that it is also necessary to reduce the number of citations. He also does not like the spaces devoted to other faces in the program such as Vincenzo De Lucia and the heterogeneous basics: “UFOs”, It defines it. But the critic’s comment raises hope: “The fact remains that Francesca Fagnani was good at creating a space tailored to her needs and this is the main reason for her success.”
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