The dissatisfied gatekeepers and Sanremo are postmodernists

The advantage of being past middle age is that you have already seen it all. You’ve already seen portal gunmen angry at Amadeus (2020); You have seen Sabrina Ferrelli driving Sanremo (1996); You have already seen Claudia Mori in The X Factor (2009).

Ever since Amadeus announced Sabrina Ferrelli’s return to Sanremo, to join him one evening on a joint rotation, I’ve been thinking a lot about how far Mori has come, in 2009 that seems centuries ago. She swore to The X Factor, then aired on Rai, and one evening they showed two of her giant photos. She’s thirty years old singing – sexy and assertive as thirty-somethings know how to be – and a still image from a previous episode, in which one of us, over middle-aged ladies, was. Mori gave a monologue that we watched at the time wonder if she was going crazy, and today it would be totally normal: She claimed that a gesture comparing two photos of her at two different ages was sexist. I used the wonderful phrase “I did something a little lousy,” and I’m still grateful for the adverb and adjective combination thirteen years later: you rarely hear cleverly assembled words on TV. Claudia Morey understood that before us To play the victim you always win, He also put it in beautiful prose.

And so, when the Women of Sanremo 2022 was announced, the first thing I thought was: Oh, my God, let’s hope no one compares Virelli’s photos from ’96 and the 2022 photo, let’s hope for an exact copy of those vibrant accusations of sexism.

As I thought about Mori, the Gate Fighters thought they were indignant. This poor working group (but it looks like it’s twenty) and the Sanremo epidemic have put themselves out there and done everything in Modeno to please the postmodernists, I put the black group, put the transvestite, put him in two after middle age, in short they thought they could be quiet, scammers . But no, because unpaid commentators rely on having one Today’s scandalAnd so on Tuesday they were ready to explain to us how sexist Amadeus, by keeping every female there for just one night, does not give them a way to stand out. And indeed, how can we forget the shining career of Patty Brad, having spent all the evenings; And how would Ornella Muti know herself, if she did not present all five episodes of Sanremo.

The problem is that there is a world where ordinary things happen, like looking at San Remo, and in that world there you have to explain to your aunt that Mrs. Coriandoli is in the female share, and that’s why in the university she (your aunt, not Senora Confiandoli) had so many feminist fights. Then there is the world of portals, where nothing is ever enough, Amadeus is a lousy chauvinist, not that day. Perhaps as early as 2020, when he said that Valentino Rossi’s girlfriend, whose name no one knew her name until then, was a step behind him, anyone even those who had never looked at motorcycles. That’s for sure, lousy macho, since Sunday.

In fact, it so happened that on Sunday, Mara Vinier gave an interview to Amadeus’ wife. Nobody watched the interview—no one fights with the gates, I mean: they only look at the tailings on the newspaper sites—but everyone had a lively opinion: what a disgust, what a shame, what a backwardness.

The hangover that fueled the mass hysteria was that “Amadeus’ wife”, dubbed the headlines on the sites, said she gave up her career for him and for the sake of starting a family.

Let us analyze the different layers of this marriage discontent.

Amadeus’ wife. Ah, sure, without the honor of a name. But they are talking about the wife of a famous man talking about her choices as the wife of a famous man. I know you always know the names of those who dance in quizzes, so if they had written Giovanna Civitello, you’d understand right away, but they’re not all as smart as you. And I assure you that if Nicolas Carraro breaks the news tomorrow, the nicknames will say “Mara Venier’s husband”; Exactly as Salma Hayek’s “husband” wrote when François-Henri Pinault donated $1 billion to the reconstruction of Notre Dame: Fame reigns, not sex.

I gave up. Ah, sure, he can’t give up, it is true that children are not his children either. Blessed Girls: But do you know the life of a dancer? Do you really think that ballet training is done while pregnant or breastfeeding? Are you sick with premenstrual? (I swear, dear before you come and tell me I don’t respect painful cycles and I’m lucky to be sitting on the edge of your bed and reading you all the medical records for endometriosis, first in a Nani Moretti accent and then in a Macron tone.)

He had to give up his career because Amadeus is a bully. This, I admit, is my favorite. Not only is Civitillo, who is keen to call her by name, she is a poor idiot who can’t decide on her own that she no longer wants to work. Not only do you hit it hard on the fact that everyone is a woman as you want (even with a pea, as Sanremo co-leader explains), but then demand a commitment to ambition. Your idea of ​​feminism is not only more prescriptive than monotheistic religion. But do not give the lady the due credit for believing that she knows how to do arithmetic, and that she may have decided that perhaps if La Cara had not become until her meeting with Amadeus, she probably would not. She became one anymore, and she might as well have done it. Well, the wife of a public figure (which is a very demanding job than creating portals on Twitter).

I like it very much, to criticize a man, the words and choices of his wife are used. It can’t be the way she elaborates, poor thing: she’s still a woman, and she wouldn’t know how to think. Above all, I love that women who stand up for women are always so convinced that all women are so stupid that they never consider the simplest premise: that Amadeus’ wife is a showwoman who has lived for twenty years. Years with a showman, and who knows how to end his interview on everyone Homepage. “I gave up on my career” is one way. “You suck a little” is another thing.