Take a piece of “Gialappashow” and go up against the “Gialappashow”. With “Audiscion” this happened basically this, with Gigi and Ross taken from the Gialappa’s Band program and transplanted to the Rai to conduct a comic, parodies and imitations transmission. An announced suicide, which gave “Audiscion” dramatic listening and a further collapsed at 3% in the third episode.

Gigi and Ross victims of the short circuit

Gigi and Ross are like those players who change clubs during the winter market and who perhaps find themselves playing against their old team over the same season. Luigi Esposito and Rosario Morra, who until April had given the parodies of Stefano De Martino, Pio and Amedeo and even Peter Falk and Eduardo De Filippo in the ‘Big Brother Rip’, in fact eclipsed themselves, reappearing simultaneously on Rai 2.

A moving move that cannot fail to make noise and that inevitably leaves traces on social media, where Gialappa’s every week thanks the public for the recorded spectators by publishing a card in which the entire cast appears. Gigi and Ross included. A complete short circuit.

Audison would have deserved a different showcase

But what is “Audiscion”? On the show there is some “made in the south”, a little of the old “Ciro, the son of Target”, a little “bulldozer”. A product with obvious defects of rhythm and fluidity – also because of a Gregoraci Elizabeth never focused on the role of comic shoulder – however not to be thrown in full in the basket.

“Audiscion” would have his dignity if only they hadn’t placed it on the worst day of the week. Because challenging the “Gialappashow” means performing Harakiri, going to speak to that catchment area that has been addressed elsewhere for weeks.

Not to mention that the references to the competition are infinite. Not only Gigi and Ross, ENRIQUE BALBONTIN (ex boyfriend Cin on TV8) and above all Paolo Hendel, in an aged (and bleak) version of Prison Pravettoni, also appear at “Audiscion”. The error already made at the time of the collaboration in “Quarta Repubblica” is to think that the gag has his own life outside the historical context of “Never say goal” and without the out of the field of Marco Santin, Giorgio Gherarducci and Carlo Taranto.

And it even happened that Pravettoni sniffed the armpits, gesture that has now become an identification of the Milly Carlucci version Giulia Vecchio and that Carlucci herself was evoked by “Audison” through another imitation, this time entrusted to Emanuela Aureli.

Contini calls, desired or random references, which put “Audison” in a condition of ‘inferiority’, making it subordinate to the “Gialappashow”.

As mentioned, it would not be all to be thrown away. Claudio Lauretta, for example, is confirmed as a champion of the parodies with a Donald Trump who suddenly turns into Renato Pozzetto, while Leonardo Fiasci performs in a very successful Vincenzo Schettini.

The “Audison” experiment would therefore deserve a different showcase, without the risk of having to incur the worst of sentences, especially if you are in a condition of inferiority: the comparison.