Lillo co-host in Sanremo. Good news, welcomed with great enthusiasm by a public who wholeheartedly promoted Carlo Conti’s decision.

For decades paired with Greg, with whom he still carries on the beloved duo, Pasquale Petrolo has been able to build a solo career in parallel, which has also made him independent in terms of the proposals to bring on stage. A consecration that arrived after the pandemic, with a highly acclaimed first participation in “Lol, he who laughs is out” which was followed by other Amazon Prime productions, such as the two seasons of the series “I’m Lillo”.

Requested, highly requested. Over the years, Lillo has even been the man of television baptisms, or rather the ‘talisman’ character to be invited when a program was preparing to debut. And so it was for “Chissà chi è”, “Viva Rai 2” by Fiorello, “Binario 2” and “Forte e Chiara”. In short, a support for all occasions. With the real danger of a replica effect caused in the viewer.

But Lillo is everywhere

To aggravate the omnipresence, the hosts for the promotion of “Agata Christian”, a film by Eros Puglielli which arrived in theaters on February 5th, are thinking about it in recent days. In this way, just over three weeks after the start of the Festival, we find ourselves with Lillo scattered left and right, repeating himself endlessly.

On Sunday 25 January, for example, Petrolo was together with Christian De Sica at “Che tempo che fa”, while on 1 February he was back, again in the company of the Roman actor, at “Domenica In”. Last Thursday it was the turn of “Striscia la notizia”, ​​where he gave dance lessons to Ezio Greggio and Enzo Iacchetti. The campaign also continued on Tv2000, Radio Montecarlo, Radio 105, R101 and in multiple podcasts, starting with the one signed by Victoria Cabello.

Sanremo, however, is an event. And it should remain so

Not exactly the best conditions for those who would have the task of showing up on February 25th cleansed of any media binge. Because Sanremo is an event and, as such, requires extraordinary events. At the Ariston you are called to amaze, to be original, to create that clear break from custom that distinguishes the Festival event from everything else.

Sanremo cannot therefore turn into a stage like any other. And what applies to the singers should perhaps also apply to the other protagonists. For a long period prior to the event, the competing artists are in fact asked to avoid public performances, except for exceptions which must in any case be authorized by Rai. A technique to keep the perception of exclusivity alive and distinguish those five TV evenings from the other 360 days of the year.

Lillo’s tour certainly falls within the contractual obligations established prior to the production of the film. However, the problem – difficult, if not impossible to resolve – remains.

Checco Zalone is everywhere, except on TV. A success based on absence