To “Tale and which” the alarm took place as soon as a word was pronounced: repeating. A way to announce that a protagonist of the past year has been confirmed. A sort of ‘with great demand’ that ‘by popular demand’ is not, because the public, in reality, has not invoked anything.

What had already happened with Francesco Paolantoni and Gabriele Cirilli was replicated with Carmen Di Pietro, last classified in the 2024 edition, when the lowest vote on the report card rather than an affront had become a mission.

Yes, because Sandro Paternostro’s ex -wife to the character to be imitated never approached. Indeed, the meaning of his participation in the transmission was from the beginning that of distanced himself enormously from the objective, to create that contrast that should automatically trigger laughter.

In the end it takes little: make a attack, go out of shades, to get the pronunciation in English and force the outfit. Comedy manual stuff, pity, however, that there is nothing less fun than an artificial gag, set up at the table and unbearably scheduled.

Di Pietro, in fact, is not in the race, does not compete. It is simply the ‘Jolly-Farsa’ of a show that lays its foundations on the sad reiteration: the extremization of the absurd, the inevitable comparison-clash with Cristiano Malgioglio (also he seems to have exhausted the cartridges), the shot of the detail (for example the hunchback that shows the text of the pastry in a macaronic version).

Gabriele Cirilli in a faded role

Not to mention the aforementioned Cirilli, reappeared for the umpteenth time, in the umpteenth faded role, as Flavio Insinna’s ‘companion’ that, it is not known for which damned reason, he could not travel this solo adventure, following the footsteps of Amadeus and Fabrizio Frizzi who in “Tale and which” found their personal relaunch. And so, Insinna in the role of Lucio Corsi was ‘dirty’ by an senseless and disarming duet with Cirilli-Pavarotti.

Confirm what has worked the first time to the infinite: it has always been the defect of Carlo Conti, who unfortunately confuses this concept with that of tradition.

The disease of “Tale and which” – in addition to a very poor level of make -up – is instead saturation. Drapled and squeezed to the inverted with a thousand derivations and spin-offs, the format is as if it traveled with the second grafted gear, unable to get rid of self-seized obstacles on the journey.

And just 2.8 million spectators gathered on the debut, perhaps, represent a signal. Which will certainly remain unheeded.