When I read that Selvaggia Lucarelli would be involved in Sanremo, I thought it was really the right time. Various stars had aligned themselves so that the 2025 turned out to be the year in which the journalist (he canceled himself from the order, but journalist is) would have set one foot in the event. Not inviting her would have been a myopia. Do not pay homage to the social value of the investigation into the Ferragnez, especially in a nationalpopular context as Sanremo is, it would have been a narrowness of views: whoever believes that the case belongs to the pure gossip forgets that cultural formation reasons for symbols, acts underground, yes It feeds on the lightness of subliminal messages. And not only in the youngest, which we always use like Capri at the sun to not question us and fill our mouth: in all. In short, the exploit on the Ferragni case will remain historical from the point of view of costume and society, that is, it will mark a before and after, but at the same time it also seems to have made a forerunner to a new phase of Selvaggia’s career. A state of professional grace that has been going on for some time now.

In the end he wild that foot that he put it only in the post -festival, not on the actual stage of the Ariston. But so much. Nothing more than the Ferragni affair, with the influencer sent to trial for aggravated fraud, gave her a definitive legitimacy, capable of finally convincing the remaining skeptics. And this is enough. There was a time when, Lucarelli told, he believed he only deserved the hosts of Barbara D’Urso: he writes it in the novel “Crepacuore”, an emollient book for those who lived a toxic relationship, in which he talks about a love who harassed it in its best part. Then the decision to steer, years of working stubborn work in search of a new physiognomy, between large turns of exploration of roles and genres, between entertainment, chronicle and society (who remembers it with the phone’s video camera while turning independently a reportage At the time of Covid?), who landed today in a dimension with never so clear contours: in the face of a costume journalism used to lying lazy on opinionism, wild on Ferragni made the difference, developing a costume investigation as if They see few in a sector that is pure showcase. It continues to love the lawsuit, of course, but is increasingly distinguished in the ancient art of exercising the doubt, thus managing to keep the most modern gaze of all.

After the investigation into Ferragni then, in recent months Lucarelli then continued to remain the protagonist. It was she who explained the unpublished and powerful background on the television divorce of the year, the one between the manager Lucio Presta and the conductor Paolo Bonolis (at least in the details related, editor’s note). It was she who kept on her shoulders an entire edition of “Ballando with the stars”, and never like this year: although she sits among the judges of nine winters, this year she has shone in the dynamics more than usual. It is she today – again – to keep the eyes of the public well barred – almost wanting to plant us to tease them in order to keep them open – on the judicial behels of Fedez, in the days when the soul of the spectators is divided into the usual dichotomy: from one The almost maternal tenderness starts to see the trembling rapper on stage while he speaks of depression, on the other the ruthlessness of the judgment towards an equally ruthless character. And it is necessary to put the image dots back together to understand which side tend to.

In short, today Lucarelli is there and there is more than before. After years of targeted hosted in La7’s busy talk shows, he returns to indulge himself in more frequent interviews also from the parts of the most popular television, where we first found it less, or at least this is the impression, we do not know if with the intention of some kind of relaunch. Here in Sanremo he leaps from one hosted on the radio to the other for the city, with the smile that we take the presumption of saying to seem eviction of weights. In recent months we have seen her expose yourself to “Domenica In”, then at the “basement” by Gianluca Gazzoli and elsewhere, moving on a transversal audience by age. “I think TV gives visibility only if you do things that resemble you, otherwise he got out,” he said in the past. The work of Fino on his character is from Newco, the management agency who also has Maria Sole Pollio and Giulia De Lellis in his carnet, to make two names associated with the Festival, and who knows how to work, although there is certainly no essential strategy In Selvaggia’s movements: she replies to the request of an interview. Even in Sanremo, she returned to the city after years of absence and immediately took the briga of breaking the ceremonial: not even the time to set foot on the Riviera and has already enjoyed it enjoyed against one of the colleagues in the press room, considered among the few “Note” and “untouchable” in a room that counts a hundred seats. In short, she has not returned only to participate in the party, but she also managed to have the power to make her fail (which then, thinks, is what should do those who do this job).

If the most assiduous presence on TV is accompanied by a greater distrust of social media, we do not know this: certainly most of the energies are concentrated on Instagram, platform with a large audience, with the boomer Facebook relegated to container launch of its new Newsletter (and with the full awareness that treating it like this, that is, with a link after another, means renouncing the engagement). Among the novelties, in fact, also the launch of a newsletter, “everything is worth”. Because – speaking of modernity – this is the most on the rise in this profession that is reinventing, between Creators, for information customization and flattening of various artificial intelligence. And because who if not her, who has always been a pioneer of the words on the net and who, after years of collaborations with various newspapers, is legitimately perceived tested in itself. “Ah, it was also beautiful,” Selvaggia wrote after Raffaella Carrà’s death, underlining how the totalizing talent had distracted us from a magnetic face. So he will not note of sexism – or perhaps yes – if we also add this compliment in conclusion, referring to the pleased vanity with which he returned to showcase his legs to the after -festival, after what she herself called a “more complicated weight loss than that that seems “. In the wild case, forgive me: I don’t have enough money to be able to afford a psychologist, in case of your attack.