What was the added value of “Che tempo che fa” risks becoming its limit, or in any case a significant brake. For some time now, in fact, Fabio Fazio’s ‘table’ has reversed course, entering a dangerous path dominated by repetitiveness, chaos and a sad involution.

The major catchphrases, as we know, are based on reiteration, on cyclically re-proposed dynamics that become a distinctive feature of a program. A sort of recognizable brand that generates unquestionable affection.

At “Che tempo che fa” they are therefore right to ride the wave and focus on what works. However, it would also be necessary to limit some excesses that have taken hold in recent times.

The Giucas Casella problem

One of the most significant problems of the ‘table’ is represented by Giucas Casella, who offers nothing to the cause other than perennial moments of confusion, aggravated by the role of sacrificial victim that television seems to have permanently reserved for him, a bit like what happened with poor Mino Reitano in the last phase of his existence.

Disoriented expression, concepts reiterated several times due to lack of understanding, jokes and ironies about the color of his hair and his presumed (or real) state of lack of clarity. “I was born in 1949, I’m 72 years old,” he stated during his last appointment. A belief carried forward for at least ten minutes, in a self-management bedlam that magnified the disorientation and annoyance of the audience at home.

Fazio laughs, but sometimes doesn’t hide his irritation at exaggerations that amplify the general disorder. Just like those who sit next to Casella, who endures with a toothy smile and makes the best of a bad situation.

It’s one thing to laugh with someone, it’s another to laugh at someone. In this case the second concept applies which may be fine once, twice, maximum three times, but if it becomes the norm it ends up producing a repelling effect. The result of an undisciplined class that the host is unable to keep at bay is inflated by the number of guests: 14, plus the host. Many, in fact too many for a block that lasted until 1.20 am.

The tour company is always the same, enriched by the guest on duty who, inevitably, ends up saying a few number words. Ferrini in the Coriandoli version is always pleasant, although now relegated to the usual interventions, Ubaldo Pantani is unfortunately handcuffed in the eternal parody of Lapo Elkaan, while Francesco Paolantoni is caged in the exhausting ‘Neapolitanist’ gag immortalized by the two Pulcinellas who constantly cover his back.

A sort of ritual that on the one hand reassures, on the other bores and destroys the creative spirit. A creative spirit compensated by a stubborn caciara, ‘saved’ most of the time by the magical ten minutes of absolute centrality of Nino Frassica.

The ‘table’ remains a good dish that requires a rigorous balance in the dosage of the ingredients. And maybe it wouldn’t hurt to act in subtraction, making the meal less caloric and heavy.