What did he do Massimo Bossetti, definitively sentenced after three degrees of judgment for the murder of Yara Gambirasioperched on the now iconic stool of Belveguest of the transmission that has accustomed us to discuss the presenter of the presenter with Teo Mammucari or the ungrammathers of Carmen Di Pietro?
The study, of course, was only virtual, a post -prey scenography with a feline paw, juxtaposed on the real location of the interviewthe prison of Bollate (Milan), in order not to betray the recognition of the format and keep that “glamorous” touch alive to which the program does not give up despite the dizzying jump from the quisquiglie vipparole to a horrible murder case.
The sensational reopening of the story of Garlasco, With new suspects and unpublished slopes that seem to elide the boundaries between the truths (procedural) and the most suggestive fantasies, it seems to have reported the black news in the center of the scene: the flame of media interest – a continuous rebound between television and social media – has transformed the “Garlasco Show” into a serial and transmedia reality. It is therefore not surprising that Francesca Fagnani, perhaps to a tired phase of her format Belve, has closed the season with the “crime” spin-off, an intelligent and clever deviation that takes us from the frivolities of a Michele Morrone or one Floriana seconds, To the much darkest and most disturbing territories of the “Belve of Satan” (with the interview with Mario Maccione) or the crime of Yara Gambirasio in Brembate di Sopra with that, in fact, to Massimo Bossetti.
For over twenty years, the “crime” has been a karst river that has been going through the media, with moments of sensational explosion of interest and a long underground work, which has created A large audience of “fans of the genre”, as Fagnani defines them in the debut.
The most sensational cases entered the national imagination permanently thanks to the media, especially on TV: Novi Ligure (2001), Cogne (2002), Erba (2006), Perugia (2007), Avetrana (2010), Brembate (2010) and, of course, Garlasco (2007).
The mediatization of the crime is a fact to which it is useless to look with moralism: the interest is there and is widespread (Belve Crime He scored over a million and a half million medium spectators and peaks of almost two) And the black is not only a genre that lends itself to the story starting from its long literary tradition, but also touches deep strings of our lives, curiosity for the dark, Fear, the meaning – sometimes rather trivial – to be attributed to evil.
These were the thoughts with which I started looking at the most awaited part of the program: the long interview with Massimo Bossetti, definitively sentenced to life imprisonment for the murder of Yara Gambirasio.
Needless to camp the usual topics about the transformation of a dramatic case of murder of a poor thirteen year old into a show for the prime time. We are, after all, all part of that audience of crime enthusiasts who want to see in a half word or in a minimum gesture the confirmation of our innocentist or culpine convictions (the episode is in fact already scrutinized in every detail by the criminologists by chance very active on Tiktok and the other social networks).
At the end of the Oltre one hour of dialogue between the journalist and Bossetti However, there has remained a question that goes beyond any moralism. It is true that Francesca Fagnani, in the wake of the Damn stories by Franca Leosini, a teacher of the genre, has blurred an attitude and professionalism that have little granted to the interlocutor. If the Netflix series (The Yara case. Beyond any reasonable doubt) explicitly married Pro Bossetti innocentism, here Fagnani has highlighted the many contradictions of those who, according to three degrees of judgment, are responsible for the fact.
But the basic question remains, which also leaves a little bitterness in the mouth, in the end: who benefits, really, this interview? The interviewee, Bossetti, is aware that he is now a media character, and will continue to receive support letters in the future. He, with his lawyers, without now too much to lose, have undertaken a real media offensive that questions all evidence and every solid scientific truth (the DNA found on Yara’s body, primarily). However, we spectators remain dazed by the feeling that not even three degrees of judgment, and an investigation made with great rigor, are sufficient for TV.
The interview of Belve Crime – Unlike those of Franca Leosini, who had the advantage of the highly dramatized reconstruction of cases given for closed and ancestors – little adds to our knowledge. It offers only yet another stage to a condemned for murder that has passed the threshold of the mediaticity. The bright stage of the show that seems to obscure, again, the only element that should instead move in the mind, heart and memory in the listener: the sense of pity for the victim.
