It is a whole run, probably impossible, to a lost authenticity, to a lost innocence. THEThe “Big Brother” who turned twenty -five years of age and returned to the first evening of Canale 5, made her debut with a purification process, a detox of the television story. Trying to get out of the way the slag of many editions that have reduced it to a passage of Serie B influencers, an indistinguishable molasses between real strangers and fake VIPs.
The era of Alfonso Signorini or Barbara D’Urso is over, and the GF tries to give a new virginity relying behind Simona Ventura, to whom a superhuman effort is required for a really difficult goal. Twenty -five years have passed since that edition conducted by Daria Bignardi who will remain among the pages of the history of television. In the studio, fetish of the past to be shutted, three competitors of memorable vintages were called: Cristina Plevani, the “Bagnina di Iseo”, winner of the Italian debut of the format; Next to her Floriana Secondi (third edition) and Ascanio Pacelli (fourth). But above all there is Ventura, protagonist of the “Simona does things” format (he goes to the home of future competitors as a postman to announce the happy event, he manages with profession studio and connections), to bring the GF back to the glories of the past.
The detox operation is accompanied by the publication – on the Mediaset Infinity platform – of the beautiful documentary “GF. The year of the reality show”which reconstructs the first, mythological edition. With the voices of the protagonists of the time – Pietro, Salvo, Cristina, Marina and the others – and with that of the professionals who brought that reality in Italy – including the arguments of the then director of Canale 5 Giorgio Gori and Daria Bignardi – reread the reasons for the registration of the program in the history of TV: before the social networks, GF overturns the consolidated hierarchies of the show business and gives notoriety instantaneous and immense to ten boys; Some take years to recover.
But the publication of the document on that edition of twenty -five years ago is the fatal error not to be made, perhaps for this Mediaset hid it on Infinity. Looking in parallel the two GF – year 2000 and year 2025 – immediately makes us understand why the mission of Simona Ventura is impossible, or at least arduous: today that social networks are, that “authenticity and freshness” – are the words of Daria Bignardi – becomes a chimera. Given today’s competitors, we seem to be an already ready and equipped people to enter the house, authenticity turns into regional stereotype, naivety in forced sympathy, freshness in annoying exuberance also to the presenter. The GF can grow if the stories of these forcedly “normal” competitors will reveal unexpected sides: the effort to select them was great, but perhaps that a little more naive Italy, on both sides of the cameras, has vanished in the mass performance of social media.
