The new elements regarding the beating of Cristiano Iovino are already causing discussion. Starting from the Zona Bianca studio, where the exclusive video was broadcast which portrays Fedez and 5 other people – including the rapper’s bodyguard, Cristiano Rosiello – as they attack the Roman personal trainer under his home by Citylife. In fact, the debate was sparked in Giuseppe Brindisi’s broadcast on Rete 4. The first to intervene was the Campania journalist Candida Morvillo: “What you showed is an extraordinary video – says the writer in Brindisi – what we see coincides with the testimony of the vigilantes and why is this important? Because it also gives credibility to this testimony.”
Vigilantes who, according to Morvillo, in their testimony give a further element which however is not confirmed in the video: “They say that the man who got out first was Fedez. There is no confirmation here because Fedez’s face cannot be seen – says Morvillo – But it is bizarre that these vigilantes recognize Fedez himself in the rain who, coincidentally, two hours earlier had argued in the disco with Iovino”. A “coincidence”, recalls the Corriere della Sera journalist, which could be investigated further in court.
The philosopher Lucrezia Ercoli then intervened on the matter: “The images of the violent brawl from this last act, i.e. the alleged agreement, are transformed into a sort of script for an Italian comedy 3.0 – explains Ercoli who then comments – really he seems like a protagonist of a 60s film where the phenomenon is transformed into an upstart, a sketch of the vices of Italians”. In her speech, the philosopher, to explain the paradox of what she says about the Fedez issue, cites a cult film of Italian cinema: “Do you remember that film with Alberto Sordi, An American in Rome? He tried to be a Yankee, to act cool, but in the end he spoke in that Roman English and always came off as clumsy, always out of place – he explains ironically – Here’s Fedez trying to be a rapper, to imitate that American model (dissing , the brawl, the unlikely characters with whom he accompanies himself). But in the end, when things get serious, the lawyer appears, denies everything, backs down.”
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It is a merciless portrait painted by Ercoli which is followed by a timid defense of Fedez by another guest in the studio, the TV journalist and author, Sabrina Campini. “It’s not that Fedez is my best friend and I’m talking about it because I know the things that you know, that you read in the newspapers – says Campini – and it’s not that my defense should be a defense regardless of everything but attacking Fedez in this way, I find it obstinate.” “Doggedness, you say?” asks Brindisi. Campini is sure: she is, she is. “With regards to a person we saw one evening, perhaps he was involved in a fight and it seems that in this way he has demonstrated that he is the complete opposite of what he has always tried to be. It seems excessive to me.”
