Antonella Baccaro (photo by Carlo Furgeri Gilbert).
Noin the last episode of the series The Ferragnezthe one on the behind the scenes of the Sanremo Festival, still visible on Prime, the relationship between Chiara Ferragni and Fedez comes out in the open.
The difference between the two emerged already in the first episodes of the saga centered on the golden life of a couple which, in terms of glamour, has been compared to the British royal one.
She is a digital entrepreneur, serious and focused, he is a rapper, part child, part manager, two children as beautiful as the sun, an apartment in Milan CityLife, their families around them so different that they each represent a topos.
On the one hand the rich and bourgeois one, on the other the one that started from the suburbs and achieved success. That would be enough the love bet between two people so distant to make it understandable why telling them could work. Except that the authors have pushed on the accelerator, deciding to expose the two characters through couples psychotherapy sessions.
Now, as much as these scenes can be constructed, the tears, the silences, the distances, sometimes sidereal, between the two, appeared authentic and vibrant. She is true in complaining about the lack of support. He is sincere in claiming his own complexity. And so on, up to Sanremo.
Chiara, the very successful godmother of the media event of the year which could have allowed her to make the definitive leap from social media to the general public, asks her husband to take a step back: “Don’t ruin this moment for me”. He, a terrible boy, warns: “I can’t help myself.”
The rest is history: the kiss between Fedez and Rosa Chemical on stage, the performance with the photo of the Melonian deputy minister torn up live. Chiara collapses. The river of tears that floods the final episode may seem exaggerated, given the success achieved. Then he collapses: he apologizes, he confesses he was wrong. Curtain. It’s time to take stock.
How does the couple get out of it? Chiara appears to be the mature woman who, by forgiving, wins. He fades away into a frame in which, curled up on the sofa, he looks like a child in punishment. But if this was also reality (and not just fiction), Chiara, from woman to woman, was it really necessary to win by a landslide?
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