Gjergji of RAI3 and Skenderbeu of 'elis'

Alfred Lela

Rai3's investigative reporting has once again turned the tables on the government and its activities. As has returned to the television panels a special drill of debaters for whom the 11-year-old color of the Renaissance is the eternal pink of the miracle which, even, could be mixed with blood red in the background of the national flag.

The pro-government panelists are like solar panels: they don't meet the energy needs, but they keep Rama and his group burning the lamp of normality when everything around seems abnormal.

They are so attuned to the absurd that they read and presented Rai's reportage as abnormal, a journalistic engagement of several months, not a conversation in the studio, and rather an illustration of what is called 'interpretive journalism' and which provides, for a public weary of the bombardment of minute information, what might be called 'dots on the i'.

It is these drops that have fallen on the crops of the Renaissance and have ruined not only the hashish, the towers, the touristic miracle, but especially the "globalism" of the socialist leader, which is unmasked by Italian journalists as nothing more than the sale of Albania, a territory that paid to 'first comer'.

The gamut of all colors from McGonigal to General Lisi, the Blair family, Massimo D'Alema and further to drug trafficking suspects or 'strategic investors', are a frightening reminder of the renaissance phrase 'we love the party more than Albania'. The party in this case is the organization that allows individual and group enrichment at the expense of others and Albania.

The parodic attempt to avoid the problem, both by the governors and their panel appointments and in the press, seems paradoxical, but it is not.

It is everyone's instinct that, even when he realizes that he is at a dead end, he does not turn back but continues. The following is the psychological reaction of the lost but also of the lost cause.

Nothing explains this better than the prime minister's episode with journalist Giorgio Motola. A man at 2 meters looked shorter than another 1.70m.

It is the shadow cast by anyone whose body fits well or poorly within their own skin.

The screams that Rama physically emitted were signs of discomfort and that his shadow had grown too large in the territories of evil.

The Italian journalist was the mirror where this truth was reflected.

The framed page of the Koha Jonë newspaper, with a former Edi battered by violence, over which he cried to Mottola, is the reminder that the current Rama seeks to explain his promotion as a reward for the violence suffered, but wants to avoid the pain that the violence it has caused will also lead to decline.

Psychologically, the phrase 'you ain't seen nothing yet' is his payback to the lost Ed of yesteryear who lives deep in that picture of the past.

The photo as a 'journalist' of a prime minister so exposed in anti-journalistic marches does not serve. Many explain that Rama sees the homeland as a giant exhibitor that he paints and sells.

An iconoclast who sells icons is nevertheless a psychological mistake.