Issue link: https://maltatoday.uberflip.com/i/1281593
15 maltatoday | SUNDAY • 23 AUGUST 2020 NEWS At some point, Xarabank's audiences changed too. Like many who shared Azzopardi's controversial and sometimes shocking opinions (very much rooted from his days as an ac- tivist in the 1980s), the Mal- tese audience replied with a negative response. Azzopardi himself seemed only intent on serving his progressive views with incoherent soundbites, or patronising concern, genuine though he was. But by shun- ning a profound analysis of im- portant issues for the sake of the 'Xarabankian', he ended up doing a disservice for the caus- es he championed. And controversy soon en- tered a feedback loop that was powered by entertainment. For Peppi's own controversial opinions of prisoner rights, for example, or even on migration, were perceived by audiences as being just a part of the show, a sort of provocation to make the programme more popular. And even if this was not the case, for Azzopardi's history proves that much, the popularity of Xara- bank itself started to unravel the Joe, and instead gave Mal- tese audiences the Peppi. And Peppi was of Xarabank, not the Joe Azzopardi that created it; and even when he started giv- ing more space to protegé Mark Lawrence, the tousle-haired and excitable presenter was simply a cartoonish product of Xarabank, animated into tel- evision just as in The Truman Show. Xarabank's reality was such that its collective space was a heavily commercialised one. Debate was inserted in be- tween slots of adverts. Public talk was privatised. Even Azz- opardi's favourite catchphrase, 'fil-qosor' (be concise), was part of a degeneration of popular discussion into soundbites, and in this battle only overtly emo- tional arguments could win the day, especially for loudmouths who deftly humiliated their ad- versaries. And because Xarabank prid- ed on giving everyone a voice, it anticipated the social media ivy with a false equivalence of expert views and views based on belief and prejudice. This populist formula rewarded everyone with their 15 min- utes of fame, making the show even more popular, but expos- ing many others to ridicule and the scrutiny of a mass audience. And even the spontaneity of the early audiences that clamoured for their point to be made, was eventually lost to scripted inter- views, held before and inserted to prop up the discussion. As Xarabank grew into the media behemoth it was, its tentacles spread its value thin. Xarabank became a bit of everything. It dabbled with re- ality TV. The EU membership debate generated a spin-off known as Iva, Le, Ma Nafx (Yes, No, Don't Know), and intro- duced none other as one of its participants, Sandro Chetcuti, an unknown property develop- er who would rise to become the most influential property lobbyist in the last decade. In this luna-park of television Az- zopardi introduced a showcase for personalities, politicians, charity telethons and exuber- ant fund-raisers, as well as journalism and investigations that went beyond the ability of its peers. But because Xarabank en- meshed itself easily into the de- mands of television, its guests also learnt how to manipulate the audiences that watched it. The powers that be learnt that Xarabank was useful to human- ise politicians, for Azzopardi's court was a large one, and pol- iticians could count on being made likeable, especially those who could give its audience a family and a life that people could relate to. They used it to make PR through charity dona- tions, even those from the IIP passport-selling programme, and they could weaponise the power of conviction by mar- shalling enough supporters to enter the Xarabank audience and applaud them. In the end, the audience that Xarabank helped create, with its need to make its voice heard, with its need to have politicians testify before them, became its main driver, with programmes dealing with sensational themes such as sex and prostitution tantalisingly dangled at times meant to coincide with BA au- dience ratings. It is hard to confine Xarabank to history's refuse box of spent TV formats. It certainly was a mirror of its audience. But at some point the mirror was turned on itself, and everyone was lost in the sight of their re- flection. Whether or not Xara- bank returns, its deposition from the prestigious Friday night spot is a reminder that all things must pass. The popularity of Xarabank itself started to unravel the Joe, and instead gave Maltese audiences the Peppi. And Peppi was of Xarabank... even his tousle-haired protegé Mark Lawrence was a cartoonish product of Xarabank, animated into television just as in The Truman Show. The moment Joseph Muscat won his public on the Egrant affair: on Xarabank, his deft performance and lack of arsenal from the PN on the ownership of the secret Panama company, meant he could slay adversaries in front of a scrutinising audience The powers that be learnt that Xarabank was useful to humanise politicians, for Azzopardi's court was a large one, and politicians could count on being made likeable, especially those who could give its audience a family and a life that people could relate to