Changing the tastes of the target audience of the new chapter of “Formula One”

Fars News Agency, TV Group: The new “Formula One” series could possibly be a new beginning in television programming because it takes a closer look at the developments of Iranian society in recent years. Like in previous decades, it does not follow the character of its celebrities and has basically replaced critical thinking with that longing-oriented, vain and fierce view.

“Formula One” with a closer look at what has been under the text of the previous society, this time tried to draw the society’s attention to influential but not so famous people such as: Soroush Salavatian, a social activist who is the voice of the people of “Jazmourian Wetland” He has been in the corners of Kerman, Sistan and Baluchestan and is now a guest on the “Formula One” program. But why a smooth transition? Perhaps because the de-celebrity in this program is not sudden and Yahweh, and the presence of someone like Salavatian next to people like Dariush Farziaei or Zohreh Koudai creates a kind of coloration that reduces the possibility of rejection by the audience to zero, as if the taste of the audience Can not and should not be bored with strong shocks. In any case, it is true that that sacred authority has been taken away from celebrities for years; But it is still inherently fascinating for the audience to see the faces of “celebrities”.

Despite all this, the path opened in “Formula One” will undoubtedly expand and deepen the capacity of the media, because it shakes the circle and definition of fame, and in fact now “fame” is not supposed to be just a superficial and necessarily popular concept. Yes, some actor, some athlete, and such fields, though remarkable, ultimately have limited definitions, and now the media in its true place can make a new definition of the concept of “fame.” In such a situation, the “message” and the “theme” will not be old-fashioned and the audience will receive what they need, as the white lines of the text say.

The interesting thing is that this change of attitude is not limited to the TV frame, and the generalization of the story to the city billboards that has taken place in recent days, has brought a new definition of fame to the streets, coinciding with the removal of authority from celebrities Fallen. Actions such as video pumping in urban symbols such as the Freedom Tower or the Milad Tower, perform the symbolic aspect of the work well, and each of the components of this puzzle can be the beginning of a new path in defining the concept of “fame”.

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