Corona's fake news: what the January 26 episode is about

The last episode of Very false It is a concentration of accusations, insinuations and reconstructions that touch some of the most important names in Italian television: Maria DeFilippi, Pier Silvio Berlusconi, Marina Berlusconi, the lamented Maurizio Costanzo, Belen Rodriguez and the entire universe Mediaset.

Before going into details, it is essential to clarify one point: in this article we do not present these statements as established facts, but we tell them exclusively as what Fabricius Corona and the guests of Very false they maintain in their versions, often contested and not confirmed by independent evidence.

The episode is part of the judicial clash between Corona e Alfonso Signorini, after the Civil Court of Milan It has imposed the removal of certain content and banned the publication of new material deemed defamatory.

Despite this, Corona has published theepisode 21 de “The Price of Success”, officially shifting the focus from the alleged “Signorini system” to an alleged “Mediaset system” and the power dynamics that, according to him, govern the television world.

And it is precisely in this already complex context that the video call from the hospital comes into play. Claudio Lippi, the emotional and narrative heart of the episode, with a series of very delicate passages on sexual orientation, private relationships, betrayals, television careers and possible political ambitions of Marina Berlusconi.

I repeat: everything that follows must be read with extreme caution, it is about statements and interpretations reported by Corona and his interlocutors, not truths verified by journalists or the courts.

The video of the episode of Falsissimo on January 26th

Signorini's appeal, Corona's move, and the Milan Court's order

On January 26th, the Civil Court of Milan upheld the appeal of Alfonso Signorini against Fabricius Corona and its format Very false.

The ordinance requires:

• la removal of the contents deemed defamatory regarding Signorini's private life
• il prohibition to publish new materials that are harmful to his reputation and personal sphere
• a criminal of 2.000 euros per day for any violations
• il deposit at the court of photos, videos, documents in Corona's possession relating to the private sphere of the director of Chi

This is therefore a clear stop to the narrative about the alleged "Signorini system”, which Falsissimo had developed in previous episodes.

Episode 21: The Price of Success – Final Part

Despite the judicial framework, Corona still publishes theepisode 21 de “The Price of Success – Final Part”, presenting it as a response to the judge's decision without, however, opposing it and focusing attention on an alleged "Mediaset case" rather than on Alfonso Signorini.
In this episode, in fact, the target widens: no longer (or not only) Signorini, but the entire “Mediaset system” and the galaxy Berlusconi, with a web of alleged favors, silences, blackmail and manipulated careers.

Corona presents himself as an inconvenient voice affected by power, he speaks openly about censorship and claims the right to the press, even though they knew they were moving on extremely exposed legal ground.

An important preamble to understand the tone of the episode: Falsissimo does not present itself as a balanced story, but as a militant counter-narrative, built to unmask, according to Corona, what the public must not see.

The structure of the two parts of the episode

The episode follows the now typical format:

• a clear part, accessible on YouTube and other platforms
• a reserved part to subscribers, where the most delicate and potentially explosive passages are concentrated

In the open section Corona prepares the ground: he tells the clash with Signorini, introduces the theme of the alleged "Mediaset system” and anticipates that in the private section there will be stronger elements and testimonies.

In the subscribers section, however, it goes into detail about:

• alleged backstories on Maria De Filippi, Pier Silvio Berlusconi, Maurizio Costanzo
• the case Belen Rodriguez and the idea of ​​his "expulsion" from Mediaset
• the allusions to a possible Marina Berlusconi's entry into politics and a hypothetical "plan" orchestrated around his figure

This is where the video call with Claudio Lippi, which in fact acts as an emotional multiplier of the entire narrative.

The call with Claudio Lippi: the system that "uses and then deletes"

One of the most discussed moments is the video call with Claudio Lippi, recovered from the hospital bed, in serious physical condition.

In the conversation Lippi talks about Mediaset as a system that “use and then delete” people, in fact he says he felt abandoned from TV, despite a long and recognized career and mentions economic problems and the fear of "living under a bridge".

His story fits into the framework described by Corona: Lippi becomes the living example of how, according to this version, the company can valorize you for years and then cut you out when you are no longer useful or when you no longer fit into the story they want to carry forward.

The reference to Maria De Filippi

In the call, Lippi also mentions Maria DeFilippi.
He says he hasn't had contact with her for a long time and doesn't want to make public appeals, knowing her reserved nature and personality. He also adds that he's aware that, despite a shared past on television, hers is now a name that doesn't "make a statement."

Passages that are used in Falsissimo to reinforce the idea that the television system can also forget the historical faces, if they are no longer functional to the internal logic.

It is important to underline that this is the Lippi's point of view, taken up by Corona and relaunched in its format: there is no independent evidence that there was a conscious and "punitive" choice to cancel it from TV, beyond the normal programming and market dynamics.

From a narrative point of view, Corona uses Lippi to give human weight to his theses given that it is not only him, former manager of a paparazzi photography agency and controversial figure, who complains about the "system" but he is a well-known and beloved presenter who speaks from a hospital bed, in a moment of evident fragility.

A choice that has opened a further front of criticism: several observers speak of spectacularization of pain and of the disease, used as a tool to strengthen Falsissimo's story.
Once again, however, we're in the realm of interpretation: the objective facts are the presence of the video call and the words spoken; how they are interpreted and judged is a matter of opinion.

Maria De Filippi, Pier Silvio, and the accusations about their sexuality

Throughout the episode and in related episodes, Corona insists a lot on the vita privata di Maria DeFilippi e Pier Silvio Berlusconi.
There is talk of sexual orientation, with allusions to the alleged homosexuality of both and to environments frequented and relationships unknown to the general public.

Statements that are presented as part of a mosaic: sexuality is not just used as gossip, but as a key to suggest the existence of safety nets, favors and blackmail which would affect television careers.

The line between denunciation and insinuation

A clarification is necessary here: much of what Corona reports falls within the territory of inferences and innuendo, more than in that of proven facts since there are none documentary evidence than what is stated

In other words, Corona maintains that these private elements matter because, he claims, they play a role in the dynamics of power and internal protection; but, to date, there is no independent evidence to support this reconstruction beyond his own words.

Maurizio Costanzo and the tale of infidelity, a "fake family" according to Falsissimo's narrative

Another sensitive topic is marriage between Maurizio Costanzo e Maria DeFilippi.
In the narrative of Falsissimo, this couple is read as a symbol of reassuring public image and perfectly managed but with in reality a more complex private life, made up, according to what is insinuated, of infidelity, parallel relationships and love lives that do not align with the official narrative.

Corona claims that for years the public received a "scrubbed" version of this story, while the reality of the relationships was different with an unfaithful Maurizio Costanzo and a Maria De Filippi interested in women.

From gossip to the thesis on power

Once again, however, we are not faced with an investigation with verified documents, but with a narrative construction which combines anecdotes, voices and personal readings.
The aim is not only to tell Costanzo's private life, but to use it as an example for a broader thesis, that is, the double-sided between public image and private behavior and the link, according to Corona, between private hypocrisy e management of media power.

From a journalistic point of view, however, one must keep the point: what Falsissimo proposes here is a one-sided reading, lacking independent verification and based largely on reconstructions that are difficult to prove.

Belén's "expulsion" from Mediaset

In the story of Very false, Fabricius Corona claims that the release of Belen Rodriguez from Mediaset was not a simple editorial choice or a shared decision, but the direct consequence of a clash with Maria DeFilippi.
According to what he claims, Belén asked De Filippi to not having to share the television space with two other people, claiming a more central and less “crowded” position in management.

Always in the version told by Corona, this request would have irritated deeply Maria DeFilippi, which would be resentful to the point of making its weight felt against Mediaset.
The crucial point, according to Falsissimo, is that De Filippi would have then exercised pressures so that Belén would not come confirmed as host of "Le Iene" and, more generally, to reduce its role in the Mediaset ecosystem.

In this reading:

• Belén's request for a less shared space becomes the trigger for the conflict
• De Filippi's reaction would have been of the type punitive, with the aim of making one feel one's control over "who goes up and who goes down" on TV
• the failure to reconfirm Belén Reservoir Dogs and the progressive distancing from Mediaset programs are interpreted as direct effect of these pressures, not as a physiological dynamic of the programming schedule

It is essential to reiterate this clearly: this is Corona's version, not a proven fact or a picture shared by the parties.

What emerges from journalistic reconstructions (outside of Falsissimo)

Outside the Falsissimo universe, the reconstructions of the Belén–Mediaset affair are more nuanced.
Several sources report that:

• Reservoir Dogs they would not have reconfirmed Belén for the following season, according to Dagospia previews reported by the press​
• in parallel, Belén would have rifiutato to continue “You are worth it”, preferring to dedicate himself to other projects, including formats on other platforms
• in some interviews and behind the scenes it is underlined that the exit from Mediaset would have been in part choice, partly the result of a series of editorial and career evaluations, not explicitly attributable to a direct clash with De Filippi

In particular, in a 2023 release, Corona himself, outside the Falsissimo context, had spoken of a decision to a large extent voluntary Belén to leave certain conductions, while evoking friction and tension behind the scenes.
This shows how much his narrative has become evolved and stiffened over time: today, in Falsissimo, a clearer version is proposed, centered on the "expulsion" as De Filippi's personal reaction.

Marina Berlusconi, politics and alleged conspiracy

One of the most controversial parts is the one concerning Marina Berlusconi.
Corona hypothesizes the existence of a political project around her figure, suggesting that the president of Fininvest e Mondadori She would be seen as the natural heir to the Berlusconi tradition, and that some economic and media circles would be working on a possible entry into politics and, for this reason, her image would be built and protected also with a view to a future public role.

Theses that have been relaunched and commented on by various sites and social pages, often with sensationalist tones, but to date they remain speculation, not confirmed by official statements or concrete facts.

The “plan” and the power network

In Falsissimo's narrative, Marina's possible entry into politics would be at the centre of a alleged plan which intertwines: media (Mediaset, local press, favorable communication), publishing (Mondadori's role in shaping the imagination) and relations with members of the establishment, from managers to institutional figures.

Corona speaks of a system that would use TV, newspapers, and narratives to prepare the groundwork, also with a view to the future balance of power within the center-right.
All this, however, moves in the field of conspiracy theoriesThere is no public evidence of a structured project, formal meetings, or concrete steps toward a candidacy. This is a political interpretation that Falsissimo proposes, not a factual fact.

What remains beyond the noise: the heart of the episode

If we take away the gossip, hyperbole, and tone of permanent revelation, the latest episode of Falsissimo tries to make one thing quite clear: build a system narrative.
The main axes are:

• Claudio Lippi as the human face of an industry that, according to him and Corona, can use you, squeeze you, and then forget about you when you're no longer useful.
• The sexuality (real or presumed) of Maria DeFilippi e Pier Silvio Berlusconi used as a clue to suggest networks of power, protection, and hypocrisy, without, however, providing solid evidence to support it.
• The marriage Costanzo–De Filippi told as an example of a "facade" family, to connect to the broader theme of the gap between public narrative and the real life of the protagonists of television power.
• The case Belen Rodriguez interpreted as a symbol of a phase in which Mediaset is “cleaning up” its face by sacrificing characters who have become uncomfortable or too exposed.
• The idea of Marina Berlusconi as a potential future political figure, part of a "plan" that blends media, publishing, and economic power, but without concrete evidence to support the existence of a truly operational project.

It all comes down to the clash with Signorini and against the background of the decision of the Court of Milan, which makes any new statement potentially legally risky.

A narrative to be handled with care

The episode works, from a narrative point of view, because it touches three powerful chords:

1. la morbid curiosity from the public towards the private lives of famous people
2. la distrust spread towards the great systems of power (political, media, economic)
3. theempathy towards fragile or troubled figures, as in the case of Claudio Lippi in hospital

But for this very reason it must be handled with extreme caution.
Between what is told and what is really confirmed there is a significant ditch:

• many claims about sexuality, cheating and conspiracies are unverified, often unverifiable and they rely on the word of Corona or of whoever speaks with him
• reading careers (Lippi, Belén, etc.) as the result of plots or punishments is a interpretation, not the only possible key nor the one supported by certain data
• the topic of Marina Berlusconi's possible entry into politics is, at the moment, a matter of debate hypotheses and speculations, not a documented fact​

In this post we have tried to explain in a clear and understandable way what the episode is about, without endorsing the contents it proposes as true.
The versions, accusations and reconstructions attributed to Fabricius Corona and Very false must be considered for what they are: a partisan, highly contested narrative at the centre of an ongoing legal dispute, not a consolidated and verified factual framework.