The Enduring Appeal of Courtroom Realism in the Digital Age
*Un giorno in pretura*, the long-running Italian courtroom program hosted by Roberta Petrelluzzi, has returned to Rai 3 and RaiPlay for a new six-part season. Since its debut on January 18, 1988, the show has maintained a consistent presence in the Italian television landscape. According to Petrelluzzi, the program’s sustained success relies on its ability to force viewers to reason and distinguish facts from appearances, rather than relying on the rapid pacing common in contemporary media.
Why Courtroom Television Still Resonates
Despite the rise of on-demand streaming and short-form content, *Un giorno in pretura* continues to attract a multi-generational audience. Petrelluzzi notes that she is frequently surprised to encounter young viewers who engage with the show’s deliberate, slow-paced format. Petrelluzzi explicitly criticizes the current media environment, describing the heavy focus on sensationalized crime stories as a “gigantic bubble” that functions like an addiction. She compares this trend to the historical media frenzy surrounding the Vermicino incident, arguing that such coverage often ignores the complexities of the legal process in favor of emotional exploitation.
> “There is such study and reasoning in the construction of *Un giorno in pretura* that we should have 30 percent of the audience,” Petrelluzzi stated regarding the show’s rigor compared to the broader landscape of black-chronicle television.
Ethical Boundaries in Legal Reporting
A central pillar of the program’s editorial stance is the refusal to indulge in speculative or repetitive coverage of cases that have already reached a judicial conclusion. Petrelluzzi cites the Garlasco case as an example, asserting that she has no interest in revisiting proceedings where the judiciary has already rendered a final verdict. She expressed alignment with the position of Minister Nordio, arguing that once legal systems—specifically in first instance and appellate courts—fail to find sufficient evidence for a conviction, the media narrative should also reach a point of closure.
The Human Toll of Judicial Drama
While maintaining a professional and detached tone on screen, Petrelluzzi acknowledges the profound human impact of the cases she covers. She highlights the Avetrana case as one that involved her personally, citing what she perceives as a grave injustice regarding the imprisonment of Sabrina Misseri and Cosima Serrano.
Her perspective on “evil” is equally distinct. She differentiates between criminal acts rooted in mental illness—which she identifies as a significant modern crisis—and calculated, malicious behavior. She points to Angelo Izzo as an example of the latter, while emphasizing that the primary right to anger remains with the victims’ families, not the media or the general public.
> “The only ones who have the right to feel anger are the relatives of the victims, no one else,” Petrelluzzi said.
The departure of Sciarelli from her long-standing investigative role marks a transition in Italian television journalism. Petrelluzzi acknowledges the difficulty of such roles, describing the work as a “load of pain” that requires immense sensitivity. Regarding a potential successor for similar investigative work, she points to Domenico Iannaccone, citing his acquired sensitivity toward human suffering as the ideal quality for navigating such sensitive subject matter.
***
Did You Know?
*Un giorno in pretura* has been on the air for 38 years, having premiered in early 1988.
Frequently Asked Questions
**Why does *Un giorno in pretura* not cover every major crime story?**
According to Roberta Petrelluzzi, the program avoids cases that have already been legally resolved by the courts to prevent the inflation of media “bubbles” and to respect the finality of judicial decisions.
Where can viewers watch the new episodes?
The current season is available on Rai 3 during Wednesday prime time and is also accessible via the RaiPlay streaming platform.
How does the show maintain its audience across generations?
The program’s format encourages critical thinking and reflection, which Petrelluzzi suggests appeals to viewers who are tired of the fast-paced, sensationalized nature of modern television.
***
*Are you interested in the intersection of law and media? Join the conversation by subscribing to our newsletter for deep dives into investigative journalism and historical broadcasting trends.*
Related reading