Andromeda, last year. A star, in the revival edition. Elodie, which Twitter hailed as a goddess (“God is a woman and her name is Elodie”, it was read online), showed up on the stage of the Ariston when Bugo finished singing. “I’m funny, me,” she tried to say, wrapped in a Jessica Rabbit dress. Elodie smiled, shook her head, picked up the earring from Bvlgari, High Jewelry Serpenti model, which fell from her. Then, he took the microphone and greeted the balloons placed on the Sanremo armchairs.
And, almost, the public has forgotten that they cannot have it in the race.
God is A fuckin’ Woman and her name is Elodie # Sanremo2021 pic.twitter.com/z8hqmLSDSl
— Sheila (@ironmanolan) March 3, 2021
Elodie, bright on the stage of the Sanremo Festival, bewitched Amadeus, then Twitter. “He’s better than Beyoncé,” someone ventured. “The Queen is back,” someone else wrote. And Elodie seemed to hear it, the rain of praise that rained down on her, sweet and enveloping. A smile, a humble look. “The stairs,” he said, “I made it.” The singer did not act. And seeing her approach a role that is not her own, presenter rather than competitor, gave her an extra nuance. A complexity. Something that, through television, was able to tell the realism of a human being before that of an artist.
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