Alice Lussiana Parente is an artist who has made the blending of different artistic languages her distinctive signature. An actress, performer, and lover of painting, sculpture, music and dance, the Turin-born artist, who has lived in New York for the past twelve years, retraced her story with ilNewyorkese as a guest on the podcast Ritratti.

It is a story that moves through artistic experiences, decisive encounters and the deep bond with the city she now considers home.

During the interview, Parente explained how her relationship with art is rooted in her childhood. Raised in a family where creativity was part of everyday life, thanks to her mother, a painter and teacher of artistic disciplines, she developed from an early age a sensitivity toward different forms of expression.

“I think I was very lucky because I was born surrounded by art and beauty. My mother is a painter and a painting teacher at a high school, so I grew up watching her paint. I think that dimension entered my heart when I was still a child.”

For her, the various artistic disciplines were never separate compartments, but complementary elements of a single education: “Dance, movement and music are still part of me, and I believe they make an artist more complete.”

The actress then recalled one of the key moments in her professional growth: her encounter with British director Peter Greenaway. She was just sixteen when she auditioned for the first time for a project at the Reggia di Venaria.

It was an experience that left a deep mark on her: “It gave me so much. First of all, it was my first real professional experience, but on an emotional level it is difficult to explain the gratitude I feel toward a master like Peter Greenaway.”

Even today, she clearly remembers that first day on set and the most important lesson she learned: “I understood that I could do this job, and above all I learned a fundamental lesson: love is not enough to make art, you need dedication. You have to work hard and have discipline.”

Another decisive encounter was with Gigi Proietti, who chose her for the role of Annika in the stage production of Pippi Longstocking. Looking back on that period, Alice Lussiana Parente emphasized above all the rigor and passion of the great Roman actor and director. “What stayed with me was his absolute love for the craft of acting, for acting as craftsmanship.”

It was an experience that lasted two years and allowed her to observe up close a master who personally followed every stage of the theatrical work: “He was extremely present, he followed every phase of the work.”

The next chapter of her life took her across the ocean. Twelve years ago, she arrived in New York with the idea of staying for only a few months, but that temporary plan soon turned into a life choice: “I had grown up with the myth of this city, of Marlon Brando, Robert De Niro and great American cinema.”

The turning point came through the chance, unexpected but revealing, to enter the Stella Adler Studio of Acting, one of the most prestigious acting schools in the United States. “My initial idea was to stay in New York for only three months to attend a preparatory summer course,” she explained. After being admitted, however, she received a form of scholarship that allowed her to attend the academy. She then made the decision that would change her life and her professional path: “I went back to Italy to prepare, and then I left. In a way, that journey never ended. I’m still here.”

New York, however, was not only about opportunity and professional growth. The actress also spoke about the more difficult side of the American experience, made of loneliness and adaptation. “If I had to choose the most difficult moment, I would say the first month. It was a very cold winter, I was alone and I didn’t know anyone. Loneliness was the greatest challenge,” she said.

And yet that very phase proved essential to her personal growth: “That is when something clicked inside me. I think it happens to many people who arrive in New York. You go through a moment when you feel lost, you want to go home and you don’t know what direction your life will take.” The answer came through school and through the relationships she built over time: “I built my New York community. The stories of success, difficulty and personal growth that I encountered along the way enriched me and made me understand that I wanted to stay in this city.”

Among the professional achievements she has earned in the United States, a special place belongs to the Golden Film Award she received in Los Angeles as Best Emerging Actress. For Alice Lussiana Parente, that recognition meant much more than a simple prize. “Receiving that award was a great confirmation. It was my first recognition in the United States, and it came right in the heart of Hollywood.”

She still has a vivid memory of the return trip: “The award was made of glass, and during the flight back to New York I held it as if it were a treasure.” It is an episode that captures well the enthusiasm and gratitude with which she experiences every milestone she reaches.

The conversation on the podcast also brought out a reflection on time and artistic maturity. At 35, Parente looks to the future with serenity and without fears related to age. “I am proud of every year I have lived, and I wouldn’t take away a single one.” It is a particularly meaningful message in a field such as entertainment, where actresses often face stereotypes and pressures related to age: “I hope to continue being proud of every year that passes and to experience this growth as a richness.”

One of the projects awaiting her in the coming months is the docufilm dedicated to the birth of ilNewyorkese, in which she will play the role of Chiara. It is an adventure the actress approaches with enthusiasm, but also with the respect she brings to every character: “I don’t know how much I chose the character and how much the character chose me. I like to think that Chiara chose me.” For Alice Lussiana Parente, the value of the work also lies in the fact that it tells New York through a story born in the city itself: “For me, telling New York through a story born in New York, that loves New York and tells its story every day, is an enormous emotion.”

Finally, the actress emphasized the value of the dialogue between journalism and cinema, a central element of the project. “I believe that communication between different languages is something very precious.” It is a concept that echoes her own artistic experience, built on the encounter between different disciplines.

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The day after the Trump–Putin summit in Alaska, much of the global press seemed to echo Shakespeare: much ado about nothing. No dramatic announcement, no breakthrough peace deal. Anyone expecting a sudden ceasefire or a roadmap to peace was left disappointed.

But was it ever realistic to expect that? Diplomacy rarely moves at the speed of headlines. While journalism demands clarity, immediacy, and soundbites, geopolitics works in shadows, stages, and symbols.

The simple fact that Trump and Putin spoke face-to-face was already significant. Some commentators saw a symbolic win for Moscow – in the protocol, the posturing, the evasive answers. Others, particularly among Republican-leaning media, framed it as Trump’s victory: the host who forced the “Tsar” out of his bunker.

The truth is more nuanced. For Trump, it was a success: he managed to bring Putin into a diplomatic arena rather than a purely military one. For Putin, the strategy remains rigid. He buys time, refuses to concede on occupied territories, and leaves the path forward uncertain – to be played out in second and third rounds, including with Zelensky.

Yet one thing is clear: Putin cannot back away from this process without risking total isolation in a new global order and locking Russia into an unsustainable war economy. This alone makes the summit a turning point, however subtle.

There are still enormous knots to untie: rare earths in Donbass, Zelensky’s future, Ukraine’s status – buffer state, Russian satellite, or integrated into the EU and maybe even NATO. No single meeting could ever resolve this. The U.S. is in a hurry; Russia, which until yesterday was not, now feels the urgency too.

From a journalistic standpoint, the press conference fell flat: Putin’s silence – or arrogance – on key issues left little to headline. But these matters aren’t resolved in the language of political correctness or media cycles. They belong to the slow, opaque rhythm of international diplomacy.

And the ultimate goal, stripped of spin, remains the same: to stop people from dying and bring an end to the war. The sooner, the better. Otherwise, this “Alaskan Ferragosto” will remain nothing more than a good title for a film.

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It’s Christmas Eve. Rome, especially at night, when traffic, chaos, and human hustle fade away, becomes beautiful and infinite once again. This year’s lights are grandiose: energy-saving measures and sustainability give way to the magnificence of the season. Today, Pope Francis inaugurates the Jubilee in the brand-new Piazza Pia.

However, the atmosphere is far from ideal: the city is shaken by the death of a mother, killed by a falling tree in front of her daughters. Perhaps it was a forewarning, but today the newspapers are filled with reports about the poor condition of Rome’s trees. Mayor Gualtieri, before delving into the liturgy, must deal with a significant secular issue.

So far, in fact, the Jubilee has only been discussed in secular terms. What chaos with all those construction sites! Crozza, mimicking the mayor to the letter, made us bitterly laugh about the fact that, until recently, only 3 out of 203 construction projects had been completed. Then there’s the anxiety over what many call “overtourism”—an excess of tourists. It’s estimated that in 2025, 32 million visitors will come to Rome, generating around 4 billion euros in revenue. And yet, fewer and fewer people seem to scoff at these numbers.

There’s also the issue of security, especially after what happened in Germany. And what about the spiritual meanings? The ones for the Christian and Catholic world? Will this truly be the Jubilee of hope in a year that fades into another, yet with dramatic conflicts still unresolved? Beyond simplistic, non-messianic prophecies about Trump’s return?

And what about the theme of equality? Of care for the poor, the marginalized, and the ever-growing number of unequal people in our democracies? Philosopher Cacciari claims that the Gospel is silent today, while others argue that the human heart still listens.

Tonight, we will pass through that door, with the necessary hope for a better world. It won’t be easy, and it won’t happen on January 1st. But we must think it and think of ourselves this way, if we truly want this Nativity and this Jubilee to embody hope. Beyond the cars, the hotels, the trees, and the wild boars. With all due respect!

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It went badly. Yes, indeed, it went badly. Certainly for those who had prepared a nice mainstream progressive liberal weekend: Salvini guilty, the inhumane government deporting poor immigrants to Albania, and NGO stars in the spotlight. Richard Gere on Fabio Fazio’s Che tempo che fa on Channel 9 was, of course, the cherry on top.

But then, what do these magistrates do? They apply the law, not ideology, and acquit the unspeakable – for them, a symbol of the “cancel and woke” culture – League leader from the charge of kidnapping.

The poor, grayed-out, former heartthrob Richard, who had declared himself anti-Salvini as a whim during a summer boat party on the Mediterranean, had to limit himself to talking about his latest film, Oh, Canada. Apparently, it’s amazing, but at Christmas, as per popular tradition, I go to watch Boldi and De Sica. Now split up like panettone halves: to see them both, I have to jump from one theater to another.

The truth is that the endorsements of various celebrities like Gere don’t matter anymore. I said the same when old De Niro tried to rally a crowd (that wasn’t there) outside the Trump trial, who ended up winning big, partly thanks to Hollywood’s over-the-hill figures.

Meanwhile, Musk is increasingly sticking his nose into European affairs. Maybe Fazio should have stopped by Atreju to get a better sense of how the future is shaping up.

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After a long day of waiting, especially for him, Matteo Salvini, who was involved in the Open Arms trial, the verdict has arrived. Just in time for the 8 PM news. Jokes aside, what mattered was the substance—the decision of the judges. Well, the judges in Palermo, surprisingly in my view, acquitted the former Minister of the Interior in the Conte I government, who had been accused of kidnapping and falsification of public documents for preventing the disembarkation of migrants from the NGO ship that gave its name to the trial.

“The League wins and Italy wins,” commented the leader of the League before embracing his partner, Francesca Verdini, with affection. After all, it’s also a victory for the man, the person, beyond the political role he had at the time and still holds today. Had he been convicted, politically, Salvini would have emerged stronger anyway. Within the League, who wouldn’t have shown solidarity with a convicted leader? And in the government, allies would have been called upon to show solidarity on matters of justice and immigration.

But this way, Salvini has won completely: defending Italy’s borders, especially during a governmental mandate, is not a crime. Let’s be clear, this trial was a legal and political abomination. It only existed due to the attempt to damage a political opponent through judicial means—a route that, after many years and many wrongdoings, is showing signs of historical fatigue.

If we add Salvini’s acquittal to Renzi’s (in the Open Arms case), we can say that the two strongest political leaders of the past decade—before Meloni’s rise—are now finding, through their differences and struggles, a new personal and public era.

So, justice wins, as it should. And that’s not bad news for our democracy.

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For years, Italy has been grappling with the issue of absolute poverty, particularly during the heated debates over the “citizenship income,” a flagship policy of the Five Star Movement. Promoted as a symbol of their worldview and political vision, this measure has now been discarded as emblematic of a welfare model deemed unsustainable by a modern state. Yet, the discussion continues, growing even more intense as the budget maneuvers near their final stages after months of exhausting internal and external negotiations. The pressing question remains: how much funding is allocated to support the weakest in society?

But who exactly are the weakest? Are they the absolute poor, the relatively poor, or the middle class steadily sliding into poverty? Here, statistics and ideology blur, with numbers and benchmarks shifting depending on perspectives and propaganda. The reality is that a democracy must address the needs of the poorest unequivocally. However, it must also ensure conditions that prevent others from falling into poverty. This means focusing on employment, economic growth, and tax relief. In Italy, a self-employed worker earning over €85,000 per year is taxed at the highest rate, equivalent to truly wealthy individuals. Living in Milan with two children, losing nearly 60% of your earnings to taxes can push you toward poverty—not absolute poverty, perhaps, but poverty nonetheless.

This is the challenge for future governments, regardless of their political orientation: understanding this gray area where inequality festers in our democracies. Addressing it will be the key task for those seeking to govern the polis in the 21st century.

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Excessive celebrations, questionable protests—everything in Italian football sparks debate these days, for better or worse. Certainly, this benefits the hundreds of media outlets thriving off the sport, including myself, as I earn a living writing about it. But let’s set aside the media angle and get straight to the moral substance of the matter.

It all started on Saturday with the repeat offender Nicolò Zaniolo, a talented but still rather raw player who now plays for Atalanta under the undisputed coaching prowess of Gian Piero Gasperini. Against his former team Roma, Zaniolo celebrated excessively, stripping off his shirt and enraging Roma fans. A similar scene unfolded in Cagliari, where local supporters were, to put it mildly, irate. Gasperini publicly reprimanded him. Then on Sunday, after beating his former team Fiorentina, Vincenzo Italiano—now Bologna’s manager—celebrated in what looked like a fit of psychotic tarantella. Fiorentina’s sporting director, Pradè, criticized him personally, especially given that Palladino, Fiorentina’s coach, had just lost his mother that very day.

So who’s in the right and who’s in the wrong? Is it possible that the very same political correctness we criticize in politics is now swallowing up the passionate spontaneity of football? Perhaps so—after all, we live in an age of restraint. Yet football has its unwritten rules, such as showing restraint when celebrating against former teams. Of course, there are also tales of players losing their spots because they didn’t celebrate. A little common sense on all sides wouldn’t hurt.

Finally, we come to the fans: at Juventus, Vlahovic is greeted with their favorite excrement-laden insults, while at Milan, both the club and many players are targeted. Expecting ultras to behave delicately is absurd. Rather, it’s up to those on the receiving end to decide if the criticism is deserved and whether something needs to change or not.

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Politics is changing rapidly, and old rituals are giving way to new communication strategies. Traditional party festivals had largely disappeared, swept away by the decline of historic parties and the meteoric rise of the quintessential anti-establishment movement: the Five Star Movement. It’s hard to imagine them roasting meat and drinking wine at Casaleggio Associati’s headquarters. The Festa dell’Unità survived to some extent, often serving as a stark reminder of the disunity plaguing the modern left, fractured after the collapse of the grand socialist and communist umbrella.

Atreju, the youth festival of Fratelli d’Italia, was practically unknown until Giorgia Meloni’s electoral victory. Last year and this year, the event was taken to new heights. I recall the party convention in Milan in May 2022, a few months before the elections, when Giorgia openly stated that the long rock-style catwalks and giant screens were inspired by major American events—think Democratic and Republican conventions leading up to the U.S. presidential race. In essence, “the party,” battered by the scandals of Tangentopoli and other crises, was back. With pride, without hypocrisy, and without hiding. The party as a compass and identity.

Now, after countless warm welcomes from those eager to join the winner’s circle, the spotlight turned to Javier Milei, the fiery president of Argentina—known for wielding a chainsaw as his symbol. Last year, it was Elon Musk, and as we noted here at GMI, our Prime Minister had a keen eye for trends. While the opposition mocked Musk’s eccentricities, he became a key figure for the new U.S. President. Milei’s speech hints at the birth of a new international right, poised to replace the left-wing internationalism that defined 20th-century political mainstreams. It signals a new vision of economics, liberalism, welfare, governance, individual rights, and public policy. Sure, there may have been Christmas lights and skating rinks at the Circus Maximus, but it’s clear that today’s party festivals are about setting future agendas, defining allies and enemies, and charting a course forward. Farewell to the sausages of the old guard.

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Today I returned from Romania, shaken by the first European case of elections to be redone due to illegitimate Russian influence, only to find Milan in chaos. A public transportation strike—once again on a Friday. The Regional Administrative Tribunal (TAR) rejected Transport Minister Salvini’s request for mandatory arbitration, resulting in a full 24-hour strike. “Wild,” as they used to call it. Translated: maximum disruption and inconvenience for fellow citizens, especially considering Christmas is just ten days away and urban mobility already feels more like a nightmare than a right. But speaking of rights, who’s in the right here—the unions or Salvini?

Let’s answer without falling into the usual ideological, black-and-white, 20th-century trap of master versus proletariat. Millennials wouldn’t understand it without a translator—try asking the HR heads of major companies, in Italy and beyond. To be clear, the right to strike is sacred. It was hard-won by workers and remains a cornerstone of labor rights. On the merits, the demands of any particular category deserve the utmost respect and understanding. However, there’s a “but.” What about the rights of all other citizens—in terms of mobility, time, lost wages, and peace of mind?

When a protest becomes systemic, happening nearly every Friday (as if divinely ordained, though divinity isn’t a very union-friendly concept), it must remain brief and ensure adequate service windows. Otherwise, the so-called “wild” strike invites other forms of savagery, turning democracy and its delicate balance into a jungle. This time, an urban jungle—but only the aesthetic worsens, not the unbridgeable gap of the 21st century.

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The risk is that he becomes a hero beyond the realm of objective facts and judicial chronicles. The global web narrative, with its lack of spatiotemporal boundaries—the very essence of the internet’s communication revolution—transcends the realistic confines and rituals of justice. For social media worldwide, including in Italy, Mangione has already become a contemporary Robin Hood, avenging the powerless against the overwhelming dominance of health insurance lobbies. The murder of Thompson, CEO of United Healthcare, loses its ethical implications and morphs into a criminal act sublimated by the purpose of social vengeance.

As we mentioned, the internet crystallizes universal archetypes even from specific sociological models, in this case, the American trope of the lone killer. Yet Mangione, with his striking looks and media-savvy image, breaks away from the clichés usually associated with such cases: he is not a diagnosed lunatic, a drug addict, or a desperate individual. He was not abused, nor is he a product of marginalization. Instead, he was a model student from the most elite American universities, poised for a brilliant career. So why does he kill? Why does he not channel his protest against the healthcare giant into a political act?

His allure, devoid of moral judgment, lies in the cinematic sequence: the hood, the smile, the enigma, the DIY internet gun from a 3D printer. Mangione captivates because he avenges the world’s underprivileged against the modern manifestations of power—a 3D guillotine for the veiled king who denies you the right to health. This is not merely a story of today’s America; it is a modern tale of the failures and wounds of our democracies

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