In 2016, Albania’s Zjarr TV made an audacious move that sent shockwaves through the media landscape and ignited a global debate about ethics, objectification, and media standards. The station’s decision to have news anchors deliver updates in open jackets with nothing underneath was a striking departure from the traditional norms of broadcasting. This bold step, which quickly gained attention, was introduced by the TV station’s owner, Ismet Drishti, who explained that it was a deliberate attempt to provide “transparent and naked” news reporting.
Historically, Albania has been a conservative country with deep-rooted values influenced by its Muslim population and the strict rule of communist dictator Enver Hoxha. Under Hoxha’s regime, Albania was isolated from the rest of the world, and the media was heavily censored. The Communist Party maintained a firm grip on public life, and even small acts of rebellion against the established order were met with severe punishment.
As Albania moved into a post-communist era, the country began to embrace a more open society, but the process was slow, and the media remained largely influenced by political powers. It was in this environment that Zjarr TV made its entrance, offering a bold new format that would set it apart from traditional Albanian channels.
The idea behind the provocative news presentation was explained by Drishti, who framed it as a statement of transparency. “In Albania, where the news is manipulated by political powers, the audience needed a medium that would present the information like it is – naked,” he said. According to Drishti, the station’s intention was to cut through the political fog and offer viewers a raw, unfiltered perspective on the news.
This decision was undoubtedly risky, especially in a country where the media still faced many constraints. The response from the public, however, was mixed. While many were intrigued by the daring new approach, others were uncomfortable with the apparent disregard for traditional professionalism and respect. Albania, still grappling with its past, found itself in the middle of a media revolution that challenged long-standing cultural norms.
Zjarr TV’s approach was also part of a broader trend of sensationalism in the media, where shock value was increasingly being used to capture the attention of audiences in an era of information overload. In a world where countless media outlets were competing for the same viewers, Zjarr TV chose to stand out by embracing controversy rather than avoiding it. But the move also raised questions: Could this kind of presentation be considered acceptable in the media, or did it cross the line?
In a bold and controversial move, Albanian TV station Zjarr grabbed headlines by featuring news anchors delivering updates while wearing open jackets with nothing underneath. This provocative approach, introduced in 2016, aimed to boost ratings and provide what the station owner described as “transparent and naked” news reporting.
Breaking Tradition in a Conservative Culture
Albania, a historically conservative country with a significant Muslim population, was once under the strict rule of communist dictator Enver Hoxha. Zjarr TV owner Ismet Drishti defended the decision, explaining it as both a statement of transparency and a way to attract attention in a competitive media environment. “In Albania, where the news is manipulated by political powers, the audience needed a medium that would present the information like it is – naked,” Drishti said.
Stars and Controversy
The format quickly turned its anchors into household names. Enki Bracaj, 21, became an instant star after auditioning with her blouse open. While Bracaj gained fame, her choice sparked mixed reactions. Some praised her boldness, while critics called it exploitative.
After a short stint, Bracaj left the channel, reportedly due to salary disputes. Others speculated her Playboy modeling offer may have been a factor. Following her departure, the station introduced Greta Hoxhaj, who also adopted the revealing style and achieved similar fame.
Divided Opinions
While Zjarr TV achieved its goal of heightened visibility, the decision reignited global debates about objectification and media ethics. Some critics called the move “outrageous” and “sexist,” while others defended it as innovative. Feminist groups in Albania have largely remained silent, but journalist Aleksander Cipa criticized the tactic, stating, “Nudity cannot resolve the crisis in the media.”
In contrast, viewers and fans have continued to praise the anchors for their confidence and charisma. Greta Hoxhaj shared that she remains unfazed by criticism, focusing instead on her newfound fame and the support of her community.
The decision to feature anchors wearing nothing but open jackets quickly made Zjarr TV the talk of the town. Anchors who embraced the style became instant stars, and among them was Enki Bracaj, who was just 21 years old when she joined the station. Bracaj’s audition for Zjarr TV included her wearing a blouse that was open, which, although unusual, was immediately noticed by the public. This daring fashion choice catapulted her into the spotlight.
Bracaj’s popularity was unprecedented. She became a household name in Albania, with viewers praising her boldness. Many saw her as a symbol of empowerment, with her choice of attire perceived as a statement of confidence and freedom in an increasingly globalized world. However, the fashion-forward approach also stirred significant controversy. Some viewers argued that Zjarr TV was simply exploiting Bracaj’s looks for ratings. Critics were quick to accuse the station of commodifying its anchors and reducing them to mere objects of desire rather than focusing on their journalistic skills.
Bracaj’s rise to fame was not without its complications. Although she initially embraced the spotlight, the nature of her newfound fame came at a personal cost. After only a short stint with Zjarr TV, Bracaj left the station, citing salary disputes as the official reason for her departure. However, there were also rumors that she had been offered a lucrative modeling contract with Playboy, which may have played a role in her decision to leave the station.
Despite Bracaj’s departure, Zjarr TV did not abandon its controversial approach. The station quickly introduced Greta Hoxhaj as a new anchor, and she too adopted the same revealing attire. Hoxhaj’s decision to follow in Bracaj’s footsteps allowed her to achieve similar fame. Like Bracaj, Hoxhaj was celebrated for her charisma, confidence, and willingness to challenge conventional norms. However, she also became a target for critics who felt that her role at the station was perpetuating harmful stereotypes about women in the media.
As both Bracaj and Hoxhaj garnered attention for their bold fashion choices, they became symbols of the media’s shifting approach to news presentation. They were seen as both progressive and regressive figures—progressive in their defiance of tradition but regressive in their perceived objectification by the media. The question remained: Were these anchors empowering themselves, or were they simply products of a system that exploited their looks?
The global debate over objectification in the media intensified as Zjarr TV’s unconventional approach gained traction. Feminist groups in Albania, however, remained notably silent on the issue, leaving the question of whether their silence was indicative of broader societal acceptance or a reflection of deep-rooted cultural norms that discouraged open criticism of media practices.
A Broader Media Conversation
Zjarr TV’s decision to showcase news anchors in revealing attire raised important questions about the role of media in shaping public opinion and the ethical boundaries of broadcasting. On one hand, the station’s approach was seen as a daring experiment in rethinking how news can be presented. In an age where audiences are bombarded with information from every direction, it seemed that Zjarr TV’s strategy was designed to stand out in an overcrowded media landscape. The provocative presentation was a way to make the news more memorable, appealing, and, above all, more attention-grabbing.
On the other hand, the decision sparked fierce criticism about the potential harm such media practices could cause. Critics argued that by focusing on the appearance of the anchors, Zjarr TV was undermining the integrity of journalism and the role of the media as a trusted source of information. They argued that such sensationalist tactics were detrimental to the media’s credibility and ultimately detracted from the seriousness of the news.
Journalist Aleksander Cipa voiced his concern by stating, “Nudity cannot resolve the crisis in the media.” For Cipa, the issue was not about the anchors’ choices but about the broader trend of sensationalism in the media. According to him, such approaches only served to further degrade the media’s role in society and its ability to provide meaningful, thought-provoking content.
Despite the criticism, the anchors themselves, including Greta Hoxhaj, defended their positions. Hoxhaj, in particular, remained unfazed by the controversy, focusing instead on her newfound fame and the support she received from her fans. In interviews, she expressed pride in her decision to embrace the provocative style, claiming that it had given her a platform to reach a wider audience and solidified her position as a prominent media personality.
But beyond the individual stories of Bracaj and Hoxhaj, the broader media conversation raised questions about the changing nature of broadcasting in the digital age. What does it mean to be a journalist in a world where ratings are paramount, and attention is the ultimate currency? Is the shift toward sensationalism a sign of creative evolution in the media, or does it represent a failure to uphold the values of professionalism and responsibility?
The debate continues, and as the lines between entertainment and journalism blur, the question remains: Should there be stricter boundaries for how news is presented, or is this provocative style a reflection of changing societal norms that challenge traditional broadcasting methods?
