The first kiss at the campsite or the first STI in Salou; holiday loves, whodidn’t grow up with it? But is it useful to leave that holiday turtle behindwhere you found it or is there secretly more in the love barrel? In Love inParadise, four couples whose love fire burned briefly during a vacation, areflown to a tropical island to discover whether there is a future in the summerfling.

Face to Face

After Detective Bjørn Rasmussen derailed in his search for his daughter’skiller and ended up behind bars himself, his wife Susanne is on her own. Inorder not to go completely crazy, she decides to pick up her work as apsychologist again. One of her clients is John, who has sought her help toquit smoking. But when Susanne hypnotizes him, John unexpectedly confesses tothe most heinous crimes.

The many faces of Tineke Schouten

From Lenie from Takkestraat and Bep Lachebek to Grandma Oortjes and AndreaRiool; in more than 40 years Tineke Schouten has made more than twenty theatershows with countless characters and sketches. In The many faces of TinekeSchouten we follow the theater diva when making her 25th performance Dubbel.How does she deal with the setbacks that the corona crisis brings? And howdoes she manage to find a balance between her work and her busy family life?

The many faces of Tineke Schouten. © BNNVARA

Junior Song Contest national final

Before the participants travel to the Armenian capital Yerevan at thebeginning of December for the international final, HIGH5, Infinity, Luna andMixed Up first have to fight among themselves from a packed full of RotterdamAhoy which of them deserves the national title. The presentation is in thehands of experts Stefania and Matheu.

I ‘m leaving XL

It was just as exciting on Bonaire, as could be seen in the previous episodeof I ‘m leaving XL. Rinse and Francine saw the bottom of their savingsaccount coming into view, which had consequences for the construction and fortheir relationship with Oscar and Vanessa. But now the sun is shining over theCaribbean island again, because son Jan leaves the Netherlands to emigrate toBonaire and everyone is happy with that. It is an exciting step, also becausehis girlfriend Fabienne is not going with him. The two consider this theultimate relationship test. And even more emigration news: after a lot ofhassle about the property, Hans and Marja are now going to live permanently inthe Italian Friuli. The two look to the future with confidence. However, theirdream is shattered when Hans falls.

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Pumpkin Spice Latte |…

Ultimate autumn drink: this is how you make Pumpkin Spice Latte | Food anddrink

22 sep 2022 om 21:31

According to lovers of the drink, autumn really starts when the Pumpkin SpiceLatte is available again. What kind of drink is it, where do you buy it andhow do you make it yourself?

By Anne van Asseldonk

The popularity of the Pumpin Spice Latte (PSL) is clearly visible on socialmedia. There are tons of videos about this fall drink on TikTok alone. In thefall, Starbucks customers worldwide use the hashtag #PSL on average in morethan 3,000 tweets a day, the coffee chain calculated.

It was the American company that developed the drink in 2003. Four yearslater, PSL was on the map in the Netherlands. According to a spokesperson forthe chain, it was an immediate success there. “Fans worldwide are countingdown until the PSL is sold again. It really marks the change of the season formany.”

The pumpkin harvest time starts in September, says Betina Oostveen, founder offood blog Betty’s Kitchen. Hence, pumpkins are widely available around thistime and symbolize autumn for many. “For me, Pumpkin Spice Latte is theultimate autumn coffee drink. When I smell biscuit and gingerbread spices, Iimmediately think of a crackling fire and falling leaves. Those herbs areautumn in a jar to me.”

A classic version consists of steamed milk, coffee, pumpkin puree, sugar(syrup) and pumpkin spice herbs. There is often a dollop of whipped cream ontop. “I add vanilla extract myself. Or you can take a little fresh marrow froma vanilla pod,” Oostveen tips. You can also add slices of fresh ginger,cinnamon sticks, or cardamom. Or allspice grains and cloves. With a teainfuser or herb strainer you prevent pieces from remaining in your drink.

Zie ookKoken met pompoen: ‘Flespompoen kan met schil en al in de soep’

Personalize your PSL

You can also make your PSL vegan or diet friendly to make. Oostveen: “I amlactose intolerant, so I take vegetable milk. I prefer to use vegetable milkthat foams well, for example a barista version. I use this to make cappuccinofoam in the frother. That way you don’t even need whipped cream.”

For the pumpkin puree, roast cubes of pumpkin flesh for twenty to thirtyminutes in the oven (180 degrees, 165 degrees hot air). If you have leftoverpumpkin puree, you can freeze it in an ice cube tray. You use those blocks foryour next PSL. The ice cubes thaw automatically in the milk duringpreparation.

This is what you need for Pumpkin Spice Latte

• 200 milliliters (vegetable) milk * 1-2 tbsp pumpkin puree * 1 tablespoon sugar * ½ teaspoon pumpkin spice herbs (or gingerbread spices) * 1 teaspoon vanilla extract * 1 freshly brewed (espresso) coffee (about 60 milliliters)

That’s how you make it

Traditional viewing figures that suddenly lose their appeal, barely programsthat reach a million viewers and a sharp increase in postponed viewing. Thestart of the new television season is causing chaos in the viewing figures.

Pieter DumonSaturday September 24, 202210:51

It was a bit of a shock at the Medialaan when the viewing figures fell intothe mailbox on Tuesday 6 September. The night before, they had officiallykicked off the new television season at VTM, with ratings hit ‘Blind married’as the absolute spearhead. The program was given a makeover and seemed poisedto become one of the mainstays of the channel, just like in previous years.But the viewers apparently thought otherwise. The first episode of the TVversion of Tinder could only captivate 393,000 viewers. By comparison, thefirst episode of the previous season was still good for more than 800,000viewers.

A one-time miscalculation, you may think. With a program that, without thebroadcasters even noticing, has passed its expiration date. But also in thedays that follow, the bizarre viewing figures continue to roll in. Forexample, the first episode of ‘De Schaal van Pascale’, which the channelexpected a lot from, has to manage with 180,000 viewers. ‘Dear viewers’remains at 210,000 viewers and ‘Lego Masters’, which is already due for thesecond episode on Saturday September 10, can only tempt 170,000 viewers. Thata new program like that of Pascale Naessens doesn’t work, you can always.But that just about every title sees its viewers halve is unprecedented.

It is not only at VTM that people look at the figures with increasingastonishment. At SBS, the company above the Play channels, they are throwing’The smartest person in the world’ into the fray this fall. With 732,000viewers, the first episode – on Monday 5 September – does a lot better thancompetitor ‘Blind married’, the program remains well below the level of lastyear. Then the first episode was good for just over a million viewers. Thefirst episode of the Sunday evening program ‘Klopjacht’ was good for 262,000live viewers. Just under a year ago, there were 474,000 before the kick-off ofthe first season.

At the VRT, the damage still appears to be minor. With the fiction series’Chantal’, the public broadcaster has the only program that can appeal to morethan a million viewers live. However, the figures on Reyerslaan are also lowerthan normal. The daily soap opera ‘Thuis’, for example, which in normal timesvery regularly reaches the milestone of 1 million live viewers, failed to doso this autumn. The crowd puller ‘Down the Road’, good for an average of1,604,000 viewers last season, also reached the million mark in recent weeks.* live viewers * not.

The first episode of ‘I Can See Your Voice’ had to make do with 382,000 liveviewers.Image DPG Media

World Cup football

The search for an explanation for the bizarre figures leads strangely enoughto the World Cup. An event that will only be launched on November 20, butalready has an influence on the viewing figures of the past few weeks. That’show it is. Normally such a World Cup is played in the summer, at a time whentelevision channels invest less in their broadcasting schedules anyway. Afterall, not only are fewer people in front of the television, advertisers also donot roll out major campaigns during the summer months. The fact that thechannel that is allowed to broadcast the World Cup attracts the majority ofviewers during that limited television period is therefore no problem for theassembled competition.

Now that’s something different. November and December are important televisionmonths in which channels traditionally show off their large viewing figures.But they are in danger of being blown away this year by the football violence.So the broadcasters started puzzling. At Play4, this led to the decision todrop ‘The smartest person in the world’ in the schedule at the beginning ofSeptember. A lot earlier than in previous years, when the program only came onthe screen in mid-October. In this way, the winner is already known the momentthe World Cup erupts.

Because the other channels also use the same logic, there is an oversupply.Monday evening is the best example of this. “There you have three programswith the potential to hit the million mark with ‘The Smartest Man’, ‘MarriedBlindly’ and ‘Down the Road’,” he said. Lotte Vermeir , net manager of Oneand Canvas. ‘The result is an enormous fragmentation of the viewing audienceand figures for each of those programs are lower than we are used to.’Annick Bongers , program director at the Play channels sees anothereffect. ‘The programs that do hold up are all great titles. Only so-calledmust-see television remains. Smaller programs are irrevocably excluded.’

This oversupply also encourages delayed viewing. A phenomenon that has neverbeen completely gone this fall. ‘Delayed viewing has of course been on therise for some time’, says Maarten Janssen , channel manager at the VTMchannels. ‘But corona has put that growth on hold for two years.’ The globalpandemic and the accompanying lockdowns gave traditional television viewing amajor boost: because there was hardly anything else to do, people sat quietlyin front of the TV at night. Now that that is gone, viewers seem to beconsuming their favorite programs more than ever before.

Down the Road.Image © VRT

The numbers say it all. For example, the most-watched episode of ‘Down theRoad’ was good for 967,000 viewers. Those are people who either watched theprogram live, or caught up with it at a later time that same evening. If youlook at the numbers for that same episode seven days later, you come up *1,257,000 viewers out. 290,000 fans of *Dieter Coppens hisprogram was therefore postponed. The same calculation exercise also revivesthe figures for ‘Blind Married’. The 393,000 viewers who were in the viewingfigures after the first episode have now become 660,000. If you also add theviewers who watched the program via the online platform VTM GO, you arrive at717,000 viewers. And then there’s ‘The smartest person’. Although no episodehas more than 1 million viewers live, the program is now tapping an average of1,090,000 viewers per episode.

Climate change

And we haven’t even talked about the weather yet. Climate change also affectsthe traditional channels at the start of the television season, as it turnsout. ‘The weather has been very good for a long time,’ says Janssen. ‘Thenpeople are simply less inclined to sit in front of the TV in the evening.’ Ifyou then – as this year – immediately throw in almost all major titles at thebeginning of September, it is logical that the figures they achieve are lower.But with autumn finally approaching, that problem will solve itself, Janssenthinks. ‘You can already notice that in the viewing volumes. The first episodeof ‘I Can See Your Voice’, for example, had to make do with 382,000 liveviewers. Last Friday there were already 575,000.’

According to the Center for Information on the Media (CIM), it is not only thelong, warm summer that is playing tricks on the channels. “It is a challengefor broadcasters every year to reconnect with their viewership after thesummer,” says Sofie Rutgeerts. ‘With a growing range of channels andstreaming services, that challenge is only getting bigger.’

‘The smartest person in the world’.Image SBS

They don’t seem to worry much about the erratic viewing figures at thosechannels. Just about everyone points out that when you take the delayedviewing into account, the figures are in line with expectations. ‘We are alsodoing well in terms of market share,’ adds Janssen. ‘We are currently at 26percent for this autumn, which is barely a fraction less than last year.’ Thisdoes not mean that there is overall satisfaction with the live figures. Theylike to see all broadcasters like to be jacked up a bit. ‘You want to have theprogram in your schedule that will be discussed the next day,’ says Janssen.’A title like ‘The Masked Singer’, for example, only works because Flanderslooks at it en masse at the same time and guesses the identity of the singers.Spread those viewers out over a whole week and the effect of such a program ismuch less.’

Commercial break

Their market model will also not be under pressure due to the lower livefigures, according to the commercial channels. After all, with delayedviewing, it is impossible to fast-forward through commercial breaks, whichensures that – unlike in the past – those viewers also get to see thecommercial breaks. ‘There is indeed no problem for those who watch delayedprograms on the TV screen’, confirms Bernard Cools chief intelligenceofficer at Space media agency, which sells advertising space.

‘But when those viewers make the switch to online platforms such as VTM GO,VRT Max or Go Play, it becomes a different story. Viewers will also seeadvertising there, but the online measurement methods are completely differentfrom those for television, which makes it very difficult for advertisers toknow exactly how many people they have reached with their campaign.’ Moreover,the Flemish commercial channels have to deal with international competitorsonline. Cools: ‘You come up against a platform like YouTube. And streamingservices such as Netflix or Disney+ are also working on an advertising model.That will only make it more difficult.’

Luc Suykens , CEO of the Union of Belgian Advertisers (UBA), sees yetanother problem. ‘Advertisers aim for reach, they want as many people aspossible to see their commercials. Television is the ideal medium for this. Itoffers a large range at a relatively low cost. But when there are fewer peoplein front of the screen, that model comes under pressure.’ Simply put, with aprogram with a million viewers you only need one spot to reach them all. Ifonly 250,000 viewers are watching, you need four spots for that same reach.Only the advertising space is limited. ‘That ensures that the price for thosespots skyrockets’, says Suykens. “Certainly in times of economic crisis, thiscan lead to advertisers looking for alternatives.”

It won’t get that far, if we are to believe broadcasters. “Due to acombination of circumstances, we are now seeing exceptional figures,” saysVermeir. “But this is not the new normal. In December and January, when thedays are shorter and darker, there will be more people watching anyway.”Janssen is also convinced of this. ‘Due to the shifts in broadcastingschedules and the large supply, people don’t know what to watch first. Butthis is certainly not how we will watch TV from now on. Soon the viewer willfind his way back to those pleasant moments together in front of the TV.’

Singer Björk talks cheerfully and at length. Eleven years ago we met inManchester where Björk presented a musical project about nature. Now theconversation takes place via Zoom. Björk is more accessible. Maybe because wecan’t see each other (“my camera is broken”) or because she’s at home inReykjavik and the sun is shining (“unusual”). Or because Björk Guðmundsdóttir(1965, Reykjavik) has had a “rooting period” that she says has done her good.

Rooting has been more or less forced over the past two years. After decades oftouring and coming up with new music, she stopped her activities at thebeginning of 2020 due to corona, in the middle of a European tour. Theelaborate show with orchestra members and moving projection screens was closedand Björk started a different way of life.

A life with time for friends and family, walking every day and listening topodcasts – especially about psychiatrist Carl Jung – meeting the only tenpeople in her ‘bubble’.

And there was an opportunity to sharpen the album fossora , a next phase inBjörk’s search for new musical possibilities. That search started when she wastwelve, when she recorded her first album with covers. After that she becameradical punk and then opted for an exuberant pop style, as the singer of theband Sugarcubes.

Her solo career began in 1993, with the album debut. Björk largely came upwith the music herself, incorporating her love for dance and movement intostuttering beats and angular melodies. In the wake of the house movement, shefollowed the need for sophisticated dance music.

But Björk worked according to her own ideas: her performances were carefullystaged, she designed stylized sets and stood on stage in bulbous colorfulcostumes.

She became an example to others, and not just musicians. Because Björk showedthat you can make your own music with contrarian rhythms and an emphaticIcelandic accent and get recognition too. In 2000 she played the lead role inthe movie Dancer In The Dark by the Danish director Lars von Trier, forwhich she received the Best Actress Award at Cannes. Björk was everywhere.

In the new century her music became more avant-garde. As a producer she worksaccording to strict concepts, forging elements from classical music withgabber and electronics. Björk is no longer a pop singer, she is a soundarchitect.

Like being in a cave

The fanatical love for music and its possibilities stems from her childhood,she says. Her parents always played records, they had no books or TV at home.Over the past few years, she felt the importance of music even more intensely.“For me, songs are a natural companionship, more than people,” she laughs fora moment. “I find the confrontation with a room full of people with whom youhave to have a conversation astonishing. A song is a more naturalenvironment.”

A song can feel like a cave, an excavated space in the ground. And that is thesecurity she seeks. That’s why she named the album fossora a self-inventedfeminine form of the Latin ‘fossor’, graver.

“The beats and rhythms I programmed were supposed to make you feel like you’rein a cave,” she says. “Deep away, where the ground trembles and rumbles.”

I can’t wait for my voice to get even lower>> Björk

This is how she stepped from the enchanting high sounds of the previous album_Utopia_ (2017), moving on to a deep earthiness. ‘Low’ was created by the useof bass clarinets. Six, no less. She had to plan and adjust for a long time tomake sure the bass tones wouldn’t get in each other’s way.

“That’s why it was good that we had the time. We rehearsed and recorded in mycabin in the mountains. There we all slept, cooked, got stuck with the car inthe snow and through trial and error we found the way to use six basses atonce. That is the advantage of Iceland. In studios in European cities you haveto come in with a ready-made score and you have one hour to record.”

Her voice is also lower these days. “After fifty years of singing my voice haschanged, I have lost a bit in height, but I can get more bass notes. Awesome,can’t wait for it to get even lower. About like this!” She bursts into hoarsesinging, like a female Tom Waits.

First dance, then talk

In the new songs, her vocals wander between the sounds of drum, clarinet andelectronics, which seem to slide like large blocks and sometimes clash withthe dance rhythms of Gabber Modus Operandi, an Indonesian electronic duo knownfor their radical version of Dutch ‘gabber’.

In her home in Reykjavik, she has hosted parties with friends in recent years,says Björk. “We ate together in a restaurant and then went home to listen tomusic on my large speakers. First quiet, then dance music, and finally we puton Gabber Modus Operandi, jumping up and down like in a catharsis, for aboutfifteen minutes.

“At eleven o’clock everyone left except the one who had a problem, with loveor something. We put on some sad music and talked for a while. I thought thatwas a great order. Before Covid, you talked first and danced at three in themorning. But then I’m too tired, I’d rather turn it around, dance first, thentalk.”

That’s what the new album is about, she says, about your home as a dancefloor, as a psychiatrist, as a space for the love of music. on fossora Thereare also songs about Björk’s mother Hildur Rúna, the environmental activistwho once went on a hunger strike to stop the construction of a dam in Iceland.Rúna passed away in 2018. In ‘Sorrowful Soil’ her daughter lovingly names herlife force, in ‘Ancestress’ she sings about the still present influence: “You see with your own eyes, but hear with your mother’s”.

Björk recommends listening to this album on the largest possible speakers, andnot on headphones. “Sit in your easy chair in front of the box, turn up thevolume and let yourself be surrounded by a sea of ​​​​sound.”

That’s especially true for “Victimhood,” she says. The idea for this song camefrom the podcast about Jung. As a result, Björk delved into his ideas aboutpsychological archetypes, especially those of the ‘victim’. “There are aboutfifty types of victims, according to Jung. People who are captivated byconspiracy theories is one, they think they are being chased. I wanted to behonest about it, when do I feel like a victim?”

First she was honest in her diary, then in the lyrics. “My victimhood arisesin my work, when people come together, or in my family and group of friends.Sometimes there is no harmony between people. Then I do my best to bring backthe harmony. I sacrifice my own wishes and interests for the benefit of thegroup, resulting in self-pity.”

The moaning clarinets here express self-pity (“I hate that emotion. In myselfand in others”). Björk arranged them in twisting loops to evoke the sensationof quicksand. “You sink, sink, sink, and don’t get out because you thinkyou’re so pathetic.” That she wants to deal with this feeling is apparent fromthe words: ” Out of victimhood, here I go now.”

After walking in Icelandic nature in sweatpants, it is now time for majorproductions and performances, in venues from Paris to Chile. At the moment,Björk is preparing for the release of her album, making videos and devisingsets for the tour that will start soon. She still loves the extravagant style.In the enchanting ‘underwater’ clip accompanying the new single ‘Atopos’ shedances on a homemade coral reef, dressed as a soft green anemone.

But today she doesn’t have to think about anything. „I am looking forward tothis afternoon, when I go to my house for a few days, outside with my family.It’s ten degrees. We call that warm here.”

After movies like black book , Banker of the resistance and Thecondemnation the Golden Calves will soon have a new winner. The nominationsfor the film awards will be announced on Saturday evening. How are theyactually determined?

By Fabian Melchers

The Golden Calf Gala, invariably the highlight of the Netherlands FilmFestival, certainly does not happen overnight. The organization needs threemonths to come up with the list of contenders. That voting process will startat the end of June with a pre-selection.

Between 1981 and 2015, a jury awarded the film prizes, but nowadays everythingruns through the Dutch Academy For Film. That organization consists of 625professionals from various branches of the film industry. They are firstassigned fifteen titles per person to determine a pre-selection. That way,members don’t have to watch an impossible amount of movies in a short time.

But that does have consequences. Several popular movies, such as Moroccanwedding and Pregnant & Co, did not make it to the pre-selection and willtherefore not be mentioned on Saturday evening. There is an exception for thethree most visited films. Everything on the table , Bon Bini Holland 3 and_costa!!_ still have a chance to win the Audience Award. You can vote onlineuntil September 26.

Voorselectie speelfilms Gouden Kalveren (en hoe je ze buiten het NFF kuntzien)

• Along the Way (NPO Start) * ANNE+ (Netflix, Pathé Thuis, NLZIET) * Bo (vanaf 29 september in de bioscoop) * Captain Nova (Netflix, Pathé Thuis, Picl) * Do Not Hesitate (Pathé Thuis, Picl) * Femi (vanaf 29 september in de bioscoop) * Forever Rich (Netflix) * Knor (nu in de bioscoop) * Met Mes (Prime Video, Pathé Thuis, Picl) * Mijn beste vriendin Anne Frank (Netflix, Pathé Thuis) * Moloch (Pathé Thuis, Ziggo) * Narcosis (vanaf 14 oktober in de bioscoop) * Nr. 10 (HBO Max, Pathé Thuis) * Pink Moon (nu in de bioscoop) * Splendid Isolation (vanaf 5 oktober op Picl) * Strijder (nu in de bioscoop) * The Last Ride of the Wolves (Prime Video, Pathé Thuis) * White Berry (Picl)

Nominations only within own field

At the beginning of September, Academy members were allowed to vote for thenominations, but only within their own field. So actors determine the actingnominations, directors choose directors, and so on. Anyone can participate inthe Best Film category. Other major film awards, such as the American Oscarsand the German Lola’s, operate on a similar system.

The result will therefore become clear on Saturday evening, and then a newround of voting will immediately start. Academy members can choose from allnominees until September 28. The climax follows two days later in the UtrechtCity Theater.

If you want to follow the ceremony live, you can do so on Friday evening viathe official website of the Netherlands Film Festival. Tickets for the programwill also be sold there from Sunday morning Nominated! on September 27 and28. All contenders for Best Film and Best Long Documentary can then be seen in

It’s the 60th anniversary of the James Bond movies. That should be celebrated,and so will Amazon Prime Video. And how!

Daniel Craig has finally been freed from James Bond. The British actor had alove-hate relationship with the role, mainly because of the physical agonythat the shooting of especially skyfall were for him.

The Great James Bond Quest

Now he can take it easy, for example by playing a detective in Netflix’s newmega franchise. Meanwhile speculate bookmakers pressure off. Who will be thenew Bond?

Is it Henry Cavill, Idris Elba, or the recently emerged favorite from_Fantastic Beasts_? We have listed the most promising candidates according toBritish betting offices in this article.

However, the reality is that we will probably still be surprised by the finalchoice of producer Barbara Broccoli. She recently let go of the fact that itcould just take another two years before they even start working on the next007 film.

She did want to reveal that the new Bond will be a man. Can we put alldiscussions about the gender of the new 007 behind us. Happy.

Bond Day

Fortunately, fans don’t have to get bored in the meantime. Amazon, the brandnew owner of the film studio behind the Bond franchise, has two nice surprisesplanned.

Apparently October 5 is Bond Day. In addition, this year also marks thesixtieth anniversary of the film franchise, which the tech giant willcelebrate on the streaming service Prime Video.

Prime Videos The Sound of 007

The streaming service has dropped a brand new trailer for The Sound of 007.A documentary that delves into the iconic music of the James Bond films. Thedirection is in the hands of Mat Whitecross, who you may know from themagnificent Oasis documentary supersonic.

The documentary delves into the “remarkable history of six decades of JamesBond music, taking viewers on a journey through Sean Connery’s Dr No untilDaniel Craig’s last appearance in No Time to Die. ”

The music is explained by Barbara Broccoli, the producer behind the filmfranchise. “The adrenaline, the tension, the joy, the fear. You hear the Bondtheme and it gives you that shot, Broccoli said in the trailer.

Concert for charity

The documentary can be streamed on Amazon Prime Video from October 5, but itdoesn’t stop there! On October 4, the famed Royal Albert Hall will also host aspecial charity concert to commemorate the film franchise’s 60th anniversary.

Then we’re talking about The Sound of 007 in Concert. A long list of artistswill perform the iconic music from the films together with the RoyalPhilharmonic Concert Orchestra.

Don’t worry: you don’t have to book a return ticket to London. A registrationof the concert will also be coming to Amazon Prime Video later this year.Unfortunately, no release date has yet been announced. Ah, you can’t have

This is not appropriate. She was only 70. Yes, her health was fragile, butthat was no reason to reckon with her death. And yet it happened. HilaryMantel passed away. “She was still busy with so much, starting with a newnovel,” says her Dutch publisher Nelleke Geel of publisher Signatuur. “It’s abloodletting loss to literature.”

Mantel is the author of Wolf Hall. From twelve novels and two collections ofshort stories. From the inimitable ‘memoir’ give up the ghost. In it, shesummons her family, where her father is ‘put away’ when she was ten. Yearslater, that father briefly reappeared in her short story ‘Terminus’, as afigure sitting on a train opposite hers. They look at each other and then thetrains move in their own direction. When she had written the story, she heardthat her father had died in those days. With Mantel, the supernatural was agiven.

Mantel has been a phenomenon since millions of readers worldwide discoveredher with Wolf Hall , for which she was awarded the 2009 Booker Prize. Herliterary fame was perpetuated with the sequel Bring Up the Bodies (2012,The Book of Henry ), which again won her the Booker Prize. The end of thetrilogy The mirror & the light, (2020), was ‘only’ nominated for that award.In these three novels, Mantel digs out the startling history of ThomasCromwell, right-hand man to British King Henry VIII in the England ofrebellious nobility and religious strife. They are not easy novels, and Mantelis not a coquettish author. She never was, and yet her books are addictive.She describes complex political relationships with the technique of thethriller, while in passing she evokes with well-aimed observations what lifelooked and felt, both for the poor and for the upper class, and everyone wasin constant danger. The very first novel she wrote was also a historicalnovel: A Place of Greater Safety (A Safer Place), about the FrenchRevolution. A compelling book for which she has already developed herstrength: molding historical figures into people who have long been petrifiedto their dates plus some mythical anecdotes. No publisher wanted it, it wasnot published until later, in 1992.

In Mantel’s work, novel and reality flow into each other

She made her debut in 1985 with the social psychological thriller Every Dayis Mother ‘s Day. The sequel, Vacant Possession , appeared a year later.Full of precise observations, Mantel 100 carats satanically traps everycharacter in self-overestimation, self-pity, self-deception. With theexception of a young woman who has been trampled to the point of madness. Isay no more than: this is fantastic to read, while you softly shout: no, no,don’t! And then the characters do it anyway.

Reluctance to Thatcher

From those early novels, Mantel’s distaste for Margaret Thatcher’s UnitedKingdom can be heard. In 2014, her personal aversion to Thatcher’s meagermorals, her arrogance and her harshness culminated in the novella The Murderof Margaret Thatcher , which indeed revolves around an attack on Thatcher.It’s a great story, so strong that Mantel was attacked as if she had actuallythreatened Thatcher, who had been dead for a year by then. They even calledfor a police investigation. Mantel was not intimidated, on the contrary, sheenjoyed it and reiterated once again that she had considered Thatcher adisaster for the country.

Her Thatcher story was set up the way she set up her historical novels fromthe start. She starts from a historical detail (Thatcher had to go to hospitalfor a minor surgery), does thorough research and deduces from everything shecan bring up what can happen. She already developed this method for her firstnovel, about the French Revolution. “Give me one detail and I’ll tell thestory,” she said in an interview with this newspaper. She was accused of beingscientifically irresponsible. Her answer was: “I write fiction, I can takethat space.”

Also read this interview with Hilary Mantel from 2015: ‘ I prefer historicalcharacters to fictional ones’

So she determines on the basis of inventory lists that a dress was stiff withpearls and realizes: the woman who was wearing it had an enormous weight tocarry. What does that mean? She thinks that Henry VIII is sickly fat and limp,how his intended bride Anna of Cleves sees this wretched lump of flesh for thefirst time – and for a moment has no control over her face. What Henry sees.She can’t prove those glances back and forth. She can make them plausible andthen they explain much of what follows – the fiction writer helps thehistoriography.

Romance and reality flow into each other. It is this space that Mantelappropriated with her genius writing as an argument. Cromwell was a cruel man,but remember what kind of man he was, remember he had daughters. Look at thestrange portrait that Holbein painted of him, what do you see there?Conversely, the more detailed the question was in an interview, the more sheliked it. And she always knew everything, right down to why Anne Boleyn’s lapdog was named Perkoys. Perkoys is an English corruption of the French’Pourquoi?’. That dog was one of those animals with those raised ears and achronically surprised look. Hence. She said it with a smile. And imitated the

Best friends Ferrah and Christie live in luxury. It is impossible for theenterprising ladies: a gigantic villa, luxury trips and someone who cooks andcleans for them. In the latest episode of Rich, Poor they exchange with theElisabeth family, who regularly has to knock on the door of the food bank.

This way, both the friends and the family can look at the other side of thecoin.

The luxurious lifestyle of Ferrah and Christie

39-year-old Ferrah, who is Turkish roots owns a luxury holiday villa ofalmost 2000 square meters in the west of Turkey. The villa in Izmir is fullyequipped: a beautiful view over the coast, three bathrooms, a sauna and a hugeliving room. There is even a housekeeper who is available 24/7. Ferrah’s28-year-old best friend Christie regularly pops by in Turkey.

Both power women are at the helm of several companies in real estate, cryptoand coaching and have nothing to complain about financially. The high-heeledfriends work hard, but also try to enjoy life as much as possible. “It mayjust be that we have a crazy mood and say: we’re going to Ibiza for aweekend,” says Christie. “Then you really have to think of a weekend of tenthousand at least. It’s nice that we have that freedom and can decide forourselves what we do. If we see something beautiful, we can just buy it.”

Family in Lelystad makes ends meet

A big contrast with this week’s poor family, the Elisabeth family. The familyconsists of father Maikel, mother Wienanda and their girls Latisha, Chady andShumaila. Maikel and Wienanda work as cleaners and live in a modest rentalhouse in Lelystad. They received most of the stuff in the house or bought itvia Marktplaats or Facebook. That the family has to make ends meet has notalways been the case. Fifteen years ago, disaster struck: the company thatWienanda had recently taken over from her parents was hit by a fire. Theinsurance did not pay out and that heralded the beginning of the financialmisery. This has left deep marks. “If you’ve lost everything, eventuallyyou’ll be like, ‘Why am I here anyway?’ But your family is more important.”They are now debt free, but their incomes are barely high enough to pay thebills. They therefore have to use the food bank.

The exchange in Steenrijk, Street poor

The Elisabeth family has 110 euros per week to spend, Ferrah and Christie 2250euros per week. So a big difference. Christie says they join because they wantto give and share their lifestyle. “I hope people see what’s possible.” Thepoorer family mainly hopes to have fun.

And then the trading adventure begins. The Elisabeths cannot believe theireyes when they arrive at the villa in Turkey. “I feel like I’m in a museum,”exclaims father Maikel as they tour the house. The family says several timesthat it feels like a dream.

Ferrah and Christie are also not entirely negative at first: both at theirfirst sight of the neighborhood and the house, they say that it “looks nice”.Later they are shocked by the overdue maintenance in the house. “I couldn’trelax here. It hurts my heart a little bit.” The weekly budget is also hard.

“How do they do this?”

The ladies think it’s quite a reality check. “How do they do this?” Ferrahwonders. “I always put money aside when I earn myself,” says Christie. “Buthow are you going to get rid of this?” Ferrah replies. “Still,” says Christie.She believes that the family should invest. “Money makes money.” The two dealwith the budget as best they can. If the girlfriends go over budget whenshopping, they have to put some back. Yet they manage to get by with theweekly budget. In fact, they are even left with 66 euros, to the surprise ofthe Elisabeth family.

Ferrah and Christie are excited to go home, but say they have “learned a lotand laughed a lot.” Wienanda and Maikel’s family packs their bags withreluctance. They prefer not to go home, although they are looking forward togetting to know each other. When this happens, Ferrah and Christie announcethat they want to help the family with their finances. Father Maikel andmother Wienanda do not keep it dry.

Viewers on Twitter divided over Steenrijk, Straatarm

Despite their generous offer, not everyone is a fan of Ferrah and Christie.There are complaints on Twitter that the ladies would flaunt their money toomuch. The comment that the family has to set aside 10 percent is also not upto some Twitter users. „Oh how nice. She puts 10 percent aside every month.I’m guessing if these people could have done that, they would have. But thatdoesn’t work for everyone.”

But there is also respect for the women. „A lot of commentary on the twoladies but they have the balls to achieve this. It’s easy to comment and bejealous when you haven’t accomplished anything yourself,” one person wrote.Another: “I thought both ‘families’ were great. I really didn’t think the richladies had any haircuts. They only indicated that they set aside 10 percentthemselves. And as coaches offer help to the other family. Top!”

There is also a joke about the walk away from the cabinet after ThierryBaudet’s speech. „President suspends at Rich, Poor to watch together.”

Well rich aunts maybe you should just get rid of those people’s debts when> you have so much money to show off> #steenrijkstreetarm>> — Harry Bruggink (@Harry_Bruggink) September 21,> 2022

Oh how nice. She sets aside 10% every month. I’m guessing if these people> could have done that, they would have. Maaaaaar that doesn’t work for> everyone.> #steenrijkstreetarm>> — Claudia (@claudje_ammy) September 21,> 2022

President suspends at> #steenrijkstreetarm> to watch together.>> there go these> #GeneralConsiderations> namely about.>> And Baudet unfortunately steals the show..>> — Ernst Jan (@KarelsEJ) September 21,> 2022

A lot of commentary on the two ladies but they have the balls to achieve> this. It’s easy to comment and be jealous when you haven’t accomplished> anything yourself.> #steenrijkstreetarm>> — [email protected] (@hjmdart) September 21,> 2022

I thought both ‘families’ were great. I really didn’t think the rich ladies> had any haircuts. She only indicated that she herself puts 10% aside. And as> coaches offer help to the other family. Top!> #steenrijkstreetarm>> — Sudje (@sudje1984) September 21,> 2022

Watch the episode below or via KIJK.

Constance Wu has revealed that her early years on Fresh Off the Boat weremarred by some unwanted attention from a producer.

“I kept my mouth shut for a really long time about a lot of sexual harassmentand intimidation that I received the first two seasons of the show,” she saidFriday at the Atlantic Festival in Washington DC, per The HollywoodReporter. “Because, after the first two seasons, once it was a success, onceI was no longer scared of losing my job, that’s when I was able to startsaying ‘no’ to the harassment, ‘no’ to the intimidation, from this particularproducer. And, so I thought: “You know what? I handled it, nobody has to know,I don’t have to stain this Asian American producer’s reputation, I don’t haveto stain the reputation of the show.” “

Wu starred in the hit sitcom as Jessica Huang, the mother in a Taiwanese-American family living in Orlando, Fla., in the late ’90s. She played thecharacter for all six seasons, which aired from Feb. 2015 to Feb. 2020.Experiences she had there and elsewhere are part of her memoir, Making aScene , which comes out Oct. 4.

Constance Wu and Randall Park star in a 2015 episode of Fresh Off the Boat.(Photo: Tyler Golden/ABC/courtesy Everett Collection)

She explained that her publisher, Simon & Schuster, encouraged her to be openabout what happened. And at first, she wrote about it as an exercise.

“And then I eventually realized it was important to talk about, because I didhave a pretty traumatic experience in my first couple years on that show, andnobody knew about it.” Wu said. “Because that show was historic for AsianAmericans. And it was the only show on network television in over 20 years tostar Asian Americans, and I did not want to sully the reputation of the oneshow we had representing us.”

ABC did not respond to Yahoo Entertainment’s request for comment.

In a story about the book, also published Friday, the New York Times reported that Wu offers more detail on the situation there. She uses only aninitial to identify the “senior member of the production team,” and writesthat he “controlled her, demanding that she run all her business matters pasthim and telling her what to wear” in her first year on the show. She allegedthat the man had once put his hand on her thigh and grazed her crotch, butthat, by the second season, she felt empowered to say no to the man. Theirshow was a hit.

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” Fresh Off the Boat was my first-ever TV show,” Wu told the newspaper. “Iwas thrown into this world. I don’t have parents in the industry. And becauseI was 30, people thought I knew what I was doing. It made me paranoid andembarrassed.”

She and her harasser stopped speaking after she refused to go to a filmfestival with him.

Wu said at the DC appearance that the harassment was part of the reason shewas ready for Fresh off the Boat to end.

The actress controversially tweeted in 2019 that she was upset her show hadbeen renewed, a message that was not well received on social media. Shestopped tweeting for almost three years.

As she returned to the platform in July, she wrote that she had becomeconvinced that she should end her life over the situation. “3 years ago, whenI made careless tweets about the renewal of my TV show, it ignited outrage andinternet shaming that got pretty severe. I felt awful about what I’d said,”she wrote, “and when a few DMs from a fellow Asian actress told me l’d becomea blight on the Asian American community, I started feeling like I didn’t evendeserve to live anymore. Looking back, it’s surreal that a few DMs convincedme to end my own life, but that’s what happened. Luckily, a friend found meand rushed me to the ER. It was a scary moment that made me reassess a lot inmy life. “

On Friday, she mentioned how the harassment played into the feelings that shehad tweeted.

“I wanted to have a fresh slate where I didn’t have to start a show with allthese memories of abuse,” Wu said. “A few people knew [the harassment] washappening, and to go to work every day and see those people who knew that hewas sexually harassing me being ‘buddy-buddy’ with him felt like a betrayalevery time. I loved everybody on that crew, and I loved working on that show,but it had that history of abuse, that it started with, and even though Ihandled it after two years, I was looking forward to a clean slate.”

Wu said she couldn’t have written her book three years ago, because she wasstill “raw” and “wounded” over the suicide attempt, but she’d taken time toheal.

“I felt ready and capable, and I thought it was important for me to helppeople,” she said.

She teared up as she noted that she decided to rejoin social media because thepeople she wants to help are more likely to be there than reading books like

Louise Fletcher, who won the best actress Oscar for her indelible performanceas Nurse Ratched in Milos Forman’s “One Flew Over the Cuckoo’s Nest,” diedFriday at her home in France, according to a rep. she was 88.

The classic film, based on Ken Kesey’s novel and exploring the repressivetendency of authority through the story of the patients and staff of a psychward, won five Oscars in 1976, including best picture and best actor for JackNicholson.

“One Flew Over the Cuckoo’s Nest” was the first film in more than four decadesto sweep the major categories of best picture, director, actor, actress andscreenplay. It was nominated for an additional four Oscars and was also asubstantial box office hit.

In the American Film Institute TV special “AFI’s 100 Years… 100 Heroes &Villains,” Fletcher’s Nurse Ratched was named the fifth-greatest villain infilm history — and second-greatest villainess, behind only the Wicked Witch ofthe West.

Ironically, the Ratched character had been softened in the script compared toKesey’s original, and Fletcher gave a rather subtle performance, oftenconveying the character’s emotions simply through facial expressions, which iswhy she deserved her Oscar in the first place. Indeed, the actress evenenables us to feel sorry for Ratched at more than one key moment in the film.

In a 2003 reappraisal of “Cuckoo’s Nest,” Roger Ebert declared that despitethe Oscar, Fletcher’s performance “is not appreciated enough. This may bebecause her Nurse Ratched is so thoroughly contemptible, and because sheembodies so completely the qualities we all (men and women) have been taughtto fear in a certain kind of female authority figure — a woman who hassubsumed sexuality and humanity into duty and righteousness.”

It could be argued, however, that the role of Nurse Ratched and the Oscar theactress earned for that performance ultimately did Fletcher more harm thangood: In a review excoriating the horror film “Flowers in the Attic,” in whichthe actress starred in 1987, a frustrated and unsympathetic Washington Postwriter opined, “Fletcher should talk to her agent about these stereotyped’evil’ roles, in which she has become increasingly tedious.”

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But Fletcher may well have beseeched her agent for a greater variety of rolesto no avail.

She had most recently appeared in the 2013 feature “A Perfect Man,” starringLiev Schreiber and Jeanne Tripplehorn.

On TV Fletcher had played family matriarch Peggy “Grammy” Gallagher, a cunningex-con who nevertheless wanted a relationship with her grandchildren, onShowtime’s “Shameless.” The actress recurred on “Star Trek: Deep Space Nine”as the scheming, duplicitous spiritual leader Winn Adami from 1993-99, on cultsci-fier “VR.5” from 1995-97 and on “ER” in 2005.

She was Emmy nominated for guest roles on “Picket Fences” in 1996 and on “Joanof Arcadia” in 2004.

Fletcher had returned to acting in 1974 after more than a decade away raisinga family and gave a supporting performance in Robert Altman’s “Thieves LikeUs” that Pauline Kael called “impressively strong,” but the actress did nothave a high profile in Hollywood when she was cast as Ratched.

Angela Lansbury, Anne Bancroft, Ellen Burstyn, Colleen Dewhurst and GeraldinePage had all turned down the Ratched role, each afraid of the possible effecton her career.

Director Milos Forman chanced to see Fletcher in “Thieves Like Us.”

“She was all wrong for the [Ratched] role, but there was something about her,”Forman later wrote in his memoir. “I asked her to read with me and suddenly,beneath the velvety exterior, I discovered a toughness and willpower thatseemed tailored for the role.”

Fortunately, there were some opportunities to escape the typecasting.

She acquitted herself well in the 1978 noir spoof “The Cheap Detective,”starring Peter Falk.

In the 1979 drama “Natural Enemies,” she starred with Hal Holbrook, playing ahusband who murders his family. Critic Richard Winters wrote that Fletcher is“quite good playing the polar opposite of her Nurse Ratched character. Hereshe is vulnerable and fragile instead of rigid and authoritative and even hasa scene inside a mental hospital as a patient. The fact that she can play suchdifferent characters so solidly proves what a brilliant actress she is.”

In 1999’s “Cruel Intentions,” she played a genial, warm-hearted Long Islandaristocrat.

Other film credits include “Exorcist II: The Heretic,” starring with RichardBurton and Linda Blair; sci-fi “Brainstorm,” with Christopher Walken andNatalie Wood; “Firestarter,” starring a young Drew Barrymore; and “2 Days inthe Valley.”

Estelle Louise Fletcher was born in Birmingham, Alabama. Her parents weredeaf; she was introduced to acting by the aunt who taught her, at age 8, tospeak. Fletcher attended the University of North Carolina; after taking across-country trip, she became stranded in Los Angeles and soon stumbled intoacting.

The young actress made her screen debut in 1958 with appearances on “Playhouse90,” among other television shows. The next year she guested on “Maverick,”“77 Sunset Strip” and “The Untouchables.” She appeared on “Perry Mason” twicein 1960, but by 1963 she had abandoned her career, at least for the timebeing, after making her feature debut in “A Gathering of Eagles.”

In 1973, after raising her children, she resumed her profession with a guestappearance on “Medical Center.” After doing a TV movie, she was cast in asupporting role in “Thieves Like Us” — a movie her husband, Jerry Bick, wasproducing.

Fletcher’s life story helped serve as the inspiration for one of the maincharacters in Robert Altman’s classic 1975 film “Nashville” and was set toplay the character when Bick and Altman had a falling out.

Fletcher was married to Bick, a Hollywood literary agent who was also later aproducer, from 1959-78. He died in 2004. She survived by her sons JohnDashiell Bick and Andrew Wilson Bick.

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