Month: November 2022

It remains remarkable how some rock stars can no longer do any harm at anolder age. From civilian terror to unsavory rebels, they have become newsaints of modern culture, who go on and on. Leading the way is Mick Jagger(79), who is still playing his young self after half a century. But there isalso veteran Bob Dylan (81), who does not repeat himself, but has reinventedhimself in a masterful way.

Somewhere between the two extremes of nostalgic reuse and artistic innovationwe find Neil Young (77). The originally Canadian singer, now American,continues to release new and old albums. Most recently his 42nd studio album(and his fifteenth with the band Crazy Horse), World Records. Hot on theheels of a deluxe jubilee edition of his most famous LP, Harvest (1972), therecord that launched him to mass stardom.

The ‘Christmas’ combination – an at times excited new album with band and atranquil classic – is striking. Neil Young has always had two incarnations:the loner with guitar and jew’s harp, and the electric rock beast who indulgesin therapeutic indulgence on six strings. He has continued to swing betweenthese two extremes, with his integrity as the most important virtue. Young hasalways followed his own whims and intuition in an uncompromising, almostchildlike way, albeit with gradually diminishing returns.

on World Records he again surrenders to his muse, who is now in the serviceof the climate and Mother Earth. Young is a convinced eco-activist who, hesaid recently, no longer wants to tour halls that source food from factoryfarming. He also sings about the endangered planet on this album. The fun ofthe man and his old companions from Crazy Horse, once described as “a rustytractor,” is evident and will please die-hard Young fans.

Yet the album, the best of Young’s three consecutive with Crazy Horse since2019, sounds like yet another repetition of moves. With a very sweet ballad(‘Love Earth’) and the inevitable elongated rocker (‘Chevrolet’, which clocksin at around fifteen minutes). Lyrically there is again little to experienceon the album, the edifying lyrics are of the caliber the sky was blue, theair so clean/ the water crystal clear.

Pissing into the wind

Now, for years, Young has been known for his tendency to spontaneously releasewhatever his muse tells him, once held back by his assertive manager andproducer, who dared to tell him when he was “pissing into the wind.”California veteran Rick Rubin, known from the Beastie Boys, AC/DC andMetallica, signed for the production of this album. That is paying off,especially compared to records that Young produced himself. But it cannotdisguise the predictability of the material.

How bad is that? You don’t want to blame the 77-year-old’s energy andrelentless production as time is running out. In the final of his career,Young is busy setting up a mausoleum for his music.

Occupied in that monument Harvest , turned gray in countless teenage rooms,a place of honor. For Young, this album (with his only number one hit, theclichéd but irresistible ‘Heart Of Gold’) became a watershed. The record madehim an icon of the early 1970s. “Where Dylan was once a kind of God, at leasta higher thing, Neil Young is the comrade who puts a comforting hand on yourshoulder,” wrote Hague Post pop journalist Bert Janssen in 1975. Janssen, afan for some time, thought Harvest incidentally, Young’s “most shaky record”to date.

That wobblyness was the charm. The hypnotic rhythm of the slow songs, the thinsteel guitar, striking melodies and Young’s uncertain, high-pitched vocals -it all fit the zeitgeist like a glove. Just like the fact that the alwayseccentric Young had partly recorded the album himself in a barn on his farm inNorthern California. The story goes that he rowed his friend Graham Nash on aboat to his private lake for a stereo preview of the album, which blasted fromspeakers in his house (left) and shed (right). “More Barn!” Young must haveshouted to his crew.

Young found no comfort in himself. The 27-year-old superstar had an allergicreaction to the success. ‘Heart of Gold’, which quickly became supermarketmuzak, landed him „ in the middle of the road he later complained. “I gotbored of that quickly, so I drove into the ditch. A more difficult ride, but Isaw more interesting people.”

The commercial pressure from his record company and a series of personaldramas – a threatening breakup, friends dying from drink and drugs – didn’thelp either. A monster tour of sports halls to celebrate the success of_Harvest_ turned into bitter, alcohol-fueled quarrels.

Stripping rock

Young’s drive through the ditch quickly produced albums that were not instantsuccess, but each of which is now considered the pinnacle of his musicaloeuvre. A live album ( Time Fades Away ) that sounds like a nervous exercisein proto-punk; a nightly dirge about the Hollywood dope scene ( Tonight ‘sthe Night_hailed as his most penetrating work) and a hushed album that soundshalf like a whispered call to a helpline ( _On the Beach ). Fit with thelashing rock of Zuma (1975) Young found fun in life again.

Fifty years later sounds Harvest just as autumnal and hypnotic. Apart fromthe bombastic orchestration of a single song, which already hit many listenersin the wrong ear at the time. As a bonus to the anniversary box, threepreviously unreleased songs from the barn, a (known from bootlegs) BBCperformance by Young from 1971 and a home video about the creation of thealbum. The grainy images from the barn seem like an intimate, Proustian belchfrom a distant past.

Of the hip quintet sitting there on straw bales, only Young himself is stillalive. Pianist Jack Nitzsche, session drummer Kenny Buttrey, steel guitaristBen Keith and bassist Tim Drummond have all passed away and, in Young’s words,friends who “leave their mark in sound” have disappeared.

And what sound. It’s an unfair comparison, but still. World Records is atbest an energetic reminder that Young himself is very much alive, but quicklyfades away with the first, wistful harp notes of Harvest. Or that one gruffguitar solo in the slow trudging song ‘Words’. Young himself seems to realizethat too. His most recent Dutch concert, three hours in the Ziggo Dome (2019),was supported by a wide selection of his 1970s work. Not for nothing.

Balls of fire, ball gowns, cutting guitars, angelic singing… symphonic metalis the extravagant, brakeless sister of heavy metal. Sits her brother lookingout the window on a birthday, sulkingly waiting for grandpa and grandma toleave; she is standing on the table singing ‘Bohemian Rhapsody’ in itsentirety. It’s a subgenre where ‘over-the-top’, ‘bombastic’ and ‘nerdy’ arenot dirty words, but compliments. The combination of hard metal with cleansingers can fill the largest venues. This weekend there are no less than fourevenings filled with them in the Ziggo Dome in Amsterdam: twice Nightwish, andtwice Within Temptation. And then later in January you can also go to Epicaand Apocalyptica in the Afas Live. What exactly is it, what’s great about itand why is it so popular?

Symphonic metal is simply metal, so heavy rock music, with elements fromclassical music. Strings, horns, choral vocals and other additions that arenot very common in metal are there for a lush or bombastic effect. Sometimesfrom a keyboard, sometimes with a whole orchestra. The best bands in the genrehave a very good singer, who sometimes sings almost operatic, often (butcertainly not always) next to a roaring singer, for contrast. The textsregularly come straight from the fantasy literature or science fiction world.That helps accessibility. Incidentally, it sometimes goes further behind thetexts. For example, Epica wrote the song ‘Feint’ in response to the murder ofPim Fortuyn.

Musically, the barrier to entry is also low. Unlike much other heavy music,symphonic metal is hardly aggressive, the lyrics are fairly bloodshed andthere is a pleasant lack of testosterone – or at least that is somewhatbalanced by the female vocals and the catchy melodies.

Symphonic metal attracts a wide audience: at concerts of these kinds of bandsyou see many women and people of all ages. Metal is no longer the man’s sportit once was, and symphonic metal is partly responsible for that.

Also read an interview with Floor Jansen from Nightwish: ‘ The Netherlandsis just a shitty country in terms of music’

Fairytale metal

“I found the great attraction that there was more female vocals than in othermetal,” says Charlotte Wessels, until recently the singer of the symphonicmetal band Delain and now pursuing a solo career. “Not because I wouldn’t feelwelcome as a girl in the metal scene, but because as a metal lover who lovesto sing, I finally found music with vocals in my register.”

It is also sometimes referred to as fairytale metal or even Eftelingmetal, dueto the lyrical tendency towards fantasy themes combined with the fairytalevocals and, at times, the elements of folk music. A bit condescending, that’sfor sure, especially in the early days. Sharon den Adel, the singer of WithinTemptation, recently said in NRC that they embraced those terms: “If somethingis extreme, and for many people we were quite extreme, then it is easy tocaricature it. That also means that you have the attention.”

It kind of started with Therion, a Swedish band that combined blissful strings(from a keyboard) and reverberating choirs (really) with their death roar andraging guitars on the album in 1996 Theli. But in the meantime things werealready brewing in Waddinxveen, where former band members of the death metalband The Circle were working on a cassette tape in a new formation with asinger like Within Temptation: Enter. The album hit the metal scene like abomb in 1997. And then on second album Mother Earth the death rattle ofRobert Westerholt disappeared and Sharon den Adel got all the focus, the bandslowly broke through to a large audience.

“Promoters and other labels made a bit of a joke about it in the early days,”says Anthony van den Berg, who released the early albums of Within Temptation,Trail of Tears and Orphanage with his record label DSFA, among others. “Butfans, and then female fans in the first instance, went along with it en masse.It was really something new, and even though the radio didn’t play it, I knew:if the general public hears this, the roof will go off. And it did, it workedwith ‘Ice Queen’, Within Temptation’s first hit.”

Within Temptation with singer Sharon den Adel during a concert at the AFASLive in Amsterdam in 2018.

Andreas Terlaak’s photo

Singer Sharon den Adel recently wrote about this in this newspaper: “What wedid before that was almost a gimmick, at least it felt that way. It was donetoo many times.”

But it wasn’t done that often. The symphonic elements, the fantasy atmosphere,that mix of gothic and doom, the ripping guitars with heavenly vocals, thatwas really quite new. But before them there was a band that had popularizedsome of those ingredients: The Gathering had already made two albums full ofdragging death metal when the very young singer Anneke van Giersbergen walkedinto the rehearsal room. On the first album with her, Mandylion her voiceworked naturally on the heavy guitar music and became one of the absoluteclassics and an important source of inspiration.

All those Dutch people, what about that? “The magic word is Anneke,” saysArjen Lucassen, the man behind Ayreon and Star One, who has worked with dozensof singers from the symphonic world over the years. “Anneke van Giersbergenwas the first and immediately the best to do it with The Gathering: combiningthat beautiful vibrato with nail-heavy metal. I still remember when I firstheard it, holy shit, I was an instant fan. I think that also applies to manyother well-known Dutch singers, they must have looked at her and thought: Iwant that too.

In 2017, the Dutch pop music sector broke through the 200 million mark inforeign income for the first time: money that was earned from rights,recordings and performances. Three-quarters of that was due to dance and alittle bit to André Rieu, but symphonic metal is also a successful exportproduct. Bands like Epica and Within Temptation play in sports stadiums andarenas all over the world, especially in South and Central America, but theyalso have a lot of fans in Germany and Japan. Epica already received the BumaRocks Export award in 2015 for their foreign successes.

Brabant singer Floor Jansen sings in the Finnish band Nightwish (and lives inSweden, to make it easy), but received the prestigious Pop Prize in 2019 forher contribution to Dutch pop music at home and abroad.

“It seems a somewhat hidden scene, because the music press in the Netherlandsis less inclined to write about it,” says Anneke van Giersbergen, “but itdraws full houses all over the world. I notice that Dutch bands in this genrequickly approach it professionally and I also think that the fact that youcome from the Netherlands ensures that there is immediate attention in theinternational press, a bit comparable to Dutch DJs, or a grunge band fromSeattle . And there are just a number of very good and talented female singersin the Netherlands, who also choose a career in heavy music.”

Also read an interview with Anneke van Giersbergen: Getting out of TheGathering was the hardest thing I ‘ve ever done

Cheesy

According to Johan van Stratum, team leader of the only metal training in theworld, the Metal Factory in Eindhoven, and bass player in the bands Stream ofPassion, Ayreon and Blind Guardian, it has to do with the business climate,but also with quality and technology. “A band like Epica is a seasoned metalmachine, very high in terms of playing, production and technical. This alsoapplies to the often female vocalists. Not for nothing that Floor brought thewhole of the Netherlands to its knees Dear Singers.”

Isn’t it a little cheesy , and geeky? “Naturally! I am the chief nerd”, saysArjen Lucassen with a laugh. “Symphonic metal is absolutely nerdy, it’s pureescapism and that’s a dirty word for a lot of people. I also have that withAyreon when I approach some guest musicians. Steven Wilson from PorcupineTree, for example, when I say it will be a science fiction album, heimmediately drops out. I never get it very well: when there is a big Star Warsmovie everyone flies to the cinema, but when it’s in music it’s the same_cheesy_.” But, yes, he admits: there is a lot of cheesiness in between. “Themajority even, it often goes too far for me. But if it’s done really well,then it’s really great. The really good songs that have that little bit extrawhen it comes to melody and use of chords, you hear that in bands likeNightwish and Within Temptation and there aren’t many of them.”

Still, Lucassen, always looking for new blood, also has the name of new talentready: „I can hear it from Blackbriar, who have just signed a contract withNuclear Blast. That is a new tire that also has that little bit extra.”

Nightwish plays 27 and 28/11 in the Ziggo Dome, Amsterdam. Within Temptation and Evanescence play 29 and 30/11 in the Ziggo Dome. Epica and Apocalyptica play 27/1 in the Afas Live, Amsterdam.

Netflix, HBO Max, Viaplay: the streaming services are popping up likemushrooms. Nevertheless, ‘old-fashioned’ television is still winning outagainst these new competitors, Stichting KijkOnderzoek (SKO) informed NU.nlwhen asked. The streaming services are keeping their figures scrupulouslysecret for the time being, but SKO’s new measurement system is going to changethat.

“It is no longer of this time. Why don’t they reveal Ziggo’s figures? Theremust be something. The mafia is behind it. Yes, I really think so,” Gordonsaid in 2020 when his new program with Patty Brard didn’t do as well as heexpected.

The following often applies to program makers: if the viewing figures are bad,the system is no good. The measurements are outdated or everyone is suddenlywatching via streaming services. It is also often said that a program(afterwards) is viewed much better via Videoland, KIJK or NPO Start.

It is difficult to determine whether a program has really done better via astreaming service. To date, Netflix, HBO Max and Videoland rarely disclose howmany people have watched a series through them.

Netflix is ​​finally going to share numbers

After years of waiting, that is finally about to change. Although things arenot going as fast as in the United Kingdom, the measurement system there isahead of the rest of the world. The Broadcasters Audience Research Board(BARB) recently announced that Netflix has joined its audience survey. Thestreaming service has always been selective with such information in the past,but now thinks it is time for independent measurements. There are also newsystems for this in the Netherlands.

SKO director Sjoerd Pennekamp understands the need for development. “We’reredefining the television landscape,” he says. “Netflix now offers asubscription with advertising and Disney will soon do the same. At such atime, advertisers would like to know how a streaming service compares tocommercial channels or the STER.”

To be able to measure those figures, old techniques need an update. SKO istherefore updating its research. In the new panel, the members not onlyreceive a special box that measures what they look at. “They now have a routermeter for that,” says Pennekamp. “We can use this to see whether they watchNetflix, Videoland or Prime. That way you can see how channels and streamingservices relate to each other.”

And guess what? Streaming services are not nearly as dominant as thought.”From our provisional figures, we can already see that Netflix is ​​not thelargest channel in the Netherlands,” says Pennekamp. “Large channels of NPO,RTL and Talpa are still above it. We expect to be able to publish such figuresin the course of 2023, so that you can compare everything properly.”

The viewing figures of the Linda de Mol series Five Live are not high, butaccording to SBS, the series is still widely viewed afterwards.

Photo: Roy Beusker

No more excuses for bad grades

In a response to NU.nl, Paul Hek, manager of audience research at the NPO,says it is good that a more complete insight into modern media behavior cansoon be provided. “That is good for understanding the viewing behavior of ouraudience at the public broadcaster, but also for the entire market in theNetherlands. The European market is also watching with great interest thedevelopments of viewing research in the Netherlands. If the NMO (NationalMedia Research, which includes SKO, ed.) really starts, the Netherlands is atthe forefront of media research.”

Looking online is therefore sometimes used as an excuse for disappointingfigures. A program maker can easily say that his fans do not watch regularbroadcasts, without those figures being publicly available. With the newviewing survey, that is about to change. “Broadcasters themselves also want toknow where their viewers are,” says Pennekamp. “Some programs really attract alot more audience online.”

The mystery surrounding broadcasts on streaming services does not reallydisappear completely. The new measurement system provides insight into whereviewers go, but not yet which programs they watch there. When asked by NU.nlwhat Netflix’s considerations are for not sharing this information, thestreaming service does not want to respond. An answer is also not forthcomingfrom HBO Max and Amazon Prime. For the time being, it remains (partly) a guesswhether a program really works with those providers.

Researchers estimate that a quarter to half of all young people (12-34 yearsold) in the world are at risk of hearing loss. That’s because they turn theirmusic up too loud and go out in places where the sound is too loud.

Researchers at the University of South Carolina wanted to know how many youngpeople (12-34 years old) listen to music that is too loud. They sifted through33 studies, in which a total of 19,046 people had participated. Itinvestigated how loud young people turn up their sound, and how often theycome into loud clubs and cafes.

Young people especially vulnerable

They calculated that 18 to 29% of young people regularly listen to music thatis too loud. And that almost half goes out in places where the sound is muchtoo loud. They estimate that between 665 million and 1.35 billion young peopleare at risk of hearing loss, out of 2.8 billion young people (12-34 years old)in the world.

In 2021, the World Health Organization (WHO) also estimated that more than abillion young people are at risk of hearing loss due to their listeninghabits. According to the WHO, young people are particularly vulnerable tothis.

Volg Generatie NU

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Crazy

“Young people often listen to music that is too loud through their EarPods,and also for too long,” explains Wil Verschoor. She is director of StichtingHoormij/NVVS. “But going out and events also play an important role.” It cancause hearing loss, or tinnitus, or both.

“Hearing loss means that you hear worse,” says Verschoor. Tinnitus is anotherform of hearing loss. With tinnitus, the cilia in your ear are damaged. Theysend no or wrong signals to your brain, so that you hear sound that is notthere. “That could be the sound of a gently murmuring brook, but also of afighter jet that continuously races through your head. It can drive youcrazy,” says Verschoor.

Not good numbers

It is not exactly known how many Dutch people suffer from hearing loss andtinnitus, says Saskia Kloet of SafetyNL. “It is not systematicallyinvestigated in the Netherlands.” The definitions also often differ, she says.According to the latest research by Safety NL, 1.2 million people over fortyhave a hearing loss of at least 35 decibels.

Estimates of people with tinnitus range from 1 to 2.5 million people. “We doknow from research that children also suffer hearing damage. And that there isa relationship with listening to music through earphones.” Reason for concern,says Safety NL. “Especially when you know that hearing damage is piling up.”

One loud bang

According to Verschoor, you can already suffer hearing damage after one loudbang, for example from a fireworks bomb. But it can also accumulate if you arein the noise too often or for too long. “It cannot be cured yet,” saysVerschoor. “So you have to learn to live with it.” Cognitive therapies anddiscussion groups with peers exist for this purpose.

So you better prevent it. “You do this by limiting the number of decibels andby not turning on the sound too often,” says Verschoor. In the Netherlands,the maximum noise level is 103 decibels per quarter. “You can already sufferhearing damage from 80 decibels,” says Verschoor. That’s why earplugs are soimportant. “Simple earplugs help somewhat, but not enough. It is best to buycustom earplugs.”

Stefan (27) has a noise in his ears.

Photo: Stads/Pixs4Profs

Stefan: “I have a noise in both ears, but in one a little more. It sounds likea signal is lost on such an old TV. It started about five years ago at a partyin the pub, where the sound was very loud. The stupid thing was that I hadearplugs, but they were forgotten. I was too lazy to cycle home to get them. Iwent to bed with a ringing and a ringing in my ears.”

“When that noise had not disappeared after two days, I panicked a bit. But Idid nothing, because I knew it could not be solved. I was also ashamed,because it is your own fault.”

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Sleep with the radio

“Although I have a mild variant, I am working on it every day. I hear itespecially when it is quiet. When I go to sleep I have to turn on my radio andthat also wakes me up. Furthermore, I think in everything I do : is thispossible? For example, I will not drive with the window open. And in thecinema I do not sit too close to the speakers, because I want to prevent itfrom getting worse. “

“I now have custom earplugs and wear them on my key ring so I can never forgetthem. If the music is too loud somewhere, I sometimes walk outside to give myears a break. Fortunately, I can now open them talk about it. I even made twofilms about it. This is how I try to do my bit and warn people.”

This way you prevent hearing damage

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R. Me he vuelto más quirurgico. Ya hay un montón de gente fuertecorriendo. Pero si el balón vuela no puedes ir más rápido que el balón. Sitomas buenas decisiones, sí. Hay que estar bien físicamente para estar bienposicionado, no para correr.

P. ¿Qué Mundial image?

R . Creo que será el Mundial más equilibrado de los últimos años. Aquellosque tengan mejores individualidades estarán un pasito por delante. La gente seenfoca mucho en tener bestias físicas, pero el fútbol es un deporte de buenospies, buenos rematadores y buenos asistentes. ¿Quien gana? ¿Quién corre más oquien juega mejor?

P. Gabriel Jesus dijo que en el Arsenal se siente menos autómata que en elCity. ¿Estamos entrenando a los jugadores para que tomen las decisiones deotros?

R . Sinos concentramos en entrenar física y tácticamente a los niños lescortaremos su poder de atreverse a crear y hacer algo diferente. La humanidadestá robotizada: tienes que hacer esto, esto y esto. Están cortando el poderde creación al pueblo. Eso interfiere en el futbol. Ves equipos física ytácticamente impecables, pero cuando ves los pases que se dan dices: “¡no!”.Es importante estar bien físicamente, pero la ejecución se hace con buen pie,con buenas decisiones, con encontrar pases y hacer movimientos donde otros nolos ven. A este paso todos van a hacer lo mismo y todos los partidos seigualarán.

P. Probablemente no haya existido nunca un lateral derecho que haya tomadomejores decisiones que usted cuando llega a la zona más complicada del ataque,en el borde del área contraria. ¿Por qué cree que ha sido capaz de interpretartan bien actividades propias de extremo, de lateral, de centrocampista o dedelantero?

R . Para mi el futbol es un juego. Cuanto más domines el juego, másaumentará tu poder de decision. Se lo digo a los jóvenes: ¿cómo escalan denivel en la PlayStation? Porque dominan las phases del juego. Tú haces ladiferencia cuando dominas el juego, que no tiene nada que ver con los_highlights_ de la television. Si amas de verdad el fútbol no te quedas conlas cosas que se ven en los highlights. Contemplas los 90 minutos de lospartidos y, sobre todo, a tus compañeros. ¿Donde están? ¿Como se mueven? ¿Comoles gusta que les pases el balón? ¿Al pie o al espacio…? Si Miras _highlights_tus compañeros desaparecen. La gente me pregunta por qué sigo jugando a estenivel con 39 años. ¡Porque yo amo este juego! ¡Lo amo, chaval! Yo aquí noestoy perdiendo el tiempo. Yo ya jugaba a esto cuando no me pagaban porhacerlo. Y ahora que me pagan lo amo el doble.

Se lo digo a los jóvenes: al fútbol no se juega cuando el balón está en tus> pies; se juega antes. Cuando el balón está en tus pies ya solo tienes que> decidir

P. ¿Qué ama del juego?

R . Amo la excitación que causa y la transformación que provoca en lasvidas de las personas, y amo el juego no solo cuando el balón está en mi pie.Si amas el juego cuando el balón no está en tu pie alcanzas un poder decreatividad que los demás no tienen. Los demás cumplen órdenes. Micaracterística dentro de los equipos fue romper el orden, romper el sistema.Porque al final eres tú el que está dentro del campo. No se trata de tirarcentros al area. Yo no tiro centros: yo intento pasar al compañero que está enel área. Yo intento asistir. ¿Centrar por centar? Todo el mundo lo hace. Loque pocos hacen es pensar en como le gusta movese al compañero, dónde le gustarematar, como le gusta ir. Todo lo que hago es intentar servir de la mejormanera posible a mis compañeros. ¡Eso es dominar el juego! Se lo digo a losjóvenes: al fútbol no se juega cuando el balón está en tus pies; se juegaantes. Cuando el balón está en tus pies ya solo tienes que decidir. Pero antesde recibir tienes que ver quién está libre, si juegas primera, segunda otercera línea; si es un pase de aceleración, si es un pase de control, si esun pase falso, si es un pase de objetivo… Si dominas todo esto, cuando elbalón llegue a tu pie ya sabrás qué hacer.

P. ¿Mbappé se confunde cuando intenta bajar al mediocampo a jugar comoNeymar?

R . Hoy el PSG tiene el mejor trio del fútbol. Lo he hablado con Mbappé:tiene que entender lo que tiene a su lado. Porque los jugadores que leacompañan pueden potenciar muchísimo sus cualidades. Él es un fenómeno que noconsiguió entender que a su lado hay fenómenos más fenómenos que él. Neymar yMessi tienen un poder de ver cosas que nadie en el fútbol ha podido ver.

P. ¿Mbappé es un prodigio del desmarque que quiere hacerse pasador?

R . Yo siempre digo: yo tengo un buen pase. Pero si tengo cerca a Messi,le doy el balón a él. Si tengo a Neymar se lo doy a él. Ellos me from anoptimizar más. Es el problema del fútbol cuando juntan tantos grandes nombresen el mismo lugar. Hay que saber gestionar eso. Lo que hace poderoso al serhumano es el conocimiento de sus virtudes y sus defectos. Porque tú puedes serla hostia, pero siempre está la ‘rehostia’. Si yo soy Mbappé le doy el balón aMessi y Ney, que ellos me asistan, y yo haré 150 goles por año.

P. ¿Qué jugador le gusta ahora?

R . Me gusta mucho Musiala. Tiene algo diferente. Para los amantes delfútbol es magia, como Pedri.

P. ¿Como ve a Luis Enrique?

R . Luis Enrique es como yo: lo que él quiere te lo va a decir en 30segundos. Eso está muy escaso hoy en día.

P. And Inglaterra hay un debate porque dicen que Alexander Arnold no sabedefender. ¿Es justo separar a los laterales en defensivos y ofensivos?

R . Hay mucha gente hablando de fútbol que no sabe de fútbol. ¿Qué es unlateral defensivo y un lateral ofensivo? Esto se determina en función de lascaracterísticas del equipo en el que juegas. Si pones a un jugador defensivoen el lateral derecho del Barcelona no tiene ningún sentido porque elBarcelona es un equipo hecho para atacar; y si pones un lateral ofensivo en unequipo defensivo, tampoco lo sitúas en el equipo adecuado. ¿Qué quieren losequipos de los jugadores? La Juventus es un equipo estructurado para defendery yo le daba ese toque ofensivo. Por eso no me hacian jugar tanto como mehabría gustado. Ahi siempre pensaban en la contención. Yo como defensaprefiero defender atacando antes que defender en mi área. Por eso estuve pocoen Italia. Si contratas a un jugador que viene del Barcelona, ​​donde el poderofensivo es brutal… Yo en mi vida he pegado un pelotazo para adelante, ¿cómolo voy a hacer ahora? Si me fichas para que haga eso te has equivocado: hasfichado a un jugador al que le gusta crear, que no se apabulla en ningúnmomento del juego, que está tranquilo y siempre quiere crear o defender através del balón. Si tienes un plan para hacer un equipo defensivo, debesfichar a los jugadores que sienten eso. Si no, debes fichar robots que haganlo que quiere otro. Pero no podemos perder el brillo de la creación: lodifícil no es defender, sino ir al ataque. Alexander-Arnold me encanta porquees tan importante aquel que regatea cinco jugadores como aquel que con un pasesupera a cinco en un cambio de orientación de 40 metros. Aparentemente menosbrillante, pero para los que saben de fútbol, ​​mucho más eficaz y rápido.

De los 17 años que llevo en la selección, este es con gran diferencia el> mejor momento de Brasil. Nunca hubo tanta complicidad en el vestuario

P. ¿Brasil ha vuelto a ser una selección que privilegia la creatividad?

R . Es la adaptación al fútbol moderno sin perder la esencia. Coincide enque han aparecido un número muy grande de jugadores con esa entrega y esebrillo que solo Brasil puede tener. Estamos muy equilibrados en todas lasposiciones. De los 17 años que llevo en la selección, este es con grandiferencia el mejor momento de Brasil.

P. ¿Qué convierte a Tite en un gran entrenador?

R . Es capaz de sacar lo mejor de cada uno. Él hace lo más difícil para unentrenador: estar preocupado de todo el grupo. La mayoría se enfoca en los queestán jugando. Él no. Eso lo hace diferente: su poder de gestión y liderazgo.

P. ¿Como se gestiona el vestuario con el liderazgo de Neymar?

R . La gente se confunde: al fútbol no se juega dentro de las cuatrolíneas. Se juega en el vestuario. Como esté la peña fuera, estará la peñadentro. Este es el mejor vestuario de Brasil que yo he conocido. Por lacomplicidad que hay dentro.

P. ¿Como ve a Vinicius y Rodrygo?

R . Soy muy fan de Rodrygo. Para mí es un fenómeno para ver cosas dondenadie las ve y para combinar con descaro y personalidad. Lo pienso desde queestaba en el Santos. Para mi va a ser un grande. Vini trae de fábrica algoespectacular: una potencia brutal. Necesita mejorar su juego asociativo, algoque tiene Rodrygo en cantidad.

P. ¿Qué jugador de Brasil puede sorprender al mundo en Qatar?

R. Antony es un fenomeno. Yo he formado parte de su formación en San Pabloy le he dado algún consejo. Hay que tener cuidado porque el fútbol es unamáquina de distracción muy grande y hay que mantener el equilibrio cuando noestás bien. El fútbol se va a acabar, pero nosotros no acabaremos cuando acabe

The high mass in the gastronomic cathedral has begun with the hermeticallyclosing of the thick wooden door. “Welcome to Hawthorne,” says chief JulianSlowik (a creepy Ralph Fiennes – you also know him as Voldemort) in _The Menu_with an affable smile to his guests. They have just been taken by boat to hisworld-famous restaurant on a deserted island.

That menu starts with a dish of melting saltwater ice and shellfish that haveemerged from the sea before the eyes of the highly honored public, laid downon decorative stones by an upright army of chefs with pincer precision. Theinsufferably haughty restaurant critic – one of the twelve lucky ones who canshare in this ultimate gastronomic total experience – naughty pricks a waterplant on her fork. ‘This chef’, she teaches her fawning table companion,’tells a story. I call it… biomic. We are surrounded by and part of it_ecosystem_ from which we are fed . We eat literal the ocean.’

Aftertaste of longing and regret

The same restaurant critic starts to chuckle nervously when she sees thisscene in the cinema, because she may have accidentally said something sosignificant about leaves on a stone. In fact: all the remarkable statementsand incidents in the first part of The Menu (before the great humiliation,mutilation, and murder begins) are not news to people who have ever settledinto the walnut seats of restaurants like Noma, Fäviken, or Lighthouse Island,or studied their expensive cookbooks or glossy Instagram pages.

Restaurant Hawthorne embodies the most influential culinary movement of the21st century so far: Scandinavian, rugged chic, endlessly in love with local,small-scale produced or home-picked and fermented seasonal products. Theextensive tour of the company, the so-called storytelling who has to loadthe food with all kinds of extra meaning – it is warp and weft.

For example, Hawthorne, where a place setting costs $ 1,250, serves a loafwithout bread to draw attention to hunger and poverty in the world. Thecheerful sommelier serves a biodynamic cabernet frank , ‘from our friendsfrom the Loire, with beautiful smoky and cherry notes and a subtle aftertasteof longing and regret.’ Everything looks frighteningly familiar – and yet itis also immediately clear that something is very wrong.

Netflix series ‘Chef’s Table’.

Take for what follows the sectarian horror of Midsommar and cook it overhigh heat with the slick food porn of the Netflix series Chef ‘s Table._David Gelb, who _Chef ‘s Table made, worked on The Menu , just like theFrench three-star chef Dominique Crenn, who designed the dishes. All this wasthen poured over with a greasy, spicy sauce of social satire in which aspoiled urban upper class (like Marie Antoinette in her rustic _fake_farmhouse with perfumed sheep) likes to lay down a fortune to feel closer tonature, craftsmanship and a romanticized image of ‘the common man’ again – andeventually has to pay for that decadence with her head.

It is striking how dark and hopeless the restaurant films and series that havebeen released in the past year are. As if the hospitality industry, awakenedfrom its years of covid coma, has lost something essential in innocence andfun.

Insufferable restaurant critic

In Boiling Point we witness the cloister of Andy Jones, chef of a restaurantin London. In the film, all the problems that will currently sound familiar tomany catering entrepreneurs pile up in one hellish evening: staff shortages,major money worries due to rising prices, an insufferable haughty restaurantcritic (have you got her again), then the inspector of the food – andcommodity authority, and a forgotten nut allergy. Boiling Point is also shotin one feverish take, leaving no room for Andy (played very convincingly byStephen Graham) to take a break or think about why he’s doing all this, andhow he’s ever going to dig his way out of this hole again.

Series ‘The Bear’.

In the great restaurant series The Bear about a young star chef who inheritsa family business in Chicago, the same stuffiness and raw hopelessnessdominates – although that series does have a happy ending.

Feature films and documentaries about the restaurant business and chefs overthe past fifteen years have been consistently positive, joyful and romantic,full of delicious, hungry images and wise lessons about the values ​​of fairtrade and authenticity. In movies like Chief with John Favreau (2014) and_burnt_ with Bradley Cooper (2015) and also The Ramen Girl (2008) and NoReservations (2007) the heroes may have had rough edges and bumps in theirstormy lives, but deep down they were sweet, fine, sincere people. As areward, they all found business and creative success and new love between thepans at the end of their film.

Tantrums

In documentaries like Jiro Dreams of Sushi (2011 ), El Bulli: Cooking inProgress (2010), Sergio Herman: Fucking Perfect (2015) and Noma, MyPerfect Storm (2015) we saw how hard and perfectionistic real chefs could beon themselves and their environment, but what counted most was their genius,the high culinary art they produced – the tantrums here and there seemed to bemainly in service of that, as a sign of how terribly important it all was.

Noma Documentary ‘My Perfect Storm’ (2015).

And then there’s the aforementioned _Chef ‘s Table_in which adversity in thelives of chefs is mainly presented as a background against which even better,even more photogenic dishes can be made, which can then be filmed in slowmotion with swelling music.

decadence of the nineties

It was especially after the financial crisis of 2008 that the chef was hoistedup as the bony folk hero, the honest, passionate anti-banker, who really madesomething with his big, fireproof hands (the Amsterdam star chef Ron Blaauwwalked around in the advertisements for ING at the time). Moreover, thedecadence of the 1990s and alienating ‘molecular cuisine’ of the early 2000shad given way to something more local, something more genuine, something lesselitist that also had political and sustainable ambitions, and at the sametime the public could not get enough of watching chefs – both in open kitchensand on television. Like the bigoted Tyler in The Menu says, “People idealizeathletes and pop stars, but chefs play with the raw material of life and deathitself.” To what kind of nightmare that game can lead, he will experiencepersonally later.

‘Pig’ (2021).

In the movie Pig (2021) widower and disappointed top chef Robin Feld (asubdued Nicholas Cage, unrecognizable by his huge beard and face beaten to apulp twice in the film) has retreated to the forest as a hermit. When histruffle pig is stolen, he returns to the Boston restaurant world for the firsttime in fifteen years. What is striking is that there, all sorts of new talkabout deconstructed scallops and dishes with names like ‘ _milk – smoke – den_Unfortunately, nothing has really changed at all.

The restaurants are still in the hands of big money; chefs and restaurateurscontinue to be flogged, used and squeezed by investors, landlords and theculinary press, and in turn do the same to their own staff. The food industryis still dirty business as usual, where only the hype and the outside countand real taste and creativity is usually suppressed. And those cute beardedand tattooed food hipsters from 2010? Once grown up, they turn out to havebecome just as capitalist bastards as their gastronomic fathers.

Wild picking

In these new films, restaurant food is primarily a vehicle for power,pretensions and class differences, the restaurant the war zone in which bossesand servants, givers and takers, possessors and non-haves fight, oppress andtease each other. Especially against the barren background of the world as itis today – with climate change, financial uncertainty and the constant threatof war and political unrest – the movie restaurant is no longer a romantic,self-sustaining ecosystem.

It is either, at best, barely averted chaos, or the type of sectarian orderthat, in the wrong hands, can develop into a death cult. And then the naive_foodies_ who still imagine that with very expensive luxury restaurants andforaging, they could change the food system and inherent wickedness of humanbeings? Chief Slovik says, “What’s happening in here is meaningless comparedto what’s happening outside.”

‘The Menu’ (2022).

It is striking that the only bright spot, the only possibility for a kind ofredemption, in these films always turns out to be with the food. A perfectcheeseburger, a simple mushroom pie, an egg baked by a child, theunforgettable, rustic dish you ate on that special night with your loved one.Restaurant life may be a cynical hell and the boss a dangerous lunatic, butthere remains an unwavering faith in the possibility of real, honest,uncorrupted, simple food and cooking as something essential, as a way out –just like the style ridiculed in these films. made after 2008 was seen as asolution to what was then considered decadent. And so we eat.

‘Oh what precious ,” says the restaurant critic The Menu , who does notyet know what all-scorching grand dessert will soon hang over her head. ‘Youalso taste that little note of goatiness in this dish? A tiny bit of goat –right at the end?’

The reviewer in the room bursts out laughing – with a knot in her stomach.

It started with one sentence that filmmaker Coco Schrijber heard when she wasin Mexico for the research of her film How to Meet a Mermaid (2016). Apsychiatrist who led a support group for battered women in Mexico City toldher, “Women kill differently than men.”

That sentence, there’s a movie in it, she thought immediately. It became thestarting point of her documentary Look What You Made Me Do , which premieredat Idfa and can be seen in cinemas from this week. In it, Schrijber followsthree women, one Finnish, one Italian and one Dutch, who lived with a violentman and eventually killed him. A fourth, unrecognizable woman, still in anabusive relationship, talks about all the ways she’s tried to find help.

In her Amsterdam apartment, Schrijber (61), who lives on the Canary Island ofLa Palma, talks about her film.

Do women kill differently than men?

‘Women are usually not strong enough to knock or strangle someone, they haveto be intelligent and inventive. As a result, they come across as calculatingand cold, and therefore extra malicious. But we make that judgment withoutknowing the facts.

“It’s not that I condone murder, of course, but there are times when you justhave to make that choice. And this film is about that gruesome choice.’

It is rare for women to kill their partner. The reverse, on the other hand,happens shockingly often, Schrijber tells the viewer. Worldwide, at least30,000 women are killed each year by their (former) partner. And of the totalnumber of women who are murdered, the vast majority are killed in their ownhomes. Schrijber: ‘We women learn from an early age: be careful on the street,put on a wide coat, and so on. We take everything into account outside, but athome we are much more in danger.’

Image from ‘Look What You Made Me Do’.

Your film is about violence against women and yet you choose to portray themas perpetrators.

‘I didn’t want to make a film about victimhood, about pathetic women cryingabout what happened to them. Many of these already exist, and rightly so. ButI wanted to show that there are also women who take a different approach, whoresist.’

Why are murderesses so interesting?

“Because our ideas about them say a lot about the way we look at women, aspassive and nurturing. Women bear children, they give life, how can such aperson take a life?

‘If a woman commits murder, we quickly think: then she must be a hysteric, orcrazy. Research shows that women who have committed murder are often wronglyattributed a personality disorder. All three of the women in my film had nomental health problems, according to tests they had to take during the trial.But they barely managed to prove: I’m not crazy, I did this knowingly becauseI saw no other way out. That’s a message that many people don’t want to hear.’

The women in your film talk about how they got stuck in their relationship.Italian Rosalba says her husband threatened to kill the children if she lefthim. Do you want to demonstrate that there was no other way out than murder?

“We are all so full of prejudices. When you hear a woman tell about somethingthat has happened to her, you immediately think: that would never happen tome, or: then you leave him anyway. I wanted to take those ideas away from theviewer.

‘Rosalba explains very precisely how the violence creeps in, theunrecognizable woman talks about all the failed attempts she has made to gethelp. In general, leaving an abusive relationship is the most dangerousmoment. And of the women who do manage to escape, half are later killed.’

Coco SchrijberImage Renée de Groot

Women are often held responsible for their husbands’ violence, as we see inyour film.

“That’s how we are brought up. When something bad happened to me in the past,my mother always said: you must have made it. And boys get along: if you arebullied, you hit back.

‘In addition, it is a very human mechanism to blame someone else for youractions. When you cross such a high threshold as hitting your sweetheart, youthink: I’m not like that at all, so this can’t be my fault. Look what youmade me do. The roles are now reversed in the title of my film. There is akind of satisfaction in that. That’s not neat, of course, but you can stillfeel it.’

What was it like to be so close to those women?

‘When media reports about a murderess, they often portray a haggard woman,disheveled hair, wild look. That you think: what kind of person is this? I’malmost convinced myself. The Italian Rosalba was an ice-cold killer in thenewspaper. Oh, I thought, do I want to talk to her? But it’s a cutie. Such aloving, humble woman. The Dutch Rachel is a hard worker and a real motheranimal. Laura, the Finnish girl, has a sense of humor and is not easily put ina corner. And she was nine months pregnant, which I thought was a nice imagefor the film.

‘I wanted to follow them during their daily activities: shopping, putting ontheir make-up, feeding the ducks with the children. Because murderesses doordinary things. I also wanted to zoom in on the run-up to the murder. I wasconcerned with the mechanism of that decision, because that’s what it is, a’deliberate act’, as Rachel calls it.’

Image from ‘Look What You Made Me Do’.

Is it important for women to get angry?

‘The point is that you, as a human being, wrestle yourself from all thoseideas about what men and women are like. No, I’m not passive, yes, I also feelanger and sometimes I also feel like hitting on it. I don’t, but if I’m reallyin danger, I’m sure I’m going to hit back, right?

‘I’m not an angry person at all. At least, the research for this film made mevery angry: how normal we think it is that women should always be on theirguard, how little is being done about it. But I don’t hit and scream. Theangrier I get, the more icy. I also wanted to make a film like that, asubdued, ice-cold film that becomes increasingly suffocating. Until the momentthe water is up to your lips and you think: now it’s allowed, that’s it.’

Explicit violence can only be seen at one moment in Look What You Made MeDo. The film includes footage from security cameras, in which a Brazilianlawyer is screaming and resisting being pushed into an elevator by herhusband. Then you see her fall from her apartment on the fourth floor into thestreet, and a little later her husband drags her dead body into the elevator.

Why are you showing these gruesome images?

Domestic violence is invisible. It runs in one in five or six families, but wedon’t know who or what it looks like. I can quote that number of 30,000murders per year, but it’s hard to understand what that means. If I actuallyshow it once, you can do that in your head times 30 thousand. That has to comein.

“I have written a letter to the lawyer’s family and have been given permissionto use the images. They are just on the internet and had already been on TVeverywhere in Brazil. You see the evidence, you see the murder, and it stilltook him two years to be convicted.’

There will be people who say that your movie justifies murder.

‘Yes, people always want to be morally right, but fuck off I have nopatience for that anymore. Normally I like nuance in my work. My previousfilms are built up slowly, there is room for reflection. But this subject, itjust has to come like a punch in the face: that’s how it is, and it hurts.’

Netflix and HBO Max have added a total of ten new top films to their offer. Welist them for you, including IMDb scores and trailers.

Competition between streaming services is intense in 2022. Netflix suddenlyhas to tolerate a lot of competitors, who also fish from the same pond withcinema films.

New top movies on HBO Max and Netflix

This week is another big hit: both HBO Max and Netflix have added aninteresting load of top films to their offer. We list them for you.

New movies on HBO Max

Groundhog Day (1993)

Groundhog Day is a 1993 comedy starring Bill Murray. He plays Phil, anarcissistic weatherman who has to travel to Punxsutawney, Pennsylvania forwork to cover the Groundhog Day tradition. But then he turns out to be stuckin a time loop, a time loop, and the same day starts over and over again.Classic!

IMDb Score: 8.1

The Dresser (2015)

Director Richard Eyre has The Dresser based on the play of the same name.The film is a gripping drama about an elderly actor, played by a top formAnthony Hopkins, and his personal assistant, played by Ian McKellen.Recommended for fans of the better drama film. Hopkins and McKellen asprotagonists, what more could you want?

IMDb Score: 6.7

Carnage (2011)

The general public got to know the Austrian actor Christoph Waltz thanks to_Inglourious Basterds_. That tasted like more, and you get a good portion ofthat Carnage , a comedy about two couples who get together after a fightbetween their sons. At first it seems that the parents get along well, butthings gradually go off the rails. The set-up is small-scale, but that offersactors such as Waltz and Jodie Foster all the space to impress with theiracting. Without pauses, completely in real time.

IMDb Score: 7.1

Drive (2011)

Drive is a unique film set in the seedy underworld of Hollywood. The leadrole is played by Ryan Gosling, who plays an anonymous stuntman who works as adriver at night, especially for criminals. When a job goes wrong, he gets themost dangerous mobster in Los Angeles after him. He can only do one thing:drive, drive endlessly. Top film with a soundtrack that will stay with you fora long time.

IMDb Score: 7.8

Mary Full of Grace (2004)

The story of Mary Full of Grace revolves around a pregnant Colombianteenager who becomes a drug smuggler to raise some money for her family. So noairy material. It is a hard film with a serious message, but don’t ignore thisgem from 2004 for that reason: Mary Full of Grace impresses.

IMDb Score: 7.4

New movies on Netflix

Penoza: The Final Chapter (2019)

If you are a fan of suspense thrillers within the crime genre, then Penoza:The Final Chapter definitely one to consider. In this Dutch film, the maincharacter Carmen van Walraven (played by Monic Hendrickx) returns to Amsterdamto deal with unfinished business, with all its consequences. Mandatory numberfor fans of the series! IMDb Score: 6.2

Moonrise Kingdom (2012)

Netflix has with Moonrise Kingdom get a new pearl. It’s a unique film by WesAnderson, which you should say enough already. The story revolves around twoyoung lovers who choose to run away together. Datt arranges for a grand questto find the two. Throw in a beautiful visual Wes Anderson sauce and a top castand you have a unique gem of a film.

IMDb Score: 7.8

The Wolf of Wall Street (2013)

Well, who hasn’t seen it yet? Netflix stays The Wolf of Wall Street pick itup again and again. The film is based on the true story of Jordan Belfort.With an IMDb score of 8.2 and a top cast including Leonardo DiCaprio andMargot Robbie, you don’t have to doubt: this top film is worth (re)watching.

IMDb Score: 8.2

Get Out (2017)

Get Out is a fairly recent top film that contains both horror and comedyelements. The story revolves around a young African-American man named Chrisstaying with his girlfriend’s family for the first time. He initiallyconcludes that their somewhat strange behavior has to do with theirinterracial relationship, but several disturbing events make it clear thatthere is more to it. IMDb Score: 7.7

The Hell of ’63 (2009)

Finally, we have a Dutch film for you, Hell of ’63. The film is based ontrue events and tells the story of the infamous Elfstedentocht in 1963, thetoughest Elfstedentocht ever. We follow a soldier, a worker, a nurse and afarmer’s son, all four of whom have decided to participate. It results in aheroic adventure, with a traditional Dutch touch.

En sus tiempos de becario en el Tri de La Volpe, recibía del argentinoopiniones muy duras para intentar construir un carácter. “Estábamos entrenandoy estaba super nervioso, me imponía muchísimo. Venía con su bigote grande y medecía: ‘Nene, eres malísimo, no sé para qué te traje”, contó el futbolista enentrevista con Fox Sports. En la televisión mexicana bautizaron al mexicanocomo el príncipe, como si se tratara de un heredero de la mística de losgrandes futbolistas mexicanos. The cariño, el narrador Luis Omar Tapia, lenombró principito, como el libro de Antoine de Saint-Exupéry.

En 2021, como si el maestro no se cansara de picar en el orgullo de suestudiante, La Volpe le lanzó una piedra: “Para mí no va a llegar Guardado [alMundial]”. Eso prendió al mexicano que se recuperó de sus lesiones en el Betispara no perder su sitio con Tata Martino. “La jerarquía es muy difícil noreconcerla”, ha insistido el estratega con respecto a Guardado.

Si La Volpe confió en Guardado, Hugo Sánchez le dio la titularidad desde 2007.Eso estuvo acompañado de su mudanza a Coruña para jugar con el Deportivodurante cinco temporadas. El mexicano trabajó para llegar a 2010 como fijo enel once inicial pero Javier Aguirre le desplazó a un role de suplente y nopudo completar los 90 minutos en ningún partido. Guardado debía jugar entrealgodones porque en un mal choque terminaba lesionado. Camino al Mundial deBrasil, fue el mandón desde el medio campo para el entrenador Piojo Herrera.Fue clave para que México doblegara a una dura Croacia, la de Modric yRakitic, y demostrara que a los mexicanos no les temblaban las piernas, fraseque usó el 10 croata. Guardado contribuyó con un gol, el único, hasta hora, enlas Copas del Mundo. Se cortó la melena en 2015, justo en el mismo año en queempezaba a ser más líder del equipo. Fue, prácticamente, un mensaje de que eladolescente Guardado había madurado.

“You guys are going to make me shake,” the reliably self-effacing Michael J.Fox told the audience after a lengthy standing ovation while receiving anhonorary Oscar Saturday night at the Motion Picture Academy’s GovernorsAwards.

Fox was honored alongside songwriter Diane Warren and filmmakers Peter Weir (Witness , Dead Poet ‘s Society) and Euzhan Palcy ( Sugar Cane Alley , ADry White Season ) during the starry event that finally seemed to markHollywood’s return to normal after years of disruption due to COVID and a 2022Oscars ceremony tainted by Will Smith attacking Chris Rock.

The tip sheet read like an A-list who’s-who: Cher. Tom Hanks. Robert DowneyJr. Jennifer Lawrence. Jordan Peele. Margaret Robbie. Adam Sandler. OliviaWilde. Kate Blanchett. Violet Davis. Priscilla Presley. Colin Farrell. JeffBridges. Jamie Lee Curtis. Keke Palmer. Florence Pugh. J. J. Abrams. RonHoward. Jessica Chatain.

They were just a fraction of the bold-faced names mingling, sipping Champagneand feasting on beet salad and cod where nary a mention of “The Slap” washeard by this reporter.

Jennifer Lawrence attends the Academy of Motion Picture Arts and Sciences 13thGovernors Awards at Fairmont Century Plaza on Nov. 19, 2022 in Los Angeles.(Photo: Emma McIntyre/WireImage)

Mindy Kaling emceed the evening, lightly roasting some of the lhonorees.“Where was Alex P. Keaton on Jan. 6?,” the Office and Mindy Project alumcracked about Fox’s black-sheep Republican family member from his hit ’80ssitcom Family Ties.

Foxs Doc Hollywood co-star and longtime friend Woody Harrelson introducedthe 61-year-old Back to the Future star, who received the Jean HersholtHumanitarian Award for his tireless advocacy for research into Parkinson’s, acause for which he has helped raise more than $1 billion since being diagnosedwith the disease in 1991.

Warren also received some of the night’s biggest cheers after finally(finally!) takinghome an Oscar, presented to her by longtime friend and collaborator Cher.Warren has been nominated for a competitive Academy Award 13 times, but hasnever won. Her speech was reliably candid. Warren, a regular at GovernorsAwards past, has never shed away from admitting that she really, really wantsto win an Oscar.

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Weir, a five-time nominee who is now retired after helming such films as_Picnic at Hanging Rock_ , Gallipoli , Master and Commander , Green Card_was feted by his _Fearless leading man Jeff Bridges, while the groundbreakingPalcy was celebrated by Viola Davis.

Behind the scenes, the Governors Awards functions as the unofficial kick-offto Oscar season campaigning, as studios and streamers drop hefty sums tosecure tables and tickets for their biggest awards contenders. universallyinvited The Fablemans cast members Michelle Williams, Paul Dano and JuddHirsch (director Steven Spielberg was one of the night’s most conspicuousabsentees) and She Said co-stars Carey Mulligan and Zoe Kazan. Paramount hadtalent from Babylon and Top Gun: Maverick. Kevin Feige, Ryan Coogler andDanai Gurira were in the house for Marvel’s Black Panther: Wakanda Forever.Netflix brought Rian Johnson and cast members from Glass Onions as well astwo-time Best Director-winning helmer Alejandro G. Iñárritu (now promoting_Bardo) and _Blonde star Ana de Armas, among others.

Adam and Jackie Sandler walk the red carpet at the Governors Awards. (Photo:Dania Maxwell/Los Angeles Times via Getty Images)

Watching all the power players and Oscar crusaders cross streams is part ofthe fun of the Governors Awards — and all the attendees have their favorites.

Eddie Redmayne ( The Good Nurse ), fresh from being blinded by the red-carpet camera flashes (“I’m still not used to those,” he laughed), excitedlytalked about the unconventional cinema of Everything Everywhere All at Once,Blonde and Triangle of Sadness. Rian Johnson revealed how much he loved_The Banshees of Inisherin_ and The Fablemans and said he was amped to watch_Triangle_. Iñárritu revealed he has seen little this year besides HolySpider but was about to dig in on screeners.

Gabrielle Union attends the Governors Awards. (Photo: Emma McIntyre/WireImage)

Gabrielle Union, who gives a career best performance in The Inspection ,admitted she was ill-prepared for the politicking that comes with awardscampaigns. Todd Field ( Tar ) explained why hadn’t made a film until nowsince wrapping 2006’s Little Kids (in a nutshell, he was focusing on hisfamily and paying the bills with commercial work).

Elsewhere, a pumped-up Laura Dern rushed to greet Adam Sandler (there for hisunderrated Netflix sports drama Hustle an outside but deserving contender),as the man Sandler was conversing with happily informed Dern that he was oneof the financiers of her upcoming release The Son (welcome to Hollywood).Jaylyn Hall, the teenage star who plays Emmett Till in the crushing drama_Till_ couldn’t wait to meet The Sandman, either.

Taron Egerton (last seen in the miniseries Black Bird and a day before heattended rocketman inspiration Elton John’s final show at Dodger Stadium)conversed with Jennifer Lawrence ( Causeway ) across their Apple TV+ tablein what looked like a scene from any wedding where two strangers sittingtogether engage in small talk. One Night in Miami playwright screenwriterKemp Powers and co-star Aldis Hodge reunited at another table across the room,while Gurira chopped it up with future MCU villain Jonathan Majors (Devotion ), who will play Kang in Marvel’s Phase 5.

Ke Huy Quan attends Governors Awards. (Photo: Emma McIntyre/WireImage)

One of the night’s most sought-after attendees, though, had to be Ke Huy Quan,the former ’80s child star from The Goonies and Indiana Jones and theTemple of Doom whose comeback role in the mind bending Everything EverywhereAll At Once could land him a Best Supporting Oscar in March.

Jordan Peele had a long, warm chat with Quan. It has been widely speculatedthat Peele created the Nope character played by Steven Yeun — a former childstar whom Hollywood exploited for cultural stereotyping comedic relief rolesbefore abandoning him as he aged — based on Quan.

Colin Farrell also gushed to us about how much he loved seeing Quan return tothe limelight. The Banshees star was standing only a few feet from BrendanFraser, a comeback kid in his own right for his agonizing drama _The Whale_and very likely Farrell’s main Best Actor competition as both shoot for theirfirst Oscar.

Expect those two to share a lot of space in the months to come.