Month: December 2022

The new season of The smartest person kicked off on Monday, so yesterday itwas time for – a rather striking – episode number two. Journalist Milou Deelenwas one of the Dutch celebrities who was allowed to crack her brain, but itwas something other than her knowledge that loosened the tongues: therevelation of a special tattoo.

There are a few things that are different this season, such as the channel andthe decor, but the main ingredients are a tried and tested recipe. Well-known(and slightly less well-known) Dutchmen still compete for the title under thewatchful eye of host Philips Freriks and with the unmistakable commentary of’walking encyclopaedia’ Maarten van Rossem.

Deelen is therefore one of this season’s candidates, alongside Son Mieuxsinger Camiel Meiresonne and Hang Youth singer Abel van Gijlswijk, amongothers. She ended up in the world of journalism and feminism after speakingout against slut shaming at her student association Vindicat. Subway spoketo her about this at the end of last year. You can read the interview here.

There is widespread confusion about Milou Deelen’s tattoo

It is Freriks who throws a ball about Deelen’s tattoo in last night’s episode.“Milou, you have several tattoos, but the most special one is on your rightankle. Can we see it for a second?” The journalist then pulls up her pants andshows the tattoo. “I think you mean this one, right?” Freriks then asks: “Anddoes that have a special meaning?” Deelen: “Yes, you know what it is, right?”The host denies this, after which Deelen says: “What do you think?” Freriksreplies that he has no idea. “I can’t see well. I want to come and see.” VanRossem is already making a guess: “It is a tuning fork.” Freriks also seemsconfused. “I think this is something like….” “A failed clothespin”, adds VanRossem.

Deelen helps those present in the room out of the fire: “It is a clitoris.”“And what do you mean by that?” asks Freriks. Deelen: “I don’t know if you arefamiliar with the term orgasm gap. That is that heterosexual women come muchless than heterosexual men. One of the explanations for this is that theclitoris is forgotten.” Freriks does not find the place convenient. “But ifhe’s there… That doesn’t really seem to help me. Maybe with you?” Sharedisagrees. “It is a conversation starter. Now you and the people in the roomknow what a clitoris looks like. I often have this conversation, then I alsoplay this game. I’m happy with it.” “Practical, yes,” Van Rossem remarksdryly.

Viewers compare Milou Deelen with Emma Wortelboer

Unfortunately for Deelen, she had to leave the field after her first episode.Although her score was not without merit, it was not enough to advance to thenext round. Some of the viewers don’t regret this at all. A frequently heardcomplaint is that she reminds of Emma Wortelboer, and that is not meant in apositive sense. By the way, Deelen also has fans. “Milou such a wonderfulcandidate, it is a pity that she is out,” someone writes.

That Milou reminds me of Emma carrot farmer. Both like nails on a> blackboard.> #smartstemens>> — Lieke Stoelers (@Liquorgirl) December 27,> 2022

Is Milou perhaps Emma Wortelboer’s sister? #the> smartest> #the smartest> person> @DeslimstemensNL>> — Donny van Aalst (@tmvanaalst) December 27,> 2022

YES Milou is out! This is the best news since sliced ​​bread> pic.twitter.com/ygo7Q6Df5w>> — Fernando (@Umfoufou) December 27,> 2022

I hope for Milou that she can find her own clitoris because the answers to> many questions remained completely missing. #the smartest> person>> — 𝙰𝚛𝚗𝚎𝚜𝚝 𝙼𝚘𝚜𝚝𝚎𝚛𝚝 (@DeLaMoutarde) December 27,> 2022

You can watch De Slimste Mens again via NPO Start.

UpdateThe age rating of the family film Pete Bell has been adjusted to ‘9years and older’ after complaints. Previously, the classification from ‘allages’ was tightened to ’12 years and older’, but this was met with a lot ofcriticism. Nicam, the organization that monitors the age rating of films andseries in the Netherlands, is now making a milder adjustment. That means thatthe film will be shown on New Year’s Eve at the NPO.

,,Nicam has just informed us that Kijkwijzer has changed the ageclassification for our family film Pete Bell , which is scheduled forSaturday December 31 at 11:10 am on NPO Zapp, has been adjusted from 12 yearsto 9 years,” KRO-NRC responds. “We are happy with this adjustment and we wishchildren and parents a lot of viewing pleasure next Saturday morning.” Thechange has also been implemented on streaming service Netflix and the iconwith the number 9 is visible.

The film Pete Bell , which attracted nearly a million visitors to cinemasaround Christmas 2002, has been under discussion since the film’s age ratingwas changed from ‘all ages’ to ’12 and over’ after twenty years. This happenedafter Kijkwijzer, which monitors the age rating, had received severalcomplaints that certain scenes in the film made children anxious. Pete Bell_about a Rotterdam street urchin who experiences adventures, then had the samerating as recent action films such as _No time to die or Spider Man.

“Following the report that several children had become frightened after seeingthe film via an online streaming service, the film was reassessed by them,”Kijkwijzer explains. “Based on this, the online streaming service hasreclassified the film at 12. year.” But due to a large number of newcomplaints to regulator Nicam from people who thought that the classification12 years and older was far too high for a family film, an adjustment followed.

How does age determination film come about?

Director Tiffany van Stormbroek of Nicam, the organization of which Kijkwijzerfalls, explained yesterday on this site how a new age classification iscreated. If complaints are received at Kijkwijzer, the film will be viewedagain to see if the original age rating is still correct. According to her,that was apparently not the case with Pietje Bell. Then the relevantdistributor is asked to test the content of the production again on the basisof a questionnaire. According to Van Stormbroek, this is based on verythorough scientific research that takes into account, among other things, howexplicit the violence shown is.

The distribution of Pietje Bell was once owned by Disney, but that is nolonger the case. The questionnaire is then completed by the streaming servicesand broadcasters offering the title. It now appears that they wrongly ended upwith ’12 years and older’. According to Van Stormbroek, an error was made whencompleting the list.

About how age ratings can sometimes be adjusted, she says: ,,The reaction ofchildren, how they experience a film, can be different than years ago. Societyis changing and the questionnaire is changing with it. It must be dynamic onthe basis of new scientific insights. We will continue to do this. Language isan example. What used to be considered normal may now be less accepted. Justlike that the Zwarte Piet discussion changed a lot.”

Quentin Tarantino has been tickling press and fans for three years with thevow that he will stop at ten films. After the age of sixty, the jeu is overfor directors, he believes. “Time to wrap,” 59-year-old Tarantino recentlyrepeated on CNN. He doesn’t want to waste like Hitchcock in increasinglymediocre films. His next is his last.

The good thing about such resolutions: everyone shouts cheers when you go backon them, while you generate maximum attention for movie number ten. Becausewhat will Tarantino’s swan song be? Kill Bill 3? Something new?

He seems to have landed in calmer waters. Described by former girlfriends asan unwashed, maniacal cave bear, he now looks quite groomed. He marriedIsraeli singer Daniella Pick in 2017, has a son and a daughter, livesalternately in Los Angeles and Tel Aviv.

But he keeps popping up in the media all the time. __Tarantino can ‘t helpthat. He’s not so much an attention junkie, he’s a born storyteller. Also inhis collection of essays Cinema Speculation he just seems to be talkingabout it, although that is probably an appearance. Such a spontaneous text ishard work.

In Cinema Speculation Tarantino showcases his encyclopaedic cinephilia: youwant him on your team at the pub quiz. It is a loose, autobiographical andself-justification-drenched tour of the American cinema horizon of the 1970s,when his film education began.

Chapter 1 – Litte Q Watches Big Movies – is about his childhood in LosAngeles as the precocious son of a party girl, with ever new, temporary fatherfigures. His mother takes him to movies full of sex and violence: this savesyou a babysitter. Those films touch him less than Bambi said Tarantino. Hisclassmates are jealous.

Movies full of sex and violence touch him less as a child than ‘Bambi’, says> Quentin Tarantino

No ‘whigger’

Here Tarantino also claims good faith against the criticism of colleague SpikeLee in particular for his frequent use of the N-word. Nota bene: he is not a’whigger’ who fetishizes black culture, he grew up among black people. As ateenager, Tarantino is said to have spent many weekends in the blackneighborhood of Compton with his mother’s best friend, “Aunt” Jackie. With herchildren he scoured black movie theaters for blackploitatiton and kung fufilms.

His mother had a three-year “once you go black” phase with all-black lovers;nine-year-old Tarantino had his “most masculine experience” with the film_Black Gunn_ with such an Ersatz father, football player Reggie. The onlywhite kid in a room full of rowdy black men he desperately wants to impress.

14-year-old Tarantino sees in 1977 Taxi Driver in such a black cinema thatScorsese’s masterpiece initially perceives as a comedy. The room is crooked atRobert De Niro’s bumbling as Travis Bickle: taking a fancy date to a pornmovie, and that mohawk haircut! But as soon as Jodie Foster enters the pictureas underage prostitute Iris with her pimp, the mood changes. Only then dopeople realize that Bickle is a twisted avenger.

In black cinemas Taxi Driver sold as an ordinary revenge film, according toTarantino. The fact that the film saw the light at all is partly due to thepopularity of the revenge genre after Charles Bronson’s hit Death Wish.Tarantino gloats over Scorsese’s hypocritical claim that he was deeply shockedby the howling halls at the gory climax of Taxi Driver. As if Scorsese, wholearned the trade from exploitation king Roger Corman, envisioned somethingother than a violent catharsis.

Cinema Speculation contains striking analyzes and spicy opinions: about thecharisma of Steve McQueen, about the young Sylvester Stallone, about the clashbetween the Anti-Establisment Radicals who wanted to destroy Hollywood in the1970s versus the Movie Brats – Coppola, Scorsese, Spielberg – who wanted todestroy Hollywood wanted to modernize.

Tarantino’s somewhat defensive, but also current preoccupation with race oftenreturns. He tells how screenwriter Paul Schrader Taxi Driver modeled onwestern classic The Searchers : Travis Bickle is a twisted John Wayne on anIndian hunt in the urban jungle. In the original script, his racism isexaggerated much more, after which Bickle saves the white child prostituteIris by murdering her black pimp and he thus grows into a folk hero: an evenmore bitter finale than the final version. However, the producers thought thatwas too risky – race riots were feared – and Scorsese was persuaded to castHarvey Keitel as a pimp. An unforgettable role, according to Tarantino, but_Taxi Driver_ could have been much more disruptive.

Speculation abounds in his book. What if Brian De Palma Taxi Driver hadmade: he was offered the script first. Then Travis Bickle’s failedassassination attempt on politician Palantine would have been blown up into a’set piece’ with complicated camera movements, crane and dolly shots or splitscreens, Tarantino speculates. De Palma, a celebrated hippie filmmaker in the1960s, then plunged into Hitchcockian thrillers like Dressed to Kill. He didnot like thrillers, but he did like the film budgets that enabled him todesign his complex bravura scenes. The camera is the star with De Palma.

Cinema Speculation is full of bold, sometimes merciless but alwaysinteresting opinions. Tarantino is a fan of the pessimistic Hollywood of theearly 1970s, but writes aptly of his youthful euphoria as he saw SylvesterStallone’s boxing flick. Rocky saw in 1976. Beforehand, it could have beenregarded as yet another film about ‘a man and his problems’, but ends, to theastonishment of the audience, not in tears, but in triumph. That was the wayforward; the morbidity in the cinemas had become unbearable.

Relentless

There is something ruthless about Tarantino’s love of cinema: what he loves,he bones. At survival classic delivery (1972) he analyzes how the masculine,homoerotic tension finds a way out in the shocking rape of the fat Ned Beattyby two hillbillies – after which the film bloats like a balloon. SteveMcQueens bullet (1968) has an incomprehensible plot, but that’s irrelevantin a movie that revolves around action, chase, San Francisco, and SteveMcQueen—who personally ripped entire pages of dialogue from the script.McQueen generally found talking superfluous. And Dirty Harry (1971) is oneof the best action films ever, but also extremely cynical: the “progressive”director Don Siegel incites Nixon’s “silent majority” against homosexuals andBlack Panthers.

Tarantino concludes that directors should not strive for perfection at all.Amen. Perfect movies are boring, slightly out of balance movies usually moreexciting.

Cinema Speculation is part one of Tarantino’s film education. He can go manybooks ahead: the cinematically catastrophic eighties are now beginning, in hiseyes. When he continued his education behind the counter of the video store.Please also some more humorous film exegeses that he used to bring up infilms. Which Top Gun actually is about homosexual attraction ( Sleep WithMe ) or Madonna’s song ‘Like a Virgin’ about a slut who hits a hung man (Reservoir Dogs ). Here he pleads for the aliens in a footnote Invasion ofThe Body Snatchers. Whoever ends up in their pods is not killed so much asreborn as a better life form. Much more of that please.

In Living the rock solid remake of Akira Kurosawa’s classic Ikiru , theJapan of 1952 has been replaced by the England of 1953. That is a smaller stepthan it seems. After all, both societies have a lot in common: disguisingfeelings behind a mask of politeness and courtesy, a highly hierarchical classsociety, formal manners, respect for authorities and a strong tendency towardsconformity.

The adaptation was written by Kazuo Ishiguro, best known for his 1993 filmednovel The Remains of the Day which in its emphasis on emotional constipationhas much in common with Ikiru.

Bill Nighy, in one of his best and most subtle roles, plays Mr. Williams, astiff civil servant in a pinstripe suit and bowler hat who has worked forthirty years at London Town Hall in the Public Works Department, where heinitials documents. In this stuffy ward, beautifully portrayed as a gateway tohell, he leads a joyless life full of drudgery, beautifully depicted bydirector Oliver Hermanus – following Kurosawa – by putting him and his fellowpen-lickers in a dark office at desks full of high stacks of paper toweringabove them, dust-gathering papers next to which they seem insignificant.

Also read an interview with protagonist Bill Nighy: ‘ I’m an Olympic-levelprocrastinator’

Through viscous bureaucracy and sadistic bullying, Public Works sends needycitizens from pillar to post: Living casually illustrates why distrust ofthe government is still so great.

Widower Mr. Williams has his own set of habits, lives with his son and hisbossy fiancée and is seen as unapproachable at the office. Until one bad dayhe turns out to be terminally ill and his monotonous but familiar world issuddenly turned upside down. He keeps the fatal diagnosis to himself, does notshow up at work for a few days and turns up in a coastal town. When he talksto a hedonistic writer in a cafe there, it results in some of the mostbeautiful scenes in the film. Because enjoy, sighs Mr. Williams, how is thatsupposed to be?

The writer takes him on a nightlife tour and takes him from bar to nightclubto strip club. mr. Williams has a great time, sings a sad Scottish folk songand even buys a new, slightly extravagant hat, but the question remains: isthis it?

The bittersweet Living revolves around the question of how to live. Theencounters of Mr. Williams with a younger office mate, the high-spirited andmaverick Margaret Harris (played by Sex Education actress Aimee Lou Wood),give him a push in the right direction. After which his environmentimmediately suspects him of an affair and speaks of it as a shame, becausenarrow-mindedness is also of all times and cultures. In the end, Kurosawa andHermanus answer the question of how to live primarily morally: what is a goodperson?

Very neatly made Living , which looks like a British film from the 1950s,takes the wistful ending and subsequent coda almost directly from Kurosawa’soriginal. This epilogue, more efficiently told than in Ikuru , gives theoptimism of the finale a considerable shadow edge. Changing the status quo isnot that easy.

Drama

Living Director: Oliver Hermanus. Starring: Bill Nighy, Aimee Lou Wood,Alex Sharp, Tom Burke. Length: 102 mins.

●●●● ●

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Transmitter group SBS joins radio stationNostalgie

Column | If you would rather not have seen a horror movie as achild

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SBS, the media group above the Play television channels, is about to invest inthe capital of radio station Nostalgie. For the Telenet subsidiary, a bit ofradio presence is a welcome channel to promote its TV programs in this way.

When at the beginning of this year a fierce battle raged between a number ofmedia groups to distribute three FM frequencies, one media group stood outmainly due to its absence. Transmitter group SBS, known for the televisionchannels under the Play banner, did not submit a file to the surprise of manyconnoisseurs to conquer the airwaves with its own radio station, although thecompany has had ambitions on that front for years.

However, the fact that SBS – 100 percent owned by telecom company Telenet -did not submit a file did not mean that the media group had shelved its radioplans. CEO Jeroen Bronselaer immediately indicated that it was looking for’collaboration’ with a party that had submitted a file. And deep in the filethat radio station Nostalgie submitted, a short passage already outlined howSBS could still get involved in the radio debates: with an entry into thecapital of Vlaanderen Een, the company behind the radio station.

Eleven months after Nostalgie saw its FM frequency extended for the next fewyears, that scenario is now becoming reality. According to our information,the parties involved are currently finalizing an entry of SBS into VlaanderenEen, and thus into Nostalgie. That deal would be completely knocked off earlynext year.

Minority share

Today, Nostalgie is 75 percent controlled by the Mediahuis newspaper group,and the other 25 percent by NRJ, the French company behind the radio brandsNostalgie and NRJ. According to our sources, SBS will take over part of theMediahuis shares, while NRJ’s participation will remain intact. It is notclear how much SBS will get exactly. But Mediahuis remains the majorityshareholder, according to our information.

Profile Nostalgia

Radio station Nostalgie is a radio station that focuses on classics. Today,the station is still owned, through the company Radio Vlaanderen, by mediagroup Mediahuis (75%) and the French radio group NRJ (25%), owner of theinternational radio brand Nostalgie.

According to the latest CIM figures, Nostalgie has a market share of 5.8percent and reaches 1.2 million listeners every month. In 2021, the companyhad a gross operating profit of 1.1 million euros on a turnover of 11 millioneuros.

It is therefore not the intention of SBS to weigh heavily operationally on thepolicy of the channel, which continues as Nostalgie. Since Nostalgie’s FMlicense was granted on a demarcated format for a specific target group, thereis not much to change in terms of content. For SBS, the entry into Nostalgieis more of a strategic participation in a field in which it has been trying togain a foothold for decades.

SBS has always been a pure TV player in our country, which had to competeagainst competitors with a presence on the air. Both the VRT and DPG Media(VTM, QMusic, Joe) can use radio channels to carry out so-called cross-promotion – whereby TV programs on the radio receive support and vice versa.If SBS wants to promote its programs on the radio, it has to buy advertisingspace from the competition today.

NRJ Flanders

This seemed to change in 2018, when SBS received a license for a network ofsemi-national frequencies, the original intention of which was to launch itsown brand ‘S-Radio’ with broadcasts in large cities. But eventually, on thatfrequency package – also together with Mediahuis – NRJ Vlaanderen, aimed at ayoung target audience, was launched, with a license to the radio brand of theNRJ group.

However, partly due to the inadequate coverage, NRJ Vlaanderen has hardly beenable to break any pots in recent years (see box). Currently, network radio inFlanders can count on a market share of barely 0.46 percent, with hit radioeven having to give way to purely digital channels such as Willy (DPG) andsister channel Nostalgie+.

5.8%

market share

Nostalgie has a market share of 5.8 percent in Flanders.

With a foot in the door at Nostalgie, SBS can meet its needs much better.Although the station’s market share was under some pressure in the latest CIMfigures, it has proven itself in recent years as a fixed value in the Flemishradio landscape. The classics channel currently reaches 1.2 million listenersa month, representing a market share of 5.8 percent.

Nostalgie’s FM license is currently still under scrutiny by the Council ofState, after the entertainment company Studio 100 initiated proceedingsagainst the distribution of the licenses in February. Studio 100 aspired tohave its own radio station, but then – unjustly, in their opinion – missed theprizes. However, that procedure at the Council of State can take a long time,something that SBS clearly does not want to wait for.

None of the parties involved would like to comment for the time being.

Quid NRJ?

While SBS is close to entering Nostalgie, the question is what should happento the other station in which the group participates. Together with Mediahuis,SBS is also co-owner of the network radio NRJ Vlaanderen, but it is having ahard time making a fist in the Flemish radio landscape.

The shareholders are therefore on the verge of intervening. According to ourinformation, the channel’s freelance and interim employees have alreadyreceived their notice and the permanent employees have been informed that theyare working on a strategic plan to turn the tide. Several options are still on

The load of notebooks is sky-high. Verse after verse, endless phrases,strikethroughs. Always turning on new ones. Canadian singer-songwriter LeonardCohen spent seven years on what would later become his masterpiece’Hallelujah’. He toiled for every word.

“Of course it is a gift,” explains Cohen in an American talk show, “for whichyou have to keep your tools and skills sharp. But where the real song comesfrom, no one knows. That is (His) grace. It’s a gift.”

And also on Rollingstone editor Larry “Ratso” Sloman, who has spoken to thesinger regularly since 1974, tells the singer how he couldn’t find an endingfor “Hallelujah.” It takes him way too long, says Cohen himself. How manystanzas are there? One hundred and eighty maybe. One hundred and fifty too.Cohen wants to be as accurate as possible, but puts himself in a tight spot inthe worn pop song with ‘gospel feel’.

From poet to pop star

Again there is a documentary about Leonard Cohen, who died in 2016. Initiallyfollows Hallelujah: Leonard Cohen, A Journey, A Song by Daniel Geller andDayna Golding rather tedious and detailed the development of Cohen’s career,from poet to pop artist.

The basis of his writing (Tolstoy, Proust and James Joyce). How the Montréal-raised Leonard Norman Cohen, of wealthy Jewish descent, only started writingsongs at the age of thirty, uncertain as he was about his low monotonoussinging voice. How he became the minstrel with mournful songs – hisbreakthrough: ‘Suzanne’.

Those who follow him have already seen (and read) enough about thisbiographical part in many films and books. Although the archive material madeavailable by the Cohen Trust – private photos, concert footage, interviewswith, among others, his last love, photographer Dominique Issermann – is quitespecial. The film touches everything equally: the intellectual philosopher,the dreamer, the brooder, the bohemian, the womanizer. Although the latter,thanks to the Cohen heirs, depends very much between the lines. Hisdepressions and fears remain sidelined.

It gets more interesting as soon as Hallelujah: Leonard Cohen, A Journey, ASong tells about the genesis of the song that would define him as asongwriter, his well-known and still widely covered ‘Hallelujah’.

The song loaded from the first sentences: “Now I’ve heard there was a secretchord/ That David played, and it pleased the Lord/ But you don’t really carefor music, do you?”. Then, via “Well, It goes like this, the fourth, the fifth/ The minor fall, the major lift”, to crawl up in emotion in ascending notes.After which “The baffled king… composing… Hallelujah” knots the melody aroundagain.

And then the chorus: four times the word “hallelujah.” It is rich, itresonates and affirms. No interpretation without this feeling. An almostreligious experience sometimes at concerts. Although Jeff Buckley’s versionbecame normative. But about that later.

One takes the text as it is. The other wants to get to the bottom of thelyrics full of symbolism (transience, impotence, but also passion anderoticism) and the many biblical references. It is almost impossible tounderstand, according to the film, without understanding how long Cohen’sspiritual path was. It was his “complicated relationship with God.” Heexplored multiple religions, but an important foundation for his songwritingwas his Jewish heritage. He studied Kabbalah. His song ‘Who by Fire’ was basedon a Yom Kippur prayer. Charged speeches in the synagogues made an impressionon him, even as a child.

Also read a background article on the many films that have been made aboutCohen: ‘ Leonard Cohen: from local poet to living legend’

Pensively reviewing his writing at his typewriter, Cohen says: “If I knewwhere songs came from, I would go there more often.” He is referring to the’bat kol’, his rabbi indicates. The divine voice comes to you and you writedown what it tells you. That is also what the singer meant in ‘Hallelujah’,when he says: „But I remember when I moved in you. And the Holy Dove, She wasmoving too. And every single breath that we drew was Hallelujah.” Notnecessarily the erotic scene that many, including singer John Cale, saw in it.

Dylan, Cale and Buckley

“Hallelujah” rises Various Positions , the album with which Cohen would havebroken through in America. Record label Colombia rejected the recordings hard.However, singer Bob Dylan falls head over heels for ‘Hallelujah’; he is goingto sing it at concerts. And John Cale, co-founder of The Velvet Underground,also picks up the song, solo at the piano, ignoring the religious elements. Hechooses the more ‘cheeky’ couplets.

However, for most people, Jeff Buckley’s version of ‘Hallelujah’ (1994) istheir first encounter. He wishes he’d written it himself, Buckley laughsshyly. They are beautiful, old images of how the young born artist manages tobend the emotional and spiritual ‘Hallelujah’ completely to his will. The folkrock singer is an almost sensual angel, in contrast to the mumbling Cohen.Buckley’s sudden, mysterious death in the Mississippi River makes the songeven more magical.

Following Buckley’s incredible version on his album Grace many pop artists,from U2 singer Bono, kd lang (Winter Olympics), American vocal groupPentatonix to americana artist Brandi Carlile, have performed the song. Thesong unexpectedly got a few extra wings in 2001 through the animation film_Shrek_ – an expurgated version, without sexual hints. The then young singerRufus Wainwright is allowed to sing it. His enthusiastic version lost out tothat of John Cale, who sounded more like monster Shrek. The retranslatedversion of the artist Jan Rot, who died this year, became his swan song.

New zest for life

By the age of seventy, Leonard Cohen was an artist with a renewed zest forlife, in costume and hat, who seemed to be freed from inner demons. He waspoverty-stricken, robbed by his assistant who diverted millions. So he went ontour again. The backing singers with whom he always worked lifted his sonorousvoice.

The third act of his life became a great success. Certainly also because of’Hallelujah – he often fell to his knees for it. Cohen saw the irony of thesong, which had grown into a pop anthem from wedding to funeral. Revenge onhis old record label was sweet. He would like how singer Regina Spektorinterprets ‘Hallelujah’ in the documentary. “’Hallelujah’ is a modern prayer.A life manual for this world.”

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Antwerp doctoral student testifies on TV about cosmetic treatments: “Theyhave already cost me a nice car”

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Plastic surgery is on the rise. More and more adults and especially youngpeople want to change their appearance or, in their opinion, improve it. Itmay involve reconstructions, but in many cases it involves cosmeticoperations.

Claudio D’Incal used botox for the first time at the age of 21. And thenhyaluronic acid fillers in the jaw, chin, cheekbones and under the eyes tohave a fresher appearance.

“As a child I had a small bump on my nose. Most people wouldn’t make a bigdeal out of it, but I really wanted that gone,” he says. “Under the guidanceof my parents, I went to a few plastic surgeons. In the end I was 23 years oldand graduated when I made the choice to do a rhinoplasty. That’s my onlyplastic surgery. Everything else is non-invasive, which means I didn’t have togo under the knife for that.”

© RR

Claudio calls himself a perfectionist. “In everything I do, so also inappearance. I’m not doing this out of insecurity or to look like someone.”Claudio used to do modeling and realizes that he already looks good by nature.“But I want to approach perfection, and get the freshest, most beautifulversion of myself.”

Elaborated

Botox and fillers wear off after a while. “You have to maintain it. But I amhard on myself. Because of my medical education I have a knowledge ofbusiness. Normally you have to treat yourself with botox every 3 months. Butif you use that stuff often at a young age and keep doing it continuously,your muscles can break down and your face will sag. When the treatment hasworked out for me after 3 months, I wait another two months to fullyreactivate the muscle. I know that this way I will not be faced withunpleasant surprises later on. I can see it on my face when it has worn off,but I hardly think the outside world.”

© RR

In the broadcast you can hear Claudio say that all the interventions havealready cost him an apartment in Antwerp South. “How exaggerated. But Iestimate an amount between 10,000 and 20,000 euros. Or a beautiful Mini Cooperwith numerous options. (laughs)”

Claudio emphasizes that he is not afraid of getting older. “I even like itwhen men have gray hair. I just don’t want to grow old ugly. At any age I wantto have a decent, well-groomed appearance. People can see that I have beentinkered with, as long as they say that it was done well.”

molecular affairs

Claudio studied biomedical sciences. Which has nothing to do with botox andfillers. “I know everything about molecular issues in humans and I do researchon children with developmental disabilities and birth defects. But within thatprogram there are also courses such as dermatology with guest lectures orcompany visits. Which allowed me to get to know those aesthetics from a morescientific point of view. By delving into this in my spare time, I got to knowsome great dermatologists, and that’s how the ball started rolling. I knewfrom the start that I was in an environment with people who take theirprofession seriously. With them I don’t run the risk of my face ending upsomewhere on my neck, so to speak.”

Did Claudio never think about becoming an aesthetic doctor? “Yes, but in thebeginning of my studies it was strongly promoted to mainly cure people. Youwere urged to specialize in cardiovascular disease or cancer research. Therewas never any discussion of aesthetic matters. I think that’s more the casenow. If I could choose now, I would have chosen such a study.”

Strangely enough, Claudio regularly gets comments about his lips. “People areconvinced that I use fillers. While that is not the case there. I am luckythat my family is Italian and we have thicker lips. But then completestrangers suddenly come and say that you can really see it on my lips thathave been edited. That annoys me a bit.”

Dare to Ask, One, Wednesday at 8:40 p.m

Con su equipo en la tercera posición de la Liga, comprendían la obligadaausencia de Mikel Oyarzabal, que no llegó a tiempo de su lesión, pero no la deotros futbolistas fundamentales en el equipo donostiarra como Merino,Zubimendi o Brais Méndez, que han brillado durante el primer tercio delcampeonato, asombraron en escenarios como Old Trafford y auparon al equipo ala zona noble de la clasificación. And Qatar, el único representante de laReal fue Take Kubo, que jugó con Japón.

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Ahora, casi dos meses después, and Donostia aseguran que no hay mal que porbien no venga. Tras la gris trayectoria de España en la cita mundialista, seve con alivio que los jugadores se quedaran en casa. Los propios futbolistas,que sufrieron la decepción en Zubieta, mientras escuchaban el desgranar de lalista en pleno entrenamiento, agradecieron la semana de vacaciones que les dioImanol Alguacil y regresaron después a la atípica pretemporada que realizaron,como el resto de los equipos de la maximum category. “Como deportista y comocompetidor me gusta tomarme este tipo de situaciones como motivación”,apuntaba Mikel Merino.

El atleta de San Blas hace apenas 10 meses se operó de los dos calcáneos, elhueso del talón, y después de un verano dedicado a las carreras de asphalto,con zapatillas de placa y buenos calcetines para que el tendón de Aquilessufra menos, ya cree que se encuentra preparado para volver a su vida, que esel 3.000m obstáculos, prueba de la que fue fue subcampeón de Europa en 2018.“Me encuentro sano y emocionalmente bien. He corrido un cross con clavos y nome resentí nada. Todo son buenas sensaciones”, dice Carro, quien, como sucompañero de viaje, el fondista de Moratalaz Jesús Ramos, correrá el 31 la SanSilvestre vallecana.

FernandoCarro and Sudafrica.

A Ortega, vallista de distancia corta y mucha velocidad y potencia, legustaría también correr descalzo en la hierba, pero su carrera, le obliga agolpear al suelo tan fuerte como pueda, hasta hacerle daño, y siempre calzado.“Son impactos muy bruscos y muy fuertes. Pero me gusta, me gusta la sensacióncuando corro un poco para soltar”, dice el atleta que en Sudáfrica se entrenacon sus amigos chipriotas, con el atleta Milan Trajkovic y con el técnicoAntonis Giannoulakis, su anterior entrenador. “Comparto entrenamiento, pero nohago lo mismo. Mi entrenador, mi padre, no pudo venir a este viaje, apoyado entodo momento por la federación española”.

Lejos del frío que les disgusta, y de la soledad del entrenamiento, tocan lapaz interior, que Ortega cree haber alcanzado ya hace un par de meses, cuandose casó. “Eso ha sido un plus en mi vida personal. Estoy superfeliz,supercontento y superorgulloso de la familia que tengo. Y, ahora con miesposa, pues que te puedo decir. Llegar a casa y estar ahí con mi esposa, conla familia, es algo maravilloso, impresionante. Una estabilidad emocional queayuda mucho a salir adelante. Don’t miss primeras navidades casado. PrimerasNavidades en familia”, dice el atleta, nacido en Artemisa (Cuba), hace 31años, que en 2015 se estableció en España, y triunfó, y asegura que sigue condeseos de grandeza. “Nos mueve el hambre. Si no tuviera motivación, si notuviera esa hambre que me caracteriza, no estaría aquí intentándolo todavía,¿no? De cabeza estoy muy bien, estoy muy tranquilo, me siento muy feliz, ahoraque las lesiones me permiten entrenar. Gracias a Dios, la lesion estarecuperada. Gracias a Dios, no me molesta, no ha dado ningún tipo de señal deexistencia, ningún sintoma”.

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Cuando, los pulmones llenos de aire limpio y la cabeza libre de malospensamientos, vuelvan al mundo real, el de las competiciones y lascompetencias, ambos se encontrarán con que ese mundo ya no es el mismo.“Desapareces un año y al volver te encuentras con otra cosa, tanto ha subidoel nivel. La pista cubierta está prohibitiva este año, con Katir, Mechaal,Ndikwemenayo…”, dice Carro, de 30 años, que hace unos meses sopesaba dejar losclavos y los obstáculos y pasarse al asphalto, al maratón, pero seguirá en losuyo, en la prueba que siempre le ha alimentado, y en los caminos y ríos deSudáfrica ha recuperado las grandes sensaciones que buscan los obstaculistas,pues todos saben que su carrera se inventó en África, que los 3.000mobstáculos no dejan de ser una domesticación del campo a través. “No tengoprisa por pasarme a la ruta. Tengo que hacerlo desde una posiciónprivilegiada, no como si fuera el último refugio”.

Ortega, el intocable hace nada en las vallas españolas, regresa y se encuentracon que en su ausencia ha crecido hasta casi sobrepasarle Asier Martínez, elnavarro 10 años más joven que ya ha sido finalista olímpico, medallistamundial y campeón de Europa de los 110m vallas, y una marca de 13,14s, a unadécima de su récord nacional.

Y crece rápido también Enrique Llopis, otro veinteañero. “Son dos chavales quelo están haciendo muy bien y, ojalá, como siempre he dicho, ojalá, que losigan haciendo muy bien. Y que en su carrera deportiva sigan brillando como lohan estado haciendo hasta ahora”, dice Ortega, que confiesa que no vio portelevisión la final de Múnich en la que Asier Martínez derrotó por unamilésima a Pascal Martinot Lagarde. “Pero me esperaba, me esperaba unresultado así. Me lo imaginaba. Sabia. Yo hice un pronóstico yo mismo dequienes podían ser los medallistas y me esperaba algo así. Y ahora serán micompetencia, y me puede venir bien, claro, por qué no. A cualquiera le puedevenir bien un poco de competencia. Yo, como siempre he dicho, mi mayorcompetencia siempre he sido yo. Siempre he sido yo mismo en intentar mejorarcada año, cada temporada que hago, esa es mi mayor competencia. No, no mepreocupo por resultados de otros atletas ni nada”.

De la gloria al infierno. De ganar y ser la primera futbolista española enlevantar el Balón de Oro a entrar en el quirófano por la rotura del ligamentocruzado anterior de su rodilla izquierda. Todo and la misma temporada. “Yapuedes buscarte a otra jugadora para ganar la Champions. Me he roto”, mensajeóAlexia Putellas (Mollet del Vallès, Barcelona, ​​28 años) a su entrenadorJonatan Giráldez el mismo día en el que se lesionó. Con una cámara siguiéndolaen su día a día, Amazon Prime y la centrocampista del Barça han estrenado eldocumental Alexia: Labor Omnia Vincit. En sus tres capítulos se puede ver latrayectoria profesional y personal de la jugadora, desde el récord mundial depúblico en el Camp Nou contra el Real Madrid (91,553 espectadores acudieron alencuentro) hasta la consecución de su segundo Balón de Oro seguido (2021 y2022).

Alexia y el futbol. “Es una friki del fútbol”, dice Mapi León, compañeraen el Barça. Alexia y el balon siempre han sido amigos. Desde bien pequeña nose ha separado de él. “El primer recuerdo que tengo con el fútbol es el deestar todo el rato con la pelota”, confiesa Putellas en su documental. Yafuera en el recreo, en algún rato libre en las cenas, en las porterías delpabellón donde hacían educación física o en las calles de Mollet del Vallès,Alexia siempre le estaba dando patadas al cuero.

El fútbol se convirtió en su coraza después de la muerte de su padre, sureferente, el que la llevaba a entrenar ya jugar y con el que iba al Camp Noua ver a su jugador favorito, Ronaldinho, y con el que al llegar a casacomentaba todas las jugadas. “Espero que estés muy orgulloso de tu hija allídonde estés”, concluyó en su discurso cuando recogió su primer Balón de Oro.

La figura mediatica. Es la mejor futbolista del mundo. Dentro y fuera delcampo. And esta última temporada ha levantado premios individuales de altoprestigio. Además del Balón de Oro, logró el The Best. La primera vez que sehizo con la pelota dorada pasó de sumar 400,000 seguidores en su cuenta deInstagram a superar el millón. “El Balón de Oro lo ha cambiado todo”, confiesaAlexia en su documental. “Estoy teniendo una vida que antes no tenia”.

A sus logros deportivos se ha sumado el crecimiento mediático: sesiones defotografías, entrevistas o colaboraciones con marcas. “La barrera que ha rotode patrocinios es histórica. No hay precedentes y nada que se parezca”,confiesa su representante Josep María Figueras. Tanto ha sido el impactomediático que Figueras apunta que “se necesitan dos Alexias para llegar atodo”. Pero Putellas intenta seleccionar las colaboraciones. “Mi manera deactuar fuera del campo es asegurarme a quién presto mis servicios deportivos yque crean que el fútbol femenino es real”, asegura la jugadora.

La lucha versus el cambio. Alexia tiene un objetivo: que no se etiquete alfútbol como femenino, sino que sea global. “No hay un fútbol femenino, todo esfútbol”, asegura. Putellas es una de las caras más visibles en lareivindicación de los derechos de las futbolistas: “Nos lo debemos, hombres ymujeres. Nos lo debemos porque hay cosas que han sido muy injustas desde haceaños”, defiende la centrocampista.

El Barça es uno de los clubes que más ha apostado por su sección femenina,cosa que a su entender no ha pasado con la selección española: “Las otrasselecciones están apostando por sus futbolistas. Hay jugadoras que viajan enavión, pero nosotras no y hacemos trayectos más largos. O lo mejoras o te pasafactura”, recalca Alexia.

La final de Turin. En el documental, Putellas recuerda el batacazo de lafinal de la Liga de Campeonas en Turín, un golpe duro para ella. “No podemosfallar. Cuando vimos que el rival era el Lyon sabíamos que la victoriasignificaba cerrar el ciclo: perdimos la primera final contra ellas(2018-2019)”, reflexionaba Alexia unas horas antes de viajar a la ciudaditaliana. Pero no fue así. En tan solo media hora, las azulgrana vieron comolas francesas eran superiores a ellas y cerraron la final en un abrir y cerrarde ojos. “Sentí que había fallado a mucha gente”, confiesa la jugadora mesesdespués. La derrota le dolió mucho y admite en el documental que le llegó asorprender la actitud positiva de los aficionados desplazados al estadioturinés: “Perdimos la final y seguían diciendo que volverían a venir alestadio. Son los mejores”. Un trofeo de Champions que Alexia “debe” a losculés y que es una de sus “prioridades en la vida ahora mismo”.

El abismo. Después de la final de la Champions perdida, Alexia iba a jugarla Eurocopa and Inglaterra. Todo se torcio. “Me he roto y tengo que dejar elfútbol”, escribía la jugadora a su madre. El mundo se le cayó encima, todo sevolvió negro. Un mal gesto tras una jugada de gol en un entreno a un día deempezar en julio la Euro. Enseguida supo lo que tenia. Asustada por el futuroy destrozada por la lesión, Putellas se confesaba con miedo sobre su rodilla:“Tenía miedo. Entraba una Alexia con una rodilla y salia con otra. Sentínostalgia al dejar ir a esa versión”.

La cara y cruz de la moneda. “Un día estás arriba del todo y el otro abajo”,aseguraba. Traumatizada, llegó a admitir que había hecho todo lo posible: “Lohe disfrutado y si no puedo volver a jugar, estoy en paz”. Con un proceso derecuperación y con más fuerzas que nunca reflexionó: “¿Te acuerdas cuando tedije que si no volvía iba a estar en paz? ¡Ni de coña!”.

Detras de las camaras. “Cuando se lesionó Alexia tuvimos un momento decrisis y reflexión rápida para recomponer todo”, confiesa Luis Calvo, directorde contenidos de You First. El equipo de producción no tenía previsto esefinal, ellos querían acabar por todo lo alto con la Eurocopa, pero la lesiónles cambió los planes. Tras romperse, en You First supieron que tenían queestar a su lado para apoyarla e intentar construir su vida con las nuevascircunstancias. Un cambio de guion imprevisto. “Hacer un documental no estabadentro de las prioridades de Alexia”, dice Calvo. Ya se ve en el transcurso delos tres episodios: Putellas solo tiene un foco y ese es el fútbol. Pero hubouna cosa que le hizo entrar de lleno con el proyecto: “Cuando entró en lasplataformas audiovisuales y vio que no había casi nada de fútbol femenino, sedio cuenta de que sí que valía la pena”.