Month: January 2023

The Ensors, the Flemish awards for film & TV, annually reward the highlightsof the big and small screen. Which Close and Zillion with fourteennominations each leading the list, it’s hard to call it a surprise. In thecinemas they have recorded good figures in the past period.

Both films are nominated for best picture, as well as for directing, leadingand supporting roles. It is already certain that none of those titles will winfourteen statuettes. Both Zillion if Close have several contenders in the(mixed) acting categories – since the last edition there are no separateawards for men and women.

For example, Jonas Vermeulen and Charlotte Timmers have been nominated fortheir leading role in Zillion , while Matteo Simoni and Barbara Sarafian arecontenders in the supporting actor category. The other supporting roles thathave a chance are all three out Close : Gustav De Waele, Emilie Dequenne andLéa Drucker. Eden Dambrine is a contender with his starring role in Close_next to Aboubakr Bensaihi ( _Rebel ) and Koen De Bouw ( Nowhere ).

No female filmmakers

The other nominees in the best picture category, besides Close and Zillion_to be _Rebel , Nowhere and Hazard. In the directing category it is alsobetween the gentlemen behind the same titles. The longlist already showed thatno female filmmaker has a chance. That is not a surprise, because no Flemishfilm with a female director was released last year. In 2022, three of the fivenominated filmmakers were women.

The Ensors also award TV fiction. Roomies the sensation of the year, leadswith eleven nominations. Chantal and Billy vs Benjamin got six each time.

The members of the Ensor Academy – now numbering 1700 – will be able to votefor their favorites in the coming weeks. The figurines are presented annuallyat the Gala of the Ensors, the event that closes the Ostend Film Festival onSaturday 4 February.

Last year there was commotion after all acting awards went to men at the firstedition with mixed acting categories. It is statistically unlikely that itwill turn out like this again this year: only in the leading role category forfilm more men than women have a chance.

Anouk who sings a song by André Hazes with Jeroen van Koningsbrugge andTyphoon who is on stage with Rowwen Hèze. They are not the collaborations youimmediately expect, but we have seen them on the stage of Vrienden van AmstelLIVE for 25 years. This year Anouk went into the studio with Emma Heesters forthe theme song of the concert series.

25 jaar geleden wist niemand nog dat Vrienden van Amstel LIVE zou uitgroeientot zo’n groot evenement. In 1998 begon het als De Heeren van Amstel , eentv-programma dat in verschillende kroegen werd opgenomen. In 1999 werd voorhet eerst een concert in de Rotterdamse Ahoy gegeven. Sindsdien is het eenjaarlijkse traditie waarbij de grootste namen uit de Nederlandsemuziekindustrie samenkomen voor een reeks concerten. Hierbij een greep uit desoms onverwachte samenwerkingen die hieruit voortkomen.

Anouk & Emma Heesters – Met Jou Kan Ik Het Aan

Anouk en Emma Heesters staan dit jaar samen op het podium van Vrienden vanAmstel LIVE en zingen daar het nummer Met Jou Kan Ik Het Aan. Anouk schreefhet nummer over vriendschap en zocht er nog een bijzondere stem bij. Die vondze in Heesters. “In de studio klikte het meteen met Emma. Ze werkt keihard, isniet snel tevreden en heeft echt een ongelofelijke stem die het nummer preciesbracht waar ik naar op zoek was”, vertelt de Haagse zangeres. Heesters: “Toenik door Anouk werd gebeld of ik zin had om samen de studio in te gaan, heb ikmezelf natuurlijk wel even in m’n arm geknepen. We kenden elkaar nog helemaalniet, maar er was meteen een klik.” De artieste omschrijft de plaat als een”heerlijke meezinger”.

Anouk & Jeroen van Koningsbrugge – Een Beetje Verliefd

Anouk wil niet al te vaak op het podium staan, maar dit jaar doet ze toch alvoor de vierde maal mee aan Vrienden van Amstel LIVE. De artieste, die af entoe een uitstapje naar Nederlandstalig maakt, betrad in 2019 het podium om hetAndré Hazes-nummer Een Beetje Verliefd te zingen. Dat deed ze niet alleen,maar samen met Jeroen van Koningsbrugge. Een opvallende keuze, al was het nietde eerste keer dat Anouk het nummer ten gehore bracht. In 2017 zong ze het aleens samen met Peter Beense tijdens Holland zingt Hazes.

Typhoon, Maan, Thomas Acda & Paul de Munnik – Als Ik Je Weer Zie

Het viertal Typhoon, Maan, Thomas Acda en Paul de Munnik reisde naar Amelandaf om daar samen het themalied te maken voor Vrienden van Amstel LIVE 2021.Die editie viel in het water door de coronacrisis, maar online ging de showwél door. Daar was Als Ik Je Weer Zie te horen. Het lied, het eerste nummerin zeven jaar waar Acda en De Munnik samen aan werkten, heeft op Spotifyinmiddels ruim 37 miljoen streams behaald en stond afgelopen editie op nummer763 in de Top 2000.

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Thomas Acda, Kraantje Pappie & Rolf Sanchez – Missing Zou

When I See You Again is not the only song that Thomas Acda wrote especiallyfor Vrienden van Amstel LIVE. The number appeared in 2022 Miss Zou withKraantje Pappie and Rolf Sanchez. That edition of the concert series was alsocanceled in January due to the corona crisis, but was overtaken in April. Acdaand his colleagues traveled to Los Angeles and San Francisco to make the song.Miss Zou is about everything we had to miss in times of corona. The song wasnot such a resounding success as its predecessor, but has now collected morethan 7.5 million streams on Spotify.

Rowwen Hèze & Typhoon – Limburg / Hourglass

Rowwen Hèze and Typhoon are two acts you wouldn’t expect to be on stagetogether anytime soon. The band from Limburg that scored hits in the ninetiesand the 38-year-old rapper from the Veluwe with Surinamese roots makecompletely different music. Nevertheless, they were on stage together in 2017.There they played a mix of Rowwen Hèze’s classic Limburg and _Hourglass,_one of Typhoon’s most famous songs.

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Jan Smit & Marcel Veenendaal – When The Morning Has Come

When the morning has come is a great Dutch sing-along that is well receivedby Friends of Amstel LIVE. The audience present in Ahoy in 2015 was treated toan unexpected version. Jan Smit sang the song together with DI-RECT singerMarcel Veenendaal. That did not mean that Smit’s biggest hit was given a rockjacket; Veenendaal mainly adapted to the style of the singer from Volendam.

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La complejidad reside en pasar por el punto de neutralización (km 209) enmenos de seis horas y media del inicio de la etapa, que en su caso será a las17.10h (hora local), dos menos en España. De no conseguirlo, la organizaciónconsideraría que Sanz no ha completado la jornada y, por lo tanto, no recibirála medalla de consecución en la meta de Dammam. A pesar del posible abandono,debido a un cambio normativo, sí que podría continuar en carrera y seguirapareciendo en la clasificación general –ahora, los participantes puedenreengancharse hasta dos días después de no haber completado una etapa–.

Sanz, experimentada dakariana, venía de firmar su mejor resultado de etapa acuatro ruedas en su segunda temporada disputando el rally en coches. En lacuarta etapa, con inicio y meta en Ha’il, terminó en 20ª posición a 45m09s delganador, el francés Sébastien Loeb (BRX). La piloto de Corbera de Llobregatperdió todas sus opciones en la clasificación general, donde se había marcadoel objetivo de quedar entre los 15 primeros, después de sufrir una jornada decalamidades en la segunda especial, que fue una verdadera escabechina para ungran número de vehicles. Allí perdió más de ocho horas en meta y llegódescorazonada y agotada a su autocaravana.

Casi no pudo evitar las lágrimas mientras comía unos macarrones recalentados yse lamentaba de la mala suerte acumulada. “Nos ha pasado de todo, llegamos air octavos”, explicaba a EL PAÍS cuando se acercaba la medianoche. Unespárrago roto les acabó de fastidiar una jornada en la que les ocurrió detodo. Tuvieron un pinchazo en el km 20, el coche no respondía cuando ella dabagas e iba a trompicones por un fallo eléctrico en los tramos lentos y, cuandose veían entre los diez mejores, la rotura les hundió. La avería provocó quetuvieran que esperar varias horas para ser asistidos (era una de las pocaspiezas que no llevaban encima) y, resignados, ella y su copiloto hicieron unahoguera para pasar el mal trago.

The American band The Black Eyed Peas has caused a stir by wearing rainbowbracelets during a New Year’s show in Poland. Several Polish politiciansexpressed their dissatisfaction online on the evening itself and in thefollowing days after the New Year’s show, which was broadcast on the Polishstate channel TVP2 and was watched by some 8.3 million people.

The Black Eyed Peas was the headliner of the _new year ‘s of dream_show, asthe New Year’s Eve show was called. The group walked onto the stage wearingthe rainbow bracelets. Then singer will.i.am thanked the Poles for their “openhearts and minds” for taking in Ukrainian women and children after the Russianinvasion of Ukraine. He wore the number _Where ‘s the love? _to “those whoexperience hatred all year round,” referring to the Jewish community, peopleof African descent and the LGBTI community.

Justice Minister Zbigniew Ziobro later tweeted: “Violence, destroying churchesand spitting on and corrupting our children… the LGBTI flag is a symbol ofintolerance and aggression.” The Deputy Minister of Justice, Marcin Warchol,among others, also reacted appalled on Twitter. LGBT promotion on TVP2.Shame!’, he wrote.

Love

The singer will.i.am shared Warchol’s tweet, writing “#Where’s the love???”referring to their song Where ‘s the love?. “Unity, tolerance,understanding, unity, respect, diversity and inclusion…THAT IS LOVE…people arepeople and we should all learn to honor and love all the different kinds ofpeople on Earth.”

will.i.am > @iamwill >

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Warchol then asked will.i.am on Twitter why the band had performed incountries with an even worse LGBTI reputation than Poland, such as Qatar andSaudi Arabia. He accused the group of putting his principles aside for themoney. will.i.am replied that it is better to play in these countries andconvince people to be more tolerant towards each other than to boycott thesecountries. ‘We are the Black Eyed Peas. That is PEAS, or you can say the BlackEyed Peace, or PEACE, because we are about peace, equality and harmony.’

Also listen to the AD Media Podcast below or subscribe via Spotify or iTunes.Find all our podcasts on ad.nl/podcasts.

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As soon as musicians touch an instrument, the dead object suddenly turns outto be a living being. They whisper to it in their heads and it answers. Thefamous pianist Vladimir Horowitz often called out to his grand piano: “Thensing. Sing!” Long marriages develop between string players and their violins,cellos and double basses. The traveling pianist, on the other hand, has adifferent sweetheart in every city. And Kristian Bezuidenhout (43) will evenhave to divide his attention next Monday between a trio in the Concertgebouw’sGreat Pianists series.

He introduces the audience to three classical beauties: fortepianos from thefirst half of the nineteenth century, forerunners of the modern grand piano.They all have a distinct character. The eldest is the somewhat irritableLagrassa, “an inappropriate uncle or aunt who usually says the wrong thing atparties,” says Bezuidenhout. “Experience your mastery to the limit.”

Opposite her is Graf, ten years her junior, warm, generous, gentle, listeningto what you ask. “No wonder a composer like Schubert saw this grand piano asessential to the expression of his imagination, which is tender and singing.”And finally – another generation later – there is an Erard, proud andexpressive. “Where De Graf opens her arms and invites people into her intimatecircle of warmth, Erard presents herself as a player of a large audience, shescatters her notes into the room.”

Far from the Vienna of Mozart, Beethoven and Schubert, and the Leipzig ofClara Schumann and Felix Mendelssohn – composers he interprets on Monday –Kristian Bezuidenhout was born in the late 1970s in the South African miningtown of Dundee. His parents were entrepreneurs who loved classical music andbelieved that piano lessons were part of a broad upbringing. “My grandmothermight have been able to become a pianist,” he says, “but she left Germany forAngola to become a governess.”

Around the age of nine, the Bezuidenhouts left Apartheid-torn South Africa andemigrated to Brisbane, Australia. At school he was able to resume his pianolessons. “My parents never gave me the feeling that they had in mind a futureas a concert pianist. I know quite a few colleagues who did. And that leavesits mark.”

And then, a year later, he saw the feature film Amadeus , about the life ofMozart. “Nothing had ever allowed me to experience such a deep love formusic,” he says. “The indescribable beauty of all those shreds of Mozart andits wonderful eloquence. That music anchored itself deep in me.”

The first months it was difficult to get a nice sound out of it at all.

Another two years later, record label Philips commemorated Mozart’s twohundredth anniversary with a complete CD edition of all his work. Collectingthem grew into an obsession. Then, for the first time, he heard a fortepianoplayed by his later teacher Malcolm Bilson.

“The instrument seemed a bit thin and boring to me at first, because my earswere used to the full and powerful singing voice of the Steinway. But I wascaptivated by the orchestral sound, the palette of beautiful colors thatconductor John Eliot Gardiner managed to elicit from his agile musicians. Iwanted this too, and with these people.”

Discouraging

Through a summer course in the US, he ended up at the Eastman School of Music,where he focused on the harpsichord, and then on the fortepiano. “Sometimes Iwanted to give up because it was so daunting. The first months it was alreadyheavy enough to get a nice sound out of it at all. And then I hadn’t eventried Beethoven on it.”

But Bezuidenhout persevered. “There was the rock-solid belief that thefortepiano was the instrument into which I could throw my heart and soul. Andwhere to find the real Mozart. You need to develop a deep understanding ofthese tools. They are so demanding. The 1780 Mozart fortepiano is merciless,it takes no prisoners. It exposes all your weaknesses. For the best soundyou have to be in control and relaxed at the same time.”

As a teenager he was mainly drawn to virtuosity, nowadays it is theandrogynous slow movements that Bezuidenhout loves. “In those places, acomposer gives you a glimpse into his heart. Mozart and Schubert are mastersat it. That longing or sadness that is in each of us, without us knowingexactly what it is. Both composers struggled with feelings of alienation fromsociety. They can let self-consciousness reign on the surface in one piece,while at the same time you hear the undercurrent of doubt.”

Kristian Bezuidenhout plays Mozart, Beethoven, Schubert, Clara Schumann andMendelssohn on three fortepianos in the series Great Pianists, on 9/1 in theConcertgebouw Amsterdam.

‘Many therapy sessions,’ answers actress Nandi van Beurden, when asked whatthe TV program is Seeking… brought her. She won the show last year and thussecured the lead role in the musical The sound of music. In the firstepisode of the new season, which started December 23, Van Beurden is a guest.Her answer is a joke, but auditioning for weeks in front of thousands of TVviewers and a studio audience of another 700 must be unnerving.

In the sixth season of Seeking… broadcaster AvroTros lets the viewer choosewho the love couple is from grease , Danny and Sandy, will play in a newproduction by Senf Theater Productions and Albert Verlinde Entertainment.Eight candidates have been selected for each role, mostly young talent who hasjust graduated from theater training or who has played a single professionalrole. In live shows, the potential Dannys perform one week, all the Sandys thenext. The viewer can vote his favourite(s) to the next round.

Since the huge success of singing competition Idols in 2002 talent shows,where viewers can vote for their favorite candidate, have a permanent place inthe TV offer. It usually revolves around singing talent; not for performerswho can also dance and act – qualities that are necessary to play a role likeDanny Zuko or Sandy Olsson.

Programs in which this kind of all-round theater talent can be seen arescarce, but around 2006 there was a boom thanks to the BBC hit How do yousolve a problem like Maria? This searched for the British Nandi van Beurden,performed by comedian Graham Norton and with musical maker Andrew Lloyd Webberon the jury.

Dutch broadcasters were eager to make such a program. SBS6 was the first tosend the one-off Who will be Tarzan? from. In 2007 RTL4 followed with TheRoad to Fame , but it was the NPO that won the BBC format in that year. Thisbecame Seeking… with AvroTros looking for a protagonist for a differentmusical each time.

Since musical auditions have been broadcast, there has been criticism from aprofessional angle: the power of the viewer is said to be too great and doesnot lead to the ‘right’ protagonist. It was one thing to be a crowd pleaser,or so the thought was, but can someone – night after night, month after month– carry a show? In the end, a vote mainly says something about the favorfactor, not about artistic achievements. The crowd favorite might as well be astruggling underdog.

corrective role

In line with this line of thinking, in previous seasons the jury had from_Seeking… another corrective role. The public voted their favorites throughto the next round, but the two least popular candidates ended up in one _singoff to sing one last duet. After this, the jury chose the candidate, whostill continued. In theory, this meant that she could take a contestant thatthe audience didn’t like, to the final. (The choice between the finalists wasentirely in the hands of the public.)

The current jury – consisting of (musical) actors Jim Bakkum and MarlijnWeerdenburg, theater and television producer Maurice Wijnen and a weeklychanging member – no longer has this power. Now the viewer also determines whothe sing off wins. The jury only has an advisory role, admits executiveproducer Jasper Geel, “as far as the audience is guided”.

That the viewer does not care much about experts is evident from the votingbehavior in previous seasons: the jury’s preference regularly deviated fromthe ultimate winner. This was also reflected in the results of the firstepisode of this season. Viewers spared the candidate the jury was mostcritical of (the relatively inexperienced Wendela van Sprundel) the singoff.

According to AvroTros, the broadcaster wants to create “optimal involvement”with the public with the modified format. The broadcaster lets the tension inthe sing off therefore increase considerably. There will be many viewers whofeel so involved that they – after a one-time free vote per voting round viathe broadcasting site – turn to the paid SMS service, which allows unlimitedvoting.

For winners can Seeking… ‘ mean a big move for their careers

‘Fingers crossed’

It’s not easy for talent show winners to stay in the spotlight when the hypedies down after the last episode. According to presenter Frits Sissing, thatis Seeking… otherwise. “It’s great to hear that all our winners and winnersare permanently on that podium,” he exults against Van Beurden in the firstbroadcast. She responds reluctantly: “Well, it is every time fingers crossed, hear.” Nevertheless, the program indeed appears to be a better springboardthan many other talent shows. If you look at the winners of previous editions,you often see flourishing (musical) careers.

Brigitte Heitzer was the first winner of in 2007 Seeking… She became Evitain the musical of the same name. A year later Freek Bartels got the lead role_Joseph and the amazing technicolor dreamcoat_. After their participation,both actors have become established names in the musical field. Each year theyplay (leading) roles in one or more productions, as recently as both Diana &sons. This year, Bartels is on stage Les miserables ; Heitzer plays thelead role Mamma mia!

In 2009, Noortje Herlaar became Mary Poppins, a role that earned her a MusicalAward for up-and-coming talent. A varied career followed with various roles inmusicals, plays, TV series and films. In 2020, she played another prominentrole in the award-winning Bowie musical Lazarus.

The next winner, Tommie Christiaan, got the lead role Zorro the least knowntitle from the Seeking …_row. The musical was not very well received by theDutch press, but critics did find that the protagonist was “well worth hisprofit” ( _de Volkskrant ) and “largely fulfills his victory” ( NRC ).Nevertheless, Tommie Christiaan has recently made his appearance in othertalent shows, such as The Voice and Dancing on ice.

Not happy

For winners can participate in Seeking… a big boost for their careers. Tosome extent, this even applies to ‘losing’ candidates. Those who stand out putthemselves in the spotlight of a large audience and producers like to castfamiliar faces to boost ticket sales.

On the other hand, candidates must make concessions. For example, they do notdecide for themselves which songs they sing. That is what producer WarnerBros. does, in consultation with singing coach Esther Pierweijer and musicaldirector Mike Schäperclaus. The AvroTros gives its approval. “A candidate issometimes not happy with a number,” says executive producer Geel. “We don’twant to undermine anyone, but we are dealing with a program.” Each episodemust consist of a varied repertoire, so that a wide audience is addressed.Candidates therefore alternately receive a ballad or an up-tempo song; Dutchor other language; a pop or musical number; with or without choreography.

AvroTros cares Seeking… so for engaged viewers and for candidates, it’s anopportunity to kickstart their careers. But what about the musical lover onthe other side of the screen? So far, he has little to complain about either.The level of the participants is generally high. The current edition includesSandy’s that have already been nominated for a Musical Award as up-and-comingtalent (Danique Graanoogst) or even won the award (Dominique de Bont). Inaddition, the performers hold their own in the live broadcasts. The nerves_sing offs_ sometimes cause outliers, but so far the program has not producedany disappointing winners. It will be interesting to see if this continues nowthat the role of the jury has been curtailed.

Seeking… can be seen every Friday at 8.30 pm on NPO 1. The musical ‘Grease’will tour theaters in the Netherlands from April 2023, with the chosenprotagonists. More info: greasemusical.nl

As a TV producer, why not take even the slightest effort to make yourbroadcast something more than background wallpaper in the form of a televisionprogram? That question came to mind when watching The best of the 90 ‘s fromAVROTROS. It seemed like such an open target. Escapism and nostalgia are verywelcome, so before Nieuwsuur starts a little chat about Spice Girls, Furby’sand semolina pudding: please! But even with feather-light entertainment,minimal effort must be made.

The first episode consisted of edited images of random celebrities watchingclips of nineties clichés. Each speaker said no more than two sentences at atime, resulting in a succession of repetitive stanzas: “Girlpower, yes.” “Theintroduction of girl power, but really.” “Mel C, she is really number 1 withme.” “I really liked Sporty Spice.” “Yes no I thought Ginger was definitelythe coolest.” Mel B? I liked looking.” “Ginger Spice, I thought he was themost beautiful.” And everything that the viewer himself saw was retold. Aftera scene of Paul de Leeuw shooting a firecracker in a turkey, someone came intothe picture who said: “Yes, that turkey, a firecracker in it and just boom.”

Lazy and loveless. The pinnacle of sad irony came when the celebrities longedaloud for television programs that were memorable: “Those programs weresomething we all talked about or something, that was special.”

Later in the evening, such a fragment came along that will long echo in theminds of the viewers. For the last Winter guests Femke van der Laaninterviewed retired brain surgeon Henry Marsh at his home in London. In one ofhis selected fragments, he himself was seen years earlier in an understaffedhospital in Ukraine. A woman shows him the brain scans of her grandchild inthe consulting room. After studying, Marsh icily sighs matter-of-factly thatthere’s nothing they can do but wait for the child to die. Another doctortranslates and tears well up in the shocked woman’s eyes. “Life can be verycruel,” agrees Marsh mechanically. “Thank you,” she replies. “Thank you verymuch, I’m sorry I bothered you.” The whole thing takes a few minutes.

A neurosurgeon, Marsh explained apologetically to Van der Laan, has theseconversations almost every week. “And the difficult thing is that you don’tget feedback from patients on how you are doing.” He hoped he had gottenbetter at it.

It is addictive, performing risky operations. But to be able to do it, youhave to be detached from the patient as a human being during an intervention.And therein lies the danger of becoming numb. A doctor has unprecedented powerover a patient. “All power corrupts and absolute power corrupts absolutely.”When he got cancer himself, and returned to the hospital as a patient, helaughed at the role reversal. “Oh how the mighty have fallen!”

His (self-critical) insights into the surgeon’s life continued to fascinatethroughout the broadcast. He left the profession “with the passionateconviction that you should see an operation as a group activity.” And afterall, it hadn’t been mere vanity that motivated him. “What gives our workmeaning,” concluded Marsh, “is the lives of our patients.”

It was a beautiful end to a successful one Winter guests series. One pointto consider for next time: it is such a pity that only people who speak (good)English are eligible as guests. What a world would open up if we heard peoplein Portuguese, Arabic, Korean, Serbian. Then, if necessary, only once withless well-known interviewers.

Where a juice channel claimed last month that Aaron Taylor-Johnson will be thenext James Bond, British tabloids have already prepared the next allegedcandidate for you: Lucien Laviscount.

Daniel Craig has his next mega franchise after almost fifteen years as JamesBond with Knives Out. the second movie, Glass Onions , was recently releasedon Netflix and immediately became a hit. A hit for which Craig is paidconsiderably more than for James Bond.

Who will be the next James Bond?

In front of No Time to Die the 54-year-old actor reportedly collected $ 25million. He earns $50 million per film for his performances as the detectiveBenoit Blanc. Not wrong!

Yet the British actor cannot completely escape his past as 007. During thepromotion round for Glass Onions Craig was still continuously asked aboutJames Bond. It’s a catch that’s too popular for interviewers to ignore.However, the actor emphasized to Happy Sad Confused that he is not concernedwith the big issue of the moment: who will be his successor, who will be thenext James Bond?

Rightly so. Still, especially the British media can’t stop talking about it,and betting shops have been making money since announcing No Time to Die afortune to the issue. We’ve already seen many candidates pass by, from IdrisElba to Tom Hiddleston.

Aaron-Taylor Johnson as the favorite

The big favorite at the moment is Aaron Taylor-Johnson. At 32, the Britishactor is the perfect candidate, especially if you list the requirements thatthe producers behind the Bond films have mentioned during interviews.

In fact, a popular juice outlet recently claimed that Taylor-Johnson hasalready auditioned, and that producer Barbara Broccoli is so impressed thathe’s most likely going to replace Daniel Craig.

AaronTaylor-Johnson (right) in Bullet Train (Image: Sony Pictures)

Emily in Paris star in the race

Is the battle already over? For now, it’s just rumours. As long as Broccoliand co. have not announced the new James Bond, the rumor mill will continue torun at full speed. At the beginning of this week, the next alleged candidatepresented himself: Lucien Laviscount.

You may know the 30-year-old star from Emily Paris , the mega-popular seriesfrom Netflix. A source from the British tabloid The Mail On Sunday claims that”Lucien ticks all the boxes”, and that Bond producer Barbara Broccoli is”delighted” with the actor.

“He is a super talented actor, extremely handsome and has gained a lot of newfans in the last 18 months Emily In Paris ,” said the tabloid source. “Bondbosses are already saying you can totally picture him in the 007 tuxedo, howneat and well he would fit the role.”

Lucien Laviscount (right) in Emily in Paris(Image: Netflix)

Big Brother as a pain point

According to the same source, however, there is one piece of LucienLaviscount’s CV that the producers have difficulty with: “There is a stickingpoint, and that is Big Brother. Lucien appeared on the show at a time whenhis career was not going as smoothly as it is now.”

It is not really clear in the article why this is such a big drawback.Immediately afterwards, the tabloid emphasizes that the 30-year-old actortherefore also has a large fan base that spans generations, “which is a dreamfor Barbara.”

Should we take this news seriously?

You don’t have to read British newspapers every day to know that tabloidsdon’t exactly have the best reputation there. The tabloid press goes extremelyfar there, with all its consequences, and journalistic values ​​and processesare safely ignored in order to score. Add to that a big subject like thesuccession of Daniel Craig, and you have a pressure cooker in which a lot ofempty rumors and other nonsense are cooked.

Is there any chance that Aaron Taylor-Johnson and Lucien Laviscount areactually the two leading candidates of the moment? Sure. Only we will onlyfind out when the producers behind James Bond officially announce the winner.

Until then, it will be just rumours, rumors that there is a good chance thatthey are not based on anything. Take this news, and the many rumors that willundoubtedly come, with a healthy grain of salt. To the looks of Laviscountit will in any case not lie:

La Copa mola, dicen los marketinians de la Federation. Ya va siendo hora deque no haya dudas sobre una competición única y más en el formato fetén, eltodo o nada que es su esencia, esa que puso a la par al histórico y grandísimoBarcelona con el novel Intercity, un equipo de la tercera categoría del fútbolespañol con seis años de trayectoria y una afición que no acaba de nacer, quequizás ya esté en gestación después de epopeyas como la vivida en el vetustoRico Pérez, un campo de prestado para quienes ejercían de locales. Tres vecesse adelantó el Barcelona, ​​tres le empató el Intercity, indomable cuando fuevaliente, derrotado al fin (3-4) por un oportunista. El aguardado Ansu Fativolvió a aparecer en un momento decisivo, en la prórroga, para sacar al Barçade un apretón.

3

Gaizka Campos, Vadik, Guillem Jaime (Nsue, min. 82), Gálvez (C. Herrera, min.45), Falzon (F. Angong, min. 93), Cristo Romero, Pol Roigé (Christian Koffi,min. 64) , Miguel Mari, Martín Bellotti, O. Soldevila y Aaron Piñan (Xemi,min. 67)

4

Iñaki Peña, Koundé, Alba, Ronald Araújo (Eric Garcia, min. 60), HéctorBellerin (Marcos Alonso, min. 82), Kessié Franck, Busquets, Pablo Torre (Gavi,min. 60), Depay (Ansu Fati, min. 74), Ousmane Dembélé (Alex Balde, min. 105) yFerrán Torres (Raphinha, min. 60)

Goles 0-1 min 3: Ronald Araujo. 1-1 min. 59: O. Soldevila. 1-2 min 66:Ousmane Dembele. 2-2 min. 73: O. Soldevila. 2-3 min 76: Raphinha. 3-3 min. 85:O. Soldevila. 3-4 min 103: Ansu Fati.

Arbitro Valentin Pizarro Gomez

Tarjetas amarillas Pablo Torre (min. 49)

La Copa triunfa porque se sale de la pauta y ofrece inesperados relatos comoel de Oriol Soldevila, un joven socio del Barcelona que se forjó en el viverodel Cornellá y jugó dos campañas en el juvenil azulgrana antes de emigrar alsegundo equipo del Birmingham con la carta de libertad bajo el brazo. Esteverano aceptó una oferta del Intercity para crecer desde Primera RFEF conapenas 21 años. Ni en sus mejores sueños podría imaginar que tres goles alBarcelona iban a ponerle en todo tipo de radares.

Todo fue inesperado en una noche alicantina que abona la épica copera. ElBarcelona hizo lo que parecía aconsejable para no desgastar el sistemanervioso de sus futbolistas: marcó de inicio y pareció tomar distanciarespecto a las urgencias. No fue así. Nada cambió ese gol tempranero respectoal plan de uno y otro equipo, pero sí que matizó las necesidades, sobre todolas del Barcelona, ​​que se adocenó. Para el Intercity la derrota mínimasuponía un contratiempo, pero no dejó de esforzarse para seguir en el partidoy esperar su momento, que llegó.

Anouk who sings a song by André Hazes with Jeroen van Koningsbrugge andTyphoon who is on stage with Rowwen Hèze. They are not the collaborations youimmediately expect, but we have seen them on the stage of Vrienden van AmstelLIVE for 25 years. This year Anouk went into the studio with Emma Heesters forthe theme song of the concert series.

25 jaar geleden wist niemand nog dat Vrienden van Amstel LIVE zou uitgroeientot zo’n groot evenement. In 1998 begon het als De Heeren van Amstel , eentv-programma dat in verschillende kroegen werd opgenomen. In 1999 werd voorhet eerst een concert in de Rotterdamse Ahoy gegeven. Sindsdien is het eenjaarlijkse traditie waarbij de grootste namen uit de Nederlandsemuziekindustrie samenkomen voor een reeks concerten. Hierbij een greep uit desoms onverwachte samenwerkingen die hieruit voortkomen.

Anouk & Emma Heesters – Met Jou Kan Ik Het Aan

Anouk en Emma Heesters staan dit jaar samen op het podium van Vrienden vanAmstel LIVE en zingen daar het nummer Met Jou Kan Ik Het Aan. Anouk schreefhet nummer over vriendschap en zocht er nog een bijzondere stem bij. Die vondze in Heesters. “In de studio klikte het meteen met Emma. Ze werkt keihard, isniet snel tevreden en heeft echt een ongelofelijke stem die het nummer preciesbracht waar ik naar op zoek was”, vertelt de Haagse zangeres. Heesters: “Toenik door Anouk werd gebeld of ik zin had om samen de studio in te gaan, heb ikmezelf natuurlijk wel even in m’n arm geknepen. We kenden elkaar nog helemaalniet, maar er was meteen een klik.” De artieste omschrijft de plaat als een”heerlijke meezinger”.

Anouk & Jeroen van Koningsbrugge – Een Beetje Verliefd

Anouk wil niet al te vaak op het podium staan, maar dit jaar doet ze toch alvoor de vierde maal mee aan Vrienden van Amstel LIVE. De artieste, die af entoe een uitstapje naar Nederlandstalig maakt, betrad in 2019 het podium om hetAndré Hazes-nummer Een Beetje Verliefd te zingen. Dat deed ze niet alleen,maar samen met Jeroen van Koningsbrugge. Een opvallende keuze, al was het nietde eerste keer dat Anouk het nummer ten gehore bracht. In 2017 zong ze het aleens samen met Peter Beense tijdens Holland zingt Hazes.

Typhoon, Maan, Thomas Acda & Paul de Munnik – Als Ik Je Weer Zie

Het viertal Typhoon, Maan, Thomas Acda en Paul de Munnik reisde naar Amelandaf om daar samen het themalied te maken voor Vrienden van Amstel LIVE 2021.Die editie viel in het water door de coronacrisis, maar online ging de showwél door. Daar was Als Ik Je Weer Zie te horen. Het lied, het eerste nummerin zeven jaar waar Acda en De Munnik samen aan werkten, heeft op Spotifyinmiddels ruim 37 miljoen streams behaald en stond afgelopen editie op nummer763 in de Top 2000.

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Thomas Acda, Kraantje Pappie & Rolf Sanchez – Missing Zou

When I See You Again is not the only song that Thomas Acda wrote especiallyfor Vrienden van Amstel LIVE. The number appeared in 2022 Miss Zou withKraantje Pappie and Rolf Sanchez. That edition of the concert series was alsocanceled in January due to the corona crisis, but was overtaken in April. Acdaand his colleagues traveled to Los Angeles and San Francisco to make the song.Miss Zou is about everything we had to miss in times of corona. The song wasnot such a resounding success as its predecessor, but has now collected morethan 7.5 million streams on Spotify.

Rowwen Hèze & Typhoon – Limburg / Hourglass

Rowwen Hèze and Typhoon are two acts you wouldn’t expect to be on stagetogether anytime soon. The band from Limburg that scored hits in the ninetiesand the 38-year-old rapper from the Achterhoek with Surinamese roots makecompletely different music. Nevertheless, they were on stage together in 2017.There they played a mix of Rowwen Hèze’s classic Limburg and _Hourglass,_one of Typhoon’s most famous songs.

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Jan Smit & Marcel Veenendaal – When The Morning Has Come

When the morning has come is a great Dutch sing-along that is well receivedby Friends of Amstel LIVE. The audience present in Ahoy in 2015 was treated toan unexpected version. Jan Smit sang the song together with DI-RECT singerMarcel Veenendaal. That did not mean that Smit’s biggest hit was given a rockjacket; Veenendaal mainly adapted to the style of the singer from Volendam.

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