Author: bestmedeal

After a hiatus in releasing new episodes of Archetypes following the deathof Queen Elizabeth on Sept. 8, Spotify dropped the latest edition of theDuchess of Sussex’s podcast on Tuesday.

Margaret Cho and Lisa Ling joined Meghan to break down the trope of the”Dragon Lady.” The duchess opened the episode by recalling the diversity ofcultures she was exposed to while growing up in Los Angeles, explaining that”the multitude of Asian cultures was a huge part of that,” from exploringLittle Tokyo on the weekends to relaxing at the Korean spa with her mother,Doria Ragland.

However, Meghan admitted that she wasn’t aware of the prejudiced stigmas manyAsian women are forced to navigate until years later, pointing to theproblematic portrayals often seen on the silver screen.

“Movies like Austin Powers and Kill Bill — they presented thesecaricatures of women of Asian descent as oversexualized or aggressive,” shesaid, noting that the classic films were just two of “many” examples.

“This toxic stereotyping of women of Asian descent… this doesn’t just end oncethe credits roll,” she continued.

RELATED: Royal Family Debuts New Website Changes After Queen Elizabeth ‘sMourning Period Ends

Margaret Cho and Lisa Ling

Getty (2) Margaret Cho; Lisa Ling

Welcoming Cho to break down the “dragon lady” trope, the 53-year-old actress,activist and comedian said the archetype stems from the “fantasy ofOrientalism.”

“It’s similar to the femme fatale… a woman who is beautiful and deadly.Because we can’t just be beautiful. We have to have, like it has to come at acost and it’s kind of like, evil queen adjacent. But it’s also so pinned tothis idea that Asianness is an inherent threat. That our foreignness issomehow ‘gonna getcha,'” Cho said. “The mystery and the exoticism of it ispart of it. And unfortunately, that trope has really stuck to film, but alsoto Asian-American women or Asian women.”

Story continues

For more on Meghan Markle, listen below to our daily podcast PEOPLE EveryDay.

Reflecting on her childhood in San Francisco, the Fire Island star said shewas “raised” by TV and movies, but felt frustrated with the lack of Asianrepresentation.

“I never saw Asian people in them, and so I never felt visible. I never feltseen anywhere. And then later, I guess, I started to go into silent films, andI started to realize, ‘Oh, this is actually like an archetype, this archetypeof the Dragon Lady,’ ” she said of her experience watching early Asian-American movie stars like Anna May Wong.

Ling, 49, also spoke to the lack of representation she saw on the smallscreen, revealing that it was a driving force for her to go into journalism.

“To be honest with you, the reason why I pursued broadcast journalism at allwas because growing up, it’s the only path that I thought was available to me.I was someone who grew up in a broken home,” the CNN host shared. “My parentswere divorced when I was 7, and the television was always on in my home. Itwas like my favorite babysitter. And I used to have these fantasies of beingpart of it somehow, because I thought, if I can get on TV, maybe I will have abetter life one day. But no one looked remotely like me on TV, except forConnie Chung.”

“She still is just the symbol of elegance and intelligence and, and grace. Andshe really allowed me to know what was possible,” Ling added. “She was theonly Asian person on a national stage. And so I thought that this would be myonly pathway.”

Breaking tradition with episodes past, Archetypes ‘ next guest was notrevealed.

RELATED: Meghan Markle and Prince Harry Hold Hands in Behind-the-ScenesPhotos from UK Visit

The mourning period for Queen Elizabeth’s family extended until one week afterthe late monarch’s funeral, which took place on Sept. 19. Since then, membersof the royal family have returned to carrying out normal duties.

Three episodes of Archetypes were released before the monarch’s death, withMeghan welcoming guests Serena Williams, Mariah Carey and Mindy Kaling todebunk stereotypes about women. But Spotify confirmed the delay in newepisodes by updating the podcast’s “About” section to read: “New episodes ofArchetypes will be paused during the official mourning period for Her MajestyThe Queen Elizabeth II.”

Last week, Spotify made another adjustment to announce the return date,writing: “Regularly scheduled episodes will resume Tuesday, October 4.”

Two days after the first episode dropped, Archetypes became the number onepodcast in the United States, United Kingdom, Ireland, Australia, New Zealandand Canada on Spotify’s international charts.

Catherine, Princess of Wales, Prince Harry, Duke of Sussex and Meghan, Duchessof Sussex and Peter Phillips arrive at the Palace of Westminster after theprocession for the Lying-in State of Queen Elizabeth II on September 14, 2022in London, England.

_Phil Noble – WPA Pool/Getty _ Prince Harry and Meghan Markle

**Can ‘t get enough of _PEOPLE ‘ s Royals coverage? Sign up for our freeRoyals newsletter to get the latest updates on Kate Middleton, Meghan Markleand more!_ **

Mike Tindall, who is married to Queen Elizabeth’s granddaughter Zara, alsohosts a podcast. In the first new episode of __The Good, The Bad & The Rugby__following the monarch’s death, he admitted that he had “regrets.”

“I also have loads of regrets about not asking her so many more things,” Mikesaid, recalling “having nervousness when you get that lucky seat of being satnext to her.”

“What would you ask her now if you could?” co-host Alex Payne asked.

“Just going back through history and everything she’s possibly seen — 15 primeministers, I don’t know how many presidents. To go through everything,” Mikereflected. Alluding to the incredible pressure of the royal role, which theQueen performed for 70 years, he added, “When she’s meeting dictators, she hasto stay neutral, she has to perform her duty.”

In my early childhood I could regularly be found in the cowsheds of Flemishrelatives. So I don’t look up at an arm that completely disappears into a cowderrière to check a uterus. Or calves that were held in a headlock to nipbudding horns in the bud.

While I’ve mostly left meat out in recent years, including at familygatherings, I’ve never considered veganism, which also involves avoiding dairyproducts. Just living as a cow to be slaughtered, isn’t that different fromliving to produce milk?

But is that really so? In her new movie cow director Andrea Arnold managesto make you feel like a cow for an hour and a half. Or for those who are lesssensitive to the immersive film techniques that are used; reminding you thatas a human you have much in common with the ruminating behemoth who may havefilled the carton of milk in your refrigerator. A confrontational experience,because it is not that much fun: being separated from your mother immediately,being pregnant non-stop to serve your owner and ending up with udders thattake on such gigantic proportions that you can barely stand on your feet.

Arnold, known for acclaimed feature films such as Fish Tank and AmericanHoney , followed the black and white dairy cow Luma on a British dairy farmfor four years. Not from a distance, but via a handheld camera that sits atopLuma’s mottled fur, capturing the look in her large black eyes or zooming inon what she may be seeing between her white lashes.

People around Luma are reduced to soothing background figures or hands. Facesare often missing from the figures who incessantly vaccinate, check or connectLuma’s body to milking machines. As a result, images that you may have seendozens of times before – in (cartoon) films that idealize rural life or inyour youth – suddenly acquire something alienating and radical.

Arnold stimulates identification purely through observation and professionalassembly. Without a voice-over explaining that cows have quite a complexemotional life, you start projecting as a viewer and discern parallels. Thisis how it starts cow smart with childbirth, a moment when human instinctsalso take over from ratio.

Only recognizable intuitive reactions are taken away from Luma. When she hascalved, she can briefly lick her young clean after which she is immediatelydirected towards the milking machines, the umbilical cord still danglingagainst her hind legs. Her calf is bottle-fed. If mother and child arepermanently separated not much later, it is difficult to interpret Luma’sbellowing as anything other than maternal despair.

Arnold goes a long way in portraying – or is it suggesting? – of parallels. Sofar that you sometimes doubt what you’re looking at. After all, Luma fitsseamlessly between the characters in Arnold’s feature film oeuvre; youngmothers and headstrong women who stubbornly hold their own in hopelesssituations full of casually transgressive behaviour. For example, shortlyafter she is separated from her young, we see Luma hanging apathetically abovea feeder. Is this convenient montage or mourning? Projection of the filmmakeror the viewer? Or pure registration? And does it matter? Broken heart syndromewas diagnosed earlier in animals than in humans. Just like in Arnold’s featurefilms, it is not all doom and gloom, we also see Luma and her offspringfrolicking in a meadow.

Also read an interview with Andrea Arnold about ‘Cow’: ‘ Look at a cow as asentient living creature’

Luma isn’t the only farm animal recently elevated to an individual andgarnering attention as a movie star. Not illogical, now that the way and scalein which agriculture and livestock farming is done are under a magnifyingglass. Last year there was Victor Kossakovski’s gunda , in which we follow asow after farrowing a litter. In Cannes went in May EO premiere, whichfollows the trials of a donkey, a tribute to Robert Bresson’s classic AuHasard Baltazar. Closer to home was family film last weekend grunt the bigwinner during the presentation of the Golden Calves. An animation film, butone in which the character of a piglet becomes clear through his behavior andexpressions, not because a human provides him with a voice or voice-over.

Compared to some of the above movies, it seems cow relatively mild forlivestock farmers. Although those could also be projections from theundersigned, who in the past was not very sentimental about cows andbenevolent towards farmers. Farmers are not evil with Arnold; rather, they arecreatures that are quite friendly and seemingly perform their duties onautopilot. Just like Luma, we see them continuously at work, holidays or not.We don’t hear their considerations and reservations, so they don’t seem tohave them either. That fits perfectly with Arnold’s feature film oeuvre, wherepeople do terrible things to each other but never seem purely evil.

It makes cow one of the most interesting films about animal husbandry ofrecent times. One that doesn’t point the finger or feel like too simplistic apamphlet for veganism. But who, through astonishment and inversion, makes asincere attempt to address the absurdity of our current dealings with animals.

Anyone buying a new TV can quickly get caught up in spreadsheets full ofblurry specs and other factors to watch out for. We have therefore asked ourexperts to do this for us, in order to select the best television of themoment.

This is a shortened version of a overview with the best televisions onBestTested.

The best TV of the moment: LG oled55C25LB

C2. © LG

Advantages: Very good image quality, excellent contrast, ideal for gamersand sports enthusiasts due to the high refresh rate, high brightness for anOLED TV Cons: Much more expensive than C1 from 2021 Price: 1299 euros

This year’s LG C2 is a great television with a few advantages over the 2021C1. The screen brightness is higher, image processing and color accuracy areslightly improved and the bezels around the screen are narrower.

The four HDMI 2.1 ports support 4K video at 120 frames per second, perfect forthe latest generation of game consoles. There is hardly any delay in the imageand the refresh rate can be variably adjusted, which is also ideal for gamers.

The television has new, improved screen panels. In addition, it is availablein many different sizes, between 42 inches and gigantic 83 inches. The chancethat you will find a model that fits in your living room is therefore high.All models are supplied with a narrow foot, although you can also hang thistelevision on the wall with a bracket.

A good alternative: Samsung QD oled QE55S95BA

QD oled © Samsung

Advantages: Higher brightness than normal OLED TVs, excellent gamingfeatures and performance, excellent contrast. Cons: Screen does not appear completely black in bright light, remotecontrol has limited number of buttons. Price: 1549 euros

This is the first QD OLED TV that Samsung has ever sold. It combines highbrightness with perfect contrast, great viewing angles and very accurate colorreproduction. And due to the technology used, it is brighter than regular OLEDTVs like the one above, while the contrast is well maintained. This TV ischeaper than Sony’s QD competitor, while being nearly identical inperformance.

The S95B is hardly more expensive than ‘normal’ OLED televisions, which makesit a formidable competitor. In terms of functionality, the Samsung S95B isalso not inferior to other top models with its excellent smart TV system andfour HDMI 2.1 ports.

The higher brightness that QD-OLED makes possible is clearly visible incomparison with a normal OLED television, but high-end LCD televisions such asthe QN95B from Samsung are considerably brighter. For use in a room with a lotof (sun) light, such an LCD model is therefore a better choice. In all othercases, the S95B is one of the best televisions of the moment.

**accountability ** In this section, we write about technological devices that have beenreviewed by BestGetest. This is a collaboration between the independenteditors of this site and BestGetest. BestGetest’s advice is established incollaboration with the Tweakers test lab, where battery life, speed and otherimportant aspects of the product are tested. Hundreds of products are testedin the lab every year. ** **

The editors of BestGetest are completely independent. Companies do not pay inany way to be covered in these articles.

They directed in 2015 black , a Romeo and Juliet film about youth gangs inMolenbeek. They made in 2018 patser , about the Mocromafia. After that, theMoroccan-Belgian duo Adil El Arbi (34) and Bilall Fallah (36) – brand nameAdil and Bilall – were allowed to go to Hollywood to watch Will Smith’s actionfilm. Bad Boys For Life to direct, with a revenue of $456 million aresounding success. Now they come with Rebel a melodrama about jihadism fullof action and Bollywood-esque song and dance.

Adil: “We have the feeling that these kinds of films are not made in Belgium,any more than films about Moroccan drug crime. While those are such great,current and interesting stories.” Bilall: “I don’t think people dare to burntheir hands on it. While we experienced real war scenes on Belgian soil by ISin 2016 [bomaanslagen op de luchthaven van Brussel en in de stad, red.].Everyone remembers the panic, but movies aren’t about it.”

Adil and Bilall come from the Brussels district of Vilvoorde, which has seen adisproportionate exodus of jihadists to Syria since 2011. Like antihero Kamalfrom Rebel , who loves fast bikes; a rapper in the drug trade. When thepolice are on his tail, he leaves for Syria, which rose up against the Assadregime, also to do something noble with his life. There IS forcibly recruitshim and forces him to save his own skin through a series of crimes: firstfilming IS propaganda, then also executing a prisoner of war himself.

Adil and Bilall had just left film school when the exodus from Vilvoordestarted. Adil: “We started thinking about this film in 2013, when the firstwave had left for Syria and IS emerged. You saw friends leave with whom youhad grown up, sometimes whole groups. Some ended up with IS, some returned tocarry out attacks here in 2015 and 2016. Extremely confrontational, they werepeople with our Moroccan background, they looked like us. But there are nomovies from our perspective, with our understanding of the emotionalcomplexities behind them, the nuances.”

There are plenty of films about IS, usually from the perspective of victims,aid workers or opponents. There are also films about radicalization: Le jeuneAhmed from the Dardenne brothers or Layla M. by Mike de Jong. _Rebel_stands out because a perpetrator also turns out to be a victim. How kosher isthat?

Adil: “In the beginning, many people left for Syria out of idealism, becausethey saw an innocent people being slaughtered by a bloodthirsty dictator, asis now in Ukraine. There were moderate rebel groups fighting Assad withWestern support, IS was still a fringe phenomenon on the Iraqi border. But asa foreign fighter you ended up with a foreign brigade, among many fanatical,hardened jihadists. IS proved the most ruthless, removing rival leaders likein a mafia war to take over their soldiers. The Assad regime was fine withthat. This is how the resistance neutralized itself.”

Yet something is wrong. Each returning jihadist tells Kamal’s story. “I wasforced.”

Bilall: “That’s true, but our film also contains many monsters and fanatics.They are just not very suitable as a main character. Such a civil war is totalchaos, a maelstrom that the average coward just wants to survive. If you fallinto the hands of IS, then leaving turns out to be equivalent to a deathsentence, just like with the mafia. But if you stay, they’ll make sure you getblood on your hands. We show that logic through Kamal.”

Did you have a specific audience in mind?

Adil: “We want to make an accessible film and also attract young people to goto superhero films. That is not easy, because it is also a pamphlet against ISand the Caliphate and a kind of historical chronicle of the past ten years.”

Kamal’s brother, Nassim, is brainwashed through a recruiter and social media.

Adil: “He represents the second wave, which was brainwashed via social mediaand deliberately left for IS. Social media made IS so unique, parents had noidea their children were radicalizing in the bedroom. Neo-Nazi groups nowconsciously imitate IS techniques of community building. Al Qaeda was animprovised gang with clumsy films, IS films were slick Hollywood level, withscript, tracking shots, casting, rehearsals, slow motion. That’s what made ISso successful. Young people saw that they were not losers. That they weretechnologically up-to-date.”

Read the review of ‘Rebel’

Where did you film the Syrian scenes?

Bilall: „In Jordan, that is the perfect country for it. The Jordanian armyprovided us with weapons of war and there were huge numbers of Syrian refugeesto hire as extras or technical advisers. We got to know a man – you can seehim playing the recorder for a while in the film – who had a music store inMosul. He fled as soon as IS approached, which smashed everything to pieces.You might as well have a porn shop.

Adil: “That’s one reason we use music. Musicals with Arabic instruments,female singing and dance are part of our culture, IS banned all of that. ISwanted a barren world where nothing is allowed. That’s why music and dancefelt very appropriate. It also helps make a rather complicated, hard storymore accessible. Music and dance come in much more directly than dialogue.”

Why did Belgium have such a high percentage of jihadists?

Adil: “We think it has to do with identity. These are young people who aregoing through an identity crisis. France offers a clear choice: you are Frenchor you are not. the Netherlands too. Belgium itself is in an identity crisis.There are no Belgians, you are Flemish or Waal or Brussels or something else.This chaos makes it more difficult to find your place in society. The Belgiansystem is a toxic mix of laxity and hopelessness. In neighborhoods likeVilvoorde you don’t see any perspective to break out of. At the same time,there is a tendency from the government to look away and let things take theircourse.”

Bilall: “When those boys went to Syria and parents called the authorities, theattitude at first was: tidy is tidy. Fewer Arabs again.”

‘Rebel’ also touches on the question of what to do with returning IS membersand their children.

Adil: “I can understand that you say: stay there! Those jihadists wentvoluntarily to Syria and committed terrible crimes there. Why should theirchildren now have more right to be cared for here than children of theirSyrian victims? How fair is that?”

They wanted to make film history, says the directing duo of Adil El Arbi andBilall Fallah. “But not so. It was a shock for us and a shock wave forHollywood.” What the Moroccan-Belgian duo experienced in August is quiteunique. At the beginning of 2020, they broke through with the action hit BadBoys For Life with Will Smith, after which they sold for 70 million dollarsfor streaming service HBO Max. batgirl a superhero movie set in Gotham Citywith two exciting comebacks: actor Michael Keaton as Batman and slammed actionhero Brendan Fraser as supervillain Firefly.

Due to Covid vicissitudes, the budget swelled to 82 million, but workprogressed steadily until the producer called at the beginning of August.batgirl was deleted overnight. For studio Warner Bros. it turned out to befiscally beneficial not to release the film. He went into the vault. Forever.Bilall tried to get to the movie through the server to save a scene fromMichael Keaton. „Too late, it was ‘ no access’.”

The duo is a victim of the drive of Warner’s new CEO David Zaslav, who from2009 transformed the school network Discovery into a big name in reality TV.Discovery bought film studio Warner Bros., but with a debt burden of $50billion, hard cuts were required. And something else was going on. Since the2020 streaming war between players like Netflix, Disney+, Amazon Prime and HBOMax, absurd amounts have been spent on exclusive ‘content’ for streaming. Lossdid not matter in the pursuit of subscribers.

Now that the growth looks like streaming, it’s time to count the knots. Zaslavthought it illogical that a studio like Warner Bros, traditionally focused onfilm distribution, foregoes hundreds of millions in cinema receipts by puttingfilms directly on streaming. Better to release a movie first in theaters andthen on HBO Max, like in the old days. Then you earn twice as much.

“Maybe we’ll be back on a movie set in two weeks, anything is possible in> Hollywood”

Van Zaslav’s new strategy is batgirl the most significant victim. „ Regimechange is often accompanied by dramatic scenes,” says Bilall resignedly.“Firing employees, canceling projects: that is never pleasant.” To batgirl_HBO Max still required expensive scenes and digital effects. A theatricalversion would have cost a lot more. Canceling was a “cool, purely businessdecision”. However, he denies that the film was a failure, as is alleged. Testaudiences reacted critically to the first version. “But that is precisely theidea of ​​such a test vision: getting feedback. _Bad Boys for Life was onlyready after eleven test visions.”

Adil and Bilall didn’t go to ‘s ‘funeral performances’ batgirl for thoseinvolved in Los Angeles and take comfort in the messages of support andpositive response to their pilot episode for the series Ms. Marvel onDisney+, featuring the first Muslim superhero. And now? ____A new _Bad Boys_movie appears problematic after lead actor Will Smith punched presenter ChrisRock at the Oscars. Bilall: “Will is on vacation for a while, I think.” Butyou never know in Hollywood. Adil: “Maybe we’ll be on a film set in twoweeks.” Bilall: “Anything is possible there.”

Although the first episode of Five Live – the latest SBS series from Lindade Mol – attracted a beautiful 987,000 viewers last night, the reactions werenot tender. From ‘twitching’ to ‘bland’: critics did not mince their words onsocial media.

And that while for the cast a large view of celebrities has been raised.

New series by Linda de Mol

In the series Five Live Sara (Linda de Mol) and Roderik (Waldemar Torenstra)are a divorced couple who watch the weekly talk show Five Live presents.Channel boss Flip (Daan Schuurmans) is disappointed with the ratings andbelieves that something should be done: in the first episode he comes up withthe idea of ​​inviting Ellen van Boetzelaar (a parody of Angela de Jong,played by Irene Moors) to the table for more excitement. That happens, becauseduring the broadcast a studio lamp suddenly falls on the fake Angela, who thenfalls over the table. Apparently dead.

The latter is not quite right with viewers. They call the action ‘childish’and see it as a sneer at Angela: she kept after it The Voice After all,scandal is long and full that Linda should have known about the sexual abuseslong ago.

What is most surprising: so many people who work on such a production and no> one who shouts “hey Linda, very nice and nice, but that Angela de Jong> ripoff ends with a lamp on her head at the end – would you do that now?” I’m> really surprised.> #FiveLive>> — Jordy’s 📺 TV tweets (@JordyTweetTV) October 2,> 2022

Linda de Mol in January/February 2022: “that sad, intensely false Angela de> Jong”>> October 2022: the fictional version of Angela who gets a studio lamp on her> resin in Linda’s new series.>> 🤔🤨> #fivelive>> — RB de Graaf (@RBdeGraaf) October 2,> 2022

You can really hate Angela de Jong, but letting a look-a-like die in a> series is going too far. Sad> #fivelive>> — Lianne van Veen (@Liedje87) October 2,> 2022

Orlando Boldewijn

According to viewers, the makers could also have thought a little better aboutthe fact that one of the characters is called Orlando Boldewijn: a seventeen-year-old boy who was murdered four years ago turned out to bear the same name.

A spokesperson tells us about this SBS : “The character Orlando is fictionaland the name – now it turns out very unfortunate – was chosen by chance.Despite the fact that a large team has read the script and was present duringthe recordings, unfortunately no one has made this link.” The relativescontacted the program makers through their lawyer Sébas Diekstra. “And he hasinformed us that the next of kin do not see any evil intentions from us in anyway.”

just look> #fivelive> with Linda de Mol back. Where were the scriptwriters’ heads? A character was> given the name Orlando Boldewijn. That is also the name of the 17-year-old> boy who went missing four years ago and was found to have drowned and> murdered. Couldn’t they just google this?>> — Boyan Ephraim (@boyanephraim) October 3,> 2022

That there is a [email protected] belongs to a 17 year old boy who was> murdered> #orlandoboldewijn> #fivelive> very strange all> @TalpaNetwork>> — M (@MarcelKnoester1) October 3,> 2022

Reaction of Angela de Jong on Five Live

Angela de Jong has in a column on AD.nl commented on the series. “Let’s behonest,” she begins. “Having me end up for dead at a talk show table with abloodied skull is not only the wet dream of Linda de Mol, but in any case ofall her colleagues at Talpa and three quarters of her other colleagues in thesnake pit in Hilversum. I can handle that. What I can’t stand is a dramaseries in which the biggest clichés about the TV world are conveniently pastedtogether, sometimes quite good actors have put on a cheap wig and that as aformer TV queen, who always prided herself to know what her viewers want tosee, seriously thinks that you deliver a top production à la Divorce and_Gooische Women_.”

The Bijlmer disaster is exactly thirty years ago at the beginning of theevening. Rapper Akwasi was one of many to witness the crash of an Israeliplane into two flats. Tonight he – and several others – can be seen in thedocumentary A Hole In My Heart.

Because this is Omroep Zwart’s very first documentary – Akwasi Ansah is itschairman and creative director – we discuss A Hole In My Heart in Look atthe Tube. In this Subway section discusses new and striking programs fromregular broadcasters and streaming services.

Murder and fire over Akwasi on Twitter

Akwasi joined Humberto Tan’s talk show on Sunday evening to talk about OmroepZwart’s documentary. He hadn’t opened his mouth yet and Twitterers wept bigtears. What was that Akwasi doing there? Are there many more victims of theBijlmer disaster? And who, in addition, unlike the TV man and artist, peoplefrom their environment were lost?

The cackle sewer probably hadn’t noticed at the time that another victim, whohad to miss her best friend, also simply Humberto on Sunday spoke. Even ifit wasn’t: Akwasi is the creator of A Hole In My Heart , he is the maincharacter that is being followed and also the man behind the broadcaster whomade it. So logical that he was the first to be asked for the talk show.

A lot of attention for the Bijlmer disaster

Broadcasting A Hole In My Heart on the day of the Bijlmer disaster (4October 1992) is just as logical. If we can also speak of mustard after meals.The documentary disaster flight (KRO-NCRV) can be seen ‘only’ tomorrowevening, but can be viewed via NPO Start for some time now. And of course thewidely acclaimed series has been on its way for days (same title, also KRO-NCRV). Anyway, thirty years is thirty years and that is why it is notsurprising that Omroep Zwart has given its own twist to the disaster at theGroeneveen and Kruitberg flats.

43 people were killed in the Bijlmer disaster: 4 crew members from El Al(there were no more people in the cargo plane) and 39 residents of the Bijlmerin Amsterdam. Many children witnessed the crash of the large plane early onSunday evening. Among them Akwasi, who was 4 years old at the time. Hismemories in his life start with that moment, when he looked through the windowof the apartment. “I don’t remember anything from before that time,” says therapper. “My life started with the Bijlmer disaster.”

Children drew their experiences

A Hole In My Heart premiered last week during the Netherlands Film Festival.The approach is fascinating: the children of that time at school had to (orwere allowed to) draw their experiences. The stories they told were collectedin a book. For example, there is the story of the tree ‘which had no feet andtherefore could not run away, but was therefore able to see everything’. Wesee some children from that time in the documentary.

Akwasi’smother is also featured in Een Holt In Mijn Hart. Photo: Broadcasting Black

Akwasi’s drawing also made it into the book. He decided to show it and tellhis daughter who is now 4 years young herself. Telling a young child about anairplane that flies into a flat is something you might think about. Butanything better than the twitterers – there they are again – who showed up onSunday evening during the broadcast of Humberto on Sunday interferedunsolicited in the education of Akwasi in despicable language. The man whoexperienced the Bijlmer disaster decided to do it. He should know thathimself.

Akwasi got scared and crying

The documentary shows that he is having a hard time pronouncing his words andthe eyes of the Omroep Zwart-man are not keeping it dry. Fortunately, hischild reacts uninhibitedly: “And then you had to cry.” Kwamè, Akwasi’sbrother, sees the book about the disaster for the first time. He washed upwhen the plane came down and remembers his little brother as crying andscared. Akwasi’s mother admits that: “You kept screaming. When we moved it wasgood.”

Crying also applies to Marleen Keijzer. She was 12 years old during theBijlmer disaster and lost three boyfriends. “From then on I started tosurvive. I actually still do that,” she tells the camera. She is adamant: “Iwould feel guilty if I stopped crying for them now. I have a hole in my heartand after thirty years that hole is still not healed.”

Thebook with stories and drawings of children. Photo: Broadcasting Black

Akwasi has not talked about the disaster for a long time. He was an insider.But now: “It’s better to talk about it.” And he does that with fellowsufferers in A Hole In My Heart then.

Excellent ‘review cost’

Do you expect Omroep Zwart with a docu like this to raise a little finger? Youdon’t get that. The tone is calm and pleasant. Just like tomorrow’s KRO-NCRVbroadcast ( Subway saw that too) is A Hole In My Heart good ‘look back’.However, both documentaries are less impressive than the series Disasterflight. Although played by actors, disaster flight much more to theterrible disaster of that time. And especially to the inhabitants of theBijlmer, many of whom fell ill and were left to their own devices.

A Hole In My Hand can be seen tonight (Tuesday) at 22.10 on NPO 2 and lasts47 minutes.

Number of cans: 3 out of 5.

In any case, a viewing tip for that previously mentioned cackle sewer. First:turn off Twitter, huh?

Another complaint about House of the Dragon. Have you seen the latestepisode of the Game of Thrones prequel? We haven’t yet, but there are otherviewers expressing their dismay. “Far too dark, I just sit there looking atmyself for an hour.”

Fans of the series didn’t keep their thumbs up on Twitter to complain aboutthe terrible lighting in the seventh episode.

It was like déjà vu (or not?). Luckily it wasn’t as bad as in Game ofThrones. When the white walkers Finally at the gates of Winterfell for thelong-awaited epic battle for the survival of Westeros, the creators couldn’tthink of anything better to turn off the lights for an hour. The outrage onsocial media at the time was (rightly) great.

You can say what you want about it Family Guy but not that they don’t hitthe nail on the head here:

House of the Dragon too dark

Yesterday too, fans took to Twitter en masse, mainly to file a publiccomplaint about one lengthy scene.

We want to reveal as little as possible about the content of the episode,except that the plot has shifted up a gear and seems to be building towards agory climax. Sorry about this “creative” decision.

Theoriginal Thefinal version

In the left image you can see how the original was shot, so in daylight. Thisoften happens with large productions, mainly because there is better lightingduring the day and a lot can be adjusted during editing. With night shots,there is less creative flexibility.

The image on the right is the final result on your screen (and that is if youhave a good TV at home). Again something that went wrong during the assemblyphase. Tip for the people who haven’t seen the episode -or badly- yet: go tothe screen settings on your television and increase the brightness. And justto be safe, close your curtains.

Public complaint about House of the Dragon on Twitter

On to some complaints on Twitter from fans who have stared blindly. Unlike thecolors in the previous episode, the sarcasm really shines here.

i love tv! i love to look at it and see it and just look at that screen and> see all the things on that screen hoo boy it’s so fun> pic.twitter.com/OxelT3KLie>> — Kathryn VanArendonk (@kvanaren) October 3,> 2022

My favorite scene of tonight’s> #HouseOfTheDragon> pic.twitter.com/QpWXP63KRW>> — Alan Sepinwall (@sepinwall) October 3,> 2022

HOUSE OF THE DRAGON continuing the classic Thrones tradition of making an> episode so dark it’s almost unwatchable> pic.twitter.com/g1IXPlG6Nl>> — Brendan Hodges (@metaplexmovies) October 3,> 2022

You can also just work on yourself during the episode. Every disadvantage hasits advantage.

Those episodes of House of the Dragon are sometimes so dark that I just sit> there watching myself for an hour>> — Devi Heller (@deviheller) October 3,> 2022

The fans above can still laugh about it, but there are also some with lesssense of humor:

The nighttime visuals in House of the Dragon are simply too dark. These> scenes would be so epic if I could actually see what was happening>> — lil (she/her) (@lilly_is_silly) October 3,> 2022

This episode of House of the Dragon is so dark it’s unwatchable. Might as> well just turn off my screen and listen to it at this point.>> — cabral (@comradeaux) October 3,> 2022

House of the Dragon is literally the DARKEST show I’ve ever watched. I> cannot see SHIT. pic.twitter.com/OmYjRwioOP>> — N (@nastassiachanel) October 3,> 2022

And these House of the Dragon fans had (not) seen the light before:

Another month of Amazon Prime coming soon. I’m guessing there’s a little> more visible on ‘The Rings of Power’. ‘House of the Dragon’ I call after 1> episode. Don’t feel like looking at some flickering candles on a dark screen> and guessing what’s happening.>> — Wouter de Boer (@weedebee) September 24,> 2022

How dark do those people from House Of The Dragon want to make that series??> I don’t see shit>> — Mark van der Molen (@MarkvdMolen) Sep 9,> 2022

In addition, HBO’s social media managers apparently didn’t feel like workingovertime. Or the answer to the complaints was already at hand, of course.copy , pasta , done. Time to clock out and go to _House of the Dragon_to watch!

love the HBO account having a prewritten response to “god damn no one can> see shit on your show it’s too dark” comments> pic.twitter.com/Rl986GMlig>> — Brandon Hardin (@hardin) October 3,> 2022

Keeping Game of Thrones tradition alive

It’s not the first time House of the Dragon honors a tradition of itspopular predecessor Game of Thrones. CGI blunders are no stranger to the twoseries either. And have you seen the parody with Kim Targashian? Meet theTargashians!

In ‘Four Hands On One Belly’ we see how participants from previous seasons aredoing this time. How is Chimène, for example? She will be assisted by KimKötter (40) in 2021 and can use her help. Chimène has experienced traumaticthings in her past and is very much looking forward to her birth. If it turnsout that she has a horror birth, the viewers sympathize intensely with her.Kim pays her a visit a year later and questions her.

“Now suddenly I can’t go outside without looking back”

In 2021 Chimene can be seen in Four Hands On One Belly. She is expecting herfirst child and has to take care of her baby on her own. When she becomespregnant unplanned, her boyfriend wants her to have an abortion. She choosesto keep the baby and is therefore on her own. She could really use Kim’s help.Chimene also suffers from mental problems. “I have PTSD. I got it when I wasabout 13 years old. My first boyfriend sexually abused and abused me for sevenmonths. And it still bothers me,” she says. Together with another ex of herboyfriend, she eventually files a complaint against him, after which he getsstuck.

Also read:

Viewers frustrated with smoking couple in Four Hands On One Belly

Kim is impressed by her story and tries to support Chimène as best she can.Chimène, for example, is very much looking forward to the birth, because shewill be touched by the doctors. Something that is a trigger for her. Kim triesto prepare her for childbirth through training. Chimène also makes a birthplan, so that she is in control. Unfortunately for Chimène, the birth is stillvery traumatic. She is cut three times and loses a lot of blood. The doctorsalso do not adhere to her birth plan.

Also read:

Heleen van Royen shares intense story in Four Hands On One Belly

In the How are things now? episode tells Chimène that the hospital contactedher after the episode. “I received a letter that I could talk to them, but Idid not respond to it. In the hospital I was laughed at at the time and onlynow that it has come on television do they suddenly take me seriously.”

Also read:

Twitter praises 20-year-old mother Meli from Four Hands On One Belly

Chimène also received an annoying email from her lawyer. Her ex-boyfriend, whoabused her, will be released soon. “That’s pretty hard, you know it’s coming,but it’s still hard when it comes so close,” she says. “He didn’t get a yearand a half for nothing.” When Kim asks her why he received an extra longsentence, Chimène explains that this is because of bad behavior. “The feelingof safety is gone. I have had that for three and a half years. And now I can’tgo outside without looking back.”

Also read:

Sisters get strict approach in Four hands on one belly

Fortunately, Chimène also has enough positive things in her life to lookforward to. She enjoys her daughter to the fullest. “I really enjoy it. I’mreally enjoying myself as a mother. Every now and then it’s still looking forbeing able to be young and be a mother at the same time, but it’s going verywell.”

Four Hands on One Belly can be seen every Tuesday at 8.25 pm at BNNVARA onNPO 3. You can watch it here.

Constance Wu didn’t plan to get quite so candid in her new book.

The actress alleges sexual harassment by a Fresh Off the Boat producer andwrites about being sexually assaulted in her twenties, but making that publicwasn’t part of her plan when she started her essay collection, Making aScene.

“Everybody thinks it’s a book about Fresh Off the Boat, or my tweets about_Fresh Off the Boat. But that was the last essay I wrote, and it was one Ireally did not want to write,” Wu told _The Hollywood Reporter. “My editorkept pushing it and finally I was like, ‘Fine, I’ll write it as an exercisebut I’m not publishing it. I thought I’d closed that chapter of my life.”

Of the harassment — she alleges that an unidentified Asian American maleproducer frequently harassed and intimated her, including asking for “sexyselfies,” exhibiting controlling behavior and inappropriately touching her –the Crazy Rich Asians star compartmentalised it.

“I was resistant … because I know there are people who have had way worsestories than what I had to go through,” she said. “Objectively, I don’t quote’think it’s that bad,’ but [the experience was] something that I swallowed fora long time in an attempt to preserve something for somebody else. And bydoing that, I think I am a contributor to perpetuating a system that is onethat I no longer care to uphold. Even though at the time of the show I waslike, ‘I dealt with it, it was hard, but I moved on and I prevailed, I don’tneed to talk about it anymore,’ I realized I also had a lot of fear of thecriticism and judgment I might get from people saying that what I experiencedwasn’t so bad. Me talking about it is more important than my fear of talkingabout it. The whole point is that people shouldn’t have had to go through itat all.”

Writing about it also helped the Hustlers actress release some of the”shame” she carried because she made herself believe she contributed in someway “because I was trying so hard to be part of the Boys’ Club. I realized Ididn’t give myself enough space to feel the wound … It makes me forgive myselffor all the times where I wasn’t my best [on the set]… Writing it on paperhelped me realize all of that.”

Story continues

At the end of the day, “I pretty much share everything. I didn’t think I wasgoing to.” That includes the Fresh Off the Boat essay as well as her “rapeessay.” Wu was in her twenties when she was dated raped. She said no,repeatedly, to a man she was on a second date with, but she gave up. He wastwice her size and she was scared he would become violent. She told THR thatthe most shameful part of the experience was “where I talk about having anorgasm while being raped. I didn’t want to include that… I’m ashamed of it andworried it will open up the possibilities for criticism and questioning It’sthe same process that led me to tweet about my suicide attempt, I didn’t wantto talk about it but decided it might help someone and that means more than mybeing afraid.”

Wu also touched on these topics — and delved deeper into her 2019 suicideattempt – on Tuesday’s Good Morning America . It all started with a coupleof tweets. Wu thought Fresh Off the Boat was over after Season 5, explainingthe network gave her “their blessing” to pursue other projects. So when ABCannounced the show was renewed for a sixth season, she lashed out on Twitter.(“So upset right now that I’m literally crying. Ugh. F,” she wrote,followed by “Fing hell.”) She quickly apologizes, saying she had been”dramatic.”

“I’d gotten this other job [offers] that I was really excited about and I wasready for a clean slate,” Wu said on GMA. “I was ready to stop working at aplace that held so many memories of sexual harassment and shame and fear. Sowhen I found out that I couldn’t move on, I felt — honestly, in that moment, Ifelt betrayed and I felt song to.”

She continued, “I felt a little reckless and I felt like I had been quiet forso long that I needed to finally make a sound. I didn’t care how it sounded.And it came out sounding pretty bad. My tweets were really graceless. And theywere like me being drunk and dramatic at a bar.”

The “backlash was immediate,” she said. “There was a huge pile on. I wasessentially ‘canceled’ for coming off as ungrateful.” She was called a divaand selfish for not thinking of the other people who worked on the show aswell as the importance of the show’s representation. Cutting deep was the factthat it was “really the Asian American community that … ostracized or avoidedme the most.”

At her lowest while navigating the turmoil, she received direct messages froma former college, an Asian actress whom she did not identify, who she saidshamed her by calling her a “disgrace” and “blight on [the] Asian Americancommunity.” The person said she could never undo “the damage I’d done to thecommunity.”

Wu was so rattled she started “thinking that I needed to end my own life,” sherecalled. “It’s crazy that a few DMs could do that.”

She said her attempted suicide, which she first publicly revealed in July,”wasn’t a thoughtful thing. I got the DMs and I thought, ‘OK, I can’t be aliveanymore.’ … I pulled myself over the balcony of my apartment building and Iwas going to jump. Talking about it now makes my palms itch, because Iremember holding onto it. help. I was in therapy and under observation for along time.”

Wu said she was diagnosed with clinical depression “long before” her suicideattempt, but the scare led her to seek professional help immediately. In herbook, she reveals she was committed to a mental hospital. “I was in therapyevery day for a while, and then I was in therapy three times a week. I’m stillin therapy,” she told GMA.

As for whether she’s spoken to the unidentified actress whom she claims senther the triggering DMs, Wu said hasn’t, but she forgives her.

“Listen, if I’m asking people to think of the context in which I made mymistake of those reckless tweets, I think that I can look at somebody who didsomething that was hurtful to me and try to imagine maybe she was goingthrough something, too,” Wu said.

Wu also holds no grudges over the movement to “cancel” her because it’s helpedher evolve.

“In many ways, it helped me learn a lot about myself. And sure, there arepeople who aren’t gonna forgive me. That’s about their own journey. I do feellike I’ve had the opportunity to change,” she said . “In the end. I’m, in … astrange way kind of glad for it.”

Wu will continue talking about these topics and more on Wednesday’s Red TableTalk. A preview of her chat at Jada Pinkett Smith’s table shows her gettingemotional about those DMs and her suicide attempt.

“I felt like nothing I could ever do would be enough,” she said of hermindset. “I felt like the only thing that would prove to her that I felt asbad as she thought I deserved to feel would be if I died. I felt like eventhat might not be enough because I felt the world was saying: You will neversuffer as much as you deserve to suffer. You deserve to pay for this and bepunished for this.”

If you or someone you know are experiencing suicidal thoughts, call 911, orcall the National Suicide Prevention Lifeline at 1-800-273-8255 or text HOMEto the Crisis Text Line at 741741.