Author: bestmedeal

The plan for Aaron Carter’s cremated remains has been revealed by his family.

The late singer’s mother, Jane Carter, said the family will gather this springto scatter his ashes in the waters off the Florida Keys in his home state ofFlorida. She told TMZ that Aaron’s remains will be mixed with those of hissister Leslie, who died in 2012. Angel Carter Conrad — Aaron’s twin sister —was given Aaron’s remains after he was cremated following his Nov. 5 dead.

Jane, also mom to Backstreet Boys singer Nick Carter, went on to reveal thatsome of the ashes from both Aaron and Leslie will also be kept and buried withher when she eventually dies.

As for the ash scattering ceremony, Jane said that Aaron’s on-again, off-againfiancée Melanie Martin —with whom he shared a 1-year-old son, Prince — willnot be invited to participate. She also revealed that singer Lance Bass, whohas said he viewed Aaron as a “little brother,” extended an offer to theCarter family to hold a memorial for Aaron at his LA home. However, the familypaused immediate plans for a memorial because they’ve been getting deaththreats since Aaron’s death.

Aaron, who struggled with addiction and mental illness, had an up and downrelationship with his family — who starred in the reality show House ofCarters. In recent years, he was estranged from both Nick and Angel, whosought restraining orders against Aaron in 2019. As for Jane — who was namedas the informant of Aaron’s death certificate — she told the outlet she andAaron texted in the days before he died. She said one text from him asked howthe family was doing in Florida.

Carter was found dead, reportedly in his bathtub, on Nov. 5. While YahooEntertainment confirmed then that the Los Angeles County Sheriff’s Departmentfound the singer’s body at his home in Lancaster, Calif., his cause of deathhas yet to be determined pending toxicology tests.

Despite that, the Los Angeles Times and TMZ reported in the days after the34-year-old died, that police had discovered evidence of compressed aircanisters and medications used in the bedroom and bathroom Carter. The”Aaron’s Party” singer had been open about having struggled huffing during histroubled life.

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Last week, Aaron’s manager Taylor Helgeson responded to criticism that hedidn’t do enough for Aaron amid his addictions to drugs and alcohol in aninterview with Yahoo.

“It seems like people are more upset that we didn’t publicly expose him. Whywould you do that? To somebody you care about? If you really want to helpthem, you talk in private,” Helgeson said. “Aaron had real friends, realfamily. We talked much in private. We did a lot of work.”

He said that Aaron’s team was trying to help him behind the scenes, includingtaking him to rehab in 2017.

“We know what we tried. We know what we did. I sleep easy at night knowing Itried my best for my friend until he died,” Helgeson said. “And if it was acartoon and we could have tied him to the ground and dragged him to thetreatment center, then we would’ve done that. But it’s not, it’s real life.And there’s a helplessness that comes with watching somebody go throughaddiction.”

After Aaron’s death, Nick sobbed during a tribute to him during a BackstreetBoys concert in London. On social media, he wrote, “I will miss my brothermore than anyone will ever know.”

Angel wrote that she loved her twin “beyond measure… I have so many memoriesof you and I, and I promise to cherish them. I know you’re at peace now.”

Martin, who wasn’t with Aaron when he died, said her “heart is completelybroken … I knew he was struggling, and I tried everything to help him. He hasa very independent and strong personality, and I couldn’t help him in the wayI felt he needed it.” The couple had lost custody of their baby boy amid theirturbulent relationship, and the child was being raised by Martin’s mother.

Kanye West’s first extended interview since his meeting with former PresidentDonald Trump at Mar-a-Lago last week lasted about 20 minutes.

The artist now known as Ye stormed out of a sit-down with the reactionarysocial-media performer Tim Pool, after the host lightly pushed back on Ye’smeandering, paranoid, and yet largely uninterrupted antisemitic rant thatopened the show.

During that 20-minute stretch, West offered a sprawling, aggrieved commentaryrailing against those he believes had harmed him, including but not limitedto: a designer at Adidas who Ye is convinced was a CIA and somehow also a“Zionist” plant; Jamie Dimon; Hollywood executives; the Gap; his formertrainer and also, in Ye’s mind a Canadian deep-state agent; and, of course,the fictional Jewish cabal in charge of both banking and media. “It was like_American History X_ , like my head was on the side of the curb, and the exactpeople that I called out kick my head,” said Ye. The rapper also appeared toback Brooklyn Nets star Kyrie Irving, who similarly posted antisemiticmaterial, and talked about the true “bloodlines” of Black people.

“Rahm Emanuel was right next to Obama, and then Jared Kushner was right nextto Trump,” Ye added, ending with a “da-da!” musical flourish to punctuate hisantisemitic talking point about Jews being puppet masters.

During a brief pause in his near-monologue, Pool told Ye, “I think they’vebeen extremely unfair to you.” When asked by Ye to clarify who he meant by“they,” Pool replied: “The corporate press.” That didn’t satisfy Ye. “Who’s’they,’ though?” he shot back. As Pool stammered, one of the evening’s otherguests chimed in: Nick Fuentes, the 23-year-old white nationalist andHolocaust denier, who had taken on an undefined role in Ye’s largelytheoretical 2024 presidential campaign. “It’s them, though, isn’t it?” Fuentessaid, again referring to Jewish people.

Evidently, because Pool refused to play into one of the oldest antisemitictropes around, Ye considered it a bridge too far. Before Pool could getanother word in edgewise, West rose from out of his chair and silently marchedout of the studio.

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Fuentes left as well, as did the evening’s third guest, Milo Yiannopoulos, thefar-right troll and former Breitbart tech editor who was drummed out of theconservative movement in 2016 for his seemingly blithe attitude towardsrelations between adult males and minors.

Like Fuentes, Yiannopoulos also joined Ye’s campaign team in some capacity.Earlier in the show, he’d praised Fuentes to the hilt, calling theCharlottesville marcher, “Stop the Steal” pusher, and pro-Hitler pundit the“most extraordinary, brilliant political commentator of his generation.”Yiannopolous at times has claimed Jewish lineage himself, but that self-identification has apparently been dropped after he tumbled farther to thefringes of the conservative media ecosystem, along with an insistence thathe’d cured himself of his homosexuality and posted threats about harminganother far right personalities dog. Yiannopoulos did not immediately respondto The Daily Beast’s request for comment.

In between Ye’s rambling, the trio did provide some new information. The mealwith Trump originally was scheduled to take place in October, but the formerpresident postponed it after announcing his own 2024 run. During that sametime period, Ye was involved in a series of bizarre public appearances andbegan making more explicitly antisemitic statements, including a tweetedpromise to go “death con 3” on “JEWISH PEOPLE,” and blaming the “Jewish media”and “ Jewish Zionists” for his troubles. Though it didn’t make the final cut,he also implied during an interview with Tucker Carlson that fictionalchildren were being placed in his home.

Whether those incidents gave Trump reason to delay their meeting, West didn’tsay. He brought Fuentes along with him because, “He was rolling with me,” saidYe. “I was impressed with Nick. And I was like, just come to the dinner.”Yiannopoulos was also in favor of Fuentes’ presence at the meal. “He’s beentreated just about as badly as anybody,” he said. “So I thought he deserved tobe in the room too.”

Pool made his name in conservative media by bringing in similarly far-rightfigures and whitewashing their extremist beliefs before an audience ofmillions, as The Daily Beast previously reported. As recently as last week,Pool hosted a pundit affiliated with the hard-right Groyper movement, whichFuentes ostensibly leads. At no point during their conversation did he mentionhis guest’s prior extreme rhetoric, and at times he seemed to agree withhim. On Mondaynight, some of Pool’s viewers on YouTube shared their own anti-Semiticbeliefs.

How ‘Coward and Phony’ Tim Pool Became One of the Biggest Political YouTuberson the Planet

Though Pool pushed back more on Monday than he normally does—and after Ye andhis campaign staff walked out in a huff, Pool did forcefully denounce anti-Semitism on air—he still tried to find common ground. “Nick, they call you awhite supremacist,” he said, addressing Fuentes. But “you’re here working withor for, you know, one of the most powerful Black men.” (Pool did notimmediately respond to The Daily Beast’s request for comment.)

Apparently the tweeted announcement Pool made earlier Monday about Ye,Yiannopoulos, and Fuentes’ appearance had spurred some of Pool’s “goodconservative friends,” as he put it, to reach out, telling him that givingunreconstructed bigots a platform as big as his was a mistake. “Tim, don’thave these people on. They’re bad people,” Pool claimed he was told.

From Pool’s point of view, though, the show served its purpose, partly becausethe trio refused to engage in a lengthy debate and unpack their beliefs forthe scheduled two-hour broadcast.

“I think you should all invite them on,” Pool insisted. “I think if anythingis bad for their ideas, it’s exactly what just happened.”

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Will Smith says “a craze that had been bottled for a really long time” cameout on Oscars night.

The actor — who infamously slapped presenter Chris Rock mid-show — continueshis Emancipation press tour, which has become a redemption tour. On Monday,he had his first late-night interview since the incident with Trevor Noah on_The Daily Show._

“I’ve been away,” Smith quipped at the start of the interview. “What you allbeen doin’?”

Smith said he has “no independent recollection” of the night, which saw himstorm the stage to hit Rock and then curse him out from his seat. The actor,triggered by a joke made about his wife Jada Pinkett Smith’s hair, went on towin a Best Actor Oscar that night for King Richard.

“That was a horrific night, as you can imagine,” Smith went on to say.”There’s many nuances and complexities to it, but at the end of the day, Ijust — I lost it, you know? And I guess what I would say, you just never knowwhat somebody’s going through. In the audience right now, you are sitting nextto strangers, and somebody’s mother died last week. Somebody’s child is sick.Somebody just lost their job. Somebody just found out their spouse cheated.”

He continued, “There’s all these things, and they’re strangers, and you justdon’t know what is going on with people. And I was going through somethingthat night. Not that that justifies my behavior at all. You are asking , whatdid I learn, and it is that we just got to be nice to each other, man. Youknow? It’s hard.”

Smith said “the thing that was most painful” for him is that “I took my hardand made it hard for other people. I understood the idea when they say hurtpeople hurt people.”

Noah, who said he knows both Smith and Rock, talked about how Smith wrote inhis 2021 book about always being afraid of conflict — from the time when hewas a boy and he witnessed his father abuse his mother. Noah suggested that itwas Smith standing up for the wrong thing at the wrong time.

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“It was a lot of things,” Smith replied. “It was the little boy that watchedhis father beat up his mother. All of that just bubbled up in that moment. Ijust — that’s not who I want to be.”

Noah said, in his opinion, Smith made a mistake — as Smith blotted his eyeswith a tissue and said, “Now I’m crying for real” — but also made clear whatSmith did was “f***ed up.”

“I understand how shocking that was for people,” Smith said. As for himself,”I was gone. That was a rage that had been bottled for a really long time.”

Smith went on to tell a story about his 9-year-old nephew being at his houseon Oscars night and watching the telecast.

“He’s the sweetest little boy,” he said. “We came home and … he had stayed uplate to see his Uncle Will. We are sitting in my kitchen and he is on my lapand he is holding the Oscar and he is just like, ‘Why did you hit that man,Uncle Will?'” Smith began to tear up again. “It was a mess,” he said, wipinghis eyes. “I don’t want to go too far into it to give people more tomisunderstand.”

He then turned the conversation to Emancipation calling it director AntoineFuqua’s “masterpiece,” and saying it’s hard to see his person drama overshadowthe project.

“I hope their work will be honored and not be tainted based on a horrificdecision on my part,” Smith said.

Noah told Smith he hopes that he doesn’t stay hidden forever as a result ofthe incident. He urged him not to bottle up his feelings, and to embrace thathe’s not perfect. “You’re Will Smith, man,” Noah told him. “We love you.”

“That was one of the big things for me over this last couple of months,” Smithsaid in conclusion, “that I had to forgive myself for being human. And it’slike trust me — there is nobody that hates the fact that I’ m human more thanme. Finding that space for myself for myself within myself to be human. I’vealways wanted to be Superman… I had to humble down and realize I’m a flawedhuman…”

Smith resigned from the Academy after the March 27 incident and wassubsequently banned from attending the Oscars for 10 years. However, he’sstill eligible to be nominated for Best Actor for Emancipation. That movie —about an enslaved man who risks his life for his family and freedom — comes

La primera maniobra que activó las alarmas de los inspectores, que iniciaronla investigación en mayo del año pasado, fue la supuesta inflación en cerca deuna cuarentena de operaciones de los precios de mercado de sus jugadores parasacar más beneficio en su posterior venta. In November of 2021, la Guardia diFinanza realizó el primer registro en la sede del club. En la primera listade sospechosos se encontraban el presidente Andrea Agnelli, el adjunto PavelNedved, el jefe del área de finanzas Stefano Cerrato y tres ex ejecutivos quetrabajaban en la Juventus en el momento de los supuestos hechos: FabioParatici, Marco Re y Stefano Bertola.

NEW YORK — Adam Sandler is the guy you want at every awards show.

As Monday’s Gotham Awards lurched toward its third hour, the comedian gave thestar-studded crowd a much-needed jolt as he accepted a career tribute trophyin typically uproarious fashion.

“I told my daughters Sadie and Sunny, who are 16 and 14, that I didn’t write aspeech and they said phrases like, ‘Rude’ and ‘You’re mean,’ ” Sandler jokedas it took at the stage at Cipriani Wall Street. “They were like, ‘Can wewrite your speech so you’ve got something to say?’ I said, ‘Absolutely.’ “

‘ It was bleeding all over’: Adam Sandler explains bedroom mishap that ledto bruised face

Sandler, 56, then put on a gravelly Southern accent as he claimed to read aletter from his daughters to the Gothams, thanking voters for “giving ourdaddy, Mr. Adam Sandler, this prestigious lifetime, all-time, primetimeachievement tribute award .”

“It means a lot to him, seeing as most of his awards are shaped like popcornbuckets or fake mini-Oscars that say ‘Father of the Year,’ which he sadlypurchased himself,” he continued.

The actor took a playful jab at Ben Stiller, who was also in attendance. LikeSandler, Stiller became a household name in the late ’90s and early 2000sthanks to a string of hit comedies.

“While daddy is with you tonight, we’re doing everything we’re not allowed todo when daddy is home, like eat his Yodels, try on his Spanx or – dare we say– laugh out loud at Ben Stiller movies,” Sandler said. “The last time daddycaught us chuckling away at the ‘Meet the Parents’ trilogy, he immediatelystormed into the room he calls ‘The Screaming Room,’ which we just call theshower, and bellowed out the phrase, ‘Only the Sandman makes people laugh!(Expletive) every other comedian!’ “

Sandler is back in the awards race this season with Netflix basketball drama”Hustle,” after winning National Board of Review’s best actor prize for 2019’s”Uncut Gems.” During his eight-minute speech at the Gothams, he referencedmany of his most beloved funny movies, including “Billy Madison,” “HappyGilmore” and “The Wedding Singer.”

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“Daddy’s silly film career began in 1988, formed by two guiding principles:People in prison need movies, too, and TBS needs content to show between allthem (expletive) basketball games,” Sandler said.

‘ Everything Everywhere All at Once’ is an emotional gut punch about queererasure, acceptance

‘The Woman King’ director, Sidney Poitier, Michelle Williams also honored

Sandler was one of numerous big names to receive tributes at Monday’s Gothams,including “The Woman King” director Gina Prince-Bythewood and the late SidneyPoitier, whose family accepted an award on his behalf. “The Fabelmans” actressMichelle Williams also received a career tribute honor, which was given to herby co-star Paul Dano.

Dano stepped in to present the award to Williams after “Fabelmans” directorSteven Spielberg tested positive for COVID. Williams, meanwhile, used herspeech to pay tribute to her “Dawson’s Creek” co-star Mary Beth Piel, whobecame a mother figure of sorts to her when she was “an emancipated minor” at16.

“Honestly, I was barely even a Michelle. I had just gotten people to stopcalling me Shelly,” Williams recalled. “But now I was Mary Beth’s girl. Andthat made me a somebody.”

‘Everything Everywhere All at Once’ wins for best feature

“Everything Everywhere All at Once” dominated this year’s Gothams with twomajor wins, for best feature and best supporting performance for Ke Huy Quan.A24’s multigenerational multiverse comedy marks a much welcome comeback forQuan, 51, who broke out as a child star in ’80s action adventures “IndianaJones and the Temple of Doom” and “The Goonies.”

“This time last year, all I was hoping for was just a job,” Quan said throughtears.”And just when I think that it can’t get any better, it does.”

Kate Blanchett says ‘Tár’ is her ‘hardest film’ to talk about. It couldalso win her a third Oscar.

Daniel Scheinert, left, Ke Huy Quan, Stephanie Hsu, Jonathan Wang and DanielKwan pose with awards for

A-listers such as Jennifer Lawrence, Julianne Moore and Lupita Nyong’o turnedout for the 32nd annual Gothams, which recognize independent films and series.The full list of winners:

Gotham Awards winner 2022

best feature: “Everything Everywhere All at Once”

Outstanding lead performance: Danielle Deadwyler, “Till”

Outstanding supporting performance: Ke Huy Quan, “Everything EverywhereAll at Once”

Best screen play: “Tar”

Best Documentary Feature: “All Those Breathes”

Best international features: “Happening”

Breakthrough director award: Charlotte Wells, “Aftersun”

Breakthrough Performer: Gracija Filipovic, “Murina”

Best breakthrough series (long form): “Pachinko”

Best breakthrough series (short form): “Mo”

Best breakthrough series (non-fiction): “We Need to Talk About Cosby”

Outstanding performance in a new series: Ben Whishaw, “This is Going toHurt”

This article originally appeared on USA TODAY: Adam Sandler hilariouslyaccepts Gotham award with daughters ‘ letter

“Remember my name, fame!” These are the words that made singer and actressIrene Cara, who died last weekend at the age of 63, world famous in one fellswoop. Her music career stalled on that 1980 song and hit _Flash dance … WhatA Feeling. _But both hits were so big that her name will be remembered inmusic history.

Cara was close to being nothing more than a dancer in Fame. When producershear her voice, it is immediately clear that the female lead of the iconicmusical film can only go to one person: Irene Cara. The makers are so surethat they rewrite the film for her. So she eventually gets the role of CocoHernandez and sings the songs Fame and Out Here On My Own in the movie.

Resulting in great success. The number Fame , written by Michael Gore andDean Pitchford, becomes a big hit that has a long life. If two years after therelease of the film in 1982, a series is made that serves as a sequel, it willbe Fame also used for that soundtrack. And again the song rockets into thecharts of Europe.

Both Fame if Out Here On My Own are nominated for an Oscar for BestSoundtrack Song in 1981. It is the first time in the history of the filmawards that two songs from the same film by the same artist receive anomination. In the end, Cara wins the figurine with Fame.

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Flash dance… What A Feeling

After the success of Fame Cara focuses more on her acting career. Sheappears in such films as Sisters, sisters and Kill ’em Softly.

In 1983 Cara reached the peak of her musical career. She is then approached bydirector Adrien Lyne to co-write the soundtrack for the film _Flash dance._Cara is shown the final scene of the film and asked if she would like to singthe song, which still has no lyrics. “I said I would only do it if I couldalso co-write the song. They agreed and the rest is history,” she says in aninterview in 2018.

Cara enters the studio with producer Giorgio Moroder (best known for his workwith Donna Summer) and songwriter Keith Forsey. The number will be on paperwithin about four hours.

In the end, Cara doesn’t just meddle with the text of Flash dance … What AFeeling, but also with the melody. “I sang the melody the way I thought itshould sound. Giorgio is a fantastic composer, but he’s not a singer. Singershave to interpret the music with their own way of singing. And then sometimesyou have to adjust the melody a bit.”

The song became a number 1 hit in many parts of the world, including theUnited States. In 1983, Cara again won the Oscar for best soundtrack song.Years later it is Flash dance … What A Feeling still popular: the song hasamassed around 400 million streams on Spotify in various versions.

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Problems with record company

Unfortunately, Cara does not really enjoy her success. While the whole worldon _Flash dance … What A Feeling _dances, Cara is involved in a bitter battlewith her record company. “Outwardly things couldn’t seem to get any better,but at the same time I was busy suing my record company. Everything wasfalling apart and I had to pretend everything was going well.”

RSO Records, where Cara was signed at the time, is in dire straits when Caraachieves success. Many artists leave the label, but the singer gets no helpfrom her management or a lawyer. Cara on that in 2018: “I scored two of thebiggest hits of the decade and I didn’t get a dime.”

When Cara proceeds to sue the record executive, she becomes a persona nongrata in the music industry. Other record labels are warned, because Carawould be difficult to work with. As a result, she does not get the chance tobuild on her success and a new album is not released until 1987. She does actwith more regularity, but there are no really big successes there either.

Although it has remained with a few hits for Cara, she has two timelessclassics to her name. The singer, who rolled into the entertainment industryat a very young age through her parents, was especially happy for them withwhat she has achieved. “It was their dream for me and I fulfilled it.”

En la conferencia de prensa previa al ya de por sí complicado partido, por losantecedentes de ambas selecciones y lo parejo del grupo, Berhalter intentóbajar la tensión al calificar el duelo como “solo un partido entre dos buenosequipos. Nada más”, pero luego tuvo que aclarar que el cuerpo técnico y losjugadores no estaban enterados de la acción en redes y quiso disculparse anombre del grupo: “no sabemos nada sobre lo que se posteó. Hay veces en quelas cosas no están en nuestro control. No nos enfocamos en todas esas cosas defuera. Lo único que podemos hacer es disculparnos a nombre del staff”.Imaginen la posición en la que deja este jaloneo, seguramente bienintencionado de los federativos, a quienes deberán buscar la victoria que lesdé este martes la clasificación a la ronda de octavos de Final y de pasoevitar engancharse en temas complejos, más allá del terreno the youth.

Only important football matches – especially those of the Dutch national team– still score viewing figures that resemble those of a few decades ago. So itmakes sense that the DWDD -rel does not fascinate everyone, writes RoelofBouwman.

Roelof Bouwman (1965) is a historian and journalist. He writes weeklyabout politics, history and media.

After we were treated to revelations around earlier this year The Voice withLinda de Mol’s now ex-partner in an unflattering leading role, there was newslast week about TV presenter Matthijs van Nieuwkerk.

Story about ‘culture of fear’ DWDD in 2011 already in Private

Former employees of The world goes on ( DWDD ) collapsed de Volkskrant_from the school about his ‘tyrannical behavior’. This is said to have createda ‘culture of fear’ on the shop floor of the programme. A similar story wasalready in 2011 in weekly magazine _Privately but was then completely ignoredby other media.

Now there was commotion. ‘Matthijs van Nieuwkerk,’ wrote The Telegraph ,’Hilversum seems to have divided into two camps: celebrities who denounce itand people who show understanding’. In the first camp, football analyst Renévan der Gijp set the tone (‘If you enjoy humiliating people, then you’resick’), in the second, Reverend Gremdaat, Paul Haenen’s alter ego (‘People whoare brilliant in their work are often capricious and unpleasant in everydaylife’).

Especially on social media, it became clear that there is also a third campoutside Hilversum: of people who let it be known that they rarely or neverwatch an episode of The world goes on had seen and that the commotionsurrounding the ‘fallen sun king of the VARA’ could only moderately fascinatethem.

Used to be The world goes on a ratings gun? That’s relative

Wonderful, at first sight. Because The world goes on was an immenselypopular TV program between 2005 and 2020 and Van Nieuwkerk – it was hammeredinto us again and again last week – isn’t it a viewing figure gun of historicproportions?

There are, however, a few caveats to note. DWDD peaked in 2015, with anaverage of over 1.4 million viewers. A nice score, but compared to the talkshows of Mies Bouwman and Sonja Barend, for example, which regularly attractedbetween 6 and 8.5 million viewers in the eighties, it is not impressive.

Of course, there were fewer television networks back then. But also fewerDutch people. And let’s not pretend that the Dutch are flocking to Mies and_Sonya on Tuesday_ watched, because there was no Omroep Flevoland and no24Kitchen yet.

When it comes to the reduced reach of mass media, it’s almost always aboutprint media. Newspapers and magazines are said to be ‘dead trees’, prolongingtheir hopeless existence with the help of fewer and fewer readers.

But the ratings of our television heroes have plummeted at an even fasterrate. Many programs that are now at the top of the lists of the KijkOnderzoekFoundation would have been taken off the screen a generation and a half ago asflops. Only important football matches – especially those of the Dutchnational team – still score viewing figures that resemble those of a fewdecades ago.

Television is no longer really a ‘national’ medium

Television is no longer really a ‘national’ medium. And so it is logical thatTV riots no longer automatically have a national character. Let Matthijs vanNieuwkerk not be very sad about it.

The NPO must stop hunting for viewing figures and market shares. That huntdoes not belong to public broadcasting, but to commercial broadcasting. Sosays CDA MP and former Lingo presenter Lucille Werner. According to Werner,control over programs should return to the broadcasting associations. ‘The NPOhas gained too much power’.

According to Werner, the incident with Matthijs van Nieuwkerk at De WereldDraait Door is directly related to the ‘rat race for the ratings’ within theNPO. ‘The hunt for viewing figures and market share is not the job of the NPO.It hardens because of this.’

Also read | Minister Dijkgraaf about abuses DWDD: never received signals

By removing power within the public broadcaster from the NPO and thentransferring it back to the broadcasting associations, the broadcasters wouldknow better where they stand, thinks the CDA MP. ‘That way they know betterwhat the length and duration of a program is. With more control, more peoplecan be hired on a permanent basis, which is also good for pluralism.’ Moreattention should be paid to the appreciation of the programs among the varioustarget groups, Werner thinks.

Broadcasters are the gold of our country

The idea that has existed for some time to convert the NPO to the BBC model,so without broadcasting associations, is not a good idea, thinks Werner. ‘Thebroadcasting associations are the gold of our country. That’s so unique. Wehave so many newspapers in our country with different currents. We also havemany broadcasting associations with their own sound. Because they have toolittle say, they can’t make that sound heard properly.’

And so power must go away from the NPO. ‘It has been given too much power,broadcasting associations have to deal with the content. Not the NPO. That isalso contrary to the media law.’ However, this shift does not prevent a powerincident such as with Matthijs van Nieuwkerk, says Werner. ‘He wanted to makethe best program in the Netherlands. That’s allowed. But not about corpses.’

Also read | “Matthijs van Nieuwkerk behaves like a child who has lost histoy”

Martin van Rijn

It has now become known that former minister Martin van Rijn will lead theinvestigation into abuses at editorial offices within the NPO. That researchshould not only be an inventory, but also offer solutions for the future. Thisis what chairman Arjan Lock said on Monday on behalf of the Board ofBroadcasters (CvO), the advisory body in which all broadcasters have united.This week, the broadcasters discussed the revelations about the culture offear on talk show De Wereld Draait Door.

‘It is very good that the NPO is having an independent investigation done,’says Lock. ‘But there really needs to be a thorough investigation into whatwent wrong and why. We also advocate looking to the future. To preventsituations like this, something needs to change in the structures andhierarchical relationships within Hilversum.’

Also read | Top civil servant ignored legal advice from whistleblower NPO

According to CDA MP and former Lingo presenter Lucille Werner, control overprograms should return to the broadcasting associations. ‘The NPO has gainedtoo much power’. (ANP / Robin Utrecht)

VVD wants openness NPO about spending

The VVD thinks that the NPO is too secretive about the costs of TV programsand therefore wants the cabinet to ensure that a transparency register is setup. This must state how much money is spent per radio or TV program and onwhat exactly. The liberal party wants this to also provide more clarity aboutthe top salaries of presenters.

Next year, the cabinet will invest 856 million euros in the NPO, accountingfor three-quarters of government expenditure on media. It is unclear exactlyhow that money is spent, the Court of Audit stated in a critical report a fewyears ago. External producers in particular provide little transparency. Theprograms they make are generally viewed better, but are considerably moreexpensive than the productions of the public broadcaster itself.

The plan must also clarify how public money is spent by external producers,’so that salary constructions become as transparent as possible’. The Memberof Parliament notes that ‘rules for top salaries of presenters arecircumvented by hiring presenters through private companies’.

French multinational

Last weekend, the journalistic collective Spit published an investigation intoexternal producers of programs on public broadcasting in the opinion magazineVrij Nederland. For example, the talk show Op1 is produced by a Frenchmultinational and the EO program Het Familiediner by a subsidiary of theMediawan stock exchange fund. It remains unclear how the government moneyspent on these and other programs is spent, according to the investigativejournalists.

After Winnie the Pooh, Bambi is also going to be put in a gruesome horrorjacket, and Disney can’t help it.

Most Disney classics are based on stories that already existed. Fairy tales orbooks, given a new animation jacket. Still, the entertainment giant is doingeverything it can to keep its characters out of the public domain.

Winnie The Pooh: Blood And Honey

Partly due to Disney’s long track record, however, that is no longer always anoption. As a result, it is possible that a horror film about Winnie the Poohwill get a cinema release.

Winnie The Pooh: Blood And Honey , of which we recently shared the luridfirst trailer, will be released in American cinemas next year. It is obviousthat the makers are purely piggybacking on the popularity of Disney and theshock factor of a horror version of Pooh.

Bambi is also getting a horror movie

Without the well-known character, we wouldn’t even be talking about the movieright now. Yet that trick is lucrative, that’s clear. In fact, ITN Studios andJagged Edged Productions have realized that you can milk the formulaendlessly. At the beginning of next year they will give the story of Bambi anew look. A bloody horror jacket.

Why Disney Lets This Happen

The original Disney film dates from 1942, and is based on a 1923 book by theAustro-Hungarian author Felix Salten. By emphatically relying on that book,the makers of the upcoming film will probably be able to evade Disney’smerciless army of lawyers. Salten’s original work has been in the publicdomain since 2016. As long as the makers don’t use features that Disneyintroduced, such as the design of Bambi himself, they can go ahead.

“The film will be an incredibly dark retelling of the 1923 story we all knowand love,” said producer Scott Jeffrey. “Inspired by the design used in TheRitual from Netflix, Bambi becomes a vicious killing machine lurking in thewilderness. Prepare for Bambi with rabies!”

Weak trick or formula for success?

Uh, yes, intense. Rhys Frake-Waterfield will direct the horror film, whichwill begin filming sometime early next year. He was already at the helm of_Winnie The Pooh: Blood And Honey_ the project that started this absurdadventure.

For now, it’s all a matter of waiting. The team clearly understands that theyhave a formula for success, but the question is whether the films will haveany right to exist without the Disney link. Piggybacking on the recognitionfactor once will work, but will the public continue to buy tickets for thistrick?

Peter Pan

We’ll find out next year. In any case, the makers are ambitious: the thirdfilm is already on the schedule. Frake-Waterfield has also announced that heis working on a dark version of Peter Pan called Peter Pan: NeverlandNightmare. Meanwhile, Disney is doing everything it can to prevent thesekinds of projects. So far in vain.