Author: bestmedeal

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

P. ¿Qué Mundial image?

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

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

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

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

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

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

P. ¿Qué ama del juego?

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

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

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

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

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

P. ¿Qué jugador le gusta ahora?

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

P. ¿Como ve a Luis Enrique?

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

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

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

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

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

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

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

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

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

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

P. ¿Como ve a Vinicius y Rodrygo?

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

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

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

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

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

Aftertaste of longing and regret

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

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

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

Netflix series ‘Chef’s Table’.

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

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

Insufferable restaurant critic

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

Series ‘The Bear’.

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

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

Tantrums

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

Noma Documentary ‘My Perfect Storm’ (2015).

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

decadence of the nineties

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

‘Pig’ (2021).

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

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

Wild picking

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

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

‘The Menu’ (2022).

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

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

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

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

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

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

Do women kill differently than men?

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

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

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

Image from ‘Look What You Made Me Do’.

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

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

Why are murderesses so interesting?

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

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

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

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

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

Coco SchrijberImage Renée de Groot

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

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

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

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

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

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

Image from ‘Look What You Made Me Do’.

Is it important for women to get angry?

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

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

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

Why are you showing these gruesome images?

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

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

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

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

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

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

New top movies on HBO Max and Netflix

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

New movies on HBO Max

Groundhog Day (1993)

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

IMDb Score: 8.1

The Dresser (2015)

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

IMDb Score: 6.7

Carnage (2011)

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

IMDb Score: 7.1

Drive (2011)

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

IMDb Score: 7.8

Mary Full of Grace (2004)

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

IMDb Score: 7.4

New movies on Netflix

Penoza: The Final Chapter (2019)

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

Moonrise Kingdom (2012)

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

IMDb Score: 7.8

The Wolf of Wall Street (2013)

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

IMDb Score: 8.2

Get Out (2017)

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

The Hell of ’63 (2009)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Xavi Hernández todavía jugaba al fútbol en 2016, and Qatar, y ese verano llamóa Abelardo, entrenador del Sporting y viejo compañero de vestuario del CampNou. En esa charla, el actual técnico azulgrana le soltó un nombre: AkramAfif, un chico de 19 años, rápido y con desborde, al que conocía de lascategorías inferiores del país asiático. “El mejor de Qatar”, le advirtióXavi. “Lo he seguido y puede ser una sorpresa en la Liga”, avisó unos días mástarde a todos Abelardo, que no tardó en recoger el guante y anunciar suincorporación como cedido. Su paso por El Molinón, sin embargo, resultó fueinvisible (cero goles en 11 partidos), la temporada del equipo rojiblanco muymala (descendió a Segunda) ya Abelardo no le han quedado muchas ganas dehablar de este extremo izquierdo. Pero ahí está Afif, ahora con 25 años,indiscutible con su selección y tercer máximo goleador (21) de la anfitriona,que este domingo abre su Mundial ante Ecuador (17.00, Movistar).

Con mejor o peor suerte, la peripecia de este chico por Asturias sirve deejemplo para un dato interesante: al margen del caso ya conocido del catalánFélix Sánchez Bas -seleccionador en el emirato desde 2017-, un tercio delcombinado catarí dio sus primeros pasos , a modo de mili , and España;algunos en canteras de Primera, y la gran mayoría en el fútbol no profesionaly hasta en las profundidades de las ligas regionals. Entre los 26 convocados,ocho se formaron a este lado de Occidente.

Algunos de ellos llegan a la gran cita de Doha como referentes de un equipoque en 2019 levantó su primer gran título, la Copa de Asia: el delanteroAlmoez Ali (26 años), uno a los que le sorprendió la vida callejera de Leóndurante el semestre de 2016 que perteneció a la Cultural en Segunda B, sepresenta como su máximo anotador histórico, con 34 tantos; Bassan Al-Rawi (24)figura como uno de los pilares defensivos, y en su fugaz tránsito por elJuvenil A del Celta en 2016 llamó la atención su físico, su mirada competitivay el carácter extremadamente silencioso; y por supuesto el veloz Afif, quetambién tuvo su etapa en las categorías inferiores del Sevilla y Villarreal(el conjunto amarillo lo llegó a comprar y luego a cedar al Sporting).

Almoez Ali, Akram Afif y Bassan Al-Rawi, con pasado español, son tres> pilares del equipo

Tres nombres fijos en el plan de Sánchez Bas a los que se unen el porterosuplente Yousef Hassam (26), que pasó por el Juvenil A del Villarreal; elpivote Assim Madibo (26), medio años en la Cultural Leonesa; y el centralTarek Salman (24), el medio Mohammed Waad (23) y el extremo zurdo KhalidMuneer (24), que ni siquiera tuvieron sitio en el primer equipo de León ytuvieron que baquetearse en el Júpiter (filial de la Cultural) y hasta en elAstorga, and Tercera Division. Entonces su fútbol no les daba para más.

León es, desde hace siete años, uno de los campamentos base del fútbol deQatar. En 2015, su academia (Aspire) compró la Cultural, en grave crisiseconómica, y allí ha ido mandando jóvenes para sumar experiencia y tratar dealiviar el pobre nivel general de su país. “Esta ha sido una de lassituaciones más curiosas de mi carrera”, resume sin gran entusiasmo JuanFerrando, que dirigió este conjunto en la 2015-16, en Segunda B. “Cuandofirmé, me dijeron que Aspire enviaría a unos jugadores. Elegían a los queellos creían que podrían llegar a la selección absoluta y su objetivo era queadquirieran ritmo competitivo. Destacaban, sobre todo, por el físico, aunquetambién entendían la táctica”, explica el técnico, de 41 años, ahora en elMohun Bagan, de India. La suya fue la primera promoción de este Erasmus y notuvo mal material: Ali (máximo goleador de la Copa Asia de 2019, con nuevedianas) y Madibo, que suma 43 internacionalidades. “Que dos hayan llegadoarriba, no está nada mal”, valora el preparador catalán.

El Júpiter, filial de la Cultural, y el Astorga acogieron a varios de estos> futbolistas

And los inicios, las remesas leonesas de Aspire, dirigida por el español IvánBravo, las formaban unos cuatro jugadores por curso. Luego se interrumpierontres campañas y esta temporada se han reanudado con otro cuarteto para lacantera. “Cuándo mandan y cuándo no es estrategia suya”, puntualiza FelipeLlamazares, exárbitro ACB durante 24 años (621 partidos) y actual directorgeneral de la Cultural. En el Consejo de Administración del club, por cierto,también está José Lasa, base del Real Madrid en los noventa y ahora abogado deAspire. Fútbol catarí y baloncesto español, una curiosa conexión que añadir aesta historia.

“Con ellos viene un tutor, que es su responsable. Por las mañanas estudian deforma telemática ya veces también tienen entrenamientos individualizados”,explica Llamazares, que apunta que ninguno ha vuelto por León más que paradisputar un amistoso el pasado verano, un encuentro en el que un aficionadofue expulsado de la grada por sacar un rótulo con la phrase: “¿Dónde están losDerechos Humanos en Qatar?”.

“Esta ha sido una de las situaciones más curiosas de mi carrera”, resume sin

R . No, y no sabría decirle la razón, pero tampoco me ha sorprendido. Yo,individualmente, lo hago y siempre se me ha respetado. And Sudamérica somosmás creyentes. Yo tengo un tatuaje de la Virgen Maria.

P. ¿En qué cambia un vestuario que reza a otro que no lo hace?

R . Es una manera de agradecer. Pero Dios te ayuda hasta un punto y, apartir de ahí, tú tienes que hacer las cosas. Por más que pidas, si vas alcampo y no haces lo que debes, el rival te supera.

P. Ecuador es un país, tradicionalmente, de emigrantes. Muchos estan enEspaña. ¿En su familia ha habido personas que han tenido que salir?

R . No, pero conozco casos. Antes había más, ahora es más complicado porel tema de visados. Pero allá donde he estado, en Pamplona, ​​Mallorca,Granada o Almería, he visto a muchos ecuatorianos.

P. Usted, como futbolista que disputa un Mundial, pertenece a una élite,con una posición económica privilegiada. ¿Como lo vive?

R . Con tranquilidad y la mayor inteligencia posible, sabiendo de dondevengo. Cuando se visita el país, hay que ayudar a los que no están en tuposición. Dios me bendijo y me dio la oportunidad de ser lo que soy. Cuandovoy a mi barrio o por Navidades, si le puedo tender una mano a quien lonecesita, mejor. Con víveres, con comida, o haciendo felices a niños. Tampocoquiero dar muchos detalles, soy una persona tranquila. Ayudo porque lo hago decorazón y no porque quiera mostrarlo.

P. Se acaba de unir al proyecto Common Goal y donará el 1% de su sueldopara causas sociales.

R . Hay personas que no tienen oportunidades y me motiva llevar un granitode arena a casa de una persona que lo necesita y la hago feliz. La idea escrear espacios seguros para la inclusion y la prevención del delito enEsmeraldas, donde crecí.

Mi padre quería que fuera delantero, pero no salía ningún gol

P. ¿Como recuerda su infancia allí?

R. Un sitio tranquilo, costero. Yo era un chico muy alegre que no habíacomido y ya pensaba en jugar al fútbol. Estoy agradecido con la educación queme dieron mis padres para no desviarme por otros caminos.

P. Su padre quiso que usted fuera delantero.

R . Cuando era más joven, me pedía que me presentara como delantero en losclubes donde iba a probarme. El había jugado en esa posición, aunque noprofesionalmente. Yo lo decía, pero veía que no salía ningún gol y me decantépor irme para atrás.

P. ¿Pero le gustaba ser delantero o se sentía empujado por su padre?

R . Al principio, me gustaba, pero vas creciendo, te van probando enposiciones y, con la ayuda de los técnicos, me quedé en el lateral.

P. ¿A qué edad ganó su primer sueldo con el fútbol?

R . Con 13 anos. Había llegado a Liga de Quito y, cuando iba a cumplir 14,me hicieron mi primer contrato.

P. ¿Y qué hizo con él?

R . Se lo di a mi mamá, yo no era consciente de lo que agarraba. Ella mecompró ropa en lo que en España llaman un centro comercial.

Mi primer sueldo del fútbol lo gané con 13 años

P. Antes había trabajado en un club de tenis.

R . A mi padre no le gustaba porque decía que no nos faltaba nada, y eraverdad. El tenía un empleo y mi madre estaba con nosotros en casa. Pero yo lohacía porque me lo pasaba bien, estaba con mis amigos y ganábamos un dineropara comprarnos nuestras cosas. Por no pedírselo a mis padres y ser un pocoindependiente. No por necesidad.

P. El Villarreal lo fichó en 2020 por 16 millones, pero solo estuvo dosaños. ¿Por que?

R . Me hubiese gustado quedarme mucho más tiempo porque es un gran club,pero se dio así. Yo queria mas minutos. Empecé jugando y luego, porcircunstancias, entré en competencia con mi compañero. A algunos no lesimporta alternar con otros. A mi siempre me ha gustado sentirme importante. Ladecision de salir fue de las dos partes. El Villarreal también necesitabaingresos porque no entró en Champions ni Europa League.

P. ¿Y qué le parece ahora la Premier?

R . Es muy distinta a España por la intensidad de los entrenamientos, delos partidos, y por como se corre desde el primer minuto.

P. El Mundial se celebra en Qatar, un país muy cuestionado en materia dederechos humanos. ¿Qué opinion tiene sobre esto?

R . Esas cosas le pertenecen arreglarlas a otras personas.

La Tri, multada en el último segundo pero con perdonada

Ninguna de las 32 selecciones ha vivido tan en vilo la vigilia del Mundialcomo Ecuador. El equipo que dirige desde 2020 el argentino Gustavo Alfaro(sucedió a Jordi Cruyff, que estuvo seis meses y no dirigió ningún partido)festejó el pase en el campo; sin embargo, luego todo se complicó en losdespachos. Las denuncias de Chile y Perú por supuesta regioción indebida deByron Castillo en ocho encuentros de la clasificación (le acusaba de sercolombiano y haber obtenido la nacionalidad ecuatoriana de manera fraudulenta)le tuvo en vilo hasta apenas dos semanas antes de la cita de Qatar. De hecho,el Tribunal de Arbitraje Deportivo (TAS) cerró el caso con una multa a La Tride 100,000 euros, más 10,000 para los dos países demandantes, y tres puntosmenos en las eliminatorias para 2026 por presentar documentación del jugadorcon información falsa. Sanción, sí, pero sin expulsar a Ecuador de la cita. Noobstante, el miedo a problemas mayores empujó a Alfaro ya toda la federación ano incluir a Bryon Castillo en la lista mundialista. “Yo pongo la mano en elfuego por él, para mí es como mi hermano. Nos dijo que estuviéramostranquilos”, asegura Estupiñán.

Apologies are all the rage these days when it comes to difficult-to-procureconcert tickets. And Adele, whose much anticipated Las Vegas residencylaunched on Friday (Nov. 18) at the Colosseum at Caesars Palace, was notexempt from her own. “I’m truly sorry for any inconvenience and anydisappointment that I’ve caused, but we’re here tonight and together” she saidfrom the stage. Delaying the run, she added, “was the best decision I evermade.”

It was a reminder of the long road to the Colosseum. Originally scheduled tokick off in January, production issues — and Adele’s own dissatisfaction withthe staging — caused a nine-month delay, during which time rumors circulatedsuggesting that the show may move venues or be called off altogether. “I’dreally like to thank Caesars because there’s been a lot of shit written aboutme since I canceled those shows,” Adele said. “Ninety percent of it iscompletely made up, but not once did [Caesars] ask any questions,” Adeledefended, remarking how dealing with business is the part of her job as aworld-renowned singer that she doesn’t always enjoy. “That’s why I fuck offfor six years at a time,” she cracked.

Truth be told, no one was complaining. If anything, the crowd of 4,100 — whichincluded James Corden, director Baz Luhrmann, Apple CEO Tim Cook and Britishartist Stormzy (seated with Adele’s beau Rich Paul) in attendance, as well asSony Music Group’s Rob Stringer and Afo Verde and CBS executive Jack Sussman —were audibly and visibly thrilled to be a part of Adele’s opening night, asdemonstrated by their screams and frequent standing ovations.

Still, Adele was nervous, and said so at the top of the show as she belted“Hello” and warmed up her voice. “I’m so scared and so happy,” she confessed,before asking rhetorically, “How are you all?”

LAS VEGAS, NEVADA – NOVEMBER 18: Adele performs onstage during the “Weekendswith Adele” Residency Opening at The Colosseum at Caesars Palace on November18, 2022 in Las Vegas, Nevada. (Photo by Kevin Mazur/Getty Images for AD) Getty Images for AD

Adele explained that she wanted the show to “start small” with just her and apiano. She also warned the audience that bangers were scanning, so to take theopportunity to dance when an up-tempo tune comes. “I don’t know what I wasthinking,” she said of front-loading the show with ballads.

“I’ve got a lot to tell you,” Adele continued in her trademark banter. “It’s abloody massive week for me — it’s the ‘Walking Dead’ finale on Sunday! Andit’s the Grammys and the World Cup. … I’m talking this much because I’m sonervous.” Indeed, she joked and regaled the crowd with stories for a total ofalmost 30 minutes during the two-hour show, covering everything from theweather (unseasonably cold in Vegas) to her “love of sitting down” to musicdiscovery and the mechanics of the show, and even made two Canadian audiencemembers’ night by reassigning them from the worst seats in the house toorchestra center (she plans to repeat the deed on future shows), and a fewmore fans got T-shirts shot at them from a gun. (Next door to the venue is anAdele store selling merch and knick-knacks and displaying a selection of herdresses and awards.)

Working her way through her greatest hits — “Easy On Me,” “Rumour Has It,”“Send My Love,” “Skyfall,” “Set Fire to the Rain,” “When We Were Young,”“Someone Like You” — it became clearer as the night went on that the less-is-more production complemented the music in a way that didn’t distract butrather enhanced the art of the performance. Outside of the rain fall andflames that accompanied “Set Fire to the Rain,” videos of a stunning Adelealong with picturesque landscapes and a wall of string players brought aclassiness to the show — the sort that maybe could justify spending north of$800 for a seat.

But what truly made the show worth every penny was Adele’s promise that itwould be an intimate experience. She came through in every regard, walking upand down the aisles, meeting and kissing her fans, asking about their lives.“The whole reason I wanted to play a small room was to be close to you,” shesaid during an emotional moment just before the encore (“Rolling in the Deep”and “Love Is a Game”). “I was just flailing around London when I was 21 yearsold and I wrote an album that ended up changing my life,” Adele continued. “Ihad no idea that my life would end up becoming what it is. Every day, I havean out of body experience.”

You could say the same of the crowd’s Friday night.

LAS VEGAS, NEVADA – NOVEMBER 18: Adele performs onstage during the “Weekendswith Adele” Residency Opening at The Colosseum at Caesars Palace on November18, 2022 in Las Vegas, Nevada. (Photo by Kevin Mazur/Getty Images for AD) Getty Images for AD

Set List:

Hello Easy On Me Turning Tables Take It All I Drink Wine Water Under the Bridge Send My Love Oh My God One And Only Don’t You Remember Rumor Has It Skyfall Hometown Love in the Dark Cry Your Heart Out Set Fire to the Rain When We Were Young hold-on Someone Like You Rolling in the Deep Love Is a Game

Correction: A previous version of this article mistakenly listed WeWorkfounder Adam Newman in attendance.

Brett Oppenheim is still supportive of his former employee and _Sell ​​Sunset_costar Christine Quinn.

While speaking with PEOPLE at the launch of 1060 App on Thursday in WestHollywood, the luxury realtor and Oppenheim Real Estate president, 45,discussed Quinn’s absence in the upcoming sixth season of the Netflix realityshow.

“This is our first season without her, and she’s a big loss because she’s madefor reality TV,” he said. “We stay in touch, just not so often. Just mostlyover Instagram or a text here and there.”

RELATED: Jason Oppenheim Reveals Girlfriend Marie-Lou Nurk Will Meet HisMom for the First Time on Thanksgiving

Explaining his previous anxieties around Quinn being on the show, Oppenheimexplained: “But I got to say, I might have had a little bit of concern goinginto season six, but I have no concern coming out of season six.”

“I’m really proud of this season,” he added. “I think everybody stepped up,and it just ended up being unexpectedly an awesome season. So, all concernshave been completely diminished.”

Brett Oppenheim Says Christine Quinn’s Exit Is a ‘Big Loss’ to Selling Sunset:’She’s Made for Reality TV’. photo credit: Victoria Sirakova

Victoria Sirakov

RELATED: Jason Oppenheim Says Girlfriend Marie-Lou Nurk Will Appear onNew Season of ‘Selling Sunset’

Teasing more about season 6, Oppenheim said: “We were a few weeks intofilming, and there was absolutely no drama. I was like, ‘Oh, s—. OK, maybewe’re going to have a mellow season.’ Honestly, I was really kind of pleasedabout it. Then, some s— hit the fan just unexpectedly. So, I actually thinkthat this season’s going to have as much drama as the other seasons.”

Never miss a story — sign up for ** PEOPLE ‘s free daily newsletter** to stay up-to-date on the best of what PEOPLE has to offer, from juicycelebrity news to compelling human interest stories.

“Yeah, it just came out of nowhere, but it was pretty rough for a few weeks inthe office,” Oppenheim shared. “So, I think that it’s probably going to beentertaining for people even though it was a little difficult for me and mybrother (Jason Oppenheim).”

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Noting that the tensions have arisen between “people that we both care about alot,” Brett said one particular scene was “tough.”

Brett Oppenheim Says Christine Quinn’s Exit Is a ‘Big Loss’ to Selling Sunset:’She’s Made for Reality TV’. photo credit: Victoria Sirakova

Victoria Sirakov

“We were in Europe when it started to hit the fan, which was kind of nice insome ways because we didn’t have to deal with it directly, but it was also alittle bit troubling because we weren’t there to try to smooth things over,”he explained. “So, it was difficult to get through. Yeah, it was not fun tohear about, not fun to watch, but I presume it’ll be fun to watch for millionsof other people.”

Brett attended Thursday’s event with his twin brother and his girlfriendMarie-Lou Nurk, as well as Sell ​​Sunset costar Amanza Smith, to celebratethe launch of the 1060 App, a new app designed for the real estate industrythat provides an endless stream of the world’s most amazing houses andapartments through short digital videos, according to the company’s website.

A source confirmed to PEOPLE in August that Quinn, 34, will not return forseasons 6 and 7 of the hit Netflix series. Production for the upcoming seasonsbegan this summer. TMZ was the first to report the news of Quinn’s departurefrom the series.

Since it first premiered in 2019, Quinn has been a staple on _Sell ​​Sunset_which follows the Oppenheim Group real estate firm as they sell some of themost exclusive luxury homes in Los Angeles.

RELATED VIDEO: How ‘Selling Sunset’ Star Christine Quinn Manifested HerCareer

Over five seasons, fans watched as Quinn not only sold real estate, but wasalso involved in drama with all of her costars. In an explosive season 5conflict, Emma Hernan claims Quinn bribed a client with $5,000 to quit workingwith her. Quinn vehemently denied the accusation.

Quinn told PEOPLE exited Oppenheim to launch her new crypto real estateventure RealOpen with husband Christian Dumontet in April.

“I terminated my contract when the brokerage launched,” Quinn said. “I had tomake a business decision that was for me, so I had to terminate the contractso I could move it over to my brokerage.”