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“Arnold and I are living proof that you can completely reverse hate in onegeneration.” They are both of Austrian origin. And both made their fortunes inthe US. One as an actor, bodybuilder and governor of California. The other asCEO of a large brewery and producer of musicals. But Arnold Schwarzenegger andSimon Bergson’s visit to the Polish concentration camp Auschwitz was more thana trip among friends.

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Arnold Schwarzenegger visited Auschwitz with his compatriot and brewer SimonBergson. — © AP

In World War II, Arnold Schwarzenegger, Arnold’s father, fought on the side ofthe Nazis. Bergsons is the son of Jewish parents who were imprisoned inAuschwitz, and survived the horror. In all, 1.1 million people were killed inthe camp. By visiting the site and the museum side by side, Schwarzenegger andBergson wanted to send a message.

“Let’s fight prejudice together and get rid of it for good,” said the actor.To then refer to one of his most famous roles in the Terminatormovies. “Let’sterminate hate and prejudice.”

Wrong word choice

Schwarzenegger also met Holocaust survivor Lidia Maksymowicz, who, as a3-year-old, became a victim of Nazi doctor Josef Mengele’s experiments. “Herstory needs to be remembered. So that we all say that something like thisshould never happen again.”

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Schwarzenegger embraces Holocaust survivor Lidia Maksymowicz. — © AP

A clear statement with the best intentions. But still, Schwarzenegger takescriticism after his visit. Afterwards, the museum shared a photo of theinscription left by the ‘Governator’ in the guestbook. He also referred toTerminator with the famous quote: “I’ll be back.”

Inappropriate, many Twitter users think. They make a link with the films,where Schwarzenegger’s character is not sparing with violence and leaves atrail of victims. “This is not the right choice of words,” it sounds. And: “Ifmy father was a Nazi, I would have thought twice before writing something likethat.” Those who believe that Schwarzenegger meant no harm also point to theunfortunate use of language.

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The museum itself sees no point in it, and came up with further explanationsto defend Schwarzenegger. “His visit was relatively short. The message wasintended as a promise to return later for a more in-depth visit.”

‘Nazi gang’

Schwarzenegger has always been open about his family history. When theAmerican press discovered in the 1990s that his father had fought for theNazis, the actor himself started an investigation. This showed that his fatherwas indeed active in the Second World War, as a member of the SA – a ‘Nazigang’.

The man was sent to France, Poland, the Soviet Union and our country, amongother places. He had nothing to do with war crimes, such as in Auschwitz. In1943, Schwarzenegger’s father was sent home after being injured in Leningrad.

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Arnold Schwarzenegger never made a secret of his family history. — © REUTERS

Last March, after the Russian invasion of Ukraine, Arnold Schwarzeneggerexplicitly referred to his father in a video message to the Russian people. Init he spoke out against the war.

“When my father arrived in Leningrad, he also believed all the lies hisgovernment told him. And when he left, he was broken. Physically and mentally.He has been in pain for the rest of his life from a broken back, from theshrapnel and from his guilt.” To add, “I don’t want the Russian people to bebroken like my father.”

READ ALSO. Arnold Schwarzenegger addresses Russian people: “Dear friends, youare being lied to”

I quickly checked whether my screen might have been set too dark. But no,Sinan Can’s new docuseries Fault lines showed unfiltered the gray reality ofeveryday life in Europe’s drains. There were also stars twinkling in thefirmament, but there were not many.

Four nights in a row this week, Can took us to neighborhoods in Paris, London,Stockholm and Brussels where he spent a lot of time over the past year. Inpress releases, BNNVARA describes these areas as vulnerable. Battered topieces often seemed a better formulation for the poor neighborhoods whereunemployment, radicalization and crime go hand in hand. The episode aboutdilapidated flats in the Parisian Clichy-sous-Bois was especially depressing.The mess in the stairwells, the sluggishness of young Algerian residents (‘wehave to steal’), the gang violence. They buzzed an unanswered question: Whyhasn’t Paris long since expropriated and demolishing these privately ownedbuildings?

shabby little flats

But Sinan Can didn’t walk around as a know-it-all, nothing like that annoyingparent or girlfriend who always knows how to tell you exactly how to tackleyour problems. No, Can came, saw and reported. He lived in shabby littleflats, made contact with local residents, learned in-depth stories andlistened. Himself a migrant child, Muslim and familiar with threats fromextremists, he had little trouble finding the pain points of life in oldneighborhoods where the original inhabitants and structures give way toIslamic newcomers.

As calm as his approach was, Can became very irritated on two occasions. Onetime during a conversation with the former chairman of the Great Mosque ofPantin, who distributed the incendiary video that led to the beheading ofteacher Samuel Paty. And it still finds defensible that he posted that video.Can also seemed to explode at a misogynistic hate preacher who can spew hisanti-democratic poison unhindered in London. Shocking, how many sharia courtsoperate there and how many men-brothers oppress their wives in this way. Forthis episode you would like the series too concrete rot can say: how can ademocratic country allow these kinds of opposing forces?

Looking for the light

I already wrote it: my screen looked dark. What if I close my eyes and lookfor the light in the series? Then I remember patrolling mothers in the Swedishevening cold. See the first black policewoman in Stockholm’s Rinkeby districtand hope she’s proud of herself. Ditto for those girls playing soccer inMolenbeek in Brussels, where a Belgian in a neighborhood pub said that he hadbeen happy with his Moroccan wife for thirty years. And where the CEO ofGoogle handed a big check to Ibrahim Ouassari for his successful tech trainingcompany MolenGeek.

This Ibrahim had as a boy next door Ibrahim Abdeslam, in 2015 one of theattackers in Paris.

Talk about life twists.

Because societies are never finished and static, an essential comment fromFather Dominican, professor and youth worker Johan Leman in Brussels, remains.In his Belgian modesty, he carefully raised the question: “Are politiciansreally committed to these very concrete people?” Sinan Can certainly seems to.

_Renate van der Bas and Maaike Bos write columns about television five times a

It is the largest acquisition by Museum Boijmans Van Beuningen in decades, andit is ‘a key piece’ in the museum’s extensive and qualitatively solidcollection of surrealists: the painting Peinture-poème (Musique, Seine,Michel, Bataille et moi) (1927) by the Spanish painter Joan Miró willofficially belong to the collection of the Rotterdam museum from Thursday,which has been closed for renovation and expansion for a few years.

Earlier this month, State Secretary Gunay Uslu of culture herself signed thefinancial contribution from the state that ultimately made the purchasepossible from the Museale Aankopen fund – the maximum state contribution fromthe Mondriaan fund was not sufficient. However, a significant part of thepurchase price of 8.1 million euros (8 million Swiss francs) was not raisedwith public money, but from private funds. The Rembrandt Association, inparticular, has supported the acquisition of this work from the start with aninitial pledge of 3 million euros and a later addition.

Also read this report: The Universe of Joan Miró

The museum has a collection of surrealist visual art, books and magazines thathave been among the best in Europe since the then chief curator of modern art,Renilde Hammacher, began collecting in the late 1970s. The museum had beenlooking for a so-called dream painting by Miró for a long time, because itsteered surrealism in the direction of more abstract work, says SandraKisters, head of collection and research. “People often think of thefigurative surrealism of dream symbolism, such as the works of Dalí andMagritte that evoke an alienating world. Miró represents the other branch, anabstract tendency.” This makes his work a bridge to painters such as Picabia,who went much further in abstract surrealism. “So it’s not alone; why a Miró,but why such a Miró. We would find his later work much less interesting.”

Circles in the water

The Surrealists, initially mainly a literary movement of ‘automatic writing’,wanted to circumvent rationality and thus allow the subconscious to speakdirectly. Which didn’t come naturally. Miró, for example, starved himself totemper his conscious mind. This work, peinture-poème , he made after a walkalong the Seine with, among others, the philosopher Bataille, where theylooked at the circles in the water of the river. Miró later wrote about it inhis diary. It produces a dark work, brown with red. “You see that in thesurrealist movement there is still discussion about what you see in thesubconscious,” says departing museum director Sjarel Ex. “When you close youreyes, dream, do you see pictures, or are you dealing with spheres or streamsof thought, or do you see something atmospheric? This painting offers theopening to see everything. You end up in a not very attractive muddy state atfirst, which is fantastic of course. It is a painting that challenges you, andthat does not immediately lie at your feet like a purring cat. That is oftenthe case with Dalí, you find it beautiful and after that it starts to wearout. Dalí is a bit of an early artist, to whom the taste develops, but Miró issomeone you think of when you meet him: Ho. This also exists.”

Outgoing director of the Rembrandt Association: ‘Liberals and culturalpolicy do not go together’

For a long time there was little hope that they would be able to acquire sucha work, says Ex, who will be stepping down as director on Friday. “They arerare, and many of the dream paintings have already found their finaldestination in collections or museums. After his retirement in 1978, formerdirector Coert Ebbinge Wubben said that the museum should have had a Miró, butthat it was too late, that it would never come again.” So, says Ex, “We werehereditary as a museum.” According to him, the surrealist collection is ofgreat importance for the entire collection of the museum. “We are also alwayslooking for the surreal tendencies in art. We often end up with choicesdictated by this squadron – surrealism is a concertmaster for us.”

Extremely transparent

A few years ago, the museum already tried to buy a painting from Miró’s dreamperiod, one of his blue works. But the museum eventually abandoned it, eventhough it was almost financially closed. “He had later painted a layer overit, which made it of lesser quality than this work. This is painted extremelytransparent, it was set up in one go. This makes it his direct translation ofthat subconscious period.”

The work was not sold at an auction late last year, Ex says. Museum BoijmansVan Beuningen then contacted the owner through Christie’s auction house. Thepainting was now on loan from the Swiss Kunst Museum Winterthur, and then cameto Rotterdam to view its condition and see how it fitted into the collection.

A large part of the visual works by the surrealists from the Europeanimportant collection of Museum Boijmans Van Beuningen is part of a travelingexhibition, which was previously shown in New Zealand and now hangs in MexicoCity. The exhibition will return home in mid-October, Kisters says, and willbe on display in one of the rooms of the Depot for a few months before itleaves again, this time to Denmark. Is the collection home in honor of theMiró’s purchase? “No, that’s a coincidence.”

She has just had a nervous breakdown and is lying on the bed crying; cheekswet, eyes swollen. But then there’s makeup artist Whitey, who leads her to thedressing table. “Please come,” Norma Jeane whispers hoarsely, “don’t leaveme.” Whitey reassures her as he powders her face: “She’ll come. She’s almostthere.’

And suddenly her reflection transforms, like a ghost. Radiant mother-of-pearlcomplexion, eyebrows raised, seductive smile on her coral red mouth. Sureenough, there she is: pop cultural phenomenon, sex symbol, icon. She throwsher head back and smiles broadly. A kiss in the air and the transformation iscomplete. There she is, there’s Marilyn Monroe.

It’s one of the few scenes in the movie blonde (2022) in which actress Anade Armas plays the icon ‘Marilyn Monroe’, the sex bomb as we think we know it.The woman who The Seven Year Itch her white dress flutters sensually abovethe subway grille. Her contours are thus etched into our pop-cultural memory.White blond hair, puffy halter dress. Mickey’s ears, Che’s beret, Marilyn’slegs.

Successful pose

In essence blonde a movie about dissociation. In the film adaptation ofJoyce Carol Oates’s 2000 book, Norma Jeane Baker (born Norma Jeane Mortenson)experiences so much sorrowful misery that she splits herself in two. ‘MarilynMonroe’ here is not only a part of Norma Jeane, that one very successful pose,she is also an armor, the hairdo is a silver helmet. ‘Marilyn’ as a survivalmechanism.

But in blonde we usually see Norma Jeane, a fragile and vulnerable girl whois constantly harassed and hunted. Ana de Armas plays her with nervousgestures, a haunted frown and large, startled eyes, trying to give the ‘icon’her humanity back.

Who is Ana de Armas?

The new Marilyn Monroe is Cuban-Spanish actress Ana de Armas (34). Herbreakthrough role in Cuba was in Una rosa de Francia (2006). She thenstarred in Spain in six seasons of the popular teen TV drama El Internado.In the US she broke through with the crime comedy Knives Out (2019); afterthat she was allowed to give shape to Bond girl Paloma in No Time to Die(2021).

Because how do you play her, how do you play ‘Marilyn Monroe’ (the quotes arethere deliberately)? It seems an almost impossible task to give depth andcredibility to a woman who became a kind of cartoon character in thecollective memory. How do you give such a jigsaw archetype a beating heart?

Theresa Russell in ‘Insignificance’ (1985).Image Getty

It has been done about twenty times in recent film history. From Misty Rowe inthe biopic Goodbye, Norma Jean (1976) to Ana de Armas in blonde with inbetween, among others, Theresa Russell in Insignificance (1985), MiraSorvino in Norma Jean and Marilyn (1996), Poppy Montgomery in blonde(2001, an earlier film adaptation of Oates’ novel) and Michelle Williams in_My Week with Marilyn_ (2011). They played her stupid, sexy, seductive,diabolical, tragic, manipulative or unstable.

Record holder for Marilyn roles is lookalike Susan Griffiths, now 62, whoplayed the blonde sex bomb thirteen times between 1990 and 2007, including in_Quantum Leap_ and Pulp Fiction. But that is mainly a matter of the rightcolor hair dye and an hourglass figure in a cellophane-tight dress.

Karina Smulders in ‘After the Fall’ by Toneelgroep Amsterdam (2012).Image JanVersweyveld

Still, a certain amount of outward imitation is inevitable in a convincingMarilyn rendition. It helps, says actress Karina Smulders (42), who played herat Toneelgroep Amsterdam in After the Fall (2012), a play by Monroe’s exArthur Miller. ‘It’s never a matter of just imitating, of course; as an actoryou always relate to the text. But such a dress, that wig, the red lips, theydo something, they help you on your way. Sometimes I had the feeling that Iwas halfway there with those attachments.’

It is precisely the travesty that exposes the tragedy of ‘Marilyn’, because itis so necessary. Smulders: ‘I was also wearing a dress in which I couldn’t doanything except fall over. That also helps.’

Mira Sorvino in ‘Norma Jean and Marilyn’ (1996).Image Imageselect

Whoever plays ‘Marilyn Monroe’ plays Norma Jeane and Marilyn, inside andoutside world, person and persona. In the TV movie Norma Jean and Marilyn(1996) this idea of ​​two different women was even taken literally. In it,Ashley Judd plays Norma Jeane, the girl with the disturbed mother and thedifficult childhood. That girl is discovered as a fashion model and pin-up,but when a high-ranking studio boss judges that she “has no appreciable chin”and a nose like a potato, she goes under the knife. And lo, there’s MarilynMonroe, now played by Mira Sorvino. When Monroe doesn’t feel like it anymore,Norma Jeane admonishes her through the mirror.

Striking about the vital portrayal of Sorvino – she was nominated for a GoldenGlobe – is her high-pitched Minnie Mouse voice. Monroe’s striking voice is animportant entry point for actresses, it turns out. Not just as acharacteristic gimmick, but because it says something about her state of mind,her insecurity and her ambition. How she uses her voice reveals something ofher inner world.

For example, Monroe emphatically modeled her voice according to the wishes ofher various acting coaches. In the 1950s she developed the recognizable hoarsegirl whisper; later her use of voice became more natural. Ana de Armaslistened to all the different Marilyns for a year and rehearsed for two hoursdaily with her voice coach. It produces a sound that fits her tormented role:small, thin and hoarse, each syllable a sigh.

Michelle Williams in ‘My Week with Marilyn’ (2011).

Marilyn spoke with a lot of breath under her voice, and that quality isespecially well matched by Michelle Williams: in My Week with Marilyn shespeaks alternately in a girlish whisper or champagne bubbles. Williams won aGolden Globe for her portrayal and was nominated for an Oscar.

Her Marilyn is layered and refined, with searching eyes in a mobile face, onwhich every emotion is immediately apparent. She always feels the face of theother, looking for appreciation, admiration, recognition. Beneath hersensuality there is always a hint of childlike anticipation.

And also in this film there is such a moment of transformation. “Shall I beher?” Williams asks a flirt. Promptly, one hip sinks crookedly and oneshoulder is exposed. Head in the neck, hand pillow in the air. There she is.

Chameleonic

Monroe was chameleonic, says Karina Smulders. ‘She always adapted to otherpeople’s expectations. So I played her as a child woman and as a femme fatale,and everything in between, as someone who changes color all the time.’

What Smulders remembers well from her rendition was the specific walk. ‘Shehas remarkable motor skills, is always a bit unsteady, in a classic ‘save me’pose. I created that by wearing impossibly high heels that I could barely walkin.’

The real Monroe seemed to have a heel chafed, which naturally gave her awobbly step, a sprain in her hips; a walk with a wink.

Misty Rowe in ‘Goodbye Norma Jean’ (1976).Image Getty

Whoever sees images of Monroe now notices that she has a different pace thanthe rest, as if she were moving in slow motion. That may have been seen asseductive at the time, a kind of sexy bedroom languor, but it could also havebeen a result of her pill addiction. Williams shows this duality beautifully,dozing lazily like a cat on the chaise longue, but with a drowsy look and acloudy voice. Her Marilyn can enjoy, but also suffer, always.

With Ana de Armas, that suffering predominates. ‘Marilyn’ has been played inmany ways, but never as fragile as it is now.

Revolutionary interpretation

Where her predecessors always played something of fun, of the fun ofseduction, De Armas completely omits that in the direction of Andrew Dominik.That makes her interpretation in blonde revolutionary, a Marilyn for the#MeToo era. Because wasn’t that “pleasure” of sex bomb Monroe something theworld liked to project on her? After all, if the sex symbol itself enjoys it,the outside world is not to blame.

The Armas wants to give Marilyn back her vulnerability. But in the end that isof course also an interpretation, just as every interpreter projects somethingdifferent onto her in a certain period of time.

That is the most characteristic of ‘Marilyn Monroe’, says Smulders, and alsoher greatest tragedy: she is a woman caught in someone else’s reality. She wasduring her life, and she still is today.

legally valid?

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Master Frank Visser was in Loosduinen last summer and last week the broadcastof ‘Mr Frank Visser does Uitspraak’ was shown on TV. It was a neighbordispute. Kat Giovanni van Deborah misbehaved in the garden of the neighbours,Rob and Gerda. Master Frank Visser’s statement: The cat must go. But is thisruling legally valid? We find out:

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Rob and Gerda from The Hague are angry with their neighbors across the street.Or rather the cat. Killer cat Giovanni (as Garda calls it) regularly hunts intheir garden and has even taken their beloved chicken. Rob clearly states inthe episode what will happen to Gio if he gets hold of the cat: “OnlyVerweggistan.”

Pronunciation

Since Rob stopped by Deborah to complain about her cat, she has kept the blacktom inside. A cat expert judges that Gio is too stressed because he is used togoing outside. Master Frank Visser understands that the cat should be able togo outside, but thinks that Loosduinen is not the place for that. Hisstatement: Deborah must find a new home for Giovanni within three months. Ifshe does not, she has to pay a fine to Gerda and Rob of 25 euros per day.

Legally valid

Is this ruling legally valid and will Deborah really be fined if she doesn’tget rid of her beloved cat? We find many sources, including law firms, thatexplain to us the validity of the statements of Master Frank Visser. Good toknow: Mr. Frank Visser is actually a judge. He graduated as a master in law,worked for the police and the Public Prosecution Service and was a subdistrictcourt judge in Zaandam.

In the program ‘Mr Frank Visser makes a statement’ Frank Visser does not actas a judge, but as an expert who gives advice. The verdict is therefore not ajudgment of a judge, but a binding advice. That is an agreement between twoparties having a disagreement. They both agreed to let someone else settle theargument. In this case Frank Visser. His binding advice is a valid agreementand therefore legally valid.

Of course Frank Visser cannot just say anything. First, all parties must beheard and the decision must be reasonable. Before participating in theprogram, the participants sign that they both adhere to the pronunciation.They cannot appeal, but the binding advice can be annulled by an ordinarycourt. A judge will not do that quickly, because both neighbors have agreedthat Frank Visser will come up with a solution.

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fine

But suppose Deborah really doesn’t get rid of her cat. So you don’t follow theadvice? Then no police will be called in. But if someone does not keep to theagreement, the arguing neighbors have to talk to each other again. If one ofthe two does not want to do this, then there is default and the other partycan go to court.

Last year, a father and daughter did not obey Mr. Frank Visser. They then hadto pay a fine of 27,650 euros to the neighbors with whom they had an argument,a ‘real’ judge had determined.

Ongehoord Nederland accuses fellow broadcasters that no longer want tocooperate at a journalistic level and that they talk to the aspiringbroadcaster for excluding ‘the sound of millions of Dutch people’. That’s whatpresenter Raisa Blommestijn stated today in the broadcast of Unheard ofNews. She calls the decision of broadcasters WNL, MAX and KRO-NCRV to breakthe collaboration of ‘very dubious level’.

It is the first time that Ongehoord Nederland has responded to the decision ofthe broadcasters. ON and chairman Arnold Karskens could not be reached forcomment today. Blommestijn accuses the NPO of ‘standing for connection andinclusion, but now doing nothing but excluding and throwing mud’.

The initiative of the broadcasters to no longer want to collaborate withOngehoord Nederland comes from editor-in-chief Bert Huisjes of WNL. Accordingto the broadcasters that have joined his initiative, Ongehoord Nederland doesnot conduct journalism. According to Huisjes, ON produces ‘a pamphlet-likeprogram in which structures are used that we recognize from journalism. Butthe interviewers are Twitter agitators like Raisa Blommestijn, without anyjournalistic experience or background.’

The broadcasters also disapprove of the Unheard of News seldom would bereciprocated. The WNL boss emphasizes that the journalistic consultation ofthe NPO is not about the question of whether the broadcasting license ofOngehoord Nederland is under discussion, but does believe that ON should beremoved from the system.

Sanction

Ongehoord Nederland previously received a financial sanction from the NPOafter an investigation by the Ombudsman into complaints that the broadcasterwould spread incorrect and unreliable information, that the journalists wouldnot ask enough critical questions and that the guests would mainly come fromthe right. This would be in violation of the Journalistic Code of the NPO. TheOmbudsman considered these complaints to be largely well-founded.

The Ombudsman has launched a new investigation after a much-discussed itemthat showed videos of random black people beating up white people without anycontext. Presenter Blommestijn stated that the black perpetrators all had aracist motive. But Pointer’s research has shown that there is no evidence forthis at all. As a result of this item, the Ombudsman again received manyhundreds of complaints. The NPO has also asked the Media Authority to lookinto whether Ongehoord Nederland has violated the media law.

Also listen to the AD Media Podcast with this week ‘s nominations for theTelevizier ring, the clash between Angela de Jong and Johan Derksen, thestatement by Linda de Mol and the cancellation of Het Dorp. Listen below orsubscribe via Spotify or iTunes.

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Supermodel Hailey Bieber (25) may be one of the most famous and most talkedabout star couples in the world with her husband Justin, but no journalistdares to ask her about her sex life with the singer. But if you bring it up,she answers candidly, a new podcast shows.

Hailey finds it a bit uncomfortable. “Because I think: my parents are going tolisten to this,” she says in the podcast Call Her Daddy. “There’s something souncomfortable about your parents listening.”

It’s the first time Hailey has been asked about her sex life and she thinksshe knows why. “I have a theory that people don’t find married sexinteresting,” said Hailey, who has been married to Justin since 2018. ,,Idon’t think anyone cares about it.” Presenter Alex Cooper sees it differently.”You are the most beautiful people in the world, this is what people want toknow.”

The international showbiz media clearly think the same; they all write aboutHailey’s statements. Like she and Justin prefer to have sex in the evening,but she also likes it in the morning. That she doesn’t see herself having athreesome or open relationship anytime soon, because she thinks it will neverend well. “We’ve worked really hard to get to where we are today,” Haileysaid. “There’s such a beautiful trust and such a beautiful bond that Iwouldn’t feel good about that – and neither would he.”

Quote >>> We regularly just talk for sex, a very nice conversation, that is really> important to him>> Hailey Bieber

How did they build that trust? Especially because Justin is so open, accordingto Hailey. He’s told her all about his previous girlfriends and lets Haileyread along when a woman makes advances on Instagram. Hailey soon finds thatgoing too far. At the same time, she encourages him to make friends especiallywith women, as she does with men. She herself never gets flirty messages,claims the top model.

She also tells more intimate things. Like their favorite position (theyalternate but Hailey likes doggy style and less of the missionary pose) andwhat she finds exciting about Justin. ,,It can be something about our bondtogether, or something physical… Kissing is very important to me, always hasbeen”, she says. For Justin, their ‘connection’ is also essential. ,,We areregularly just talking [voor de seks], a very nice conversation, that isreally important to him.” When she is asked to choose between being satisfiedorally for the rest of her life or with Justin’s hands, she can’t choose.”Because it’s always a combination.”

Read on under the podcast

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Latex

Hailey previously announced that she was not squeamish about her sexuality.Justin, now 28, and Hailey, 25, are often seen as “eternal teenagers,” Haileysaid at the time. She thought that was a misconception: they are marriedadults who embrace their sexuality. Sometimes latex is involved, as it turnedout.

One of the previous friends Justin will have told candidly is singer andactress Selena Gomez. Hailey was criticized when she dated the singer, as fansaccused her of stealing Justin from Selena. It was rumored that the singer hadcheated on her. That is ‘really not’ the case, Hailey says now. “It’s not inme to interfere with other people’s relationships. I never wanted to and never

When the Meilandjes got into a fight with their manager Valérie Lempereur, thewoman who definitely put the striking family on the map, they suddenlycharacterized her as unreliable. Valérie, who will be publishing anautobiography this week, announces her sweet revenge in Story…

‘ What Martien owes to me’

aAs a former manager of the Meiland family, Valérie Lempereur, who at the timewas working as a disclosure journalist in the international media world underthe pseudonym Maxime Verlaar, was mentioned in Martien’s biography. Martien –from mayor ‘s son to lord of the castle mentioned and on balance not in apositive sense. When they met, Valérie was still acclaimed. With her businessacumen, she ensured that the Meilandjes got an extremely lucrative TVcontract, which made them a millionaire. She also devised the extraexaggerated way in which Martien wears his flamboyant shawls, in order to gether own signature. Nevertheless, the Meilandjes immediately broke with Valérieat some point, after their producer made her illustrious past the subject ofconversation. In her journalistic career – in which she worked for, amongothers, the crime program of the late Peter R. de Vries, New Revu, Story andthe German media worked – she was feared for the bold way she got her news;she went undercover in various guises when necessary to get her cover storiescompleted. Not everyone in journalism was charmed by this and it earned herquite a few enemies. Her sometimes compelling personality instilled fear inmany. However, her firsts were always sensational. Although Valérie deMeilandjes brought the necessary fame and prosperity, they suddenly wantednothing more to do with her. In her autobiography, published in theNetherlands and Belgium last week Madam let Valérie, who was born as a boy,had a terrible childhood and worked her way up to a journalistic phenomenonafter only a few years of primary school, finally get to know herself a littlebetter.

Should Erica and Martien Meiland fear the second part of Valérie Lempereur’s autobiography?

‘ Thundered aside’

As Martien admits in his book, Chateau Meiland without Valérie’s input, itmay never have gotten off the ground. Valérie now tells Story about this:’They had been working on it for years, but it didn’t work out. Then I helpedthem on their way. Without me they would never have been able to approach Johnde Mol directly. I even did their contract negotiations at the time. I barelygot anything from it myself. At the time I did indeed advise Martien to wearhis characteristic shawls as a kind of recognition, as he also tells in hisbook. It would have been more chic if he had been a little more frugal withme, when you see what he and his family owe to me afterwards. They threw measide on the intercession of Vincent ter Voert, of Vincent TV Productions. Hefelt threatened because I understood him well. I know that TV world – theMeilandjes didn’t back then. Vincent TV wanted the Meilandjes to show up foran apple and an egg in the reality show. I got that. Some things happenedthen… I expected the Meilandjes to be honest enough to write that down intheir book. They didn’t. I’m going to tell my side of the story. I don’t thinkthe Meilandjes are always honest.’ That will happen in the second part of herautobiography, which will be published exactly one year from now.

Truth

In the revealing and at times disconcerting book Madam Valérie describes howshe was born in a Zeeland family of seven children and grew up as Daniel, butdiscovered at a young age that she was in the wrong body – he wanted to be agirl. When she finally had sex surgery to become Valérie, which she candidlydetails in the book, and after a life of abuse and lovelessness in children’shomes, went astray and became a drug addict, life lifted her up again aftershe found her job as writer and journalist. The late Theo van Gogh, with whomthe also rebellious Valérie maintained a close friendship, helped her find ajob at New Revue. That’s where the ball started rolling. She then grew intoa feared reporter in both the Netherlands and Flanders, who also became awelcome and welcome guest in society circles, even up to royalty. Her side ofthe story about the Meiland history will only be discussed next year. Valérietells Story: ‘I have a contract for three books with publisher Lebowski, partof Overamstel, which also publishes fellow writers such as Susan Smit, ThomasAcda, Claudia de Breij and Hugo Borst. My second book is called A matter oftime , and in it I will tell you something about the Meilandjes. They don’treally have to worry or they have to run away from the truth. But if that’swhat you’re afraid of…’

So tonight again no prize for best actor or actress, but best leading orsupporting role. And next week the Televiziergala will also have a gender-neutral prize for television presenters.

‘Moving along with the zeitgeist’, was what the organization of the GoldenCalves called it last year, after which a major discussion broke out in thefilm world. This is too soon, critics keep saying, there is still too muchinequality between men and women.

‘More chance for white straight man’

For example, Fedja van Huêt, last year’s winner of the most important GoldenCalf, best leading role in a feature film, made himself heard. Last month hesaid in Het Parool that he thinks the recognition for his acting is ‘great’,but that he would approach the award ceremony differently.

“I understand the idea of ​​no longer distinguishing between roles for womenand men, it was decided with good thought, but I would have preferred moreawards. […] Most roles still go to straight white men. If you are a womanthere are fewer, if you are black even less. That really needs to change.”

Last year, actor Katja Herbers wrote off her frustration on Twitter. Her tweetwas often quoted afterwards.

Very slight shift

Recent research into the position of women in the Dutch film and televisionsector confirms that inequality still exists. Utrecht University counted fromalmost 2500 fiction and documentary productions from 2011-2020 how many womenand men were involved in leadership positions and in leading and supportingroles.

The conclusion: the past ten years has seen a very slight shift towardsgreater equality. But overall, men are dominant (69.6 percent) when it comesto leadership roles and lead and supporting roles. 40% of the lead andsupporting roles are women. And: the more expensive and longer a production,the fewer women are involved and the more men.

Manouschka Zeegelaar Breeveld, actor and chairman of ACT Acteursbelangen,supports the decision to make the film awards gender neutral. Ultimately, thebenefits outweigh the drawbacks, she says.

For example, attention is now being paid to the underlying problem,inequality. She also points to an increasing group of people who do notidentify as male or female. At least they qualify now.

‘Positive discrimination still needed’

Rosemarie Buikema, professor of Art, Culture and Diversity at UtrechtUniversity, thinks it is too early. “The problem is that we are not yet thatfar in society and the film world. We have to catch up first. As long as thatdoesn’t happen, positive discrimination with separate categories is stillimportant.”

What then has to change? More serious roles for women, for example, saysBuikema. “Roles are often still very masculine or feminine. Female leadingroles are often about the more feminine themes. That has to be broken first.”

This has to be done in the workplace and by screenwriters. “You can adjust theprices, but if there is no policy at that level, it doesn’t make much sense.”

After the breakthrough single ‘I run’ from 2017, Salomé Dos Santos (27), akaBlu Samu, moved from Antwerp to Brussels, precisely because she resonated withthe open, limitless mindset of the capital. “I never wanted to put myself andmy music in a box,” she says on the terrace of the Monk, one of her favoritecafes when she worked across the street at pizzeria Nona and fully enjoyed thebustling city life.

At the beginning of her career, the singer was constantly told: but who is BluSamu and what genre does she perform? “I thought that was a useless question.People wanted me to believe that I had to choose between genres, but I neveragreed. Blu Samu is Salomé Dos Santos and what’s going on with her when shemakes her music. I create all my EPs from the awareness, the authenticity andthe tools I have at that moment in my life. So don’t expect me to tell you nowwhat Blu Samu will be in the future. Brussels matched so much better withthat attitude than Antwerp.”

MIX OF STYLES Her first EP was called moka , after the pet name her Portuguese grandmothergave her because her daddy is African and her mom is Portuguese. The recordmade it immediately clear in 2018 that music is her therapy. her second ep,ctrl-alt-del (2019), was created in Brussels when her career took off underthe wings of hip-hop crew Le 77. In the midst of the energy that city lifegave her, some ancient demons were tamed. on the new ep 7 she comes closerto herself again. A mix of styles with fado and Cape Verdean influences alsopushes the familiar hip-hop sound into the background. For this she likes toput a feather in the hat of her French producer Sam Tiba. “My Parisianmanagement put me in touch with him and there was an immediate click. We likedthe same things – anime, melancholic beats… – and he didn’t push me to makeanother hip-hop record.”

Tiba pulled her out of her lockdown bubble, which she had filled with> chilling, gaming and skating, “all things I did when I was 16 if I wanted to> escape reality.” Her producer not only helped to lift her writing block, he> also made sure that the mix of traditional and electronic styles never> sounds forced. “He also told me that no one overnight that it always takes> at least ten years of preparation, and often also an underlying struggle.> I’m attracted to that. I realize now even better than before that without> the dark moments and setbacks I would not have stood so firmly in my shoes.”

ASSERTIVITY TRAINING The difficulties she experienced in her youth and her first, reluctant stepsin the music world, turned out to have been a good learning experience andassertiveness training. “Record labels are obsolete. Sometimes I get thefeeling that they are still trying to sell their music the same way they didin Elvis Presley’s time. But every growth process is different. Take all thosedeadlines now. You can’t order an artist to have a single ready within twomonths. That detracts from the creation process. As a young artist you stillthink that people in the industry know better, because they have studied forit. But once you realize that that’s exactly why they try to put everyone inthe same mold, it comes down to finding your way back to yourself and takingthe things you can do better into your own hands again.” In her case, forexample, it was specifically about her striking video clips, of which sheagain took over the direction.

Also on a personal level, Dos Santos made a clean sweep by returning toAntwerp during the pandemic. “I was very well surrounded in Brussels, but Istill felt alone. It looked good from the outside. Inside I realized thatsomething wasn’t right.” And so she returned to the house where she oncewalked (see first single ‘I Run’). “That felt strange, but at the same time itwas liberating to go back to sleep in my childhood room in my single bed,among all my old stuff.”

DIALOGUE WITH YOURSELF When she lived in Antwerp for two months, she learned of the death of herfather, with whom she had little contact. “I cried the first day. I lockedmyself in my room and started writing down everything I wanted to say to him.I hadn’t seen him for a long time, although he wanted to, but I didn’t want tomake me feel guilty either. My daddy wouldn’t have been happy about that and Iwould have just eaten myself.” The result of the grieving process can be heardin the homage ‘Pai’, which she sings in softer Portuguese. “With music we telleach other things that we don’t say out loud, but that we are thinking orfeeling. If you enter into an honest dialogue with yourself in your music, itautomatically becomes therapy.”

She recently experienced this after a short stay in the French countryside,which was intended to work on new songs in isolation in nature. But beingalone brought out so much in her that it didn’t come out until she got backhome. It turned things around.

“As a starting artist I wrote slam poetry. It wasn’t until I started> working more with Le 77 that I started writing in sixteen bars and choruses,> as is usual in hip-hop. Then everyone started calling me a rapper or hip-hop> artist. Without really being aware of it, I put myself in that straitjacket> for a while. After my trip to France I started to compose differently. I> wrote down a first sentence – “Why do I feel so sad about meeting people?” –> which I thought about for a while before writing a second sentence – “Why is> it so important for me to be a strong independent person?” That is how the> new track has built up organically.”

VULNERABLE AND AMBITIOUS The song about the social pressure to always stand up for yourself (and notneed anyone) is a foretaste of what we can expect in the future. “In wantingto be strong and independent, I have long pushed aside my vulnerable side andmy need to have someone by my side. But what if you see an emancipated Beyoncéin her music videos constantly beating cars when confronted by her boyfriend’scheating.” That tough attitude is over 7 already somewhat shaved off andpromises to be pushed even more to the background on her first full-lengthlong player, planned for 2023.

© Ivan Put

Before her breakthrough, an ambitious Dos Santos told us about five years agothat she would like to collaborate on that first real album with top namessuch as Kaytranada, Flying Lotus and a handful of jazz musicians. Now herdreamcast leans more towards Thundercat, Ashley Henry and preferably also someCape Verdean musicians from Cesária Évora’s entourage. “More concrete (laughs ) my producer is staying on board and I am collaborating with JosephSchiano di Lombo, a classical pianist from Paris. Then we look for othermusicians. Apart from that, my message has to be clear on that first album.The challenge is to explain why I am who I am and love the way I love.”

BOOM PATAT France is also looking forward to that debut. “Here my relaunch seems to beslowing down a bit in the wake of the pandemic, but in France it is boomfries. At the end of August I was on Rock en Seine, coincidentally just atthe same time as Stromae. I was like this proud that about 400 festival-goers did not go to see him. I wouldn’t have known myself if I would have donethe same in their place. ( laughs ) So congratulations to the French fans.”