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Author Archives: MaLadeVr

About MaLadeVr

I'm a writer of all kinds of stories. I write blogposts, books and reviews. I like to write, I like to watch films, series and so on Netflix. Anything with a proper storyline and I'm hooked! I write whatever pops into my mind, this could be any genre. I've written children's books, a detective, a science fiction, a lesbian affaire. All books that are available on either amazon.com or through links on my blog. I write in both English and Dutch. Beware that on all of my texts there's copyright! Let me know if you want to publish/reblog/whatever any of it. Ideas I put on here that I need help with and you feel invited: please let me know!

De Telegraaf vs integriteit & kinderrechten

We hebben het hier niet over een krant die bekend staat om de diepgaande interviews, de kritische blik op het eigen werk, en al helemaal niet om verantwoording afleggen tegenover anderen.
Ik denk dat het fluisterspel dé manier van HR is om iemand aan te nemen, daar bij De Telegraaf.
Dat zou in elk geval veel verklaren. (‘Het gaat niet om feiten, het gaat om wat verkoopt, wat mensen toch wel geloven, als je het maar zo schrijft dat het geloofwaardig overkomt’)
De Telegraaf kotst feitelijk op alles wat waar is, die gaat liever voor de snelle hapsnapverhalen.
Misleidende koppen. Het gros van de ‘journaille’ zijn Copywriters die elders maar niet aan de bak komen, maar wel regelrecht ‘clickbait’ kunnen maken. Voor de koppen dan. Inhoudelijk hebben ze dan weer niks te melden.
Heerlijk, als je verder eigenlijk niks kunt. Toch nog een krant die je aan heeft genomen.

Normaal gesproken stoor ik me er niet zo aan. Ik koop de krant niet en spreek eigenlijk nooit mensen die de krant lezen.

Deze morgen viel me alleen ineens op dat ze zich ook niet aan de wet houden. Dat vind ik dan wel weer kwalijk, vooral omdat dat specifiek kinderen betreft.

Van kinderen blijf je af. In elk opzicht. Het is ethisch onverantwoord om een interview af te nemen bij een kind die de leeftijd van 18 jaar nog niet heeft bereikt, zonder daar de toestemming van de ouders voor te hebben.

Bij De Telegraaf denken ze daar alvast heel anders over.

Kunt u zich nog herinneren, hoe, jaren geleden, in mei 2010, een zakkige journalist met jeuk aan d’r puisterige pruimendoos (daar heb je zalfjes voor!)de enige overlevende van een vliegtuigramp opbelde om te vragen hoe de zaken ervoor stonden? NEGEN JAAR OUD was dat kind. NEGEN. En tóch. Er móest gebeld worden. Het kind móest laten weten hoe het met hem ging. Het móest gepubliceerd worden. Waarom?
‘Nou ja, wij zijn De Telegraaf, wij doen niet aan integriteit en ethiek. Wij hebben geen morele waarden. Het enige wat ons aan onze zak zal jeuken, dat zijn verkoopcijfers’.

In verder alle kranten, op internet en op papier, zal het u zijn opgevallen dat minderjarige delinquenten niet bij naam worden genoemd. De leeftijd, en misschien een deel van wat er heeft plaats gevonden. Gezien de leeftijd van zo iemand, valt dat onder de wet op privacy. Dat er verder geen inhoudelijke mededelingen over gedaan worden. Niks doofpot, gewoon de wet.

Nu is het een kind van de burgemeester. En nu had De Telegraaf kennelijk weer zó’n jeuk aan de puisterige primeureikel, dat het besloot om het kind met naam, toenaam én het exacte vergrijp op de voorpagina te slingeren.
Aan de schandpaal, heette dat vroeger.
Vijftien jaar is dat kind. Die nu door mogelijk het hele land met de nek wordt aangekeken, omdat De Telegraaf vindt dat lezers, er recht op hebben om dat te weten.
Wie er even op googled, ziet al snel Artikel 16. Recht op Privacy. Ook voor kinderen.
Je staat niet boven de wet omdat je nog net genoeg legale papieren hebt om jezelf ‘krant’ te maken noemen.
Het kan niet anders of de gehele redactie van De Telegraaf is gevuld met psychiatrische patiënten, die mogelijk goede vriendjes zouden kunnen worden met mensjes uit Den Dolder.

Daar zitten ook heel veel mensen die vinden dat ze boven de wet staan, die dat alles negeren.
Ondertussen lopen de bladen en kranten te smullen van een burgemeester die haastig probeert te redden wat er te redden valt (dat zou u ook doen), terwijl niemand zelfs maar oppert om De Telegraaf eens een lesje te geven in Kinderrechten.

Waarom wordt dat stuk journaille nooit eens gedwongen om de excuses aan te bieden, krijgen journalisten geen taakstraf in de zin van een cursus Rechten, wat ze wel en niet mogen schrijven? Waarom is de voorpagina nooit gevuld met excuses?
Waarom waarom in jezusnaam is De Telegraaf nog altijd niet gedegradeerd tot louter ‘verkoper van onzin’ en krijgen ze überhaupt nog perspassen? Ik zeg intrekken die hap. Eerst maar eens wat forse taakstraffen.
Liefst in strafregels.
Honderd keer opschrijven (met pen, op papier, het liefst een veer en inkt):
‘Ik mag de wet niet overtreden en kinderen mishandelen op de voorpagina’.

De enige delinquent waarover ze nooit schrijven, dat zijn ze zelf. Het hele zwikkie.

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Posted by on August 14, 2019 in Daily life, Opinion, Uncategorized

 

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It

The old film with a new coat, so to speak. If you still liked Pennywise-like clowns, this film will gladly help you to get rid of that safe harbor of feelings.
Mostly this remake gives a new batch of actors a chance to reach for fame. It is in that sense nearly funny to see a castmember of Stranger Things (Finn) appearing in this film aswell. He is made a bit less nerdy (sporting some jarlike-glasses now though) and a bit more unsypathetic. He is not an arse, but you don’t easily like him as much as you do in Stranger Things.
I do wonder if he will continue to be typecast as a boy from another era now?

Aside that, I quite liked how they cast a girl with very Annie-like features to play the only girl in the cast. She needs to be a bit streetwise, with the type of father that can barely be called a father, with that attitude towards her.

If you liked the original It, then I think you will have no problem with this version.

[spoiler alert] [spoiler alert] [spoiler alert][spoiler alert][spoiler alert]
The only thing I thought was…unfortunate, was that for a moment it seemed as if a boy with a slightly different figure than the rest of them, was gonna get the girl. But no, the boy who barely even tries, but is far slimmer, ends up getting the girl. The chubbier boy only gets one chance and she doesn’t even have the guts to tell him why he is not the boy of her dreams, while his words, technically, were.

 
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Posted by on August 13, 2019 in Films, Opinion, Uncategorized

 

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Course ‘Women Have Always Worked’ from Berkeley & Columbia University

I got curious, is how I ended up following this course. My curiosity was nearly completely satisfied in this course.
As a woman who has grown up amongst highly educated, working women, it was very interesting to know what sort of path they have followed. It wasn’t exactly the same, as the universities that run this course are situated in the USA and I myself live in the Netherlands, but to be fair, I think the same kind of pattern happens everywhere. The exact course of events will, most likely, lead to other outcomes, and existing local laws and local resistments towards changes will be different, but still: the emancipation of women and minority groups does seem to have the same kind of process.
As one of the teachers stated: there is a new emancipatic ‘flow’ every forty years, it seems. A group of minorities that find a spark of inspiration to fight a new battle, with new goals, new laws to persuade.
I was interested to find out that men being send out to fight war in a different country, have mainly provided one of the first waves of feminism to be faught. When the men were out, employers were stuck. They no longer had an ocean of men to pick from, so tadaa women were asked to work in the men’s places.

I like films a lot. I have seen how one example for this type of workflow in A League Of Their Own. The men’s team of baseball was send out to fight, so women were recruited to play paid baseball.
When the men came back, suddenly there was no place for the women.

Which is odd. They quite had a perfect performance. Not only did they play a heck of a game, they even had the looks to sell the perfect pictures.

But if you’re in as a replacement, don’t get too comfortable. This seems to be the general message.
The women who had worked for the first time, had a hard time to get adjusted to that idea. Some started drinking, using drugs, abusing themselves in a way. Whereas for African-American women, this hadn’t been the first time they worked at all. For them the fight was to get their wages up, and to finally be able to raise their OWN children instead of those of someone else.

Though in the running of this course a lot of influences that I recognised are being mentioned and explained how exactly they caused inconvenience for those who had to deal with the changes that were demanded for, I did seem to miss one heck of a subject: religion.
I think this has been done on purpose, as emancipation by law has been a fight on its own, hence the course.

But, for instance, the birth control pill is mentioned in this course, but it’s dealt with as if it didn’t cause any problems whatsoever. Of course this isn’t true. The Catholics have always been wildly against the pill that would stop from more babies being born. And not just them.

But, all in all I very much liked the course and it has taught me that the way emancipation works has a lot to do with politics and wars being faught. After all, you need to miss that left or right hand in order to want to change something about it, only to discover afterwards that you have taken that extra pair of hands purely for granted, and it’s time to pay up for it.

 
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Posted by on August 9, 2019 in Daily life, Opinion

 

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Dark Shadows

A Tim Burton production with Helena Bonham Carter and Johnny Depp. What could possibly go wrong?

Well, to begin with, the story is so very slow. It doesn’t start to get fun until about 25 minutes in. This is when Johnny Depp enters the scene and adds some good old silly moves in there. But not enough. As far as I can see, this film is a bit of a sad attempt to make Johnny Depp look good again after the lawsuits of his ex-wife. A bit like Huge Grant in that film nobody liked him in, after that car-scene with the prostitute.

The film has funny moments, yes, but since Pirates of the Carribean I kind of expected a bit more out of Mr Depp. Maybe I am hard to entertain these days.

It’s just that in a scene where Barnabas’ (Depp) back is on fire, you see him looking a bit disturbed and confused, and it takes quite a bit of time before Michelle Pfeiffer (yes, she’s in the mix aswell) tells him: ‘Barnabas? You’re back’s on fire!’
To me the moment where this could have been said to be funny was gone.
It strongly reminded me of Death Becomes Her, Mother!, Mum’s The Word and Batman. The latter because that one by Tim Burton lacked speed in a way too.

Could be just me though.

It is not a bad film, but I really missed the music of Danny Elfman (though that would have been a misfit here, I admit) and so the complete ‘being swiped off my feet’ didn’t happen.

Better luck next time, team Burton-Depp-Bonham Carter…

 
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Posted by on July 17, 2019 in Films, Humour, Opinion, Uncategorized

 

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Ballerina, Netflix

This film tells the story of two orphans in the old France of 1880. Felicie and Victor want to go to Paris, to follow their dreams. Felicie wants to be a dancer, Victor wants to be an inventor.

The story is nice and all, but it doesn’t have much dept. You see some terrible behaviour expressed towards Felicie and not the attitude to fight against that. As as orphan, I sort of find that hard to believe. We’ve all seen Annie, the streetfighter kickback. I know not every girl is the same, but for Felicie, who has to tried to escape her miserable existence, this doesn’t seem very logical behaviour.

Also, the mother of the Camille is a grossly terrible woman, but it never shows exactly why she is so vile. Yes, envy and her wanting her own daughter to be the best of all, but you see her act in a way that is beyond child abuse even, and there is never a moment where the woman is truly held accountable for those actions. Or for the things she says. Except for the man from the dance academy, and even that is only briefly.

Most of the music in this film is far, far too modern for the time setting. So are most of Felicie’s clothes.

The music box that keeps falling down in Felicie’s dreams becomes annoying after the second time. You still have two more times to come after that.

All in all it is a nice watch for children, who won’t notice any of this, but as a grownup you might wonder about a thing or two in this film. It is not bad, but they should have worked a bit more with certain background stories, in my opinion.

 
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Posted by on June 30, 2019 in Films, Opinion, Uncategorized

 

Black Spot

This is the first time I’ve been sucked into a series that doesn’t follow the usual path of cliche’s. This makes it interesting to keep watching. It does, however, remind of a few films and series you might have seen before.

There is a missing person, and the looking for that person reminded me a bit of the series Dark.
The leading lady reminded me strongly of Charlotte Gainsbourg and Alizee Jacotey. I do think the known characters of both these women (strong, independant, not even slightly afraid about anyone’s opinion about either of them) were supposed to radiate from this character. It does. It helped greatly to convince me Suliane Brahim is the right woman for this part.

The ending (no spoiler alert to beginning as I will reveal no such thing) is not as I had hoped, in the sense that I feel like I am missing some episodes. Then again, given that everything goes different from what is mainstream, this is kind of exactly what I like about the entire series.

 
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Posted by on June 6, 2019 in Opinion, series, Uncategorized

 

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Dead to Me

Christina Applegate, Linda Cardellini, James Marsden and more.

This series is very weird, to be fair, but has such a lovely and dark edge, you keep watching it anyway.
Jen (Christina Applegate) is a new widow, since her husband was killed in a hit and run while jogging. The police haven’t found so much as a suspect yet, which makes Jen very emotional. She is angry with the entire world, but especially with the one who drove over her husband and then didn’t stop.
Then she meets Judy (Linda Cardellini) at a support group for grievers.
Though they have a lovely start, Jen and Judy, Jen discovers something about Judy that makes her angry. This continues the entire series. Judy is, however lovely, never willing to share completely who she is. Jen is a grieving woman on a very short fuse, which makes that this couple are of for a very interesting ride.

There are definitely some very predictable moments in this series, so it is good that Christina Applegate is there to safe the day. She knows how to make it interesting after all, though Linda Cardellini isn’t bad either, the personality features they gave her are not that enticing to everyone.
It is worth a watch for sure, you won’t be bored all that soon 🙂

 
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Posted by on May 31, 2019 in Opinion, series, Uncategorized

 

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