Trust in media coverage increased noticeably in 2020. This is the result of a representative survey of around 1000 eligible voters, which was carried out in September and October by Infratest Dimap on behalf of the WDR. Accordingly, more than two thirds of the respondents consider media coverage in Germany to be trustworthy.
Compared to the previous year, trust has risen by six percentage points and is higher than ever since the first survey of the annual study in 2015. Public service broadcasting can record particularly high trust values of more than 80 percent. German daily newspapers are also rated as credible by 74 percent of those surveyed, while tabloid and social media are clearly rated as not very credible.
The situation is similar with reporting on the Covid-19 pandemic. Four out of five respondents rate these on public broadcasting as “good” or “very good”. Reports in German daily newspapers also met with approval from 68 percent of those surveyed. On the other hand, pandemic reporting in the tabloid media is assessed as mostly bad, with only eleven percent of those surveyed finding it good or very good.
Trust in political institutions also increased in the crisis year
Nevertheless, there are doubts about the independence of the media. More than a third of those surveyed believe that there is political influence over reporting. There are noticeable differences between the old and new federal states. While 33 percent of respondents in the west think there is political influence, in the east it is almost every second with 46 percent. 60 percent of those surveyed believe that there is no such influence on media reporting. This value is also higher than ever since the annual study began.
Trust in political institutions also increased significantly in the crisis year 2020. The respondents put significantly more trust in the federal government in particular. 61 percent state that they have great or very great confidence in the federal government, the value has increased by a full 24 percentage points compared to the previous year. Confidence in the Bundestag is a little lower at 57 percent, but has also risen sharply compared to the last survey.
Despite various affairs and debates in the past few months, trust in the police has also increased slightly. 84 percent of those questioned have very high or high levels of trust in them; no other institution can record higher values.
It is clumsy and unfair to reduce women to their role as wives and daughters. With Christine Strobl this would only be possible with great contortions – because her career is too impressive for that. As it became known this week, the 49-year-old will be the new ARD program director in May 2021.
Your family is still an issue. Because Strobl, himself a CDU member, is the daughter of Wolfgang Schäuble and wife of the Baden-Württemberg Interior Minister Thomas Strobl (CDU). The obvious question is whether and how your political home will influence your future task. She herself described her political stance as something personal: “She has no place in the job,” Strobl said, according to “Zapp”, the NDR media magazine, at the ARD press conference.
In an interview with Die Zeit in 2012, she described growing up as a politician’s daughter as a “curse and a blessing at the same time”. You have seen contemporary history and met interesting people. “But it also hurts. You shouldn’t underestimate that. ”At that time she had just become managing director of Degeto, through which ARD purchases fictional program content and has films produced. The company is largely responsible for what goes on in the first. Strobl initiated some changes at the Degeto. For example, she made a significant contribution to the fact that the ratings hit »Babylon Berlin« could be realized through a cooperation with the pay station Sky, according to ARD.
As program director, she succeeds Volker Herres, who is leaving the post early. Strobl will be responsible for the program of the first as well as the ARD media library and will chair the newly commissioned video program conference. Your area will be the broad framework of the program – especially when it comes to fictional content. ARD has its own editor-in-chief for journalism. As »Zapp« reports, Strobl has so far avoided journalistic formats – and instead relaunched the »Tigerenten Club« in SWR, for example.
At the end of October the BR will decide on his new directorship. For the first time in the history of the station, a woman has a good chance.
Applies to be director of the Bavarian Broadcasting Corporation: Katja Wildermuth Photo: Steffen Junghans / dpa
Normally, changes of artistic director in Bayerischer Rundfunk are well-prepared events that leave little room for surprises. It should be like that again now, they say in Munich. The current incumbent Ulrich Wilhelm originally wanted to announce his decision not to run again in the fall. Then it would have been tight for more candidates by the election date at the end of October, which would have made use of Wilhelm’s desired successor, BR administrative director Albrecht Frenzel. But that went wrong. Wilhelm, the former spokesman for the federal government, had to show his colors as early as July.
Frenzel is still on the list of candidates. Next to him are MDR program director Katja Wildermuth and Christian Vogg, head of documentation and archives at the Swiss public broadcaster SRF. How nice: the broadcasters now have a real choice on October 22nd.
In the SRF it is not very charming: “We think it’s a joke” that Vogg, who was born in Augsburg, has a chance in Munich. So it should be a race Wildermuth against Frenzel. The fact that this happens at all is also thanks to the lobbying work of the BR women. Their network “Female for Future” advertises a director and has confidently countered the usual assertions that unfortunately there are never enough candidates: Female for Future presented a list of 20 names. Recently, four top-class media women were guests of the “independent” broadcasters, which are not politically determined by any party.
“The situation for women in the BR is underground,” says someone who should know. “There is only one woman in the six-member board of the BR, which has recently been five – and has been for years. There has never been a woman at the head of the house, ”says Female for Future in a somewhat less drastic way in a press release. In contrast to other broadcasters, women are also “massively underrepresented” at the middle hierarchical levels.
First woman in 70 years of broadcasting history
The loose network of around 400 BR employees was therefore “disappointed that only one of the many highly qualified and ideally suited women who were being interviewed for this position made it onto the electoral list”. That does not go with the “full-bodied announcements by almost all political and social groups that for the first time in the 70-year history of the BR a woman will take office as director”. Although one can be divided: After all, several candidates would probably steal votes from each other.
There is no easy job waiting for the newcomer, but at least a well-paid job. During his term of office, Ulrich Wilhelm mainly drove his personal agenda and stuck to the old hierarchical thinking, according to the BR. Numerous women went into dispute, such as the television director Bettina Reitz or Anke Mai, head of the BR program area culture and society. Today Reitz heads the University of Film and Television (HFF) in Munich, Mai has been program director for culture, knowledge and young formats at Südwestrundfunk since February.
“It’s about more togetherness and eye level,” says one editor. The mood in the BR is bad. “Ulrich Wilhelm smiles all away. Formally there are a lot of working groups, but nobody was really involved. ”The actual large-scale BR construction site has become even more confusing due to the corona pandemic. The transmitter, which was previously spread over two locations, is moving to a new multimedia complex in Freimann.
The newcomer has to manage that too. The broadcasting council chairman, Prelate Lorenz Wolf, said in July Augsburger Allgemeine, he doesn’t have a favorite, but: “I would be happy to have a director.” But if even CSU grandees in the Broadcasting Council are said to have given their approval to a director, it’s too early to be excited. But the BR is still the BR.
After months of corona pause, football fans in Europe get to see international matches again. Ten games will be kicked off this Thursday at the start of the Nations League season – including the top match of the German national team against Spain in League A. Initially viewed critically, the format is now also endorsed by the German Football Association (DFB). National coach Joachim Löw appreciates the opportunity to almost always be able to compete with top-class opponents.
The game is played in four leagues (A to D) with up to four groups. In the German league A, everyone in the four groups of four plays against everyone in home and away games. The four A group winners will qualify for the final tournament in June 2021. The four bottom group will be relegated to League B for the next edition of the Nations League. The DFB team will face Spain, Switzerland and Ukraine in Group 4 of League A.
The corona rules
The national teams are likely to compete with an emergency line-up of healthy players even after positive corona tests. But it has to be at least 13. Otherwise, for example if the entire team is quarantined, the game should at best be rescheduled. However, the dense calendar hardly offers any alternative dates. If no one is found, the person who caused the game to be canceled threatens to lose at the green table. If no team is clearly solely responsible for the cancellation, the Uefa will decide on the result by lot. With regard to the corona risk areas, according to the umbrella association, most “member associations (…) negotiated exceptions with their competent national / local authorities so that the teams can travel to the venues”.
The fact that international matches are taking place again at all is of enormous importance for the balance sheet of the German Football Association. “The international matches are our life insurance in economic terms,” said DFB General Secretary Friedrich Curtius, referring to the income from Uefa’s marketing pot. And there is also prize money. If the Nations League won, the DFB would pocket 7.5 million euros. In addition, a 71 centimeter high trophy made of sterling silver awaits the winner.
The World Cup qualification
The smaller nations can also get a World Cup ticket through the back door. The two best group winners who did not qualify directly for the finals in Qatar 2022 will take part in the playoffs together with the ten best runners-up in the qualification. There are then two knockout rounds for three World Cup tickets. The other ten final round places for Europe will be distributed to the winners of the ten qualifying groups as usual.
The television broadcast
The two German games on Thursday evening in Stuttgart against Spain and three days later against Switzerland in Basel will be shown on ZDF. On October 10th, ARD will be playing the third German game in Group 4 in Ukraine, three days later the game against Switzerland in Cologne can also be seen in Erste. The games on November 14th against Ukraine in Leipzig and on November 17th in Spain are split between ZDF and ARD. The streaming service DAZN owns the rights to all games in Germany without German participation. dpa / nd
When citizens complain about the services offered by ARD and ZDF and then refer with outrage to the radio license fee, which may soon rise again, that’s their right. They link their monthly payment to the quality of the programs they watch or listen to. When politicians do the same, it is highly problematic, even dangerous.
Politicians can indeed criticize contributions from public service broadcasters if they see a reason to do so. What you should avoid, however, is criticizing the content of the program in relation to the question of your consent to a premium increase. Because freedom of broadcasting applies. Politicians should and must not exert any influence on the content of the broadcasters.
A specific reason for this clarification, which actually belongs to the basics of media policy, is a video that was shown on Funk, the public service youth service on the Internet. The young comedian Aurel Mertz made a short film for Funk in which a man who has problems unlocking his bike is first targeted by two police officers and then by a sniper and shot at it. Because his skin color is not white and the police see him as a criminal foreigner who has to be stopped.
The video is called “Racial Profiling” and it was released on July 21st. Politicians like Thomas Strobl (CDU), the interior minister of Baden-Württemberg, and his counterpart Herbert Reul (CDU) from North Rhine-Westphalia have sharply criticized it; Reul spoke of “a slap in the face of every police officer”. YouTuber Mertz said he wanted to “put his finger in the wound”. The ZDF in turn announced that the contribution was “clearly recognizable as satire in its exaggeration and presentation”. In fact, unlike the “taz” comment by columnist Hengameh Yaghoobifarah, in which police officers should be thrown away, the video is not just perhaps, but without a doubt meant to be satirical. Which can be clearly separated from the question of whether it is funny or successful.
For two CDU politicians from Saxony-Anhalt, however, it was not enough to dismiss the video clip because of the escalation, which ultimately portrays the police officers as inexperienced, racists who enjoy shooting. Sven Schulz, Secretary General of the CDU of Saxony-Anhalt, tweeted that because of such videos it was “right that the planned increase in the radio license fee will not come”. And further: “The CDU in Saxony-Anhalt will prevent that.” Not only reads, but is something like an open threat.
Markus Kurz, who is the media policy spokesman for the CDU parliamentary group in Saxony-Anhalt, fell in with the same horn. He said: “Against the background of the current debate about increasing the license fee, it is once again clear that the broadcasters of ARD and ZDF not only have to discuss structural savings options, but should also discuss whether, in view of such videos, the content-related mandate of the Public broadcasting is preserved. ”And Stefan Müller (CSU), who is the parliamentary managing director of the Union faction in the Bundestag, linked his criticism of the video to the demand“ to stop the increase in the broadcasting fee ”.
Increase in the license fee
In doing so, however, all three are crossing a media-political boundary that exists for good reasons. The exertion of pressure on the broadcasters, the threat of circumcision or the freezing of the license fee, is not permitted if undesirable contributions are the trigger. Because if the broadcasters and their employees would give in and only produce content that a certain party or group would like, then one could rightly speak of state radio. In this respect, such demands would above all confirm the conspiracy story, sometimes openly and sometimes covertly, that the Chancellery and the state chancelleries control the programs of ARD, ZDF and Deutschlandradio.
The fact that the frontal attack on the radio contribution is coming right now has not only to do with the fact that the radio contribution is up to date and the issue of police violence is being negotiated. The criticism is now loud because the state parliaments have to vote in the coming months on a planned increase in the radio license fee by 86 cents per month to 18.36 euros.
Dispute over radio license fee
Saxony-Anhalt is a shaky candidate. Unlike in other federal states, it is by no means clear here that a majority of the MPs are voting in favor of the increase, for which the prime ministers of the states have given their signatures, including Reiner Haseloff, the Christian Democratic Prime Minister of Saxony-Anhalt. In addition to the CDU, the left has also expressed its negative opinion. If only one federal state rejects the planned increase, the matter will probably end up before the Federal Constitutional Court.
Haseloff himself is a critic of the structures of public service broadcasting and the high salaries of artistic directors. But the country chief is evidently more familiar with media policy than his party colleagues. He knows that a serious debate about the public broadcasters has to start with the structures.
So it is of course perfectly correct and legitimate to ask how many television and radio stations public broadcasting needs. What mission should not only be fulfilled by a youth service like Funk, but how an order from ARD, ZDF and Deutschlandradio should be defined in a digital media world. And what the financial resources of the broadcasters have to look like in order to be able to fulfill this mission without further inflating the apparatus that devours eight billion euros a year.
At the request of the “Süddeutsche Zeitung”, Union politician Schulze has now relativized his demand. The announcement that the CDU parliamentary group in Saxony-Anhalt would not agree to an increase in contributions was not linked to content-related demands on the broadcasters. It was his concern, so Schulze to the “SZ”, “to initiate a debate”.
Schulze would do well to emphasize this, even if his original tweet was not as misleading as he is now saying. Because whoever does not vehemently defend the freedom of broadcasting, cannot seriously criticize the mission and structure of public broadcasting. Every serious politician must have the sovereignty to give broadcasters their freedom of broadcasting.
Otherwise the reputation and credibility of the broadcasters among the contributors will continue to decline and at some point they will become superfluous. Because it is clear that a successful influence on the contents of the stations by a political party would encourage the other parties to come around the corner with demands. That would be a fatal development. The country certainly does not need an even larger public service broadcaster, on the contrary. But it definitely needs channels that are as independent as possible.
The German film once had the rare talent to make mosquitoes in the best sense of the word elephants. Because they exposed the usual abysses of bourgeois norms as relentlessly as entertainingly, Volker Schlöndorff and Margarethe von Trotta, Rainer Werner Fassbinder or Wim Wenders became shooting stars of a visual language in which there were never blatant children with even more blatant diseases, their father on the way home funny dressed whale hears, needed.
From this point of view, it seems unlikely that Anca Miruna Lăzărescu will follow in the footsteps of illustrious ancestors – even if her film »Glück ist was für Weicheier« is the start of a film series in which ZDF shoots newcomers to »Shooting Stars «explained. When single parent Stefan (Martin Wuttke) accompanies his daughters Jessi (Ella Frey) and Sabrina (Emilia Bernsdorf), some of whom are mentally ill, the other terminally ill, through their chaos youth, the coming-of-age story ultimately lacks courage to the ordinary.
The story is well told. But instead of scooping honey from the cold kitchen of everyday teenage life, the Romanian-born artist spices the habitually overloaded screenplay by Silvia Wolkan with an aesthetic from the pool of funny quirks, clothes, backdrops – and thus differs fundamentally from the wonderfully headstrong elephant mosquito »Liebesfilm «.
On the debut of the filmmakers Emma Rosa Simon and Robert Bohrer, it is not just the title that is pleasantly unpretentious. How Ira and Lenz stumble through Berlin from the first date in the drug frenzy to the wave pool of their affair to the delicate plant of wanting to have children through Berlin is an authentic matter of course, as if Lana Cooper and Eric Klotzsch didn’t like the happiness, the pain, the disorder of urban club biographies just play, but really feel. Anca Miruna Lăzărescu’s comparatively conventionally edited tragicomedy is thus rather the exception to an initiative with which public service broadcasters from ZDF to Arte and third parties have been giving young people broadcasting space for years.
Before the ARD asks for the 20th »FilmDebüt im Ersten« at the beginning of August, which helped a long line of famous directors such as Maren Ade, Christian Schwochow, Aelrun Goette or Andreas Dresen to make a breakthrough, the second early work of the film offers a television backbone to grow. Also on offer this time: Christian Werner’s self-help drama “Sometime is good” with Fabian Hinrichs as undertaker, Felix Randau’s Stone Age fiction “The Man from the Ice” with Jürgen Vogel as Ötzi and Valeska Grisebach’s migrant drama “Western” with Meinhard Neumann as Construction workers in Bulgaria.
Like the two opening films before, they all have two things in common: On the big screen, they were practically closed to the public, but tried out narrative forms that had a difficult time in the crime-packed prime time. Claudia Tronnier, the editor-in-chief responsible, judges that “filmmakers of the new generation courageously take liberties in their choice of means,” opening up unexpected perspectives for us.
Above all, they open up these perspectives for themselves. Such unspeakable fee-financed channels have long since geared their programs towards mass taste and publicity: Without night tracks like “Das kleine Fernsehspiel”, creative minds in the struggle with streaming series and blockbuster cinema would hardly have any opportunities to reach a measurable audience. This is ensured by the cross-use in the media libraries, where the shooting stars 2020 are already one day before the TV broadcast and remain visible for 30 days – not as clearly as elephants, but mosquitoes are often hard to miss.
Love film, July 20, 11:55 p.m., by Emma Rosa Simon and Robert Bohrer
At some point it will be good, July 23, 11:15 p.m. from Christian Werner
There is talk, but nothing is decided: This Friday, the state parliament of Saxony-Anhalt is debating the planned increase in the radio fee from EUR 17.50 to EUR 18.36. However, because there are different attitudes to this in the government alliance between the CDU, SPD and the Greens, Parliament will not decide on an opinion, as did the media committee at the end of last week. It will only become clear once again: there is currently no majority for the increase in the Magdeburg state parliament. If nothing changes until autumn, the increase in fees in January is a thing of the past. It only takes place if all 16 country parliaments agree.
Because there is currently no statement either for or against the increase, Prime Minister Reiner Haseloff (CDU) has at least free rein the next time the country heads deal with the topic on June 17. Unlike in March, he should not be the only one to abstain, but could give his consent, possibly supplemented by a memo that there is no majority in the state parliament. Because Haseloff is acting on behalf of a coalition that cannot agree internally, he is more or less a “king without a land,” says Stefan Gebhardt, parliamentary director and media expert of the left-wing faction.
In the Magdeburg-based Kenya coalition, the small partners SPD and Greens consider the 86 cent increase proposed by a commission to be justified and appropriate. But there is strong resistance in the CDU. The radio fee is “currently not negotiable,” said Markus Kurz, the parliamentary director of the parliamentary group. He criticized the lack of austerity efforts by public service broadcasters: “The efforts to date have not gone far enough.”
The coalition was already in trouble if only a handful of CDU MPs rejected the increase; it only has a majority of four votes in the state parliament. Remedial action from the opposition is, however, not to be expected at the current stage. The AfD rejects a higher fee and speaks of “rip off the radio fee payers”. And the group of the left, which in its program for the state parliament election 2016 for public service broadcasting, recognized itself as a “component of the general interest”, makes consent conditional on concessions and assurances from the institutions.
Above all, this includes a restriction on the wages of the directors. A position paper for the media committee cites the salary of prime ministers as a “benchmark”. At Haseloff this is around EUR 175,000 a year; his highest paid colleague, the Bavarian CSU Prime Minister Markus Söder, receives 211,000 euros. At the moment, WDR director Tom Buhrow earns almost twice as much as the Federal President at € 399,000 a year. In a first step, at least further increases in salaries should be avoided, the group says, where there is praise for a corresponding practice in MDR under Artistic Director Karola Wille.
In addition, the left is pushing for more diversity in the programs and a »commitment to quality instead of quota«, says Gebhardt. The fact that the latter is currently regarded as the measure of things was to the fate of many Saxony-Anhalt, for example, the criminal investigator anger. The broadcast of the series of the same name in the first, which is based on books by an author from Halle and was created in Saxony-Anhalt, ended in 2017 after five episodes because internal quota requirements were said not to have been met.
The comrades’ attitude to the question of contributions is controversial in their own ranks; critical tones came from Benjamin-Immanuel Hoff, head of the Thuringian State Chancellery. Gebhardt points out, of course, that the directors of the public broadcaster woo the leftists because of their impending refusal; Recently there was a video conference of parliamentary group representatives with the heads of ARD, ZDF, Deutschlandradio and MDR. It is “good that we are now also talking about our positions,” he says – “and not just those of the CDU.”
ZRight in the middle of his new, one-hour video, the YouTuber Rezo moves on to the “fact check”. He would like to show “how often something is actually wrong in newspapers”. “Well,” he says, “and the topic I’m most involved in” – attention, now it comes – “of course I am myself.” In this sentence there is already the whole field of tension of what is explained by Rezo’s explanatory videos has come into the media world.
On Tuesday, the Berlin Volleys were forced to row back. “At the moment these are just mind games,” said Managing Director Matthias Klee and added: “We are neither working against the Bundesliga nor is it our goal to break the league.” The day before, the mind games sounded very concrete: the German volleyball champion is concerned with a move to the Polish elite league. “We got in touch with the Polish association, exchanged ideas and came across not too deaf ears with our idea,” manager Kaweh Niroomand said on Monday. At the same time, he also emphasized that the club from the capital will stay in the Bundesliga in the coming season, but will also look for growth opportunities in the medium term.
“There is nothing conceptual about this,” said Niroomand. That the volleys are looking for a sporting challenge and could find it in the neighboring country is not new. And at least Niroomand revealed: “Now the plans are more concrete than ever.” Finally, the Berlin Volleys had denied media reports about the submission of a license application for the Polish PlusLiga. The difficult economic situation during the coronavirus pandemic now makes it necessary to look for alternatives.
“The league will be weaker after Corona,” said Niroomand. The Berliners fear that they will no longer be able to develop in the Bundesliga, both sportily and economically. Several teams have announced their retirement for the next season. “In the areas of infrastructure, marketing, sales, ticketing and so on, we are no longer making good progress in the Bundesliga,” said Niroomand. He criticizes the lack of support in this country: “Our association is not strategically concerned enough.”
Niroomand admitted that the likelihood that a move to the neighboring country would work was “not that great.” The European association CEV could also prevent this, but: “We just have to try it.” When a change can be possible is open. If at all, that would be “only for organizational reasons at the earliest for the 2021/2022 season,” said Niroomand.
The Volleyball Bundesliga (VBL) promptly criticized the plans. “With regard to topics such as the resumption of play in autumn, which are currently in focus, I feel that the behavior of the Berliners is unsound,” said VBL President Michael Evers on Monday. He was “very surprised that a club in the current situation is considering leaving the solidarity community of the Volleyball Bundesliga.”
Klee countered the criticism directly on Tuesday: “I think the BR Volleys have contributed a lot to the development of volleyball in Germany in the past.” He went even further. The BR Volleys are also open to a discussion about a new European League to be founded. “That can also be an option,” said Klee. “You should also speak openly about this.”
For the coming season, the club only submitted a license application for the German upper house. There, the team of French trainer Cedric Enard was in first place just before the end of the main round. The early termination before the start of the playoffs made it impossible to successfully defend the championship title from the previous year. dpa / nd
Ten teams want to continue the season of the Basketball Bundesliga (BBL). The Bundesliga clubs unanimously agreed on a video conference on Monday afternoon: The main round would not be played to the end, the modified playoffs would begin immediately, the BBL said.
The teams from Munich, Ludwigsburg, Crailsheim, Berlin, Oldenburg, Vechta, Bamberg, Göttingen, Ulm and Frankfurt am Main have announced their participation – not the top ten in the table, but the teams that want to compete. However, seven clubs decided against participating.
The ten remaining teams will compete against each other in tournament form – over a period of about three weeks, the BBL said. Whether and when the health authorities will approve the project determines when the season will continue. The league wants to “complete the season” by June 30th. It is therefore necessary that the official approvals are available on May 18, 2020 at the latest. The BBL plans to present the venue next Monday. Oldenburg wants to apply for it, Baskets managing director Hermann Schüller told the NDR. Munich, Berlin, Cologne and Frankfurt are also in the running.
It is still unclear what the professionals of the ten teams will face regarding distance rules and quarantine before and after the game. When asked how the players reacted to the decision, Lukas Robert, spokesman for the MHP giant Ludwigsburg, told the “nd”: “Of course, the opinion of the coaches and players is asked, but in the end the decision has already been made by the club representatives “He emphasized that the health of everyone involved is paramount:” If a player says I don’t trust myself, you have to deal with it, of course, “said Robert.
National player Johannes Thiemann was happy about the idea of the sequel: “Basically a good decision because I really want to continue playing,” said the dpa Alba Berlin player.
What is certain is that the organization of the playoffs will involve considerable effort. Many foreign professionals are currently in their home countries. Like all returnees from abroad, they would first have to go into a 14-day self-quarantine in Germany.
In a podcast, Gunnar Wöbke, Managing Director of Frankfurt’s Fraport Skyliners, explained how exhausting a season’s continuation could be for the players: Players who return from abroad should be in single quarantines for 14 days, examined medically every morning and checked twice a week Corona virus to be tested. That would also apply to the physiotherapists and those who are very close to the team. “The players will most likely be in a safe hotel,” said Woebke, and noted: “We also have to take care of the well-being of our players, who will then be separated from their families for four to five weeks.”
It is questionable whether all of this is financially worthwhile. “Economically, this is complete nonsense,” said Marco Baldi, manager of Alba Berlin, dpa. »The safety and health concept naturally costs money. Spending continues, with no additional revenue. ”The effort could pay off in other ways. In this country rather marginal sport, basketball would unexpectedly get a lot of attention. ARD and ZDF have shown “great interest” in reporting on basketball, according to the BBL.