BBC Journalist Emily Maitlis: One With Attitude and Opinion – Media

If you want to quote the extremely strained sentence that will survive the great Hanns Joachim Friedrichs for a very, very long time, it is because it doesn’t fit Emily Maitlis particularly well. To quote his bon mot in a nutshell, one shouldn’t have something in common, not even with a good one, he said, who died in 1995 Daily Topics-Moderator said. If you want to interpret that in the way that ARD presenters are supposed to interpret, then that would ultimately also mean not having an opinion publicly and expressing it, even if it is the right one. Maitlis has an attitude and an opinion. Sometimes she expresses them – and gets in a lot of trouble for it.

Friedrichs, after whom the important television award is named, which the BBC presenter Maitlis receives this year alongside the ZDF correspondent Ulf Röller, actually coined his legendary quote back then on the BBC. There he learned how serious journalism works, that you keep your distance, don’t sink into public dismay, stay cool without being cold. Maitlis moderates the popular talk show Newsnight in the UK, and she doesn’t mince matters on occasions that seem important enough to her.

She spoke to Prince Andrew about Jeffrey Epstein – and then the whole world about the interview

In any case, one can assume that it did not just happen accidentally when she started a moderation in the spring, during the first corona lockdown: “Dominic Cummings broke the rules. Everyone in the country can see it – and they are shocked that the government apparently can’t. ” Cummings is the chief advisor to Prime Minister Boris Johnson, who is said to believe that rules apply to others, not him. Cummings had driven hundreds of miles to see his parents with his family during lockdown and when caught he had lied so badly that he became a laughing stock. Johnson stood behind him. Emily Maitlis didn’t.

You were in the BBC not amused. Maitlis disappeared from the screen one night, promptly it was speculated that she had been suspended under pressure from Downing Street. But then she was there again, only to challenge the political elite again in their clever, clear, concise way in one of the next presentations: “They say Corona is a great equalizer,” she began her show, “but that’s not true. ” How, she asked, “can it be prevented from making the poor in Britain even poorer?”

Some love them for their directness and commitment, others hate them for their very self-confident demeanor and sovereignty. The granddaughter of a Jewish grandmother, who fled Nazi Germany, made documentaries all over the world at the beginning of her career, lived in Hong Kong and then had a steep career with the BBC. The 50-year-old probably had her biggest scoop a year ago. She was able to persuade Prince Andrew to speak to her about his role in the sex offender Jeffrey Epstein scandal, with whom he had been well known. Epstein victims accuse the prince of abusing them too.

YE--TV-Moments of 2019; Emily Maitlis

Emily Maitlis in an interview with Prince Andrew, who was talking about head and neck.

(Foto: Mark Harrison/picture alliance/AP Photo)

It was an interview that the whole world was talking about. Maitlis, as always excellently prepared, attentive, intense, got Andrew to talk – and he talked about his head. She only understood afterwards, she said, how much explosives were in the conversation. Andrew withdrew from the public after the royal PR disaster that finally made Maitlis famous.

This summer Maitlis did what she has done before: She went to the United States to cover the presidential campaign. With Donald Trump’s former security advisor, John Bolton, who had written an exposé book about the Trump administration but refused to stand as a witness in the impeachment trial, she went into court so harshly on a live broadcast that he handled her in a threatening tone. She could not be disturbed. “Just answer my question,” she said coolly. “If you can.”

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Katja Wildermuth becomes director of Bayerischer Rundfunk

Katja Wildermuth

The new director of Bayerischer Rundfunk (BR) after her election.

(Photo: dpa)

Munich Katja Wildermuth has a close relationship with Munich. She grew up in Anzing, near the metropolis, where she studied and did her doctorate in history. Then in 1994, when she was 29, she moved to Dresden as an investigative TV writer for Mitteldeutscher Rundfunk (MDR), where she rose steadily.

Now the former television journalist is coming back to the Bavarian capital – with a strong career leap. Wildermuth, most recently MDR program director in Halle, will become director of Bayerischer Rundfunk (BR) on February 1, 2021. There are considerable hopes associated with it – both internally in Munich and in the broader circle of the nine ARD stations. The smallest is still having a strong personal presence in the broadcaster and in the public service organization.

In the ARD, the BR, under the leadership of the former government spokesman Ulrich Wilhelm, had isolated itself more and more and acquired the reputation of a “system sprinkler”. The relationship between Bavaria and MDR has also suffered badly over the years. The peak of the dispute was the unsuccessful resistance from Munich against a new digital ARD cultural platform in Erfurt – Katja Wildermuth of all people was responsible for it.

Such contaminated sites were of no interest to the BR, however, neither the broadcasting ratchet, Prelate Lorenz Wolf, nor the chairwoman of the board of directors, Ilse Aigner, who is the president of the Bavarian state parliament. It quickly became clear that after 72 years with men at the top, the time was finally ripe for a woman. Aigner’s party friends did not want to stand back from the CSU, which controls everything in the Free State.

And so, in the first ballot of the Broadcasting Council, Heimkehrerin Wildermuth was elected with 38 of 48 votes. Before that, she had already confidently prevailed internally in a group of female aspirants created by a Green MP.

With Wildermuth’s election, the power statics in the ARD changes

Katja Wildermuth is described as charming but very assertive. A person who understands a lot about the program, but also makes a bella figura in the many committees of ARD. And who knows the art of networking. She gets on well with MDR director Karola Wille, her current employer. Patricia Schlesinger, head of Rundfunk Berlin-Brandenburg (RBB), is also part of the familiar discussion group. Wildermuth succeeded her from 2016 to 2018 as head of culture at Norddeutscher Rundfunk (NDR) in Hamburg.

With your election, the power statics in the ARD changes. The women’s trio from BR, MDR and RBB – reinforced by Yvette Gerner, director of Radio Bremen – can refresh the culture of discussion and strategy work in the former men’s club. Times are tough enough, as the debate about increasing the radio license fee from 17.50 to 18.36 euros shows.

In addition, the network of broadcasters is under permanent pressure to save. This threatens even well-established programs. Against the lack of interest of younger target groups in ARD and ZDF, those responsible are relying on “tri-media”, i.e. the editorial interaction between TV, radio and the Internet.

Katja Wildermuth set milestones here early on. As head of the MDR History and Society editorial team, she was responsible for large-scale cross-media projects such as “History of Germany”, “Breaking News Völkerschlacht” and the multimedia app MDR Zeitreise. The documentary “Night Will Fall – Hitchcock’s Educational Film for Germans”, which was also produced under her leadership, won the Emmy television award in 2016.

In addition, it was attentively registered that in their area much noticed documentaries were created, for example about the painter Neo Rauch or the Russian President (“Putin’s Games”). In her current job in Halle, she also deals with the MDR offers for young people, such as MDR Jump, but also with MDR Klassik.

“Not won because she is a woman”

In the world of hierarchs, Wildermuth does not come up with forays into legal or financial mathematics, but scores with its closeness to journalism as well as to cultural and educational topics, which are part of the basic mission of public law. She is also on the board of the Academy for Journalism in Hamburg.

At BR in Munich with its 3,500 employees, the doctor of history has to push ahead with the tri-media renovation, reduce costs and manage the upcoming move of the transmitter headquarters out of the city center to the television site in the Freimann district. The institutional system now brings with it a number of troubles, but those responsible have a lot of confidence in the 55-year-old woman at the top.

She “did not win because she is a woman, but because she won through her qualifications,” says board member Aigner. The “Female Future Force” network welcomed the “historic decision” – and called for real advancement of women as well as “a change in corporate culture towards more transparency and participation”.

Last Thursday after the election, the praised woman thanked her with heartfelt diplomacy. She is “very grateful for this impressive vote of confidence”, looking forward to the strong BR, the highly qualified staff and many encounters. And then Wildermuth spoke of a challenging time, of “financial debates and debates on acceptance”. She will have to need her networks quickly.

More: The end of the renowned ARD Institute for Broadcasting Technology is a fiasco.

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Boxing on television: Boxing is back in the ARD media

The extraordinary thing about boxing is its potential for surprises. You turn on the television, you have a rough idea of ​​what is coming, but then things turn out very differently – television live rarely achieves something like that. That the high-wagered against the windfall, and the windfall wins. That’s what people want to see: the unexpected. Saturday night, when ARD brought back boxing into public broadcasting, came before the fight The word for Sunday, in which Pastor Ilka Sobottke talked very persistently about boxing. So you had set it up as a theme evening in the first. “Life is such a struggle for many – as if God himself were the enemy,” says the pastor, and with that she had the event unexpectedly high.

Shortly after Ilka Sobottke, Henry Maske came into the picture, born in Treuenbrietzen (GDR) and after the reunification as a light heavyweight he became an all-German superstar or in the nineties his station RTL sparked a perceived world star. Yes, boxing and TV is a perfect combination when everything fits. On Saturday evening, a lot did not fit in the fight evening in Magdeburg, the former boxer mask is now an expert, but still not a particularly resilient rhetorician. What is supposed to be intellectual just sounds puffy. Mask said mask stuff: “In this respect, doubt is sometimes condemned to despair.” But then thank God the fight soon started.

Before the “Rumble in the jungle” in 1974, the telephone wake-up service of the Federal Post Office collapsed

In 2014, the ARD broadcast their last boxing match, but the fight was decided after 55 seconds, then one of the boxers was done in the ring, and from then on, the ARD saved the million fees. Boxing in the first became “boxing to last” like that world wrote correctly, and the fact that boxing has now returned, with the duel between Dominic Bösel and Robin Krasniqi, was again a surprise. On the other hand: The fees will no longer be so high. And there’s not that much live sport on TV right now, most of it has been canceled because of Corona.

Boxing on television lives from the element of surprise that slumbers in it, but boxing on television also lives from the opposite of surprise, from tradition, ritual, recognition. It’s like with SPD voters who still vote for the SPD – but actually they still vote for Willy Brandt. When they see fresh fights on TV, older boxing fans cultivate the memory of older and very old fights they saw on TV – for example, when a seventies child grows up, it includes the memory of a night when it was said by the parents ” for Ali “has been awakened. Boxing and television, what kind of events they were! It was always broad night when Ali fought. Before the “Rumble in the jungle” in 1974, the telephone wake-up service of the Federal Post Office collapsed, the wake-up time at three o’clock at night was fully booked.

Rumble in the Jungle

The “Rumble in the jungle”: Muhammad Ali versus George Foreman, 1974 in Kinshasa.

(Photo: UPI / dpa)

In 1978, the ARD then felt obliged to the principle of keeping awake itself. Before the satellite broadcast of the Ali versus Leon Spinks fight, the third Rockpalast Festival was broadcast from the Grugahalle in Essen. Paul Butterfield, Peter Gabriel and Alvin Lee, whose band called itself “Ten years later” after the dissolution of “Ten years after”. Anyway: Good old days.

The comparison of a fight between the Saxon-Anhalt athlete Dominic Bösel and the world idol Muhammad Ali is about as fair as putting the elephant shrew in relation to the elephant. In fact, the Magdeburg fight evening didn’t remind a bit of boxing or other golden days, but was a reflection of the gray-gray present of the fading horror year twenty-twenty. Bösel stepped in to the sound of “Böhse Onkelz The ring, and how the mask requirement was in the hall, was difficult to estimate. Viewed from the television, however, it looked as if it was being handled rather laxly. Before the fight, Pastor Sobottke had connected everything with everything: “Boxing through, winning, losing. The fight against Corona.”

But when you looked at the mask wearers and, above all, those who did not wear masks, when you noticed the advertising for Bild and Bundeswehr and Halberstädter sausages on the ring, it became clear again what you regularly realize: How lousy it is, the present. Because of Corona, and in general.

Because, of course, boxing is and always has been a reflection of its time. Fifteen years ago, the boxer Arthur Abraham actually came to his fights with a Phrygian cap (“Smurfs cap”, says the layman), they played a special version of the song of the Smurfs as invasion music. That was incredibly silly, but now one would indulge in a bit of silliness from time to time, and not just at the ring. Boxing was pretty big on television, even far after Ali, because boxing always sent out hopeful signals. The east trainer Ulli Wegner, for example, coached the west boxer Sven Ottke to become a professional champion, that was a little bit of perfection in German-German history, which you can watch live on TV.

TV boxing works like a series

In general, Ulli Wegner was a star, especially among the public broadcasters, where no advertising was shown during the ring breaks. In Wegner’s boxers’ fights, the round breaks were the real events because the audience could see the coach trying to keep his boys on course. Wegner was then a father, a psychologist, a non-commissioned officer, depending on the situation. He roared, he whispered. He looked into fearful, amazed, confident eyes. He stroked hair, reached into mouth to pull out the mouthguard. He wiped his noses, dabbed blood, rattled the bucket. He pulls the boxers up and encourages them to hold out, sometimes he was too determined. But the closeness between the athlete and the coach was seldom as noticeable as during the breaks when Wegner was at work.

OTTKE DEFENDS WORLD CUP TITLE IN MAGDEBURG

Ulli Wegner and Sven Ottke in 2001.

(Photo: Peter Förster / dpa)

On Saturday, other coaches sat in the corner who were more likely to say something to the experts. And the boxers only said something to the experts. And the light heavyweight title it was about? Interim World Champion of the WBA and Champion of the IBO? Complicated business. Boxing on television has to work like a TV series, the audience gets to know the characters one by one, and at some point there will be enough experts to talk about Klaus Heisler, the Saxon goldfish American Dad.

Will the boxers go into series in the first? After all, 2.5 million viewers saw in the third round how Robin Krasniqi gave his colleague Bösel a full knockout blow, which was surprising. The mask expert then put it in an unmatched fuss: “It was great for boxing, but it might still be a tick if the fight at this level would at least take place again between the two.” It is, of course, one of Mask’s duty not to criticize the product.

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Series – Pan Tau Comes Back on TV – Media

Suddenly this very thin, very nimble, not very tall and very good-humored man appeared in the drinking and dozing zone of the Cologne hipster hotel. He was just alone in the interview room, now he’s standing there in a silver vest in the deserted waiting area for journalists.

Stars don’t actually do that, they are happy to stay behind closed doors, protected from unpleasant speeches. But Matt Edwards is so pleased that a real, analog human has emerged after all those Zoom and Skype faces. Someone he can amaze with card tricks.

Matt Edwards, 37, is a very strange star in general. One that nobody here knows yet, but who has become a star with the role he has taken on, so to speak with a tap on his black bowler hat, as if through casting magic. When he was approached, he had from Pan Tau never heard of, the series never ran on TV in England. But in Germany in two countries: The adventures of Mr. Tau was called the socialist variant.

What is immediately noticeable at the meeting: Edwards moves at least twice as fast as all other people. This also applies to his facial expressions. But the other people aren’t comedy wizards either, and they’re called Matt Edwards.

Now he’s Pan Tau, yeah of the Pan dew. An elegantly dressed gentleman who knew almost everyone who was, say, between six and 14 years old in the 1970s, at least as well as Hildegard Knef and Franz Beckenbauer. A gentleman who said nothing, always smiled in a friendly manner without giving a single stupid grin, and helped children in a magical way.

Pan Tau is a modern fairy tale character, brought about by television

Every now and then he tapped his round bowler hat and then ran his hand along the brim of his hat, a magical hint, underlaid with a musical motif. Pan Tau is a modern fairy tale character, produced by television, the trustworthy product of a dream factory that was not in Hollywood, but in socialist Czechoslovakia. It also enjoyed a lot of recognition in the West, and so it came across the iron curtain to collaborations like that of the WDR with the Prague film studios Barrandov and the birth of a series that told of an elegant magician. He had come with a spaceship that looked more like Jim Knopf’s locomotive and if he wanted he could make himself as small as a Barbie doll.

For six years Pan Tau helped children cope better with the complicated, sometimes very unjust adult world. Unlike Harry Potter, he did not use his magical powers to use supernatural powers against overpowering opponents. Rather, he helped the children to see things they had not seen before and then to take all necessary steps themselves. This is how the new Pan Tau will proceed, his spaceship is in the showcase of a school. From there he sets off in 14 episodes. The children he helps are older this time. Because no bad associations should be triggered “if we let an older man with small children turn the corner”, explains director Franziska Meyer Price during the phone call.

The shrewd charm of this series was not magic, but above all – besides the playful scripts – linked to the man who embodied him in 33 episodes: the Czech actor and mime Otto Šimánek, who died in 1992.

When the team around producer Gabriele M. Walther started looking for a new Mr. Tau, it was clear that the casting of the title character would be decisive. The search was correspondingly complex. Now director Meyer Price reports in a good mood, but there must have been queasy moments. “We didn’t find anyone in Germany,” says Meyer Price. So they started looking all over Europe, which includes the use of YouTube. She calls the discovery of an English magician by the name of Matt Edwards, who performs his tricks in halls with 3000 spectators with all grimaces and slapstick slapstick of a real rampage pig, a stroke of luck.

“Too clowney. Not elegant!”

No sooner had Edwards entered the room during the casting than Meyer Price knew: It is him. Edwards doesn’t speak German? Pan Tau never says anything anyway. But then the work began to silence a man who loves to present magic with witty narration and slapstick. Edwards, who is now chatting cheerfully, had to learn to be still, and the entertainer, who knows how to win over full halls with big gestures for the back row, had to massively reduce facial expressions and gestures for the camera. A lively clown became a gentleman. How was it? “Very tough!”

And Matt Edwards immediately demonstrates how theatrical a sad expression must be for 3,000 people: With a long pleading look at the ceiling, the head not slightly lowered as in real life, but rather high. Totally strange, he says, amused. “I had to learn a whole new language to watch television.” Franziska Meyer Price traveled to England for ten days as a teacher in the matter of minimizing body language, which still has to be striking. “Too clowney. Not elegant!” He shouts again and again as he demonstrates the phases of his expression theory for the television camera. They practiced up to ten hours a day. “It’s been ten long days.” Until he has also mastered the finger exercise that everyone who has seen Pan Tau once and which is more difficult than it seems: dibibidibiti dutuuuuuuuu.

“It’s the melody,” he says. “You just have to type the melody on your hat and you know how to do it.”

But these are little things for a man who knew from the age of six that he wanted to be a wizard. Edwards grew up in small Needham Market, north-east of London – as the delicate variant of a three-year-old brother who has to be twice as strong and broad as he is. At least that’s how he told it: “The exact opposite of me.” Nobody in the family had anything to do with sorcery or performing. Matt Edwards stays tuned anyway. At 14 he is regularly on stage. By the time he graduated from school at 16, he had performed at hundreds of children’s birthday parties and learned his jester lesson every day: “As entertainers, we ask people to like us. The audience is not there for me. I am there for the people. It is not easy to always say: Here are some things to show you, please, please like them. ” He smiles broadly, very broadly. Too clowney? Anyway, that’s entertainment. Children as an audience? “Much harder to fool than adults, they are much more careful.”

Edwards then first tells about his parents

At 16, Edwards moved to the Spanish seaside resort of Salou, which was empty in winter and full of English in summer. For twelve years he performed in hotels, bingo shows, quizzes, magic. One evening his best friend, who brought him to Spain, reveals all the tricks to the audience shortly before his performance, suddenly he has to improvise. He starts telling jokes, explaining why everything went wrong. People don’t stop laughing. No matter how true this beautiful story is, Edwards can pull it out with the dreamlike assurance of the mischievous narrator. “I love to mingle with the audience, to interact in contact.” And that he wants to make people happy, with Pan Tau also a little hope for a friendlier world – that’s when the professional, trained in countless events, speaks.

Matt Edwards, the man who knows he relies on people to like him, has learned how to get positive attention over many years – sometimes doing three children’s birthday parties in a day. But that is perhaps only part of the explanation why he has actually become a likable new Pan Tau in episodes that take place in some major European city and do not use the old episodes. When Edwards talks about how he became a wizard, he tells a lot about his parents, especially his father, a police officer who always “gave him fantastic support and always encouraged him.” Never a word of doubt as to whether sorcery really could provide a solid foundation for a future.

His father drove him to every event. His parents said, do this when he told them his plan not to go to high school, and they paid him a flight to Spain to entertain English tourists drenched in the sun and sangria. But what about his brother, the bodyguard with the shaved head and the tattoos? “We shared everything and slept in one bed for many years. He loves my shows.” He tells how he showed his parents and brother the series a few days ago and walked out of the room so that they can enjoy watching it without feeling obliged to praise it in his presence. “My father said afterwards: ‘I forgot it’s you.'”

When you think of old Pan Tau, the first thing that comes to mind is the word “friendly” and, in a not at all stupid sense, also the word “good-natured”. Perhaps his successor had to come from that part of the English-speaking universe where a family without ifs or buts helped their child to become what it always wanted to be: a magician.

And then Matt Edwards conjures the eight of clubs, which his visitor has put back face down in the pile, folded out of his mouth. He is happy about the astonishment of the duped. how did he do that?

But do you really want to know? You never wanted that at Pan Tau.

Pan Tau. Das Erste, Sunday, 10:10 am, all episodes in the media library.

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Crime scene in Münster: drowning? But not Boerne and Thiel media

The ARD shows a case from 2015 in which the Münster residents are investigating in a psychiatric therapy center. The criticism from back then.

This “crime scene” review was published in the Süddeutsche Zeitung on November 7, 2015. Due to the choice of the film for the desired “crime scene” SZ.de publishes it again here.

In the “Schwanensee” therapy center, Thiel and Boerne investigate where a patient’s body was found on the floor of a swimming pool. An autistic who lives there also swam over the woman and didn’t notice anything. Forensic doctor Boerne knows the reason as usual: “The poor man has more sedatives in his system than Oscar Wilde in his prime.” They have their special joke in Münster, they are loved for it. You know that. That’s why the joke is often overdosed.

The first part of this story by André Erkau (book: Christoph Silber and Thorsten Wettcke) is somewhat expectable. Different people stumble over obstacles like dinner-for-one; As with Loriot, doors fall out of their brackets. And Thiel (Axel Prahl) is annoyed that he didn’t get breakfast, he is in a killer mood because of that, it is rolled out like only a motive in the children’s program. Short gruesome memories of crazy Münster episodes like “Das Wunder von Wolbeck”, but then they get halfway around because the arithmetic-minded autistic (Robert Gwisdek) is so touching and there are many pretty ideas in the film.

Twin brothers have broken one arm each while doing tai chi

You notice that when the residents of the nursing home, with balloons on the bank, are introduced. Twin brothers each have broken an arm while doing tai chi, a forced neurotic corrects the position of Thiel’s cell phone, and the Bufdi Olli has a weak alibi for the night in question, playing pussynator on the computer. Bufdi is an abbreviation for federal voluntary service, and of course they suck all the honey that is in this strange word.

The plot takes adventurous branches, a tax matter moves towards the DFB gate. Fortunately, the quiet computing genius looks through. This crime scene is not a gag sling, the case itself is bizarre. The whole thing is held together by the ensemble. Brag, delivery, Kempter, origin. You don’t watch them playing, but when you interact with each other: sometimes it’s a pleasure. Without the team that would be Crime scene in Münster Nothing.

At some point Boerne and Thiel sit in the pedal boat and follow a swan. They are no longer looking for new shores, but they are not drowning either.

ARD, Sunday, 20.15 hrs.

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Maischberger – split looks different – media

“Maischberger – the week” sends Christian Lindner and Karl Lauterbach in the dispute over the right corona strategy in the ring – and they remain surprisingly nice to each other, despite differences of opinion.

For some, it is going too fast, for others it cannot be going fast enough – that is how Markus Söder summed up the climate of debate in Germany in view of the decision to relax the corona measures. Sandra Maischberger even speaks of a “divided” society about the well-rehearsed Söder-O-Ton, and one wonders in the meantime whether every contradiction in public discourse really deserves this name.

Be that as it may, given the alleged division, Maischberger has invited two guests to her program who, according to her, are “emblematic of these two poles”: Karl Lauterbach, SPD health expert and professor in the field of epidemiology, and Christian Lindner, chairwoman of the Free Democrats. Both have in common that, given their current talk show presence, it would not come as a surprise if they had set up their own camp beds in the public law studios. Perhaps they have actually agreed a bit in night-long debates – or at least been fairer to deal with.

Because this evening both show that contrary views do not necessarily have to end in the opinion boxing match, in which in the end the winner is the one who screamed louder. Of course Lauterbach, who has repeatedly criticized the premature easing in the past few days, sticks to his stance: When asked whether Wednesday’s easing decisions were a bad day for Germany, he first replied: Yes, at least “im All in all “, later he calls it a” dangerous day “. The country now needs “luck”, Wednesday’s decisions are not so much a tentative advance, but rather “an experiment”. The discipline among people has weakened, the easing would reinforce this feeling of false security.

For Lindner, however, it was a “good day”. The easing was correct and responsible, people had internalized the handling of hygiene and distance rules, which is why it was now time to allow greater freedom and to limit future measures regionally. In addition, there are now more intensive beds available.

Here Lauterbach contradicts: “The intensive care beds do not matter.” Although these are to be welcomed, they would be of little help to the older risk groups should they become infected with the virus: 95 percent of the cases that come from nursing homes and require ventilation, die in the event of an infection, intensive care beds or not. He also does not want to follow Markus Söder’s words that the virus is now “under control”: This is only the case if the citizens have sufficiently good masks available, a proper app for contact tracking and more extensive tests.

Lindner now emphasizes that although he has “very great respect” for Lauterbach’s considerations – he still advises “not only to look at Italy” (here he may have misunderstood because nobody spoke of Italy), but also to Sweden . Maischberger now asks whether the Swedish way, i.e. personal responsibility instead of restrictions, is a better way. It would be “better knowledgeable”, says Lindner, to say in retrospect which way would have been the right one, but the easing could have come earlier if it had been up to him. In the current phase, one is now approaching the Swedish way. “And that’s wrong,” Lauterbach interjects, only to add a polite “sorry, I didn’t want to interrupt you”.

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Lindner now points out again that people had learned how to deal with the virus, which is why, a “second thought” that in the current phase one can and should also consider the economic and social consequences of the restrictions. When he wants to carry out a “third thought”, the moderator interrupts him: “If you say a third one, we will lose the thread.” “But then Mr. Lauterbach can intervene even better,” says Lindner. Alright, Lauterbach says with a laugh, Lindner has already “supplied enough material” with the first two thoughts and one almost thinks that one mumbling “you have” in the mumble before “enough”.

Lauterbach now goes a long way: In Sweden, the numbers are far worse than in Germany, despite the sparse population, they correspond to “20,000 deaths in Germany”, so the model cannot be a role model, even in the current phase. He did not want café visits to be at the expense of people in retirement homes who might have to fear for their lives because of the relaxation. At the same time, the opening concepts for gastronomy that have now been decided do not offer any prospect of profit for the operators, one must honestly say that. And the hygiene concept of the Bundesliga is not worth its name. All in all, the opening concepts are premature and not well thought out – and at the same time confirm all those who thought the coronavirus was a flu wave that had now been fully survived. However, there would be hope if people acted more sensibly and responsibly “than one or the other political decision”.

And that was it with the “split” that evening. Both Lindner and Lauterbach agree below that a scrapping premium is a wrong way for the automotive industry. Instead, Lindner would like broad support for the entire middle class, promotion and investment in innovation. “Saving alone” doesn’t help. When it comes to the app and nationwide tests, they both demand the same things, and agree that the lockdown was – at least initially – the right way. When both of them then chorused about the lack of masks, the airtime was over. But it can be assumed that they will be able to continue the conversation in the next talk show soon.

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AfD and media: World Declaration Armin-Paul Hampel – Politics

Armin-Paul Hampel was once a respected ARD reporter. Today he sits for the AfD in the Bundestag – and criticizes journalists harshly. On the road with someone who has changed. Or not?

It takes less than three minutes to walk between Armin-Paul Hampel’s first life and his second. Two glass doors, a security gate and 150 meters of sidewalk, that’s all. In his first life, Hampel worked in a clay-red building on the banks of the Spree, with a view of the Reichstag dome. Wilhelmstraße 67 a, the ARD capital studio. From here the correspondent Hampel once explained the world to people.

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“Maybrit Illner” to Corona: Lindner doesn’t get it – media

The FDP leader does not understand why scientists sometimes say one thing today and something else tomorrow. The virologist in the group has to explain scientific matters again.

FDP boss Christian Lindner had a lot to straighten out on Thursday evening at Maybrit Illner. It was his deputy Wolfgang Kubicki who said on Tuesday that the corona numbers of the Robert Koch Institute (RKI) “give the impression that they are politically motivated numbers rather than scientifically sound”. With which he at least rhetorically got himself close to all those who consider the virus and the resulting lockdown measures to be a global secret plan to weaken German productivity.

It seems fashionable at the moment to torpedo scientific knowledge with private opinions. From theater directors to Swabian mayors, hardly a day goes by without someone speaking up with an argumentative, well, interesting interjection. This is of course allowed, it would only be nice if they had thought for a moment beforehand. Wolfgang Kubicki included.

So Maybrit Illner asked Lindner why Kubicki would rather not clarify his questions of understanding in dialogue with science before he struck such a conspiratorial tone. Lindner believes that his party friend only wanted to criticize the institute’s strange communication strategy, which he did not always understand.

The scientist in the group, the virologist Jonas Schmidt-Chanasit from the University of Hamburg, has to explain the basics again: Science is on new territory. Accordingly, she must constantly question and improve the research, and simply keep learning. This is a scientific matter of course, which, in this program too, clashes with the widespread attitude in politics that a change of opinion can only be explained with fickleness, breach of principles or betrayal of the electorate.

The topic of the program should actually be a different one: “Politics is opening up – uncertainty remains?” In addition to Lindner and Schmidt-Chanasit, SPD family minister Franziska Giffey and pedagogue Katharina Saalfrank are in the group.

Later, the former federal constitutional judge Udo di Fabio will be added. He quotes another weird sentence from the past few days: If someone with statements a la “Because people die who have to die anyway” (he means the green Mayor of Tübingen Boris Palmer) is a “precarious tone of the constitution”, says di Fabio. After all, an old person has the same right to live as a young one.

However, di Fabio agrees with a statement such as that made by Wolfgang Schäuble, President of the Bundestag, that protecting life in the current crisis cannot be subordinated. At the beginning of the pandemic, there was a “fundamental legal obligation to protect”. In such situations, the state should not only act with intensive interference with fundamental rights, it even had to. However, this phase is now at an end, and it is now necessary to consider which freedoms are possible again – even if one hundred percent virus protection would suffer. Di Fabio compares the situation to the 3000 traffic fatalities each year, which would also be tolerated so that mobility remains possible.

Pedagogue Saalfrank draws attention to everyday life in families. They are finished. Of course you understand the Corona measures. Politicians must perceive that it is simply impossible to bring home office and children’s education into line. “The families can no longer hold out for long,” she warns.

Lindner is not afraid of the second wave

Lindner nods violently here. He wants to give children the freedom they need to play and learn as soon as possible. After all, they were losing great “development opportunities”. Previously, he had announced that nobody could “scare him with a second wave”. The hospitals are now prepared, the citizens have got used to the hygiene measures.

Berlin school director Robert Giese, who was briefly brought in, explains that it may not be that easy. He reports on students who behaved in an exemplary manner in the classrooms, but who immediately stood in groups in front of the school entrance and hugged each other to say goodbye . He wants more responsibility for the schools so that he can decide on suitable measures and openings. Giffey also pleads for the local practitioners. Not everything can be regulated nationwide. But it also points out that young people are young people and that life is sometimes “life-threatening”. In which she even agrees with Lindner.

However, he also wants to focus once again on the supposed fickleness of science when it comes to children: he quotes a report of the Bild newspaper that is several hours old, according to which the virologist Christian Drosten from the Berlin Charité himself regarding the suspected risk of infection from children have contradicted.

On Thursday, Drosten explained in the NDR Corona podcast the results of an own study, according to which children may have a similar risk of infection as adults. In the same podcast, he then cited a recent study in the science magazine “Science”, carried out in China, which in turn leads to the suspicion that the risk in children is lower by a third. Lindner now complains that these are two opposite statements within 24 hours. He would like virologists to come together and “agree”.

Virologist Schmidt-Chanasit tries again: Drosten has now cited different insights. Politicians would have to learn to deal with it. “We know that we know very little,” he explains patiently. An insight that others still lack.

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“Tatort” from Göttingen: Lindholm in love again – media

Lindholm and Schmitz have to solve a murder in the right scene. “National feminine” dutifully takes up an important topic – unfortunately, it is difficult to take the film seriously.

“National feminine” deals with the fact that women can be young, right-wing and convinced feminists at the same time. Social media star and poster girl of the “Young Movement”, Marie Jäger (Emilia Schüle), is found murdered in the Göttingen city forest, a welcome occasion for the right-wing racist hunt: the murderer must be a migrant.

The broadcast of “National Feminin” this April only seems strange at first glance: Even during the corona crisis, it cannot be said that right-wing extremism is a problem in Germany. Jenny Schily as provocative law professor Sophie Behrens is the acting figurehead of this film, and when she throws a wine glass onto the wall, she does so with the appropriate contempt for wine, glass and wall.

Of course, it is also determined “on your own”

And yet this is crime scene just another, empty template from the category “important subject dutifully taken up”: Florian Oeller, Daniela Baumgärtl (writer) and Franziska Buch (director) prefer to work with a hammer than with a file. The rhetoric of the right that Anaïs Schmitz (Florence Kasumba) is exposed to during the interrogations of members of the “Young Movement” is realistic enough; You don’t have to over-dramatize racist slogans, everyone has understood that. Only at the end of the film one feels strangely uncreatively torpedoed, as if the point was to draw attention to right-wing extremism, in its mere copy in the fictional.

All in all, the seriousness of the film suffers from the very beginning: An activist looks into the camera that you can almost hear the instructions from the director (“theatrical look!”); there is a Commissioner in love again. And of course the investigators have to hand the case over to the LKA. The topos of determining “on your own” is in crime scene about the equivalent of cycling without a helmet. Bit stupid – “wild” is something else.

So the memory of the repeated statement that today is really a shitty day, Schmitz and her colleague Charlotte Lindholm (Maria Furtwängler) agree. And Lindholm’s conversation with her son when she explained why she had to go to work late at night: “I still have to go because of the Faschos”. The boy understands this, after all he has already read what is going on “online”. There is this claim to authenticity Crime scenes then finally there – the word “net” is used more by 50- than 15-year-olds. Or, to say it with Wolfgang Herrndorf: “Yes, that’s how she talks, the youth”.

The first, Sunday, 8:15 p.m..

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