Review – Everything’s Fine on Netflix: So Much Trouble – Media

In the book “Statusmachrichten” by the Austrian author Stefanie Sargnagel there is a cartoon in which a Kipferl (the Austrian equivalent of a croissant) gets good advice – from a cup. “Just be yourself”, says the cup, and the croissant answers confused: “A croissant”?

The American comedian Sarah Cooper doesn’t have to advise anyone to be themselves. The American became world famous in the spring when she posted a short video on Tik-Tok imitating Donald Trump. The sound came from the US President and Sarah Cooper did the facial expressions very skillfully. In the numerous videos that followed the first, she doesn’t pretend to be Trump. In her imitation, she is still herself, Sarah Cooper, moving her lips to the US President’s latest nonsense. The videos are cathartic for her, says Sarah Cooper in an interview with the SZ.

In the new 49-minute Netflix special Sarah Cooper: Everything’s Fine it is therefore surprising that the usual Cooper minimalism is missing. A multitude of characters appear, played not only by Sarah Cooper, but also by Jon Hamm, Ben Stiller, Maya Rudolph and Winona Ryder. Cooper himself is a kind of framework story as a TV presenter who is slowly losing her nerve in view of the world situation and above all the political situation in the USA. Guests or members of their team can have their say in various telephone switches and clips. Rapper Megan Thee Stallion, for example, gives tips on the coronavirus workout with the cognac swivel in her hand, a pillow specialist is promoting his corona vaccination, Ben Stiller plays a robot who has allegations of sexual harassment on his neck. And Whoopi Goldberg tells something about the origin of “Karens” (often used synonymously in the USA for white, self-righteous, somewhat racist women) in the time of the founding fathers. In between, “the President” turns on from time to time in videos and gives Sarah Cooper the opportunity to take on her star role: as a mimic substitute for Donald Trump.

It all sounds funny. But why isn’t it?

Perhaps because the “Special” (which looks a bit like the sketches in a row on a late-night show, only without the “Talk”) has two problems from the start. First: Everything’s Fine can’t decide whether it wants to be a Best-Of-Trump-Tik-Tok, the parody of American breakfast television, or at least teleshopping satire.

Of course there are moments, like the one with Jon Hamm, that makes you laugh. But that’s less because of the script than the fact that Hamm as Don Draper in Mad Men played the over-man of the 20th century and now with a huge mustache as the stupid Dr. Pillow comes into the picture. Similarly, when Winona Ryder shows her best side again – the one on the verge of a nervous breakdown.

But the greater difficulty of Everything’s Fine: Much effort is being put into putting the sociopolitical demarcation lines that the Trump administration is tightening – black versus white, woman versus man, poor versus rich, facts versus conspiracy theories, powerlessness versus power – into a humorous light. Too much effort that is absurdly at odds with the actual weight of the problems addressed and the effects on the present. “Bring on the heavy stuff, we’ll make something out of it,” one might have said to oneself. The result is not a subtle satire like the one with which Cooper became famous, but fooling around. (All right, star-studded dumbbells, that’s Dame Helen Mirren in the new edition of the “Grab ’em by the pussy” video).

But in addition to an annoyed “I got it”, the audience’s main question is whether comedy is always a good instrument to deal with crises. Especially since it felt like more than half a year has passed in the past six Corona months. Sarah Cooper addresses this phenomenon at the beginning of Everything’s Fine even when she says you feel like you will have aged 14 years in six months. A side effect of this feeling: What was still shocking in the spring is no longer worth mentioning. Humor is no exception and corona jokes age badly accordingly.

A total of 12 authors contributed to these 49 minutes, and one wonders how much of Sarah Cooper herself is in it, who at the beginning of the year had just as easily presented her ideas to the pandemic as the baker had the croissants. Calm, effortless, almost by the way. And only because of this incidental: so funny.

Sarah Cooper: Everything’s Fine, Netflix.


Late Night Berlin – With Klaas Heufer-Umlauf – The show on October 5th – ProSieben

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Films to see (or not) this week

Cinema outings.

What should we see at the movies this Wednesday? Here is a summary of the reviews of our culture department. Click on the links to read the articles.

End of centuryby Lucio Castro. Starting from a one-night sexual adventure between two men, Lucio Castro plunges his characters into fantasized parallel lives.

Ondine, by Christian Petzold. Exploring the temptation of amnesia, Petzold gives shape to an intriguing romance, weighed down by the German myth that she revisits. (Photo Les Films du Losange)

Elsewhere, de Gints Zilbalodis. Spotted in several festivals, the animated film directed alone by Gints Zilbalodis follows the motorcycle journey of its hero, castaway after an air crash.

Lux Æternaby Gaspar Noé. On an infernal stage, the director of Climax stages Béatrice Dalle and Charlotte Gainsbourg telling each other gaguesque anecdotes in the middle of the chaos.

Eleonore, d’Amro Hamzawi. Nora Hamzawi struggles to renew her character as a serial loseuse in a laborious satire that lacks depth.

Appearances, by Marc Fitoussi. Failing to take off its share of farce or thriller, Fitoussi’s film about a story of adultery in an expatriate couple in Vienna remains rather monotonous.


Attila Hildmann and satire: do you understand fun?

EAfter an exciting reading of news, headlines or picture content, it should help you take a quick look at the source before insisting on facts, shouting on the Internet, punching someone on the nose or leaving the house with a flag. Die-hard conspiracy theorists and other insiders don’t seem to take it that seriously, and if it had needed any clue, it is now available: The Reich citizen influencer and anecdote cook Attila Hildmann is dealing with dissolved and angry fans who do cannot believe that the upright vegan is paid by the federal government to subvert the maverick scene and caricature it with subversive nonsense messages.

This news was circulated on Tuesday by the well-known satirical website “Der Postillon”. In an article she published under the heading “Incredible suspicion: Is Attila Hildmann paid by Merkel to make the maverick scene ridiculous?” A picture that Hildmann and Chancellor Angela Merkel show while walking, even if the image resolution and proportions some places don’t quite fit. Hildmann has been in the service of the “Federal Republic of Germany GmbH” since October 2019. It does not pay badly: As evidence, “Der Postillon” published an issue receipt on which it can be read that Hildmann is said to have received 666,666 euros – stamped by the BRD GmbH.

With Merkel to the military court

Some of Hildmann’s most loyal vassals no longer even know what to believe, and find themselves between anger and despair, hope and fear. In his Telegram chat group, Hildmann writes worried but determined: “Since I have hundreds of messages! ‘The Postillon’ is a satirical site. If one day I go for a walk with Merkel, it will be from her cell to the military court! “

This is the tone in which Hildmann’s chat group continued, who protested against the Corona measures and repeatedly demonstrated in front of the Reichstag. For him and his own, the danger comes primarily from the left: Bolsheviks are being hunted until they “stand in front of the wall”, according to a message within the “Chat of Freedom”. The Internet has given Hildmann loving Kose hashtags such as “Vegetable Goebbels” or “Avocadolf”.

Hildmann also makes no secret of his overarching goal: “… from now on we are again doing world politics and Germany is at the forefront again, and this time on the good side,” writes Hildmann in his chat group – and by that he means the side of Russia.


“Crazy Sex”, libidino-laughable satire

Dino Risi and the films with sketches, fertile history. And if moviegoers know by heart Love in the city (1953) and monsters (1963), here is taken again, in a restored 4K version, the rarest Crazy sex produced by the Italian in 1973. Its nine pastilles mock gerontophiles, enthusiasts, precocious ejaculators, vamps and other fools siphoned off from desire. Beyond the image of the sexuality of the 70s and in addition to the cynicism specific to Italian comedies in the representation of the family (with the toddler sitting on his pot in the middle of the kitchen when the parents argue), it is always the hypocritical and spineless characters who are hunted down, the short formats implying the obviousness of extreme behavior proudly pinned to the wall of cinematic shame. But above all, the film allows us to rediscover the irradiating comic talent of Laura Antonelli and Giancarlo Giannini (photo), dressed as in the parade, who interpret the protagonists of each sketch and build two super-characters with entangled sexual identities, composing a subtle drawing with broad strokes.

Guillaume Tion

Crazy Sex of Dino Risi (1 h 54).


“High Hopes”, Thatcherism with spicy sauce

In 1988, year of the realization of High Hopes, Margaret Thatcher has been in power in the UK for almost ten years, and works pugnaciously to destroy the welfare state and all forms of solidarity. In this second film directed by Mike Leigh, she sits in Shirley and Cyril’s dilapidated apartment in the form of a decrepit cactus to which they gave her name. Hovering like a bad dream above all the characters in the film, his noxious policy widens distances and feeds resentment: Cyril struggles between a surly mother, a sister overexcited by the fake promises of flourishing capitalism and neighbors middle class puffs of contempt for their precarious neighbors. Back then young Mike Leigh doesn’t shine in the black, British, and slightly adulterated humor that sets the tone for the film, and the satire of that dark period proves as depressing as the era itself. The success of High Hopes is rather the film of a couple hidden behind the group portrait. Cyril and Shirley’s relationship forms an island of unfailing complicity, and the destitution in which they live is what is most beautiful in the film: we share everything, tea and feelings. With the help of the one who will become one of his favorite actresses (Ruth Sheen, who always wonders if those she meets are not too cold), Mike Leigh reaches a stubborn sweetness, just response to the violence of the Thatcherism.

Laura Tuillier

High Hopes of Mike Leigh (resumed in theaters) with Ruth Sheen, Phil Davis, Lesley Manville… 1 h 48.


“Summer 85”, “Abou Leila” … Films to see (or not) this week

“Summer 85”, “Abou Leila” … Films to see (or not) this week

Cinema outings.

Click on the titles to read our reviews.

Abou Leila of Amin Sidi-Boumediene. The feature follows two cops in the footsteps of a terrorist in the Algerian desert. Between the quest for the other and the quest for the self, a striking metaphysical road movie echoing the violence of the civil war that engulfed the country in the 1990s. Read our interview with the director.

Summer 85 by François Ozon. Alternating lightness and gravity, François Ozon follows the romantic relationship of two teenagers, punctuated by a nostalgic soundtrack. (also read the portrait of Benjamin Voisin)

Salt of Tears by Philippe Garrel. The filmmaker portrays the three love stories of an apprentice cabinetmaker in a story of sentimental education in black and white which is freed from oppositions between the past and the present, as in his last films.

Sapphire Crystal by Virgil Vernier. Winning the Grand Prix at the Pantin Festival, the film, which also comes out on VOD and DVD, marks the return of Virgil Vernier to the short form.

The Voice of Success by Nisha Ganatra. Despite some biting scenes, the musical film carried by Tracee Ellis Ross has the air of a missed date.

Exit by Rasmus Kloster Bro. Captivating behind closed doors and claustrophobic satire, the Danish thriller, awarded in several festivals, does not lack air.

(Photo : Lyes Salem/ UFO distribution)


Identity policy is so German (

When the Pope came to visit in 2011, »Bild« celebrated at the Axel Springer House in Berlin. When does the Taz celebrate Yaghoobifarahs “All cops are disabled”?

Photo: imago images / epd

We are Pope! » The headline with which the “Bild” newspaper headlined 15 years ago on the occasion of Joseph Ratzinger’s election received various prizes, such as the “Golden and Silver Nail” of the “Art Directors Club Germany” or the “European Newspaper Award”, and was published in consequently varied over the years. “We” were also “Chancellor” (2005), “World Champion” (2007), “Nobel Prize” (2007) and “Oscar” (2008). At the journalism schools, the “cult image headline” (“image”) is part of the teaching material. It is hoped that Hengameh Yaghoobifarah’s “All cops are disabled” column, which appeared in the Taz on June 15, will also find its way into the curriculum.

No sooner had Yaghoobifarah’s text appeared than the German Police Union (DPolG) and the Police Union (GdP) reported charges of sedition. Complaints were also submitted to the German Press Council, politicians of all parties were outraged by the column, more precisely: by the last sentences of the text. Instead of allowing different readings of the column, it was clarified and shortened to a single statement (a custom that is widespread in all political camps): police officers would be “equated” with rubbish and thus allegedly “violated their human dignity”.

“If the text were to replace” policemen “who are equated with garbage with other social groups, the reaction of those who defend the column would certainly be different,” Michael Hanfeld mocked in the FAZ and introduced himself stupid by using a subjunctive.

These «other social groups» are already equated with garbage. Not only in the countless memes, in which women wearing a burqa are placed between garbage bags and thus equated with garbage, but also, for example, by the chairman of the AfD, Alexander Gauland, the, completely German gentleman, the German Aydan Özoguz in Wanted to “dispose” of Anatolia. The word “dispose” is not exactly ambiguous. That didn’t stop the FAZ from inviting Alexander Gauland to the 70th anniversary party of the newspaper as a guest. That there is also a difference whether a party leader dreams of “disposal” and thus makes it very clear what his policy will look like, should he and his party ever come to the government, or whether that is a freelance journalist in a satirical column should be a matter of course, which is emphasized here only because such a matter of course threatens to blur.

Also the reference to the rule “what you don’t want to be done to you doesn’t do anything else” is the wrong argument at this point. If you look at the unreasonable demands that parts of the German population have been exposed to for decades, those who put the ideals of the Enlightenment into position must ask themselves whether what they are asking for does not actually end up in the Christian world Morale teachings that state: “If someone hits you on the left cheek, then hold out the other one.”

Just as the permanent competition between people and the compulsion to utilize each individual as well as all interpersonal relationships are compulsory in the logic of the capitalist system, it is also contained in this system that people live in permanent danger, as superfluous and therefore to be literally perceived as garbage.

The fact that the column – especially now, when the social crises, the pandemic, the emerging recession and the foreseeable necessary restructuring of the world of work and life in relation to climate change – are triggering fears of the majority of the population, is fear itself To become superfluous has probably contributed to the disproportionate excitement surrounding this text. Hengameh Yaghoobifarah must therefore put up with the question of whether he * affirms the ugliness of the capitalist principle, just as others have to face the criticism of affirming sexism and racism.

Barbara Junge, the editor-in-chief of the Taz, felt compelled by the alleged “violation of human dignity” to apologize for the text in her first statement. She referred to a “long smoldering conflict in the Taz” about “how strong the subjective view, how strongly discrimination experience should or may shape journalism”. Which was then no longer about the text as such, but about what is called “identity politics”, the meaning and nonsense of which has long been the subject of heated controversy in Germany.

Now you can find the identity logic that is used to defend Yaghoobifarah in the field and is also regularly used by her * himself, in your assumptions, but you should not overlook the fact that it is one thing above all: deeply German. The dangerous mixed situation that is created for the construction of an emotionally-identical “we” by means of mythically charged cultural essentialism and root ideas that always follow a blood logic has its origins in German romanticism and is still a popular figure of thought, not only with “we” the “Bild” newspaper. Also and especially among supporters of the Greens and in the Taz editorial team, long before Hengameh Yaghoobifarah appeared, cultural relativistic attitudes were recognized as a theoretical and methodological basis.

Despite all the difficulties that come with the basic assumptions of an identity policy, it is important to note that the history of social movements is also a history of identity politics. No one today would doubt that the self-organization of LGBTI as a gay and lesbian movement would be necessary in order to be granted the same rights as heterosexual people. A struggle that has not ended with marriage for everyone and whose achievements to date are permanently threatened with being withdrawn again.

If you look at the history of the feminist movement, you can see how old the dispute over identity politics is: When the Council Republic was founded in Munich in 1918, women’s right to vote was introduced, specially formed women’s councils for the formal representation of women, who Soldier and peasant councils should be involved in the political decision-making process, but were rejected by the majority of the male revolutionaries.

And anyone who thinks they have to criticize identity politics because it is ostensibly “just” a vehicle for the promotion of their own career should consequently also demand that all fraternities be dissolved, since these are purely identical career networks to which only men have access and where For years there has been controversy over who is “German” enough for their student connections.

The dispute over identity politics obscures the identity that everyone involved is actually concerned with: the identity of Hengameh Yaghoobifarah himself. In her * him as a person, identical foreign attributions overlap with self-chosen self-definition in a dazzling way that allow to speak of him * her as a “total work of art”, as artists such as Jonathan Meese naturally take for themselves.

In the case of Yaghoobifarah, the stage is then not an art hall or a theater, but rather Twitter: a place that is perceived by the cultural sector as a kind of extended press and echo space and not as an independent cultural venue with its own art forms. In the performance that Yaghoobifarah stages there, there is a refusal to accept the norms and rules of conduct that are inscribed in this Germany, in addition to the naturally used opportunities and freedoms that this Germany has to offer. A provocation on many levels.

It turns out that the understanding of art in this country is just as limited as that of satire: Unless it is written in large letters, “Caution, art!” or “Caution, satire”, many no longer understand it as such.

So it remains to be hoped that the column “All cops are disabled” and the subsequent argument about it will end up in the museum and the educational institutions. The social discussion that has been triggered by this text up to now – from the proof of the necessity of the humanities to cross-media efforts to ensure correct gender change to the revival of the debate about police violence and extreme right-wing structures within state organs – makes “All cops are incapable of work” museum worthy .


“The Destination end of the world”, the beautiful spectacle of the apocalypse

Some novels may leave behind little memories. The house of cards collapsed all alone, the universe does that when you are inside of it. A new, built on a single idea, a situation is anecdotal, however, could persist in the mind. Science fiction is a literature that is conducive to this form, we know how much she gave in experimenting with short fiction effectively, and gives. Destination the end of the world do not rely on the big-thing : a middle class american golden finds himself one evening with smoking, flirting and dancing. This is the situation matter-of-fact. What is less clear is that some of the couples who were present attended at the end of the world.

Everything is already in the incipit : “Nick and Jane were happy to be went to see the end of the world because they had a good topic of conversation to the party at Mike and Ruby.” The paradox contained in this sentence – if the end of the world has taken place, then no one is likely to be able to talk (and especially to the feast) – will soon be reversed. The last cry of the entertainment offers to high net worth clients to pay for install for three hours in a “sort of a tiny submarine” to travel into the future and witness the end of the world. The other paradox, the real one this time, is that around these characters eager for the sensational, there are more and more manifestations of a world that is déglingue. Riots on fund nuclear weapons in Saint-Louis, an earthquake that has virtually wiped off the map Los Angeles, an epidemic of typhus the previous winter and amoeba mutant escaped from a research centre carrying a virus that is spreading…

“I tried to catch a glimpse of the future”

The american writer Robert silverberg quote wrote this new satirical in June 1971 “while the Vietnam war continued to undermine the foundations of american life and that it called into question the certainties inherited from the years of calm and prosperity of the immediate post-war period”, “he explains in a delightful little preface is dated march 30, 2020, or at the beginning of the pandemic Covid-19. With the threat of the amoebae to viruses, he had in part imagined this kind of future in Destination the end of the world. He continues : “Throughout my life as a writer, I tried to catch a glimpse of the future ; what I see today is so scary that the future will, I hope, will bring this time a denial to my vision of the future.” This re-release sound accompanies the news of silverberg quote a historical contextualization, a thematic bibliography and a phrase of Guy Debord very about. “We don’t want any more work to the spectacle of the end of the world, but at the end of the world of the show.” This is a simple idea to a reversal of reality.

Destination the end of the worldof Robert Silverberg Quotetranslated from the american by Michel Deutsch, review by Pierre-Paul Durastanti, The stowaway “Dyschroniques”, 41 pages, 5 €.

Frédérique Roussel