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Entertainment

Herman Brusselmans Quits ‘De Slimste Mens’ After Van Looy Talks

by Marina Collins - Entertainment Editor
written by Marina Collins - Entertainment Editor

Belgian author Herman Brusselmans has announced his departure as a jury member on the popular quiz show ‘De Slimste Mens ter Wereld’ (The Smartest Person in the World), despite recently having a conversation with the show’s host, Erik Van Looy. Brusselmans, known for his often-provocative writing, cited a growing disconnect with the current composition of the jury and a feeling of being sidelined as key reasons for his decision. The news comes after a season where he felt underutilized, appearing only twice despite a history of frequent participation.

The author explained his frustration with the show’s current jury selection process, stating that many members lack the necessary expertise to properly evaluate contestants. He contrasted the current panel with previous iterations that included seasoned stand-up comedians like Jeroom and Philippe Geubels, whom he considered true professionals in the field. Brusselmans believes that success on the show itself doesn’t automatically qualify someone to be a judge, pointing to Felix, a recent winner, who quickly became a prominent public figure. “They are suddenly bombarded, like Felix who won, that is suddenly one of the most famous Flemish people there are,” he said, according to VRT News.

Brusselmans’ decision follows a period of questioning his role on the show, having been told last season that, due to the large number of jury members, his appearances would be limited. This season, he was only invited to participate twice, a significant reduction from his previous involvement of “12, 13 times” per season. He expressed suspicion that this limited participation was intentional and sought clarification from Van Looy. He intends to discuss the matter further with the presenter.

Concerns Over Jury Composition

The core of Brusselmans’ discontent lies in what he perceives as a dilution of expertise within the jury. He argues that being a judge on ‘De Slimste Mens ter Wereld’ is a “profession” and that the current panel includes too many individuals without relevant experience. This criticism extends to those who have achieved success as contestants, suggesting their newfound fame doesn’t automatically translate into sound judgment. He feels the quality of the jury has diminished, impacting the overall integrity of the show.

Play, the television channel broadcasting the show, has responded to Brusselmans’ critique by inviting him to a meeting with Erik Van Looy, signaling a willingness to address his concerns. TV Visie reports that Play has left the door open for Brusselmans’ return, hoping to resolve the issues he has raised.

Recent Controversies and Continued Appearances

Brusselmans’ decision comes after a period of controversy surrounding his writings. Two months ago, he faced accusations of antisemitism following comments made in a column for Humo magazine. Despite the backlash, he continued to appear on other television programs, including ‘De tafel van Gert’ and ‘Kamp Jeroom’. Redactie24 reported that Erik Van Looy received an email from the Forum of Jewish Organizations demanding Brusselmans’ removal as a juror, but Van Looy refused.

Brusselmans himself dismissed the calls for his removal, stating, “Certain people are of the opinion that I should no longer be in entertainment programs after my controversial column, but I don’t care about that.” He also noted that the show’s editors shared his sentiment.

Despite his departure from ‘De Slimste Mens ter Wereld’, Herman Brusselmans remains a prominent figure in the Flemish cultural landscape. His decision highlights ongoing debates about the role of expertise and experience in television entertainment and the balance between public opinion and artistic freedom.

The future of the jury on ‘De Slimste Mens ter Wereld’ remains to be seen, but Play’s willingness to engage with Brusselmans suggests a potential for adjustments to address his concerns. It will be interesting to observe how the show evolves in response to this situation and whether it will lead to a broader discussion about the criteria for jury selection. Share your thoughts in the comments below.

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Entertainment

Cheonan K-Classic Concert: Supporting Local Artists

by Marina Collins - Entertainment Editor
written by Marina Collins - Entertainment Editor

천안, South Korea – The 천안문화재단 (Cheonan Cultural Foundation) is set to continue its commitment to fostering local artistic talent with the 2026 ‘K-Classic Concert’ series. This initiative, designed to provide a platform for classical musicians and ensembles based in the Cheonan region, will run through December, offering a diverse range of performances to the community.

The ‘K-Classic Concert’ series, which began in 2021, aims to expand the appreciation of classical music while simultaneously supporting the careers of local artists. According to the foundation, the concerts are structured to encourage closer interaction between performers and audiences, promising engaging and authentic experiences. This year’s lineup features a variety of ensembles and musical styles, reflecting the breadth of classical talent within the region.

The 2026 schedule, as announced by the Cheonan Cultural Foundation, includes performances by 청음오케스트라 (Cheong-eum Orchestra) in March, 아미 앙상블 (Ami Ensemble) in April, 노이에클랑 M.A.P. (Noie Klang M.A.P.) in May, 더흥컴퍼니 (Deoheung Company) in June, 천안챔버오케스트라 (Cheonan Chamber Orchestra) in August, 문화예술컴퍼니 아레나 (Culture & Arts Company Arena) in October, 메즈클라리넷 (Mes Clarinet) in November and 홍순달 밴드 (Hong Soon-dal Band) in December. The foundation emphasizes a broadened range of genres and compositions this year.

천안예술의전당 (Cheonan Arts Center) plays a central role in hosting the ‘K-Classic Concert’ series. The venue, known for its commitment to the arts, will present most performances in its 소공연장 (small performance hall), creating an intimate setting for audiences to connect with the musicians. The foundation intends to build upon the series’ success in providing a sustainable foundation for regional artists to grow and thrive.

Expanding the Reach of Classical Music in Cheonan

The Korean Cultural Arts Council selected the ‘K-Classic Concert’ series for project funding, allowing for enhancements to the concert structure and the inclusion of collaborative performances. 천안예술의전당 정승택 (Jeong Seung-taek), director of the Cheonan Arts Center, stated that the 2026 series will focus on harmonizing the creative capabilities of local artists with collaborative performances to broaden audience engagement. This strategic approach aims to develop classical music more accessible and enjoyable for a wider segment of the community.

The foundation’s efforts align with a broader national initiative to support regional arts and culture. By investing in local talent and providing performance opportunities, the ‘K-Classic Concert’ series contributes to the vitality of the arts ecosystem in Cheonan and beyond. The series is also intended to be a platform for discovering and promoting emerging classical artists.

Performance Details and Ticket Information

Performances are scheduled throughout the year, beginning with 청음오케스트라 in March. The series will continue with 아미 앙상블 in April, 노이에클랑 M.A.P. In May, 더흥컴퍼니 in June, 천안챔버오케스트라 in August, 문화예술컴퍼니 아레나 in October, 메즈클라리넷 in November, and concluding with 홍순달 밴드 in December. The Cheonan Cultural Foundation initially announced plans for the concert series in December 2025.

Detailed information regarding performance times, ticket prices, and availability can be found on the 천안예술의전당 website at www.cnac.or.kr or by calling 1566-0155. The foundation encourages residents and visitors alike to explore the diverse offerings of the ‘K-Classic Concert’ series and support the thriving classical music scene in Cheonan.

Looking ahead, the Cheonan Cultural Foundation plans to continue refining the ‘K-Classic Concert’ series, seeking new ways to connect local artists with audiences and enhance the cultural landscape of the region. The foundation’s ongoing commitment to the arts promises a vibrant future for classical music in Cheonan.

Share your thoughts on the ‘K-Classic Concert’ series in the comments below, and be sure to share this article with fellow classical music enthusiasts!

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Entertainment

Detached Girlfriend: The New Chill Girl?

by Marina Collins - Entertainment Editor
written by Marina Collins - Entertainment Editor

The landscape of television has undergone a significant shift in recent years, with creators and audiences alike becoming more attuned to harmful stereotypes. While some overtly sexist tropes have thankfully faded from view, others haven’t disappeared entirely – they’ve simply morphed into more insidious forms. Examining these changes reveals a complex evolution in how gender is portrayed, and the ongoing perform needed to achieve truly equitable representation. The conversation around sexist tropes in television highlights a continuing effort to move beyond outdated and damaging portrayals.

For decades, television perpetuated harmful ideas about women and men, often reducing characters to simplistic archetypes. These tropes not only limited the range of roles available to actors but also reinforced societal biases. Now, as audiences demand more nuanced and realistic storytelling, many of the most egregious examples are becoming less common. Though, the evolution of these tropes demonstrates that simply removing them isn’t enough. their underlying assumptions often resurface in new and subtle ways. Understanding this evolution is crucial for fostering a more inclusive and representative media landscape.

Tropes We’re Glad to Notice Less Of

Several overtly sexist tropes have largely disappeared from mainstream television, replaced by more progressive depictions. The “damsel in distress,” once a staple of countless shows and films, is far less prevalent. Characters are now more frequently capable of rescuing themselves, or are presented as active agents in their own stories. Similarly, the trope of the “nagging wife” or the “hysterical woman” – often used to dismiss female concerns or portray women as irrational – has diminished. These portrayals relied on harmful stereotypes and contributed to the devaluation of women’s experiences. The “manic pixie dream girl,” a quirky, often underdeveloped character whose sole purpose is to help the male protagonist grow, is also becoming less common as writers prioritize creating fully realized female characters with their own motivations and flaws.

Another trope fading from view is the constant focus on a woman’s appearance as her defining characteristic. While physical appearance remains a part of character development, it’s no longer the sole or primary focus. Shows are increasingly prioritizing internal qualities, skills, and ambitions over superficial attributes. The “evil ex-wife” trope, often used to demonize women after a relationship ends, is also becoming less frequent, replaced by more complex and nuanced portrayals of divorce and co-parenting. These shifts reflect a growing awareness of the harmful impact of these tropes and a commitment to creating more equitable and respectful representations of women.

Tropes That Have Evolved, Not Disappeared

While some tropes have vanished, others have adapted to maintain their presence, often in more subtle forms. The “strong female character” trope, for example, has evolved from simply being physically capable to often embodying traditionally masculine traits – aggression, stoicism, and a rejection of vulnerability. While strength is admirable, this narrow definition can be limiting and reinforce the idea that women must emulate men to be considered powerful.

The “chill girl” – a character who is effortlessly cool, non-judgmental, and always supportive of the male protagonist – has morphed into the “detached girlfriend.” This new iteration maintains the same function of enabling the male character’s behavior, but adds a layer of emotional distance and a lack of personal ambition. As noted in discussions about evolving tropes, this character often lacks her own internal life and exists solely to facilitate the male character’s journey.

The trope of the “career vs. Family” dilemma for women persists, though it’s often framed differently. Instead of explicitly choosing between a career and motherhood, women are now often depicted as struggling to “have it all,” constantly juggling competing demands and feeling guilty about not being able to excel in both areas. This framing reinforces the societal expectation that women are primarily responsible for managing both work and family life. The “femme fatale,” while still present, is now often portrayed with more complexity and backstory, but the underlying stereotype of the dangerous and manipulative woman remains.

Another evolving trope is the “love triangle,” which often pits women against each other for the affection of a male character. While the dynamics may be more nuanced, the underlying message remains that a woman’s worth is often tied to her romantic desirability. Finally, the trope of the “woman who needs saving” has evolved into scenarios where women are rescued by other women, but the underlying premise of needing external validation or rescue can still be problematic.

What’s Next for Representation on Television?

The ongoing evolution of these tropes underscores the need for continued vigilance and critical analysis. Simply avoiding overt stereotypes isn’t enough; creators must actively challenge underlying assumptions and prioritize creating complex, multifaceted characters. The future of representation on television lies in embracing diversity, both in front of and behind the camera, and in telling stories that reflect the full spectrum of human experience.

As audiences continue to demand more authentic and inclusive storytelling, People can expect to see further shifts in how gender is portrayed on television. The conversation surrounding these tropes is far from over, and ongoing dialogue is essential for fostering a more equitable and representative media landscape. What are your thoughts on the evolution of these tropes? Share your opinions in the comments below.

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Entertainment

Billy Steinberg, Hit Songwriter for Madonna, Whitney Houston & More, Dies at 75

by Marina Collins - Entertainment Editor
written by Marina Collins - Entertainment Editor

Billy Steinberg, the prolific songwriter behind some of pop music’s most enduring anthems – including Madonna’s “Like a Virgin” and Heart’s “Alone” – has died, his lawyer confirmed. He was 75 years traditional. Steinberg passed away in Los Angeles following a battle with cancer, leaving behind a legacy of chart-topping hits and a profound influence on the sound of the 1980s and 90s.

Steinberg’s family remembered him as a “visionary lyricist, devoted husband, loving father, and one of the most influential songwriters of his era,” in a statement. They noted that his lyrics, often rooted in personal experience, resonated with millions, demonstrating “the enduring power of a well-written song — and to the idea that honesty, when set to music, can outlive us all.” Steinberg’s collaborative spirit, particularly his partnership with composer Tom Kelly, fueled a remarkable run of success that defined a generation of pop music.

Often working in tandem with Kelly, who focused on the music, Steinberg crafted lyrics for a string of classics. Together, they penned five songs that reached the Number One spot on the Billboard Hot 100: Madonna’s “Like a Virgin,” Cyndi Lauper’s “True Colors,” Whitney Houston’s “So Emotional,” the Bangles’ “Eternal Flame,” and Heart’s “Alone.” These songs, and many others, cemented their place in music history.

The impact of Steinberg’s work was immediately felt within the music community. Cyndi Lauper shared her sorrow on Instagram, writing, “I’m so sorry to hear that my friend Billy Steinberg has passed away. He was such a nice guy and very supportive. My thoughts are with his family, loved ones, and Tom during this sad time.”

From New Wave Roots to Pop Dominance

Even as Steinberg achieved widespread recognition for his songwriting prowess, his musical journey began as the frontman of a new wave band, Billy Thermal, in the late 1970s and early 1980s. The band recorded an album that remained unreleased, but their demos caught the attention of Linda Ronstadt, who recorded their song “How Do I Create You” in 1980. The track peaked at Number 10 on the Billboard Hot 100, marking an early success for Steinberg.

The following year, Steinberg joined forces with Kelly, forming the band i-Ten and releasing the album Taking a Cold Look in 1983. Though the album didn’t achieve commercial success, it contained an early version of “Alone,” which would later become a signature hit for Heart in 1987. This collaboration proved pivotal, launching Steinberg and Kelly into a period of extraordinary songwriting achievement.

The ‘Like a Virgin’ Breakthrough

The turning point in Steinberg and Kelly’s career arrived in 1984 with Madonna’s release of “Like a Virgin.” Steinberg recalled in an interview on his website that the lyrics were inspired by his own evolving relationships. “At that time I was very happy to be involved in a new relationship with a woman I had met and I was relieved to have extricated myself from a very difficult relationship and I think that inspired the lyrics,” he said. He also remembered recognizing the song’s potential, stating, “I was aware that I was writing a song lyric when I wrote, ‘Like a virgin.’ I remember there was a little spark when I put that down. I said to myself, ‘That’s a good hook!’”

Despite initial hesitation from some artists, the song found its perfect champion in Madonna. Steinberg recounted how they presented the song to Michael Ostin, a top A&R representative at Warner Records, who immediately recognized its potential for the rising star. Steinberg even playfully suggested to Ostin that Madonna should wear a wedding dress in the music video. “Like a Virgin” became a cultural phenomenon, propelling both Madonna and Steinberg and Kelly to international stardom.

A Legacy of Hit Songs

The success of “Like a Virgin” ignited a remarkable run for the songwriting duo. Beyond their five Number One hits, Steinberg and Kelly contributed to the success of artists like the Divinyls (“I Touch Myself”), the Pretenders (“I’ll Stand By You”), and Tina Turner (“Look Me in the Heart”). Their song “I Drove All Night,” initially penned for Roy Orbison, became a Top 10 hit for Lauper in 1989. Orbison later recorded his own version in 1992, reaching Number Seven on the U.K. Singles chart, and Celine Dion released a successful rendition in 2003.

Following Kelly’s retirement in the 1990s, Steinberg continued to thrive, collaborating with a new generation of songwriters. He co-wrote songs with Rick Nowels for artists like Melanie C (“I Turn To You”) and Celine Dion (“Falling Into You”), the latter earning him a Grammy Award when Dion’s album Falling Into You won Album of the Year in 1997. He later partnered with producer Josh Alexander, crafting hits for Jojo (“Too Little Too Late”), The Veronicas (“When It All Falls Apart”), t.A.T.u. (“All About Us”), and Demi Lovato (“Give Your Heart a Break”).

Steinberg’s contributions to the world of music were formally recognized in 2011 with his induction into the Songwriters Hall of Fame. His songs continue to resonate with audiences today, a testament to his enduring talent and the power of his lyrics.

As the music world mourns the loss of Billy Steinberg, his legacy as a master songwriter and architect of pop music’s golden age will undoubtedly endure. The impact of his work will continue to be felt for generations to come, inspiring future songwriters and captivating listeners worldwide. Share your favorite Billy Steinberg-penned song in the comments below.

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