‘MadS’ Movie Ending Explained And Summary: What Happened To Romain, Anais, And Julia?

Throughout the runtime of MadS, I could feel the constant tension in my body, and that goes to show that the film does a pretty good job when it comes to horror. MadS, to describe briefly, is an hour and a half of complete insanity where nothing is what it seems. The sound design is intelligent and impactful, the execution of the one-shot is seamless and intriguing, and it creates tension that builds up to a feeling of constant panic. The visuals are mostly blurry, absurd, and shocking. MadS is definitely worth a watch, but the ending left me a little disappointed. I wished the element of absurdity continued till the very end instead of concluding on a realistic note. But regardless, MadS was quite an experience.

Spoiler Alert

Who was the woman who hopped into Romain’s car?

MadS began with a young man snorting cocaine at his dealer’s place and walking out high as a kite. He hopped into his luxury vintage car, ready to join his friends at his birthday party. But his good trip turned bad immediately after a random stranger got into his car. The stranger’s head was bandaged, and her clothes suggested that she escaped from some facility—either a hospital or a mental asylum. Even though she did not speak, it was evident that she desperately wanted to run away. Romain did not know how to deal with the situation. This was all too sudden, and he was extremely high to think logically. He decided to drop the woman off at a hospital, but she did not want that. She turned on an audio device that stated that the subject C39 was a female between the ages of 20 and 25, and her nationality was unknown. The audio recording went on to describe her features, but Romain did not know what to do with the information. The woman was not ready to be taken to the hospital, so she plucked out a sharp device from the glove compartment and repeatedly stabbed herself in the throat. Blood oozed out of her body, and before Romain could figure out what was going on, he was covered in her blood. Romain drove as fast as he could to his house. He assumed he would be in trouble if he reported the case to the police. Romain also seemed to share a strained relationship with his father. He was worried that his father would think he was worthless, and he did not wish for him to ever learn about the incident. The worst part—Romain could not think clearly. He needed to be alert and in the best of his senses, but then again he was high, and he did not even know what was real and what was imaginary anymore.

Romain took a shower, and by the time he went to the garage, the body was gone. It was obvious that the woman wasn’t dead, but where did she go? Before Romain could find an answer, his friend and romantic interest, Anais, dropped by his house. She wanted him to be romantic, but Romain was too wrapped up in his head. His friends showed up in front of his house, and Romain joined them to attend his birthday party. Before leaving, he turned on the alarm system at his place. Romain felt overwhelmed; the lights, the music, the loud conversations—everything made him feel uneasy. He was high; he had witnessed a possible death, but the body was missing—was it all a bad trip? Anais and her friend Julia entered the washroom, and they snorted the coke Romain had bought from his dealer. Anais noticed that Julia was carrying a pregnancy kit, and when she asked her if she had slept with someone, Julia responded that she had sex with Romain. Anais felt betrayed even though she tried to act cool about it. 

Romain had been hiding in the bathroom. He repeatedly cracked his neck, and there was an overall uneasiness that he experienced physically and mentally. Julia did not expect Romain to surprise her in the washroom. While she enjoyed his passionate romance, she was terrified after seeing his glowy eyes. Julia left the washroom, and Romain received a call from his father asking him to immediately return home. The home alarm had gone off, and his father could see someone moving inside the house. On his way out of the party, Romain brutally punched a guy he ran into and left the party in a bike parked outside.

How did Romain spread the disease?

Romain hurried back home and turned off the alarm system. He was afraid of the police showing up at his place, and he was relieved to reach there on time. Romain realized that the woman was still in his house, and she had gone through the kitchen cupboard. He also found the audio device, and the recording suggested that the woman in his house was not an ordinary human being. She was studied in a laboratory, and scientists concluded that she showed unimaginable strength when exposed to light. They believed that the emission of photons resulted in a physiological reaction and excess adrenaline production, and they concluded it was due to neuroendocrine modulation. Romain followed the blood trail and entered the washroom. He saw her seated in the bathtub with a fork stabbed into her throat. It looked like she wanted to pull out a device embedded in her body, but she could not. It was evident that the woman/entity was impossible to kill and possessed superpowers.

All of a sudden, a group of commandos surrounded his house. Romain could not figure out if it was all a figment of his imagination or real. They intentionally exposed the entity to strong light. As expected, she responded to it and crawled out of the washroom. The men took her away, but they soon figured out that there was someone else in the house as well. They followed Romain. Romain turned animalistic; he licked the road, and he started biting his body. He had lost control of himself; he was no longer the man he once was. The commandos grabbed hold of him and took him along with them. While initially I was under the assumption that the drug Romain had taken was the reason behind his condition, as MadS progressed, it became evident that the entity he had come in contact with was the one responsible for spreading the infection, or at least that is the conclusion I came up with. Had it been the drugs, the effect would have faded at some point. Moreover, there were real-world effects of their actions, which would not have been possible if Romain and his friends were just high. Romain was covered in the blood of the entity, and maybe he had ingested some of it unknowingly.

What led to the shutdown of the entire city?

It was not just Romain who was infected; he had also successfully infected most of the people he had come in contact with! Julia and Anais could already feel the effect. Anais was high; she felt uneasy; her body started to involuntarily twist; her neck cracked; and her eyes were glowy. Her sane/rational side was scared of what she was turning into; it was almost as if a demonic being had taken possession of her body, and she did not know how to control it. She could also see the commandos following her, and she ended up entering a pub. She locked herself in the bathroom hoping that she would be safe there. She was surprised to see all the blood stains on her clothes. Anais could not believe that the night had turned this tragic. All she wanted was to get high and party, but here she was feeling as if the world was about to come to an end. Julia contacted her and complained that she was feeling unwell, and she too could see commandos following her. They agreed to meet at the station bridge. 

As time passed, Anais’ condition worsened. She started to lose herself, and her demonic side took over. She attacked random strangers on her way and stole a bike. When she snapped back to her senses, she regretted her actions, but immediately after the demonic side took over and she forgot everything. Julia was riding her scooter. Even though she was high, she did not seem to be going through the bodily changes that Anais did. This came as a surprise because she had done drugs as well as kissed Romain. Maybe she was resistant to the foreign element, and that was what kept her alive. We soon realize that it was not Anais and Romain alone who had contracted the disease and turned into blood-craving zombies; the entire city had come to a standstill because of the epidemic. Warning alarms went off, and maybe it was an experiment gone wrong, and perhaps the woman was not the only one who had escaped. The government was definitely involved, given how prompt they were in dealing with the escapees.

What happened to Anais?

When Julia met Anais, she realized she could not save her best friend. Anais repeatedly tried to attack her, and Julia was genuinely scared. She pushed Anais off her scooter and decided to head home to help her mother, who was wheelchair-bound. It was tough for Julia to navigate through the city considering every other road was blocked and she was extremely high. She wanted to believe it was all her imagination, a bad trip that would fade away soon, but unfortunately, that was not the case. She could hear Anais following her. She had the power to run at great speed, and she followed Julia to her apartment building. Julia got stuck in the elevator, and she could hear Anais attacking the people living in the building. She screamed and begged for help, but there was no one around. Julia heard loud banging all of a sudden; it turned out to be the commandos. They asked her to turn herself in if she had been in contact with an infected person, but Julia did not respond. The lift started to work all of a sudden, and Julia tried to search for her mother. The building had turned bloody, and by the time she entered her apartment, she found Anais feasting on her mother’s body. Anais was about to attack Julia, and she ran for her life. 

In MadS’ ending, Julia had to surrender herself to the commandos in masks. When they realized that she was not infected, they tried to help her. One of the commandos killed Anais but got bitten by her in the process. The woman behind the mask told Julia that she was instructed to kill herself if she ever came in contact with the infected. Before shooting herself, she advised Julia to stay in the dark and never to ingest the blood of the infected. She left Julia her weapon, and in the final scene, we see Julia laughing and crying at her misery. Julia lost everyone she loved without even understanding what was going on. All of a sudden she was handed a weapon and was asked to fight for survival, and she did not know what to do. Perhaps she hoped that it was all a bad dream and everything would go back to normal the next day. But that unfortunately does not seem to be a possibility. The epidemic was real; the only problem was they got high on the worst possible day.

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Woman Of The Hour: Is Laura Based On A Real Person? What’s Her Connection To Movie’s Theme?

The content of Anna Kendrick’s directorial debut is undeniably bizarre even if you’re already familiar with Rodney Alcala’s notoriety. A serial killer on an ABC dating show? It might’ve actually not been very convincing had it not been a real event. A very real serial killer went on The Dating Game to flaunt the same “charm” that he used on his victims. This particular incident–something so weird that one might even get away with calling it a phenomenon–has enough meat on its bones to be made into a film that makes it a spectacle for us to gawk at. But that’s not the kind of film that Kendrick wanted to make. What she’s made is this practically atmospheric, you-feel-your-heart-in-your-throat sort of observation about how people, the law, and society itself made it so convenient for people like Rodney to go on a crime spree. In Woman of the Hour, the story moves back and forth between Cheryl Bradshaw’s experience as a woman in LA hunting her big break and Rodney Alcala getting away with hurting and killing women. The two streams only converge in the singular event–the dating show where Cheryl’s the young, pretty girl and Rodney’s one of the three bachelors she’s supposed to pick from. And at the center of the extreme frustration you’re bound to feel about everything Rodney keeps getting away with is a guest at the show, Laura. Although her character is fictional, Laura is crucial to the theme that permeates the entirety of the film.

Spoiler Alert

Laura Isn’t Based On A Real-Life Person

In Woman of the Hour, Laura’s thrilled to be watching The Dating Game right there in the studio with her boyfriend and his family. Given the nature of the show, Cheryl’s not supposed to see the men until she’s picked the one who’ll get to take her out on a date, but the live audience can see them. And when Laura sees bachelor number 3, Rodney Alcala, she knows she’s seen him before under much more terrifying circumstances. Now, first things first, Laura’s character is not exactly based on a real person. In the film, Laura recognizes Rodney as the creepy guy her friend Allison met at the beach before she was found raped and murdered. Considering the real Rodney is speculated to have murdered as many as 130 women, Allison is likely based on one of his real-life victims. But since Laura is fictional, was her character only there to sensationalize the whole ordeal further? No, Laura meant more than that. Laura opened up to her boyfriend about recognizing Rodney, and he didn’t miss a beat before dismissing it as her paranoia and PTSD. The cops did nothing when a terrified Laura went to the police station. If the police had actually done their jobs, Rodney would’ve been caught way before the number of his victims got to three digits.

Laura’s Predicament Explores The Theme of the Movie

In Woman of the Hour, we saw how the investigators were easily wooed by Rodney’s charm when they dropped by his work to question him. It goes without saying that law enforcement’s sloppiness has historically been one of the biggest reasons serial killers could go on killing as many people as they did. In Rodney’s case, given the majority of the people he targeted were women, even his questionable actions were normalized by the people around him. It was only after the investigators left that his coworkers flocked to talk about how they’ve always known that there was something off about him. It only goes to show how a man can be hiding a much darker secret behind his general creepiness, and how he gets to continue hurting people just because people don’t find anything objectionable about his concerning behavior. Coming back to Laura, even though she’s not a character picked from real life, she’s likely a representation of all those people who reported Rodney to the cops all while they did a whole lot of nothing.  

Part of why Laura’s fear was met with her boyfriend’s condescension was his faith in the producers and the team behind The Dating Game. He assumed that they’d vet their contestants thoroughly before putting their faces out there on national television. Well, considering Rodney was picked for the show and even won the date at the end, there was not much vetting involved in the selection process. And if you think that’s bad, wait till you hear what actually happened in real life. Rodney Alcala had already had a record as a convicted child predator before he was picked to fill a chair on The Dating Game. That says enough about how much the show’s producers cared about the safety of the women they featured. The real-life Cheryl Bradshaw narrowly escaped being one of Rodney’s unfortunate victims when she refused to go on a date with him after the shoot. In Woman of the Hour, even when Laura begged to see a producer of the show to voice her concerns about Rodney, the security guy played a prank on her instead of helping her get in touch with someone who called the shots around there. It’s really no surprise that no one took Laura seriously. I mean, here we’ve got a show where the host asks Cheryl to dumb herself down so she doesn’t make the bachelors feel emasculated. In a world where men’s egos are protected with such devotion, all a serial killer needs to make people swoon over him is a handsome smile and the right words at the tip of his tongue. It’s actually pretty interesting how the movie deviated from the truth when it came to their depiction of Rodney on the show. Woman of the Hour went for a more relatable portrayal of the fear. Unlike the real Cheryl, who played nice and asked the distasteful questions that she was handed, the movie’s Cheryl came up with her own questions for the bachelors. The real Rodney was frankly straight-up terrifying with the answers he had for those innuendos masked as questions to judge the eligibility of a suitor, whereas the movie’s Rodney said all the things that people would readily associate with a “green flag” in today’s time. So the message that Woman of the Hour wants to drive home is that the predators have learned to parrot the views and the words of a genuinely safe, wholesome man. 

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[PODCAST] Teach Me, Senpai, E15: My Beauty Story’s Rianne Tan on growing your business on Lazada

Due to the growing dominance of e-commerce and digital platforms, starting a business today is often closely tied to selling online. In fact, according to global data and business intelligence platform Statista.com, the Philippines’ e-commerce industry grew by 400% in the last five years, making it the second fastest-growing e-commerce market worldwide.

The industry has come to a point where it is:

Easy to start an online business

Safe to conduct financial transactions

Regulated enough that trust has been built among shoppers, sellers, and the platforms they interact with

This thrust towards digitalization was no doubt fueled by the pandemic, as we needed to find ways to transact without being in contact with each other. However, e-commerce developments had been in the works years before the world was locked down. Lazada was able to capitalize on this and, in turn, helped further normalize the idea of online shopping and selling.

Today, Lazada is a platform for all businesses as it gives them access to fulfillment and retail services. Beyond its end-to-end suite of tools and tech for businesses, Lazada also provides sellers with educational opportunities through Lazada University and even campaigns where sellers can expand their reach like double-digit sales (11.11 or 12.12) or free shipping offerings, several of which are subsidized by Lazada itself.

Lazada is what helped Rianne Tan, founder of My Beauty Story, grow her business from a one-woman operation into a legitimized enterprise.

My Beauty Story is a shop that specializes in Korean beauty products. Rianne began her entrepreneurial journey in 2016 while she was still in university by posting Korean products on Ateneo Trade, a Facebook community of Ateneo students and alumni who sell to each other.

After years of selling on Facebook, Rianne signed up as a seller on Lazada. Through this, she was able to easily expand her reach beyond her immediate network. Rianne was also able to show shoppers that My Beauty Story was indeed a legitimate business that sold authentic Korean beauty products.

One of Rianne’s biggest learnings in her almost six years of selling on Lazada is that e-commerce isn’t just a pricing game. For her, selling online is more about building your brand’s reputation. To do so, you need to gain better traction, which Rianne achieved by taking advantage of Lazada campaigns.

By being part of LazBeauty and double-digit campaigns, Rianne got more people checking out and buying from her digital storefront. She was also able to build a loyal following since Lazada shows trust ratings between shoppers and sellers, which helped prospective customers feel reassured about purchasing from her.

In this episode, we get to know Rianne and My Beauty Story. We ask why she decided to ditch her corporate nine-to-five job for a side hustle she started as a student, and why she shifted from selling on social media to selling on Lazada. We also get Lazada seller strategies and tips from Rianne, and find out how you can make your business stand out on the platform too.

Catch this episode of Teach Me, Senpai on Sunday, October 20, at 7 pm! Bookmark this page so you don’t miss it. You can also follow us on Spotify at bit.ly/RapplerTeachMeSenpai. 

Want to become a Lazada seller? Click here to sign up. – Rappler.com

Meta goes to Hollywood, teams up with major production house to create ‘AI-generated movies’

Meta unveiled Movie Gen earlier this month, presenting it as a tool capable of competing with offerings from other AI leaders, such as OpenAI and ElevenLabs. The experiment with Blumhouse signals Meta’s intention to partner with the entertainment industry on a long-term basis
read moreMeta, the parent company of Facebook, has announced an intriguing new collaboration with Blumhouse Productions, the Hollywood studio behind hits like The Purge and Get Out. This partnership aims to push the limits of Meta’s latest generative AI video model, called Movie Gen, which can create lifelike video and audio clips based on user prompts.Meta unveiled Movie Gen earlier this month, presenting it as a tool capable of competing with offerings from other AI leaders, such as OpenAI and ElevenLabs. The experiment with Blumhouse signals Meta’s intention to partner with the entertainment industry despite ongoing tensions over the use of generative AI technologies.AdvertisementBlumhouse has enlisted several notable filmmakers to explore Movie Gen’s potential. Aneesh Chaganty, known for his work on Searching, will release a film showcasing Meta’s AI technology on the Movie Gen website. Meanwhile, upcoming projects from actor and filmmaker Casey Affleck, along with The Spurlock Sisters, are also in the pipeline.Blumhouse CEO Jason Blum emphasised the importance of involving filmmakers early in the development of tools like Movie Gen. He noted that technology should support rather than replace artistic storytelling and welcomed the chance for directors to experiment with the AI, providing feedback on both its strengths and limitations.This partnership arrives at a time when the creative industry has shown growing resistance to generative AI, raising concerns over copyright and consent. Several copyright owners have filed lawsuits against tech companies, including Meta, accusing them of improperly using protected works to train AI models. Meta, however, maintains that its AI training practices are protected under fair use laws.Despite the legal challenges, Meta and other tech giants are actively engaging with the creative sector. Last month, Meta announced deals with actors such as Judi Dench, Kristen Bell, and John Cena, enabling their voices to be used for its Meta AI chatbot. This suggests a willingness to pay for certain types of content to avoid legal and ethical pitfalls.Meta is not the only tech company exploring the intersection of AI and entertainment. Microsoft-backed OpenAI has been in discussions with Hollywood executives about potential partnerships involving its video generation tool, Sora. Although no deals have yet been finalised, Lionsgate recently struck an agreement with Runway, another AI startup, indicating the industry’s increasing openness to AI-generated content.AdvertisementMeta’s collaboration with Blumhouse shows how AI-generated video could become a powerful tool for filmmakers, even as the entertainment industry grapples with the implications of such technology. As Movie Gen continues to evolve, the partnership may serve as a blueprint for balancing creativity, technology, and copyright concerns.

‘So weird’: German tourist board introduces AI ‘travel influencer’ – and there’s already a backlash after just ONE Instagram post

German National Tourist Board has launched an AI travel influencer, Emma She is part of the tourist board’s strategy to engage with a tech-savvy audience What do YOU think of Emma? Vote in our poll… READ MORE: Tourists reveal their worst-ever meal mistakes abroad By Jacob Lewis For Mailonline Published: 08:43 EDT, 18 October 2024 | Updated: 10:03 EDT, 18 October 2024

Scientists Found a 2,300-Year-Old Skeleton. It Solved the Mystery of Japanese Ancestry.

“Hearst Magazines and Yahoo may earn commission or revenue on some items through these links.” A research team from the University of Tokyo analyzed DNA from a Yayoi-period skeleton to determine the ancestral makeup of the modern Japanese population.The unique DNA makeup found in the bones matches that of a people group from the Korean Peninsula mixing with native Jomon people.The influx of Korean Peninsula immigrants to Japan probably led to a significant culture shift on the island country.Scientists from the University of Tokyo may have just laid to rest a long-standing debate over the ancestral origins of the modern Japanese population. By analyzing the DNA of a 2,300-year-old skeleton, the team was able to learn that Japanese ancestry is a mix of two people groups that integrated during the Yayoi period (around 300 B.C. to 300 A.D.).This analysis was no small thing—in fact, the investigation required a full nuclear genome analysis of a skeleton found in 1952 at the Doigahama ruins in Japan. Once completed, the results suggested that “between the Yayoi and Kofun periods, the majority of immigrants to the Japanese archipelago originated primarily from the Korean Peninsula,” the research team wrote in a study published in the Journal of Human Genetics.A full-scale understanding of Japanese ancestral history has been limited, the authors explained, largely because of a lack of access to Yayoi-period remains. But in 1952, a construction project uncovered about 300 Yayoi-era human bones at the Doigahama ruins, and the find led scholars to split in their hypotheses regarding the hearly genetic makeup of the Japanese people group. This new information led some experts to develop a dual-structure model—mixing two people groups together—of the modern Japanese genetic makeup, while others stuck to a triple-structure model.In this new study, the team explained that a comprehensive genetic analysis of the Yayoi individual whose bones were examined (along with comparisons to people groups across both East and Northeast Asia) revealed that the bones did have three distinct genetic ancestries. But the best match for that ancestry came not from three different people groups, but from mixing the genetic composition of modern Koreans (which is itself comprised of both East and Northeast Asian ancestries) with the genetic compostion of the Jomon people.So, the authors had their answer: the genetic composition of the modern Japanese people is a blend of the Jomon people and the modern Koreans. And those immigrants arriving from the Korean peninsula during the Yayoi period would have brought much more than just their genes—they likely also brought new technologies and perspectives, creating a cultural shift on the islands that lives on through genetic sampling.“This study,” the authors said in a translated statement from the university, “is expected to further deepen our understanding of the formation process of the Japanese population by clarifying the main roots of the Japanese population.”You Might Also Like

Scientists Found a 2,300-Year-Old Skeleton. It Solved the Mystery of Japanese Ancestry.

“Hearst Magazines and Yahoo may earn commission or revenue on some items through these links.” A research team from the University of Tokyo analyzed DNA from a Yayoi-period skeleton to determine the ancestral makeup of the modern Japanese population.The unique DNA makeup found in the bones matches that of a people group from the Korean Peninsula mixing with native Jomon people.The influx of Korean Peninsula immigrants to Japan probably led to a significant culture shift on the island country.Scientists from the University of Tokyo may have just laid to rest a long-standing debate over the ancestral origins of the modern Japanese population. By analyzing the DNA of a 2,300-year-old skeleton, the team was able to learn that Japanese ancestry is a mix of two people groups that integrated during the Yayoi period (around 300 B.C. to 300 A.D.).This analysis was no small thing—in fact, the investigation required a full nuclear genome analysis of a skeleton found in 1952 at the Doigahama ruins in Japan. Once completed, the results suggested that “between the Yayoi and Kofun periods, the majority of immigrants to the Japanese archipelago originated primarily from the Korean Peninsula,” the research team wrote in a study published in the Journal of Human Genetics.A full-scale understanding of Japanese ancestral history has been limited, the authors explained, largely because of a lack of access to Yayoi-period remains. But in 1952, a construction project uncovered about 300 Yayoi-era human bones at the Doigahama ruins, and the find led scholars to split in their hypotheses regarding the hearly genetic makeup of the Japanese people group. This new information led some experts to develop a dual-structure model—mixing two people groups together—of the modern Japanese genetic makeup, while others stuck to a triple-structure model.In this new study, the team explained that a comprehensive genetic analysis of the Yayoi individual whose bones were examined (along with comparisons to people groups across both East and Northeast Asia) revealed that the bones did have three distinct genetic ancestries. But the best match for that ancestry came not from three different people groups, but from mixing the genetic composition of modern Koreans (which is itself comprised of both East and Northeast Asian ancestries) with the genetic compostion of the Jomon people.So, the authors had their answer: the genetic composition of the modern Japanese people is a blend of the Jomon people and the modern Koreans. And those immigrants arriving from the Korean peninsula during the Yayoi period would have brought much more than just their genes—they likely also brought new technologies and perspectives, creating a cultural shift on the islands that lives on through genetic sampling.“This study,” the authors said in a translated statement from the university, “is expected to further deepen our understanding of the formation process of the Japanese population by clarifying the main roots of the Japanese population.”You Might Also Like

Local ownership of tourism industry will be top priority — CPP presidential candidate

Nana Akosua Frimponmaa Sarpong-Kumankumah (2nd from right), the CPP Presidential Candidate, interacting with some residents at the Ho New Housing during her campaign tour Alberto Mario Noretti Politics Oct – 18 – 2024 , 09:57 The flag bearer of the Convention People’s Party (CPP), Nana Akosua Frimponmaa Sarpong-Kumankumah, has said tourism development in the Volta Region will be among her priorities when given the nod.Advertisement She said the development and management of the sector would be based on local or homegrown ownership.During her two-day door-to-door campaign in Kpando, Ho, Mepe and Battor in the Volta Region, which ended last Tuesday, she said local ownership of the tourism industry held the key to greater job opportunities for the youth and wealth creation for indigenes.She cited Amedzofe in the Ho West District, with its captivating landscape, dense forests, waterfalls and splendid weather, which were assets to tap for massive prosperity.“The judicious development of tourism in the area would curb the trend of migration of young people in the area to the cities, as they would earn a decent living from the sector,” Nana Sarpong-Kumankumah said.                           Food processingShe said food processing industries would be set up to treat and preserve the abundant harvests of farm produce in the region.“In that area also, we will vigorously encourage local ownership of the industries,” she added.Nana Sarpong-Kumankumah explained the development agenda of the CPP placed greater emphasis on the foreign partnership with local industry operators, rather than foreign ownership.“It is not proper for foreigners to take over our land and all our natural resources and then employ locals for unfair wages,” she added.She gave an assurance that a reliable fund would be established to assist local business initiatives to benefit households and communities.“We do not expect hairdressers to import synthetic hair from outside when we can set up industries to produce it here,” she maintained.At Battor, the CPP presidential candidate called for a “functional” social welfare service to support the vulnerable in society.

Inside the whimsical travelling lives of performers

For Kutiyattam performer Kapila Venu, interacting with people from different cultures makes her more aware of her own creative processes, while comedian Sumukhi Suresh mines the touring life for deeply observed comedy—a lonely stay in Oslo in the dead of winter, for instance, became a fresh take on that old comedy trope of the fear of dying alone. Actor Yuki Ellias has learnt that no two days on tour are the same, and you have to learn how to bring a fresh energy to each day. There are surprises as well—sound engineer Anupam Roy, who travels the world with the bands he works with, dismantles the cliche about sex, drugs and rock ’n’ roll.

In the hit TV show Hacks, which just won the Emmy for Outstanding Comedy Series, two comedy writing collaborators—one an ageing diva and the other an ingenue—hit the road to try out new material in small-town America. While none of the performers featured in our story have luxury tour buses, they all have stories that are just as compelling and insightful. 

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Anupam Roy at the sound console

Anupam Roy: Siestas and soundIf there’s one thing a life spent on the road has taught Anupam Roy, it’s the value of time. The 39-year-old live sound engineer has toured the world, working with artists such as Pritam, Shalmali Kholgade, A.R. Rahman, Amit Trivedi, Indian Ocean and Skyharbor. During the gig season—primarily September to February, though he says even off-season is pretty busy these days—he’s often travelling seven days a week, an endless cycle of hotel rooms, concert venues and red-eye flights. “You’re starting your day at 5am and, if you’re lucky, ending at 1am,” he says. “You’re doing that on repeat. You have no time to invest in your fitness, your sleep schedule is out of whack. Everything becomes a function of how much time you can get to do a particular job.”

As he rattles his way through his task list for an average day on tour, it’s hard not to feel a bit of second-hand anxiety at just how busy and tiring it is. Roy’s method for dealing with the madness is a carefully regimented routine.

There are no late night afterparties, no tales of rock ’n’ roll excess. Even the food he eats is carefully regulated, because eating too much hotel food can get pretty taxing on the body. And he needs his body to be in top form, especially when he has to spend hours every night standing behind the sound console, ensuring the artists he works with can deliver a world-class live experience. “With Pritam, our minimum playtime is two-and-a-half hours, and we’ve gone up to four-and-a-half,” he says. “That can be really exhausting. And when you’re tired, you start to make mistakes and cut corners. That’s why I try to make my schedule revolve around an afternoon siesta.”

Thankfully, modern technology—and the increasing professionalism of Indian concert promoters—has made that task easier. Back in the day, when everything was analogue, Roy would turn up at the venue in the morning and start from scratch every day. He would have to figure out the placement of the speakers, the acoustic properties of the room, and then set things up accordingly. Today, much of that preparation happens before he even gets to the airport. “The event agency will send a CAD drawing of the venue with all the dimensions; so you can plan ahead,” he says. “Modern digital consoles allow you to prepare in great detail using their offline editors. You can take a multi-track recording of a show and run it through the console in a controlled environment.”

This means that unlike live sound engineers of the past—who would lug around Pelican cases full of gear—Roy can tour the world with just a pen drive and a travel bag. “I’m like David Guetta,” he jokes. There are still plenty of other challenges though, especially when touring internationally. The language barrier is often a hindrance, as is the work culture of sound techs and crew from other countries.

You’re still at the mercy of the sound vendor. Roy recalls one show on a US tour with Pritam, where entire racks of microphones and in-ear monitors failed. The doors had already opened, and Roy was still trying to figure out if the show could actually happen. “That’s the only time I had a panic attack at a show,” he says. “It was the most jugaad I have done in any show ever in my life, more than any underground rock show in India.”

For all the stress and exhaustion, the touring life does have its joys. Apart from the pride he obviously takes in his job—making sure fans have a great, consistent experience—there are little moments of serendipity and surprise that make it all worth it.

“The first time I went to Oslo for the Infernal Metal Festival with Skyharbor, it was Easter weekend,” he says. “Many of the residents were out of town for the holiday, so the only people you could see were black metal fans, decked in corpse paint, leather and corsets. It was like a fancy-dress party for metalheads. It was an absolutely amazing experience.”

(Bhanuj Kappal is a Mumbai-based writer.)

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Actor-comedian Sumukhi Suresh during one of her stand-up acts

Sumukhi Suresh: Woman on the goSumukhi Suresh has had a super-busy year. The Mumbai-based actor-comedian’s solo stand-up show, Hoemonal, has been the toast of comedy circles, and she began 2024 by taking it to several European cities. In August, she performed at The Edinburgh Fringe Festival, and is currently taking it across India.

Hoemonal is a show centred around the experience of being a single woman in her 30s who, after being told to stay away from boys all her life, is suddenly asked if she is “meeting people”. It is also about body image issues, something Sumukhi has always dealt with frankly in her work, tackling subjects like polycystic ovary syndrome (PCOS)—not quite the stuff of regular comedy. “So that’s what Hoemonal is all about— being hormonal and being asked to be a hoe and not knowing how to go about it,” laughs Sumukhi.

Travel is a killer when it comes to managing the condition effectively. “Stress and lack of sleep are major contributors of PCOS, and I’m a classic case,” she says, adding that she is thinking of launching a campaign to rename PCOS as “PolyStresstic Ovary Syndrome”. “Travelling is great—it makes me happy that I am able to take my work to different audiences, to different cities, but yeah, I’ve had to learn to take care of my body. It’s something I started only in the last couple of years,” she says.

While there is stress and sleep deprivation on tour, being regular with workouts has helped. “I’ve made friends with my body, which I was dismissive of my whole life.” Her Europe tour in January and February, when she travelled solo to Dublin, Oslo, Stockholm, Copenhagen, Munich, Amsterdam and Zurich within a couple of weeks, was a challenge. “Europe in winter goes into hibernation mode,” she says. “I travelled in the harshest possible climate—that kind of cold, which pushes people to stay indoors, is not great for an extrovert like me. I thrive on social interactions, I thrive with people, I become better with that,” she says.

She revived when she had to be on stage— “that was the rush I was craving”—but outside, it was tough. The days blurred into one another as she lugged two suitcases around the continent, from one flight to another or from one train to another, “sitting for two hours, thinking that you’re gonna get work done, but you can’t because you’re just drained”.

The Oslo leg of her tour was particularly brutal. She was in the outskirts of the city for four-five days in an Airbnb, feeling cold and lonely. She remembers calling a friend crying, saying she was sad and didn’t know why. “But then I got up and cooked a meal and ate it, and felt better and all grown up,” she recalls.

As with all good comics, it became material. “That Oslo trip added a lot of things to my show, because the overall umbrella of my show is that I’m at that age where everyone has started telling me that you’re going to die alone, so get ready. So what I’m doing is, I want to make dying alone cool—my entire show is an appeal to the public saying ‘can we please make dying alone cool, so that I’m really looking forward to it’?” Oslo gave her a taste of that, and now she is really committed to the cause.

Going out for a drink and a meal after a performance is a major stress-buster for Sumukhi, and she is looking forward to checking out Bengaluru’s bars when she is in the city for her show in November. “The day of the performance, I work out, I write for a bit, make sure I don’t nap —naps make me really uncomfortable—and afterwards my team and I go and eat some kickass local food,” she says.

Some performers like to recharge their batteries in between shows, but Sumukhi likes them back to back. “It’s better to be in that zone and do the shows one after another rather than taking a long break because then your body just calms down. When I’m in that rush, the adrenaline is high—finish the show, then crash. That’s better.”

(by Shrabonti Bagchi)

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Yuki Elias in the play ‘Elephant In The Room’

Yuki Ellias: Movement becomes artPostman Aunty is a sincere worker. She lives on a war-torn mountain with a pet goldfish, and delivers letters from the living world to the after-life, sending out the message that connection trumps conflict. This heartwarming play was performed most recently by actor Yuki Ellias, who also conceptualised, wrote and directed it, in Bengaluru. Ellias, 44, who lives in Mumbai, and runs the theatre company Dur Se Brothers, frequently finds herself on the road.

In her two decades as a performer, she has travelled around the world, largely with her play Elephant In The Room (2016). The one-actor play, which explores the idea of identity, has Ellias playing eight different characters and carrying around the main prop, which is a cloth that’s close to 50 metres long and is used to create different sets. “Theatre organises abroad are sticklers for safety rules. We had a lot of materials that needed to be fire-proofed. You can imagine the number of cans of fireproofing we needed, and it took us several hours to get through that,” she says.

While safety and props are one aspect of touring, another challenge is keeping up one’s energy levels. Ellias performed Elephant every day for 23 days at the Edinburgh Fringe Festival. She explains that Day One energy is different from Day Two and so on: “The first day rides high on adrenaline. We set the stage, check sound and rush to perform. The second day is a little relaxed. We are rested, and there’s relatively more control over everything. It’s a good combination of rest and excitement. But, when there are 23 days, we need to make the show interesting for ourselves, to keep things fresh and to be true to the art of live performance. It helps artists like us understand our craft. When there were days of no motivation, we had to figure out how to use our craft to be the best. It’s like a study or riyaaz. When we’re entering a performance each time, we tell ourselves what we want to explore that day, and we give ourselves very specific instructions towards that direction. It drives us to find that magic, show after show.”

Ellias tours once in 2-3 months, and wishes it was more frequent. Movement is central to her artistic process, she says. The best ideas come to her in “a stream of consciousness manner on bikes, riding as a pillion and drawing inspiration” from things she observes. After the Edinburgh festival, she went on a bike tour around Scotland. Driving through “surreal” landscapes, wearing a helmet, jacket and boots, she imagined it akin to travelling in space. Immediately an idea struck her—what if she did a play on women who dream of space travel. It led her to write and direct Hello Farmaish (2018), about underprivileged women in Haryana with ambitions of being astronauts.

The idea for The Far Post came to her on a bike ride as well. “We rode for a couple of hours in Pune, and I noticed a clothesline blowing in the wind. I don’t know how, but it just struck me that the clothesline could be on a border. The Postman Aunty drying her clothes on a clothesline is the opening scene of the show.”

Ellias has a penchant for keeping her plays compact, with a few actors. The Far Post, for example, has only two actors essaying different roles by wearing different masks. It’s a bilingual play, performed in English and Lepcha, a language spoken in Sikkim. Sofiyum, a band from Sikkim, plays live as the play unfolds. They didn’t have the travel budget for the band to fly to Bengaluru, so they made do with recorded music. Nevertheless, the play captivated the audience with its richness of language, lyrical music and a story painted with strokes of magic realism. Next, Ellias wants to take the play to Gangtok.

(by Jahnabee Borah) 

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Kapila Venu at the G5A Culture Festival

Kapila Venu: Living performance“I feel the most empowered when I am on stage.” It’s the magnetic pull of performing for a live audience that has Kutiyattam performer Kapila Venu, 42, embracing an itinerant life. It’s a life filled with travel to all the corners of the world—she was recently in Taiwan performing at the Asia Pacific Performing Arts Festival 2024—meeting new people and exploring new cultures. “I tend to travel with my ensemble of musicians, and since we’ve been on the move for close to two decades now, we’ve learnt to enjoy it,” says Venu, over the phone from Irinjalakuda, Kerala.

Venu is one of the foremost practitioners of Kutiyattam (or Koodiyattam), a Sanskrit theatre form that is more than 2,000 years old. It is steeped in strictures and tradition, but Venu, through her experimental projects and collaborations, has broken new ground. And so, from Taiwan to Japan, Britain to the US, she’s introduced the expressive dance-theatre form to new audiences.

For Venu, the thrill of a live performance lies in finding the best audiences “unexpectedly”. “Japan is my favourite place to perform,” says Venu. As a country with classical theatre practices like Kabuki and Noh, which are similar to Kutiyattam in their sensibilities, the theatre-going audiences are knowledgeable, she says. “People there are used to sitting for long hours or for all-night performances.”

It was in Japan that a chance encounter with dancer, choreographer and actor Min Tanaka during a tour in her early 20s proved to be transformative. “(Min) is a practitioner of Butoh, a theatrical art form that started after World War II. His philosophy prescribes living close to nature.” From 2005 to 2010, Venu lived with Tanaka and his community in Hakushu village near Tokyo. Life at the Body Weather Farm, as the commune was called, was all about “farming, cooking and dancing together”. Years have passed but Venu remembers the time vividly: “All my work, including my traditional performance, has been deeply impacted by my learnings there.”

There are more prosaic memories of baggage arriving late, getting lost in a new place and missing flights. But the fact that she shrugs off a question about jet lag with a laugh proves she’s got her travel routine down pat. “As soon as I reach a place, I catch up on as much sleep as I can and drink a lot of water. I exercise and meditate to ensure my body and mind are centred before the performance,” says Venu.

With her tours lasting weeks, she has to adjust to living away from family for long periods of time. As mother to a nine-year-old son, Venu admits that there are days when it’s not easy to leave home. “When I am travelling, I make sure to call my son everyday.”

(by Mahalakshmi Prabhakaran)

PLAY revises business model, shifts focus to leisure markets

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