tirsdag 12. januar 2016

fredag 18. desember 2015

Star Wars episode VII: The Force Awakens - a review (warning: spoilers)

The first time I watched any Star Wars film with interest and enthusiasm was back in 1997 when the original trilogy was re-launched in theatres across the world having been digitally remastered. I watched it on a massively huge cinema screen (with THX sound) with my father and ever since I have been a big fan of the franchise. There is something immaterial about the original trilogy that makes it unique. A certain tone, making the films have this magical mix between science fiction, humour, action and adventure that no other films quite manages to capture. They make you feel good, and the universe created by the original trilogy seems like a real place (only far, far away).

This is why everyone with any taste or passion for the Star Wars universe hate the prequels with such burning, everlasting hatred. Episode I-III are directed by an elderly George Lucas, a Lucas whose brain no longer functions outside of making money and a fetishist love of green-screen usage. The prequels are cartoonish movies made for little kids and have no soul, no passion, no nerve, horrible script, plotholes galore, terrible cinematography and awful acting. They almost managed to murder the idea of Star Wars and George Lucas should, as we know, be arrested for crimes against humanity. The prequels terrorised the world for three long years, and every time the new one was announced the fans feverishly hoped that this time, this time it would be good. It never was and we are all scarred by it to this day.

With this in mind, it is understandable that when George Lucas sold Lucasfilm to Disney, it did little to calm a world of traumatised fans. Disney isn't exactly known for mature films with an adult audience. When the somewhat controversial director J.J. Abrams was announced as the new director for episode VII, we all remembered how he had raped the cerebral Star Trek franchise and imagined what horrors he would inflict upon our beloved galaxy. I even wrote pre-emptive disclaimers, announcing how I expected nothing but mediocrity, although hoping I wouldn't be horribly disappointed yet again. My expectations were put to eternal shame, because Star Wars episode VII: The Force Awakens (or TFA as I'll call it from now on) is nothing short of a modern, science fiction masterpiece. I absolutely love this film and before we go into details, I will boldly state that this is the best Star Wars film to date. Yes, even better than Empire (episode V).

The characters: One of the worst things about the prequels was the terrible casting and the soulless characters. The choice of protagonist (or the lack of one) was also ruinous to the movies. But in TFA, we are immediately presented with relatable and (importantly) likeable characters. The first character we are introduced to is actually not the main protagonist, but an elite rebellion pilot named Poe. In the original trilogy all the characters were white, so it's unfamiliar to see other ethnicities in key roles; but it works very well. The actor playing Poe, Oscar Isaac, is Latin-American; but he is not the token-ethnic-guy role. After all, in a massive multi-system galaxy, it is highly plausible that the appearance of humans are diverse since they will live on many very different worlds. Poe reminds us of the Han Solo from the original trilogy. Cocky, handsome, funny; with a mean streak. You find yourself immediately rooting for the guy. A feeling I have been missing since 1997 in a Star Wars film. In short succession the audience is then introduced to the two main protagonists; Rey and Finn, a very beautiful white young woman and a handsome black young man. It actually takes a while before they are put together on screen, which is a stroke of genius (or simply competent filmmaking). We are properly introduced to the characters, and Abrams takes the time needed to do so. It is a treat to watch a Star Wars film that doesn't rush everything. Finn, played by the very unknown (but very competent) John Boyega, is a Storm Trooper for the evil First Order. He is involved in his first battle, which in reality is a massacre of innocent civilians in order to find a missing map. Again, we are treated to something missing in all the prequels; an actual character arc. Finn is ordered to execute innocent civilians, but finds he is unable and subsequently struggles with his place among the Storm Troopers. The main protagonist, Rey, is struggling to survive on a desert world with limited resources and cutthroat inhabitants. Obviously a nod to the first Star Wars film where Luke Skywalker is living a harsh life on Tatooine. We are shown, through action and actual plot elements, why she is slim and in good shape, why she can fight and why she is an expert climber. When Finn and Rey meet, their chemistry is immediate. These two actors play off each other's strengths very well and their relationship (no horrible love story, thank you so very, very, very much Abrams!) develops gradually and logically. It's a thing of beauty. The great thing about Rey, played by Daisy Ridley, is actually that she is a woman. It was a bold choice by Abrams to cast a woman as the lead role. As we know, Hollywood often ruins female roles by having them be stereotypically sentimental, sappy, overtly sexy and dependent on the strong/competent men. Rey is beautiful (this is a mainstream big budget film, after all), but she does not play on sex at all, is not overly sentimental (but she still shows human feelings) and is very independent. But she's not a "man with breasts", a woman basically playing a man. Finn tries to hit on her (no wonder, she's amazingly gorgeous), Rey screams like a girl when hurt (not like a girl trying to emulate a man) and she is definitely feminine without being in any way weak.

Now, onto the most exciting thing about TFA; the original cast. All three main characters from the original trilogy are in TFA: Mark Hamill, Harrison Ford and Carrie Fisher. Before I saw the film, I was very sceptical of Ford once more piloting the Millennium Falcon as Han Solo. Much because Ford in his latest films usually plays one role; that of the grumpy curmudgeon. Han Solo was not a grumpy old man, he was a devil-may-cry, dashing, grinning and passionate young man. But again, my fears proved unfounded. Ford does his best role in many, many years as the older Han Solo. Yes, he is not as funny and dashing, but that's to be expected from a man in his seventies. But he is unmistakably Han Solo through and through. He still pulls one-liners that work, he's still friends with (a now less spry) Chewbacca and he still often let's caution go to the wind. Carrie Fisher was the object of many boys' budding sexual fantasies back when she played a young Princess Leia. Leia was gorgeous and who can forget her skimpy bikini-clad body in the lap of Jabba the Hut? So, when we know how hard life has treated Carrie Fisher (let's just say Jabba, rather than Leia, seems to have been her inspiration after the original trilogy), many of us dreaded having our fond memories of Leia sullied. Again, Abrams eases all our anxieties with ease and General Leia, as she is now known, is a handsome older woman of whom loyalty is demanded by a silent, natural authority. Fisher doesn't have a big role in the film, but does play a key part in the plot and every scene with her in it is memorable. Especially endearing is the relationship she has with Solo and how they work together on screen. It's obvious that these two actors either foster great respect and love for one another or are simply world class actors who manages to hide their true feelings extremely well. The chemistry here is, again, stellar. So who's missing? That's right, Luke Skywalker himself. Mark Hamill. So far, all we are told is that everyone on screen is looking for him, but he has yet to show himself. We are shown Luke only at the very end of the film, and Abrams manages to make even a cliffhanger ending into a crescendo, even without any dialogue and seeing Hamill on screen after all these years gave me goosebumps all along my spine.

So that's the main good guys. All of them inspiring, very well portrayed and believable as real persons (instead of robots reading lines, as was the case in the prequels). Now, the bad guys are the real challenge. When you have a film with two polar opposite sides doing battle (typically good versus evil) it is difficult to portray the bad guys because it's so easy to go overboard; thus making them cartoonish and a parody of evil. You can also easily create a supposed bad guy that the audience ends up rooting for instead of the main protagonist if the protagonist is poorly portrayed. It can also happen that the bad guy isn't really portrayed as a bad guy at all, making the whole film confusing for the audience. None of these scenarios come to play in the latest instalment in the Star Wars saga. Our main bad guy, Kylo Ren (played by Adam Driver), is the coolest villain I've seen in a film since Silence of the Lambs. Ren is a Sith who's thoroughly corrupted to the core. He's not "misguided", he's a psychopath. It's obvious that Abrams and Driver have read up on sociopathic and psychopathic behaviour in preparation for this role. Ren is in many ways a better villain than Darth Vader, at least compared to the Vader in episode IV, as Ren isn't a faceless brutal machine executing the Emperor's orders; but rather a fully formed psychopath. He finds enjoyment in torturing those in his power and he has a clear personal agenda. We are also shown his backstory, not through three horrible prequels that never get to the point, but simply by effective dialogue between Leia and Solo. Desperate to get her son back, Leia pleads with Solo to find Ren, their son, and bring him home again. It couldn't be simpler, yet it works so well and explains many of the actions of both Ren and Solo. Finally, the "helmet voice" of Ren is fantastic. Deep, dark, sonorous and sinister. Just the way a Sith should sound.

The script: The Star Wars films are not stand-alone films, at least; that's not the original idea. Star Wars is a space opera, with many characters and an overarching theme of the evil Empire/First Order/Dark Side versus the good Republic/Rebellion/Light side. If you deviate from this central idea, like Lucas did in the prequels; you create a space mess. Abrams steers TFA expertly like a science fiction Mozart and presents the audience, right from the opening floating text-intro, with a simple plot: The Empire lies in ruins, but The First Order has risen in its place and threatens the fledgling Republic with annihilation. General Leia desperately seeks her brother Luke Skywalker, to help the Rebel forces fight, but his location is unknown to all; except maybe a little droid carrying a certain map.  That's how easy it can be done. No convoluted mess about trade embargos, space taxes and galactic senate sessions. Just an epic quest to find a Jedi master. And much like in A New Hope (episode IV), all plot elements build up to the conclusion of the main storyline, consolidating it. As I've mentioned before, pacing was a massive problem with the prequels. Lucas jammed as much action and people and things into every scene as he could in them. And often we saw drawn out scenes of drudgery go straight to messy action gangbangs without any semblance of transition. Not so in TFA. Abrams takes his time to develop his characters and background, but all scenes build up to the next part in the main storyline; in a timely manner. Even though we are presented with an epic space opera; the script is so tightly constructed that even a child can follow it; without the film coming off as dumbed down to cash in on those sweet kiddie dollars. The film is divided into four clear, easy-to-follow parts: the beginning, the opposition, the climax and the ending; and they flow into each other seamlessly. It's almost as if, oh I don't know, like Abrams actually hired some real writers instead of eating four kilos of amphetamines and scribbling out the plot on toilet paper.

One of my main concerns before watching this film was how J.J. Abrams gave several interviews sounding like he was reading a script written by the staff at BuzzFeed or UpWorthy. Lots of bullshit about female representation, how Star Wars had always been a "boys club" and that he wanted to do something about that. Gender politics has no place in science fiction, unless you're making a film about feminists in space; which Star Wars, last I checked, is not. Normally, when Hollywood wants to pander to the female demographic, they throw in lots of sentimentality, lots of love scenes and sappy dialogue. They probably do this because a) women actually love that sort of stuff or b) the Hollywood producers are wrinkly old men without any idea about what women want in movies. As I mentioned before, TFA has no big love story, and it's one of the best things about the whole film. Love stories are possible to pull off, just look at the original trilogy and the love story between Han Solo and Princess Leia; but it rarely works. Most often the love story plot ends up being a distraction, appearing forced in the film just to please the people who like that sort of thing. This is not to say that TFA is without human emotion, the whole film is carried by the very believable interactions between the characters and the genuine love (or hatred) they have for each other. And sure, you do have some hints at possible future love stories; especially between Rey and Finn. He is clearly attracted to Rey (who wouldn't be?) and Finn obviously grows on her as well. But this is all implied and it adds to the story instead of being a distraction. Abrams also manages to avoid falling into the trap of pandering to the "dudebro" demographic (i.e. the non-geek males) by pushing lots of unnecessary action and scantily clad girls all over the film, instead opting for people in the film actually behaving according to their character's personality; not according to a messy script without any direction or coherence (i.e. the prequels).

This film is not an overly cerebral film in the sense that it tries to use lots of symbolism, non-linear storytelling techniques or complex dialogue; but there is no reason it should be either. This is Star Wars, not "Dostoyevsky: the complete collection - an adaptation", and as such Abrams deserves praise. As the plot develops we gradually care more and more about each character and want them to succeed against the First Order. Not just because the film tells us to, but because the actions of the First Order are truly heinous, Kylo Ren is just such a believable psychopath and the Rebels' fight is a believably honorable one. The action scenes, never too long or too cluttered, are timed perfectly and the main battle keeps you on the edge of your seat. The special effects serve the action (instead of camouflaging bad writing) and it's actually difficult to predict how the fight will end, since Abrams manages to throw the audience a few great plot-twists beforehand. I particularly enjoyed the final duel between Rey and Ren. Instead of coming off as a carefully choreographed dance with lightsabers, it feels natural, brutal and unpredictable. The fact that Rey manages to hold her own against Ren and actually saves Finn, instead of it being the other way around (which would fall into the typical damsel in distress trope), strengthens Rey's role as the main protagonist and the next Jedi master.

Bonus points: TFA manages to balance the serious plot elements with great humour. This is so rare these days, almost no film manges to be funny anymore. Luckily, TFA is an exception. The comedy scenes are few, but they work; especially the ones with the little BB- droid. The cinematography is superb, and the many gems we are shown throughout the film makes you want to be in the places you are shown. The deserts riddled with the wreckage of Empire battle cruisers, the moss-infested castle/inn at the edge of the lake on the forest-planet, the awesome-looking rusty Millennium Falcon and of course the misty throne room of Supreme Leader Snoke are all excellent examples of this. Abrams has also learned from the disaster that is the prequels that Star Wars fans don't equate film quality with the number of lightsabers shown at any given time during the movie. The lightsaber is now again treated as a rare artifact, reserved for the chosen few; and this makes the fight scenes with them in it even better. Oh, and there should now no longer be up for debate whether Ren's plasma wrist-guards are justified or not (they are).

In conclusion; this is the Star Wars film the world has been waiting for. Let's all pretend the prequels never happened and treat this as the fourth real Star Wars film, not the seventh.

tirsdag 15. september 2015

Lokalvalget 2015 - rødt skifte

Høyresiden i norsk politikk er valgets store tapere, men jeg (ettersom jeg bor i Oslo) kommer til å fokusere på Oslo-resultatet. FrP har gjort sitt dårligste valg siden 1991 og i Oslo kan vi nå kun vise til 6 %. Ikke nok med det, men de røde partiene har sikret seg flertall (50,6%) takket være MDGs eksplosive popularitet og sjokkresultat på 8,8 %. Jeg, som politisk jounkie, har selvfølgelig sterke meninger om hva valgresultatet skyldes og jeg redegjør for dette her:

1. La oss først se på valgnederlaget til FrP. Hvordan kan FrP, som tross alt har levert gode resultater i regjering, som ikke har hatt noen skandaler de siste 5 årene og hvis ministre er de mest blankskurte noen har sett levere et så slett bystyre- og bydelsvalgresultat? Hovedgrunnen er FrPs førstekandidat, nestor Carl I. Hagen. I dette valget har han bommet fullstendig. I stedet for å vektlegge saker som Oslo-borgere bryr seg om (spesielt eiendomsskatt, ny E18 og bomringer), har Hagen utelukkende uttalet seg om rikspolitiske føringer for migrantene fra Afrika og Midt-Østen (også kjent som "Syria flyktninger"). Hvis han skulle uttalt seg om denne saken, burde han satt den inn i lokalpolitisk kontekst. For eksempel burde han gått hardt ut mot planene (som nå blir en realitet) om å opprette teltleir for migranter på Tøyen (ved siden av Munch-museet). Det må også sies at valgkampkomiteen til Oslo FrP har vært helt elendig. Hvor har avisinnleggene og profileringen vært? De eneste som har gjort en duganes jobb her er Aina Stenersen og Mathilde Fjeldstad, som begge er unge, karismatiske og synlige. Men det er ikke ungdomsstemmene FrP bør være mest fokusert på (selv om vi mistet enormt mange av dem også), men "kjernevelgeren". FrP er ikke et kvinnesaksparti, ikke et miljøparti og ikke et velferdsparti. Vi er et systemkritisk liberalkonservativt parti som har sitt grunnfjell i menn 30-65 år. Når ingen av lederne i partiet snakker om saker som appelerer til denne gruppen velger de enten AP, Høyre eller sofaen. Tre eksempler på hva FrP i Oslo burde har vektlagt langt mer:

a) Liberalisering av åpningstidene til utesteder. Hvis det er en by i Norge som sliter med at alle står i taxikø samtidig, så er det Oslo. Løsningen er selvsagt å ha en 24-timers by slik at folket sprer seg utover. Ikke bare hindrer vi vold, vi hindrer smuglersprit også. Denne viktige saken ble ikke nevnt og nå kommer MDG og SV til å sørge for at åpningstidene skrenkes inn til 01.00.

b) Eiendomsskatt. AP ga høyresiden en enorm gave med sløyfe på ved å gå til valg på eiendomsskatt. Hvorfor i _helvete_ ble ikke dette satt mer fokus på av FrP? Vi er det eneste partiet som virkelig mener noe med vårt engasjement mot skatter og avgifter, og her bommet Oslo FrP fullstendig. Vi burde ha kjørt denne saken langt, langt hardere. I stedet ble det masse babbel om eldreomsorg (veldig lite konkret), barnehager, tigging og Syria-saken.

c) Ny E18 vestover. Norges mest trafikerte vei er E18 mellom Oslo og Sandvika. Denne motorveien ble dimensjonert til biltrafikken på 70- tallet og har aldri blitt oppgradert. Det står ekstrem miljøskadelig (og psykisk skadelig) kø inn og ut av Oslo nesten døgnet rundt. Behovet for en ny E18 er skrikende. Bileiere ble lovet ny E18 mot at de skulle betale for ikke en, men TO bomringer inn til Oslo fra vest. Nå blir disse planene skrinlagt ettersom MDG, SV og Rødt har vært garantister mot ny E18. Her har alle høyrepartiene bommet fullstendig. Det er bokstavelig talt hundretusener av bilister som irriterer seg til hjerte- og karsykdommer daglig over den elendige forfatningen E18 er i, brorparten er menn, og de kunne vi fått mange stemmer fra hvis denne saken hadde vært høyere på dagsordenen.

2) Men ok, FrP tapte valget så det suste. Hva kan vi så forvente av det nye blodrøde styret i Oslo? Jo, ganske mye:
a) Eiendomsskatt allerede fra 2016. Alle eiere av bolig med ligningsverdi over 900 000kr får 0,3 % eiendomsskatt (altså minst tilsvarende en ny NRK- lisens). Dette angår overhodet ikke bare rikinger med villa, men for eksempel alle som har ny leilighet på Grünerløkka over 60kvm. Eiendomsskatten kommer så til å årlig øke til maksnivået på 0,7 % ila. tre år. Ligningsverdi-grunnlaget kommer til å frafalles til at absolutt _alle_ som eier leilighet, rekkehus eller hus kommer til å måtte betale denne trippelbeskatningen innen 2018. I tillegg vil alle bedrifter måtte ut med eiendomsskatt, noe som igjen vil medføre en kraftig økning i prisnivået i Oslo. Dette rammer alle, spesielt de med dårlig råd.

b) "Flyktningeleir" (egentlig migrantleir) bestående av telt ved siden av Munch-museet på Tøyen. Ettersom de røde vet at ikke-vestlige stemmer rødt med massivt, overveldende flertall; har de all interesse av å oversvømme med Oslo med ikke-vestlige migranter. Det blir fortetting i Groruddalen med påfølgende ghettofisering a-la Rosenholm i Sverige, det blir teltleir på Tøyen, det blir en massiv eksplosjon i vold, voldtekter, narkotikasalg og økt konfliktnivå mellom etniske nordmenn og muslimer.

c) Det blir kjønnssegregering i gymnastikkundervisningen. Dette er allerede innført i svømmeundervisningen på enkelte skoler med høy ikke-vestlig andel elever og vil nå bli innført i hele Oslo. Dette vil skade hele byen dramatisk, og våre barn og barnebarn vil forbanne denne generasjonen som ofret alt som heter likestilling og sunt samkvem mellom kjønnene på multikulturalismens alter.

d) Det blir innskrenket åpningstid på byen, slik SV har varslet, med maks åpningstid til klokken 01.00.

e) Det blir ingen ny E18, men det blir rushtidsavgift og økte satser i begge bomringene.

f) Det er faktisk fullt mulig at Oslo får Norges første muslimske ordfører, Shaoib Sultan. Jeg liker ikke religiøse ledere, jeg foretrekker at de er sekulære, og Sultan er tidligere leder av Islamsk Råd Norge. Han har tidligere uttalt at han er teologisk for dødsstraff for homofile (det er han fortsatt, selv om han _sekulært sett_ nå sier han er imot dødsstraff for homofile) og han representerer grønnkommunistene i MDG. Rasmus Hansson uttalte at Sultan representerer "hele Oslo", noe jeg overhodet ikke er enig i. Sultan representerer ikke meg. Jeg er ikke grønnkommunist, ikke MDG- sympatisør og hater all religion (spesielt Islam) med et brennende, intenst hat.

Jeg forstår virkelig ikke at Oslo-folk vil seg selv så vondt, men man får som kjent de lederne man fortjener.

fredag 10. april 2015

Nei til halalslakt

(Mitt brev til Nortura)

Til de det måtte angå

Jeg leste til min svært store overraskelse at Nortura med alle dets merkevarer fra nå av kommer til å slakte alle sine dyr i henhold til Islams regler (halal). Tidligere var slikt kjøtt tydelig merket slik at man kunne unngå å kjøpe det, men nå skal altså alle kunder av Nortura tvinges til å spise halal-kjøtt.Dette finner jeg meg ikke i. Det er svært mange dypt problematiske aspekter ved ideologien og religionen Islam og jeg vil ikke på noe vis støtte opp om dens påvirkning på det sekulære Norge. Deres beslutning om å gjøre Islamsk Råd Norges (som forøvrig støtter dødsstraff for homofili og frafall fra Islam) til lags ved å slakte alle deres dyr ved halal-metoden er dypt skandaløs og skammelig.Jeg har lenge vært godt fornøyd med mange av Norturas produkter, for eksempel har skinnløse kjøttpølser lenge vært en sommerfavoritt. Det er det nå slutt på. Heretter kommer jeg aldri mer til å kjøpe et eneste Nortura-produkt, med mindre dere slutter å slakte dyrene deres iht. halal-metoden, eventuelt sørger for at dere merker kjøtt som er slaktet slik på en tydelig måte.

Med hilsen


fredag 23. januar 2015

Løpende oversikt over 2015-filmer jeg har sett

- Nightcrawler
- Mr Turner
- The Drop (James Gandolfinis siste film)
- American Sniper (Clint Eastwood regissør)
- Leviatan (russisk)
- Birdman (The Unexpected Virtue of Ignorance)
- Inherent Vice (PTA)
- Foxcatcher
- Mad Max
- Tangerines (Mandariner)
- Maggie (Arnolds første seriøse (zombie)film)
- Terminator: Genisys
- Southpaw (Jake Gyllenhaal boksefilm)
- It Follows
- Bølgen
- Pawn Sacrifice
- The Martian
- Sicario
- Legend
- Beasts of no nation
- Spectre
- Star Wars: The Force Awakens

torsdag 24. juli 2014

Dobbeltmoral i sexkjøpslovgivning

Nedenfor følger teksten som stod i VG+ angående den nye trenden hvor jenter og kvinner (og hvis jeg tolker teksten nedenfor riktig; jenter helt ned i 12 års alderen!) får fullkontakt, happy-ending erotisk vaginalmassasje. Tydeligvis er dette visstnok lovlig. Hvis en mann hadde bedt om "tantrisk, erotisk penismassasje" hadde politiet som kjent ventet utenfor med en pen bot på 25000kr og prikk på rullebladet som registrert sexforbryter. Dobbeltmoral, much? Jeg vurderer sterkt å politianmelde "terapeut" Ingunn Tennbakk for hallikvirksomhet. Jeg er 100 % for at kvinner og menn skal kunne kjøpe seksuelle tjenester av voksne mennesker som frivillig tilbyr slike tjenester, men så lenge sexkjøpsloven er i effekt må vi i alle fall sørge for at loven gjelder både kvinner og menn; ikke bare menn.

Så til teksten (skrevet av Ingunn Saltbones, coypright VG 2014):

Vaginalmassasje, eller dearmoring, som det heter innen den tantriske skolen The New Tantra, kan løse opp spenninger som har satt seg i underlivet som følge av ulike følelsesmessige spenninger, ifølge terapeut Ingunn Tennbakk.
– Vi blir født uten noe forsvarsverk, men etter hvert som vi får ulike negative opplevelser, begynner vi å bygge opp et forsvar i form av spenninger i muskulaturen. Det gjelder også for musklene i underlivet.
Teorien er at ulike følelser setter seg i ulike muskler i underlivet, og at man ved hjelp av trykkpunktsmassasje i vagina kan forløse disse.


Ifølge The New Tantra terapeuten er det spesielt følelser knyttet til seksualitet som setter seg som spenninger i underlivet.
Det kan være at grensene dine har blitt overskredet, at du har hatt sex uten å ha lyst, eller at det rett og slett er følelser av skam knyttet til seksualitet du har blitt påført som følge av oppdragelsen i barndommen.
– Spesielt i 12-13 års alderen er det mange jenter som får en følelse av at sex og kropp er noe skambelagt. Dette setter følbare spenninger i kroppen, sier Tennbakk.

Skal hjelpe sexlivet

Tennbakk startet på en utdannelse innen Alex Wartmans 8 trinns terapeut-utdanning for tre år siden. For ett år siden ble hun også godkjent for å utføre dearmoring på klienter.
Et av målene med behandlingen er at sexlivet skal bli bedre i etterkant.
– Noen har mistet litt av følelsen i underlivet og blitt numne. Behandlingen vil øke følsomheten igjen, og kan også gjøre det mulig for flere å oppleve vaginal orgasme, sier Tennbakk.
Ifølge Tennbakk kan behandlingen også være til hjelp for dem som lider av muskulære krampetilstander i underlivet.
– Men de som har opplevd seksuelle overgrep bør ha gått i terapi for å bearbeide opplevelsene og følelsene først. Jeg jobber kun fysisk og er ikke en samtaleterapeut.

Fra sint knurring til latter

Sår krampegråt, hikst, sinne og krampelatter. Hele spekteret av følelser presser seg frem i kvinnen (48) da VG får overvære en dearmoring.

Etter en innledende massasje av hele kroppen som skal få henne til å slappe av, tar terapeut Ingunn Tennbakk på to sett med svarte hansker utenpå hverandre, smører en olje på fingrene og starter den innvendige massasjen.
– Jeg kjente en skarp smerte som jeg kjenner igjen fra da jeg fødte, sier kvinnen.
Terapeuten legger et hardt press på et sted, og holder helt til spenningen slipper, slik man også gjør i vanlig trykkpunktsmassasje
– Jeg opplevde at hvert punkt ble en emosjonell reise. Da jeg lo startet det egentlig med at jeg kjente på et voldsomt sinne, sier kvinnen.
Andre trykkpunkter får hele kroppen hennes til å riste, og hun gråter sårt.
– Jeg opplevde også at jeg ble redd og kjente på frykt. Det var da jeg begynte å gråte. Jeg opplevde det som at jeg mistet kontrollen, og så var det plutselig som om smerten slapp.
Hun har flere ganger i løpet av livet opplevd at hennes seksuelle grenser har blitt overskredet. Hun ønsket derfor å se om behandlingen kunne hjelpe henne til å gi slipp på emosjonelle spenninger. Etter andre behandling føler hun at mange av spenningene har sluppet taket.
– Jeg opplevde det som en stor befrielse. Det føltes som om noe ble renset ut, jeg føler meg ren og ekte.

– Ikke medisinsk dokumentert

– Vaginalmassasje passer ikke for alle. Spesielt bør de som har vært utsatt for seksuelle overgrep være svært forsiktige, sier psykolog Rikke Pristed.
Vaginalmassasje er fortsatt en ganske kontroversiell behandling, understreker Pristed.
Spesielt understreker hun hvor viktig det er at det er en godt utdannet terapeut, som veiledes på de etiske retningslinjene.
– Dette er et område hvor man kommer ekstremt tett på pasienten, og derfor krever det en særlig stor integritet og fintfølelse.
– Her står man bokstavelig talt med hånden inne i noens underliv og det gjør det desto mer risikofylt, sier Pristed.
Pristed, som er psykolog, sexolog og lektor ved Universitetet i Agder, mener likevel behandlingen kan passe for noen og sier det er en kjent sammenheng mellom muskulære spenninger og følelser.
Pensjonert overlege og professor i gynekologi Britt Ingjerd Nesheim, mener det er logisk at det kan sette seg muskulære spenninger også i underlivet.
– Vi vet at spenninger setter seg i muskulatur, og det er ganske velkjent at kvinner også kan ha spenninger i underlivet, sier Nesheim.
Nesheim understreker at det ikke er medisinsk dokumentert hvorvidt trykkpunkt-massasje i underlivet kan hjelpe til med å forløse følelser som har satt seg muskulært.
– Så om denne behandlingen virker vet jeg ikke, sier Nesheim.

tirsdag 22. april 2014

Down and Up in Florence

The great thing about Oslo Airport is that you are constantly reminded why Norway is horrible and why you are leaving on holiday. The airport itself is nowhere near Oslo, and often it takes a lot longer getting to the airport than actually flying to your scheduled destination. At the airport, everything is twice the price than anywhere else; a true achievement considering Norway is the priciest country in the world. There is something almost pleasing about shilling  out 100kr ($16) for a shitty beer and 140kr ($23) for an even shittier sandwich before finally escaping the crushing monotony and mediocrity that is Norway for something better. Italy's Tuscany region for example. Florence (actual name; Firenze) is the cradle of the renaissance, the rebirth of western civilisation and should be visited by all westerners.

A short and very picturesque bus ride from the airport into the city centre and I was beating the same cobblestones that the Medicis, Donatello, Michaelangelo, Botticelli, Brunelleschi, Vasari, Dante and Machiavelli had about 650 years before. Florence is spread on each side of the beautiful river Arno and rests between low, green hills on every side. The city is blissfully devoid of the glass- and- steel modern monstrosities seen infesting most large European metropolises and it didn't suffer as much bombing as many other prominent European cities during WWII. And luckily the Italians has had enough sense that when building new structures they are kept in a similar architectural style as the renaissance-buildings. This way, the city actually looks gorgeous instead of as something puked up by a brutalist architect from the 60s very high on acid. On arrival the first thing you see in Florence is not, as it is in Oslo, drug dealers, junkies and human wreckage on every street corner; but rather stylish Italians, tourists and of course the Duomo.

(View of Florence north)

(View of Florence East)

(View of Florence rooftops)

(View of Florence west)

My hotel, the Hotel Balcony, was located 5 minutes walk away from the famed cathedral and as such right in the centre of the city. In exchange, I suffered quite the uncomfortable bed and noisy Russian neighbours; both of which were easily remedied by various delicious Tuscan wines.

My first day consisted mostly of trying to get my bearings and simply walking around the city centre for a few hours. I also fell into the same trap as thousands other stupid tourists, i.e. sitting down at an outdoor café overlooking either the Piazza del Duomo or Piazza della Signoria. These places, due to their gorgeous surroundings; have shitty food, bad service and the prices are the same as back in Norway (ranging from 6 to 9 euros for a beer). Buy a tourist-guide upon arrival, and you will avoid such foibles.

The second day, and to be honest; the third and fourth also, was spent mainly exploring every piece of renaissance architecture, sculpture and painting I could find. And Florence being a full city of just that, my cup raneth over.  There are six main museums one should try to see as much as possible of while in Florence:

- The Uffizi
- The Palazzo Vecchio
- The Accademia
- San Lorenzo Church and Library
- The Bargello
- The Palazzo Pitti

There are, of course, many more sites to explore, but these contain (in my humble opinion) the pillars of the renaissance. I, sadly, did not have the time to explore Palazzo Pitti (though I did take a look at its 'Grotta di Buontalenti'); but all the rest I examined in detail. Naturally with generous breaks for brunch, lunch and dinner.

(Grotta di Buontalenti)


On Thursday, my third day visiting, I had booked a private tour starting at 8 am. This early in the morning there are far less people about and I was extremely lucky to have the tour-guide all to myself. Her name was Barbara, a pleasant married mother of two with a treasure-trove of knowledge regarding Florentine history and art. We started in the Uffizi (the name simply means 'Offices'), a building originally built by Vasari for Cosimo Medici to house the Medici rulers' civil servants. It also happens to be world's oldest art museum still in operation. As with most of the art galleries in Florence it is strictly forbidden to photograph inside the museum. This is very annoying, but is due to the fact that the Italians want to sell postcards and souvenirs; sale of which goes drastically down if the tourists can photograph their own mementos. Sadly I have no photographs from inside, but I was extremely lucky to have my own private tour of the Vasari corridor from the Uffizi, accross Ponte Vecchio all the way to Palazzo Pitti. Since I was alone with my guide, and a security officer who seemed to be sweet on my guide, I was allowed to snap off a few shots. I must admit I felt very much like Robert Langdon in the book Inferno. He too was being led through the Vasari corridor alone with a female companion. There even was a security guard who let them through! I didn't have murderous shadow corporations chasing me (or did I?), but it was still a memorable experience. The main gallery floor of the Uffizi contains several masterpieces (well, to be fair; only masterpieces) by f.ex. Botticelli, Leonardo Da Vinci, Michaelangelo and Caravaggio. My main reason for going was, of course, Botticelli's 'Birth of Venus' and Da Vinci's 'Annunciation'. I had never seen an original work by these masters before and it was very much worth it.

After Barbara and I had lunch on the very nice and sunny museum veranda she led me through the Varasi corridor. The corridor is not open to the public except for small groups who pays quite a bit extra. The reason is apparently that the security in the corridor is very lax (no alarms or glass shielding the paintings there). The art in the corridor changes all the time as it functions as temporary storage for much of the museum's art collection not currently on display in the main gallery. When I visited there were lots of little gems hanging there: A renaissance 'facebook' of most of the Medici family, self portraits of many of the old masters and even a fake Da Vinci. The gallery also gives its visitors a wonderful alternative view of the cityscape of Florence, not otherwise accessible.

(Vasari corridor going from right to left)

(Vasari corridor interior)

(Vasari corridor view of Ponte Vecchio)

Palazzo Vecchio:

(Perseus statue outside Palazzo Vecchio)

If anything other than the Duomo defines Florence, it's Palazzo Vecchio (meaning 'Old Palace'). Home to Florentine rulers and their administrations for centuries. Even today the local government has offices here, among them the mayor's. It's famed 'Hall of the 500', named so because Florence once had only 500 men elligible to vote in civic matters and they met in this very hall, still regularly sees use for municipal meetings. Luckily for me, there were none when I arrived and my guide (a lovely young girl from America) could inform me of its many treasures. The hall, as so many other venues and buildings in Florence, was enlarged significantly and decorated by Georgio Vasari. Vasari was, next to Cosimo I and Lorenzo Medici, Florence's most influential man. He had Cosimo's (not Cosimo the Elder, but the duke) ear, a rare position as Cosimo was extremely narcissistic, power-hungry and vain. Today you can see frescos covering the huge ceiling, with Cosimo I being its centrepiece (replacing the spot usually reserved for Jesus or Mary). There are a few original statues by Michaelangelo and the statue of Leo X, the first Medici pope, stands in the hall's place of honor. In the Palazzo's 1st and 2nd floors you have the apartments of the old Medici rulers; one room more extravagant than the next. In every room Cosimo made sure to place either his face or his personal symbol; a turtle with a sail on its back. This symbol signified his motto of thinking slowly, but acting fast. In the Vecchio I also came across one of my primary goals of exploration; Dante Alighieri's death-mask. The mask is not actually a true plaster-cast of Dante's face upon his death, but is recreated from the original one which has been lost.

Among my top 5 favourite artists of all time ranks Jackson Pollock, the father of neo-expressionism. One would not expect his works to be seen in the capital of renaissance art; but Florence has this year dedicated a large portion of the Vecchio and a small government building on the Piazza di San Firenze to his life and works. The latter being home to a magnificent multimedia-display consisting of an entire room (floor, walls, ceiling) covered in Pollock-inspired films and images.

(Mr W-T and Pollock)


The only reason why one should waste the good amount of cash you need in order to skip the kilometre long line to enter the Accademia is, of course, Michaelangelo's 'David'. It is the absolute defining masterpiece of the Renaissance. Again, photography was prohibited, which is a shame because none of the museum postcards comes close to doing David justice. It is not often I am actually short of breath upon seeing a work of art, but David did the job. It is absolutely divine and the 'copy' standing in front of the Palazzo Vecchio is nothing like the original. Michaelangelo did have a perfect name: 'Michael the angel'.

San Lorenzo Church and Library:

The Medici's own parish church, San Lorenzo, is well worth a visit. There are almost no queues there and both its library (the first open to the public since antiquity) and church are magnificent. The façade of the church is unfinished, left like that since the days of the Medici. The insides, however, are filled with treasure. I highly recommend using the audio-guides provided at the entrance. But, the true gem is the library. As the first library open to the public in Europe after the fall of the Roman empire, its historical importance is staggering. It is also an architectural masterpiece. On display are various tomes from the Medici collection. Hand written versions of Dante's 'Commedia' and a handwritten Greek copy of Aristotle's  'Physics' were both gorgeous. It was a very cool feeling seeing those books in the Medici library, made me feel like I was in the film 'The 9th Gate'. The books are so gorgeous, it made me wonder; are there anyone writing books like these by hand anymore? That would cater to a certain market, to be sure.

(Medici library)

(Medici library catalogue)

(Dante's 'Commedia')

(Aristotle's 'Physics')


The Bargello is a hidden gem, I would say. While the lines to climb the Duomo and to visit the Accademia were almost a kilometer long, there were almost no one at the town's one-time prison. The building is beautiful on its own, pre-dating the renaissance and clearly medieval in style. I would say its very masculine, compared to the slender feminine elegance of renaissance buildings. Its contents, however, are pure rebirth of Roman sculpture. The Bargello has the largest collection of my personal favourite sculptor; the genius Donatello. Donatello, like many of his contemporary artists in Florence, were very gay. This is seen in the sensuality of his male sculptures. Donatello's 'David' is the direct opposite of Michaelangelo's. Where Michaelangelo's is white marble, masculine, huge, stern and very muscular; Donatello's is black bronze, small, feminine, slender and I would say more coy than stern. It was also the first full nude sculpture made in Italy since Roman times. Though, if you compare the two figures it is clear that Michaelangelo used Donatello's 'David' as a template for his own masterpiece.

(I had to take this photo in secret, the guard was watching; so I had to try to conceal my action. Therefore, the image is a little out of focus.)

(Michaelangelo's crucifix figurine)

But the Bargello is far more than Donatello's sensual tempter. One of my little side-quests while in Florence was to seek out Roman god of wine and festivity; Bacchus. There are many depictions of him in Florence, I found him in the Boboli gardens and in the Bargello. I must say I prefer the rather corpulent wine-god in the gardens.

(Bardello's Bacchus)

(Bopoli garden Bacchus)

Breakfast, lunch and dinner:

I was surprised to see that no establishments offered breakfast after 10 am. Since I didn't get up that early, I had to eat dessert-meals for breakfast. Usually croissants or calzone with chocolate. The latter being very much recommended. The best place for lunch is Yellow Bar. They make their own pasta and both this (I recommend their Gnocci) and their pizzas are fenomenal. For dinner you have a plethora of choices. Some bad, some great. Again, buy (don't use the free promotional leaflets) a proper tourist-guidebook and explore. My two favourite places to eat dinner was 4 Leoni, a handsome trattoria in the Oltrarno district (also a locale in which Sir Anthony Hopkins ate dinner while 'Hannibal' was being shot), and L' Osteria di Giovanni. The latter has magnificent service and delicious food, but the wine I was recommended did not impress. In 4 Leoni both food and wine tasted amazing, but the service has room for improvement.

(Hand-made pasta at Yellow Bar)

(Me at the 4 Leoni)

Even though my main goal of visiting Florence was to experience first-hand the masterpieces of renaissance art, I was still on holiday; and as such I wanted to experience Florentine night-life. Florence is not a city for wild parties, not unless you know the local youths at any rate, and you won't find any strip-clubs anywhere in the centre (I looked). You will, however, find hundreds of cosy trattorias and a selection small bars; some of which are actually quite excellent. The best bar I found is called Art Bar, not just due to the ever- changing gallery of local contemporary art on its walls; but due to the artistry of the bartender and proprietor. Their cocktail- selection is outstanding, the service friendly and the atmosphere very reminiscent of a 1920s jazz-bar.

(Art Bar)

And with that my excursion to Florence is over. 4 nights was neither too long nor too short and I got to see what I had come there to see (except the strippers, of course). For my journey home I travelled first by train to Bologna (a terribly boring and dull city it appears), then by Ryanair to Oslo. Coming back always leaves me depressed (Norway does that to you), but I can always reminisce.

(Reminiscent of 9th Gate, yes?)

(Arno at sunset)

(Arno at night)