Netflix series explores women’s dreams in the body-slamming world of Japanese pro wrestling

Netflix series explores women’s dreams in the body-slamming world of Japanese pro wrestling
The Netflix series tells the story of Dump Matsumoto, a real-life wrestling legend from the 1980s who grew up poor with an abusive father. (AP)
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Updated 08 October 2024
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Netflix series explores women’s dreams in the body-slamming world of Japanese pro wrestling

Netflix series explores women’s dreams in the body-slamming world of Japanese pro wrestling
  • The Netflix series tells the story of Dump Matsumoto, a real-life wrestling legend from the 1980s who grew up poor with an abusive father

TOKYO: “The Queen of Villains” is a typical coming-of-age tale about a young woman’s road to empowerment and self-discovery — except it all takes place in the body-slamming, arm-twisting world of Japanese professional wrestling.
The Netflix series, which began airing last month, tells the story of Dump Matsumoto, a real-life wrestling legend from the 1980s who grew up poor with a father who was often absent or abusive.
Matsumoto grew up angry, she said, and went on to create in her wrestling persona a ferocious, almost camp villain character, known in the sport as a “heel,” complete with outlandish Kabuki-like facial makeup, chains, sticks and a grotesque scowl. She loomed large as a symbol of fearless and defiant womanhood.
“I gave it my all to be evil,” Matsumoto said.
A hefty woman with a friendly smile, Matsumoto makes a point even now to adamantly deny that she was ever a nice person or acknowledge that many people in Japan, especially women, love her.
“I still beat people up in matches. I stuck forks in them and made them bleed,” she said, adding, “All the people who pretend to be good are the truly evil ones.”
“The Queen of Villains” follows the friendship between Matsumoto and Chigusa Nagayo of the popular wrestling tag team known as the Crush Gals. Nagayo served as an adviser, trainer and choreographer for the series’ dramatized wrestling scenes.
Japanese professional wrestling fans still talk about the matches between Matsumoto and the Crush Gals, including the ones they fought in the US
The actresses in the series spent two years training for their roles. They gained weight and muscle, and learned techniques like the “giant swing,” in which a wrestler grabs her opponent’s legs and moves in a dizzying circle, or the “flying knee kick,” which involves a jump and kick to the body while airborne.
The trick in professional wrestling is to execute the punches and body slams convincingly but in a controlled way to avoid serious injuries. A wrestler also must know how to fall properly.
One key fight scene took a month to film as the actors went over each move, again and again.
“Dump played a role to be hated by the entire nation,” said Yuriyan Retriever, a professional comedian who stars as Matsumoto in the series.
“Previously, there was a limit, maybe even unintentionally, beyond which I couldn’t go. But when I played Dump, all those emotions had to come out and be expressed,” she said.
She felt like she was no longer playing a role, she said, but that she had become Dump Matsumoto.
“It’s frightening to be hated, and I don’t think anyone wants to be hated,” Retriever said.
“When I finished a cut, I was crying. And my body was shaking. I can’t express it in words, but I understood all the pressures Dump must have felt.”
The series not only presents a women-beating-the-odds story against a backdrop of sexism and abusive management but it also captures the postwar period of the Showa-era in a way that feels authentic. The scenes used thousands of extras, many of them serious wrestling fans.
Some viewers say the real-life wrestling was more intense than the dramatized version in the new series.
Rionne McAvoy, an Australian filmmaker who as a professional wrestler was hit with a stick by Matsumoto, said: “The actors often fail to capture the intensity, grit and charisma required for these roles.”
But for most viewers, it’s real enough and heartbreaking.
“This is an eternal but emotional story portraying ordinary girls who passionately pursued a dream, found friendship and also themselves,” director Kazuya Shiraishi said.
“It gave me a chance to reflect on my own 15-year filmmaking career, what I truly want to be, what kind of films I want to make. I just wanted to tell their story, which is also everyone’s story.”


Italian politician says Trump Jr shot rare duck in Venice

Italian politician says Trump Jr shot rare duck in Venice
Updated 05 February 2025
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Italian politician says Trump Jr shot rare duck in Venice

Italian politician says Trump Jr shot rare duck in Venice
  • Donald Trump Jr: ‘This is actually a rather uncommon duck (pointing at a orange-brown duck, the rare Ruddy Shelduck) for the area. Not even sure what it is in English’

ROME: An Italian regional politician said on Tuesday he had reported the son of US President Donald Trump for allegedly killing a protected species of duck while hunting in Venice lagoon.
Veneto region counsellor and environmentalist Andrea Zanoni said an online video from Field Ethos — published by the younger Trump and marketed as a “premier lifestyle publication for the unapologetic man” — showed “some people, including Donald Trump, Jr, killing various ducks.”
“In the video, Trump Jr is seen with a Ruddy Shelduck (Tadorna ferruginea) in the foreground — a duck that is very rare throughout Europe and protected by the European Union Birds Directive and Italian wildlife protection law,” Zanoni wrote on social media.
Zanoni said killing the protected bird was a crime.
Neither Zanoni nor Trump Jr immediately responded to a request for comment from AFP.
In the video, republished by the Corriere della Sera daily, Trump Jr is seen shooting at ducks from a shelter before addressing the camera.
“Great morning, lots of widgeon, teal. This is actually a rather uncommon duck for the area. Not even sure what it is in English,” Trump Jr says, pointing to an orange-brown duck among at least six other dead waterfowl around him.
Zanoni said he had filed a question to regional authorities to know “what sanctions it intends to impose.”
He asked if these would include suspending or revoking the license of the wildlife shooting company “and those responsible for acts in violation of Italian and European regulations.”
Zanoni said the video was filmed recently in the Pierimpie valley south of the city of Venice, a special conservation area protected by European regulations that is known as the Middle Lower Lagoon of Venice.
Regional hunting and fishing counsellor Cristiano Corazzari told Italian broadcaster Rai that Trump Jr had been invited to hunt in a “privately-owned area” within the reserve, and had received permission.
“We have verified, the papers are all in order,” he said, without mentioning the shooting of a protected species of duck.
Italy’s Environment Minister Gilberto Pichetto Fratin has requested a detailed report on the incident.
The Ruddy Shelduck spends the winter in South Asia and migrates to southeastern Europe and Central Asia to breed.


Nepal hikes Everest climbing fee by a third

Nepal hikes Everest climbing fee by a third
Updated 04 February 2025
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Nepal hikes Everest climbing fee by a third

Nepal hikes Everest climbing fee by a third

Katmandu: Nepal has hiked the cost of an Everest climbing permit by a third, arguing it will help tackle pollution and boost safety on the world’s highest mountain, the tourism chief said Tuesday.
Fees for the peak spring climbing season will rise from $11,000 to $15,000 for a permit to scale the 8,849-meter (29,032-foot) peak, Narayan Prasad Regmi, director general of the tourism department, told AFP.
“The cost had remained constant for a decade and it was high time to revise that,” he said.
Costs of climbing at less popular — and more demanding — times of year such as during winter or the monsoon rains have also risen at similar rates, including from $5,500 to $7,500 during the autumn season.
Nepal is home to eight of the world’s 14 peaks over 8,000 meters and welcomes thousands of climbers each year.
Foreign climbers already spend tens of thousands of dollars in their attempt to climb Everest, with more than 400 purchasing permits last year, bringing in around $4 million to government coffers.
The funds are put toward cleaning trash from the mountain left by climbers as well as search and rescue operations.
Mountaineering expedition companies hoped the price hike would not deter climbers, warning some might look to scale Everest through China.
“Some climbers might shift to Tibet where the facilities are much better,” said Mingma G Sherpa, who runs the Imagine Nepal mountaineering company, saying the fee must be spent on improving conditions.
“Our government just increases the royalty, but doesn’t do much,” he said.
“It needs to also provide support to the climbers and guides.”
Nepal has been criticized for allowing too many climbers on Everest while doing little to keep the peak clean.
Last year, the Nepal government ordered Everest mountaineers to carry mandatory trackers and carry bags to remove their excrement.
The fee increase was approved by the government in January, but was only published in the national gazette late Monday.


Think you can bellow like a stag? German hunters compete in a national deer calling championship

Think you can bellow like a stag? German hunters compete in a national deer calling championship
Updated 02 February 2025
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Think you can bellow like a stag? German hunters compete in a national deer calling championship

Think you can bellow like a stag? German hunters compete in a national deer calling championship
  • Unique tradition goes back hundreds of years and was initially aimed at feigning a stag’s rival during the rutting season so the deer comes out
  • A stag’s vocalizations are not only very diverse, but also vary according to age, state of mind and duration of the rut

DORTMUND, Germany: German hunters tried to convince the jury at a national stag calling championship that they can imitate a bellowing red deer most realistically.
The unique tradition goes back hundreds of years and was initially aimed at feigning a stag’s rival during the rutting season so the deer comes out. The trick gave hunters a chance to better assess the stag before deciding whether to shoot it.
The competition took place Friday at the Jagd & Hund, or hunting and dog, trade fair in the western city of Dortmund. There were no animals, only bellowing men wearing traditional hunters’ garb including green hats with a tuft of chamois hair.
The hunters used specially made ox horns, triton snail shells, glass cylinders, the hollow stems of the giant hogweed, and a number of artificially produced instruments to amplify the sound and resonance.
A stag’s vocalizations are not only very diverse, but also vary according to age, state of mind and duration of the rut, during which they become increasingly hoarse, as well as the mood of the herd, according to the organizers.
In Dortmund, the hunters were asked to compete in three disciplines: the call of the old, searching stag, the call of the dominant male in a pack of does, and the calling duel between two equally strong stags at the height of the rut. The members of the jury listened with closed eyes to make sure nothing would distract them from the sound.
“The stag calling for me, it’s the fascinating thing to play with the stags,” said Fabian Wenzel, who won the championship. “And maybe shoot an old stag after calling him — that’s the biggest thing for every hunter.”
Wenzel, a hunter from the small village of Nüdlingen in Bavaria, won the title for the fifth time in a row and will participate in the European Stag Calling Championships, which will take place in Lithuania in October.


Centuries-old Algerian indigenous tradition champions sharing

People attend a Tamechrit gathering, part of Algeria's Amazigh New Year's traditions, in Bajaia, on January 11, 2025. (AFP)
People attend a Tamechrit gathering, part of Algeria's Amazigh New Year's traditions, in Bajaia, on January 11, 2025. (AFP)
Updated 01 February 2025
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Centuries-old Algerian indigenous tradition champions sharing

People attend a Tamechrit gathering, part of Algeria's Amazigh New Year's traditions, in Bajaia, on January 11, 2025. (AFP)
  • Berbers are descendants of pre-Arab North Africans, whose historic homelands stretched from the Canary Isles and Morocco to the deserts of western Egypt

BEJAIA, Algeria: In a village nestled in the mountains of northeastern Algeria, locals and visitors gathered under a cold winter sky to celebrate Tamechrit, a centuries-old Berber tradition rooted in sharing.
Seeking to preserve a practice that faded during the Algerian civil war of the 1990s, villagers marked Tamechrit with Berber music and food on the occasion coinciding in January with the Amazigh new year.
The minority community of Berbers refer to themselves as the Amazigh, meaning “free people.” They have long fought for recognition for their ancient culture and language in modern states across North Africa.

Children dressed in traditional outfits watch as men prepare portions of meat as part of Algeria's Tamechrit, based on the Amazigh New Year's traditions, in Bajaia, on January 11, 2025. (AFP)

Berbers are descendants of pre-Arab North Africans, whose historic homelands stretched from the Canary Isles and Morocco to the deserts of western Egypt.
“We hope to perpetuate this tradition during cultural or religious festivals,” bringing together different people from the village and even those who have left, Dahmane Barbacha, a 41-year-old from Ath Atig village, told AFP.
Children wore temporary Amazigh face tattoos at the event that dates back to the 13th century, according to historian Saleh Ahmed Baroudi.

Men prepare portions of meat as part of Algeria's Tamechrit, based on the Amazigh New Year's traditions, in Bajaia, on January 11, 2025. (AFP)

Tamechrit means “offering” in Tamazight, the community’s language recognized as an official language alongside Arabic in Algeria.
It represents “an occasion for gathering, fraternity, and reconciliation between families” across Amazigh villages, said Baroudi, who teaches contemporary Algerian history.
Different regions of the country use other names for the custom, he added.
The merrymaking is also held to observe major Islamic events such as the fasting month of Ramadan, Prophet Muhammad’s birthday, and Ashura.
It is often held in Zawiyas, small places for worship and religious teaching, usually where a local saint or holy figure lived and was buried.
Baroudi said most of those sites are in mountainous regions, adding to the “spiritual dimension” of Tamechrit.

The festival begins days in advance, when men from the village collect donations to purchase cattle whose meat is later distributed equally among families.
During the event a communal meal — usually couscous prepared by village women — is served to everyone, regardless of social standing.
Ammar Benkherouf, a 36-year-old living in France, said he has been taking annual leaves in recent years to attend the ceremony.
“I can’t describe the happiness it brings me to help keep this heritage alive,” he told AFP.
By midday, the communal couscous is served to villagers and visitors while volunteers distribute the portioned meat around the village’s households.
Tamechrit had also been a tool for fostering solidarity during Algeria’s Independence War against French colonial rule from 1954-1962, according to Baroudi.
The ritual then faded during the country’s civil war between 1992 and 2002, a conflict between authorities and Islamist groups that claimed the lives of around 200,000 after the Islamic Salvation Front (FIS) party won municipal and legislative elections.
Tamechrit then “made a comeback in the early 2000s” with the end of the civil war, said Baroudi.
Today, Tamechrit continues to bring together villagers and resolve conflicts between them.
Farhat Medhous, a 31-year-old who heads a cultural association in Ath Atig, said his group now looks to “restore women’s participation in these traditions inherited from their ancestors.”
He said that, traditionally, women held their own gatherings in a separate area from the men’s, but their involvement diminished even after the civil war.
In addition, he added, the association aims at teaching the younger generations Tamechrit values, meaning sharing and reconciliation.
He said this year’s festivity was organized by villagers aged 18 to 40.
“We have held activities for children to teach them the values of volunteerism and community,” said Medhous. “This prepares them to preserve these traditions as they grow older.”
 

 


50 years on, Umm Kulthum is still the voice of the Arab world

A statue of the late Egyptian singer Umm Kulthum stands in the Zmalek district of Cairo on January 28, 2025. (AFP)
A statue of the late Egyptian singer Umm Kulthum stands in the Zmalek district of Cairo on January 28, 2025. (AFP)
Updated 01 February 2025
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50 years on, Umm Kulthum is still the voice of the Arab world

A statue of the late Egyptian singer Umm Kulthum stands in the Zmalek district of Cairo on January 28, 2025. (AFP)
  • More than 1,000 kilometers (600 miles) away, the same music poured out of Baghdad’s own Umm Kulthum cafe — open since 1970, five years before the singer’s death at 76 plunged the Arab world into mourning

CAIRO: Half a century after her death, Umm Kulthum’s singular voice still echoes through busy streets in Egypt, across time-worn cafes in Iraq, and in millions of homes from Morocco to Oman.
“As long as people listen to music, there will be Umm Kulthum,” said Abu Ahmed, the manager of a Cairo cafe named after the Arab world’s most revered singer.
“She still lives in every song and every note,” he told AFP, adjusting the volume on an antique recorder as visitors to the historic bazaar the cafe is housed in peered in from outside.

Umm Kulthum. (Supplied)

Sepia-toned photographs of the icon adorn the walls of Abu Ahmed’s cafe, alongside posters from her concerts.
As her voice in her most famous ballad, “Enta Omri” (You’re My Life), rose to a crescendo, conversation around a nearby table fell to a hush.
“Umm Kulthum is the voice of the nation,” Aya Khamis, 36, whispered as she sipped her tea.
On a wooden stall just outside, a vendor laid out tiny figurines of Umm Kulthum and her orchestra.
Each piece was carefully crafted — musicians in sharp suits, miniature renditions of classical instruments the qanun and the oud, and Umm Kulthum herself, with her signature scarf and sunglasses.
“These are my bestsellers,” said Shadi Said, 37, holding up a figurine of the singer.

More than 1,000 kilometers (600 miles) away, the same music poured out of Baghdad’s own Umm Kulthum cafe — open since 1970, five years before the singer’s death at 76 plunged the Arab world into mourning.
Far away from her state funeral in Cairo, the cafe in Baghdad held its own ceremony for bereaved fans like Iraqi engineer Youssef Hamad.
Now 77 and retired, Hamad told AFP he still comes to the same cafe every day to listen to Umm Kulthum’s hours-long concerts.
Another cafe-goer, Khazaal Abu Ali, struggled to put his love for her into words.
“She once sang ‘if a day passes without seeing you, it can’t count toward my lifetime’. That is how I feel,” the 83-year-old said, his eyes tearing up.
“A day without her voice is a day that is lost.”
Born in 1898 in a small Nile Delta village, Umm Kulthum rose from humble beginnings to become the most celebrated voice in the Arab world.
Her father, an imam, recognized her talent early on, but fearing the ire of early 20th-century Egyptian society, disguised her as a boy so she could perform in public.
Her full-bodied voice and magnetic presence soon captivated audiences, and in the 1930s, she moved to Cairo.
Her music revolutionized Arabic music, as she blended classical poetry with grand orchestral arrangements.
But it was her improvizations that made her a legend, feeding off the audience’s energy in a hypnotic exchange, as she stretched and reprised verses.
Western musicians were also mesmerised, with Maria Callas, Robert Plant and Bob Dylan all paying tribute to her.
“She is one of my favorite singers of all time,” Dylan once said.
More recently, Shakira and Beyonce have sampled her songs.

Her influence was not just musical.
Her voice became the soundtrack of a transforming Egypt, embodying a nascent nationalism, spirit of unity and a new republican identity after the monarchy was toppled in 1952.
In 1967, she performed at L’Olympia in Paris to a sold-out crowd, and donated the huge profit from ticket sales to the Egyptian army for its war against Israel, then occupying the Sinai Peninsula.
“Umm Kulthum was more than just a singer,” said veteran art critic Magda Khairallah.
“She was a national figure. That is why people did not just call her Umm Kulthum — they called her El-Set (The Lady),” she told AFP.
This year, her story is set to return to the big screen in a new biopic starring Egyptian star Mona Zaki.
The film will portray her not just as a musician, but also as a feminist figure challenging societal norms.
Though she eventually married at 56, Umm Kulthum never had children.
In the 1940s she became the first woman to head Egypt’s Musicians’ Syndicate.
“She was a woman who held immense power in a male-dominated industry,” Fayza Hendawi, an art critic, told AFP.
“She was incredibly strong and completely in control of every detail — her songs, her image, her choices in life,” she added.
In Cairo, a bronze statue of Umm Kulthum stands looking out on the Nile River 50 years after her death, commanding and timeless.
Across the water, a museum dedicated to her legacy offers glimpses into her world.
Visitors marvel at her ornate gowns, notebooks and the diamond-encrusted sunglasses that became her signature look.
Roaming the museum’s halls are mostly teenagers, a new generation of music-lovers still as enthralled as their elders.
Rodina Mohamed, 15, paused in front of a display case holding one of the singer’s embroidered gowns.
“She was intentional about every detail — lyrics, melodies, performance,” she told AFP.
“That is why she still matters.”