Le 24 et 25 mars prochain, la 6e édition d’Exclusive Drive accueillera pour la première fois le challenge automobile « Talon Pointe » organisée par Sandra Sisley. Un événement à but caritatif réservé à des personnalités féminines. Le but : se défier sur le mythique circuit du Mans afin de récolter des fonds pour des associations. Au volant de voitures Abarth, partenaire officiel de l’opération, les trois premières participantes recevront une dotation pour l’association qu’elles représentent. Au casting, la designer et décoratrice d’intérieur Sarah Lavoine. Rencontre.
Paris Match. Qu’est ce qui vous a donné envie de participer à ce challenge ? Sarah Lavoine. Mon amie Sandra Sisley. Elle a une telle énergie et force de conviction !
Quelle association représentez-vous ? Depuis de nombreuses années je soutiens “Paris Tout P’tits”. Cette association apporte une aide alimentaire et des soins aux bébés de 0 à 18 mois. Tout ce qui a trait à l’enfance me motive !
Le milieu de l’automobile, les voitures, est-ce un hobby ? J’adore les bagnoles et la vitesse ! Lorsque l’occasion se présente, je fais du kart. Mes parents m’ont dit que j’ai été conçue dans une caravane sur le circuit des 24h du Mans. (Rires)
Quelle voiture conduisez-vous au quotidien ? J’ai une Abarth 500, ce qui me donne un léger avantage sur les autres concurrentes puisque nous conduirons cette voiture, que je maitrise bien !
Quand avez-vous eu le permis de conduire ? Je l’ai eu en poche à 18 ans et une semaine. Je n’attendais que cela depuis des années. J’avais envie de liberté, et à cette époque, il n’y avait pas encore de Uber. J’ai l’impression que les enfants d’aujourd’hui n’ont pas cette même obsession. J’ai dû forcer ma fille à passer son permis…
Lire aussi.Laurie Cholewa, une course automobile pour la bonne cause
La course automobile est un univers réputé très masculin… Récemment la décision a été prise de supprimer les “grid girl” (les filles sexy sur les grilles de départ des Grand Prix F1). Qu’en pensez-vous ? J’ai un côté très mec. Je ne suis pas du tout féministe même si bien évidemment je suis totalement pour l’égalité homme/femme. Si ces filles le font sans être forcées, je ne vois pas où est le mal. L’important c’est qu’elles gardent leur liberté. Quelle est la prochaine étape ? Supprimer les filles sur les rings de boxe ?
How Metal Gear Survive brought one of the greatest video game stories to a strange, cynical end.
Metal Gear Survive is far and away one of the strangest games to be released in this or any year. It positions itself as a spin-off or side-story to Metal Gear Solid V: The Phantom Pain—one of the best games ever made—and you likely wouldn’t believe its premise if I told you. Lucky for you, I’m gonna tell you anyway! Metal Gear Survive is what happens when the prologue of Metal Gear Solid V—an attack on a mercenary army’s offshore base of operations—is interrupted by a portal to hell opening up and sucking you and a bunch of other soldiers into it. This hell-dimension is called Dite, and the bulk of the game involves you, a nameless soldier, trying to survive in Dite—a barren wasteland crawling with zombies. That’s…pretty much it.
Despite the absurdity of all this being delivered to you with a deathly straight face, the sheer effort with which Metal Gear Survive contorts itself to fit into the narrative of a much better game isn’t nearly the weirdest thing about it. That it exists at all is an even wilder. Metal Gear Solid V was, ostensibly, going to be the last game in the series. That was the presumption when the creator of Metal Gear, Hideo Kojima—one of a mere handful of game designers whose name is known by the people who play their games (partly because he puts it everywhere)—had a falling out with his publisher, Konami. Kojima was fired before the game was done, his name was scrubbed from the cover, and the Metal Gear series never really got a proper ending.
With Kojima gone, it seemed like Metal Gear was, too. It’s dishonest to act like any one person is the sole creative force on a game—artist Yoji Shinkawa, designer Shuyo Murata, and countless others have helped make these games the landmark work they are today—but in the public consciousness, Kojima wasMetal Gear. And there was nothing like Metal Gear.
In a medium that, at times, can seem void of ideas, Metal Gear had more than it knew what to do with. It used the absurdity of video games—an absurdity it actively cultivated, with literal potty humor (characters shitting their pants was a recurring gag), jokes that broke the fourth wall to screw with the player, and a tendency to indulge in eye candy—as an excuse to indulge in philosophical diatribes about the nature of war and existence.
Where the primary language of blockbuster video games is violence, Metal Gear labored to make it optional, while exploring the ways violence is inflicted on the masses that don’t involve the barrel of a gun. In 1998, it posited the danger of memes—viral ideology as a means of fomenting dissent. 2001′s Metal Gear Solid 2: Sons of Liberty explored information as violence, how its ebb and flow gives select few power and withholds it from others—the power of fake news. Metal Gear Solid 3: Snake Eater was about patriotism, the ways it is warped and wielded to turn good people into instruments of cruelty. Metal Gear Solid 4: Guns of the Patriots ruminated on economics, how the profitability of war demands that we always be at war, funding armed conflict by proxy. And Metal Gear Solid V: The Phantom Pain was explicitly about the culture war, how ethno-nationalist sentiment is, in some ways, a new, slower-moving nuclear bomb threatening to engulf us all.
Depending on where you stand, this makes the existence of Metal Gear Survive, and its utter lack of ideas, either darkly funny or downright insulting. Maybe it’s a little of both. Most likely, it’s just pragmatism.
As an industry, video games have had a strong self-conscious streak about whether or not they are “art.” It’s a weird debate to have; few creative endeavors are more nakedly commercial than video games and it shows: individual studios, let alone designers, are rarely afforded the opportunity to have their names associated with games, no matter how popular. You know how many studios worked on Star Wars Battlefront II? Three: one for every component of the game (multiplayer, single player, and all things regarding spaceships). You know how many studios make Call of Duty games? Also three—Treyarch, Infinity Ward, and Sledgehammer Games have a three-year alternating schedule, so publisher Activision can have a Call of Duty game hitting stores every November. And if your studio becomes famous—like BioWare—odds are it’ll become a brand name attached to multiple shops by your publisher, leaving your reputation spread thin and close to meaningless. The games industry isn’t built to value idiosyncrasy and expression. It’s built to swap out parts and keep the engine running.
It’s a miracle that Metal Gear lived as long as it did, and got to be all the things it was, and that the quiet man behind it achieved any level of fame at all. Hideo Kojima does not publicly speak in English often, nor does he really speak much at all outside of a select few well-known interests. They are, as his Twitter will attest to, mostly food and sometimes La La Land. He doesn’t really talk about games, or his personal life, or much of anything else outside of cryptic teases for his first big post-Metal Gear game, *Death Stranding*—which no one knows anything about other than the fact that it stars Norman Reedus, Mads Mikkelsen, and Guillermo del Toro and features a lot of imagery revolving around ecological disaster and male pregnancy. In other words, Hideo Kojima is doing fine.
Metal Gear, however, has died—with a game ironically (or fittingly?) subtitled Survive, full of the shambling, reconstituted remains of what it once was. It is anti-art, a corporate salvage expedition, a game that trades trafficking in ideas for the busywork of maintenance. It’s hard to imagine a more cynical game arriving in all of 2018. Survive is literally the very thing it asks you to fight—a zombie made from the parts of Metal Gear Solid V. It holds you in its thrall by giving you countless meters to stress over: one for hunger, one for thirst, each of those affecting your health and stamina. If you eat raw food or drink dirty water, you risk illness—another meter that you’ll have to watch tick down. Survive is defined my scarcity: of resources, of ideas, of narrative.
Honestly, I kind of like it. Metal Gear Survive is a pile of tangled systems, discrete goals strung together with concrete rewards. I can get good at Metal Gear Survive. I can learn it, and win. It’s a video game, one that works as video games are intended to. Of course this is how Metal Gear ends—as the video game it never was.
Is Ben Simmons a Unicorn?
How America Can Stop Mass Shootings, From the Country that Already Did
After recent takes on its Mercurial football boots from Kim Jones and Virgil Abloh, Nike has celebrated the silhouette’s 20th anniversary with a new all-black version. The new release is the second “What the Mercurial?” drop from Nike, and takes a very different approach to 2016’s installment, which saw colors and patterns from previous boots mixed together.
For this version, Nike has taken the Mercurial Superfly 360 silhouette, which is based around an advanced Flyknit construction. This material features subtle nods and references to the Mercurial’s history, which appear across the all-black upper. Take a look at the 20th anniversary “What the Mercurial” above. To celebrate the year of the Mercurial’s debut, only 1998 pairs of the boots will release, with 20 dropping at NikeLab Milan on March 8 before the rest make their way to the Nike web store and select retailers on March 12.
In related news, read what PSG star Kylian Mbappé had to say on his sneaker obsession and love of football.
Aly Raisman has become an proud ally to victims of sexual assault after coming forward with her harrowing story of how former U.S. Olympic Gymnastics doctor Larry Nassar abused her and other female athletes for decades. The whole time, Raisman has also blasted the United States Olympic Committee and USA Gymnastics for not doing enough to protect the women and girls who suffered at the hands of Nassar, and now she’s doubling down on her charges with a lawsuit against the organizations.
Through court papers filed in California this week, Raisman maintains that the organizations knew—or should have known—about Nassar’s abuse, but still didn’t do enough to shield young athletes. ESPN reports that the filing claims negligence by the USOC and USA Gymnastics and alleges that the organizations failed to follow proper protocols to monitor Nassar’s behavior.
Raisman has pointed these flaws out before. She called out USOC and USA Gymnastics in August for sweeping cases of sexual abuse under the rug, saying, “I just would like a little more accountability from USA Gymnastics and the USOC…. I feel like there’s a lot of articles about it, but nobody has said, ‘This is horrible. This is what we’re doing to to change.’” USA Gymnastics had said they wanted to work with Raisman to address issues of assault, but they had been criticized for working too slowly. Raisman’s lawsuit demands organizations to finally take full responsibility.
“I refuse to wait any longer for these organizations to do the right thing. It is my hope that the legal process will hold them accountable and enable the change that is so desperately needed,” she said in a statement.
Nassar worked for USA Gymnastics for almost three decades. According to NBC, Raisman’s lawsuit details the way he was given access to female athletes as they trained. The suit also offers damning details, such as an allegation that that even with a USA gymnastics trainer present in the room, Nassar would penetrate girls with bare hands, saying it was for therapy purposes—and sometimes he had an erection. Still, no organization or official acted to stopped him from abusing his victims.
Nassar, who is now serving multiple prison sentences, also worked as a doctor at Michigan State University until 2016. He is accused of sexually molesting multiple students and faces a hearing on related charges. The Department of Education recently announced a Title IX investigation into how MSU handled his behavior.
Raisman, who won gold medals for the U.S. gymnastics teams in 2012 and 2016, detailed the abuse she faced in her 2017 autobiography, Fierce: How Competing for Myself Changed Everything, and made her voice heard with powerful testimony at Nassar’s court hearings in January. She’s continued empowering women on social media and participated in an intimate photo shoot for last month’s Sports Illustrated Swimsuit Issue, in which she posed with nothing but inspiring messages written on her nude body. Her lawsuit is in keeping with what we’ve learned is her way of doing things—grabbing the reins and taking matters into her own hands.
“After all this time, they remain unwilling to conduct a full investigation, and without a solid understanding of how this happened, it is delusional to think sufficient changes can be implemented,” she said in a statement.
Environmental Protection Agency administrator Scott Pruitt refuses to accept the theory of anthropogenic global warming, so it probably does not come as an enormous shock that Pruitt also refuses to accept the theory of evolution by natural selection. “There aren’t sufficient scientific facts to establish the theory of evolution,” Pruitt told a radio host in 2005, in tapes obtained by Politico.
Pruitt also expressed a number of other orthodox theocratic right-wing views, many of which he framed as part of his religious worldview. An EPA spokesman, asked about whether Pruitt’s skepticism of scientific conclusions conflicts with his mandate to follow science at the EPA, tells Politico, “If you’re insinuating that a Christian should not serve in capacity as EPA administrator, that is offensive and a question that does not warrant any further attention.”
That’s not what anybody was insinuating. Anyway, it’s 2018, and the administrator of the agency charged with assessing environmental threats and protecting against them is a kook who rejects out of hand any scientific theory that implies any revision of any right-wing belief whatsoever, including the right of companies to dump endless amounts of greenhouse gases into the atmosphere for free.
And the official position of the agency is that its head can disbelieve any scientific theory that offends his religion, and has no obligation to clarify his own beliefs, and if you have any questions about this, you’re a bigot.
La reina Letizia se encuentra hoy en Santigo de Compostela con ocasión de la presentación de ‘Digitalizadas’, un programa centrado en la alfabetización digital de mujeres del rural. Concretamente se ha celebrado en el Parador Reyes Católicos donde hemos visto a la reina desafiar el temporal con su estilismo.
Y es que el tiempo en Galicia estos días está realmente revuelto con el paso del temporal Emma que está dejando a su paso desde nieve, a fuertes rachas de viento y lluvia, con temperaturas no muy agradables. Sin embargo, ello no ha impedido para que doña Letizia haya estrenado un vestido muy femenino de Bottega Veneta, de 2.460 dólares (casi 2.000 €), con escote en V y bordados de mariposas en negro, con pliegues cosidos en la cintura que le dan un toque romántico sutil.
El look lo ha completado con una cartera de mano negra de Felipe Varela. y unos salones también negros de Prada dando un resultado perfecto, aunque no muy apto para las circunstancias climatológicas, dicho de de paso.
Eso sí, a la salida del Parador, doña Letizia ha decidido enfundarse en su precioso abrigo de lana de Hugo Boss con el que plantar cara mejor al frío gallego.
Fotos | Gtres
En Trendencias | En sus últimas apariciones nos había arrebatado, pero la reina Letizia vuelve a su lado más aburrido repitiendo look