Todo en Morena es una simulación y una extorsión. No promueven el juicio político contra Samuel García porque lo van a utilizar y a extorsionar para que opere a favor de Morena en las próximas elecciones a gobernador. Samuel coopera con Morena o se va a la cárcel.
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After winning his sixth consecutive title in the Mr. Olympia Classic Physique in 2024, Chris Bumstead announced his retirement. Only to return a few weeks later and take second place at the Prague Pro, this time in the Open division. In his entire career, CBUM has never placed below third. A record that speaks for itself.
I always thought that at some point CBUM would seriously consider making that permanent jump. In his last two years in Classic Physique, it was obvious: his body kept growing, and his strength was pushing his muscles beyond what the division allowed. A monumental back and titanic legs force any competitor to the very limit of the weight cap in Classic. His physique simply no longer fit in that frame.
In Prague, CBUM’s incursion into the Open was more than successful. He finished only behind Martin Fitzwater, who seems to have made that stage his personal territory and defends it with impressive consistency. Fitzwater is ranked among the top ten bodybuilders in the world in the Open and has defeated former Mr. Olympia Samson Dauda. That’s no small rival for CBUM to face, and come so close to beating.
If CBUM had stayed in the Open, a top ten spot would have been practically guaranteed. But honestly, I don’t think that would have been enough for him. He wanted the top 3, and that would have required one or two more years of development. Perhaps that’s the most honest reason behind his decision.
He’s not the only one who has taken this path. Regan Grimes and Urs Kalecinski also made the same jump from Classic Physique to Open. Grimes has won several competitions in the category, though he has yet to crack the top 10 at Mr. Olympia. Urs won a couple of Open shows, but his Olympia debut left him outside the top 10. Both are focused on maturing their physiques, and neither will compete at the Olympia this year. They’re building something, and that takes time.
The most recent case is that of Spaniard Josema Beast. Last year he became the biggest prospect in Classic Physique by placing fourth at the 2025 Mr. Olympia Classic Physique. Many argue that Josema displayed the best condition of the entire contest that day. At over 100 kg on stage, he had reached the maximum weight limit allowed for his height in Classic. The decision was clear: instead of putting the brakes on his development, he decided to let go. Today he exceeds 130 kg off season, and in recent guest appearances he looks right on par with Open competitors. The jump is no longer a possibility, it’s a reality that is already taking shape.
It’s likely we won’t see him compete this year. But our imagination can barely grasp what this athlete could bring to the Mr. Olympia Open in 2027.
Although the 212 division has always been the natural feeder for the Open, everything indicates that next year Grimes, Kalecinski, and Josema will show something many don’t expect: that part of the future of the Open division is also coming from Classic Physique, and that the top 10 is no longer beyond their reach.
​
After winning his sixth consecutive title in the Mr. Olympia Classic Physique in 2024, Chris Bumstead announced his retirement. Only to return a few weeks later and take second place at the Prague Pro, this time in the Open division. In his entire career, CBUM has never placed below third. A record that speaks for itself.
I always thought that at some point CBUM would seriously consider making that permanent jump. In his last two years in Classic Physique, it was obvious: his body kept growing, and his strength was pushing his muscles beyond what the division allowed. A monumental back and titanic legs force any competitor to the very limit of the weight cap in Classic. His physique simply no longer fit in that frame.
In Prague, CBUM’s incursion into the Open was more than successful. He finished only behind Martin Fitzwater, who seems to have made that stage his personal territory and defends it with impressive consistency. Fitzwater is ranked among the top ten bodybuilders in the world in the Open and has defeated former Mr. Olympia Samson Dauda. That’s no small rival for CBUM to face, and come so close to beating.
If CBUM had stayed in the Open, a top ten spot would have been practically guaranteed. But honestly, I don’t think that would have been enough for him. He wanted the top 3, and that would have required one or two more years of development. Perhaps that’s the most honest reason behind his decision.
He’s not the only one who has taken this path. Regan Grimes and Urs Kalecinski also made the same jump from Classic Physique to Open. Grimes has won several competitions in the category, though he has yet to crack the top 10 at Mr. Olympia. Urs won a couple of Open shows, but his Olympia debut left him outside the top 10. Both are focused on maturing their physiques, and neither will compete at the Olympia this year. They’re building something, and that takes time.
The most recent case is that of Spaniard Josema Beast. Last year he became the biggest prospect in Classic Physique by placing fourth at the 2025 Mr. Olympia Classic Physique. Many argue that Josema displayed the best condition of the entire contest that day. At over 100 kg on stage, he had reached the maximum weight limit allowed for his height in Classic. The decision was clear: instead of putting the brakes on his development, he decided to let go. Today he exceeds 130 kg off season, and in recent guest appearances he looks right on par with Open competitors. The jump is no longer a possibility, it’s a reality that is already taking shape.
It’s likely we won’t see him compete this year. But our imagination can barely grasp what this athlete could bring to the Mr. Olympia Open in 2027.
Although the 212 division has always been the natural feeder for the Open, everything indicates that next year Grimes, Kalecinski, and Josema will show something many don’t expect: that part of the future of the Open division is also coming from Classic Physique, and that the top 10 is no longer beyond their reach.
A hybrid of NWOBHM’s riff precision and hardcore punk’s raw velocity. Fast palm muted guitar riffs, snarled vocals, relentless double bass drumming, and lyrics steeped in social rage, dystopia, and anti authority.
Metallica – Master of Puppets (1986): One of the greatest metal album of all time, perfected the "thrash epic" structure.
Slayer – Reign in Blood (1986): 28 minutes of relentless brutality. The most influential album for the birth of death metal.
Megadeth – Rust in Peace (1990): Pinnacle of technical thrash. Marty Friedman’s lead work and Dave Mustaine’s complex riffing created "shred" thrash.
Anthrax – Among the Living (1987): The definitive New York thrash record, High speed riffs with a hardcore punk energy.
Metallica – Ride the Lightning (1984): This album proved thrash could be sophisticated and melodic without losing its edge.
Exodus – Bonded by Blood (1985): Raw and violent. Metallica were the pioneers, Exodus were pure chaos and adrenaline.
Dark Angel – Darkness Descends
(1986): A masterclass in "caffeine thrash." One of the few albums that can rival Reign in Blood for sheer velocity.
Sepultura – Beneath the Remains (1989): Brazil’s greatest contribution to the genre. Brought intensity and world class technicality to the global stage.
Kreator – Pleasure to Kill (1986): crown jewel of German thrash. Darker, and uglier than its American counterparts.
Sodom – Agent Orange (1989): Another German titan, ear themed lyrics and "motorhead on steroids" groove.
A hybrid of NWOBHM’s riff precision and hardcore punk’s raw velocity. Fast palm muted guitar riffs, snarled vocals, relentless double bass drumming, and lyrics steeped in social rage, dystopia, and anti authority.
Metallica – Master of Puppets (1986): One of the greatest metal album of all time, perfected the "thrash epic" structure.
Slayer – Reign in Blood (1986): 28 minutes of relentless brutality. The most influential album for the birth of death metal.
Megadeth – Rust in Peace (1990): Pinnacle of technical thrash. Marty Friedman’s lead work and Dave Mustaine’s complex riffing created "shred" thrash.
Anthrax – Among the Living (1987): The definitive New York thrash record, High speed riffs with a hardcore punk energy.
Metallica – Ride the Lightning (1984): This album proved thrash could be sophisticated and melodic without losing its edge.
Exodus – Bonded by Blood (1985): Raw and violent. Metallica were the pioneers, Exodus were pure chaos and adrenaline.
Dark Angel – Darkness Descends
(1986): A masterclass in "caffeine thrash." One of the few albums that can rival Reign in Blood for sheer velocity.
Sepultura – Beneath the Remains (1989): Brazil’s greatest contribution to the genre. Brought intensity and world class technicality to the global stage.
Kreator – Pleasure to Kill (1986): crown jewel of German thrash. Darker, and uglier than its American counterparts.
Sodom – Agent Orange (1989): Another German titan, ear themed lyrics and "motorhead on steroids" groove.
A hybrid of NWOBHM’s riff precision and hardcore punk’s raw velocity. Fast palm muted guitar riffs, snarled vocals, relentless double bass drumming, and lyrics steeped in social rage, dystopia, and anti authority.
Metallica – Master of Puppets (1986): One of the greatest metal album of all time, perfected the "thrash epic" structure.
Slayer – Reign in Blood (1986): 28 minutes of relentless brutality. The most influential album for the birth of death metal.
Megadeth – Rust in Peace (1990): Pinnacle of technical thrash. Marty Friedman’s lead work and Dave Mustaine’s complex riffing created "shred" thrash.
Anthrax – Among the Living (1987): The definitive New York thrash record, High speed riffs with a hardcore punk energy.
Metallica – Ride the Lightning (1984): This album proved thrash could be sophisticated and melodic without losing its edge.
Exodus – Bonded by Blood (1985): Raw and violent. Metallica were the pioneers, Exodus were pure chaos and adrenaline.
Dark Angel – Darkness Descends
(1986): A masterclass in "caffeine thrash." One of the few albums that can rival Reign in Blood for sheer velocity.
Sepultura – Beneath the Remains (1989): Brazil’s greatest contribution to the genre. Brought intensity and world class technicality to the global stage.
Kreator – Pleasure to Kill (1986): crown jewel of German thrash. Darker, and uglier than its American counterparts.
Sodom – Agent Orange (1989): Another German titan, ear themed lyrics and "motorhead on steroids" groove.
100 dólares al mes por escribir y dejar su trabajo en la oficina postal fue la oferta que Charles Bukowski no pudo rechazar. El editor John Martin estaba fascinado con el manuscrito que Bukowski le había presentado. Cartero (Post Office) era el resultado de una década de trabajo en la oficina postal, experiencia que le dejó claro a Bukowski que el sueño americano era un cadáver.
El alcohol y la música clásica fueron la fuerza que lo ayudaron a sobrevivir a aquella oscura burocracia. Sibelius, Mahler y la cerveza barata dictaron cada una de las palabras con las que Bukowski armó Cartero en apenas 21 días de obsesión literaria.
Cartero fue su declaración de guerra, bajo el alter ego de Henry Chinaski, contra un sistema que reduce a los humanos a números. Bukowski no sería profeta en su tierra: la novela le daría fama en Europa, mientras que en Estados Unidos fue considerada demasiado radical.
En los círculos literarios, Bukowski fue visto como el nuevo Kafka, atrapado en el absurdo mundo de la burocracia estadounidense. Altas dosis de humor negro fueron su arma favorita. Siempre me ha sonado como un Tom Waits, pero acompañado por los Stooges.
The Devil, in reality, never wore Prada. Anna Wintour, editor in chief of Vogue and the real life inspiration for Miranda Priestly, has always been more closely associated with Chanel (currently the most popular brand according to the Lyst Index). But for marketing purposes, Prada sounded better. If Malcolm in the Middle could make a triumphant return after 20 years, why couldn’t The Devil Wears Prada?
Everything I know about fashion I learned from watching The Devil Wears Prada, Ugly Betty, and Sex and the City about ten times with my wife and daughters. The Devil Wears Prada 2 is a romantic comedy, a romcom, as they call it (or is it a doom-rom?), though this time I honestly saw less romance than in the first film. It reminded me of what I felt with Materialists: something darker lurking beneath the surface of the romantic comedy. Nostalgia returns once again as narrative fuel, but it isn’t overused here. Instead, there’s a clear dissection of the present that I found far more interesting than any trip to the past. Slavoj Žižek and I could easily have been watching a completely different movie from the one many others saw in the same theater.
This time, Miranda Priestly, Andy Sachs, Emily Charlton, and Nigel face an almost catastrophic scenario: the editorial world of the first film is collapsing under the onslaught of the digital age, algorithms, and ephemeral content. What was once pure power is now fighting for survival. Even the once prestigious Runway magazine, led by Priestly, is in danger of disappearing. Ironically, the first film introduced many people to the world of high fashion, the second now announces the beginning of its collapse.
You can’t expect anything less from Meryl Streep, Anne Hathaway, and Emily Blunt. Joining the original cast are some heavy hitters: Lucy Liu (the iconic O-Ren Ishii from Kill Bill), Kenneth Branagh (the brutal Andrei Sator from Tenet), and Justin Theroux (the memorable Kevin Garvey from The Leftovers). The main duo must find a way to save print magazines, and in this historical moment, that’s almost like trying to save something the world has already decided to let die.
And there lies the film’s great revelation: the devil is no longer Miranda Priestly. The devil is now obsolescence. That observation carries enormous weight when, in real life, we see Jeff Bezos showing up at Paris Fashion Week shortly after firing hundreds of Washington Post staff via email, or Mark Zuckerberg sitting front row next to Miuccia Prada. Fiction and reality stare each other in the eye, and neither blinks.
The film’s true wager, beyond the romcom tradition, is the survival of high fashion and the print media that supports it. Today, designs shown on the runway can be replicated in days and sold in accessible versions thanks to artificial intelligence, just as Zara does. And now Zara has John Galliano. Trends have moved past fast fashion into ultra fast fashion, changing almost daily according to the dictates of TikTok and Shein. We live in a time when the highest possible compliment is to be called “iconic” (as Meryl Streep is), just as Justin Bieber called his wife Hailey, and that word no longer belongs to anyone in particular because everyone has claimed it at once.
At one point in the story, the heir to the publishing company that owns Runway decides to sell it to one of the so-called “tech bros”, someone who could be Bezos, Zuckerberg, or Elon Musk: a person who has no idea what to do with it, exactly as happened with Bezos and The Washington Post, or Musk and Twitter. It’s no longer just about power. It’s also about obsolescence and reinvention.
Including Lady Gaga’s appearance in the film is no coincidence. Gaga is trapped in that same triangle of power, obsolescence, and reinvention that Madonna experienced, at a time when figures from the new hyperpop scene like Charli XCX seem to have seized the vanguard from her. The question no one asks out loud is how long it takes for a vanguard to become nostalgia.
Perhaps the answer is in the Björk T shirt Andy wears in one scene. Björk doesn’t just step away from the spotlight when she wants to. She dictates her own fashion, sets her own trends, and reinvents herself with every album without asking anyone’s permission. In a world that sheds its skin every 48 hours, that is no longer eccentricity. That is power. Lucy Liu's character, Sasha Barnes, could very well be a portrayal of MacKenzie Scott, Jeff Bezos's ex wife, or perhaps Priscilla Chan, Mark Zuckerberg's wife. Or maybe she's just Björk.
I think that if the devil dressed in high fashion, she would wear Balenciaga, Vetements, or perhaps Comme des Garçons, brands that don’t follow trends because they themselves decide what a trend is. Björk operates with exactly that same logic.
Maybe she was the one who taught the devil how to dress.