#Kurt Albrecht

[el-delacruz]

GOOGLE // Your Life with Pixel // LENNOX STORY from Stefanie Soho on Vimeo.

Lennox is heartbroken about the fight he had with his best friend, with whom he’s secretly in love. Instead of confessing his love, he pushed her away. Now he’s figuring out how to make it up.

This is the Director’s Cut. ______

Client: Google Brand Marketing Manager: Alexa Rose Head of Brand & Creative: Jakob Kriwat Creative Strategy: Janosch Einck Associate Product Marketing Manager: Mariya Kvitka

Agency: Anomaly Berlin Managing Partner: Simon Owen Managing Director: David Barton Creative Director: Anna Nowok, Henrik Edelbring Business Director: Amelie Schad Project Manager: Kurt Mattich Creative: Anna Broujean Creative 2nd Unit: Greg Marangon Copywriter: Fabiot von Falkenhayn Senior Producer: Roy Ami Production Assistant: Aliaa Salaheldin

Production: BWGTBLD GmbH Managing Partner: Jakob Preischl Kryptonite-Wrangler: Philipp Ramhofer Producer: Rayk Hawlitschek, Greta Mueller Production Coordinator: Johanna Katz Team: Alex Göke, Leonor Alexandrino, Louise Wachtmeister, Theo Fleury, Prodromos Antoniadis Production Manager: Steffen Gregorowius Production Assistant: Sophia Repp Set Manager: Marc Drobny

Director: Stefanie Soho DOP: Christophe Colette 2nd Unit Director: Lukas Keuchel 2nd Unit DoP: Moritz Matlik

1st AD: Matthias Nerlich Script Supervision: Jackie Jansen 2nd Unit AD: Imri Kahn 1st AC: Tom Zylla 2nd AC: Simon Wandelt Key Grip: Olando Gübel Gaffer: Albrecht Silberberger DIT: Frank Hellwig Sound Recordist: Manuel Vogt Production Design: Tommy Stark H&M: Nadin Wagner, Kieu Anh Duong Styling: Julia Quante Casting: Vollmar Casting Cast: Lapo Hans Schleifer & Lillemore Leistenschneider Post Producer: Johannes Böttge Edit: Jacob Ipsen Music: Alexis Troy Sound Design & Mix: Moritz Staub Color: Nicke Cantarelli VFX: NHB Berlin Online: Marvin Kühner

[leanstooneside]

Assisted senton

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[the-bar-sinister]

Member tags

Emoji pairs are for tagging and used as signatures.

Harry🌺😈 || AKA: Alfred Ashford, Harry Osborn, Jade Harley, Pizzazz, Yukari Takenba, Lorenz Hellman, Gloucester, Hiyoko Saionji, Iris Watson

Toko/Jack 😼🔪 || AKA: Karl Heisenberg, Akira Kurusu, Toko Fukawa & Genocide Jack, Jeritza Von Hrym, Captain Spinneret Mindfang, Vriksa Serket, Ocelot, Sabretooth, Yuujin Mikotoba

Hal 💻🔪|| aka: Karl Heisenberg, Toko Fukawa & Genocide Jack, Jeritza Von Hrym, Otacon, Otacon. Doug Ramsey, Aranea Serket, Ryunosuke Naruhodo

Akechi 🌀😎|| AKA: Goro Akechi, Xelloss, Nagito Komaeda, Albert Wesker, Cronus Ampora, Kazuma Asogi

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Chris 💪🔫|| AKA: Chris Redfield, Equius Zahhak, Jean-Paul Beaubier, Balthus von Albrecht, Nekomaru Nidai, Reiji Kido

Hubert 🦇👁|| AKA: Hubert Von Vestra, Bela Dimitrescu, Irene Adler (Marvel), Katsuya Sudou, Nagisa Shingetsu, Inspector Hosonaga

Dirk 🕷😎|| AKA: Ben Reilly, Dirk Strider, Leon Kuwata, Eikichi Mishina, Eric Raymond, mByleth, Phoenix Wright

Kazuichi 🕷🛠️|| AKA: Kazuichi Soda, Leon Kennedy, Robo Dirk Strider, Peter Parker, Junpei Iori, Claude von Riegan, Phoenix Wright

Kotoko 🎀💖|| AKA: Jasmine Harley (Homestuck), Kotoko Utsugi, Chie Satonaka, Pearl Fey

Trevor 🔫🍳|| AKA: Trevor Phillis, Dedue Molinaro, Teruteru Hanamura, Billy Coen, Kurloz Makara, Ryotaro Dojima

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Jane 💀🎂 || AKA: Jane Crocker, Wendy Darling, Fuuka Yamagishi, Betsy Braddock, Springfield (Girls Frontline)

Kurt 👿🎭 || AKA: Kurt Wagner, Ignatz Victor, Jataro Kemuri

[korrektheiten]

Was ich an Deutschland immer geliebt habe …

Tichy:»Johann Sebastian Bach; Bauhaus Dessau; Kölner Dom; Schwarzwald; Dresdner Frauenkirche; Till Eulenspiegel; Johannes Gutenberg; Marlene Dietrich, Elbsandsteingebirge; Caspar David Friedrich; Immanuel Kant; Oktoberfest; Marlene Dietrich; Reformation; Sylt; Johann Wolfgang von Goethe; Friedrich Schiller; Weimar, Max & Moritz; Spreewald; Brandenburger Tor, Kurt Tucholsky; Hildegard von Bingen; Bayreuth; Oberammergauer Festspiele; Lufthansa; Brüder Grimm; Albrecht Dürer; Romantik; Ludwig Der Beitrag Was ich an Deutschland immer geliebt habe … erschien zuerst auf Tichys Einblick. http://dlvr.it/Slt1NH «

[xtruss]

Analysis: The True Power Center of Germany Isn’t Berlin

If you want to understand German politicians, and their approach to policy, you have to look to a quiet regional capital.

— By Alexander Clarkson, A Lecturer in German and European Studies at King's College London. | January 29, 2023

Stefan Schostock, mayor of the town of Hanover, hands over a present to former German Chancellor Gerhard Schroeder at a reception to celebrate his 70th birthday at City Hall on April 7, 2014 in Hanover, Germany. Alexander Koerner/Getty Images

When you arrive by train in the German city of Hannover, a regional capital of more than half a million people, very little stands out as unique. On the approach from Berlin, you pass quiet suburbs before your train rolls through a city center made up of a jumble of 19th- and 20th-century architectural styles. Once you leave the railway station, you’ll find yourself walking past a statue of Ernst August, one of Hannover’s 19th-century kings, before turning toward the regional parliament of Lower Saxony, the German state of which Hannover is the capital.

The unspectacular urban landscape of a city that is neither uniquely beautiful nor overwhelmingly ugly has led many to ignore it as they travel onward to larger cities that have captured the global imagination. Yet this provincial facade is highly deceptive. For a region of 8 million people that is widely mocked for being boring, Lower Saxony has over the past three decades generated power networks that play a central role in German politics. Those networks are legible today in the rise to power of Germany’s new defense minister and the co-chairman of the ruling Social Democratic Party (SPD), among other senior officials.

Growing up in Hannover, I experienced an environment that was both small enough for everyone to know everyone else in political, business, and cultural circles yet large enough to be connected with global flows of information and capital. With Hannover as its provincial metropolis, Lower Saxony is defined by a parochial cosmopolitanism that shapes the social outlook of its political elites before they go on to major roles in national politics. To understand the German government and its distinctive approach to policy, it helps to first understand Lower Saxony.

The special role Lower Saxon politicians play as power brokers in the politics of the Federal Republic is a recent phenomenon. Until the early 1970s, politicians from the Rhineland or Baden-Württemberg dominated the Christian Democratic Union (CDU) under Chancellors Konrad Adenauer and Kurt Georg Kiesinger. The hegemony the Christian Social Union exerted over Bavaria gave its leadership a substantial role through its alliance with the CDU. In Lower Saxony, by contrast, the existence of a rival center-right party in Heinrich Hellwege’s German Party meant that the CDU struggled to build a strong position until the German Party and the CDU merged in 1961.

Despite the SPD’s strength in factory towns dominated by Volkswagen, such as Wolfsburg and Salzgitter, the even greater strength of the party in the Ruhr region and Hamburg meant that its Lower Saxon leadership would play only a secondary role on the national stage. In the first SPD-led government under Chancellor Willy Brandt in the early 1970s, Social Democrats from Lower Saxony often felt outmaneuvered by party bosses from other regions.

Lower Saxony’s shift from out of this marginal position gained momentum in the 1970s. Under SPD Mayor Herbert Schmalstieg, who managed to rack up an extraordinary 34 years in office between 1972 and 2006, Hannover’s infrastructure was extensively modernized. This period also saw the emergence of figures such as Gerhard Schröder, Sigmar Gabriel, Frank-Walter Steinmeier, Boris Pistorius, and Thomas Oppermann, who would rise through the ranks in Lower Saxony before going on to dominate the national SPD by the late 1990s.

On the regional level, Ernst Albrecht’s period as CDU minister-president of Lower Saxony between 1976 and 1990 witnessed economic growth propelled by Volkswagen’s rise as a global player in the automotive sector. Albrecht’s pragmatic style, and even liberal instincts over such issues as South Vietnamese refugee migration, proved a major influence on a generation of younger politicians. Albrecht’s blend of relatively liberal economic and social politics with conservative family values influenced the approach of figures who rose up the ranks in the Lower Saxon CDU in the 1990s and early 2000s, including his daughter, Ursula von der Leyen, the current president of the European Commission.

Albrecht’s defeat by Schröder in the 1990 regional elections marked the consolidation of this Lower Saxon political model. Rather than marking a break with Albrecht’s style of government, the SPD under Schröder adopted his predecessor’s pragmatic style.

But beyond this tradition of pragmatic centrism, the politics of Lower Saxony have long been shaped by its local political economy, specifically its tradition of industrial policy. With the Lower Saxon regional government holding a 20 percent share of Volkswagen since World War II, the boundaries between the state, big business, and trade unions have long been blurred. Opaque interactions between the government and leading economic actors were a routine part of regional politics, with the aim of protecting the region’s industries and their employees.

The worlds of business and politics became tightly linked, with regional power brokers fostering close relationships and multiplying their influence beyond their official powers. This was such an open secret in the state that one group of networked politicians became nicknamed the “Maschsee Mafia” after the name of a lake in Hannover. The willingness of the city’s organized crime hierarchy, under the control of Hells Angels boss Frank Hanebuth, to stick to unwritten rules over where to enforce its grip fueled rumors over the extent to which the political mafia was involved as well.

This form of backroom politics eventually became a focus of public discontent. Bolstered by ongoing protests against a nuclear waste site near the town of Gorleben as well as the emergence of punk subcultures hostile to police authority, the Greens managed to establish a strong presence in the state by the early 1990s. In parallel, the demands by Volkswagen and other manufacturers for cheap labor led to the growth of immigrant communities that often became frustrated by institutional discrimination. These tensions boiled over into mass protest and even riots by punks during the so-called Chaos Days of August 1995.

Yet the Lower Saxon style of corporatism also found ways of integrating such potential sources of disruption. Schröder’s path to becoming German chancellor in the late 1990s was smoothed by social policies he oversaw in Lower Saxony that provided state subsidies for independent youth centers and local cultural projects with performance spaces and bars, such as the Glocksee complex in central Hannover. The regional government thus channeled anti-authoritarian youth subcultures into organizational frameworks linked to state institutions.

In the process, the emerging Greens became accommodated to the state’s power structures, as their electoral success generated incentives for them to work with the established parties to achieve their goals. In this environment—in which Lower Saxon elites were willing to share power with immigrant communities and alternative subcultures as long as they accepted the rules of the game—it was no coincidence that Hannover became the first large German city to elect a Turkish German mayor, Belit Onay of the Greens, in 2019.

Since the late 1990s, Lower Saxony’s paradoxical approach to politics—its combination of corporate statism with pragmatic deal-making that defuses potentially threatening outside forces by offering them access to positions and patronage as long as they stick to the rules of the game—has proved remarkably resilient. It has fostered the development of tightly disciplined political networks with strong links to big business and trade unions in each of the main parties that have been able to maneuver into substantial positions of influence on the national level. This pragmatic mutual support on the regional level has also proved a crucial advantage against more divided and less disciplined rival networks from other regions in the vicious competition for key positions.

This corporatist style of governance that smoothed Schröder’s rise in Lower Saxony was both a source of strength and weakness for his SPD-Green coalition after he became chancellor in 1998. The pragmatic willingness to absorb new communities that gradually de-escalated social tensions in 1990s Hannover was one of several factors that influenced how he approached the liberalization of citizenship law and issues surrounding LGBT rights. The ability to draw on a close network of contacts linking trade unions, every major political party, and major corporations enabled Schröder to successfully implement change in welfare and economic policy. It is no coincidence that controversial Hartz 4 reforms to the unemployment benefit system were named after Peter Hartz, a senior Volkswagen executive whom Schröder had appointed as head of a reform commission.

Yet the extent to which Lower Saxon corporatism also encouraged opaque deal-making in the interests of export-dependent manufacturers also left problematic long-term legacies. Schröder’s unwillingness to rethink aspects of Germany’s economic model reflected how much he was shaped by a corporatist environment in which the interests of industrial businesses were seen as inseparable from the interests of the state. In an environment in which business, trade union, and political networks were intertwined, it was not a huge leap for Schröder to go from close relations with the Lower Saxon corporate elite to deep personal involvement in a Russian oil and gas sector focused on taking control of German energy markets.

Even as Schröder sinks into disgrace because of his refusal to repudiate his links with Vladimir Putin’s regime, the strong grip on German politics of the Lower Saxon networks he helped foster has survived in the current “traffic light coalition” between the Free Democratic Party, Greens, and SPD under Chancellor Olaf Scholz. Though Scholz himself is associated with the Hamburg SPD, senior SPD figures such as SPD co-chairman Lars Klingbeil and Labor Minister Hubertus Heil are deeply anchored in Lower Saxon politics.

The strength of such political networks was visible in the way that, in the face of a crisis of German military readiness, Scholz replaced Christine Lambrecht as defense minister with Pistorius, who as interior minister in the Lower Saxon government had developed a reputation for solving tough problems in the teeth of fierce opposition. Appointing someone with extensive links to security services, manufacturers, and trade unions could be essential to success in the defense ministry, widely considered the toughest job in German politics. But it is questionable whether a figure as steeped in Lower Saxon corporatism as Pistorius is capable of initiating the radical reforms needed to turn the German military’s fortunes around.

The influence of the Lower Saxon style of governance can also be found among the Greens. Though Foreign Minister Annalena Baerbock’s career gained momentum after she moved to Berlin, her strong links to the Lower Saxon Greens going back to her youth in Hannover’s suburbs helped strengthen her position. Among an older generation of Lower Saxon Greens, Jürgen Trittin has long been central to influencing the party’s direction.

The most spectacular symbol of Hannoverian power is von der Leyen’s career, which after her appointment to senior cabinet positions under Chancellor Angela Merkel culminated in her current tenure as president of the European Commission. Her rise to the top demonstrates how political skills developed in local politics can provide the basis for success at the highest levels of government.

The central role played by Lower Saxon networks in German politics will not necessarily last forever. Electoral gains for the far-right Alternative for Germany indicate that a radicalized part of the electorate has become fundamentally hostile to the openness to new social groups at the heart of the Lower Saxon model. After a disastrous election result last October, the region’s CDU is in a vulnerable position. Similar weaknesses within the Lower Saxon FDP have limited its influence, while among the SPD and Greens other regional groupings from Hessen, Bavaria, or Schleswig-Holstein contain parliamentarians willing to assert themselves against Hannoverian rivals.

The appointment of Pistorius as defense minister and Baerbock’s candidacy for chancellor may therefore mark more of a last hurrah for Lower Saxon influence than a sign of its invincibility. Yet the power of such regional networks should provide food for thought for observers of European politics who remain fixated on developments in a handful of national capitals. In decentralized societies such as Germany, power is distributed across two dozen cities in ways that make it essential to keep track of disputes and deals playing out among regional power brokers. More often than not, a quest to understand grand historical events requires getting off the train in a small city in Europe.

— Foreign Policy

[montysworld]

GOOGLE // Your Life with Pixel // LENNOX STORY from Stefanie Soho on Vimeo.

Lennox is heartbroken about the fight he had with his best friend, with whom he’s secretly in love. Instead of confessing his love, he pushed her away. Now he’s figuring out how to make it up.

This is the Director’s Cut. ______

Client: Google Brand Marketing Manager: Alexa Rose Head of Brand & Creative: Jakob Kriwat Creative Strategy: Janosch Einck Associate Product Marketing Manager: Mariya Kvitka

Agency: Anomaly Berlin Managing Partner: Simon Owen Managing Director: David Barton Creative Director: Anna Nowok, Henrik Edelbring Business Director: Amelie Schad Project Manager: Kurt Mattich Creative: Anna Broujean Creative 2nd Unit: Greg Marangon Copywriter: Fabiot von Falkenhayn Senior Producer: Roy Ami Production Assistant: Aliaa Salaheldin

Production: BWGTBLD GmbH Managing Partner: Jakob Preischl Kryptonite-Wrangler: Philipp Ramhofer Producer: Rayk Hawlitschek, Greta Mueller Production Coordinator: Johanna Katz Team: Alex Göke, Leonor Alexandrino, Louise Wachtmeister, Theo Fleury, Prodromos Antoniadis Production Manager: Steffen Gregorowius Production Assistant: Sophia Repp Set Manager: Marc Drobny

Director: Stefanie Soho DOP: Christophe Colette 2nd Unit Director: Lukas Keuchel 2nd Unit DoP: Moritz Matlik

1st AD: Matthias Nerlich Script Supervision: Jackie Jansen 2nd Unit AD: Imri Kahn 1st AC: Tom Zylla 2nd AC: Simon Wandelt Key Grip: Olando Gübel Gaffer: Albrecht Silberberger DIT: Frank Hellwig Sound Recordist: Manuel Vogt Production Design: Tommy Stark H&M: Nadin Wagner, Kieu Anh Duong Styling: Julia Quante Casting: Vollmar Casting Cast: Lapo Hans Schleifer & Lillemore Leistenschneider Post Producer: Johannes Böttge Edit: Jacob Ipsen Music: Alexis Troy Sound Design & Mix: Moritz Staub Color: Nicke Cantarelli VFX: NHB Berlin Online: Marvin Kühner

[scenesandscreens]

The Mitchells vs. the Machines (2021)

Director - Mike Rianda, Art Direction - Toby Wilson

"My parents haven't figured me out yet. To be fair, it took a while to figure myself out."

[thisiskristin]

What to Watch: Official Trailer for THE MITCHELLS VS. THE MACHINES

Trailer: Check out the trailer for THE MITCHELLS VS. THE MACHINES | on Netflix April 30 | #TheMitchellsvsTheMachines #movie #netflix

From the humans who brought you the Academy Award-winning Spider-Man: Into The Spider-Verse and The LEGO Movie comes The Mitchells vs. The Machines, an animated action-comedy about an ordinary family who find themselves in the middle of their biggest family challenge yet…saving the world from the robot apocalypse. No big deal, right? It all starts when creative outsider Katie Mitchell is accepted…

[thecraggus]

The Mitchells vs The Machines (2021) Review

The Mitchells vs The Machines (2021) takes a quirky look at whether we own our devices or they own us. #Review

THE MITCHELLS VS THE MACHINES, the latest animated extravaganza from producers Phil Lord and Chris Miller is yet another triumph of execution, taking a relatively straightforward story and infusing it with the same heart and creative wit that saw them build a hero’s journey from Lego bricks and take Spider-Man to dizzying new heights. When Katie Mitchell is accepted to film school, she sees it…

[cherrygeek]

The Mitchells vs. The Machines is coming to Netflix

The Mitchells vs. The Machines is coming to #Netflix #TheMitchellsvsTheMachines #Connected #PhilLord #ChristopherMiller #MikeRianda #JeffRowe #DannyMcBride #MayaRudolph #AbbiJacobson #Animation

The Mitchells vs. The Machines (aka Connected) is the coming of age animated adventure made for empty nesters and the fledgeling birds trying their wings for the first time from my favorite producers Phil Lord & Christopher Miller written by Mike Rianda and Jeff Rowe! “This is a very personal movie about my very weird family. I’m so grateful to all the incredible artists that poured their love…

[filmmakere]

The Mitchells Vs The Machines (2021)

Directed by Mike Rianda Produced by Christopher Miller, Phil Lord, Kurt Albrecht Starring  Danny McBride, Abbi Jacobson, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett, John Legend, Chrissy Teigen, Blake Griffin, Conan O'Brien

[meinkampfortzone]

The Life of Ingeborg “Inge” Marseille (Freifrau von Ledebur)

Of all the people that, whether directly or indirectly, intentionally or unintentionally, affected the life of Luftwaffe ace Hans-Joachim Marseille, it can be said that his sister Inge played the most pivotal role. Her death left Marseille with deep emotional scars, and it was a blow from which he never truly recovered. It was after her death that those around him saw him change from a carefree, effervescent young man to a more serious and reflective version of himself. However,  like many of the important people in Hans-Joachim Marseille’s life, barely anything is written about her. The circumstances of her death are, according to most of her brother’s biographers, shrouded in mystery. So who was Ingeborg Marseille? That is the question this post will attempt to answer. 

Ingeborg Gertrud Hedwig Charlotte Marseille was born on April 18th 1917 in Berlin-Schoeneberg as the eldest child and the only daughter of Siegfried Georg Martin Marseille, and his then wife Charlotte Marie Johanna Pauline Gertrud Riemer. Two years later, her younger brother Hans-Joachim Walter Rudolf Siegfried Marseille was born. The two siblings were extremely close. 

Inge and Hans-Joachim dressed in matching “sailor outfits”, which were very fashionable at the time.

Another adorable photograph of Inge and Hans-Joachim. 

Nothing is known about Inge’s childhood or her adolescence. However, according to James Dean Sanderson, Inge was on good terms with her biological father, Siegfried Marseille, unlike her brother Hans-Joachim, who for a time refused to see his father in his new residence in Bremen. 

It also appears that Inge, like her brother, was also on cordial terms with her stepfather, Karl Reuter

Hans-Rudolf Marseille also relates an anecdote which further illustrates the cordial relationship between Inge and her father. This was taken from the 1998 documentary in German about the life of HJM which also included interview snippets from an interview with HRM. 

Jochen was a keen motorist and in October and November he served in a training company in Quedlinburg. And my sister Inge came to Bremen for Christmas. She annoyed my father, as they say now, and the three of us: me, my father, and Inge, were on our way to Quedlinburg for Christmas. My father picked Jochen up from the barracks, and the release was only until midnight, which is important. We had dinner, and Jochen started to get ready to go back to the barracks. He asked my father if we could go there in the new car we had. My father refused. And now, after so many years, so many decades, I think it was a big mistake. He should have been told, “All right, my boy! You can drive a couple of kilometers by yourself, and I’ll drive back.” Instead, he called a taxi, and Jochen took a taxi to the barracks. I am a father and a grandfather myself. It was a situation where my father needed to react differently. And I’m not sure if Jochen had digested (understood) the situation or not. I don’t think so. 

On August 31st, 1939, Inge married Oberst Leopold Heinrich Otto Karl Albrecht Freiherr von Ledebur in Miltenberg am Main. He was eighteen years her senior. From then on, she was known as Ingeborg Freifrau von Ledebur.  Von Ledebur was born in 1899 in Charlottenburg, the son of Leopold von Ledebur, a recipient of the Pour le Merite and the Order of St. John, and Anna von Jagow. He had been previously married to a woman named Barbara von Gaudecker from 1927 to 1938; this marriage produced a son, Kurt-Heinrich von Ledebur. 

Nothing is known about the nature of their marriage, and there are no photos of either of them in the Marseille family album. However, we do have an insight into the elevated lifestyle that Inge was living as a baroness from a letter to Hans-Joachim Marseille to his father, Siegfried Marseille. 

The following is a screenshot of a portion of the letter, taken from the cache of letters shown by Hans-Rudolf Marseille in his video interview, the footage of which is accessible on the website of the Karl Hoffkes website. I have included the translation of the German to English below. 

Translation: 

Inge told me a lot about Franzensbad by letter. The strong financial expenditure looks very much like the "Baroness"! I don't think it's right that you referred her to Leo, because Leo is in the field, after all, and also has other weightier worries. After all, Inge is your daughter..

For clarification: Franzensbad was a spa town in Germany that is now a part of the Czech Republic, known as “Frantiskovy Lazne”. From this section of the letter, we see that a) Inge must have had a lot of money at her disposal as a result of having married into a family with blue blood, and b) there must have been some sort of familiarity between HJM and his brother-in-law for him to refer to him as “Leo” and not by his full name, “Leopold”. 

According to her death certificate, which can be found on Ancestry.com under the name “Ingeborg von Ledebour” (that’s how it’s spelled on there; Walter Wubbe spells it “Ledebur”, as does the family tree of the von Lattow family, to which Inge’s husband has biological ties to and in which I found his lineage), Inge Marseille died on January 2nd, 1942. The place of death was listed as “found dead in her apartment.” The cause of death was “unknown”.  

However, according to Colin Heaton and Franz Kurowski, Inge had been living in Vienna and was murdered by a jealous lover, an ex-boyfriend with whom her relationship had gone sour, and he proceeded to stalk her and murder her violently. 

In his book “Behind Enemy Lines,” James Dean Sanderson paints an entirely different--and much more detailed--picture of Inge’s death: 

With this, it appears that there are 3 versions of Inge’s death: a) she died in her apartment and was found there, and no one could determine the cause of her death, b) she was living in Vienna and dated someone, broke up with them, and then they murdered her, and c) she died in a car accident while on an outing with another man.

I studied each scenario and did my best to verify the facts that each one presents: 

Scenario 1: She died in her apartment; the cause of death was listed as “Unknown”. There wasn’t really anything else I could deduce from that, so I set that aside. 

Scenario 2: She lived in Vienna and was murdered by a jealous lover. (I tied that information in with the facts given in Scenario 3)

Scenario 3: She went on a trip with a Nazi official named Krefft, who was drunk and as a result flipped his Mercedes over on the autobahn. He walked away from the scene and left Inge there to bleed to death. Later he denied being present and said that Inge had taken his car herself, which was refuted because she did not have a drivers’ license at the time. He was sent to Russia to fight, but attempted to escape and was captured and beheaded by the Gestapo near the Swiss border. 

I did some poking around, and I found a detailed timeline of Inge’s husband Leopold von Ledebur’s military command posts that he held throughout his military career. This screenshot was taken from a thread from Axis History Forums. 

We can see that von Ledebur was stationed in Berlin at around the time he divorced Barbara von Gaudecker and married Inge. 

Between 1939 and 1941 he was commander of an infantry regiment (which is plausible given the fact that war was declared in 1939). 

In 1942 he was delegated to a reserve battalion. 

It is through this that we can verify the fact that HJM said to his father in the letter, and that James Dean Sanderson also mentioned in his book: Inge’s husband was indeed away most of the time in the field. 

So how did she die? 

Of course, we will probably never truly know what really happened. Hans-Rudolf Marseille never mentioned anything about it as far as the 1998 documentary that featured parts of his interview shows. Marseille never spoke about his sister’s death to any of his comrades, and none of Marseille’s comrades who would have been in a position to view the legal proceedings associated with Inge’s death could say for sure what had actually happened. 

Based on the information above, here’s what I think happened:

Inge, being a baroness by marriage and being married to a high-ranking major, would have had the opportunity to get to know many other high-ranking members of the Nazi party, including this man Krefft. She must have started an affair with him, which would have been easy for her since her husband was away in the field (According to Sanderson, he was in Russia) all the time. The relationship between them, however, went sour, and in an attempt to sort of patch things up, Krefft and Inge decided to go on a trip to Vienna. However, Krefft would have been extremely bitter over the turn their relationship had taken and sort of established an “if I can’t have you, no one else can” mentality, and resolved to kill Inge during that trip. It was for that reason that, as they were driving on the autobahn in or around Vienna, Krefft turned the car over in a way  that would have fatally injured the person in the passenger seat (Inge). He would have been drinking at that time, but he wouldn’t have been drunk enough to get into a car accident like that (it would have been on purpose). When questioned, he would have denied everything, and tried to pin the blame all on Inge. He would have been sent to the Russian front to fight on account of his rank, and because it would be a scandal to throw a high-ranking Nazi officer in jail for murder of a young baroness. However, Krefft didn’t want to go to Russia, and attempted to flee to Switzerland (it was neutral at the time). He would have been captured by the Gestapo at the border, taken to one of their headquarters, tried as a deserter, and guillotined (that was still a form of capital punishment in the Third Reich.) Inge’s in-laws (her husband’s family) would have focused all of their attention on avoiding a scandal, since they are an aristocratic family. They would have bribed an official or gone to a registrar with whom they had dealings with and asked him or her to write that Inge had been found dead in her apartment and that the cause of death was unknown. That was what went into the official records as the cause of her death. Inge’s in-laws would have then broken the news to Inge’s parents, and HJM would have heard about what happened when he returned to Berlin from convalescence in Greece. 

What we do know is that Inge’s death affected her younger brother Hans-Joachim profusely. He would continue to mourn her for the rest of his life, although never outwardly. One of his prized possessions which he kept on him at all times was a picture of him and Inge as children, taken at an amusement park. He chose his fiancee, Hanne-Lies Kupper, on the basis that she reminded him of Inge. When, on 30 September 1942, his body was being recovered from the place where it had landed in the desert after he fell from his plane to his death, it was alleged, according to Walter Wubbe, that the sandals he had been wearing at the time of his death had once belonged to Inge. 

Marseille’s body on a stretcher in the desert after being recovered by his comrades. His head has been wrapped in a cloth to keep his jaw from dropping and his mouth from hanging open. If you look closely, you can see the disfigurement to Marseille’s face that resulted from the impact of his fall. 

As always, I would love to know your thoughts, etc. in the comments!

[brian-in-finance]

The Producers Guild of America has announced its nominations in the motion picture and television categories for the 2022 Producers Guild Awards, which will be held on March 19 at the Fairmont Century Plaza in Century City, California.

In limited and anthology series television, Dopesick, Mare of Easttown, The Underground Railroad, WandaVision and The White Lotus received nominations.

Notably missing from the nominees list were Spider-Man: No Way Home, House of Gucci, Nightmare Alley, The Lost Daughter, Drive My Car and No Time to Die.

In December, the PGA announced its nominees in the documentary space. Final ballots for TV and film have been extended to March 8. Since the association was founded, the PGA has predicted 22 of the past 32 best picture winners at the Academy Awards.

Read on for the full list of nominees announced today.

Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures

Being the Ricardos

Producer: Todd Black, p.g.a.

Belfast

Producers: Laura Berwick, Kenneth Branagh, Becca Kovacik, Tamar Thomas

CODA

Producers: Philippe Rousselet, p.g.a., Fabrice Gianfermi, p.g.a., Patrick Wachsberger, p.g.a.

Don’t Look Up

Producers: Adam McKay, p.g.a., Kevin Messick, p.g.a.

Dune

Producers: Mary Parent, p.g.a., Cale Boyter, p.g.a., Denis Villeneuve, p.g.a.

King Richard

Producers: Tim White, p.g.a., Trevor White, p.g.a., Will Smith, p.g.a.

Licorice Pizza

Producers: Sara Murphy, Paul Thomas Anderson, Adam Somner

The Power of the Dog

Producers: Jane Campion, p.g.a., Tanya Seghatchian, p.g.a., Emile Sherman, p.g.a. & Iain Canning, p.g.a., Roger Frappier, p.g.a.

tick, tick…BOOM!

Producers: Julie Oh, p.g.a., Lin-Manuel Miranda, p.g.a.

West Side Story

Producers: Steven Spielberg, p.g.a., Kristie Macosko Krieger, p.g.a.

Award for Outstanding Producer of Animated Theatrical Motion Pictures

Encanto

Producers: Yvett Merino, p.g.a., Clark Spencer, p.g.a.

Luca

Producers: Andrea Warren, p.g.a.

The Mitchells vs. The Machines

Producers: Phil Lord, p.g.a. & Christopher Miller, p.g.a., Kurt Albrecht, p.g.a.

Raya and the Last Dragon

Producers: Osnat Shurer, p.g.a., Peter Del Vecho, p.g.a.

Sing 2

Producers: Chris Meledandri, p.g.a., Janet Healy, p.g.a.

Norman Felton Award for Outstanding Producer of Episodic Television – Drama

The Handmaid’s Tale (Season 4)

*Eligibility Determination Pending*

The Morning Show (Season 2)

*Eligibility Determination Pending*

Squid Game (Season 1)

*Eligibility Determination Pending*

Succession (Season 3)

*Eligibility Determination Pending*

Yellowstone (Season 4)

*Eligibility Determination Pending*

Danny Thomas Award for Outstanding Producer of Episodic Television – Comedy

Cobra Kai (Seasons 3 & 4)

*Eligibility Determination Pending*

Curb Your Enthusiasm (Season 11)

*Eligibility Determination Pending*

Hacks (Season 1)

Producers: Jen Statsky, Paul W. Downs, Lucia Aniello, Michael Schur, David Miner, Morgan Sackett, Joanna Calo, Andrew Law, David Hyman, Joe Mande, Jessica Chaffin

Only Murders in the Building (Season 1)

*Eligibility Determination Pending*

Ted Lasso (Season 2)

*Eligibility Determination Pending*

David L. Wolper Award for Outstanding Producer of Limited or Anthology Series Television

Dopesick

*Eligibility Determination Pending*

Mare of Easttown

*Eligibility Determination Pending*

​​The Underground Railroad

*Eligibility Determination Pending*

WandaVision

*Eligibility Determination Pending*

The White Lotus

*Eligibility Determination Pending*

Award for Outstanding Producer of Televised or Streamed Motion Pictures

8-Bit Christmas

Producers: Tim White, p.g.a. & Trevor White, p.g.a., Allan Mandelbaum, p.g.a.

Come From Away

*Eligibility Determination Pending*

Oslo

*Eligibility Determination Pending*

Robin Roberts Presents: Mahalia

*Eligibility Determination Pending*

Single All The Way

Producer: Joel S. Rice, p.g.a.

Tom Petty, Somewhere You Feel Free: The Making of Wildflowers

*Eligibility Determination Pending*

Award for Outstanding Producer of Non-Fiction Television

60 Minutes (Season 54)

*Eligibility Determination Pending*

Allen v. Farrow (Season 1)

*Eligibility Determination Pending*

The Beatles: Get Back (Season 1)

*Eligibility Determination Pending*

Queer Eye (Season 6)

*Eligibility Determination Pending*

Stanley Tucci: Searching for Italy (Season 1)

*Eligibility Determination Pending*

Award for Outstanding Producer of Live Entertainment, Variety, Sketch, Standup & Talk Television

The Daily Show with Trevor Noah (Season 27)

*Eligibility Determination Pending*

Dave Chappelle: The Closer

*Eligibility Determination Pending*

Last Week Tonight with John Oliver (Season 8)

*Eligibility Determination Pending*

The Late Show with Stephen Colbert (Season 7)

*Eligibility Determination Pending*

Saturday Night Live (Season 47)

*Eligibility Determination Pending*

Award for Outstanding Producer of Game & Competition Television

America’s Got Talent (Season 16)

*Eligibility Determination Pending*

Nailed It! (Seasons 5 & 6)

*Eligibility Determination Pending*

RuPaul’s Drag Race (Season 13)

*Eligibility Determination Pending*

Top Chef (Season 18)

*Eligibility Determination Pending*

The Voice (Season 20)

*Eligibility Determination Pending*

Producers: Kenneth Branagh, Becca Kovacik, Laura Berwick, Tamar Thomas (photos from Getty Images)

Remember… the Directors Guild and the Writers Guild will also announce award nominees today. (Belfast and The Power of the Dog do not qualify for a WGA.)

[garadinervi]

Bund Deutscher Gebrauchsgrafiker, Gruppe 56, Stuttgart, 1962 [Display, Graphic Design Collection]. Feat.: Ade Albrecht, Tilla and Karl Fuchs, Gerta Haller, Hans Peter Hoch, Eva Hohrath, Wiltraud Jasper, Herbert W. Kapitzki, Helmut Keppler, Paul König, Hans Lämmle, Sigrid Lämmle, Hans Lohrer, Susi Looser, Manfred Malzacher, Almir Mavignier, Asta Ruth-Soffner, Fritz Seitz, Kurt Weidermann, and others

[napola2]

What do you think about Albrecht Frederich and Justus

Hmm.

Albrecht… A tragic character that I have immense respect for but I feel like people don’t truly understand: most of this feeling comes from the people in our fandom that are sucked in by the desire to say that Albrecht didn’t end up killing himself and ended up actually going to war. It bothers me because it shows a sincere lack of understanding of Albrecht as he is written and portrayed: he is so extremely anti-violence that to say he would ever actually end up going to war is so out of left field it makes me wonder how much people payed attention to him. 

He didn’t kill himself because he was sad that he wouldn’t see Friedrich anymore, at least that wasn’t the only reason: yes, the homoerotic subtext is present throughout the story between them, but Albrecht only kills himself after he finds out that he’ll be forced into the Waffen SS and sent to Ukraine as an officer, and we’re given this implication that Albrecht knows what this means, and he knows that he’s going to end up being forced into doing terrible things. 

Pretending like Albrecht could change so massively from this pacifist and conscientious objector to something like Kurt Bonnet or the officer from “Woman in Gold” bothers me. He killed HIMSELF because of how against the use of violence he was and didn’t want to hurt anyone. Perhaps his father knew how much he hated violence and wanted him to go off to war and get turned into “Friedhelm”. Either way, suggesting Albrecht would actually go off to war and turn into some sort of monster, such as Lt. Kurt Bonnet from Suite Française does the depth of Albrecht’s character a sincere injustice. 

Friedrich… ugh. I love his character, but at times I look at him and find him such a simple character whose purpose was to serve as a ‘foil’ for Albrecht and for Albrecht to ‘change’ that I’m bothered. We never truly learn about what makes Friedrich ‘tick’ or what makes him think the way we learn about Albrecht that its rather unfair to him as a character. Further unfortunate is the fact that, because of how old this movie is (and how small/frequently dead this Fandom is), there is so little content that gets into Friedrich’s head for us to even imagine about. 

For example, we know how Albrecht would react to war, or even to violence in general, because at the end of the movie we SEE his reaction. We know he enjoys poetry, and we know he’s a complex character. Conversely, we never really see Friedrich’s reaction, never get into his feelings about having to shoot the Russian POWs, or learn what he thinks about anything in general besides boxing and how his opinions have changed since he met Albrecht. Then, at the end of the movie, we’re slammed with the idea that apparently “Friedrich is responsible for causing a change in Albrecht” and that the school thinks he’s responsible for his suicide. The fuck? I get that its supposed to be the great irony in the movie, but come on.

His presentation, at least to me, as this “flat” character that would have been nothing more than a pawn in the Nazi’s game had he not met Albrecht is troubling. I wish that the movie would have gone more in depth as to his character, but I suppose the movie was more about Albrecht as the influence and Friedrich as he who needed to be fixed, than Friedrich’s thoughts about things. 

Justus… I know I’ll get heat for this, but I don’t have sympathy for him. There’s a significant difference to me between being (understandably) closeted in a world like the Third Reich and doing your best to keep your true feelings covered up and doing what Justus would do to people and flat-out blackmailing them. He’s a young man trying to hide himself and enjoying vividly the power that comes with his position, yet because of his age and inexperience he hasn’t gotten a full grasp of what having ‘power’ really means.

Would it not have been an even greater symbol of power for him to look at Siggi after he wet himself and simply say “don’t worry about it this time”? I know he’s inexperienced, but come on. Other than that, even in including the deleted scenes we don’t get a full grasp of what he’s -like- when he’s not being a massive asshole wandering around torturing the cinnamon-roll boys that its impossible for me to actually sympathize with him and like him. 

[ramascreen]

Watch This Official Trailer For THE MITCHELLS VS. THE MACHINES

Watch This Official Trailer For THE MITCHELLS VS. THE MACHINES

Netflix has released this official trailer for “The Mitchells vs. The Machines” which is coming to Netflix April 30th Director: Mike Rianda Writers: Mike Rianda, Jeff Rowe Producers: Phil Lord, Christopher Miller, Kurt Albrecht Voice Cast: Abbi Jacobson, Danny McBride, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, Charlyne Yi, Blake…