Latest news with #EastGerman
Local Germany
15 hours ago
- Business
- Local Germany
German town offers free accommodation in bid to attract residents
Eisenhüttenstadt in Brandenburg, on the Polish border, will offer a free furnished flat for two weeks in September to applicants interested in trying life in the town. The town's authorities said the scheme was aimed at attracting skilled workers, former residents who have moved away and self-employed workers looking for a change of scenery. Those selected will be offered city tours to 'give them a real feeling' for the town, as well as introduced to local job prospects and internships. Before they leave, they will asked to write a 'love letter to Eisenhüttenstadt' in which they share their impressions of their stay. Those interested can apply until early July. The population of Eisenhüttenstadt has dropped by over half since German reunification in 1990. Like many areas of eastern Germany, it has suffered from depopulation as young people move because of a lack of job opportunities and prospects. The modern town was founded by East German authorities as a socialist model city after the end of WWII alongside a massive steel mill, the town's largest industry. It was known as Stalinstadt between 1953 and 1961. Advertisement The city is considered one of the preeminent examples of socialist architecture in Germany. Its town combines Stalin-era neoclassicism and more modern Plattenbau blocks of flats. After reunification, the steel mill was privatised, causing thousands of employees to lose their jobs. Today, the steelworks has been modernised and employs about 2,500 people.
Sydney Morning Herald
3 days ago
- Entertainment
- Sydney Morning Herald
In a show for misfits, Seann Miley Moore revels in the power of Hedwig
In the hot, humid almost subterranean sweatiness of an Adelaide summer's night, actor and singer Seann Miley Moore has jumped from the stage of wild rock-fuelled musical Hedwig and the Angry Inch mid-show to prowl the audience aisles. It's a full-house. Rows of perspiring people, many rhapsodically seat-dancing to the live five-piece stage band's performance of the show's thrashing score, some jiggling in blonde wigs and bejewelled denim similar to Miley Moore's costume and wide croissant-like tresses, implore them to come their way. As the show's lead, the East German genderqueer character Hedwig, who has asked us, 'How did some slip of a girlyboy from communist East Berlin become the internationally ignored song stylist barely standing before you?' in the show's opening monologue, Moore accepts their pleas. 'Honey,' they say, leaning towards one person dressed in tight gauzy black. They jump to standing. Miley Moore leans closer. Suddenly, a pash, long and deep and entirely unplanned for the audience member, ensues between them. The crowd roars. Miley Moore purrs a guttural 'Whoo!' and the show pulses on. Such is the stage-spilling, passion-inducing and tune-throbbingly raw spectacle of the new Australian production of Hedwig and the Angry Inch, produced by GWB Entertainment and Andrew Henry Presents and heading for Melbourne and Sydney after its premiere at the 2025 Adelaide Festival. The next morning, Miley Moore, fresh from a lunch with the South Australian governor, and licking a green ice block in 40-degree heat, says such spontaneous performer-audience moments (Hedwig fans are so passionate they have their own name – 'Hedheads') are to be expected in the show's three-city season. 'That's the power of Hedwig, honey, the power of the wig,' they say. 'They're breathing it all in.' Miley Moore, a contestant on The Voice who went on to star in Miss Saigon, says they are connected heart and soul to the live concert nature of this highly immersive production of Hedwig and the Angry Inch. 'It's absolute pride and power up there,' they say. 'It's a rock 'n' roll show, a pride show. It is music. The audience are involved. I'm involved. It's hot and heavy in there. You absolutely feel it. It's been exhilarating, confronting as all hell up there and just such a transformative experience for me. 'This show is an absolute beacon of liberation. It's a trailblazer of queer cinema, queer musical theatre. It's a beacon of such queer spirit, non-binary spirit, trans spirit, of someone finding their true selves. 'It's an absolute liberation for the person you're meant to be in this world.' With text by John Cameron Mitchell and lyrics by Stephen Trask, Hedwig and the Angry Inch – born from a character created in downtown New York clubs in the 1990s and known for a cult 2001 movie (also starring Mitchell) – debuted as a musical off Broadway in 1998. Productions have run in almost 20 countries since, including a multi-Tony Award-winning 2014 Broadway show starring Neil Patrick Harris and, more recently, Mitchell's stripped back 2019 production, The Origin of Love Tour: The Songs and Stories of Hedwig, which they also starred in. In Australia Hedwig and the Angry Inch premiered in 2006, with iOTA winning several awards in the lead role. An aborted 2020 production was to have starred Hugh Sheridan. Blending punk, blues, heavy metal and rock 'n roll, the musical is Hedwig telling her story. Forced into botched gender reassignment surgery as a way to marry an American soldier and flee Berlin, she is left with a dysfunctional mound of flesh, the 'angry inch' (described as having 'a scar running down it like a sideways grimace on an eyeless face' in the musical's song Angry Inch). When we meet Hedwig she is performing a low-rent gig with her band, The Angry Inch, as the US concert tour of rock star Tommy Gnosis plays nearby (heard when Hedwig opens a door on-set). Gnosis collaborated musically with Hedwig before fame (his success comes from those songs) and began a relationship, but he has abandoned her. Aiding Hedwig during her tour is a surly Croatian Jewish drag queen, Yitzhak, played by Adam Noviello, with whom she has a toxic co-dependency. Noviello, who has a long-term love for the film and musical, sees himself in its themes. 'To me, the show, film and the character of Hedwig have always represented the in-betweenness of human beings and of gender, music and expression,' they say. 'Personally, I feel like I've spent my whole career and my whole life on that spectrum. 'The misfits, the losers, we've always felt like that growing up and in our careers.' Seann Miley Moore 'Hedwig is one of those rare beauties of a role where as gender-diverse people, and as trans people and as artists, we see ourselves. She represents our otherness and our fabulousness and our traumas and our battles. So, she's a very big deal for us.' Miley Moore agrees by singing from the song Midnight Radio in the show's finale. ' The misfits, the losers, we've always felt like that growing up and in our careers,' they say. 'But, to do it in this, it's two queens colliding and queer excellence on that stage and we both feel absolute pride and power up there. 'And we're both Scorpios so it's hot.' The musical's songs, from Wig in a Box to Tear Me Down, The Wicked Inch and The Origin of Love, lead much of the show, swinging from full body guttural rock to heart-rending emotional sorrow. In Adelaide's aptly named Queens Theatre, Midnight Radio soars to its ending – ' All the misfits, and the losers/Well you know you're rock and rollers/Spinning to your rock and roll/Lift up your hands ' – bringing some audience members to tears while waving their arms in the warm muggy air. This physical connection to Hedwig begins long before the show's ruched powder blue circular curtain rises above the stage. In Adelaide, a whole trailer park, with wooden refreshment booths under lines of pegged washing, was built outside the theatre as a nod to Hedwig's on-tour life living in a mobile home between gigs. Audience members could visit her caravan, filled with personal effects and memorabilia, before watching a pre-show bar show. Co-directors Shane Anthony and Dino Dimitriadis say this set-up – also planned for Melbourne and Sydney venues – is about transcending boundaries of audience, cast and the stage. 'The show feels big in its themes, big in its appeal to love, big in its appeal to identity and self-searching, big in its appeal to cultures and across different continents,' Anthony says. 'We wanted to make that concrete for the audience, both in the immersive experience provided before the show, but also inside the venue.' Anthony, who vividly recalls seeing the 2014 Broadway production starring Harris, believes Hedwig and the Angry Inch affects people deeply whoever they are. 'It lands in your DNA in a really exciting way,' he says. 'It hits you. You don't immediately understand it, but it taps into something that's more transcendent, more universal, more about the human condition. 'John Cameron Mitchell and Stephen Trask have created something that mines truth and authenticity with characters in a way that perhaps a lot of musicals don't,' he says. 'It's about searching for love and it's done in an incredibly poetic way. 'Those songs are poems. They're explosive, they're dynamic, and I think they resonate with any audience member who's wanting to find love.' As their ice-blocks melt and the sun beats on in Adelaide, Miley Moore and Noviello echo Anthony's words. 'As much as the show is built to and will empower the queer community, it's absolutely a universal story,' Noviello says. 'So much of Hedwig's journey has her caught in a cycle of abuse and now she decides to end that. 'As the show progresses, she's choosing goodness, she's choosing wholeness and choosing love going forward and that's all of our story. We all have to make that decision within ourselves to lead with love and kindness. It's not taught to everyone. 'As much as Hedwig is for queer folks, her story is absolutely for everyone.' Miley Moore lets out a whoop before licking drips of ice-block off their arm. 'And who doesn't love rock and roll baby?' they say. 'Whatever the temperature is, hot or cold, we're dealing with all the elements, all the emotions in there.' They mime a lingering kiss. 'On and off the stage.'
The Age
3 days ago
- Entertainment
- The Age
In a show for misfits, Seann Miley Moore revels in the power of Hedwig
In the hot, humid almost subterranean sweatiness of an Adelaide summer's night, actor and singer Seann Miley Moore has jumped from the stage of wild rock-fuelled musical Hedwig and the Angry Inch mid-show to prowl the audience aisles. It's a full-house. Rows of perspiring people, many rhapsodically seat-dancing to the live five-piece stage band's performance of the show's thrashing score, some jiggling in blonde wigs and bejewelled denim similar to Miley Moore's costume and wide croissant-like tresses, implore them to come their way. As the show's lead, the East German genderqueer character Hedwig, who has asked us, 'How did some slip of a girlyboy from communist East Berlin become the internationally ignored song stylist barely standing before you?' in the show's opening monologue, Moore accepts their pleas. 'Honey,' they say, leaning towards one person dressed in tight gauzy black. They jump to standing. Miley Moore leans closer. Suddenly, a pash, long and deep and entirely unplanned for the audience member, ensues between them. The crowd roars. Miley Moore purrs a guttural 'Whoo!' and the show pulses on. Such is the stage-spilling, passion-inducing and tune-throbbingly raw spectacle of the new Australian production of Hedwig and the Angry Inch, produced by GWB Entertainment and Andrew Henry Presents and heading for Melbourne and Sydney after its premiere at the 2025 Adelaide Festival. The next morning, Miley Moore, fresh from a lunch with the South Australian governor, and licking a green ice block in 40-degree heat, says such spontaneous performer-audience moments (Hedwig fans are so passionate they have their own name – 'Hedheads') are to be expected in the show's three-city season. 'That's the power of Hedwig, honey, the power of the wig,' they say. 'They're breathing it all in.' Miley Moore, a contestant on The Voice who went on to star in Miss Saigon, says they are connected heart and soul to the live concert nature of this highly immersive production of Hedwig and the Angry Inch. 'It's absolute pride and power up there,' they say. 'It's a rock 'n' roll show, a pride show. It is music. The audience are involved. I'm involved. It's hot and heavy in there. You absolutely feel it. It's been exhilarating, confronting as all hell up there and just such a transformative experience for me. 'This show is an absolute beacon of liberation. It's a trailblazer of queer cinema, queer musical theatre. It's a beacon of such queer spirit, non-binary spirit, trans spirit, of someone finding their true selves. 'It's an absolute liberation for the person you're meant to be in this world.' With text by John Cameron Mitchell and lyrics by Stephen Trask, Hedwig and the Angry Inch – born from a character created in downtown New York clubs in the 1990s and known for a cult 2001 movie (also starring Mitchell) – debuted as a musical off Broadway in 1998. Productions have run in almost 20 countries since, including a multi-Tony Award-winning 2014 Broadway show starring Neil Patrick Harris and, more recently, Mitchell's stripped back 2019 production, The Origin of Love Tour: The Songs and Stories of Hedwig, which they also starred in. In Australia Hedwig and the Angry Inch premiered in 2006, with iOTA winning several awards in the lead role. An aborted 2020 production was to have starred Hugh Sheridan. Blending punk, blues, heavy metal and rock 'n roll, the musical is Hedwig telling her story. Forced into botched gender reassignment surgery as a way to marry an American soldier and flee Berlin, she is left with a dysfunctional mound of flesh, the 'angry inch' (described as having 'a scar running down it like a sideways grimace on an eyeless face' in the musical's song Angry Inch). When we meet Hedwig she is performing a low-rent gig with her band, The Angry Inch, as the US concert tour of rock star Tommy Gnosis plays nearby (heard when Hedwig opens a door on-set). Gnosis collaborated musically with Hedwig before fame (his success comes from those songs) and began a relationship, but he has abandoned her. Aiding Hedwig during her tour is a surly Croatian Jewish drag queen, Yitzhak, played by Adam Noviello, with whom she has a toxic co-dependency. Noviello, who has a long-term love for the film and musical, sees himself in its themes. 'To me, the show, film and the character of Hedwig have always represented the in-betweenness of human beings and of gender, music and expression,' they say. 'Personally, I feel like I've spent my whole career and my whole life on that spectrum. 'The misfits, the losers, we've always felt like that growing up and in our careers.' Seann Miley Moore 'Hedwig is one of those rare beauties of a role where as gender-diverse people, and as trans people and as artists, we see ourselves. She represents our otherness and our fabulousness and our traumas and our battles. So, she's a very big deal for us.' Miley Moore agrees by singing from the song Midnight Radio in the show's finale. ' The misfits, the losers, we've always felt like that growing up and in our careers,' they say. 'But, to do it in this, it's two queens colliding and queer excellence on that stage and we both feel absolute pride and power up there. 'And we're both Scorpios so it's hot.' The musical's songs, from Wig in a Box to Tear Me Down, The Wicked Inch and The Origin of Love, lead much of the show, swinging from full body guttural rock to heart-rending emotional sorrow. In Adelaide's aptly named Queens Theatre, Midnight Radio soars to its ending – ' All the misfits, and the losers/Well you know you're rock and rollers/Spinning to your rock and roll/Lift up your hands ' – bringing some audience members to tears while waving their arms in the warm muggy air. This physical connection to Hedwig begins long before the show's ruched powder blue circular curtain rises above the stage. In Adelaide, a whole trailer park, with wooden refreshment booths under lines of pegged washing, was built outside the theatre as a nod to Hedwig's on-tour life living in a mobile home between gigs. Audience members could visit her caravan, filled with personal effects and memorabilia, before watching a pre-show bar show. Co-directors Shane Anthony and Dino Dimitriadis say this set-up – also planned for Melbourne and Sydney venues – is about transcending boundaries of audience, cast and the stage. 'The show feels big in its themes, big in its appeal to love, big in its appeal to identity and self-searching, big in its appeal to cultures and across different continents,' Anthony says. 'We wanted to make that concrete for the audience, both in the immersive experience provided before the show, but also inside the venue.' Anthony, who vividly recalls seeing the 2014 Broadway production starring Harris, believes Hedwig and the Angry Inch affects people deeply whoever they are. 'It lands in your DNA in a really exciting way,' he says. 'It hits you. You don't immediately understand it, but it taps into something that's more transcendent, more universal, more about the human condition. 'John Cameron Mitchell and Stephen Trask have created something that mines truth and authenticity with characters in a way that perhaps a lot of musicals don't,' he says. 'It's about searching for love and it's done in an incredibly poetic way. 'Those songs are poems. They're explosive, they're dynamic, and I think they resonate with any audience member who's wanting to find love.' As their ice-blocks melt and the sun beats on in Adelaide, Miley Moore and Noviello echo Anthony's words. 'As much as the show is built to and will empower the queer community, it's absolutely a universal story,' Noviello says. 'So much of Hedwig's journey has her caught in a cycle of abuse and now she decides to end that. 'As the show progresses, she's choosing goodness, she's choosing wholeness and choosing love going forward and that's all of our story. We all have to make that decision within ourselves to lead with love and kindness. It's not taught to everyone. 'As much as Hedwig is for queer folks, her story is absolutely for everyone.' Miley Moore lets out a whoop before licking drips of ice-block off their arm. 'And who doesn't love rock and roll baby?' they say. 'Whatever the temperature is, hot or cold, we're dealing with all the elements, all the emotions in there.' They mime a lingering kiss. 'On and off the stage.'
Sydney Morning Herald
23-05-2025
- Sport
- Sydney Morning Herald
Why clean athletes will never be allowed to compete in the doping games
That the Olympic Movement is a dreadfully corrupt artifice, which forces Olympians to scratch out an existence in poverty-driven squalor and incur insurmountable debt, whereas participants in the Enhanced Games will be paid handsome base salaries and compete for 'prize winnings, which will be larger than any other comparable event in history'. Garbage. That the 'anti-science dogma' of the International Olympic Committee and the most prominent professional sports leagues should be replaced by systems of supervised medical performance enhancement. Because, apparently, 'science is real and has an important place in supporting human flourishing', and the Enhanced Games intends to serve as a 'celebration of the union of athletic excellence and scientific achievement'. Again, bullshit. And because 'the Enhanced Movement believes in the medical and scientific process of elevating humanity to its full potential, through a community of committed athletes', whereas the IOC has 'weaponised the athletic community against science'. Arrrggghhh!!! We must be deadly serious. The Enhanced Games are a dangerous, iniquitous concept. Yes, the history of the Olympic Movement is replete with examples of those who've mastered the art of corruption and deceit. Yes, the IOC wastes millions and millions of Swiss francs. Yes, most athletes, worldwide, are underpaid and underfunded. And yes, the IOC has an appalling history when it comes to matters of corruption and double-dealing. But would you seriously trust this mob to do any better, let alone to improve on it and run an entirely ethical, fair and clean show? If you accept the essential premise of these dystopian alternate Olympics that performance-enhancing substances are required to compete at all, you must also accept the proposition that there's no issue with very young athletes being exposed to sanctioned 'enhancement' initiatives, even though it's never once worked out well for any young athlete so indoctrinated. And if you reckon that exposure won't happen, there's a dedicated page on the Enhanced Games website, where soon they'll be selling an 'enhancement plan with personalised optimisation'. You can join right now and get priority access, all for $US99 ($156). If you believe in all this hocus pocus, go join up now. Sign your own kids up, too. Because could you countenance a day, where your 14-year-old up-and-coming athlete is put on an enhancement regime legitimised by all of this? The book Faust's Gold documents the evil inflicted on thousands of athletes manipulated by the East German doping machine. Athletes who were lied to and used as lab rats for political purposes. Athletes who in many instances took Olympic gold back to East Berlin – East German athletes 'won' 107 Olympic titles between 1972 and 1980 – only to later succumb to terrible disease, irreversible organ damage and horrible cancers, all caused directly by doping. Where's the threshold of distinction between a state-sponsored doping program overseen by the Stasi, and this nascent concept promoted as the Enhanced Games? Doping isn't a recent phenomenon. It's been around forever. The Ancient Greeks were in on it. In the late 1800s, athletes in an array of sports started using strychnine – rat poison – because of its convulsant effects and consequent performance enhancement. A century ago, whole clubs in European football were hooked on cocaine and sipping on 'speedy coffees'. Contrastingly, what's far newer is the adoption of rules and methods to combat and govern doping. For the Olympic Movement, those rules were first enacted in the 1960s; the first person to fail a test in 1968 was using alcohol, of all things. Sports outlaw doping for hardly illogical reasons. First, the laws of many countries regulate the prescription, possession and administration of many classes of substances that are banned in sport: anabolic steroids are the perfect example. Because it's dangerous, potentially deadly, and because doping renders elite sport pointless. Moreover, in countries like Spain, France and Italy, using and trafficking substances prohibited in sport is a criminal offence. Many offenders have been locked up. The improper administration of certain substances, including those which are illegal to possess for no valid reason, can contribute to or cause permanent injury and disability, or worse. Athletes have died on the quest to achieve pharmacological superiority. Often, they're hoodwinked by shady doctors and other nefarious types who pretend to care for the welfare of athletes. The use by desperate and unwitting athletes of human growth hormones and growth factor modulators is tremendously dangerous. If the outcome of sporting competition is permitted to be influenced by, or determined by which athletes have the access to the best doctors and chemists, sport ceases to be sport in its essential sense; it becomes a kind of travelling circus. The glorious uncertainty and all that evaporates. And as to the notion that non-doped athletes might end up competing side-by-side with juiced-up competitors; that's absurd. James Magnussen has called out Cam McEvoy already. Can you just imagine the shenanigans that'll transpire over the next year, as the Enhanced Games craves legitimacy. First, why in hell would McEvoy, an Olympic champion, ever stoop so low? Second, do you reckon the IOC, WADA and World Aquatics would just sit back and decide to not introduce rules to cover off on the consequences of clean athletes competing against doped ones? If there's no code of conduct or sporting rules in force at the moment to cater for the issue of aspirants to compete at Los Angeles in 2028 being forced to not compete in the Enhanced Games, the threat of expulsion will be introduced into international sporting rules in coming months. Either that, or sports governing bodies will use existing codes of conduct and rules to their full effect. Loading Athletes can't be designed, constructed and endlessly tinkered with like Formula One cars. The concept of an alternate games, at which athletes are expected to juice themselves to the eyeballs and do God-knows-what-else in the quest for high prizemoney, is obscene and a human tragedy waiting to happen.
The Age
23-05-2025
- Sport
- The Age
Why clean athletes will never be allowed to compete in the doping games
That the Olympic Movement is a dreadfully corrupt artifice, which forces Olympians to scratch out an existence in poverty-driven squalor and incur insurmountable debt, whereas participants in the Enhanced Games will be paid handsome base salaries and compete for 'prize winnings, which will be larger than any other comparable event in history'. Garbage. That the 'anti-science dogma' of the International Olympic Committee and the most prominent professional sports leagues should be replaced by systems of supervised medical performance enhancement. Because, apparently, 'science is real and has an important place in supporting human flourishing', and the Enhanced Games intends to serve as a 'celebration of the union of athletic excellence and scientific achievement'. Again, bullshit. And because 'the Enhanced Movement believes in the medical and scientific process of elevating humanity to its full potential, through a community of committed athletes', whereas the IOC has 'weaponised the athletic community against science'. Arrrggghhh!!! We must be deadly serious. The Enhanced Games are a dangerous, iniquitous concept. Yes, the history of the Olympic Movement is replete with examples of those who've mastered the art of corruption and deceit. Yes, the IOC wastes millions and millions of Swiss francs. Yes, most athletes, worldwide, are underpaid and underfunded. And yes, the IOC has an appalling history when it comes to matters of corruption and double-dealing. But would you seriously trust this mob to do any better, let alone to improve on it and run an entirely ethical, fair and clean show? If you accept the essential premise of these dystopian alternate Olympics that performance-enhancing substances are required to compete at all, you must also accept the proposition that there's no issue with very young athletes being exposed to sanctioned 'enhancement' initiatives, even though it's never once worked out well for any young athlete so indoctrinated. And if you reckon that exposure won't happen, there's a dedicated page on the Enhanced Games website, where soon they'll be selling an 'enhancement plan with personalised optimisation'. You can join right now and get priority access, all for $US99 ($156). If you believe in all this hocus pocus, go join up now. Sign your own kids up, too. Because could you countenance a day, where your 14-year-old up-and-coming athlete is put on an enhancement regime legitimised by all of this? The book Faust's Gold documents the evil inflicted on thousands of athletes manipulated by the East German doping machine. Athletes who were lied to and used as lab rats for political purposes. Athletes who in many instances took Olympic gold back to East Berlin – East German athletes 'won' 107 Olympic titles between 1972 and 1980 – only to later succumb to terrible disease, irreversible organ damage and horrible cancers, all caused directly by doping. Where's the threshold of distinction between a state-sponsored doping program overseen by the Stasi, and this nascent concept promoted as the Enhanced Games? Doping isn't a recent phenomenon. It's been around forever. The Ancient Greeks were in on it. In the late 1800s, athletes in an array of sports started using strychnine – rat poison – because of its convulsant effects and consequent performance enhancement. A century ago, whole clubs in European football were hooked on cocaine and sipping on 'speedy coffees'. Contrastingly, what's far newer is the adoption of rules and methods to combat and govern doping. For the Olympic Movement, those rules were first enacted in the 1960s; the first person to fail a test in 1968 was using alcohol, of all things. Sports outlaw doping for hardly illogical reasons. First, the laws of many countries regulate the prescription, possession and administration of many classes of substances that are banned in sport: anabolic steroids are the perfect example. Because it's dangerous, potentially deadly, and because doping renders elite sport pointless. Moreover, in countries like Spain, France and Italy, using and trafficking substances prohibited in sport is a criminal offence. Many offenders have been locked up. The improper administration of certain substances, including those which are illegal to possess for no valid reason, can contribute to or cause permanent injury and disability, or worse. Athletes have died on the quest to achieve pharmacological superiority. Often, they're hoodwinked by shady doctors and other nefarious types who pretend to care for the welfare of athletes. The use by desperate and unwitting athletes of human growth hormones and growth factor modulators is tremendously dangerous. If the outcome of sporting competition is permitted to be influenced by, or determined by which athletes have the access to the best doctors and chemists, sport ceases to be sport in its essential sense; it becomes a kind of travelling circus. The glorious uncertainty and all that evaporates. And as to the notion that non-doped athletes might end up competing side-by-side with juiced-up competitors; that's absurd. James Magnussen has called out Cam McEvoy already. Can you just imagine the shenanigans that'll transpire over the next year, as the Enhanced Games craves legitimacy. First, why in hell would McEvoy, an Olympic champion, ever stoop so low? Second, do you reckon the IOC, WADA and World Aquatics would just sit back and decide to not introduce rules to cover off on the consequences of clean athletes competing against doped ones? If there's no code of conduct or sporting rules in force at the moment to cater for the issue of aspirants to compete at Los Angeles in 2028 being forced to not compete in the Enhanced Games, the threat of expulsion will be introduced into international sporting rules in coming months. Either that, or sports governing bodies will use existing codes of conduct and rules to their full effect. Loading Athletes can't be designed, constructed and endlessly tinkered with like Formula One cars. The concept of an alternate games, at which athletes are expected to juice themselves to the eyeballs and do God-knows-what-else in the quest for high prizemoney, is obscene and a human tragedy waiting to happen.
