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Times
3 days ago
- Entertainment
- Times
The Louvre makeover that will push up price of seeing Mona Lisa
A baking summer's afternoon at the Louvre. Milling around the Mona Lisa are maybe 150 people, all with their phones held high above their heads so they can snap that enigmatic smile. Meanwhile, in the vast galleries surrounding Leonardo's masterpiece, an eternal throng of visitors from every corner of the globe trudges wearily on — most, this far into the gallery, seemingly oblivious to the glorious art around them. Paris's great museum has about nine miles of galleries, spread over 403 rooms. You enter it from beneath IM Pei's celebrated glass pyramid, which on a day like this behaves like a giant magnifying glass for the blazing sun. Many visitors probably won't venture more than half a mile into the heart of the museum. But in this huge, former royal palace there is one tranquil room. Far from the madding crowd, Laurence des Cars, 59, the first female director of the Louvre in 228 years, sits in her book-lined office, the picture of the formidable, Sorbonne-educated Parisian intellectual she is. If she is physically distanced from the heaving mass of humanity trudging round her domain, however, her brain is constantly occupied with it. 'One of my first decisions when I became the director in 2021 was to limit our daily admissions to 30,000,' she says. 'You know that, just before Covid, the Louvre was getting ten million visitors a year? When I got here the staff said, 'Please let's not go back to that because some days we were up to 45,000 visitors.' And that figure is too much. Even now we are saturated. The building is suffocating. It's not good for staff, visitors or the art.' Last month the Louvre's staff emphasised their grievances by going on a spontaneous strike (a 'mass expression of exasperation', their union official said), leaving thousands of tourists outside with no idea why they weren't being let in. 'It wasn't a strike,' des Cars says firmly. 'It was a meeting with the unions because of the conditions and especially the heat. I put in place immediate measures to make things better and we reopened that afternoon.' All the world's top museums — from the Vatican in Rome to the British Museum in London — are facing this same problem: huge congestion, especially around the handful of masterpieces that every tourist has heard of. But the overcrowding is felt most acutely by the Louvre, which still receives more visitors (8.7 million last year) than any other museum, yet has some of the worst facilities. We know this because six months ago a memo outlining its problems was leaked to a Paris newspaper. It caused a stir not just because it was addressed to Rachida Dati, France's culture minister, but because it was written by des Cars. She was jaw-droppingly frank. 'Visiting the Louvre is a physical ordeal,' she wrote. 'Visitors have no space to take a break. The food options and restroom facilities are insufficient in volume, falling below international standards. The signage needs to be completely redesigned.' Pei's pyramid, she went on, creates a 'very inhospitable' atmosphere on hot days. Other parts of the old building are 'no longer watertight'. Nobody has revealed who leaked the memo, but it's hard to imagine des Cars being upset by the revelation because within days came a dramatic intervention from on high. President Macron announced a redevelopment project that he called the 'nouvelle renaissance' of the Louvre. It's masterminded by des Cars and every bit as radical a reshaping as François Mitterrand's 'grand projét' of the 1980s, which led to Pei's pyramid. By chance it will run simultaneously with something similar in London: the £1 billion masterplan to renovate the British Museum, a coincidence that hasn't escaped des Cars' notice. 'I talk a lot with Nick Cullinan [the BM's director],' she says. 'He's wonderful, a great professional and he's dealing with exactly the same issues.' The most controversial feature of des Cars' plan is her proposed solution to the problem of that huge rugby scrum around the Mona Lisa. She wants to remove the painting to one of several new underground galleries to be excavated under the Cour Carrée courtyard, where it will get its own entrance requiring punters to buy an additional ticket (the price is yet to be decided). • The secret life of the Louvre: inside the world's biggest museum She also envisages a second entrance to the Louvre on the far side from where the pyramid is. 'The idea of having just one entrance to this enormous museum was a nice idea in the 1980s when the Louvre had just four million visitors a year,' she says. 'But that was before the Berlin Wall fell, before the Chinese started travelling, before international tourism reached the levels we have today. We are going back to what was always the case — several entrances for the Louvre.' At the same time the museum will be given a technical makeover. That will take ten years, des Cars estimates, whereas she suggests that the Mona Lisa gallery and the new entrance will be ready by 2031 or 2032. 'We are running a competition to find an architect and will appoint one early next year,' she says. 'And the Louvre won't close at all. That's the strength of having a very large building. You can rebuild half of it and still function in the other half.' One benefit of all this, des Cars says, is that it will help people to get to different galleries more quickly, introducing more lifts and better signage. 'On the second floor we have the most extraordinary collection of French paintings anywhere in the world and virtually nobody looks at them,' she says. 'You start to think, what's wrong with Poussin? The answer is nothing. The real problem is that to get from the pyramid to Poussin takes 20 to 25 minutes, and that's if you walk quickly and don't get lost. If we can sort out these problems people will discover many new joys.' It comes at a price, though. The ten-year project is expected to cost about £700 million. Unlike the British Museum's masterplan, however, at least half the required funding is already guaranteed. 'The technical renovation will be funded by the Ministry of Culture,' des Cars says. 'As for the new galleries and entrance, our trademark licence deal with the Louvre Abu Dhabi [which des Cars spent six years helping to set up] will give us at least £175 million. The rest we will raise from corporate and private supporters.' Even here, des Cars has an advantage over her British counterparts. 'When you say the word Louvre people all over the world pay attention,' she says. The gallery has one other huge income stream not available to UK museums. It charges for admission and the ticket prices are about to go up — £19 for EU citizens and a hefty £26 for non-EU visitors, including the poor old Brits. Sounds as if we need to rejoin the EU, I say. 'Please do!' des Cars says, beaming. But what does she think of the UK's generous policy of keeping its national museums free to all, even foreigners? 'I am absolutely not allowed to make any judgment on that,' she says with a laugh, and then makes one anyway. 'I mean, it's very admirable but is it sustainable in today's world? That's a political decision. I leave you to have your debate.' • Best time to visit the Louvre: top tips for your trip The daughter and granddaughter of distinguished French writers, des Cars was a respected art historian, writing a classic study of the pre-Raphaelites before she started running big Parisian museums (she was head of the Musée d'Orsay and the Musée de l'Orangerie before the Louvre). Surely it must break her heart to see thousands of people using great art merely as background for their selfies, disrupting other visitors' enjoyment in the process? Has she considered banning the use of phones, as other art galleries have done? 'I know they are trying but I simply don't know how you do it,' she says. 'We considered it when I was at the Orangerie and the security team said, 'We can't force people not to use phones.' Also I think it's dangerous to go against the times we live in, but you can remind people that they are in a cultural space and need to respect each other, the staff and the artworks.' • Mona Lisa to get her own room in the Louvre And perhaps be a bit more curious about venturing into galleries that don't contain the most famous paintings on the planet? 'We are already making changes to attract people to less-visited parts of the museum,' des Cars says. 'For instance, we could have put our new Louvre Couture [the museum's first venture into fashion] in our exhibitions space, but instead we placed it within the department of decorative arts and now those galleries get a hugely increased number of visitors, especially young people.' As the Louvre's first female director, can she do anything to mitigate the fact that the vast majority of artworks here were created by men? 'You cannot change history but there are other ways of addressing that question. In the spring of 2027 I'm programming an exhibition on the theme of amazons, ancient and modern — from Greek women warriors to powerful women today. It will be a fascinating journey.' And how is this very powerful woman enjoying her own fascinating journey? 'When I was appointed I felt ready to run the Louvre, which sounds immodest,' des Cars replies. 'Maybe I will be a disaster and someone will have to shout, 'Stop!' I don't know.' I would be amazed if anyone did that — or at least not until the mid-2030s, when she has finished remaking the Louvre for the 21st century. Additional research by Ziba Manteghi
Times
3 days ago
- Entertainment
- Times
The Mona Lisa millions — behind the scenes at the world's busiest museum
A baking summer's afternoon at the Louvre. Milling around the Mona Lisa are maybe 150 people, all with their phones held high above their heads so they can snap that enigmatic smile. Meanwhile, in the vast galleries surrounding Leonardo's masterpiece, an eternal throng of visitors from every corner of the globe trudges wearily on — most, this far into the gallery, seemingly oblivious to the glorious art around them. Paris's great museum has about nine miles of galleries, spread over 403 rooms. You enter it from beneath IM Pei's celebrated glass pyramid, which on a day like this behaves like a giant magnifying glass for the blazing sun. Many visitors probably won't venture more than half a mile into the heart of the museum. But in this huge, former royal palace there is one tranquil room. Far from the madding crowd, Laurence des Cars, 59, the first female director of the Louvre in 228 years, sits in her book-lined office, the picture of the formidable, Sorbonne-educated Parisian intellectual she is. If she is physically distanced from the heaving mass of humanity trudging round her domain, however, her brain is constantly occupied with it. 'One of my first decisions when I became the director in 2021 was to limit our daily admissions to 30,000,' she says. 'You know that, just before Covid, the Louvre was getting ten million visitors a year? When I got here the staff said, 'Please let's not go back to that because some days we were up to 45,000 visitors.' And that figure is too much. Even now we are saturated. The building is suffocating. It's not good for staff, visitors or the art.' Last month the Louvre's staff emphasised their grievances by going on a spontaneous strike (a 'mass expression of exasperation', their union official said), leaving thousands of tourists outside with no idea why they weren't being let in. 'It wasn't a strike,' des Cars says firmly. 'It was a meeting with the unions because of the conditions and especially the heat. I put in place immediate measures to make things better and we reopened that afternoon.' All the world's top museums — from the Vatican in Rome to the British Museum in London — are facing this same problem: huge congestion, especially around the handful of masterpieces that every tourist has heard of. But the overcrowding is felt most acutely by the Louvre, which still receives more visitors (8.7 million last year) than any other museum, yet has some of the worst facilities. We know this because six months ago a memo outlining its problems was leaked to a Paris newspaper. It caused a stir not just because it was addressed to Rachida Dati, France's culture minister, but because it was written by des Cars. She was jaw-droppingly frank. 'Visiting the Louvre is a physical ordeal,' she wrote. 'Visitors have no space to take a break. The food options and restroom facilities are insufficient in volume, falling below international standards. The signage needs to be completely redesigned.' Pei's pyramid, she went on, creates a 'very inhospitable' atmosphere on hot days. Other parts of the old building are 'no longer watertight'. Nobody has revealed who leaked the memo, but it's hard to imagine des Cars being upset by the revelation because within days came a dramatic intervention from on high. President Macron announced a redevelopment project that he called the 'nouvelle renaissance' of the Louvre. It's masterminded by des Cars and every bit as radical a reshaping as François Mitterrand's 'grand projét' of the 1980s, which led to Pei's pyramid. By chance it will run simultaneously with something similar in London: the £1 billion masterplan to renovate the British Museum, a coincidence that hasn't escaped des Cars' notice. 'I talk a lot with Nick Cullinan [the BM's director],' she says. 'He's wonderful, a great professional and he's dealing with exactly the same issues.' The most controversial feature of des Cars' plan is her proposed solution to the problem of that huge rugby scrum around the Mona Lisa. She wants to remove the painting to one of several new underground galleries to be excavated under the Cour Carrée courtyard, where it will get its own entrance requiring punters to buy an additional ticket (the price is yet to be decided). • The secret life of the Louvre: inside the world's biggest museum She also envisages a second entrance to the Louvre on the far side from where the pyramid is. 'The idea of having just one entrance to this enormous museum was a nice idea in the 1980s when the Louvre had just four million visitors a year,' she says. 'But that was before the Berlin Wall fell, before the Chinese started travelling, before international tourism reached the levels we have today. We are going back to what was always the case — several entrances for the Louvre.' At the same time the museum will be given a technical makeover. That will take ten years, des Cars estimates, whereas she suggests that the Mona Lisa gallery and the new entrance will be ready by 2031 or 2032. 'We are running a competition to find an architect and will appoint one early next year,' she says. 'And the Louvre won't close at all. That's the strength of having a very large building. You can rebuild half of it and still function in the other half.' One benefit of all this, des Cars says, is that it will help people to get to different galleries more quickly, introducing more lifts and better signage. 'On the second floor we have the most extraordinary collection of French paintings anywhere in the world and virtually nobody looks at them,' she says. 'You start to think, what's wrong with Poussin? The answer is nothing. The real problem is that to get from the pyramid to Poussin takes 20 to 25 minutes, and that's if you walk quickly and don't get lost. If we can sort out these problems people will discover many new joys.' It comes at a price, though. The ten-year project is expected to cost about £700 million. Unlike the British Museum's masterplan, however, at least half the required funding is already guaranteed. 'The technical renovation will be funded by the Ministry of Culture,' des Cars says. 'As for the new galleries and entrance, our trademark licence deal with the Louvre Abu Dhabi [which des Cars spent six years helping to set up] will give us at least £175 million. The rest we will raise from corporate and private supporters.' Even here, des Cars has an advantage over her British counterparts. 'When you say the word Louvre people all over the world pay attention,' she says. The gallery has one other huge income stream not available to UK museums. It charges for admission and the ticket prices are about to go up — £19 for EU citizens and a hefty £26 for non-EU visitors, including the poor old Brits. Sounds as if we need to rejoin the EU, I say. 'Please do!' des Cars says, beaming. But what does she think of the UK's generous policy of keeping its national museums free to all, even foreigners? 'I am absolutely not allowed to make any judgment on that,' she says with a laugh, and then makes one anyway. 'I mean, it's very admirable but is it sustainable in today's world? That's a political decision. I leave you to have your debate.' • Best time to visit the Louvre: top tips for your trip The daughter and granddaughter of distinguished French writers, des Cars was a respected art historian, writing a classic study of the pre-Raphaelites before she started running big Parisian museums (she was head of the Musée d'Orsay and the Musée de l'Orangerie before the Louvre). Surely it must break her heart to see thousands of people using great art merely as background for their selfies, disrupting other visitors' enjoyment in the process? Has she considered banning the use of phones, as other art galleries have done? 'I know they are trying but I simply don't know how you do it,' she says. 'We considered it when I was at the Orangerie and the security team said, 'We can't force people not to use phones.' Also I think it's dangerous to go against the times we live in, but you can remind people that they are in a cultural space and need to respect each other, the staff and the artworks.' • Mona Lisa to get her own room in the Louvre And perhaps be a bit more curious about venturing into galleries that don't contain the most famous paintings on the planet? 'We are already making changes to attract people to less-visited parts of the museum,' des Cars says. 'For instance, we could have put our new Louvre Couture [the museum's first venture into fashion] in our exhibitions space, but instead we placed it within the department of decorative arts and now those galleries get a hugely increased number of visitors, especially young people.' As the Louvre's first female director, can she do anything to mitigate the fact that the vast majority of artworks here were created by men? 'You cannot change history but there are other ways of addressing that question. In the spring of 2027 I'm programming an exhibition on the theme of amazons, ancient and modern — from Greek women warriors to powerful women today. It will be a fascinating journey.' And how is this very powerful woman enjoying her own fascinating journey? 'When I was appointed I felt ready to run the Louvre, which sounds immodest,' des Cars replies. 'Maybe I will be a disaster and someone will have to shout, 'Stop!' I don't know.' I would be amazed if anyone did that — or at least not until the mid-2030s, when she has finished remaking the Louvre for the 21st century. Additional research by Ziba Manteghi
Yahoo
15-07-2025
- Science
- Yahoo
Swiss exoplanet pioneer reflects on Earth's place in the cosmos
In October 1995, Michel Mayor and Didier Queloz made a groundbreaking discovery: the first exoplanet orbiting a solar-type star. This moment marked the beginning of a new era in astronomy and planetary science, earning the Swiss pair the 2019 Nobel Prize in Physics. In a recent visit to the Sorbonne, Queloz shared some of his insights with Radio France Internationale. Since the first discovery, nearly 6,000 exoplanets have been confirmed, with thousands more candidates awaiting verification. Each one offers a small glimpse into the diversity of planetary systems across the galaxy. While both Mayor and Queloz are Swiss, they come from the French-speaking region of Switzerland and have long-standing academic ties to French institutions. Growing interest in exoplanets Their discovery reverberated strongly through the French scientific community, contributing to a surge of interest in exoplanetology in France. Professor Queloz, for example, has collaborated with Paris Sciences et Lettres University and recently delivered a public lecture at Sorbonne University. During his visit to Paris, Queloz explained: 'Looking for exoplanets is essentially looking for us.' His words capture the deeper motivation behind this cosmic quest - not merely cataloging distant worlds, but seeking to understand our own place in the universe. From the Lab: French researchers uncover why solar system planets are unlikely to collide Philosphy and science Read more on RFI EnglishRead also:From the Lab: French researchers uncover why solar system planets are unlikely to collideFrom The Lab: How researchers reconstructed the face of a Napoleonic soldierFrom The Lab: France's SOLEIL synchrotron shines light on secrets of matter
Time Magazine
10-07-2025
- Entertainment
- Time Magazine
Too Much's Enchanting Tribute to 'Before Sunrise' Is the Best Episode of the Series
According to the digital clock on Jessica's bedside table, it's just after 9:07 p.m. on a weekday evening when she issues a warning to Felix: 'I can't stay up late tonight.' Jess (Megan Stalter) has an important meeting at 8:30 the next morning. And the new couple, whose romance is chronicled in the Netflix series Too Much, has gotten into the habit of lingering together through the wee hours, to the extent that her new boss (Richard E. Grant) has noticed her struggling at work. But the first flush of love is a potent force. In the third—and, in my estimation, best—episode of the season, we watch it overpower our heroine's more prudent impulses. A genre-savvy, meta romantic comedy in the tradition of Emily Henry's novels and the best of Nora Ephron, Too Much, from co-creators Lena Dunham and Luis Felber, visualizes Jess' Wuthering Heights fantasies and features a scene in which her family dissects Alan Rickman's sex appeal in Sense and Sensibility. Each episode's title is a spin on the name of a classic silver-screen romance. That this particular chapter of Jess and Felix's (Will Sharpe) love story is called 'Ignore Sunrise'—a reference to Richard Linklater's gorgeous indie touchstone Before Sunrise, released in 1995—serves as the first clue that it's doing something special. The first feature in what would become a trilogy spanning two decades, Before Sunrise follows two devastatingly attractive, 20-something strangers, Ethan Hawke's Jesse and Julie Delpy's Céline, who meet on a train and, after an electric first chat, decide to disembark together in Vienna. He's an aimless, idealistic American; she's a blunter, more skeptical Frenchwoman studying at the Sorbonne. Jesse has a plane to catch the next morning but can't afford a hotel room, so they wander the cobblestone streets and haunt cafes, falling hard for each other as afternoon fades into evening and night yields to, yes, sunrise. Though the liaison is eventually consummated, it's the conversation between Céline and Jesse that kindles their love. With disarming honesty, they discuss philosophy, art, and memory, filtering their ideas through personal anecdotes as they grow more connected with each searching exchange. When they separate, less than 24 hours after meeting and with only the vaguest reunion plans, it's unclear whether these two lovers, who seem so perfectly matched, will ever see each other again. Though it's situated within the arc of a longer, in some ways more conventional romance, 'Ignore Sunrise' pays tribute to Linklater's film by pausing the show's plot to luxuriate in what becomes, despite Jess' intentions, a sleepless night. (It also reminded me of the standout Girls episode 'One Man's Trash,' which unfolds over the course of a weekend-long fling between Dunham's Hannah and an older man played by Patrick Wilson.) Periodic shots of the digital clock punctuate the passing of time—11:02, 1:11, 2:36, 4:03, 5:07—as she and Felix move from room to room in her shabby sublet. He makes pho in the kitchen, and they make out on the floor. They watch Paddington, one of his favorite movies, in the living room and hook up on the couch. In the bedroom they banter about her habit of falling asleep to true crime documentaries ('Murder is relaxing to you?' he marvels). They can't even keep their hands off each other in the bathroom, while she's brushing her teeth. The episode ends with the buzz of the alarm at 6:45 a.m., as Jess shovels cold pho into her mouth in preparation for another exhausted workday. Like Jesse and Céline, Jess and Felix are, respectively, an American abroad and an old soul from across the Atlantic. (Might Jess' name be a callback to Hawke's character? Totally possible I'm overthinking this.) And their conversations are similarly revealing. 'Isn't adulthood just a series of things we don't want to do but we have to?' Jess asks as she pores over a budget document, working after hours to prove she's a valuable employee. 'No,' replies Felix, who's struggling to support himself as a session musician and has just come from a frustrating visit to the employment office. 'I think it's, like, trying to make sure you can do the things you actually want to do.' When he asks if what she's working on is what she always wanted to do with her life, she hedges: 'It's similar to what I really wanted to do.' We see how she could use a dose of his idealism about creative pursuits, just as he could stand to absorb some of her work ethic. They delve into their pasts. There are flashbacks to Jess' childhood with a father she adored, who died young of an aggressive form of Parkinson's. Now three years sober, Felix tells her about his 'rock bottom' and the realization that the substance abuse that was part of his rock 'n' roll lifestyle was actually keeping him from writing good music. His insights into who she is can be breathtaking. He likens Jess, who traveled to London with a broken heart, to the orphaned Paddington, wandering through the city with an invisible tag that reads: 'Please look after this girl.' He observes, 'You're not always that kind to yourself,' undervaluing her own comfort. But 'Ignore Sunrise' does diverge from Before Sunrise in ways that feel crucial to the more honest, self-aware romance Dunham and Felber seem intent on creating in Too Much. There is a sheen of poetic perfection to the film; Jesse and Céline are idealized lovers who look like grunge-era fashion models and speak with an unguarded openness. Jess and Felix, by contrast, are real, funny, messy, horny, flawed people. ('I've always actually felt really hot,' she says at one point, debriefing after an abortive attempt at their umpteenth sexual encounter of the night. 'Except for when I haven't'—an inevitability, she explains, in a society that lets every woman who isn't supermodel material know it.) They're frank about their bodies: 'I have to go to the bathroom,' she says after sex, 'because I'm not about that UTI life.' Grossing each other out is part of their love language. 'There was one time I went on a bender and had sex with my sister…'s friend,' Felix says, teasing Jess with a long pause that implies he committed incest. Dunham, who wrote and directed the episode, also seeds their interactions with the distractions, evasions, and half-truths of two people with baggage who aren't yet comfortable baring their whole souls. Dating Felix hasn't stopped Jess from obsessing over her ex, Zev (Michael Zegen), and his new fiancée, Wendy (Emily Ratajkowski). She sneaks glances at their social media and flashes back to nights in bed with Zev. One fantasy sequence imagines Jess and Wendy bonding at a Grease-style sleepover, then seducing each other in a red-lit erotic thriller. Even in the middle of an idyllic night with her new boyfriend, Jess is too stuck in her recent past to be entirely present. Because Too Much is filtered mostly through her perspective, it will take some time for viewers to discover everything that's competing with Jess for Felix's attention—though in one telling moment, she asks him about his family and he ever-so-gently changes the subject. There's an irony to 'Ignore Sunrise,' too. Felix is perceptive enough to notice that Jess is too quick to discount her own comfort. But he doesn't seem to notice, as he stays in bed to enjoy the daytime sleep of the underemployed while she gets up to prepare for her meeting, that this night, as wonderful as it was, is another example of that self-sacrificing tendency. One about which he should, perhaps, be aware and concerned enough not to become complicit. There's a fine line between compatibility and codependency, having compassion for another person's failings and enabling them. The episode's uneasy conclusion foreshadows the many obstacles, habits, and hangups the couple must tackle on the road to long-term happiness—something Linklater's movie never has to consider (though its equally superb sequels do, in great depth). If Before Sunrise updated the high romance of fairy tales for the '90s bohemian, then Too Much is grounded in real-life relationships (Dunham and Felber's, for one), disrupted as they are by UTIs and family trauma and intrusive thoughts of heartbreaks past. Yet the movie's influence on the show is wonderfully apparent in the core theme they share—a conviction that the effort to communicate across the yawning void that separates individual consciousnesses is the ultimate act of love. 'If there's any kind of magic in this world,' Céline, the realist, proposes to Jesse, 'it must be in the attempt of understanding someone sharing something.' It's an observation you can imagine Jess and Felix mulling, too, alone together in the fragile quiet before sunrise.
The Star
07-07-2025
- Politics
- The Star
Resetting terms of engagement
Measured challenge: Anwar delivering his speech at Sorbonne University, where he let it be known that South-East Asia is done being spoken for, let alone spoken down to. Bernama IF the French were expecting a deferential guest, they did not get one. When Prime Minister Datuk Seri Anwar Ibrahim rose to speak at the Sorbonne on July 4, his address was both a nod to France's intellectual tradition and a measured challenge to its strategic assumptions. Woven with references to Sartre and Montesquieu, Camus and Tocqueville, and the Pirenne thesis to boot, it was a tour de force in intellectual diplomacy – at once appreciative and unsparing, gracious yet audacious. Billed as RM9.73 for the 1st month then RM13.90 thereafters. RM12.33/month RM8.63/month Billed as RM103.60 for the 1st year then RM148 thereafters. Free Trial For new subscribers only
