CURRENTTIME — broadcast
20260920 163000 UTC
384 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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[00:00:00] we study the ancient heritage of civilizations, and also
[00:00:03] meet interesting people, try
[00:00:06] local cuisine and together, learn how
[00:00:09] to cook it. We are opening our new
[00:00:13] season again with you. I'm the host of the program,
[00:00:16] Zurab Dvali.
[00:00:30] Art in details.
[00:00:33] Writer Leila Slimani talks about the final part
[00:00:36] of her family trilogy. Artist Rashid Johnson steps out of
[00:00:40] his comfort zone.
[00:00:43] And we'll also get to know Greenlandic photographer
[00:00:46] Inootek Storchen better. But first, the history of things.
[00:00:50] Plastic surgery.
[00:00:52] Friend, where are your wrinkles? Who looks
[00:00:56] like this at 70 years old?
[00:01:08] Her cheekbones are flawless, and her lips are fuller than my hair in
[00:01:12] a storm. How is that possible? Well, she herself
[00:01:15] admitted that she had a facelift by a celebrity
[00:01:18] surgeon.
[00:01:20] In Hollywood, it's generally not customary to be shy about minor corrections.
[00:01:24] In addition to all this, social networks and filters raise the bar for ideals
[00:01:27] of perfection and youth.
[00:01:30] This obsession with perfection has permeated everyday life, and now
[00:01:34] unrealistic beauty standards stress all
[00:01:37] of us daily.
[00:01:39] But here's what's important: plastic surgery is not an invention of the 21st
[00:01:43] century at all; its history goes deep into the past. Many
[00:01:47] believe that cosmetic surgery originated in Europe after the world
[00:01:50] wars. However, the scalpel appeared much
[00:01:54] earlier, and over time, ancient medicine turned into a multibillion-dollar
[00:01:57] beauty industry.
[00:02:08] Probably even in ancient times, mothers already shouted, "I told
[00:02:11] you not to get that piercing." How do we
[00:02:14] know? Ancient manuscripts already contain descriptions of how to treat torn
[00:02:18] earlobes. This man, the one with a bun on
[00:02:22] his head, wrote a revolutionary book, one of the oldest known
[00:02:26] texts on surgery. These are not just medical notes, there are compiled
[00:02:30] detailed instructions for changing the nose, real
[00:02:32] rhinoplasty, as well as skin transplants and ear
[00:02:35] restoration, and this happened more than 2,500 years before
[00:02:39] social networks made nose surgery fashionable. So long before
[00:02:43] hyaluronic fillers and baby Botox, ancient societies already performed
[00:02:46] face lifts, not for beauty, but so that they could go out without sideways
[00:02:50] glances and whispers behind their backs. Appearance has always mattered, even
[00:02:54] thousands of years ago. Centuries passed and the world faced new
[00:02:58] traumas, which means medicine again... had to
[00:03:00] change.
[00:03:03] Facial reconstruction during the world wars.
[00:03:07] New weapons, new horror: thousands of soldiers
[00:03:10] return with disfigured faces, torn
[00:03:13] jaws, burnt skin, lost
[00:03:16] eyes. This surgeon worked in Great Britain, he became
[00:03:20] a pioneer of modern plastic surgery, biomaterials from skin,
[00:03:23] flaps, new methods of facial reconstruction. Fortunately, by
[00:03:27] that time, anesthesia already existed. with pigs,
[00:04:34] because
[00:04:34] they became
[00:04:41] living participants in experiments; new methods of reconstructive surgery were practiced
[00:04:45] on them. Mackindoe reconstructed the burnt
[00:04:48] faces of pilots of the Royal Air Force of Great Britain. The surgeon also
[00:04:51] improved skin grafting. The war
[00:04:54] turned reconstructive surgery into a global science. There was
[00:04:58] a need for this.
[00:05:21] in line for a facelift, rhinoplasty. In
[00:05:25] 1962, the first silicone
[00:05:28] implant appeared. 10 years later, liposuction. Doesn't it seem
[00:05:32] strange that doctors literally suck fat from under the skin to make the body look
[00:05:36] taut? Plastic surgery changed
[00:05:39] its focus from medical necessity to personal
[00:05:45] choice. Perfection. Here's a fact: the number of cosmetic surgeries
[00:05:52] is growing. Today, they are treated almost like after-dinner mints. For
[00:05:56] example, where would stars like Liz Taylor, Cher, and Pamela Anderson be now
[00:05:59] if a surgeon's scalpel hadn't become their best friend? Nineties stars
[00:06:03] made plastic surgery a constant topic of discussion in
[00:06:06] pop culture. They embraced the idea of enhancing appearance, and the public
[00:06:10] followed their idols.
[00:06:16] into a dinner table conversation topic. Before and after became
[00:06:19] a separate genre. A little lift here, a little filler there,
[00:06:23] common practice, just part of the fun.
[00:06:26] We now live in an era where Bella Hadid's nose job at
[00:06:29] 14 and Kylie Jenner's teenage implants have become
[00:06:32] the standard, and Generation Z, they don't just look at
[00:06:36] it, but sign up for appointments. Since the beginning of
[00:06:39] the pandemic, the number of procedures has sharply... grown worldwide.
[00:06:43] An unprecedented number of people are seeking them, be it surgery,
[00:06:46] injections, or other
[00:06:49] non-invasive methods. The focus is now on faces, not
[00:06:53] bodies, with eyelid surgery and the rankings. This boom is
[00:06:56] Botox topping global in nature and the trend
[00:07:00] is shifting towards a younger generation. The United
[00:07:03] States leads the world ranking in the total number of aesthetic procedures,
[00:07:07] thanks to a wide choice of non-surgical
[00:07:10] treatments. Please watch.
[00:07:22] a teenager in the US is already planning to undergo plastic surgery to get rid
[00:07:25] of signs of aging. This trend is actively fueled by social media
[00:07:28] filters. People are getting used to a retouched version of their own
[00:07:32] face. Brazil leads in the number of surgical
[00:07:36] cosmetic procedures. Body contouring, popular there. In
[00:07:39] liposuction, and breast augmentation are especially
[00:07:42] American culture, beauty and self-identity are closely
[00:07:45] intertwined.
[00:07:48] Japan ranks third in the world in the number of aesthetic
[00:07:51] procedures, with an emphasis on naturalness. Non-invasive
[00:07:54] in demand, reflecting methods, skin tightening procedures,
[00:07:58] and injections are most the trend towards subtle cosmetic
[00:08:01] enhancements. Iran is often called the world's capital
[00:08:05] of rhinoplasty. Recently, the country lowered the minimum
[00:08:09] age for cosmetic surgery to 14.
[00:08:42] reflects not only a change in beauty ideals, but it shows what
[00:08:46] is important to us as a society, the pursuit of perfection
[00:08:49] and the constant need to improve ourselves. Perhaps the main question
[00:08:53] is not how far surgery has advanced, but
[00:08:56] why we have gone so
[00:08:57] far.
[00:09:03] We meet with the famous Franco-Moroccan writer
[00:09:06] Leila Slimani in Lisbon, where she has lived for several
[00:09:09] years. Here, according to her, she writes
[00:09:12] more freely. Leila's latest novel is the most
[00:09:16] personal of all she has created so far. The main
[00:09:19] character is also a writer. Mia suffers from hot flashes
[00:09:23] and struggles to find the right words. In her Parisian
[00:09:26] apartment, she tries to remember her childhood, but her thoughts are as if
[00:09:30] enveloped in fog.
[00:09:32] I lost my bearings, everything got confused,
[00:09:35] fiction. My ideas about myself, about my
[00:09:38] grandfathers, about grandmothers, parents, my own
[00:09:41] memories. I wanted to capture this state that
[00:09:45] sometimes arises when you write, when you lose
[00:09:48] yourself.
[00:09:52] "In the Fire of Herself" is a work of fiction, but it
[00:09:55] is largely based on Leila Slimani's own
[00:09:58] biography. This is the final book in the family saga, which
[00:10:02] tells the story of three generations. The last part
[00:10:05] is dedicated to her own generation, to the problems of identity
[00:10:08] and the question, "Who am I?" In search of her past, Mia
[00:10:12] travels to Morocco. She and her sister received a privileged
[00:10:16] upbringing in Rabat in the eighties. At home,
[00:10:19] they spoke French and attended a private French school.
[00:10:23] Their parents belonged to values,
[00:10:32] but at the same time, without connection to Moroccan culture and the reality of
[00:10:35] the country.
[00:10:41] They allow the girls to freely express their
[00:10:43] thoughts.
[00:10:46] They tell them about gender equality, secularism,
[00:10:49] all of that. But they also instill in them that outside
[00:10:53] the home, everything is different.
[00:10:55] In doing so, they draw a very disturbing line for these young
[00:10:59] creatures between the inner world and the outer.
[00:11:03] Parents want to protect them from the authoritarian regime of King Hassan
[00:11:07] II. This was an era of abductions
[00:11:10] and human rights violations.
[00:11:13] The proclamation of liberal values in the privacy of the home seems
[00:11:16] to Mia to be an act of cowardice. At the same time, she herself denies her
[00:11:20] sexuality and
[00:11:21] femininity.
[00:11:25] lesbian nature, as she believes that those around her will not understand her. At a young age, she realizes that if you want to be part of society and be popular,
[00:11:35] a woman, because she lives in a society where
[00:11:37] a woman is doomed to submission, she has come to terms with the fact
[00:11:41] that she will never admit her
[00:11:45] you have to betray yourself.
[00:11:49] How to stay true to yourself? Leila Slimani's novel also tells the story
[00:11:52] of her late father, a respected
[00:12:11] My mother, of course, also had a career, but also other
[00:12:12] activities.
[00:12:15] She cooked, she took care of us, she knew how to
[00:12:17] laugh.
[00:12:20] Father didn't know how to live, he didn't understand
[00:12:23] life.
[00:13:28] What part of yourself do you have to suppress so as not to appear too
[00:13:31] Arab? This novel also explores female
[00:13:35] identity and the pressure that girls face, including in
[00:13:39] the Western world. Mia's sister rushes to her in Paris and also
[00:13:42] experiences the weight of expectations. She wants to be
[00:13:46] accepted, dreams of a family and children, for a time even
[00:13:49] abandoning her dream of emancipation for this
[00:13:52] life.
[00:13:55] Freedom is more complicated than we think. Most people don't
[00:13:58] want to be independent, they prefer money, security, and
[00:14:02] comfort. I don't believe that people have a desire for
[00:14:05] freedom. Everything is much more complicated. I explore
[00:14:08] this in my book. How free do we want to be, what
[00:14:12] are we willing to sacrifice for freedom. Mother,
[00:14:15] feminist, Moroccan-French. Slimani manages to convey
[00:14:18] the complexity of coexisting multiple identities and how
[00:14:22] everything eventually comes together as a whole. Sometimes you feel in
[00:14:25] the depths of your soul that you know who you are,
[00:14:29] and what you are, you carry within you like a fire. Wherever
[00:14:33] you go, you don't need anyone else's opinion to understand who
[00:14:37] you are.
[00:14:39] "In the Fire of Herself." For Leila Slimani, this means
[00:14:43] recognizing her roots and at the same time living a free, independent
[00:14:47] life.
[00:14:54] Next. American artist Rashid Johnson, whose work
[00:14:57] addresses issues of race and social
[00:15:00] inequality.
[00:15:03] My name is Rashid.
[00:15:06] Rashid Johnson is extremely punctual. He drinks a lot of water
[00:15:09] and exercises daily. He likes
[00:15:12] established routines, even in his own Brooklyn studio. They help
[00:15:16] him maintain composure and cope with
[00:15:18] anxiety.
[00:15:20] "Anxious Men" is the title of his most famous series of works.
[00:16:40] Soul is an incredibly complex topic, and
[00:16:44] it seems that precisely what attracts me to it is that it raises
[00:16:48] many questions in people. How can one
[00:16:51] influence it at all, how does it affect us,
[00:16:55] what kind of dialogue is possible with
[00:16:59] the very idea of the soul, can it be nurtured,
[00:17:03] healed, supported, or
[00:17:06] can it be lost?
[00:17:11] The word "soul" is complex, rich in meanings. It is
[00:17:14] one of the key elements of Black pop culture. In Johnson's works,
[00:17:18] the theme of self-reflection, the so-called recurs. The artist
[00:17:22] double consciousness, constantly tries to break down this imposed
[00:17:25] vision. His works are called conceptual
[00:17:28] post-black art.
[00:17:31] Many perceive Black identity as something
[00:17:34] serious, almost without humor. It is not
[00:17:38] something fixed, the concept changes, it contains
[00:17:41] tension, and fear, but also joy and happiness.
[00:17:45] I think it's important to see all of this in Black
[00:17:48] identity at once. We need to truly open up this
[00:17:51] concept to the full range of meanings that it can carry
[00:17:55] within itself. And understand irony. We
[00:17:59] are talking about the post-state of what was
[00:18:01] originally an already invented
[00:18:04] construction.
[00:18:07] His art is emotional, powerful, and intellectual.
[00:18:11] The conditions in which it is created are becoming increasingly
[00:18:14] harsh. In the US, pressure is intensifying on
[00:18:17] intellectuals, the academic community, and journalists, as
[00:18:20] part of the fight against the so-called elites. Another
[00:18:23] chapter in the controversial history of the United States, where education
[00:18:27] and critical thinking are now openly
[00:18:29] rejected.
[00:18:52] in them, as is well known, there were often characters who strongly resisted any kind of intellectual interaction and
[00:18:54] discourse.
[00:18:57] They needed action. In my own experience, there have been and
[00:19:00] still are moments when I believe that over-complication
[00:19:04] detracts from creativity.
[00:19:09] Nevertheless, I am deeply committed to such an
[00:19:12] intellectual approach. This
[00:19:15] still underlies and is at the heart of much
[00:19:18] of my own
[00:19:20] practice.
[00:19:23] Now, United States politics does not allow for
[00:19:25] ambivalence. Since Trump took office,
[00:19:29] approximately a third of museums have lost state
[00:19:31] funding. The government interferes with the work of large
[00:19:35] institutions, exhibitions, publications, and websites. So-called
[00:19:38] "anti-American content," like critical depictions of slavery,
[00:19:42] is not welcomed, but Rashid Johnson, chronicler
[00:19:45] of American anxiety, somehow maintains
[00:19:48] composure. Progress is an
[00:19:52] unstoppable force. Therefore,
[00:19:55] even when we see something that, it seems to us,
[00:19:58] is inconsistent with progress, we must
[00:20:02] admit that in some sense it also reflects
[00:20:05] it. degree, it is an
[00:20:08] integral part of how we move
[00:20:12] forward. Progress cannot
[00:20:15] be stopped.
[00:20:23] Photographer Inuutek Storch captures scenes of daily life in his
[00:20:27] native Greenland.
[00:20:29] Photographs taken at the edge of the world. An intimate
[00:20:33] look at the everyday lives of people living surrounded by friends and family.
[00:20:38] Unobtrusive moments that shape personality and
[00:20:41] constitute life against dramatic
[00:20:43] landscapes.
[00:20:51] Inuutek Storch shows us his country through the eyes
[00:20:54] of a Greenlander. This is an unusual point of view, rarely
[00:20:58] found in history textbooks. In school, the photographer
[00:21:01] studied ancient Greek myths and Danish, but heard nothing
[00:21:05] about his Inuit ancestors. "The world outside is probably much
[00:21:08] more amazing," thought young Storch. When I
[00:21:12] was younger, I dreamed of traveling all over the world, seeing how people
[00:21:16] live in other regions. But when I set off.
[00:21:53] people
[00:21:53] drink,
[00:21:58] trust each
[00:21:59] other,
[00:22:03] feel
[00:22:03] closeness.
[00:22:07] The most important thing for us is to understand our
[00:22:11] own culture and life, and to realize
[00:22:14] how valuable this is to us. We
[00:22:18] live in a very special
[00:22:20] place, if we compare it to how life is structured
[00:22:23] in other parts
[00:22:25] of the earth.
[00:22:28] Greenland is the largest island in the world with a population of only
[00:22:32] 57,000 people, but it has never known
[00:22:35] peace. First came missionaries, then merchants
[00:22:39] and soldiers. For a long time, Greenland was a Danish
[00:22:43] colony. Since 1979,
[00:22:45] it became an autonomous territory of the Danish kingdom. Alcoholism
[00:22:49] flourished here. The and high suicide rates
[00:22:53] colonial past has many dark pages, from forced
[00:22:56] sterilization of women and eviction of Inuit to make way
[00:23:00] for American military bases, to the removal of children
[00:23:03] from local families to turn them into
[00:23:06] Danes.
[00:23:10] I think that it's about
[00:23:13] the historical trauma
[00:23:14] of society.
[00:23:18] We were a colony.
[00:23:26] and the colonizers did inhumane things. The saddest thing is that traditions and beliefs
[00:23:29] gradually
[00:23:31] disappeared.
[00:23:34] But now they are starting to
[00:23:37] return.
[00:23:41] Previously, Inuit tattoos were completely
[00:23:45] banned. Now Greenland is once again
[00:23:48] in the sights of foreign
[00:23:51] powers, but Storch does not want to focus
[00:23:55] on fear, powerlessness, or anger. He
[00:23:58] is cautious.
[00:24:00] We just hope for a good life in
[00:24:03] the future, because people want stability and
[00:24:07] comfort. I think not only in Greenland do we
[00:24:11] feel this way, I believe that this is a common
[00:24:14] hope, to live well with the whole
[00:24:17] family.
[00:24:20] In his short film Anachronism, a finger on
[00:24:24] the map threatens the very essence of home.
[00:24:47] Storch defends his personal point of view. At the national
[00:24:51] museum, he found photographs by an unknown Greenlandic
[00:24:54] photographer, photographs that contain almost no indigenous
[00:24:57] people.
[00:25:01] They depict the colonizers and their
[00:25:04] lives.
[00:25:08] That's why Inuutek Storch collects private films and
[00:25:12] photographs from relatives and friends. We
[00:25:15] are here with our history, identity, and
[00:25:18] language.
[00:25:23] We are very lucky that we managed to preserve our
[00:25:26] language, the word "sila" means
[00:25:30] nature, the outer world, and at the same time
[00:25:33] consciousness.
[00:25:36] Many Greenlandic words have double or even
[00:25:39] triple meanings, for example, when they say "kivsila"
[00:25:43] it can mean that a person is wise,
[00:25:47] but also that there is something external in them.
[00:26:02] a friend during long periods of darkness, cold, and power
[00:26:06] outages, against the backdrop of Western influence and
[00:26:09] that special spirituality that is rarely found anywhere
[00:26:12] else.
[00:26:15] And that's all, join us again next week,
[00:26:19] come for a new dose of art and culture.
[00:26:34] without prohibitions and restrictions, the real
[00:26:37] time on Telegram, all in one place, on a convenient platform,
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[00:26:43] Time", subscribe and share with
[00:26:46] your friends.
[00:26:50] there can be no school in the subway, this is generally
[00:26:53] a nonsense.
[00:26:57] yes, it just got
[00:27:00] into the crosshairs.
[00:27:05] And what does that man not understand, that by throwing rockets here,
[00:27:09] people are dying here? I say, I don't know you, I was very
[00:27:13] afraid when it flew in and into the basement.
[00:27:28] of course, it feels like we're hiding Jews here,
[00:27:31] that's how it is.
[00:27:36] You've been living in war for five years, how do you
[00:27:39] show a destroyed city? The
[00:27:41] city is
[00:27:45] empty, everything that used to be familiar
[00:27:49] and noisy for you also becomes
[00:27:51] empty.
[00:28:00] This is a live broadcast, the Present Time TV channel. Hello, we asked
[00:28:04] our viewers to write why they watch
[00:28:06] us.
[00:28:11] You tell the truth, that's the main thing. I'll say more, you
[00:28:14] have become the only media outlet I
[00:28:16] trust.
[00:28:20] You have become for me an island of sanity, honesty,
[00:28:23] discernment, justice,
[00:28:25] mercy. Thank you for the objective
[00:28:29] information.
[00:29:32] occupying power or into the territory of any other
[00:29:35] state, regardless of whether they are occupied or not.
[00:29:39] The occupying power shall not deport or
[00:29:42] transfer parts of its own civilian population
[00:29:46] into the territory it occupies.