Society

This section contains social developments, observations and tensions in the center - topics that affect our coexistence, our values and our cultural orientation. Some of these articles address current debates, others question long-established structures or look back at historical contexts. Often, it is not about making quick judgments, but about pausing, taking a closer look - and asking the question: where do we actually want to go as a society?

Those who read here will not find loud opinion theater, but calm analyses, clear words and an eye for what often lies between the lines. Especially in a time of increasing polarization, a differentiated view of social issues can help you to choose your own point of view more consciously - and to question it if necessary.

Declining gas storage in Germany: technology, limits and political consequences

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Gas storage in Germany

When the news reports about „40 percent filling level of the gas storage facilities“ When we talk about percentages, it sounds abstract at first. Percentages seem technical, far removed from everyday life. And yet there is something very concrete behind it: the question of how stable our energy supply really is - not in theory, but in everyday practice.

Gas is not only used for industrial plants or power stations in Germany. It heats homes, supplies hot water, drives district heating networks and is still the central backbone of the energy supply in many regions. Unlike electricity, however, gas cannot be produced at will „at the push of a button“. It has to be extracted, transported - and above all stored.

This is where the gas storage facilities come into play. They are like the country's store cupboard. As long as it is well filled, hardly anyone gives it a second thought. If it becomes visibly empty, questions arise: Will it last? For how long? And what happens if things continue to go downhill?

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Is killing undignified? A sober question about murder, terror and war

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Is killing undignified?

We live in troubled times. War, terror, violence - all of this is very present again. In the news, in political debates, in conversations on the sidelines. Decisions about war and peace are being made, often quickly, often with great determination. Arguments are being put forward, weighed up, justified. And yet I am left with a feeling of unease.

Not because I believe that everything is easy or because I dream of a conflict-free world. But because I notice how rarely a very specific question is asked. A question that is neither legal nor military. A question that doesn't ask about guilt or justice, but about something more fundamental. This question is: What does it do to a person when they kill another person?

This article is an attempt to pose this question calmly and soberly - without accusation, without moral pathos and without instrumentalizing current events.

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More than punk: Nina Hagen, Cosma Shiva and the art of not letting yourself be taken in

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Portrait of Nina and Cosma Shiva Hagen

When you approach a portrait of Nina Hagen, it's tempting to talk about music first. About punk, provocation, shrill performances. About everything that is loud and visible. This portrait deliberately begins differently. Not with songs, not with styles, not with images. But with something quieter - and more important: attitude.

Attitude is not a label. It cannot be put on like a costume, pasted on afterwards or explained with marketing. Attitude is evident in early behavior, long before someone becomes famous. It can be seen in how someone reacts to limitations, to contradictions, to power. And that's where Nina Hagen becomes interesting - not as an icon, but as a personality.

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Why distance is not a retreat - and how a freeze-out creates orientation

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Freezeout - distance in crises

When you are in the middle of a crisis, everything seems urgent. You have the feeling that you have to act immediately, speak immediately, decide immediately. And there is often a second feeling on top of that: If you don't keep at it now, everything will slip away. That's understandable. It's also human. But this is exactly where the mistake often begins.

Because closeness is not automatically clarity. Closeness can also mean that you are too close to see what is really happening. Just like you can't recognize a painting if your nose is stuck to the canvas. You then only see individual brushstrokes - and think they are the whole painting.

A freeze-out, properly understood, is nothing more than a step back. Not to run away, but to be able to see again.

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Understanding Iran: Everyday life, protests and interests beyond the headlines

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Understanding Iran

Hardly any other country conjures up such fixed images as Iran. Even before a single detail is mentioned, the associations are already there: mullahs, oppression, protests, religious fanaticism, a state in permanent conflict with its own population. These images are so familiar that they are hardly questioned. They seem self-evident, almost like common knowledge.

And therein lies the problem. Because this „knowledge“ rarely comes from personal experience. It comes from headlines, from commentaries, from stories that have been repeated for years. Iran is one of those countries about which many people have very clear opinions - even though they have never been there, don't speak the language, don't know everyday life. The picture is complete, cohesive, seemingly free of contradictions. And that is precisely why it is so convincing. But what happens when a picture becomes too smooth?

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Why having your own magazine is more important for companies today than advertising

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Magazine as property

When you talk to entrepreneurs about visibility these days, it's almost always about reach. People talk about findability on Google, social media, paid ads on Google or other platforms, click numbers, followers and interactions. Visibility is considered a prerequisite for commercial success, and in many industries this is true.

What is rarely discussed is a quiet but decisive shift: most companies are visible today - but on spaces that do not belong to them. This development has not been dramatic. It was convenient, gradual and seemingly logical. That is precisely why it is hardly questioned.

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Nord Stream demolition: sabotage, power politics and the uncomfortable unanswered questions

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Nord Stream blasting

When people talk about energy, many think first of electricity - of light, of sockets, of power stations. In reality, however, Europe's everyday life depends on a quieter foundation: heat and process energy. Over the decades, natural gas has become a kind of invisible backbone. Not because it is particularly „beautiful“, but because it is practical: it is easy to transport, relatively flexible to use and can be reliably supplied in large quantities. For private households, this means heating and hot water. For industry, it means one thing above all: predictable production.

Particularly in industries such as chemicals, glass, steel, paper, ceramics or fertilizers, energy is not simply a cost factor that is „optimized“. Energy is an integral part of the process. If it fails or becomes unreliable, it is not just one machine that comes to a standstill - often an entire plant, sometimes an entire supply chain. This is the point at which „energy policy“ ceases to be an abstract controversial issue and begins to have a very concrete impact on jobs, prices, availability and stability. Anyone who understands this also understands why Nord Stream was far more than just an infrastructure project on the seabed for Europe.

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Dieter Hallervorden - More than Didi: Portrait of an uncomfortable free spirit

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Dieter Hallervorden and the Wühlmäuse in Berlin

There are figures that stick to you for the rest of your life. Some like an ill-fitting suit, others like an old friend who keeps popping in without being asked. In Dieter Hallervorden's case, this friend is called „Didi“. And he doesn't ring, he bangs. On an imaginary gong. Palim, Palim! - and almost everyone knows who is meant.

But this is where the misunderstanding begins. Because anyone who reduces Dieter Hallervorden to this one moment, to the slapstick act, the stumbling face and the exaggerated naivety, misses the real person behind it. The joker was always just the surface. Underneath was a mind that was more alert than many gave him credit for - and a character who never liked to be told where to go. This portrait is therefore not a nostalgic look back at the television entertainment of past decades. It is an attempt to take seriously an artist who deliberately did not want to be taken seriously for decades - which is precisely why he was so effective.

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