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What is a 'flexologist' — and do you need to see one?

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What is a 'flexologist' — and do you need to see one?

The signs seemed to be proliferating around Los Angeles — along Sunset Boulevard in Echo Park, in mini-malls on Pacific Coast Highway, on side streets in Glendale and Venice: StretchLab, Stretch Zone, StretchSPOT, StretchMed.

Deborah Vankin’s 50-minute stretch session included 13 stretches on either side of her body.

(Luke Johnson / Los Angeles Times)

I’d been curious about assisted stretching for a while. But I never thought to visit a studio. Sure, “recovery” is a growing trend in fitness — meaning rejuvenating muscles, tendons and the central nervous system between exercise sessions by focusing on hydration, proper nutrition, sleep and, yes, active stretching so as to maximize athletic performance. But I own three foam rollers — one smooth, one spiky, one padded — and even use them at home. I’m also far from an extreme athlete, preferring instead brisk hikes for cardio and basic strength training.

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Why would I drive to a mini-mall and pay someone to stretch me? What would that even look like — and was it worth it?

The questions rumbled in my head as I drove past yet another StretchLab recently — this one on Beverly Boulevard near Hollywood. So I called them up.

The StretchLab sign on its front door.

StretchLab has 15 locations in the L.A. area, including in Echo Park.

(Luke Johnson / Los Angeles Times)

Turns out StretchLab, which opened its first studio in Venice in 2015, now has more than 500 studios nationwide, 15 of them in the L.A. area. Its clientele are generally either serious athletes, older adults and desk workers who struggle with stiffness and want to work on their mobility, or those healing injuries and other conditions. They come to be stretched out more deeply, in positions they couldn’t possibly get into, physically, on their own. Many of them appreciate the intimacy and accountability of working with a practitioner, one-on-one. And it can be helpful to have a professional, with a trained eye, isolate asymmetries in their bodies and guide their stretching, especially for those who suffer from chronic pain or are healing an injury, says StretchLab‘s director of marketing, Gabi Khowploum.

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“We see a lot of people who say, ‘Hey, I’m having back pain,’” Khowploum says. “And they come to stretch it, but it might be they’re having issues with hip mobility — they just don’t realize it.”

Stretch therapists — or “flexologists,” as they’re sometimes called — are not doctors. Chiropractors, physical therapists and some massage therapists are trained in assisted stretching — but stretch therapists can’t do what they do. Stretch therapists don’t diagnose and treat injuries; they don’t provide spinal or joint manipulation, imaging such as X-rays or CT scans or massage. They focus, instead, on stretching muscles and fascia to increase flexibility and mobility. There also isn’t a national certification for stretch therapists, as there is for physical therapists and chiropractors, though most stretch therapists are certified in-house by their respective employers.

Dr. Jeremy Swisher, a sports medicine physician at UCLA Health, says assisted stretching can help increase range of motion and flexibility, stimulate blood flow, which aids healing, and help with posture, particularly for sedentary populations, as well as alleviate stress. Done consistently, long term, it can help with pain relief and stiffness and — possibly — prevent injuries. But it’s “not a cure-all,” he warns.

“It’s just a piece of the puzzle,” he says. “Strength training and other forms of exercise are equally as important, long term.” Swisher also warns that assisted stretching could exacerbate existing injuries “like an acute sprain or tear without being cleared by a doctor first.” And for those with hypermobility syndromes, meaning overly flexible joints, “it’s important to be mindful that increased stretching could lead to dislocations of the joints.”

On a recent Friday afternoon, StretchLab in Echo Park was busier than I would have expected. Several clients laid on their backs on what looked like massage tables as their flexologists rolled or twisted or pressed on their body parts — a limb over the shoulder here, a spinal twist there.

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A man and woman shown from behind looking at assessment scores on an iPad.

Flexologist Joel Badilla walks Deborah Vankin through the MAPS assessment process.

(Luke Johnson / Los Angeles Times)

My practitioner, Joel Badilla, walked me through the assessment before my 50-minute session (as a “drop in,” it cost me $125, but prices differ depending on the package and location). StretchLab uses a 3-D body scanning tool called MAPS, which TRX Training developed for them. It assesses mobility (range of motion), activation (quality of movement), posture and symmetry so as to isolate areas that are tight or imbalanced and customize a stretch program for the client. I did three overhead squats in front of an iPad before MAPS gave me a score in each area. (Scores far lower than I would have liked, the culprits being tight hips and “tech neck,” but such is the case with desk workers, I was told.)

Then I laid down on the table and Badilla lifted my legs and gently pulled them forward, toward him. It felt wonderful, as if my spine were elongating, all the stress draining from my back. He then put me through 26 stretches, 13 on each side of my body.

A woman lays on a massage table as a man tugs on her legs.

Joel Badilla tugs gently on Deborah Vankin’s legs at the start of her stretch session.

(Luke Johnson / Los Angeles Times)

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StretchLab uses PNF stretching (proprioceptive neuromuscular facilitation), Badilla explained, which is a “push and release” technique. The recipient holds the stretch for a set period of time, then pushes into resistance provided by the practitioner for a shorter period of time, then goes back into a deeper version of the stretch. We did this repeatedly for different body parts.

Afterward, I felt loose and limber heading back to my car — though the sensation didn’t last for very long after my car ride home. That’s because the benefits of stretching come from consistency, says Amber Donaldson, vice president of Sports Medicine Clinics for the United States Olympic & Paralympic Committee.

“Just stretching once isn’t beneficial,” she says. “You need two weeks, minimum, of consistency to see a benefit. These [assisted stretching] places — paying for a series of treatments may keep you consistent with going.”

That said, there are questions around the benefits of stretching, overall, in the sports medicine community, Donaldson adds. “It’s controversial. When should you do it — before or after a workout — and to what extent is it beneficial at all? The jury is still out.”

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A man stretches a woman's leg as she lays on a massage table.

Assisted stretching, if done consistently over many weeks, may help with stiffness, pain relief and even injury prevention.

(Luke Johnson / Los Angeles Times)

StretchLab is far from an anomaly in L.A. There are more than half a dozen dedicated assisted stretching businesses in the area — and the trend, which began to swell nationwide in 2017-18, only seems to be growing. In addition to franchises like StretchLab and Stretch Zone, many personal trainers offer assisted stretching, as do most physical therapists. Gyms such as Life Time in Orange County and the Los Angeles Athletic Club offer one-on-one assisted stretching now. Even certain massage outlets, such as Massage Envy, offer 30 and 60-minute assisted stretching sessions.

The basic concept of assisted stretching is the same, no matter where you go, but different studios take slightly different approaches.

Stretch Zone in Redondo Beach and Rancho Palos Verdes doesn’t use the PNF technique. Instead, the studio (which has almost 400 outlets nationwide) uses a graduated stretch modality that moves the client along an intensity scale of one-10. It starts at a three “right when you first start to feel the stretch,” owner Deborah Ashley says, “and seven is where you want us to stop.” They also use a patented system of belts and straps on a stretch table “to secure and mobilize one side of your body while we stretch the other,” Ashley says. “It acts like a second set of hands for our practitioners.”

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StretchMed in Glendale has only one location in the L.A. area (there are about 30 in the U.S.). It prides itself on not being part of an especially big franchise, says owner Carlos Rivera, adding that the studio takes a personal and data-driven approach to stretch therapy. It does use the PNF stretching technique but puts a good deal of emphasis on warming up before one-on-one stretch sessions. Toward that end, clients do 15-minute warm-up routines on so-called “stretch trainers,” which have tilted seats, leg pads and safety straps for stability. A video walks them through the routine, which includes gentle movement and is meant to stimulate circulation. “You want to warm up before you stretch,” Rivera says, “to get a much better benefit.”

Would I do assisted stretching again?

Absolutely — it was gentler than I imagined and I felt immediate relief afterward, particularly in my lower back.

Would I do it regularly?

Not for StretchLab’s membership rate of $320 a month, their cheapest monthly package of four 50-minute sessions (prices vary slightly by location). At Stretch Zone, the roughly comparable package of four 60-minute sessions is $400. At StretchMed, four 55-minute sessions is $216.

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But on this particular Friday, at least, I headed into the weekend feeling looser and, if nothing else, an inch or so taller. I’ll take it.

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Timothée Chalamet brings a lot to the table in ‘Marty Supreme’

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Timothée Chalamet brings a lot to the table in ‘Marty Supreme’

Timothée Chalamet plays a shoe salesman who dreams of becoming the greatest table tennis player in the world in Marty Supreme.

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Last year, while accepting a Screen Actors Guild award for A Complete Unknown, Timothée Chalamet told the audience, “I want to be one of the greats; I’m inspired by the greats.” Many criticized him for his immodesty, but I found it refreshing: After all, Chalamet has never made a secret of his ambition in his interviews or his choice of material.

In his best performances, you can see both the character and the actor pushing themselves to greatness, the way Chalamet did playing Bob Dylan in A Complete Unknown, which earned him the second of two Oscar nominations. He’s widely expected to receive a third for his performance in Josh Safdie’s thrilling new movie, Marty Supreme, in which Chalamet pushes himself even harder still.

Chalamet plays Marty Mauser, a 23-year-old shoe salesman in 1952 New York who dreams of being recognized as the greatest table-tennis player in the world. He’s a brilliant player, but for a poor Lower East Side Jewish kid like Marty, playing brilliantly isn’t enough: Simply getting to championship tournaments in London and Tokyo will require money he doesn’t have.

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And so Marty, a scrappy, speedy dynamo with a silver tongue and inhuman levels of chutzpah, sets out to borrow, steal, cheat, sweet-talk and hustle his way to the top. He spends almost the entire movie on the run, shaking down friends and shaking off family members, hatching new scams and fleeing the folks he’s already scammed, and generally trying to extricate himself from disasters of his own making.

Marty is very loosely based on the real-life table-tennis pro Marty Reisman. But as a character, he’s cut from the same cloth as the unstoppable antiheroes of Uncut Gems and Good Time, both of which Josh Safdie directed with his brother Benny. Although Josh directed Marty Supreme solo, the ferocious energy of his filmmaking is in line with those earlier New York nail-biters, only this time with a period setting. Most of the story unfolds against a seedy, teeming postwar Manhattan, superbly rendered by the veteran production designer Jack Fisk as a world of shadowy game rooms and rundown apartments.

Early on, though, Marty does make his way to London, where he finagles a room at the same hotel as Kay Stone, a movie star past her 1930s prime. She’s played by Gwyneth Paltrow, in a luminous and long-overdue return to the big screen. Marty is soon having a hot fling with Kay, even as he tries to swindle her ruthless businessman husband, Milton Rockwell, played by the Canadian entrepreneur and Shark Tank regular Kevin O’Leary.

Marty Supreme is full of such ingenious, faintly meta bits of stunt casting. The rascally independent filmmaker Abel Ferrara turns up as a dog-loving mobster. The real-life table-tennis star Koto Kawaguchi plays a Japanese champ who beats Marty in London and leaves him spoiling for a rematch. And Géza Röhrig, from the Holocaust drama Son of Saul, pops up as Marty’s friend Bela Kletzki, a table tennis champ who survived Auschwitz. Bela tells his story in one of the film’s best and strangest scenes, a death-camp flashback that proves crucial to the movie’s meaning.

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In one early scene, Marty brags to some journalists that he’s “Hitler’s worst nightmare.” It’s not a stretch to read Marty Supreme as a kind of geopolitical parable, culminating in an epic table-tennis match, pitting a Jewish player against a Japanese one, both sides seeking a hard-won triumph after the horrors of World War II.

The personal victory that Marty seeks would also be a symbolic one, striking a blow for Jewish survival and assimilation — and regeneration: I haven’t yet mentioned a crucial subplot involving Marty’s close friend Rachel, terrifically played by Odessa A’zion, who’s carrying his child and gets sucked into his web of lies.

Josh Safdie, who co-wrote and co-edited the film with Ronald Bronstein, doesn’t belabor his ideas. He’s so busy entertaining you, as Marty ping-pongs from one catastrophe to the next, that you’d be forgiven for missing what’s percolating beneath the movie’s hyperkinetic surface.

Marty himself, the most incorrigible movie protagonist in many a moon, has already stirred much debate; many find his company insufferable and his actions indefensible. But the movies can be a wonderfully amoral medium, and I found myself liking Marty Mauser — and not just liking him, but actually rooting for him to succeed. It takes more than a good actor to pull that off. It takes one of the greats.

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The Best of BoF 2025: A Year of Global Upheaval

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The Best of BoF 2025: A Year of Global Upheaval
Trade turmoil, luxury’s slowdown and shifting consumer behaviours reshaped global fashion in 2025, pressuring manufacturers from Vietnam to China while opening frontiers in India, Africa and Latin America. But creative resilience and bold investment signalled where the industry may find its next wave of growth.
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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.

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Béla Tarr, the Hungarian arthouse director best known for his bleak, existential and challenging films, including Sátántangó and Werckmeister Harmonies, has died at the age of 70. The Hungarian Filmmakers’ Association shared a statement on Tuesday announcing Tarr’s passing after a serious illness, but did not specify further details.

Tarr was born in communist-era Hungary in 1955 and made his filmmaking debut in 1979 with Family Nest, the first of nine feature films that would culminate in his 2011 film The Turin Horse. Damnation, released in 1988 at the Berlin International Film Festival, was his first film to draw global acclaim, and launched Tarr from a little-known director of social dramas to a fixture on the international film festival circuit.

Tarr’s reputation for films tinged with misery and hard-heartedness, distinguished by black-and-white cinematography and unusually long sequences, only grew throughout the 1990s and 2000s, particularly after his 1994 film Sátántangó. The epic drama, following a Hungarian village facing the fallout of communism, is best known for its length, clocking in at seven-and-a-half hours.

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Based on the novel by Hungarian writer László Krasznahorkai, who won the Nobel Prize in Literature last year and frequently collaborated with Tarr, the film became a touchstone for the “slow cinema” movement, with Tarr joining the ranks of directors such as Andrei Tarkovsky, Chantal Akerman and Theo Angelopoulos. Writer and critic Susan Sontag hailed Sátántangó as “devastating, enthralling for every minute of its seven hours.”

Tarr’s next breakthrough came in 2000 with his film Werckmeister Harmonies, the first of three movies co-directed by his partner, the editor Ágnes Hranitzky. Another loose adaptation of a Krasznahorkai novel, the film depicts the strange arrival of a circus in a small town in Hungary. With only 39 shots making up the film’s two-and-a-half-hour runtime, Tarr’s penchant for long takes was on full display.

Like Sátántangó, it was a major success with both critics and the arthouse crowd. Both films popularized Tarr’s style and drew the admiration of independent directors such as Jim Jarmusch and Gus Van Sant, the latter of which cited Tarr as a direct influence on his films: “They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.”

The actress Tilda Swinton is another admirer of Tarr’s, and starred in the filmmaker’s 2007 film The Man from London. At the premiere, Tarr announced that his next film would be his last. That 2011 film, The Turin Horse, was typically bleak but with an apocalyptic twist, following a man and his daughter as they face the end of the world. The film won the Grand Jury Prize at the Berlin International Film Festival.

After the release of The Turin Horse, Tarr opened an international film program in 2013 called film.factory as part of the Sarajevo Film Academy. He led and taught in the school for four years, inviting various filmmakers and actors to teach workshops and mentor students, including Swinton, Van Sant, Jarmusch, Juliette Binoche and Gael García Bernal.

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In the last years of his life, he worked on a number of artistic projects, including an exhibition at a film museum in Amsterdam. He remained politically outspoken throughout his life, condemning the rise of nationalism and criticizing the government of Hungarian leader Viktor Orbán.

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