Pages

Saturday, August 31, 2024

Police say 2 people who were attacked during London's Notting Hill Carnival have died

Repost News asikjost.blogspot.com

LONDON -- Two people who were critically injured in attacks while attending London’s Notting Hill Carnival earlier this week have died, police said Saturday.

The Metropolitan Police force said 32-year-old Cher Maximen died early Saturday after being stabbed in the street on Aug. 25. She had been visiting the carnival, billed as Europe’s biggest street party, with her child, who was not hurt.

A 20-year-old local man was arrested and charged with attempted murder, and is now likely to face a murder charge.

Police also announced the death of Mussie Imnetu, 41, who was found unconscious in a west London street with a head injury on Monday night. The chef had been visiting Britain from his home in Dubai.

A 31-year-old London man has been charged with causing grievous bodily harm, and police said the charge would be reviewed after Imnetu’s death.

More than 1 million people each year attend the carnival, a two-day celebration of Afro-Caribbean culture that takes place on the streets of the Notting Hill neighborhood in west London.

The event draws revelers from around the world for its flamboyant dancers, colorful costumes, rousing steel bands and booming outdoor sound systems, but is sometimes marred by violence on the sidelines. Police said eight people were stabbed at the event this year and more than 300 people were arrested, most for possessing an offensive weapon or drug offenses.

“Carnival is about bringing people together in a positive celebration. That it has ended with the tragic loss of life, among other incidents of serious violence, will sadden everyone involved,” said Commander Charmain Brenyah, the police spokesperson for Carnival.

Adblock test (Why?)


Police say 2 people who were attacked during London's Notting Hill Carnival have died
Click Source

At Venice Film Festival, Jude Law debuts ‘The Order’ about FBI manhunt for a domestic terrorist

Repost News asikjost.blogspot.com

VENICE, Italy -- Jude Law plays an FBI agent investigating the violent crimes of a white supremacist group in “The Order,” which premieres Saturday at the Venice Film Festival.

An adaptation of Kevin Flynn and Gary Gerhardt’s nonfiction book “The Silent Brotherhood,” Nicolas Hoult was cast as Robert Jay Mathews, the charismatic leader of the group which was considered the most radical hate group since the Ku Klux Klan. Their crimes, including bank robberies and armored car heists that the group was using to fund an armed revolution, led to one of the largest manhunts in FBI history, in 1983.

“What amazed me was it was a story I hadn’t heard about before,” said Law, who also produced. “It like a piece of work that needed to be made now.”

He added: “It’s always interesting finding a piece from the relative past that has some relationship to the present day.”

Law made the trip to Italy with his director, Justin Kurzel, and co-stars Hoult, Jurnee Smollett and Tye Sheridan for the premiere.

His character, called Agent Huss, is an amalgam FBI agent and not based on a specific person. This, they said, was important for positioning him within this story.

“He represents an awful lot of us,” Law said. “He felt his hardest work was behind him and in fact he had his biggest battle ahead of him.”

Kurzel, an Australian filmmaker known for the 2015 adaptation of “Macbeth” with Michael Fassbender, said he’d always wanted to make an American film in the vein of dramatic thrillers from the 1970s like “The French Connection,” “Mississippi Burning” and “All the Presidents’ Men.” He tried to make this film with the classic simplicity he admired in those classics.

Hoult felt it was a “difficult story to tell and difficult characters to inhabit,” but praised his director for helping to create a safe and creative environment as they explored the darkness of Mathews. He’d just recently learned, on the boat over to the Lido, that Kurzel had told Law to actually follow him around one day to get into character.

“The first time we spoke was in the first scene we interact,” Hoult said. “It gave a great energy.”

And all were struck by the parallels to today. Though no one wanted to comment directly on the upcoming U.S. presidential election, the film, they hope, speaks for itself.

“The history of America is very complex,” Smollett said. “This level of bigotry is not new and it has existed in our nation since it was founded. As artists we get to hold a mirror up to society….explore the very complex sides of humanity, the ugliness, the darkness in order for us to learn from it and hopefully not repeat it.”

“The Order” is playing in competition at Venice, alongside “ Maria,” “ Babygirl,” “The Room Next Door," “Queer” and “Joker: Folie à Deux.”

Vertical Entertainment will release the film in theaters later this year.

___

For more coverage of the 2024 Venice Film Festival, visit https://apnews.com/hub/venice-film-festival

Adblock test (Why?)


At Venice Film Festival, Jude Law debuts ‘The Order’ about FBI manhunt for a domestic terrorist
Click Source

【ショコラティエ パレドオール】チョコレートシーズンの始まりのイベント「東京チョコレートサロン2024」に出展! - PR TIMES

[unable to retrieve full-text content]

【ショコラティエ パレドオール】チョコレートシーズンの始まりのイベント「東京チョコレートサロン2024」に出展!  PR TIMES
からの記事と詳細 ( 【ショコラティエ パレドオール】チョコレートシーズンの始まりのイベント「東京チョコレートサロン2024」に出展! - PR TIMES )
https://ift.tt/Je7dvcj

Friday, August 30, 2024

Top 20 Global Concert Tours from Pollstar

Repost News asikjost.blogspot.com

The Top 20 Global Concert Tours ranks artists by average box office gross per city and includes the average ticket price for shows Worldwide. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers.

For free upcoming tour information, go to www.pollstar.com

___

TOP 20 GLOBAL CONCERT TOURS

Adblock test (Why?)


Top 20 Global Concert Tours from Pollstar
Click Source

観光ジュニアガイド養成教室が始まりました! - tsunasaga.jp

[unable to retrieve full-text content]

観光ジュニアガイド養成教室が始まりました!  tsunasaga.jp
からの記事と詳細 ( 観光ジュニアガイド養成教室が始まりました! - tsunasaga.jp )
https://ift.tt/23RmrBp

Thursday, August 29, 2024

Movie Review: Quaid looks (and sounds) the part, but ‘Reagan’ is more glowing commercial than biopic

Repost News asikjost.blogspot.com

“Is there anything worse than an actor with a cause?” asks an annoyed Jane Wyman, Ronald Reagan’s first wife, early in “Reagan,” the new biopic starring Dennis Quaid.

Well, after watching two more hours of this story, an adoring look back at the man who served two terms as our 40th president, we can report that there is definitely one thing worse: An actor without a movie.

Let’s not blame the star, though. Quaid, who has played more than one president, has certainly got the charismatic grin, the pomaded hair and especially that distinctive, folksy voice down — close your eyes, and it sounds VERY familiar. If he were to appear on “Saturday Night Live” in the role, it would feel like a casting coup akin to Larry David as Bernie Sanders.

But this is not an “SNL” skit, despite the fact that Jon Voight appears throughout with a heavy Russian accent as a KGB spy, but we’ll get to that. This is a 135-minute film that demands a lot more depth. And, so, to co-opt a political phrase from Bill Clinton, whom Quaid also has played: It’s the script, stupid.

Lovingly directed by Sean McNamara with a screenplay by Howard Klausner, “Reagan” begins with a chilling event (and a parallel to a recent one): the assassination attempt on Reagan in Washington in March 1981, only two months after he became president.

There are those who say Reagan cemented his relationship with the public by surviving that attempt; he famously told wife Nancy from his bed: “Honey, I forgot to duck.” In any case, the filmmakers use the event to set up their story, and will return to it later on, chronologically.

But their early point is that Reagan came away from the scare with a divine plan. “My mother used to say that everything in life happens for a reason, even the most disheartening setbacks,” he says. And as he will tell Tip O’Neill, the House speaker, everything from then on will be part of that divine plan.

The yet broader point here is that Reagan, according to this film, was basically solely responsible for the eventual downfall of the Soviet Union, because he showed the people of the world what freedom meant. “I knew that he was the one,” says Viktor Petrovich, the retired spy played by Voight as a narrator figure throughout — meaning the one who would bring it all down. The script is based on Paul Kengor’s “The Crusader: Ronald Reagan and the Fall of Communism,” and Kengor has said Viktor is based on a number of KGB agents and analysts who tracked Reagan for years.

That point is made early and often. The rest is a history reel, with lots of glorious, loving lighting around our star. We go back to his younger years, learning about his mother and what she taught him about faith, and then his Hollywood years as an actor, Screen Actors Guild president (and a Democrat) before fully committing to politics, and the GOP.

We also see a newly divorced Reagan meet a winsome Nancy Davis, who will become his second wife, loving partner and constant companion. Like Quaid, Penelope Ann Miller is a perfectly fine actor who has little nuance to work with here. Together, they embark on the path to political stardom, starting with the California governorship. When they arrive at a neighbor’s home to campaign, the housewife at the door hears Reagan's “RR” initials and thinks he's Roy Rogers.

But a decade and change later, Reagan is sworn in as president, beginning his eight years in office. “It became my obsession to understand what was beneath the facade,” says Voight’s Petrovich, explaining why Reagan was so consequential.

Maybe, then, he could let us know?

Because when this movie ends, with the president’s death in 2004 a decade after announcing he had Alzheimer’s disease, we don’t know a lot more than when we began about a figure so influential in American politics.

Sure, we get all the great hits. ”Mr. Gorbachev, tear down this wall!” we see him say in 1987 in Berlin, a scene with much buildup.

And it’s fun to see the famous debate lines, like “There you go again,” to Jimmy Carter in 1980, and of course his famously deft deflection of the age issue in 1984, with Walter Mondale. “I will not make age an issue of this campaign,” the 73-year-old president told his questioner. “I am not going to exploit for political purposes my opponent’s youth and inexperience.”

The line, which made Mondale himself laugh, got Reagan back on track in the race. The movie, not so much.

“History is never about when, why, how — it always comes down to ‘who,’” says Voight’s Petrovich. However historians feel about that, we would have gladly taken a more incisive look at when, why, how or anything else that would give us real insight, instead of an extended and glowing commercial, into who this man really was.

“Reagan,” a Showbiz Direct release, has been rated PG-13 by the Motion Picture Association “for violent content and smoking.” Running time: 135 minutes. One and a half stars out of four.

Adblock test (Why?)


Movie Review: Quaid looks (and sounds) the part, but ‘Reagan’ is more glowing commercial than biopic
Click Source

中国ドラマ「始まりは君の嘘」日本初放送、バイ・ルー×ワン・ホーディーが贈るロマンス(予告あり) - 映画ナタリー

[unable to retrieve full-text content]

中国ドラマ「始まりは君の嘘」日本初放送、バイ・ルー×ワン・ホーディーが贈るロマンス(予告あり)  映画ナタリー
からの記事と詳細 ( 中国ドラマ「始まりは君の嘘」日本初放送、バイ・ルー×ワン・ホーディーが贈るロマンス(予告あり) - 映画ナタリー )
https://ift.tt/xZgLtQd

バイ・ルー×ワン・ホーディー!中国ドラマ『始まりは君の嘘』はいつどこで見られる?|あらすじ・キャスト - 海外ドラマNAVI

[unable to retrieve full-text content]

バイ・ルー×ワン・ホーディー!中国ドラマ『始まりは君の嘘』はいつどこで見られる?|あらすじ・キャスト  海外ドラマNAVI
からの記事と詳細 ( バイ・ルー×ワン・ホーディー!中国ドラマ『始まりは君の嘘』はいつどこで見られる?|あらすじ・キャスト - 海外ドラマNAVI )
https://ift.tt/aRpukYI

Wednesday, August 28, 2024

Percival Everett, Louise Erdrich and Jason Reynolds among finalists for $50,000 Kirkus Prizes

Repost News asikjost.blogspot.com

Percival Everett’s “James,” a reworking of Mark Twain’s “The Adventures of Huckleberry Finn” from the enslaved Jim’s perspective, is among the fiction finalists for the 11th annual Kirkus Prize

NEW YORK -- Percival Everett's “James,” a reworking of Mark Twain's “The Adventures of Huckleberry Finn” from the enslaved Jim's perspective, is among the fiction finalists for the 11th annual Kirkus Prize.

Kirkus Reviews, a leading book review publication, announced finalists Wednesday in fiction, nonfiction and young reader's literature, with winners in each category receiving $50,000. Other nominees range from new novels by Richard Powers and Louise Erdrich, to nonfiction works on abortion rights, the Iraq War and the space shuttle Challenger tragedy, to a picture book by Jason Reynolds.

Besides “James,” fiction finalists include Erdrich's "The Mighty Red," Powers' “Playground,” Jennine Capó Crucet's “Say Hello to My Little Friend,” Paul Lynch's “Prophet Song" and Rufi Thorpe's “Margo’s Got Money Troubles.”

Steve Coll's “The Achilles Trap: Saddam Hussein, the CIA, and the Origins of America’s Invasion of Iraq” and Adam Higginbotham's “Challenger: A True Story of Heroism And Disaster on the Edge of Space” are nonfiction nominees, along with Tessa Hull's “Feeding Ghosts: A Graphic Memoir,” Olivia Laing's “The Garden Against Time: In Search of a Common Paradise,” Shefali Luthra's “Undue Burden: Life and Death Decisions in Post-Roe America” and Carvell Wallace's “Another Word for Love: A Memoir.”

Among the finalists for young reader's literature were two picture books: Joanna Ho's “We Who Produce Pearls,” illustrated by Amanda Phingbodhipakkiya; and Reynolds' Langston Hughes tribute, “There Was a Party,” illustrated by brothers Jerome and Jarrett Pumphrey. Nominees also include two middle grade books, Hiba Noor Khan's “Safiyyah’s War” and Sherri Winston's “Shark Teeth,” and two young adult releases, Kenneth M. Cadow's “Gather” and Safia Elhillo's “Bright Red Fruit.”

Winners will be announced Oct. 16 during a ceremony in Manhattan.

Adblock test (Why?)


Percival Everett, Louise Erdrich and Jason Reynolds among finalists for $50,000 Kirkus Prizes
Click Source

丹波栗の収穫が始まりました - PR TIMES

[unable to retrieve full-text content]

丹波栗の収穫が始まりました  PR TIMES
からの記事と詳細 ( 丹波栗の収穫が始まりました - PR TIMES )
https://ift.tt/sm1vX9A

コメ不足のなか新米の出荷 始まる 豊岡 - nhk.or.jp

[unable to retrieve full-text content]

コメ不足のなか新米の出荷 始まる 豊岡  nhk.or.jp
からの記事と詳細 ( コメ不足のなか新米の出荷 始まる 豊岡 - nhk.or.jp )
https://ift.tt/HG3keT2

Tuesday, August 27, 2024

Book Review: Technology and chaotic government programs doom family farms in 'Land Rich Cash Poor'

Repost News asikjost.blogspot.com

Brian Reisinger's “Land Rich Cash Poor” emerges as an anthem to the family farm in America, romanticized despite the never-ending work even in good times, which have been sparse in the last century.

The book follows a procession of efforts by other authors laboring to explain America’s farm troubles but few are as lyrically written or as deeply and personally detailed.

Reisinger was destined to become a fourth-generation farmer until he went off to college and decided his calling lay beyond the cows and fields of his family’s Wisconsin farm.

Increasingly since the first machines started to revolutionize agriculture, farmers have been driven to expand or sell, find niche products for their output, get second jobs in town or diversify their farm. An Irvine, California, farmer, for example, built an event center on his property and now hosts weddings and other gatherings. Absent the diversified income, the farmer would have been land rich but cash poor.

The book is well sourced and bogs down only in the early going when Reisinger laments the loss of “our way of life” at least five times.

But that’s a small nick on an otherwise polished takeout on what ails American farming outside the view of most consumers who only see the end result of farmers’ toil: Full grocery shelves. And despite the inflationary pressures in recent years, the book notes that Americans generally paid just 10% of their income for food in 2020, down from 40% in 1910.

The book also links the demise of the family farm in America with the rural-urban rift in America; small towns that supported groups of family farms often have shrunken as land-rich farmers sold out to escape becoming cash poor.

Here are some of the steps Reisinger prescribes to pull American farming out of its cycle of perpetual crises.

• Start a research and development revolution

• Remake government policy around competition

• Reorganize farms around new market opportunities

• Revitalize rural communities

Reisinger is disciplined in veering into any political discussion of agriculture but politics clearly has been damaging to the American farmer. For example, the Nixon administration’s negotiation that opened the Soviet Union to American grain sales turned into another punishment for farmers when President Jimmy Carter embargoed sales to the Soviet Union after the Soviets invaded Afghanistan.

Less compelling is Reisinger’s argument that the loss of family farms is destroying our capacity to feed ourselves; modern American corporate agriculture lacks the image of the happy family farm but big-company farms clearly produce food in great quantities.

Still, the farm challenges that Reisinger chronicles remain serious and worthy of our elected officials’ attention. Don’t expect much though this coming election, given the volume of other issues we face.

Reisinger doesn’t mention it, but consider the potential for farm upheaval if Donald Trump should be elected and follow his stated plan to deport millions of improperly documented immigrants, which will leave American farmers lacking enough labor to harvest their crops.

That will leave even more farmers land rich but cash poor.

___

AP book reviews: https://apnews.com/hub/book-reviews

Adblock test (Why?)


Book Review: Technology and chaotic government programs doom family farms in 'Land Rich Cash Poor'
Click Source

Comic Relief US launches new Roblox game to help children build community virtually and in real life

Repost News asikjost.blogspot.com

NEW YORK -- The notion that online gaming could help players develop charitable habits seemed bold when the anti-poverty nonprofit Comic Relief US tested its own multiverse on the popular world-building app Roblox last year.

As philanthropy wrestles with how to authentically engage new generations of digitally savvy donors, Comic Relief US CEO Alison Moore said it was “audacious” to design an experience that still maintained the “twinkle” of the organization that's behind entertainment-driven fundraisers like Red Nose Day.

But the launch was successful enough that Comic Relief US is expanding the game this year. Kids Relief's second annual “Game to Change the World” campaign features a magical new Roblox world, an exclusive virtual concert and a partner in children's television pioneer Nickelodeon.

The goal is to instill empathy and raise money through a scavenger hunt across various realms, including SpongeBob SquarePants and Teenage Mutant Ninja Turtles. Users travel through portals to collect magical tools that will improve their surroundings. The net proceeds from in-game purchases will be donated.

The community-building inherent in collaborative gaming is intended to subtly encourage off-screen acts of kindness.

“It’s a little bit like me helping you, you helping me — all of us together. I love the idea of doing that in a game space,” Moore told The Associated Press. “It’s not meant to be a banner ad or a sign that says, ‘Do Good.’ It’s meant to be emblematic in the gameplay itself.”

Nickelodeon is also promoting an instructional guide for kids to start their own local projects in real life such as backpack drives.

Quests are delivered from wizards voiced by “Doctor Who” icon David Tennant, “Veep” star Tony Hale and “Never Have I Ever” actress Maitreyi Ramakrishnan. One wizard invites users to “embark on an enchanted journey to awaken the heart of your community.”

The campaign will culminate in a weekend music festival on Roblox beginning Sept. 13 that features rock band Imagine Dragons, whose lead singer Dan Reynolds has focused his philanthropy on LGBTQ+ causes. Virtual acts also include Conan Gray, Poppy, d4vd and Alexander Stewart — all musical artists who got their big breaks on YouTube.

Moore said she was “blown away” by last year's numbers. The inaugural game has been played for over 32 billion minutes and one performance received the highest “concert thumbs up rating” ever on Roblox, according to Comic Relief US.

Charitable donations are increasingly being made through gaming, according to business strategist Marcus Howard.

The fit comes naturally, he said, considering that young people value experiences such as gaming over the material possessions that past generations might have bought at a charitable auction.

“It just makes sense,” Howard said.

But he finds that partners must overcome the negative stigma associated with online chat rooms. To its credit, Howard said, Roblox combines the creativity of popular competitor Fortnite with less “toxicity” because of its emphasis on cooperation over competition.

Comic Relief US kept in mind the need to build a game that appeals to both children and their parents, Moore said.

To navigate that tricky balance, the nonprofit has adopted a mindset that she credits Nickelodeon with originating: Include parents in the conversation but speak to their children.

“Good games are good games," Moore said. "Good games that make me feel good are good things.”

___

Associated Press coverage of philanthropy and non-profits receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP’s philanthropy coverage, visit https://apnews.com/hub/philanthropy.

Adblock test (Why?)


Comic Relief US launches new Roblox game to help children build community virtually and in real life
Click Source

令和6年度 ソーシャルワーク実習が始まりました!|福祉社会学部|IUK NEWS - 鹿児島国際大学

[unable to retrieve full-text content]

令和6年度 ソーシャルワーク実習が始まりました!|福祉社会学部|IUK NEWS  鹿児島国際大学
からの記事と詳細 ( 令和6年度 ソーシャルワーク実習が始まりました!|福祉社会学部|IUK NEWS - 鹿児島国際大学 )
https://ift.tt/8EKMh1t

Monday, August 26, 2024

Venice Film Festival: From ‘Joker 2’ to ‘Queer,’ here are 10 movies to get excited about

Repost News asikjost.blogspot.com

VENICE, Italy -- Some of Hollywood’s biggest stars are getting ready to descend on the Venice Film Festival this week, from George Clooney and Angelina Jolie to Lady Gaga and Brad Pitt.

But while the allure of A-listers on those picturesque docks is a welcome return to form after last year’s lower-wattage edition amid the strikes, the spotlight that matters most will be on their films. Along with Cannes, Venice — which runs from Aug. 28 through Sept. 7 — is one of the most glamorous launching pads for awards season. The films that do well on the Lido will be dominating the conversation until the Oscars in March.

In this year's lineup, there’s both big Hollywood fare (“Beetlejuice Beetlejuice” and “Horizon: An American Saga—Chapter 2” to “Wolfs”) and a vast array of intriguing films from auteurs around the world. At festivals, the best thing is to keep an open mind and see as much as possible — you never know what might hit. In the meantime, though, here are 10 films to get excited about at Venice.

No matter which side of the “Joker” discourse you were on five years ago, the fact that all involved would bring the sequel back to Venice to play in competition is promising. “Joker: Folie à Deux” doesn’t need the festival buzz, after all. The first film made over $1 billion and was nominated for 11 Oscars. Venice chief Alberto Barbera told Deadline that it’s completely different from the first, a dystopian musical that is “one of the most daring, brave and creative films in recent American cinema” and “confirms Todd Phillips as one of the most creative directors working at the moment.” It’ll be in theaters Oct. 4.

Chilean filmmaker Pablo Larraín is not to be ignored when he makes a film about a famous woman with a tragic narrative (see: “Spencer,” “Jackie”). This time he’s teamed with screenwriter Steven Knight (“Peaky Blinders”) and Jolie to bring opera singer Maria Callas back to life in “Maria.” The soprano was a tabloid fixture, perhaps most famous for her affair with Aristotle Onassis, who would end up leaving her for another of Larraín’s tragic women: Jacqueline Kennedy. Callas died in 1977, at age 53, but remains one of classical music’s bestselling artists. “Maria” is playing in competition and seeking distribution.

Luca Guadagnino returns to Venice with “Queer,” an adaptation of the William S. Burroughs novel, starring Daniel Craig in a performance that Barbera has called “career defining.” It follows an American expat to Mexico City on a quest for a drug. There, he encounters all sorts of characters and develops an obsession with a young man. The novel was written in the early 1950s, a sort of companion piece to “Junkie,” but not published until 1985. Others have attempted to adapt it before, including Steve Buscemi and Oren Moverman. “Queer” is also seeking distribution.

Pedro Almodóvar’s English-language debut, with Julianne Moore and Tilda Swinton starring? We barely even need a description to get excited about that, which is probably good because details are vague. He’s said that it’s about an imperfect mother and a resentful daughter who are estranged because of a “profound misunderstanding.” In addition to tackling subjects like war, death, friendship and sexual pleasure, Almodóvar said, “it also talks about the pleasure of waking up to birds bringing a new day at a house built on a natural reserve in New England.” It’ll also make a stop at the New York Film Festival before a December release.

Dutch filmmaker Halina Reijn made the wildly fun “Bodies Bodies Bodies,” so we’re especially curious what “Babygirl” holds. The erotic thriller stars Nicole Kidman (who 25 years ago came to Venice with “Eyes Wide Shut”) as a powerful CEO who begins an affair with a younger intern played by Harris Dickinson (“Triangle of Sadness,” “The Iron Claw”). Antonio Banderas also co-stars. A24 plans a December theatrical release.

This 3 1/2-hour drama from filmmaker Brady Corbet follows architect László Toth (Adrien Brody) and his wife Erzsébet (Felicity Jones) on a decadeslong journey as they flee Europe following World War II and attempt to set up a life in America. There, Toth meets industrialist Harrison Lee Van Buren (Guy Pearce), who commissions him to design a modernist monument, changing their lives for better and worse. Corbet (“Vox Lux”) is not always going to be a filmmaker for everyone, but he’s never not interesting. Focus Features and Universal are distributing, but the movie does not yet have a release date.

There are quite a few innovative offerings in the nonfiction space: Errol Morris’ “Separated,” about the Trump administration’s border policy; Asif Kapadia’s future-looking “2073”; “Pavements,” Alex Ross Perry’s hybrid doc about the Stephen Malkmus band; and Andres Veiel's “Riefenstahl.” But only one made it to the main competition: Wang Bing’s “Youth (Homecoming),” the conclusion to his verité documentary trilogy in which he followed migrant workers in Zhili, China’s textile factories across five years. It's seeking distribution.

Georgian filmmaker Dea Kulumbegashvili’s sophomore film is about Nina, an OB-GYN working in rural Georgia who also performs abortions, despite the laws of the country. When a newborn dies in her care, an investigation fuels rumors about her morality and professionalism. Three years after the abortion drama “Happening” snagged the top prize at Venice, the buzz is that this will be one of the breakouts. Kulumbegashvili’s debut, “Beginning,” about the bombing of a Jehovah’s Witnesses church, made waves on the festival circuit in 2020. “April,” which is seeking a U.S. distributor, is also set to play at TIFF and the New York Film Festival.

Jude Law produced and stars in this 1980s-set crime thriller about a white supremacist group who his FBI agent character suspects is tied to a series of crimes in the Pacific Northwest. Nicholas Hoult plays the group's charismatic leader in the Justin Kurzel-directed film, to be released in theaters in December.

“Attenberg” and “Chevalier” filmmaker Athina Rachel Tsangari returns to the main competition with “Harvest,” an adaptation of the Jim Crace novel set in a medieval English village where the locals use three newcomers as scapegoats for economic turmoil. It's apparently the reason star Caleb Landry Jones did his “Dogman” press with a Scottish accent last year. Mubi has distribution rights in several European territories, but no dates or U.S. plans have been announced.

This is not a film, but this series coming to AppleTV+ on Oct. 11 is from Alfonso Cuarón, who wrote and directed the seven-episode psychological thriller starring Cate Blanchett and Kevin Kline. Blanchett plays a journalist who discovers she's a character in a novel that reveals her dark secret.

___

For more coverage of the 2024 Venice Film Festival, visit https://apnews.com/hub/venice-film-festival.

Adblock test (Why?)


Venice Film Festival: From ‘Joker 2’ to ‘Queer,’ here are 10 movies to get excited about
Click Source

ヒプマイ 伊弉冉 一二三ソロ歌唱新曲 「始まりのラストソング」 トレーラー公開! - encore(アンコール)

[unable to retrieve full-text content]

ヒプマイ 伊弉冉 一二三ソロ歌唱新曲 「始まりのラストソング」 トレーラー公開!  encore(アンコール)
からの記事と詳細 ( ヒプマイ 伊弉冉 一二三ソロ歌唱新曲 「始まりのラストソング」 トレーラー公開! - encore(アンコール) )
https://ift.tt/6yxH40O

Sunday, August 25, 2024

Behind the rhetoric, a presidential campaign is a competition about how to tell the American story

Repost News asikjost.blogspot.com

NEW YORK -- Kamala Harris accepted the Democratic nomination “on behalf of everyone whose story could only be written in the greatest nation on Earth.” America, Barack Obama thundered, “is ready for a better story.” JD Vance insisted that the Biden administration “is not the end of our story,” and Donald Trump called on fellow Republicans to “write our own thrilling chapter of the American story.”

“This week,” comedian and former Obama administration speechwriter Jon Lovett said Thursday on NBC, “has been about a story.”

In the discourse of American politics, this kind of talk from both sides is unsurprising — fitting, even. Because in the campaign season of 2024, just as in the fabric of American culture at large, the notion of “story” is everywhere.

This year's political conventions were, like so many of their kind, curated collections of elaborate stories carefully spun to accomplish one goal — getting elected. But lurking behind them was a pitched, high-stakes battle over how to frame the biggest story of all — the one about America that, as Harris put it, should be “the next great chapter in the most extraordinary story ever told.”

The American story — an unlikely one, filled with twists that sometimes feel, as so many enjoy saying, “just like a movie” — sits at the nucleus of American culture for a unique reason.

Americans live in one of the only societies that was built not upon hundreds of years of common culture but upon stories themselves — “the shining city upon the hill,” “life, liberty and the pursuit of happiness,” “all men are created equal." Even memorable ad campaigns — “See the USA in your Chevrolet” — are part of this. In some ways, the United States — not coincidentally, the place where the frontier myth, Hollywood and Madison Avenue were all born — willed itself into existence and significance by iterating and reiterating its story as it went.

The campaigns understand that. So they are putting forward to voters two varying — starkly opposite, some might say — versions of the American story.

From the Republicans comes one flavor of story: an insistence that to “make America great again” in the future we must fight to reinvigorate traditional values and reclaim the moral fiber and stoutheartedness of generations past. In his convention speech last month, Trump invoked three separate conflicts — the Revolutionary War, the Civil War and World War II — in summoning American history's glories.

To reinforce its vision, the GOP deployed the likes of musician Kid Rock, celebrity wrestler Hulk Hogan and Lee Greenwood singing “God Bless the USA." Trump genuflected to the firefighting gear of Corey Comperatore, who had been killed in an assassination attempt on the candidate days earlier. Vance spoke of “villains” and offered up the Appalachian coming-of-age story he told in “Hillbilly Elegy."

The Republicans, as they often do, leaned into military storylines, bringing forth families of slain servicemen to critique President Joe Biden's “weak” leadership. And they made all efforts to manage their constituencies. Vance's wife, Usha, who is of Indian descent, lauded him as "a meat-and-potatoes kind of guy” — a classic American trope — while underscoring that he respected her vegetarian diet and had learned how to cook Indian food for her mother.

“What could I say that hasn't already been said before?” she said, introducing Vance. “After all, the man was already the subject of a Ron Howard movie.

And the Democrats? Their convention last week focused on a new and different future full of “joy” and free of what Transportation Secretary Pete Buttigieg called “Trump's politics of darkness.” It was an implied “Star Wars” metaphor if there ever was one.

It was hard to miss that the Democrats were not only coalescing around the multiracial, multicultural nation that Harris personifies but at the same time methodically trying to reclaim the plainspoken slivers of the American story that have rested in Republican hands in recent years.

The flag was everywhere, as was the notion of freedom. Tim Walz entered to the tune of John Mellencamp's “Small Town,” an ode to the vision of America that Republicans usually trumpet. Sen. Amy Klobuchar of Minnesota expounded upon the regular-guy traits that Walz embodies — someone who can change a car light, a hunter, a “dad in plaid.”

The former geography teacher's football-coach history was mined as well, with beefy guys in Mankato West Scarlets jerseys fanning out across the stage to the marching-band strains of “The Halls of Montezuma.” They even enlisted a former GOP member of Congress to reinforce all the imagery by saying the quiet part loud.

“I want to let my fellow Republicans in on the secret: The Democrats are as patriotic as us," said Adam Kinzinger, an Illinois Republican critical of Trump.

Watching the videos and testimonials at both conventions, one storytelling technique stood tall: what journalists call “character-driven” tales. Whether it's advocating for abortion rights or warning about mass illegal immigration or channeling anger about inflation, “regular” Americans became the narrative building blocks for national concerns.

Historian Heather Cox Richardson put it this way about the DNC in her Substack, “Letters from an American,” this past week: “The many stories in which ordinary Americans rise from adversity through hard work, decency, and service to others implicitly conflates those individual struggles with the struggles of the United States itself.”

In the past generation, the tools of storytelling have become more democratic. We are all publishers now — on X, on TikTok, on Instagram, on Truth Social. And we are all storytellers, telling mini versions of the American story in whatever ways we wish. Perspectives that have been long silenced and suppressed are making their way into the light.

Putting aside questions of truth and misinformation for a moment, how can a unifying American story be summoned when hundreds of millions of people are now able to tell it differently and from their own vantage points? Democratization is beneficial, but it can also be chaotic and hard to understand.

“A people who cannot stand together cannot stand at all," poet Amanda Gorman said in her remarks at the DNC. But with so many stories to sort through, is unity more difficult than ever? Is there even a single, unifying “American story” at all? Should there be?

In the end, that's why this election is about storytelling more than ever. Because the loudest, most persuasive tale — told slickly with the industrial-strength communications tools of the 21st century — will likely win the day.

In the meantime, the attempts to commandeer and amplify versions of that story will continue to Election Day and beyond. As long as there is an American nation, there will be millions of people trying to tell us what it means — desperately, angrily, optimistically, compellingly. Stories are a powerful weapon, and a potent metaphor as well. As Walz said about leaving Trump and Vance behind: “I'm ready to turn the page.”

___

Ted Anthony, director of new storytelling and newsroom innovation at The Associated Press, has been writing about American culture and politics for 35 years. Follow him at https://x.com/anthonyted

Adblock test (Why?)


Behind the rhetoric, a presidential campaign is a competition about how to tell the American story
Click Source

卓上カレンダーNK-4111【2025年1月始まり】 - ムーミン公式サイト | Moomin Official Website

[unable to retrieve full-text content]

卓上カレンダーNK-4111【2025年1月始まり】  ムーミン公式サイト | Moomin Official Website
からの記事と詳細 ( 卓上カレンダーNK-4111【2025年1月始まり】 - ムーミン公式サイト | Moomin Official Website )
https://ift.tt/72bJMaI

[始まりの1冊]『少子高齢社会のみえない格差 ジェンダー・世代・階層のゆくえ』 2005年 白波瀬佐和子さん - 読売新聞オンライン

[unable to retrieve full-text content]

[始まりの1冊]『少子高齢社会のみえない格差 ジェンダー・世代・階層のゆくえ』 2005年 白波瀬佐和子さん  読売新聞オンライン
からの記事と詳細 ( [始まりの1冊]『少子高齢社会のみえない格差 ジェンダー・世代・階層のゆくえ』 2005年 白波瀬佐和子さん - 読売新聞オンライン )
https://ift.tt/UqsA3yn

Saturday, August 24, 2024

【始まりました!橋本市城山台の移動支援】昨年度から協議を進めてきた高齢者の移動支援。 - 自社

[unable to retrieve full-text content]

【始まりました!橋本市城山台の移動支援】昨年度から協議を進めてきた高齢者の移動支援。  自社
からの記事と詳細 ( 【始まりました!橋本市城山台の移動支援】昨年度から協議を進めてきた高齢者の移動支援。 - 自社 )
https://ift.tt/QM59t7i

Diamond Sports will continue to broadcast NHL, NBA games through upcoming season

Repost News asikjost.blogspot.com

HOUSTON -- The largest broadcaster of regional sports networks across the country will continue to televise games for more than a dozen NBA teams and nine NHL teams through the 2024-2025 season even as it moves through bankruptcy proceedings, according to court filings on Friday.

Diamond Sports Group, which broadcasts the Bally-branded regional sports networks, said in the filings it has reached agreements to carry games for 13 NBA teams and nine NHL teams for the upcoming season, according to The Athletic.

“We are appreciative of the ongoing collaboration and long-term partnerships with the NBA and NHL,” David Preschlack, Diamond’s CEO, said in a statement. “These new agreements that cover NBA and NHL linear and (direct-to-consumer) rights are another major milestone and continue Diamond’s momentum toward emergence, which will enable us to provide value for our NBA and NHL partners and continue to serve dedicated local NBA, NHL and MLB fans."

As part of the deals, DSG will drop the contracts of the NBA's Dallas Mavericks and New Orleans Pelicans.

The deals require the approval of a federal bankruptcy judge. The next hearing in U.S. Bankruptcy Court for the Southern District of Texas is scheduled for Sept. 3.

Friday's deal affects the Atlanta Hawks, Charlotte Hornets, Cleveland Cavaliers, Detroit Pistons, Indiana Pacers, Los Angeles Clippers, Memphis Grizzlies, Miami Heat, Milwaukee Bucks, Minnesota Timberwolves, Oklahoma City Thunder, Orlando Magic and San Antonio Spurs.

The NHL teams are the Anaheim Ducks, Carolina Hurricanes, Columbus Blue Jackets, Detroit Red Wings, Los Angeles Kings, Minnesota Wild, Nashville Predators, St. Louis Blues and Tampa Bay Lightning.

DSG also broadcasts some Major League Baseball games, but those are unaffected by Friday's filings.

___

AP sports: https://apnews.com/sports

Adblock test (Why?)


Diamond Sports will continue to broadcast NHL, NBA games through upcoming season
Click Source

Judge narrows Anna Netrebko lawsuit against Met Opera to gender discrimination

Repost News asikjost.blogspot.com

NEW YORK -- Anna Netrebko's lawsuit against the Metropolitan Opera was narrowed to gender discrimination claims by a federal judge, who agreed to dismiss the star soprano's allegations of defamation, breach of contract and discrimination because of national origin.

U.S. District Judge Analisa Nadine Torres in Manhattan issued a 23-page decision Thursday in the suit, filed by Netrebko on Aug. 4 last year.

The Met dropped the Russian soprano from future engagements shortly after Russia invaded Ukraine in February 2022. Met General Manager Peter Gelb had demanded she repudiate Russia President President Vladimir Putin.

“It is normal for a court to narrow the issues during litigation, but this court recognizes that the facts as alleged show that the Met wronged Anna Netrebko and that there is still an important case before it,” Netrebko’s manager, Miguel Esteban, said in a statement. “Anna Netrebko remains fully committed to pursuing this complaint, to vindicating her rights, to restoring her reputation and to demonstrating that the Metropolitan Opera and Peter Gelb treated her unlawfully.”

The case has not yet been scheduled for trial.

“We’re pleased to see that three of the four claims were dismissed completely and strongly believe that the fourth claim will also prove to be without merit should it go to trial,” the Met said in a statement.

The American Guild of Musical Artists filed a grievance on Netrebko’s behalf and arbitrator Howard C. Edelman ruled in February 2023 that the Met violated the union’s collective bargaining agreement when it canceled deals with Netrebko for three productions. Edelman awarded compensation the union calculated at $209,103.48.

Netrebko's lawsuit alleged breach of additional agreements for 40 performances. Torres ruled against the singer, stating those engagements were never finalized into contracts.

In agreeing to dismiss the defamation claim, Torres wrote “Netrebko fails to allege any facts demonstrating that her statements disassociating herself from Putin’s war against Ukraine altered the Met’s subjective belief that she supported the Russian leader.” The judge also wrote the Met's firing “does not sufficiently implicate her national origin to permit an inference of discrimination.”

On the gender discrimination, Torres allowed Netrebko to proceed with claims under the New York State Human Rights Law and New York City Human Rights Law that male counterparts she alleges had connections to Putin and the Russian government were treated more favorably by the Met. She cited bass-baritone Evgeny Nikitin and baritones Igor Golovatenko and Alexey Markov, who have continued to sing at the Met.

Torres wrote the claims were plausible and denied the Met's motion to dismiss.

Adblock test (Why?)


Judge narrows Anna Netrebko lawsuit against Met Opera to gender discrimination
Click Source

Friday, August 23, 2024

[始まりの1冊]『少子高齢社会のみえない格差 ジェンダー・世代・階層のゆくえ』 2005年 白波瀬佐和子さん - 読売新聞オンライン

[unable to retrieve full-text content]

[始まりの1冊]『少子高齢社会のみえない格差 ジェンダー・世代・階層のゆくえ』 2005年 白波瀬佐和子さん  読売新聞オンライン
からの記事と詳細 ( [始まりの1冊]『少子高齢社会のみえない格差 ジェンダー・世代・階層のゆくえ』 2005年 白波瀬佐和子さん - 読売新聞オンライン )
https://ift.tt/PU4ekvm

Movie Review: 'The Crow' reimagined is stylish and operatic, but cannot outfly 1994 original

Repost News asikjost.blogspot.com

One of the first things you see in the reimagined “The Crow” is the sight of a fallen white horse in a muddy field, bleeding badly after becoming entangled in barbed wire. It's a metaphor, of course, and a clunky one at that — a powerful image that doesn't really fit well and is never explained.

That's a hint that director Rupert Sanders will have a tendency to consistently pick the stylish option over the honest one in this film. In his attempt to give new life to the cult hero of comics and film, he's given us plenty of beauty at the expense of depth or coherence.

The filmmakers have set their tale in a modern, generic Europe and made it very clear that this movie is based on the graphic novel by James O’Barr, but the 1994 film adaptation starring Brandon Lee hovers over it like, well, a stubborn crow.

Brandon, son of legendary actor and martial artist Bruce Lee, was just 28 when he died after being shot while filming a scene for “The Crow.” History seems always to repeat: The new adaptation lands as another on-set death remains in the headlines.

Lee's “The Crow” was finished without him and he never got to see it enter Gen X memory in all its rain-drenched, gothic glory, influencing everything from alternative fashion to “Blade” to Christopher Nolan’s “Dark Knight” trilogy.

Bill Skarsgård seizes Lee's role of Eric Draven, a man so in love that he returns from the dead to revenge his and his sweetheart's slayings in what can be best called a sort of supernatural, romantic murderfest. (The tagline, “True love never dies,” clumsily rips off Andrew Lloyd Webber's “The Phantom of the Opera.”)

William Schneider, who co-wrote the screenplay with Zach Baylin, has given the story a near-operatic facelift, by introducing a devil, a Faustian bargain, blood-on-blood oaths and a godlike guide who monitors the limbo between heaven and hell, which looks like a disused, weed-covered railway station. “Kill the ones who killed you and you’ll get her back,” our hero is told.

The first half drags at it sets the table for the steady beat of limbs and necks being detached at the end. Eric and his love, Shelly (played by an uneven FKA Twigs), meet in a rehab prison for wayward youth that is so well lit and appointed that it looks more like an airport lounge where the cappuccinos are $19 but the Wi-Fi is complimentary.

Eric is a gentle loner — tortured by a past the writers don't bother filling in, who likes to sketch in a book (universal cinema code signaling a sensitive soul) and is heavily tattooed (he's often shirtless). His apartment has rows of mannequins with their heads covered in plastic and his new love calls him “brilliantly broken.” He's like a Blink-182 lyric come to life.

Shelly is more complex, but that's because the writers maybe gave up on giving her a real backstory. She has a tattoo that says “Laugh now, cry later,” reads serious literature and loves dancing in her underwear. She clearly comes from wealth and has had a falling out with her mom, but has also done an unimaginably horrible thing, which viewers will learn about at the end.

Part of the trouble is that the lead couple cast off very little electricity, offering a love affair that's more teen-like than all-consuming. And this is a story that needs a love capable of transcending death.

There are lots of cool-looking moments — mostly Skarsgård in a trench coat, stomping around the desolate concrete jungle in the rain at night — until “The Crow” builds to one of the better action sequences this year, albeit another one of those heightened showdowns at the opera.

By this time, Eric has donned the Crow's heavy eye and cheek makeup. He adds to this ensemble a katana and an inability to die. As he closes in on his target, mowing down tuxedoed bad guys as arias soar, the group movements on stage are echoed by the furious fighting backstage. A few severed heads might be considered over the top at curtain call, but subtlety isn't being applauded here.

If the original was plot-light but visually delicious, the new one has a better story but suffers from ideas in the films built on its predecessor, stealing a little from “The Matrix,” “Joker” and “Kill Bill.” Why not create something entirely new?

“The Crow” isn't bad — and it gets better as it goes — but it's an exercise in folly. It cannot escape Lee and the 1994 original even as it builds a more allegorical scaffolding for the smartphone generation. To use that very first metaphor, it's like the trapped white horse — held down by its own painful past, never free to gallop on its own.

___

“The Crow,” a Lionsgate release that hits theaters Friday, is rated R for “strong bloody violence, gore, language, sexuality/nudity and drug use.” Running time: 111 minutes. Two and a half stars out of four.

Adblock test (Why?)


Movie Review: 'The Crow' reimagined is stylish and operatic, but cannot outfly 1994 original
Click Source

Thursday, August 22, 2024

水季(古川琴音)と津野(池松壮亮)に芽生えた、小さな恋とそのおしまい『海のはじまり 特別編「恋のおしまい」』放送! - めざましmedia

[unable to retrieve full-text content]

水季(古川琴音)と津野(池松壮亮)に芽生えた、小さな恋とそのおしまい『海のはじまり 特別編「恋のおしまい」』放送!  めざましmedia
からの記事と詳細 ( 水季(古川琴音)と津野(池松壮亮)に芽生えた、小さな恋とそのおしまい『海のはじまり 特別編「恋のおしまい」』放送! - めざましmedia )
https://ift.tt/y6CbKld

Movie Review: Style triumphs over logic in Zoë Kravitz’s great-looking but vexing ‘Blink Twice’

Repost News asikjost.blogspot.com

“Love means never having to say you’re sorry,” somebody once famously said in the movies. It made utterly no sense in 1970, but even less so now. In recent decades, the apology has become all the rage.

So at the beginning of Zoë Kravitz’s “Blink Twice,” when her tech-mogul protagonist, Slater King, sits on a TV couch and says “I’m sorry” for some unexplained transgression, well, it’s a familiar scene. Pick your offender, pick your year: Famous person issues ritual apology, gets off grid for a bit (in this case, a remote island with chickens) and returns, presumably forgiven. We’ve seen it all before.

Not that it isn’t fun to watch here — especially because Channing Tatum is so delightfully, charmingly smarmy in the role. “Blink Twice” is a big swing for him as an actor and even a bigger one for Kravitz, his life partner, as director and co-writer of this stylish, ambitious, buzzy film that seems to aspire to be a gender-themed “Get Out," or a #MeToo-era thriller with echoes of “Promising Young Woman.”

And Kravitz almost pulls it off. With the help of a terrific cast, she offers strikingly confident, brashly entertaining filmmaking, until everything seems to break down in a mess of porous storytelling. It’s not the sudden intrusion of gore that’s the issue — this is a horror film, duh. It’s the sudden departure of logic. Perhaps you won’t be able to turn away — but, unlike in Jordan Peele’s or Emerald Fennell’s above-mentioned films, you won’t necessarily be able to explain what you saw, either.

But it sure is crackling fun, until it isn’t — which is a pretty apt way to describe the experience that Frida (Naomi Ackie, excellent) has. A cocktail waitress who designs nail art, Frida lives in a rundown apartment with roommate Jess (Alia Shawkat). When the two get a waitressing gig at a fundraiser, they cleverly plot to change into slinky dresses midway so they can mingle with wealthy guests.

Turns out, it’s a fundraiser for Slater's firm, and when Frida trips, it’s the billionaire himself who helps her up. He introduces her to his friends, and soon, Frida and Jess can’t believe their luck — they’re on Slater’s plane, en route to his very own Fantasy Island.

The water is sparkling. The champagne is, too. Frida and Jess’ closets are filled with resort wear in stylish white, matching those given the other female guests: the flaky and/or stoned Camilla and Heather, and hard-nosed, sharp-elbowed Sarah, who has eyes on Slater and thus daggers out for Frida. (Adria Arjona's Sarah is easily the most compelling performance of the movie.)

The food, prepared by Slater’s buddy Cody (Simon Rex), is impeccable. (His other pals are played by Christian Slater, Haley Joel Osment and Levon Hawke, and his therapist by Kyle MacLachlan.) Alcohol is plentiful, sheets are soft, and there’s drugs, too — to be used “with intention,” according to Slater, whatever that means. Days are long, nights are longer, and soon nobody knows what day it is anyway.

But why is that, exactly? Well, all phones were confiscated upon arrival by Stacy, Slater’s ditzy assistant — Geena Davis, a hoot but somewhat underused (and one should never underuse Geena Davis). But something deeper seems at play. We’re trying to avoid spoilers, but as Jess tells Frida, “There is something wrong with this place.”

That would be easy enough to figure out just by looking at the oddly terrifying faces of the resort workers (shades of “Get Out”) who are surely hiding something. Also: why does Frida have dirt under her fingernails? And what happened to a red stain on her dress? Weird stuff is happening.

But Frida, still, is angry that Jess is balking. They’re on a gorgeous island, and someone important is courting her. “For the first time in my life I’m here and I’m not invisible, so please,” she admonishes her friend.

And so the pretense continues — that pretense, familiar in the Instagram era, of always having a good time. “Are you having a good time?” Slater asks more than once. “Yes!” says Frida, less convincingly as time goes on.

And when everything has gone to utter bloody, gory chaos, someone still suggests, eerily: “There's a version of this where we’re all having a good time.”

There's a deeper undercurrent here. Women, Kravitz has posited, are always expected to smile, play the game, pretend they're having a good time — and, she says, to “forget” the bad stuff. And so forgetting is a prominent element in her film, one we won't spoil.

In any case, there's indeed a version of Kravitz’s film in which we’re all having a great time — most of it, actually. She just needs to stick the landing. We’ll all be eager to see what comes next.

“Blink Twice,” an Amazon/MGM release, has been rated R by the Motion Picture Association “for strong violent content, sexual assault, drug use and language throughout, and some sexual references.” Running time: 103 minutes. Two and a half stars out of four.

Adblock test (Why?)


Movie Review: Style triumphs over logic in Zoë Kravitz’s great-looking but vexing ‘Blink Twice’
Click Source

Wednesday, August 21, 2024

Music Review: Electro-pop duo Sofi Tukker dances to own beat on new energetic album 'BREAD'

Repost News asikjost.blogspot.com

Electro-poppers Sofi Tukker's third studio album, “BREAD,” is an acronym for “Be Really Energetic and Dance,” a mantra that the Grammy-nominated American duo of Sophie Hawley-Weld and Tucker Halpern have long embraced.

But before it was an abbreviation, “BREAD” was a literal reference. They view the doughy food as a kind of physical embodiment of energy; the carbohydrates keep them moving. And on “BREAD,” they want their music to do the same for their listeners.

Sofi Tukker is known to animate. Festival crowds have been drawn to the dynamic, colorful sets and multilingual, genre-agnostic sounds since 2017, when Sofi Tukker first played Coachella — a year before the release of the duo's debut album “Treehouse.” Companies like Apple and Peloton have tapped their songs for campaigns, looking to harness some of their natural momentum. And while creating bossa-nova, jungle- and house-inspired pop has always been their bread and butter, they’re also trusted DJs with repeat gigs in the party capitals of Las Vegas and Ibiza, Spain.

With “Be Really Energetic and Dance” as a thesis statement, the new album is joyful even when it references less-than-optimistic subjects. Take “Throw Some Ass,” the album’s lead single.

"Hey Doctor? Can you give me something stronger? / I’ve tried everything you’ve offered,” Hawley-Weld lists the remedies she’s tried until landing on what works. “Throw some ass, free the mind," she sings before the beat drops. There's a deeper truth behind the feel-good approach — there's a pain the dance masks.

And it works: the song pairs Hawley-Weld's soft-sung, winking lyrics with chants and electric dance breaks by Halpern, to push forward their salve for suffering.

That’s felt on the lively “Spiral,” which reframes the time spent on a relationship post break up, and “Guardian Angel (Stand By You),” which finds support in dark times.

Nothing is predictable in Sofi Tukker's collaged jungle-pop, but the creations are also intentionally accessible, as good dance music must be.

That's true in “Cafuné," written with Brazilian poet Chacal. The title, which doesn't translate perfectly into English, is universal. That's because the song opens with rapper Channel Tres laying out the band's global approach: “I've never had anyone run their fingers through my hair like that before / You can't even translate this type of s—-.” The setup gives listeners unfamiliar with the word the context to realize that it is a sensual idea, further emphasized by a staccato beat and Channel Tres' slow-talking.

“Woof," which features Nigerian singer-songwriter Kah-Lo, is another example: Halpern repeats the song’s central refrain, “I'll make you woof,” in his lowest register. Hawley-Weld’s lyrics grab phrases from four languages — English, French, German and Portuguese — Kah-Lo provides a verse in English and Yoruba, and the underlying track unites the seemingly-disparate vocal sections into a sort of controlled chaos.

“Don’t need the alphabet to say I want you,” Hawley-Weld croons toward the song's end. They'll draw from their own instead. And it will be a good time.

Adblock test (Why?)


Music Review: Electro-pop duo Sofi Tukker dances to own beat on new energetic album 'BREAD'
Click Source

会津坂下町 極わせの瑞穂黄金の稲刈り始まる - nhk.or.jp

[unable to retrieve full-text content]

会津坂下町 極わせの瑞穂黄金の稲刈り始まる  nhk.or.jp
からの記事と詳細 ( 会津坂下町 極わせの瑞穂黄金の稲刈り始まる - nhk.or.jp )
https://ift.tt/k0WwtDj

速報情報【全中2024】全中始まりの地・大阪にて熱戦開幕! - 空手ワールド

[unable to retrieve full-text content]

速報情報【全中2024】全中始まりの地・大阪にて熱戦開幕!  空手ワールド
からの記事と詳細 ( 速報情報【全中2024】全中始まりの地・大阪にて熱戦開幕! - 空手ワールド )
https://ift.tt/uTyBJK8

Tuesday, August 20, 2024

The lead actors are revealed for the Broadway-bound dramatic sea musical 'Swept Away'

Repost News asikjost.blogspot.com

NEW YORK -- The four stars who helped shape the new musical “Swept Away” — John Gallagher Jr., Stark Sands, Adrian Blake Enscoe and Wayne Duvall — will steer the nautical tale to the commercial waves of Broadway.

The tale about four men stranded in the Atlantic Ocean after a 19th-century shipwreck features songs from The Avett Brothers — especially their 2004 album “Mignonette” — and drops anchor at the Longacre Theatre in October.

“This musical, much like our relationship, revolves around the theme of brotherhood. Being able to watch John, Stark, Adrian and Wayne team up in the development of ‘Swept Away’ over these years has been the precise definition of brotherhood," The Avett Brothers said in a statement.

The show has a story by John Logan, the Tony Award-winning playwright of 2009’s “Red” and screenwriter behind “Gladiator,” “The Aviator” and “Skyfall.” It premiered at Berkeley Repertory Theatre in early 2022 and then went to Arena Stage in Washington, D.C.

The Washington Post said the show "aligns with such boundary-pushing musicals as ‘Next to Normal’ and ‘Dear Evan Hansen,’” while MD Theatre Guide said: “With themes of sacrifice, absolution, and confession, ‘Swept Away’ unfolds like Christian parable, albeit one better aligned with Easter than Christmas.”

Tony-winner Michael Mayer will direct the show and reunite on Broadway with Gallagher, who won a Tony in the original 2006 production of his “Spring Awakening." Mayer also directed both Gallagher and Sands in “American Idiot."

"Making this new show with my frequent collaborators John Gallagher Jr. and Stark Sands as well as the rest of this marvelous company continues to be deeply gratifying. I can’t wait to share the work with Broadway audiences this fall,” Mayer told The Associated Press.

Sands is a two-time Tony nominee for his performances in “Kinky Boots” and “Journey’s End,” Duvall was last on Broadway in “1984” and Enscoe starred opposite Hailee Steinfeld and Jane Krakowski, in Apple TV’s “Dickinson.”

Broadway musicals set at sea are not uncommon, such as “Anything Goes,” “Titanic” and “Dames at Sea.” But some have fared less well, like “The Pirate Queen” and “The Last Ship.”

___

Mark Kennedy is at http://twitter.com/KennedyTwits

Adblock test (Why?)


The lead actors are revealed for the Broadway-bound dramatic sea musical 'Swept Away'
Click Source

【米大統領選2024】 民主党大会始まりバイデン氏演説 ハリス氏とトランプ候補の対比鮮明に - BBC.com

[unable to retrieve full-text content]

【米大統領選2024】 民主党大会始まりバイデン氏演説 ハリス氏とトランプ候補の対比鮮明に  BBC.com
からの記事と詳細 ( 【米大統領選2024】 民主党大会始まりバイデン氏演説 ハリス氏とトランプ候補の対比鮮明に - BBC.com )
https://ift.tt/9Z4sj72

「ノルドストリーム」爆破事件の真相、始まりは酒場での会話(WSJ日本版) - 毎日新聞

[unable to retrieve full-text content]

「ノルドストリーム」爆破事件の真相、始まりは酒場での会話(WSJ日本版)  毎日新聞
からの記事と詳細 ( 「ノルドストリーム」爆破事件の真相、始まりは酒場での会話(WSJ日本版) - 毎日新聞 )
https://ift.tt/ROSGwVZ

富岳でAI開発、研究者が結集 始まりは「朝4時のオンライン会議」 - 朝日新聞デジタル

[unable to retrieve full-text content]

富岳でAI開発、研究者が結集 始まりは「朝4時のオンライン会議」  朝日新聞デジタル
からの記事と詳細 ( 富岳でAI開発、研究者が結集 始まりは「朝4時のオンライン会議」 - 朝日新聞デジタル )
https://ift.tt/rmLS6HO

Monday, August 19, 2024

Phil Donahue, whose pioneering daytime talk show launched an indelible television genre, has died, his family says

Repost News asikjost.blogspot.com

[unable to retrieve full-text content]


Phil Donahue, whose pioneering daytime talk show launched an indelible television genre, has died, his family says
Click Source

始まります、デカンショ祭!(市長日記R6.8.15) - 丹波篠山市

[unable to retrieve full-text content]

始まります、デカンショ祭!(市長日記R6.8.15)  丹波篠山市
からの記事と詳細 ( 始まります、デカンショ祭!(市長日記R6.8.15) - 丹波篠山市 )
https://ift.tt/Cnh4u1o

Sunday, August 18, 2024

French actor and heartthrob Alain Delon dies at 88

Repost News asikjost.blogspot.com

PARIS -- Alain Delon, the internationally acclaimed French actor who embodied both the bad guy and the policeman and made hearts throb around the world, died at age 88, French media reported.

With his handsome looks and tender manner, the prolific actor was able to combine toughness with an appealing, vulnerable quality that made him one of France’s memorable leading men.

Delon was also a producer, appeared in plays and, in later years, in television movies.

French president Emmanuel Macron paid tribute on X to “a French monument."

“Alain Delon has played legendary roles and made the world dream,” he wrote. “Melancholic, popular, secretive, he was more than a star.”

Delon's children announced the death on Sunday in a statement to French national news agency Agence France-Presse, a common practice in France. Tributes to Delon immediately started pouring in on social platforms, and all leading French media switched to full-fledged coverage of his rich career.

Earlier this year, his son Anthony had said his father had been been diagnosed with B-cell lymphoma, a type of cancer.

Over the past year, Delon's fragile health condition had been at the heart of a family dispute over his care that gave rise to bitter exchanges through the media among his three children.

At the prime of his career, in the 1960s and 1970s, Delon was sought out by some of the world’s top directors, from Luchino Visconti to Joseph Losey.

In his later years, Delon grew disillusioned with the movie industry, saying that money had killed the dream. “Money, commerce and television have wrecked the dream machine,” he wrote in a 2003 edition of newsweekly Le Nouvel Observateur. “My cinema is dead. And me, too.”

But he continued to work frequently, appearing in several TV movies in his 70s.

Delon’s presence was unforgettable, whether playing morally depraved heroes or romantic leading men. He first drew acclaim in 1960 with “Plein Soleil,” directed by Réne Clément, in which he played a murderer trying to take on the identity of his victims.

He made several Italian movies, working, most notably with Visconti in the 1961 film “Rocco and His Brothers,” in which Delon portrays a self-sacrificing brother intent on helping his sibling. The movie won the Special Jury Prize at the Venice Film Festival.

The 1963 Visconti film “Le Guepard” (The Leopard) starring Delon won the Palme d’Or, the highest honor at the Cannes Film Festival. His other films included Clément’s “Is Paris Burning,” with a screenplay by Gore Vidal and Francis Ford Coppola among others; “La Piscine” (The Sinners), directed by Jacques Deray; and, in a departure, Losey’s “The Assassination of Trotsky” in 1972.

In 1968, Delon began producing movies — 26 of them by 1990 — part of a frenzied and self-assured momentum that he maintained throughout his life.

Delon’s confidence was palpable in his statement to Femme in 1996, ‘I like to be loved the way I love myself!’ This echoed his charismatic screen persona.

Delon continued to captivate audiences for years — on the way courting criticism for comments deemed outdated. In 2010, he appeared in “Un mari de trop” (“One Husband Too Many”) and returned to the stage in 2011 with “An Ordinary Day,” alongside his daughter Anouchka.

He briefly presided over the Miss France jury but stepped down in 2013 after a disagreement over some controversial statements, which included critiques on women, LGBTQIA+ rights, and migrants. Despite these controversies, he received a Palme d’Honneur at the 2019 Cannes Film Festival, a decision that sparked further debate.

The Brigitte Bardot Foundation, dedicated to animal protection, paid tribute to “an exceptional man, an unforgettable artist and a great friend of animals,” in a statement released on social media. Delon was “a close friend” of French film legend Brigitte Bardot “who is deeply saddened by his passing,” the statement said. “We lose a precious friend and a man with a big heart.”

French film producer Alain Terzian said Delon was “the last of the giants.”

“It’s a page being turned in the history of French cinema,” he told France Inter radio. Terzian, who produced several films directed by Delon, recalled that “every time he arrived somewhere ... there was a kind of almost mystical, quasi-religious respect. He was fascinating.”

Born on Nov. 8, 1935, in Sceaux, just south of Paris, Delon was placed with a foster family after his parents’ separation when he was 4. He then attended a Roman Catholic boarding school.

At 17, Delon joined the navy and was sent to Indochina. Back in France in 1956, he held various odd jobs from waiter to a carrier in the Paris meat market before turning to acting.

Delon had son Anthony in 1964 with his then-wife Nathalie Canovas, who played alongside him in Jean-Pierre Melville’s “The Samurai” in 1967. He had two more children, Anouchka and Alain-Fabien, with a later companion, Rosalie van Breemen, with whom he produced a song and video clip in 1987. He was also widely believed to have been the father of Ari Boulogne, the son of German model and singer Nico, although he never publicly acknowledged paternity.

“I am very good at three things: my job, foolishness and children,” he said in a 1995 L’Express interview.

Delon juggled diverse activities throughout his life, from setting up a stable of trotting horses to developing cologne for men and women, followed by watches, glasses and other accessories. He also collected paintings and sculptures.

Delon announced an end to his acting career in 1999, only to continue, appearing in Bertrand Blier’s “Les Acteurs” (The Actors) the same year. Later he appeared in several television police shows.

His good looks sustained him. In August 2002, Delon told a weekly magazine, L’Humanite Hebdo, that he wouldn’t still be in the business if that weren’t so.

“You’ll never see me old and ugly,” he said when he was already nearing 70, “because I’ll leave before, or I’ll die.”

However, it was in 2019 that Delon encapsulated his feelings about his life’s meaning during a gala event honoring him at the Cannes Film Festival. “One thing I’m sure about is that if there’s something I’m proud of, really, the only thing, it’s my career.”

——

Retired AP correspondent Elaine Ganley contributed biographical material to this story.

——

This story has been corrected to delete reference to Delon appearing in “The Empty House” in 2022.

Adblock test (Why?)


French actor and heartthrob Alain Delon dies at 88
Click Source