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City Of London To Convert Car Parking Bays Into Bicycle Corrals
Publisher:  Forbes Real Time
Friday, 10 July 2020 05:54

The City of London Corporation—which administers London’s financial district—is moving at pace to make the Square Mile more people friendly.

NBA Rumors: Kelly Oubre Jr. Would Be ‘Perfect Target’ For Warriors In 2020 Offseason, Per ‘Blue Man Hoop’
Publisher:  inquisitr
Friday, 10 July 2020 05:54

Kelly Oubre Jr. #3 of the Phoenix Suns handles the ball during the NBA game against the Golden State Warriors at Talking Stick Resort Arena on February 12, 2020 in Phoenix, Arizona.

The Golden State Warriors will be heading into the 2020 NBA offseason with the goal of finding quality players that could help them reclaim the NBA championship title in the 2020-21 NBA season. In the past months, the Warriors have already been linked to several NBA players who are expected to be available on the trade market this fall, including Kelly Oubre Jr. of the Phoenix Suns.

Oubre Jr. may not be the legitimate NBA superstar that the Warriors dreamt of adding to their core of Stephen Curry, Klay Thompson, and Draymond Green, but Nathan Beighle of Fansided’s Blue Man Hoop believes that he would be the “perfect target” for Golden State in the 2020 NBA offseason.

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A Peek Into The Markets: US Stock Futures Down; Crude Oil Falls Over 1%
Publisher:  Benzinga
Friday, 10 July 2020 05:53

Pre-open movers

U.S. stock futures traded lower in early pre-market trade, after closing mixed in the previous session. The Producer Price Index for June is scheduled for release at 8:30 a.m. ET, while the U.S. Treasury budget report for June will be released at 2:00 p.m. ET.

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Fri Jul 10 '20 Announcement from Spellbound Butterscotch Beer
Publisher:  Indiegogo: Announcements
Friday, 10 July 2020 05:50

Thanks again for suppporting the campaign!

We are delighted our Shambles apothecary in York is now back open and hope to see you soon...

 

Thanks

Ben and Phil


Sometimes in horror, less is more
Publisher:  The Week
Friday, 10 July 2020 05:50

Director Natalie Erika James has burst onto the scene with Relic, and it's a heck of a first film. James' debut, which hits video-on-demand Friday, is a creepy, emotional haunted house feature that often takes a less-is-more approach. For the most part, it really pays off, and her confidence suggests audiences can expect more great work to come.

Emily Mortimer stars in Relic as Kay, a woman whose mother, Edna (Robyn Nevin), goes missing. She travels home with her daughter, Sam (Bella Heathcote), as they assist in the search. But when Edna returns, Emily and Sam grapple with questions not only about where she's been, but about how to properly take care of her now, and they soon suspect something is not quite right.

When it comes to the scares, James in Relic understands that sometimes in horror it's more effective when a movie doesn't necessarily push a scare in our face. At numerous points, she's able to get under our skin with only a stray movement or shape; in some scenes, the appearance of a menacing figure is almost a blink-and-you-miss it moment. When we discover whatever it is that's lurking in the corner but that isn't accompanied by a close-up, we're left with the bloodcurdling feeling that we've stumbled upon something terrifying for ourselves. And in some cases, when it takes us a second to notice what's out of place in a frame, we're forced to ask a stomach-churning question: "how long was that thing staring at me before I realized it was there?"

Just take a look at Relic's opening sequence, in which a character standing frozen in place slowly turns to their left as we see what looks like a figure moving to their right, though it's partially obscured. In some other movies, this would be the setup for a big opening scare. Let's say the character sees the figure, which is gone when they look again, only for it to appear right behind them. The music cuts in, the audience jumps and spills their popcorn, and scene. But in this case, the film quickly moves on without really acknowledging anything was there at all, and so we enter the next scene unnerved, wondering if we truly did see what we think we did.

A similar technique has been utilized by plenty of great films before Relic, including during an unforgettable sequence in James Wan's Insidious. Wan follows Rose Byrne's Renai around the house as she tidies up, but when the camera pans to show her tossing laundry into a basket, we ever-so-briefly see a creepy young boy standing still on her left. She doesn't see him, but for viewers who do, discovering this boy — and the implication that he's been there this entire time that we wrongly thought we were safe — is utterly horrifying. Ghostwatch, the 1992 TV movie that took the form of a fake ghost hunting broadcast, also evoked this feeling by hiding some images of its central ghost throughout like Easter eggs, leaving us always on guard and afraid of finding one.

Relic follows in this tradition to effectively build an atmosphere of paranoia. The result is a horror movie that might be short on major, overt scares but still doesn't feel empty.

It's not just with these scares that Relic is wisely understated. Similar to the way Jennifer Kent's The Babadook tackled grief through the lens of a monster movie, Relic ultimately uses a haunted house film structure to examine the anxiety that comes with caring for an ill parent near the end of their life. For Kay, everything from an overflowing bathtub to an unexplained bruise on her mother's skin becomes as terrifying as any creature, and the film is filled with images of decay tying into its central metaphor and a disturbing backstory we soon learn about.

But James doesn't hold our hand through the mechanics of this tale, not going overboard with exposition or giving us one big reveal scene that conveniently brings everything into focus. The film instead communicates numerous key ideas through its visuals while certain aspects of the plot are left unsaid. Relic realizes the specifics of how this situation came to be are less important than the film's emotional reality.

As it enters a more in-your-face third act, Relic momentarily looks to be headed toward a surprisingly conventional ending. But it avoids doing so in a haunting final few minutes, including a stunning stretch that plays out almost entirely without dialogue. It's easy to imagine an inferior version of Relic's finale that overemphasized a grand "a ha!" reveal, or featured its characters explicitly spelling out the metaphor. But the same way the film doesn't necessarily underline its scares, James' conclusion, one of the most powerful in any horror film in years, is built off of imagery that really does say it all.

There are certainly times when Relic stumbles. Some key turning points could have been moved up, as the movie somewhat tests the audience's patience in its second act. But all in all, a horror film with such a firm grasp on how to generate tension with so little, and with confidence in its audience's intelligence and willingness to connect the dots themselves, is especially impressive coming from a first-time director. If James builds on everything on display in Relic, a true horror masterpiece may not be far away.


'Wazito boss Badoer went overboard with 'f*cking hyena' remarks' - Tusker's Matano
Publisher:  Goal.com News - English - America
Friday, 10 July 2020 05:49

The experienced coach has stated success in football has to be worked on patiently and cannot be achieved overnight

‘The Bold Type’: Kat And Jane Explore New Relationships While Sutton’s Marriage Crumbles
Publisher:  inquisitr
Friday, 10 July 2020 05:47

The women of Freeform's The Bold Type on stage during press event.

Thursday night’s episode of television series The Bold Type saw the ladies — Jane Sloan, played by Katie Stevens; Kat Edison, played by Aisha Dee; and Sutton Brady, played by Meghann Fahy; exploring different types of relationships, but fans aren’t happy about it, according to a recap from MEA WorldWide.

The episode kicked off with Sutton sitting in a bar having a conversation with the bartender. As she poured Sutton’s drink, the woman behind the bar started explaining the different types of love, including forbidden love, first love, and unconditional love.

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This Ubuntu-Based Linux OS Looks Shockingly Similar To Windows 10
Publisher:  Forbes Real Time
Friday, 10 July 2020 05:47

If imitation is the sincerest form of flattery, an Ubuntu-based Linux OS called “WindowsFx� REALLY admires Windows 10.

Kahili Blundell Wears Black Bra In Instagram Picture
Publisher:  The Daily Caller
Friday, 10 July 2020 05:46

WOW!

The techno-thriller goes old-school
Publisher:  The Week
Friday, 10 July 2020 05:45

No one expected the future to be quite this ... well, boring. We were promised jet-packs and space elevators, bionic eyes and walkie-talkies implanted in our wrists. Instead we got the mundane convenience of cell phones, drone warfare, search engines, and Uber Eats. The 21st century is not turning out to be nearly as exciting as the movies had led us to believe.

What is exhilarating, though, is to relive what life was like before our fandangled present. A new crop of technothrillers are doing just that: mining old technologies for adrenaline rushes, rather than imagining future ones. The World War II battleship drama Greyhound, out today on Apple TV+, is just the latest example of a script that finds the sort of thrills in a near-past that were previously found in the near-future, confirming that it is the absence of technology that now scares us the most — not what it might evolve into.

Set during 1942, in the early days of America's entry into World War II, Greyhound tells the story of an Allied convoy being set upon by German U-boats during the Battle of the Atlantic. Almost the entirety of the film is spent in the bridge of one destroyer, the USS Keeling, where United States Navy Commander Ernest Krause (played by Tom Hanks, who also wrote the script) seeks to outwit and outmaneuver his counterpart aboard the Graue Wölfe. The film is based on the 1955 novel The Good Shepherd by C. S. Forester, which, though fictional, is "deeply researched and noted for its accurate depiction of naval warfare," Smithsonian Magazine writes.

This obsession with period details effectively carries over to the film. As part of a 37-ship convoy, the Keeling (which uses the call sign "Greyhound") frequently communicates with its counterparts using signal lamps, which are basically bright lights used to flash messages in Morse code across open water (today, we call them text messages). While radio calls are possible, the U-boats are able to intercept communications — or commandeer them, as the smack-talking captain of the Graue Wölfe often does. These might have been quaint period details, except that director Aaron Schneider turns them into points of tension, like when it takes agonizing moments to convey messages from the Keeling's combat information center, where officers are interpreting sonar, to the bridge — time that, when fighting an invisible enemy, is quite literally a question of life and death. You won't watch a more poorly-timed sneeze in a movie this year.

Additionally, ample attention is given to the janky technology used for locating the U-boats, stressing the overwhelming threat that the convoys faced. While being stalked, the Allies were forced to rely on hydrophones to literally listen for the sound generated by U-boat propellors — a sound that could be masked by the noise of nearby friendly ships, or faked by decoys. Rapid battle maneuvers for targeting the subs had to be drawn out on plotting boards, and confirmation of a kill meant scanning rough waves for a telltale oil slick. The torturously basic technology — all of it analog — is as much an enemy, in the eyes of a 21st century audience, as the Axis attackers. While we know, to a degree, how the story will end since it's inspired by historical fact, the difficult machinery is what gets our pulse up more than some grander threat to the Americans. When the heroes find success, it is as much for overcoming the limits of their technology as anything else.

Greyhound, though, is far from the first film to exploit the inherent tension of prone-to-fail early mechanics. Last year's Ford v Ferrari also took a story with a fairly knowable outcome (based as it is on the true story of the 1966 24 Hours of Le Mans race in France) and used the technology of mid-century auto racing to heighten tension: the suspense of a potentially deadly brake failure looms throughout the film. (As if emphasizing the absurdity of the threat the groundbreaking engineering involved, a faulty door is fixed at one point by a good bang of a mallet). And while brake failure isn't unique to 1960s auto racing by any means, the "nerve-wracking technical glitches," as Slate called them, are why its race scenes are nailbiters, even more than the actual stakes of the competition.

First Man, the 2018 film recounting the effort to send Neil Armstrong and Buzz Aldrin to the moon, likewise uses a known story and cranks up the tension by emphasizing how truly monumental a feat it was using the technology, or lack thereof, available to NASA in the 1960s. The film only works at all because it is "grounded in the tension between technology that's almost laughably fragile (the astronauts really do seem as if they're going up in tin cans)," wrote Vulture in its review at the time. Like Greyhound and Ford v Ferrari, there is an almost pedantic obsession with getting the period details exactly right: the sound designers, for example, tried to authentically replicate what going to space would have sounded like. In fact, all these films stress the limits of their technology largely through sound, the way the rev of a car engine, the rattle of a rocket, or the pips of sonar are exaggerated to the audience, stressing the mechanistic — and thereby prone to failure — nature of the vehicles in question.

Notably, none of these movies would work if they took place today. While there are still wars being fought, cars being built, and advances to space travel being made, the computer era, with all its certainties and simulations and precautions, feels somehow safer and simpler than the Wild West days of cruder technologies. Just as the cell phone has ruined the horror movie (why go in the spooky attic when you can just call for help?), the computer, counterintuitively, has ruined the technothriller. It was so much more exciting before we were actually good at this stuff.

Then again, it's all relative, right? From the smug perch of 2020, it can look like we have it all figured out compared to the horrors of the Dark Ages before computers and GPS and autonomous cars. But today's mundanity is tomorrow's technothriller; by 2080, who knows how horrifyingly backwards we'll look now.


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