Hundreds of protesters have turned out in central London and blocked off the capital’s main bridges to demand the government take climate change seriously.
A group called “Extinction Rebellion” encouraged sit-ins on the bridges Saturday as part of a coordinated week of action across the country.
Metropolitan Police said emergency vehicles were hampered from getting across London because of the “blockade” of five bridges. The force said it had asked all protesters to congregate at Westminster Bridge where officers can facilitate lawful protest.
About two dozen people were arrested on Monday after protesters blocked traffic and glued themselves to gates outside the Department for Business, Energy and Industrial Strategy.
From: MeNeedIt
A load of space station supplies rocketed into orbit from Virginia on Saturday, the second shipment in two days.
And another commercial delivery should be on its way in a couple weeks.
“What an outstanding launch,” said NASA’s deputy space station program manager, Joel Montalbano.
Northrop Grumman launched its Antares rocket from Wallops Island before dawn, delighting chilly early-bird observers along the Atlantic coast. The Russian Space Agency launched its own supplies to the International Space Station on Friday, just 15 hours earlier.
The U.S. delivery will arrive at the orbiting lab Monday, a day after the Russian shipment. Among the 7,400 pounds (3,350 kilograms) of goods inside the Cygnus capsule: ice cream and fresh fruit for the three space station residents, and a 3D printer that recycles old plastic into new parts.
Thanksgiving turkey dinners — rehydratable, of course — are already aboard the 250-mile-high outpost. The space station is currently home to an American, a German and a Russian.
There’s another big event coming up, up there: The space station marks its 20th year in orbit on Tuesday. The first section launched on Nov. 20, 1998, from Kazakhstan.
“As we celebrate 20 years of the International Space Station,” Montalbano noted, “one of the coolest things is the cooperation we have across the globe.” Then there’s the U.S. commercial effort to keep the space station stocked and, beginning next year, to resume crew launches from Cape Canaveral. “To me, it’s been a huge success,” he said.
This Cygnus, or Swan, is named the S.S. John Young to honor the legendary astronaut who walked on the moon and commanded the first space shuttle flight. He died in January.
It is the first commercial cargo ship to bear Northrop Grumman’s name. Northrop Grumman acquired Orbital ATK in June. SpaceX is NASA’s other commercial shipper for the space station; its Dragon capsule is set to lift off in early December.
Experiments arriving via the Cygnus will observe how cement solidifies in weightlessness, among other things. There’s also medical, spacesuit and other equipment to replace items that never made it to orbit last month because of a Russian rocket failure; the two men who were riding the rocket survived their emergency landing. Three other astronauts are set to launch from Kazakhstan on Dec. 3.
From: MeNeedIt
Fashion changes, trends come and go, but jewelry is always present in people’s lives in one way or another. New York’s Metropolitan Museum of Art just opened a new exhibition dedicated to the history of jewelry and the role it plays in people’s lives. Headdresses and earrings, brooches and belts, necklaces and rings, old and new, traditional and provocative, jewelry never cease to surprise and amaze. Nina Vishneva reports. Anna Rice narrates.
…
From: MeNeedIt
Fashion changes, trends come and go, but jewelry is always present in people’s lives in one way or another. New York’s Metropolitan Museum of Art just opened a new exhibition dedicated to the history of jewelry and the role it plays in people’s lives. Headdresses and earrings, brooches and belts, necklaces and rings, old and new, traditional and provocative, jewelry never cease to surprise and amaze. Nina Vishneva reports. Anna Rice narrates.
…
From: MeNeedIt
The weight of legacy hangs heavily over Creed II. Not just for most of the characters, who must come to grips with their own family histories, but also for the filmmakers, tasked with making a sequel to a successful spin-off of a beloved franchise. It would put any film on the ropes. Not this one.
Creed II pulls off a rather amazing feat by adding to the luster of its predecessor and propelling the narrative into a bright future while also reaching back to honor its past, resurrecting unfinished business from Rocky IV and adding a dash of Rocky III. Pound per pound, the sequel might even be better than its predecessor.
Steven Caple Jr. replaced Ryan Coogler in the director’s chair this time, but there is plenty of continuity: Michael B. Jordan returns as Adonis Creed, with Sylvester Stallone by his side as former heavyweight champ and trainer Rocky Balboa. Also back: Tessa Thompson as Creed’s love interest, Phylicia Rashad as Creed’s mom, and Wood Harris as a coach. Max Kellerman is ringside again as color commentator.
The sequel pits Creed against man-mountain Viktor Drago, the son of Ivan Drago, who killed Adonis Creed’s father, Apollo Creed, in the ring in Rocky IV. That stirs up trauma for Rocky, who feels responsible for the elder Creed’s demise. Rocky went on to avenge the death by beating the elder Drago, but we also now learn what that disgrace meant for the Dragos. This film is about ghosts as much as it is a meditation on fatherhood. At one point, Kellerman says the showdown between the sons of Creed and Drago is almost like a Shakespearian drama and — laugh if you must — it feels sort of right here.
Desire — or lack of it — plays a key role in Creed II since we meet young Adonis as the new champion, at the top. Viktor Drago is at the bottom, hauling cement in Ukraine and burning for family redemption. “My son will break your boy,” Ivan Drago threatens Rocky, who sort of agrees. “When a fighter’s got nothing to lose he’s dangerous,” he warns Creed. “Listen, that kid was raised in hate. You weren’t.” Dolph Lungren returns as the elder Drago and there’s even an appearance by Brigitte Nielsen, who plays Drago’s wife in 1985 and was a real-life wife of Stallone. (Talk about keeping it in the family.)
Caple matches Coogler’s moody, gritty vision of a brutal sport conducted by mostly honorable men trying to outwit each other. There’s plenty of gore, slo-mos of smashed heads and Rocky trademarks — the glorious montages with uplifting music as fighters prepare for their shot in the ring. (Prepare to look away if you are fans of massive truck tires — many get horrible beat downs.)
Stallone got his mitts on the script — after having had a role penning all the Rocky films but sitting out writing Creed — and teams up with Cheo Hodari Coker, creator of the Netflix superhero hit Luke Cage. Onscreen, Stallone returns with his dark fedora and small bouncing ball, shuffling about and mumbling, allowing his sad eyes to do the bulk of his acting. It’s in the small moments between crusty Stallone and cocky Jordan where the film finds its sweet spot. “What are you fightin’ for?” the elder man asks the younger.
Jordan proves again that he’s a film force to be reckoned with, capable of searing and savage intensity and yet also goofy softness. This time, his swagger is tested and he must overcome intense pain and anguish. Watching him get up off the canvas again and again will make even the most uncharitable viewer cheer. As Adonis, he wants to carve his own legacy away from his father’s: “This is our chance to rewrite history. Our history,” Creed tells Rocky.
Thompson and Rashad both temper the piles of testosterone onscreen as women who steer and guide the young Adonis. Thompson’s character is battling progressive hearing loss and that is handled intelligently by the writers. There’s even a scene when Adonis is punched so hard that he falls in silence and looks over at her, both connected for a moment in enveloping quiet.
The filmmakers, meanwhile, are creating their own family legacy. Both Creed films share the same composer (Ludwig Goransson), art director (Jesse Rosenthal), special effects coordinator (Patrick White), costumer (Rita Squitiere) and location manager (Patricia Taggart). The films even have the same barber for Jordan (Kenny Duncan). And Coogler didn’t go far — he’s an executive producer.
But while a Creed III is almost guaranteed, there may be dangers ahead if the filmmakers choose to keep reopening old wounds or plundering story lines from the past. And the creep toward more cinematic bombast needs to be watched vigilantly. (Remember how nuts the last few Rocky films got?) Having said that, this spin-off franchise is clearly in very good hands — ones that are heavily wrapped, protected by a glove and aiming for your gut.
…
From: MeNeedIt
The weight of legacy hangs heavily over Creed II. Not just for most of the characters, who must come to grips with their own family histories, but also for the filmmakers, tasked with making a sequel to a successful spin-off of a beloved franchise. It would put any film on the ropes. Not this one.
Creed II pulls off a rather amazing feat by adding to the luster of its predecessor and propelling the narrative into a bright future while also reaching back to honor its past, resurrecting unfinished business from Rocky IV and adding a dash of Rocky III. Pound per pound, the sequel might even be better than its predecessor.
Steven Caple Jr. replaced Ryan Coogler in the director’s chair this time, but there is plenty of continuity: Michael B. Jordan returns as Adonis Creed, with Sylvester Stallone by his side as former heavyweight champ and trainer Rocky Balboa. Also back: Tessa Thompson as Creed’s love interest, Phylicia Rashad as Creed’s mom, and Wood Harris as a coach. Max Kellerman is ringside again as color commentator.
The sequel pits Creed against man-mountain Viktor Drago, the son of Ivan Drago, who killed Adonis Creed’s father, Apollo Creed, in the ring in Rocky IV. That stirs up trauma for Rocky, who feels responsible for the elder Creed’s demise. Rocky went on to avenge the death by beating the elder Drago, but we also now learn what that disgrace meant for the Dragos. This film is about ghosts as much as it is a meditation on fatherhood. At one point, Kellerman says the showdown between the sons of Creed and Drago is almost like a Shakespearian drama and — laugh if you must — it feels sort of right here.
Desire — or lack of it — plays a key role in Creed II since we meet young Adonis as the new champion, at the top. Viktor Drago is at the bottom, hauling cement in Ukraine and burning for family redemption. “My son will break your boy,” Ivan Drago threatens Rocky, who sort of agrees. “When a fighter’s got nothing to lose he’s dangerous,” he warns Creed. “Listen, that kid was raised in hate. You weren’t.” Dolph Lungren returns as the elder Drago and there’s even an appearance by Brigitte Nielsen, who plays Drago’s wife in 1985 and was a real-life wife of Stallone. (Talk about keeping it in the family.)
Caple matches Coogler’s moody, gritty vision of a brutal sport conducted by mostly honorable men trying to outwit each other. There’s plenty of gore, slo-mos of smashed heads and Rocky trademarks — the glorious montages with uplifting music as fighters prepare for their shot in the ring. (Prepare to look away if you are fans of massive truck tires — many get horrible beat downs.)
Stallone got his mitts on the script — after having had a role penning all the Rocky films but sitting out writing Creed — and teams up with Cheo Hodari Coker, creator of the Netflix superhero hit Luke Cage. Onscreen, Stallone returns with his dark fedora and small bouncing ball, shuffling about and mumbling, allowing his sad eyes to do the bulk of his acting. It’s in the small moments between crusty Stallone and cocky Jordan where the film finds its sweet spot. “What are you fightin’ for?” the elder man asks the younger.
Jordan proves again that he’s a film force to be reckoned with, capable of searing and savage intensity and yet also goofy softness. This time, his swagger is tested and he must overcome intense pain and anguish. Watching him get up off the canvas again and again will make even the most uncharitable viewer cheer. As Adonis, he wants to carve his own legacy away from his father’s: “This is our chance to rewrite history. Our history,” Creed tells Rocky.
Thompson and Rashad both temper the piles of testosterone onscreen as women who steer and guide the young Adonis. Thompson’s character is battling progressive hearing loss and that is handled intelligently by the writers. There’s even a scene when Adonis is punched so hard that he falls in silence and looks over at her, both connected for a moment in enveloping quiet.
The filmmakers, meanwhile, are creating their own family legacy. Both Creed films share the same composer (Ludwig Goransson), art director (Jesse Rosenthal), special effects coordinator (Patrick White), costumer (Rita Squitiere) and location manager (Patricia Taggart). The films even have the same barber for Jordan (Kenny Duncan). And Coogler didn’t go far — he’s an executive producer.
But while a Creed III is almost guaranteed, there may be dangers ahead if the filmmakers choose to keep reopening old wounds or plundering story lines from the past. And the creep toward more cinematic bombast needs to be watched vigilantly. (Remember how nuts the last few Rocky films got?) Having said that, this spin-off franchise is clearly in very good hands — ones that are heavily wrapped, protected by a glove and aiming for your gut.
…
From: MeNeedIt
Oscar nominee Matthew Heineman has often put his life on the line while filming award-winning documentaries such as Cartel Land, chronicling wars of Mexican drug cartels, and throwing a light on the atrocities of the Islamic State group in City of Ghosts.
Now, Heineman is releasing his first feature film, A Private War, about another subject close to his heart: Sunday Times war correspondent Marie Colvin, who staked her life on the war fronts of Sri Lanka, Iraq and Syria in order to bring attention to the plight of war victims.
In A Private War, Oscar-nominated actress Rosamund Pike transforms herself into Colvin, a gritty, fierce, inquisitive American journalist who dedicated her life to reporting on atrocities around the world.
Pike evokes the journalist’s inexorable drive to cover wars to show the world the plight of war victims and bring truth to light. She also portrays Colvin as a person suffering from PTSD and addiction to alcohol and to her job. And there was the physical toll. Colvin lost her left eye in a rocket-propelled grenade attack in Sri Lanka in 2001.
Her actions, presence
“Getting into her physicality, which meant changing everything, I had to learn to smoke convincingly, because for Marie, everything was better with a cigarette — every conversation, every car drive,” Pike told VOA. “I had to see the way with which she gestured with her hands — she had these wide-apart fingers. I had to work out how the eye patch made her angle her head differently — how she could penetrate you and sear you with one eye as good as someone else could dress you down with two.”
In an onscreen soliloquy about her inner demons as Colvin, Pike outlined the personal conflicts that defined the British journalist.
“I fear growing old, but then I also fear dying young,” she said. “I am most happy with a vodka martini in my hand, but I can’t stand the fact that the chatter in my head won’t go quiet until there is a quart of vodka inside me. I hate being in a war zone, but I also feel compelled, compelled, to see it for myself.”
WATCH: ‘A Private War’ Examines War Correspondent’s Physical, Psychological Scars
Regarding Colvin’s heavy drinking, Pike said, “Should we even call it alcoholism? I really had to judge and walk a very fine line and find out where the truth lay, because it is not that we are defining her by a drinking problem. But she clearly had one.”
Filmmaker Heineman described his deep connection to Colvin. A storyteller who took grave risks to document drug cartels and IS to the world, he wanted to do justice to the complexity of Colvin’s character and her courage as she unflinchingly reported from Homs, Syria, in 2012 during Bashar al-Assad’s heavy bombardment of the city.
This is where Colvin lost her life. Through Colvin’s commitment, Heineman said he wanted to show the risks that journalists take to uncover the truth to the world.
Power of storytelling
“Journalists are the bedrock of a free and independent society. You might not always agree with what they say, but the fact that journalism has been politicized, as our whole world has been politicized and our countries have been politicized and divided, is really sad to me,” the filmmaker said. “The fact that journalists have been demonized in this country, in other countries, the fact that a journalist was recently obviously killed, in Turkey [Saudi journalist Jamal Khashoggi], I think that’s one of the reasons why I make films.
“I think film, journalism, storytelling has the ability to bring people together to create dialogue, to create two sides of a conversation,” he told VOA.
As a documentarian, Heineman wanted to give this real-life texture to his film. In a scene where Colvin discovers a mass grave in Iraq, the local women and men gathered around mourning are real victims of war.
“The women in that scene were Iraqi women crying about real trauma that they experienced, and at the end of that scene, like in any documentary that I made, something unforeseen happened: They started chanting and doing this prayer for the dead,” Heineman said.
Pike related a similar experience she had while filming an unscripted scene with a refugee woman huddled with her kids in a safe house. The scene was depicting the siege of Homs.
Through an interpreter, the woman told Pike how she fed her baby only sugar and water because she could not produce milk to breastfeed after the trauma of losing one of her kids to a bomb attack.
“Then the woman said to me as Marie — and it was caught on camera — she said, ‘I don’t want this, please, I don’t want this just to be words on paper. I want the world to know that a generation is dying here. I want the world to know my story.’ ”
Pike said that at that moment, she felt what drove Colvin — the journalist’s grave responsibility to bear witness to people’s suffering, no matter the cost.
…
From: MeNeedIt
Oscar nominee Matthew Heineman has often put his life on the line while filming award-winning documentaries such as Cartel Land, chronicling wars of Mexican drug cartels, and throwing a light on the atrocities of the Islamic State group in City of Ghosts.
Now, Heineman is releasing his first feature film, A Private War, about another subject close to his heart: Sunday Times war correspondent Marie Colvin, who staked her life on the war fronts of Sri Lanka, Iraq and Syria in order to bring attention to the plight of war victims.
In A Private War, Oscar-nominated actress Rosamund Pike transforms herself into Colvin, a gritty, fierce, inquisitive American journalist who dedicated her life to reporting on atrocities around the world.
Pike evokes the journalist’s inexorable drive to cover wars to show the world the plight of war victims and bring truth to light. She also portrays Colvin as a person suffering from PTSD and addiction to alcohol and to her job. And there was the physical toll. Colvin lost her left eye in a rocket-propelled grenade attack in Sri Lanka in 2001.
Her actions, presence
“Getting into her physicality, which meant changing everything, I had to learn to smoke convincingly, because for Marie, everything was better with a cigarette — every conversation, every car drive,” Pike told VOA. “I had to see the way with which she gestured with her hands — she had these wide-apart fingers. I had to work out how the eye patch made her angle her head differently — how she could penetrate you and sear you with one eye as good as someone else could dress you down with two.”
In an onscreen soliloquy about her inner demons as Colvin, Pike outlined the personal conflicts that defined the British journalist.
“I fear growing old, but then I also fear dying young,” she said. “I am most happy with a vodka martini in my hand, but I can’t stand the fact that the chatter in my head won’t go quiet until there is a quart of vodka inside me. I hate being in a war zone, but I also feel compelled, compelled, to see it for myself.”
WATCH: ‘A Private War’ Examines War Correspondent’s Physical, Psychological Scars
Regarding Colvin’s heavy drinking, Pike said, “Should we even call it alcoholism? I really had to judge and walk a very fine line and find out where the truth lay, because it is not that we are defining her by a drinking problem. But she clearly had one.”
Filmmaker Heineman described his deep connection to Colvin. A storyteller who took grave risks to document drug cartels and IS to the world, he wanted to do justice to the complexity of Colvin’s character and her courage as she unflinchingly reported from Homs, Syria, in 2012 during Bashar al-Assad’s heavy bombardment of the city.
This is where Colvin lost her life. Through Colvin’s commitment, Heineman said he wanted to show the risks that journalists take to uncover the truth to the world.
Power of storytelling
“Journalists are the bedrock of a free and independent society. You might not always agree with what they say, but the fact that journalism has been politicized, as our whole world has been politicized and our countries have been politicized and divided, is really sad to me,” the filmmaker said. “The fact that journalists have been demonized in this country, in other countries, the fact that a journalist was recently obviously killed, in Turkey [Saudi journalist Jamal Khashoggi], I think that’s one of the reasons why I make films.
“I think film, journalism, storytelling has the ability to bring people together to create dialogue, to create two sides of a conversation,” he told VOA.
As a documentarian, Heineman wanted to give this real-life texture to his film. In a scene where Colvin discovers a mass grave in Iraq, the local women and men gathered around mourning are real victims of war.
“The women in that scene were Iraqi women crying about real trauma that they experienced, and at the end of that scene, like in any documentary that I made, something unforeseen happened: They started chanting and doing this prayer for the dead,” Heineman said.
Pike related a similar experience she had while filming an unscripted scene with a refugee woman huddled with her kids in a safe house. The scene was depicting the siege of Homs.
Through an interpreter, the woman told Pike how she fed her baby only sugar and water because she could not produce milk to breastfeed after the trauma of losing one of her kids to a bomb attack.
“Then the woman said to me as Marie — and it was caught on camera — she said, ‘I don’t want this, please, I don’t want this just to be words on paper. I want the world to know that a generation is dying here. I want the world to know my story.’ ”
Pike said that at that moment, she felt what drove Colvin — the journalist’s grave responsibility to bear witness to people’s suffering, no matter the cost.
…
From: MeNeedIt
Oscar nominee Matthew Heineman’s film “A Private War,” about Sunday Times war correspondent Marie Colvin, brings attention to the danger journalists face reporting on the plight of war victims. VOA’s Penelope Poulou describes how and why “A Private War” was a labor of love, a docudrama delving into Colvin’s psyche.
…
From: MeNeedIt
Oscar nominee Matthew Heineman’s film “A Private War,” about Sunday Times war correspondent Marie Colvin, brings attention to the danger journalists face reporting on the plight of war victims. VOA’s Penelope Poulou describes how and why “A Private War” was a labor of love, a docudrama delving into Colvin’s psyche.
…
From: MeNeedIt
Federal Reserve policymakers on Friday signaled further interest rate increases ahead, but raised relatively muted concerns over a potential global slowdown that has markets betting heavily that the Fed’s rate hike cycle will soon peter out.
The widening chasm between market expectations and the rate path the Fed laid out just two months ago underscores the biggest question in front of U.S. central bankers: How much weight to give a growing number of potential red flags, even as U.S. economic growth continues to push down unemployment and create new jobs?
“We are at a point now where we really need to be especially data dependent,” Richard Clarida, the newly appointed vice chair of the Federal Reserve, said in a CNBC interview. “I think certainly where the economy is today, and the Fed’s projection of where it’s going, that being at neutral would make sense,” he added, defining “neutral” as interest rates somewhere between 2.5 percent and 3.5 percent.
But that range that implies anywhere from two more to six more rate hikes, and Clarida declined to say how many more increases he would prefer.
He did say he is optimistic that U.S. productivity is rising, a view that suggests he would not see faster economic or wage growth as necessarily feeding into higher inflation or, necessarily, requiring higher interest rates. But he also
sounded a mild warning.
“There is some evidence of global slowing,” Clarida said. “That’s something that is going to be relevant as I think about the outlook for the U.S. economy, because it impacts big parts of the economy through trade and through capital markets and the like.”
Federal Reserve Bank of Dallas President Robert Kaplan, in a separate interview with Fox Business, also said he is seeing a growth slowdown in Europe and China.
“It’s my own judgment that global growth is going to be a little bit of a headwind, and it may spill over to the United States,” Kaplan said. .
The Fed raised interest rates three times this year and is expected to raise its target again next month, to a range of 2.25 percent to 2.5 percent. As of September, Fed policymakers expected to need to increase rates three more times next year, a view they will update next month.
Over the last week, betting in contracts tied to the Fed’s policy suggests that even two rate hikes might be a stretch. The yield on fed fund futures maturing in January 2020, seen by some as an end-point for the Fed’s current rate-hike cycle, dropped sharply to just 2.76 percent over six trading days.
At the same time, long-term inflation expectations have been dropping quickly as well. The so-called breakeven inflation rate on Treasury Inflation Protected Securities, or TIPS, has fallen sharply in the last month. The breakeven rate on five-year TIPS hit the lowest since late 2017 earlier this week.
Those market moves together suggest traders are taking the prospect of a slowdown seriously, limiting how far the Fed will end up raising rates.
But not all policymakers seemed that worried. Sitting with his back to a map of the world in a ballroom in Chicago’s Waldorf Astoria Hotel, Chicago Federal Reserve Bank President Charles Evans downplayed risks to his outlook, noting that the leveraged loans that some of his colleagues have raised concerns about are being taken out by “big boys and girls” who
understand the risks.
He told reporters he still believes rates should rise to about 3.25 percent so as to mildly restrain growth and bring unemployment, now at 3.7 percent, back up to a more sustainable level.
Asked about risks from the global slowdown, he said he hears more talk about it but that it is not really in the numbers yet.
But the next six months, he said, bear close watching.
“There’s not a great headline” about risks to the economy right now, Evans told reporters. “International is a little slower; Brexit — nobody’s asked me about that, thank you; [the slowing] housing market: I think all of those are in the mix for uncertainties that everybody’s facing,” he said.
“But at the moment, it’s not enough to upset or adjust the trajectory that I have in mind.”
Still, Evans added, the risks should not be counted out: “They could take on more life more easily because they are sort of more top of mind, if not in the forecast.”
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From: MeNeedIt