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Furthermore, Lululemon's expansion into county towns aligns with its broader strategy to cater to a broader demographic and diversify its customer base. By reaching out to consumers in underserved areas, the brand can tap into new customer segments and drive sustainable growth in the long term.
Despite the physical toll that years of professional football have taken on his body, Alonso leaves the game with no regrets. He understands that all good things must come to an end, but his love for football will remain eternal. He plans to stay involved in the sport in some capacity, passing on his knowledge and experience to the next generation of players.President-elect Donald Trump has once again suggested he wants to revert the name of North America’s tallest mountain — Alaska's Denali — to Mount McKinley, wading into a sensitive and decades-old conflict about what the peak should be called. Former President Barack Obama changed the official name to Denali in 2015 to reflect the traditions of Alaska Natives as well as the preference of many Alaska residents. The federal government in recent years has endeavored to change place-names considered disrespectful to Native people. “Denali” is an Athabascan word meaning “the high one" or “the great one.” A prospector in 1896 dubbed the peak “Mount McKinley” after President William McKinley, who had never been to Alaska. That name was formally recognized by the U.S. government until Obama changed it over opposition from lawmakers in McKinley's home state of Ohio. Trump suggested in 2016 that he might undo Obama's action, but he dropped that notion after Alaska's senators objected. He raised it again during a rally in Phoenix on Sunday. “McKinley was a very good, maybe a great president,” Trump said Sunday. “They took his name off Mount McKinley, right? That’s what they do to people.” Once again, Trump's suggestion drew quick opposition within Alaska. “Uh. Nope. It’s Denali,” Democratic state Sen. Scott Kawasaki posted on the social platform X Sunday night. Republican Sen. Lisa Murkowski , who for years pushed for legislation to change the name to Denali, conveyed a similar sentiment in a post of her own. “There is only one name worthy of North America’s tallest mountain: Denali — the Great One,” Murkowski wrote on X. Various tribes of Athabascan people have lived in the shadow of the 20,310-foot (6,190-meter) mountain for thousands of years. McKinley, a Republican native of Ohio who served as the 25th president, was assassinated early in his second term in 1901 in Buffalo, New York. Alaska and Ohio have been at odds over the name since at least the 1970s. Alaska had a standing request to change the name since 1975, when the legislature passed a resolution and then-Gov. Jay Hammond appealed to the federal government. Known for its majestic views, the mountain is dotted with glaciers and covered at the top with snow year-round, with powerful winds that make it difficult for the adventurous few who seek to climb it. ___ Rush reported from Portland, Oregon. Claire Rush, The Associated Press
The allegations of holding a banquet sparked a wave of backlash and condemnation directed towards the male acquaintance. Many condemned his actions as exploitative and manipulative, turning a simple act of kindness into a sinister affair. The public outrage amplified as rumors and speculations proliferated, painting a damning picture of the male acquaintance and his alleged misconduct.Limited again, 49ers QB Brock Purdy still fighting sore shoulder
On December 5, the IndieWire Honors Winter 2024 ceremony will celebrate the creators and stars responsible for crafting some of the year’s best films . Curated and selected by IndieWire’s editorial team, IndieWire Honors is a celebration of the filmmakers, artisans, and performers behind films well worth toasting. We’re showcasing their work with new interviews leading up to the Los Angeles event. When filmmaker Chris Sanders began to imagine what his fifth animated film , “The Wild Robot,” might look like on the big screen, he was stuck on one crucial idea: how to turn Peter Brown’s deep-feeling and beautifully rendered YA novel about a caring robot and the baby goose she adopts into a movie for everyone. “One of the things we talked about a lot, was how do you make a movie like this for a broad audience?” Sanders said in a recent interview with IndieWire. “We’ve talked a lot about who you work to not exclude , but you also don’t try to target anybody specifically. Anytime I’ve been near that, when you try to deliberately target any particular group of people, I think inevitably you miss and it throws things into a very strange place.” That meant crafting a film that could appeal to all ages, not just the built-in audience of kiddos who would naturally gravitate toward a colorful world mostly populated by chatty forest animals and the charming robot ( voiced by Lupita Nyong’o ) who brings them together. “One of my most critical concerns from the very beginning was making a movie for adults,” the filmmaker said. “I absolutely knew by nature of the story that kids were going to be interested. A robot in the wilderness and these really adorable animals? It’s naturally going to be interesting to kids, very kid-friendly. I was really concerned that the style of the movie and the storytelling be something that adults would really engage with in a big way, and that’s where the whole style of the island came from.” For Sanders, the recipient of this year’s IndieWire Honors Spark Award , dedicated to honoring those who advance and delight in the craft of animation, that meant a combination of both the look and the feel of his lauded film. “Visually, I think that was the biggest challenge: to find an artistic and aesthetic altitude that was worthy of the story,” Sanders said. “It’s just natural for me to operate in those kinds of zones because I came from ‘Mulan,’ ‘Lilo & Stitch,’ ‘How to Train Your Dragon,’ where I love to attend to the big emotional wavelengths of these things and to not shy away from it.” Sanders, who has directed animated hits like “Lilo & Stitch” (he even voices the cuddly blue alien) and “How to Train Your Dragon,” pointed to a wide variety of other animated classics as his creative waypoints: everything from “Who Framed Roger Rabbit” to “My Neighbor Totoro” and the “always inspiring” classic “Bambi.” Even during production on a new film, Sanders said he likes to watch other movies to keep his brain fresh and his imagination bold. “You get so busy on your particular film, you get so into the details, sometimes you just need to remind yourself what a movie is,” he said. “I’ll go to see a movie, it can have nothing to do tonally with the thing I’m working on, it can be a drama, it can be a comedy, it can be almost a near documentary. It could even be a horror film. It just reminds you of what a movie is, the audacity of it, the boldness of it.” Mostly, Sanders and his team — as you can see, the filmmaker nearly always says “we” when chatting about his creative choices, rarely just “I” — wanted to tell a story they would all enjoy. Perhaps that was the ticket. “We were just so busy making a movie that entertained ourselves, because I think we’re very representative of the core audience,” he said. “All of the things that people were feeling when they watched it, we felt when we were making it. ... Our wish was that, when the movie was over, people would walk out of the theater and just have a moment of, ‘Oh, I’m back,’ to really try to immerse people and beguile them with the environment.” Sanders, who also adapted the script for the film from the first book in Brown’s beloved trilogy about the wondrous robot Roz and the lush forest (and all its furry friends) she eventually makes her home, was so struck by Brown’s book that he could instantly “see” some of the key scenes he wanted to bring to the big screen while reading. “It absolutely happens,” he said when asked about those “lightbulb moments.” “As I’m reading a book, if I see [even one moment] very clearly in my head, I get very anxious that other people will see what I just saw. In ‘The Wild Robot,’ there were several places like that. One of the most notable would be in the very middle, the migration. It isn’t the climactic finish of the movie, it’s just the midpoint, and yet it’s one of the most compelling things I’d ever worked on.” In the film, Roz is unexpectedly shipwrecked on an uninhabited island while she’s out for delivery to the wider, decidedly human world. While the animals that live on the island — foxes (like one voiced by Pedro Pascal), squirrels, bears, beavers, falcons — are initially scared of their new mechanical citizen, Roz finds sanctuary when she adopts young Canadian goose Brightbill (voiced by Kit Connor) after she (oops) accidentally kills his entire family. Ever driven by her programmed directives, Roz makes it her job to get Brightbill ready for an upcoming migration. “I liked the complexity of it, the spectacle, the scale,” he said. “I always work to music and immediately as I was reading this, music was going through my head, visuals were going through my head. What an incredible moment.” Of course, Roz and Brightbill (plus Pascal’s fox Fink) eventually come to love each other, seeing each other as their own chosen, slightly weird but deeply adorable family. And while Brightbill is, at first, angry at Roz for forcing him to migrate (and thus, take him away from his new clan), his goose mentor Longneck (voiced by Bill Nighy) offers him some key context to her choices as his surrogate mom, just as they — and hundreds of other geese — finally take to the skies. “At that moment of truth, when Longneck lays this big last piece of information on him to consider, there’s no longer time for him to apologize, there’s no time left to make things right,” the filmmaker said. “This is something that I have experienced in my life, that I’ve waited too long to say something, and the regret that I carry is huge. So I love the complexity of the moment and these two characters are doing their best to navigate that moment while this really huge thing is going on and time has run out and the train is leaving the station and Brightbill has to be on that train.” What was thrilling for Sanders was “not only these big, magnificent events that were visually compelling, but the incredible complexity and power of the emotional wavelengths that were flowing” through them. And, yes, those first sparks of an idea, those lightbulb moments, are very close to what we see onscreen. “In the case of the migration, pretty close, because I actually [story] boarded it,” he said when asked about how closely his vision and the final product align. “I thought, ‘I know exactly what I want, let me just jump in there, I’ll board it, and I’ll get it up there.’ I had a very specific series of shots that I really wanted to get up on screen, some of those high angles with all the birds and Roz running with her arms out and stuff like that. I usually have a pretty clear thought for what I want, and in that particular case, I took the extra step of, I’ll just board it. That one didn’t shift very much at all, it pretty much stuck.” That look is essential, because while “The Wild Robot” was computer-animated, it also comes with a distinctly painterly look. A combination of technological advancements and old-school attention to details, which included hand-painted elements (artists used styluses, not brushes, in a 3D environment, but the look and feel are wonderfully familiar), made it possible. “I hadn’t been on a film that did that since ‘Lilo & Stitch,'” Sanders said of the hand-painted elements. “The idea that we had matte painters painting the sky, painting the trees, oh my gosh . It made such a gigantic contribution to the emotional resonance of that film. It cannot be understated. We are so at the verge of another Renaissance, as far as seeing new styles of things now. I’m really thrilled by it.” Given the tremendous success of the film — it has so far made nearly $320 million at the global box office, with glowing reviews from both critics and audiences to boot — talk of a sequel is only natural. After all, “The Wild Robot” is part of a trilogy of novels. “ We have not yet begun to do anything on a sequel yet,” Sanders said. “I think we’re very hopeful. I’ve definitely read the second book, and I plan to actually re-read it because his books have many, many chapters. When I read it the first time, I just read it. I just needed to digest it. And the second time through, I’m actually going to make some notes to myself that, perhaps, may come in handy.” Whatever the filmmaker tackles next, Sanders believes animation is returning to “more handmade-looking things.” “I am not somebody who is lamenting the disappearance of traditional animation,” he said. “I love traditional animation and I know it’ll always be there. I was just watching ‘Robot Dreams,’ and it’s hand-drawn and it’s the perfect style for that story, but the fact that we have now finally broken away from that gravitational hold that we were under technologically is the thing that’s so thrilling to me about where we are right now. I feel like we’ve come through a tunnel and we are looking at a big open field and mountains, and we can finally see the sky, and now we can finally go back to more broad, stylistic choices.” He credits “Into the Spider-Verse” for breaking down those doors “with a Sherman tank.” “That was such a revelation, that film worked so well because of it, and it got the Oscar,” Sanders said. “It so deserved it. That just let everybody know, ‘Oh, we are open and free to maneuver, should we be able to get our software to the point where we can do it.'” While audiences might not be too fussed about the mechanics that make this all possible, they do feel it in the final product. That’s what really gets Sanders going. “People noticed the difference on ‘The Wild Robot,'” Sanders said. “I was wondering, well, we are so attuned to it within the studio, I saw it as looking like a radically different thing, and I actually wasn’t sure, when we show this to a general audience, are they going to see the same things that we are? And they sure did, people would comment on it, and oh , that made me happy.” “The Wild Robot” is available to download or rent on various streaming platforms, including Apple TV, Amazon Video, Fandango at Home, Microsoft Store, and more.
STROBEL: ‘Know what? I love my life’Sexual harassment is a pervasive issue that continues to plague societies around the world. From inappropriate comments in the workplace to unwanted advances on the streets, individuals, particularly women, often find themselves subjected to various forms of sexual harassment on a daily basis. In light of this pressing concern, experts have increasingly called for a more refined and comprehensive definition of sexual harassment to effectively address and combat this social ill.In addition to their struggles in set pieces, Arsenal's limited ability to create scoring chances through open play is another area of concern highlighted by Reine-Adelaide. The Gunners, despite boasting a talented squad with creative players, have often found it difficult to break down well-organized defenses and carve out clear-cut opportunities in front of goal. With a reliance on individual brilliance rather than cohesive team play, Arsenal's attacking performances have often lacked the fluidity and efficiency required to consistently trouble their opponents.
NORMAL, Ill. (AP) — Wenkers Wright ran for 118 yards and two touchdowns and No. 13 Illinois State knocked off North Dakota for the first time, 35-13 in the regular season finale for both teams Saturday. The Redbirds are 9-2 (6-2 Missouri Valley Conference) and are looking to reach the FCS playoffs for the first time since 2019 and sixth time in Brock Spack's 16 seasons as head coach. Illinois State opened the game with some trickery. Eddie Kasper pulled up on a fleaflicker and launched a 30-yard touchdown pass to Xavier Loyd to cap a seven-play, 70-yard opening drive. Simon Romfo tied it on North Dakota's only touchdown of the day, throwing 20 yards to Nate DeMontagnac. Wright scored from the 10 to make it 14-7 after a quarter, and after C.J. Elrichs kicked a 20-yard field goal midway through the second to make it 14-10 at intermission, Wright powered in from the 18 and Mitch Bartol caught a five-yard touchdown pass from Tommy Rittenhouse to make it 28-10 after three. Seth Glatz added a 13-yard touchdown run to make it 35-10 before Elrichs added a 37-yard field goal to get the Fighting Hawks on the board to set the final margin. Rittenhouse finished 21 of 33 passing for 187 yards for Illinois State. Loyd caught eight passes for 121 yards. Romfo completed 11 of 26 passes for 135 yards and a touchdown with an interception for North Dakota (5-7, 2-6). Illinois State faced North Dakota for just the fourth time and third time as Missouri Valley Conference opponents. The Redbirds lost the previous three meetings. Get poll alerts and updates on the AP Top 25 throughout the season. Sign up here . AP college football: https://apnews.com/hub/ap-top-25-college-football-poll and https://apnews.com/hub/college-footballBeyond product offerings and technological innovations, e-commerce platforms are also ramping up their social media and influencer marketing efforts to drive consumer engagement. By partnering with popular influencers and celebrities, platforms are able to reach a wider audience, build brand loyalty, and create buzz around the "Double 12" festival.When the Ireland team were presented jerseys for the final Test of 2024 against Australia at their Shelbourne Hotel base on Wednesday evening, they were given them by legendary former fly-half Ollie Campbell. The irony will not have been lost on experienced watchers of Irish Rugby. It was Campbell, after all, who formed one half of Ireland's first great number 10 debate. His back-and-forth with Tony Ward was perhaps the side's most famous divide over the most important jersey in the sport, but sequels would include David Humphreys over Ronan O'Gara and then O'Gara versus Johnny Sexton. That the latter would become the first name on the teamsheet for over a decade put a temporary halt to such chatter, but the skipper's retirement after last year's World Cup has brought about a widespread renaissance. Munster's Jack Crowley got the first crack and led the side to a fantastic win against France in the first game of the post-Sexton era that set up a Six Nations title triumph. The 24-year-old was still in situ by the summer tour to South Africa but the trip ended with replacement Ciaran Frawley snatching glory with a pair of late drop-goals to beat the back-to-back world champions in Durban. Crowley still started the defeat by the All Blacks to begin this month but underperformed in a showing that was down across the board. Against Argentina a week later, his strong first-half showing was seemingly lost in the shuffle after the debut of Sam Prendergast off the bench set tongues wagging. The Leinsterman was handed a first start against Fiji in game three of the autumn, his performance featuring a yellow card, a few mistakes, but plenty of the classy touches that have had the former under-20s standout marked as one to watch for quite some time. Conventional wisdom still indicated Crowley would return along with a group of frontliners against the Wallabies, especially when he was sat in front of the media in Dublin on Tuesday. If some attending journalists felt Crowley was downbeat that day, the reason for his demeanour became clear on Thursday when Farrell revealed his team and, a selection that otherwise was a return to the tried and tested, featured Prendergast's name nestled between Jamison Gibson-Park and Bundee Aki. Some, perhaps those looking through Munster red-tinted glasses, have already grown weary of the discourse surrounding the latest next big thing. Yet, in a game full of subplots, from the upcoming British and Irish Lions tour featuring the two head coaches to an Irish cap record for Cian Healy, come kick-off it felt like all eyes were trained on the 21-year-old in the green 10 jersey. In the main, Prendergast looked exactly what he is - a hugely promising player with just three caps to his name. There were some lovely touches, and more evidence of that languid style that seems to give him that extra split-second on the ball, as well as a few moments he would like back, namely a missed conversion and contestable kicks that yard or two too long. When, with 14 minutes remaining, Crowley entered the fray, he did so with the game in the balance. Ireland were 19-15 behind and pressing to avoid having their 150th anniversary celebrations spoiled by defeat. After what was surely a difficult week for a player without an abundance of Test experience himself, he contributed to the comeback with a prod in behind that set-up the line-out from which Gus McCarthy scored the winning try. His heart, though, will have been in his mouth when a kick out on the full gave Australia a chance to launch a late attack from halfway. "I thought Sam had some lovely stuff. He made some errors, some kicks that weren't perfect," said Andy Farrell. "But equally I thought Jack was excellent when he came on. "He took hold of the game. The little ball that he put into the corner, nice weighted kick, rather than just putting it out. We got the lineout from that that really kicked us on. "So delighted with them both." Questions about both have been a feature of this November, with Australia head coach Joe Schmidt neatly summing up how one will now be viewed through the prism of the other. When asked about the performance of Prendergast, the former Irish coach spoke about a player with "great potential" who had occasionally looked "a little bit flustered, which is unusual for him" against his Wallabies. Unprompted, he then added he "would be a fan of Jack Crowley as well", calling him he "a super player". Both now return to their provinces but to differing situations. Crowley is the undisputed first-choice at Munster. The man who finished the autumn in the Irish ten jersey, however, is yet to nail down that jersey at Leinster. It will be another two months before both are back in green. There will be no prizes for guessing the main topic of debate ahead of Ireland's Six Nations opener against England.