Spurs travel to Premier League champions Manchester City on Saturday reeling from a disappointing home loss to Ipswich before the international break. The club’s problems have multiplied during the past fortnight with midfielder Rodrigo Bentancur handed a seven-match domestic ban on Monday and Cristian Romero (toe) joining a lengthy list of absentees. However, Postecoglou remains bullish about Tottenham’s progress and acutely aware of the scrutiny set to come his way if they stay 10th. “Christmas is a joyous occasion, irrespective, and I think it should be celebrated. If we’re still 10th then people won’t be happy, I won’t be happy, but we might not be 10th,” Postecoglou pointed out before nine games in 30 days. “Certainly for us I think it’s a significant period because you look at those games and we’ve got the league where we’ve got to improve our position and a couple of important European fixtures that can set us up for the back half of the year, also a Carabao Cup quarter-final. “At the end of that period we could be in a decent position for a strong second half of the year, so for us it is an important period. “You know there’s no more international breaks, so the full focus is here. You can build some momentum through that, or if things don’t go well you could get yourself into a bit of a grind. “Of course if we had beaten Ipswich, we’d be third and I reckon this press conference would be much different wouldn’t it? “I’m not going to let my life be dictated by one result, I’m sorry. I take a wider perspective on these things because I know how fickle it can be, but we need to address our position for sure. “And if we’re 10th at Christmas, yeah it won’t be great. There’d be a lot of scrutiny and probably a lot of scrutiny around me, which is fair enough, but that’s not where I plan for us to be.” Tottenham’s immediate efforts to move up the table will require them ending City’s two-year unbeaten home run in the Premier League. The champions have lost their last four matches in all competitions, but have some key personnel back for Saturday’s clash and will aim to toast Pep Guardiola’s new contract with a victory. Postecoglou was pleased to see Guardiola commit to a further two seasons in England, adding: “I love the fact that there’s a massive target out there that can seem insurmountable. “I look at it the other way. I go, ‘imagine if you knock him off, that’d be something’. “I’m at the stage of my life where I’d rather have the chance of knocking him off than missing that opportunity. “When greatness is around, you want to be around it. And hopefully it challenges you to be like that as well.” Saturday’s fixture will be Postecoglou’s 50th league game in charge of Spurs and he knows what is required to bring up three figures. “No European football, significant player turnover, change of playing style. Where did I think we’d be after 50 games? God knows. “It could have been a whole lot worse, but when you look at it in the current prism of we’re 10th, you’re going ‘it doesn’t look good’ and I understand that and we have to improve that. “But over the 50 games, I think there’s enough there that shows we are progressing as a team and we are developing into the team we want. “The key is the next 50 games, if they can be in totality better than the first 50? First, that means I’m here but second, I think we’ll be in a good space.”
Will 2025 shine bright for ASX gold shares?The U.S. airline industry is gearing up for a blockbuster year in 2025, Morgan Stanley analysts say, predicting airline companies on the brink of what could be a “perfect storm of tailwinds that essentially propels the industry to make money.” Equity analyst Ravi Shanker reiterated a bullish stance on the airlines industry in a Wednesday note. The U.S. Global Jets ETF JETS has rallied 36% year-to-date, outperforming by about 9 percentage points the broader stock market as tracked by the SPDR S&P 500 ETF Trust SPY . Premium Carriers Poised For Another Stellar Year “We expect demand to remain resilient with volume growth,” Shanker said. Legacy carriers like United Airlines Holdings Inc. UAL and Delta Air Lines Inc. DAL are reaping the rewards of what analysts call "the premiumization trend,” he added. According to Morgan Stanley, these carriers benefit not just from ticket sales but from steady ancillary revenue streams, including loyalty programs, credit cards, and brand partnerships. In 2024, UAL's stock soared over 150%, leading Morgan Stanley to raise its price target from $88 to $130. However, the extraordinary run places a high bar for further gains. Alaska Air Group Inc. ALK climbed to Morgan Stanley's top pick for 2025, with an upgraded price target of $90 on the back of "upsized synergy targets at their recent Investor Day." Domestic Airlines Eye A Comeback While premium carriers dominated in 2024, several domestic-focused airlines are staging a resurgence. Low-cost and ultra-low-cost carriers, including JetBlue Airways Corp. JBLU and Southwest Airlines Co. LUV , faced a tough year marked by operational challenges and restructuring efforts. "The other big shift in 2024 was several domestic carriers fundamentally changing their business models to fly less, fly differently, bundle fares, and move upmarket," Morgan Stanley highlighted. As these carriers stabilize operations, easier year-over-year comparisons position them for a strong recovery. Morgan Stanley resumed coverage of JBLU at ‘Equalweight’ with a 12-month price target of $8. “We like the elements of the JetForward plan but note that the turnaround is likely to be slower with more elements outside of management’s control than other Domestic peers,” Shanker wrote. Industry Metrics Flash Green For 2025 Morgan Stanley expects 2025 to mark the first sustained period where revenue per available seat mile (RASM) exceeds cost per available seat mile (CASM). This dynamic is expected to boost margins across the board, a stark reversal from earlier pandemic years. Analysts project mid-single-digit (MSD) volume growth for the industry, supported by constrained capacity growth at low-single-digit (LSD) levels. Fueling optimism is a favorable jet fuel environment. Prices are forecast to hover in the low $2 per gallon range through 2026, providing airlines with critical cost stability. " This is the sweet spot of the industry where pricing can drop through to the bottom line while offering an added incentive for capacity to remain rational," Morgan Stanley wrote in the note. Investor Sentiment: Opportunities And Risks Despite 2024's strong performance, airline valuations remain compelling. Analysts note that stocks like ALK, AAL, and DAL trade below historical earnings multiples, offering attractive upside potential. Yet, risks loom, including macroeconomic headwinds and the possibility of a slowdown in consumer spending in the second half of 2025. Morgan Stanley also flagged the return of institutional investors as a positive catalyst. "The potential return of large, sticky capital bases for the first time in 10 years could set another leg or three in the stocks' run in 2025," Shanker said. Now Read: Bank Of America Raises Bullish Outlook On US Brokers, Exchanges, Alternative Investments: 3 Top Picks For 2025 Image: Best Airports 2024 | Image generated using Dall-E © 2024 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.
Trump promises to end birthright citizenship: What is it and could he do it?
Fully half of the best films ever —from Charlie Chaplin’s to Claude Lanzmann’s—are replete with cinematic selfies. Yet they are rare over all, perhaps because the camera is an unflinching diagnostician. The medium admits self-portraiture with obvious ease (just step in front of the camera), but few filmmakers can withstand its penetrating gaze, which is surely why the practice self-selects toward the masters of the art. In the newest release to take up the challenge, Leos Carax’s “It’s Not Me,” the French director approaches the genre as a mosaic. He presents an audiovisual collage in which he only occasionally appears, made up of archival film clips and still photos, music and voice-overs, title cards and effects, and some newly filmed footage. With these elements, he forms a thematic and emotional self-portrait, delving into his personal life, taking stock of his career, and reflecting on art, politics, family, and the cinema as a form of self-discovery. Carax, who is sixty-four, has been making films since 1980 and made his first feature, “ Boy Meets Girl ,” in 1984. His early career was meteoric. By 1991, he had directed two movies (“ Bad Blood ” and “The Lovers on the Bridge”) of breathtakingly grand-scale inspiration, but he has made only three features since (most recently, “ Annette ,” from 2021). His ambitions, formed by spectacular golden-age classics and by the moderns’ uninhibited artistry, have run up against the realities of the economy and the psychology of contemporary cinema—its all-too-common division of industrial power and artistic intent. Yet his presence in the world of film—even when it takes the form of his absence—has, alongside his output, made him an exemplary outlier, a living myth, albeit a reticent one. He doesn’t so much cultivate a public image as he bears it, as something of an Icarus of romantically visionary designs. With “It’s Not Me,” Carax confronts the aberration of celebrity (even art-house celebrity) by means of a cinematic self-creation that’s both a matter of sincere reticence and an audaciously assertive work of art. “It’s Not Me” (now playing in theatres and available for purchase on Amazon and other sites, and, as of January 1st, streaming on the Criterion Channel) is as elusive as the title suggests. It’s a barely feature-length film, which originated as a commission from the Pompidou Center. Though only forty-two minutes long, it’s crowded with images and ideas, like a collection of keepsakes overflowing the little chest of drawers in which they’re kept. It’s also mercurially allusive, with its teeming material jammed together associatively, in an impressionistic whirl of abrupt transitions and superimpositions. Yet, as digressive as its surface seems, an artist’s sense of creative organization is at work. Elements are gathered together thematically and, subtly but surely, a chronological arc emerges. The result is a classical autobiography built of fragments and gaps—less a collection than a personal constellation. The title “It’s Not Me” may seem like a puckishly implausible denial, yet it’s accurate. The film, a shy director’s self-portrait, is filled with things that aren’t Carax but that make him who he is, whether memories or ideas, phrases or images, worldly deeds and works of art—especially, of course, movies. A crucial element of modernism is the endnote—as typified by T. S. Eliot’s “ The Waste Land ”—as a vital aesthetic element, linking a sometimes cryptic art work to the cultural precedents on which it depends and to which it subtly refers. That’s the tacit premise on which “It’s Not Me” runs, and its equivalent of Eliot’s endnotes are the credits, which detail all the films and music on which Carax draws. There are clips from thirty-one movies, including Eadweard Muybridge’s primordial motion studies, F. W. Murnau’s “Sunrise,” Nicholas Ray’s “Bigger Than Life,” Alfred Hitchcock’s “Vertigo,” and much of Carax’s own work. The soundtrack features Miles Davis, Prokofiev, Beethoven, and musicians who have figured in Carax’s films, such as Kylie Minogue, Sparks, and, of course, David Bowie, whose song “Modern Love” anchored an unforgettable set piece in “Bad Blood.” Early on, Carax shows himself in bed, accompanied by an allusion to the opening of “Swann’s Way,” and his vision of himself reaches back before firsthand memory, to his conception (featuring egg-related clips from “Bad Blood” and Ernst Lubitsch’s “The Marriage Circle”) and his family origins. His story and his family’s reach into the crises of the twentieth century and into contemporary politics. There are images of Shostakovich, Hitler, and clips that include documentary footage of an infamous 1939 pro-Nazi rally in Madison Square Garden (and its interruption by a young man outraged by the antisemitism on display). There is a segment showing politicians whom Carax deems to be possessed of “hate,” such as Xi Jinping, Donald Trump, Benjamin Netanyahu, Bashar al-Assad, and Vladimir Putin. (“They all claim to be humiliated and offended,” he notes.) There’s an astoundingly appalling bedtime story about Hitler and death camps; an extended lament on widespread indifference to migrants whose corpses wash up on European beaches; and visions of resistance, including documentary footage of Pussy Riot, and the French Resistance as personified by one of its heroes, Jean Moulin. Carax riffs on his father’s identity, and the sense of paternity on display extends to “bad” movie fathers like ones played by James Mason, Robert Mitchum, and Adam Driver (in Carax’s “Annette”). Another of Carax’s cited father figures is Jean-Luc Godard, whose presence is felt throughout: the soundtrack even features a phone message Godard left for Carax asking him to call back, and the very nature of the project is reminiscent of Godard’s self-portrait film “JLG/JLG.” There are differences, of course; unlike Carax, Godard was a character, acting often in his own films and those of others, and he cultivated his public image with an artistic aplomb. Still, the similarities are felt, stylistically and technically, in the collage-like form and the free manipulation of archival images—and, above all, in a shared sense of audacious yet exquisite aestheticism yoked to a strain of refined, resolute insolence. Carax’s art is exemplified with clips of ecstatic and intimate performances that he has elicited from regular collaborators, such as Julie Delpy, Juliette Binoche, Michel Piccoli, Denis Lavant, and Carax’s late partner, Katerina Golubeva. Her death, in 2011, haunts the film and hovers over Carax’s depiction of their daughter, Nastya, seen in home movies as a small child and, as an adult, as an accomplished pianist. (Carax uses special effects to transform a performance of her into a gothic extravaganza.) He interrogates himself, in particular, as director of actresses, through the self-accusingly melancholy lens of Nathaniel Hawthorne’s story “The Birth-Mark,” about a murderous quest for perfect beauty. While following his own life cinematically, Carax includes reflections on the art itself—in particular, his view of the lost grandeur of its classics, which he has sought to recapture with modern means. He discusses “the gaze of the gods” offered by the heavy equipment of the silent-film era, comparing it ruefully with the meekness of lightweight modern technology. He draws a similarly self-deprecating contrast between the laborious wonder that film of motion represented for the nineteenth-century pioneer Muybridge and the ease of modern motion capture as depicted ( and transfigured ) in his own movie “ Holy Motors .” In an extended sequence, launched by a poetic riff on blinking, he links today’s inexhaustible profusion of images with a metaphorical form of blindness. The movie concludes with a sequence of astounding, giddy inspiration. After the endnote-like credits comes an ingenious mashup of Carax’s celebrated “Modern Love” sequence in “Bad Blood” with his most recent feature, “Annette.” It’s a fusion of the classic and the modern, the spectacular and the whimsical, the boldly fictional and the self-effacingly metafictional. It’s no mere happenstance that Carax places this set piece after his modernist endnotes—it’s a whiplash assertion that the naming of his self-defining obsessions is beside the point. The movie’s referential fragmentation is secondary to its unity as an experience. What’s most personal about “It’s Not Me” is what can’t be sourced in the credits: the art of the cinema itself. ♦ New Yorker Favorites A man was murdered in cold blood and you’re laughing ? The best albums of 2024. Little treats galore: a holiday gift guide . How Maria Callas lost her voice . An objectively objectionable grammatical pet peeve . What happened when the Hallmark Channel “ leaned into Christmas .” Sign up for our daily newsletter to receive the best stories from The New Yorker .
ATLANTA — On Jan. 18 and 19 the AT&T Playoff Playlist Live! will be held at State Farm Arena in advance of the College Football Playoff national championship on Jan. 20. The star-studded lineup was announced Thursday at a news conference at Mercedes-Benz Stadium. Performances will include Lil Wayne and GloRilla on Saturday; and Camila Cabello, Myles Smith and Knox on Sunday. On game day, the Allstate Championship Tailgate, taking place just outside Mercedes-Benz Stadium in the Home Depot Backyard, will feature country acts on the Capital One Music Stage, including global superstar Kane Brown and iHeartCountry “On The Verge” artist Ashley Cooke. The concerts are just two of the festivities visiting fans can enjoy in the days leading up to the big game. The fan experience for both ticket holders and the general public has been a focus for event planners. All weekend long, an estimated 100,000 people from across the country are expected to attend fan events preceding kickoff. “It will be an opportunity for fans of all ages to come together to sample what college football is all about, and you don’t have to have a ticket to the game to be a part of it,” said Bill Hancock, executive director of the CFP in a press release. “We’ve worked closely with the Atlanta Football Host Committee to develop fan-friendly events that thousands will enjoy come January.” On Saturday, Jan. 18, Playoff Fan Central will open at the Georgia World Congress Center in downtown Atlanta. The free, family-friendly experience will include games, clinics, pep rallies, special guest appearances, autograph signings and exhibits celebrating college football and its history. That day, fans can also attend Media Day, presented by Great Clips, which will feature one-hour sessions with student-athletes and coaches from each of the College Football Playoff national championship participating teams. ESPN and social media giants X, Facebook, Instagram and TikTok will be taping live broadcasts from the event. On Sunday, Jan. 19, the Trophy Trot, both a 5K and 10K race, will wind its way through the streets of downtown Atlanta. Each Trophy Trot participant will receive a T-shirt and finisher’s medal. Participants can register at atlantatrackclub.org . On Sunday evening, the Georgia Aquarium will host the Taste of the Championship dining event, which offers attendees the opportunity to indulge in food and drink prepared by local Atlanta chefs. This premium experience serves as an elevated exploration of local cuisine on the eve of the national championship. Tickets to the Taste of the Championship event are available on etix.com . Atlanta is the first city ever to repeat as host for the CFP national championship. The playoff was previously held in Atlanta in 2018. “We are honored to be the first city to repeat as host for the CFP national championship and look forward to welcoming college football fans from around the country in January,” said Dan Corso, president of the Atlanta Sports Council and Atlanta Football Host Committee. “This event gives us another opportunity to showcase our incredible city.” The College Football Playoff is the event that crowns the national champion in college football. The quarterfinals and semifinals rotate annually among six bowl games — the Goodyear Cotton Bowl Classic, Vrbo Fiesta Bowl, Capital One Orange Bowl, Chick-fil-A Peach Bowl, Rose Bowl Game presented by Prudential and the Allstate Sugar Bowl. This year’s quarterfinals will take place on Dec. 31, 2024 and Jan. 1, 2025, while the semifinals will be Jan. 9-10, 2025. The CFP national championship will be Monday, Jan. 20, 2025, at Mercedes-Benz Stadium. For additional information on the College Football Playoff, visit CollegeFootballPlayoff.com . Be the first to know Get local news delivered to your inbox!
Northern girls basketball pounces on Shippensburg to capture fourth straight tip-off titleDetails on Air Force's late-night visit to Reno, where it has played nothing but close games. Kickoff: 8:30 p.m., Mackay Stadium TV/Stream: FS1 – channel 11.1 in Colorado Springs on Comcast/Infinity (Channel 55/775 HD), DirecTV (Channel 219) and Dish (Channel 150). The game will also be streamed through Fox Sports website and app. Broadcast crew: Trent Rush (play-by-play), Petros Papadakis (analyst) Radio: KVOR AM 740 in Colorado Springs, 104.3 the Fan in Denver, SIRUS 387 Air Force broadcast crew: Jim Arthur (play-by-play), Jesse Kurtz (analyst) The Gazette’s Brent Briggeman identifies items of intrigue he’ll be tracking during the game. Can the defense do it again? The offense has been the primary driver of Air Force’s recent turnaround, picking up 47 first downs in the two games and running the clock. But the defense has obviously been a part of that. However, here’s another chance for the defense to show just how good it is. Against Fresno State, the Bulldogs offense was on the field for just 14:52 but averaged 7.5 yards per play. Part of that ability to quickly get off the field In a shutout came from stops, but part came from four scoring drives that averaged just 99 seconds apiece. In a shutout of Oregon State the Falcons were playing against a backup quarterback with only five career pass attempts prior to the game. Nevada, with an offense presumably intact, provides Air Force’s defense another opportunity to show how far is has come this season. Another close game? Air Force and Nevada have made a habit of playing close games, and that has especially been the case in games in Reno. The Falcons are 2-1 at Nevada, losing 45-42 in 2013, winning 45-42 in 2017 and prevailing 41-39 after three overtimes in 2021. The only game for Air Force this season that came down to the final possession was its 21-13 loss to Colorado State. History certainly suggests this could be another. The big picture(s) A two-game winning streak has placed Air Force in position where, if it can win its final two games, if just might land itself in a bowl game as a 5-7 replacement team should the slate not be filled. A loss would eliminate that hope. Also, sophomores have been emerging in recent weeks, with QB Quentin Hayes, OL Alec Falk, OLB David Santiago, ILB Blake Fletcher, DB Lincol Tuioti-Mariner and SS Houston Hendrix among the expected starters this week and fullback Owen Allen serving as the top backup at a prolific position on the offense. Can more sophomores (and juniors) continue to establish themselves, aiding the program as it nears the end of the season? Starting combinations for Air Force’s offensive line this season, only six teams have used more. However, the Falcons have started the same line for the past four games. Air Force’s national rank in rushing yards with 209.4 yards per game. The Falcons have finished in the Top 10 all but once since 1986. They ranked 36th just two weeks ago before running for a combined 614 yards in the past two games. Receptions for Air Force slot receiver Cade Harris, the most in a season for the Falcons since Geraud Sanders had 30 catches in 2019. Players on Nevada’s roster who transferred from teams in power conferences. Nevada’s third-down conversion percentage, the second best in the Mountain West and No. 14 nationally.
Day 6 of Herrington trial continues to focus on timelines, online searches Published 5:15 pm Monday, December 9, 2024 By Alyssa Schnugg Day 6 of the murder trial of Timothy Herrington, accused of killing University of Mississippi student Jimmie “Jay” Lee, saw more testimony from law enforcement officers involved in the investigation. Herrington was arrested on July 22, 2022, and charged with Lee’s murder. He was indicted on a capital murder charge and has been out on a $250,000 bond since December 2022. Lee, 20, was last seen at about 6 a.m. on July 8, 2022, when he left his apartment at Campus Walk Apartments. Lee’s body has not been recovered. Sgt. Michael Burks, a criminal investigator with the Oxford Police Department who was a detective at the time of Jay Lee’s disappearance, was the first witness called by the state Monday at the Lafayette County Courthouse. Burks searched Lee’s vehicle on July 11, 2022. He testified that he found debit and credit cards in the vehicle, along with various other items. The last transactions, other than automatic debits, on Lee’s Discover and American Express cards, were made on July 7. Also testifying for most of the day was Ryan Baker, who is currently an intelligence officer with OPD; however, in July 2022, he was a detective at OPD. Baker presented data taken from Herrington’s cell phone that showed pings and locations of Herrington’s phone as well as search history. On the morning of July 8, Herrington was captured on video driving past various locations in Grenada, including RS Cleaners, Wade Inc., and Emmanuel Baptist Church. His phone data corroborated these movements. By mid-morning, Herrington arrived at his parents’ home, where video footage showed him wiping his shoes before retrieving a shovel and a wheelbarrow from the house. From late morning to mid-afternoon, Herrington’s phone consistently pinged in the area of his parents’ home. Later, he left the property briefly, visiting locations such as Dollar General and Circle K. Baker testified that Herrington also visited a barber shop, as indicated by a CashApp payment and phone pings. In earlier footage, he was seen wearing white-and-black tennis shoes, but later he switched to rubber boots. By the evening, Herrington returned to his parents’ home, unloaded the wheelbarrow from the truck, and left again. His phone data placed him in Oxford near the Lafayette Place Apartments around 10:49 p.m. At 11:27 p.m., Herrington searched for Jimmie Lee’s Twitter account — notably before news of Lee’s disappearance was publicly announced. In the days following Lee’s disappearance, Herrington conducted numerous online searches, including terms like “Molly Barr Apartments Oxford Mississippi” and “Ole Miss student found in lake.” Baker highlighted that these searches aligned with updates from law enforcement and media reports about the case. Herrington also viewed articles about another Ole Miss student’s murder and frequently searched for updates on the Oxford Police Department’s investigation. Baker testified that Herrington’s search history before July 8 showed no interest in true crime or local law enforcement. On July 22, Herrington was arrested after investigators linked his social media account, “redeye_24,” to the case. Baker emphasized that Herrington had not voluntarily contacted police regarding Lee’s disappearance, despite his repeated online searches for information about the investigation. The trial continues at 9 a.m. on Tuesday.
Thursday Night Football: Isaac Guerendo, Nick Bosa, Dre Greenlaw are active for 49ersWhen Katja Vogt considers a Jaguar, she pictures a British-made car purring confidently along the Italian coastline — a vision of familiarity that conveys "that dreaming, longing feeling we all love." She's not sure what to think about Jaguar now after the 89-year-old company announced a radical rebranding that featured loud colors and androgynous people — but no cars. Jaguar, the company says, will now be JaGUar. It will produce only electric vehicles beginning in 2026. Bad attention is good attention, Jaguar execs would appear to believe. The car brand has prompted mockery online for posting a glitzy ad without a single car in it. Jaguar Say goodbye to British racing green, Cotswold Blue and black. Its colors are henceforth electric pink, red and yellow, according to a video that sparked backlash online. Its mission statement: "Create exuberance. Live vivid. Delete ordinary. Break moulds." "Intrigued?" @Jaguar posted on social media. People are also reading... "Weird and unsettled" is more like it, Vogt wrote on Instagram. "Especially now, with the world feeling so dystopian," the Cyprus-based brand designer wrote, "a heritage brand like Jaguar should be conveying feelings of safety, stability, and maybe a hint of rebellion — the kind that shakes things up in a good way, not in a way that unsettles." After 155 years, the Campbell Soup company is changing its name Our brands, ourselves Jaguar was one of several iconic companies that announced significant rebrandings in recent weeks, upending a series of commercial — and cultural — landmarks by which many modern human beings sort one another, carve out identities and recognize the world around them. Campbell's, the 155-year-old American icon that artist Andy Warhol immortalized in pop culture decades ago, is ready for a new, soupless name. Comcast's corporate reorganization means there will soon be two television networks with "NBC" in their name — CNBC and MSNBC — that will no longer have any corporate connection to NBC News, a U.S. legacy news outlet. CNBC Richard Drew, Associated Press One could even argue the United States itself is rebranding with the election of former President Donald Trump and Republican majorities in the House and Senate. Unlike Trump's first election in 2016, he won the popular vote in what many called a national referendum on American identity. Are we, then, the sum total of our consumer decisions — what we buy, where we travel and whom we elect? Listen now and subscribe: Apple Podcasts | Google Podcasts | Spotify | Stitcher | RSS Feed | SoundStack | All Of Our Podcasts Certainly, it's a question for those privileged enough to be able to afford such choices. Volumes of research in the art and science of branding — from "brandr," an old Norse word for burning symbols into the hides of livestock — say those factors do contribute to the modern sense of identity. So rebranding, especially of heritage names, can be a deeply felt affront to consumers. "It can feel like the brand is turning its back on everything that it stood for — and therefore it feels like it's turning its back on us, the people who subscribe to that idea or ideology," said Ali Marmaduke, strategy director with the Amsterdam-based Brand Potential. He said cultural tension — polarization — is surging over politics, wars in Russia and the Mideast, the environment, public health and more, creating what Marmaduke said is known as a "polycrisis": the idea that there are several massive crises converging that feel scary and complex. Campbell's soups Ross D. Franklin, Associated Press "People are understandably freaked out by that," he said. "So we are looking for something that will help us navigate this changing, threatening world that we face." Trump's "Make America Great Again" qualifies. So did President Joe Biden's "Build Back Better" slogan. Campbell's soup itself — "Mmm Mmm Good" — isn't going anywhere, CEO Mark Clouse said. The company's new name, Campbell's Co., will reflect "the full breadth of our portfolio," which includes brands like Prego pasta sauce and Goldfish crackers. What is Jaguar? None of the recent activity around heritage brands sparked a backlash as ferocious as Jaguar's. The company stood as a pillar of tradition-loving British identity since World War II. The famous "leaper" cat Jaguar logo is pictured in 2019 at the Auto show in Paris, France. Christophe Ena, Associated Press Jaguar said its approach to the rebrand was rooted in the philosophy of its founder, Sir William Lyons, to "copy nothing." What it's calling "the new Jaguar" will overhaul everything from the font of its name to the positioning of it's famous "leaper" cat. "Exuberant modernism" will "define all aspects of the new Jaguar world," according to the news release. The approach is thought to be aimed at selling fewer cars at a six-figure price point to a more diverse customer base. The reaction ranged from bewilderment to hostility. Memes sprouted up likening the video to the Teletubbies, a Benetton ad and — perhaps predictably — a bow to "woke" culture as the blowback intersected with politics. Here’s what the Pizza Hut of the future looks like Tropicana fans are ditching the brand after a orange juice bottle redesign The business news you need