IT’S finally time for the most important day in gaming’s calendar, The Game Awards, where announcements, reveals, trailers, and, of course, awards are shown. Hosted by Geoff Keighley, not only will the best games of 2024 receive their accolades, but we’ll gain insights into the biggest upcoming games. Expect there to be plenty of huge reveals of unannounced games, and more trailers for games we know about. Astro Bot and Final Fantasy 7 Rebirth are nominated for the most awards this year, but other games like Elden Ring: Shadow of the Erdtree have also received a number of nominations. If you want to keep up with all the trailers and awards as they are announced, we’ll have everything you need. Here are all the biggest announcements from The Game Awards 2024 as they happen. a minute ago By Georgina Young Neva wins Games for Impact Games for Impact celebrates games with a social message, and Neva from the team behind Gris scooped this one up. Here are all of the nominees: Closer the Distance Indika Neva Life Is Strange: Double Exposure Senua’s Saga: Hellblade 2 Tales of Kenzera: Zau Copy link Copied 3 minutes ago By Georgina Young Faker, League of Legends and T1 clean up in the esports categories There weren't any surprises in the esports categories. Here are all of the nominees and winners. Counter Strike 2 DOTA 2 League of Legends Mobile Legends Bang Bang Valorant 33 Aleksib Chovy Faker Zywoo Zmjjkk Bilibili Gen.G Navi T1 Team Liquid Copy link Copied 10 minutes ago By Georgina Young Batman takes home Best VR game It's not a very popular category, but VR games are still pushing the boundaries of the platform. Batman: Arkham Shadow was undoubtedly the best VR game this year taking home the award. Here are all of the nominees: Arizona Sunshine Remake Asgard’s Wrath 2 Batman: Arkham Shadow Metal Hellsinger VR Metro Awakening VR Copy link Copied 12 minutes ago By Georgina Young Tekken 8 wins best fighting game While the crowd cheered loudly for Marvel vs Capcom, Tekken 8 took home the crown. Tekken director and producer Katsuhiro Harada was there to pick up the award. Here are all of the nominees: Dragon Ball: Sparking Zero Granblue Fantasy Versus: Rising Marvel Vs. Capcom Fighting Collection: Arcade Classics MultiVersus Tekken 8 Copy link Copied 14 minutes ago By Georgina Young Ninja Gaiden returns Ninja Gaiden in a game from the team behind Streets of Rage 4. Ninja Gaiden Ragebound will launch in 2025. Ninja Gaiden is making a comeback Credit: Koei Tecmo Copy link Copied 18 minutes ago By Georgina Young It's time The Game Awards pre-show is about to begin with the pre-show. That means the first trailers, announcements, and awards are incoming. Copy link Copied 34 minutes ago By Georgina Young Who will win at The Game Awards 2024? We won’t know who the big winners are until the show starts, but we did give The Game Awards winner predictions based on our expert opinions. Naturally, the games with the most nominations are likely to pick up the most awards, and we expect all of The Game of the Year nominees to pick up at least one prize. Copy link Copied 49 minutes ago By Georgina Young What won’t we see at The Game Awards 2024? There are a number of studios and publishers that don’t usually feature trailers during The Game Awards. Don’t expect anything about GTA 6 . It’s expected to be the biggest game of 2025, and Rockstar doesn’t need the added publicity of The Game Awards to showcase it. Rockstar is more likely to give more information about GTA 6 in one of its own showcases. We also don’t expect to see anything from Nintendo’s first-party studios or an unveiling of the Switch 2 . Nintendo also presents new consoles and games as part of its own events, and historically has not appeared at The Game Awards. Copy link Copied 12th Dec 2024, 23:47 By Georgina Young Which games will be showcased at The Game Awards 2024? The Game Awards like to keep things a surprise, but some publishers have teased upcoming games. Gearbox has confirmed that it’ll be showing more of the much anticipated Borderlands 4, and Hangar 13 will show more from Mafia: The Old Country. One of the bigger trailers to appear is Civilization 7 from Firaxis, one of the most anticipated games of next year. Hazelight Studios, the team that made 2021 Game of the Year award winner It Takes Two, will show off their next title. Third-person shooter Mecha Break has teased a TGA 2024 announcement, as well as updates for ongoing games. Zenless Zone Zero, Stalcraft: X, Warframe: 1999, and Tekken 8 will all share updates with fans. Borderlands is making a comeback Credit: Gearbox Copy link Copied 12th Dec 2024, 23:35 By Georgina Young Grab free in-game items by watching on Steam The Game Awards is streaming live via Steam and there are some benefits if you watch it this way. By going through The Game Awards' Steam page , you can grab in-game items for games like No Man's Sky and Helldivers 2. All you need to do is watch while logged into your Steam account, and the in-game items will automatically unlock. Copy link Copied 12th Dec 2024, 23:30 By Georgina Young What are The Game Awards categories and nominees? There are 30 categories at The Game Awards, including Best Art Direction, Best Score, Best Narrative, and Most Anticipated Game. There are also categories for best game in each genre, as well as a number of esports awards. Astro Bot and Final Fantasy 7 Rebirth have been nominated for seven awards each, while Metaphor: ReFantazio is right behind it with six nominations. If you want to see the nominees for every category, you can check out our The Game Awards all nominees guide. Astro Bot puts the 'ah' in adorable Credit: Tean Asobi Copy link Copied 12th Dec 2024, 23:16 By Georgina Young Which games have been nominated for Game of the Year at The Game Awards 2024? Six games have been nominated for Game of the Year, and all of them have received multiple nominations in other categories. The games cover a wide variety of genres, from 3D platformer Astro Bot to turn-based RPG Metaphor: ReFantazio. Poker roguelike Balatro is the only indie game on the list, but Black Myth: Wukong is also the first triple-A game from Game Science. Shadow of the Erdtree is also the first DLC that has been nominated for Game of the Year. If you want to know more about each game, you can read our reviews by clicking on the links. Here’s the full list. Astro Bot Balatro Black Myth: Wukong Elden Ring: Shadow of the Erdtree Final Fantasy 7 Rebirth Metaphor: ReFantazio Copy link Copied 12th Dec 2024, 23:01 By Georgina Young How to watch The Game Awards 2024? The Game Awards will be streamed live on YouTube on The Game Awards’ official YouTube channel. If you can’t catch the award show live, the same link will redirect to a VOD of the show after it has finished. Copy link Copied 12th Dec 2024, 22:47 By Georgina Young What time is The Game Awards 2024? The Game Awards has a strange streaming structure, where the stream starts an hour before the official award show. There is also a pre-show that takes place 30 minutes before the official show, which includes trailers and awards but does not take place on the main stage. Our times line up with when the pre-show starts, but if you’re just interested in the stage show you can start watching 30 minutes later. Here is when you can watch The Game Awards: Thursday, December 12, 2024 4:30pm PT (Western US) 7:30pm ET (Eastern US) Friday, December 13, 2024 12:30am GMT (UK time) 1:30am CET (Central Europe) 9:30am JST (Japan time) 11:30am AEDT (Eastern Australia) 1:30pm NZDT (New Zealand time) Copy link CopiedEx-Colorado footballer Bloom dedicates time to fulfilling wishes for older adults
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Ottawa police officers take children on Christmas shopping spreeThe best rom-com of the year wasn’t in movie theaters, nor is it a streaming series on Netflix. It’s a new Broadway musical about two retired robots – plant-dad and hyperfixating jazz fan Oliver, and cool, brilliant Claire – having an odd-couple affair before one of their batteries dies forever. Maybe Happy Ending , written by American composer Will Aronson and South Korean lyricist Hue Park, is a charming, sweet, visually dazzling show, blending throwback, screwball comedy with technically elaborate, futuristic production design. Other shows in recent years have caused screen-fatigue; here, screens are used cleverly to illustrate the robots’ interfaces and memories, sort of like After Yang, but also Wall-E, and they don’t come at the expense of physical sets, classic jazz-inflected score, and chemistry between the leads Darren Criss and Helen J. Shen. The true lead of the show, however, at least on social media , is HwaBoon, Oliver’s potted plant. Unlike other famous Broadway botanicals, like Little Shop’ s Audrey II, or even Shucked ’s drooping corn stalk, HwaBoon doesn’t move, and certainly doesn’t talk. He is simply a plant. But Oliver treats him like a roommate, a sidekick, a pet, and the production team is running with it. HwaBoon’s headshot is in the Playbill, and he was awarded a Legacy Robe on the show’s gala night. We wanted to get HwaBoon himself for this Chat Room, but he’s a plant of very few words. So instead, we spoke with director Michael Arden, and HwaBoon’s close personal friend, tech assistant stage manager Karlie Teruya, in a conversation that branched out into topics including how we relate to inanimate objects, technical feats of staging, and adapting a show that originally ran in Seoul for an American Broadway audience. A post shared by HwaBoon (@thereal_hwaboon) I’ve seen this week , people are taking the performance of HwaBoon and really holding space with that, and feeling power in that. What have HwaBoon’s thoughts been on this? KT: HwaBoon is new to this. This is his Broadway debut. So he is very excited that people are being touched by his performance. As Cynthia said, that is also what he intended in his performance. He really came out of nowhere, and now has this major part in a Broadway production. Is HwaBoon an industry plant? MA: No. He’s really a fresh new talent. To see him so embraced by the community and the world is so thrilling, and hopefully inspires many other people who never thought they’d be on a Broadway stage. What is it that gives this prop, essentially, such an It-factor? MA: HwaBoon represents us in this story. He is the only living thing in this room with these robots, and therefore he bears a witness to the story of Oliver and Claire in the way that we do. We are all Spartacus, we are all HwaBoon, in a way. Also, we all, in our moments of loneliness and solitude, cling on to something, and need something to hold, and that is our security, and that is our safety. What HwaBoon represents to Oliver feels very known to us, as an audience. It’s hysterical and sweet and very real. HwaBoon is necessary. Attention must be paid to such a houseplant. The show has really leaned into HwaBoon on social media, and gave him a bio in the Playbill. How does this represent the show, and how does it help your strategy of marketing an original show in 2024? MA: We’re figuring out how to market something totally new without anything to latch on to, so the fact that people are latching onto HwaBoon is so exciting. I always knew I wanted the show to start on HwaBoon, and to end on him too; it reminds us who we are, that we live and we die. But also, it’s such a small cast, and he is such a character. His name is probably said more than Oliver or Claire’s names. One day I was like, “HwaBoon needs a bio and picture in the program.” And we convinced HwaBoon to start an Instagram page. He was new to that, but really getting into it. It’s a way to let audiences in on something that they are foreign to: a rehearsal process, a Broadway show, a company, through the lens of HwaBoon. It seemed like a really exciting way to bring new minds and eyes and ears to what we were up to. KT: It also came from Will [Aronson] and Hue [Park], because from the moment you open the script, HwaBoon is a listed character. It’s clear that he’s a very important character in the show. Speaking of the script, I imagine he was off book on day one. KT: He is the most consistent actor. We’ve never had to give him a line note. MA: Green, but consistent. A post shared by HwaBoon (@thereal_hwaboon) What is the rest of the cast’s relationship to him backstage? KT: Everybody tries to give HwaBoon his space at half-hour, because it takes him a minute to really get into character. He likes to feel very rooted before he goes on stage. But everybody loves him. He’s a favorite. MA: HwaBoon did have an accident the other day. During our understudy run, he fell off the stage, soiled himself, and everyone in the theater screamed. He was totally fine. A little embarrassed, if anything. Oh no! MA: There’s become this understanding of what our play is about — when does inanimate become animate, and how do we prescribe our feelings and emotions to it — has transcended into our work environment in the theater. Now we all have this reverence for HwaBoon in a way that we might not have had, had we not been working on the show together. It’s a beautiful thing that everything we touch has an experience. It certainly made me think about how we choose to interact with our surroundings, and that’s really rippled through the whole cast and crew. KT: It’s been fun to see everybody really adopt HwaBoon as this mascot of the show. What has it been like to adapt a show that originally ran in Seoul? How has it differed from directing a Broadway revival? I approached this as a completely new piece. I have never seen the Korean production. I didn’t want to, because I knew I’d be influenced by it, and I wanted to make something that was its own creation. So I started from the script on the page, and the score. The writers wanted this production to be its own thing. They weren’t trying to do the American version of the Korean show. It’s quite different. In the Korean production, James and Gil are played by the same actor, and the plot is quite different. There are five or so different songs, they have a different relationship, the ways the robots break down are different. When I first got the script, I had ideas for how I wanted the show to change, and the writers were so collaborative. We approached it like there had not been a production before. That was probably very difficult for them to do, given that it was such a success there, but they knew that what worked for those audiences wouldn’t necessarily work for a Broadway audience. And I was really trying to make something for people who had no idea of what it is they were about to see, which was very different from a revival. With a revival, you know how the story works, so it’s more about, what lens are we looking through? What do we want to focus on? Whereas with this, my job was to really tell story as clearly as possible, to try to get one point across, as opposed to my opinion on the show. What were some of those different elements that you feel wouldn’t have worked on Broadway the way they did in South Korea? MA: I knew there should be an extreme comedy sequence in the piece, and the whole motel sequence was really developed in the room. It’s so ridiculous, and funny, and the caper of it all very American musical theater. It’s fun that they depart from the norm of this quieter Korean version, for a moment. And the flashbacks, learning about Claire’s past and Oliver’s past through video and film sequences, that was something that I was really interested in bringing out in this production. They wrote such nuanced, subtle material that I think it’s exciting for audiences to get to play in both mediums as well. Beyond the video sequences, which use screens in interesting ways, the staging has a cinematic style. There are panels in front that seem to pan and zoom to focus on the onstage action. MA: It’s incredibly complex. The video, lighting, automation, scenery, props, action, and music all have to work in such tandem, with such interlocking synchronicity, that it was both a challenge and so delicious to work on, because it really took all departments thinking outside of their own purview a little bit, which is the way I love to work. I want to create a system in which the edges are blurred between departments. When we usually look at a stage, it’s flat and the actors are low. But we spend so much time on our iPhones, which are vertical, and we pinch, and zoom, and we decide what we want to focus on, and we swipe left and right and drag things. That’s how this rising system came into my mind. It’s the idea of two fingers zooming in on things. If you notice, for the whole first half hour of the piece, it’s more of a vertical space than it is horizontal. I wanted to give people a way in that was quite personal. And the way we look at our phones is very personal. I raised the height of the stage, too. It’s much higher than normal, so that it creates a bit more of an egalitarian viewership between the mezzanine and the balcony and the orchestra. I started doing that in Parade, where I put the action eight feet in the air. If you’re looking at something from a new perspective, it automatically opens you up a bit more to feeling something in more of a spongy way. That’s how we started, and we knew it had to move cinematically, yet we didn’t want it to be just like a movie. We wanted to feel like we were really letting the audience be an active part in deciding what adventure they wanted to go on, almost like a manga. We have a lot of black space outside of these incredibly realistic worlds, so the audience can imagine something much more exciting than we can ever actually do on a stage. We’ll save that for the movie. It allows the audience to get a firm grip on what the real world is. Dane Laffrey and I went through a bunch of iterations of this, and we did the majority of this design in a high rise in Tokyo. So it’s very inspired by Eastern design, and verticality of space. Luckily, none of our cast members are afraid of heights. What is the most challenging bit of staging to pull off? KT: There’s one part, in “Goodbye, My Room,” where they have a very short amount of time to strike all of the props from the Oliver unit. We call it Propnado. And there are seven people involved in that transition in that tiny little room. Everybody has this very precise choreography, but when it works, and we all do it in a synchronized way, it’s really beautiful. There are much more crew members [under Production Stage Manager Justin Scribner] than there are cast members. You see four people onstage this whole time, and you don’t realize that there are 17 people backstage making it all happen. MA: There’s a sequence where we go into the memory of Oliver with James, “Where You Belong,” where we suddenly use a turntable for the first time, and these walls drop in, but we’re not actually on a turntable; we’re on a donut. If it’s a credit card’s width off, it will fall apart. But that’s what’s so exciting. Musical theater is like an extension of circus. It has to stick the landing in order to work, and if you can do that without the audience noticing it’s happening, you’re creating a magical world in which they can fully forget that they’re even in a theater. They’re in the story in such a way that they’re believing everything is happening. And if you get people to believe in magic without being skeptical, that’s when people’s hearts open. It’s beautiful. And you only use that giant rotating set once during the whole show, for like, five minutes. MA: It’s three minutes, actually. Memory is like that. That was an entire life, and we just got a glimpse of it. The sadness that can bring when it’s gone, and we’re back in his old room, I love it. The temptation would be, “We’ve spent a bunch of money, and built this huge thing, let’s sit in it for a good while, and not just let it drift by.” But Oliver can’t stay there. That’s why he’s got to go on his adventure. Broadway tickets are so expensive, and many sets are so minimal. In that context, these elaborate, huge setpieces and moments of staging feel very generous towards the audience. MA: Look at something like Parade, which was incredibly minimal but ultimately, we had 19 people in the orchestra and 27 people on stage. It was a different experiment and different endeavor. For this, people are paying the same to come see Maybe Happy Ending as they are to see Wicked, let’s hope, and I think there’s a responsibility to the audience to really take them away, as long as it doesn’t overshadow the story. It’s about finding that balance of visual and storytelling so that you’re amazed but you’re not distracted. Making sure the visuals are always in service of something. There’s a beautiful moment in the show that I won’t spoil, involving the fireflies, which are a motif throughout much of the show. MA: In the script, there’s no mention of fireflies in that section. I think in the script it says, “images of Claire and Oliver together begin to separate and fade away,” and I really wanted to bring back this idea to represent them in that moment of darkness as fireflies, who are so tiny in the world, and briefly dance with each other and then separate and fly away. It’s a tiny point of light in this huge, infinite darkness, and every type of stage craft is happening in that moment. It’s done by humans, by computers, by everything. It’s a simple gesture during this super technological sequence. Was HwaBoon worried about the fireflies stealing focus? KT: HwaBoon loves to be the star, and he definitely is very protective of his friendship with Oliver. But he still gets his moment. He gets to end the show. So HwaBoon gets the last bow. You mention taking inspiration from manga and phone screens in the staging, as well as playing to more affordable seats higher up. Were you thinking about appealing to a younger audience when building this show? MA: WHen I first read it, I thought, this is about end-of-life. It’s not necessarily a young person’s story. Obviously the meet-cute and the hijinks are so young romance. So you’re watching On Golden Pond in the bodies of 20-year-olds. You can be 15 years old, and come see this, and be like, “That’s me. I’m Oliver,” or “I’m Claire.” And I’ve seen 90-year-old couples come, and they’re getting to see themselves in the bodies of these people. To be able to look across any type of physical human divide, and be like, “Oh, that’s me,” is the reason I do theater. So no, it isn’t something I just wanted to make for young people. I wanted to make this for people, and the only way to really make it for people is to be hyper-specific, with robots. But that’s why we love Pixar movies. We can see ourselves in inanimacy a little bit better than we can when we actually look in the mirror. Isn’t that funny? At a time when the world is so divided, this feels like a very unifying 100 minutes. For as futuristic as it is, the show also has elements of classic screwball rom-com. What art were you looking towards when working on this? MA: Its setup is super classic. I went to the opera this weekend to see La Boheme, and while I was watching it, I thought, Oh my god, it’s Oliver and Claire. Her candle is out, and she’s dying, and she comes and knocks on his door. And the show has hints of a classic score through the Gil Brentley material, which really helps nod to that. I was trying to draw upon old school, mid-century stories and cinema, movies from the 60s. There’s such a great wealth of material out there that we wanted to pay homage to, with a twist of futurism mixed in. It was funny, watching La Boheme. Here we are again: no tuberculosis, but we do have a dying battery, which is kind of the same thing. Earlier, you said something like “save it for the movie.” Have you thought about how this would be adapted as a movie? MA: Oh my god, I’m ready. Let’s go. I’d like to introduce more people to this story, and actually go to Korea to show these places. It would be a real thrill. KT: And HwaBoon would be in it. He’d be mad if we cast a different actor. MA: But we want to make sure he doesn’t get too old for the part.
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The Truth About OpenAI o1 Performance : Strengths and Flaws RevealedLOS ANGELES/WASHINGTON, Dec 12 (Reuters) - U.S. President-elect Donald Trump on Thursday appeared to back the anti-automation stance of some 45,000 union dockworkers on the U.S. East and Gulf Coasts, whose labor talks are at an impasse over that polarizing issue. The ILA and the United States Maritime Alliance (USMX) employer group are facing a Jan. 15 deadline to finalize talks, which stalled over cargo-handling automation. That deadline comes just five days before Trump's inauguration. The ILA says automation kills jobs while employers say it is necessary to keep U.S. ports competitive in a rapidly changing global economy. "The amount of money saved is nowhere near the distress, hurt, and harm it causes for American Workers, in this case, our Longshoremen," Trump said of automation projects in a post on Truth Social. That message followed a meeting with Harold Daggett, who leads the International Longshoremen's Association union that represents the port workers, Trump said. The two sides agreed to end a three-day strike on Oct. 3 after the union won a 62% wage hike over six years with significant involvement by the White House and other officials from President Joe Biden's administration. Employers, which include the U.S. operations of Switzerland's Mediterranean Shipping Company, Denmark's Maersk (MAERSKb.CO) , opens new tab and China's COSCO Shipping (2603.TW) , opens new tab , have been booking record profits in part due to access to U.S. markets, Trump said on Thursday. "I'd rather these foreign companies spend it on the great men and women on our docks, than machinery, which is expensive, and which will constantly have to be replaced," Trump said of the industry's profit. "It's clear President-elect Trump, USMX, and the ILA all share the goal of protecting and adding good-paying American jobs at our ports," USMX said in a statement. "We need modern technology that is proven to improve worker safety, boost port efficiency, increase port capacity, and strengthen our supply chains," the employers said, adding that dockworkers make more money when seaports move more goods. Sign up here. Reporting by Eric Beech in Washington and Lisa Baertlein in Los Angeles; Editing by Jasper Ward and Bill Berkrot Our Standards: The Thomson Reuters Trust Principles. , opens new tab Thomson Reuters Lisa Baertlein covers the movement of goods around the world, with emphasis on ocean transport and last-mile delivery. In her free time, you'll find her sailing, painting or exploring state and national parks.Osisko Metals Corporate Update
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OWINGS MILLS, Md. (AP) — In some sports, playing three games in 11 days would be considered a lull in the schedule. Football is different — although this type of stretch is becoming more common in the NFL. “I just kind of put myself in a basketball perspective. Those guys play back to back, so I guess there’s a little merit behind us quote-unquote complaining about it, but they are playing 82 games," Baltimore Ravens safety Kyle Hamilton said. “MLB players are playing 162 games, and we have 17, and we’re trying to fight them to go to 18 right now. I think it’s good in a sense that we’ll see who is most prepared down the stretch, and it’s really challenging for teams — everybody that’s involved.” The Ravens are one of the five teams that are about to go through a three-game, 11-day stretch. The Ravens, Chiefs, Steelers and Texans are playing Sunday, the following Saturday and then the Wednesday after that on Christmas. Chicago has a game this coming Monday night, then plays the following Sunday before a Thursday game on Dec. 26. Before this season, 21 teams in the Super Bowl era had played three games in 11 days, according to Sportradar. In 2024 there are nine stretches like that on the schedule. In addition to the five teams above, four others have already gone through a three-game, 11-day period. The Jets, Seahawks, Saints and Cowboys all had Monday-Sunday-Thursday runs like the Bears are about to face. The Jets and Cowboys managed to go 2-1 during those stretches, but the Seahawks and Saints went 0-3. “Try to win the first one, rest, try to get your body back how it should be,” Baltimore quarterback Lamar Jackson said. “If it’s not 100 percent, try to get it close as possible — just get ready to play football. That’s all.” For Baltimore, the easiest game of the three is in theory the first. As of Thursday afternoon, the Ravens were favored by 16 points at the New York Giants this weekend, according to BetMGM Sportsbook — but Baltimore has already lost to last-place teams like the Raiders and Browns this season. So the Ravens need to be careful not to overlook the lowly Giants. After the trip to New Jersey, Baltimore returns home to face Pittsburgh in a game that figures to be vital to the Ravens' AFC North title hopes. Then there's a road game against AFC South-leading Houston on Christmas. “The big picture is, ‘All hands on deck.’ We’re focused toward playing our best game so far on Sunday,” coach John Harbaugh said. “We’re going to need to do that, and that’s what we’re training and preparing to do. We have a plan for the three-game stretch, and that plan starts with Sunday.” The Ravens played on Christmas last year too, but that was on a Monday, so it wasn't that big a change in the schedule. If there's one factor in Baltimore's favor this season, it's that the Ravens had their open date last week — immediately before their rugged three-game stretch. But that meant Baltimore was among the last teams to have a week off. And the Ravens started earlier than almost anyone else, having been part of the NFL's opening game against Kansas City. “We reported to camp earlier than everybody else for that Thursday night game, and I think KC had their bye a little while ago,” Hamilton said. “I guess we had the longest stretch, continuous, of anybody else. It’s just going to be that much better at the end of it all, when we do what we need to do, and we can look back on that and say, ‘We did that, and we came out and won these three games.’” AP NFL: https://apnews.com/hub/nfl