MIAMI GARDENS, Fla. (AP) — Tua Tagovailoa wouldn't want to repeat everything that was said in the Miami Dolphins' huddle Sunday when they trailed the New York Jets in the fourth quarter. “Just know we were getting after everyone inside the huddle," Tagovailoa said, "to make sure you're blocking the way you need to block, you're running the routes the way you need to be — you need to be in the right spots." Whatever was said helped keep Miami's slim playoff hopes alive as the Dolphins (6-7) overcame 8- and 3-point fourth-quarter deficits, as well as one of Aaron Rodgers' best games in years, to beat the Jets 32-26. Tagovailoa sealed it with a 10-yard touchdown pass to Jonnu Smith in overtime to help the Dolphins spoil Rodgers' first 300-yard passing game in nearly three years and beat the Jets for the ninth straight time in Miami. After Jason Sanders tied it with 7 seconds left in regulation with a 42-yard field goal, Tagovailoa quickly moved the Dolphins down the field. That came after Anders Carlson gave the struggling Jets (3-10) — who were eliminated from postseason contention for the 14th straight year — the lead with a 42-yarder with 52 seconds remaining. But Malik Washington put the Dolphins in great position to help set up Sanders' field goal with a 45-yard kickoff return to Miami's 46-yard line. “It was one of those moments where you make a split (second)- decision and just take it and see what happens next," the rookie Washington said, "and be a football player.” Tagovailoa was 33 of 47 for 331 yards and two TDs. He had just one incompletion on Miami's eight-play, 70-yard scoring drive that was capped by Smith's fourth touchdown of the season. Smith didn’t have a reception before catching three passes for 44 yards on the winning drive. “A win means a lot,” said Tagovailoa, who has 300 yards passing in three straight games. “It means a lot because we have no room for error to lose another game." Rodgers was 27 of 39 for 339 yards, ending a drought of 34 regular-season games without a 300-yard passing game — dating to Dec. 12, 2021, while with Green Bay — and had a TD pass to Davante Adams. But Rodgers could only watch from the sideline in overtime as the Jets never got the ball after blowing a second straight second-half lead. “A lot of different ways we’ve lost these games,” Rodgers said. “Everybody has some skin on that, but we had opportunities on offense. Whatever happens on defense doesn’t matter. We got to get to 30 (points). We didn’t do it.” Rodgers and Adams connected for a 3-yard score in the third quarter, the pair's 79th touchdown in the regular and postseason. They passed Pittsburgh's Ben Roethlisberger and Antonio Brown for the fourth-most by a quarterback-receiver duo in NFL history. Adams finished with nine catches and 109 yards. Down 8 at the start of the fourth, Tagovailoa found Tyreek Hill for a 4-yard touchdown, and Jaylen Waddle caught the two-point conversion to tie it at 23. Hill caught 10 passes for 115 yards, and Waddle added 99 yards on nine catches. The Jets had taken a 20-15 lead in the third on Adams' touchdown that was set up by a 42-yard pickup by Garrett Wilson, who beat cornerback Jalen Ramsey on a double move to get open. A 40-yard field goal by Carlson later stretched New York's lead to 8 after the Dolphins went scoreless in the quarter. “Actually, when we were down 23-15, when we were trotting back on the field, everybody knew what was at stake at that moment,” Hill said. “We know if we lose, it’s over. Our season is over.” The matchup pitted the Jets' No. 2-ranked pass defense against Tagovailoa, the NFL's most accurate passer, and Miami's No. 9-ranked pass defense against the four-time MVP Rodgers who has had a subpar season. Both quarterbacks were strong and the teams played rather evenly at first, with each scoring on their first three possessions. The first punt of the game was on Miami's first drive of the second half, and the Jets scored on their first five possessions. Tagovailoa had just three incompletions in the first half and was 3 for 3 on Miami's final drive of the second quarter, moving the Dolphins into field goal range in 45 seconds to set up a 57-yarder by Sanders, which tied the kicker's career best. Sanders also made kicks of 39 and 24 yards, and De'Von Achane had a 2-yard touchdown run on Miami's opening possession. Rodgers moved the Jets inside Miami's 20 three times in the first half. Isaiah Davis ran for a 17-yard score, and Carlson made field goals of 28 and 30 yards. Wilson caught seven passes for 114 yards. Jets: RT Morgan Moses injured his wrist during pregame warmups. He started, but was replaced during the game by Max Mitchell. ... WR Irvin Charles left with a knee injury. Dolphins: LT Terron Armstead left early after apparently tweaking the knee that sidelined him this week in practice. ... WR Dee Eskridge (knee) and LB Anthony Walker Jr (hamstring) were also injured. Jets: At Jacksonville next Sunday. Dolphins: At Houston next Sunday. AP NFL: https://apnews.com/hub/NFLIf there’s any chapter of the Beatles ’ saga that Beatles fans the world over feel they know in their bones, it’s the early months of 1964, when the Beatles first came to America — a happening that shook the world, and that changed it profoundly. “Beatles ’64” is a documentary that chronicles the three weeks the Beatles spent in the U.S. starting in February of that year. They came to New York to perform on “The Ed Sullivan Show” (their first appearance on the show was Feb. 9). They then took a train to Washington, D.C., to give a concert at the Washington Coliseum, then flew to Miami Beach, where they did their second “Ed Sullivan” appearance. “Beatles ’64” opens with an extended sequence devoted to the early-’60s reign of John F. Kennedy — because, as has been noted so often, JFK was assassinated just a little over two months before their arrival, and that tragedy set the stage for the Beatles. They lifted America, and the world, out of the cataclysm of JFK’s loss. Other aspects of Beatlemania covered by “Beatles ’64” that may, at first, look overly familiar include the cheekiness of the Beatles at press conferences (asked why their music excites people, John quips, “If we knew, we’d form another group and be managers”) and, of course, the transference of rapture that took place between the Beatles and their fans, the majority of whom were teenage girls. The screaming, the crying, the ecstatic delirium — everywhere they went, the Beatles set off paroxysms of bliss, which they, in their performances, reflected back. But we’ve seen all this before. The powerful pull of “Beatles ’64,” which counts Martin Scorsese as its lead producer and was directed by David Tedeschi (the editor of Scorsese’s two-part HBO film “George Harrison: Living in the Material World” and the co-director of his 2022 David Johansen doc “Personality Crisis: One Night Only”), is that it takes this fabled, high-swoon moment of pop-music history, almost all of which we now view through a mythological lens, and humanizes it in an exhilarating way. The movie, which premieres Nov. 29 on Disney+, is built around footage, originally shot by cinéma verité legends David and Albert Maysles, that was first seen in their 1964 documentary “What’s Happening! The Beatles in the U.S.A.” But “Beatles ’64” also includes 17 minutes that never made it into that film. The Maysles, following the Beatles around, shot 11 hours of material, and Scorsese and Tedeschi have gone back to all that 16mm footage, which has been entrancingly restored by Peter Jackson’s WingNut Studios. Black-and-white sequences of the Beatles sitting around their Plaza Hotel suite, or of their fans gathered in the street below, now look and feel like they were shot yesterday. The technological upgrade is stunning, but the reason the footage feels so alive is that the Maysles were extraordinary filmmakers who always caught the reality behind the mythology (which is why their work has always stood the test of time). They interviewed many of those Beatle fans, and while we tend to view those girls as cliché teenyboppers — the latest iteration of a line that started with the fans of Frank Sinatra and Elvis — the Maysles present them as the individuals they are. What we see is that a lot of the girls are shockingly unshy and mindful about their worship of the Beatles. Another thing that sets “Beatles ’64” apart is that the film is full of incisive commentary: latter-day reminiscences by several of those fans, as well as meditations on the meaning of it all by figures like David Lynch, Joe Queenan, Jamie Bernstein, and Smokey Robinson, who speaks with fierce perception about the nature of women’s unguarded emotionalism in dictating the shape of pop-music culture. Whether it’s Jamie Bernstein (Leonard’s daughter) talking about how she dragged the family TV into the dining room to watch the Sullivan show, or David Lynch evoking what it is that music like that of the early Beatles does to you, or Betty Friedan, in an old TV clip, speaking with daunting eloquence about how the Beatles incarnated a new vision of masculinity that threw over the old clenched model, these testimonials color in the consuming quality of our collective passion for the Fab Four. Early on, there’s a sequence of the Beatles in transit, each of them putting on headphones that let them hear recordings of their voices. There’s something touchingly metaphorical about that. The Beatles would preside over a world where projections of who they were took on a life weirdly separate from themselves. The documentary shows you that they understood this, instinctively, from day one. Seated in their “prison” of a suite in the Plaza, whiling away the hours (scenes that might have been the model for “A Hard Day’s Night”), always cutting up with that whimsical Liverpool put-on that takes everything just so lightly , as if it weren’t real, they were perfectly positioned, as personalities, to become the eye of the new media storm. The movie intercuts later footage as well: interviews with the Beatles from the ’70s (like, for instance, John Lennon on “The Tomorrow Show”), along with comments from Paul and Ringo today, all of which lends context to the notion that the Beatles, in 1964, were once-in-a-century artists channeling something larger than themselves. Raised in the gritty port city of Liverpool after WWII, they grew up in a hardscrabble hellhole, and there’s something almost poetic about the global electricity they set off by coming to the United States, a country that had always been predicated on “the pursuit of happiness.” With the Beatles, the pursuit, at long last, was over. Happiness had arrived . They were the ones who told America, and the world: You deserve something that feels as good as this. You can feel that in the live performances, which have been remastered by Giles Martin so that we hear how inspired their playing was even underneath all that screaming. Songs like “Please Please Me” and “This Boy” electrify with a new fervor, and there’s a sequence from the Washington, D.C., show of Paul singing “Long Tall Sally” that lifts that song into its own Little Richard–meets–Beatles dimension of reckless jubilance. When Paul sings, “Have some fun tonight!,” he turns it into the credo of a new era. The Maysles, God bless them, covered the waterfront. They interview residents of Harlem about the Beatles (we hear enthusiasm from the teenagers, skepticism from slightly older folks who feel the sting of appropriation). And they record a family, the Gonzalezes, watching that first Beatles appearance on “Ed Sullivan” in their kitchen. Their teenage daughter is quiet yet transfixed, lifted up high. This is what the revolution looked like. The Beatles brought joy to the world because they felt it. And it was there in the love you can sense they felt for each other. George Harrison talks about how everyone in Liverpool was a comedian, and in the documentary’s offstage sequences we see how the effrontery of all four Beatles — their effortless irreverence — becomes a form of grace. Surrounded by worship, the Beatles thrived because they never took any of it totally seriously. They were ardent musicians but comedians of the soul; that’s why they could mimic, and absorb, a thousand styles. The most profound moment of “Beatles ’64” arrives at the end, when Lennon, in an interview he did for French television, sums up what he thinks the Beatles meant by saying that a new ship was sailing, and that the Beatles were the ones in the crow’s nest, announcing the ship’s arrival. But the ship was bigger than they were. We’re still clinging to the remnants of that ship. But oh, whatever happened to the wisdom of the Beatles’ joy?
Pakistan police said on Wednesday they had arrested nearly 1,000 protesters who marched on the capital Islamabad demanding the release of jailed ex-prime minister Imran Khan, after crowds were evicted from the city centre in a sweeping security crackdown. Khan has been jailed since August 2023, sidelined by dozens of legal cases he claims were concocted to prevent his comeback in elections this year marred by rigging allegations. Since the February vote, his Pakistan Tehreek-e-Insaf (PTI) party has defied a government crackdown with regular rallies, but Tuesday's gathering was by far the largest to grip the capital since the poll. More than 10,000 protesters surged into the city, defying a lockdown and a ban on public gatherings to skirmish with 20,000 security forces enlisted to turn them back. Islamabad Police Inspector General Ali Nasir Rizvi said 954 protesters had been arrested between Sunday and Tuesday, when crowds came within 1.6 kilometres of a public square they aimed to occupy. The government said at least one police officer and four state paramilitary personnel had been killed, before the main thoroughfare was cleared by forces armed with tear gas and batons early on Wednesday. Interior Minister Mohsin Naqvi said in a statement that security forces had "bravely repulsed the protesters" as PTI told activists on social media the rally was cancelled "for the time being." Khan made a statement from his cell outside Islamabad calling supporters to the capital on Tuesday. But the crowds were led by his key lieutenant Ali Amin Gandapur and his wife Bushra Bibi, who was also jailed earlier this year but released last month. "The movement is continuing and it will be ended only by Imran Khan," said Gandapur after retreating from Islamabad to northwestern Khyber Pakhtunkhwa province where he serves as chief minister. Prime Minister Shehbaz Sharif called the protests "extremism." Since Sunday, his ministers have held regular press conferences in central Islamabad vowing no mercy for the oncoming marchers. (AFP)WWE Rumors on Seth Rollins, Drew McIntyre, Jade Cargill Injury & Tonga Loa's SurgeryAP Trending SummaryBrief at 5:59 p.m. EST
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