A wild first season of the expanded Big 12 is down to what should be a chaotic final weekend. Through all the upsets, unexpected rises and falls, there are nine teams still in the mix to play in the conference championship game. No. 14 Arizona State and No. 17 Iowa State have the best odds, yet a multitude of scenarios could play out — 256 to be exact. There's even the possibility of an eight-team tie. It may take a mathematician to figure out which teams are in the Dec. 7 game in Arlington, Texas — even for the ones who win. Travis Hunter, Colorado. The Buffaloes' two-way star has excelled on both sides of the field, making him one of the favorites to win the Heisman Trophy. Cam Skattebo, Arizona State. The senior running back can do a little of everything, but excels at punishing would-be tacklers. He's one of the nation's leaders in yards after contact and the focal point of the Sun Devils' offense. Shadeur Sanders, Colorado. If it weren't for Hunter, Sanders might be the Heisman favorite. The son of coach Deion Sanders, Shedeur is fifth nationally with 3,488 yards passing and has been a big part of the Buffaloes' turnaround. DJ Giddens, Kansas State. The Wildcats' running back is one of the nation's most versatile players. He is ninth nationally with 1,271 rushing yards and has added 21 receptions for 258 yards. Tetairoa McMillan, Arizona. The Wildcats have struggled this season, but McMillan has not. He is third nationally with 1,251 receiving yards with seven touchdowns on 78 catches. Jacob Rodriguez, Texas Tech. The Red Raiders' junior linebacker leads the Big 12 with 68 tackles, averaging 10.2 per game. He also has four sacks. Brendan Mott, Kansas State. He's a menace to opposing quarterbacks, leading the Big 12 with 8 1/2 sacks. The Big 12 has nine teams already bowl eligible and two more a win away. The winner of the Big 12 championship game will be in the mix for a College Football Playoff spot. Arizona State, Iowa State, No. 19 BYU, Colorado, Kansas State, Baylor, TCU, Texas Tech and West Virginia have already clinched bowl berths. Kansas and Cincinnati can get into the postseason with wins this weekend. Gus Malzahn, UCF. Despite successes in recruiting, the Knights are 10-14 in two seasons since moving to the Big 12. Maybe not enough to get shown the door this year, but another mediocre season could lead UCF to make a change. Kyle Whittingham, Utah. Whittingham was one of the Pac-12's best coaches, leading the Utes to consecutive conference titles. Utah was expected to contend for the Big 12 title its first year in the league, but enters the final weekend 1-7 in conference play, which could push Whittingham toward retirement since it's doubtful he'd be fired. Neal Brown, West Virginia. The Mountaineers' coach was in a precarious spot at the end of last season and West Virginia hasn't lived up to expectations this season. The Mountaineers are eligible to go to a bowl game for the second straight season, but Brown could be on the hot seat even after signing a contract extension before the season. Josiah Trotter, West Virginia. The redshirt freshman is the latest Trotter to have success at the linebacker position, following the footsteps of his father, former Philadelphia Eagles player Jeremiah Trotter, and brother Jeremiah Trotter Jr., a current Eagles linebacker. Sam Leavitt, Arizona State. The Michigan State transfer has been just what the Sun Devils' needed: an agile quarterback who extends plays with his legs and rarely makes bad decisions. Bryson Washington, Baylor. The Bears' running back has rushed for 812 yards — 196 against TCU — and 10 TDs. TCU has the Big 12's highest rated 2025 recruiting class with six four-star players among 26 commitments, according to the 247 Sports composite. Receiver Terry Shelton of Carrollton, Texas, is the highest-rated recruit at 71st nationally. Baylor is next with five five-star players among its 20 commitments, including running back Michael Turner, rated 13th at his position out of North Richland Hills, Texas. Texas Tech is ranked seventh in the Big 12, but has four four-star recruits. Get local news delivered to your inbox!Google is ramping up its push into smart glasses and augmented reality headgear, taking on rivals Apple and Meta with help from its sophisticated Gemini artificial intelligence. The internet titan on Thursday unveiled an Android XR operating system created in a collaboration with Samsung, which will use it in a device being built in what is called internally "Project Moohan," according to Google. The software is designed to power augmented and virtual reality experiences enhanced with artificial intelligence, XR vice president Shahram Izadi said in a blog post. "With headsets, you can effortlessly switch between being fully immersed in a virtual environment and staying present in the real world," Izadi said. "You can fill the space around you with apps and content, and with Gemini, our AI assistant, you can even have conversations about what you're seeing or control your device." Google this week announced the launch of Gemini 2.0, its most advanced artificial intelligence model to date, as the world's tech giants race to take the lead in the fast-developing technology. CEO Sundar Pichai said the new model would mark what the company calls "a new agentic era" in AI development, with AI models designed to understand and make decisions about the world around you. Android XR infused with Gemini promises to put digital assistants into eyewear, tapping into what users are seeing and hearing. An AI "agent," the latest Silicon Valley trend, is a digital helper that is supposed to sense surroundings, make decisions, and take actions to achieve specific goals. "Gemini can understand your intent, helping you plan, research topics and guide you through tasks," Izadi said. "Android XR will first launch on headsets that transform how you watch, work and explore." The Android XR release was a preview for developers so they can start building games and other apps for headgear, ideally fun or useful enough to get people to buy the hardware. This is not Google's first foray into smart eyewear. Its first offering, Google Glass, debuted in 2013 only to be treated as an unflattering tech status symbol and met with privacy concerns due to camera capabilities. The market has evolved since then, with Meta investing heavily in a Quest virtual reality headgear line priced for mainstream adoption and Apple hitting the market with pricey Vision Pro "spacial reality" gear. Google plans to soon begin testing prototype Android XR-powered glasses with a small group of users. Google will also adapt popular apps such as YouTube, Photos, Maps, and Google TV for immersive experiences using Android XR, according to Izadi. Gemini AI in glasses will enable tasks like directions and language translations, he added. "It's all within your line of sight, or directly in your ear," Izadi said. gc/dw
Wild first season in expanded Big 12 comes down to final weekendIt’s almost time for Spotify Wrapped. When can you expect your 2024 recap?
Israel launches new airstrikes on Lebanon as leaders draw closer to a ceasefire with Hezbollah
Barcelona was minutes away from a win to pad its league lead after Raphinha and Lewandowski had put Barcelona in control. But the game dramatically swung after Barcelona defensive midfielder Marc Casadó was sent off with a second booking in the 81st. Moments later Jules Koundé’s poor control of a ball in his area allowed Alfon González to pick his pocket and give the hosts hope in the 84th minute. Celta poured forward at Balaidos Stadium and Hugo Álvarez rifled in the 86th-minute equalizer with Barcelona unable to mark the extra man. AP soccer: https://apnews.com/hub/soccer
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One night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.
Carter Center came to former president in a dream
Luigi Mangione gave advice on how to game the system he believes failed him
NEW YORK, Nov. 26, 2024 (GLOBE NEWSWIRE) -- The Gross Law Firm issues the following notice to shareholders of iLearningEngines, Inc. (NASDAQ: AILE). Shareholders who purchased shares of AILE during the class period listed are encouraged to contact the firm regarding possible lead plaintiff appointment. Appointment as lead plaintiff is not required to partake in any recovery. CONTACT US HERE: https://securitiesclasslaw.com/securities/ilearningengines-loss-submission-form/?id=113431&from=3 CLASS PERIOD: April 22, 2024 to August 28, 2024 ALLEGATIONS: The complaint alleges that during the class period, Defendants issued materially false and/or misleading statements and/or failed to disclose that: (1) the Company’s “Technology Partner” was an undisclosed related party; (2) the Company used its undisclosed related party Technology Partner to report “largely fake” revenue and expenses; (3) as a result of the foregoing, the Company significantly overstated its revenue; and (4) as a result of the foregoing, defendants’ positive statements about the Company’s business, operations, and prospects were materially misleading and/or lacked a reasonable basis. DEADLINE: December 6, 2024 Shareholders should not delay in registering for this class action. Register your information here: https://securitiesclasslaw.com/securities/ilearningengines-loss-submission-form/?id=113431&from=3 NEXT STEPS FOR SHAREHOLDERS: Once you register as a shareholder who purchased shares of AILE during the timeframe listed above, you will be enrolled in a portfolio monitoring software to provide you with status updates throughout the lifecycle of the case. The deadline to seek to be a lead plaintiff is December 6, 2024. There is no cost or obligation to you to participate in this case. WHY GROSS LAW FIRM? The Gross Law Firm is a nationally recognized class action law firm, and our mission is to protect the rights of all investors who have suffered as a result of deceit, fraud, and illegal business practices. The Gross Law Firm is committed to ensuring that companies adhere to responsible business practices and engage in good corporate citizenship. The firm seeks recovery on behalf of investors who incurred losses when false and/or misleading statements or the omission of material information by a company lead to artificial inflation of the company's stock. Attorney advertising. Prior results do not guarantee similar outcomes. CONTACT: The Gross Law Firm 15 West 38th Street, 12th floor New York, NY, 10018 Email: dg@securitiesclasslaw.com Phone: (646) 453-8903
Supporters of suspected CEO killer Luigi Mangione establish defense fund