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10jili org Construction to begin at giant battery in ACT, as plans unveiled for even bigger battery at Hazelwood"The View" co-host Ana Navarro took shots at President-elect Donald Trump being on the cover of Time Magazine and named the publication’s "Person of The Year." "The View" co-host Ana Navarro took shots at President-elect Donald Trump being on the cover of Time magazine as the publication’s " Person of The Year ," noting historic villains had received the recognitionas well. The anti-Trump commentator said the title isn’t necessarily an honor considering that former Nazi leader Adolf Hitler and other notorious figures have been on the cover. "It's not always been great people that have been on the cover of Time, right? It’s been people like Joseph Stalin and Adolf Hitler and [Nikita] Khrushchev and [Ayatollah] Khomeini, so he's in that kind of company, as well," she snarked. Navarro’s digs came after Trump was named Time’s "Person of The Year" on Thursday, a title the long-running magazine has bestowed on the winner of that year's presidential election in every race since George W. Bush in 2000. Trump was also named Person of the Year in 2016 when he first won the White House. INCOMING TRUMP PRESS SECRETARY PROMISES MORE PRESS ACCESS, SLAMS BIDEN'S ‘DERELICTION OF DUTY’ "The View" co-host Ana Navarro trashed President-elect Trump's Time Magazine cover, saying Hitler, Stalin, and other evil men of history have been on it. The publication noted Trump's political comeback and realignment of the electoral map with his win over Kamala Harris, saying, "Trump is once again at the center of the world, and in as strong a position as he has ever been." Navarro ridiculed Trump for reportedly having a fake Time cover featuring himself displayed in several of his clubs. The fake covers, which The Washington Post reported that Trump had prior to starting his political career, featured a main coverline praising his reality TV success with "The Apprentice." CLICK HERE FOR MORE NEWS ABOUT MEDIA AND CULTURE President-elect Donald Trump speaks at a reception at the New York Stock Exchange (NYSE) after being named Time’s "Person of the Year" for the second time on December 12, 2024 in New York City. Trump followed the event by ringing the opening bell on the trading floor. (Photo by Spencer Platt/Getty Images) (Photo by Spencer Platt/Getty Images) "At least this is a real Time mag cover, because you remember he used to keep a fake Time Magazine cover – that he used to keep in his country clubs," she said. Navarro brought up the infamous authoritarian leaders that had been on Time covers at one point or another. Hitler was named "Person of The Year" in 1938, former Soviet Union dictator Joseph Stalin received the title in 1939, and the Supreme Leader of Iran, Ayatollah Khomeini, did in 1979. Yet other recent Persons of the Year include former President Barack Obama (2008 and 2012), Pope Francis (2013) and pop star Taylor Swift last year. The Washington Post's Philip Bump said Trump's designation this year had an asterisk because it was expected the president-elect would get it. "One appeal of giving the award to the winner of the presidential election is that you have tens of millions of people who just expressed their support for this person with their votes — tens of millions of people who might be willing to shell out a few bucks for a commemoration of their and his success," he wrote. President-elect Donald Trump has been named Time Person of the Year for a second time. (Peter Kramer/NBC via Getty Images) Fox News Digital’s David Rutz contributed to this report. CLICK HERE TO GET THE FOX NEWS APP Gabriel Hays is an associate editor for Fox News Digital.

Column: Brady Corbet’s epic movie ‘The Brutalist’ came close to crashing down more than once

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.

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The Pentagon on Wednesday flatly dismissed claims by a U.S. lawmaker that Iran might be launching drones over New Jersey from a "mothership" off the East Coast. "There is no truth to that," said Pentagon spokesperson Sabrina Singh. "There is no Iranian ship off the coast of the United States and there's no so-called 'mothership' launching drones towards the United States." Republican Congressman Jeff Van Drew, whose district in New Jersey includes Atlantic City, said he had uncovered what appeared to be an Iranian plot. "What we’ve uncovered is alarming — drones flying in from the direction of the ocean, possibly linked to a missing Iranian mothership," he said on social media platform X. The lawmaker also made the claims on Fox News. The U.S. Federal Aviation Administration said it began receiving reports of drone activity near Morris County, New Jersey, on Nov. 18. The FAA has barred drone flights over Picatinny Arsenal Military Base and Trump National Golf Club Bedminster. Last week, the FBI and New Jersey State Police asked the public to report any information related to the recent sightings of possible drones flying in several areas along the Raritan River. "Witnesses have spotted the cluster of what look to be drones and a possible fixed-wing aircraft. We have reports from the public and law enforcement dating back several weeks," the FBI said. The Pentagon said an initial assessment had shown the drones were not from another country and that the U.S. military had not shot them down because they did not pose a threat to any military installations. "We have no evidence that these activities are coming from a foreign entity or the work of an adversary," Singh said. "We're going to continue to monitor what is happening. But, you know, at no point were our installations threatened when this activity was occurring." Still, the latest drone sightings are a reminder of the growing concern about a proliferation of drone technology and the potential security considerations, given that drones can carry surveillance technology or even explosives. At a press conference, House of Representatives Democratic Leader Hakeem Jeffries was asked about the lack of information about the drones. "We need a greater degree of transparency from law enforcement authorities, and we will make sure that happens in the days and weeks to come," Jeffries said.Democrats Fret Over Defense Bill’s Provision Banning Sex Changes for Minors