Amber Heard Speaks Out on Blake Lively’s Complaint Against Justin BaldoniAnge Postecoglou has said the squad still support his attacking philosophy and backed them to turn their season around after to on Sunday. Spurs were 2-0 up after 11 minutes through goals from and but were unable to halt Chelsea's stirring comeback as 's first-half strike and 's 61st-minute penalty levelled the scores. then put the away side in front before Palmer's second spot-kick of the evening settled the contest. Although scored a consolation goal in the sixth minute of added time, fans greeted the full-time whistle with boos and many had left even earlier after feeling resigned to Tottenham's seventh league defeat of the season. Postecoglou, who took charge at Tottenham in the summer of 2023 and guided them to fifth place in his first season, after Thursday's at and pressure is mounting on the 59-year-old with the club 11th in the table and now seven points off the top four. Tottenham have suffered a series of injury setbacks and lost to a quad injury after only 15 minutes before went off with illness and was only able to play 79 minutes following a hamstring problem. "It is a tough moment because there are all these tools you can possibly use as a manager when you are going through tough moments to turn things around and our limited resources from a playing perspective at the moment doesn't allow us to do that so you have to find other ways," Postecoglou told a news conference. "It's not through a lack of effort. The players are constantly out there because we can't rotate. They are giving everything they can. It diminishes performances as well because they probably need a rest but we can't give them a rest. "I think it is something we need to tackle head on and keep pushing on. There is still plenty to play for us between now and January just to make sure we keep performing. "I still sense within this squad there is a real conviction in what we are doing and if we maintain that we will turn our season around and hopefully at some point we hit some smoother waters in terms of some of the things that are happening at the moment." Postecoglou also voiced his frustration at referee Anthony Taylor's decision not to punish Chelsea midfielder for a late tackle on in the 34th minute. VAR official Jarred Gillett deemed Caicedo had not used excessive force in the tackle but Postecoglou said: "I think it's kind of where we're at with the current state of football, where people are just frozen to make big decisions. I think referees don't want to make them because they'll go to VAR and VAR doesn't want to intervene, so you're kind of left in no man's land. "I just don't think, I have said it before, the technology has helped our game. I don't see how it helps because It means instead of one person being in control of a game and you accepting that, it almost feels like no one is in control because everybody is scared to make a decision to overturn somebody else. "Referees are scared to make decisions in case they get it wrong, VAR don't want to intervene and I get that because you don't want disruptions to the game. You just have to cop it."
Lenovo has unveiled the ThinkPad X1 Carbon Aura AI Edition laptop in China. This high-performance laptop is designed to cater to the needs of demanding users, offering power, portability, and cutting-edge technology. Lenovo ThinkPad X1 Carbon Aura AI Edition features The ThinkPad X1 Carbon Aura has an Intel Core Ultra 7 258V processor and comes with 32GB of fast LPDDR5x memory, making it great for multitasking, quick app launches, and handling demanding workloads. The PCIe 5.0 SSD (Hynix PCB01) adds even more speed for smooth performance and fast file transfers. The 14-inch OLED display stands out with a sharp 2880×1800 resolution, a 120Hz refresh rate, and 100% DCI-P3 color accuracy. It also reaches up to 500 nits of brightness, so whether you’re working, streaming, or creating content, everything looks vibrant and crisp. Weighing just 986g and only 14.37mm thin, this laptop is incredibly portable. The magnesium alloy design keeps it light and durable, while the 57Whr battery with PSR 2.0 technology delivers up to 18 hours of use, so you can stay productive on the go. For connectivity, it has dual Thunderbolt 4 ports, two USB-A ports, an HDMI 2.1 port, and audio jacks. Security is also covered with a physical camera shutter, fingerprint reader, and facial recognition. Pricing & availability The Lenovo ThinkPad X1 Carbon Aura Ai Edition is available in two storage configurations: a 1TB SSD model priced at 15,999 yuan ($2,200) and a 2TB SSD model priced at 17,999 yuan ($2,475). In other news, Lenovo has introduced the ThinkPad T14s 2024 Ryzen Edition in China . This laptop features the AMD Ryzen 7 Pro 360 processor with integrated Radeon graphics and a Ryzen NPU AI processor. It comes with a 14-inch WUXGA D IPS anti-glare matte display, offering a resolution of 1920×1200 pixels. Don’t miss a thing! Join our Telegram community for instant updates and grab our free daily newsletter for the best tech stories! ( via ) TAGS Laptop Lenovo Lenovo Yoga Pad Pro AI 2024 model with 12.7′′ display & Snapdragon 8 Gen 3 CPU launched Lenovo launches ThinkPad T14s 2024 Ryzen Edition with AI 7 Pro 360U, 32GB LPDDR5X RAM & more VAIO Introduces the SX14-R and Pro PK-R: Slim Laptops with Intel Core Ultra CPUs & User-Focused Features
Former President Bill Clinton, 78, hospitalized
The three major Hollywood studio movies opening over the next week are expected to rake in more revenue than during any Thanksgiving period in history. The trio offers a bright spot in an industry that has been slow to recover from the COVID-19 pandemic and then was further hampered by the 2023 labor strikes. Between Ridley Scott's "Gladiator II," starring Denzel Washington and Paul Mescal, "Wicked," with Ariana Grande, Michelle Yeoh and Cynthia Erivo ("Glicked" anyone?), and "Moana 2," featuring Dwayne "The Rock" Johnson, there will be something on the big screen for families, teenage boys and musical fans of all ages. 💰💸 Don’t miss the move: SIGN UP for TheStreet’s FREE Daily newsletter 💰💸 Two of the biggest studios in Hollywood are behind the films: Disney ( DIS ) produced "Moana 2" and Universal ( UVV ) produced "Wicked" and "Gladiator II." The three films are expected to deliver at least $300 million during the five-day holiday period, which technically spans the Wednesday before Thanksgiving through the Sunday following ("Wicked" opens Friday, Nov. 22, so it's technically outside the typical window). That projection doesn't take the product deals into account. And there are products galore, from Starbucks' ( SBUX ) green-themed drinks to sparking green nail polish at ( CVS ) and themed sweaters at Target ( TGT ) . Gareth Cattermole/Getty Images The five-day holiday period is expected to break records Related: 'Deadpool & Wolverine' delivers unexpected surprise for Disney The film adaption of "Wicked," the perennial Broadway musical, is directed by Jon M. Chu — most well-known for "Crazy Rich Asians" — and is a re-telling of the "Wizard of Oz" story. It's expected to bring in somewhere around $85 million, perhaps as much as $100 million during its opening weekend. According to Variety, "Wicked" has already brought in $19.2 million during previews. "Wicked" the movie is actually "Wicked 1" and "Wicked 2." The second half of the film is expected to be released next Thanksgiving, a fact which angers some fans and makes perfect sense to others: View the original article to see embedded media. " Wicked" the novel was published in 1995 and written by Gregory Maguire and it tells the story of "The Wizard of Oz" from the perspective of the Wicked Witch of the West. More on Hollywood Entertainment: The musical adaptation of the book has run on Broadway since 2003, making it the fourth longest-running production in Broadway history. "Wicked" the movie has received rave reviews so far, with the Wall Street Journal calling it a "lavishly entertaining adaption of the Broadway hit set in the land of Oz." The reviewer, Kyle Smith, also wrote, "The plot is so rich and eventful, and the script so witty, that the movie doesn’t drag once the extended flashback starts. Moreover, every moment is eye candy. The screen bursts with whimsical costumes (by Paul Tazewell) and sets (Nathan Crowley is the production designer), and all of the important roles are impeccably cast." "Gladiator II" has been less favorably reviewed, with reviewers describing it as a "snooze" and "halfhearted." Reviews for "Moana 2" won't be available until Nov. 26. Related: Mattel makes 'Wicked' mistake and parents are angry Hollywood is still trying to return to pre-pandemic box office numbers The Thanksgiving period is always a major driver of box office receipts but the post-pandemic years have not been kind to Hollywood. Perhaps that's one reason two hugely popular films are getting the sequel treatment this year. "Moana," the original, opened to $82.1 million over the five-day Thanksgiving holiday in 2016 and ultimately grossed $249 million at the box office, according to Box Office Mojo. The animated feature has continued to attract viewers over the years — in fact, it was the most streamed film in 2023, according to Nielsen. In 2000, Gladiator grossed $465.5 million worldwide, becoming the second highest-grossing film of 2000. It also won five Academy Awards, including Best Picture and Russell Crow for Best Actor. Related: Veteran fund manager sees world of pain coming for stocks
After-hours movers: Oracle, MongoDB, C3 AI, Lilly and moreAlec Baldwin’s Western “Rust” had its world premiere at a film festival in Poland Wednesday, but the actor wasn’t present because he wasn’t invited. Baldwin’s presence would have been too “distracting,” said Kazimierz Suwała, the director of the international EnergaCamerimage film festival in the city of Torun. “We didn’t invite Alec Baldwin, and we never considered doing so,” Suwała told The Hollywood Reporter. “That would be too distracting. What this is about is honoring Halyna’s dreams for her work.” Suwała is referring to Halyna Hutchins, the Ukrainian-born cinematographer for “Rust.” Hutchins, an up-and-coming talent in the industry, was killed in October 2021, after Baldwin pointed a gun at her during a rehearsal on the film’s set outside Santa Fe, New Mexico. The gun went off, killing Hutchins and wounding director Joel Souza. Baldwin has said he pulled back the hammer — but not the trigger — and the revolver fired. Though the veteran film and TV star called Hutchins’ death a tragic accident, he was charged with manslaughter. However, the case was ultimately dismissed on the grounds that the prosecution had failed to turn over evidence. It’s not known whether Baldwin would have gone to the festival if he were invited, said TMZ, which reported that he was spotted in New York City Monday, pushing a stroller. While Baldwin didn’t travel to Poland to walk the red carpet or to promote “Rust” at the screening, organizers held a moment of silence for Hutchins, the Associated Press reported . The festival is a popular industry event that is devoted to cinematography. Souza, a Palo Alto-based filmmaker and Fremont native, then introduced the film. Souza told the audience that he initially couldn’t imagine trying to finish the film after Hutchins’ death. “It just hurt too much,” he said. But Hutchins’ husband, Matthew, wanted the film to be finished, and came on board as executive producer. Baldwin also wanted to finish the film and returned to the set, which had moved to Montana. But like Baldwin, Matthew Hutchins didn’t attend the premiere. Moreover, Hutchins’ other family members also boycotted the event. “It was always my hope to meet my daughter in Poland to watch her work come alive on screen,” Olga Solovey, Hutchins’ mother, who lives in Ukraine, said in a statement provided to Fox News Digital . “Unfortunately, that was ripped away from me when Alec Baldwin discharged his gun and killed my daughter.” “Alec Baldwin continues to increase my pain with his refusal to apologize to me and his refusal to take responsibility for her death,” the statement from Solovey continued. “Instead, he seeks to unjustly profit from his killing of my daughter. That is the reason why I refuse to attend the festival for the promotion of ‘Rust,’ especially now when there is still no justice for my daughter.” It’s questionable whether anyone involved in the making of “Rust” will see much profit from it. It could be released sometime in the United States, but it’s not clear when or if it will been screened in movie theaters or go direct to streaming. NBC News reported that the audience response at the premiere was “polite.” “Rust” follows the story of a 13-year-old boy who is sentenced to be hanged after he fatally shoots a rancher by accident. He goes on the run with his estranged grandfather, played by Baldwin. The audience clapped through the film’s closing credits, strengthening their applause when a dedication to Hutchins appeared, NBC News reported. But a fair number of moviegoers left the theater before the credits ended and prior to a Q&A with Souza and with cinematographer Bianca Cline, who completed the movie on Hutchins’ behalf. New York-based film industry expert Rob Rosenberg said “Rust” could get “butts in seats” because of the public’s curiosity. “It’ll be interesting to see if there is a group of people who choose to stay away from the film entirely due to Halyna Hutchin’s death,” Rosenberg, founder of Telluride Legal Strategies, said in an email statement. “People may also choose to see the movie because they might be curious about how they finished the film after the tragic shooting.” Meanwhile, organizers of the EnergaCamerimage festival defended giving the film its world premiere. “Yes, I know it has become divisive,” Suwala told The Hollywood Reporter. “Some felt we were doing it for promotional reasons and that it was inappropriate to screen a film that resulted in a death. But for us, the motivation was very simple. Halyna had a strong connection to this festival. She attended several times. And we were contacted by her friends, who told us that before shooting even began on ‘Rust,’ she told them that the film was very important to her and it was her dream to screen it at Camerimage.” One of those friends, cinematographer Rachel Mason, made an emotional speech at the premiere to defend the film. “I feel strongly that I need to make a statement about a very misunderstood film and the people who made it, who I believe are heroic people,” said Mason, who worked on a documentary about completing the film after Hutchins’ death. Mason said that everyone involved wanted to help Hutchins’ family by completing the film. “When they learned that this film ‘Rust’ might help Halyna’s family, they thought of one thing: the fact that she has a son, and that son doesn’t get to have a mother anymore,” Mason said. “And if they could do something for that little boy, then why would they not be there?”
Dec. 9, 1985 Feb. 26, 1986 June 13, 1991 MANILA, Philippines — Times have changed since the founders of Philippine Daily Inquirer launched this broadsheet. Journalists had emerged from a turbulent period. Surviving censorship, control and manipulation imposed by the martial law regime of Ferdinand E. Marcos, the press stirred to action after the assassination of opposition leader Benigno Aquino Jr. in 1983. It did what newspapers are designed to do, provide a public forum where citizens can converse, debate and argue, exploring the ideas of nation-building for a free society. This forum empowered Filipinos to resist, mustering the collective will to speak truth to power. The fall of the dictatorship in 1986 enlivened the power of news. It was time for news organizations to regroup. Eugenia “Eggie” Apostol was among the first to test the media market in a new era. The period of democratic recovery heightened the resolve of journalists to provide Filipinos with news that was verified and checked for falsehood, to chase after the scoop and be the first to publish. Filipino journalists were hailed for the efforts of a “mosquito press” which exposed the bankruptcy of the Marcos regime and its empty promise to build a “New Society.” It was an auspicious beginning for a newspaper to establish and record the intelligence of the day. The leadership of Eggie Apostol signaled the publication’s readiness for the long haul, launching a paper that would project journalism as a tool for nation-building, holding the public captive with the power of information, forming the collective will to achieve the common good. The times seemed ideal for different kinds of journalism. Filipinos were engaged in rebuilding and renewal, buckling down to lay the foundations of democratic practice, preparing citizens for free and fair elections, drafting a new constitution, engaging in politics that presented fresh faces and fresh blood so the old politics could give way to the new. The media landscape could not have been more promising for the growth of a national press. The Inquirer was among the first to set up shop even as the new government had yet to settle and exercise its full authority. It made good use of the time and grew an enterprise that would last to the present. Indeed, the times called for new kinds of news organizations and new formats. The Inquirer’s success is due to the leadership’s familiarity with the tried and true. It set out to capture attention with headline news, leaving every other news enterprise to follow its trail. Eggie Apostol as publisher and Letty Jimenez Magsanoc as editor helmed the editorial team. Both had the feel for the public pulse, in touch with popular tastes and trends. Street-smart, they popularized news, even as the paper presented analysis and a cohort of leading columnists who set directions for media discourse. Times have changed since that golden passage. Both Apostol and Jimenez have left the field. A new generation of journalists has created a newspaper in a completely different setting. Legacy formats are now confronted with existential challenges as social media seized the momentum with the speed and pace of 24/7 news. Keeping the broadsheet alive seems quaint in these times; one cannot help but wonder whether either Eggie or Letty would have wanted to keep it going, given the revolutionary changes in communication and its impact on the way people receive and relate to the news. The question remains: what is the place of journalism in the ever-expanding landscape of communication? Where is the hierarchy of priorities, the preselection of the significant developments of the day. What to do amid the mindless mix of news, information, trivia and entertainment? The broadsheet and its noble tradition respond to these questions with courage and confidence. Those of us who believe in the indelibility of ink on paper welcome the resolve with which the broadsheet is published daily. But the challenges to the practice of journalism raise questions. The new generation of readers is a stranger to the format; the sequence of pages may make no sense to the newbie navigating its separate if fewer sections. The current audience picks up news according to a playlist in their heads. What sense of the intelligence of the day is imprinted in their minds has yet to be studied or understood. Perhaps, the print edition exists for precisely people like myself who want to test how the news that flows through the wilderness of podcasts and TikToks stand up to the structured order of the printed word, its carefully selected photographs and thoughtful illustrations, its careful crafting of an editorial position. I sense that this order, the framework that holds all news together, responds to a common need for interpretation and meaning. We understand the differences that set people and their communities apart, but their shared values manifest themselves despite these differences. The food we eat, our social manners may differ from place to place, but we are all essentially the same tribe wherever we are in the world. And news helps us to recognize this common humanity, despite the differences in culture, custom and religious beliefs. News must be daily. News must be read. It is a source of continuing education that prepares us to interpret the changes in which we live our lives, or to sustain the serenity of our outlook because our communities have lived and survived some of these changes before and we are somehow prepared to embrace the strangeness of their coming around again, this cycle of occurrence and happenstance. News may not last as literature does. But in the future, those attempting to understand their present are bound to turn to these first drafts of history to gain some understanding of what it all means. June 12, 1998 Dec. 7, 2000 Sept. 12, 2001 Exposure to news, especially good journalism, makes it possible for us to understand and accept the conduct of the outsider because it is all part of our shared humanity. Imperfect as these stories may be, events hyped with misplaced or misleading prominence—the news of the day serves to fuel the best minds to think on the possibilities these stories suggest. Indeed, the value of news is enhanced by the quality of society in which it operates. Unfortunately, the quality of news enterprise has a lot to do with the efforts to create or the utter failure to build the kind of learning society in which citizens engage in discussions and debates, so they can understand their differences as well as their agreements. The broadsheet is filled with possibilities. Let us will it a long and useful life. Melinda Quintos de Jesus is the founder and executive director of the Center for Media Freedom & Responsibility (CMFR), established in 1989. She conceptualized the institutional framework and design of CMFR’s core programs: media monitoring to promote professional values in the practice of the press, as well as press freedom protection. She also developed training programs on media and the justice system, human rights reporting, peace journalism, coverage of the marginalized sectors (women and children, LGBT, indigenous peoples), and other emerging issues in the news agenda. She wrote columns for Veritas NewsWeekly, the Philippine Daily Inquirer, and other major dailies. Subscribe to our daily newsletter By providing an email address. I agree to the Terms of Use and acknowledge that I have read the Privacy Policy . She was a journalist-in-residence at the University of Michigan in Ann Arbor (1985-86) and a fellow of the Joan Shorenstein Center on the Press, Politics and Public Policy based at the John F. Kennedy School at Harvard University in 1995. A press freedom advocate, she was a founding member of the Board of Trustees of the Southeast Asian Press Alliance and the Philippine-based Freedom Fund for Filipino Journalists Inc.; and the Freedom for Media, Freedom for All coalition.