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Vaughan 'feels sorry' for batters on poor Lord's pitch
Michael Vaughan "feels sorry" for batters over the state of the Lord's pitch after 33 wickets fell on the opening two days of the first Test between England and New Zealand.
🇬🇧 영국 · "FEELS" · 총 36건
필터 보기현재 지수
50.0
0 = 부정 우세
50 = 중립
100 = 긍정 우세
최근 7일 기준 4,075건을 분석한 결과, 뉴스 심리지수는 50.0(균형)입니다. 긍정 1건(0.0%)·중립 4,073건(100.0%)·부정 1건(0.0%)이며, 중립 비중이 뚜렷하게 높습니다. 성향 지수는 종합 1.8(중도 균형)입니다.
Michael Vaughan "feels sorry" for batters over the state of the Lord's pitch after 33 wickets fell on the opening two days of the first Test between England and New Zealand.
Grange Park Opera, West Horsley, Surrey Singers and orchestra toiled admirably with this posthumous world premiere about the Hindu god, complete with inflatable deadly serpent. But the work feels straight from the 19th-century Orientalism playbook The first thing you should know about John Tavener’s 2005 opera Krishna is that it is actually a “mystical pantomime”. If that very idea provokes even the faintest amusement, this is not the country-house opera for you. The second thing you should know is that by the end of Krishna’s posthumous world premiere at Grange Park Opera, there was warm applause for the musicians. Rightly so. Without Ross Ramgobin’s intense, poised commitment as the Celestial Narrator, or Eliran Kadussi’s sweet, flexible countertenor as the adolescent Krishna, or the impeccably lucid, admirably agile sopranos of Rosa Sparks (the child Krishna), Nazan Fikret (his wife Rukmini) and Jennifer Statham and Julia Sitkovetsky (Radha as child and woman respectively), this short work would have felt even more interminable. Continue reading...
(Matador) Better known as a formidable free jazz saxophonist, these thrashing songs about the artist’s Tennessee childhood home share a similar genre-pushing intensity On opening track OCD, Zoh Amba stops a twinkling, rootsy guitar melody and starts over, searching for the right way to tell the story of a boy diagnosed with “dreamin’ all the time”. Amba lands on a queasy combination of empathy and conspiracy (“said that mind needs fixin’ / gunna end up like everybody”), churned up by thrashing, violent strumming – the kind that causes blisters and wrecked strings. These cryptic postcards from Amba’s home town of Kingsport, Tennessee describe childhood memories with fresh eyes: they left at 17 and returned only recently, now in their mid-20s. Blending gruff reality with poetic licence, Eyes Full is a rugged, experimental country rock record that feels deeply lived in, despite representing an abrupt change in sound: Amba is best known as a prodigious free jazz saxophonist. Continue reading...
King Street Social Club, North Shields Teeing up a forthcoming solo album, the rapper doesn’t reheat his old Beastie Boys sound, instead throwing down everything from ballads to Kraftwerk references Adam Yauch AKA MCA’s death in 2012 from cancer aged 47 effectively ended the stellar recording and performing career of hip-hop trio Beastie Boys. Since then, bandmates Adam “Ad-Rock” Horovitz and Michael “Mike D” Diamond have made few public appearances but the latter is now back in the fray. His first appearance on a British stage in almost 20 years is in, of all places, a bingo hall in the north east, where he surely becomes the first legendary rapper to yell: “Wassup, North Shields?!” With turntables on stage, hip-hop clobber in the audience, a six-piece band in matching outfits and bingo tables at the back, this unlikely show feels simultaneously low-key and an event. Mike D is backed by 5D – who include his sons and are more than half his 60 years – whose slamming grooves and crunching guitars aren’t Beastie Boys reheated, but certainly have the same inimitable joie de vivre. Continue reading...
The bleak Arthur Miller-written 1961 American pastoral is rereleased to mark the 100th anniversary of the birth of Monroe, who plays a naive divorcee who meets three new suitors in her most serious and poignant role The 100th anniversary of Marilyn Monroe’s birth, and a two-month retrospective at BFI Southbank, is the occasion for the rerelease of her most serious and poignant film, John Huston’s western drama and American pastoral from 1961. The film’s end of an era desolation feels more sombre than ever; the last film for both Clark Gable and Monroe and a melancholy late role for Montgomery Clift. The Misfits was written for the screen by Monroe’s then husband, Arthur Miller, adapted from his own short story from a few years before. Miller’s opaque motivations are a subtext running under this movie; with a strangely uxorious dedication or vengefulness, Miller conceived the whole thing for Marilyn. It is the story of a passionate, vulnerable, childlike free spirit who finds a complex kind of excitement and freedom – flavoured with disillusion – with a real man after divorcing an emotionally blank city dweller. (Monroe and Miller divorced immediately after production.) The key irony of the title is that of course no one on screen is a misfit: they fit in all too well with the stark landscape and each other in their loneliness, their discontent and their yearning for something else or something more to live for. Continue reading...
A laboured attempt to resurrect toy IP very few people still care about is a $200m-budgeted waste of everyone’s time It’s not just that He-Man himself is from the 80s that gives 2026’s Masters of the Universe such an aggressive throwback vibe. It’s that trying to assemble a film around the haphazard mythology of a toy and dusting off IP that precious few still care about feels like something Hollywood has slowly been doing a bit less of, especially on a scale such as this. This year, hits have relied on either properties that audiences do have passion for (Scream, Michael Jackson, Mario, The Devil Wears Prada) or, radically, original ideas (Obsession, Backrooms, Goat, Hoppers). We haven’t endured an Underworld sequel or a Tarzan reboot since 2016, a Terminator film since 2019, a Dolittle reboot since 2020 or a GI Joe spin-off since 2021. Mattel might then have struck gold with Greta Gerwig’s Barbie in 2023, but that was both an unconventional, auteur-led one-off and based on a product millions were still buying on the regular (the year before release, the brand made more than $1.4bn). Various directors, from John Woo to Jon M Chu, have been loosely attached to a He-Man movie over the years and various studios, from Sony to Netflix, have tried (the latter streamer having spent a reported $30m on a failed attempt) but, as with many long-gestating projects in Hollywood, those involved forgot to remember Jeff Goldblum’s evergreen Jurassic Park line: “So preoccupied with whether or not they could that they didn’t stop to think if they should.” Continue reading...
Richard Gadd’s follow-up to Baby Reindeer is a relentlessly punishing look at characters being crushed by the unending horror of their lives. At times, it feels like it was made by emo teens If you look up Baby Reindeer on Netflix, you’ll find it categorised as a comedy series. This may come as news to anyone who has actually seen it, because they might have been labouring under the delusion that it was a terror-filled rolling panic attack of a show, sitting somewhere between psychological thriller and all-out horror. But the initial labelling makes some level of sense. Richard Gadd was a comedian and Baby Reindeer was based on his Edinburgh show of the same name. Plus, what could be cuter than a baby reindeer? It would be very simple to infer some level of comedy from the description. Continue reading...
A surprising romance is set against a backdrop of climate crisis, political instability and corporate corruption in this bleak but witty novel Rosa Rankin-Gee follows her 2021 near-future climate-crisis dystopia, Dreamland, with a similar but more politically focused work. As I read My Only Boy, I kept having to remind myself that the nation it describes is not (yet) real, because, for a reader living abroad, the novel’s England seems unnervingly close to what might come next. Any political dystopia risks being overtaken by reality, but in this case the gap between truth and fiction feels claustrophobic. At the beginning of the novel, Elle is at a party held to mourn that day’s election of a far-right populist government. She’s the communications director for the almost too brilliantly named Gigr, a company connecting people seeking immediate shift work with businesses offering it. Elle is freshly upset by witnessing and immediately containing the reputational damage of a worker’s jump from a balcony. She knows how to do this, because “we’d had a death every four weeks, then every three weeks, then every two”: exhausted, starving people taking underpaid shifts from Gigr after finishing public sector jobs that no longer pay enough for survival. Almost everyone, in this slightly more desperate, divided and unfair nation, ends up doing some work for Gigr sooner or later, to buy faster access to emergency healthcare or food for crisis-stricken family, and Gigr has algorithms to ensure that each person is paid the least their particular circumstances oblige them to accept. Continue reading...
Towering over a low-income area of Chicago, and wrapped in a speech that’s hard to decipher, this controversial monolith feels like a menacing sci-fi HQ. Is it a monument – or a mausoleum? The Egyptians had their pyramids. The Anglo-Saxons had their barrows. And the Americans have their presidential libraries – the chief difference being that the leaders the US venerates are usually still alive at the opening. Lacking a royal family or a state religion, the US presidency has swelled to fill the void, transforming over the decades into a national personality cult, complete with its own secular temples to these powerful men. The latest pharaonic edifice is about to open on Chicago’s south side, where it looms on the skyline as a towering totem to the 44th president, Barack Obama. He might have seemed humble in office, but in his post-presidential, Netflix-producing afterlife, Obama has erected the largest, costliest and most audacious complex of them all. Behold the $850m Obamalisk – or, as it sometimes feels morbidly like, the Obamausoleum. Continue reading...
Usually, individuals don’t want to be angry. In a group, however, negative emotions can rile the tribe. On the streets of London, Ed Coper felt it first hand Back before 9/11 and the wars it precipitated, the big global focus for protest was globalisation itself. Things came to a head in Seattle in November 1999 when 50,000 protesters crashed the World Trade Organization’s party. The ensuing “Battle of Seattle”, as it came to be known, brought unprecedented attention to the growing disquiet over the inequalities of unregulated free market excesses. That’s how, a few months later, I found myself smack bang in the middle of the next big anti-neoliberal flashpoint, the “MayDay 2K” protests in London. My experience of protest throughout high school had been pretty tame, more likely to take the form of defiance than demonstration. Socks down, shirt untucked – take that, sir! But then again times were good, even for a ratbag. I didn’t have many grievances. At least, none that could be solved by collective protest against powerful institutions that weren’t my parents. Continue reading...
Former Scottish first minister says she will not apologise for actions of her ex- husband found guilty of embezzlement Nicola Sturgeon has said feels like she is “serving a sentence for a crime I did not commit” after her former husband and former Scottish National party chief executive, Peter Murrell, admitted embezzling more than £400,000 from the party. Murrell pleaded guilty this week to embezzling the sum from the SNP between 2010 and 2022 to fund a lavish personal lifestyle. Continue reading...
The former first minister of Scotland says she feels she is "serving a sentence for a crime I did not commit".
People have just begun returning to check on their homes in the block that was hit early on Friday morning.
Documents reveal officials were struggling with conditions inside 26 Federal Plaza despite claims from the Trump administration
As its third season ends, Sam Levinson’s HBO show reflects the grim future that gen Z faces. Its rage-bait is precisely the point The third season of Euphoria has been almost impossible to ignore for anyone with a smartphone. The HBO drama, which started off in 2019 following a group of hedonistic, privileged teens, has evolved into television’s answer to rage-bait, creating moments that are specifically designed to dominate the news feed with memes and outrage. Even before we reach the season finale, we’ve seen OnlyFans storylines, pup play, sugar daddies, mummification fetishes, a disastrous wedding, fingers and toes being sliced off, venomous snake attacks, cockatoo assassinations (RIP Paladin), gangster shootouts and (several) characters being buried alive. In season three, Euphoria picked up its story five years after the characters graduated from high school. At times, the show has felt lost outside of the high school setting, exploring a confusing mishmash of genres and plots, some of which have been called out for glamorising misogyny and violence. Yet despite these criticisms, the show has a track record of taking bold artistic risks, which is becoming rarer in a content landscape that values quantity over quality. It turned Sam Levinson, its creator, into one of Hollywood’s most exciting (and polarising) visionaries, and catapulted a new generation of actors into the A-list to the point where it now seems like they have outgrown the show). As season three concludes, Euphoria represents a strange – and very “2026” – contradiction, where it feels both ridiculous and undeniably influential. Continue reading...
The Man City footballer says he usually remains silent on rumours about his personal life, but feels forced to correct the public record.
There are many reasons why former health secretary Wes Streeting feels he does not have the support of the Labour Left to challenge Keir Starmer for the keys to No 10.
The former Mash Report star’s latest show takes aim at his manosphere-courting, Saudi comedy festival-attending peers. Could he be the angry progressive standup we need right now? Nish Kumar – mop of curly hair, Jimi Hendrix T-shirt, fancy coffee shop cookie in hand – is sitting centimetres away from me in a meeting room in his publicist’s offices in Soho, central London. Nevertheless, another comedian is drawing the eye. On the wall is a massive poster promoting Prime Video’s Last One Laughing UK – and looming over us from the centre of the frame is the show’s host, Jimmy Carr. This feels, let’s just say, a tad ironic. In Kumar’s last standup show, he recalled the time he furiously confronted Carr about his decision to appear on manosphere influencer Jordan Peterson’s podcast. (“This is a radicalisation event that’s happening on an unprecedented scale,” he told Carr.) Then there’s the blurb for his upcoming tour, Angry Humour from a Really Nice Guy, in which Kumar expresses concern that comedy has been “co-opted by charlatans in service of autocrats” – partly a reference to last autumn’s Riyadh comedy festival, where Carr performed. Continue reading...
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This is access-all-areas viewing, with this four-parter talking at length to Nadal, his wife, his coaches and opponents. But that doesn’t necessarily make it insightful… There’s a lovely sequence in the second episode of this four-part documentary about the career of Spain’s greatest ever tennis player. It’s 2007 and Roger Federer and Rafa Nadal are walking on to Wimbledon’s Centre Court to play the first of the many finals they would contest. Federer is poised and slightly smug; hair flopping perfectly over his headband, dressed in an immaculate white blazer. Nadal trails behind him, wearing a vest and baggy shorts, shaggy hair flowing and eyes wild, looking for all the world like a beautiful young caveman. It captures his initial appeal perfectly: in his early years, Nadal was elemental, athletic beyond description and impossibly charismatic: equal parts tennis player, action hero and acrobat. It feels like our sporting legends are increasingly reluctant to leave the stage. Lionel Messi (38) and Cristiano Ronaldo (41) will both be at this summer’s football World Cup. One of England’s greatest ever cricketers, James Anderson, turns 44 this year and is still plying his trade in the County Championship. Becoming unsurpassably brilliant at something requires laser focus, but unlike music or acting or writing, there’s a definitive best before date. And once that date has passed, a big, scary void looms. If the miracles of modern medicine allow you to continue, it’s clearly incredibly hard to walk away. Rafa is on Netflix Continue reading...