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중도 성향
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Monaco great for Hamilton but no fairytale for Leclerc - driver ratings
BBC Radio 5 Live F1 commentator Harry Benjamin rates how the drivers performed during the Monaco Grand Prix.
🇬🇧 영국 · "FORMED" · 총 55건
필터 보기현재 지수
50.0
0 = 부정 우세
50 = 중립
100 = 긍정 우세
최근 7일 기준 4,151건을 분석한 결과, 뉴스 심리지수는 50.0(균형)입니다. 긍정 1건(0.0%)·중립 4,149건(100.0%)·부정 1건(0.0%)이며, 중립 비중이 뚜렷하게 높습니다. 성향 지수는 종합 1.9(중도 균형)입니다.
BBC Radio 5 Live F1 commentator Harry Benjamin rates how the drivers performed during the Monaco Grand Prix.
Ellidy Pullin inherited her late partner's first home for $0 - and it transformed her financial future. Now, with a $3.15 million project underway, previously unseen property records reveal how it all unfolded.
A committee of MPs has been formed to look at the case against Cyril Ramaphosa, but he may survive a vote.
How does a 100-year-old dance company face the 21st century? For Rambert’s Benoit Swan Pouffer the answer is combining innovation with popular adaptations such as the Brummie crime saga On 15 June 1926, the Lyric theatre in Hammersmith played host to “an engaging little ballet” called A Tragedy of Fashion, a “chic trifle” according to the press, that had been first concocted round a west London dinner table. Yet it turned out to be a momentous moment in the course of British dance. The show was produced by Marie Rambert, a Polish émigré who had performed with Diaghilev’s Ballets Russes, and it was the beginnings of a dance company that’s still going strong 100 years later. Marie Rambert was a force of nature. She has been called “an inspired talent spotter and legendary bully”, with “wit, taste and a sharp instinct for trends”, and with her nascent company (first known as the Marie Rambert Dancers, then Ballet Club, then Ballet Rambert), she kindled the talents of Britain’s most influential choreographers of the age, including Frederick Ashton and Antony Tudor. “This woman was a pioneer,” says the company’s current artistic director, Benoit Swan Pouffer. “She was really ahead of her time.” Nonetheless, fast-forward 100 years and Marie Rambert wouldn’t recognise the company that still bears her name, written in capitals down the side of a sleek building just behind the National Theatre, on London’s South Bank. Continue reading...
The movie adaptation of Gary Owen’s acclaimed play Iphigenia in Splott, Effi o Blaenau, is released this month. Here, its director and crew explain why they relocated the film to a post-industrial mining town – and refused to make it in English The one-woman play Iphigenia in Splott was first performed in 2015. Eleven years on, Gary Owen’s reworking of Greek tragedy, transplanted to working-class Splott in Cardiff, has earned its place as a modern classic. It reimagines the mythological heroine Iphigenia as Effie, a young woman filling her days drinking vodka out of a mug in her dressing gown. The play is about poverty and social inequality, closures and cuts, services scraped to the bone by austerity. Its most recent five-star Guardian review in 2022 advised: “Everyone should see this.” One person who did was Leisa Gwenllian, a final-year drama student from north Wales. “I was on the front row with my mate,” says Gwenllian, 24, drinking mint tea in a London hotel. “I can remember thinking: wow! A Welsh woman with a strong Cardiff accent on the stage at the Lyric [in Hammersmith, London], that’s what it’s all about.” At the Oxford School of Drama, Gwenllian was mainly studying the classics alongside people with different accents and backgrounds from her own. “To see yourself on stage is really powerful.” Continue reading...
Jess Asato’s lawyer says others want to take action over demeaning sexualised material created by Grok AI tool New claimants have come forward to take legal action against Elon Musk’s company xAI after the Labour MP Jess Asato launched a test case against the firm over demeaning sexualised material created by its Grok AI tool. A handful of complainants contacted Asato’s lawyer on Thursday in response to coverage of the MP’s decision to sue Musk’s company for damages over its creation and circulation of fake images of her in a bikini and an AI-created video that she said showed her “being chloroformed and prepared for a sexual assault”. Continue reading...
(Atlantic) After scrapping an album and starting anew, Lizzo still sounds lost amid these weak genre-hopping songs. Perhaps the zeitgeist has simply left her behind Just over a year ago, Lizzo appeared on Saturday Night Live, announcing a new album called Love in Real Life in grandstanding style. Wielding an electric guitar, clad in a Trump-baiting T-shirt that read Tariffied, she performed its title track and two other new songs, Still Bad and Don’t Make Me Love U. As with her appearance earlier the same week on a late night talkshow – during which she ran into the audience to high-five fans who were yelling “we love you Lizzo!” – it looked very much like a defiant comeback, fit to drag her out of the controversy that erupted at the end of her hugely successful 2023 world tour. Three former backing dancers and a costume designer filed lawsuits against the singer alleging harassment and discrimination: damaging claims given how Lizzo’s songs have preached a message of inclusivity, body positivity and self-confidence. Some of the allegations were dismissed by a judge but others are ongoing; Lizzo has refused to settle out of court, saying: “I’m fighting the case because I know that it’s not true.” But the Love in Real Life single, a pivot towards rock that owed a little to Tom Petty’s American Girls – or the Strokes’ American Girls-indebted Last Nite if you prefer – failed to make the charts, a far cry from the period between 2018 and 2022 when Lizzo’s singles seemed to go multi-platinum as a matter of course. The same fate befell Still Bad, a track much more in the vein of her big hits, prompting a rethink. The album was pulled, Lizzo apparently taking control of her own destiny – “I need to do shit my way”. A mixtape that returned her more-or-less to where she started, before pop stardom came calling – punchy hip-hop, albeit tricked out with guest appearances from Doja Cat and SZA – appeared in its place: My Face Hurts from Smiling received mixed reviews and underwhelming streaming figures. Continue reading...
BBC Verify examines how the biggest change to the White House in decades has transformed in the last year.
Interior minister announces review into handling of the cases after body reportedly found in search for 11-year-old Outrage has erupted in France after it emerged the main suspect in the case of an 11-year-old girl missing since last week had been repeatedly accused of sexually abusing children with no action taken. A body was discovered on Thursday and formal identification was under way, an informed source said. Continue reading...
Deletion of the bureau’s website content is just the most recent part of a larger plan to ‘undermine an agency that’s helped people’ The Consumer Financial Protection Bureau deleted at least 2,200 webpages from its website last month, a move advocates say is part of the Trump administration’s latest effort to dismantle the federal consumer finance watchdog. The removed content was all published before Trump’s second term, and includes press releases, consumer advisories, congressional testimonies, speeches and blog posts. Some of the material dates back to as early as 2010, when the agency was formed. Continue reading...
Mozart’s Marriage of Figaro is in the soprano’s DNA, but she’s never thought about directing it. Creating her own production has been daunting and fascinating – and her son’s building blocks even helped I am not one of those performers who has spent their life on a theatre stage or film set thinking, “I wish I could direct this”. However, earlier this year, I found myself with an unexpected six-week gap. A scheduled project had been delayed for technical reasons, and it was at this time that Wild Arts’ producer Max Parfitt asked how well I knew The Marriage of Figaro. I have lived with Mozart’s opera for as long as I can remember. Susanna’s “Deh, Vieni Non Tardar” was one of the first major arias I sang, aged 12 or 13, while studying in Los Angeles. Later, I wrote my final high school paper on Figaro, the adaptation from Beaumarchais’s play to Da Ponte’s libretto. I even translated the entire score word for word, which is probably why I still know it so deeply. My Metropolitan Opera debut at 19 was in Figaro, singing Barbarina. I performed my first Susanna on the same New York stage a few years later, and I’ve since sung the role many times all over the world. Continue reading...
A Sydney screening of La La Land with live orchestra was rescued by a brave (and skilled) amateur pianist. What happens when classical performers, or their instruments, suddenly collapse? Plus, Tavener’s mystic pantomime finally gets to the stage Music’s equivalent of catching a home run at a baseball game happened on Saturday in Sydney, when a 21-year-old university student jumped in to save a performance of the movie La La Land with live orchestra. The band’s keyboardist had fallen ill and couldn’t perform in the second half. Unable to find a replacement at such short notice, the conductor Justin Hurwitz (winner of two Oscars for the film’s music) asked the audience if there was a pianist in the house. Sterling Nasa answered the call, and performed in the second half, improvising a solo, and not getting a tempo change or key signature wrong. It’s a great story – and incredible that an audience member had the requisite sight-reading and technical skills to carry it off. Could it happen in a classical concert? There have certainly been moments here too when an audience member has saved the day. The best of those stories comes from the summer of 1974, when the London Symphony Orchestra and Chorus brought Carl Orff’s Carmina Burana to the Proms, conducted by André Previn, with the baritone Thomas Allen among the soloists. You can actually hear the shocking moment from the live radio broadcast when Allen collapses into the cello section in an episode of the BBC World Service’s Witness History. He had fainted and was carried off the stage. After a brief pause, Previn chose to keep going rather than stop the performance. Continue reading...
HM Coastguard has informed its 3,500 volunteer Coastguard Rescue Officers (CROs) that from September they will no longer receive hourly remuneration for attending incidents.
Sir Keir Starmer says the question of "how accusations of racism informed decision making" must be addressed, as protesters clash with police in Southampton.
The project has seen a previously inaccessible space transformed into a tranquil open-air oasis connected to the intensive care unit at St George's Hospital in Tooting,
SXSW London Wolf’s novel about a headstrong young Edwardian woman takes flight under Tina Gharavi’s direction, with Timothy Spall and Jennifer Saunders among the ensemble cast Here is an adaptation, written by Justine Waddell, of Virginia Woolf’s peculiar and tonally elusive work that is all about the quarterlife crisis of a headstrong, well-born young woman in Edwardian London faced with the necessity of getting married. What emerges is a wayward, unworldly fantasia, a four-leaf clover of a film – or even five-leaf; rather beautifully designed and photographed, flavoured with a wistful, unexpectedly Germanic kind of romanticism. Waddell and Iranian-born director and Bafta nominee Tina Gharavi have creatively gone against the grain of the novel, amplifying Woolf’s single glancing reference to astronomy and making that the centre of the heroine’s yearning, perhaps playfully implanting a subconscious memory of Cole Porter’s lyrics to the song of the same title: “You are the one, only you beneath the moon, under the sun ….” And – thankfully, in my view – the film removes Woolf’s supercilious condescension towards the self-betterment of newly educated lower and middle classes, and instead focuses on a sweet-natured story, performed with conviction by its all-star ensemble cast, interspersed with dreamlike set pieces. The result is not precisely Virginia Woolf’s Night and Day; maybe more EM Forster’s Night and Day or even Ronald Firbank’s Night and Day. Continue reading...
Rampant Bull needed a makeover after wear and tear from tourists, but refurbishment ‘castrated’ it, critics say The restoration of a floor mosaic in Milan called the Rampant Bull has been mocked after the works appear to have erased a crucial anatomical detail – its testicles. The 19th-century mosaic in the Galleria Vittorio Emanuele II shopping arcade needed a makeover because a small crater had formed in the tiny pink tiles featuring the bull’s testicles, due to the constant stream of tourists performing a heel-spinning gesture. Continue reading...
Huge crowds formed outside a shopping centre in China to see Pursuit of Jade's Zhang Linghe.
PC Radoslaw Drewniaczyk fell victim to the 'cruel hoax call' in October 2021 when a fellow officer informed him he had been accused of grooming an underage girl.
A necropsy will be performed to ascertain why the whale died