🇬🇧 영국 · "TITLE" · 총 92건
필터 보기현재 지수
50.0
0 = 부정 우세
50 = 중립
100 = 긍정 우세
최근 7일 기준 3,525건을 분석한 결과, 뉴스 심리지수는 50.0(균형)입니다. 긍정 1건(0.0%)·중립 3,523건(99.9%)·부정 1건(0.0%)이며, 중립 비중이 뚜렷하게 높습니다. 성향 지수는 종합 2.6(중도 균형)입니다.
Alexander Zverev finally lands the Grand Slam title that threatened to elude him after overcoming Flavio Cobolli and his own nerves to win the French Open.
Qualifier Maja Chwalinska reflects on how "18 years of hard work, patience and perseverance" took her to the brink of a fairytale French Open title.
Teenager Mirra Andreeva fulfills her huge potential with a first Grand Slam title as Polish qualifier Maja Chwalinska is denied a fairytale French Open victory.
Mirra Andreeva is a teenage star long predicted to win a Grand Slam title while Maja Chwalinska is a qualifier who came out of nowhere. On Saturday, they meet in the French Open final.
Title favourite Alexander Zverev is one win away from an elusive first Grand Slam title after beating Jakub Mensik in the French Open semi-finals.
Prospect of first NBA title since 1999 fuels wave of righteous outrage against Big Apple-based Sesame Street character The NBA basketball finals between the New York Knicks and San Antonio Spurs has already drawn commentary after Spurs fans earlier this week continued a habit of wearing distracting, candy-colored T-shirts to honor the Texas city’s annual Fiesta festival. But now the Knicks’ first opportunity to win the title since 1999 – the last time they were in the finals, also against the Spurs, when they lost – has thrown fans in the Big Apple into such a partisan frenzy that some have come for one of their most beloved own. Continue reading...
Dinnerstein/Baroklyn (Naïve) With a refreshingly organic approach, the US pianist and her string ensemble revitalise the modern minimalist master’s score for The Hours and his Tirol Concerto Getting ahead of next year’s 90th birthday celebrations, American pianist Simone Dinnerstein presents two works by Philip Glass, performing alongside her own string ensemble. Baroklyn – the name conflates her home borough of Brooklyn and the baroque sensibilities of JS Bach – take a far-from-mechanical approach to the composer’s minimalist tics. Their aim is to emulate the passage of time like sand through an hourglass (hence the title) rather than chopping the music into segments like the hands of a clock. And it works. Arranged by Michael Riesman, Suite from The Hours splices Glass’s score for Stephen Daldry’s film into an almost symphonic three-movement work. The story’s pain and poetry is encapsulated in an immersive score for piano, strings, harp and celesta, with Dinnerstein raising the emotional stakes by adopting considerably slower tempi than the movie soundtrack. Continue reading...
Fifty years ago this week, the Sex Pistols played their first Manchester gig – and upended pop culture. But what was 1976 really like before punk arrived? From swing bands to ‘spaghetti rock’, we discover a lost history In January 1976, the cover of the NME didn’t feature an artist, but a photo of a room damaged by an IRA bomb: there had been a string of terrorist attacks in London the previous year. The headline: “Is rock’n’roll ready for 1976 … Is 1976 ready for rock’n’roll?” In the accompanying feature, writer Mick Farren was to be found complaining vociferously about the state of music. Audiences are “prepared to tolerate just about anything”. Rock has “lost its guts” and “is on an unalterable course to a neo-Las Vegas”, because artists are “totally insulated from the real world” and thus making music that “seems so damned irrelevant to real life”. Farren reiterated these points in June in a piece titled The Titanic Sails at Dawn, by which point it was obvious that some new artists completely agreed with him. 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...
Many people will be astonished to learn that Andrew Mountbatten-Windsor could be entitled to over £300,000 in compensation.
Qualifier Maja Chwalinska is one win away from an unthinkable French Open title after coming through the darkest period of her life.
Peter Kyle says British politics fails to reward political accomplishment and Labour risks aping Tory instability The Labour party has not learned the right lessons from the Conservatives about changing leader, a senior cabinet minister has warned, saying in a swipe at potential challengers that “entitlement is not a qualification”. Peter Kyle, the business secretary, said he was worried that British politics “rewards the wrong behaviour” and there was little credit for the work of his own department, including negotiating trade deals, rescue packages for companies and preserving British industry. Continue reading...
Peter Kyle, the Business Secretary, warned that 'entitlement is not a qualification for leadership' in comments that appeared to be directed at Andy Burnham.
George Russell says this year's world championship is Kimi Antonelli's "to lose" after the Briton's retirement from the last race in Canada.
Successful jokes are thin on the ground in the musty sixth installment of the once-popular parody franchise, taking aim at everything from Scream to Sinners The Scary Movie series has always depended on timing. Not necessarily in its gagcraft, which has oscillated between occasional sharp jabs and many beyond-broad blows, but in its position on the release schedule. This was especially true of the first installment, which arrived in theaters just a few months after the 2000 release of Scream 3, capitalizing on the new wave of slashers while holding a spoofy Viking funeral for that just-concluded trilogy. A quarter of a century later, horror endures and there’s no reason to think spoofs can’t endure in parallel along with it as Backrooms and Obsession have ruled the early summer box office. The sixth Scary Movie, repeating the first movie’s unnumbered title as a simultaneous nod to and act of reboot branding, is releasing too soon after those surprise smashes to incorporate them into its litany of gags (not even some last-minute ADR references, guys?). It’s stuck far further back, doing a composite of the fifth and sixth Scream movies from 2022 and 2023, respectively. On the other hand, with the recent Scream 7 largely abdicating its self-referentiality entirely, Scary Movie arrives as the last horror-comedy holding the torch for in-jokes that its self-serious cousin couldn’t bother with. Continue reading...
The violence of male entitlement is embodied in the charismatic son of a Mississippi pastor, in a sharp portrait of cruelty and inheritance ‘To woman he gave a womb, and to man he gave dominion’, that’s what I teach my boys,” the Rev Sabre Winfrey Jr tells his wife, Priscilla, midway through Addie E Citchens’s formidable Women’s prize-shortlisted debut novel, Dominion. In Citchens’s hands, that dominion is exercised not only through violence, but through charisma, piety and the banality of male entitlement. Set in the fictional town of Dominion, Mississippi, at the turn of the millennium, the novel follows the Winfreys, a prominent Black church family whose putative grandeur conceals a deep and hereditary decay. Sabre leads the largest congregation in the state from the pulpit of Seven Seals Baptist church, dispensing wisdom through sermons and local radio broadcasts, exuding the oily confidence of a man convinced that God speaks exclusively in his register. The longsuffering Priscilla writes those sermons, raises their five sons and silently maintains the machinery of his authority without ever receiving credit for it. Continue reading...
A revelatory account of the life of George Forster, whose rejection of racial hierarchies stood out amongst his peers George Forster was 10 when he left his home in present-day Poland and travelled to Russia with his naturalist father. During the expedition, which began in 1765, Forster collected plant specimens and helped with botanical research. Wide-eyed, he journeyed along the Volga river, encountering Muslim Tartar traders and Cossack warriors. There were also the emaciated figures of German settlers, who lived in poverty under the territory’s despotic governor, their campsites little more than holes burrowed into the riverbanks. The experience of cultures so distinct from his own stirred a lifelong enthusiasm for travel and exploration in Forster. It also awakened his compassion for others – irrespective of culture and, especially, race. At a time when racism pervaded public opinion as well as the philosophical texts of luminaries such as Jean-Jacques Rousseau and Immanuel Kant, Forster moved brazenly to critique and correct them. How he was able to transcend the conventional beliefs of his day is the central question of Andrea Wulf’s new book – and the answer is in its title. Continue reading...
Aryna Sabalenka would not say it, but there is an inescapable feeling the world number one has lost another golden Grand Slam opportunity after her shock French Open loss.
World number one Aryna Sabalenka sees her French Open title hopes vanish as she unravels in a crushing quarter-final defeat by Diana Shnaider.
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...