fb 777 casino login In a recent interview, the former Spanish Foreign Minister shared insights on the complex dynamics of the relationship between China and the European Union. He highlighted the importance of recognizing both the opportunities for cooperation and the challenges that come with it.The presence of weapons on a train not only poses a direct threat to the safety of passengers but also raises questions about the effectiveness of security measures in place. The fact that the mother and daughter managed to board the train with knives highlights potential loopholes in the security screening process that need to be addressed.CLEVELAND (AP) — Two days before recording another milestone, resume-building sack on Sunday at Cincinnati, Myles Garrett delivered a jarring hit — on the Browns. In this case, any roughness could be deemed necessary. Garrett piled on to what has been a painful and puzzling season in Cleveland by saying he doesn't have any interest in going through another rebuild and wants to know exactly what the organization's offseason plans are to fix things. If that wasn't enough, Garrett indicated for the first time that he would consider leaving the Browns if his vision doesn't mesh with the team's ambitions. “It’s a possibility,” he said of playing elsewhere. "But I want to be a Cleveland Brown. I want to play my career here.” It's unclear how Garrett's comments were received by owners Dee and Jimmy Haslam, who have plenty to consider as the Browns (3-12) head into the final two weeks of a season that began with playoff expectations and could be followed by upheaval. The Browns haven't been this bad since going 0-16 in 2017. Garrett, who reached 100 career sacks by taking down Cincinnati's Joe Burrow late in the first half of Sunday's 24-6 loss , may have either added to the Haslams' long list of concerns — the Deshaun Watson contract situation is a priority — or brought them clarity. There's no denying that Garrett's remarks carry substantial weight, which is partly why he spoke up. He's the Browns' best player, a franchise cornerstone, a future Hall of Famer and arguably the most disruptive defensive force in the game today. He's also leading with actions. Garrett showed extraordinary effort in chasing down and tackling Burrow before tumbling out of bounds and crashing into Cleveland's bench and some portable heaters. He might be frustrated, but he's not giving up. “A testament of who he is as a player and who he is as a person,” linebacker Jordan Hicks said. What the reigning Defensive Player of the Year says matters. It will be interesting to see if the Haslams listen. At this point, there are indications the Browns intend to stick with coach Kevin Stefanski and general manager Andrew Berry, whose major misses in recent drafts have become more magnified with each loss. There will be changes; it's just a matter of how drastic and if they'll be enough to satisfy Garrett's wishes. He turns 29 on Dec. 29 and has two years left on a $125 million contract extension. The All-Pro is in his prime and doesn't want to waste another season in a pointless pursuit of a Super Bowl title. His goal is to win a championship with Cleveland — or someone. Garrett's serious. He's asking the Browns to show him they are, too. Cleveland's defense is doing its part. For the second week in a row, the Browns contained one of the NFL's most talented offenses, holding the Bengals and their top-ranked passing game below most of their season averages. Burrow did throw three TD passes — for the seventh game in a row — but Cincinnati scored fewer than 27 points for the first time in seven games. The Browns continue to beat themselves with costly turnovers, some more costly than others. They drove to the Cincinnati 1-yard line in the opening minutes only to have D'Onta Foreman fumble as he neared the goal line. The Bengals capitalized by driving 99 yards to take a 7-0 lead that could have been Cleveland's. Running back Jerome Ford is making the most of a heavier workload and finishing strong. He ripped off a 66-yard run on the game's first play and finished with 131 all-purpose yards, including 92 on 11 carries and scored Cleveland's only TD. Ford's emergence as a potential No. 1 back — Nick Chubb's injuries have clouded his future — gives the team one less thing to worry about as it retools the roster. Kicker Dustin Hopkins hasn't shaken a startling slump. After being benched for a week to work through his struggles, Hopkins missed his only kick, pushing an extra point to the right. Hopkins felt confident going in, but he's back to trying to identify issues that could be equally mechanical and mental. He's just 16 of 25 on field goals, 16 of 19 on PATs and the Browns' decision to sign him to a three-year, $15.9 million extension this summer looks worse every week. QB Dorian Thompson-Robinson injured his calf early in Sunday's game, leaving his status in doubt for a second straight start this week. If Thompson-Robinson can't go, the Browns could go back to Jameis Winston, but he's dealing with a sore right shoulder. ... Tight end David Njoku is dealing with yet another injury after hurting his knee. The team is awaiting results on an MRI, perhaps a sign of the severity. Njoku has missed time with injuries all season. He finished with eight catches for 66 yards. 20 — Interceptions for the Browns this season. Thompson-Robinson's two picks on Sunday gave the team 10 in the last four games. Probably a half-empty stadium for a final home game on Sunday against the Miami Dolphins, who are still in the hunt for a wild-card spot. AP NFL: https://apnews.com/hub/nfl

In the end, the man's story serves as a cautionary tale about the dangers of prioritizing material gain over personal development and self-improvement. While the allure of financial rewards may be tempting, true success lies in the journey of self-discovery and growth, rather than the pursuit of external incentives. As the man counts his losses and reflects on his experiences, perhaps he will come to realize that the lessons learned from his three failed attempts are worth far more than any prize money could ever offer.Malaysian creatives, from singers to film stars, take centre stage in ‘BBC Arts Hour on Tour’ KL debut

Percentages: FG .424, FT .867. 3-Point Goals: 9-27, .333 (Farell 4-6, R.Felton 3-10, Soumaoro 1-1, LaBeaux 1-2, Woodard 0-1, Riley 0-2, Walker 0-2, Hayes 0-3). Team Rebounds: 1. Team Turnovers: None. Blocked Shots: 4 (R.Felton 3, Walker). Turnovers: 7 (Riley 2, Farell, LaBeaux, R.Felton, Soumaoro, Woodard). Steals: 3 (R.Felton, Riley, Woodard). Technical Fouls: None. Percentages: FG .528, FT .742. 3-Point Goals: 7-15, .467 (Cotton 3-3, Ituka 2-6, Pierre 1-2, Franklin 1-3, Houge 0-1). Team Rebounds: 4. Team Turnovers: None. Blocked Shots: 3 (Nicholson 2, Niagu). Turnovers: 8 (Cotton 2, Pierre 2, Brigham, Franklin, Houge, Ituka). Steals: 5 (Brigham, Cotton, Ituka, Nicholson, Pierre). Technical Fouls: None. .In recent years, the field of artificial intelligence (AI) has witnessed remarkable advancements, particularly in the development of large language models that have the capacity to process massive amounts of data and generate human-like text. These AI models, such as GPT-3 developed by OpenAI and BERT developed by Google, have captured the imagination of researchers, developers, and businesses alike due to their potential to revolutionize various industries and improve efficiency in tasks ranging from natural language processing to predictive analytics.

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Peacock’s ‘Hysteria!’ set in Michigan during 1980s satanic panicIn conclusion, the former Spanish Foreign Minister's insights shed light on the complexities of the China-EU relationship. While there are opportunities for cooperation and mutual benefit, there are also challenges that need to be addressed through dialogue and diplomatic efforts. By maintaining an open and constructive dialogue, the EU and China can overcome differences, build trust, and strengthen their partnership for the benefit of both regions and the global community.

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Fully half of the best films ever —from Charlie Chaplin’s to Claude Lanzmann’s—are replete with cinematic selfies. Yet they are rare over all, perhaps because the camera is an unflinching diagnostician. The medium admits self-portraiture with obvious ease (just step in front of the camera), but few filmmakers can withstand its penetrating gaze, which is surely why the practice self-selects toward the masters of the art. In the newest release to take up the challenge, Leos Carax’s “It’s Not Me,” the French director approaches the genre as a mosaic. He presents an audiovisual collage in which he only occasionally appears, made up of archival film clips and still photos, music and voice-overs, title cards and effects, and some newly filmed footage. With these elements, he forms a thematic and emotional self-portrait, delving into his personal life, taking stock of his career, and reflecting on art, politics, family, and the cinema as a form of self-discovery. Carax, who is sixty-four, has been making films since 1980 and made his first feature, “ Boy Meets Girl ,” in 1984. His early career was meteoric. By 1991, he had directed two movies (“ Bad Blood ” and “The Lovers on the Bridge”) of breathtakingly grand-scale inspiration, but he has made only three features since (most recently, “ Annette ,” from 2021). His ambitions, formed by spectacular golden-age classics and by the moderns’ uninhibited artistry, have run up against the realities of the economy and the psychology of contemporary cinema—its all-too-common division of industrial power and artistic intent. Yet his presence in the world of film—even when it takes the form of his absence—has, alongside his output, made him an exemplary outlier, a living myth, albeit a reticent one. He doesn’t so much cultivate a public image as he bears it, as something of an Icarus of romantically visionary designs. With “It’s Not Me,” Carax confronts the aberration of celebrity (even art-house celebrity) by means of a cinematic self-creation that’s both a matter of sincere reticence and an audaciously assertive work of art. “It’s Not Me” (now playing in theatres and available for purchase on Amazon and other sites, and, as of January 1st, streaming on the Criterion Channel) is as elusive as the title suggests. It’s a barely feature-length film, which originated as a commission from the Pompidou Center. Though only forty-two minutes long, it’s crowded with images and ideas, like a collection of keepsakes overflowing the little chest of drawers in which they’re kept. It’s also mercurially allusive, with its teeming material jammed together associatively, in an impressionistic whirl of abrupt transitions and superimpositions. Yet, as digressive as its surface seems, an artist’s sense of creative organization is at work. Elements are gathered together thematically and, subtly but surely, a chronological arc emerges. The result is a classical autobiography built of fragments and gaps—less a collection than a personal constellation. The title “It’s Not Me” may seem like a puckishly implausible denial, yet it’s accurate. The film, a shy director’s self-portrait, is filled with things that aren’t Carax but that make him who he is, whether memories or ideas, phrases or images, worldly deeds and works of art—especially, of course, movies. A crucial element of modernism is the endnote—as typified by T. S. Eliot’s “ The Waste Land ”—as a vital aesthetic element, linking a sometimes cryptic art work to the cultural precedents on which it depends and to which it subtly refers. That’s the tacit premise on which “It’s Not Me” runs, and its equivalent of Eliot’s endnotes are the credits, which detail all the films and music on which Carax draws. There are clips from thirty-one movies, including Eadweard Muybridge’s primordial motion studies, F. W. Murnau’s “Sunrise,” Nicholas Ray’s “Bigger Than Life,” Alfred Hitchcock’s “Vertigo,” and much of Carax’s own work. The soundtrack features Miles Davis, Prokofiev, Beethoven, and musicians who have figured in Carax’s films, such as Kylie Minogue, Sparks, and, of course, David Bowie, whose song “Modern Love” anchored an unforgettable set piece in “Bad Blood.” Early on, Carax shows himself in bed, accompanied by an allusion to the opening of “Swann’s Way,” and his vision of himself reaches back before firsthand memory, to his conception (featuring egg-related clips from “Bad Blood” and Ernst Lubitsch’s “The Marriage Circle”) and his family origins. His story and his family’s reach into the crises of the twentieth century and into contemporary politics. There are images of Shostakovich, Hitler, and clips that include documentary footage of an infamous 1939 pro-Nazi rally in Madison Square Garden (and its interruption by a young man outraged by the antisemitism on display). There is a segment showing politicians whom Carax deems to be possessed of “hate,” such as Xi Jinping, Donald Trump, Benjamin Netanyahu, Bashar al-Assad, and Vladimir Putin. (“They all claim to be humiliated and offended,” he notes.) There’s an astoundingly appalling bedtime story about Hitler and death camps; an extended lament on widespread indifference to migrants whose corpses wash up on European beaches; and visions of resistance, including documentary footage of Pussy Riot, and the French Resistance as personified by one of its heroes, Jean Moulin. Carax riffs on his father’s identity, and the sense of paternity on display extends to “bad” movie fathers like ones played by James Mason, Robert Mitchum, and Adam Driver (in Carax’s “Annette”). Another of Carax’s cited father figures is Jean-Luc Godard, whose presence is felt throughout: the soundtrack even features a phone message Godard left for Carax asking him to call back, and the very nature of the project is reminiscent of Godard’s self-portrait film “JLG/JLG.” There are differences, of course; unlike Carax, Godard was a character, acting often in his own films and those of others, and he cultivated his public image with an artistic aplomb. Still, the similarities are felt, stylistically and technically, in the collage-like form and the free manipulation of archival images—and, above all, in a shared sense of audacious yet exquisite aestheticism yoked to a strain of refined, resolute insolence. Carax’s art is exemplified with clips of ecstatic and intimate performances that he has elicited from regular collaborators, such as Julie Delpy, Juliette Binoche, Michel Piccoli, Denis Lavant, and Carax’s late partner, Katerina Golubeva. Her death, in 2011, haunts the film and hovers over Carax’s depiction of their daughter, Nastya, seen in home movies as a small child and, as an adult, as an accomplished pianist. (Carax uses special effects to transform a performance of her into a gothic extravaganza.) He interrogates himself, in particular, as director of actresses, through the self-accusingly melancholy lens of Nathaniel Hawthorne’s story “The Birth-Mark,” about a murderous quest for perfect beauty. While following his own life cinematically, Carax includes reflections on the art itself—in particular, his view of the lost grandeur of its classics, which he has sought to recapture with modern means. He discusses “the gaze of the gods” offered by the heavy equipment of the silent-film era, comparing it ruefully with the meekness of lightweight modern technology. He draws a similarly self-deprecating contrast between the laborious wonder that film of motion represented for the nineteenth-century pioneer Muybridge and the ease of modern motion capture as depicted ( and transfigured ) in his own movie “ Holy Motors .” In an extended sequence, launched by a poetic riff on blinking, he links today’s inexhaustible profusion of images with a metaphorical form of blindness. The movie concludes with a sequence of astounding, giddy inspiration. After the endnote-like credits comes an ingenious mashup of Carax’s celebrated “Modern Love” sequence in “Bad Blood” with his most recent feature, “Annette.” It’s a fusion of the classic and the modern, the spectacular and the whimsical, the boldly fictional and the self-effacingly metafictional. It’s no mere happenstance that Carax places this set piece after his modernist endnotes—it’s a whiplash assertion that the naming of his self-defining obsessions is beside the point. The movie’s referential fragmentation is secondary to its unity as an experience. What’s most personal about “It’s Not Me” is what can’t be sourced in the credits: the art of the cinema itself. ♦ New Yorker Favorites A man was murdered in cold blood and you’re laughing ? The best albums of 2024. Little treats galore: a holiday gift guide . How Maria Callas lost her voice . An objectively objectionable grammatical pet peeve . What happened when the Hallmark Channel “ leaned into Christmas .” Sign up for our daily newsletter to receive the best stories from The New Yorker .None

The polarization within the private banking sector has never been more apparent, with a small number of elite institutions dominating the market while many others struggle to keep up. The gap between the winners and losers in the industry has widened, leading to a growing sense of unease and uncertainty among private banks of all sizes. Those that are able to adapt quickly, embrace innovation, and build strong relationships with their clients have a better chance of surviving and thriving in this increasingly challenging environment.Jones shot 6 for 10 (6 for 9 from 3-point range) and 4 of 4 from the free-throw line for the Knights (4-7). Terrence Brown added 19 points while shooting 7 for 12 (2 for 5 from 3-point range) and 3 of 4 from the free-throw line and also had six rebounds, five assists, and six steals. Cameron Tweedy had 11 points and shot 4 of 5 from the field and 3 for 5 from the line. The Lightning were led in scoring by Kai Parris, who finished with 12 points. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .