Mercadien Asset Management's Ken Kamen tells Reuters' Fred Katayama investors shouldn't fight the Great Rotation trend that favors cyclical and value stocks over growth sectors like Big Tech.
Mercadien Asset Management's Ken Kamen tells Reuters' Fred Katayama investors shouldn't fight the Great Rotation trend that favors cyclical and value stocks over growth sectors like Big Tech.
Every spring, roses bloom in the western Saudi city of Taif, turning pockets of the kingdom's vast desert landscape a vivid and fragrant pink.
The pandemic has inspired some changes worth keeping. Count drafting from living rooms as one of them.
Natalie Lucia knew her Los Angeles life was getting back to normal the moment she was confronted by a snarling, life-sized velociraptor.
Japan is set to expand quasi-emergency measures to 10 regions on Friday as a fourth wave of COVID-19 cases spreads, casting doubt on whether the Summer Olympics can be held in Tokyo. Economy Minister Yasutoshi Nishimura told reporters that the government was considering adding Aichi, Kanagawa, Saitama, and Chiba to six other prefectures already under the orders, including the metropolises of Tokyo and Osaka. Japan's top health experts have acknowledged that the COVID-19 pandemic has entered a fourth wave.
Cuba's leadership is passing to a younger generation, with the last Castro leaving office and ending a 60-year family monopoly, but there is little other change as power remains firmly with the Communist Party.
President Joe Biden on Friday receives Japan's prime minister for his first in-person summit, with the leaders expected to announce a $2 billion 5G initiative as part of a concerted US push to compete with China.
RB Leipzig can pile some timely pressure on Bundesliga leaders Bayern Munich this weekend with coach Julian Nagelsmann indulging in mind games as his second-placed side aim to trim a five-point deficit.
Barcelona and Athletic Bilbao face off in the second Copa del Rey final in two weeks on Saturday when the impact of defeat for either could be more dramatic than the joy of victory.
HONG KONG (Reuters) -Hong Kong media tycoon Jimmy Lai and nine other pro-democracy activists are expected to be sentenced on Friday after they were found guilty of participating in unauthorised assemblies during anti-government protests in 2019. It would be the first time that Lai, one of Hong Kong's most prominent democratic activists, who has been in jail since December after being denied bail in a separate national security trial, will receive a sentence. Lai was found guilty in two separate trials earlier in April for illegal assemblies on Aug. 18 and Aug. 31 2019, respectively.
The ruling Scottish National Party pledged on Thursday to hold an independence referendum by the end of 2023, a step that could fracture the United Kingdom by ripping apart the 314-year union between England and Scotland. If there was another referendum and the Scots voted out, it would mark the biggest shock to the United Kingdom since Irish independence a century ago - just as London grapples with the impact of both Brexit and the COVID-19 crisis. Scotland voted against independence by 55% to 45% in 2014, but Nicola Sturgeon's Scottish National Party (SNP) wants another referendum if it wins the Scottish Parliament election on May 6.
The Gucci family is not happy with Ridley Scott’s “House of Gucci” film. Patrizia Gucci, who is the great-grandchild of Guccio Gucci, told the Associated Press that she is worried the film “goes beyond the headline-grabbing true-crime story and pries into the private lives of the Guccio Gucci heirs.” “We are truly disappointed,” Gucci told […]
Apr.15 -- Helge Berger, head of the International Monetary Fund’s China mission, discusses the outlook for the economy and policies amid the coronavirus pandemic. The fund expects the Chinese economy to grow 8.4% this year, raising its forecast from 8.1% in January. Berger also looks at how the tensions between China and the U.S. are affecting the global economy. He speaks with Kathleen Hays on "Bloomberg Daybreak: Asia."
Heavy rainfall caused flooding in parts of southern Louisiana on April 15. Video captured by Luella Caldwell shows the flooding in Mandeville.The National Weather Service reported torrential rainfall in the area on the morning of April 15, and later reported high water in the Covington, Mandeville, and Madisonville areas. Credit: Luella Caldwell via Storyful
“Predator” screenwriters Jim and John Thomas, who wrote the original 1987 Arnold Schwarzenegger sci-fi classic, have filed a lawsuit in California federal court against Disney in an effort to recapture the rights to the franchise. The Thomas brothers are specifically trying to use copyright law’s termination provision, which allows authors to cancel transfers after waiting a period of time, and are asking a judge to “provides authors with the inalienable right to recapture the copyright to their creative work,” according to legal documents obtained by TheWrap. The original spec of “Predator,” originally titled “Hunters,” was acquired in 1986 by Twentieth Century Fox (and now owned by Disney after the merger), and the Thomas brothers are seeking a termination date of April 17, which is this Saturday, according to the complaint. In the original “Predator,” Schwarzenegger played the leader of an elite special forces team on a mission to rescue hostages from guerrilla territory in Central America — before being hunted down by an advance alien life form. The film spawned three sequels plus the spin-off franchise, “Alien vs. Predator.” Dan Trachtenberg is set to direct the fifth installment of the “Predator” franchise. Also Read: 'Predator 5': Dan Trachtenberg to Direct Next Installment for 20th Century Studios The Thomas brothers say in 2016, they served a notice of termination to Disney and didn’t hear any objections for four-and-a-half years. It wasn’t until Jan. 2021 that they say “Defendants’ counsel unexpectedly contacted Plaintiffs’ counsel, contesting the Termination Notice as supposedly untimely, based on a theory that the 1986 Grant of the Screenplay underlying their ‘Predator’ films allegedly qualified for the special, delayed termination time ‘window’ in 17 U.S.C. § 203(a)(3), intended for ‘book publication’ grants.” The Thomas Brothers are asking a judge to rule in their favor and terminate the copyright. They are also asking for legal costs and attorney fees. Disney couldn’t be reached for comment. The Hollywood Reporter first reported the news. Read original story ‘Predator’ Screenwriters Sue Disney to Reclaim Rights to the Franchise At TheWrap
Lydia Ko went low again, shooting a 9-under 63 at Kapolei Golf Club on Thursday to take a three-stroke lead midway through the second round at the Lotte Championship. Ko had an opening-round 67 at Kapolei and was 14 under at the midpoint. With half the field still on the course, Ko's closest pursuers were fourth-ranked Nelly Korda (68) and Luna Sobron Galmes of Spain, who had 10 birdies and shot 64.
The birth of the four striped cubs on March 12 came after more than 20 years of efforts by the zoo's tiger breeding program to reproduce the endangered animals."It was a normal birth, everything went well and she's now started to carry out her role as a mother, she's a good mother,'' said Angel Pachy, a tiger specialist at the zoo."And something else that has brought us a lot of joy is that among the cubs was a white tiger. A white tiger had never been born in Cuba. We have reports of all the births in all the zoos in the country since zoos came into existence in Cuba and we've never had a white tiger so we are even happier because white tigers are very rare in nature and there are very few of them," he added.White tigers are a genetic variation of the better-known orange Bengal tigers. Thousands of tigers once roamed the forests in Bangladesh, India and Nepal. But their numbers have plummeted to just about 2,500 now, wildlife experts say. Poaching, deforestation and over-hunting have all taken their toll on the tigers.
The Writers Guild of America West announced on Thursday that it has reached a settlement with CBS that will see the network pay $3.4 million in residuals for 62 TV shows added to the since-rebranded CBS All-Access streaming service. “When CBS launched CBS All Access, the company used much of its own television programming to establish and grow the service,” guild leaders said in a memo to members that will be receiving a check through the settlement. “Writers of these television programs were owed a residual of 1.2% of the license fee for usage on CBS All Access […] We worked with CBS to reach a settlement that not only appropriately values the license fees for the programming you’ve written, but also includes interest owed for the late payment.” Also Read: Is ViacomCBS 'Blowing Smoke' on Diversity as 4 Top Female Execs Exit? (Exclusive) CBS All-Access was launched in 2014 and was rebranded earlier this year to Paramount+. It is one of several streaming services owned by TV networks and their parent companies, including NBCUniversal’s Peacock and WarnerMedia’s HBO Max. With the rise of these services, WGA says it is enforcing its contract with studios to require the networks to calculate the license fees they would have charged outside streaming services like Netflix for shows they are now streaming on their own services. “This protection is necessary to ensure that companies do not undervalue license fees (and therefore underpay residuals) when licensing content to themselves,” the memo reads. “In a world where most of the major studios have or soon will launch their own streaming services, this continues to be a vital enforcement issue for the Guild to address.” The Writers Guild says it will also monitor how CBS “values its television programs and pays residuals for reuse” as it continues to develop Paramount+. Read original story CBS Will Pay $3.4 Million in Residuals to Settle Dispute With Writers Guild Over Streaming At TheWrap
WASHINGTON (Reuters) -U.S. President Joe Biden and Japanese Prime Minister Yoshihide Suga will present a united front on Taiwan, China's most sensitive territorial issue, in a summit meeting on Friday, according to a senior U.S. administration official. Biden and Suga are expected to agree on a joint statement on the Chinese-claimed but democratically ruled island at Biden's first in-person meeting with a foreign leader, said the official, who spoke on the condition of anonymity.
This story about “Quo Vadis, Aida?” was drawn from an interview conducted for the Down to the Wire issue of TheWrap’s awards magazine. Director Jasmila Žbanić spent years hoping that somebody else would make a movie about the Srebrenica massacre, an act of genocide in which more than 8,000 Bosniak Muslim men and boys were killed by the Bosnian Serb Army in 1995. But she finally did it herself with “Quo Vadis, Aida?,” which landed the first Academy Award nomination for Bosnia and Herzegovina since “No Man’s Land” won the Oscar in 2002. Žbanić, whose 2006 film “Grbavica: The Land of My Dreams” represented her country in the international Oscar race that year, made the film from the perspective of a translator working for the United Nations, which declared the city a “safe area” but then failed to protect its residents from the Serb Army. Her interest in film had been nourished growing up in Sarajevo, where she was in her teens during that city’s four-year siege during the Bosnian War. Also Read: 'Quo Vadis Aida' Director Jasmila Zbanic Exposes the Bureaucracy of War From a Female Perspective (Video) When I went to the Sarajevo Film Festival in 2014, I heard remarkable stories about how that festival started during the war, while the city was under siege. Why was art and film important in the midst of what was going on? I had feeling that without art and culture, our lives wouldn’t make any sense. When everything started, the city was locked down – if you went out, you could be killed. But then schools and cinemas started to reopen, because people felt that if you don’t go on with your life, with culture, you are not human being. This was really a decision to say, “OK, we are fighting against these barbarians with culture. They want us not to have cinema, not to have theater, but we will do it in spite of their wishes.” They burned libraries, they burned cinemas, they bombed theaters while people were there. But we did it even without electricity. Films were projected with generators, or theater shows incorporated candles as a part of dramaturgy of the show. And people came in huge numbers. People felt that cinema and theater was part of who we are, and they had pride in that. So what was it about this particular story that made you want to tell it all these years later? First of all, my emotions about these events were mixed. I was very angry that people were betrayed by the United Nations. I was very hurt by how the war ended, because Srebrenica is still in the hands of Serbian nationalists. They got the city and a huge part of the country with violence, and that while was recognized, they are still ruling. And I also felt a lot of sadness and pain from what happened. 8,372 people died just because they had the wrong names – young people, old people. And I felt the pain of the women who survived. At first, they were hopeful that they could find their cousins and their sons and husbands – they didn’t believe that somebody could just kill them all in such huge numbers. So they lived for years with hope, and then they finally realized, “They are not alive anymore.” Then they were searching for bodies. Many didn’t have any other reason to live, except to live long enough to find the bodies and bury them that they have proper graves. Even if you don’t want to hear these stories, you hear them and you are affected. It tells about our past, but it also tells about our present. Especially with the arrival of the right wing in Europe, I felt it was even more important to talk about it. I was always hoping that somebody else would make a film about it, but then I thought I had to do it, knowing that it would be very hard. Also Read: Oscars Plan European Hubs for International Nominees Unable to Travel to US You could obviously have told the story of this massacre in many different ways. What led you to tell it through the eyes of a U.N. translator? I had several attempts where I would go in one direction and realize it’s not the right one. It could have been a political thriller, about the top level of decision-making going on in New York and the Netherlands. But I wanted the audience to really be with the people in Srebrenica and understand what it meant to believe that the world is a safe place, that the United Nations and the institutions that are supposed to protect us work. And then everything falls apart and there is betrayal and you have nothing to believe in anymore. I realized that the angle should be of a translator who is able to be at the important meetings, understanding negotiations and promises and all the things on that level, but also being Bosnian and having a stake in destiny of all other 30,000 people who were outside (the U.N. camp) not knowing what to do. So this was the moment where I thought, “This is good, because she can go through these two worlds that depend on each other.” There was a book, “Under the U.N. Flag,” by a translator who was there (Hasan Nuhanovic). I thought for a moment to make a film about him, but then I thought I would need a woman, because everybody in the world understands what it means to protect your family. And also I understood from very beginning that I didn’t want to finish with the killings. I wanted to go on several years after to understand, what does life look like after genocide? Was there resistance in Bosnia to making a film like about this subject? Our political situation is that on one side, genocide is completely denied. A lot of effort is put into lobbying to say that it’s just rumors. Many politicians, especially Serbian politicians, are not recognizing the international tribunal and their decisions on Serbia. This general (Ratko) Mladić (who was convicted of war crimes) is considered a hero. This is the very poisoned atmosphere we live in, and we have these kind of forces in our government. Also Read: Oscars Reveal Record-Breaking Lists of Contenders in Documentary, International Categories How did that affect your production? Bosnia makes maybe one film per year, and the average budget is 1 million Euro. This one was 4.5 million, which was impossible to raise in Bosnia. But we believed so much in it that all these obstacles were overcome – the film is a co-production of nine different European countries, but it was necessary to do it that way. Also, we are not a developed industry in Bosnia. We don’t have tanks and vehicles in a studio where you can rent them. So when we applied to get military equipment, we had to ask for real ones from the ministry of defense. And because of the political issues, they didn’t want this film to happen. We wrote them every week for 10 months and went into production without tanks. It was absolute madness. And then we found a friend of a friend of a minister and her lawyer, and through this totally crazy network we got permission to have two tanks for one day. The second tank died at 5 in the morning – I don’t know if it was sabotage or not, but only one tank was working and that one had to play all our tanks in the film. And also, we borrowed military vehicles from the police, because the army didn’t want to give them to us. They were blue vehicles, and we painted them green for the Serbian army, and then the next day we had to paint them white for the U.N. and then next day, again, paint a different color for the army. What has the reaction been like now that the film has been nominated? There’s really big pride in the nomination. I mean, there are people in the right-wing media that are talking some crazy stuff about the film, and they’re especially hard on my actors. Jasna Đuričić is playing Aida. She is from Serbia and they are calling her traitor and saying that she shouldn’t be working in Serbia anymore because she betrayed the Serbian nation. But on the other hand, there are also a lot of positive reactions from Serbia. I received one email where a woman said, “I lived all my life with stories that the genocide never happened and that we were heroes there. And when I saw your film, I knew that all my life, I felt something is wrong with this narrative. The film gave me this cathartic moment to understand what was wrong, and it totally changed my perspective on things.” I receive these kinds of reactions, and I think this is this is very, very crucial. Looking at Oscar submissions not just from Bosnia but from across the Balkans in recent years, it seems that many filmmakers in the region are still telling stories about the war or about people who are haunted by the war – that the art of the Balkans is, in many ways, trying to come to terms with what happened. Yes, because I think that, as I said, in politics the things are denied and there are still a lot of people who were participating in a war who have the same rhetoric in the public sphere. And media are mostly following these political directions. So art is the only free territory where you can really show traumas and allow people to digest them – to face the traumas and to overcome them. Other fields of life don’t allow people to do so. People are in a very hard economic state after the war. We are one of the poorest countries. So there is no time in ordinary people’s lives to sit down and contemplate, because they have to survive. All of this is then buried but still very active. Our bodies are still hurt by being four years in fear, by being without food, without electricity, being frozen during winters. You can’t just say, “OK, now it’s BS, we signed a peace treaty,” and then forget it. You can’t. So I think art is allowing people to process many things and to reflect and to see themselves. Read more from the Down to the Wire issue here. Read original story ‘Quo Vadis, Aida?’ Director on Why Art Is Necessary to Confront Tragedy At TheWrap
Upon its completion, the facility will be the largest Filecoin distributed storage infrastructure project in China.