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NoneOlder siblings everywhere could appreciate John Harbaugh's refusal to concede an inch against his younger brother Jim. Even when his Baltimore Ravens faced fourth down at their 16-yard line in the second quarter, John wasn't giving up the ball without a fight. The Ravens converted that fourth down and two others on their way to a 30-23 victory over the Los Angeles Chargers on Monday night, giving their coach a third victory in three matchups against his brother. It was the first time they'd faced off since Baltimore beat San Francisco — then coached by Jim Harbaugh — in the Super Bowl at the end of the 2012 season. “We grew up in the same room and have always lived our life side by side, but that’s not what the game is about,” John Harbaugh said. “The game really is about the players, and the players are always going to win the game or lose the game or whatever.” On this night, it was Baltimore's players who shined. Specifically Derrick Henry, who rushed for 140 yards. Lamar Jackson threw a couple of touchdown passes, and the defense was solid, allowing touchdowns on the first and last Los Angeles drives but not much in between. “I’m proud of our guys,” John Harbaugh said. “I’m proud of the way they came out and responded after the first 10 points — we were down 10-0, and our guys stepped up.” After converting fourth-and-1 at their 16 late in the second quarter, the Ravens scored on a 40-yard pass from Jackson to Rashod Bateman, taking the lead for good at 14-10. Baltimore's other two fourth-and-1 conversions came on a 14-play touchdown drive that spanned the end of the third quarter and start of the fourth. “We’re just confident that we’ll end up converting on those fourth downs, and we did a great job blocking,” said Henry, who converted the last two of the fourth downs. "All we had to do was make a play, and we did.” The Ravens got back to their identity a bit, rushing for 212 yards. And it wasn't just Henry and Jackson contributing. Justice Hill broke free for a 51-yard touchdown that made it 30-16 in the fourth. “Nobody wants to stand in front of (Derrick Henry) every single play, every single run,” Hill said. "You can do it one time, two times, three times, but when you have to do it 20 to 25 times, it starts to wear down. I’m glad we stuck with the run game this game, and it played out for us.” There were still too many penalties, with the Ravens flagged nine times for 102 yards. Baltimore played a pretty clean game until the fourth quarter, so several of those flags came after the Ravens had the game reasonably under control, but this is still an area of concern. With star linebacker Roquan Smith out because of a hamstring injury, Malik Harrison led the Ravens with a dozen tackles. “It’s a lot of people that doubted me coming into this game, so I’m happy I was able to ball out and show them that I can be in this league, and I can play at a high level,” Harrison said. There was a time when Isaiah Likely seemed as if he might be supplanting Mark Andrews as Baltimore's top tight end threat, but Likely went without a catch Monday. He did, however, recover the onside kick that effectively ended the game. Although Smith was out, DT Travis Jones (ankle) and C Tyler Linderbaum (back) were able to start. Jackson has now thrown 22 touchdown passes with no interceptions on Monday nights, with a passer rating of 124.3. The Ravens have one more game before their open date, and it's a showdown this weekend against a Philadelphia team that has won seven in a row. Saquon Barkley (1,392) of the Eagles and Henry (1,325) have both surpassed 1,300 yards rushing already. Nobody else in the NFL has more than 1,000. AP NFL: https://apnews.com/hub/nfl

MAZ.H THETFORD MINES, QC , Nov. 26, 2024 /CNW/ - At a meeting of the Board of Directors held on November 26, 2024 , Mazarin Inc. (the "Corporation") has granted to Mr. Louis Brenn 150,000 options to purchase common shares of the Corporation at a price of $0.10 per share, being the exercise price in accordance with the terms and conditions of the Stock Option Plan of the Corporation. The expiry date of these options is November 26, 2029 . Mazarin Inc. is a natural resource company that focuses on the development of industrial minerals in order to provide value-added products that meet the criteria of customers worldwide with regard to performance and economic and ecological concerns. Mazarin's shares trade on the NEX under the stock symbol MAZ.H. FORWARD-LOOKING STATEMENTS: This press release contains forward-looking statements that address future events and conditions, which are subject to various risks and uncertainties. Actual results could differ materially from those anticipated in such forward-looking statements as a result of numerous factors, some of which may be beyond the Corporation's control. These factors include: general market and industry conditions, risks related to commissioning, to continuous operations and to commercialization of new technologies and other risks disclosed in the Corporation's filings with Canadian Securities Administrators. Forward-looking statements are based on the expectations and opinions of the Corporation's management as of the date of this press release. The assumptions used in the preparation of such statements, although considered reasonable at the time of preparation, may prove to be imprecise and, as such, undue reliance should not be placed on forward-looking statements. The Corporation does not undertake any obligation to update such forward-looking information, whether as a result of new information, future events or otherwise, except as required by applicable law. Neither TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release. SOURCE Mazarin Inc. View original content: http://www.newswire.ca/en/releases/archive/November2024/26/c6746.html © 2024 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.

You never quite know where Isabella Rossellini might pop up next. Since her beguiling breakout role as a nightclub singer in David Lynch’s masterpiece Blue Velvet (1986), Rossellini has navigated her career with a playful spirit. She’s worked with experimental auteurs ranging from Robert Zemeckis to Denis Villeneuve, appeared in episodes of Friends and Tales from the Crypt , and is responsible for one of the funniest line-readings of all time, courtesy of her two-episode arc as Alec Baldwin’s ex-wife on 30 Rock . And that’s without even mentioning Green Porno , a charming series of short films that Rossellini wrote, directed, and starred in for the Sundance Channel, in which she acts out the mating rituals of various insects and animals. Most recently, Rossellini has enjoyed a streak of scene-stealing supporting turns as the aristocratic mother of Josh O’Connor’s absent lover in La Chimera, the omniscient narrator in Problemista , and a talking shell in A24’s big-screen adaptation of Marcel the Shell with Shoes On . She also appeared this fall in Conclave, Edward Berger’s religious potboiler about a cardinal (Ralph Fiennes) who finds himself uncovering various secrets and scandals when he is put in charge of electing a new pope. It’s like an episode of Gossip Girl set at the Vatican, with Rossellini as a knowing nun whose small amount of screen time is intensely effective. “It almost felt like a silent film-star performance,” the 72-year old icon tells Vogue over breakfast. “The Catholic Church is a very patriarchal society and women often don’t speak, so when I finally do speak towards the end of the film, it feels like a bomb going off.” Here, Rossellini catches up with Vogue to discuss Conclave , Death Becomes Her opening on Broadway, why Blue Velvet almost ruined her career, and leaving Hollywood behind for a farmhouse on Long Island. Vogue : What does it take to lure an actress of your stature into a project these days? Isabella Rossellini: Edward Berger simply sent the script to my agent—which I read and immediately loved. I had seen All Quiet on the Western Front , which is quite a superior film, so I was delighted to work with a director of his caliber. Some of the actors were not cast yet, but there was a rumor that John Lithgow and Stanley Tucci might be doing it, so I called them up and told them I was doing it. Is it common to speak to the other actors in negotiations for a project when you’re considering a role? Like, “I’ll do it if you do it”? Sometimes! But you can really only do it with friends, otherwise it feels like an indiscretion. I made a movie with Stanley years ago [1996’s Big Night ] and we’ve been friends ever since. I did want to know if they were doing it, partially because their involvement made me wanna do it even more. Your character, Sister Agnes, is sort of a specter who observes a lot of action from the background of the film. How did you find your take on her? I have a very silent role—Sister Agnes is almost like a shadow. She’s present all the time, even when you can’t see or hear her. Thankfully, I am very familiar with silent films, because this almost felt like a silent film-star performance. The Catholic Church is a very patriarchal society and women often don’t speak, so when I finally do speak towards the end of the film, it feels like a bomb going off. What did Edward communicate to you about what he wanted out of your performance? Edward was very clear about his intentions. He wanted the scenes with my character to be shot in a very claustrophobic manner. The way he uses the sounds of silence, humming, breathing, and heartbeats are almost as important as the words. On the first day of filming, we shot a scene where the camera was very high and the nuns and cardinals all looked like dots. The nuns were blue dots and the cardinals were red dots, and just the way we move in the frame tells you everything you need to know about the hierarchy of this place. The red and blue dots never mix because there’s such a distinct separation between sexes. What about the film appealed to you, in terms of what it has to say about faith and doubt? I go back to that speech that Cardinal Lawrence (Fiennes) gives near the beginning of the film, when he’s talking about the ills of certitude and the importance of embracing uncertainty. Without doubt, there wouldn’t be faith. That idea moved me a lot, because all our lives, we’re asked to have certitude when it comes to everything from who we vote for to who we marry. We teach children to respect certitude, but the fact is that we are humans and the mystery of life is far bigger than our certitude. Many may claim to have the answers, but there are limits. I thought the film was a beautiful illustration of that point. I was familiar with this world because I’m from Rome and I went to nun school. You’ve said in previous interviews that you grew up with a “liberal Catholic education.” My family wasn’t particularly religious except for my grandmother—although she didn’t even go to church! I went to a Catholic school in France run by nuns from third grade all the way through high school. My brother went to another Catholic school run by a Jesuit priest who had the reputation of being very intellectual. In Rome there are the conservative and liberal sectors: There are priests that are corrupt and the ones that are not. It’s particularly conservative in Rome because that’s where the Vatican is, so you participate in political and moral debates connected to the church almost daily. Every Italian newspaper reports on murder, politics, international headlines, and what the pope said. Given the film came out in the thick of election season, it’s hard not to draw a connection between our current political climate and the dirty politics depicted in the film. Did you have those types of conversations on-set? Yes, we did, but it really was also quite a coincidence. The debates in the church and the film are the same debates that we’re having all over the world. How do you define gender? What is the role of women? Is tradition more important than emancipation? All these debates exist beyond the election—the book [Robert Harris’s 2016 novel Conclave , on which the film is based] was written several years ago and the script follows it quite closely. Spoiler alert for anyone who hasn’t seen Conclave , but I wanted to discuss the ending. It’s revealed that the character Cardinal Benitez [Carlos Diehz] was born intersex, that the previous pope knew, and the conclave has unknowingly elected Benitez as the first non-male pope. What was your interpretation of the ending? One of the biggest debates in our culture today is gender. There is a higher percentage of people than you may think who are born with genitals that are neither male nor female. I spoke to a doctor and they said that this happens quite often, and that they generally perform surgery based on functionality. They do tests to determine whether you have ovaries and based on whatever external physical attributes you have, they can do an operation right away so that your sex is male or female. But Cardinal Benitez didn’t know and lived his entire life in doubt. At the end, when he says the pope offered to pay for the operation to remove his uterus, but he declined because God made them this way? There are layers to our humanity, and that’s the power of this film. I think it’s very spiritual in that way. Have you consciously tried to explore themes related to gender and sexuality in your work? I really enjoyed the Green Porno series that you made for the Sundance Channel a few years ago. I’ve always asked questions, but never quite to the degree that Conclave does. I also think that when it comes to issues of gender and sexuality, people are sometimes scared to say the wrong thing or ask questions that may challenge preconceived notions others may have about the world around them. That’s partially why I loved making Green Porno . I made it because I was amused at all of this sexuality that exists in nature. It was an intellectual exercise where I could ask questions and learn things that I’d never even thought about before. Do you have a personal favorite episode? I really love the one about dogs, and the one about dolphins. I also have a fascination with the one about a spider that gets eaten by her babies and one about a hamster that eats her babies. Isn’t it fascinating that the scope of the maternal instinct can range from the hamster to the spider? You got your MA in animal behavior from Hunter College in 2019—do you think you would’ve worked with animals if you hadn’t been an actress or model? Yes, but I do run a 30-acre farm, so in many ways I’ve managed to fuse all these passions. How did you end up running a farm in Long Island? About 12 or so years ago, a neighbor of mine was developing it but got discouraged. The price of farmland in Long Island has gone way up and farmers cannot afford it anymore, so now it’s all turning into resorts. She called me up and said, “Why don’t you buy it? You’re a tree hugger!” So I bought the land and with the help of the Peconic Land Trust, which is a trust in Long Island whose mission is to support farmers, we changed the zoning to residential farming and into the sprawling oasis that it is today. I feel like every New Yorker—myself included—has the same dream of leaving the city behind for farm life without fully realizing what that lifestyle entails. Everybody says, “You chose such a quiet life”— not at all! I was lucky to meet a woman named Patty Gentry, who was a chef who wanted to become a grower. She has an operation called Early Girl Farm within the Mama Farm property where she grows her vegetables. I curated the collection of animals and make sure they eat everyday. There’s also vaccinations, fences coming down, weathering storms. Patty does her own thing, but I’ve hired two people to help me look after the animals and a third person to manage the bed and breakfast. So it’s not all hikes and fresh produce? There’s plenty of that as well. When I’m there we’re doing everything from gardening to cooking lessons to knitting. I manage the bees since everybody’s afraid of how small and nasty they are—I’m covered up like an ebola doctor, so it feels like armor. But it’s a lot of work and constant problems. I still have a small apartment in New York that I visit just to take a breather sometimes. Do you miss living in the city at all? Not really. I’m close enough that I can hop on a train if I ever feel the draw. But once you move out of the city, you sorta lose touch with what’s going on. I don’t know what exhibits or shows are happening anymore. Do you plan on seeing the Death Becomes Her musical coming to Broadway? I’m actually visiting Boston tomorrow to record the announcement they play beforehand, asking audiences to turn their phones off. They asked me to do it as my character. I’ve heard the show is quite good. I read a lot of positive reviews when it played in Chicago earlier this year. I won’t be able to attend the opening since I’ll already be in Europe, touring my one-woman show. But as soon as I’m back for Christmas, that’s one I want to see. Was Death Becomes Her your first time working on something of that scale, in terms of sets and special effects? I had done a few studio films before, but Death Becomes Her was on a whole other level. We all thought we were doing something that was gonna be successful because Robert Zemeckis had done all these wonderful films like Forrest Gump and Who Framed Roger Rabbit . Everybody was expecting Death Becomes Her to be another big hit, and I remember Robert saying he felt the weight of the world on his shoulders. When it came out, I sensed a bit of disappointment about the way it was received. And yet now it’s developed such a strong cult following. Every Halloween, I always see people dressed up as my Blue Velvet character. But suddenly, in the last few years, I’ve seen more Death Becomes Her costumes. It really seems like younger generations have embraced that film. I watched an interview you did in 1989 to promote Cousins , and the journalist asks in a slightly appalled tone whether you’re sorry that you made Blue Velvet . I got fired by my agents because of that film. I did Blue Velvet because I ran into David Lynch at a restaurant. I had just done a film with Helen Mirren [1985’s White Nights ] and he wanted her to play Dorothy Vallens, but Helen didn’t wanna do it. The next day, he sent me the script and I liked it, but I asked if we could rehearse because I wanted to understand this unusual character. I saw her as a battered woman, but also something of a predator herself because of the way she engages with the Kyle MacLachlan’s character. David, Kyle, and I talked through the script and rehearsed the whole night, and David really liked my interpretation, so he hired me. And it never felt like you were making anything particularly controversial? Not at all. We were a tiny independent film, so the press wasn’t paying much attention until The New York Times gave it a very positive review, which really put a spotlight on the film since reviews had much more influence at the time. I remember someone from the New York Post writing that Ingrid Bergman should come out of her grave to give her daughter a citizen’s arrest—which honestly made me laugh. It was also still relatively early in my acting career, so my agent wasn’t paying much attention until after the film came out. He just knew I was making a film with David Lynch about a mystery in a small town. What was his reasoning for firing you? He said: “We do not represent porno actors.” Did you feel like the film had a negative impact on your career? I didn’t have an agent for quite a long time. Tom Luddy was a producer who founded the Telluride Film Festival, and he championed Blue Velvet at a time when it was being heavily criticized. Tom was producing a film with Norman Mailer called Tough Guys Don’t Dance and offered me a leading role at a time. This was at a time when I couldn’t get an agent and felt sorta ousted from Hollywood. Little by little, I managed to crawl my way back to a career. There were obviously controversial films before and after Blue Velvet , but why do you think the film got under people’s skin? People seemed upset at the suggestion that these horrific things could be happening right under your nose in suburbia. The nuns from my school were still alive at the time and wrote to me saying how devastated they were: “How could we have raised this girl who would choose to make such a sinful film?” Bear in mind they hadn’t even seen it! I wrote back saying that making a film wasn’t a sin and that I wanted to tell this woman’s story. They wrote back saying they had a mass where all the nuns prayed for me, so I just said, “Thank you for the blessings.” You’ve worked with everyone from auteurs like Peter Weir and Denis Villeneuve to first-time filmmakers like Julio Torres . What do you look for in a collaborator now? I just look for talent that excites me. Julio is an incredible new talent and the way his mind works is so abstract. I like how it makes me look at the world around me differently. I still have a fire in my belly to be challenged—I had to read the ending of Conclave two or three times to fully understand it. But I’m also not sure how many more movies I have left in me. Do you have any interest in retiring from acting? I’m questioning more and more these days if I should stop working as an actress—or at least only do a few projects now and then, so I can really concentrate on my farm. I’d have to figure out how to make it all work financially, because I am getting up there in age. I’m happiest when I’m working on the farm with the sun shining on my face, so I want to spend more time doing that. This conversation has been edited and condensed.Trump's threat to impose tariffs could raise prices for consumers, colliding with promise for relief

NEW YORK — Stoli Group USA, the owner of the namesake vodka , has filed for bankruptcy as it struggled to contend with slowing demand for spirits, a major cyberattack that has snarled its operations and several years of fighting Russia in court. The company in its bankruptcy filing said it is “experiencing financial difficulties” and lists between $50 million and $100 million in liabilities. Stoli vodka and Kentucky Owl bourbon will continue to be available on store shelves while the company navigates the Chapter 11 process, which only pertains to its U.S. business. Until 2022, Stoli was sold as Stolichnaya in the United States, which loosely translates to “capital city” in Russian. The company shortened its title following Russia’s invasion of Ukraine and boycotts against Russian-branded vodkas . Stoli Group’s founder, Russian-born billionaire Yuri Shefler, was exiled from that nation in 2000 because of his opposition to President Vladimir Putin. People are also reading... Intel announced on December 2 that CEO Pat Gelsinger has resigned after a difficult stint at the company. The once-dominant chipmaker’s stock cratered as it missed the AI boom and was surpassed by most of its rivals. The liquor has long been marketed as a Russian vodka, but its production facilities have been in Latvia for several decades. Stoli Group is a unit of Luxembourg-based SPI Group, which owns other spirit and wine brands. “The Stoli Group has been targeted by the Russian Federation since it was formed nearly 25 years ago,” said Stoli Group CEO Chris Caldwell in a statement. “Earlier this year the company and our owner were both named by the Russian state as ‘extremist groups working against Russia’s interests.’” Its ongoing legal battle with the Russia government has forced Stoli to “spend dozens of millions of dollars on this long-term court battle across the globe with the Russian authorities,” according to its court filing. Caldwell also said that Stoli’s global operations has been a “victim of a malicious cyber attack” that has forced the company to operate “entirely manually while the systems are rebuilt.” A slowdown in demand for alcohol has crushed several company’s bottom lines following the pandemic when people were stuck at home and stocked up. Stoli’s filings said that it has seen a “decline and softening of demand for alcohol and spirits products post-Covid and especially beginning in 2023 and continuing into 2024.” Stoli Group USA, maker of Stoli vodka, has filed for bankruptcy due to slowing demand for spirits, a major cyberattack, and ongoing legal battles with Russia. The-CNN-WireTM & © 2024 Cable News Network, Inc., a Warner Bros. Discovery Company. All rights reserved. The business news you need Get the latest local business news delivered FREE to your inbox weekly.NASA's stuck astronauts hit 6 months in space. Just 2 more to goVictoria's Secret (NYSE:VSCO) Delivers Strong Q3 Numbers

The Financial Times has spotlighted several pressing issues facing the UK. A top cyber security agency warns about a 'widening gap' in the nation's ability to combat cyber threats, as AI advancements increase the complexity of attacks. In political news, U.S. President-elect Donald Trump announced his choice of Arkansas banker Warren Stephens as the next ambassador to the UK, signaling potential shifts in diplomatic relations. Meanwhile, the finance sector is seeing turbulence with British wealth manager St James's Place planning significant layoffs. Additionally, Prime Minister Keir Starmer is targeting household disposable income as a cornerstone for his economic strategy, despite competitive economic challenges framed by the context of the G7. (With inputs from agencies.)Swerv Dating Launches Ambassador Program to Accelerate Real-World ConnectionsFour reasons to shop locally this holiday season