
Gus Atkinson claimed a superb hat-trick as England took command of the second Test against New Zealand, knocking over the home side’s tail in style. The Surrey seamer took out Nathan Smith, Matt Henry and Tim Southee with three successive deliveries, the 15th time an English bowler has achieved the feat in Test cricket. Atkinson turned the heat on the Black Caps in his ninth over, racking up three different modes of dismissal to end their innings on 125 and hand the tourists a lead of 155. The 26-year-old uprooted Smith’s middle stump with the third ball of his over, then had Henry backing away from a short ball that he fended to Ben Duckett at gully. Last man Tim Southee stood between Atkinson and a place in the history books but had no answer as the ball came full and straight, smashing his front pad dead in front of middle stump. Southee reviewed the lbw decision in hope more than expectation but England’s celebrations were already well under way. Rod Tucker raised his finger for a second time to seal the deal, with Atkinson registering the 50th Test hat-trick in world cricket – 47 in the men’s game and three in the women’s. The last player to get one was South Africa’s Keshav Maharaj in 2021, with Moeen Ali the most recent to do so for England, against the Proteas at the Oval in 2017. Stuart Broad took two in his career, making Atkinson the 14th England player on the list. Brydon Carse had earlier dismissed Tom Blundell and Will O’Rourke in the space of three deliveries as New Zealand lost their last five batters for 39.Tyrese Hunter tossed in a game-high 26 points to lead Memphis to a 99-97 upset victory over No. 2 UConn on Monday in the first round of the Maui Invitational in Lahaina, Hawaii. Hunter, who played at Iowa State and Texas before transferring to Memphis, made eight field goals with 7-of-10 3-point shooting. The Tigers (5-0) connected on 12 of their 22 3-point attempts in the win. UConn's Hassan Diarra made a free throw to cut the Memphis lead to 99-97 with 2.2 seconds left. He intentionally missed the second free throw and collected the loose ball, but his desperation shot was off the mark. It was 92-92 when UConn's Liam McNeeley was called for an offensive foul with 40.3 seconds left. UConn coach Dan Hurley received a technical for arguing the foul call, and PJ Carter made all four free throws to give the Tigers a four-point lead. Memphis, which squandered a 13-point lead with four minutes to play in regulation, received 22 points from PJ Haggerty, 19 from Colby Rogers and 14 from Dain Dainja. Memphis will play the winner of Monday night's game between Colorado and Michigan State in Tuesday's semifinals. UConn will face the loser of that contest. Tarris Reed Jr. had a team-high 22 points and a game-high 11 rebounds for UConn (4-1) before he fouled out with 3:18 to play. He made 10 of his 13 field goal attempts. Alex Karaban added 19 points for the Huskies. Jaylin Stewart scored a career-high 16 points, Diarra had 12 and McNeeley added 10. UConn trailed 82-79 after Diarra made two free throws with 24.2 seconds to play in regulation. The Huskies then forced a turnover and tied the game on a 3-pointer by Solo Ball with 1.2 on the clock. Although Memphis shot 56.5 percent from the field (13 for 23) and 50 percent from 3-point territory (5 for 10) in the first half, the game was tied 40-40 after 20 minutes. Neither team led by more than six points in the half. UConn received 29 points from its bench in the first half. Reed scored 15 of those points and Stewart supplied the other 14. --Field Level Media
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By A Correspondent Opposition leader, Advocate Nelson Chamisa, has responded to President Emmerson Mnangagwa’s desperate attempts to implicate him in the Harare City Council land saga. Below is Advocate Chamisa’s full response: On Monday, I was called to testify before (Rtd) Justice Maphosa Cheda at the Harare City Commission inquiry, a forum established by Mr. Mnangagwa. While I have reservations about the legitimacy of the Commission, I agreed to appear out of courtesy and in my capacity as an officer of the Court and advocate for justice. The Commission sought my response to claims allegedly made by a councillor, who supposedly mentioned my name in connection with the so-called “regularisation process” of the Harare City Council. I made it clear: I have no locus standi to comment on local authority matters. I am neither a councillor, mayor, nor a local government official, and I am not part of the central government. Urban councils are statutory bodies governed by the Urban Councils Act, and decisions are made by council committees or full council motions—not by external actors or political parties. An audio recording was played at the hearing, purportedly of the councillor referring to me as a party leader. Its amateurish presentation, played from a phone, raised questions about its authenticity and reliability. Despite these concerns, I responded to avoid embarrassing the Commission. For the record, I would not recognise the councillor in question if we met face-to-face. The voice on the recording also mentioned Mr. Mnangagwa. I pointed out that if my presence was deemed necessary based solely on this audio, then the same courtesy should surely be extended to Mr. Mnangagwa, whose name was also mentioned. The principle is clear: he who alleges must prove. It is unjust to summon individuals based on unsubstantiated claims. The law demands evidence, not baseless accusations. I wish to make it clear: as a human rights defender, a champion of justice, and a steadfast constitutionalist, I strongly condemn the destruction of people’s homes. Using bulldozers to erase lives and livelihoods is criminal, sadistic, and inhumane. This is not justice; it is a testament to systemic leadership failure and a mockery of human rights. This is not the first time a Commission has been used as a diversion from addressing real issues. In 2018, Mr. Mnangagwa established the Motlanthe Commission following disputed general elections. I was summoned before the Commission over a matter that had nothing to do with me. Now, in 2023, the same pattern is repeating, with me being drawn into issues far beyond my purview. This governance crisis cannot be resolved through malicious intent or unwarranted targeting of innocent individuals via commissions. It requires genuine accountability and decisive action to address the root causes. Corruption, maladministration, and poor governance are eroding our towns, cities, and the country as a whole. These cancers must be eradicated. Local governance has become a theatre of incompetence and impunity. It is a crisis compounded by a small group that weaponizes inquiries to distract from its own failures. It is time to hold accountable those who are truly responsible for this decay.Harris Dickinson was nervous to approach Nicole Kidman. Read this article for free: Already have an account? As we navigate through unprecedented times, our journalists are working harder than ever to bring you the latest local updates to keep you safe and informed. Now, more than ever, we need your support. Starting at $14.99 plus taxes every four weeks you can access your Brandon Sun online and full access to all content as it appears on our website. or call circulation directly at (204) 727-0527. Your pledge helps to ensure we provide the news that matters most to your community! Harris Dickinson was nervous to approach Nicole Kidman. Read unlimited articles for free today: Already have an account? Harris Dickinson was nervous to approach Nicole Kidman. This would not necessarily be notable under normal circumstances, but the English actor had already been cast to star opposite her in the erotic drama “Babygirl,” as the intern who initiates an affair with Kidman’s buttoned-up CEO. They’d had a zoom with the writer-director Halina Reijn, who was excited by their playful banter and sure that Dickinson would hold his own. And yet when he found himself at the same event as Kidman, shyness took over. He admitted as much to Margaret Qualley, who took things into her own hands and introduced them. “She helped me break the ice a bit,” Dickinson said in a recent interview with The Associated Press. On set would be an entirely different story. Dickinson might not be nearly as “puckishly audacious” as his character Samuel but in the making of “Babygirl,” he, Kidman and Reijn had no choice but to dive fearlessly into this exploration of sexual power dynamics, going to intimate, awkward, exhilarating and meme-able places. It’s made the film, in theaters Christmas Day, one of the year’s must-sees. “There was an unspoken thing that we adhered to,” Dickinson said. “We weren’t getting to know each other’s personal lives. When we were working and we were the characters, we didn’t veer away from the material. I never tried to attach all of the history of Nicole Kidman. Otherwise it probably would have been a bit of a mess.” His is a performance that reconfirms what many in the film world have suspected since his debut seven years ago as a Brooklyn tough questioning his sexuality in Eliza Hittman’s “Beach Rats”: Dickinson is one of the most exciting young talents around. Dickinson, 28, grew up in Leytonstone, in East London — the same neck of the woods as Alfred Hitchcock. Cinema was in his life, whether it was Christopher Nolan’s “Batman” films at the local multiplex or venturing into town to see the more social realist films of Mike Leigh and Ken Loach. “Working class cinema interested me,” he said. “People around me that represented my world.” Appropriately, his entry into making art started behind the camera, with a comedy web series he made as a kid, which he now describes as “really bad spoofs” of films and shows of the time. But things started to really click when he began acting in the local theater. “I remember feeling invigorated by it and accepted,” he said. “I felt myself for the first time and felt able to express myself in a way where I didn’t feel vulnerable and I felt alive and ignited by something.” At around 17, someone suggested that he should give acting a try professionally. He hadn’t even fully understood that it was a career possibility, but he started auditioning. At 20, he was cast in “Beach Rats” and, he said, just “kept going.” Since then, he’s gotten a wide range of opportunities in films both big, including “The King’s Man,” and small. He’s captivated as a male model in Ruben Östlund’s Cannes-winning “Triangle of Sadness,” an estranged father to a 12-year-old in Charlotte Regan’s “Scrapper,” an actor bringing an ex-boyfriend to life in Joanna Hogg’s “The Souvenir Part II,” the charismatic, tragic wrestler David Von Erich in Sean Durkin’s “The Iron Claw” and a soldier in Steve McQueen’s “Blitz.” But “Babygirl” would present new challenges and opportunities with a character who’s almost impossible to define. “He was confusing in a really interesting way. There wasn’t loads of specificity to it, which I enjoyed because it was a bit of a challenge to sort of pinpoint exactly what it was that drove him and made him tick,” Dickinson said. “There was a directness that unlocked a lot for me, like a fearlessness with the way he spoke, or a social unawareness in a way — like not fully realizing what he’s saying is affecting someone in a certain way. But I didn’t make too many rules for him.” Part of the allure of the film is the ever-shifting power dynamics between the two characters, which could change over the course of a scene. As Reijn said, “It’s a cautionary tale about what happens when you suppress your own desires.” She was especially in awe of Dickinson’s ability to make everything feel improvised and the fact that he could look like a 12-year-old boy in one shot and a confident 45-year-old man in the next. Since its premiere at the Venice Film Festival earlier this year, the film has led to some surprisingly direct conversations with audiences spanning generations. But that, Dickinson understood, was what Reijn wanted. “She really wanted to show the ugliness and the awkwardness of these things, of these relationships and sex,” he said. “That sort of fumbly version and the performative version of it is way more interesting, to me at least, than the kind of fantasized, romanticized, sexy thing that we’ve seen a lot.” Dickinson recently stepped behind the camera again, directing his first feature film under the banner of his newly formed production company. Set against the backdrop of homelessness in London, “Dream Space” is about a drifter trying to assimilate and understand his cyclical behavior. The film, which wrapped earlier this year, has given him a heightened appreciation for just how many people are indispensable in the making of a film. He’s also started to understand that “acting is just being able to relax.” “When you’re relaxed, you can do stuff that is truthful,” he said. “That only happens if you’ve got good people around you: The director that creates the good environment. The intimacy coordinator facilitating a safe space. A coworker in Nicole encouraging that kind of bravery and performance with what she’s doing.” Dickinson did eventually get to the point where he managed to ask Kidman questions about working with Stanley Kubrick and Lars Von Trier. But he also kept one shattering possibility between himself and his director. “There is a world in which Samuel doesn’t even exist. He’s just a sort of a device or a figment for her own story. And I like that because it kind of means you can take the character into a very unrealistic realm at times and be almost like a deity in the story,” Dickinson said. “We didn’t talk about it with Nicole.” Advertisement Advertisement
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