A pair of teams with minimal rest will face off in Nassau, Bahamas, on Sunday when No. 22 St. John takes on Georgia. St. John's (5-1), which will play its third game in four days, began the stretch in the Bahamas Championship on Thursday, dropping a heartbreaker to No. 13 Baylor. The Red Storm led by 18 in the first half before Baylor forced overtime. From there, St. John's rallied from five down with 1:47 left to send the game to a second overtime, where it saw Baylor knock down a pair of 3-pointers in the final seven seconds -- including Jeremy Roach's buzzer-beater -- to knock off the Red Storm 99-98. In the third-place game on Friday, St. John's breezed past Virginia 80-55. RJ Luis Jr. led the way with 18 points and four steals, followed by Kadary Richmond's 12 points, as the Red Storm took a one-point lead with 15:21 left in the first half and didn't trail again. "I'm really impressed with our guys, coming off a double-overtime, extremely emotional loss," St. John's head coach Rick Pitino said. "To respond that way was extremely impressive, both offensively and defensively." Pitino, in his second year with the Red Storm, was moved by something off the court on Friday, involving captain Zuby Ejiofor, who chipped in eight points, nine boards, two steals and two blocks. Ejiofor was serenaded by St. John's fans during the win, following his two missed free throws at the end of double overtime against Baylor. "When you've only been in a job for a year, you search for things you love about a place," Pitino said. "Tonight I found out what I love about St. John's. Our fans chanted Zuby's name the whole game, which doesn't happen anywhere else in America. I was really impressed with our fans and I thank them for making Zuby feel good, because he gives you all the energy." Luis leads the Red Storm with 17.3 points per game, followed by Ejiofor (10.7), Aaron Scott (10.5), Deivon Smith (10.3) and Richmond (10.2). Georgia enters Sunday's matchup looking to rebound from its first loss after falling to No. 15 Marquette 80-69 on Saturday. Georgia (5-1) battled back from a 15-point, second-half deficit, but was held to just three points over the final 4:57 in Saturday's loss. Blue Cain led the Bulldogs with a season-high 17 points, including five 3-pointers. "It's a process. It's a journey with this team," Bulldogs head coach Mike White said. "It's about continuing to make strides, continuing to protect our culture. ... At the end of the day, wins and losses are going to take care of themselves. We just have to embrace the process and enjoy it." Five-star freshman recruit Asa Newell was held to a season-low nine points but leads the team with 15.5 points per game. Silas Demary Jr. is second with 13.8. --Field Level MediaWho are the 10 biggest UK lottery winners?
NEW YORK (AP) — Top-ranked chess player Magnus Carlsen is headed back to the World Blitz Championship on Monday after its governing body agreed to loosen a dress code that got him fined and denied a late-round game in another tournament for refusing to change out of jeans . Lamenting the contretemps, International Chess Federation President Arkady Dvorkovich said in a statement Sunday that he'd let World Blitz Championship tournament officials consider allowing “appropriate jeans” with a jacket, and other “elegant minor deviations” from the dress code. Javascript is required for you to be able to read premium content. Please enable it in your browser settings.
NEWARK, N.J. (AP) — Emerance Maschmeyer turned in 34 saves on 35 shots on goal and the Ottawa Charge held off the New York Sirens 3-1 on Sunday for their second win in six games. Playing their first game in 10 days, the Charge got a first-period goal from Emily Clark and Shiann Darkangelo and Kateřina Mrázová added second-period goals to build a 3-0 lead through two periods. Ottawa has scored at least three goals in all five of its meetings with New York over two seasons. Alex Carpenter earned a third-period assist to extend her scoring streak to nine straight games dating to last season. Sarah Fillier's goal moved her into a tie for the league lead with eight points in her first eight games after being drafted No. 1 by the Sirens. Ottawa's defense neutralized much of New York's speed advantage and used a strong penalty kill to take a 1-0 lead after one period after Clark tipped home a wrist shot from the point by Brianne Jenner six minutes into the game. The Charge added two goals in the first seven minutes of the second period but could not capitalize on a pair of power plays late in the period. Fillier wasted little time getting New York on the board in the third period, firing a shot past Maschmeyer 23 seconds into the period, but the keeper saved the next dozen shots, including an almost three-minute finish when the Sirens pulled goalkeeper Corinne Schroeder to gain a player advantage. New York's Jill Saulnier was activated off long-term injured reserve following an upper body injury sustained in the opening game December 1. AP hockey: https://apnews.com/hub/hockeyA pair of teams with minimal rest will face off in Nassau, Bahamas, on Sunday when No. 22 St. John takes on Georgia. St. John's (5-1), which will play its third game in four days, began the stretch in the Bahamas Championship on Thursday, dropping a heartbreaker to No. 13 Baylor. The Red Storm led by 18 in the first half before Baylor forced overtime. From there, St. John's rallied from five down with 1:47 left to send the game to a second overtime, where it saw Baylor knock down a pair of 3-pointers in the final seven seconds -- including Jeremy Roach's buzzer-beater -- to knock off the Red Storm 99-98. In the third-place game on Friday, St. John's breezed past Virginia 80-55. RJ Luis Jr. led the way with 18 points and four steals, followed by Kadary Richmond's 12 points, as the Red Storm took a one-point lead with 15:21 left in the first half and didn't trail again. "I'm really impressed with our guys, coming off a double-overtime, extremely emotional loss," St. John's head coach Rick Pitino said. "To respond that way was extremely impressive, both offensively and defensively." Pitino, in his second year with the Red Storm, was moved by something off the court on Friday, involving captain Zuby Ejiofor, who chipped in eight points, nine boards, two steals and two blocks. Ejiofor was serenaded by St. John's fans during the win, following his two missed free throws at the end of double overtime against Baylor. "When you've only been in a job for a year, you search for things you love about a place," Pitino said. "Tonight I found out what I love about St. John's. Our fans chanted Zuby's name the whole game, which doesn't happen anywhere else in America. I was really impressed with our fans and I thank them for making Zuby feel good, because he gives you all the energy." Luis leads the Red Storm with 17.3 points per game, followed by Ejiofor (10.7), Aaron Scott (10.5), Deivon Smith (10.3) and Richmond (10.2). Georgia enters Sunday's matchup looking to rebound from its first loss after falling to No. 15 Marquette 80-69 on Saturday. Georgia (5-1) battled back from a 15-point, second-half deficit, but was held to just three points over the final 4:57 in Saturday's loss. Blue Cain led the Bulldogs with a season-high 17 points, including five 3-pointers. "It's a process. It's a journey with this team," Bulldogs head coach Mike White said. "It's about continuing to make strides, continuing to protect our culture. ... At the end of the day, wins and losses are going to take care of themselves. We just have to embrace the process and enjoy it." Five-star freshman recruit Asa Newell was held to a season-low nine points but leads the team with 15.5 points per game. Silas Demary Jr. is second with 13.8. --Field Level Media
Alice Doesn’t Live Here Anymore, released on December 9 1974, is a fascinating composite of both 1970s New Hollywood and the legacy of the women-centred melodrama of the 1930s and ‘40s. It is now mostly remembered as an early film directed by Martin Scorsese. But it was actually a project initiated by its lead actor, Ellen Burstyn, fresh off a series of acclaimed films including The Last Picture Show (1971), The King of Marvin Gardens (1972) and The Exorcist (1973). The film would go on to be a significant commercial success, earn Burstyn the Academy Award for Best Actress, and inspire a much less gritty and profane sitcom that would last for nine seasons and featured only one (male) member of the original cast. A step toward Hollywood The subsequent critical reputation of Alice Doesn’t Live Here Anymore is somewhat skewed by its status as an atypical Scorsese film. The director had only made three features: Who’s That Knocking at My Door (1967), Boxcar Bertha (1972) and Mean Streets (1973). Largely working outside the mainstream, he already had a significant critical reputation as a chronicler of flawed urban ethnic masculinity. It is also fascinating to hear, this early in his career, Scorsese reminisce about how conscious he was of his growing reputation and of not wanting to be pigeonholed into a particular mode of cinema. He actively embraced the opportunity to make his first true Hollywood film. He also felt the need to reorientate his focus away from men – though they still appear prominently – and embrace a female-centred narrative . There was also an insistence on working with women in key creative roles, and Scorsese followed Burstyn’s lead in terms of adjusting the script, encouraging improvisation and the nuance of performance. Although women do feature prominently in subsequent Scorsese films such as New York, New York (1977), The Age of Innocence (1993) and Killers of the Flower Moon (2023), it can be argued Alice Doesn’t Live Here Anymore is Scorsese’s only narrative feature that centres on female experience . It has been criticised for its overly mild feminism. But Burstyn was keen to make a movie that focused on the everyday pressures and desires of its carefully grounded female characters. In the relatively inhospitable masculine terrain of New Hollywood, Alice Doesn’t Live Here Anymore is an outlier. Scorsese is most commonly talked about as an iconoclast. But a key element of his career has also seen him operate within the system and maintain a capacity to work on large budgets and projects. His desire to work with technologies such as 3D, large streaming companies, and actors like Leonardo DiCaprio (one of the few truly bankable actors in 21st-century cinema) have their roots in Scorsese’s employment by Warner Bros on this project. He even expressed excitement about using the old Columbia Pictures sound stages. Alice Doesn’t Live Here Anymore would allow him to fuse contemporary – arguably feminist – sensibilities with the kind of star “package” designed in earlier times for actors such as Bette Davis and Joan Crawford. Scorsese constantly toggles between cinema’s present and past, seeing them as inextricably entwined. The path not taken The film follows Alice (Burstyn) and her son Tommy as they travel from New Mexico to Arizona in pursuit of her dream of becoming a singer. It is one of many road movies made during this era and provides a fascinating time-capsule portrait of the desert and often ugly urban landscapes it travels through. Although her pursuit of a career bubbles beneath the surface, the story is more concerned with the men Alice encounters and the camaraderie she forges with her fellow waitresses in a restaurant (the inevitable focus of the subsequent sitcom). There is nothing particularly new or groundbreaking about this, but the film is most memorable for the small, often idiosyncratic scenes between Alice and her son. For the surprising moments of kindness, hard-won connection and violence Alice encounters. For the genuinely offbeat performance by Jodie Foster as Tommy’s worldly young friend. The needle drop of particular songs on the soundtrack. Kris Kristofferson also provides an uncommonly soulful, weathered and comparatively gentle representation of masculinity. Alice Doesn’t Live Here Anymore represents an important watershed in Scorsese’s career, and also a path not taken. Although he has continued to work within and to the side of the mainstream, he has rarely produced a subsequent film with such warmth and sympathy for its central characters. As a portrait of flawed humanity, it is miles away from his next feature, Taxi Driver (1976). After that, there was perhaps no turning back. Both for better and for worse.Expert advocates deployment of IT, BVN to fast track offer verification
Chilean prosecutors probe harassment complaint against President Boric, who says he's a victim