If you have paid any attention to the tabloids over the last four years, you probably know that A-list actors Brad Pitt and Angelina Jolie are no longer a couple; they separated in September 2016 after a relationship that lasted over a decade. If you’ve been paying attention for the last month or so, however, you would know that the divorce proceedings are still going on, and recently they’ve even apparently taken a turn for the worse.
You would also know that the legally single Pitt has a new girlfriend, a 27-year-old German model named Nicole Poturalski. Pitt and the “kind” and “beautiful” Poturalski, who reportedly is in an open marriage, have been spotted out and about doing couple-y things, like attending a Kanye West opera last fall and traveling in the South of France in late August.
On Instagram, where she has a healthy 211,000 followers, she hasn’t posted about Pitt, but she often posts the type of photos that prove she had the free, outdoorsy summer Americans wish they could have had. On Tuesday, she posted a photo of herself standing under an arch wearing an orange dress along with a caption the Daily Mail called a “cryptic quote”: “Happy people dont hate.”
While the Mail doesn’t come out and say they think it’s a swipe at Jolie, they note that last week a source told Us Weekly that “tensions have escalated” between the warring exes. The Mail adds that Pitt and Poturalski recently took a trip to Château Miraval, the vineyard where Jolie and Pitt tied the knot in August 2014 and Pitt has collaborated on a rosé Champagne, adding that the trip coincided with what would have been Jolie and Pitt’s sixth wedding anniversary.
According to Us Weekly, the tension between Pitt and Jolie is related to their custody dispute and the fact that they are no longer going to family therapy, not any Instagram provocations. (A request for comment to Jolie’s representation was not immediately returned.) “Brad wants 50/50 joint physical and legal custody of the kids,” a source told the magazine. “Angelina has been unagreeable to those terms.”
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An asteroid is soon racing towards Earth and it might actually be a discarded rocket! Check it out.
As we all know that earth has only one natural satellite, that’s moon. However, it occasionally picks up the so called minimoon which is actually a temporary asteroidal visitor. And as per the scientists our blue planet which is the only one to support lifes is gonna pick up a similar transient moon in a few weeks. However, this one will be somewhat different from the rest which has happened in the past.
The 2020 SO’s speed and orbit suggests that it’ll probably be of human origin. As we all know, earth doesn’t have any such natural minimoon. Things that come in the affinity of earth’s gravity gets influenced with it and fall into Earth’s atmosphere. Scientists are still working on their ability to track such small objects but the evolvement has increased since it started because two temporary moons were detected in the twenty first century.
RH120 was the one that hung around in 2006 and lasted till 2007. Whereas, CD3 started orbiting the earth in 2018 and it continued till early 2020. 2020 SO is following a trajectory which will make it enter into earth’s unstable orbit. And according to the predictions it’ll enter the orbit by next month whereas, it’ll continue to revolute till May 2021. Thus, it’ll hang around the planet for around 8-9 months.
Asteroid 2020 SO may get captured by Earth from Oct 2020 – May 2021. Current nominal trajectory shows shows capture through L2, and escape through L1. Highly-chaotic path, so be prepared for lots of revisions as new observations come in. @renerpho @nrco0e https://t.co/h4JaG2rHEd pic.twitter.com/RfUaeLtEWq
— Tony Dunn (@tony873004) September 20, 2020
There’s a huge difference in the way it is approaching if we compare it with other minimoons. SO is approaching way to slow than the previous ones. And also, the orbital inclination of this one is much similar to Earth as compared to the other near earth asteroids. Continuous studies about it is going on, however, scientists can give a clear view of it when it comes more close to the earth.
The Clippers Reportedly Likely Would’ve Fired Doc Rivers Unless They Won The Title
Depending on who you ask, the Los Angeles Clippers were either the biggest disappointment of the postseason or a team that ended up right where they were headed all along if you were paying attention to the red flags. Either way, they’re out, and now the franchise faces big questions as they look toward the future.
They made the first major change earlier this week when they announced that they were parting ways with head coach Doc Rivers. In some ways, it was an inevitable move given Rivers’ repeated failure to get several talented iterations of the team to a Western Conference Finals appearance.
With those past failures looming large, it now appears that Rivers was already on the hot seat going into the playoffs. Despite what Paul George would have you believe, it was championship or bust for a team that had gone all in this season to try to win their first title in franchise history. And now, it turns out that’s the only thing that could’ve saved Rivers’ job.
Via Jovan Buha of The Athletic:
Aside from the underwhelming results, the Clippers identified troubling patterns in the collapses. If anything, the separation was probably years in the making. Even if the Clippers had lost deeper in the postseason, say, to the Lakers in the conference finals or to the Heat in the finals, Rivers likely would not have been back next season.
During his tenure in Los Angeles, the Clippers won just three total postseason series. Rivers also holds an NBA record for coaching three teams that have blown a 3-1 series lead in the playoffs, the second of which came against Rockets in the second round in 2015.
Even by the more generous assessments, it’s a questionable postseason track record that certainly detracts from all of his overall success as an NBA coach, and it remains to be seen what the next move in his career might be.
What to Stream: James Cagney Is a Corrupt Demagogue in “A Lion Is in the Streets”
When it comes to films about the rise of corrupt demagogues, “All the King’s Men,” from 1949, based on the life of Huey Long, is among the most famous. But it has less to say about the current day than another (and, I’d say, better) movie on the same subject, “A Lion Is in the Streets,” from 1953 (which is streaming on Amazon). It’s a shorter, brisker, wilder film, and one that’s more colorful—not just in its splashy Technicolor cinematography but in its characterizations—thanks largely to its star, the ebullient James Cagney, and its director, the rambunctious Raoul Walsh.
“A Lion Is in the Streets” begins and ends in mud; mud is at the crux of the action, and, in a way, it’s the very subject of the film, though that isn’t quite clear at the outset. During a big rainstorm in rural Louisiana, a boisterous peddler named Hank Martin (Cagney) splashes up a mud-pooled dirt road toward a one-room schoolhouse, where he playfully helps the new and young teacher, Verity Wade (Barbara Hale), a college-educated Pennsylvanian—and then grabs her by the hand, seductively draws her into a vestibule, and informs her that he’s going to marry her. The loud and willful Hank is used to getting his way (they indeed marry); he’s an exuberant, happy-go-lucky glad-hander, glib and brash and sociable, the friendliest guy in town, whose popularity goes hand in hand with the skillful manipulations of his salesmanship, which he brazenly describes to his new bride. When she tells him how “wonderful” she finds the townsfolk, he answers, “All folks is wonderful, if you just happen to know the right place to kick ’em in. . . . It’s like learning to play a music instrument by ear—all you gotta know is what place to push to get what note, and pretty soon everybody’s dancin’ to your tune.”
A man of many and disparate parts, Hank is an autodidact of the law (borrowing books from a local grandee) and a cynic who, with authentic loyalty to the poor sharecroppers, who are his friends and customers—the “folksies,” he calls them—heaps contempt on the state’s reformist governor, saying that his efforts at civic improvement, notably a massive campaign of road building (to deal with the mud), aren’t moving fast enough. Venting a grudge against Robert Castleberry (Larry Keating), a rich businessman whose cotton gin, he claims, is short-weighting the farmers (i.e., underpaying them for their crop), Hank organizes an armed posse of fifty men to invade the enterprise. (“You married a winner,” he cries out to Verity, “not a loser.”)
Unsurprisingly, the result is mayhem, and Hank ends up facing possible criminal charges. But a political fixer named Guy Polli (Onslow Stevens) has a scheme for Hank to avoid those charges: having Hank run for governor and making sure that he defeats the reformer. Hank runs on his popularity, his celebrity, and his populist contempt for the establishment—although his policies, tailored to the interests of his backer, will do the “folksies” no good. Meanwhile, Hank’s publicity stunts, his flouting of the law, his demagogy, and his autocratic impulses become all the more flagrant. The action includes an affair with a flashily nicknamed woman, a takeover of a courtroom (with no fear of being held in contempt of court), a plot to kill a suspect in possession of inconvenient information, Election Day chicanery, an election thrown into the legislature, a private militia that seeks to influence the decision—and, through it all, there’s the menace of mud, rendering roads impassable to prospective voters and also preventing farmers from selling their wares.
Which is to say that “A Lion Is in the Streets” is a story of infrastructure. The movie offers, amid its hectic and rowdy melodrama, a constant and underlying vision of the crucial power of government to serve the public good—and the ease with which that power can, almost invisibly, be shifted to the unfair advantage of the rich and the connected. Yet the fire and the flair of “A Lion Is in the Streets” is provided by Cagney, who is an exuberant performer, one whose snappy streetwise popularity coalesces with that of Hank. Cagney, who got his start as a song-and-dance man, was famous for his roles in both musicals and gangster films, in comedies and dramas alike, and his villainous characters have the same bounce and snap, bluster and charm, as his lovable ones. He pulls off that trick in “A Lion Is in the Streets,” displaying the ease with which a loud, audacious, brazen, fast-talking rogue with a ravenous ego can win the hearts of the vulnerable and downtrodden while also making common cause with their very oppressors.
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