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LPGA, USGA to require players to be assigned female at birth or transition before pubertyEuropean stocks bounced around Monday while US equities shook off early weakness to push higher as investors waited to see if a so-called Santa Claus rally sweeps over the market. Global stock markets had a tumultuous time last week, spiraling lower after the US Federal Reserve signaled fewer interest rate cuts than had been expected for 2025. But it ended on a positive note as traders welcomed below-forecast US inflation data that raised hopes about the health of the world's biggest economy. That helped Asian markets move higher on Monday, but the positive trend faltered in Europe and stumbled initially in the United States. "Another up leg in US yields not only put pressure on stock indices but also drove the greenback higher," said IG analyst Axel Rudolph. But after a sluggish start, US stocks rose progressively in a quiet session with analysts pointing to low pre-holiday trading volumes. "Stocks didn't really have any direction in the morning, then we got this tech rally that just sort of drifted higher all day," said Steve Sosnick of Interactive Brokers. Analysts view elevated Treasury bond yields as a threat to year-end gains in an historically strong period of the calendar. Known as a Santa Claus rally, there are various explanations for the phenomenon including seasonal optimism and end-of-year tax considerations. But there remains some trepidation among investors as Donald Trump prepares to return to the White House, pledging to cut taxes, slash regulations and impose tariffs on imports, which some economists warn could reignite inflation. "The initial response to the US election was positive as investors focused on the obvious tailwinds to profitability: lower corporate tax rates and less regulation," said Ronald Temple, chief market strategist at Lazard. "However, I expect much more dispersion within the equity market when the reality of a much-less-friendly trade environment sets in." In Europe, the FTSE 100 moved higher as the pound slid following data that showed that the UK economy stagnated in the third quarter, revised down from initial estimates of 0.1 percent growth. Official data out of Spain on Monday showed that the Spanish economy grew 0.8 percent in the third quarter as domestic consumption and exports increased, comfortably outstripping the European Union average. In company news, shares in crisis-hit German auto giant Volkswagen lost more than three percent on the back of news Friday that it plans to axe 35,000 jobs by 2030 in a drastic cost-cutting plan. Shares in Japanese auto giant Honda rose over three percent after it announced Monday an agreement to launch merger talks with struggling compatriot Nissan that could create the world's third largest automaker. New York - Dow: UP 0.2 percent at 42,906.95 (close) New York - S&P 500: UP 0.7 percent at 5,974.89 (close) New York - Nasdaq Composite: UP 1.0 percent at 19,764.89 (close) London - FTSE 100: UP 0.2 percent at 8,102.72 (close) Paris - CAC 40: FLAT at 7,272.32 (close) Frankfurt - DAX: DOWN 0.2 percent at 19,848.77 (close) Tokyo - Nikkei 225: UP 1.2 percent at 39,161.34 (close) Hong Kong - Hang Seng Index: UP 0.8 percent at 19,883.13 (close) Shanghai - Composite: DOWN 0.5 percent at 3,351.26 (close) Euro/dollar: DOWN at $1.0408 from $1.0430 on Friday Pound/dollar: DOWN at $1.2531 from $1.2570 Dollar/yen: UP at 157.14 yen from 156.31 yen Euro/pound: UP at 83.03 pence from 82.97 pence West Texas Intermediate: DOWN 0.3 percent at $69.24 per barrel Brent North Sea Crude: DOWN 0.4 percent at $72.63 per barrel burs-jmb/jgcSynopsys shares fall after sales outlook misses estimates
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RALEIGH, N.C. (AP) — North Carolina’s elections board dismissed formal protests Wednesday by several Republican candidates who trailed narrowly in their races last month and had questioned well over 60,000 ballots cast this fall. The State Board of Elections’ decisions sided with the Democratic candidates, including those for a state Supreme Court seat and a key General Assembly seat. These matters are now expected to be resolved in the courts. The board voted in favor of denying the protests of GOP Supreme Court candidate Jefferson Griffin, who trailed Associate Justice Allison Riggs by 734 votes from over 5.5 million ballots cast. No additional recounts had been ordered after failed to suggest that Griffin could catch up to Riggs. Riggs is one of only two Democrats on the seven-member court, which has been a partisan flash point in the state over the past two years in court battles involving The board on Wednesday considered protests filed by Griffin, a current Court of Appeals judge, and three candidates for the General Assembly covering three categories of voting. Those categories included votes cast by people with voter registration records lacking driver’s licenses or containing partial Social Security numbers; overseas voters who have never lived in the U.S. but whose parents were deemed North Carolina residents; and military or overseas voters who did not provide copies of photo identification with their ballots. The board is composed of three Democrats and two Republicans. In three of four dismissal motions Wednesday, the votes were 3-2 along party lines. The vote on the other motion was unanimous. Riggs’ campaign has said that she is the winner and that Griffin should concede immediately. Speaking after the hearing, Riggs mentioned that her parents were among the 60,000 voters whose votes were being challenged, and “I can personally attest they are in fact lawful votes.” Griffin didn’t immediately respond to an email seeking comment on the decisions. State Republican Party Chairman Jason Simmons said in a news release that the “board’s continued efforts to engineer political outcomes for Democrats is shameful” and suggested appeals could be ahead. Another candidate protester is GOP Rep. Frank Sossamon, who trailed Democratic challenger Bryan Cohn. A Cohn victory would mean Republicans fall one seat short of retaining their current veto-proof majority for the next two-year General Assembly starting next month. The board could have ultimately ordered corrected ballot tallies, more recounts or new elections if it determined the evidence showed election law violations or irregularities called into question the results of the protested elections. Scores of protests filed by Griffin and the legislative candidates are still being considered by county boards. During Wednesday’s hearing, Riggs’ attorneys urged the state board to throw out the protests. They called that an illegal attempt to change the election rules after votes have been cast and counted and out of line with protest rules. “The voters that protesters are challenging here today unquestionably are eligible voters,” said Will Robertson, an attorney representing the three Democratic legislative candidates and the state Democratic Party. “These protests are not only facially invalid but they’re an affront to democracy and to the rule of law in North Carolina.” Citing the state constitution, attorneys for Griffin argued that elections boards cannot count the ballots of people who have never lived in North Carolina. And they said the state board erred by generating voter registration forms that did not make clear that state law requires an applicant to provide one of the identifying numbers. “We filed these protests because we believe the winners of these elections should be determined by eligible voters and only be eligible voters,” Craig Schauer, an attorney for Griffin and GOP legislative candidates, told the board. In addition to the substance of the protests, Democratic board members also threw out the protests because they determined that voters did not receive appropriate legal notice that their votes were being challenged. Griffin sent postcards to a voter or the “current resident” stating that “your vote may be affected” by a protest, according to legal briefs and evidence. It included a QR code that mobile phone users could visit to obtain information. Democrats said people may have thrown the postcard away or considered it a scam. The state board’s decisions came days after the to block the State Board of Elections from ruling in any way to throw out the disputed ballots. Griffin led Riggs by about 10,000 votes on election night, and flipped to Riggs as qualifying provisional and absentee ballots were added to the totals. Gary D. Robertson, The Associated PressTORONTO — The injury-ravaged Toronto Maple Leafs placed Matthew Knies on injured reserve Friday and signed fellow forward Alex Nylander to a one-year contract, recalling him from the AHL Marlies. Knies was hurt in a mid-ice check by Las Vegas defenceman Zach Whitecloud in the Toronto's 3-0 home win Wednesday. Knies did not return and has been placed on injured reserve retroactive to Wednesday with an upper-body injury. Toronto is already missing captain Auston Matthews, Max Domi, David Kampf, Max Pacioretty and Calle Jarnkrok due to injury, as well as Ryan Reaves, who is one game into his five-game ban for felling Oilers defenceman Darnell Nurse with an illegal check to the head. Whitecloud, who stood up as he delivered the hit, was not penalized for the punishing check despite video review, but got a minor roughing penalty for tangling with Simon Benoit, who got a four-minute roughing call for his attempted retribution. "They thought it was a clean hit so it's a clean hit," Leafs coach Craig Berube said after the game, referencing the league. "Really there's nothing to say." Under league rules, a player placed on Injured reserve is ineligible to compete in NHL games for at least seven days. Toronto (12-6-2) hosts Utah on Sunday before heading to Florida to play at the Panthers on Wednesday. Veteran Leafs defenceman Oliver Ekman-Larsson missed practice Friday due to illness. The club recalled defenceman Philippe Myers from a conditioning stint with the Marlies. The 27-year-old from Moncton, who signed as a free agent in July, has appeared in one game with the Leafs this season. Nylander's contract is worth $775,000. The 26-year-old Nylander, the younger brother of Leafs star William Nylander, has eight goals and four assists in 14 games with the Toronto Marlies this season. The six-foot-one 205-pounder has 222 career points (102 goals, 120 assists) in 344 regular-season AHL games split between Toronto, Wilkes-Barre/Scranton, Rockford and Rochester. The younger Nylander has 49 points (25 goals, 24 assists) in 121 career NHL games split between Columbus, Pittsburgh, Chicago and Buffalo. He won a silver medal with Sweden at the 2018 IIHF World Junior Championships. Alex Nylander joined the Toronto organization as a free agent, signing a one-year AHL contract in July. He was originally selected by the Sabres in the first round (eight overall) of the 2016 NHL Draft. The injuries have promoted a string of call-ups for the Leafs. Fraser Minter scored his first NHL goal Wednesday in his season debut and fifth career NHL game while Russian Nikita Grebenkin made his NHL debut. --- This report by The Canadian Press was first published Nov. 22, 2024. The Canadian Press
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WASHINGTON — President-elect Donald Trump called his meeting with Justin Trudeau productive and says the prime minister made a commitment to work with the United States to end the drug crisis amid the threat of stiff tariffs. “We discussed many important topics that will require both Countries to work together to address, like the Fentanyl and Drug Crisis that has decimated so many lives as a result of Illegal Immigration, Fair Trade Deals that do not jeopardize American Workers, and the massive Trade Deficit the U.S. has with Canada,” Trump said in a post on Truth Social Saturday. Trudeau flew to Florida Friday evening to attend a dinner at Mar-a-Lago, where Trump’s transition team is based. The in-person meeting came at the end of a rocky week in which Trump threatened to impose stiff tariffs on all imports from Canada and Mexico, unless the two countries stop illegal border crossings and prevent illicit drugs from entering the United States. Trump said he and Trudeau discussed the drug crisis and the president-elect made it “very clear that the United States will no longer sit idly by as our Citizens become victims” of the drug epidemic, which he attributed to cartels and fentanyl coming from China. “Prime Minister Trudeau has made a commitment to work with us to end this terrible devastation of U.S. Families,” Trump posted. Trump said the pair also discussed illegal immigration, as well as trade, energy and the Arctic. Trump’s post did not directly mention tariffs and it’s unclear whether the prime minister’s visit has alleviated his concerns about the border. Trudeau, in West Palm Beach Saturday morning, answered a reporter’s question about the dinner, calling it “an excellent conversation.” A statement from the Prime Minister’s Office said the two leaders “shared a productive wide-ranging discussion over dinner.” It was centred on collaboration and strengthening the bilateral relationship. “As Canada’s closest friend and ally, the United States is our key partner, and we are committed to working together in the interests of Canadians and Americans,” the statement said. Trudeau had a notably rocky relationship with the Republican leader during the first Trump administration. However, the prime minister was the first G7 leader to visit Trump since the Nov. 5 election. Trump’s tariff threats are critical for Canada. More than 77 per cent of Canadian exports go to the United States. Trudeau said earlier Friday that he would resolve the issue by talking with Trump.
RaMell Ross considers himself more of a visual artist than a movie director. His second film, , attempts a visual artist’s feat: a feature shot entirely from the first-person point of view. Every decade, it seems, first-person camerawork reemerges in film. Kathryn Bigelow’s dystopian thriller (1995) cut to it when its characters deployed a sci-fi technology to experience other people’s memories; the much-maligned (2005) had a section that paid homage to the POV of its video game origins; (2015) proved doing that at feature-length was exhausting. But if there’s a through line between the works that have deployed the first-person perspective, it’s that they’ve used them for visceral means, often to heighten the intensity of violence. Nearly 10 years later, presents the first person to achieve the opposite: quiet intimacy. Adapted from Colson Whitehead’s Pulitzer Prize-winning novel, the film alternates between the perspectives of its leads, Elwood (Ethan Herisse) and Turner (Brandon Wilson), two Black teenagers who meet at a brutal reformatory school in the Jim Crow South. Despite the institution’s punishing environment, Elwood continues to maintain an optimistic worldview reflective of the ongoing Civil Rights Movement, while Turner grounds himself through pragmatic survivalism. The audience sees what they see — and believe. The first-person vantage point does something clever: when we’re seeing things through Elwood’s eyes, we’re mostly looking at Turner, and vice versa. The effect is startling and, in its best moments, sublime. And the film is so confident that it almost never relents. commits to the first person for nearly its entire two-hour, 20-minute runtime, except for a few splashes of archival footage and a handful of scenes that flash forward. But the brilliance of is that the camerawork isn’t just a visual gimmick; it’s tied so deeply to the film’s themes that it allows the film to pull off a final act reveal that, before I saw this adaptation, I believed could only be achieved in a novel. The movie arrives in theaters this Friday, but thanks to a strong run at festivals, it’s already being talked about as an Academy Award contender. (As of this writing, column at predicts the film as a Best Picture and Best Director finalist.) A critic , and director Ross just took home honors at the New York Film Critics Circle, an award that tends to be a bellwether for the industry’s biggest prizes. The year’s most celebrated movie might just be its most ambitious. Asking audiences to watch a film from the first-person POV is a big risk, and the technical challenges to pull it off convincingly were no easy ask of the crew or actors. In some ways, feels like an unlikely gambit. Here’s how it got made. A photographer and author, RaMell Ross comes from the art world, a place that, in his experience, embraces and elevates abstraction over explanation. Working in film, he says he finds that people — the regular ones that watch movies and the powerful ones that allow them to be made — tend to ask more questions about intention and meaning. As a director, Ross is best known for his 2018 documentary , which follows the life of two Black high school students in Alabama, where Ross spent five years capturing footage. eschewed the traditional building blocks of narrative — plot through an order of scenes — for a fragmentary, patchwork approach. The result is stunning and resembles less a conventional documentary and more the kind of impressionistic video art you might find at a contemporary art museum. But even with all its formal invention, still earned an Academy Award nomination in the documentary feature category. It lost to , but still: not a bad showing for a movie never expected to be in the running. After, Ross was compelled to return to his work in visual arts, completing a performance piece for the Ogden Museum of Southern Art titled “Return to Origin,” wherein he shipped himself from Rhode Island to Alabama in a large wooden crate — an allusion and reversal of the Great Migration, made a touch funnier when you learn Ross is six-feet, six-inches tall. During that time, he’d also returned to his full-time job, teaching visual arts at Brown University. It’s unsurprising to learn that Ross is a professor — even from our brief encounter, it’s clear he possesses an academic’s curiosity and the enthusiastic engagement of a lecturer. More importantly, teaching gives him the space to be patient. “I get to make art at my own pace. I get to think big and move slow. There’s nothing better than that.” But having come within spitting distance of Hollywood’s highest recognition, the Oscar, surely producers and studios were reaching out to Ross with projects, right? It turns out that no one was calling. Sundance recognition and an Academy Award nod would have to suffice. “I never took a meeting,” he says, appearing content with that outcome. Then, in 2019, a producer reached out about an adaptation of a not-yet-published novel called . Ross had heard of the production company Plan B before. But it wasn’t until they reached out that he looked them up: they’d made and . It was Brad Pitt’s production outfit. High-profile producers Dede Gardner and Jeremy Kleiner were also involved, but honestly, Ross wasn’t familiar with the kind of names that circulate among Hollywood regulars. He’d made little effort to penetrate that world because, well, he liked his life, teaching and making art at his own speed. But after reading an advanced copy of , the idea of POV came immediately. Whitehead’s book fictionalizes the very real horrors of the Dozier School for Boys, where, only recently, forensic anthropologists have uncovered nearly 50 unmarked graves of students who were secretly buried. In imagining those harrowing details, Ross was at a loss for words, but he could conjure the images. What if he could give those boys a literal point of view? He had no idea if Plan B would be up for such a formal gambit, but he had no interest in being a for-hire director. What did he have to lose? When Ross pitched the idea to Plan B, he was surprised when they immediately signed off on it. “They genuinely did not flinch. They stress-tested it, as all the producers did over the course of making the film and really whittled down the script, but generally never questioned [the first-person approach],” Ross says, then adds: “Kind of crazy.” He’d connected with cinematographer Jomo Fray, a fan of . But even Fray, who came with his own awards and bona fides, found that the POV of required him to rethink the language of film “on a quantum level.” The two of them were suddenly reconceiving the basic elements of the medium: The prospect was daunting — and thrilling. But first, there was a of testing — a month’s worth, just to get the feel right. Ross recalls specifically homing in on how they wanted time to move with the camera. What they learned is that the most convincing images had to be slightly behind their marks. Traditionally, a movie is tightly blocked and choreographed with the camera; but in their trials, Ross and Fray found the results unrealistic. Messiness, they found, was more convincing. “If you are late to something and then you find it... then it just fundamentally feels more like human vision.” The way a person sees the world is not as tidy as it is in cinema. To avoid making the POV feel like a contrivance, the image had to be deeply immersive, one “that allowed you to live life concurrently with Elwood and Turner... navigating and moving through space with them, not merely watching them do it,” Fray says. It also required some special gear. Fray chose the Sony Venice, a full-frame digital camera, because it could shoot in IMAX quality. In “Rialto mode,” which separates the body from the 6K sensor, the footprint of what the camera operator is holding was barely larger than an average DSLR. (Fray knew from what Ross had imagined they would often be filming in tight spaces.) There were a lot of setups, too: chest mounts, helmet cams, SnorriCams (the exoskeletal selfie stick rig that produces shots most associated with Darren Aronofsky’s work); there were handhelds in various orientations; a scene where Elwood gets clocked required its own custom rig. But what does shooting an entire movie in first person actually look like? Well, it involves the camera crew and the actors getting unusually close. There were times when they were actually on top of each other. Most of the shots were filmed by Ross, Fray, and camera operator Sam Ellison. If the scene was from Elwood’s POV, Herisse would stand close behind the camera operator and say his lines; if a Turner scene needed a hand in it, Wilson would reach his arm around the camera operator to get himself into shot. “We’re making a frame and we’re like, ‘Hey, E, put your hand up here a little bit more,’” Ross says. There were many scenes — Ross estimates about a quarter of the shots — where the limitations of space meant the actors needed to don the camera rigs themselves. “You don’t really get that opportunity really as an actor, to work behind the camera and then step into the shoes of an operator for certain moments,” Herisse says. Suddenly, he had the opportunity to wield an object he didn’t normally interact with, which he was always told he was supposed to ignore the presence of. Was it stressful? “Obviously it’s scary in the sense that I didn’t want to break anything. I definitely know that this is a very important and expensive piece of equipment that’s hanging off my chest,” he says. “But otherwise, it was so cool.” For him and his co-star Wilson, shooting scenes from the other side of the POV meant violating the most basic rule of acting: never look at the camera. Now, they were instructed to speak directly into it. When I speak to Herisse and Wilson, I ask if it was hard to shift their focus. “We definitely couldn’t ignore [the camera]. But we were able to get into a rhythm with it and learn that new thing of staring down the barrel of the lens in place of having each other’s eyes or each other’s physical presence,” Wilson says. “Eventually the camera just fades away and you get this feeling that you’re no longer speaking to this machine,” Herisse adds. “Brandon was there physically — right next to Jomo or Sam or RaMell during the scenes — and I could hear his voice. And I knew that he was there with me.” They were still listening to each other, even if a 6K camera rig and its operator stood between them. Toward the end of our conversation, I tell Ross that shooting sounded extremely difficult — reinventing the language of film, coming up with the technical way to do that, then executing on that ambitious vision. But Ross just laughs it off. “The hardest part is time in general because you don’t have infinite time, like in documentary where you can just come back. So we have two hours to shoot the scene and we’re starting from scratch. [The actor] doesn’t have the rig on. Bluetooth isn’t connecting. Those types of things make it challenging, but the images themselves, yeah, we had that.” After rushing through eight or so weeks of preproduction, shooting was compressed to a month after losing a week to covid — an intense experience for a guy who spent the better part of a decade on his last film. Preparation helped, though. Ross estimates that 90 percent of what he storyboarded and scripted shows up exactly that way in the final thing, with only a little bit of improvisation along the way. I’m surprised to hear the shot list was a whopping 35 pages, single-spaced — every single moment, gaze, and beat accounted for, in a film that still feels naturalistic. It’s easy to see how Ross’ newest film is a clear extension of his body of work. If was, in his words, the story of how Black people have come to be known through the camera, offers a story where the perspective of Black characters the camera. is structured along more conventional plot lines (it even has a big twist), but the film also offers many reprieves and distractions, emulating the way the eye wanders and how memory can often be nonlinear. Some of those images are the most resonant: the first shot opens with an outstretched arm, gripping an orange; sensory fascinations, like the sound of loafers clopping through a puddle or a knife scraping cake off a dish, take center stage. One of the movie’s most moving moments is a humble one: actor Aunjanue Ellis-Taylor embracing Turner for a hug, the camera suddenly looking past her shoulder. Recalling that day on set, Fray describes it as a new experience for him as a cinematographer. No longer the voyeur, he was suddenly in a position where he had to meet his scene partner in the eye. “That changes how you compose an image,” Fray says. “That changes how you shoot an image. And I think that changes the dynamic between actor and camera, and cinematographer and performer.”
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