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Health

Coronavirus vaccine given ‘using inhaler could be ready by next month’

The coronavirus vaccine could be ready to give in the form of an inhaler by next month, it was reported. Trials of a vaccine being developed by Oxford University are

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Number of diabetics rising during pregnancy

Tania Ahmed, a resident of Mirpur DOHS in the capital, said she came to know that she was suffering from diabetes when her blood test was carried out eight weeks

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Coronavirus in Bangladesh: 2,743 test positive, 42 more die in 24 hrs

Bangladesh on Sunday saw another surge in new Covid-19 cases as 2743 people were infected in the span of 24 hours, taking the total number to 65,769.   Besides, the

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Wear masks in public, says WHO in new coronavirus advice

The World Health Organization Friday changed its advice on face masks amid the coronavirus pandemic, saying they should be worn in places where the virus is widespread and physical distancing

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Coronavirus: Influential study on hydroxychloroquine withdrawn

An influential article that found hydroxychloroquine increases the risk of death in coronavirus patients has been retracted over data concerns. Three of the study’s authors said they could not longer

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Pandemic antibiotics surge will cause more deaths: WHO

Increased antibiotics use in combating the COVID-19 pandemic will strengthen bacterial resistance and ultimately lead to more deaths during the crisis and beyond, the World Health Organization said Monday. WHO

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Coronavirus vaccine could be ready by October end, claims Pfizer CEO

Looking at the success rate of the trails earlier it was estimated that vaccines for this deadly coronavirus will be available by sometime next year. But recently American drugmaker company

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Covid-19: Process to recruit more 2,000 doctors, 3,000 health workers begins

The government is recruiting another 2,000 doctors and 3,000 medical technologists, technicians and radiographers to speed up the treatment of patients amid the coronavirus outbreak. Confirming the news, Habibur Rahman,

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WHO warns not to cut health spending during downturn

European governments should not cut healthcare spending during the current economic crisis sparked by the coronavirus pandemic and associated lockdowns, the World Health Organization warned on Thursday. “We are concerned

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Ivermectin shows ‘astounding’ results against coronavirus

Reports Friday from multiple trials in the United States and abroad indicate a drug already approved by the FDA to treat parasitic infections is showing “astounding” results, and could represent

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The megastar plays a philosophy professor shaken by a student’s sexual assault allegation against a colleague in Luca Guadagnino’s new film – and she’s easily the best thing about it. Julia Roberts doesn’t make many films these days. She was in Leave the World Behind in 2023; in 2022, there was her tropical romantic comedy with George Clooney, Ticket to Paradise; and then we have to jump all the way back to 2018 for her previous turn in Ben Is Back. But you can see why she chose to star in After the Hunt, a contentious campus drama directed by Luca Guadagnino (Call Me By Your Name, Challengers). Roberts is on screen for almost every one of its 139 minutes, and she is the monumental centre around which its chaos and controversy swirl. It’s the kind of heavyweight role that gets awards nominations if it goes to the right person – and Roberts is definitely the right person. Her character is Alma, a philosophy professor at Yale University. Striding regally around its leafy quadrangles in a chic white suit that matches her blonde hair, this combatively intelligent alpha female is adored by everyone who knows her. Her husband Frederik (Michael Stuhlbarg) is resigned to the fact that he loves her more than she loves him, and is willing to make whimsical jokes about the imbalance; Hank (Andrew Garfield), a would-be rebellious friend and colleague, is even more flirtatious with her than he is with everyone else; and her favourite PhD student, Maggie (Ayo Edebiri), worships her – which could explain why she is Alma’s favourite PhD student. It seems as if the status quo might soon be upset, though, as either Alma or Hank – or perhaps both – is expected to be granted permanent tenure. But then something far more drastic happens. The day after a boozy party in Alma and Frederik’s book-lined flat, Maggie tells Alma that Hank walked her home and then “crossed a line”. Alma is sympathetic – but only up to a point. There is no evidence of assault, so she isn’t sure whether to trust the word of a new friend over an old one, especially at such a critical moment in her career. And maybe, her thinking goes, lines were crossed at the party anyway, considering that teachers and students were hugging each other while knocking back expensive wine. “Roberts’ Alma is a coiled spring: her steely stillness makes her ferocity all the more powerful” It’s refreshing to see a grown-up Hollywood film that takes on contemporary issues: feminism, cancel culture, identity politics, and the generation gap. But After the Hunt is more of an admirable project than an engaging drama, because it never stops reminding you of how clever it wants to be. Guadagnino keeps showing off his quirky camera angles and intrusive music choices. The screenplay, by Nora Garrett, squeezes too much philosophical jargon into the dialogue, and too many tangential scenes and subplots into the structure. You might think that the alleged assault would be a big enough deal for any film, but Alma is given mysterious abdominal pains and guilty secrets, and Maggie is overloaded with significance as a queer, black, plagiarism-prone young woman with a non-binary partner and rich parents who are major donors to the university. In theory, viewers of After the Hunt should leave the cinema arguing about its subject matter. In practice, they’re more likely to be asking each other what was going on and what it meant. It’s all a bit much, basically. Garfield, miscast as a denim-clad dude who is, it is implied, roughly the same age as Roberts’ character, shouts and swears and waves his arms with a quantity-over-quality approach to acting. Stuhlbarg’s flouncing and sing-song delivery are presumably meant to be irritating, but perhaps not as irritating as they actually are. At the heart of it all, though, Roberts is a different matter. She understands that less can be more. Her Alma is a coiled spring: her steely stillness makes her ferocity all the more powerful and her pain all the more intense. Her muttering is scarier than Garfield’s yelling, and when she glares at someone, they stay glared at. It’s an expertly controlled performance which demonstrates why Roberts has been a Hollywood icon for so long, and why she could well be in line for her second Oscar, 25 years after Erin Brockovich. After the Hunt would have been better if everyone else involved had had some of that control, too.

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