Tue, 23 Sep 2025, 12:48 am
Health

3 White House virus task force members in quarantine

Three members of the White House coronavirus task force, including Dr. Anthony Fauci, placed themselves in quarantine after contact with someone who tested positive for COVID-19. Fauci, the director of

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Coronavirus could kill 190,000 in Africa in one year: WHO

As many as 190,000 people across Africa could die in the first year of the coronavirus pandemic if crucial containment measures fail, the World Health Organization (WHO) warns. The new

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Eskayef produces Remdesivir in Bangladesh

Eskayef Pharmaceuticals Limited has completed the production of Remdisivir, the drug which is proved to be effective in treating COVID-19 patients. After completion of all production process, the company started

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No apparent harm or benefit from hydroxychloroquine: study

A study performed in New York hospitals found no evidence of either harm or benefit from giving the malaria drug hydroxychloroquine to severely ill coronavirus patients. “The risk of intubation

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COVID-19 lockdown risks 1.4 mn extra TB deaths: study

The global lockdown caused by COVID-19 risks a “devastating” surge in tuberculosis cases, with nearly 1.4 million additional deaths from the world’s biggest infectious killer by 2025, new research showed

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COVID-19 vaccine hunt heats up globally, still no guarantee

Hundreds of people are rolling up their sleeves in countries across the world to be injected with experimental vaccines that might stop COVID-19, spurring hope — maybe unrealistic — that

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Rare inflammatory syndrome seen in children with COVID-19

Children have largely been spared the worst of COVID-19, but there may be a rare complication — an inflammatory syndrome that one doctor described as causing patients to feel like

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WHO warns over virus immunity as global death toll tops 200,000

The global death toll in the novel coronavirus pandemic soared past the grim 200,000 milestone on Sunday, as the World Health Organization warned against “immunity passports” for recovered patients, seen

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WHO says novel coronavirus not manipulated or constructed

All available evidence to date suggests that the novel coronavirus, which has caused the ongoing pandemic, has a natural animal origin and is not a manipulated or constructed virus, the

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Coronavirus: Global death toll now 184,217

The global death toll from coronavirus reached 184,217 on Thursday morning. So far, 2,637,673 cases have been confirmed around the world after disease was first reported in China in December

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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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