Sat, 20 Sep 2025, 12:01 am
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Hackers targeted 130 accounts, company: Twitter

The hackers targeted the accounts of 130 people, some of its most high-profile users and were able to reset the passwords of 45 of those accounts, said Twitter. “We’re embarrassed,

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Beetle-mounted camera streams insect adventures

Researchers have developed a tiny wireless camera that is light enough to be carried by live beetles. The team at the University of Washington in the US drew inspiration from

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Apple has €13bn Irish tax bill overturned

Apple has been told it will not have to pay Ireland €13bn (£11.6bn) in back taxes after winning an appeal at the European Union’s second highest court. It follows a

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Top US aide expects tough action on TikTok, WeChat

White House trade advisor Peter Navarro said Sunday he expected President Donald Trump to act firmly against the TikTok and WeChat applications, amid rising tensions between Washington and Beijing.  

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The quest to find signs of ancient life on Mars

Mars may now be considered a barren, icy desert but did Earth’s nearest neighbour once harbour life? It is a question that has preoccupied scientists for centuries and fired up

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China launches satellite for space environment study

China successfully sent a satellite for space environment study and related technology experiments into the planned orbit from the Jiuquan Satellite Launch Center in northwest China on Sunday. The satellite,

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Coronavirus: NASA invents ‘PULSE’ to stop touching face

As coronavirus cases continue to surge across the world, including ours, there are some activities which are supremely risky-including touching our face. NASA, joining the league of innovative inventions has

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India bans 59 apps including China-based TikTok, WeChat

SHAREiT and WeChat, terming them prejudicial to sovereignty, integrity and national security. In an official statement, India’s IT Ministry said it has received many complaints from various sources, including several

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‘Irrelevant’ sectors included in Social safety net

A massive plan to spend nearly Tk1 trillion on social safety net has been rolled out in the budget for FY’21, but inclusion of some “irrelevant” sectors in it has

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Facebook names Httpool as authorized sales partner in Bangladesh

Facebook has appointed Httpool as the authorized sales partner in Bangladesh. Httpool can now provide support and market expertise to local businesses and agencies, and provide the option for local

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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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