Fri, 19 Sep 2025, 03:59 pm
NewYork

US could’ve prevented 90pc of deaths by locking down two weeks earlier

If the United States had started social distancing just a week earlier, it could have prevented the loss of at least 36,000 lives to the coronavirus, according to new research.

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US Senate passes bill to delist Chinese companies from exchanges

The US Senate overwhelmingly approved legislation Wednesday that could lead to Chinese companies such as Alibaba Group Holding Ltd. and Baidu Inc. being barred from listing on U.S. stock exchanges

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Trump reveals he is taking hydroxychloroquine

President Donald Trump on Monday made the surprising revelation that he is taking hydroxychloroquine, an anti-malaria drug that his own government experts say is not suitable for fighting the novel

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Protesters arrested in London during anti-lockdown demonstration

At least 13 protesters participating in an anti-lockdown demonstration in London have been arrested, the British Metropolitan Police told CNN on Saturday. Dozens of people who had gathered in Hyde

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Trump dismisses concern over virus spreading in White House

US President Donald Trump on Monday dismissed concerns over the possible spread of coronavirus in the White House but said he may limit contact with Vice President Mike Pence. Trump,

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US adds 776 coronavirus deaths in 24 hours: tracker

The United States recorded 776 coronavirus deaths in the past 24 hours, bringing the total to 79,522, according to the real-time tally by Johns Hopkins University at 8:30 pm Sunday

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Coronavirus: Boris Johnson to launch Covid-19 alert system

A Covid-19 alert system is set to be launched by the government in England to track the virus, the prime minister is expected to announce on Sunday. The system will

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UK ‘to bring in 14-day quarantine for air passengers’

UK airlines say they have been told the government will bring in a 14-day quarantine for anyone arriving in the UK from any country apart from the Republic of Ireland

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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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Trump-touted malaria drug fails in Covid-19 study

A malaria drug that was touted by US President Donald Trump and widely used as a potential treatment for patients with Covid-19 failed to help those with infections stay off

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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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