News Update Today, Breaking News | Read Now

This Indian American monster movie has interesting touches of cultural specificity but it’s a mostly familiar formula There’s a swirl of the old and the new in the hokey pre-Halloween horror It Lives Inside, a balance that could have benefited from a lot more of the latter – because when the first-time director Bishal Dutta does try to add freshness to the familiarity of formula, he manages to carve his film its own place within two overstuffed subgenres, flashes of intrigue as he veers between schlocky curse and even schlockier monster movie. A wide-releasing horror film centered on an Indian American teenager already gives the film a certain distinction. Dutta, also acting as writer, tries to thread themes of assimilation and identity through a predictable procession of mostly ineffective jump scares and slightly more effective set pieces, the film working better when it’s trying to chill rather than shock. Never Have I Ever and Missing’s Megan Suri plays Samidha, or Sam as she pr

Net zero rollback could be a disaster for business confidence, with cars policy looking particularly perverse One can understand why Rishi Sunak sees political opportunity in watering down a few climate policies. Previous soundbites about “the economic opportunity of the 21st century” may be correct in the round, but voters have also noticed that heat pumps are expensive and that the path to net zero by 2050 involves costs as well as opportunities. A strategy that claims, in effect, that net zero can be delivered more gently is not absurd for a party that is miles behind in the polls. The problem, though, is the one highlighted by the furious reaction from some carmakers, in particular, to Sunak’s flip-flop. Any realistic route to net zero involves winning, and keeping, the broad confidence of businesses that will be overhauling the infrastructure. At one level, hitting the 2050 target requires an enormous public-private effort to rewire the entire economy. The whole point of setti

A new book about the rise of Emily Weiss’s billion-dollar beauty company that wanted to be your friend, for better and for worse In the spring of 2019, I sometimes found myself transfixed by the corner of Canal and Lafayette streets in Soho, either marveling at a line of people or in it. This was the New York headquarters of Glossier, the makeup brand of the millennial pink zeitgeist. Founded by Emily Weiss in 2014 with just four products, Glossier was – and, to an extent, still is – the purveyor of minimalist makeup in the 2010s: crisp sans serif advertising, direct-to-consumer delivery (in distinctive pink bubble packaging), a model of goddess-like, preternatural dewiness. I wasn’t a devotee of the brand so much as a lurker entranced by its omnipresence; by way of word of mouth and online buzz, their Milky Jelly Cleanser and Lash Slick mascara found their way into my makeup bag. Their Boy Brow gel, which promised the full, fluffy arches of the era, was more than one friend’s staple

Can we really be surprised when rich and powerful men are accused of sexual abuse? There’s nothing new but the details about what the Times journalists uncovered about Russell Brand in their investigative report published this weekend. We’ve been through this so many times, the story finally uncovered of a rich or powerful or celebrated man being accused of sexual abuse for years or decades. Russell Brand says all of his relationships were absolutely always consensual. That’s the first piece of the familiar story – that they got away with it for years because one of the forms inequality takes is inequality of voice –the voice with which you say what’s happened, the voice that’s listened to and believed and respected, the voice that determines what happens. Rebecca Solnit’s most recent books are Orwell’s Roses and the climate anthology Not Too Late: Changing the Climate Story from Despair to Possibility, co-edited with Thelma Young Lutunatabua Continue reading... from The Guardia

One in three online daters have been ditched by emoji. But what are the symbols that spell out ‘It’s not you, it’s me’? Name: Emoji dumping. Age: No more than 15. Continue reading... from The Guardian https://ift.tt/BzY8dIy

The impassioned story of a London group providing young people with alternatives to gang culture is emotionally and visually compelling Made over several years and much of it filmed, by necessity, with handheld cameras, this impassioned documentary is about BikeStormz , the collective bicycle rides organised at first as protest against knife violence. The prime mover is activist Mac Ferrari-Guy who understood from his own experience how devastating gang violence was to his community in London. At the same time, BikeStormz’s aim was also to provide kids, gang members and potential gang members with a constructive, communal activity that everyone could take part in, especially since the bike rides were at first through the City of London, the one part of the metropolis no gangs had dibs on. Before long, the riders started popping wheelies and showing off acrobatic skills – which looked awesome but unfortunately had local residents and the police up in arms over the safety of other roa

The band’s co-founder – whose new book examines the emergence of post-punk in Thatcher’s Britain – on reconciling with Robert Smith and the real meaning of the dark music subculture It’s a long time since Lol Tolhurst last played drums or keyboards for the Cure, the band he co-founded in the late 1970s with his schoolfriend Robert Smith. But occasionally he still finds himself striving to explain what the songs of those early years were all about. In Margaret Thatcher’s Britain, early Cure classics such as Seventeen Seconds and A Strange Day sounded a note of existential angst in teenage bedrooms across the land. The lyrics to A Forest , released in 1979, communicate the general vibe: “The girl was never there/ It’s always the same/ I’m running towards nothing/ Again and again and again and again…” Sadly, the cathartic power of such virtuoso melancholy has not always been obvious to everyone. “In conversations I’ve had all around the world,” Tolhurst says, “the thing that’s irked me