Prize crossword No 29,685
1 Garment with knitted top taken in by 5 down neighbour (3,5) 1 across. Garment with knitted top taken in by 5 down neighbour. 3 letters and 5 letters.
6 Recovered well, sparkle's back after a bug (6) 6 across. Recovered well, sparkle's back after a bug. 6 letters.
9 Attention-seeker in energetic lover, more sentimental (6) 9 across. Attention-seeker in energetic lover, more sentimental. 6 letters.
10 Exceptional currency (8) 10 across. Exceptional currency. 8 letters.
11 Youth having organised most of trek, pony brought in? (9) 11 across. Youth having organised most of trek, pony brought in? 9 letters.
13 Wink is dodgy when confronted by judge (5) 13 across. Wink is dodgy when confronted by judge. 5 letters.
15 Ending in clink after venture backfiring, fill up again (6) 15 across. Ending in clink after venture backfiring, fill up again. 6 letters.
17 5 down notable in 'beastly couple' as observed from the far right? (6) 17 across. 5 down notable in 'beastly couple' as observed from the far right? 6 letters.
18 Capitalist and interventionist with company investing in gas (6) 18 across. Capitalist and interventionist with company investing in gas. 6 letters.
19 Have on end (4,2) 19 across. Have on end. 4 letters and 2 letters.
21 East 5 down town in Battle, we surmise (5) 21 across. East 5 down town in Battle, we surmise. 5 letters.
22 Ridicule can go either way, reportedly, for historical character (3,6) 22 across. Ridicule can go either way, reportedly, for historical character. 3 letters and 6 letters.
25, 3 5 down event charging partner with freethinking power (8,5) 25 across, 3 across. 5 down event charging partner with freethinking power. 8 letters and 5 letters.
26 European city where nothing left, heading for oblivion (6) 26 across. European city where nothing left, heading for oblivion. 6 letters.
28 Strangely repulsive, how 5 down town sounds to a minibeast? (6) 28 across. Strangely repulsive, how 5 down town sounds to a minibeast? 6 letters.
29 That is written into draft I surprisingly endorsed (8) 29 across. That is written into draft I surprisingly endorsed. 8 letters.
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17-year cicadas – here for a good time, not a long time – are out. But which 17-year cicadas?
PERRY COUNTY, Pa. (WHTM) — In terms of fame and fortune — well, okay… maybe not fortune, but certainly fame! — no brood of 17-year cicadas matches Brood X, which last emerged in 2021. Anyone old enough also remembers the 2004 emergence, the 1987 one and so forth. But should Brood XIV (that's 14 rather than 10, for the Roman numeral-impaired) — emerging now — have at least as great a claim to fame? 'This is the brood,' said Dr. John Cooley, who studies cicadas at the University of Connecticut. 'The brood European colonists first encountered.' Indeed, the 1634 emergence of what would later be identified as Brood XIV cicadas is chronicled in a book called The Pilgrims' Promise by another of the world's most prominent cidada experts, Dr. Gene Kritsky. Cicadas emerge when soil warms to 64 degrees, and on cue, cicadas in southern Brood XIV territory, such as parts of Tennessee and North Carolina, emerged this spring, both Kritsky and Cooley said. In other parts of what everyone agrees is core Brood XIV territory, such as in Pennsylvania places like Milton closer to I-80, the wet and cool spring delayed the emergence, both said. But in the Duncannon area of Perry County — and nowhere more so than on the grounds of Buddy Boy Winery and Restaurant in Penn Township — cicadas are everywhere, singing what at least their fans (they do have their detractors) consider a sweet song. 'They're kind of fun, and I like the noise,' said Coreena Warner, who manages the winery. And for other people? 'If you don't like the noise, it'll be over here in about three weeks,' said Forrest Woodward, the chef, who prepares adventurous dishes like frog's legs and deep-fried rabbit — but nothing cicada. At least not on the food menu. There is a 'cidada killer' on the drink menu — garnished with two cherries floating on top, like beady red cicada eyes — and a (tasty) mix of liquors and juices but, alas, no actual cicadas in it. Back to the actual cicadas — and their short stay above ground — it's true: Cicadas are here for a good time, not a long time. 'The have to mate and lay eggs, and the adults die,' Cooley said. Then the eggs hatch into nymphs, which live underground for — in the cases of Broods X and XIV, anyway — 17 years before emerging. This is Brood XIV's year, so of course the cicadas here should be those, except for one problem, according to Cooley: Duncannon isn't in core Brood XIV territory. Scientists think cicadas count years based on something (no one is sure exactly what) related to the seasonal changes of the deciduous trees on which they feed — 'the same kinds of things that make tree rings,' Cooley said. Scientists are even less certain how cicadas count to 17, but Cooley said they sometimes make mistakes, and when they do, they miscount by increments of four years. His hunch: Maybe the cicadas here are Brood X 'stragglers.' After all, it's four years beyond 2021. On the other hand, he said stragglers are usually too small in number to sing loudly together, which is not the case with the ones in the woods around Buddy Boy. Kritsky said don't discount the possibility these are the real Brood XIV deal: USDA records documented cicadas in the Duncannon area in 1923 and 1940, which would correspond with the cycle. Both Kritsky and Cooley said a challenge for current cicada scientists is that no one was keeping records like the ones they're keeping — no one crowdsourcing cicada sightings on Kritsky's Cicaca Safari app, which 243,000 people have used to document what they've seen — in centuries past. (Heck, no one began using telephones to gather information about cicadas until the 1970s, Cooley said.) 'Having that many boots on the ground is allowing us to see specifically where the cicadas are coming out and how that relates to other broods,' Kritsky said. 'I'm not going to be around to tell you whether what's actually happening,' Cooley said. 'but 'We leave that to future generations to tell us.' Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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4 hours ago
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How to Root for a Merciless Man, According to Wes Anderson
The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. The Manhattan hotel at which I'm interviewing Wes Anderson has striking views of Central Park out of its windows. Looming a little more ominously, however, is the Trump International Hotel and Tower, one of the president's many jutting edifices dotted around the globe. I wouldn't have noted it, except that Anderson's new film, The Phoenician Scheme, is about a tycoon with hands in many pots: arms dealing, manufacturing, large-scale infrastructure projects. In conceiving the character—a businessman named Zsa-zsa Korda (played by Benicio del Toro)—the director told me that he was thinking of a more old-fashioned type of European magnate, in the vein of Aristotle Onassis or Gianni Agnelli. But 'I think that everything's filtering in,' he allowed with a chuckle. 'We're all reading the same newspapers.' Anderson has (unfairly) earned a reputation as a maker of fidgety little cinematic dioramas, meticulously designed but hermetically sealed off from reality. But his work is clearly responsive to modern life: His previous feature, the staggering Asteroid City, was a charming dramedy about a space-age desert town encountering aliens that also managed to capture the feeling of people going into lockdown in the early days of the coronavirus pandemic. Anderson wrote Asteroid City while in quarantine, an experience that appears to have directly informed its sense of anxiety and claustrophobia. ('Your imagination is responding to whatever the stimuli in the world is,' he told me.) The Phoenician Scheme, by comparison, is light and zany, as Korda embarks upon a madcap dash across the globe to save his dwindling fortune. As I noted to him, it also obviously seems to prod at the preening foolishness of today's mega-rich land barons. [Read: Only Wes Anderson could adapt Roald Dahl this way] I worried he'd deflect the comment—Anderson often talks about his screenwriting process as somewhat mysterious, in which he moves among scenarios in ways that surprise even himself. But he noted the strange manner in which more serious subjects were intersecting with his otherwise delightfully wacky tale. Much of the film finds Korda in transit, typically by airplane—even after surviving multiple crashes caused by would-be assassins, which stokes growing anxiety over how many times he can make it out alive. Korda's steadfast preference for flight travel, however, is meant to reflect his social status; airplanes, Anderson said, have become the ultimate symbol of wealth and power: 'Now,' he observed, in reference to the $400 million aircraft recently gifted to Donald Trump, 'we've got a 747 coming in from Qatar.' If reality is 'filtering in' to The Phoenician Scheme, it's transformed through the usual bundle of Andersonian layers. The film is cold-bloodedly whimsical, asking the audience to root for a merciless man who endeavors, ever so incrementally, to understand some deeper human truths. It follows Korda and his estranged daughter, Liesl (Mia Threapleton), a novitiate nun who insists on the immorality of her father's business interests, which starve and impoverish people worldwide. Korda professes disinterest in Liesl's concerns, but as he flies from country to country dodging assassination attempts and strong-arming fellow businessmen, Anderson allows his protagonist's heart to grow just the teeniest bit: 'My original impression of what I thought we were going to do was a ruthless, brutal, unkillable businessman who is just on his path, totally focused on his own mission and is going to do a lot of damage to not just the people around him, but the world at large, in his own interest,' he told me. Then he wrote the first scene and was surprised to find that it came out more farcical: a comical action set piece in which Korda's secretary is blown in half and Korda has to land a crashing plane by himself. 'I do feel a bit like you start writing a thing, you have your preconceptions,' Anderson said, 'and then it just starts to tell you what it wants to be.' The Phoenician Scheme thus became something funnier and stranger, in which Korda's cruelty is quietly moderated by his daughter and his unspoken fear of death. Every time he brushes close to expiration, Korda is zipped to a surreal, black-and-white netherworld where he's judged by otherworldly beings (including God, played by Bill Murray, wearing white robes and sporting a big beard). As he tries to convince other tycoons (played by other familiar members of the Anderson ensemble, such as Bryan Cranston, Jeffrey Wright, and Mathieu Amalric) to help him finance an ambitious infrastructure proposal, Korda begins to tap into a sense of fellowship he'd otherwise been missing. As he does with Korda, Anderson introduces each of these competing captains of industry under absurd circumstances—such as at a high-stakes basketball game and during a dramatic nightclub shootout—that are befitting their characters. 'These tycoon-y character people, they're cartoons,' Anderson said. 'They always have eccentricities and peculiarities because they can do anything they want.' But his inspiration, beyond famous faces like Onassis or the legendary oil middleman Calouste Gulbenkian, was his own father-in-law: Fouad Malouf, a Lebanese engineer to whom the film is dedicated. This bore out in both Korda's professional interests and his attempt to build a relationship with Liesl: At one point near the end of his life, Malouf produced a series of shoeboxes from his closet of effects gathered throughout his career, and explained their contents to his daughter. The Phoenician Scheme repeats that shoebox imagery. With even his most outlandish stories, Anderson said, 'it just becomes more personal without even me intending it to.' The most fascinating challenge of the film, at least to me, was keeping the screwball energy high while otherwise heeding Anderson's specific style. Each set is carefully assembled, with the blocking of each shot perfectly aligned, and Anderson's rat-a-tat dialogue is delivered exactly as written. Still, there's a spontaneity to the storytelling and the world it's moving through. Anderson's locations reference real places, but they always feel exciting and new, never derivative. [Read: The beauty and sadness of Isle of Dogs] The director's particular approach—one that eschews on-set trailers, keeps all of the cast together (including dining communally and staying at the same hotel), and moves from scene to scene quite quickly—is unusual for larger-scale filmmaking. But Anderson is clearly cheered by the enthusiasm his performers have for the process, and how well the newer members of his family of players have taken to it. Michael Cera (who is fantastic as a fussy Norwegian tutor in Korda's employ) and Riz Ahmed (as Prince Farouk, the heir to the fictional nation of Phoenicia, which is vital to the plot) were Anderson's two big additions this time around, and the filmmaker said that both actors dove in with aplomb. And it shows—they fit comfortably among the Anderson stalwarts, capturing the archness typical of the director's characters. Del Toro's performance is the most crucial component to The Phoenician Scheme; it's the first Anderson movie centered on a single lead since The Grand Budapest Hotel, starring Ralph Fiennes. Del Toro had been in Anderson's head as Korda from the start, so much that he informed the actor of the idea while they were promoting their prior collaboration, 2021's The French Dispatch. Anderson remembered his pitch being vague to a comedic, overblown degree: 'I told him there's some Buñuel aspect to it.'' As I tried to describe Del Toro's on-screen presence to Anderson, I ended up referencing his 'whatever' (American for je ne sais quoi). Del Toro's early roles (in 1990s cult films such as The Usual Suspects and Excess Baggage) smacked of knockoff Marlon Brando: all movement, mumbling charm, and giddy chaos. But with time, the actor has learned to communicate decades of regret and the darkest emotional headspace with barely a flicker of his face. That's the power of his presence, or, as Anderson agreed, his 'whatever.' This isn't the first time Anderson wrote with an actor in mind. As we spoke, he mentioned the late Gene Hackman in The Royal Tenenbaums. Hackman's character, Royal Tenenbaum, is another intense father figure who, like Korda, is both brilliant and terrible. But Anderson scripted him two decades ago, before he became a parent. I asked him if the intervening years had changed his investigations into the sins of fatherhood, and he nodded. 'Tenenbaums was completely from the point of view of looking up at the old man,' he said. Now, at age 56, the director is practically Korda's age; he also has a daughter, as do Del Toro and Anderson's frequent story collaborator Roman Coppola: 'I guess we're coming at it from the father's point of view, but, I will say, with a bit of the perspective of still thinking about our own fathers.' The Phoenician Scheme strikes that balance: It's wiser, and it has the looser silliness that comes with middle age—but it's looking up at those imposing father figures, tycoons or no, with awe and fear all the same. Article originally published at The Atlantic
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6 hours ago
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Kim Kardashian Robbery Spotlighted In BBC Three Doc; Canal+ & Netflix Partner In Sub-Saharan Africa; ‘Jaws' Documentary
Kim Kardashian Robbery Spotlighted In BBC Three Doc The BBC is to tell the story of Kim Kardashian's robbery and reveal new details. A BBC Three documentary, The Kim Kardashian Diamond Heist, will drop later this month, with new insight into what happened nearly a decade ago and following the story up to the reality superstar facing her robbers in court last month, where eight people were found guilty. Featuring interviews with friends of the family, police officers and journalists who have followed the case, the doc takes viewers back to that fateful night when she was robbed of millions of dollars' worth of jewellery in Paris at gunpoint. Nasfim Haque, Head of Content at BBC Three, said: 'This documentary offers an insight into one of the most publicised celebrity crimes of our time committed on one of the most famous women on the planet which will delve into the facts behind the gossip and explore the price of fame in the digital age.' The Kim Kardashian Diamond Heist is being produced by Firecracker Films. More from Deadline BBC Content Chief Latest: Race To Replace Charlotte Moore Nears Final Two, As Zai Bennett Drops Out & New Candidates Emerge Biden Blasts Trump Over "False" Claims That Aides Ran Country During His Presidency; Current POTUS Admits He Has No Proof For Allegation - Update BBC Condemns Israel After IDF Soldiers Strip-Searched & Detained Journalists At Gunpoint Canal+ & Netflix Partner In Sub-Saharan Africa Canal+ and Netflix have extended their partnership to Sub-Saharan Africa. Under the agreement, Canal+ said it will become the first operator to distribute Netflix as part of its offering across 24 Sub-Saharan African countries. The pair have had a partnership since 2019 in France and Poland and today's news represents a geographical extension. Pascale Chabert, Chief Content Acquisition Officer of Canal+, said: 'Our millions of African subscribers will benefit from a unique offer, bringing together the best of Canal+ and Netflix content in a joint package. This new agreement demonstrates Canal+'s ability to extend its unique super-aggregation model beyond the European continent.' The news comes with Canal+'s acquisition of African giant MultiChoice still making its way past the regulator. EXCLUSIVE: U.S. indie Leroy Street Films is behind Jaws-inspired doc The Farmer & the Shark, which will launch at the Martha's Vineyard Museum on Tuesday, August 19 at 4pm. The documentary explores the life of local Martha's Vineyard legend, Craig Kingsbury, and his impact on the production of Steven Spielberg's classic movie, which celebrates its 50th anniversary this year. The documentary focuses on the influence Kingsbury had on the film, from both behind and in front of the camera, as the embodiment of Robert Shaw's iconic shark hunter, Quint. The doc features conversations with Craig Kingsbury's family members and interviews with local and Hollywood tradesmen and artisans who worked on the film, including production designer Joe Alves, cameraman Michael Chapman, Tom Joyner, Kevin Pike, Jonathan Filley, Jeffrey Kramer. Pic is produced by Leroy Street Films in association with Atomic Clock, Witter Entertainment, and Stage 3 Productions. Pic is directed by John Campopiano, written by Rick DiGregorio and John Campopiano, and co-written by Matthew Spry. Best of Deadline 2025 TV Cancellations: Photo Gallery 2025 TV Series Renewals: Photo Gallery 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series
