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Scotch Painter's Tape introduces ScotchBlue PROSharp Painter's Tape with Edge-Lock+ Technology

Scotch Painter's Tape introduces ScotchBlue PROSharp Painter's Tape with Edge-Lock+ Technology

Yahoo2 days ago

ScotchBlue PROSharp Painter's Tape provides ultra-sharp paint lines, helping to achieve a professional grade finish
ST. PAUL, Minn., May 21, 2025 /PRNewswire/ -- ScotchBlue™ PROSharp™ Painter's Tape with Edge-Lock+™ Technology is redefining precision lines within its portfolio of painter tapes. Backed by 100 years of innovation, the new advanced Edge-Lock+ Technology delivers a 2x better hold*, sealing out paint to leave consistently sharp lines, reducing the need for touch-ups and repaints.
"Professional painters know the best paint jobs start with Scotch," said Heather Green, president, Consumer Business Portfolio at 3M. "Our new ScotchBlue PROSharp Painter's Tape with Edge-Lock+ Technology delivers twice the hold of the original and the sharpest paint lines yet in the ScotchBlue Painter's Tape portfolio — making our best paint jobs, even better."
Designed for versatility and ease of use, ScotchBlue PROSharp Painter's Tape offers enhanced resistance to tearing and slivering, promotes even adhesion to prevent paint seepage, and performs across a variety of paint types and finishes. It's ideal for both indoor and outdoor surfaces, from lightly textured painted drywall and countertops to window glass, wood trim, siding, and more.
"As a designer and DIY enthusiast, I know how important it is to have products that deliver great results with ease," says Drew Michael Scott, Scotch Painter's Tape ambassador and home renovation expert. "The new ScotchBlue PROSharp Painter's Tape with Edge-Lock+ Technology has completely elevated my project workflow—it is engineered to create sharp lines while leaving behind no damage or sticky residue, even after exposure to sunlight. Whether you're a professional or just starting out, ScotchBlue PROSharp Painter's Tape is a must-have in any toolbox."
From household projects to professional renovations, one truth remains – prep work matters. Good masking is the key to sharp, professional lines and an overall neat, finished look. But if you don't have the right product on hand, this job can be harder than it needs to be – resulting in touch-ups and a less-than-professional finish. ScotchBlue PROSharp Painter's Tape with Edge-Lock+ Technology removes the guess work, giving consumers the confidence and freedom to decorate, design, and deliver – the way they want.
ScotchBlue PROSharp Painter's Tape is now available at major retailers. To learn more, visit www.scotchblue.com.
*Than tape with the original Edge-Lock Technology
About 3M 3M (NYSE: MMM) believes science helps create a brighter world for everyone. By unlocking the power of people, ideas and science to reimagine what's possible, our global team uniquely addresses the opportunities and challenges of our customers, communities, and planet. Learn how we're working to improve lives and make what's next at 3M.com/news.
View original content to download multimedia:https://www.prnewswire.com/news-releases/scotch-painters-tape-introduces-scotchblue-prosharp-painters-tape-with-edge-lock-technology-302462087.html
SOURCE 3M Company

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An astonishing new approach to ‘Frankenstein'
An astonishing new approach to ‘Frankenstein'

Washington Post

time30 minutes ago

  • Washington Post

An astonishing new approach to ‘Frankenstein'

The 'Frankenstein' that roared to life in D.C. this past weekend marks a triumphant U.S. directorial debut for London-based theater savant Emily Burns, who'd already earned a measure of local attention for adapting the script for the 'Macbeth' that brought Ralph Fiennes to Shakespeare Theatre Company last spring. As in that intriguing but uneven exercise, Burns has chucked a night-dark classic and a brisk contemporary vibe into her authorial Cuisinart. But this time, with the writer-director not just remixing the story but shepherding the whole shebang, the resulting world premiere is a blistering success — unabashedly intelligent, sumptuously visualized, taut as an assassin's garrote. It's jump-scary psychodrama with a literary pedigree, served up in sleek prestige-TV style. If there's any theatrical justice it'll end up making piles of money on Broadway and the West End. We're still in Geneva circa 1790, still in Mary Shelley's shadow-shrouded tale of an Enlightenment-inspired wannabe scientist. The moral and ethical probings still circle around what exactly Victor Frankenstein (Nick Westrate) has been up to of late. But there's also the intimately personal question, more urgent now than ever, of what the fallout will be for Elizabeth (Rebecca S'manga Frank), Victor's adopted sister and eventual wife. You might reasonably guess that in a rewrite grounded in what the script says is 'psychologically now,' she'll end up being far more than a tragic second-banana figure. What you might not expect is how far and how firmly Burns will manage to shift focus to Elizabeth without entirely dismissing Victor as 'the real monster,' that tired old oversimplification. Or how much genuinely suffocating suspense she'll wring from the hows and the whys and the what-could-you-possibly-be-thinkings. We'll have none of the novel's epistolary, travelogue-y throat-clearings to kick off this brutally efficient retelling; no Arctic vistas, no random ice floe encounters. Burns launches things in smothering gloom instead, with moody surtitles and a moodier voice-over. (Tired devices, you might sneer, right up until they pay off in a hair-raising collision of remembered horror, real-time revelation and rapacious need.) Those opening atmospherics give way, suddenly and startlingly, to a titanic thunderclap and a strobed glimpse of what looks for an instant like your standard mad-scientist lab setup. (The design elements, courtesy of scenarist Andrew Boyce, costumer Kaye Voyce, lighting guru Neil Austin, sound artist André Pluess and projectionist Elizabeth Barrett, prove uniformly superb and enviably unified.) A quick tonal shift, more light, and we're in the soaring moonlit kitchen of the Frankenstein family's stately home, well past midnight on the stormy eve of the young couple's long-planned wedding. Then Burns's lean story edit derails not just the planned nuptials but everyone's entire lives: Victor's 10-year-old brother, William, reported missing in the opening exchanges, is confirmed dead. Which is when things get all 21st-century head-shrinky: Justine (Anna Takayo), the devoted family retainer framed for the murder in Shelley's version, implicates her own self in this telling, confessing to the crime out of a morbid conviction that her impatience with William's preadolescent rowdiness had driven him out of the house and into the real killer's path. And Justine's piercing need to atone for what she sees as unforgivably bad (surrogate) parenting is merely the first suggestion of the soul-searchings to come over at the Frankenstein place. Victor and Elizabeth and eventually their righteous wet nurse (Takayo again, chameleoning nicely) will dig into memories of childhood alienation, tales of shifting parental affections and confrontations around what being a decent mother even means. Or, crucially, a halfway-decent father. It's all grounded impeccably, both in key themes from the original text and in stark traumas Shelley navigated in real life: Her mother's death was a direct result of her birth, while her own son, not coincidentally named William, was ailing around the time of the novel's conception and dead by the age of 3. The author lost three other children in their infancy, too. No shortage of resonance in all that for this adaptation's explorations of what courage it takes to contemplate the making of a child, how hugely the process of creating life can go awry, how quickly the simplicities of youth can curdle into the monstrosities of adult humanity. Frank's hypnotically sure performance as Elizabeth is the staging's bright lodestar. Her voice is caramel and cloves, expressive even in Burns's lighter modern phrasings, downright beguiling in more lyrical passages taken whole from Shelley's period text. Her body language speaks more resonantly yet: Stillness can equal immense authority onstage, and this actor's economy of movement generates black hole gravity, making larger gestures all the more seismic when they erupt. Takayo's is a nervier and more restless presence, as is Westrate's — aptly enough given the essential fecklessness of this adaptation's still-charming Victor. He's twitchy and shifty and impossible to repose any real faith in, this thoroughly modern man-child, which is one potent way Burns sustains the evening's exquisite narrative tension. Grounding a character's evasions and fictions in a physical vocabulary that screams 'I cannot be trusted' is a sly tactic for making an audience second-guess what it already knows to be a horrifying truth. That truth, of course, involves what constitutes monstrosity, and in whose eyes. Burns's last great coup is the climactic reveal that finally settles the question of whether this tale of a grotesque and murderous villain bears any resemblance to fact. It's not quite a spoiler to acknowledge that a Creature does make an appearance — actor Lucas Iverson gets a playbill credit, after all — but the specifics of that answer and the delicacy in how Burns and company navigate the moment elicited audible gasps at Sunday's matinee. Like nearly every rich and gorgeous element of this 'Frankenstein,' it's flat-out astonishing. Frankenstein, through June 29 at the Klein Theatre. About 2 hours 20 minutes, including an intermission.

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Journalism opens as the Belmont favorite. Kentucky Derby winner Sovereignty is the 2nd choice
Journalism opens as the Belmont favorite. Kentucky Derby winner Sovereignty is the 2nd choice

Associated Press

time31 minutes ago

  • Associated Press

Journalism opens as the Belmont favorite. Kentucky Derby winner Sovereignty is the 2nd choice

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