Latest news with #Risk
Miami Herald
2 days ago
- Entertainment
- Miami Herald
This Birkin, LL Bean love child is chaotic genius (and I need it)
I'm a New Englander through and through. I spent childhood summers swimming in New Hampshire lakes or frolicking on the beaches of Southern Maine. And wherever I went, an L.L. Bean Boat and Tote was always in the mix. Monogrammed, oversized, and packed with snacks, sunscreen, and sandy towels, it was the bag that never let me down. To this day, there is always a Boat and Tote hiding somewhere at our family beach house - ready to be tossed in the car or hauled down to the sand when the moment calls for it. Related: Dior suffers major loss as trailblazing designer exits Though the canvas is a little softer now, it holds everything and somehow still feels cool, in that effortless, practical New England way. But like most people, my taste has evolved. I still love the no-nonsense appeal of a Boat and Tote. But I also can't help but fantasize about the Hermès Birkin, that grail-level icon of luxury handbags. It's aspirational, expensive, and in some ways, totally absurd. Which makes it kind of perfect. So when I came across a bag that mashed up both - the Birkin and the Boat and Tote- I did a double take. Ladies and gentleman, this one is SPECIAL. Image source: Hathaway Hutton Enter the Boatkin. The Boatkin is a handmade, tongue-in-cheek luxury bag from the brand Hathaway Hutton. Dreamed up by founder Jen Risk, the Boatkin fuses the iconic silhouette and hardware of the Hermès Birkin with the familiar canvas and stitching of the L.L. Bean classic. According to the New York Times, Risk launched the Boatkin earlier this year. And while it may have started as a playful one-off, the bag has quickly become part of a much larger - and growing - conversation in fashion: the rise of the dupe. From TikTok-famous Stanley cup lookalikes to the now-infamous Wirkin, dupes have become a defining trend in fashion, blurring the line between homage and knockoff. Related: Forget the Birkin bag, Hermès unveils something unexpected They signal status without the sky-high price, and let consumers buy into the look of a lifestyle without the gatekeeping. The Boatkin, with its wink at two iconic brands, offers a different kind of flex - one that says, "I get the joke." It also reflects a generational shift. Consumers are increasingly seeking individuality, irony, and access, even in their luxury purchases. The Boatkin doesn't pretend to be a Birkin, and that's exactly the point. What began as a playful fashion trend is now a fast-moving market. Social media has supercharged the demand for lookalike luxury, with content creators posting "dupe hauls" and brands scrambling to deliver lower-cost versions of high-end designs. According to a report from WARC, approximately 31% of adults have purchased a dupe, with the number rising to 49% among Gen Z and 44% among millennials. The Boatkin taps into that momentum, but stands apart in its craftsmanship. Where many dupes are mass-produced, Risk's creations are made by hand, often using customer-supplied materials. That limited scale adds exclusivity - ironic, given the concept's populist appeal. But it's exactly this contradiction that makes the Boatkin feel so of-the-moment. The legal gray area surrounding designer-inspired goods remains a hot topic. And as luxury fashion contends with shifting consumer values, brands may have to reckon with more than just copycats. They'll have to compete with creators who remix heritage with humor, yet still command a waitlist. For now, the Boatkin remains a standout. Not because it's trying to be a Birkin, but because it's not. It's a reminder that in today's fashion landscape, the cleverest accessory might be the one that doesn't take itself too seriously. And for me? Let's just say...I'm not not on the waitlist. Related: Birkin bag maker faces major problem The Arena Media Brands, LLC THESTREET is a registered trademark of TheStreet, Inc.
Yahoo
3 days ago
- Business
- Yahoo
AdventHealth taps Brasfield & Gorrie for $660M medical tower
This story was originally published on Construction Dive. To receive daily news and insights, subscribe to our free daily Construction Dive newsletter. Award: Hospital tower Value: $660 million Location: Orlando, Florida Client: AdventHealth Orlando AdventHealth Orlando has tapped Birmingham, Alabama-based contractor Brasfield & Gorrie to build a 14-story medical tower as the centerpiece of a $1 billion investment from the health system, according to a May 14 news release. The tower comes with a $660 million price tag, according to Health News Florida. Located on AdventHealth's 172-acre campus in downtown Orlando, the facility will have capacity for 24 operating rooms and 440 inpatient beds. It will also provide endoscopy and imaging services. Brasfield & Gorrie, which had $6.4 billion in revenue in 2024 according to Engineering News-Record, has long focused on the healthcare market. It boasts a portfolio ofover 3,100 projects in the sector with a value of $23.2 billion, according to its website. Other aspects of AdventHealth's investment in its Orlando campus include the development of: Advanced services and technologies such as robot-assisted kidney transplants. Its Genomics Risk Assessment for Cancer and Early Detection program, which uses a patient's family history, medical history and artificial intelligence data to assess potential risk. The Little Miracles Unit, which provides more intensive care for infants born as early as 22 weeks. 'This project is paving the way for our Orlando campus to become America's epicenter for surgical advancement, breakthrough treatments, pioneering research and medical education – all centered on our whole-person health philosophy,' said AdventHealth Orlando CEO Rob Deininger in the release. Today, AdventHealth Orlando is home to 24 accredited programs, with 358 accredited residents and fellows. With the investment, it aims to add seven more programs and an additional 109 residents and fellows. The campus currently employs nearly 10,000 people and is on pace to enroll nearly 2,000 students at AdventHealth University, with a goal of 3,000 students when the tower opens. The tower's completion is slated for 2030, according to the release
Economic Times
7 days ago
- Business
- Economic Times
RBI's ₹2.7 lakh cr dividend fuelled by dollar gains, interest income, analysts say
Substantial gains from US dollar sales and interest income from securities prompted the Reserve Bank to announce a record Rs 2.7 lakh crore annual dividend to the central government, according to analysts. The Reserve Bank on Friday announced a record Rs 2.69 lakh crore dividend to the government for FY25, helping the exchequer to tide over challenges posed by US tariffs and increased spending on defence due to the conflict with Pakistan. The decision on the dividend payout was taken at the 616th meeting of the Central Board of Directors of Reserve Bank of India held here under the Chairmanship of Governor Sanjay Malhotra. The central bank has transferred Rs 2.1 lakh crore dividend to the government for the fiscal 2023-24. The payout was Rs 87,416 crore for 2022-23. DK Srivastava, Chief Policy Advisor, EY India, said the RBI has been making higher and higher surplus transfers to the government after the Covid year of 2021-22. "This transfer is in spite of the RBI raising the Contingent Risk Buffer to 7.5 per cent for 2024-25 from its previous level of 6.5 per cent for 2023-24. The main reason for RBI's increased income relates to its foreign exchange operations, which included the selling of large amounts of USD and higher interest income," Srivastava said. In a report, CareEdge said though the RBI dividend is higher compared to the previous year, it has come below the market expectations centred around higher than Rs 3 lakh crore. Increased risk provisioning under the revised Economic Capital Framework (ECF) reined in the dividend at Rs 2.7 lakh crore, it said. "With the RBI yet to release its annual report, the reasons behind the higher surplus reported for FY25 are still awaited. However, we expect that the substantial gains incurred from dollar sales throughout the year may have been the key contributing factor for this record dividend transfer," CareEdge said. Furthermore, other factors like the interest income from rupee securities and foreign securities could have also underpinned the higher dividend amount to some extent, it added. Economists at SBI, in a report, said the Reserve Bank's bumper dividend will ease the fiscal position of the government and help bolster growth in the world's fourth-largest economy. Finance Minister Nirmala Sitharaman in her Budget for 2025-26 projected a dividend income of Rs 2.56 lakh crore cumulatively from the RBI and public sector financial institutions. With the RBI's transfer, this number would now be much higher than the budgeted estimates. "We expect the fiscal deficit to ease by 20 basis points from the budgeted level to 4.2 per cent of GDP. Alternatively, it will open up for additional spending for around Rs 70,000 crore, other things remaining unchanged," according to the latest edition of SBI Research's Ecowrap. In a report, Emkay Global Financial Services said the lower-than-expected surplus transfer appears to be largely on account of the RBI revising the risk provisioning range under the Contingent Risk Buffer (CRB). "As of now, we do not expect Centre's fiscal math to change drastically because of this. The incremental gain from the higher RBI dividend is expected to partly offset potential shortfalls in tax revenues and lower-than-expected nominal GDP growth. Accordingly, we maintain our FY26 gross FD/GDP target at 4.4 per cent, in line with the budget estimate," it said. On Friday, the central bank said the transferable surplus for the year (2024-25) has been arrived at on the basis of the revised ECF, which stipulates that the risk provisioning under the CRB be maintained within a range of 7.50 to 4.50 per cent of the RBI's balance sheet. During accounting years 2018-19 to 2021-22, owing to the prevailing macroeconomic conditions and the onslaught of the Covid-19 pandemic, the Central Board of Directors of the Reserve Bank of India decided to maintain the CRB at 5.50 per cent of the RBI's Balance Sheet size to support growth and overall economic activity. The CRB was increased to 6 per cent for FY 2022-23 and to 6.50 per cent for FY 2023-24. Based on the revised ECF, and taking into consideration the macroeconomic assessment, the Central Board decided to further increase the CRB to 7.50 per cent.
Yahoo
22-05-2025
- Entertainment
- Yahoo
‘The Six Billion Dollar Man' Review: Straight-Ahead Julian Assange Doc Looks Pessimistically Toward a Post-Truth World
The saga of WikiLeaks founder Julian Assange has dragged on long enough, and complicatedly enough, to render a number of past films about him, if not obsolete, clear period pieces. Documentaries like Alex Gibney's 2013 'We Steal Secrets' and Laura Poitras' 2016 'Risk,' both produced during the Obama era, are informed by a very different political climate from the one we're in now — while neither could have anticipated how the Australian editor and activist's legal difficulties would escalate in the years to come. (Bill Condon's technothriller-styled 2013 Assange biopic 'The Fifth Estate,' meanwhile, felt premature from the get-go.) With Assange finally freed last year after 12 years of confinement or outright imprisonment in the U.K., the time feels right for an expansive catch-up on the whole knotty affair: Enter Eugene Jarecki's plainly presented but detail-packed documentary 'The Six Billion Dollar Man,' which premiered at Cannes (with Assange himself present) in the festival's Special Screenings program. Beginning with the founding of initially modest startup WikiLeaks in the mid-2000s and the swift impact of its uncompromising journalism in media and political spheres alike, the film progresses in mostly linear fashion through attempts by various national administrations to stymie and silence Assange, and concludes with his 2024 return to Australia after five years in a high-security British prison, following a successful plea deal with U.S. prosecutors. There hasn't been another running news narrative quite like Assange's, in which secondary players range from Donald Trump to Pamela Anderson to a sociopathic teen hacker from Iceland: There's potential here for grandstanding, but Jarecki tells this tall true story with the same probing, drily enraged authority he brought to his 2005 military-industrial complex doc 'Why We Fight' or 2012's drug-war study 'The House I Live In.' More from Variety Paul Mescal Says Movies Are 'Moving Away' From 'Alpha' Male Leads, Calls It 'Lazy and Frustrating' to Compare 'History of Sound' to 'Brokeback Mountain' RAI Cinema Chief Paolo Del Brocco on Selling 'Heads or Tails' in Cannes and a New Victor Kossakovsky Doc Made With Italian Botanist Stefano Mancuso (EXCLUSIVE) 'Put Your Soul on Your Hand and Walk' Review: A Stirring Chronicle of a Gaza Journalist Who Was Killed Before Its Cannes Premiere As a work of journalism itself, 'The Six Billion Dollar Man' is a methodical assemblage of known facts rather than a revelatory investigation — though it may be an eye-opener to younger viewers who were less tuned into the news 15 years ago, and have become accustomed to a far more crowded and factionalized online media landscape than the one that gave rise to WikiLeaks in the first place. Formally, it's meat-and-potatoes nonfiction filmmaking, alternating archival footage — including, most interestingly, claustrophobic video from Assange's seven-year asylum in Ecuador's cramped London embassy — with talking-head contributions from an ensemble of Assange's associates, peers and journalistic descendants. The most offbeat stylistic imposition here is a series of tonally loaded chapter headings that begin with a 'Star Wars' theme ('A New Hope,' 'The Empire Strikes Back') before the conceit is oddly dropped two entries in. ('Return of the Jedi' would be a tough one to shoehorn into the subject at hand, admittedly; 'The Phantom Menace' less so.) Among the interviewees is cultural commentator Naomi Klein, who explains how WikiLeaks grew out of an early, more idealistic incarnation of the internet, prior to the rise of social media, in which its primary purpose was to make information available to all, for free. Many of the site's early journalistic coups — notably the damning 'Collateral Murder' video showing civilians and Reuters journalists being killed in U.S. airstrikes on Bagdad in 2007 — made waves by exposing unjust or corrupt acts by those in power. Yet the fallout from such scoops often shifted to shooting the messenger instead, as the U.S. government in particular sought to paint Assange as a criminal for refusing to overlook their errors in judgment. 'When we've been lied to, would we rather not know?' asks famed NSA whistleblower Edward Snowden, in championing Assange's work. Snowden frames the question rhetorically, though as the film reaches the Trump era of fake news and bad-faith far-right propaganda, Jarecki grimly concludes that many people prefer a lie they can agree with to the truth. It's that cultural turn in the weather that hastened and worsened Assange's downfall, triggered by a pair of rape charges in Sweden — into which the alleged victims admit they felt railroaded by police. It was Assange's very real concerns about being extradited to the U.S., however, that saw him improbably seek refuge in the aforementioned Ecuadorian embassy. Ecuador's offer of asylum to Assange, too, is subject to changing cultural tides: The film's title refers to the amount offered in 2019 by the Trump administration to a new, more allyship-inclined Ecuadorian government to give him up. Cue five years' incarceration instead, much of it solitary, in the U.K.'s notoriously punishing Belmarsh prison — where, insists UN human rights expert Nils Melzer, he was subjected to sustained psychological torture, and emerged as a frailer, more anxiety-ridden man for the experience. (Perhaps this is partly the reason for Assange's own limited first-hand presence in Jarecki's film.) Fighting his corner all the while is dogged Australian human rights lawyer Jen Robinson and Stella Moris, another loyal member of his legal team, who eventually became Assange's wife, and mother to two of his children. Their personally colored interviews lend a more intimate dimension to a film that often, not inaccurately, presents Assange as a larger-than-life cause célèbre — an emblem of straightforward truth-telling principles at a time when AI, political spin and stubborn bigotry are allowing many media consumers to choose their own reality. 'We have given up on the idea that facts matter,' sighs Klein, while Assange closes 'The Six Billion Dollar Man' with an admission of the compromise that finally got the U.S. government off his case: 'I'm not here because the system worked, I'm here because I pled guilty to journalism.' Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Yahoo
22-05-2025
- Entertainment
- Yahoo
‘The Six Billion Dollar Man' Review: Straight-Ahead Julian Assange Doc Looks Pessimistically Toward a Post-Truth World
The saga of WikiLeaks founder Julian Assange has dragged on long enough, and complicatedly enough, to render a number of past films about him, if not obsolete, clear period pieces. Documentaries like Alex Gibney's 2013 'We Steal Secrets' and Laura Poitras' 2016 'Risk,' both produced during the Obama era, are informed by a very different political climate from the one we're in now — while neither could have anticipated how the Australian editor and activist's legal difficulties would escalate in the years to come. (Bill Condon's technothriller-styled 2013 Assange biopic 'The Fifth Estate,' meanwhile, felt premature from the get-go.) With Assange finally freed last year after 12 years of confinement or outright imprisonment in the U.K., the time feels right for an expansive catch-up on the whole knotty affair: Enter Eugene Jarecki's plainly presented but detail-packed documentary 'The Six Billion Dollar Man,' which premiered at Cannes (with Assange himself present) in the festival's Special Screenings program. Beginning with the founding of initially modest startup WikiLeaks in the mid-2000s and the swift impact of its uncompromising journalism in media and political spheres alike, the film progresses in mostly linear fashion through attempts by various national administrations to stymie and silence Assange, and concludes with his 2024 return to Australia after five years in a high-security British prison, following a successful plea deal with U.S. prosecutors. There hasn't been another running news narrative quite like Assange's, in which secondary players range from Donald Trump to Pamela Anderson to a sociopathic teen hacker from Iceland: There's potential here for grandstanding, but Jarecki tells this tall true story with the same probing, drily enraged authority he brought to his 2005 military-industrial complex doc 'Why We Fight' or 2012's drug-war study 'The House I Live In.' More from Variety Paul Mescal Says Movies Are 'Moving Away' From 'Alpha' Male Leads, Calls It 'Lazy and Frustrating' to Compare 'History of Sound' to 'Brokeback Mountain' RAI Cinema Chief Paolo Del Brocco on Selling 'Heads or Tails' in Cannes and a New Victor Kossakovsky Doc Made With Italian Botanist Stefano Mancuso (EXCLUSIVE) 'Put Your Soul on Your Hand and Walk' Review: A Stirring Chronicle of a Gaza Journalist Who Was Killed Before Its Cannes Premiere As a work of journalism itself, 'The Six Billion Dollar Man' is a methodical assemblage of known facts rather than a revelatory investigation — though it may be an eye-opener to younger viewers who were less tuned into the news 15 years ago, and have become accustomed to a far more crowded and factionalized online media landscape than the one that gave rise to WikiLeaks in the first place. Formally, it's meat-and-potatoes nonfiction filmmaking, alternating archival footage — including, most interestingly, claustrophobic video from Assange's seven-year asylum in Ecuador's cramped London embassy — with talking-head contributions from an ensemble of Assange's associates, peers and journalistic descendants. The most offbeat stylistic imposition here is a series of tonally loaded chapter headings that begin with a 'Star Wars' theme ('A New Hope,' 'The Empire Strikes Back') before the conceit is oddly dropped two entries in. ('Return of the Jedi' would be a tough one to shoehorn into the subject at hand, admittedly; 'The Phantom Menace' less so.) Among the interviewees is cultural commentator Naomi Klein, who explains how WikiLeaks grew out of an early, more idealistic incarnation of the internet, prior to the rise of social media, in which its primary purpose was to make information available to all, for free. Many of the site's early journalistic coups — notably the damning 'Collateral Murder' video showing civilians and Reuters journalists being killed in U.S. airstrikes on Bagdad in 2007 — made waves by exposing unjust or corrupt acts by those in power. Yet the fallout from such scoops often shifted to shooting the messenger instead, as the U.S. government in particular sought to paint Assange as a criminal for refusing to overlook their errors in judgment. 'When we've been lied to, would we rather not know?' asks famed NSA whistleblower Edward Snowden, in championing Assange's work. Snowden frames the question rhetorically, though as the film reaches the Trump era of fake news and bad-faith far-right propaganda, Jarecki grimly concludes that many people prefer a lie they can agree with to the truth. It's that cultural turn in the weather that hastened and worsened Assange's downfall, triggered by a pair of rape charges in Sweden — into which the alleged victims admit they felt railroaded by police. It was Assange's very real concerns about being extradited to the U.S., however, that saw him improbably seek refuge in the aforementioned Ecuadorian embassy. Ecuador's offer of asylum to Assange, too, is subject to changing cultural tides: The film's title refers to the amount offered in 2019 by the Trump administration to a new, more allyship-inclined Ecuadorian government to give him up. Cue five years' incarceration instead, much of it solitary, in the U.K.'s notoriously punishing Belmarsh prison — where, insists UN human rights expert Nils Melzer, he was subjected to sustained psychological torture, and emerged as a frailer, more anxiety-ridden man for the experience. (Perhaps this is partly the reason for Assange's own limited first-hand presence in Jarecki's film.) Fighting his corner all the while is dogged Australian human rights lawyer Jen Robinson and Stella Moris, another loyal member of his legal team, who eventually became Assange's wife, and mother to two of his children. Their personally colored interviews lend a more intimate dimension to a film that often, not inaccurately, presents Assange as a larger-than-life cause célèbre — an emblem of straightforward truth-telling principles at a time when AI, political spin and stubborn bigotry are allowing many media consumers to choose their own reality. 'We have given up on the idea that facts matter,' sighs Klein, while Assange closes 'The Six Billion Dollar Man' with an admission of the compromise that finally got the U.S. government off his case: 'I'm not here because the system worked, I'm here because I pled guilty to journalism.' Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
