Latest news with #Shula
Miami Herald
7 days ago
- Miami Herald
South Florida has changed through the decades. Do you recognize these places?
South Florida South Florida has changed through the decades. Do you recognize these places? Miami's transformation stands out in every corner, from downtown's Flagler Street to the luxury towers that replaced historic hotels like the Americana and Dupont Plaza. Early photos of Miami Lakes reveal a landscape of farmland, planned lakes and the Shula family home before the suburb bloomed. Little Havana evolved from a Southern-Jewish neighborhood into a vibrant hub of Cuban and Latin American culture, centered on Calle Ocho and spots like Versailles restaurant. Key West's Duval Street has made way for tourism and chain stores, yet still preserves its character. Even famous intersections such as 79th Street and Biscayne Boulevard reflect layers of history. Take a look at all of these old photos. A sign in Miami Lakes in 1981. By Andrew Innerarity NO. 1: MIAMI LAKES USED TO LOOK LIKE THAT? SEE THE SHULA HOME, COWS AND EARLY SHOPPING CENTERS Remember when? | Published September 20, 2024 | Read Full Story by Miami Herald Archives The original Roney Plaza in Miami Beach in 1946. NO. 2: HOTELS IN MIAMI USED TO LOOK LIKE THAT? SEE LANDMARKS THAT HELPED PUT THE 305 ON MAP Take a look at these photos for a step back in time. | Published October 15, 2024 | Read Full Story by Miami Herald Archives Dupont Plaza, flanked by with highway ramps, seen in 1968 from first National Bank Building. NO. 3: REMEMBER WHEN SOUTH FLORIDA LOOKED LIKE THIS? SEE THE STREETS, CLUBS, HOTELS, STORES There's some history here. | Published October 19, 2024 | Read Full Story by Miami Herad Archives A meeting of different generations in the Miami area in 1969. By Bob East NO. 4: MIAMI WAS ONCE A HIPPIE HANGOUT. SEE HOW THE STREETS LOOKED DURING THE 1960S AND '70S Peace, love, drugs and long hair. | Published October 26, 2024 | Read Full Story by Miami Herald Archives The Little Havana business district in the 1960s. NO. 5: LITTLE HAVANA USED TO LOOK LIKE THAT? SEE THE OLD PICTURES FROM THE 1960S, '70S AND '80S The president had lunch there. | Published February 14, 2025 | Read Full Story by Miami Herald Archive President Harry Truman drives his own car in Key West in 1946. NO. 6: IS THAT THE PRESIDENT AT A DUVAL STREET DINER? SEE KEY WEST THROUGH THE YEARS Let's take a step back in time. | Published April 15, 2025 | Read Full Story by Miami Herald Archives The road along Northeast 79th Street east of the railroad tracks and looking toward Biscayne Boulevard. NO. 7: THIS MIAMI AREA HAS BEEN A PLACE FOR PROTEST, PORN AND SHOPPING. TAKE A LOOK Let's take a step back in time as we head to the intersection. | Published May 19, 2025 | Read Full Story by Miami Herald Archives The summary above was drafted with the help of AI tools and edited by journalists in our News division. All stories listed were reported, written and edited by McClatchy journalists.
NBC Sports
16-04-2025
- Sport
- NBC Sports
Bill Belichick turns 73 today
At some point today, Bill Belichick will be blowing out 73 candles. Or maybe one big 7 and one big 3. And not in the order they would have been 36 years ago. Regardless, the long-time Patriots coach and current North Carolina coach has finished another cycle around the sun. The 2025 season will be his second out of the NFL. And while he and his consigliere like to thumb their noses at the NFL, it's widely believed that's where Bill wants to be. Because it's also believed he desperately wants to catch Don Shula for the all-time wins record. Shula has 328 regular-season wins and 347 total wins, including postseason. Belichick is at 302 and 333. (Bears legend George Halas has 318 and 324.) Belichick also needs to fend off Andy Reid, who at 273 and 301 is not that far away from leapfrogging the GOAT. While Reid still needs three more Super Bowl wins to catch Belichick in that category, Shula won only two. Total wins are total wins, and Reid will be piling up more of them this year in Kansas City, while Belichick is not. The overriding question is whether Belichick will ever get another shot in the NFL. He got one interview in 2024 (with the Falcons, whom he and his girlfriend now like to troll) and none in 2025. His buyout plunges to $1 million on June 1. If anyone wants him for 2026, he'll be available at a relative low cost. If the Tar Heels tear up the ACC, it'll help. Although Belichick apparently will keep making media appearances, his attempted pivot to relatability in 2024 didn't move the needle where it mattered. At all. Frankly, there's a good chance he's done. With each passing year, it's going to be harder and harder for him to catch and pass Shula. It also will be harder and harder for him to keep Reid from catching him.
Yahoo
15-03-2025
- Entertainment
- Yahoo
The Costumes of ‘On Becoming a Guinea Fowl' Had to Make One Single Look Count
A number of uncanny things happen at the start of 'On Becoming A Guinea Fowl.' Shula (Susan Chardy), driving home from a fancy dress party outside of Lusaka, spots a pair of cowboy boots that belong to a man laid out on the side of the road. Upon further inspection, the man is a corpse. And the corpse is her Uncle Fred (Roy Chisha). The fact that her uncle is dead sets the machinery of Zambian funeral traditions into motion, whether or not Shula is ready to mourn. But the funeral traditions and the limits of familial love and support that director Rungano Nyoni explores throughout the film set up some interesting challenges for the production team. Traditionally, families do not shower or change their clothes for three to four days until the day of the burial itself comes around. That meant costume director Estelle Don Banda would, for the bulk of the film, have only one look for most of the characters. That look had to express not just their personality, but where they stood in the hierarchy of the family, as well as how domineering or vulnerable we interpret them to be. More from IndieWire 'Are We Good?' Review: An Intimate Peek Into the Life of Marc Maron Fails to Fully Crack Its Subject 'Emilia Pérez,' 'Wicked,' and 'The Wild Robot' Win at the 2025 ACE Eddie Awards For instance, Shula's funny, vulnerable, slightly haunted cousin Nsansa (Elizabeth Chisela), who reveals she was sexually abused by Uncle Fred, doesn't treat his death with a whole lot of decorum — understandably. Don Banda imbues her with a sense of rebellion by putting her in a colorful party top. 'It was a celebration for her. That's what I wanted to show,' Don Banda told IndieWire. Nsansa's club-ready spaghetti straps mark her as potentially unreliable and immature in comparison to the old-money conservatism of Shula's mother and aunties. But with the older women, Fred's siblings who have closed ranks to defend him and the family image in death, Don Banda finds canny ways to instill a sense of hypocrisy and haughtiness in their character by making them appear the most put-together and comfortable. Almost in the 'A Good Man Is Hard To Find' way, the aunties are all a little too ready to leap into action. 'We didn't want them to bring [Shula's] mom and the aunties out of their comfort zone. We didn't want them to look very foreign in their style,' Don Banda said. 'That way, they were going to feel comfortable enough to remain themselves and give their most authentic presentation.' Shula's feelings are decidedly mixed, and Don Banda expresses that by making her outfit for the funeral almost too comfortable. 'She cares about [her mom] and her mom has lost a brother, right? But to her, the whole idea of the funeral was, like, 'Can you wake me up when it's done?' you know? She didn't want to see the complicated process of doing this, especially [when she sees] how Uncle Fred's wife is being treated,' Don Banda said. 'So I put her in the most lazy outfit. I put her in a pajama top.' Shula's attempt to vanish into the background is all the more marked because we first see her in very fancy dress indeed — a handmade outfit that's an homage to Missy Elliot's 'The Rain (Supa Dupa Fly)' music video. For this, Don Banda worked with the same material used in umbrellas, a feat in itself to source, in order to get the same texture and sheen that the dress in the music video has. 'I had an idea that [the dress] needed to be big, but I didn't know how I was going to manage to make it stay big throughout the entire time she was filming in it,' Don Banda said. 'One day I just thought, 'You know what, it should be like a puffer coat.' So I had the tailor make the puffer piece for the inside layer and he gathered pieces for the top part.' The result is a dress that almost swallows Shula up. It creates the opportunity for both resonant visual metaphors about how the character carries trauma around with her. But it also offers a bit of black comedy, too; Shula's handmade umbrella puffer dress can't help but crinkle and huff as she tries to get comfortable in her car waiting for the police to show up. Throughout the film, Don Banda and her costume team help us track what's important to each character about themselves, and what jagged thing might be stuck in their ribs, just from what they're wearing. ' I was given the liberty to bring my own ideas to the table to see how best I could bring all the characters to life, especially Shula, and obviously incorporating our Zambian culture,' Don Banda said. ' It was a great experience. Very educational. The thing I liked most about it too was that Rungano wanted us to be relatable, and she allowed us to do it how we thought was best.' Best of IndieWire The 15 Best Robert Pattinson Performances, from 'Good Time' to 'High Life' The 17 Best Thrillers Streaming on Netflix in March, from 'Fair Play' to 'Emily the Criminal' All 97 Oscars Best Picture Winners, Ranked
Chicago Tribune
14-03-2025
- Entertainment
- Chicago Tribune
‘On Becoming a Guinea Fowl' review: A family funeral digs up a history of hidden trauma
Wherever it takes place, whoever's life has ended, a funeral is a kind of collective memory bank. No two memories of the deceased, spoken or unspoken, work the same way. But a person's life, and its ripple effects, have a way of lingering. Delicate but fierce, 'On Becoming a Guinea Fowl' is the second feature from the Zambian-born, Welsh-raised writer-director Rungano Nyoni. As both participant and observer, like its protagonist, the film contends with many shades of anguish, in a story about an extended Zambian family mourning the death of a man known to all as Uncle Fred. In a steady, enveloping rhythm, with disarming slivers of sly humor, Nyoni asks a question without a pat answer: Can a dishonorable corpse be honored by those in attendance, if most of the mourners deny or wave away certain shared memories, like smoke from a dying fire? Driving home alone from a costume party, still in her Missy Elliott mask and headgear from the '90s hit 'The Rain,' Shula sees something at the roadside before we, the audience, see it as well. It is the body of her Uncle Fred. Shula (played by Susan Chardy) responds by not responding. She's either in stoic shock or the throes of something more inward. Along the same stretch of Zambian road stumbles Shula's cousin Nsansa (Elizabeth Chisela), seemingly worlds apart from Shula in her boisterous, presently drunken state. These two women serve as our entryway to the eventual marathon of a ceremonial family gathering. Shula joins the other women (always and only women) in the funeral preparations, the cooking, the serving, the ingrained, subservient nods. There's another cultural factor at work here. As the mourning rituals get underway, and Fred's relatives fill the humble house and yard, Shula and her cousins find themselves receding as adults and reverting, subtly, to their younger, compliant selves in that universal way of grown children re-entering the orbit of family. Clearly Shula has much on her mind. 'Guinea Fowl' is about how she finds the courage to talk about how Uncle Fred sexually abused her when she was a child, and with whom she feels safe in that spilled secret. She was not the only one. How many knew what was happening? Uncle Fred also left behind a much younger widow and several children; Shula's extended clan holds the widow (Norah Mwansa) responsible for her wastrel husband's ignoble death, not far from a brothel he frequented. Much of the film deals with how Fred's modest estate will be settled, and parceled out — and whether his hungry family will get anything, in the end, to make up for what the widow owes Fred's blood relatives in this circumstance. 'On Becoming a Guinea Fowl,' which shrewdly delays its title's meaning until the last possible minute, proceeds from ritualistic detail to detail, as part of the natural flow of things. Some of the mourners enter the house of mourning walking on their knees, singing a song about how death 'comes crawling' and the bereaved should do likewise. As the chicken on the grill outside sizzles away in the evening, there's a scene where Shula, looking for a missing relative, keeps getting interrupted by male mourners placing their dinner orders. The movie's subtle dramatics (too subtle for some, maybe, but whatever) create an ecosystem for our own exploration. Director Nyoni's 2017 debut feature, 'I Am Not a Witch,' announced a significant talent already formed, and driven by what keeps women confined, and by what cultural traditions of repression. Her cinematographer on that film and this one, David Gallego, has a supple eye for both indoor and outdoor shadows and light, and expressively emotional color. 'On Becoming a Guinea Fowl' takes its time and maintains a tight lid on Shula's emotions, not because it's a setup for some sort of explosion (though that comes, in its way) but because it's the authentic choice for a tamped-down psyche in search of a release valve. Nyoni is not into screeds or simple messaging. This is a poetic-realist vision with grace notes of wit and surrealism. It is a calm, visually assured statement of shared rage. And it's a 2025 highlight. 'On Becoming a Guinea Fowl' — 3.5 stars (out of 4) Running time: 1:39 How to watch: Premieres Fri. March 14 at Music Box Theatre, AMC River East and Alamo Drafthouse Wrigleyville
Boston Globe
13-03-2025
- Entertainment
- Boston Globe
‘On Becoming a Guinea Fowl': The past is neither dead nor past in this Zambian parable
Writer-director Rungano Nyoni follows up her superb 2017 satire 'I Am Not a Witch' with another biting parable set in her homeland of Zambia. As in her prior film, Nyoni is unafraid to present surreal moments that highlight a character's state of mind or elevate a plot point. There are dream sequences and occasional blurrings of perception. Dark humor sneaks into dialogue. Advertisement Additionally, there are flashbacks to a 'Sesame Street'-like children's show explaining the guinea fowl, a bird species endemic to Africa. These clips are dropped in at unexpected moments but are important for those unfamiliar with the animal. Elizabeth Chisela in "On Becoming a Guinea Fowl." Chibesa Mulumba/A24 Nyoni's embrace of the absurd, as well as her seamless use of symbolic references and the depiction of traditional rituals, showcase her impressive storytelling talent. Her work here earned her the 'On Becoming a Guinea Fowl' begins on one of those absurdist notes. Shula (Susan Chardy) is driving down a dark highway at night, en route to her family home, when she sees a dead body on the side of the road. After inspecting the corpse, she recognizes the deceased as her Uncle Fred. There are no signs of foul play — he's just dead, perhaps of natural causes. Advertisement This sequence would be odd and mysterious on its own. What makes it so visually arresting and surreal is that Shula is wearing the inflatable black patent-leather suit and sunglasses mask that singer Missy Elliott wore in her iconic music video for 'The Rain (Supa Dupa Fly).' In director Hype Williams's I couldn't help but admire Shula's commitment to Elliott's vision. Shula is coming from a costume party, where I'm sure she won first prize. Though Nyoni doesn't needle drop 'The Rain,' my brain played the song anyway. As Shula calls the cops, I found myself silently mouthing the song's Ann Peebles-sampled chorus, 'I can't stand the rain against my window.' Shula spends the entire first act of the film dressed like Missy, because the cops tell her to remain with the body until morning; they have no officers available to investigate at the time. Meanwhile, Shula informs her family of Uncle Fred's death, and they begin the traditional days-long funeral and period of mourning. In discussions with her cousins Nsansa (Elizabeth Chisela) and Bupe (Esther Singini), Shula realizes they all share the horrible secret of having suffered Uncle Fred's abuse. Fred's much younger widow may have been his latest victim. The young widow gets no support from Shula's family, who all but blame her for Fred's death because she is not mourning him as fervently as they believe she should. Susan Chardy and Elizabeth Chisela in "On Becoming a Guinea Fowl." Chibesa Mulumba/A24 Neither is Shula, whose emotions Chardy plays close to the vest. It's a fantastic performance, especially in the scenes with the equally good Chisela and Singini. They all have ways of dealing with their trauma, ways that run counter to the circle of aunties loudly revering Uncle Fred as part of the funeral rituals. They seem to be in a contest to see who can mourn him with the most emotion. Advertisement We spend most of the film with these women, many of whom knew what this predator was up to, yet they swept it under the rug. Now that he's dead, they appear to feel no need to dredge up the past; nor do they seem to consider how the younger generation may still be suffering. As Faulkner once wrote, 'The past is never dead. It's not even past.' This refusal to hold Uncle Fred accountable is infuriating, of course, but it's also complex. The film doesn't dilute that complexity, but it does ask the question of whether anyone will break the cycle. Through that children's program, we learn that one of the traits of the guinea fowl is that it sounds a warning alarm if a predator is near. 'On Becoming a Guinea Fowl' ends with the action described in its title, a striking coda that will send you out of the theater with much to contemplate. This is one of the year's best films, a heartbreaking stunner that's not easily shaken. ★★★★ ON BECOMING A GUINEA FOWL Written and directed by Rungano Nyoni. Starring Susan Chardy, Elizabeth Chisela, Esther Singini. At the Coolidge. 119 minutes. PG-13 (themes of sexual abuse, profanity) Odie Henderson is the Boston Globe's film critic.
