In their latest display of unrivalled spirit and class on the water, Paul O’Donovan and Fintan McCarthy cruised to victory in their heat of the men’s lightweight double sculls at the Sea Forest Waterway on Saturday morning, reminding all those present the Irish boat is unquestionably the one to beat in Tokyo.
With only the top two sure of advancing to Tuesday’s semi-final there wasn’t much room for error, as some of the other Irish boats would discover, only the Cork duo made sure and then some, almost five seconds clear of runners-up Czech Republic who came through to beat Poland into third.
For the reigning World and European champions, it was business as usual in every sense.
“It is, it is just a normal regatta, it’s no different to any other,” said O’Donovan with his undaunted trademark.
“I suppose it went reasonably well, yeah, we won the race and it’s hard to do much better than win the race. And you don’t want to win it by 20 seconds either because it’s very hot out there. I’m not saying we could have won it by 20 seconds. It was still tough, like. All the races at this regatta will be tough but it is difficult to complain with that result as well.”
McCarthy, rowing in his first Olympics, agreed: “Just more so getting a race down the course. Once we’re out of the village and down here it just feels like a normal regatta really. It was nice to get the first one done. We row and train in all different conditions anyway so we are well used to whatever wind gets thrown at us. Just being adaptable and doing what we do in training.”
In a similar display of coolness in the face of the searing heat, the Irish women’s four of Aifric Keogh, Eimear Lambe, Fiona Murtagh and Emily Hegarty booked their place straight into Wednesday’s final, after a superbly timed effort that saw them finish just 0.2 of a second behind favourites Australia.
“It was exciting, great to get going,” said Keogh. “We had been waiting since yesterday when the rest of the crew started and then this morning as well, kind of sitting there waiting to go in, so it was a relief to go out there and give a good performance.
“We hadn’t raced that crew specifically before. The last time we would have come up against an Australian crew was 2019. So it’s been a long time since we raced them.
“I think our time was pretty similar [to what we had been doing]. I think the Australians got an Olympic best today. We were obviously just point two behind them. In these conditions it’s hard to read into times. We were the faster heat of the two but we saw yesterday with the other races, the times were changing quite rapidly in the conditions so it’s not something we’d rely on. We wanted to test every element of our race. It wasn’t a case of bringing it down coming into the last bit, we wanted to practice our final sprint and all that so yeah we did go for it.”
There were mixed results for the other three Irish crews on the water: in the women’s lightweight doubles, Aoife Casey and Margaret Cremen ended up fifth in their heat, 14.20 seconds off the leading French crew. Again only the top two here went directly to the semi-finals, which means the Irish pair will be back in action in Sunday’s repechage.
Likewise with Aileen Crowley and Monika Dukarska, who missed out on automatic qualification to the women’s pair semi-finals. The New Zealand crew took top spot ahead of Denmark, before Spain surged late on to pip the Irish crew.
“For us it was more about focusing on our strategy and executing that to the best of our ability. Again, the start didn’t go as well as we hoped for but the rest of the race we were quite pleased with,” said Dukarska, confident the pair can produce a more complete performance on Sunday.
Philip Doyle and Ronan Byrne know they will too. After Friday’s poor showing in the heats, they managed to claim third in their repechage and with that book a place in the men’s doubles semi-final, only they still appear to be struggling to find their rhythm.
Here, Lithuania surged late to take the win, Doyle and Byrne finishing in third spot behind Germany and Lithuania. “We were struggling a small bit again today, similar to yesterday,” admitted Byrne. “We’re just searching for something to click, we’re not quite sure what it is. We’re searching for that tomorrow which is obviously going to be the hardest of the rounds so far.”
Doyle realised too it’s make-or-break time: “There are any number of reasons why – heat, conditions, salt water and all that but everyone is in the same boat, well not the same boat but the same conditions. We’re fairly confident that if we can find that click tomorrow the boat will take off and hopefully we’ll be able to do what we know we’re capable of because at the moment we definitely feel we’re underperforming and not living up to where we want to be and what we expect from ourselves and expect from everyone else in the team. Because obviously Sanita and the lightweight team set such a precedent and we’re trying to live up to that and show we’re at that level as well which we know we can be if we can get the magic back in the boat.”
Also coming through the Tokyo morning with impressive class and ease at the Ariake Gymnastics Centre was Rhys McClenaghan, who underlined his status as one of the gold medal favourites with an excellent score of 15.266 in his qualifying group.
This left the 22 year-old well clear of his next best rival in that qualifying group, the Russian-born New Zealand gymnast Mikhail Koudinov taking second in that group with a score of 12.466. Interestingly, in 2018 McClenaghan won European gold with a score of 15.300, and in 2019 he won World bronze with 15.400.
“To say now that I’m officially an Olympian is a dream come true,” he said. “We were prepared as we could be, and I think there’s a lot more there for finals, so we’ll just keep relying the preparation so far. I’ve set the standard for the day anyway.”
Elsewhere, boxing began its Olympic schedule with good news from Tokyo’s Kokugikan Arena, where Kurt Walker came through his preliminary round of 32 in the men’s featherweight competition.
Walker won on a unanimous decision against Spain’s Jose Quiles Brotons, all five judges siding with the Lisburn boxer and 2017 European champion.
Crisp and athletic from the beginning, Walker fought from a distance and even though the Spaniard, nicknamed ‘Crazy Horse’, came out more aggressively by eating up Walker’s lead in the second round, the 26-year-old Irishman held his composure and steadied himself nicely to win the third round.
“I thought I dominated the first and third,” said Walker afterwards. “The second he gave it his all but he had nothing left in the third. But he is very good and I had to dig deep it was a great first fight for me.
“Whenever he had a good second round the corners were telling me he has given his all, go out and go back to your boxing. I got a bit nervous. It was a wee bit different. I knew what I had from experience.”
But the last 12 months following the postponement of the 2020 Games until this summer has helped with the cultivation of Walker’s boxing overall. He believes he is better equipped to go further in the competition.
“I have started to mature a bit,” said Walker. “It helps what I am fighting for and I know she (my baby daughter Layla) is going to be proud of me when she is older.”
A clash of heads late in the third round and a cut appearing above Walker’s right eye came too late in the bout to cause any great anxiety as he moves forward to meet the top seed in the division on July 28th.
As has been the case with several of the Irish fighters the draw has not been kind and Walker faces another challenge against Uzbeki Mirzakhalilov Mirazizbek, a professional boxer with one win in the paid ranks and the amateur World Champion in 2019.
“He has two arms and two legs like myself, it doesn’t bother me,” said Walker. “If you want to be the best you have to beat the best. I have won a fight in the Olympics more than I thought I would do a year ago so I’m happy and I will keep going.”
In Taekwondo Dublin’s Jack Woolley became one of the early casualties when he lost a close match to Argentinean 11th seed Lucas Guzman 22-19 in the 57kg division.
Guzman earned the winning score in the last three seconds of the bout adding to Woolley’s dismay in a contest he would have been expected to win.
The Tallaght 22-year-old, who was seeded at six in the competition, still has an avenue to move forward in the repechage, where the best outcome is a bronze medal.
Any athlete who loses to a finalist in the single elimination competition enters the repechage. If Guzman makes it to the final, then Woolley goes into the repechage.
But a stunned Woolley left the arena disconsolate with the surprising reversal in his and Ireland’s first ever taekwondo outing in an Olympic Games.
“I’m very disappointed, everything was good in the lead up, in our prep. I felt physically great going in,” said Woolley.
“I walked in today and something just didn’t click, it just wasn’t my day. I have to keep my fingers crossed and hope for the best this evening. Sport is unpredictable. I hope everyone else he fights has a similar performance to me, but we have to see – he has to get to the final first.”
Rule number one of ‘Fight Club’ in China: The police always win | USA
The first rule of Fight Club in China is that the police always beat the criminals. The second rule is that buildings are not demolished. And the third is that if the ending is considered unsuitable, change it.
David Fincher’s 1999 cult film, which was shown just once in Chinese theaters during an edition of the Shanghai Film Festival, is now available on tech giant Tencent’s streaming services in China. But with a different outcome. Warning this article contains spoilers.
In the original, the narrator, played by Edward Norton, has just “killed” his imaginary alter ego, Tyler Durden, played by Brad Pitt, and watches the explosion of several nearby buildings with his girlfriend Maria, played by Helena Bonham-Carter. The anarchist revolution advocated by Durden is underway.
In Tencent’s version, on the other hand, there are no explosions and no scenes of Tyler and Maria holding hands as they watch the destruction. Instead, the screen turns black and writing appears, explaining that the police “arrested all the criminals, successfully preventing the bomb from exploding.” According to this alternative ending, Durden is sent to a psychiatric hospital, from which he is released in 2012. Screenshots of the new ending went viral last weekend in China, with comments mocking the changes. Although the film was shown just briefly in movie theaters, many fans have been able to watch pirated versions of the original over the past two decades, and considered the ending one of the film’s fortes.
“When a director comes to present his film in China, people will ask: director, why is your film so avant-garde that it completely dispenses with audiovisual language, ending it instead with just a poster and a story about respecting the law? Is it a satire on censorship in your country? And the director will answer: What? I filmed that?” wrote one user of Weibo, the Chinese version of Twitter. “Probably everyone in Ocean’s Eleven would also get arrested. And the whole Godfather family, too,” scoffed another. “But the ending was great! A bunch of foreigners in a terrible situation setting off terrorist bombs – a perfect scene to encourage [Chinese] nationalism,” joked another.
It is unclear whether it was Tencent or the film’s original producers who made the changes. On the Chinese movie review platform Douban, the original film is rated nine out of 10 and has 744,000 comments.
China currently has a flourishing movie market, one in which just over 30 foreign films are released on the big screen each year. In fact, it overtook the US market for the first time in 2020, due in part to a quicker recovery from the pandemic. And, according to research portal researchandmarkets.com, it is expected to gross $16.5 billion by 2026, annual growth of 30.1%, with respect to the $3.4 billion in 2020.
Within this market, Fight Club is not the only Hollywood movie to be changed. In 2019, scenes from Bohemian Rhapsody that alluded to Freddie Mercury’s homosexuality were carefully cut out in the Chinese version. While same-sex relationships are not illegal in the world’s second-largest economy, it is considered a sensitive issue and scenes portraying it are often, but not always, removed. Theoretically, they have been banned on television and also on streaming platforms since 2017.
Lord of War (2005) endured a similar fate to that of Fight Club. In its original version, the main character, an arms dealer played by Nicholas Cage, manages to escape prison and resume business. The film alludes to the fact that the five permanent members of the UN Security Council – the US, the United Kingdom, France, Russia and China – are the planet’s main arms dealers. But the version for the Chinese market, which is half an hour shorter than the international version, removes the original ending and replaces it with a text stating that the Cage “confessed to all the crimes of which he was officially accused during the trial, and was sentenced to life imprisonment.”
High Court orders man to repay €30,000 awarded over fall on slippery tiles
The High Court has ordered a man who fell on slippery tiles on the porch of his rented council home to pay back €30,000 he received in part compensation.
Mr Justice John Jordan also ordered solicitors who acted for Thomas Keegan (53) to repay €20,000 received in part payment of fees.
The judge made the order in relation to monies paid by Sligo County Council as a condition of being allowed to appeal a €105,000 award made by the High Court in 2017 to Mr Keegan over the accident at his home at McNeill Drive, Cranmore, Co Sligo.
Mr Keegan, who previously worked as a paver, had claimed the slippiness of the terracotta tiling originally installed in the porch, as well as the angle of the porch to face the prevailing wind and rain in Sligo, created a particular hazard.
In 2017, the court found the council was liable and there was no contributory negligence on Mr Keegan’s part.
However, the council was permitted to appeal on the basis of paying €50,000, including the monies to Mr Keegan’s solicitors on his behalf.
Failed to prove
The Court of Appeal (CoA) ordered a retrial and, earlier this month, Mr Justice Jordan found that the plaintiff had failed to prove the council was “in any way responsible” for the accident. He also found it “artificial” for Mr Keegan to suggest he was a visitor to his home, which he rented and occupied.
The case came back before Mr Justice Jordan on Friday for the matter of costs in relation to the second High Court hearing.
Peter Bland SC, for the council, argued his client was entitled to those costs but he had no objection to a stay in the event of another appeal to the CoA. He sought the repayment of the €30,000 for Mr Keegan and the €20,000 for his solicitors given the outcome had been overturned.
John Finlay SC, for Mr Keegan, said he could not oppose the costs order or an order for the return of the monies.
Mr Justice Jordan granted the council its costs for the retrial with the exception of one day’s costs related to the evidence of an expert introduced by the council “who made a difference” to the case.
It was unfortunate the council did not engage this expert at an initial stage in the case and Mr Keegan might have been spared all of this time and expense that followed, he said.
He also ordered the return of the monies paid out but noted that if the council had difficulties with that money being paid as a condition of it being allowed to appeal, it could have appealed that matter itself but it did not.
The court heard the accident occurred on November 18th, 2013, when Mr Keegan was returning home sometime after 5pm after visiting a number of pubs in which he had consumed five pints of Guinness.
He suffered a significant injury to his left ankle, with X-rays revealing a fracture to his left distal tibia and fibula.
The council did not argue the consumption of this level of drink was an act of contributory negligence but argued it as a factor in regard to Mr Keegan’s duty to take reasonable care for his own safety and in his conflicting accounts of how the accident occurred.
Having heard expert evidence, Mr Justice Jordan was satisfied the unglazed tiles did not pose a danger.
Two fans sue Universal for $5 million for cutting Ana de Armas out of ‘Yesterday’ | USA
There are risks to being an actor. A common one is what’s known in the industry as “winding up on the cutting room floor.” You get hired for a project, and based on the script you’ve read and the time that you spend on the set, you assume that you are one of the characters; that is, until the day the movie is released and you realize that your scenes have been cut out entirely.
In the case of the Cuban-Spanish actress Ana de Armas, who featured in the latest James Bond movie No Time to Die and is on an unstoppable path towards Hollywood stardom, it went further than that: she actually appeared in movie trailers advertising Yesterday, a 2019 film by the British director Danny Boyle in which actor Himesh Patel plays Jack Malik, a struggling singer-songwriter who wakes up after an accident into a world where nobody has heard of the Beatles or knows any of their songs, except himself.
Almost three years after Yesterday’s release, two fans of de Armas are suing Universal Pictures for cutting her scenes out of the final version, claiming the studio engaged in “false, deceptive and misleading advertising.”
Conor Woulfe, a 38-year-old resident of Maryland, and Peter Michael Rosza, 44, from California, rented Yesterday on Amazon Prime Video for $3.99 (€3,52). In their federal class action lawsuit, they claimed that they only rented it because they thought De Armas would be in the movie after watching the trailer. In the promotional material, she is depicted as Roxane, a character who becomes a love interest for Malik – that is, until the movie creators realized that this would draw attention away from the main love story between the songwriter and a character played by Lily James.
It is unclear whether the plaintiffs are as interested in De Armas as they may be in the $5 million (€4.5 million) they could take home if a court rules in their favor. The lawsuit states that the case is being brought “individually and on behalf of all others similarly situated.” It also claims that “by paying to view the falsely advertised movie,” the plaintiffs “suffered injury-in-fact and lost money.”
Regardless of the case’s chances, the story illustrates a US penchant for resolving disputes in court with astronomical figures in the balance, as a first step in the conversation.
The entertainment news website Variety, which first reported on the case, noted the resemblance with a 2011 case brought in Michigan by a movie viewer who was disappointed with Drive, by Nicolas Winding Refn, which she expected to be a “high-speed action driving film” but turned out to be a tortured drama about a solitary driver who finally finds the right girl.
Cutting actors out of final versions is nothing unusual. Terrence Malick, the director of Badlands and The Tree of Life, has a habit of hiring more stars than he will later need on the screen. Adrien Brody, for example, showed up for the premiere of the 1998 The Thin Red Line, convinced that he would be one of the main attractions – in the end, he only showed up in a few scenes. But the prize probably goes to To The Wonder, also by Malick: Rachel Weisz, Jessica Chastain, Michael Sheen, Amanda Peet, Barry Pepper and Michael Shannon all wound up on the cutting room floor.
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