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‘Rough and tough’ win over Ireland shows France’s standing

“Les Bleus s’imposent dans le choc du Tournoi.” Really, the shock of the tournament?

I don’t think any Irish fans travelling to Paris would have seen a six point win for France as a shocking result on Saturday, but this was the Le Monde headline of their live blog after what was a thrilling match, despite the result from an Irish point of view.

Still, it shows just how delighted the French public was with the outcome, and by default how much respect they have for this Irish team given just how important this match was seen over there – Le Parisien making it very clear how they viewed Ireland as “one of the main contenders for the Six Nations title.”

Unsurprisingly, plenty of focus was placed upon France’s immediate purple patch that threatened to blow Ireland away from the opening whistle. To jog the memory, Antoine Dupont latched onto a Romain Ntamack offload to open the French account with less than two minutes on the clock.

As Midi Olympique’s Vincent Bissonet put it, it was “almost too good to be true.”

Elsewhere, writing for Le Monde, Clément Martel pointed to the jubilant mood in the Stade de France when Dupont crashed over so early. However, a touch surprisingly, he is of the opinion that the spectacle did not live up to the expected billing after that breathless start.

“After seeing Antoine Dupont dashing over with the opening whistle barely blown, going to open the scoring in the Irish in-goal area, the 80,000 spectators in the Stade de France could think, just for a few moments, that a dazzling game of rugby awaited them. That was not the case.

“The French XV defeated Ireland on the Saint-Denis turf on their second outing of the Six Nations during a ‘rough and tough match’, according to backrow François Cros.”

It looks like Martel is mistakenly equating a player account of contest’s brutal physicality with a negative spectacle. No matter, he clearly displays his respect for Andy Farrell’s side while at the same time highlighting an impressive trend when it comes to how France are able to start big games so well.

“Facing a team on nine consecutive wins, with gleaming mechanics in their meticulous rugby, the Blues knew what awaited them. But as in the autumn against the All Blacks, they unfurled their game plan in a first period of which they were in total control.”

Antoine Dupont got France off to a flying start. Photgograph: Billy Stickland/Inpho
Antoine Dupont got France off to a flying start. Photgograph: Billy Stickland/Inpho

Speaking of trends – or the lack whereof – we can all remember the now forlornly distant chatter of Ireland’s near impeccable discipline against Wales in the opening round. This time around, as Midi Olympique’s Léo Faure helpfully points out, it was the French side that got on the right side of the referee Angus Gardner.

“Facing a team that held onto the ball and put plenty of intensity into the collisions, the French deserve immense credit for their discipline. Even when under pressure, they completely controlled their nerves. At the end, only seven penalties were conceded (11 for Ireland). And no player gave away more than one penalty.”

The same publication goes onto talk about the impressive nature of the French defence. If he read the papers, Shaun Edwards’ ears would be burning.

“The Blues’ victory rests mainly on two factors: a thunderous start to the match (10-0 after seven minutes of play) and a defence that was on fire, which also allowed them to resist the Irish waves until the final whistle.

“However, after a successful opening act, France suffered. In the end, possession belonged to Ireland (54 per cent) but there were only three line breaks through the blue defence.”

Thierry Dusatoir, the legendary French backrow, offered his thoughts to l’Équipe. No mug at the breakdown himself back in his day, the former captain highlighted the importance of French supremacy at the ruck to the result.

“In one sense, France used their head more than their limbs… by slowing down exits from rucks, by tackling the ball, by always holding the ball carrier off the ground, by showing their aggressive attitude in the middle of the park.

“Ireland wanted to construct their game by hitting the gain line hard, but they found themselves countered in the collisions and at the breakdown, and that gave them less space and less freedom to develop their game.”

Dusatoir’s colleague at l’Équipe, Renaud Bourel, sums up what victory means for France’s long-term aspirations, given they are hosting the 2023 World Cup of course. He flirts with making some incredibly grand predictions roughly 18 months out from the tournament.

“It’s a sweetness that we no longer hesitate to serve to quality guests. At 17 months out from organising the huge quadrennial festival of rugby at home, it is important to signal that we know how to host. France are unplayable at home. It is no longer a vision of the mind, it is a statistic (13 victories out of 14).

“Unless you believe that the Earth is flat, the debate is closed.”

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How Emergence of AI-Generated Virtual Twins Is Revolutionizing The Fashion Modeling

Emergence of AI-Generated Virtual Twins

The Voice Of EU | In the ever-evolving landscape of fashion modeling, a groundbreaking innovation has emerged: the creation of virtual twins through the power of artificial intelligence (AI). This technological advancement has already made waves in the industry, exemplified by the case of Alexsandrah, a renowned model who has seamlessly integrated her AI counterpart into her professional endeavors. The implications of this development are far-reaching, reshaping not only the creative landscape but also the economic and ethical dimensions of the fashion world.

Alexsandrah, known professionally by her first name, stands as a pioneer in this new era of modeling. She proudly shares that her digital twin mirrors her appearance “even down to the baby hairs,” blurring the lines between reality and simulation. This symbiotic relationship between the human model and her AI counterpart signifies a transformative shift propelled by AI technology.

Advocates of AI-generated modeling argue that its increasing prevalence promotes diversity and inclusivity within the fashion industry. By showcasing a wider range of body types and underrepresented demographics, AI models empower consumers to make more informed purchasing decisions, ultimately reducing fashion waste stemming from product returns. Moreover, the cost-effectiveness of digital modeling presents economic opportunities for both companies and individuals seeking to leverage this innovative technology.

However, amidst the promise of progress, critics voice concerns regarding the potential ramifications of AI modeling. The displacement of human models, makeup artists, and photographers looms large, raising questions about job security and ethical implications. Furthermore, there is apprehension that unsuspecting consumers may be deceived into mistaking AI models for real individuals, undermining transparency and authenticity in the industry.

London-based model Alexsandrah has a twin, but not in the way you’d expect

London-based model Alexsandrah has a twin, but not in the way you’d expect

Sara Ziff, a former fashion model and founder of the Model Alliance, underscores the pressing need to address these concerns. She highlights the risk of distorting racial representation and marginalizing models of color through the uncritical adoption of AI technology. Indeed, data indicates that women, especially those from underrepresented groups, are disproportionately affected by the advent of AI in modeling, further exacerbating existing disparities in the industry.

The case of iconic denim brand Levi Strauss & Co. illustrates the nuanced stance that companies are taking towards AI-generated models. While initial experiments with AI models aimed to diversify representation, backlash prompted a reevaluation of their approach. Levi reaffirmed its commitment to live photo shoots and human models, signaling a cautious approach to AI integration in its operations.

Despite varying responses from industry players, the demand for AI-generated models continues to grow. Companies like Lalaland.ai, founded by Michael Musandu, are at the forefront of this technological revolution. Musandu emphasizes the complementary nature of AI models, envisioning them as supplements rather than replacements for traditional photo shoots. He underscores the potential of AI to enhance the shopping experience, reduce product returns, and create new job opportunities within the industry.

The journey towards ethical AI implementation in fashion modeling is fraught with challenges, as highlighted by the experiences of models like Yve Edmond. Concerns regarding consent, compensation, and labor rights underscore the need for robust regulatory frameworks. The Model Alliance advocates for legislative measures to safeguard the rights of fashion workers, including provisions for informed consent and fair compensation in the realm of AI modeling.

Amidst the complexities and controversies surrounding AI-generated modeling, individuals like Alexsandrah navigate this new frontier with a sense of optimism tempered by vigilance. By fostering transparency, ethical use, and equitable compensation, AI has the potential to expand opportunities for models of color and revolutionize the fashion industry. As stakeholders grapple with the ethical and economic implications of this technology, the journey towards a more inclusive and sustainable future for fashion modeling continues.


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— By Darren Wilson | Contributor VoiceOfEU.com

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Top 10 most profitable places in Britain for holiday rentals

The most profitable locations in Britain for holiday rentals has been revealed – and the majority are not located anywhere near a beach.

Staycation favourite Cornwall is top of the rankings, with an average price per night of £84 for a room and £117 for a whole house.

A total of 476,910 bookings were made via popular holiday rental companies in the area last summer, according to analysis of Office for National Statistics data by the money website Wealth of Geeks.

The figures suggest that holiday lets in Cornwall took bookings worth £40million between the beginning of July and the end of September last year.

However, most of the top 10 are located in inner London, the research showed.

The most profitable locations for buy-to-let have been revealed, with staycation favourite Cornwall at the top of the rankings

The list of top ten places also includes several areas in London, including Westminster in second place.

The average price of renting a holiday let in Westminster is £133 a night for a room and £435 for a house.

With 304,790 holiday let bookings, it produces a revenue for the area in the heart of London’s west end of £34,441,270 for the summer period last year.

The calculations were based on bookings on Airbnb, Booking.com and the Expedia Group, with data taken from the Office for National Statistics.

The rental prices, meanwhile, were taken from Airbnb across 388 British towns, and the total revenue was calculated by multiplying the number of nights with the nightly cost of a room on Airbnb.

The revenue did not take into account any costs of running a holiday let, such as repairs and maintenance, nor did it factor in property prices.

All of the remaining locations in the top ten were in London except for one on the south coast.

This was Brighton and Hove, where average rental prices per night were £100 for a room.

In total, the data suggested that the British holiday rental market made £739,211,390, during the summer of 2023.

Michael Dinich, of Wealth of Geeks, said: ‘Holiday rentals play a vital role in the UK’s tourism industry by supporting local economies, providing accommodation to enhance visitor experience, and promoting tourism in diverse regions across the country.

‘Tourism also helps to promote awareness of lesser-known areas, helping to distribute tourist spending more evenly across the country.

‘While some destinations may experience seasonal fluctuations in tourism often in the summer months, holiday rentals attract visit year-round, helping to sustain economies and businesses during off-peak seasons.’

Chancellor Jeremy Hunt announced in this year's Budget that the tax relief available for furnished holiday lets would be scrapped

Chancellor Jeremy Hunt announced in this year’s Budget that the tax relief available for furnished holiday lets would be scrapped

The findings show that those looking to invest in the holiday lets market need to do their sums carefully before taking the plunge and committing to a particular area.

North London estate agent Jeremy Leaf, explained: ‘This data shows that it’s not just the prospect of beaches and more reliable weather which drives profitability.

‘It’s not just traditionally popular holiday destinations which produce the best returns so it’s vital that would-be landlords do their research carefully before investing.

‘The ability to make money depends on supply and demand, not just the attributes of an area.

‘At what level a landlord can rent their property for, after taking into account all expenses, is key and explains why areas such as Westminster and Camden are proving profitable, where they may lack the charm of a traditional UK holiday destination such as Cornwall.’

The British holiday rental market made £739,211,390, during the summer of 2023, according to the latest data

The British holiday rental market made £739,211,390, during the summer of 2023, according to the latest data

Tax crackdown

The data on the most profitable holiday lets follows a crackdown on the sector by the Chancellor.

Jeremy Hunt announced in this year’s Budget that the tax relief available for furnished holiday lets would be scrapped to help improve the availability of long-term rentals.

The move is due to come into force at the beginning of April next year and is widely seen as a way of bringing the tax regime of shorter-term lets more in line with longer term rentals.

Experts operating in the sector insisted that holiday rentals remained in demand ahead of the changes.

Graham Donoghue, of Sykes Holiday Cottages, said: ‘Staycations have been growing in popularity over the past decade and right now demand for our UK holiday cottages is higher than ever, with the average annual income of a holiday let owner up as a result.

‘Hotspot locations like Yorkshire, Cumbria, and Cornwall continue to see considerable demand and bookings across the UK for our holiday cottages have been up 11 per cent during the current Easter school holidays.

‘The demand we’re witnessing is particularly good news for our holiday let owners who have faced their own set of challenges recently. Despite changes, which we are carefully guiding our owners through, it’s clear that holiday letting remains a profitable and rewarding long-term business model.’

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‘Monkey Man’: Dev Patel makes directorial debut with a delicious stab at action cinema

Dev Patel makes directorial debut with a delicious stab at action cinema

Dev Patel has always had an intelligent glint in his eye. From his big screen debut in Slumdog Millionaire to his role as a journalist in Aaron Sorkin’s series The Newsroom, the British actor usually brings a sense of peace, calm and intelligence to his performances. Perhaps that is why it is no surprise that, at 32, he has made his directorial debut with a film in favor of social outcasts, which he also produces, co-writes and stars in. The surprise is its genre: Monkey Man is a fierce action and martial arts film, revolving around hand-to-hand combat, dismemberment and knife fights.

Patel returns to India, the land of his ancestors, for his story of revenge that is strengthened by the creative arsenal applied to its sequences — and not only those of combat. While there was a serious lack of design in Danny Boyle’s Slumdog Millionaire, one of the worst choices for Oscar for Best Film in Oscar history, Monkey Man has at its heart a physical and moral entanglement, involving a sadistic police chief, a luxury brothel that serves as home to both fornication and power, and a ragged young man who seeks to atone for the death of his mother through the most savage forms of violence.

Monkey Man is also set in a slum overrun by gambling and fights, with Patel earning a few rupees as an underground bare fist fighter wearing a crude monkey mask. With its colors and the camera’s handling of Bombay’s chaos, the movie has echoes of Brazil’s City of God.

Image from the movie 'Monkey Man.'
Image from the movie ‘Monkey Man.’Universal Pictures

A comparison can also easily be made with the John Wick saga, which has revolutionized commercial action and martial arts cinema in the past 10 years. Patel even mentions John Wick in one on-screen exchange. Yet, despite the similarities, the staging and editing of their spectacular fight sequences set them apart. In the four installments of the John Wick movies starring Keanu Reeves, the choreography regarding the confrontations is developed through a paradoxically harmonious staging of continuity, with general shots extended in time. The dynamics of their contenders and their movements are visualized with hardly any editing, almost like a classic fifties musical but instead of dances, there is physical destruction.

The action in Monkey Man, on the other hand, is not one of continuity, but of rupture. The cuts are incessant and move at an unrestrained pace; the shots come in quick succession, with barely a second or two between them. Patel’s handling of cinematic language is brutal. For a novice director, he displays a dazzling energy, cadence and expressiveness. This is demonstrated by three of the only four fights in the ring, each one based on a dynamic sense of space and narrative. The first is defined by the close-up shot, with the camera directed at the waist of the opponents or even lower — giving the viewers a sense of overwhelming closeness. The second offers a very different vision of the fight, which is both more poetic and exquisite. And the third uses surprise as the main exponent, and is raw and concise.

With rough textures, contrasting colors and ochre photography, reflecting the social mud in which most of the characters are stuck, Monkey Man only slips off kilter in the second half, when the Hindu demigod, Hanuman, assumes the tragic halo that envelops the protagonist. Although it gives him authenticity with respect to his lineage, the visualization is tinged with a somewhat tiresome messianic muddle of lyrical ambition.

Monkey Man

Director: Dev Patel.

Cast: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhuliwala.

Genre: Action. United States, 2024.

Duration: 121 minutes

Release date: April 12.


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