After being suspended by Meta on Friday, Kanye West posted on Twitter for the primary time in almost two years – a transfer celebrated by Elon Musk, who’s within the course of of shopping for the social media community.
West, who has legally modified his title to Ye, tweeted {a photograph} of a hat that mentioned 2024. Musk responded together with his personal tweet, studying “Welcome again to Twitter, my good friend!”
West final posted on Twitter in November 2020, simply after the final US presidential election. Following his first tweet on Friday, West posted another one which included an image of himself with Meta Platforms Chief Government Officer Mark Zuckerberg, accusing him of kicking him off Instagram.
In an announcement to CNN Enterprise on Saturday, a Meta spokesperson mentioned content material from West’s account was deleted for violating the corporate’s insurance policies and a restriction was positioned on his account. It didn’t specify what was objectionable in regards to the content material or what sort of restriction was imposed.
The transfer comes after West shared a since-deleted publish that included a screenshot of a textual content dialog with Sean “Diddy” Combs that was criticized by the American Jewish Committee as “anti-Jewish.”
West was beforehand suspended by Instagram for twenty-four hours in March for steering a racial slur at “Day by day Present” host Trevor Noah.
Earlier this week, West stirred controversy for sporting a “White Lives Matter” shirt and dressing a number of Black fashions in shirts with the identical phrase, deemed a “hate slogan” by the Anti-Defamation League, at his trend present in Paris.
I am not sure how successful the first entry was, but nevertheless, a sequel to “King of Prison” titled “The Prison War” did come two years later, and with an evidently bigger budget. Lee Sol-gu who played the King in the first movie gave his stead to the even more impressive physically Shin Yoo-ram, while the cast is almost completely different, with the exceptions of Lee Hyun-woong who reprises his role as Wai-wai and Kim Min-V as KTX.
This time the action is much more intense and actually starts from the beginning, as Kang Tae-ho creates an explosive mixture. King Beom-teol is here once more and is still the King, but his dominance is more challenged than ever. First from the Mess Sergeant, who works in the kitchen and thus has access to knives, and secondly from a cell filled with immigrants from China, who seem to be particularly violent. When Gi-cheol, the number two of a gang opposing the one Mess Sergeant belongs to enters Beom-teol’s cell and Gwang-ho enters Mess Sergeant’s cell, all hell breaks loose, with the King frequently finding himself under attack.
As the Christians in prison find themselves persecuted and the authority of the chaebol chairman in control of the prison and the head of the security department goes too far, the situation becomes even more dire, and the battle for the new King becomes more intense than ever.
As I mentioned before, the focus this time is more on action than the previous entry. However, this does not mean that the realistic premises are not here once more. On the contrary, the boredom associated with life inside and the value of food is highlighted once more, as much as the fact that people in prison frequently end up becoming friends, even though they have very little in common. The differences between those who were involved with organized crime and the ones who don’t is also showcased, as much as that the older ones are the one in charge, and the younger ones are treated as rookies. There is a sexual offender present once more, who is, once more, used for laughs, while the homosexual relations are not omitted either. Thankfully, the jokes having to do with the toilets are rather toned down.
Advertisement
On the other hand, the concept of religion inside the prison is a new concept, implemented both for comedy and for drama, while the hierarchy of each cell also gets its focus. Furthermore, the corruption of the higher ups is even more stressed, to the point that their authority gets challenged more than ever. Lastly, Gi-cheol adds an intense sense of drama to the movie, that is definitely a plus for the narrative.
Regarding the action, it is framed for both impression and drama. Beom-teol is the King and the most powerful guy in prison, but his opponents are many and cunning, resulting in a series of fights he has to battle on his own against scores of enemies. Expectedly, this leads to multiple injuries for him and the occasional punishment by the corrupt authorities. Mess Sergeant proves a worthy opponent, particularly in terms of cunningness, although the reemergence of KTX balances the whole thing to a point. The real fight, however, begins when Gwang-ho takes over and the Chinese get involved, with chaos essentially ruling the whole prison and action taking over the narrative.
The fights, as in the previous film, follow realistic paths for the most part, without any particular exaltation, dictated by the fact that the majority of the protagonists are middle-aged. The brutality, though, is definitely here once more, particularly after the point when a number of inmates get their hands on various weapons.
The cinematography follows realistic paths, with the claustrophobic setting of the prison being communicated quite eloquently. The editing results in a relatively fast pace, that does become too slow, though, on occasion, while at 111 minutes, the movie somewhat overextends its welcome, particularly during the overlong finale.
Advertisement
Shin Yoo-ram as Beom-teol is definitely a force for the movie, with him demanding fear and respect with every movement. That his acting is quite measured is definitely a tick in the pros column, although, as with the previous movie, if Don Lee was in the role the whole thing would be rather better. Kang In-sung as Gi-cheol presents a truly tragic figure convincingly, while Sung Nak-kyung as Mess sergeant highlights his transformation brilliantly. Yoo Sang-hoon as Gwang-ho is also good as one of the central villains here.
“King of Prison 2: The Prison War” although not staying as far away from usual prison films as its predecessor, it is actually a better film, much more well-shot and entertaining.
Two climate activists in the United Kingdom threw orange paint at private jets at an airport Thursday — an action specifically targeting Taylor Swift.
Alas, her jet wasn’t there.
The activists are part of Just Stop Oil, a coalition of organizations demanding that the British government create a treaty that would “end the extraction and burning of oil, gas and coal by 2030.”
Cole Macdonald and Jennifer Kowalski were arrested on suspicion of criminal damage, police told BBC News. Stanstead Airport confirmed to the outlet that Swift’s jet wasn’t present.
The two individuals chose that airport, in Essex, because they believed Swift’s plane was stationed there, the group said in a release. The singer has been criticized for the carbon dioxide emissions from her globe-trotting affairs.
Advertisement
In a statement released through the group, Macdonald condemned billionaires for living in luxury while others reside in “unlivable conditions.”
Swift’s representatives did not immediately respond to a request for comment.
A spokesperson for the airport told BBC News that the demonstration briefly suspended runway operations, but that no flights were disrupted. The airport has since continued operating as normal.
In December, Swift served a cease-and-desist letter to a Florida college student who runs a social media account publishing information about the whereabouts of the pop star’s jet.
“While this may be a game to you, or an avenue that you hope will earn you wealth or fame, it is a life-or-death-matter for our Client,” said the letter, reviewed by The Times. “Ms. Swift has dealt with stalkers and other individuals who wish her harm since she was a teenager.”
Advertisement
Jack Sweeney, who runs the account, told the Washington Post that he obtains the information from public records and that he would not be intimidated from sharing the data.
“This information is already out there,” Sweeney said. . “Her team thinks they can control the world.”
Swift is in London for her Eras Tour concert, which has international dates throughout the year.
NEW YORK (OSV News) – A fact-based fish-out-of-water tale, director and co-writer Richard Linklater’s black comedy “Hit Man” (Netflix) starts off intriguingly. After some needlessly graphic forays into eroticism, however, the film’s third-act departure from the real biography of its protagonist sends a morally skewed message.
Glen Powell — who collaborated with Linklater on the script, which is based on an article by Skip Hollandsworth — plays mild-mannered New Orleans philosophy professor Gary Johnson. Although his routine-driven, solitary lifestyle centers on his cats, Gary’s flair for electronics does enable him to dabble in undercover surveillance work for the police as a sideline.
Suddenly called upon to pose as an assassin-for-hire during a sting operation, Gary is initially intimidated and frightened. But he soon finds he has a knack for the work. Calling himself Ron, and dressed in ever more elaborate disguises, he tailors his various personas to meet the expectations of each suspect he’s trying to ensnare.
Despite his success, Gary’s situation becomes complicated when he first runs afoul of Jasper (Austin Amelio), the full-time cop whose role he has usurped, and then falls for Madison (Adria Arjona), an abused wife who wants him to kill her lowlife husband, Ray (Evan Holtzman). Gary persuades Madison to adopt a more peaceful plan. But he doesn’t share his secret with her.
By the midpoint of the running time, there’s an enjoyable irony to Gary’s dual life. He explores abstract questions of identity in the classroom while simultaneously conducting a secret romance in the guise of his tough-guy alter ego.
Advertisement
But, ethically at least, things unravel with the movie’s climax. Without resorting to a spoiler, suffice it to say that the wrap-up of the plot blithely suggests that heinous crimes can serve as the foundation for a happy future. Such a wrongheaded outlook makes “Hit Man” unsuitable for viewers of any age.
The film contains a frivolous view of evildoing, strong sexual content, including explicit premarital encounters and implied aberrant acts, a few profanities, several milder oaths, pervasive rough and much crude language and about a half-dozen crass terms. The OSV News classification is O — morally offensive. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.
