Latest news with #Bond-like
Yahoo
5 days ago
- Sport
- Yahoo
Wimbledon 2025: Novak Djokovic shows immense powers of recovery to down Alex De Minaur and reach last eight
Novak Djokovic may never quite know how he came through on Centre Court against Alex De Minaur, but the beauty of Grand Slam tennis is that he doesn't need to know. His mind switches immediately to the Wimbledon quarter-finals, which he has reached for the 16th time. Here was a four-set match which felt every bit a contest that took five, those present to witness it no doubt fully aware the 34-shot rallies they were watching were far from normal procedure. This was seven-time Wimbledon champion Djokovic being pushed to the absolute brink, and wearing it in his facial expression and body language for much of the ordeal. And then still getting through. Advertisement Djokovic won 1-6 6-4 6-4 6-4 on Monday afternoon but at one time or other appeared to place blame on himself, his opponent, the glare of the sun, the size of the court, and those sat up in his player's box. Even in the three sets he won, things were far from plain sailing. The brutal truth is that as his years tick up and up, this is the sort of match the result of which 38-year-old Djokovic will begin to fall on the wrong side of, in the months and years to come. For now, he still possesses that sixth gear. It has powered him to the last eight and makes him a contender for the title. Roger Federer, holder of a record eight Wimbledon titles to Djokovic's seven, watched on behind his Bond-like sunglasses from the Royal Box. 'It's probably the first time he's watched me and I've won the match,' Djokovic quipped afterwards, the stresses of a fraught match if not fully dissipated then by now mostly alleviated. 'The last couple [he's watched] I've lost!' Advertisement Djokovic waved his arms in frustration and yelled at himself when shots landed out and De Minaur's landed in, and at no time was that truer than in a truly extraordinary first set. Djokovic produced four double faults in his first three service games — one of them the very first point of the match — and had his serve broken three unanswered times as De Minaur raced ahead. For the very first time, Djokovic had lost an opening set at Wimbledon by the bruising scoreline of 6-1. He broke De Minaur's serve for the first time in the very first game of the second set but then had real trouble consolidating it. In fact, after a marathon game that lasted 18 minutes and 53 seconds, De Minaur broke straight back — every single game at this point feeling a monumental signal of the direction of travel the match was set to take from there. Exasperated: Djokovic made no attempt to hide his frustration (AFP via Getty Images) De Minaur, 12 years his opponent's junior, was moving around the court so freely, described by Djokovic later as 'one of the quickest, if not the quickest player, we have on the Tour.' Djokovic, meanwhile, was struggling to clear the net with routine forehand strokes and looked laboured and irritable. Advertisement Each player was then broken in a match lacking anything remotely resembling rhythm, but Djokovic then appeared to wake up momentarily, breaking the 11th seed to love for 4-3. When he saved two break points to serve out to get back on terms at one set all, he let out an almighty roar, as much an effort to rock his opponent further off course from there as a celebration of regaining parity. The decisive break of a very tense and cagey third set again came late on as Djokovic took it 6-4 also, but De Minaur would not go away. He sandwiched a break of the veteran's serve by holding twice himself. He led 4-1 in the fourth. Djokovic's propensity to heave himself back into contention still endures, though, and he had the last laugh at the end of the match's most jaw-dropping rally to break back for 4-3. He held for 4-4, broke for 5-4, served himself into the last eight for 6-4, and just like that De Minaur was out. This is, it turned out, still how it all works. After a song and dance, Djokovic still makes it through in the end. 'I'm still trying to process the whole thing,' said Djokovic afterwards, having plodded over to a microphone by the side of the court. 'It wasn't a great start from me. It was very windy conditions and he was managing the conditions much better. Advertisement 'It was a lot of cat and mouse play. He exposes all your weaknesses. I was very pleased to hang in tough in this one. 'As the match wore on, I was starting to find my forehand and starting to make more winners.' On Wednesday comes a meeting with Italy's Flavio Cobolli for a place in the semi-finals. Weathered and shattered, Djokovic ploughs on.
Hindustan Times
16-06-2025
- Politics
- Hindustan Times
Who is Blaise Metreweli, first woman to head UK spy agency MI6?
Blaise Metreweli has been appointed as the new chief of MI6, becoming the first woman to lead Britain's foreign intelligence service since it was founded in 1909. A veteran intelligence officer and current director of technology and innovation at MI6, she will take over in the autumn from Richard Moore, who has held the post for five years. Prime Minister Keir Starmer confirmed the historic appointment on Sunday, calling it 'an important moment' for the country's national security leadership. 'The United Kingdom is facing threats on an unprecedented scale – be it aggressors who send their spy ships to our waters or hackers whose sophisticated cyber plots seek to disrupt our public services,' he said. A veteran intelligence officer with 25 years of service, Blaise Metreweli, 47, now emerges as the public face of MI6, the only member of Britain's foreign spy agency whose identity is officially disclosed. 'I am proud and honoured to be asked to lead my Service,' she said. Metreweli takes the helm at a critical time, as MI6 confronts escalating threats from hostile states such as China and Russia. Their use of cyber warfare, espionage, and influence campaigns continues to undermine global stability and target British interests, while terrorism remains a persistent concern, reported Reuters. The role, traditionally known as 'C', differs from the fictional 'M' in the James Bond universe, famously portrayed by Judi Dench in seven films starting in the 1990s. A Cambridge University graduate in anthropology and former member of its women's rowing team, Metreweli also brings deep expertise in emerging technologies, having served as MI6's director of technology and innovation. 'At a time of global instability and emerging security threats, where technology is power and our adversaries are working ever closer together, Blaise will ensure the UK can tackle these challenges head-on to keep Britain safe and secure at home and abroad,' said Foreign Secretary David Lammy. In line with this push for diversity, MI6 has expanded recruitment beyond its traditional pool of elite university candidates. Its official messaging now promotes flexible working, family-friendly policies, and a commitment to drawing talent from all backgrounds. The selection of Metreweli, an internal candidate, followed a confidential process initiated in March, when senior civil servants invited applications from across the intelligence, diplomatic, defence, and policing sectors. Britain's other intelligence bodies have already made history with female chiefs. MI5, the domestic security service, was headed by Stella Rimington from 1992 to 1996 and Eliza Manningham-Buller from 2002 to 2007, while GCHQ appointed Anne Keast-Butler as director in 2023. Moore, an Oxford-educated diplomat with a Bond-like persona, had advocated for greater inclusion within the service. In a 2023 post on X, he said he aimed to be 'the last C selected from an all-male shortlist', expressing support for women's equality in intelligence leadership. With Reuters inputs
Tatler Asia
02-05-2025
- Entertainment
- Tatler Asia
‘Thunderbolts' director Jake Schreier on why this Marvel film feels different
Above Yelena Belova (Florence Pugh) in Marvel Studios' Thunderbolts (Photo: Chuck Zlotnick) That tension—between isolation and belonging—runs through the entire film, from its sombre opening to a surreal, stylish finale. Unlike many Marvel entries that feel like they're juggling four subplots too many, Thunderbolts resists bloat. It doesn't try to impress you with endless cameos or lore; instead, it earns your attention with brisk pacing, dry wit, and emotional clarity. Nowhere is this more evident than in Florence Pugh's performance. Her Yelena is devastatingly good—witty, sharp, emotionally raw. She delivers her lines with the confidence of someone who knows exactly when to undercut a tense moment with a perfectly timed quip, and when to let a silence hang heavy. Her banter with Harbour's Red Guardian recalls the best kind of familial bickering, but it's her quieter moments that leave the deepest mark. See also: From Merdeka 118 to the Blue Mansion: Malaysia's most specatular film locations that have captivated international cinema Above Yelena Belova (Florence Pugh) on top of Merdeka 118 during the opening scene (Photo: Chuck Zlotnick) It helps that Schreier brings a director's eye for texture, not just tempo. Many action sequences were done in-camera, not in code. 'We tried to do a ton of things practically,' he said. 'It wasn't just about blowing up cars in Utah, though we did that too. Sometimes, it was just a simple match cut instead of a big CG transition.' That commitment to craft extends all the way to a vertigo-inducing stunt filmed on Merdeka 118 in Kuala Lumpur—the second tallest building in the world. 'Um, it was very difficult,' he admitted, laughing. 'We wanted a sort of Bond-like opening for Yelena in our story, but Yelena in our story is a character who's in a kind of depressed place and going through something emotionally. We knew we needed a very tall jump that would work as a base jump. And so obviously, Tom Cruise already took the Burj in Dubai but we found Merdeka 118 and amazingly it really fit into the kind of sleek, darker aesthetic of our film. So our production designer was very excited about that. And then it was just a massive amount of conversations between our incredible line producer and Biscuit Films, our local production company in Malaysia, talking to the tower and getting them excited about it and getting them to agree,' Schreier explains. Above Pugh behind the scenes on the set at Merdeka 118 (Photo: Steve Swisher) He then goes on to detail how, when it came to actually filming the scene, they had to have three different engineering firms working on the steel deck on the roof to make sure that it was safe. 'On the day of filming, we're just waiting on the top floor that I don't think even has air conditioning yet. And just wait every time there's a lightning strike, which, as you know, is almost every 20 minutes given how high up we were. And we would have to come off the roof for half an hour. So it was this crazy dance of like, what window can we get like long enough to shoot it. We ended up shooting very, very early first thing in the morning,' says Schreier. Don't miss: Star-studded K-dramas with next-level casting and unforgettable cameos The result is a rooftop sequence that opens the film and sets the tone. It definitely captured the Bond-level swagger the director intended but was also undercut by an emotional twist: Yelena isn't leaping into action out of confidence—she's doing it from a place of despair. This tonal balancing act continues throughout the film. Schreier cites everything from Reservoir Dogs to Toy Story 3 as tonal references, and somehow, it all works. 'I wanted Thunderbolts to take its emotional stakes seriously,' he explained, 'while still having the fun and humour people expect.' And it does. The film may be about characters with blood on their hands, but it's not cynical. If anything, it's about redemption—earned, not assumed. The climax, while a touch rushed, still lands with surreal grace. And the post-post-credits scene (yes, stay for it) hints at bigger things to come—not with a roar, but with a whisper that feels both thrilling and earned. Photo 1 of 7 Taskmaster (Olga Kurylenko) (Photo: Chuck Zlotnick) Photo 2 of 7 Alexei Shostakov/Red Guardian (David Harbour) (Photo: Chuck Zlotnick) Photo 3 of 7 John Walker (Wyatt Russell) (Photo: Chuck Zlotnick) Photo 4 of 7 Bob (Lewis Pullman) (Photo: Chuck Zlotnick) Photo 5 of 7 Ghost (Hannah John-Kamen) (Photo: Chuck Zlotnick) Photo 6 of 7 John Walker (Wyatt Russell), Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Alexei Shostakov / Red Guardian (David Harbour), and Ghost (Hannah John-Kamen) (Photo: Chuck Zlotnick) Photo 7 of 7 Yelena Belova (Florence Pugh), John Walker (Wyatt Russell), Ghost (Hannah John-Kamen) and Red Guardian/Alexei Shostakov (David Harbour) Part of what makes Thunderbolts so satisfying is how deliberately un-slick it is. It's not relentlessly trying to expand on the world-building or the weight of a thousand intersecting plotlines. This is a story that knows what it wants to say and trusts the audience to follow. Schreier credits Marvel Studios president Kevin Feige for that freedom. 'He told me, 'Make it different. Make it work on its own.' You don't have to have seen the other movies, though if you have, there's a lot in there for you.' Thunderbolts won't change the genre. But maybe that's the point. It isn't trying to. It's trying to remind us that there's still blood in the machine. That the MCU, at its best, isn't just about heroes—it's about people. Broken ones, funny ones, dangerous ones. People who, together, might be more than the sum of their pasts. Credits
The National
31-03-2025
- Automotive
- The National
Bentley's new Continental GT hybrid is still the best grand tourer on the market
For two decades, the Bentley Continental GT has been the gold standard in grand touring. With the launch of its fourth-generation model, that reputation not only holds, but feels more justified than ever. This is the most refined, most powerful and arguably the most compelling Continental GT to date. There's a big change under the hood. Gone is the towering 6.0-litre twin-turbo W12, a behemoth of an engine that has powered the top-end Continental GT for years. In its place is a plug-in hybrid V8. Performance is nothing to worry about. This new hybrid set-up is staggering. The 4.0-litre twin-turbo V8 produces 584 horsepower, while an 187-horsepower electric motor sits between the engine and an eight-speed dual-clutch gearbox. The combined output? A monstrous 771 horsepower, catapulting this 2,500kg grand tourer from 0 to 100km/h in only 3.2 seconds. Not bad for a car built to cruise rather than sprint. 'The plug-in hybrid was a bold move,' says chief executive Frank-Steffen Walliser when we meet in Dubai. 'But customers have embraced it. When they drive it, they say: 'Wow, this is completely different. The hybrid actually adds more to the car than it takes away,'' he adds. Spending a weekend with the new Continental GT, I can confidently say the hybrid system doesn't dilute the experience – it enhances it. There are several drive settings to cycle through, but I keep it firmly in sport mode. The rumble is deep, satisfying and absent in the more restrained driving modes. When the first Continental GT launched two decades ago, Bentley was in a very different place. The brand was struggling, and the Continental GT almost single-handedly resurrected it. Fast forward to today, and Bentley no longer needs that kind of rescue mission. Its portfolio includes the best-selling Bentayga SUV, but the Continental GT remains just as vital. And in this latest iteration, it commands the road like few others. The first thing you notice? Presence. The new GT is still big – dominant, even – but it doesn't come off as aggressive. It's the kind of confidence that doesn't need to shout. Inside, that sense of grandeur continues. I'm a big guy – 1.96 meters tall – and I still have plenty of room to spare. I can't say that's the case in many cars with this kind of performance. The accommodating cabin is already a win in my book. Of course, no Bentley review would be complete without talking about craftsmanship. The interior is plush, infinitely customisable and drenched in high-end materials. A personal favourite touch is the rotating centre console, a Bond-like party trick that lets you toggle between a high-resolution touchscreen, a set of classic analogue dials, or a smooth, uninterrupted dash panel. It's the kind of detail that reminds you Bentley never skimps on drama. The challenge now? Finding the car that will take Bentley into the next two decades. The plug-in hybrid models mark a crucial step towards full electrification, even though the marque has pushed its all-electric goal to 2035. 'The move to the electric car is maybe the most demanding task in the history of the car,' says Walliser. 'This is clearly driven by regulation, but we also see there's a demand and acceptance for plug-in hybrid. And so this is why we extend our offering and plug-in hybrids in our model lines. And on the other side, we are coming with a full electric Bentley in 2027.' At some point around the time you are reading this, Bentley is set to roll its 100,000th Continental GT off the production line in Crewe. And as I settle back into the cabin, Sport Mode engaged, I realise that while a lot of change is on the horizon, right now, I wouldn't change a thing.
