Latest news with #Hilda
BBC News
01-07-2025
- Health
- BBC News
How sun-conscious is Guernsey's culture?
An islander living in Australia says she feels Guernsey could do more to promote a better sun-safe Chapple moved to Australia a year-and-a-half ago after spending the first 20 years of her life growing up in said she gave little thought to wearing sun protection when she lived in Guernsey but it had now become second nature."Since moving to Australia, it's now a case of you've got your towel, you've got your bathers, you've got your suncream. In Guernsey, I didn't think of that so much." 'A culture and push' Ms Chapple said in Australia, free suncream is given out at beach hot spots and there are tax-free deductions for suncream where you can claim a rebate from the government. "It's something the government is actively trying to encourage and make people aware of.""[In Guernsey] I used to leave the house without suncream on," Ms Chapple said. She said she thought her change in attitude towards sun-safety was because Australia got more sun, "But, at the same time, I think there's a culture and push from the government as well to really protect against skin cancer." So what do other islanders think? Joey Barling said she became more sun-conscious since having said that's down to "more awareness," in the community and Barling said "I don't think [Guernsey's sun-safe culture] is great... I think there could be more around and about to boost awareness." Hilda, at Pembroke Bay, said she wears suncream every day "even in the winter" because "the doctor thought it was a good idea." Keith Mansell, also at Pembroke, said he was not wearing, or had not packed, any suncream for his spontaneous trip to the beach. "I think if you want to use suncream then that's your personal choice. I don't think we need to be nannied around that sort of thing.""People are aware - there's lots of awareness about, both in the papers and on TV, so it's up to people to make their personal choice."BBC Guernsey has launched a Sun Safety Campaign about early detection and prevention of skin cancers, and will speak to experts about the importance of sun safety over the summer months.
Business Wire
30-06-2025
- Entertainment
- Business Wire
Thunderbird Entertainment Announces New President of Atomic Cartoons
VANCOUVER, British Columbia--(BUSINESS WIRE)--Thunderbird Entertainment Group Inc. (TSXV:TBRD, OTC – THBRF) ('Thunderbird' or the 'Company') is pleased to announce Joel Bradley has been promoted to the role of President of Atomic Cartoons ('Atomic'), the animation arm of the Company, effective as of July 1. As President of Atomic, Bradley will report to Jennifer Twiner McCarron, who will continue to serve as CEO of Atomic and Thunderbird Entertainment, as well as Chair of Thunderbird's Board of Directors. In his new role, Bradley will lead the business development and production departments across Atomic, and play a central role in the executive leadership team to support the vision, mission, and values of Atomic's people-first culture. In addition to his new responsibilities, Bradley will continue to be responsible for the day-to-day operations and strategic management of Atomic, including the advancement of a strong technical and creative production pipeline that delivers against the Company's business strategy. This includes overseeing a team of close to 1,000 creative and production staff to ensure a consistent flow of high volume, high quality projects to partners around the world. 'Joel is a highly respected leader who brings a great mix of creativity, production expertise, and unwavering dedication to our teams,' says Ms. Twiner McCarron. 'He's been instrumental in growing our kids and family business, and his passion for supporting and uplifting team members is an invaluable asset. Joel embodies all of the key attributes we value at Atomic, including leading with kindness, compassion, and empathy. Over the years, he has helped elevate our studio creatively to build the artist-friendly, collaborative culture we are proud to be known for. This is a well-deserved promotion and I'm excited to see what the future holds for our Company as a result of Joel's promotion.' An accomplished industry veteran with two decades of industry experience, Bradley first joined Atomic in 2013 from Pixar Canada as a production coordinator. Over the years, he has served in every production role in the studio, including production manager, line producer, supervising producer, and most recently, head of production. He has amassed a number of award-winning producing credits to his name since joining Atomic, including the BAFTA Award-winning Hilda and the Daytime Emmy Award-winning The Last Kids on Earth. Additional notable credits include Legend of Three Caballeros, 101 Dalmatian Street and the Peabody Award-winning Molly of Denali. 'I'm lucky to work with an extremely talented group of artists, creators and producers, all of whom inspire me every day,' says Bradley. 'It is a true privilege to take on the role of President of Atomic and I look forward to building on its already great legacy. Atomic's people-first culture and drive to make excellent cartoons is what originally attracted me to the studio. I want to continue to help our teams learn, grow and be curious, and am very excited to be part of what's to come.' Investor Relations Update Bristol Capital's investor relations contract with Thunderbird concluded on June 30, 2025, and will not be renewed. Thunderbird extends its sincere thanks to the team at Bristol Capital for their dedication and support over the past five years. For information on Atomic, visit For more information on Thunderbird Entertainment Group and to subscribe to the Company's investor list for news updates, go to About Atomic Cartoons Atomic Cartoons is an internationally renowned, award-winning animation studio with offices located in Vancouver, Ottawa and Los Angeles. Known for an artist-driven culture that attracts, retains and promotes the best talent in the business, Atomic develops and produces high-end animated content that spans preschool, comedy, action-adventure, adult and commercial genres, and everything in between. The animation studio has developed a stellar global reputation for its ability to translate big brands like LEGO, Star Wars, My Little Pony, Cocomelon and many more into top-notch animation, while also developing high-quality original Atomic productions like The Last Kids on Earth, Rocket Saves the Day and Mermicorno: Starfall. Atomic is B Corp certified and a BC Benefit Company. For more information, visit About Thunderbird Entertainment Group Thunderbird Entertainment Group is a global award-winning, full-service production, distribution and rights management company, headquartered in Vancouver, with additional offices in Los Angeles and Ottawa. Thunderbird creates award-winning scripted, unscripted, and animated programming for the world's leading digital platforms, as well as Canadian and international broadcasters. The Company develops, produces, and distributes animated, factual, and scripted content through its various content arms, including Thunderbird Kids and Family (Atomic Cartoons), Thunderbird Unscripted (Great Pacific Media) and Thunderbird Scripted. Productions under the Thunderbird umbrella include Mermicorno: Starfall, Super Team Canada, Molly of Denali, Kim's Convenience, Highway Thru Hell, Boot Camp and Sidelined: The QB and Me. Thunderbird Distribution and Thunderbird Brands manage global media and consumer products rights, respectively, for the Company and select third parties. Thunderbird is on Facebook, X, and Instagram at @tbirdent. For more information, visit: Cautionary Statement Regarding Forward-Looking Information This news release includes statements containing 'forward-looking information' for purposes of applicable securities laws ('forward-looking statements'). Forward-looking statements are indicated by the use of words such as 'anticipate', 'continue', 'estimate', 'expect', 'forecast', 'may', 'will', 'plan', 'project', 'should', 'believe', 'intend', or similar expressions. Forward-looking statements are necessarily based on a number of estimates and assumptions that, while considered reasonable, are subject to known and unknown risks, uncertainties and other factors which may cause actual results and future events to differ materially from those expressed or implied by such forward-looking statements. Such factors include, but are not limited to: general business, economic and social uncertainties; legislative, environmental and other judicial, regulatory, political and competitive developments; product capability and acceptance; and other factors set out in the 'Risks and Uncertainty' section of the Company's management discussion and analysis for the period ended March 31, 2024. The foregoing is not an exhaustive list. Additional risks and uncertainties not presently known to Thunderbird or that management believes to be less significant may also adversely affect the Company and the assumptions and estimates relied upon in connection with making the forward-looking statements contemplated herein. The forward-looking statements or information contained in this news release represent the Company's views as of the date hereof and as such information should not be relied upon as representing our views as of any date subsequent to the date of this news release. The Company undertakes no obligation to update publicly or revise any forward-looking statements, whether as a result of new information, future events or otherwise, unless so required by applicable securities laws.
Yahoo
04-06-2025
- Yahoo
Law enforcement says two men arrested, two guns seized after robbery in Washington
WASHINGTON, N.C. (WNCT) — Two men were arrested after a reported armed robbery outside Hilda's Family Country Store in Washington Wednesday, June 4, 2025. Deputies with the Beaufort County Sheriff's Office responded and got information from the victim and began searching for the suspected vehicle, described as a burgundy 2025 Mitsubishi Mirage with a South Carolina license tag and front-end damage. At 12:16 p.m., the vehicle was found in a parking lot of a restaurant on W. 5th Street. Two men were arrested and a third ran away from law enforcement. Two guns were seized by deputies. Marcel Laquan Whitney, 32, of Chocowinity and Eric Lavon Whitney Jr., 33, were charged with robbery with a dangerous weapon. Both were jailed in the Beaufort County Detention Center without bond. Detectives found the robbery was targeted toward the one victim. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hindustan Times
28-05-2025
- General
- Hindustan Times
International Burger Day: Spice up your burger game with these three Indian street food classics to try
Burgers are the ultimate comfort food worldwide, but in India, the simple joy of some stuffing nestled between bread transforms into a deeply local experience. This International Burger Day, let's dive into three iconic Indian burgers that outshine the classic American hamburger with their quintessential regional charm. If you've never tried Poe, you're missing out on a bread lover's delight. This Goan speciality is soft, slightly chewy, and has a hint of fermented sourdough flavour. Its slight give makes it perfect for any filling, turning it into a decadent burger. Let's talk about the Chorizo Poe, recipe by Hilda's Touch of Spice. 8 to 10 Goan bead sausages, 4 medium onions, 1 tbsp vegetable oil, 2 tbsp Goan vinegar, a few tbsp water, salt to taste Remove the chorizo meat from the casing. Slice onions and sauté in hot oil until translucent. Add chorizo and soften until it releases oil. Add water as needed to prevent sticking and further soften the mixture. Stir in vinegar, salt, and pepper to taste. Fill your Poe bread with this savoury mixture and add cold coleslaw or cucumber and tomato slices for the perfect Goan burger experience. Mumbaikars take their vada pav seriously — this humble 'burger' packs powerful flavours without the fuss of mayo or fancy meats. A potato cutlet sandwiched in soft pav, it's arguably one of the best street food pairings in the world. This recipe is courtesy of Dassana Veg Recipes. 350 grams potatoes or 2 medium to large potatoes, 6 to 7 small garlic cloves, 1 to 2 green chillies, ½ tsp mustard seeds, pinch of asafoetida, ⅛ tsp turmeric powder, 7 to 8 curry leaves, 1 to 2 tbsp chopped coriander, salt as needed 1 cup chopped coriander, 1 to 2 garlic cloves, 2 to 3 drops lemon juice, 2 to 3 green chillies, salt as needed ½ cup seedless tamarind, 1.75 cups water, ½ tsp cumin seeds, ½ tsp ginger powder, pinch of asafoetida, ¼ tsp red chilli powder, 7 to 8 tbsp jaggery powder, 1 tsp oil, salt or black salt as required Oil for deep frying, 2 tbsp dry red chutney (optional), 8 pav, 3 to 4 fried green chillies with salt (optional) Prepare green chutney by grinding all ingredients with minimal water. For tamarind chutney, soak tamarind, strain pulp, cook with spices and jaggery until thickened, then cool. Boil and mash potatoes. Temper mustard seeds, curry leaves, and asafoetida in oil; add garlic-chilli paste and turmeric, then mix into potatoes with coriander and salt. Form into balls, coat with a batter made from besan, turmeric, asafoetida, salt, baking soda (optional), and water; deep fry until golden. Assemble vada pav by spreading chutney on pav, adding fried vada, and serving immediately to avoid sogginess. Serve with fried green chillies and tea for the authentic Mumbai experience. While similar to vada pav with its potato base and chutneys, Dabeli shines with its distinct Gujarati spice mix that adds warmth and punch. 1 tsp coriander seeds, ½ tsp cumin, ½ tsp fennel, ½ tsp pepper, ½ inch cinnamon, 1 black cardamom pod, 6 cloves, 1 star anise, 1 bay leaf, 1 tsp sesame seeds, 2 tbsp dry coconut, 3 dried red chillies, ½ tsp turmeric, 1 tsp aamchur, 1 tsp sugar, ½ tsp salt 2 tbsp tamarind chutney, ¼ cup water, 2 tbsp oil, 3 boiled and mashed potatoes, ½ tsp salt, 1 tbsp grated coconut, 1 tbsp chopped coriander, 2 tbsp sev, 2 tbsp pomegranate seeds, 2 tbsp spiced peanuts 5 pav, 5 tsp green chutney, 5 tsp tamarind chutney, 5 tsp finely chopped onion, butter for toasting Dry roast the masala spices until fragrant, cool, and grind with turmeric, aamchur, sugar, and salt into a fine powder. Heat oil, mix masala powder with tamarind chutney and water, and cook till fragrant. Add potatoes and salt, mash well, then garnish with coconut, coriander, sev, pomegranate, and spiced peanuts. Spread green and tamarind chutneys inside pav, stuff with the aloo mixture and onion, toast in butter until golden, then roll in sev and serve immediately. This International Burger Day, celebrate by indulging in these Indian variations that bring rich regional flavours and textures to a simple sandwich; sometimes, the best bites come from local streets, not fancy menus.
Telegraph
30-04-2025
- Entertainment
- Telegraph
British theatre needs to start treating the classics with respect
Earlier this week, I witnessed Ewan McGregor's theatrical return in My Master Builder. The 54-year-old actor has not been seen on the London stage in 17 years, and his homecoming has made headlines. The production itself, however, at Wyndham's Theatre, seemed to me the real story. It's an extremely tenuous update of Ibsen's 1892 play Bygmester Solness (The Master Builder), about Halvard Solness, a self-made man whose lack of formal training prevents him from calling himself an architect, and whose life is brought tumbling down by the reappearance of a piquant young woman, Hilda, with whom he was once infatuated. In this tacky new version by Lila Raicek, I cared little for Solness, here a self-satisfied, espadrille-wearing starchitect, and even less for Hilda, now known as 'Mathilde' and played by The Crown's Elizabeth Debicki with all the fervour of a saluki left out in the rain. My Master Builder is being billed as a new play, but it's a thin approximation of a classic that's vivid and psychologically rich. Because this is the thing about Ibsen: like all great artists, he's always contemporary. A really great production of The Master Builder, such as that seen at the Old Vic in 2015 with Ralph Fiennes and Sarah Snook, makes you confront its stark modernity. You don't need a rewrite to make it hit home. But My Master Builder is part of a trend to 'update' theatrical classics – and Ibsen is particularly susceptible. Across town, the Lyric Hammersmith is currently staging a version of Ghosts in which the sickness of Helena Alving's son isn't syphilis but a sort of manifestation of his father's toxicity. And at the Duke of York's Theatre a year ago, I saw Thomas Ostermeier's version of An Enemy of the People, which starred Matt Smith, and I loathed it: Ostermeier turned what should have been a timely tale about freedom of speech and the perils of group-think into a terrible dollop of student agitprop. Ibsen is the most frequently performed European playwright in Britain. After him comes Chekhov, who's treated only a little better than his Norwegian 19th-century counterpart. Recent radical versions of both The Cherry Orchard and The Seagull have managed to convince us that Arkadia, Anya and the rest are very much our contemporaries – though the latter, also directed by Ostermeier, was patchy. But things can go badly wrong: in 2014, I saw a production of Three Sisters at the Southwark Playhouse in which the titular ladies, stranded implausibly in a far-off country, pined for London (when they were all clearly wealthy enough to book the first flight home). We could blame Patrick Marber for all of this. In 1995, his play After Miss Julie transposed Strindberg's 1888 tragedy of desire, Miss Julie, across class barriers to Attlee's Britain. (It was originally directed, coincidentally, by the estimable Michael Grandage, who's also responsible for My Master Builder.) But Marber is a sublime talent and managed to make a new play in its own right, while respectfully teasing out what makes Strindberg so important, not least the overwhelming psychological attrition. I appreciate that part of theatre's duty is to reinvent old works; and the recent success of shows such as Oedipus, starring Lesley Manville (and also at Wyndham's Theatre), proves that there's always an appetite for radical takes on the most ancient of stories. But adaptation needs a skilled hand. That latest version of Sophocles's tragedy was adapted and directed by Robert Icke, who has made his name deconstructing classics and bringing out their cerebral nature in surprising and shocking ways. Think of his famous Hamlet with Andrew Scott, first performed in 2017: it kept a lot of Shakespeare's text, but re-ordered it in a fascinating way, making it more urgent, less declamatory. And Icke has made a successful translation of Ibsen, with The Wild Duck in 2018, showing a clear and cohesive grasp of his source material and never forgetting the play's ultimate message: that we're all, ultimately, propelled by self-delusion. The problem is that Icke is bordering on a national treasure, and few can match his level of dramatic erudition. My overriding feeling, looking around at the state of British theatre, is that you should take on rewriting landmark works only if you're certain of living up to the original. I'll be interested to see how a new version of Euripides's The Bacchae – announced by Indhu Rubasingham on Tuesday as a part of her inaugural season as National Theatre artistic director – turns out, not least because it's the first time that a debut playwright (Nima Taleghani) has been let loose on the capacious Olivier Stage. Even if Marber started the trend, I think the 2020s has seen directors cede more and more ground to writers. Dramatists seem compelled to muck around with their source material and make it virtually unrecognisable. It's as if producers were too afraid to proudly present the classics, lest the audience feel they're being forced to pay top dollar to watch old material. And it's particularly frustrating that this is happening when in most other respects, the theatre industry has – like many other creative sectors – become miserably risk-averse. Although I disliked Raicek's play, I didn't want to: she clearly has an ear for dialogue, and she could have been commissioned to write something entirely new. But a wholly new play by a young playwright is becoming increasingly rare. Theatre needs to do two distinct things. One, give those young talents time to write, and produce, new work; and two, revere the greatest works of our past in the way they deserve. They're classics for a reason – and half-baked attempts to make them appealing to modern audiences will only put off the new generation that British theatres need in order to thrive.
