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Drone riding soccer official skates on air to deliver game ball

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New rule: From now on, all sporting events must begin with an official bringing the game ball to the referee via the magic of drone-style hoverboard vehicles. 

That can be the only conclusion after watching the absolutely insane demonstration recorded at the Portuguese Cup Final on Sunday, which started with a man riding on air, Green Goblin style, and landing delicately in front of a ref to deliver the game’s soccer ball. 

It was flawless. It was weird. It was what every sports event with a ball should have from this very moment on.  Read more…

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Timelapse of the southern lights look completely out of this world

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Https%3a%2f%2fvdist.aws.mashable.com%2fcms%2f2017%2f5%2f247f9d53 1f79 1fc7%2fthumb%2f00001Read more…

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The Handmaid’s Tale episode 1 review


Louisa Mellor

May 28, 2017

Bruce Miller’s chilling adaptation of Margaret Atwood’s feminist dystopian novel hasn’t softened a thing for TV…

This review contains spoilers. A spoiler-free review of the first three episodes is here.

Opening with sirens, a chase, gunshots, a woman and her child being kidnapped… The Handmaid’s Tale gets our attention as a thriller, but does its real damage as a horror – not just an intellectual what-an-existential-nightmare horror, but also the look-out-you’re-in-danger kind.

In this adaptation of Margaret Atwood’s 1985 dystopian novel, director Reed Morano makes the nation of Gilead—the radically oppressive social experiment that’s replaced modern-day America—every bit as threatening as a haunted house or serial killer’s lair. Something monstrous lurks around every corner. Armed guards. Spies. Public executions. Absolute annihilation of personhood.

Due to a marked dip in birth rates, procreation is everything in Gilead. Gay men and doctors who perform abortions are strung up in the streets alongside other enemies of the state. That state is ruled by a fundamentalist Christian elite that categorises women either as Wives (privileged consorts of powerful men), Aunts (enforcers in the guise of teachers), Marthas (domestic servants), Handmaidens (surrogate mothers assigned to wealthy households) or Unwomen. The latter are deported to “the colonies” and sentenced to a—presumably short—life of clearing up nuclear waste.

Our heroine in this weighty, solemn story is Handmaiden Offred [Elisabeth Moss], who moves through it all like a horror movie lead, soundtracked by a foreboding cello score. The camera is repeatedly trained dead-centre on her face, which is where we read the danger. We meet this world reflected in Offred’s terrified, furious eyes.

What eyes those are. As Peggy Olson in Mad Men and Robin Griffin in Top Of The Lake, Moss has a reputation for prestige feminist TV drama that this role will only burnish. When a part requires intelligence, depth and fight, she’s evidently the one to call.

Moss is perfect as Offred. She conveys the rage beneath her imposed silence without a word, and when she does speak, the character is brought to life with irreverence and wit. It’s a terrific central performance that isn’t let down by those surrounding it. 

Nor by anything, in fact, yet. The Handmaid’s Tale is so far an excellent adaptation of Atwood’s novel. It’s loyal and disloyal in all the right places. The book’s first-person narration has been transplanted (often word-for-word) to Offred’s voiceover, while its framing device (the story being reconstructed from a discovered series of cassette tapes recorded by an anonymous speaker) has been understandably nixed.  

The novel’s most shocking parts have been pushed to the front to leave an early impression, and they certainly do that. The regularly scheduled “ceremony” in which Offred is raped by her new owner, Commander Waterston (Joseph Fiennes) and his wife Serena Joy (Yvonne Strahovski) as part of the state-enforced fertility push is exactly as dehumanising and sickening as it should be. The “salvaging” in which Offred and her fellow handmaidens are worked into a violent frenzy and encouraged to take bloody vengeance on a bound prisoner, is as hard to watch as it is to read.

The most uncomfortable scene, and it certainly has competition here, is perhaps the “testifying”, a process mimicking a support session in which the Handmaidens are expected to talk about their previous lives. A young woman tells of being subjected to an hours-long gang rape as a teenager, but instead of receiving sympathy and help, she’s blamed as responsible for leading her attackers on and jeered at by a circle of finger-pointing peers. 

The Handmaidens did have previous lives before Gilead. Offred was a college-educated woman with friends, a partner, a daughter, and her own name (one we learn here, unlike in the novel) before she was dragged into the inescapable Rachel and Leah Centre – the place where they train Handmaids for their new roles and pluck out your eye if you talk back. That’s where the brief moments of lightness in this suffocatingly dark story come from—flashbacks to a time before this happened. Flashbacks to our time, in fact. 

The speed at which Gilead imposed itself so irreversibly is one of many chilling visions in The Handmaid’s Tale. First one right was taken away, then another, then another. As Atwood wrote in the novel, “Nothing changes instantaneously: in a gradually heating bathtub you’d be boiled to death before you knew it”. That’s the angle which made this series such a hot topic when it debuted in the US a month ago. For some reason over there, the notion of long fought-for civil rights achievements being reversed by a patriarchal despot with no respect for women struck a chord. 

The Handmaid’s Tale certainly strikes a chord. Its themes are still urgent and its feminist critique is still painfully sharp. This carefully stylised adaptation (director Reed Morano’s background in cinematography gave episode one so many skilful, painterly compositions there’s no time to list them all – see the staging of the Commander, Offred and Serena Joy in the respective fore, middle and backgrounds after the ceremony for one example) does real justice to Atwood’s dreadful vision. It’s a very tough watch, but so far, a triumph of an adaptation.  

The Handmaid’s Tale continues next Sunday the 4th of June on Channel 4 at 9pm. 

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Every ‘Game of Thrones’ death in drawings

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As you prepare for the return of Game of Thrones in just over a month, it may be helpful to recap some of the key plot points. To that end, a helpful series of illustrations have been posted by artist Hannes Sommer on YouTube showing us every death that has occurred on the show in cleverly executed drawings with mixed media. 

Of course, if you’re not up to date on the latest episode, here’s your Spoiler Alert warning because, yes, all the major character deaths are covered, and this video reminds us of just how creative each death was. 

Season 7 of Game of Thrones will arrive on July 16 at 9 p.m. ET on HBO.  Read more…

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Justin Timberlake, Jimmy Fallon invent perfect Memorial Day weekend activity: Bro-Biking

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Still haven’t figured out what to do with your free time this Memorial Day weekend? Justin Timberlake has the perfect suggestion: Bro-Biking! 

SEE ALSO: Anne Hathaway and Jimmy Fallon’s Google translated songs are catchier than the originals

The film and music star popped up on Instagram on Saturday in what at first looked like an innocent video him of biking through the countryside. 

Bro-biking. @jimmyfallon 🚲 #memorialdayweekend

A post shared by Justin Timberlake (@justintimberlake) on

Only a few seconds later, we see frequent Timberlake partner-in-crime Jimmy Fallon creep into frame as it’s revealed that the two are actually riding a tandem bike.  Read more…

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Jason Momoa performs stirring haka in support of UFC fighter

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New Zealand born UFC star Mark Hunt is preparing for one of the most challenging fights of his career, so his training team decided perform a haka in support of his effort, but with one very special celebrity addition: Jason Momoa. 

SEE ALSO: Your first look at Jason Momoa as ‘Aquaman’

Momoa, best known for his role as Khal Drogo on Game of Thrones and his upcoming role as the lead in the film Aquaman, can be clearly seen in the middle of the haka, supporting Hunt with the same moves as the rest of the group. 

My editing skills suck

A post shared by The Super Samoan (@markhuntfighter) on Read more…

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‘Overwatch’ Reddit just found the most magically dumb minigame

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Sometimes, the best gaming moments happen because players do things the developers never intended. In this case, I’m pretty sure Blizzard never intended for Roadhog to be a volleyball.

A new post from the Overwatch subreddit, aptly titled “hog ball,” depicts a glorious twisting of one hero’s unique ability to “boop” other heroes with a concussive blast. Take a bow, Lúcio.

SEE ALSO: Adorable dad reenacts ‘Overwatch’ emotes

Lúcio’s Soundwave — or “boop cannon,” as we should all call it — is normally used to push away attacking players, preferably over the ledge of a deadly drop. In Hog Ball, however, the boop cannon has a much simpler purpose: keep the ball in the air. Read more…

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UFC fighter proposes marriage to partner after knockout win

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What’s better than using WWE stage to propose marriage to your lover in front of millions? How about doing the same thing in the UFC octagon, but first pulling off one of the most impressive knockouts of your opponent in recent mixed martial arts memory? 

SEE ALSO: Behold The Mountain from ‘Game of Thrones’ sparring with a UFC champ

That’s what headliner Alexander Gustafsson did after destroying his opponent Glover Teixeira in the final round of his match UFC match on Sunday. 

THAT’S IT!!! @AlexTheMauler walks off on Teixeira and gets the 5th round KO!!! #UFCStockholm pic.twitter.com/1FOPTpuRht

— UFC (@ufc) May 28, 2017 Read more…

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Takuma Sato just became the first Asian to win the Indy 500

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Takuma Sato, the former Formula One racer who’s been driving in the IndyCar series for nearly a decade, won the Indianapolis 500 on Sunday, making him the first Asian driver to win the Greatest Spectacle in Racing.

“Unbelievable feeling!” Sato exclaimed as he jumped out of his car in Victory lane to celebrate with his teammates.

SEE ALSO: Inside the advanced wearable tech powering an IndyCar champion

Sato was set back by a pit stop problem early in the race, but stayed patient, quietly moving his way into striking distance. He saved his best for the final battle with bulldog veteran Helio Castroneves in the final five laps — and Castroneves was hungry. Read more…

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