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jiliko app download The heart of Mid-Market now pulsates with a newfound vibrancy following the unveiling of 'Heartfullness,' a monumental sculpture that has taken residence at the intersection of Market and Turk Streets, according to a social media post by Market Street Arts . This dynamic piece of steel takes the shape of a mended heart and is a testament to the human spirit's durability and our capacity to love despite adversity. A post shared by Market Street Arts (@marketstreetarts) Standing over 15 feet wide and 13 feet high, 'Heartfullness' isn't just a spectacle during the day – when the sun bounces off its rusted metallic surface – but also at night, where it emanates a warm glow from its core. As part of its design, the sculpture includes a pair of woven rope seats nestled within, offering visitors a moment of respite and reflection. This installation is more than art; it's a gathering space intended to foster communal connection on San Francisco's main thoroughfare through June 2025. The transformative effects of 'Heartfullness' on the Mid-Market area were underlined by Abra Allan, Director of Creative Engagement at the Mid-Market Foundation, as per Broadway World . Allan expressed, "Through Market Street Arts, we've built a foundation of sustained investment and community engagement that celebrates the unique character and rich history of our neighborhood. 'Heartfulness' represents more than just an artistic installation—it embodies our community's aspirations and resilience, serving as a beacon of hope for Market Street's bright future." The artist behind 'Heartfullness,' Katy Boynton, shared with Broadway World her connection to the sculpture. "I moved to San Francisco to follow my artistic dreams," Boynton said. "I wanted to learn how to weld and build a heart sculpture that came to me in a dream. Having Heartfullness placed in San Francisco is the ultimate dream come true.”JEDDAH, Saudi Arabia (AP) — “My Driver and I” was supposed to be made in 2016, but was scuttled amid Saudi Arabia's decades-long cinema ban. Eight years later, the landscape for film in the kingdom looks much different — and the star of “My Driver and I” now has an award. Roula Dakheelallah was named the winner of the Chopard Emerging Saudi Talent award at the Red Sea International Film Festival on Thursday. The award — and the glitzy festival itself — is a sign of Saudi Arabia's commitment to shaping a new film industry. “My heart is attached to cinema and art; I have always dreamed of a moment like this,” Dakheelallah, who still works a 9-5 job, told The Associated Press before the awards ceremony. “I used to work in voluntary films and help my friends in the field, but this is my first big role in a film.” The reopening of cinemas in 2018 marked a cultural turning point for Saudi Arabia, an absolute monarchy that had instituted the ban 35 years before, under the influence of ultraconservative religious authorities. It has since invested heavily in a native film industry by building theaters and launching programs to support local filmmakers through grants and training. The Red Sea International Film Festival was launched just a year later, part of an attempt to expand Saudi influence into films, gaming, sports and other cultural fields. Activists have decried the investments as whitewashing the kingdom’s human rights record as it tightly controls speech and remains one of the world’s top executioners. With FIFA awarding the 2034 World Cup to Saudi Arabia this week, Lina al-Hathloul, a Saudi activist with the London-based rights group ALQST, said Crown Prince Mohammad bin Salman “has really managed to create this bubble where people only see entertainment and they don’t see the reality on the ground.” These efforts are part of Vision 2030, an ambitious reform plan unveiled in 2016 to ease the economy's dependence on oil. As part of it, Saudi Arabia plans to construct 350 cinemas with over 2,500 movie screens — by this past April, across 22 cities, it already had 66 cinemas showing movies from the local film industry, as well as Hollywood and Bollywood. (The Red Sea International Film Festival attracts a host of talent from the latter industries, with Viola Davis and Priyanka Chopra Jonas also picking up awards Thursday.) The country's General Entertainment Authority last month opened Al Hisn Studios on the outskirts of Riyadh. As one of the largest such production hubs in the Middle East, it not only includes several film studios but also a production village with workshops for carpentry, blacksmithing and fashion tailoring. “These facilities, when they exist, will stimulate filmmakers,” said Saudi actor Mohammed Elshehri. “Today, no writer or director has an excuse to imagine and say, ‘I cannot implement my imagination.’” The facilities are one part of the equation — the content itself is another. One of the major players in transforming Saudi filmmaking has been Telfaz11, a media company founded in 2011 that began as a YouTube channel and quickly became a trailblazer. Producing high-quality digital content such as short films, comedy sketches and series, Telfaz11 offered fresh perspectives on Saudi and regional issues. In 2020, Telfaz11 signed a partnership with Netflix to produce original content for the streaming giant. The result has been movies that demonstrate an evolution on the storytelling level, tackling topics that were once off-limits and sensitive to the public like secret nightlife in “Mandoob” (“Night Courier”) and changing social norms in “Naga.” “I think we tell our stories in a very simple way, and that’s what reaches the world,” Elshehri says of the changing shift. “When you tell your story in a natural way without any affectation, it will reach every person.” But the films were not without their critics, drawing mixed reaction. Social media discoursed ranged from pleasure that Saudi film were tackling such topics to anger over how the films reflected conservative society. As Hana Al-Omair, a Saudi writer and director, points out, there are still many stories left untold. “We certainly have a long time ahead of us before we can tell the Saudi narrative as it should be,” she said, acknowledging that there are still barriers and rampant censorship. “The Goat Life,” a Malayalam-language movie about an Indian man forced to work without pay in Saudi Arabia, is not available on Netflix's platform in the country. Movies that explore political topics or LGBTQ+ stories are essentially out of the question. Even “My Driver and I,” featured at the Red Sea festival alongside 11 other Saudi feature-length films, was initially too controversial. It centers on a Sudanese man in Jeddah, living away from his own daughter, who feels responsible for the girl he drives as her parents are absent. It was initially blocked from being made because of the relationship between the girl and the driver, filmmaker Ahd Kamel has said, even though it's not a romantic relationship. Now in 2024, the film is a success story — a symbol of the Saudi film industry's evolution as well as the growing role of women like Kamel behind the camera and Dakheelallah in front of it. “I see the change in Saudi cinema, a very beautiful change and it is moving at a wonderful speed. In my opinion, we do not need to rush,” Dakheelallah said. “We need to guide the truth of the artistic movement that is happening in Saudi Arabia.” Baraa Anwer, The Associated Press‘I was the last person to talk to him’: Indian-origin Suchir Balaji’s father opens up about his death in emotional video

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Indiana at Ohio State: Offensive player projections for Week 13 - On3Dr Charlotte Proudman, who specialises in family law, had faced a Bar Standards Board (BSB) disciplinary tribunal over a 14-part Twitter thread criticising a judge’s ruling over a domestic abuse case, saying it echoed a “boys’ club”. However, the five charges against the 36-year-old were dropped on Thursday. In an interview with The Times, Dr Proudman described the position of Mark Neale, the board’s director-general, as “untenable” and said its chairwoman, Kathryn Stone, should also stand down. “They need a change, not just in those two individuals, though, because, of course, it seeps down to the rest of the organisation,” she said. She told the paper she “genuinely” wanted to work with the Bar Standards Board in helping them to understand how misogyny and sexism have impacted women at the bar. However, she said that “under the current leadership, it’s just not going to be possible”. The charges alleged Dr Proudman had “failed to act with integrity” in posting the tweets, that they amounted to professional misconduct, were “misleading” and “inaccurately reflected the findings of the judge” in the case. The women’s rights campaigner was also accused of behaving in a way “which was likely to diminish the trust and confidence which the public placed in her and in the profession”, and that she “knowingly or recklessly misled or attempted to mislead the public” by making the posts. But panel chairman Nicholas Ainley found her tweets are protected under Article 10 of the Human Rights Act 1998 and the European Convention on Human Rights, which protects the right of freedom of expression. He said her tweets did not “gravely damage” the judiciary, which would “put them outside” of Article 10 protection, even if they “might not have been pleasant for any judge to read” or even “hurtful”. “We take the view that the judiciary of England and Wales is far more robust than that,” he said. The panel also concluded that some of the tweets were only inaccurate “to a minor degree” and not to the extent necessary for a charge of a lack of integrity. Speaking after the hearing, Dr Proudman told the PA news agency: “This ruling is a victory for women’s rights and a right to freedom of speech. “The prosecution against me brought by my regulatory body, the Bar Standards Board, should never have happened and I said that from day one. “I criticised a domestic abuse judgment. Everyone should have the right to do that, whether you’re a barrister or not. Our justice system, which I strongly believe in, is robust enough to withstand criticism from me.” She believes her tweets help “foster confidence” in the justice system, adding: “Only that way can we go about building change and a better treatment for all victims, women and children and men who are affected by domestic abuse.” Explaining that the BSB appears to have spent almost £40,000 “of barristers’ money” on instructing counsel in her case, she added: “I think it’s shameful that they’re using our money to pay for, in my view, malicious, vexatious prosecutions which I have no doubt was a personal attack against me as a woman and as a feminist, as an outspoken critic and advocate for women’s rights.” Dr Proudman called for “systemic change” within the board. “They don’t understand gender, they don’t understand diversity, I don’t think they’ve ever heard of the concept misogyny and certainly not institutional misogyny,” she said. “Until they recognise the deeply rooted, entrenched issue of bullying, harassment, sexism at the bar, for which I have suffered relentlessly... and own up to it I don’t think we’re going to see any change and I have no confidence in them.” She told of how male barristers have called her insulting names on social media and made derogatory comments about her. In the posts on April 6 2022, Dr Proudman referenced a case in which her client alleged she had been subjected to coercive and controlling behaviour by her husband, a part-time judge, meaning she had been “unable to freely enter” the couple’s “post-nuptial” financial agreement. Commenting on the ruling by Family Court judge Sir Jonathan Cohen, Dr Proudman wrote: “I represented Amanda Traharne. “She said she was coerced into signing a post-nuptial agreement by her husband (who is a part-time judge). I lost the case. “I do not accept the Judge’s reasoning. I will never accept the minimisation of domestic abuse.” She continued: “Demeaning the significance of domestic abuse has the affect of silencing victims and rendering perpetrators invisible. “This judgement has echoes of (t)he ‘boys club’ which still exists among men in powerful positions.” In the thread, Dr Proudman wrote that the judge had described the relationship of the couple as “tempestuous”, which she argued was a “trivialisation” of domestic abuse. “Tempestuous? Lose his temper? Isn’t this the trivialisation of domestic abuse & gendered language. This is not normal married life,” she wrote.