The Los Angeles Rams have claimed cornerback Emmanuel Forbes Jr . off waivers from the Washington Commanders , head coach Sean McVay said Monday. Forbes, the No. 16 pick in 2023, was cut by the Commanders on Saturday. He started seven games in two seasons but only one in 2024. He was benched in both seasons and missed time due to injury. He was selected by the Commanders' previous front office and coaching staff that liked that Forbes was adept at taking the ball away. He intercepted 14 passes in his career at Mississippi State, setting a Division I record with six returned for a touchdown. Editor's Picks Rams' Cooper Kupp sets NFL record for most receptions through first 100 career games 13h Sarah Barshop Questions off every NFL Week 13 game: Bills show out against 49ers in snowy conditions 6h NFL Nation McVay said Forbes was a player the Rams liked coming out of college, praising his ball production, versatility, "competitive toughness on the edge" and good ball skills. "He was a guy that we liked and had a familiarity with just based on the evaluation coming out of Mississippi State," McVay said. "And then I thought there was some good tape that he's put out there when we've gone against them, particularly later in the year last year." Forbes is under contract through 2026 with a fifth-year option in 2027 the Rams can exercise. In two seasons, Forbes has two interceptions and 45 tackles in 20 games. ESPN's John Keim contributed to this report.Open Streets, Big 5 Classic basketball and a 'Rocky' movie marathon: Your weekend guide to things do

One night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.Trump demands 'immediate' release of Oct 7 hostages warns there will be 'HELL TO PAY'

A man convicted as an accomplice to a 2007 murder asked a judge Monday afternoon to have the remaining seven years of his sentence suspended. Michael Soto, 35, appeared in court wearing a green prison jumpsuit and smiled at his mother, sister and two friends at the beginning of the hearing. He was found guilty of giving a handgun to a friend who shot and killed Aaron Kar on Jan. 2, 2007. He was originally sentenced to life in prison without the possibility of parole. He was 17 at the time of the crime. In 2012, the U.S. Supreme Court ruled that a life without parole sentence for someone under the age of 18 violated constitutional protections against cruel and unusual punishment. A judge resentenced him in 2019 to 25 years to life after a hearing. The New Hampshire Supreme Court later ruled the decision could be applied retroactively. Prosecutor Benjamin Agati objected to giving Soto any relief from the sentence, which had been reduced about five years ago in 2019. “The defendant has not taken responsibility for loading the gun, wiping down the gun, handing it to Roscoe White and then disposing of the gun afterward,” White said. Soto’s lawyers, Charles Bookman and Ghazi Al-Marayati, filed a nine-page request for the suspension back in July. They mentioned he earned his GED in 2013 and is in group sessions on post-traumatic stress disorder, socialization, social skills and coping mindfully. Soto told Judge Daniel Will during a brief statement that he is truly sorry about what he did. “The prosecutor said I didn’t take responsibility, but back then, I was just a child. I was a juvenile,” he said. “I didn’t trust nobody.” He said he took responsibility in 2019 during resentencing and continues to do so. “I am really just looking for you to just have faith in me and to give me an opportunity to show the man that I became now that I strive every day to be a better version of myself.” Soto received mental health counseling during a stay at a prison in Kansas in 2015 where he reported many years of childhood abuse and trauma. “This is really about a 17-year-old and now a man in his 30s,” Bookman said. “We have someone who has gone through a process. He had a difficult upbringing.” Soto has conducted everything offered at the prison and he continues to improve himself, his attorneys said. Earlier this year, he took a course called “Dealing with Feelings” at the prison, according to court documents. “When we look to the future, things look very good for Mr. Soto to be a productive member of society,” Bookman said. Most of Soto’s rehabilitation efforts were brought up during the 2019 sentencing, Agati said. “We are encouraged by the work that he has done and we think that will reflect once it gets to his parole hearing,” Agati said. “He will get to live the years of life that Aaron never gets to have.” Agati said Kar family members object to the request for early release. Judge Will took the request under advisement. jphelps@unionleader.comOne night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.

French PM faces ouster as opposition vows no-trust

Ravens QB Jackson leads first NFL Pro Bowl fan voting resultsEnglish rugby union was united in its anger and disbelief over Bill Sweeney’s “embarrassing” £1.1 million pay packet which left Premiership clubs and senior administrators scathing in their criticism amid calls for the chief executive to resign. Sweeney’s salary increase was slammed as “out of touch” and “an embarrassment” after he was paid £1.1 million this year despite the governing body recording a near-£40 million loss. Sweeney’s annual base salary included a pay rise of 8.5 per cent from £684,000 to £742,000 for the year to June 2024, and the annual report also states he received a one-off performance-based payment of £358,000. The bonus is understood to be part of the RFU’s Long-Term Incentive Plan (LTIP) that saw the RFU executive team agree to a six-month pay reduction in 2021 following the pandemic, which would mature after three years. But it follows finishing third in this year’s Six Nations and winning only five out of their 12 Tests in 2024, including just one victory this autumn against , results which Sweeney described as “disappointing”. Sources expressed frustration and criticised the move. One former RFU president said: “I think at a time of severe financial pressure, where money is tight, record losses have been posted and the RFU is making people redundant, it is very difficult to justify a 60 per cent increase on last year’s salary. Even if there are good reasons for an increase the optics of paying the CEO over one million pounds are not very good. I suspect many in the game will be shocked and disappointed.” Another source added: “How long ago was it when Bill Sweeney was described by the government as being ‘asleep at the wheel’?”, before launching a stinging summary of Sweeney’s track record. “Seventh/eighth in the world, at war with most of the game over its future, forced into a deal with Premiership Rugby Limited at twice the original price, five professional clubs have gone bust, record fall in participation levels, global lawsuits on player welfare with not a single public statement made, CVC deal now universally discredited, mismanagement of Eddie Jones at almost every stage and a HR nightmare - all equals £1m. Nice work if you can get it.” Premiership clubs were said to be “furious” at the news of Sweeney’s bonus, with the RFU remuneration committee branded as “totally out of touch” by one insider. “It’s extraordinary,” said a source. “The RFU is losing millions, the clubs are losing millions. The RFU is laying off staff but the chief executive is paying himself millions.” “It has always been outrageous; an embarrassment,” added source at a separate club. The Community Clubs Union (CCU), which was established in 2023 in response to the lowering of the tackle height in the community game, have been long-time critics of Sweeney and Tom Ilube, the current chairman of the RFU. “While disappointing, it is hardly surprising to read that Bill Sweeney and Tom Ilube continually to fail to read the room,” they told on Monday evening. “The community game is dying. So far this season we have had almost 300 walkover results as teams fail to field sides, and a deeply concerning lack of match officials. Both elements of the game have lost losing financial support over the last five years. “Sadly, the checks and balances of the RFU council are now powerless and the management board continue to run without accountability. Despite sound bites about investment in the community game, notably from the Twickenham Allianz deal, no investment plans have been announced – just more job cuts from a bloated Twickenham HQ, seemingly to help pay towards Sweeneys significant pay rise and bonuses. “Enough is enough now and with the relaunch of the CCU in the coming weeks, part of our core manifesto will be for both Sweeney and Ilube to go.” Sweeney’s salary plus bonus for 2024 will match the record for a British sporting executive, with the Football Association’s chief executive Mark Bullingham currently paid £850,000. Tom Harrison, the former England Cricket Board chief executive, was paid £1,134,425 during the 2022-23 financial year, a figure which also included a long-term incentive bonus. understands that the RFU council, during the explanation of Sweeney’s pay rise at Monday’s meeting, was told by governing body administrators that the chief executive of the NFL earned £64 million. But the news of Sweeney’s pay comes at a time where the RFU is under significant financial strain, with the annual report confirming losses of £37.9 million, as previously The operating loss is more than the £30.9 million recorded in 2018 which led to the resignation of previous chief executive Steve Brown, although it was expected given England played no autumn fixtures at Twickenham last November because of the 2023 Rugby World Cup and one fewer home Six Nations match this year. That followed a £4 million operating profit for the 2022-23 financial year. Twickenham saw a £53.8 million reduction in year-on-year revenue that was made up by fewer ticket sales (£25.4 million), hospitality and catering income (£22 million) and broadcast revenues (£6.4 million). The result is the annual report highlights RFU revenues for the year of £175.2 million, down from £221.4 million the previous year, and a profit of £58.2 million before taking into account the £96.1 million investment in rugby. The increase in the underlying loss compared to 2019-20, the last World Cup year, was pinned on inflationary cost increases and reduced Six Nations revenues from broadcast and sponsorship. While Sweeney criticised the standard of England’s results this year, which has seen England drop from fifth to seventh in the World Rugby rankings, Sweeney added: “We are encouraged by the pipeline of talented young players coming through and the outstanding England win in the World Rugby U20 Championship final against France, taking the title for the first time in eight years.” Commenting in the annual report Ilube, said that the impacts on revenue in a Rugby World Cup year were “were anticipated, planned for and they are in line with expectations”. Sweeney also added that numbers in the community game have “stabilised”, with more teams playing in RFU leagues and “reporting feeling safer as a result of a reduction in the tackle height”. Age grade player registrations have also increased by 16 per cent for boys and 10 per cent for girls. “The RFU has planned well for this year, the fourth year in our business planning cycle, which is always a loss making due to increased costs associated with going to the Rugby World Cup and as a result of hosting fewer games at Allianz Stadium,” Sweeney said. “Emerging from post-covid challenges, which saw significant lost revenues, substantial increases in costs and inflation, and a drop in player participation, we are now entering into a period of significant transformation with a great deal to be positive about.”NEW YORK (AP) — A gunman killed UnitedHealthcare’s CEO on Wednesday in a “brazen, targeted attack” outside a Manhattan hotel where the health insurer was holding its investor conference, police said, setting off a massive search for the fleeing assailant hours before the annual Rockefeller Center Christmas tree lighting nearby. Brian Thompson, 50, was shot around 6:45 a.m. as he walked alone to the New York Hilton Midtown from a nearby hotel, police said. The shooter appeared to be “lying in wait for several minutes” before approaching Thompson from behind and opening fire , New York City Police Commissioner Jessica Tisch said. Police had not yet established a motive. “Many people passed the suspect, but he appeared to wait for his intended target,” Tisch said, adding that the shooting "does not appear to be a random act of violence.” Surveillance video reviewed by investigators shows someone emerging from behind a parked car, pointing a gun at Thompson’s back, then firing multiple times from several feet away. The gunman continues firing, interrupted by a brief gun jam, as Thompson stumbles forward and falls to the sidewalk. He then walks past Thompson and out of the frame. “From watching the video, it does seem that he’s proficient in the use of firearms as he was able to clear the malfunctions pretty quickly,” NYPD Chief of Detectives Joseph Kenny said. Thompson was shot at least once in the back and once in the calf, Tisch said. The shooter, who wore a jacket, face mask and large backpack, fled through Midtown on foot before pedaling an electric bike into Central Park a few blocks away, police said. The assailant remained at large Wednesday afternoon, sparking a search that included police drones, helicopters and dogs. “Brian was a highly respected colleague and friend to all who worked with him,” the insurer’s Minnetonka, Minnesota-based parent company, UnitedHealth Group Inc., said in a statement. "We are working closely with the New York Police Department and ask for your patience and understanding during this difficult time.” Police issued a poster showing a surveillance image of the man pointing what appeared to be a gun and another image that appeared to show the same person on a bicycle. Minutes before the shooting, he stopped at a nearby Starbucks, according to additional surveillance photos released by police on Wednesday afternoon. They offered a reward of up to $10,000 for information leading to an arrest and conviction. Thompson’s wife, Paulette Thompson, told NBC News that he told her “there were some people that had been threatening him.” She didn’t have details but suggested the threats may have involved issues with insurance coverage. Eric Werner, the police chief in the Minneapolis suburb where Thompson lived, said his department had not received any reports of threats against the executive. The killing shook a part of New York City that's normally quiet at that hour, happening about four blocks from where tens of thousands of people were set to gather for Wednesday night’s tree lighting. Police promised extra security for the event. The hotel is also a short walk from other tourist sites, including the Museum of Modern Art and Radio City Music Hall, and is often dense with office workers and visitors on weekday mornings. Many security cameras are nearby. “We’re encouraging New Yorkers to go about their daily lives and their daily business but to be alert,” NYPD Chief of Department Jeffrey Maddrey said. Investigators recovered several 9 mm shell casings from outside the hotel and a cellphone from the alleyway through which the shooter fled. They were also searching Thompson's hotel room, interviewing his UnitedHealthcare colleagues and reviewing his social media, Kenny said. Police initially said the shooter rode into Central Park on a bicycle from the city’s bike-share program, CitiBike. But a spokesperson for the program’s operator, Lyft, said police officials informed the company Wednesday afternoon that the bike was not from the CitiBike fleet. Health care giant UnitedHealth Group was holding its annual meeting with investors to update Wall Street on the company's direction and expectations for the coming year. The company ended the conference early in the wake of Thompson's death. “I’m afraid that we — some of you may know we’re dealing with a very serious medical situation with one of our team members,” a company official told attendees, according to a transcript. “And as a result, I’m afraid we’re going to have to bring to a close the event today. ... I’m sure you’ll understand.” Thompson, a father of two sons, had been with the company since 2004 and served as CEO for more than three years. UnitedHealthcare is the largest provider of Medicare Advantage plans in the U.S. and manages health insurance coverage for employers and state-and federally funded Medicaid programs. Minnesota Gov. Tim Walz posted on the social platform X that the state is “sending our prayers to Brian’s family and the UnitedHealthcare team.” “This is horrifying news and a terrible loss for the business and health care community in Minnesota,” the Democrat wrote. Associated Press writers Tom Murphy in Indianapolis, Steve Karnowski in St. Paul, Minnesota, and Anthony Izaguirre in Albany, New York, contributed to this story.

SAN FRANCISCO , Dec. 5, 2024 /PRNewswire/ -- Docusign, Inc. (NASDAQ: DOCU) today announced results for its fiscal quarter ended October 31, 2024. Prepared remarks and the news release with the financial results will be accessible on Docusign's website at investor.docusign.com prior to its webcast. "Docusign delivered powerful new innovation for customers highlighted by new capabilities to its Intelligent Agreement Management ("IAM") platform," said Allan Thygesen , CEO of Docusign. "In Q3, early IAM momentum outpaced expectations, and we continued to drive improvement in our core business with strong revenue growth and operating profit." Third Quarter Financial Highlights A reconciliation of GAAP to non-GAAP financial measures has been provided in the tables included in this press release. An explanation of these measures is also included below under the heading "Non-GAAP Financial Measures and Other Key Metrics." Key Business Highlights: IAM Product Releases and Highlights : Docusign announced new product capabilities to its IAM platform. Highlights from recent product releases include: Contract Lifecycle Management ("CLM") Product Releases and Highlights : Developer Ecosystem: Guidance The company currently expects the following guidance: Total revenue $758 to $762 Subscription revenue $741 to $745 Billings $870 to $880 Non-GAAP gross margin 81.0 % to 82.0 % Non-GAAP operating margin 27.5 % to 28.5 % Non-GAAP diluted weighted-average shares outstanding 209 to 214 Total revenue $2,959 to $2,963 Subscription revenue $2,885 to $2,889 Billings $3,056 to $3,066 Non-GAAP gross margin 81.9 % to 82.1 % Non-GAAP operating margin 29.5 % to 29.7 % Non-GAAP diluted weighted-average shares outstanding 210 to 212 A reconciliation of non-GAAP guidance measures to corresponding GAAP guidance measures is not available on a forward-looking basis without unreasonable effort due to the uncertainty regarding, and the potential variability of, expenses that may be incurred in the future. Stock-based compensation-related charges, including employer payroll tax-related items on employee stock transactions, are impacted by many factors, including the timing of employee stock transactions, the future fair market value of our common stock, and our future hiring and retention needs, all of which are difficult to predict and subject to constant change. We have provided a reconciliation of GAAP to non-GAAP financial measures in the financial statement tables for our historical non-GAAP financial results included in this release. Webcast Conference Call Information The company will host a conference call on December 5, 2024 at 2:00 p.m. PT ( 5:00 p.m. ET ) to discuss its financial results. A live webcast of the event will be available on the Docusign Investor Relations website at investor.docusign.com . Prepared remarks and the news release with the financial results will also be accessible on Docusign's website prior to the webcast. A live dial-in will be available domestically at 877-407-0784 or internationally at 201-689-8560. A replay will be available domestically at 844-512-2921 or internationally at 412-317-6671 until midnight (EST) December 19, 2024 using the passcode 13750095. About Docusign Docusign brings agreements to life. Over 1.6 million customers and more than a billion people in over 180 countries use Docusign solutions to accelerate the process of doing business and simplify people's lives. With intelligent agreement management, Docusign unleashes business critical data that is trapped inside of documents. Until now, these were disconnected from business systems of record, costing businesses time, money, and opportunity. Using Docusign's IAM platform, companies can create, commit, and manage agreements with solutions created by the #1 company in e-signature and CLM. Learn more at www.docusign.com . Copyright 2024. Docusign, Inc. is the owner of DOCUSIGN® and all its other marks (www.docusign.com/IP). Investor Relations: Docusign Investor Relations investors@docusign.com Media Relations: Docusign Corporate Communications media@docusign.com Forward-Looking Statements This press release contains "forward-looking" statements within the meaning of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended, that are based on our management's beliefs and assumptions and on information currently available to management, and which statements involve substantial risk and uncertainties. All statements contained in this press release other than statements of historical fact, including statements regarding our future operating results and financial position, our business strategy and plans, market growth and trends, objectives for future operations, and the impact of such assumptions on our financial condition and results of operations are forward-looking statements. Forward-looking statements in this press release also include, among other things, statements under "Guidance" above and any other statements about expected financial metrics, such as revenue, billings, non-GAAP gross margin, non-GAAP operating margin, non-GAAP diluted weighted-average shares outstanding, and non-financial metrics, as well as statements related to our expectations regarding the benefits, rollout and customer demand of the Docusign IAM platform. Forward-looking statements generally relate to future events or our future financial or operating performance. In some cases, you can identify forward-looking statements because they contain words such as "may," "will," "should," "expects," "plans," "anticipates," "could," "intends," "target," "projects," "contemplates," "believes," "estimates," "predicts," "potential," or "continue" or the negative of these words or other similar terms or expressions that concern our expectations, strategy, plans or intentions. Forward-looking statements contained in this press release include, but are not limited to, statements about: our expectations regarding global macro-economic conditions, including the effects of inflation, volatile interest rates, and market volatility on the global economy; our ability to estimate the size and growth of our total addressable market; our ability to compete effectively in an evolving and competitive market; the impact of any data breaches, cyberattacks or other malicious activity on our technology systems; our ability to effectively sustain and manage our growth and future expenses and maintain or increase future profitability; our ability to attract new customers and maintain and expand our existing customer base; our ability to effectively implement and execute our restructuring plans; our ability to scale and update our platform to respond to customers' needs and rapid technological change, including our ability to successfully incorporate generative artificial intelligence into our existing and future products; our ability to successfully execute our technical developments, go-to-market and sales strategy for our IAM platform; our ability to expand use cases within existing customers and vertical solutions; our ability to expand our operations and increase adoption of our platform internationally; our ability to strengthen and foster our relationships with developers; our ability to retain our direct sales force, customer success team and strategic partnerships around the world; our ability to identify targets for and execute potential acquisitions and to successfully integrate and realize the anticipated benefits of such acquisitions; our ability to maintain, protect and enhance our brand; the sufficiency of our cash, cash equivalents and capital resources to satisfy our liquidity needs; limitations on us due to obligations we have under our credit facility or other indebtedness; our ability to realize the anticipated benefits of our stock repurchase program; our failure or the failure of our software to comply with applicable industry standards, laws and regulations; our ability to maintain, protect and enhance our intellectual property; our ability to successfully defend litigation against us; our ability to attract large organizations as users; our ability to maintain our corporate culture; our ability to offer high-quality customer support; our ability to hire, retain and motivate qualified personnel, including executive level management; our ability to successfully manage and integrate executive management transitions; uncertainties regarding the impact of general economic and market conditions, including as a result of regional and global conflicts; and our ability to maintain proper and effective internal controls. Additional risks and uncertainties that could affect our financial results are included in the sections titled "Risk Factors" and "Management's Discussion and Analysis of Financial Condition and Results of Operations" in our annual report on Form 10-K for the fiscal year ended January 31, 2024 filed on March 21, 2024 , our quarterly report on Form 10-Q for the quarter ended October 31, 2024 , which we expect to file on December 6, 2024 with the Securities and Exchange Commission (the "SEC"), and other filings that we make from time to time with the SEC. The forward-looking statements made in this press release relate only to events as of the date on which such statements are made. We undertake no obligation to update any forward-looking statements after the date of this press release or to conform such statements to actual results or revised expectations, except as required by law. Non-GAAP Financial Measures and Other Key Metrics To supplement our consolidated financial statements, which are prepared and presented in accordance with GAAP, we use certain non-GAAP financial measures, as described below, to understand and evaluate our core operating performance. These non-GAAP financial measures, which may be different than similarly-titled measures used by other companies, are presented to enhance investors' overall understanding of our financial performance and should not be considered a substitute for, or superior to, the financial information prepared and presented in accordance with GAAP. We believe that these non-GAAP financial measures provide useful information about our financial performance, enhance the overall understanding of our past performance and future prospects, and allow for greater transparency with respect to important metrics used by our management for financial and operational decision-making. We present these non-GAAP measures to assist investors in seeing our financial performance using a management view, and because we believe that these measures provide an additional tool for investors to use in comparing our core financial performance over multiple periods with other companies in our industry. However, these non-GAAP measures are not intended to be considered in isolation from, a substitute for, or superior to our GAAP results. Non-GAAP gross profit, non-GAAP gross margin, non-GAAP operating expenses, non-GAAP income from operations, non-GAAP operating margin, non-GAAP net income and non-GAAP net income per share : We define these non-GAAP financial measures as the respective GAAP measures, excluding expenses related to stock-based compensation, employer payroll tax on employee stock transactions, amortization of acquisition-related intangibles, amortization of debt discount and issuance costs, fair value adjustments to strategic investments, acquisition-related expenses, lease-related impairment and lease-related charges, restructuring and other related charges, as these costs are not reflective of ongoing operations and, as applicable, other special items. The amount of employer payroll tax-related items on employee stock transactions is dependent on our stock price and other factors that are beyond our control and do not correlate to the operation of the business. When evaluating the performance of our business and making operating plans, we do not consider these items (for example, when considering the impact of equity award grants, we place a greater emphasis on overall stockholder dilution rather than the accounting charges associated with such grants). We believe it is useful to exclude these expenses in order to better understand the long-term performance of our core business and to facilitate comparison of our results to those of peer companies and over multiple periods. In addition to these exclusions, we subtract an assumed provision for income taxes to calculate non-GAAP net income. We utilize a fixed long-term projected tax rate in our computation of the non-GAAP income tax provision to provide better consistency across the reporting periods. For fiscal 2024 and fiscal 2025, we have determined the projected non-GAAP tax rate to be 20%. Free cash flow : We define free cash flow as net cash provided by operating activities less purchases of property and equipment. We believe free cash flow is an important liquidity measure of the cash that is available (if any), after purchases of property and equipment, for operational expenses, investment in our business, and to make acquisitions. Free cash flow is useful to investors as a liquidity measure because it measures our ability to generate or use cash in excess of our capital investments in property and equipment. Once our business needs and obligations are met, cash can be used to maintain a strong balance sheet and invest in future growth. Billings : We define billings as total revenues plus the change in our contract liabilities and refund liability less contract assets and unbilled accounts receivable in a given period. Billings reflects sales to new customers plus subscription renewals and additional sales to existing customers. Only amounts invoiced to a customer in a given period are included in billings. We believe billings can be used to measure our periodic performance, when taking into consideration the timing aspects of customer renewals, which represents a large component of our business. Given that most of our customers pay in annual installments one year in advance, but we typically recognize a majority of the related revenue ratably over time, we use billings to measure and monitor our ability to provide our business with the working capital generated by upfront payments from our customers. For a reconciliation of these non-GAAP financial measures to the most directly comparable GAAP financial measure, please see "Reconciliation of GAAP to Non-GAAP Financial Measures" below. CONDENSED CONSOLIDATED STATEMENTS OF OPERATIONS (Unaudited) Three Months Ended October 31, Nine Months Ended October 31, (in thousands, except per share data) 2024 2023 2024 2023 Revenue: Subscription $ 734,693 $ 682,352 $ 2,143,542 $ 1,991,026 Professional services and other 20,127 18,069 56,945 58,470 Total revenue 754,820 700,421 2,200,487 2,049,496 Cost of revenue: Subscription 134,587 114,227 393,561 339,354 Professional services and other 21,950 28,418 67,887 85,360 Total cost of revenue 156,537 142,645 461,448 424,714 Gross profit 598,283 557,776 1,739,039 1,624,782 Operating expenses: Sales and marketing 290,597 292,473 859,705 867,916 Research and development 151,101 136,640 432,992 387,964 General and administrative 97,555 108,215 277,162 316,910 Restructuring and other related charges — 710 29,721 30,293 Total operating expenses 539,253 538,038 1,599,580 1,603,083 Income from operations 59,030 19,738 139,459 21,699 Interest expense (462) (1,577) (1,150) (5,135) Interest income and other income, net 13,006 17,673 41,745 47,373 Income before provision for (benefit from) income taxes 71,574 35,834 180,054 63,937 Provision for (benefit from) income taxes 9,151 (2,971) (804,340) 17,198 Net income $ 62,423 $ 38,805 $ 984,394 $ 46,739 Net income per share attributable to common stockholders: Basic $ 0.31 $ 0.19 $ 4.81 $ 0.23 Diluted $ 0.30 $ 0.19 $ 4.69 $ 0.23 Weighted-average shares used in computing net income per share: Basic 203,567 204,456 204,674 203,609 Diluted 208,706 208,054 209,755 208,317 Stock-based compensation expense included in costs and expenses: Cost of revenue—subscription $ 14,862 $ 13,705 $ 44,636 $ 38,143 Cost of revenue—professional services and other 4,765 7,343 14,465 21,359 Sales and marketing 49,347 53,715 154,396 150,604 Research and development 53,184 48,310 150,816 129,458 General and administrative 31,070 36,337 91,239 111,271 Restructuring and other related charges — 8 4,836 4,996 CONDENSED CONSOLIDATED BALANCE SHEETS (Unaudited) (in thousands) October 31, 2024 January 31, 2024 Assets Current assets Cash and cash equivalents $ 610,870 $ 797,060 Investments—current 331,506 248,402 Accounts receivable, net 300,444 439,299 Contract assets—current 13,645 15,922 Prepaid expenses and other current assets 75,412 66,984 Total current assets 1,331,877 1,567,667 Investments—noncurrent 112,805 121,977 Property and equipment, net 278,623 245,173 Operating lease right-of-use assets 113,365 123,188 Goodwill 455,678 353,138 Intangible assets, net 83,307 50,905 Deferred contract acquisition costs—noncurrent 445,987 409,627 Deferred tax assets—noncurrent 816,538 2,031 Other assets—noncurrent 132,028 97,584 Total assets $ 3,770,208 $ 2,971,290 Liabilities and Equity Current liabilities Accounts payable $ 18,144 $ 19,029 Accrued expenses and other current liabilities 94,591 104,037 Accrued compensation 158,779 195,266 Contract liabilities—current 1,307,749 1,320,059 Operating lease liabilities—current 19,507 22,230 Total current liabilities 1,598,770 1,660,621 Contract liabilities—noncurrent 22,931 21,980Consumer IAM Market: $12.85B in 2022, Forecast to Reach $31.05B by 2031 12-05-2024 09:18 PM CET | IT, New Media & Software Press release from: SkyQuest Technology Consumer IAM Market Scope: Key Insights : Consumer IAM Market size was valued at USD 12.85 billion in 2022 and is poised to grow from USD 14.17 billion in 2023 to USD 31.05 billion by 2031, growing at a CAGR of 10.3% in the forecast period (2024-2031). Discover Your Competitive Edge with a Free Sample Report : https://www.skyquestt.com/sample-request/consumer-iam-market Access the full 2024 Market report for a comprehensive understanding @ https://www.skyquestt.com/report/consumer-iam-market In-Depth Exploration of the global Consumer IAM Market: This report offers a thorough exploration of the global Consumer IAM market, presenting a wealth of data that has been meticulously researched and analyzed. It identifies and examines the crucial market drivers, including pricing strategies, competitive landscapes, market dynamics, and regional growth trends. By outlining how these factors impact overall market performance, the report provides invaluable insights for stakeholders looking to navigate this complex terrain. Additionally, it features comprehensive profiles of leading market players, detailing essential metrics such as production capabilities, revenue streams, market value, volume, market share, and anticipated growth rates. This report serves as a vital resource for businesses seeking to make informed decisions in a rapidly evolving market. Trends and Insights Leading to Growth Opportunities The best insights for investment decisions stem from understanding major market trends, which simplify the decision-making process for potential investors. The research strives to discover multiple growth opportunities that readers can evaluate and potentially capitalize on, armed with all relevant data. Through a comprehensive assessment of important growth factors, including pricing, production, profit margins, and the value chain, market growth can be more accurately forecast for the upcoming years. Top Firms Evaluated in the Global Consumer IAM Market Research Report: IBM Corporation Microsoft Corporation Okta, Inc. Salesforce.com, Inc. Transmit Security Akamai Technologies, Inc. SAP SE Ubisecure LoginRadius Key Aspects of the Report: Market Summary: The report includes an overview of products/services, emphasizing the global Consumer IAM market's overall size. It provides a summary of the segmentation analysis, focusing on product/service types, applications, and regional categories, along with revenue and sales forecasts. Competitive Analysis: This segment presents information on market trends and conditions, analyzing various manufacturers. It includes data regarding average prices, as well as revenue and sales distributions for individual players in the market. Business Profiles: This chapter provides a thorough examination of the financial and strategic data for leading players in the global Consumer IAM market, covering product/service descriptions, portfolios, geographic reach, and revenue divisions. Sales Analysis by Region: This section provides data on market performance, detailing revenue, sales, and market share across regions. It also includes projections for sales growth rates and pricing strategies for each regional market, such as: North America: United States, Canada, and Mexico Europe: Germany, France, UK, Russia, and Italy Asia-Pacific: China, Japan, Korea, India, and Southeast Asia South America: Brazil, Argentina, Colombia, etc. Middle East and Africa: Saudi Arabia, UAE, Egypt, Nigeria, and South Africa This in-depth research study has the capability to tackle a range of significant questions that are pivotal for understanding the market dynamics, and it specifically aims to answer the following key inquiries: How big could the global Consumer IAM market become by the end of the forecast period? Let's explore the exciting possibilities! Will the current market leader in the global Consumer IAM segment continue to hold its ground, or is change on the horizon? Which regions are poised to experience the most explosive growth in the Consumer IAM market? Discover where the future opportunities lie! Is there a particular player that stands out as the dominant force in the global Consumer IAM market? Let's find out who's leading the charge! What are the key factors driving growth and the challenges holding back the global Consumer IAM market? Join us as we uncover the forces at play! To establish the important thing traits, Ask Our Experts @ https://www.skyquestt.com/speak-with-analyst/consumer-iam-market Table of Contents Chapter 1 Industry Overview 1.1 Definition 1.2 Assumptions 1.3 Research Scope 1.4 Market Analysis by Regions 1.5 Market Size Analysis from 2023 to 2030 11.6 COVID-19 Outbreak: Medical Computer Cart Industry Impact Chapter 2 Competition by Types, Applications, and Top Regions and Countries 2.1 Market (Volume and Value) by Type 2.3 Market (Volume and Value) by Regions Chapter 3 Production Market Analysis 3.1 Worldwide Production Market Analysis 3.2 Regional Production Market Analysis Chapter 4 Medical Computer Cart Sales, Consumption, Export, Import by Regions (2023-2023) Chapter 5 North America Market Analysis Chapter 6 East Asia Market Analysis Chapter 7 Europe Market Analysis Chapter 8 South Asia Market Analysis Chapter 9 Southeast Asia Market Analysis Chapter 10 Middle East Market Analysis Chapter 11 Africa Market Analysis Chapter 12 Oceania Market Analysis Chapter 13 Latin America Market Analysis Chapter 14 Company Profiles and Key Figures in Medical Computer Cart Business Chapter 15 Market Forecast (2023-2030) Chapter 16 Conclusions Address: 1 Apache Way, Westford, Massachusetts 01886 Phone: USA (+1) 351-333-4748 Email: sales@skyquestt.com About Us: SkyQuest Technology is leading growth consulting firm providing market intelligence, commercialization and technology services. It has 450+ happy clients globally. This release was published on openPR.

NoneLAKE FOREST, Ill. (AP) — Jaylon Johnson wasn't all that interested in discussing any bright spots or reasons to have hope for the Chicago Bears. The star cornerback made his feelings clear. “I’ve been in slumps four, five years in a row now,” Johnson said Monday. "So, I mean at the end of the day, I don’t look for, ‘OK, what is going to be better in the future?’ ... It will be better when it’s better. So, right now, it’s not better. That’s all I can go off of.” The Bears (4-7) are last in the NFC North and have five straight losses after in overtime. They wiped out an 11-point deficit in the final 22 seconds of regulation, only to come up short again when the Vikings' Parker Romo kicked a 29-yard field goal. It was the third game during this skid that came down to the final play. in Week 8 and had a in Week 11. Players have openly questioned some of the coaching decisions in recent weeks. Offensive coordinator Shane Waldron got fired before the game against Green Bay. And coach Matt Eberflus' game management came under more scrutiny against Minnesota. With the Bears trailing 17-10 in the third quarter, there was some confusion on a fourth-and-4 at the Vikings 27. Eberflus said he didn't do a good enough job communicating on the previous play that they would go for it on fourth down. That led to a chaotic sequence in which Santos and long snapper Scott Daly ran onto the field, only to get waved off by a lineman. Quarterback Caleb Williams had to rush to get everyone lined up properly in order to avoid a delay of game. He wound up barking out the wrong play because he misheard the call from offensive coordinator Thomas Brown and threw an incomplete pass. Receiver DJ Moore said Eberflus had not addressed that play with the team. The Bears were scheduled to meet later Monday. “That moment was just like, like a ‘what is going on’ moment that we could have avoided,” he said. What's working The passing game. Williams has clearly looked more comfortable in the two games since Brown replaced the fired Shane Waldron as offensive coordinator. The No. 1 draft pick followed up a solid performance against Green Bay by throwing for 340 yards and two touchdowns. It was his fourth straight turnover-free game and fifth in a row without an interception. What needs help Field goal protection. One week after his game-ending 46-yard field goal attempt against Green Bay got blocked, Santos had a 48-yarder rejected on his first try against Minnesota. It happened from the same area, in the middle of the line, when the Vikings' Jerry Tillery knocked down the kick. “I just think it’s technique," Eberflus said. "It’s getting your foot down, bracing up there, staying lower. ... We just have to do a better job there with that.” It was the third blocked field goal for Santos this year, the most for Chicago in a single season since it also had three blocked in 2012. He had a 43-yard try blocked in a win over Jacksonville on Oct. 13. Stock up Moore. The Bears have done a better job getting Moore involved under Brown. Moore caught seven passes for a season-high 106 yards and a touchdown against Minnesota. That gave him 14 receptions for 168 yards the past two games, compared to 13 for 104 yards over the previous four. Johnson's 27-yard catch down the middle set up Santos' tying field goal at the end of regulation. But it's not just deep shots. The Bears are finding ways to get the ball in his hands, allowing him to turn short passes into bigger gains. He also had a 13-yard run. Stock down RB D’Andre Swift. After a string of solid outings, Swift had just 30 yards on 13 carries. To be fair, he has been dealing with a groin issue, and he was going against the NFL's No. 1 run defense. Injuries The Bears reported no injuries during the game. Key number 5-18 — The Bears' record in one-possession games in nearly three seasons under Eberflus, including a 2-5 mark this year. They are 14-31 overall during Eberflus' tenure. Next steps The schedule doesn't get any easier, with a Thanksgiving matchup at NFC North leader Detroit. The Lions (10-1) have won nine straight since losing to Tampa Bay in Week 2. ___ AP NFL: Andrew Seligman, The Associated Press

SANTA CLARA — When Isaac Guerendo trots onto the field with the first team Sunday at Levi’s Stadium, he will equal the same number of starts he had in five years of college football. Hard to believe, but Guerendo started exactly one time, and it came in his final college game at Louisville. Against USC in the Holiday Bowl, Guerendo carried 23 times for 161 yards and three touchdowns and added five receptions in a 42-28 loss. In 40 other games at Wisconsin and Louisville, Guerendo played in a shared backfield –something he’s done with the 49ers this season behind Jordan Mason and Christian McCaffrey . With McCaffrey on injured reserve with a PCL strain and Mason to follow soon with a high ankle sprain, Guerendo should get his biggest workload since his last college game. “I’m excited, but really it’s whatever it takes to win,” Guerendo said Wednesday as the 49ers (5-7) began preparations to host the Bears (4-8). “Whatever the plan looks like is what we’ll bring.” Guerendo will be backed up by Patrick Taylor Jr., who was on the roster earlier this season when McCaffrey was dealing with bilateral Achilles tendinitis, then re-signed to the practice squad. Taylor was promoted Tuesday, and the 49ers also made a waiver claim on former Jets running back Israel Abanikanda. “I think he’s ready to go,” 49ers coach Kyle Shanahan said. “He had some ups and downs but got better through everything. I think he’s ready for this.” Guerendo, 6-foot and 219 pounds, has 42 carries for 246 yards and two touchdowns, averaging a gaudy 5.9 yards per carry. His 15-yard run in the third quarter was the 49ers’ lone touchdown in a 35-10 loss to the Buffalo Bills. The 49ers traded up to get Guerendo in the fourth round, only to see him sidelined with a hamstring strain in his first training camp practice. A speedy wide receiver at Avon High School in Indiana who also ran track and played basketball, Guerendo carried 10 times for 99 yards with a long run of 76 against Seattle and 14 times for 85 yards against Dallas. At Wisconsin, Guerendo played behind Jonathan Taylor, now a star running back for the Indianapolis Colts. He split time as a graduate student at Louisville with Jawhar Jordan, who rushed for 1,128 yards while Guerendo had 810 yards on 132 carries and a 6.1-yard average. The good news is Guerendo’s body hasn’t taken on the normal amount of abuse for a running back. And Guerendo feels he’s up to the challenge after playing 12 games with old-school running backs coach Bobby Turner. “I always give credit to Coach T for preparing everybody like they’re going to be the starter, so that when moments do come, you’re ready for it,” Guerendo said. McCaffrey appeared to have finally gotten untracked against the Bills, gaining 53 yards on seven carries before getting tripped up on a 19-yard burst in the second quarter. But the tackle injured his knee, Mason injured his ankle, and Guerendo became the lead runner for a team that is sixth in the NFL in rushing. Over time, Guerendo has become accustomed to the speed of the NFL game. “I think it takes guys some time,” Shanahan said. “You start to get a feel for it, if you’ve got the right stuff, you get more reps and the more you adjust to it. How hard you’ve got to hit stuff, how quick those holes close, how you have to hit it full speed and can’t hesitate. We’ve seen that stuff get better in practice and we’ve seen it carry over into games.” McCaffrey, meanwhile, took to social media in the form of a lengthy Instagram post to explain how he was feeling after his latest injury. He wrote of his love for football, how humbling it is and his desire to return. “This wasn’t my year, and sometimes when it rains, it pours,” McCaffrey wrote. “You can feel sorry for yourself and listen to the birds, or you can hold the line. I’m grateful for the support of everyone in my corner and promise I’ll work smarter and harder to come back better from this.” For those who dream big, Shanahan said with a six-week time frame, McCaffrey could conceivably return if the 49ers reach the postseason. THE INJURY LIST Those who didn’t practice Wednesday included edge rusher Nick Bosa (hips, obliques), left tackle Trent Williams (ankle), left guard Aaron Banks (concussion), Mason (ankle) and linebacker Demetrius Flannigan-Fowles (ankle). Cornerback Deommodore Lenoir (knee), linebacker Dre Greenlaw (Achilles) and safety Talanoa Hufanga (wrist) were limited. Defensive tackle Jordan Elliott has cleared concussion protocol after missing the Buffalo game. Hufanga joined Greenlaw as practicing during a 21-day window. Shanahan said it’s more likely Greenlaw would be activated before a Thursday night game against the Los Angeles Rams on Dec. 12 than against Chicago. HUFANGA AND THE CLUB After recovering from an ACL tear last season, Hufanga has played in just two games this season. First, he was felled by an ankle injury, and then a wrist injury that needed surgery. When activated, he’ll play with a protective club on his right hand. “I was still dealing with the ankle. I was about to get it re-wrapped and for some reason my hand wouldn’t open,” Hufanga said. Hufanga said he’ll try to use the protective device as a benefit rather than a detriment. “I had a good friend back in the day who played with a club who had three picks in one game, so you never know,” Hufanga said. MOORE FARES WELL Left tackle Jaylon Moore acquitted himself well for the second straight game in starting in place of Williams. “It was OK, but you can always get better and that’s what I’m focusing on — the things I can get better at,” Moore said. Tight end George Kittle noted last week that Moore was at left tackle all through training camp during Williams’ holdout, so it’s not like he hasn’t been with the first team. “It definitely did help, especially being comfortable with the group,” Moore said. “The quarterback’s cadence, the guy you’re next to, all the small stuff comes into play.”Rubicon Organics Announces C$10,000,000 Secured Credit FacilitiesAP News in Brief at 6:04 p.m. EST

1A girls soccer: Seton Catholic falls 1-0 to Bellevue Christian in state semifinals"Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum." Section 1.10.32 of "de Finibus Bonorum et Malorum", written by Cicero in 45 BC "Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?" 1914 translation by H. Rackham "But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the master-builder of human happiness. No one rejects, dislikes, or avoids pleasure itself, because it is pleasure, but because those who do not know how to pursue pleasure rationally encounter consequences that are extremely painful. Nor again is there anyone who loves or pursues or desires to obtain pain of itself, because it is pain, but because occasionally circumstances occur in which toil and pain can procure him some great pleasure. To take a trivial example, which of us ever undertakes laborious physical exercise, except to obtain some advantage from it? But who has any right to find fault with a man who chooses to enjoy a pleasure that has no annoying consequences, or one who avoids a pain that produces no resultant pleasure?" 1914 translation by H. Rackham "But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the master-builder of human happiness. No one rejects, dislikes, or avoids pleasure itself, because it is pleasure, but because those who do not know how to pursue pleasure rationally encounter consequences that are extremely painful. Nor again is there anyone who loves or pursues or desires to obtain pain of itself, because it is pain, but because occasionally circumstances occur in which toil and pain can procure him some great pleasure. To take a trivial example, which of us ever undertakes laborious physical exercise, except to obtain some advantage from it? But who has any right to find fault with a man who chooses to enjoy a pleasure that has no annoying consequences, or one who avoids a pain that produces no resultant pleasure?" Thanks for your interest in Kalkine Media's content! To continue reading, please log in to your account or create your free account with us.

One night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.Joe Burrow is no longer talking about the playoffs after another loss by the high-scoring BengalsBio-PET Market to Witness Stunning Growth | Major Giants Mitsubishi Chemical, BASF, PepsiCo, Coca-ColaNEW YORK (AP) — A gunman killed UnitedHealthcare’s CEO on Wednesday in a “brazen, targeted attack” outside a Manhattan hotel where the health insurer was holding its investor conference, police said, setting off a massive search for the fleeing assailant hours before the annual Rockefeller Center Christmas tree lighting nearby. Brian Thompson, 50, was shot around 6:45 a.m. as he walked alone to the New York Hilton Midtown from a nearby hotel, police said. The shooter appeared to be “lying in wait for several minutes” before approaching Thompson from behind and opening fire , New York City Police Commissioner Jessica Tisch said. Police had not yet established a motive. “Many people passed the suspect, but he appeared to wait for his intended target,” Tisch said, adding that the shooting "does not appear to be a random act of violence.” Surveillance video reviewed by investigators shows someone emerging from behind a parked car, pointing a gun at Thompson’s back, then firing multiple times from several feet away. The gunman continues firing, interrupted by a brief gun jam, as Thompson stumbles forward and falls to the sidewalk. He then walks past Thompson and out of the frame. “From watching the video, it does seem that he’s proficient in the use of firearms as he was able to clear the malfunctions pretty quickly,” NYPD Chief of Detectives Joseph Kenny said. Thompson was shot at least once in the back and once in the calf, Tisch said. The shooter, who wore a jacket, face mask and large backpack, fled through Midtown on foot before pedaling an electric bike into Central Park a few blocks away, police said. The assailant remained at large Wednesday afternoon, sparking a search that included police drones, helicopters and dogs. “Brian was a highly respected colleague and friend to all who worked with him,” the insurer’s Minnetonka, Minnesota-based parent company, UnitedHealth Group Inc., said in a statement. "We are working closely with the New York Police Department and ask for your patience and understanding during this difficult time.” Police issued a poster showing a surveillance image of the man pointing what appeared to be a gun and another image that appeared to show the same person on a bicycle. Minutes before the shooting, he stopped at a nearby Starbucks, according to additional surveillance photos released by police on Wednesday afternoon. They offered a reward of up to $10,000 for information leading to an arrest and conviction. Thompson’s wife, Paulette Thompson, told NBC News that he told her “there were some people that had been threatening him.” She didn’t have details but suggested the threats may have involved issues with insurance coverage. Eric Werner, the police chief in the Minneapolis suburb where Thompson lived, said his department had not received any reports of threats against the executive. The killing shook a part of New York City that's normally quiet at that hour, happening about four blocks from where tens of thousands of people were set to gather for Wednesday night’s tree lighting. Police promised extra security for the event. The hotel is also a short walk from other tourist sites, including the Museum of Modern Art and Radio City Music Hall, and is often dense with office workers and visitors on weekday mornings. Many security cameras are nearby. “We’re encouraging New Yorkers to go about their daily lives and their daily business but to be alert,” NYPD Chief of Department Jeffrey Maddrey said. Investigators recovered several 9 mm shell casings from outside the hotel and a cellphone from the alleyway through which the shooter fled. They were also searching Thompson's hotel room, interviewing his UnitedHealthcare colleagues and reviewing his social media, Kenny said. Police initially said the shooter rode into Central Park on a bicycle from the city’s bike-share program, CitiBike. But a spokesperson for the program’s operator, Lyft, said police officials informed the company Wednesday afternoon that the bike was not from the CitiBike fleet. Health care giant UnitedHealth Group was holding its annual meeting with investors to update Wall Street on the company's direction and expectations for the coming year. The company ended the conference early in the wake of Thompson's death. “I’m afraid that we — some of you may know we’re dealing with a very serious medical situation with one of our team members,” a company official told attendees, according to a transcript. “And as a result, I’m afraid we’re going to have to bring to a close the event today. ... I’m sure you’ll understand.” Thompson, a father of two sons, had been with the company since 2004 and served as CEO for more than three years. UnitedHealthcare is the largest provider of Medicare Advantage plans in the U.S. and manages health insurance coverage for employers and state-and federally funded Medicaid programs. Minnesota Gov. Tim Walz posted on the social platform X that the state is “sending our prayers to Brian’s family and the UnitedHealthcare team.” “This is horrifying news and a terrible loss for the business and health care community in Minnesota,” the Democrat wrote. Associated Press writers Tom Murphy in Indianapolis, Steve Karnowski in St. Paul, Minnesota, and Anthony Izaguirre in Albany, New York, contributed to this story.

GivingTuesday estimates $3.6B was donated this year, an increase from 2023

For affordable TV deals , one of the brands that you should target is Vizio. Here’s an offer from Walmart that could be what you’ve been looking for: the 75-inch Vizio 4K HDR smart TV for only $478, following a $120 discount on its original price of $598. There’s no telling how long stocks will remain available, as it’s pretty rare to get a chance to buy a screen of this size for less than $500. If you don’t want to miss out on this bargain, we highly recommend proceeding with your purchase as soon as you can. Why you should buy the 75-inch Vizio 4K HDR smart TV Vizio has made a name for itself as one of the best TV brands . That’s because it maintains amazing picture quality while keeping costs down. That’s on full display with the 75-inch Vizio 4K HDR smart TV — you’ll be enjoying 4K Ultra HD resolution for lifelike images, support for most advanced HDR formats for vivid details, and Dolby Vision for a theater-like experience in the comfort of your living room. All of this will be maximized by the 75-inch screen. You’ll have to consult our guide on what size TV to buy to make sure that you have the appropriate space. The 75-inch Vizio 4K HDR smart TV uses Wi-Fi 6 technology to connect to your home’s network for access to all of the popular streaming services such as Netflix and Disney+ through the Vizio Home platform. You’ll be able to use the Vizio app on your smartphone to search and play movies and shows on the TV, as well as access voice controls. The 75-inch Vizio 4K HDR smart TV also works with Apple’s AirPlay 2 and Google Cast to let you cast content from your mobile devices to its large screen. Vizio TV deals always attract a lot of attention because you can get affordable screens for an even lower price. The 75-inch Vizio 4K HDR smart TV is a great example, as Walmart is offering a $120 discount that brings its price down to only $478 from its sticker price of $598. That’s an excellent bargain for a display of this size, and a lot of other shoppers are probably thinking the same thing. If you want to have the 75-inch Vizio 4K HDR smart TV delivered to your doorstep for less than $500, the only way to make sure of that is to complete your transaction to secure your own right now.Rush Street Interactive COO sells $362,600 in stock