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Watch the most important moments of the coronation of King Charles III




A driver allegedly hit a police officer in Kansas City, Kansas while fleeing a riot.



A police officer was injured after he was allegedly hit by a driver fleeing a riot early Tuesday morning in Kansas City, Kansas, a police spokeswoman said.

According to police spokeswoman Nancy Chartrand, the officer’s injuries, who were taken to the hospital, are not life-threatening. Kansas City, Kansas State Police Department.

The officer was injured while responding to a request Riots in the 600 block of Stewart Avenue early Tuesday morning. Arriving law enforcement officers found several people involved in the case.

According to her, when the officers tried to get a statement, one person fled in a car, allegedly hitting one of the police officers who was walking.

According to Chartrand, Kansas City police soon located the vehicle and arrested the driver.

The Kansas City, Kansas Police Department was investigating the incident. Anyone with information is asked to call TIPS Hotline: 816-474-TIPS (8477).

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Escape from Harvey Weinstein was “a game of cat and mouse,” according to Katherine Kendall.



KATHERINE KENDALL, actress/photographer:

Well, you know, I was a young actress and I had a formal meeting at the Miramax office earlier that day.

And then, at the end of the meeting, which I thought went really well, he invited me to come to the screenings. He said, “Welcome to the Miramax family. You know, come to premieres, shows and so on. In fact, there is one this afternoon. Would you like to come?”

And I said, “Of course.”

And in the end I went to watch a movie with him. The result was just a film, not a screening, but the film “Red Rock in the West.” And, you know, it was right when I had such a nagging feeling that something was going wrong.

And then, after the movie, we walked a few blocks. And he said that he needed to go up to his apartment to get some things and could I just go with him real quick? And I kind of said no, and we talked it back and forth for a minute. There were always some negotiations with him, I tried to defend my position, and then make sure that everything was in order.

I went to his apartment. Once there, we had a long talk about art and cinema. And it seemed to me that he treated me like an intellect.

And I felt that the meeting was going very well, and sort of going on. I didn’t feel safe when I was there. And at some point he got up to go to the bathroom. And he came back in a bathrobe and asked me to give him a massage.

And I was extremely uncomfortable. And I thought, oh my God, no, I don’t like it. And we went back and forth about it.

And then he went to the bathroom again, and this time he came back completely naked. And you know, for me, that has completely changed as well. It just took him to the next location. It was completely disorienting. And I was scared, you know? I was very scared.

And then it became a bit of a cat and mouse game, like how do I get out of there?

And I – it’s hard to understand what someone is trying to do to you when they’re completely naked and they…

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Why Viola Davis’ Best Supporting Actress Speech in ‘Fences’ Was So Powerful



Viola Davis’s acceptance speech for Best Supporting Actress began with a thank you from the Academy and this observation: “You know, there’s one place where all the people with the most potential gather.”

Break. Some viewers may have felt a bout of nausea. What the fences Is the actress going to perform a sequel to Meryl Streep’s performance at the Golden Globes? The next line will be “this room” to stand up for the president-condemned entertainment industry, to preach truth and inclusion, to spark a new skirmish about whether Hollywood is too selfish?

No. The next line: “One place, and this is a cemetery.”

wow Davis’ speech quickly went viral and received wide acclaim for many reasons, the main one being just good writing. She started with a question and gave an answer that few would have guessed. She used the power of surprise, which was demonstrated in abundance elsewhere at the Oscars.

The speech also made it clear why Davis deserves an Oscar. She seemed to be heaving with excitement, almost out of breath, and yet her words were clear and her sentences deft. She gestured with the precision of her How to Get Away with Murder Annalize Keating’s character in a lecture on law, but she showed the coarseness of the feelings that Mrs. Miller experienced in double. But it wasn’t a game. And if it was, it was so good that it did not seem so. Which, as Leonardo DiCaprio said from a stage elsewhere in the night, is the definition of a great game.

The most remarkable thing is the content of the speech. As a rule, memorable confessions at the Oscars contain explicit political points, contain gaffes, or mark important milestones. But Davis attracted attention with a simple discussion of art, as well as specific, sincere greetings to colleagues and loved ones.

“People ask me all the time, ‘What stories do you want to tell, Viola?'” she said. “And I say: exhume these bodies, exhume these stories. Stories of people who dreamed big and never realized their dreams, people who fell in love and failed. I became an artist – and thank God I did – because we are the only profession that celebrates what it means to live.

The resonance with Davis’s work was clear: fences based on a play by August Wilson about a 1950s working-class black family whose members are not known but who simply struggle and argue against the backdrop of society and history. Wilson “exhumed and uplifted the common people,” Davis said; his story was “about people and words and life and forgiveness and grace”.

But it was impossible to miss the resonance with other themes of the night and the era. The Best Picture nomination was full of stories about the culturally invisible and disillusioned: Post-Crisis Texans who were denied opportunities in Hell or high waterlow-level NASA mathematicians, largely forgotten by history in Hidden Figuresorphans and disadvantaged families in India in a lion. In particular, the winner in the nomination “Best Film” Moonlight unfolded the story of a poor black gay man who simply survives, an ordinary life of those that are depicted so rarely that they seem unusual.

So there is politics here, albeit subtle. In the context of conversations about diversity and inclusion at the Oscars and in America in general, Davis’s praise of stories about ordinary people, unfulfilled dreams, necessarily has a political meaning: the depiction of a previously unrepresented struggle means that life is not white, natural, provided. and/or male matter.

The moment was lightly reinforced when she thanked her sisters, remembering, “We were rich white women in the tea party games.“. They played white and rich, perhaps because of what society told them to fantasize about. Davis demonstrated the power of suggesting alternatives.

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