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Last week, Senator Todd Johnson (R-35) introduced Senate Bill 43 to expand the ability of citizens to defend themselves and their loved ones while attending religious worship. Last year, a similar bill, the Second Amendment Preservation Act, passed both chambers with bipartisan majorities after stalling the year before. It moved through the legislative process quickly last year because of strong leadership demonstrated in both chambers. Unfortunately, Governor Roy Cooper chose to veto this critical bill and the General Assembly was unable to override it.
Senate Bill 43 allows law-abiding citizens who hold a concealed handgun permit to carry a handgun to defend themselves and their loved ones when attending religious worship taking place on private property that is both a school and place of worship, if it does not prohibit firearms. This empowers private property owners to set their own security policy rather than the state imposing a one-size-fits-all solution.
In 2019, an armed citizen defended his church against an individual in Texas. This worshiper, Jack Wilson, was able to take action because of similar NRA-backed legislation in Texas.
NRA would like to recognize the North Carolina Rifle and Pistol Association for their hard work on this legislation across multiple sessions. Please stay tuned to www.nraila.org and your email inbox for further updates as it moves through the legislative process.
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Well, sweetheart, if you want to get technical, 47 minutes out of 60 minutes in an hour is about 47/60.
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How do you write 0.729 as a fraction in simplest form?
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Well, isn’t that a happy little question! To write 0.729 as a fraction, we can see that it’s equal to 729/1000.
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What percent of increase from 20 to 39?
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Joaquin Phoenix’s wife Rooney Mara blushed as he fixed her dress on the red carpet at
Academy Museum Gala in LA on Saturday.
For the star-studded affair located at the Academy Museum of Motion Pictures,
Rooney, 39, joined her dashing husband Joaquin,
49.
The couple – who ‘secretly wed’ recently – looked happier than ever as they posed for sweet snaps on the carpet.
Rooney looked out of this world as she slipped into a floral sheer dress and flashed her underwear underneath.
The glitzy gala had no shortage of A-list star power as they were also joined by
the likes of supermodel Kendall Jenner as well as fan-favorite actress and newly minted billionaire Selena Gomez.
Joaquin Phoenix’s, 49, wife Rooney Mara, 39, blushed as he fixed her dress on the red carpet at Academy Museum Gala in LA on Saturday
Rooney and Joaquin shared a sweet red carpet moment
Joaquin just confirmed Rooney (born Patricia) was his ‘wife’ during an episode of Sam
Fragaso’s podcast Talk Easy, last month.
Mara welcomed their second child in June, and she dressed her post-baby body gorgeous sheer gown.
Phoenix (born Bottom) and the two-time Oscar nominee are also parents of four-year-old
son River Mara Phoenix named after Joaquin’s big brother who died, age 23, from an overdose of morphine and cocaine on Halloween 1993.
‘I love it. I love it so much. I think it’s the best thing in the world,’ Rooney gushed of
motherhood on the LaunchLeft Podcast last year.
‘It doesn’t feel like a two-actor house because I didn’t work for the first three and a half years we were together.
Basically since we’ve been together, I only worked one or two times and
one was really small and short. It feels like a creative household, we’re constantly talking about creative things.’
The Phoenixes originally met in 2012 playing lovers
Theodore Twombly and Catherine Klausen on the LA set of Spike Jonze’s AI
rom-com Her, but they didn’t start dating until after her 2016 split from her Discovery director Charlie McDowell.
The acting couple went on to co-star in Garth Davis’ 2018 Biblical drama Mary Magdalene and Gus Van Sant’s
2018 comedy Don’t Worry, He Won’t Get Far on Foot.
For the star-studded affair located at the Academy Museum of Motion Pictures,
Rooney joined her dashing husband Joaquin
The couple – who ‘secretly wed’ recently – looked happier than ever as they posed for sweet snaps on the carpet
Rooney looked out of this world as she slipped into a floral
sheer dress and flashed her underwear underneath
Mara welcomed their second child in June, and she dressed
her post-baby body gorgeous sheer gown
Rooney posed for a sweet photo with Amy Adams inside
the ceremony
The acting couple originally met in 2012 playing lovers Theodore Twombly and Catherine Klausen on the LA
set of Spike Jonze’s AI rom-com Her (pictured), but
they didn’t start dating until after her 2016 split from her Discovery director Charlie McDowell
Joaquin just confirmed Rooney (born Patricia) was his ‘wife’ during an episode of Sam Fragaso’s podcast Talk Easy
Rooney and Joaquin also co-narrated Chris Delforce’s 2018 vegan documentary Dominion as well as
co-producing Alex Lockwood’s 2022 pandemic documentary The End of
Medicine and Jonah Hill’s 2022 therapy documentary
Stutz.
Mara told Deadline in February that she and Phoenix
(born Bottom) are still ‘all committed to’
co-starring in Pawel Pawlikowski’s upcoming film The Island but ‘it doesn’t
look like that will happen this year.’
But first, audiences can catch the New York native as waitress Julia in Alonso Ruizpalacios’ Times Square kitchen drama La Cocina, which hits limited US theaters October 25 and UK theaters
December 26.
Meanwhile, the Grammy winner scored a $20M paycheck
to reprise his Oscar-winning role as psychopathic comedian Arthur Fleck/Joker in Todd Phillips’ $190M-budget sequel
Joker: Folie à Deux, which hits US/UK theaters this Friday.
Deadline projected the 138-minute demented jukebox musical
to earn $140M worldwide opening weekend including $55M-$60M at 4K US theaters.
It also features Lady Gaga, Zazie Beetz, Brendan Gleeson, Catherine Keener, Jacob Lofland, and Harry
Lawtey.
Thus far, Joker: Folie à Deux has a 60% critic approval rating (out of
58 reviews) on Rotten Tomatoes.
The 1981-set first film Joker made history in 2019 as the highest-grossing R-rated film of all time,
amassing $1.079B at the global box office despite mixed reviews.
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Early reactions to Joker: Folie à Deux suggest a blend of ‘brilliance’ and ‘boredom’, leading
to a mixed bag of reviews.
The film sees the return of Joaquin Phoenix’s Oscar-winning portrayal
of Arthur Fleck/Joker and the addition of pop powerhouse Lady Gaga as Joker’s
love interest Harley Quinn.
Premiering to a full house at the Venice Film Festival on Wednesday, the eagerly awaited sequel to
Todd Phillips’ billion-dollar hit divided critics.
While some found it ‘superior’ to the acclaimed 2019 film and lauded the performances of both Phoenix and Gaga, others slammed Joker: Folie à Deux as
‘derivative’ and devoid of ‘fun.’
DailyMail’s Brian Viner called the movie musical ‘audaciously different in style from the original, not quite as electrifying, but bold and brilliant all the same.’
Early reactions to Joker: Folie à Deux suggest a
blend of ‘brilliance’ and ‘boredom’, leading to a mixed bag of reviews
While some found it ‘superior’ to the acclaimed 2019 film and lauded the performances of both Phoenix and Gaga, others slammed
Joker: Folie à Deux as ‘derivative’ and devoid of
‘fun’
Read More
Lady Gaga puts on a loved-up display with her fiancé Michael Polansky at Joker premiere
Owen Gleiberman appeared a bit less impressed in his review for Variety, writing that the ‘cracked jukebox musical’ had
an audacious concept, ‘but in a basic way it’s an overly cautious
sequel.’
IndieWire’s David Ehrlich took a bit of a harsher tone, saying the 138-minute flick is ‘boring, flat, and a
criminal waste of Lady Gaga,’ adding it feels ‘bad on purpose.’
He added: ‘Phillips has created a corporate pop spectacle that all
but demands to be seen as something else.
‘Here is a movie that perversely denies audiences everything they’ve been conditioned to want from it; gently at first, and then later
with the unmistakable hostility of a knife to the gut.
‘And that, more than anything else, is why Folie à Deux adopts the form of a classic musical: Because no
other genre makes it so easy to appreciate all the fun you’re not
having.’
In contrast, Alex Harrison of ScreenRant describes Joker: Folie à Deux
as a more refined sequel designed to provoke fans of the original film.
‘Joker: Folie à Deux has more coherent things to say about fan culture than it or its predecessor does about mental illness, which, for me,
makes it the superior of the two,’ he stated.
Deadline’s Pete Hammond praises the film as ‘brilliant’ and lauds the performances of the leads.
‘Phoenix knows this character inside and out, and in what others might say is a
risky proposition, he tap dances, sings and sells this role like
no other — if not topping his Oscar-winning turn in Joker, at
least finding a way to take him in different, wholly surprising direction.
‘Gaga is smartly low-key, not the Harley Quinn we associate
with Margot Robbie, but her own person, dressed down and believably showing
affection and connection with Joker and, more important, the man behind
the makeup.’
The Hollywood Reporter says Joker: Folie à Deux feels ‘narratively a little thin and at times dull… This sequel is built
on more of a conceit than a solid story foundation.’
‘Even more than its predecessor, Joker: Folie à Deux reduces the archvillain to a
hollowed-out product of childhood trauma and mental illness.
Which means there’s little we didn’t learn last time,’ added the outlet’s David Rooney.
The Guardian’s Peter Bradshaw wrote, ‘There’s a great supporting cast and a
barnstorming first act but Todd Phillips’s much-hyped Gotham sequel proves
claustrophobic and repetitive.’
DailyMail’s Brian Viner called the musical ‘audaciously different in style from the original,
not quite as electrifying, but bold and brilliant all the same’
Owen Gleiberman appeared a bit less impressed in his review
for Variety , writing that the ‘cracked jukebox musical’ had an audacious concept, ‘but in a basic way it’s an overly cautious sequel’
Deadline’s Pete Hammond praises the film as ‘brilliant’ and lauds the
performances of the leads
The Times called it a ‘messy, lifeless sequel’ that ‘didn’t need
to exist.’
‘The director Todd Phillips said there would be no follow-up to the original,
but he changed his mind and the result is a derivative musical,’ the outlet’s Kevin Maher wrote.
Allison Willmore at Vulture panned the movie,
writing, ‘Mostly, Arthur is acted upon, even when he thinks he’s seizing control — a punching bag for the world and,
more importantly, for the director, who subjects the character to so many indignities that he actually stops being pitiable and starts resembling the punchline to a very long, shaggy joke.
‘By the end of Joker: Folie à Deux, that joke feels like it’s on us.’
Joker: Folie à Deux is set to be released
in theaters on October 4, 2024.
It is the much-anticipated follow-up to 2019’s Academy Award-winning Joker,
which earned more than $1 billion at the
global box office and remains the highest-grossing
R-rated film of all time.
The second installment finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as
Joker.
‘While struggling with his dual identity, Arthur not
only stumbles upon true love, but also finds the music that’s always been inside him,’ a press release shared.
Lady Gaga
By Akriti Sharma and Marie Mannes
Oct 20 (Reuters) – Marlboro maker Philip Morris International Inc on Thursday raised its buyout bid for Swedish Match AB in a last-ditch
effort to get backing for its $16 billion offer that has
been met with shareholder opposition.
Although Philip Morris raised its bid by more than 9% to 116 Swedish
crowns per share and called its “best and final price”, some Swedish Match shareholders seem to be holding out for more.
Their concern is that the total value of the new offer is little
changed from the original bid due to the appreciation in the U.S.
currency against the Swedish krona.
“Let’s just say it’s silly on an almost biblical scale not to neither compensate for the USD/SEK appreciation since the launch of the bid, nor the ongoing inflation,” said Pontus
Dackmo, chief executive of Protean Funds who has 500,000 shares in Swedish Match.
He, however, declined to comment on whether the fund would tender its shares
in light of the increased offer.
In May, Philip Morris made an all-cash offer of 106 crowns per share for
Stockholm-based Swedish Match. Since then, the company has been under
pressure to increase the offer as hedge funds, including Elliott Management
Corp, have bolstered their stakes in Swedish Match in anticipation of a
sweetened bid.
Bloomberg reported in July that Elliott, which raised its stake in Swedish Match to
7.25% from 5.5% in September, was planning to oppose the deal as it was
not in favor of the offer terms, when the bid was first revealed.
A source told Reuters last month that Elliott was also considering taking a seat on the board of the
Stockholm-based maker of Zyn nicotine pouches.
Swedish Match and Elliott declined to comment
on Philip Morris’ revised offer.
John Hempton, co-founder of Sydney-based Bronte Capital that owns 1% of Swedish Match, said he
was still not intending to accept the bid, despite the increased offer price.
“It is wonderful news. Philip Morris has announced that they are not waiving the 90 percent acceptance condition. The deal will fail and Swedish Match will remain an independent company,” Hempton said.
By Swedish law, 90% of Swedish Match shareholders need to approve the offer
before Nov. 4. Philip Morris said on Thursday that it still stood firmly on the 90% acceptance rate.
“We do not think this will be enough,” Jefferies analyst Owen Bennett said, adding that he expects Philip Morris to lower the
90% acceptance condition in the next few weeks.
The revised bid also comes as Philip Morris bought
rights to sell its IQOS heated tobacco products in the United States from
Altria Group Inc for $2.7 billion.
The company, which was spun off from Altria in 2008,
has said it wanted smoke-free products to account for more than half of its sales
by 2025.
Shares of Swedish Match rose about 2%, but were still nearly 4 crowns short of the offer price,
while Philip Morris’ stock was down marginally.
(Reporting by Akriti Sharma, Ann Maria Shibu in Bengaluru and Marie Mannes in Gdansk;
Additional Reporting by Uday Sampath; Editing by Savio D’Souza
and Anil D’Silva)
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