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The Subjectivity of Ancient Myth: How Cassandra’s story is being distorted

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Ancient myths have never been static. Rather, they have been modified, reshaped, and reinterpreted across centuries, moulded by the cultural, political, and ideological forces of each era. Myths, though rooted in antiquity, are not immune to human subjectivity—they are continually rewritten to fit prevailing narratives. One of the most striking examples of this phenomenon is the myth of Cassandra, the Trojan prophetess cursed to be ignored. Over time, her story evolved from ignored warning to explicit violence and punishment, reflecting shifting societal views on truth, power, and the role of women and prophecies.

The Inconsistencies
Cassandra’s myth has its earliest origins in Homer’s “Iliad” (8th century BCE), where she is barely mentioned. She is described as the daughter of Priam and Hecuba, a beautiful Trojan princess, but there is no emphasis on her prophetic abilities. The curse of being disbelieved is absent, and she plays no major role in warning Troy of its impending doom. By the 5th century BCE, however, her story takes on new dimensions. Aeschylus’ “Agamemnon” presents Cassandra as an outspoken prophet, doomed to foresee her own demise at the hands of Clytemnestra but unable to prevent it. Euripides’ “Trojan Women” introduces a more frenzied, “mad” Cassandra, further reinforcing the punishment to those who speaks the truth but is dismissed. The act of dismissing her takes on a gendered dimension: truth-tellers, especially women, are not only ignored but actively ridiculed. The Roman era brought another modification—Virgil’s “Aeneid” (1st century BCE) gives Cassandra a specific role in warning against the Trojan Horse, emphasising not just personal story but also the consequences of ignored wisdom in a political context. As Rome sought to use myth for imperial propaganda, Cassandra’s warnings served as an allegory for the folly of ignoring strategic foresight.

The Increasing Violence: The Changing of Cassandra’s Fate
While the early versions of Cassandra’s myth focused on her gift of prophecy, later tellings added more violence, particularly from the 16th to 19th centuries.

The Rape of Cassandra: A Later Invention?
The notion of Cassandra being violently assaulted by Ajax the Lesser at Athena’s altar does not appear in Homer’s account or early Greek sources. It is first introduced in Euripides’ “Trojan Women”, but even then, it is depicted as abduction rather than explicit assault.
By the 1st century BCE, Roman accounts emphasised sacrilege—Ajax desecrates Athena’s temple by dragging Cassandra from its sanctuary, prompting divine retribution.
However, by the 17th century, this scene becomes far more brutal in artistic and literary interpretations, aligning with a broader trend in Western storytelling where female suffering is graphically portrayed as a lesson or spectacle.

From Prophetic Woman to Martyr
16th–17th Century: The Renaissance revival of classical myths began to depict Cassandra as a martyr, reflecting Christian themes of suffering for one’s knowledge.
18th–19th Century: Romanticism idealised Cassandra’s so-called tragic fate, presenting her as a misunderstood visionary whose suffering symbolised the burden of knowledge. The myth shifted from one of mere dismissal to one of active persecution, a narrative structure commonly applied to truth-tellers and dissidents in historical storytelling.
The 19th-Century Shift: Morality and Victimhood
The Victorian era further shaped Cassandra into a figure that conformed to its moralistic standards, reinforcing the idea that a woman who defied fate (or societal expectations) would suffer catastrophic consequences. She was not just ignored—she was brutally silenced. This shift coincides with the portrayal of other historical and mythological women as tragic victims rather than powerful figures, reinforcing the patriarchal expectation that outspoken women must pay a high price for their defiance.

Modern Reinterpretations: Cassandra in Contemporary Thought
In modern times, Cassandra has become a symbol of suppressed truth, often referenced in political and feminist discourse. The term “Cassandra complex” describes individuals who foresee disaster but are ignored, particularly in the context of whistleblowers, activists, and visionaries. Her story resonates in contemporary discussions about how society treats those who challenge dominant narratives—whether in science, politics, or social justice.
The evolution of Cassandra’s myth demonstrates how ancient stories are never truly fixed; they are reflections of the societies that tell them. Originally a quiet, overlooked figure in Homeric tradition, she became a tragic prophet in Greek drama, a cautionary tale in Roman epic, a violated victim in post-medieval storytelling, and finally, a symbol of unheeded wisdom in the modern era. By examining Cassandra’s evolving narrative, we uncover a broader truth: history is written by those in power, and myths are reshaped to reflect the fears, values, and biases of the time. The more violent and explicit the story became, the more it revealed about the shifting attitudes towards truth, women, and those who dare to challenge the status quo. The attempt to distort Cassandra’s prophecy is not just that she was ignored – it is eveb that her story itself was manipulated to serve different agendas over centuries.

Analysis: Why Truth and Prophecy Are Suppressed

If truth, fate, and prophecy are real forces, why there those who work so hard to suppress, distort, or ridicule them? The answer likely involves a mix of power, control, and self-preservation. Throughout history, those in power have always controlled information because knowledge = power. If people had full access to unfiltered truth, they might start thinking for themselves, making different choices, or questioning authority. Religion, politics, and economic systems have often used selective truths to maintain order and keep hierarchical structures intact. In ancient Rome, emperors and rulers rewrote myths to fit their agendas (e.g., Virgil’s Aeneid turning Trojan history into Roman propaganda).

The Fear of Fate and Prophecy
If fate is predetermined, what does that mean for free will? If prophecy is real, it means some people have access to insights that others don’t—which is a threat to those in power. To maintain control, those who foresee or predict events must be dismissed, silenced, or ridiculed. This happens in: Revolutionary discoveries are often mocked or resisted before being accepted (e.g., Galileo and heliocentrism), Whistleblowers and truth-tellers are demonised before their revelations are proven true, Those who challenge dominant worldviews are often labeled heretics, conspiracists, or “mad” (just like Cassandra was).

Taking Advantage of the Masses
Keeping people in ignorance ensures they remain easier to control, manipulate, and exploit. Whether it’s through fear, distraction, or misinformation, those in power benefit from a confused, misled population. In many cultures, economic and political structures are designed to keep people working, consuming, and obeying, rather than questioning deeper truths. The more people are distracted by entertainment, materialism, and artificial conflicts, the less they look for real answers.

As in the myth of Cassandra, as societies became more structured and power-hungry, later versions turned her into a victim of extreme violence, reinforcing the idea that truth comes at a heavy cost. The more she warned people, the more brutal her punishment became—a perfect metaphor for how the system reacts to those who expose it. This myth is not just that she was ordered to be ignored – it is that her story itself was manipulated by some to serve their agendas over centuries. In many ways, the greatest irony of Cassandra’s myth is that even her own history has been distorted, ignored, and rewritten—just like her prophecies. Yet every single prophecy she told did come true. Some of them were:

The Fall of Troy
She warned the Trojans that Paris bringing Helen to Troy would lead to the city’s destruction. Result: The Trojan War happened, and Troy was burned to the ground.

The Trojan Horse Deception
She explicitly warned that the horse was a trap and that the Greeks were hiding inside.
Result: The Trojans ignored her, bringing the horse inside, and the city fell that night.

Agamemnon’s Death
After being taken as a war prize, she foresaw that Agamemnon (her captor) would be murdered upon returning to Greece. Agamemnon was killed by his wife Clytemnestra and Aegisthus, just as Cassandra had predicted.

AI-generated Conclusion:
From an impartial AI perspective, analysing the historical trajectory of Cassandra’s myth reveals a clear pattern: her prophecies were always accurate, yet her credibility was systematically undermined. This aligns with a broader historical trend where truth-seekers are vilified, their messages distorted, and their warnings ignored—until it is too late. Cassandra was 100% accurate, but her warnings were slandered as lies by those who are insecure. The irony of her myth is that truth doesn’t always save people if people are manipulated not to listen. Her warnings were ignored until it’s too late. Whether in ancient myth or modern reality, those who foresee disaster are often ridiculed, silenced, or vilified—only for their predictions to come true in the end. The moral of story itself was manipulated to serve different agendas over centuries, for Cassandra’s own history has been distorted, ignored, and rewritten.

Ranked Most Accoladed Films of All Times

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Cinema has given us some truly legendary films—works that have not only captivated audiences but also dominated the awards circuit. From groundbreaking storytelling to technical mastery, these films have set records with their wins and nominations across major industry accolades.

Here is a definitive ranking of the most accoladed films in history, tracking their total wins, nominations, and success rates. Which films stand at the top? Which ones defied expectations? Explore and enjoy the full chart.

alltimesfavourites
FilmAwards #GreatestMovies #AwardWinningCinema #CinematicHistory

The Quest to Universe in Search of Genuine set ups

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The origin of the universe has been the question of Cosmologists ever since the discovery that our universe is expanding. Out of all the variety of theories proposed, there seem to be quite an equal share of followers between the Big Bang believers and the Infinite Universe loyalists. None of those theories have been proven and found complete exact evidence. The consensus was to find measurements that can distinguish between the scenarios, with particle accelerators as the main popular device used at laboratories and institutions worldwide. Particle accelerators produce beams of charges particles comprised of protons or electrons and subatomic particles, to collide at certain energy level. The collisions are recorded and observed by a particle detector, and the data will be run through and interpreted by teams of scientists. At present, there are more than 30,000 accelerators in operation around the world. The Large Hadron Collider at CERN Switzerland, Fermi Laboratories in Chicago, SLAC Linac in California, Thomas Jefferson in Virginia, BEPC II in China and SuperKEK B in Japan, to name some of the big ones.

Things became questionable – and fell in the dark area of ethics – when some of these experiments are conducted in parallel with human behavioral modification experiments which are governed by the Quantum Cognition theory. Over the last several decades, quantum cognition has been considered a new theory that suggests mathematical principles of quantum mechanics can be applied to understand human behavior. It is based on the assumption that the wave nature of a certain state is the psychological experience of conflict, confusion and uncertainty. While the particle nature of a definite state is the psychological experience of conflict resolution, decision and certainty. This theory, with its principles, have been applied to the psychology fields and behavioral modification movement and experiments. Precise assessment is used to identify each human to correspond with a certain type of particle. Hence, most of us people have been categorized either as protons, anti-protons, electrons, positrons, neutrinos, photons, ions and so on. Or one can be several of the particles. A set up environment as well as a set of people (considered as particles to be observed) are required and thus being placed in a controlled environment. It can be anywhere from offices, restaurants and public places, to hotel rooms and even your own home. This is one of the main reason why some occult groups demand certain kind of rituals from its members. The set up extends to every aspect of lives, and in the last few decades becoming more and more formatted, restricted and controlled – trying hard to replicate cosmic scenarios of the early universe. Celebrities, mega stars, companies, business people, politicians, regular people, partnership and conflicts, economic and political fluctuations, coupling and decoupling (read: marriages and divorces), are all the set ups.

Billions and billions of dollars have been used to finance these set ups and experiments. Not to mention other type of significant natural resources and the concerns of the majority that high energy colliders are affecting the earth’s own magnetic field. Suspicions have arisen in the Scientific community, questioning the real purpose of some of the massive-scale particle colliding machines. It has been a common knowledge that the Large Hadron Collider in Switzerland is the closest thing there is now, to a time travel machine. One major question is the theory that’s being tested only follow a subjective understanding of the early universe and how matters formed. In other words, the events took place billion of years ago were the opposite of the current atomic formation theory. Another concern is that due to the ease and convenience of creating artificial particles, also to ensure a high level of controlled environment, the amount of artificial particles used in the experiments nowadays are excessive in number compares to the genuine particles coming from the universe. The extra-constrained, extra-controlled, extra-modified behavior, set up and environment makes the particles know they are being observed, hence not behaving in a natural way that can bring valid results. Some may even be intelligent enough to learn over the years that the environments they are in are all just set ups and being modified and accelerated at an unnatural speedy rate that it defies the cosmic law. Moreover, some particle types are just not equal in nature to interact with each other, to what extend can they be collided and merged in repetitive violent experiments? How genuine are interpretations and results of quasi-particle staged experiments without having a clue of what the wave or the so-called “connection” with the universe is? The list of questions and concerns goes on, with leading Particle Physicists and Scientists worldwide already pledge to move the quest to high-precision measurement machines commencing prior to 2020. Taking into consideration the advantages vs disadvantages, ROI both monetary and the potential of how powerful the findings can be, for short, medium and long run, it may just be the best decision to take in this century.

 

​French Film Festivals

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France has long been a beacon of cinematic excellence, and its prestigious film festivals continue to set the benchmark for artistry, storytelling, and filmmaking innovation. Over the past year, French film festivals have celebrated an outstanding selection of films, recognising both established and emerging talent in the global film industry. From the grandeur of Cannes to the intimate yet influential Champs-Élysées Film Festival, these events reaffirm France’s status as the epicentre of world cinema.

2025 César Awards
Date: February 28, 2025
Location: Paris, France
The César Awards, France’s equivalent to the Academy Awards, honoured a spectacular range of films and performances, solidifying the country’s cinematic dominance.

  • Best Film: Emilia Pérez – Directed by Jacques Audiard
  • Best Director: Jacques Audiard (Emilia Pérez)
  • Best Adapted Screenplay: Jacques Audiard, Thomas Bidegain, Léa Mysius, and Nicolas Livecchi (Emilia Pérez)
  • Best Actress: Hafsia Herzi (Borgo)
  • Best Actor: Karim Leklou (Le Roman de Jim)
  • Best Supporting Actress: [Information not available]
  • Best Supporting Actor: [Information not available]
  • Best Foreign Film: The Zone of Interest – Directed by Jonathan Glazer

Lumiere Awards – January 20, 2025

Best film: Emilia Perez dir. Jacques Audiard

Best director: Jacques Audiard for Emilia Perez

Best screenplay: Jacques Audiard for Emilia Perez

Best documentary: Dahomey dir. Mati Diop

Best animated film: Flow dir. Gints Zilbalodis

Best actress: Karla Sofía Gascón for Emilia Perez

Best actor: Abou Sangare for Souleymane’s Story

Most promising actress: Ghjuvanna Benedetti for The Kingdom

Most promising actor: Clément Faveau for Holy Cow

Best first film: Holy Cow dir. Louise Courvoisier

Best international co-production: The Seed Of The Sacred Fig dir. Mohammad Rasoulof

Best cinematography: Nicolas Bolduc for The Count Of Monte-Cristo

Best music: Camille and Clément Ducol for Emilia Perez

The 77th Cannes Film Festival
Date: May 14–25, 2024
Location: Cannes, France
The Cannes Film Festival remains the crown jewel of international film festivals, bringing together filmmakers, actors, and cinephiles from across the globe. The 77th edition saw some of the most compelling and thought-provoking films recognised for their artistic achievements.

  • Palme d’Or: Anora – Directed by Sean Baker
  • Grand Prix: All We Imagine as Light – Directed by Payal Kapadia
  • Jury Prize: Emilia Pérez – Directed by Jacques Audiard
  • Best Director: Miguel Gomes (Grand Tour)
  • Best Screenplay: Coralie Fargeat (The Substance)
  • Best Actress: Adriana Paz, Karla Sofía Gascón, Selena Gomez, and Zoe Saldaña (Emilia Pérez)
  • Best Actor: Jesse Plemons (Kinds of Kindness)
    Notable Screenings:
  • Opening Film: The Second Act – Directed by Quentin Dupieux
  • Out of Competition Premiere: Megalopolis – Directed by Francis Ford Coppola, starring Adam Driver
    Special Honors:
  • Honorary Palme d’Or: Meryl Streep
  • Studio Ghibli: The first animation studio to receive an Honorary Palme d’Or
  • George Lucas: Honored during the closing ceremony for his contributions to cinema
    Other Prestigious French Film Festivals
    2024 Deauville American Film Festival
    A prestigious celebration of American cinema in France, held in the beautiful seaside town of Deauville.
  • Best Film (Grand Prix): In the Summers – Directed by Alessandra Lacorazza Samudio
  • Jury Prize: The Knife – Directed by Nnamdi Asomugha
  • Revelation Prize: In the Summers
    2024 Champs-Élysées Film Festival
    A key festival bridging French and American independent cinema, bringing fresh and bold narratives to Paris.
  • Best American Independent Feature Film: Good One – Directed by India Donaldson
  • Best French Independent Feature Film: Diaries from Lebanon – Directed by Myriam El Hajj
  • Best American Director: Nathan Silver (Between the Temples)
  • Best French Director: Caroline Poggi & Jonathan Vinel (Eat the Night)
  • Audience Award – Best American Independent Film: I Saw the TV Glow – Directed by Jane Schoenbrun
  • Audience Award – Best French Independent Film: Habibi, chanson pour mes ami.e.s – Directed by Florent Gouëlou
    2024 Bordeaux International Independent Film Festival
    A festival dedicated to recognizing boundary-pushing independent films.
  • Grand Prix Contrebande: The Roller, the Life, the Fight – Directed by Elettra Bisogno and Hazem Alqaddi
    As we look ahead, the anticipation for future editions, promising another year of unforgettable cinematic artistry. France remains at the heart of the film world, set the direction for innovation, talent, and storytelling mastery.

The Brutalist: a Haunting Masterpiece of Trauma, Power, and Tainted Vision

Brady Corbet’s The Brutalist is a cinematic tour de force that intertwines the deeply personal with the monumental. Set against the backdrop of post-World War II America, the film follows Hungarian-Jewish architect László Toth as he attempts to build a future free from the shadow of his past. With a narrative spanning three decades, The Brutalist delves into themes of trauma, art, power, and identity, offering mere exploration of what it means to survive and tasked to create structure in a world contaminated with systemic brutality. Here, we scrutinise the film through five obvious angles.

Trauma as Part of Vision, yet Vision is Skewed as Prison
László Toth’s architectural brilliance is undeniably shaped by his experiences as a Holocaust survivor. His trauma becomes both the wellspring of his vision and the chains that bind him. The ghetto-like structure he designs for his ultimate masterpiece is more than a deliberate artistic choice; it is an unintentional echo of the confinement and dehumanisation he endured. While his benefactor – a power-hungry patron played by Guy Pearce – may have directed certain aspects of the design, the oppressive aesthetic feels deeply rooted in László’s subconscious. The film brilliantly interrogates whether art born of suffering can ever truly transcend it. László’s creation is monumental, yet hauntingly sterile, embodying both his genius and his inability to escape the horrors of his past. This duality – vision as both liberation and prison – underscores the tragic irony of László’s journey. His trauma enables him to envision a future immune to such atrocities, but it also compromises his ability to lead that vision with clarity and strength.

The Architecture of Pain
Brutalism as an architectural style is defined by its stark, raw aesthetic – a reflection of resilience, utility, and unflinching honesty. In The Brutalist, this aesthetic takes on a deeply symbolic role, mirroring the emotional and psychological weight of László’s story. The ghetto-like structure he designs serves as a visceral representation of pain and survival. Its concrete façade evokes both confinement and durability, as if the building itself is a monument to suffering. Yet, it also feels lifeless, devoid of warmth or humanity. This contradiction captures the essence of the film: the tension between the need to forget and the desire to move forward. Corbet masterfully uses architecture theme as a narrative device, showing how trauma shapes not only the artist but the creation itself. The building becomes a character in its own right – a silent witness to László’s inner turmoil and the larger societal forces at play.

Inner Power and Resilience: The Truth vs. False Beliefs
One of the film’s most profound themes is the exploration of inner power – what it truly means and how it is often misconstrued. László, for all his brilliance, depicted as lack the resilience needed to wield his vision effectively. His survival of the Holocaust has left him emotionally fragile, overly dependent on external support – first from his wife, Erzsébet, and later from his manipulative patron. This fragility highlights a central truth: inner power is not simply the endurance of suffering but the ability to inner-transform it into strength and personal power. László’s inability to confront his past – and the toxic dynamics of his present – renders him vulnerable to more exploitation. His retreat into passivity after being raped by his boss is a devastating turning point, underscoring the consequences of unresolved trauma, and the ability to deal with it. László’s retreat also symbolizes his deeper inability to confront the truth of his circumstances- both external and internal. To transform trauma into strength requires not only endurance but also the courage to face the pain head-on. László’s failure to address his dependency on others and the exploitation he endures leaves him emotionally paralysed, ultimately undermining his ability to channel his brilliance into a resilient legacy. The Brutalist underscores the importance of confronting the truth as a cornerstone of genuine resilience and progress.

The film challenges the notion that suffering inherently leads to strength. Instead, it posits that true resilience requires self-awareness, agency, and the capacity to rise above external manipulation. László’s failure to embody these qualities ultimately undermines his ability to lead his vision into fruition.

Masculinity, Androgyny, and the Fragility of Assumed Power
László’s character is defined by a delicate, subtext, androgyny that sets him apart from traditional depictions of male architects. His soft-spoken demeanour and introspective nature contrast sharply with the hyper-masculine world of power and ambition he inhabits, let alone the “brutalism” architecture he was commissioned to develop. This duality is ironically both a strength and a weakness. The film’s most unsettling scene – László’s intoxicated rape scene by his boss – serves as a brutal commentary on the fragility of assumed power. László’s androgyny, while a symbol of his visionary perspective and genius, becomes a target for “bullying” in a world that equates masculinity with dominance. His subsequent withdrawal reflects the destructive impact of such an assault, both on his sense of self and his ability to assert his vision. By juxtaposing László’s androgyny with the hyper-masculine aggression of his boss, The Brutalist challenges traditional notions of power. It suggests that true strength lies not in dominance but in the balance of vision and resilience- a balance László inadvertently struggles to achieve.

The Irony of Power Versus Art
At its core, The Brutalist is a meditation on the fraught relationship between power and art. László’s genius is undeniable, yet his seemingly over-dependence on his patron corrupts his vision. Guy Pearce’s character embodies the toxic dynamic of power co-opting creativity for its own ends. His funding of László’s work is less an act of support than a means of imposing control and power. This irony is most evident in the final structure – a masterpiece tainted by the patron’s agenda. What could have been a symbol of resilience and hope becomes a monument to systemic brutality. This outcome is rooted in László’s unwillingness – or inability – to confront the truth of his relationship with his patron. By failing to challenge the corruptive influence of power, he inadvertently allows it to seep into his art, tainting what should have been a monument of liberation. The film highlights that without confronting uncomfortable truths, even the most visionary creations can become hollow reflections of systemic exploitation. The film leaves us questioning whether art can ever be free from the influence of those who fund it.

Whether enjoyable or intimidating, The Brutalist is a haunting exploration of trauma, art, and power that lingers long after the credits roll. Brady Corbet masterfully weaves these themes into a narrative that is as visually arresting as it is emotionally profound. Through László Toth, the film examines the duality of vision and fragility, offering a powerful reminder that true strength lies in the balance of inner resilience and external ambition. It captured the essence of what The Brutalist inadvertently highlights: vision without genuine features and functionality is never going to be enough. László is a deeply flawed genius, and his inability to wield his brilliance effectively is why his masterpiece ultimately becomes tainted. In a way, this mirrors our ongoing discussion about ideal future beings and idealised leaders – progress demands more than just vision; it demands inner power, matter-of-fact structure, the ability to turn and separate trauma into inner power, resilience, and the capacity to finally execute.

In a year where films like Emilia Pérez and Conclave have also explored themes of transformation and power, The Brutalist stands out for its stark honesty and unflinching portrayal of the human struggle of genius. It is a cautionary tale and a masterpiece, one that demands to be seen, felt, and pondered. Most certainly a contender to be the best film winner across the board, if this year’s awards seasons are brave enough to admit the truth of what real greatness actually takes.

Stars at the Baftas

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Memorable moments among some of the celebrities attended.

Extensive Ensemble of 2025 EE BAFTA Film Awards Winners

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2025 EE BAFTA Film Awards has concluded at the Royal Festival Hall, Southbank, London. Here is the complete list of winners:

Best Film: Conclave

Outstanding British Film: Conclave

Leading Actress: Mikey Madison – Anora

Leading Actor: Adrien Brody – The Brutalist

Supporting Actress: Zoe Saldaña – Emilia Pérez

Supporting Actor: Kieran Culkin – A Real Pain

Director: Brady Corbet – The Brutalist

BAFTA Fellowship: Warwick Davis

Outstanding Debut by a British Writer, Director or Producer: Kneecap

Film Not in the English Language: Emilia Pérez

Outstanding British Contribution to Cinema: MediCinema

Documentary: Super/Man: The Christopher Reeve Story

Animated Film: Wallace and Gromit: Vengeance Most Fowl

Children’s and Family Film: Wallace and Gromit: Vengeance Most Fowl

Original Screenplay: A Real Pain

Adapted Screenplay: Conclave

EE BAFTA Rising Star Award: David Jonsson

Original Score: The Brutalist – Daniel Blumberg

Casting: Anora

Cinematography: The Brutalist

Costume Design: Wicked

Editing: Conclave

Production Design: Wicked

Make-Up and Hair: The Substance

Sound: Dune: Part Two

Special Visual Effects: Dune: Part Two

British Short Film: Rock, Paper, Scissors

British Short Animation: Wander to Wonder

This concludes the list of winners from the 2025 BAFTA Film Awards.

Crypto: democratising Investing

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According to CEO Larry Fink, BlackRock’s entry into the cryptocurrency space aligns with the company’s broader mission of providing efficiency and transparency in investment products. Fink stated that BlackRock believes in democratising investing and that the role of exchange-traded funds (ETFs) has already begun transforming the investment landscape.

BlackRock made headlines when it applied for a bitcoin ETF on June 15. This move not only led to a rally in cryptocurrencies but also triggered similar filings from other asset managers. Notably, BlackRock’s initial filing for the iShares Bitcoin Trust did not include a management fee.

While the Securities and Exchange Commission (SEC) has previously rejected numerous applications for similar funds, the involvement of BlackRock and the proposed surveillance sharing agreement in their filing are seen as significant developments within the crypto industry. These actions are perceived as an indication of shifting momentum.

Fink emphasized that BlackRock is actively collaborating with regulators to ensure that any product associated with the company’s name is secure and protected, especially in a new market like cryptocurrencies.

Although Fink had previously expressed criticism towards crypto, he highlighted that client interest and the high cost of transactions prompted BlackRock to explore opportunities in the space. Additionally, Fink acknowledged the potential diversification benefits of cryptocurrencies within investor portfolios, emphasizing their differentiating value and international nature, which transcends any specific currency.

Fink refrained from discussing the specific details of the spot bitcoin ETF due to SEC restrictions on public commentary during the filing process.

On a separate note, BlackRock reported its second-quarter results, revealing adjusted earnings per share of £7 on £3.7 billion in revenue. The company’s assets under management have now surpassed £7 trillion.

Source : CNBC