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Super Bowl MVP Why do the odds on Polymarket get it wrong, while the statistics point us to one winner? Super Bowl MVP is always 50% statistics and 50% storyline. We have 4 finalists, but in my opinion there are only two real contenders. - Sam Darnold (The Redemption...

22,658 次观看 • 6 个月前 •via X (Twitter)

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Saint Louis’s Dion Brown is one of the best glue guy’s in this year’s NBA Draft. For the season Brown averaged 11/5/2 on 62/40/75 splits in only 24 MPG. While also playing a major role in Saint Louis’s 29-6 record. When it comes to role versatility and impacting the game without the ball in his hands Brown is one of the best in this year’s class. At just 6’4 Brown has the ability to play the 2-4 at a high level with his motor, strength, and instincts. Brown was one of the best finishers in the country this season where he shot 75% at the rim on 170 attempts and was the only non big to do that. Brown is an elite cutter with great instincts to get to his spots, while also being a high level slasher in the half court and he also has the ability to push in transition with and without the ball. Brown is also a strong shooter from three who shot 40% from three. Brown’s mix of shooting and finishing efficiency makes him an extremely valuable player. Brown is also a skilled passer as a connector and creator who uses his ability to get to the rim to find cutting teammates, or uses his passing vision. On the defensive end Brown was one of the best defenders in the A10 with his motor and instincts. Brown is also an elite rebounder for his height who is always attacking the glass. Browns mix of finishing, shooting, versatility, passing, rebounding, off ball scoring and defensive impact makes him one of the most valuable glue guys on any team he plays for.

KJ

51,348 次观看 • 4 个月前

Andrei Tarkovsky on Ingmar Bergman's Shame (1968): "Let us look at Bergman's Shame. The film doesn't contain a single 'actor's piece' for the performer to 'give away' the director's purpose, to play the conception of the persona, his attitude to it, to assess it in relation to the overall idea; and the latter is entirely hidden within the dynamic of the characters' lives, at one with it. The people in the film are crushed by circumstances; they act only in accordance with their situation, to which they themselves are subordinate; they make no attempt to proffer us any idea, any perspective on what is happening, or to draw any conclusion. All of that is left to the film as a whole, to the director's vision. And how superbly it is accomplished! You cannot say in simple terms who amongst them is good or bad. I could never say that von Sydow is a bad man. They are all partly good and partly bad, each in his own way. No judgements are passed, because there is no hint of tendentiousness in any of the actors, and the circumstances of the film are used by the director to explore the human possibilities which they test, and not for a moment in order to illustrate a thesis. Max von Sydow's character is developed with masterly power. He is a very good man; a musician; kind and sensitive. It turns out that he is a coward. But by no means every bold man is a good human being, and cowards are not always scoundrels. Of course, he is weak and irresolute. His wife is far stronger than he, so much so that she can overcome her fear. The hero lacks that strength. He is tormented by his own weakness, vulnerability, lack of resilience; he tries to hide, to cower in a corner, not to see and not to hear; and he does this like a child, naively and with complete sincerity. But when circumstances nevertheless force him to defend himself, he instantly turns into a scoundrel. He loses all that was best in him; but the drama and absurdity of his situation is that as he is now he becomes necessary to his wife, who, in her turn, looks to him for protection and succour instead of despising him as she always had. When he beats her about the face and says 'Get out!' she goes crawling after him. There is something here of the age-old idea of passive good and active evil; but its expression is immensely complex. At the beginning of the film the hero cannot even kill a chicken, but as soon as he has found a way of defending himself he becomes a cruel cynic. He has something of Hamlet: my view is that the Prince of Denmark perishes not as a result of the duel, when he dies physically, but immediately after the 'rat' scene, when he understands how irreversible are those laws of life which have forced him, a man of humanity and intellect, to act like the inferior people who inhabit Elsinore. Von Sydow is now a sinister character, afraid of nothing: he kills; will not raise a finger to save his fellows; pursues only his own interests. The point is that you have to be a person of great integrity to feel fear in the face of the foul necessity to kill and humiliate. And by shedding that fear and apparently acquiring courage, a person in fact loses his spiritual strength and intellectual honesty and parts from his innocence. War is the obvious catalyst for the cruel, anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in Through a Glass Darkly: to explore his view of man." — "Sculpting in Time" by Andrei Tarkovsky (translated by Kitty Hunter-Blair, 1987)

RadiantFilm

27,723 次观看 • 6 个月前