Latest news with #Phantom
NBC News
2 days ago
- Politics
- NBC News
What to know about Israel's nuclear weapons program
The Federation of American Scientists and the Stockholm International Peace Research Institute, an independent international organization dedicated to researching arms control and disarmament, estimate that Israel has around 90 nuclear warheads. Due to Israel's official stance of ambiguity regarding its nuclear program, the organizations note the difficulties in determining the extent of the country's nuclear capabilities. "They are intentionally secretive about their nuclear capabilities and that's part of the policy that they follow," John Erath, senior policy director at the Center for Arms Control and Non-Proliferation, said in a phone interview Wednesday. He said that policy was likely in part to ensure Israel's "potential adversaries would not know what they can do in the event of a crisis." How it began Historical records suggest Israeli leaders had hoped to build a nuclear arsenal to help ensure the country's safety after it was founded in 1948 in the years after the Holocaust, according to the Jewish Virtual Library, an online encyclopedia published by the American foreign policy analyst Mitchell Bard's nonprofit organization American–Israeli Cooperative Enterprise. In a July 1969 declassified memo to President Richard Nixon, Secretary of State Henry Kissinger said that Israel had committed "not to be the first to introduce nuclear weapons into the Near East," when buying the U.S.' Phantom aircraft, though it has never been made clear precisely what that means. Mordechai Vanunu, a former Israeli nuclear technician who worked at Israel's atomic reactor in Dimona in the Negev Desert in the late 1960s and early 1970s, sent shock waves around the world when he disclosed details and photographs of the reactor to Britain's Sunday Times newspaper.
Yahoo
5 days ago
- Business
- Yahoo
SUI Is ‘On the Edge of a New Run Towards Highs,' Says Crypto Analyst Michaël Van De Poppe
SUI SUI traded at $3.1110 on Monday, rising 3.85% over the past 24 hours following a multi-hour uptrend that pushed the token through key resistance levels. The asset hit a session high of $3.1554 before settling just above $3.11, with strong volume supporting the breakout attempt. Michaël van de Poppe called SUI 'super interesting as an ecosystem' in a post on X earlier Monday, pointing to several major on-chain milestones. The stablecoin supply on the Sui network has grown from $400 million in January to nearly $1.2 billion. Meanwhile, total value locked (TVL) has reached $1.8 billion — ranking third among non-EVM chains. Wallet adoption is also accelerating, helped by the integration of Phantom and the launch of Slush, the rebranded SUI wallet. SuiLend, the protocol's lending platform, has seen its TVL surge 90% over the past month to more than $600 million. Van de Poppe noted that this growth, coupled with previous bullish chart behavior, may set the stage for a strong breakout if SUI can close above $3.30. He described that level as a key liquidity zone that could spark a move to new highs. The analysis period also showed strong buyer engagement, particularly around $3.12. Price briefly consolidated after the peak but continued to form higher intraday lows — suggesting continued momentum despite a modest cooldown from session highs. Technical Analysis Highlights During the analysis period, SUI traded between $2.9742 and $3.1554, marking a 6.09% intraday move. Price formed a consistent uptrend, breaking above $3.08 resistance with support establishing at $2.96–$2.97. Volume exceeded 12 million units between 01:00 and 07:00 GMT, confirming broad accumulation interest. At 13:56 GMT, SUI surged through the $3.12 level on a volume spike over 1 million units, initiating a breakout. Between 13:56 and 14:03 GMT, price action remained strong and formed a new support band around $3.12. Toward the end of the analysis window, SUI advanced from $3.09 to $3.13 in a 1.29% move, closing with bullish continuation patterns intact. Parts of this article were generated with the assistance from AI tools and reviewed by our editorial team to ensure accuracy and adherence to our standards. For more information, see CoinDesk's full AI Policy. Sign in to access your portfolio
&w=3840&q=100)
First Post
6 days ago
- Entertainment
- First Post
When allegiances expire: Black Warrant director Vikramaditya Motwane's silent exit strategy
It is being said that Vikram tried to hush up allegations of sexual misconduct against his favourite DOP, but when the heat on him became too much, Shah was silently removed from his next feature, the biopic on Sourav Ganguly read more Vikramaditya Motwane is a much-admired filmmaker, known for his indie masterpieces and sharp societal commentaries. But of late, an unflattering piece has been doing the rounds on the internet, written by an anonymous whistleblower about the director, which has caught the attention of many. It says that the acclaimed director seems to be working overtime in scripting an off-screen narrative quite different from the ones he so passionately crafts on film. While he often speaks of ethics and artistic integrity, industry whispers suggest that his ethics and integrity may come with a ticking clock. STORY CONTINUES BELOW THIS AD Those who have observed him over the years can't help but notice a familiar pattern. He postures and presents a very ethical stance but is known to downplay and 'discreetly' handle serious allegations, particularly when it's his close friends who are in the dock. Take the case of Pratik Shah, his DOP on his last outing 'CTRL' featuring Ananya Panday. It is being said that Vikram tried to hush up allegations of sexual misconduct against his favourite DOP, but when the heat on him became too much, Shah was silently removed from his next feature, the biopic on Sourav Ganguly. Similarly, in the past, as the founding member of Phantom, when allegations against fellow partner Vikas Bahl were made, a hurriedly formed committee to look into his misdemeanours gave him a clean chit. But lo and behold, who was heading that committee?! Yes! Vikramaditya's own mother, Dipa Motwane. But the moment Phantom was dissolved and Vikramaditya sold off his shares for a cool sum, he rushed to post a holier-than-thou tweet against Vikas Bahl, trying to take a moral position. A carefully timed public statement followed, subtly distancing himself from his embattled associate, as though loyalty had an expiry date! Now, insiders claim that history is quietly repeating itself. Whispers suggest that while the director initially took no steps and tried to hush up the matter, amid emerging scrutiny, strategic moves are already underway to ease Pratik Shah out of key projects so as to maintain his feminist and idealist image. STORY CONTINUES BELOW THIS AD Those in the know, say this filmmaker has mastered the art of impeccable timing, knowing exactly when to stand by and when to step away, all while carefully safeguarding his image of untouchable credibility. Over the years, he has skillfully positioned himself as a 'human-turned-director' with an idealistic worldview, winning audiences over with both his work and his carefully crafted persona.
India Today
12-06-2025
- Entertainment
- India Today
Chacha Chaudhary ‘ka dimag computer se tez': A 90s comic tribute
Before smartphones hijacked our attention spans, before the internet made everything instantly accessible, there existed a quieter, more magical world - one ruled by comic books, secondhand paperbacks, and the thrill of renting stories with pocket vacations in the 90s weren't about screen time, they were about story time. With schools shut and afternoons too hot to play outside, children across India turned to their trusted companions: comics, tattered novels, and borrowed books. Rented from local lending libraries or neighborhood bookstalls, these treasures were devoured under ceiling fans, exchanged with cousins, and re-read until the pages almost fell MONEY = COMIC CURRENCY Back in the 90s, a 2-rupee coin had the power to buy happiness - in the form of a rented comic book. Whether it was Nagraj, Super Commando Dhruv, or Phantom, kids treated their rented comics like treasure. "I remember renting Nagraj and Super Commando Dhruv for Rs 2 a day," says Gaurav Mehra, 38, a banker in Agra. "We had a secret club of sorts in our colony - a bunch of boys would exchange comics every evening after cricket. It was like our own barter system."COUSINS, MATTRESSES & PAPERBACK CONFESSIONS Summer holidays meant sleeping on mattresses lined up in living rooms and whispering storylines late into the night. Books were exchanged like secrets - especially the more "grown-up" ones. Girls, on the other hand, often leaned towards the world of romance and emotion. "Chicken Soup for the Soul felt like it was written just for us," laughs Shweta Kapoor, now 39 and a school teacher in Delhi. "I'd save my pocket money to buy Mills & Boon novels, hide them inside textbooks, and then discuss the stories with my cousins during family vacations."LOCAL LIBRARY LOVE AFFAIRS advertisement Every neighbourhood had that one dusty shop or corner library where kids gathered like bees. These "bookwalas" knew every kid's taste and often doubled as unofficial summer camp Tinkle, Champak, Chacha Chaudhary, and Amar Chitra Katha to Phantom, Mandrake, Archies, and Calvin and Hobbes - comic books offered humor, adventure, and escape. For the more emotionally curious, paperbacks brought in romance, inspiration, and dreamy narratives. Everyone had a favourite character and an emotional bond with their neighborhood book rental guy, who always knew what "just came in."STORY TIME WAS SCREEN-FREEWithout phones or tablets, children of the 90s turned pages, not screens. Sleepovers, train journeys, and power cuts were incomplete without a stack of books to dive into."There was a shop near my nani's house in Kanpur. They'd let me sit and read for hours if I promised to return the comics in good condition," says Rajiv Bansal, 40, now an IT professional. "No Kindle, no apps, but so much joy." More than just entertainment, reading in the 90s was a social experience. Storylines were discussed during sleepovers, cousins argued over who got to read which comic first, and siblings would sometimes hide their books just to tease the EXCHANGE. REPEAT. Books were read, discussed, passed on, and sometimes never returned. This analogue version of Netflix kept the 90s generation entertained, bonded, and era also shaped reading preferences early on. "Those comics actually made me love mythology and Indian folk tales," says Nivedita Iyer, now a children's book author. "They were simple but powerful. I wish more kids today had that connection."ONCE UPON A TIME, BEFORE SMARTPHONESThe comic-book summers of the 90s may be gone, but the memories remain crisp - like the sound of turning a page in a quiet afternoon. It was a time when stories were shared, not mobile phones became smarter and attention spans shorter, these reading rituals faded. Lending libraries shut down, comic book stands vanished, and book exchanges became memories. But for those who grew up in the 90s, the scent of an old comic or the sight of a well-thumbed paperback still sparks something deep and those summer afternoons weren't just about reading - they were about discovery, imagination, and bonding. And for many, they were the beginnings of a lifelong love affair with stories.
Korea Herald
12-06-2025
- Entertainment
- Korea Herald
Three theatrical worlds under one roof
This weekend, theatergoers have a rare opportunity to sample three vastly different stage productions — all playing under one roof at the Sejong Center for the Performing Arts in Seoul: one a time-tested classic with over three decades of history and two freshly premiered works that opened less than a month ago. Unfortunately, none of these productions offer subtitles or translation services, so fully appreciating the performances may be difficult without Korean fluency, particularly given their dialogue- and lyric-heavy nature. "Phantom" The musical "Phantom" by Maury Yeston and Arthur Kopit premiered in 1991, following the blockbuster success of Andrew Lloyd Webber's 'The Phantom of the Opera.' While both works draw inspiration from Gaston Leroux's classic novel, Webber's version became a global phenomenon, overshadowing 'Phantom.' Yet 'Phantom' offers a compelling and distinctive reimagining of the same story, shedding new light on the Phantom's inner world. It's well worth experiencing not only as a point of comparison but also as an example of how a familiar narrative can be transformed through a different artistic lens. In particular, the Korean production of "Phantom," presented by EMK Musical Company, has taken creative liberties to craft its own distinctive interpretation, earning widespread acclaim over the past decade. Now in its fifth and final run, the production returns with powerhouse vocalists Park Hyo-shin, Kai, and Jeon Dong-seok, who bring stirring intensity to the show's vocally and musically demanding score. EMK has confirmed that this season will mark the conclusion of this version. "Phantom" runs at the Sejong Grand Theater until Aug. 11, with no performances on Mondays. Tickets range from 70,000 won to 170,000 won ($51.50 to $125). "The First Great Show" Presented by the Seoul Metropolitan Musical Theatre, 'The First Great Show' is a whimsical and heartfelt homage to Korea's early musical theater. Set in the 1960s, when the idea of a 'musical' was just beginning to take root in Korea, the production follows director Yoo Deok‑han and producer Kim Young‑woong as they attempt to stage the nation's first-ever musical. This fresh, nostalgic production offers laughter and insight into Korea's theatrical origins. Running through June 15 at the Sejong M Theater, the show features a stellar creative team, including director Kim Dong‑yeon. Kim led the original Korean staging of 'Maybe Happy Ending,' which won six awards at the Tony Awards with its Broadway adaptation. Ticket prices range from 60,000 won to 80,000 won. "I'm Nowhere" At the Sejong S Theater, Seoul Metropolitan Theatre's new original, 'I'm Nowhere,' boldly confronts a haunting social reality: the lives of the forgotten. Written and directed by renowned theater-maker Ko Sun-woong, the play is inspired by a newspaper article on 195 unclaimed deaths — individuals who lived and died like ghosts, unnoticed by society. The story centers on a woman who escapes years of domestic violence, sheds her identity, and drifts through the margins of society, only to die alone and become a literal ghost. Through her posthumous gaze, the play explores what it means to be unseen in both life and death. For this play, Ko takes an inventive, meta-theatrical approach, where actors break the fourth wall and openly acknowledge the artifice of theater. The play runs until June 22 except on Mondays. Ticket prices range from 40,000 won to 50,000 won. gypark@
