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London (dpa) – Why was Adolf Hitler the way he was? As simple as the question sounds, even over 80 years after the Nazi dictator's death, an answer remains elusive — and every new attempt to explain it stirs controversy. A new British documentary now aims to shed light on the issue by analysing Hitler’s DNA. Doubts remain about the methods and conclusions, but a lasting fascination surrounding this topic endures nonetheless. The documentary, titled "Hitler’s DNA: Blueprint of a Dictator", claims to identify specific genetic traits in Hitler’s DNA for the first time. Airing in the United Kingdom on Saturday, the documentary is being promoted with the strapline: "For the first time ever, experts identify Hitler’s DNA. What do his genes reveal about Hitler's heritage and origins, his neurology and drives?" The Times newspaper reported in its coverage of the documentary "Hitler's DNA: Blueprint of a Dictator" that Hitler had a hidden genetic sexual disorder. According to British media, the research team behind the documentary suggests that Hitler’s genetic profile shows signs of Kallmann syndrome. This rare condition affects puberty, which may not occur at all or may be incomplete. In boys, this can lead to minimal body hair, a lack of voice deepening and other underdeveloped secondary sexual characteristics. However, drawing conclusions about personality traits from such findings is problematic, as The Guardian has commented. "Some of the insights are scientifically sound and will contribute to historical debate," the newspaper writes, but adds that drawing conclusions about Hitler’s peculiarities remains scientifically questionable. At the same time, attempting to read the destiny of a person from their blood is not dissimilar to the so-called "race science" at the heart of Nazi ideology, the paper comments. The DNA analysis in question reportedly relies on a blood sample taken from a sofa found in Hitler’s Führerbunker after his death on April 30, 1945, and Germany’s defeat in World War II. US troops recovered the sofa, upon which Hitler is believed to have shot himself. The connection to Hitler was supposedly confirmed in 2008, when the blood sample was compared to the DNA of a man who shares paternal ancestry with the dictator. The following information is not intended for publication dpa mj mxx pba wjh xx n1 tay coh

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Paris (tca/dpa) – The French New Wave gets a fresh coat of paint with " Nouvelle Vague ," director Richard Linklater's lovely and loving tribute to the revolutionary film movement and the making of Jean-Luc Godard's "Breathless." Guillaume Marbeck plays Godard as a peerlessly cool, misfit rebel artist who sees the world from behind the lenses of his black wayfarer shades, which never leave his face. He assembles a group of actors and crew members to shoot his masterpiece in the streets of Paris , on the fly, and never more than two takes, causing everyone around him to panic about his perceived carelessness and the idea that he doesn't know what it is he's doing. Among those in his orbit are François Truffaut (Adrien Rouyard), Éric Rohmer (Côme Thieulin), Jacques Rivette ( Jonas Marmy ), Claude Chabrol ( Antoine Besson ) and Agnès Varda (Roxane Rivière), pillars of the burgeoning French New Wave. Zoey Deutch is Jean Seberg , the American actress thrust into the scene, wondering if she's throwing away her life on the whims of the young filmmaker, who was just 30 at the time of "Breathless'" filming. Linklater, working from a script by Holly Gent and Vincent Palmo , employs a light, loose comic tone throughout and captures the youthful energy of the scene, which thumbed its nose at the traditions and conventions of film at the time. It is shot by David Chambille in crisp black and white, emblematic of the era of film it's depicting, and Marbeck's Godard is a warrior for truth, constantly tossing out quotable nuggets ("all you need to make a movie is a girl and a gun," he declares, as if from the heavens) like a scholar of the screen. Further, " Nouvelle Vague " is inviting rather than exclusionary, down-to-earth rather than pretentious. It's a romp for film fans that celebrates the notion that cinema can change the world, 24 frames per second at a time. The following information is not intended for publication tca dpa coh

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In the fictional desert town of Eddington, the pandemic has changed everything. Pedro Pascal, Joaquin Phoenix and Emma Stone star in this tense satire, now streaming on HBO Max after a staggered international cinematic release in recent months. London (dpa) – Known for shocking audiences with horror hits such as "Hereditary" and "Midsommar", and leaving viewers perplexed with his surreal epic "Beau Is Afraid", filmmaker Ari Aster returns with his latest unsettling creation, "Eddington". The film, a chaotic mix of satire, political drama and thriller, stars Joaquin Phoenix and Pedro Pascal as political rivals whose feud spirals out of control during the COVID-19 pandemic. Set in the fictional small town of Eddington, New Mexico, the story follows Joe Cross (Joaquin Phoenix), a plainspoken, unpolished sheriff whose wife Louise (Emma Stone) struggles with mental health issues. Adding to his woes, Joe’s mother-in-law Dawn (Deirdre O’Connell), a lockdown conspiracy theorist, has moved in with the couple, much to his frustration. The town’s charismatic mayor, Ted Garcia (Pedro Pascal), is a single father and a self-aggrandising showman who once had a brief affair with Joe’s wife. Garcia’s plan to build a massive data centre on the outskirts of Eddington, meant to revitalize the local economy, is met with fierce opposition due to its high water and electricity consumption. The tension between the two men soon ignites a political and personal battle. Masks, protests and a town on the brink What begins as private animosity escalates into a full-blown political war. Garcia is a staunch advocate of mask mandates and other COVID-19 restrictions, while Joe, who suffers from asthma, is a vocal opponent. He views such measures as overreach by the government — and by Garcia personally — leading to heated public clashes. Joe decides to run against Garcia for mayor, centring his campaign on opposition to the mask mandate and the data centre project. Meanwhile, unrest brews in Eddington as teenagers organise Black Lives Matter protests, targeting the local police. Ironically, the town’s only Black resident is police officer Michael (Micheal Ward). Into this volatile mix arrives Vernon Peak (Austin Butler), an opportunistic cult leader who captivates Louise. Butler’s portrayal is both darkly entertaining and unnervingly realistic. As tensions boil over, the town descends into chaos, marked by riots and multiple murders. The investigations are hindered by jurisdictional issues and Joe’s unwillingness to work with the opposing side. The violence escalates, leaving Eddington teetering on the brink of collapse. A satirical lens on a divided society While most would rather leave the pandemic in the past, "Eddington" initially uses it as a sharp, satirical backdrop to explore a fractured society. The film opens with biting humour, showcasing a world where common sense has been replaced by perpetual outrage. In one standout scene, Joe is stopped by two out-of-town police officers and ordered to wear a mask while sitting alone in his car in the middle of the desert. Ari Aster spares no one in his depiction of a society in disarray, portraying overwhelmed law enforcement, self-righteous activists, and performative allies, including white teens tearfully apologising for their privilege. He avoids taking sides, presenting his characters as flawed and morally ambiguous. Eddington becomes a microcosm of modern America, poisoned by political hysteria, the influence of social media and personal grievances. It’s a society in freefall, where everyone believes they are right, and no one listens — a heightened reflection of contemporary reality. A story with no winners Joaquin Phoenix delivers another brilliant performance, fully embodying the complex, unlikeable Joe Cross. However, Pedro Pascal and Emma Stone are given less to work with, as their characters are somewhat lacking in depth. Austin Butler stands out as the chillingly magnetic Vernon Peak, while Micheal Ward brings subtlety to his role as the town’s conflicted police officer. Visually, "Eddington" is stunning, thanks to the elegant cinematography of Darius Khondji ("Panic Room", "Midnight in Paris"), which gives the film the atmosphere of a modern Western. But at nearly two and a half hours, the film feels overstuffed, with too many characters and subplots that lead nowhere. Themes like abuse are introduced but left unresolved, adding to the sense of narrative clutter. The film’s dramatic, brilliantly shot climax should be gripping, but by that point, many viewers may feel fatigued by the overwhelming number of unsympathetic characters. In this nightmarish tale, there are no heroes — just a town and its people spiralling toward destruction. Aster’s bold, if flawed, vision "Eddington" is a bold exploration of a society on the brink, blending dark humour and biting satire with moments of pure chaos. However, its sprawling narrative and unrelenting bleakness may leave some viewers frustrated. While not all of Aster’s risks pay off, his ability to craft unsettling, thought-provoking cinema remains undeniable. "Eddington" is now streaming on HBO Max, after getting a staggered international cinematic release in recent months. The following information is not intended for publication dpa pde xx a3 gth

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“The Morning Show” has returns for its fourth season, diving into a world of power plays, deepfakes and shifting loyalties. Jennifer Aniston and Reese Witherspoon lead a star-studded cast through newsroom chaos, corporate intrigue and personal betrayals. Los Angeles (tca/dpa) – After (nearly) four exhausting seasons of “The Morning Show” and countless acts of scandal, betrayal, workplace disaster, criminal activity, questionable journalism and uniformly excellent hair, here is the primary reason that I love this show: the lighting in everyone’s apartment. I mean, yes, I love the cast, and the way nearly every character is not-so-secretly evil, and the irresistible depiction of a chirpy morning talk show as a hellish pit of dysfunction, but seriously … that light. Every apartment on the show, whether it’s Alex Levy’s palatial skybox or Cory Ellison’s vaguely sinister hotel lair or Stella Bak’s arty downtown hideaway, is so dimly and dramatically lit you wonder if they’re about to develop photographs there, or demonstrate a blue light device, or perform an avant-garde opera. Why do all of these very attractive people live in the dark? Are they worried about art conservation? And why does it make me want to turn all my lights down? “Morning Show,” you are a puzzlement, but I can’t stop watching you. So, how to summarize this very uneven yet entirely addictive show, which premiered in 2019 on Apple TV and concludes its fourth season Nov. 19? Well, at its center is a network news program called, not surprisingly, “The Morning Show,” which is a hybrid of “Good Morning America”/”Today”/“CBS Mornings,” and most of the characters work on the show or for its network. Alex (Jennifer Aniston) is the show’s popular co-host whose longtime on-air partner Mitch (Steve Carell) gets fired for sexual misconduct back in Season 1. Bradley Jackson (Reese Witherspoon) is the inexperienced Southern firebrand brought on to replace Mitch. Cory (Billy Crudup) is the network’s CEO (well, he is when the show begins; things change); Stella (Greta Lee) is president of the news division; Mia (Karen Pittman) is an ambitious producer. Other characters hopped on board in later seasons, yet seemed like they were always meant to be there: Jon Hamm as a sleek, ever-smiling tech gazillionaire; Marion Cotillard as the network’s absurdly glamorous new board president; Nicole Beharie as an Olympic athlete-turned-broadcast journalist; Jeremy Irons as Alex’s bombastic nightmare of a father. As the Mitch/#MeToo subplot might indicate, “The Morning Show,” created by Jay Carson, keeps closely tuned to current events. Much of the first season was taken up with Mitch’s angry refusal to acknowledge his own wrongdoing (and a master class from Carell, turning his trademark likability inside-out). Subsequent seasons have touched on, among other topics, the COVID-19 pandemic (Alex livestreamed her own illness), the Jan. 6 fallout (Bradley’s conservative brother was among the protesters), broadcast media’s move to subscription services, and the rise of artificial intelligence, the latter of which proved the downfall of Lee’s wickedly smart Stella. Some of these struck a chord; some were a poor fit. Gugu Mbatha-Raw’s heartbreaking work in the first season, as a staffer dealing with her own victimization from Mitch, felt like it belonged in a more artistically ambitious show. Because here’s the thing: “The Morning Show,” for all its torn-from-headlines ambitions, is just a big messy soap, and it’s at its most fun when it embraces that reality. It’sfunto watch Aniston really leaning in to Alex’s contradictions: how America’s morning-news sweetheart is at heart a stressed-out narcissist and control freak who has a hilarious way of shrieking “This is not happening!” when something happens that she doesn’t like. (Much of the pleasure is that you sense that Aniston is having a blast playing this character.) It’sfunto watch Aniston and Witherspoon and their dueling perfect hair as frenemies, or Aniston and Hamm’s playful, sexy chemistry in Season 3, or Aniston’s sassy screwball banter in the current season with a new dude podcaster character whose name, I kid you not, is Bro Hartman (Boyd Holbrook). You getting the idea that Aniston is the reason to watch this show? She is, no doubt, but Crudup’s oily Cory is an equal pleasure, Witherspoon slyly holds her own despite the series’ writers not knowing what to do with Bradley, Pittman’s Mia seems poised for a terrific showdown in the next episode or two, and I’m still waiting for Cotillard, who’s purring her way through her lines like she’s a cat with a bowl of cream, to get a killer moment. I’m writing this before seeing the final two episodes of Season 4, but I’m delighted that Season 5 hasalready been announced . It’ll be a mess, but a beautifully lit one. The following information is not intended for publication tca dpa coh

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In "Jay Kelly", George Clooney plays an ageing film star plagued by self-doubt, with Adam Sandler as his manager. Clooney assures dpa this role has little to do with his real life. London (dpa) – It's sometimes said that George Clooney tends to play himself – or at least chooses roles that fit his charming image. This is certainly true of "Jay Kelly". In Noah Baumbach’s new film, Clooney plays a film star on a journey of self-discovery in Europe, accompanied by Adam Sandler as his loyal long-time manager, Ron Sukenick. Clooney told dpa that while he is "fully" Jay Kelly, he does not share the character’s problems. Jay Kelly is an old-guard Hollywood idol, "the last of the old movie stars," as Ron says in one scene. So how much of George Clooney is in Jay Kelly? "All of George Clooney is Jay Kelly," the Hollywood star told dpa in London with a laugh. "How much Jay Kelly is in George Clooney is a little different. Look, I don't have the same issues, right? I don't have them." The protagonist of Baumbach’s drama is a charismatic film star, a narcissist who increasingly doubts himself, and must recognise that not only he but also those around him have made sacrifices for his career and fame. His career always came first, ahead of family and friendships. Jay is haunted by the feeling he has disappointed everyone close to him. The loneliness of a Hollywood star He also feels alone. Jay is single and has little contact with his older daughter (Riley Keough). His younger daughter Daisy (Grace Edwards) prefers to go on holiday with friends rather than spend the break with her father. Jay abruptly cancels an important film project to follow Daisy to France and Italy and, for a change, simply mingle with people. With his narcissistic behaviour, the star tests the patience of manager Ron (Sandler) and publicist Liz (Laura Dern). Both have long put their private lives on hold for Jay and do not want to watch him jeopardize his career. But Jay wants to enjoy the trip and put a few things right. The character is quite far from who I really am, Clooney emphasized. "I don't have the kind of regrets that this guy has. I didn't make the kind of sacrifices. My family, at this point, still likes me. My father isn't that guy. I don't have any of those kind of elements. So it was pretty removed from who I am." In the film, theatre and Hollywood veteran Stacy Keach plays the father with whom Jay has a difficult relationship and whose recognition he still seeks. With an invitation to an awards ceremony in Tuscany, Jay wants to try again. But in Italy not everything goes as he hoped. Clooney and Sandler on top form Clooney gives a great performance in a role that suits him best. As a viewer, you quickly succumb to Jay Kelly’s charm. Like many around Jay, you forgive him his faults. When the film star with the winning smile shows his vulnerable side, you cannot help but pity him. There is pity too for Sandler’s Ron, who is the opposite of Jay. While the film star always thought only of himself, Ron neglected his private and family life because he only looked after Jay. "Does none of this mean anything to you?" Ron asks in a key scene. "Because it means something to me. I mean, you're Jay Kelly, but I'm Jay Kelly, too." Sandler once again proves he can do far more than comedy. Some plot elements do not feel entirely thought through, and one scene in particular, in which Jay chases a German handbag thief played by Lars Eidinger, feels somewhat out of place. Overall, though, the film strikes a coherent balance between pointed situational comedy and melancholic moments. An enjoyable and moving road movie Director Noah Baumbach wrote the screenplay with Emily Mortimer. With gentle, sometimes subtle humour and much feeling, their film tells the story of a man who has apparently achieved everything, is loved by millions and yet is lonely. With wonderful images set against the picturesque backdrop of the Tuscan summer, "Jay Kelly" is also an enjoyable and touching road movie. It is a film about transience, remorse and self-discovery, carried by the interplay of a well-matched duo in the lead. "Jay Kelly" is in cinemas for a short time only. From December 5, the Netflix production will be available on the streaming service. The following information is not intended for publication dpa pde xx a3 lif

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The third entry in the magician-heist franchise has moments of charm and wit, but it struggles to conjure enough magic to keep you fully spellbound. Will Rosamund Pike’s globe-trotting accent save the day? Seattle (tca/dpa) – There’s really only one truly magical effect in “Now You See Me: Now You Don’t”: the accent employed by Rosamund Pike, which seems to be traveling the world quicker than the speed of light. As silky villain Veronika Vanderberg, who gets to be evil while wearing a stunning evening gown compete with cape (my favorite kind of movie villain), she goes full Streep and then some — sometimes sounding American Southern, sometimes Eastern European, sometimes British, sometimes … well, I have no idea whatsoever, but it was a rich and glorious journey. Otherwise, what we have here is a fairly uninspired third entry in the “Now You See Me” franchise, about a group of magicians who band together to pull off complicated heists. As franchise ideas go, this isn’t a bad one at all — who doesn’t love magicians and heists? — but it’s got a problem. Magic tricks on screen don’t look like magic tricks, but like camera tricks; movies are, in a sense, already magic, and seeing somebody disappear on screen isn’t remotely as effective as if they’d disappeared live in front of us. So whether the Horsemen — the four original magicians, played by Jesse Eisenberg, Woody Harrelson, Dave Franco and Isla Fisher — are any good at what they do is a moot point, and drains the movie of much of its potential spark. This time around, the Horsemen gain three junior magicians (or, as Veronika calls them, “these horsemen and their leetle stablehands”) played by Justice Smith, Dominic Sessa and Ariana Greenblatt, and tackle a heist involving a tennis-ball-sized diamond, a relatively tame car chase and a French château with an upside-down room. There’s plenty to enjoy: Eisenberg has a lot of scenes in which he wears a hoodie and acts irritable, making me wonder if we’d somehow magically teleported into “The Social Network” (which would have been a nice trick), and I appreciated everyone’s nifty tearaway heist outfits and the fact that a character is named Bosco Le Roy. But ultimately, “Now You See Me: Now You Don’t” is never quite as much fun as you expect it to be, particularly when Pike isn’t on screen. Despite a character intoning that we all “need magic more than ever,” this movie didn’t have enough of it. Here’s hoping any future sequel features Veronika and her mysterious accent, and is called “Now You Hear It, Now You Don’t”; now that’s a franchise I can get behind. The following information is not intended for publication tca dpa coh

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From octopus skewers to asparagus-filled flatbreads, Germany's favourite street food is undergoing some bold – and controversial – transformations. Are these unorthodox twists on the kebab pure culinary creativity or "crimes against döners"? Karlsruhe, Germany (dpa) – Sit down at any German restaurant outside of the country, and chances are that the menu will feature schnitzel, sauerkraut and beer. Yet when asked what their favourite meal is, many Germans would name something else: the döner kebab. This national favourite, originating in Turkey and adapted to fit German tastes, has since appeared abroad in cities like New York, where it's sold as Berlin-style street food. However, not all of Germany's kebab shops stick to the classic mix of shawarma meat roasted on a giant spit, tucked into especially fluffy pita bread with fresh, shredded vegetables and a choice of three sauces: spicy, garlic or yoghurt. In the south-western city of Karlsruhe, it's not meat revolving on the skewer, but a sea creature. Right in the city centre, the Romanian chain Pescobar is now serving an octopus döner, complete with visible tentacles and suckers, compressed into the shape of a döner skewer. Founder Paul Nicolau describes his creation as "fresher, healthier, and yet not completely unfamiliar." He has already established the concept in London – now he is testing the German market. Like a traditional döner, his cephalopod creation is marinated and roasted on the skewer, then sliced off and seasoned on a grill plate. Simply add salad, radishes, cucumbers and aioli in flatbread and it's ready: It's not so different in appearance from a traditional döner, but the taste is more reminiscent of the Mediterranean than the Bosphorus. Criticism from animal rights activists While the queue at the central Karlsruhe branch was long in the days following the premiere, opinions are divided online. Some rave about the seafood taste, while others point to the intelligence of octopuses – or the hefty price of €14 ($16.20). According to Nicolau, between 300 and 400 of the special döners are sold per branch per day. He says he imports the sea creatures from Mauritania, Morocco and Senegal. In his London branches and also in Karlsruhe, his team also sells wraps and hotdogs – with tentacles instead of sausages. But why an octopus döner of all things? "It's a fast food that is known and loved in Germany. So, the temptation to try it is not so foreign," said Nicolau. Not Germany's first kebab experiment The octopus döner isn't Germany's first case of a kebab ingredient being turned into a culinary controversy. Last year at the start of asparagus season, a Berlin kebab shop began selling the Spargeldöner Beelitzer Art ("Asparagus döner, Beelitz style"), named after the Beelitz region near Berlin, famed for its asparagus crop. It's not the only kebab shop doing so, and others in Germany have also dared experiment with white asparagus – the superior variety according to most Germans. Order it from the menu, and you'll get an entirely different kebab: white asparagus with grilled beef, lamb's lettuce, hollandaise sauce, strawberry and ginger jam and wild garlic mayonnaise, all served up in the unfamiliar environment of crunchy döner flatbread. All this is a far cry from the classic döner combination of meat, salad, cabbage, onions and a garlic or herb sauce. The German-style ingredients combine to form a rather juicy result – and tackling it requires a small stack of napkins. 'Crimes against döners ' In 2023, German tabloid Bild caused a frenzy with a report on Christmas dinner-themed kebab that added the hearty German winter staple of red cabbage and stuffing, with Christmas spices, orange juice and cooked apple. Detractors on social media have condemned inventions like these as "dönerverbrechen" – crimes against döners. Others reluctantly admit that they can also taste pretty good. Unorthodox kebabs like these are part of the reason why Turkey’s International Döner Association Udofed applied to add döner kebab to the European Union’s list of “guaranteed traditional specialities.” German hospitality associations and meat producers were alarmed and, with the support of the German government, lodged objections to the initiative. The association withdrew its application in September after more than three years of dispute. Had the Turkish association succeeded, döner skewers across the European Union would have had to be produced under strict, uniform rules. For now, however, döner makers are free to continue their experimentation with octopus, asparagus, Christmas spices and whatever else they come up with. The following information is not intended for publication dpa mov bak scr tay xxde wjh hm coh mew

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First it makes a mess of your car, then the cat chokes on a decoration, only for the tree to dry out by Christmas Eve. There's a lot that can go wrong with a Christmas tree – unless you know what to look out for. Berlin (dpa) – As jolly as bringing home a Christmas tree should be, there are plenty of ways it can go wrong. Getting your tree from the lot to the living room is both an art and a science. Here are five tips on avoiding common Christmas trees mishaps, from keeping it fresh and decorating it safely to giving it new life when the season is over. 1. Don't assume a fake tree is better for the environment Artificial trees promise convenience and less mess, but most are made from non-recyclable plastics and may contain harmful substances. Many only last a few years before looking shabby and ending up in landfill. Studies have found problematic chemicals in some artificial trees, including substances that can affect health and the environment. Real trees are better for the climate while they grow, absorbing CO2 and supporting local ecosystems. For the lowest impact, choose a locally grown, organically certified tree. Potted trees sound appealing, but unless the root ball is substantial and undamaged, most won’t survive long after Christmas. 2. Don't get sap and needles all over your car Nothing says “bah, humbug” like a Christmas tree mishap on the road. A tree that’s not properly secured in or on your car can turn into a dangerous projectile in an accident. Before you buy, make sure your tree can be netted to keep branches compact and minimize the mess of pine needles, insects and sap. Bring along blankets to protect your car’s interior and sturdy straps for tying down your tree. If your tree fits inside your car, fold down the back seats and wrap the tree in a blanket, trunk facing forward against the passenger seat. Secure it with straps to the car’s lashing points, and never let the trunk poke between the front seats. If it sticks out more than a metre, mark it with a red flag or warning light, especially in the dark. Transporting on the roof? Only use a proper rack and tie the tree tightly, trunk forward, with a blanket underneath to prevent scratches. Keep branches from sticking out and cover the tree with a tarp to prevent it drying out in the wind. Cyclists: stick to short trees, use a trailer or cargo bike, and never try to balance a tree under your arm or tie it sideways. 3. Don't let your tree dry out by Christmas Day Nobody wants a brown, needle-dropping tree before Christmas morning. Whether your tree is potted or cut, avoid placing it near radiators or other heat sources. If you have underfloor heating, set the tree on a pedestal to reduce drying from below. Even after it’s been cut, your tree still drinks up water – one to two litres per day, even for small trees – so make sure your stand is always topped up with cool tap or rainwater. Avoid sharp cuts to the trunk and skip additives like flower food or sugar; plain water is best. 4. Don't let it kill your pet Cats and dogs see Christmas trees as the ultimate playground, but baubles and tinsel can spell trouble. Glass ornaments can shatter and injure curious paws, so you may want to opt for pet-proof plastic decorations. Tinsel, while festive, is especially hazardous if swallowed, as it can cause life-threatening intestinal blockages. Before decorating, consider your pet and avoid anything that might double as a tempting toy. 5. Don't let it go to waste after Christmas When the festivities are over, don’t just throw your tree out with the rubbish. If you bought a tree with a healthy root ball, you can keep it in a cool, sheltered place until the risk of frost passes, then plant it in your garden for years of enjoyment. For cut trees, there are plenty of ways to help your garden. Place branches over sensitive plants for winter protection, or use fallen needles to create humus for acid-loving plants. Shred the tree for mulch, use branches as climbing supports, or lay pine needles around rose beds to repel slugs and snails. The following information is not intended for publication dpa coh mew

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More than 40 years ago, Stephen King wrote a story about a deadly game show playing out in a dystopian world – in the year 2025. Now, "The Running Man" is heading to the big screen (again) with the help of Edgar Wright. Expect action-packed material and food for thought. Los Angeles (dpa) – A new adaptation of Stephen King’s 1982 novel "The Running Man", published under his pen name Richard Bachman and set in a dystopian America in 2025, is returning to screens with spectacular action entertainment and a disturbingly timely message. Fifty years ago, the master of horror came up a story that he eventually published in 1982 as "The Running Man", albeit under the pseudonym Richard Bachman. The fresh adaptation owes much to the signature directing style of Edgar Wright, of "Shaun of the Dead" and "Baby Driver" fame, and to a star-studded cast featuring Glen Powell, Josh Brolin, Colman Domingo, Lee Pace, Michael Cera and Emilia Jones. Glen Powell as a new action star For Powell, after films such as "Anyone But You", "Top Gun: Maverick" and "Twisters", this is his biggest action role to date, propelling him up the Hollywood ladder. He plays Ben Richards, a man desperately trying to raise money for his sick daughter’s care in a society deeply divided between rich and poor. His last hope is a deadly game show with a large cash prize. In the hit show "The Running Man", contestants must run for their lives for 30 days while professional killers hunt them down. Their fight for survival is broadcast live to an enthralled audience nationwide, and the prize money rises with each day they survive. To maximize ratings, the show is manipulated by slick producer Dan Killian (Brolin). Usually the brutal game ends with the runner’s death, but Richards fights bravely and cleverly against the hunters, and gradually wins over the usually bloodthirsty viewers. "There's something about this guy who's an ordinary guy who's feeling cheated by a rigged system," Powell told dpa. "The system is built to crush people that are trying to do their best, to provide for their families. And this is a guy who's fighting against that system." "The Running Man" is a true burst of adrenaline, with Richards constantly on the move. The stunts were pretty tough, Powell said with a wink, admitting he had to take a few knocks. One eye-catching scene sees him abseil down a building facade wearing only a towel. The actor shows off his muscles, but he's by no means matching the old Ben Richards character from the first "Running Man" film in 1987. And that's a good thing. Schwarzenegger paved the way Powell has big shoes to fill. After all no less than "Terminator" star Arnold Schwarzenegger played the character with massive muscle power. Back then, his character turned into a policeman who, framed by a conspiracy, is wrongly branded a criminal and hopes for freedom in return for taking part in the murderous game show. Directed by Paul Michael Glaser, the 1987 film diverged sharply from King’s source material. Its only setting was a combat arena, where Richards dispatched his pursuers in just one round. By contrast, Edgar Wright’s "Running Man" hews closely to the novel. The hunt in the dystopian world stretches over 30 days. The runners race through a divided futuristic nation of slums, abandoned residential districts and high-tech cities. Meanwhile, a powerful TV network keeps viewers glued to their screens with brutal game shows of every kind, and whips people up against the contestants with propaganda and lies. Alarming vision The things that King predicted in his book, including deepfakes (AI-generated videos that look real but are in fact manipulated), are "quite alarming," the director told dpa. "Dystopian fiction generally is presenting you with a warning," he noted, explaining that he read the novel with great enthusiasm as a teenager around 1988. "But also, I think, it is an entertaining action film," Wright said. "Its job is to hold a funhouse mirror up to reality." This director certainly knows how to lighten a dark story with witty touches. He got Schwarzenegger's blessing to print a photo of the former action star on $100 bills. In a "retro-futuristic" detail, he also weaves videotapes in the film, as a homage to the book’s 1980s publication. The runners must record a piece each day with an old video camera and send it to the game show’s producers as proof. Josh Brolin – perhaps best known for his role in another sci-fi adaptation, "Dune" – plays the at-first-charming, perfectly groomed producer who, in Brolin’s words, hides "the worst dark side of us". He manipulates and controls the masses, like in an authoritarian system. Powell is amazed at King’s foresight in writing "The Running Man" more than 40 years ago. "So much of what he wrote has come true, unfortunately. And the world that Ben Richards occupies is eerily similar to ours." His advice to audiences: have fun with the film and look around you. "It really makes you think, which I don't think a lot of action movies really do this these days." The makers have received high-profile support from King. (The author distanced himself from the earlier Schwarzenegger version because it hardly resembled the source material.) The 78-year-old wrote on X that the new film was fantastic and drew a comparison with the action hit "Die Hard", which became a box-office smash in 1988 and made Bruce Willis a star. The following information is not intended for publication dpa mub xx a3 lif

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

Berlin (dpa) – A hollow sound when you knock on a pumpkin tells you it's ripe and ready to eat. Another sign to look for is a stem that is dry, woody and brownish, with no liquid seeping out when pressed. Once you've checked your pumpkin is ripe and ready, it's time to make perhaps the heartiest thing you can use it for: a creamy soup. The Hokkaido variety is particularly handy since it does not need to be peeled (the thin skin softens during cooking). Pumpkin soup with bac on and pumpkin seed pesto Ingredients: 600 g Hokkaido pumpkin 300 g swede 200 g potatoes 2 onions 2 cloves of garlic 8 g ginger 2 bay leaves olive oil sea salt 200 ml dry white wine 1 bunch parsley 1 tbsp pumpkin seed paste 2 tbsp lemon juice 3 tbsp Parmesan 150 ml cloudy apple juice 1 tbsp honey 1/2 tsp cayenne pepper 4 slices bacon 1 tbsp pumpkin seeds Method: Wash and dry the pumpkin, remove stalk and seeds, then roughly dice. Peel and roughly dice the swede, potatoes, onions, garlic and ginger. Sauté the onions, ginger and half the garlic with the bay leaves in 4 tbsp olive oil in a large pot until golden brown. Add the diced pumpkin, swede and potatoes and continue to sauté all over for about 8 minutes. Add 1 tsp salt, deglaze with white wine and pour in about 600 ml water. Bring to the boil, then simmer gently with the lid on for about 25 minutes until the vegetables are tender. Meanwhile make the pumpkin seed pesto: wash and shake dry the parsley, pick off the leaves and blend finely with the remaining garlic, 100 ml olive oil, pumpkin seed paste, 1/2 tsp salt, lemon juice and Parmesan. Remove the bay leaves from the soup. Blend the soup finely with 150 ml apple juice and season with salt, honey, cayenne pepper and a little lemon juice. Add a little more liquid if needed. Fry the bacon in a pan without oil until crisp. Divide the pumpkin soup among bowls and serve with pumpkin seed pesto, pumpkin seeds and bacon. The following information is not intended for publication dpa/tmn cwg yyzz n1 av coh

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)