Premier League reaction: Are Manchester United in crisis? – Live – BBC Sport

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Multiple strong earthquakes have killed at least a dozen people on the Indonesian islands of Lombok and Sumbawa as the region tried to recover from a quake earlier this month that killed hundreds of people.

A shallow magnitude-6.9 quake that hit at 10pm local time (14:00 GMT) was one of several powerful earthquakes on Sunday in the northeast of Lombok that also caused landslides and was followed by strong aftershocks.

At least 10 people on Lombok and Sumbawa island were killed by collapsing buildings or heart attacks, according to National Disaster Mitigation Agency spokesperson Sutopo Purwo Nugroho, who added that at least 24 people were also injured.

Power was out across Lombok after the quake, making it difficult to assess the extent of the damage, Nugroho said earlier. At least seven aftershocks were recorded.

More than 1,800 homes were damaged, at least half of them severely, he said. Two people died earlier on Sunday on Lombok during a magnitude 6.3 quake.

Map of the testimonies received so far following the #earthquake M5.2 in Lombok Region, Indonesia 40 min ago pic.twitter.com/x8vLma4pIa

— EMSC (@LastQuake) August 20, 2018

The swarm of quakes caused panic in Sembalun subdistrict on Lombok in the shadow of Mount Rinjani, but many people were already staying in tents after the deadly jolt in early August and its hundreds of aftershocks.

“People panicked and scattered,” said Nugroho. “Some people are hysterical because they feel earthquake aftershocks that are harder than before. They heard a roar that probably came from landslides in the hills and Mount Rinjani.”

Aftershocks ranging between magnitude 4 and 5 were continuing on Monday morning and access to some areas had been cut off by landslides triggered by the tremors, according to officials in Mataram, Lombok’s main city.

“The population feels like it’s had the rug pulled from under them with this new quake,” said Caroline Haga, humanitarian & emergency communications specialist with the Red Cross.

Sunday night’s tremor occurred on a different fault and was not an aftershock of the magnitude-7 quake on August 5 that killed 460 people, damaged tens of thousands of homes and displaced more than 350,000 people.

Authorities estimate that the August 5 earthquake caused five trillion rupiahs ($348m) of damage on Lombok.

Quakes earlier on Sunday caused landslides on Rinjani, an active volcano.

Rinjani has been closed to visitors following a July earthquake that killed 16 people, triggered landslides and stranded hundreds of tourists on the mountain. 

Indonesia, a sprawling archipelago that straddles the so-called Pacific “Ring of Fire” in the Pacific Ocean, is prone to earthquakes and volcanic eruptions.

In 2004, a tsunami triggered by a magnitude 9.3 undersea earthquake off the coast of Sumatra, in western Indonesia, killed 220,000 people in countries around the Indian Ocean, including 168,000 in Indonesia.

As far as classic Bond cars go, few are as iconic as the Aston Martin DB5.

Not only was it memorable in its first appearance in Goldfinger, but played a subsequent role in Thunderball and GoldenEye, and most recently in Skyfall and Spectre. 

Now the DB5, based on the 1964 original, is set to be remade in a collaboration between Aston Martin and EON Productions, who produce the James Bond films.

Dubbed the Goldfinger DB5 continuation edition, 25 of the cars will be manufactured for the public. The car comes with functioning gadgets, including yes, those revolving number plates. 

No word on the machine guns or ejector seat, however.

Under the hood is a straight-six, 3995cc engine with 282 bhp of power, and a top speed of 148 mph. Getting from 0 to 60 mph takes 7.1 seconds. 

“The connection between Aston Martin and James Bond is something of which we are very proud and it is remarkable that the DB5 remains the definitive James Bond car after so many years,” Andy Palmer, President and CEO of Aston Martin, said in a statement. 

“To own an Aston Martin has long been an aspiration for James Bond fans, but to own a Silver Birch DB5, complete with gadgets and built to the highest standards in the very same factory as the original James Bond cars? Well, that is surely the ultimate collectors’ fantasy.”

As they say, if you have to ask how much it costs, you probably can’t afford it. Each DB5 will cost £2.75m ($3.5 million) plus taxes, and delivery will begin in 2020. 

We’ll just keep on dreaming then.

Associated Press

Published 2:29 a.m. ET Aug. 20, 2018

Kenny Miller’s seven-week tenure as Livingston player-manager is over.

Miller only took the position at the West Lothian club at the end of June after succeeding David Hopkin, who led them back to the Premiership.

A club statement said they “have amicably agreed to part company” with the former Rangers striker, 38, after talks over the weekend.

The club “felt the player-manager role wasn’t working” and wanted Miller “to revert to a full-time manager’s role”.

“Kenny however feels that he isn’t ready to give up his football career at this time,” it added.

“As a result the club and Kenny have amicably agreed to part company.

“Livingston Football Club would like to thank Kenny for his honesty and openness, and wish him well for the future.”

The newly-promoted side finished top of their League Cup section; beating Airdrieonians, Annan Athletic and Berwick Rangers, and winning a penalty shoot-out with Hamilton Academical.

After losing to champions Celtic in their first Premiership game of the season, they picked up their first point in a goalless draw with Kilmarnock, before losing to Motherwell in the second round of the League Cup on Saturday.

More to follow.

Several gunshots were fired from a vehicle at the United States embassy in the Turkish capital, Ankara, on Monday, hitting a window in a security cabin but causing no casualties, police reported.

The attack coincided with a deepening row between Ankara and Washington over the trial of a US pastor in Turkey.

A police officer told Reuters news agency at the scene the drive-by shooting occurred around 5am (02:00 GMT) and that nobody was hurt.

The embassy was set to be closed this week for a public holiday to mark the Eid al-Adha festival.

Police teams were searching for the assailants, who fled in a white car after the attack, private news channel CNN Turk said. Four or five gunshots were heard, it reported.

Broadcaster Haberturk showed police teams inspecting one of the entrances to the embassy and apparent damage caused by a gunshot could be seen in one window.

It said empty cartridges were found at the scene.

Ties between Ankara and Washington have been strained over the case of an imprisoned US pastor Andrew Brunson, leading the US to impose sanctions and increased tariffs that sent the Turkish lira tumbling last week.

The US embassy in Ankara and the consulate in Istanbul have been the targets of attacks and have faced numerous security threats in the past.

A gleefully gory and intentionally galling middle-finger of a midnight movie, Puppet Master: The Littlest Reich reimagines the cult killer-doll franchise with dramatically increased bloodlust and a Troma provocateur’s mean-spirited edge. It’s so exaggeratedly offensive that it feels like flat-out dangerous filmmaking in 2018.

Executive-produced by prolific B-movie maestro Charles Band and directed by Sonny Laguna and Tommy Wiklund, The Littlest Reich finds the puppets returning with a vengeance: among them crafty ringleader Blade, pyromaniacal Torch (renamed “The Kaiser” for this latest outing), and hard-charging Tunneler. But for the first time, we see the series’ protagonist, puppet master André Toulon, as an evil Nazi, as opposed to his usual role of fighting against the Third Reich.

As such, when The Littlest Reich’s lethal toys spring to life at a convention honoring their creator, the folks earmarked for execution include a yarmulke-wearing curio collector, a young gay man, and in one of the movie’s most unapologetically indefensible scenes, a pregnant black woman.

Such politically incorrect carnage is a far cry from Band’s previous Puppet Master films, all gruesomely goofy direct-to-video joints that occupied a genre sweet spot between camp and creep. As the largest-scale Puppet Master movie to date and the first to premiere in theaters, The Littlest Reich, and its sadistic, button-pushing sensibilities certainly raise some questions.

So EW turned to Band for answers, sitting down with the 66-year-old schlockmeister at his Full Moon Features offices to discuss Puppet Master’s new blood. “It’s not a movie that I would have made,” he acknowledges. And that was precisely the point.

ENTERTAINMENT WEEKLY: You’ve been the architect of the Puppet Master franchise for almost 30 years, and relatively hands-on with every installment, even directing the last two. For The Littlest Reich, though, you licensed rights to Cinestate and its co-founder Dallas Sonnier, with the idea that they’d provide a new take on the property. What’s that been like for you?
CHARLES BAND: You know, it’s cool that we’ve been able to license the rights to make a different version of Puppet Master, someone else’s vision of what that movie, what that whole story could wind up being. It’s almost like a bizarro world where you’ve got what we’ve been doing since 1990 — so 28 years of making now 11 Puppet Masters — and now we have Cinestate, with their Puppet Master: The Littlest Reich, which is just a whole different departure. The puppets look a little different. They’re a little meaner and more twisted, and I think it’s even more of an exploitation movie than movies I’ve made. It’s that gonzo.

I have to ask about the content of the new movie. It flips your puppets from being essentially Holocaust survivors to being Nazis carrying out hate crimes.
Terrible, terrible. [Laughs]

It’s a pretty big shift! How do you feel about Cinestate’s new vision?
I’ve made almost 300 movies, and a lot of them involve puppets and dolls; even though there’ve been some really evil puppets and dolls, I think at their core my movies are a little less mean-spirited. I usually turn the puppets good, so in our Puppet Master franchise, they are kind of the good guys. Not at all the case in this Puppet Master: The Littlest Reich.

You’ve got to go back to what exploitation movies were 40-50 years ago. I mean, it’s hard today. There’s so much out there. We’re so jaded. I mean, television news, when something bad happens, it’s worse than most horror movies I’ve ever made: decapitations and terrorism. And, you know, what do you do to an audience that has seen it all, to get them talking? What [Cinestate] has done is gone full-on exploitation. They’ve got something going there, where there is going to be controversy. There are going to be people pissed off. I’ve read some of the reviews, and some people dig it, and some people think it’s terrible.

I mean, listen, Nazi puppets… Nazis were bad. [Laughs] Maybe ultimately I’m the one who made a mistake by making [the puppets] kind of good in my series, where they’re killing Nazis. A Nazi puppet, by virtue of what it is, is a bad, bigoted, nasty puppet. So I think the two series can live side-by-side.

So you see The Littlest Reich as being more of a spin-off, or a side series, instead of you passing the mantle?
Oh, for sure. Whether it continues is up to Cinestate, what they do, but I was very careful with Dallas — who’s a great guy and owns Cinestate — in making sure that’s a separate Puppet Master franchise. That’s why the puppets look different. In a more traditional deal with a studio, you kind of sign your rights away. I will continue to make my Puppet Master movies with the puppets as we know them and new puppets. And he, if he chooses to, will continue to make those Puppet Master movies. He wants to do another Full Moon reboot, so it looks like we’ll be doing Castlefreak, which is right up their alley. Even under our production, it was one of the darker ones for us, and they want to go further.

You’re talking about it as essentially a darker, alt-universe Puppet Master rather than a reboot.
I wouldn’t have done it otherwise. The offers I had over the past four to five years on Puppet Master — and one was significant — were, “We’ll give you this money and take over the franchise. We’re going to use essentially your designs, to make a bigger-budgeted Puppet Master, and you’re essentially out of the Puppet Master business.” And I said, “I can’t do that. I won’t.” Money is good, and life is sometimes not easy for independent filmmakers. But you can’t take a 28-year-old franchise and just give it away. That’s why the deal with Dallas made sense.

With The Littlest Reich coming out, do you feel pressure to capitalize on the publicity and make another one of your Puppet Master movies, to reassert your vision side-by-side with theirs?
I mean, I’ve made a lot. And I made one that was literally released last year [Puppet Master: Axis Termination], which I’m very proud of, this beautiful continuation of a trilogy we were doing. I’ll make another soon, but not right now.

It makes sense to give yourself a breather and see how The Littlest Reich does.
Well, that’s independent. It doesn’t really matter. I have a feeling it’s going to do well enough, because it’s just controversial and nasty enough, and people love gore. I’m also not personally a big gore fan. I’ve never made a torture-horror movie. Those aren’t my thing. I’ve never really made a slasher movie. Never made an erotic thriller. The idea of a monster chopping up a girl is kind of explicitly, well, you know. And then people have sex? That was a terrible genre, in my opinion. So we’ll see how their thing does, but it’s separate from what my next Puppet Master will be. It’s two different worlds.

My feeling is, no matter how the audience reacts, for people who are young enough or not familiar, they may look or be interested to see this one. They’ll be like, “Oh, this is cool,” or, “This kind of sucks,” but hopefully they’ll then check some of the other Puppet Master movies out.

Puppet Master has always been this iconic direct-to-video franchise, but obviously video stores have gone the way of the dinosaur over the past decade. How has Full Moon adapted to that?
People grew up with that franchise. We were lucky that we were one of the most successful independents [back in the ’90s]. We tried to put out a movie every month, so people would say, “Oh, there’s a new Full Moon movie.” You know, Puppet Master movies and before that Subspecies, Demonic Toys, Ghoulies, Re-Animator, From Beyond, an endless amount of low-budget fantasy fare. And that’s what we’re still doing. And the universe is expanding. The local video store is gone. So we put a lot of effort into our Full Moon channel we’ve had on Amazon for two years, and it’s doing really well. It’s about finding those people again, saying, “Hey, you can’t go to your local video, because it’s a laundromat today or whatever, but for $6.99 a month, you can watch everything Full Moon’s ever made.” It’s our new video-store. It’s like my life’s work for $6.99. [Laughs]

You were a pioneering low-budget filmmaker even back in the ’80s and ’90s, and horror has seen huge success with micro-budgeted movies recently. What led you to focus on low-cost fare?
First and foremost, this is my business. This is not just me raising money from friends. If it works, great; if not, everyone loses money. If you’re going to survive in the business, yes, there are always limitations. People have said to me over the years, “If you had a big budget, this would have been a huge movie, because the premise was cool.” But you do the best you can. You try to stretch the dollars and try to put more value on the screen. And that’s a genre and a loose budget range I’m comfortable with. I have some friends who worked for me years ago, and now they’re superstars in their mainstream world. They make lots of money, but they also sit around sometimes for two years to wait for the next gig. So here, at least, even though we have tiny budgets compared to major studios, something makes sense, we dream it up, and 60 days later we’re in preproduction.

Did the original Puppet Master go theatrical?
It did not. People think it did. The real hat trick, back in the great days of direct-to-DVD, was to create a campaign and a title that felt like you missed it theatrically. So when you’d go to your video store, you’d be like, “Oh yeah, I must have missed that.” And that’s hard to do. It’s the title, the poster, the vibe. If you could bottle that and do that every time, you would. But we did quite a few of those. It’s a bit of a magic trick.

There’s some question as to whether you’re the most prolific horror filmmaker of all time. Care to weigh in?
Roger Corman is a friend; he was definitely a prolific filmmaker in his time, but he made all genres, and a lot of his movies he acquired. The ones he directed were really good. But I guess I am leaps and bounds the most prolific horror filmmaker. It’s a little under 300 that I’ve produced. I directed 50 or 60 movies, but with a few exceptions even out of those 300, they’re all my concepts, my story ideas, my titles, my art concepts. They’ve come from the shop, for better or for worse. I should go to Guinness.

Gareth Bale scored as Real Madrid started La Liga life without Cristiano Ronaldo and Zinedine Zidane with a comfortable win over Getafe.

Dani Carvajal headed in Real’s opening league goal under Julen Lopetegui after Bale’s cross was punched to him by goalkeeper David Soria.

Bale hit the bar with a diving header before turning home Marco Asensio’s cross to wrap up the win.

Asensio hit the post in the second half as Real cruised without adding a third.

Getafe’s only shot on target came in injury time, when Angel’s volley was easily held by Keylor Navas. The Costa Rican started instead of Thibaut Courtois, with the summer signing from Chelsea an unused substitute.

Real lost 4-2 in extra time to Atletico Madrid in Wednesday’s Uefa Super Cup in Tallinn. That was their first competitive match since their all-time top scorer Ronaldo joined Juventus for £99m and boss Zidane left after winning a third consecutive Champions League.

But they started their La Liga campaign with a straightforward win in another Madrid derby.

With no replacement signed for Ronaldo, Asensio, Bale and Karim Benzema started up front and they could have scored more – despite having just three shots on target.

Image: ANGELA WEISS/AFP/Getty Images

Asia Argento, an Italian actress and director at the forefront of the #MeToo movement, reportedly paid off a sexual assault accuser.

The New York Times reports Argento paid $380,000 to 22-year-old actor Jimmy Bennett, after he claimed that he was sexually assaulted by her in a California hotel room.

The claim dates back to when Bennett was only two months past his 17th birthday, while Argento was 37. The age of consent in California is 18. 

Both appeared in the 2004 film The Heart Is Deceitful Above All Things, where they played mother and son. 

Argento became one of the leading figures in the #MeToo movement after she spoke out against Harvey Weinstein, just one of more than 80 women who accused the producer of sexual abuse, including rape, assault, and harassment.

Shortly after those revelations broke in October last year, in November, Bennett’s lawyers sent a notice of intent to sue to Richard Hofstetter, lawyer for the late Anthony Bourdain, who was also representing Argento at the time. The claim alleges the incident had hindered the actor’s mental health, plus his work and income. 

The initial demand sought $3.5 million in damages for what the Times describes as “the intentional infliction of emotional distress, lost wages, assault and battery.” Bennett, through his lawyer, did not wish to respond immediately to the report when contacted by Mashable. 

Argento’s lawyer and agent have been contacted for comment.