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For medieval court chefs, the holidays could be a royal pain. If a bloke’s culinary creations displeased, it might just be off with his head! Luckily, the jumpy cook in Sainsbury’s holiday ad, dropping today across the U.K., can rely on the supermarket chain for a timely assist.
Wieden+Kennedy London and director Tim Godsall created the spot, which features Alison Hammond of ITV’s This Morning as a diva countess, a fairy-tale voiceover from comedy legend Stephen Fry, an angry ogre, wacky wigs, a talking crow, and, briefly, a dragon, which, as we all know, makes everything chill:
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Phew! Thanks to Sainsbury’s, dude’s caramelized biscuit pudding pleased Her Excellency. For a minute there, we thought she’d go medieval on his ass.
Both her enraptured response to the dessert—”That’s a bit of me!”—and the spot’s title, “Once Upon a Pud,” sound kind of kinky to American ears. But Brits will dig the slang, and there’s lots of laughs, plus that rad dragon and a symphonic version of the Wheatus indie-rock staple “Teenage Dirtbag.” So, what’s not to like?
To quote another salient line from the countess: “Well done, Babs!”
“Food plays a central role in any celebration, and we wanted to bring to life the imagination and innovation that goes into creating our ‘Taste the Difference’ Christmas range,” says Sainsbury’s head of campaigns Laura Boothby. “We also wanted the ad to provide some fun and lighthearted Christmas cheer.”
She adds: “We’ve focused on the Christmas pudding specifically because we know it’s divisive—people love it or they hate it—and that’s why we’ve created the Taste the Difference Caramelized Biscuit Pudding. Pudding lovers can still opt for the traditional dessert, but those who aren’t fans can try our innovative take on the classic instead.”
And so, U.K. holiday ad season begins. (Sainsbury’s rival Asda just unboxed this funny package—starring Buddy the Elf!). Festive spots are a big deal across the pond, akin to U.S. Super Bowl campaigns, with brands like Sainsbury’s, John Lewis, Boots and Marks & Spencer annually battling it out for seasonal supremacy.
Sainsbury’s has authored several memorable holiday messages involving trips to the past. In 2019, the brand traveled to 1869 for a Dickensian romp. And its 2014 story of a Christmas Day soccer match between enemy soldiers during World War I ranks as a timeless treasure, regarded by some as the greatest yuletide commercial of all time.
Client: Sainsbury’s
Project Name: Once Upon a Pudding
Synopsis: Sainsbury’s Taste the Difference 2022 Christmas Campaign
Media Channels: TV, Social, Digital
Client Name: Sainsbury’s
Markets: UK
Agency: W+K LONDON
Creative Directors: Freddy Taylor & Philippa Beaumont, Juan Sevilla & Joe de Souza
Executive Creative Director: Susan Hoffman
Group Account Director: Ollie Pym
Account Director: Hazel Mc Partlan
Account Manager: Sophie Grierson
Chief Strategy Officer: Dan Hill
Strategy Director: Georgia Challis
Planner: Ollie Chakraverty
Comms Planner: Calvin Lyon
Heads of Production: Rich Adkins, Amy Leach
Producer: Sahar Bluck
Production Assistant: Lea Georgiev
Project Director: Mark D’abero
Agency Artworker: David Brodie
Design Directors: Phil Rosier, Alex Thursby-Pelham
Designer: Emma Cope
Head of Business Affairs: Helena Tomas
Business Affairs Manager: Jo Woodfood
Business Affairs Coordinator: Lenya James
Production Company: Anonymous Content
Director: Tim Godsall
Executive Producer / Managing Director: Victoria Fitzwilliams
Production Company Producer: Stephen Johnson
Production Manager: Marian Mikhail
Director of Photography: Stephen Keith Roach
Production Designer: Chris Oddy
Costume Designer: Sophie O’Neil
Food Styling: Katie Giovanni
Editorial Company: Final Cut
Editor: Rick Russell
Edit Assistant: Josh Chadwick
Edit Producer: Nikki Porter
VFX Company: Time Based Arts
VFX Head of Production: Josh Robinson
VFX Producer: Mia Saunders + Sian Jenkins
2D Lead: Thiago Dantas
2D Artist: Valeria Scalamandre
2D Artist: Sarah Breakwell
2D Artist: Ria Shroff
2D Artist: David Birkhill
2D Artist: Oliver Ramsey
3D Lead: Mike Battcock
3D Artist: Nick Smalley
3D Artist: Quentin Corker-Marin
Colourist: Lewis Crossfield
Colour Asst.: Sharn Talbot + Max Ferguson Hook
Sound Company: 750mph
Sound Designer: Sam Ashwell + Michalis Anthis
Sound Producer: Olivia Ray + Aishah Amodu
Music Production: Mr Pape
Performer & Producer: Joseph Alexander
Composer: Brendan B. Brown
Music Licensing: 20 Below
Music Supervision: Emily Pritchard
Hero Talent Casting: Talent Republic
CEO: Anne Batz
Managing Partner: Charlie Powell
Senior Account Executive: Ella Barker
Researcher: Louise Urwin
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Caleb Rubin, Epitaph, EQ Bank, Mike Rumble
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Trickfish Bullhead Mini 500 and Mini 112 Cab review  Guitar World
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Theatre Royal, Glasgow
Deborah Colker’s staging of the Argentinian composer’s tale of the poet Lorca is clever and effective, with Scottish Opera’s orchestra capturing the musical colours and the score’s collage of influences
At the turn of the millennium Argentine composer Osvaldo Golijov was one of the biggest names in contemporary classical music; his eclectic melding of influences – everything from Klezmer to Latin dance rhythms and electronica giving his music a popular appeal unheard of for most living composers. But it’s more than a decade since he has produced anything of note, his creativity largely silenced by personal issues, yet the popularity of those early works remains.
His opera Ainadamar dates from Golijov’s most successful period, although it is only now receiving its first UK staging almost two decades on. That this Scottish Opera production created in collaboration with Opera Ventures is also a co-production with Welsh National Opera, Detroit Opera and the Metropolitan Opera is testimony to the enduring popularity of his work.
Ainadamar (“fountain of tears”) refers to an ancient well outside Granada where the poet Federico García Lorca is thought to have been executed by fascist forces at the start of the Spanish civil war. This isn’t a straightforward narrative about the final day of Lorca’s life; rather Golijov and his librettist David Henry Hwang present the poet through a triptych of scenes in which his muse, actor Margarita Xirgu (Lauren Fagan) remembers her relationship with Lorca (Samantha Hankey) to her protege Nuria (Julieth Lozano).
Golijov’s score is a collage of influences, shifting fluidly from flamenco and electronic music to the classical language of 19th-century opera all soaked in the vibrant musical colour of Spain, deftly captured by the Orchestra of Scottish Opera and conductor Stuart Stratford. In this production the musical language finds a mirror in Deborah Colker’s striking staging. Dance rhythms are central to Ainadamar so having a director who is also a choreographer makes sense on many levels. The image of the fountain is at the heart of Jon Bausor’s set; it is a screen on which images are projected and a veil that can be drawn over the action that happens within.
Although Lorca is the central figure of the narrative, Golijov’s music is a celebration of the feminine, with the three central roles cast as female voices. The male voices are largely associated with the nationalist guards embodying violence and oppression. Golijov furthers this idea by transfiguring Lorca’s execution into the crucifixion, with Xirgu the latter-day Madonna figure. This feels like an unnecessary imposition on to the work, something that Colker’s clever staging does not entirely dispel.
Further performance 5 November, then in Edinburgh until 12 November.

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Spry Fox is the latest studio to join Netflix’s gaming division. The studio is best known for its work on developing indie title Cozy Grove.
Spry Fox explains that joining Netflix will enable the studio to deliver games that the team already is making and wants to make, but with more support and resources to get them to new audiences. Spry Fox also won’t have to stress out about how much profit its games make and can focus on making the best experience possible for players. Lastly, the studio wants to collaborate with Netflix in order to make better games.
“And what does this mean for our existing games? They’ll remain downloadable and available in their current forms on their current platforms,” Spry Fox explains in a statement. “What about development efforts on new games? Everyone at Spry Fox was already focused on making Cozy Grove 2, as well as a larger, non-violent MMO that we still haven’t revealed much about publicly, and that is still the case. So there’s no change in our current development efforts.”
This acquisition now brings Netflix’s total studio count to six. It has four named studios in total, including Oxenfree developer Night School Studio, as well as Boss Fight Entertainment. The streaming giant acquired Next Games in Helsinki, Finland, and now has added Spry Fox to its portfolio.
Netflix is currently building two internal studios. One is also in Helsinki and led by Marko Lastikka, a former Zynga senior executive. Earlier this month, Netflix also announced it would be building a studio in Southern California led by former Overwatch executive producer Chacko Sonny.
Upgrade your lifestyleDigital Trends helps readers keep tabs on the fast-paced world of tech with all the latest news, fun product reviews, insightful editorials, and one-of-a-kind sneak peeks.

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There’s a music lover’s mansion for sale in South Surrey that you have to see if you dream of having your own studio one day.
According to the listing by Sotheby’s International Realty Canada, this luxurious gated country manor with Whistler-style architecture was built in 2015. Inside the 6,863-square-foot home, you’ll find six bedrooms and eight bathrooms.
On the property, you’ll find a breathtaking covered outdoor pool plus a recording studio inside. Let’s take a look at what makes this nearly $7 million Surrey home worth talking about:
Sotheby’s International Realty Canada
There is a main house and a coach house on the property. In the main house, the main floor has an open-concept chef’s kitchen. Wide-plank walnut flooring, custom millwork and arches, and leathered granite countertops are some of the key features here, along with vaulted ceilings and exposed brick that we’ll see elsewhere in the home, too.
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
There’s an oversized primary bedroom with a large ensuite bathroom and a walk-in closet. There are two more bedrooms with ensuites and walk-in closets, too. One bedroom is multi-tiered with an ensuite, den, laundry room, and a third-level loft up the spiral staircase.
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Other amenities include a gym room and a beautiful outdoor pool area. You can use the resort-like pool year-round with a motorized safety cover.
The pool has a half-moon-shaped hot tub at one end, too. With over 3,800 square feet of outdoor space, there are plentiful opportunities to get outside and enjoy some peace surrounded by nature.
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Finally, let’s take a look at the music studio. If you were expecting a basement with some equipment, then you’re going to be pleasantly surprised. It’s actually in the separate coach house.
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
The purpose-built studio has a sound-proofed design. Vaulted ceilings, brick walls, and wood beams bring space, light, and warmth into the space.
According to the listing, the space was “built to continue the legacy of one of Vancouver’s longest running and successful music studios,” and the owner is a producer who’s worked with artists like Bryan Adams, Sarah MacLachlan, Michael Buble, Pearl Jam, Soundgarden, Loverboy, Paul Rodgers, and hundreds more.
Sotheby’s International Realty Canada
Sotheby’s International Realty Canada
Would you love a house with a recording studio?
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August 24, 2022
$99.99 USD
Case: 68 x 44 x 29mm
Earbud: 30 x 20mm
Ear tips: 9mm, 10mm, 11mm, 12mm
Case: 58.1g
Earbud: 4.6g
A3936011
IPX4
Anker recently released the new Anker Soundcore Space A40 earbuds, highlighting active noise cancelling (ANC) capabilities, long battery life, and sound quality. For a pair of $99 USD earbuds, that’s an impressive feat, and we want to see if the Space A40 lives up to that hype.
Editor’s note: this review was published on October 31, 2022, and is the first version of the article. Updates will follow as the market changes.
Anyone on a budget looking for noise cancelling earbuds will appreciate the Soundcore Space A40. Commuters can block out the world on the bus or train, and athletes can stay aware of their surroundings with this pair of IPX4 water-resistant earbuds.
The Anker Soundcore Space A40 comes with five different ear tip options, making it easier to get the right in-ear fit. The earbuds don’t have stabilizing wings or anything like that, so you’ll need a perfect fit to make sure the earbuds don’t fall out of your ears. The earbuds are light and don’t hurt my ears at all after hours of wearing them. The Sound Space A40 is IPX4 rated, meaning it can withstand some rain or sweat with no issues.
The case fits easily in a jacket pocket or a bag, but since the hinges aren’t very tight and there isn’t a magnet to snap the lid closed, I find myself losing an earbud in my bag quite often since the case accidentally opens very easily.
Controlling the Anker Soundcore Space A40 is much like other true wireless earbuds, using tap gestures on a touch panel on each bud. In the Soundcore app, you can change playback and noise controls, and toggle on volume controls, since those are not automatically enabled.
The Soundcore app (iOS/Android) is simple to use and adds great functionality to the Soundcore Space A40. At the very least, you’ll want this app to access firmware updates. In the app, you will find the battery level for each earbud and the ability to toggle between listening modes (ANC, transparency, off). You can further control customization by selecting an EQ preset and using a custom equalizer. There are a lot of EQ presets to choose from, 22 specifically, which is more than I’ve seen in an app like this before. It covers different media and genres, from podcasts and classical music to jazz and R&B.
The Anker Soundcore Space A40 connects using Bluetooth 5.2, and it supports the SBC, AAC, and LDAC Bluetooth codecs. It also has Bluetooth multipoint, allowing you to connect the earbuds to two devices and switch between them seamlessly.
Pairing it is easy, much like other Bluetooth earbuds.
To pair with a second device, hold the touchpad on both earbuds for 3 seconds while wearing them, and it will show up in the Bluetooth menu of the second device to connect.
In our battery testing, using constant playback of audio peaking at 75dB(SPL), the earbuds lasted 7 hours, 55 minutes with ANC on. This is more than 2 hours less than Anker’s maximum battery life specification, but the official store page doesn’t specify whether that’s with ANC on or off. This is a pretty solid battery life, nonetheless, and the charging case adds another four full charges to the earbuds. Even with this shorter-than-expected battery life, you will still get well over 24 hours of playtime from the buds and case before recharging the case via USB-C cable.
In terms of the total lifetime, no true wireless batteries last for very long. This is because as you go through more charge cycles, the battery’s capacity decreases. Devices with shorter battery life, like true wireless earbuds, won’t last very long due to this. This can create battery e-waste, so environmentally conscious people should keep this in mind.
Yes, charging it for 10 minutes provides 4 extra hours of playback.
The Soundcore Space A40 does a great job cancelling out noise, especially in the lower end between 40-100Hz. Traffic, the rumbling of trains and buses, and other droning noises will be significantly reduced. The isolation is good too, but taps, mechanical keys, and other incidental noises will still be noticeable, though dampened.
To get the most out of the noise cancelling and isolation from the Soundcore Space A40, as well as any other in-ears, you will need to make sure you have a proper fit. This means choosing the right ear tips and fitting the earbuds securely inside your ears to seal off any outside noise. Without this, noise will leak in and render the ANC and isolation significantly worse, which may compel you to increase the volume. Turning your volume up to dangerous levels could cause noise-induced hearing loss.
The default frequency response, called Soundcore Signature in the Soundcore app, sounds pretty good. It comes fairly close to our target curve, though it is under-emphasized in the highs and lows. This frequency response is inoffensive regardless, with none of the typical dramatic bass boosting or high-end emphasis we are used to hearing in this category. You can change the sound in the Soundcore app, where you can find a lot of sound profiles to choose from to fit your personal preferences.
When I listen to Blue Monday by New Order using the default Soundcore Signature EQ setting, the punchy low synth rhythm sounds great; it’s loud and noticeable, but not overpowering the rest of the track. All the synth elements throughout the song complement each other nicely. Using the bass booster EQ makes the bass too overpowering relative to the rest of the sounds, and the flat EQ, while very neutral, makes the track lose some of its fun by rendering the bass a little too quiet for my liking.
Fancy Footwork by Chromeo also sounds great using the Soundcore Signature EQ. The bass is prominent but not too loud, and the ambient synth is still audible among the busy percussion and vocals. Using the electronic EQ preset boosts the sub-bass a bit too much for my liking, and the flat EQ makes the bass feel like an afterthought. Overall, I find that the Soundcore Signature EQ fits most genres well, and there isn’t much need to change it with well-produced music.
The podcast and spoken word EQ presets work well for the intended content since they under-emphasize bass a bit to make voices sound clearer.
The microphone on the Anker Soundcore Space A40 is pretty average for earbuds. It doesn’t handle sibilant sounds well, but it’s fairly clear with no big issues in ideal conditions. It’s mostly effective at suppressing street noise, only occasionally cutting into the voice instead of the noise. In the presence of wind noise the end caller will hear major processing artifacts, which interferes with speech intelligibility. This microphone is perfectly adequate for phone calls, and you’ll be most audible indoors with very little background noise. Take a listen for yourself:
The Anker Soundcore Space A40 is an excellent deal if you want affordable noise cancelling earbuds with great sound. The baseline frequency response is enjoyable, and the many EQ presets to choose from plus the ability to customize your sound profile makes it good for pretty much anyone. The noise cancelling is quite good, and the many ear tips to choose from ensure a good fit for the noise cancelling and isolation to do its job. Bluetooth multipoint and LDAC support elevate the earbuds even more. For only $99 USD, the Soundcore Space A40 is a great buy.
For the same price, the Nothing Ear 1 also has noise cancelling and transparency (though it’s not quite as good), an IPX4 rating, and a pleasant sound profile. It doesn’t have much EQ customization, and it doesn’t support LDAC or any other high-bitrate codecs. It does have a great design with its cool transparent look, and it’s very light and comfortable. You can find it for $99 at Amazon.
The JLab Epic Air Sport ANC is a great option for athletes looking for ANC and transparency in a stable pair of earbuds. The ear hook design ensures it’ll stay in your ear, and the ANC is pretty good too. It’s IP66 rated so it’ll withstand lots of water and dust, making it great for outdoorsy people. It’s the same price as the Soundcore Space A40 and costs $89.98 at Amazon, but it can go on sale even lower from time to time.
If you don’t care as much about noise cancelling but want aptX support, the Jabra Elite 3 has just that and more. It’s IP55 rated, it has great sound quality, and it’s even more affordable ($79.99 at Amazon).
Yes, the Anker Soundcore Space A40 comes in black, white, and navy blue.
The Anker Soundcore Space A40 doesn’t have a location tracker for finding lost earbuds.

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By DarkSkyLady
Communism and Invasion of the Body Snatchers, STDs and It Follows, appropriation of Black people/culture, and Get Out — social issues and horror films go together like blood on a knife. Scary movies are the perfect avenue to engage with an audience while highlighting issues, societal fears, and prejudices. When done well, it can spark a discussion and invite a call for justice without soapbox preachiness. Or be a cautionary tale of a dreadful future. Two films that premiered at the Sundance Film Festival in 2022, Nanny and Master, use horror to address the terror and stress that existing in a white supremacist society causes. 
Microaggressions and gaslighting are everyday experiences among marginalized communities. The amount increases at intersections of oppression. For the protagonists in both films (Aisha from Nanny and Gail and Jasmine from Master), the supernatural horror of spirits and nightmares takes a back seat to the inescapable white horror of microaggressions, racism, biases, and harassment. Gail and Jasmine in Master try to navigate the education system in a majority white institution, while in Nanny, Aisha works as the titular nanny to a white family in New York in order to bring her son from Senegal.
In Master, the microaggressions start immediately for Jasmine (Zoe Renee), as the white woman at the college check-in laughs when she realizes that Jasmine got “the room.” She then debates with the other white student helpers whether they should tell Jasmine what is so funny. It is as though Black women do not exist in the face of whiteness. The discomfort puts Jasmine at a disadvantage that increases steadily throughout the film. When drinking with her roommate and their friends, alcohol spills on the floor; they ask Jasmine to clean it up. The horror in Master is, on its face, supernatural elements — the creepy story of a witch who claims a first-year student each year, the maggots. However, the film’s true terror is Black women’s invisibility, simultaneous hypervisibility, and the toll it takes.
White people are a danger — and a headache — no matter the setting in these films. Aisha (Anna Diop) struggles as an immigrant, working as a nanny to bring her son to the U.S. in Nikyatu Jusu’s Sundance award–winning film, Nanny. The situation quickly spirals as she struggles to achieve the American dream while navigating an increasingly negative, white space. Problems are set up gradually within the film, but discernible early on when Aisha’s employer (a white woman) seeks a hug. When Aisha gives her consent, and they hug, the wife seems to interpret this one approval as blanket permission to touch Aisha in the future. The way she feels Aisha’s skin later when she loans Aisha a dress is an apparent objectification, viewing Aisha as nothing else but a physical body. This behavior is also a microaggression as the action, intentional or not, diminishes Aisha to an object. There is no difference between the white women’s treatment and the white male objectification we see later in Nanny and throughout Master.
Though Gail (Regina Hall) is an adult, the new Master of a house within Mariama Diallo’s directorial debut, her experiences are horrifyingly similar to Jasmine’s. Gail invites the Masters of other houses to a get-together at her home, and they draw a comparison between her and Barack Obama. Similarly, when a bunch of white guys hang out in the dorm room, they start guessing who Jasmine reminds them of by naming many Black celebrities, including Beyoncé and the Williams sisters. White people get compared to stars based on features and personality. However, when comparing Black people, the only requirement is that they are Black, as though no other trait matters or exists. All this seems small on its own, but experiencing it daily takes a toll. Like Aisha, the white people around Jasmine and Gail minimize their existence to one-dimensional characters. None of them mean anything beyond what they give to white people — a body, a laugh, a shield. 
Jasmine’s roommate is no better. Gail finds the roommate in the woods after two white men run off, and she offers to take her to the hospital. She declines and says she cannot go through that again, yet in the next breath curses Jasmine. She maintains white supremacy while also being a victim of the system she upholds. The white mom, Amy (Michelle Monaghan), in Nanny also behaves in this manner. She talks about her struggles navigating the workplace as a woman to find common ground with Aisha. Yet she rarely pays Aisha on time or in full, and Aisha has to nag Amy for her salary. That solidarity against “the man” disappears when a Black woman sounds the trumpets. 
It is similar to how companies suddenly nitpick everything an employee does when they seek a raise because capitalistic structures are fashioned off those racist methods meant to curtail challenges to the system. Being kind at first, then angry, making them feel ungrateful and undeserving, is always the go-to for silencing others. 
By the end of Master, Gail realizes that nothing has changed at her institution. In Nanny, Aisha realizes the American dream is an illusion in a society that favors whiteness over everything else. Though titles may have changed, the roles are the same. In these films, we have “the maid,” who cleans up white people’s mess, and the nanny who cares for white people and their offspring. But no matter their position, they are unable to make changes like calling out offensive or appropriative language or actions that make white people uncomfortable, yet that is precisely what needs to happen for real change to take root. Changes can be as minor as forcing oppressors to have to think about what they say or eliminate words entirely from their vocabulary; a minor discomfort, but many refuse to do it. 
Films are stepping forward by highlighting the horror of being the “other” in a society while navigating cinematic supernatural horror. For some, which is worse is easy to decide, but for the “other” it is the day-to-day horror or a coin toss between them. These stories of harassment, microaggressions, and racial targeting are familiar for us, rooted in our daily life. But for white people, these stories can be educational as well. Seeing characters act in a similar manner to them is no surprise, but seeing both the Black character’s and Black audiences’ reactions is eye-opening. 
Master and Nanny capture the stress, fear, exhaustion, and anger we experience daily. We are in a perpetual state of red alert, always on guard. Yet, through nuanced storytelling, we realize we are not alone. That someone else is going through the same, and though upsetting, depictions onscreen give comfort and let us feel seen. 
Here at the Sundance Institute, we talk a lot about film. Whether it’s helping co-workers figure out what to watch this weekend or feeling positively
Developed with partner Teal Media, the ReFrame ReSource is an open source website designed for industry professionals interested in shifting the status quo Los Angeles,
By Stephanie Ornelas  Documentary storytellers are often on the forefront of major societal issues, and in light of the Supreme Court’s reversal of Roe v.
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ITV shares jump on reports it could sell stake in production arm  Reuters
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CLEARWATER, Fla. — Art comes in all forms, shapes, sizes and colors, but one particular medium — stained glass — uses techniques from across the art world.
Precision and attention to detail are just a small part of what goes into crafting stained glass, according to longtime artist and studio owner Kathleen Bromely.
“This technique I’m using right here fills any space that might still be in between the glass," said Bromely during one of the classes she teaches in her Clearwater studio. 
Bromely, who also creates art on commission, has worked with stained glass for more than 40 years, producing thousands of stained glass pieces. 
“Both my grandmother and my father were involved in stained glass and the arts,” Bromely said. “It was a passion for them.” 
What started as a way for her to pass the time as a child in her father’s hobby shops in Washington D.C. quickly turned into much more.  As her talent and skills developed, so did her love for stained glass art. Eventually, she and her father opened dozens of glass shops all over the East Coast, creating something of an empire.
"We had dozens of shops during the height of glass and stained art work," Bromely said. 
While the empire has shrunk a bit since their heyday through the 1980s and 90s, she’s still a leader in the world of stained glass art.
At her Katglass Studios in Clearwater, she offers classes that range from beginner to advanced. Aside from the array of classes she teaches, she finds time to create original works and to restore pieces that date back decades. A current piece being restored in her shop is from the 1920s, and some pieces she’s worked on are in the Smithsonian. 
It’s her hope, even with this small shop in Clearwater, that she can continue to make a difference in the world of stained glass by keeping pieces alive and introducing a new generation to her craft. 
"There is something truly special about working with your hands and seeing these pieces come together in something transformative," Bromely said.
Katglass Studios is closed on Sundays. Hours vary, so check the shop’s website for that information and more on the classes and workshops offered.

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Atelier Gardens Studio 1 / MVRDV  ArchDaily
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HITC
Photo by Matt McNulty – Manchester City/Manchester City FC via Getty Images
Pep Guardiola has labelled Tottenham Hotspur transfer target James Maddison as a ‘master’ for his quality in dead-ball situations.
Over the weekend, Manchester City recorded a narrow 1-0 win over Brendan Rodgers Leicester City, with Maddison failing to add to the six Premier League goals he has scored this season. 
There’s no doubt that heading into the weekend game, Guardiola would have highlighted the sought-after midfielder as the danger man for his side.
One of the areas the 25-year-old has excelled at is free-kicks, but whilst he wasn’t able to deliver the goods against Man City, a certain Kevin de Bruyne provided the Englishman with a taste of his own medicine.
It was the Belgium international’s stunning free-kick that separated the two sides, with his goal kissing the underside of the crossbar before hitting the back of the net.
Nonetheless, when talking about Man City trying to stop Leicester City’s threats during their win over the weekend, Guardiola mentioned Maddison’s qualities, as he told BT Sport.
“We aren’t an exceptional team for the runners in-behind or the runners for the second action,” said Guardiola. “That’s why you have to be patient and don’t get frustrated. 
“Don’t concede the counter-attacks. Do not give the free-kicks or the corners. Maddison is a master in this position, but we defend it really well.”
SPURS NEED A MADDISON
Back in September, when Spurs smashed Leicester 6-2 on home soil, Maddison was perhaps his side’s standout performer.
He scored a brilliant goal during that game to showcase that he is more than good enough to sit in Tottenham’s midfield and elevate them from an attacking sense.
That creative spark, the ability to pick pockets and attack the penalty area is what’s needed at Hotspur Way.
But whilst Tottenham also have their eyes on the player, so do high-flying Newcastle United, who are sitting in the Champions League places along with Spurs, at this moment in time. 
In other news, ‘Nervy’: Ian Wright baffled by £27m Arsenal star who does ‘weird’ things on the pitch

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Sometimes it’s the everyday dishes that we find the trickiest to nail. From scones to omelettes and cheese sauce, here’s how to master the basics.
Perhaps you can cater for a dinner party on little notice, are known among friends for your impressive baking skills and make such great family dinners that fights break out over leftovers every evening. Yet, little does everyone know, you're flummoxed as to why your Yorkshire puddings refuse point-blank to rise. If this sounds like you, you're in good company.
Recently, we asked for your cooking confessions, hoping to find out which seemingly simple dishes often end in disaster. You answered in your hundreds, with the same everyday recipes cropping up again and again. So, we've sought expert advice on five of the most talked about.
Scones are seen as super simple; they take little preparation and cook in just 15 minutes, more or less. Yet so often they don't rise to any meaningful height or are so dense they could cause an injury if they were to be dropped on an unsuspecting toe.
There are several reasons why your scones' texture might not be living up to your pillowy-soft expectations. Perhaps the most common is that you’re over-handling the dough, which makes them tough.
“Only knead the dough a little more than you would a shortcrust, just enough to make it smooth – you’re not making bread,” says chef Chris King of The Langham in London.
Next, to help give scones their soft, crumbly texture, chef patron of Mingary Castle in Ardnamurchan, Colin Nicholson, says you should let the dough chill out for a bit before cutting. “Allow for plenty of resting. Once the dough comes together, rest on the worktop covered with a tea towel for about 10 to 15 minutes, which allows the gluten to relax. Then lightly roll out the dough, cut your scones and place them on a tray to rest again for 15 minutes before baking.”
If your problem is that the scones aren’t rising, chef and author Alex Hollywood might have the solution. “When you’re using a pastry cutter, if you push the dough out you should then flip over the scone before baking it. By pushing the pastry down, you’re creating a little dent in the dough so it won’t rise as high.
“Then, when you put egg wash on top, you need to be careful it doesn’t drip down the sides as this will stop the scone from rising. The egg sets and then acts like a tent ropes, holding the dough down.”
This is something Paul Hollywood has spoken about too.
Now make…
Flapjacks should be firm enough to hold their shape while staying soft and chewy on the inside. Likewise, they should taste sweet without being overly sugary – and you definitely don’t want any bitterness.
When it comes to flavour, Tom Kerridge says everything can go wrong quite early in the process. “If the butter or syrup goes into a pan which is too hot then the syrup will burn or the butter will catch and brown quickly.” This will impact the taste of the end result.
To achieve the right texture, Alex has some top tips. “Firstly, don't put the mixture in a tray that's too big, because that means the flapjacks will be thin and dry out. Use a small but deep tray, then you’ll get that lovely chewiness.”
While Tom goes for jumbo oats, Alex is a fan of keeping the ingredients small. “If your oats are too big it can make them too crumbly. Likewise, if you’re putting nuts or dried fruit in, chop them up then so they’re small, then the syrup will hold it all together.”
There's a knack to cutting them into neat rectangles without them breaking too, Alex says. “When the mixture is still warm in the tin, mark the flapjacks out with a knife so they’re partially cut. This will make them a lot easier to cut properly once they’re cooled.”
Now make…
Quick to rustle up and made of just four ingredients, velvety cheese sauce may seem easy to make, yet many people end up buying it in a jar or using a packet mix. This humble staple can be intimidating, what with the dangers of lumps, stodginess and that off-putting floury flavour. But it doesn’t have to be.
Former MasterChef: The Professionals winner Steven Edwards says, “Follow the simple rule of equal amounts of butter and flour to make your roux and then 10 times the amount of milk – for example, 30g flour, 30g butter and 300g milk. Then, cook out the flour and butter before slowly adding the milk. Blitz any cheese through the sauce to taste – this keeps it nice and smooth.”
‘Cooking out’ the flour and butter is imperative, adds Mike Naidoo of Catch at The Old Fish Market in Weymouth. For the right consistency, you shouldn’t add the milk until your roux (the flour and butter mixture) has cooked into a paste. “It sounds simple but so many people put all the ingredients in at the same time and it doesn’t work!”
The amount of cheese you add will change the consistency, so if you’re happy with the thickness pre-cheese, use a strong cheddar as you’ll need much less. And, says Mark Hartstone from Dorset's La Fosse, “If you have lumps, it’s not the end of the world – a hand blender will quickly eliminate them.”
Now make…
Omelettes are a great five-minute meal, but they can quickly end up turning into scrambled eggs. Great British Menu champion Ellis Barrie has perfected this egg-based dish and has a few golden rules.
Two eggs per omelette is plenty, thinks Barrie, who advises holding off on the seasoning until after the eggs are cooked. "The salt's going to break it down and pepper will make it grey," he says.
When you add butter to the pan and melt it, let it get foamy before adding the eggs. This will help the omelette to rise and take on a light, fluffy texture. Then, if you're adding cheese, grate it in while the eggs are still wet on top. This will mean you don't end up with a sad, dry omelette.
Rather than fold it in half and risk it breaking, Ellis rolls his omelette off the pan and onto the plate. To try it, just fold one edge (about a third of the whole omelette) over, then fold over again, then roll it onto the plate to fold in the rest.
Speed it key with omelettes, to avoid them overcooking. But there's no need to take it to the extreme, Mark says. “Try not to emulate the Saturday Kitchen celebs racing for the fastest omelette. A few seconds extra is not the end of the world. Remember, the eggs will continue to cook in their residual heat, so start to roll the omelette out of the pan while it's under-cooked. By the time you have it on the plate it should be perfect.”
Now make…
Seeing as Yorkshire puddings are just made of flour, eggs and milk, they should be easy to whip up, right? If you've ever pulled flat, dense puds out of the oven or watched them puff up handsomely as they cook, only for them to collapse into a flabby mess minutes later, you'll disagree. The good news is, the secrets to perfectly golden, crisp and puffy Yorkies shall evade you no longer.
“The key is to let the batter sit and get to room temperature. Oh, and get the oven really hot!" says Mike. "That’s how you get light Yorkshire puddings.”
To make them fluffier, Oliver Marlowe from London's Ganymede has a great tip: “Mix the ingredients together using a hand-held electric whisk until the batter is smooth and aerated.” That should give them a super-light texture. Better still, if possible, prep the day before. “Cover the mixture and leave it in the fridge overnight. Make sure you don’t season it until you’re just about to cook though, otherwise the salt can begin cooking the eggs and your Yorkshires won’t rise as well.
“For the best results, make sure the pudding moulds you’re using are non-stick, too. Prepare them by adding a good tablespoon of either beef dripping, vegetable oil or duck fat – don’t use olive oil as it burns at a much lower temperature.
“Get the moulds with your fat of choice in the oven at 220C, and wait until it's piping hot before adding your batter. Cook for 15 minutes and then turn the temperature down to 180C for a further 10. Be sure not to open the oven at any stage during cooking or your perfect Yorkshires will start to collapse.”
Short on time? Mary Berry has another method.
Now make
Originally published October 2022

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Sundar Sethuraman 
Last Updated at October 30, 2022 22:05 IST
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The domestic economy has a strong multi-year tailwind, which will boost equity market returns, says Rajesh Bhatia, MD & CIO, ITI Long Short Equity Fund. In an interview to Sundar Sethuraman, Bhatia spells out the key tailwinds and risks the domestic markets face at this juncture and how a long-short fund can help protect downside risks. Edited excerpts:
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The Celestron AstroMaster 130EQ reflector telescope is best suited to beginners and is now $70 off on Amazon.
If you’re looking for a way to get into astronomy or looking for something to inspire a budding stargazer, grabbing $70 off the Celestron AstroMaster 130EQ telescope (opens in new tab) could be exactly what you’re looking for. 
The $70 discount is a pretty good deal as it’s the lowest price we’ve seen for this scope for a while and it’s a worthwhile model. Celestron AstroMaster telescopes feature in our guides for best telescopes for beginners and budget telescopes under $500. On top of that, there are a number of specs that make this telescope worth getting, even if it wasn’t on sale. 
If you want to check out more great telescopes and discounts, we have round-ups for the best telescopes and telescope deals on the market. Here though, we’re highlighting a good discount on a Newtonian reflector that features fully coated optics, a number of accessories and access to software that has a database with information on 36,000 targets and printable maps.  
Celestron AstroMaster 130 EQ Newtonian Reflector Telescope $349.95 $275.15 on Amazon (opens in new tab). 
Save $70 on a Newtonian reflector telescope that’s well-suited for those without much stargazing experience. For your money, you’re getting a 130mm objective lens, fully coated glass optics, an adjustable tripod, a red dot finder scope, two eyepieces and access to the Starry Night Software.  
So the $70 discount on the AstroMaster 130EQ (opens in new tab) is a good one but why? What about the specs that make it worth getting? Well, this Newtonian reflector telescope has a 130mm objective lens, a 1000mm focal length and features fully coated glass optics, meaning plenty of light passes through and the optics are of high quality so you can view your night sky targets clearly and with ease. 
There’s also a host of accessories included that add to the value for money in this telescope. You get two eyepieces (10mm and 20mm) for enhanced viewing and comfort, an adjustable tripod, a red-dot finderscope to make locating targets easier and access to the Starry Night software. The software features a database of information on 36,000 targets as well as printable night sky maps. 
There’s a lot to like here about this telescope and the fact that it’s on sale makes it all the more appealing. high-quality optics, crystal clear views of planets, nebulas, stars and more and a host of accessories means it’s easy to use and the extras help those who haven’t had much previous experience,  this is a deal on a telescope that’s not so easily passed up.  
Follow Alexander Cox on Twitter @Coxy_97Official (opens in new tab). Follow us on Twitter @Spacedotcom (opens in new tab) and on Facebook (opens in new tab).
Join our Space Forums to keep talking space on the latest missions, night sky and more! And if you have a news tip, correction or comment, let us know at: [email protected].
STAFF WRITER, E-commerce — Alex joined Space.com in June 2021 as staff writer covering space news, games, tech, toys and deals. Based in London, U.K. Graduating in June 2020, Alex studied Sports Journalism in the North East of England at Sunderland University. During his studies and since his graduation, Alex has been featured in local newspapers and online publications covering a range of sports from university rugby to Premier League soccer. In addition to a background in sports and journalism, Alex has a life-long love of Star Wars which started with watching the prequel trilogy and collecting toy lightsabers, he also grew up spending most Saturday evenings watching Doctor Who. 

Contact Alexander: E-Mail Twitter
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Ardour, the popular free, open-source, and cross-platform digital audio workstation (DAW), has been updated today to version 7.1, a maintenance update to the Ardour 7.0 series that brings more usability improvements and other interesting changes for music production.
Ardour 7.1 is here only two weeks after the release of Ardour 7.0, which was a major update with numerous new and exciting features, to introduce yet another new feature called Quick Audio Export to make it easier for you to export your work in the desired format.
Ardour 7.1 improves the Cue Markers ruler with a new ‘Clear All Cues’ context menu action and a Cue Markers option in the main menu, improves the Clips feature to list the folder where files from FreeSound are stored in the clips list, and improves the mixer scenes to let you restore a mixer scene only for a selection of tracks.
This release also updates the Preferences dialog with new options to let you choose if you want the Plugin Manager to open automatically or not when plugins are missing in The Plugins page, as well as to choose what you want to do with plugin windows they’re closed in The Plugins -> GUI page.
Furthermore, Ardour 7.1 revamps the UI for external sends and returns with gain and panning control, polarity control, and the ability to customize latency, improves the readability of the X-axis units in the Export Spectogram UI, updates I/O Plugins ports to be listed separately in the connection matrix, and improves tempo map editing to make dragging of tempo markers much smoother and fix various bugs.
A bunch of usability improvements are present as well in this release, especially around automation editing to make it less painful to grab automation nodes with a mouse, add points to automation lines that always extend to the edge of regions, and improve the way automation lines are zoomed in time when using the mouse.
Other usability improvements include the removal of the visible spacer to the right of the mini-timeline, aligning toolbar buttons, adding the ability to resize the editor region list, improving labels in the connection button for internal connections, shorting the names of connection matrix tabs, and adding the ability to access the color picker by double-clicking on the mixer strip name label/color button.
Multiple PulseAudio support improvements are present as well in Ardour 7.1, along with a new TouchOSC surface definition for clip launching control, and lots of bug fixes. Check out the release notes for more details, and you can download the new release from the official website.
Image credits: Ardour/Paul Davis
Last updated 3 days ago
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