Chelsea face extra time in the Capital One Cup semi-final second leg at Stamford Bridge, where if the score remains the same they will progress to the final on the away goals rule.The Blues have twice been denied a penalty – and they lost Cesc Fabregas after he picked up an injury soon after the interval.With the tie finely poised after a 1-1 draw at Anfield in the first leg, they looked to attack from the start and might have had a penalty as early as the fifth minute.Diego Costa got the better of Mamadou Sakho on the right-hand side and picked out Willian, whose shot was blocked by Lucas with the ball hitting the Liverpool man’s hand as he threw himself in the way.At the other end, Raheem Sterling scampered towards goal after Kurt Zouma had misjudged a long ball, but the centre-back recovered to tackle him after Sterling had gone past Chelsea skipper John Terry.The hosts were soon back on the attack and Costa appeared to be fouled in the box by Martin Skrtel, but again referee Michael Oliver ignored appeals for a spot-kick.With Terry back in the side after being rested for Saturday’s FA Cup debacle against Bradford, Blues boss Jose Mourinho made a bold decision by retaining youngster Zouma and instead dropping Gary Cahill to the bench.And Chelsea were caused some problems at the back in the first half, twice relying on keeper Thibaut Courtois to prevent Liverpool going ahead.The Belgian saved superbly from Alberto Moreno following a clever pass from Steven Gerrard.Soon afterwards Courtois was called into action again, this time saving with his legs to keep out an effort from Philippe Coutinho, who showed great skill to get himself into a shooting position but ought to have then scored.Chelsea were dealt a blow four minutes into the second half when Fabregas was hurt after colliding with Terry as both went for the ball. The Spaniard was replaced by Ramires.But they stayed on the front foot and Eden Hazard fired wide after a brilliant run saw him ride three challenges near the edge of the area.Costa then saw a deflected shot stopped by keeper Simon Mignolet, who also saved at his feet after a ricochet led to the ball dropping to the Chelsea forward.Tonight’s winners will face Tottenham or Sheffield United in the final.Chelsea: Courtois; Ivanovic, Zouma, Terry, Filipe Luis (Azpilicueta 78); Matic, Fabregas (Ramires 50); Willian, Oscar, Hazard; Costa. Subs: Cech, Cahill, Ake, Remy, Drogba.Follow West London Sport on TwitterFind us on Facebook
Those who think cosmology could not get any weirder than it already is (01/15/2008) may want to take note of recent pronouncements by the gurus of universal physics. Physics teachers in particular may feel an obligation to state Bob Berman’s disclaimer (10/06/2004) before class: viz, “Warning: The following contains contemporary cosmology. Reading it can produce disorientation and confusion. Nobody knows what’s going on and nothing you read here is likely to be true.”Questioning sacred Q.M.: The development of Quantum Mechanics in the 1920s and 1930s was one of the iconic scientific revolutions that is hailed as one of the greatest achievements in physics. It had far-reaching consequences for science, philosophy and even religion. Numerous books have stated that it undermined determinism once for all. The uncertainty principle was embedded in the very core of fundamental physics, we were told. Einstein struggled in vain to find “hidden variables” that would explain the apparent indeterminacy of QM behavior. QM has an impressive record in technology, providing the basis for lasers, Josephson junctions in computers, quantum cryptography and much, much more. How, then, could Nature News dare to state on May 15, “why quantum mechanics might be wrong”? Sure enough, an alternative hidden-variables theory called Bohmian mechanics is vying for attention. One of its promoters feels he can test his predictions against those of QM with observations of the cosmic background radiation. At stake is not the huge body of evidence and mathematics behind QM’s success, but the Copenhagen Interpretation – the leading explanation of quantum mechanics that had almost reached the status of accepted truth. The contest is just beginning. Bohmian mechanics is the underdog. Stay tuned.Time travel: In QM, we were taught that observing a quantum event collapses the wave function and gives “classical” reality to alternative outcomes. The textbook illustration is Schrödinger’s thought experiment of a quantum cat in a box being both dead and alive until an observer peeks in and gives reality to one of the two states. The Copenhagen Interpretation of QM has led many to teach that observation creates reality. Now, however, Nature News just reported a “breakthrough experiment” in which researchers pulled back a Schrödinger-Cat type of phenomenon from the brink of classical reality back to a state of quantum indeterminacy. What does this mean? For one thing, it means that “our understanding of how classical reality emerges may be naive.” One British physicist said, “It tells us that we really can’t assume that measurements create reality, because it is possible to erase the effects of a measurement and start again.” Reactions to the paper are mixed. An Australian physicist commented on the experiment, “The quantum world has become more tangible, and the nature of reality even more mysterious.” Nature whimsically subtitled sections of the article with the concepts of reincarnation and time travel.Fractals fracture assumptions: An article in New Scientist Space offered up a weird conjecture: is our universe arranged in a fractal pattern? The question is not without empirical evidence. “A new study of nearly a million galaxies suggests it is,” the article began, “though there are no well-accepted theories to explain why that would be so.” Critics are saying the pattern is an optical illusion. “A lot is at stake,” the article continued, “and the matter distribution has become a source of impassioned debate between those who say the distribution is smooth and homogeneous and those who say it is hierarchically structured and clumpy, like a fractal.” Smooth-and-homogeneous has been the assumption underlying essentially all cosmological models for the past few decades. Looking for patterns in the Sloan Digital Sky Survey of 800,000 galaxies and 100,000 quasars, two Russian cosmologists claim the data show a fractal pattern out to 100,000 light-years at least. A fractal model of the universe will be hard to sell to traditional cosmologists. “Many cosmologists find fault with their analysis, largely because a fractal matter distribution out to such huge scales undermines the standard model of cosmology,” the article said. “According to the accepted story of cosmic evolution, there simply hasn’t been enough time since the big bang nearly 14 billion years ago for gravity to build up such large structures.” Moreover, it would “leave cosmologists without a working model, like acrobats without a net.” Much of the case for smooth-and-homogeneous is based on patterns in the cosmic microwave background (CMB). The article revealed some problems with how that was established. Cosmologists may have missed a fractal pattern, if there is one, by projecting the 3D CMB map onto a 2D surface. Measurements of distant radio galaxies to probe homogeneity are also too uncertain to rule out alternatives, the article said. The implications for dating the universe and for big bang cosmology if the fractal interpretation were to become accepted could hardly be overstated – to say nothing of how this would affect scientists’ confidence in being able to understand the universe and make progress in their scientific explanations. The traditionalists are wagering a case of wine that the apparent fractal pattern is not real.Question time: Time always runs forward, right? The second law of thermodynamics dictates that Humpty Dumpty will never be put back together by the forces of physics. Your coffee will never unstir itself, and you will grow older, not younger. Not so fast, argued Sean M. Carroll in Scientific American last month. “One of the most basic facts of life is that the future looks different from the past,“ he began. “But on a grand cosmological scale, they may look the same.” This could only mean that for those parts of the universe where time moves forward, an equal number could have clocks that run backward. Why? Because the laws of physics don’t care which way time runs – they work equally well regardless. Entropy, furthermore, remains a puzzling concept. Why should things move toward disorder instead of becoming more orderly over time? Carroll repeated his criticism of inflationary cosmology mentioned in our “Paper View” segment from 05/11/2006 (see also 04/18/2008). He also reiterated the problem that for the universe to be in its current state of low entropy now, the entropy at the beginning would have had to be inconceivably low. He criticized inflation as an assumption impersonating an explanation: “Inflation does not, by itself, explain why the early universe has a low entropy; it simply assumes it from the start.” Nor does the once-popular proposal for an eternally oscillating universe get around the entropy problem. Along with Jennifer Chen, a colleague from the University of Chicago, Sean Carroll has instead proposed a time-symmetric universe. The parts of the universe in which time runs forward are balanced by regions where time runs backward. “Entropy can increase without limit through the creation of new baby universes.” The jury is still out on this model, however, because “Cosmologists have contemplated the idea of baby universes for many years, but we do not understand the birthing process.” Goo-gol, this is getting too weird. Time out. On second thought, would a time-out act the same in a domain where time flows backward? Growing younger till you become a romantic thought in your parents’ minds sounds kind of cool.Readers may recall that in March, Nature printed an article by a cosmologist who seriously questioned a bedrock of cosmological assumptions, the Copernican Principle (03/15/2008). Is nothing in science sacred? For a revealing article on the feeble state of modern cosmology, see what Michael J. Disney wrote last fall for Sigma Xi American Scientist. He described big bang cosmology as not a single theory but a structure of five layers held together with the “ugly bandages” of inflation, dark matter and dark energy. “A skeptic is entitled to feel that a negative significance, after so much time, effort and trimming, is nothing more than one would expect of a folktale constantly re-edited to fit inconvenient new observations,” he charged. The real problem, he ended (quoting historian of science Daniel Boorstin) is not ignorance but the “illusion of knowledge.”It’s sad that Carroll has retreated into the darkness after asking such good questions back in 05/11/2006. He could have been heaven-bound by now by logically thinking through the evidence from fine-tuning for a Creator, but is now wallowing in his intellectual vomit. A mind is a terrible thing to waste. If you have been led down the primrose path in your education to believe that science is all about discovering the truth and making steady progress toward understanding reality, get real. No one can properly reason about reality without the preconditions for intelligibility provided by guidance from an eternal, timeless, omniscient, omnipotent and righteous source. Fortunately, that has been revealed to us by the only One who knows what is real. Come to the light.(Visited 21 times, 1 visits today)FacebookTwitterPinterestSave分享0
Curious about the cameras used to shoot current hit HBO series? Here are the various camera packages and the series using them.For decades, HBO has set countless standards for the rest of the television world, one being the final look of their Original Series. The cable giant has long relied on film standards to elevate their television productions. Their major blockbuster series, Game of Thrones, is no exception.Take a look at what goes into shooting an HBO show.Game of ThronesGame of Thrones set via HBO / ARRI.The Game of Thrones series has primarily relied on the ARRI ALEXA but will, occasionally, use other cameras for VFX-heavy sequences or specialty setups. Fun fact: the ALEXA used in the first season was actually a prototype, as the camera had not yet been officially released.Game of Thrones Camera Package:ARRI ALEXAARRI ALEXA MiniRED EPIC DRAGON (of course it was a dragon!)LensesCooke S4Angenieux Optimo All images via HBO.Looking for more industry coverage? Check out these articles.SXSW Panel: How to Get People to Care About Your Film7 Master Cinematography Techniques from Iconic DirectorsThe Secrets Behind Apollo 11’s Success Are a Story All Their OwnInsights into the Cinematography of the Award-Winning Doc-Series “Tales By Light”Industry Interview: The Composers Behind American Gods In his interview with Mandy, Veep cinematographer David Miller shared this wonderful tidbit:[It] was interesting because there was no rhyme or reason as to the way Veep was laid out. It was kind of chaotic, there was no staging.On the first day, they rehearsed the material for a long time. They were like, “Great, okay, we’re going to go now. Light it.” I’m like, “Wait a second, we’re not quite done.” So, I said we had to change some of the blocking, to make it work. They were so used to doing whatever they wanted. I said, “Well no, you’ve got to say that line here, don’t make that false move, say the line and then move away, but don’t go to this side, go to the other side of the room,” and all that.Julia was a little bit reticent, at the beginning. She said, “You’re trying to control us.” I said, “Well no, I’m just trying to lay it out photographically, so it can all play in one, big thing.” After about a week, when they started to realize: everything cuts together now — everybody’s looking the right direction — the lighting looks so much better. They were like, “Ok, we get it.”In the end, the funny thing is, after changing most of it, and going through it, I won the Emmy.Miller went on to say more:Even though it’s documentary [style], it doesn’t have to look bad. There’s a way to make it work, and it really comes down to all of the staging. Figuring out the staging so that everything falls into place. It’s pretty simple to do, but you just have to be willing to do it.Take a peek at the set, in this behind-the-scenes video. BarryImage via HBO.Barry Camera Package:ARRI ALEXA MiniOptimo zooms, 15-49, 28-76, and 45-120Leica SummiluxDirector Alec Berg with DP Paula Huidobro. Image via John P. Johnson / HBO.In an interview with IndieWire, DP Paula Huidobro stated the following:We chose ALEXA because of the natural and beautiful skin tone rendition of the camera, and also, because of its exposure latitude. I wanted the light to be as soft as possible and my gaffer, Paul Mclevine, and I decided to go with a more old-school approach, using Fresnels, booklights, and Chinese lanterns, instead of the LED technology, which is now the norm. We liked the warmth of the source and glowy quality it would have on the actors’ faces. We had big sources through the windows, with 20Ks set on motors that were easily adjusted. I like soft sources, but keeping the light shaped in an interesting way. I didn’t ever want to drift into flat, comedic lighting.WestworldImage via John P. Johnson/HBO.“Doesn’t look like anything to me.”Westworld Camera Package:ARRICAM ST and LTARRIFLEX 235 (drone)LensesARRI Master PrimesAngenieux Optimo zooms VeepImage via HBO.As Veep cinematographer David Miller says, “Even though it’s documentary [style], it doesn’t have to look bad.”Veep Camera Package:Arri Alexa PlusLensesCooke S4Angenieux Optimo True DetectiveTrue Detective season three set via HBO.It should be no surprise that, with the wildly different seasons, True Detective has relied on different cameras for each season. Seasons 1 and 3 were captured on Panavision cameras, while Season 2 went with an ARRI.True Detective Camera Package:Panavision Panaflex Millennium XL2 (Season 1)Panavision PrimoPVintage LensesFilm used: 35 mm (Kodak Vision3 50D 5203, Vision3 500T 5219) InsecureImage via Justina Mintz / HBO.Insecure Camera Package:ARRI ALEXA MiniCooke S5i lensesIn their interview with IndieWire, DP Patrick Cady said the following:The show is very location-based, and the shallow depth of field, on a wider lens, can bring about that moment where you know where the characters are, but they are still lifted off of the background. Their story is in a place, but it connects to all of us, in our worlds, because we are concentrating on the wonderful cast. I think it helps the audience feel connected to the show. The ALEXA has a wonderful sensor. I don’t think I’ve ever been disappointed in it, and it did a great job of handling the color palette of the Kiss ’n Grind party — a key part of the “Hella LA” Episode — as well as, the hard LA sunlight.More reading on the production of Insecure:Keeping ‘Insecure’ lit: HBO cinematographer Ava Berkofsky on properly lighting black faces — MicInsecure DP Ava Berkofsky on Avoiding “Seinfeld Shots,” Faking Coachella and Lighting Mega-Churches — Filmmaker Magazine 35 mm film (Kodak 5203 50D, 5207 250D, and 5219 500T)Image via John P. Johnson/HBO.Westworld cinematographer John Grillo revealed the following in his interview with IndieWire:The opportunity to shoot on film doesn’t come often, so when I was hired for Season 2 of Westworld, I was both excited and a bit nervous, as I had not used it in a long while. That nervousness disappeared when I started watching dailies. Not only was the latitude of the film mind-blowing, but the one thing I noticed right away, that I hadn’t seen for the longest time shooting digital, was the exquisite way that film renders skin tones. The color and texture were just right. We shot a lot of day exteriors in harsh sunlight. Film brought another dimension to the landscape, and our characters’ close-ups. You could feel the softness of Dolores’s skin; you could almost touch every line on the Man in Black’s face. With digital, it can be a struggle under those conditions and subject to myriad of interpretations in color correction, but film is unique.Westworld is also believed to be the first production to shoot on 35 mm film with a drone. In an interview with Filmmaker Magazine, DP Darran Tiernan had the following to say:There’s a great company from Australia called XM2 that Paul Cameron and A-cam operator Chris Haarhoff used when they worked together on the last Pirates of the Caribbean film. They said it was amazing, because sometimes on those pirate ships, they couldn’t get a crane where they wanted and the XM2 guys would set up the drone and, basically, do a crane shot with the drone.For our shots, we flew an [Arriflex] 235, which used 200 foot rolls. So, you’ve only got about a minute and 50 seconds worth of runtime per roll, which is a bit nerve-wracking. John Grillo shot Episode 10, and I believe by that time, XM2 had developed a system that allowed them to use the [Arriflex] 435, in the drone. There’s still aerial helicopter stuff, this season, that Jonah and Paul shot in Utah, which is beautiful. But we did drone work, as well, which is cheaper than the cost of having an aerial unit.More reading on Westworld’s production:“There Is a Reverence On Set When the Camera is Spitting Film Through its Gate”: DP Darran Tiernan on Westworld, Season Two —Filmmaker Magazine‘Westworld’ DP Paul Cameron: A Camera Is Just Another Film Stock — VarietyHBO’s ‘Westworld’: Cinematographer Paul Cameron on Getting ‘Fearless Coverage’ on 35mm Film — No Film SchoolVideo – Westworld: “First ever use of a [35mm] film camera on a drone” — Reddit More reading on True Detective filming:The Lenses Make the Look on True Detective — PanavisonHow we got the shot: Cary Fukunaga on True Detective’s tracking shot — The GuardianHow True Detective’s Cinematographer Got These 9 Shots — VultureGet a glimpse of the Season 3 set from HBO. Panavision Millennium DXL (Season 3)Panavision Primo, Primo Zoom and Ultra Speed Z-Series MKII Lenses In regards to the look of the series, one of the shows first DPs Alik Sakharov revealed the following:The tone of this series had to be a little bit more expansive than most TV shows. We didn’t want it to feel claustrophobic. We were, basically, trying to explore as many filmic possibilities as we could, and structure shots to create the depth and breadth of a feature film. I, also, explored the idea of under-lighting certain scenes, which allowed us to concentrate the eye on where the action is happening, as opposed to lighting everything in one, big wash of light. I have to say that the ALEXA was instrumental in getting this stuff. I never thought I would be singing praises to HD technology, and yet, there I was — utterly enamored by it.As for the scenes using RED cameras, certain Iceland locations in Season 4 were unsafe for Steadicam operators. Cinematographer Robert McLachlan and crew turned to the carbon fiber 6K RED EPIC DRAGON, since the camera was light enough to be used with Freefly MoVI M10 rigs.More great reads on Game of Thrones production:Game of Thrones’ cinematographer breaks down the ‘dragon-induced Armageddon’ in The Spoils of War — The VergeALEXA wins the “Game of Thrones” — ARRIDRAGONs on the set of Game of Thrones — RED Director Alex Graves Talks Shooting the “Purple Wedding” — ColliderFor additional camera work, check out this behind-the-scenes look at Season 6. ARRI ALEXA XT Plus (Season 2)Panavision B-, C-, E-, G-Series and ATZ Lenses
Sergio Ramos and Andres Iniesta will be crucial for Spain at the World CupSpain has a surplus of talented players at nearly every position, so picking the right team will likely be Spain coach Vicente del Bosque’s biggest dilemma.The defending champions have been afforded little time to experiment with tough matches against the Netherlands and Chile before facing Australia in Group B.The team’s core is aging but still capable, while an incoming crop of young talent will offer Del Bosque further options.Here are five Spain players to watch:DIEGO COSTADiego Costa brings a new dynamic to the world champions, if coach Vicente del Bosque uses the Atletico Madrid striker correctly.The Brazilian-born Costa has chosen to play for his adopted homeland of Spain, which has not possessed a player with his qualities since it began its trophy-winning ways at the 2008 European Championship.Costa’s gritty, physical play lends better to open space and long balls compared to Spain’s short passing, possession style, with the quick-tempered striker terrorizing defenses when given space to run at them.But the tight confines of Spain’s play could limit Costa’s impact unless Del Bosque embraces his qualities and character, which will be under duress from the home fans for choosing to play for Spain.IKER CASILLASIker Casillas has been relegated to backup goalkeeper at Real Madrid, but the Spain captain has been stellar in that role by leading his club to the Copa del Rey final and deep into the knockout stages of the Champions League.No player has made as many appearances for Spain as Casillas, who will be at his eighth major championship, including four World Cups.XAVI HERNANDEZAt 34, this could surely be Xavi Hernandez’s last World Cup.Spain’s key midfield navigator has spoken about his desire to lead the team in South America, and it is hard to imagine Xavi failing to be one of the difference-makers in the tournament, especially when motivated.Much of Spain’s play is directed off his boot, and much of Spain’s success over the past six years can be attributed to his ability to set the tempo of a match.ANDRES INIESTASpain’s wealth of midfield talent is a key difference-maker for the world champions, and Andres Iniesta is a key cog in that engine.Iniesta, who scored in the 116th minute to give Spain its first World Cup title four years ago, has had a subdued season at Barcelona with occasional flashes of brilliance. But he seems to turn it on for Spain, when he normally proves to be a key player in unlocking defenses that tend to stack the area and stay behind the ball.SERGIO RAMOSOnly 27, Sergio Ramos has already made 115 appearances for the national team. And with Carles Puyol gone, the Real Madrid center back is the natural successor to lead the team from the back.While teammate Gerard Pique may be more attuned to a “sweeper” role of carrying the ball forward, Ramos has been stellar in the center of defense where his speed, size and ability to read the game means he rarely gets beat.While much of the talk of Spain’s success surrounds the midfield, the defense has not conceded a goal in the knockout stages of the past two European Championships and the World Cup – a span of 10 games.
Andy Murray squandered a 4-1 lead in the third set before losing a tiebreaker to world number 53 Federico Delbonis and exiting the BNP Paribas Open third round 6-4, 4-6, 7-6(3) in California on Monday.World number two Murray let his commanding lead evaporate on a warm, windy day at Indian Wells and needed to break the Argentine left-hander in the 12th game just to force the tiebreaker, which Delbonis won 7-3. Delbonis took advantage of a series of Murray errors to run off the last five points of the decider to end the two hour, 46 minute struggle in Stadium 1.”Thanks to everybody here for such an amazing match. It was a very intense match , very passionate, I think,” the Argentine said.Delbonis, who reached the quarterfinals this year in Rio and Sao Paulo, varied his strategy against Murray and took advantage of some weakness in the Scot’s serve. Murray failed to register an ace and won less than 50 percent of his second serves.”I know it was a challenge,” said Delbonis. “I have to mix (my shots) all the time.”In the end, I can do my job and this is what I get.”It was a short appearance in only the second tournament of the year for Murray, who lost in the final of the Australian Open to world number one Novak Djokovic.Delbonis will meet Frenchman Gael Monfils in the fourth round after the 13th seed dispatched Spain’s Albert Ramos-Vinolas 6-1, 6-3. In another day match, 12th seed Milos Raonic of Canada advanced to the fourth round 6-3 3-0 when Australian Bernard Tomic retired in the second set.advertisementTomic had complained about an injured wrist before the match against the hard-serving Raonic, who will meet Czech Tomas Berdych in the fourth round. The sixth seed beat Croatian Borna Coric 6-1, 7-6(3).Eighth seed Richard Gasquet of France advanced past Ukraines Alexandr Dolgopolov 2-6, 6-2, 6-1. His fourth-round opponent will be Croatian Marin Cilic, who defeated Argentine Leonardo Mayer 6-4, 6-3.German David Goffin defeated Argentine Guido Pella 4-6, 6-3, 6-2 and will meet the winner of the late third-round match between third seed Stan Wawrinka of Switzerland and Russian Andrey Kuznetsov.
TORONTO – A judge was wrong to retroactively change an otherwise appropriate sentence for a man convicted of drug possession without telling him, Ontario’s top court has ruled.As a result, the Court of Appeal quashed the prison term the judge had given Paul Hasiu, saying the process was profoundly unfair to him.Hasiu was already in prison serving six years for robbery when Judge Stephen Hunter, in November 2016, convicted him of possessing narcotics for the purposes of trafficking, and sentenced him to two years in custody.Hunter failed to say, however, whether the new term was to run concurrent to the earlier sentence or in addition to it — and no one at the time thought to ask.Prison authorities at Collins Bay Institution sought clarity and the answer from the court was “concurrent,” court records show. As a result and because he was due for statutory release, they let Hasiu go.Hasiu travelled to Kitchener, Ont., reunited with his family, and began work in his father’s business.However, three days after Hasiu’s release, Hunter changed the information recording the drug sentence to include the phrase: “Consecutive to current sentence being served.” He told neither Hasiu nor the prosecution. Police arrested Hasiu eight days after his release and sent him back to prison.Hasiu appealed, arguing Hunter had no right to do what he did.The prosecution countered it was “obvious” the possession sentence would be consecutive to the robbery sentence, which is why it didn’t raise the issue at the time. The prosecution further admitted an “administrative error” had occurred, but said the mistake was corrected quickly and caused minimal harm to Hasiu.“I do not believe the record supports the Crown’s position,” Justice Gloria Epstein wrote for the Appeal Court. “The amendment to the information seriously compromised the appearance of fairness and cannot be sustained.”For one thing, the Appeal Court said, Hunter made the changes without notifying the affected parties or giving them an opportunity to make submissions about them — contrary to the fundamental values of fairness and openness.For another, the change was “particularly unfair” to Hasiu by forcing him back to prison just when things were finally looking up for him, the court said.The court also found that it’s OK for judges to change a sentence after imposing it, but only where the change does not amount to a “reconsideration” of the original decision. But Hunter’s sentencing reasons did not clarify what was in his mind.“I am unconvinced that the amendment to the information is consistent with the sentencing judge’s manifest intent at the sentencing hearing,” Epstein said.The possibility therefore exists, the court said, that Hunter did change his mind after being contacted by the prison — which would be “profoundly unfair” and “could reasonably trouble an informed person.”As a result, the Appeal Court quashed the stiffer punishment and ordered Hasiu’s immediate release.
Manchester United will challenge Tottenham Hotspur this afternoon and Ole Gunnar Solskjaer plans to use the match to learn more about his players.Reds Devils will be clashing with third-placed Spurs in the Premier League at Wembley Stadium in today and United coach adds that his team are capable of beating anyone.“Of course it will be tough but, then again, we can make it tough for them,” said Ole, when speaking to MUTV during their warm-weather training camp in Dubai this week.Solskjaer praises Harry Maguire after Man United’s 1-0 win Andrew Smyth – September 14, 2019 Ole Gunnar Solskjaer singled out Harry Maguire for praise after helping Manchester United keep a clean sheet in their 1-0 win over Leicester City.“They [Spurs] have got strengths and weaknesses, as have we, so it’s one of those games that we’ll need, and the cup game against Arsenal, before we go into the Champions League against PSG because that’s the ultimate test.”So, for me, the Spurs game isn’t the be all and end all. Of course it’s important, but it’s preparation for the rest of the season and the way going forward. We’ve won five games and you learn so much by winning but, when you get these tougher games, then you learn more about the personalities and how they deal with these situations.“