New details about Jesse Jane’s death have emerged. More than six months after the former adult film star was found dead alongside her boyfriend Brett Hasenmueller in her Moore, Oklahoma, home from a suspected overdose, authorities confirmed what led to the tragedy. Jane and Hasenmueller reportedly died of an accidental fentanyl and cocaine overdose according to TMZ, citing the Oklahoma City Medical Examiner’s Office. E! News has reached out to the Examiner’s Office for comment but had not yet heard back. In late January, local outlet KFOR reported that Moore Police found Jane and Hasemueller’s bodies while performing a wellness check after the couple had not been heard from in several days. Moore PD's Lt. Francisco Franco told The New York Times at the time that it was believed Jane died from a drug overdose, but that both deaths remained under investigation. Jane, who was 43 at the time of her passing, acted in a number of adult films starting in 2003 before transitioning to other projects, including an appearance in Baywatch: Hawaiian Wedding and 2004's Starsky and Hutch, as well as season two of Entourage. Pretty Pastel Please, YouTuber, Instagram By 2007, Jane had officially retired from the adult film industry, pivoting into making her own line of sex toys. At the time of her death, BSG Public Relations President Brian Gross shared in a statement to E! News, "Jesse Jane was a vivacious person who had an absolute and ultimate love for life. During her time in the adult industry, of which I was able to spend wonderful moments with her, she was an incredible professional who cheered everyone on and brought sunshine to every film set she worked on." "There is not one person in the adult industry who didn't spend time with her, whether onset or in a social setting, that she didn't make smile, laugh or both. She would light up a room as soon as she walked in," he continued, "I will personally miss her very much for the reasons above. Her smile was everything."

According to Chinese movie ticketing platform Taopiaopiao, the box office for the 2024 Spring Festival holidays surpassed last year's 6.766 billion yuan and entered the top two in the history of Chinese Spring Festival holidays box office. I recently watched three movies, and I think they are all good. However, their overall level is not higher than the movies from last Spring Festival holidays. The higher box office compared to last year reflects the strong potential for movie consumption in Chinese society. Our filmmakers need to make further efforts. The current development of Chinese movies has many advantages. People often complain that our film creation faces various "restricted areas," but in terms of societal topics, the space for Chinese film creation is relatively large and relaxed. For example, Zhang Yimou's film Article 20 shows protest scenes and boldly explores the issue of judicial injustice in depth. A few years ago, the film I Am Not Madame Bovary specifically discussed the sensitive issue of petitioning. Another film, Johnny Keep Walking! which was aired last year, also touches on serious social issues. The breadth and depth of these films' topics lay the foundation for their attractiveness. The improvement of China's basic film production level has played a role in boosting their success, resulting in Hollywood films being collectively pushed off the Chinese box office charts. Now, almost any domestic film can be considered "watchable." The next step is to produce world-class masterpieces and promote the collective advancement of Chinese films on the global stage. The three movies that I watched are YOLO, directed, written and starring Jia Ling, a representative of the new generation of female Chinese directors, Pegasus 2, directed by Han Han and Article 20. They are all realistic-themed films, and the actors who play the main characters have some overlap. Although each of them is good, as mentioned earlier, I personally feel that their overall quality is not as good as films screened during last year's Spring Festival holidays. So I have a feeling that Chinese movies have been spinning in place for a year in such a good market environment. Of course, I am not an expert, so what I say may not be correct, or it may be biased. The production level of Chinese films, in terms of technology, has caught up. Domestic films have surpassed Hollywood in the domestic market through competition, which is a great achievement. However, I hope that this does not mark the beginning of a "decoupling" between Chinese movies and the rest of the world, but rather a turning point for Chinese films to reach a higher level domestically and to go global. This requires Chinese realistic films to not only be loved by domestic audiences but also become increasingly "understandable" to foreigners, allowing them to empathize with us through these films. If Chinese films can gradually go global through market-oriented approaches, it will be a new process for the international community to re-recognize and understand China, and to establish common values between us. The earliest understanding of the US by the Chinese people came entirely from the shaping of news propaganda. Later, American films and TV works entered China, showcasing the rich American society. Now, Western media's portrayal of China is completely stereotyped. If Chinese films and other popular culture do not go global, and if a large number of secular elements from China do not appear on the global internet, the outside world's perception of China is likely to be dictated by Western media for a long time. So I hope that China's excellent film market can incubate outstanding works that are loved and enjoyed globally. Not only should our cultural policies provide greater space, but our internet public opinion should also be more tolerant of the interweaving and mutually influencing between Chinese and Western cultural elements. We should not restrict those elements in Chinese films that can resonate with both Chinese and foreign audiences. For example, comedies should not only make Chinese people laugh, but also be understandable to foreigners. Chinese films need to establish their own big stars, including top-tier female stars. In the past, Bruce Lee and Jackie Chan became famous in the West, but they were primarily seen as "Hollywood stars." It is a more challenging journey for Chinese stars to gain international recognition through their own films. The success of Chinese films and Chinese stars worldwide is definitely a complementary process. The backgrounds of our film stories should also be carefully selected and more diverse, enhancing the visual quality and international appeal of the films. Feng Xiaogang's film Be There or Be Square was entirely set in the US, and later, there was another film called Lost in Thailand, both of which achieved good results. Choosing such backgrounds should be encouraged as one of the approaches. In conclusion, I am delighted by the comprehensive recovery of the Chinese film market, and I also hope that the films nurtured by this market will continue to progress. To achieve this, we need to keep introducing the world's best films and collaboratively cultivate the aesthetic taste of the Chinese people alongside Chinese films. Chinese films have already stood up, but they should not monopolize this vast market. Instead, the Chinese market should serve as the stage for them to expand globally.

JOHANNESBURG, July 9 (Reuters) - The South African rand was little changed in early trade on Tuesday, as markets awaited the Federal Reserve chair's testimony in Washington and U.S. June inflation data for clues on the country's future interest rate path. At 0644 GMT, the rand traded at 18.1300 against the dollar , near its previous close of 18.1175. "The rand has opened marginally softer at 18.13 this morning, and we expect trading to remain range-bound in the short term," said Andre Cilliers, currency strategist at TreasuryONE. Markets will listen to the tone of Fed Chair Jerome Powell's testimony in Washington on Tuesday and Wednesday and look to June inflation data out of the U.S. later this week for hints on the future interest rate path in the world's biggest economy. "Analysts will be gauging the Fed's response to the recent softer U.S. economic and labour data, with markets already starting to price in two rate cuts this year," Cilliers added. The risk-sensitive rand often takes cues from global drivers like U.S. economic policy in the absence of major local factors. South Africa's benchmark 2030 government bond was slightly stronger in early deals, with the yield down 1 basis point at 9.74%.

RS e-tron GT: Shares J1 platform with Porsche Taycan. The iconic closed hexagonal "big mouth" is quite a brand recognition, and the rear of the car uses a decorative design shaped like a diffuser. Although the difference between it and the regular e-tron GT is very limited, the "RS" nameplate on the rear of the car means that it is not an ordinary person, of course, low-key is also the style of AUD-Sport. The center console continues the family design of the Audi brand, the lines are simple and refined, and the center control screen, the front air conditioning control panel and the function keys below are obviously tilted to the driver's side, echoing the product positioning of the driver's car. Sports seats, leather fabrics with red stitches, etc. appear in the configuration table of the car, rendering the interior sports atmosphere just right, and the overall beauty of the cabin has been affirmed by the reviewers. Although the official model of the cockpit chip selected by the car has not been announced, it has a high score in the evaluation items such as the cold start speed of the car, the start speed of the core application and the navigation search speed, which shows that the car performance is good. In addition, in terms of specifications and accuracy, the car received full marks in the touch accuracy and screen sharpness evaluation, and the daily high-frequency interaction experience is excellent. Of course, if you optimize the voice car control ability, its intelligent experience will be a higher level.

WASHINGTON, June 24 (Reuters) - Problems with Boeing's Starliner capsule, still docked at the International Space Station (ISS), have upended the original plans for its return of its two astronauts to Earth, as last-minute fixes and tests draw out a mission crucial to the future of Boeing's (BA.N), opens new tab space division. NASA has rescheduled the planned return three times, and now has no date set for it. Since its June 5 liftoff, the capsule has had five helium leaks, five maneuvering thrusters go dead and a propellant valve fail to close completely, prompting the crew in space and mission managers in Houston to spend more time than expected pursuing fixes mid-mission. Here is an explanation of potential paths forward for Starliner and its veteran NASA astronauts, Barry "Butch" Wilmore and Sunita "Suni" Williams. THE CURRENT SITUATION Starliner can stay docked at the ISS for up to 45 days, according to comments by NASA's commercial crew manager Steve Stich to reporters. But if absolutely necessary, such as if more problems arise that mission officials cannot fix in time, it could stay docked for up to 72 days, relying on various backup systems, according to a person familiar with flight planning. Internally at NASA, Starliner's latest targeted return date is July 6, according to this source, who spoke on condition of anonymity. Such a return date would mean that the mission, originally planned for eight days, instead would last a month. Starliner's expendable propulsion system is part of the craft's "service module." The current problems center on this system, which is needed to back the capsule away from the ISS and position it to dive through Earth's atmosphere. Many of Starliner's thrusters have overheated when fired, and the leaks of helium - used to pressurize the thrusters - appear to be connected to how frequently they are used, according to Stich.