MAARS, an AI tool for heart risk prediction, offers improved accuracy in detecting arrhythmia-related deaths in hypertrophic cardiomyopathy cases.
A new AI tool developed by researchers at Johns Hopkins University has shown promise in predicting sudden cardiac death among people with hypertrophic cardiomyopathy (HCM), outperforming existing clinical tools.
The model, known as MAARS (Multimodal AI for ventricular Arrhythmia Risk Stratification), uses a combination of medical records, cardiac MRI scans, and imaging reports to assess individual patient risk more accurately.
In early trials, MAARS achieved an AUC (area under the curve) score of 0.89 internally and 0.81 in external validation — both significantly higher than traditional risk calculators recommended by American and European guidelines.
The improvement is attributed to its ability to interpret raw cardiac MRI data, particularly scans enhanced with gadolinium, which are often overlooked in standard assessments.
While the tool has the potential to personalise care and reduce unnecessary defibrillator implants, researchers caution that the study was limited to small cohorts from Johns Hopkins and North Carolina’s Sanger Heart & Vascular Institute.
They also acknowledged that MAARS’s reliance on large and complex datasets may pose challenges for widespread clinical use.
Nevertheless, the research team believes MAARS could mark a shift in managing HCM, the most common inherited heart condition.
By identifying hidden patterns in imaging and medical histories, the AI model may protect patients more effectively, especially younger individuals who remain at risk yet receive no benefit from current interventions.
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Vestas Wind Systems A/S, Aarhus, 4 July 2025 Company Announcement No. 19/2025
Pursuant to Section 30 of the Danish Capital Markets Act, Vestas Wind Systems A/S hereby discloses a notification received on 3 July 2025 from BlackRock, Inc., Wilmington, Denver, USA, cf. attachment.
BlackRock informs that the reason for the notification is a change to BlackRock’s group structure, resulting from the acquisition of HPS Investment Partners.
Furthermore, BlackRock informs that it is still a major shareholder, and that in its new group structure, its holding of voting rights and share capital as per 1 July 2025 corresponded to a position of 8.61 percent of the total share capital in Vestas Wind Systems A/S (holding in previous notification, cf. Company Announcement No. 15/2024 of 9 October 2024: 7.59 percent).
Number
Percent
Shares according to section 38 of the Danish Capital Markets Act
Voting rights attached to shares
1,655,659,451
8.19
Share capital attached to shares
82,782,973
8.19
Financial instruments – according to section 39(2)(1) of the Danish Capital Markets Act
Voting rights attached to financial instruments
25,556,740
0.12
Share capital attached to financial instruments
1,277,837
0.12
Financial instruments with similar economic effect – according to section 39(2)(2) of the Danish Capital Markets Act
Voting rights attached to financial instruments with similar economic effect
58,836,300
0.29
Share capital attached to financial instruments with similar economic effect
2,941,815
0.29
The shares and financial instruments are held through BlackRock Japan Co., Ltd.; BlackRock Investment Management, LLC; BlackRock Investment Management (UK) Limited; BlackRock Investment Management (Australia) Limited; BlackRock Institutional Trust Company, National Association; BlackRock Fund Advisors; BlackRock Financial Management, Inc.; BlackRock Asset Management North Asia Limited; BlackRock Asset Management Deutschland AG; BlackRock Asset Management Canada Limited; BlackRock Advisors, LLC; BlackRock Advisors (UK) Limited; BlackRock (Singapore) Limited; BlackRock (Netherlands) B.V.; and Aperio Group, LLC; each controlled through chains of BlackRock entities, ultimately controlled by BlackRock, Inc.
Contact details Vestas Wind Systems A/S, Denmark
Daniel Patterson, Vice President Investor Relations Tel: +45 2669 2725
At a moment when all online images are flowing into one machine-learning algorithm or another, it is easy to foresee the convergence of old canons of painting, photography, and film into an undifferentiated field of digital “slop”. Notwithstanding the implications for the precarious life of the cultural producer, this state of artificial intelligence (AI) affairs also augurs a world in which humans lack oversight over the production of images, which increasingly emerge from the latent space of accumulated data in AI models.
A number of artists have sought to halt the onset of consequent cultural blindness by calling attention to the ways technical systems shape social realities. The new machine-assisted paintings by Simon Denny, who was recently appointed a Member of the New Zealand Order of Merit, address the “illegibility” of image generation in the age of AI, when history is all “jumbled up”. the artist’s two new series, presented with the gallery Kraupa-Tuskany Zeidler at the JW Marriott Hotel Berlin, overlooking a hub for the German Ministry of Defence, play on the militarised rhetoric of Italian Futurism as well as cubism’s attempt to capture multiple perspectives simultaneously.
“There is no such thing as offline and online, we’re always both.” The artist Simon Denny working in his studio with a plotter painting machine, 2025 Courtesy of the artist, Petzel Gallery, and Kraupa-Tuskany Zeidler. Photograph: Nick Ash
For Denny, “there is no such thing as offline and online, we’re always both,” which heightens the relevance of the historical avant-garde to a world of multi-channel experience as well as to a moment of rearmament in Europe. By using mechanical plotters to execute his paintings, Denny not only highlights generative AI as a machine for manufacturing history, he also aligns the canon of painting with that of computational art. In the process, he embraces the hybrid reality of an art world where both analogue and digital media live together, one that is crying out for work that embraces plurality without being nebulous.
Denny is not alone in treating painting as one strand of a wider transmedia strategy. The California-born artist Sara Ludy has built a career engineering porousness between media: from sculpture to video to virtual reality. Her recent exhibition of paintings at Smart Objects, Los Angeles, expressed the lingering effects of screen-based experience on life lived in the New Mexico desert. In a recent interview, she acknowledged painting through a “postdigital” lens: “The way I perceive light, space, and surface is shaped by years spent working in that [screen-centred] realm. Even if I’m not actively engaging with digital tools, that lens is embedded in how I see and make.”
Installation view, Chris Dorland, Clone Repo (server ruin) (2025), Nicoletti Contemporary, London. The show relocated glitch aesthetics from the monolith screen to a new series of paintings Photo by Lewis Ronald. Courtesy the artist and Nicoletti Contemporary.
Of course, that lens is also financialised, politicised, and militarised, which has prompted the German media artist and film-maker Hito Steyerl to ask, with the release of her new book Medium Hot: Images in the Age of Heat(2025): “In an age where most images have become operational, […] what can an inoperative image be?” With machine learning now being used to enhance the precision and autonomy of drone operations, artists are helping to maintain public focus on the opaque domain of nonhuman vision. For the Montreal-born New York-based artist Chris Dorland, “Art can’t necessarily stop the machinery, but it can expose its limits […] Technical error becomes a rupture in the smooth interface — a break in the fantasy.” The title of his recent exhibition at Nicoletti Contemporary, Clone Repo (server ruin), refers to the practice of downloading files stored online to a local hard drive. Bathed in the glow of its central LED monolith displaying degraded screen grabs from Tik Tok and Instagram against a “dead server sound bath” by Leon Louder, the show appeals to the urge to evade systems of surveillance. It also relocates glitch aesthetics from the screen to a new series of paintings, subverting one form of seduction after another while validating multimedia practice.
Even a painter’s painter such as the Canadian-American Tim Kent has absorbed digital modes of visualisation, building compositions out of vector graphics that stress the Cartesian roots of military viewfinders. Kent was part of Fever Dream, a group show in May at Studio Underground, New York, curated by Julianna Vezzetti and Xandra Beverlin, whose works register as postdigital aftershocks. A case in point is the California-born Petra Cortright, whose contributions to the show included a painting on anodized aluminium titled Athos adress Internet communication_bank foreclosures banjo-kazooie stratagy(2021) that turns a greyscale grid into an emergent field of indeterminate flora and fauna.
If such works exemplify painting from a digital place, the London-based Diana Taylor’s forthcoming show of paintings at Don’t Look Projects, Los Angeles, comes from the opposite direction. Layering the graphical matrix of Gustave Doré’s engravings together with a surfeit of other patterns over a pixellated bitmap, the artist makes legible the collapse of analogue and digital organising principles that AI obscures.
Sara Ludy, On Days (2024), acrylic on canvas Courtesy of the artist and Smart Objects
If canonical histories of linear progress are no longer wholly credible, it is still possible to identify fertile zones at the borders of art, technology, and design. The decision of Jenna Basso Pietrobon to step away from the New York art scene has fuelled a practice that evades categorisation. Having returned to the town of Nove, in the Veneto, northeast Italy, where her grandparents produced ceramic lamps, she has developed a practice that unsettles the slip-casting process by removing clay from its mould prematurely and stacking the unhardened geometrical forms. Cohering through chance and manual craft, the illuminated outcomes sit uneasily between sculpture and design.
Anthony Dunne and Fiona Raby anticipated this world of hybrid objects by uncoupling product design from function and reframing it as a forum in which to speculate on possible futures. Following the corporate conversion of speculative design into a vehicle for fetishising the future, the duo’s new book Not Here, Not Now: Speculative Thought, Impossibility, and the Design Imagination (2025) asks “[w]hat it means to design at a time when, for many people, the future seems to have become an impossibility.”
Jenna Basso Pietrobon, ceramic lamp sculptures from the series Breaking the Mold (2024-25) Courtesy of the artist
The answer, it seems, is a form of reworlding that uses all forms of media to envision sustainable alternatives. One of Dunne and Raby’s former students, Deborah Tchoudjinoff, was part of a recent exhibition at Hypha Studios in London, titled The Geological Unconscious. Curated by Julie F Hill and Susan Eyre, the show entangled multiple media to explore worlds of more-than-human experience. Tchoudjinoff’s work The City of Gold (2022) speculates on the Anthropocene, incorporating the physical fragments of a fictional supercontinent visualised in a nearby virtual world. While Eyre’s installation Lithos Panoptes (2025) refracts a video of human activity through a series of lenses, capturing the molecular structure of magnetite while revealing the mineral’s view of the world.
Palmer Gallery, in London, attempted something similar through its recent show Handful of Dust which considered sand as a mnemonic material and shapeshifting archive, slowing the spectator’s journey by situating them in a space of primordial experience. In this context, Li Li Ren stood out for her use of 3D-modelling software to develop a series of sculptures — from dismembered arms to desiccated topographies — that expressed the distribution of the body across physical and digital, and human and nonhuman domains.
At a moment when art’s legacy structures are giving way to a new border economy, work like Ren’s can help to ensure that AI and generative media do not create a state of unresolvable impasse but instead engineer a place where analogue and digital media live together in a rich field of hybrid creativity.
A 34-year-old woman of childbearing age came to the local hospital for her annual well-woman visit, and an ultrasound revealed a cystic solid pelvic mass. The patient was subsequently admitted to our hospital. The patient exhibited no symptoms indicative of abdominal discomfort, vaginal bleeding, change in bowel habits, or change in urination. The absence of clinical manifestations precluded determination of its onset time or progression timeline. Moreover, she had undergone one cesarean section and had no history of uterine fibroids. Furthermore, the patient reported no prior use of hormonal treatments or oral contraceptive pills. Additionally, she had no significant history or family history of hypertension or diabetes mellitus, and no history of smoking or alcohol consumption. Her vital signs were within normal limits. A specialized gynecological examination was conducted, during which the uterus was found to be anteriorly positioned, of normal size and shape, and free of tenderness. Additionally, no palpable mass was identified in the left adnexal region, and no tenderness was observed. On the right side, a mass of approximately 5.0 × 6.0 cm was detected in the adnexal region, exhibiting distinct boundaries, a smooth surface, and no evidence of pressure pain.
The blood routine, blood coagulation, liver and kidney function, electrolytes, and glucose levels were within the normal limits. The tumor marker alpha-fetoprotein (AFP) was elevated at 10.90ng/ml. The remaining tumor markers, carcinoembryonic antigen (CEA), carcinoma antigen (CA) 15 − 3, CA 19 − 9, and CA 12 − 5, were within the normal range.
Transvaginal ultrasound demonstrated a cystic solid echogenic mass of approximately 5.2 × 4.5 × 5.7 cm in the right adnexal region with well-defined borders and peripheral blood flow signal in the form of punctate streaks. The bilateral ovaries were visible, and the uterus appeared normal. Given concerns for ovarian malignancy, contrast-enhanced pelvic CT was performed, demonstrating an irregular cystic solid hypodense shadow of about 6.2 × 5.3 cm in the right adnexal area, with a slightly unclear border. Figure 1(A) displays the arterial phase, while Fig. 1(B) indicates that the mass has sufficient blood supply. Contrast enhancement revealed mild, uniform enhancement of the cystic wall and inner solid components, without nodular hyperenhancement. The intracystic fluid region was not of homogeneous density. Rectal walls were normal, with no pelvic lymphadenopathy. Chest CT prior to surgery was unremarkable.
Fig. 1
Computed tomography (CT): Shows a cystic solid hypodense shadow of about 6.2 × 5.3 cm in diameter with a slightly poorly defined border. (A) CT image after contrast injection; (B) Rich blood supply to the mass
The patient was a 34-year-old female of childbearing age with a well-defined cystic solid pelvic mass of unknown nature, indications for surgery, and the patient’s desire for surgery. There were no contraindications to surgery, adequate preoperative preparation, and laparoscopic exploration was performed. Intraoperatively, a small amount of yellowish fluid was visible in the pelvis. The anterior position, morphology, and size of the uterus were normal, and no masses were seen in the bilateral adnexa. The peritoneum was intact, and a retroperitoneal mass of about 5.0 × 6.0 cm in size with irregular morphology and a smooth surface was observed on the surface of the right retroperitoneal iliac vessels and ureter. Additionally, anomalous vessels were identified (Fig. 2(A)). A thorough examination of the pelvic, abdominal, and bowel walls did not reveal any evidence of abnormal nodules. The tumor is located on the surface of the ureter and iliac vessels, necessitating meticulous separation to avoid damage. Therefore, we opened the peritoneum close to the root of the tumor, and the tumor margins were clear. The specimen was then removed in a specimen bag (Fig. 2(B)). Intraoperative cytopathology suggested that the tumor was a spindle cell tumor, which was a smooth muscle tumor with cystic degeneration. Macroscopically, the tumor was a 5.0 × 6.0 cm cystic-solid mass with swirling structures visible in profile. In addition, a cystic cavity with clear fluid was observed (Fig. 2(C)). Microscopically, the lesion consisted of spindle-shaped smooth muscle cells with bluntly rounded nuclei at both ends, uniformly fine chromatin, and no apparent anisotropy or nuclear division. Some areas showed cystic degeneration and the tumor cells’ fascicular arrangement. This finding confirmed the intraoperative frozen section diagnosis of a spindle cell tumor, a smooth muscle tumor with cystic changes(Fig. 3(A)). Moreover, the excised margins of the mass were free of tumor cells. Immunohistochemical staining showed tumor cells positive for desmin (Fig. 3(B)), smooth muscle actin, estrogen receptor (ER), and progesterone receptor(PR). However, they were negative for the cluster of differentiation (CD) 34 and CD117, findings consistent with a diagnosis of pelvic retroperitoneal leiomyoma. Notably, we also observed the occurrence of cystic degeneration in tumor cells(Fig. 3(C)).
Fig. 2
(A) Intraoperative picture showing blood-rich round mass with a smooth surface. (B) The mass traveled on the surface of the right iliac vessels and the right ureter, as seen after complete excision of the mass. (C) The tumor contains a cystic cavity filled with clear fluid, and the cut surface reveals a swirling structure
Fig. 3
(A) Microscopic examination. Hematoxylin and eosin (HE) staining showed spindle-shaped tumor cells growing in loose bundles against a background of abundant vitreous stroma, cystic degeneration were observed, and no mitoses. (HE,40X). (B) Microscopic examination. The tumor revealed strong positive staining for desmin (100X). (C) Microscopic examination. The tumor showed signs of cystic degeneration (100x)
The patient recovered uneventfully and was discharged on postoperative day 4. Therefore, the patient is required to undergo gynaecological ultrasound examinations at the outpatient clinic on a 3 to 6-month basis post-surgery. No evidence of tumor recurrence was observed on the ultrasound six months after surgery. However, it is important to note that regular follow-up is still necessary.
EU gas and electricity markets from January to March 2025 proved their continued resilience as they ensured stable and secure energy supplies with important milestones on both markets. For electricity, while the wind sector and hydropower faced unfavourable conditions, solar power generation reached 45 TWh, a record level for the first quarter – some 30% higher than the same period last year. On the gas market, the end to the transit of Russian gas through Ukraine from 1 January led to a 45% drop in Russian pipeline gas relative to the previous quarter, and 39% down on the same period in 2024. This means that the U.S. has now overtaken Russia to become the EU’s second largest gas supplier (behind Norway). The colder than usual heating season saw higher gas demand for the quarter than in recent years, but prices were broadly kept in check thanks to the significant EU storage levels at the beginning of the quarter. The combination of higher gas prices and a higher share of gas power generation led to higher electricity prices compared with the first quarter of 2024. However, this was only short-lived and still lower than in 2023.
The gas market report confirms that further progress was achieved in the diversification of EU gas supply away from Russia and the structural change in imports. The end to Russian pipeline gas transit through Ukraine, meant that total Russian gas imports (including LNG) declined by 28% year-on-year and 27% quarter-on quarter. The volumes of Russian LNG imports remained stable compared to the previous quarter and declined 11% year-on-year. This change also further accentuated the shift towards more LNG imports (45% – relative to 38% in the previous quarter), while pipeline gas imports were reduced (55%, from 62% in Q4-2024).
The drop in temperatures in the first 3 months of the year – much lower than in the past 2 years, although still above the historical average – drove a 15% increase in EU gas consumption (to 119 bcm) compared to the previous quarter. Consumption grew by 8% year-on-year, indicating a possible halt in the structural decline of EU gas demand observed since 2021. Imports declined by 2% both quarter-on-quarter and year-on-year, while domestic gas production increased by 3% both quarter-on-quarter and year-on-year.
Norway remained the EU’s largest gas supplier with a share of 31% in total EU gas imports and provided 55% of the EU’s pipeline gas. The United States became the second largest EU gas supplier with a 24% share in EU imports and surpassed Russia, whose share dropped to 14% from 19% in Q4-2024 and Q1-2024. The U.S. provided more than half (53%) of EU LNG in the quarter. North-Africa (Algeria) increased its pipeline gas supply share to 21% from 19% in the previous quarter and 17% in Q1-2024 – the second biggest pipeline gas suppler after Norway, relegating Russia to third with 12%. Qatar remained an important LNG supplier (10%) to the EU and occupied the third largest position after Russia (16%) in EU LNG supply.
The upward price movement in wholesale gas price (observed already in Q4-2024) continued, driven by rapidly drawn-down gas storage levels combined with lower renewable production and geopolitical tensions. European wholesale prices averaged 47 €/MWh in the first quarter of 2025, an increase of 9% compared to the previous quarter and a 71% increase year-on-year. The monthly average price reached 48 €/MWh in January and 50 €/MWh in February, before falling back to 42 €/MWh in March 2025. Retail gas prices increased by 6% both in quarter-on-quarter and year-on-year comparison. The EU quarterly average retail price was 112 €/MWh.
The electricity market report highlights the contrast between the record solar power generation (45 TWh) and the exceptionally low wind generation for the first quarter due to the poor wind speeds. Wind generation declined year-on-year, with onshore wind dropping by 17% (-22 TWh) and offshore wind by 22% (-4 TWh). Hydropower also saw a 15% decrease (-16 TWh), albeit from very high levels in Q1 2024. This unusual combination – and the rise in gas demand because of the cold weather – meant that the renewable share of power generation decreased to 41% in the first quarter of 2025. This compares with 46% in the first quarter of 2024. A closer look at the figures shows that, after atypically weak generation in January and February, renewable output started to pick up again in March, indicating a positive trajectory for the upcoming months.
In contrast, fossil fuel generation rose by 17% (+33 TWh), compensating for the atypically low renewable output and a moderate rise in electricity demand. This was largely driven by less CO2-intensive gas generation which increased 23% (+21 TWh), alongside a 15% rise (+11 TWh) in coal-fired generation. Nuclear output also experienced an increase of 4% (+6 TWh).
Electricity prices exhibited volatility, with the European Power Benchmark averaging 100 €/MWh due to higher gas prices and more gas power generation. This marks a 49% increase from Q1 2024, but a 38% decrease from Q1 2023. Retail electricity prices for households in EU capital cities saw a marginal increase of 3% to 255 €/MWh, driven by higher energy taxes and network charges.
More than 620 000 new electric vehicles (EVs) were sold in Q1 2025 in the passenger car segment in the EU – a record high for the first quarter and 15% higher than the same quarter last year. This translates into a 21% EV share in the EU passenger car market.
KARACHI, Pakistan (AP) — A multistory building collapsed Friday in Pakistan’s southern port city of Karachi, killing at least six people and injuring several others, officials said.
Rescuers were using heavy machinery to search for several survivors believed to be trapped under the debris, said Javed Nabi, a government administrator.
Residents said the building was located on a narrow street, making it difficult for rescue teams to bring in additional heavy equipment. Television footage showed rescuers removing the rubble and evacuating nearby buildings as a precaution.
Building collapses are common in Pakistan, where construction standards are often poorly enforced. Many structures are built with substandard materials, and safety regulations are frequently ignored to cut costs.
In June 2020, an apartment building collapsed in Karachi, the capital of southern Sindh province, killing 22 people.
In order to keep providing you with our global services, Maersk is revising the Heavy Load Surcharge for 40 Non-operated reefer containers from Far East Asia (Excluded Taiwan China) to West Coast South America, Central America and Caribbean (Excluded Puerto Rico and Colombia), effective price calculation date 12th Jul 2025.
The new tariff levels are as follows:
*Far East Asia countries include Brunei, China, Hong Kong China, Indonesia, Japan, Cambodia, Mongolia, South Korea, Laos, Myanmar, Malaysia, Philippines, Singapore, Taiwan China, Thailand, and Vietnam **West Coast South America, Central America and Caribbean countries include Antigua and Barbuda, Anguilla, Netherland Antilles, Aruba, Barbados, Bermuda Island, Bolivia, Bonaire Sint Eustatius and Saba, Bahamas, Belize, Chile, Colombia, Costa Rica, Curacao, Dominica, Dominican Republic, Ecuador, Grenada, French Guiana, Guadeloupe, Guatemala, Guyana, Honduras, Haiti, Jamaica, St Kitts-Nevis, Cayman Islands, St Lucia, Martinique, Montserrat, Mexico, Nicaragua, Panama, Peru, St Pierre and Miquelon, Puerto Rico, Suriname, El Salvador, Sint Maarten, Turks and Caicos, Trinidad and Tobago, Saint Vincent and the Grenadines, Venezuela, Virgin Islands (Br.)
When Verified Gross Mass (VGM) exceeds the weight threshold, Heavy Load Surcharge will be triggered. The Verified Gross Mass (VGM) is the weight of the cargo including dunnage and bracing plus the tare weight of the container carrying this cargo.
Heavy Load Surcharge will be applicable to all Ocean products including contract products, SPOT, Maersk Go, and others.
The above rates are also subject to other applicable surcharges, including local charges and contingency charges.
These rates are unaffected by, and do not affect, any tariff notified, published, or filed in accordance with local regulatory requirements.
For trades subject to the US Shipping Act or the China Maritime Regulations, quotations or surcharges that vary from the Maersk Line tariff shall not be binding on Maersk Line unless included in a service contract or service contract amendment that has been filed with the Federal Maritime Commission (FMC) or the Shanghai Shipping Exchange, as applicable.
If you have any questions, please feel free to reach out to our local representatives on Maersk.com.
We appreciate your business and look forward to continuing working with you in the future.
The soccer world is in mourning following the death of Liverpool and Portugal star Diogo Jota in a car crash in Spain early on Thursday morning. He was 28.
His brother, André Silva – who was also a professional footballer – also died in the accident at the age of 25.
Jota married his long-term partner, Rute Cardoso, with whom he has three children, less than two weeks before the crash.
The incident occurred around 12:30 a.m. local time on the A-52 road in Zamora, northwestern Spain, and was caused by a “burst tire while overtaking,” the country’s Guardia Civil said on Thursday. The vehicle that Jota and his brother were in left the road and subsequently caught fire, officials said. It is not known which brother was driving the car, which Spanish media reported was a Lamborghini.
The authorities identified the remains based on documents recovered at the scene of the accident, as well as the car’s license plate, CNN Portugal reported. Further forensic testing at a morgue in Zamora confirmed the brothers’ identities, according to CNN Portugal.
For investigation, the remains were moved to the nearby town of Puebla de Sanabria, a source close to the sub-delegate of the Spanish government in Zamora told CNN. The players’ family was present in Puebla de Sanabria on Thursday afternoon to finalize the administrative requirements which allow the remains to be released and returned to Portugal, CNN Portugal reported.
A source from the Government Sub-delegation in Zamora told PA that the crash is being investigated as “a possible speeding incident.”
A wake for Jota and André Silva’s family began on Friday morning at a church in the brothers’ hometown of Gondomar, near Porto, the church told CNN. It added that the doors at the Igreja Martiz de Gondomar will open to the public on Friday afternoon.
A funeral is set to take place on Saturday at 10 a.m. local time (5 a.m. ET), the church said.
Jota played an important role in the Liverpool team which lifted the Premier League trophy just over two months ago, equaling the English record of 20 top-flight titles. He featured in 26 of the club’s 38 league games, scoring six goals and providing four assists. In total, he scored 65 goals across five years on Merseyside, also winning one FA Cup and two EFL Cups.
Jota was part of the Portugal national team which won the Nations League in June this year, having also won the competition in 2019.
André Silva played for Futebol Clube de Penafiel in the Liga Portugal 2, the country’s second division. In total, he scored 12 goals and contributed 10 assists in 105 matches at full and youth level throughout his career.
Tributes from the soccer world came flooding in throughout Thursday. Portuguese great Cristiano Ronaldo wrote that his compatriot’s death “does not make sense,” while former Liverpool manager Jürgen Klopp, who signed Jota for the club in 2020, offered “prayers, thoughts and power” to Jota and André Silva’s family.
Current Liverpool manager Arne Slot also paid his respects, writing: “When the time is right, we will celebrate Diogo Jota, we will remember his goals and we will sing his song. For the time being, we will remember him as a unique human being and mourn his loss. He will never be forgotten.”
Tributes also came in from beyond soccer, from the likes of NBA star LeBron James and the United Kingdom’s Prince William, who said he was “deeply saddened.”
Whenever we spot a deal on the excellent Sony A80L, we want to make sure you’re the first to know about it. Thanks to a new deal, you can pick up the five-star 55in A80L at Amazon for only £949.
That’s a huge saving over its original £2399 price when we first tested it two years ago. But we don’t recommend buying it.
The Sony might be one of the best OLED TVs on the market and a What Hi-Fi? Award winner, but right now we think you should go for the LG C4 instead. Not only is the LG TV newer and better, but it’s also the same price.
You can snap up the LG C4 55-inch TV right now for only £949 at Amazon. It’s not the lowest price we’ve ever seen, but even at this price we think it’s an OLED TV deal that’s too good to miss.
We’ve reviewed a fair few LG C4 models — and each one has been a total pleasure. We gave both the 65-inch LG C4 and 48-inch LG C4 five stars in our reviews, so it’s safe to say that when it comes to the 55-inch model, you won’t be disappointed in what you get.
LG’s C-series of step-down OLED TVs are solid performers, no matter the size. And for the 55-inch, you’re getting a stunning upgrade from LG’s C3 that includes four HDMI 2.1 ports, a lack of HDR10+ but support for the far more important Dolby Vision, HLG and standard HDR10 formats.
And for gamers, it’s a fantastic offering. Most noteworthy is the support for 4K/144Hz signals and full Nvidia G-Sync VRR certification. Sure, that’s hardcore gaming territory, but they’re helpful no matter your ability and dedication.
Add to that support for 4K/120Hz, VRR, and ALLM across all four of its HDMI 2.1 sockets; Dolby Vision gaming; HGiG for more accurate HDR game performance; and the Game Optimiser menu for quick access to gaming features – and you’re looking at one of the best gaming TVs on the market.
When it comes to picture quality, we praised the 65-inch model for: “Big improvements to brightness and sharpness [that] make for an image with lots of pop and dynamism, and the rich tone and vibrant colours are a delight—but LG has tempered all of this with realism, consistency, and authenticity.”
So, waste no time in taking this great LG C4 deal to the checkout for £949 at Amazon. But hurry, this deal won’t stick around forever.
