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Duval County parents can speak with school leaders from home

Duval County parents can speak with school leaders from home The annual School Choice Expo will be virtual on Saturday. Updated:  Tags:  JACKSONVILLE, Fla – It’s time to start thinking about next fall. Duval families will be able to tour schools from home today and speak with school leaders. The district’s annual School Choice Expo will be virtual on Saturday, January 9. Duval County Public Schools is a choice district, which means students can attend schools outside their attendance area zones through the school choice application process. The expo begins at 11 a.m. and runs until 3 p.m. Parents should already have an account through the district website. This is in the “My Show Planner” tab, where you’ll see your scheduled events to see live school presentations, organize you schedule, and make appointments to talk with school leaders.

Mulligan shines in 'Promising Young Woman's' brilliant, necessary script

Actress turned writer/director Emerald Fennell made a big splash at Sundance back in January with “Promising Young Woman.” Oscar-nominee Carey Mulligan garnered instant awards attention for a performance that’s unlike anything else in her filmography. “Promising Young Woman” is an original script that’s part satirical revenge flick and whole hardily a conversation starter. Aside from Mulligan’s performance, the appeal here is Fennell’s atypical, undefinable story. “Promising Young Woman,” like it’s leading character, is often at odds with itself, which produces some insightful, creative and surprising elements. While Mulligan is often typecast as the strong-willed woman in period dramas like “Suffragette,” “Far from the Madding Crowd” and “Never Let Me Go,” she never plays the stereotypical wife or love interest.

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Revenge Is Sweet in Promising Young Woman

Promising Young Woman COURTESY OF FOCUS FEATURES Posing as a drunk woman, Cassandra Thomas (Carey Mulligan) sets out to expose predatory men. Sexual violence and misogyny have for so long provided mainstream film and television with a wellspring of entertaining tropes, that when writers and directors set out to examine their workings directly, they mistrust flamboyance. Some of the most successful recent treatments of the subject are characterized by a restraint that borders on austere: Unbelievable wrestles crime drama into a rigorous, sensitive feminist form; Kitty Green’s tense, miniaturist The Assistant restricts itself to the perspective of the titular employee of a Weinstein-like figure we never see head-on, demonstrating in detail how power obscures its abuses, mutes and muffles all opposition. Jay Roach’s