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For the first time, there is a picture of Samsung Galaxy S21 Ultra, there will be Snapdragon 8

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Photo: winfuture.de

The Samsung Galaxy S21 series is coming to the market next January. The series will have three phones Galaxy S21, S21 Plus, and Galaxy S21 Ultra. Their specifications and renders have already been leaked online. This time popular tipster Evan Blass Samsung unveiled the official picture of the Galaxy S21 Ultra. From here, the design of the front and back of the phone is known. Let’s know the design and specification of Samsung Galaxy S21 Ultra.

Shared by Evan Blass Pictures Accordingly, the Samsung Galaxy S21 Ultra will come in two colors. These are Phantom Silver and Phantom Black. It will have a curved edge display. The phone is expected to come with a 6.8-inch Infinity O AMOLED screen. There will be a glass body behind it again. Note that the S21 and S21 + phones can be launched with two flat screens.

Photo -Evan Blass

The Samsung Galaxy S21 Ultra will come with Snapdragon and Exynos processors. The phone will be launched in the US market with Qualcomm Snapdragon 8 processor. The phone with Exynos 2100 processor may be launched in other markets including India. The phone can have a 5,000 mAh battery. Which will support 25 watt fast charging. It will also support wireless charging and reverse wireless charging.

Let me tell you, Galaxy S21 Ultra will be the first S series phone to have S Pen support. Again, this phone may have a 108 megapixel primary quad rear camera setup. 1080p video can be recorded at 240 fps with the primary camera. It will support OIS and autofocus. The other three cameras will be a 10 megapixel telephoto lens with 12 megapixel ultra wide and 3x zoom and a 10 megapixel periscope telephoto lens. Again, the phone may have a 40 megapixel sensor as a selfie camera. This phone will come with Android 11 based OneUI 3.0 operating system.

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Passionate techie. Professional tech writer. A true cricket fan. You can follow me on Twitter ulaJulai_Mondal.

Entertainment

Domina: Target on feminine working experience provides this period piece depth

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<p>The series emphasises how rough women had it in ancient Rome</p>
W

hen the younger Livia (Nadia Parkes) learns that she is expecting with her second kid, she goes on a rampage, smashing up a domestic shrine in advance of running into the sea to scream at the heavens, asking the gods what she has completed to are entitled to this. Afterwards, when Octavia, one more young lady with immaculately Babylissed curls, discovers she is about to be married off in a politically expedient union, she seems fatigued. She’d “hoped to be left by itself for a whilst at least” just after giving birth to two infants in two many years – and a further marriage inevitably means a lot more pregnancies. “You usually get worried each delivery will be your final,” she says.

In Domina, the huge budget new time period drama from Sky checking out the lifetime of Livia Drusilla, we are repeatedly revealed that for ladies, Roman everyday living was garbage. Their key purpose was to pop out heirs, but supplying delivery was painful (“like shitting out a statue,” as 1 new mom places it) and perilous. It’s no surprise that the show’s younger heroines are less than thrilled when they discover they’re knocked up. These signposts are about as delicate as teenage Livia’s go-to strategy of fending off an assassin in the opening times of episode one particular (she bashes him more than the head with a massive rock, numerous periods) but they definitely increase an attention-grabbing dimension to the show’s depiction of woman electric power in historic Rome.

Writer Simon Burke keeps reminding us that no matter what political affect and position an educated female like Livia may hope to maintain – more than their fathers, husbands or the country by itself – their lives had been generally contingent and fragile. The girlboss-ification of woman figures from heritage is huge company proper now, but this stress, captured in potent performances from Parkes and Kasia Smutniak (who plays the more mature Livia from episode three onwards), provides the title character nuance – and, crucially, stops her from emotion like just yet another identikit badass girl on a horse.

The series emphasises how tough gals had it in historical Rome

/ Sky

As the collection opens, our teenage heroine, whose enlightened dad Livius (performed by Liam Cunningham) has finished the unthinkable and educated his daughter, is about to be married off to the distinctly underwhelming Nero (not the famed just one). Their wedding, a single of several beautifully turned-out established items, is marked by snatched, furtive discussions concerning adult men in togas: the demise of Julius Caesar has left a electrical power vacuum, and his son Gaius (the upcoming Caesar Augustus) is desperate to fill it, while republicans like Livius favour a additional democratic established-up. Amid all the skulduggery, while, there’s time for some small communicate about Roman plumbing: “We got linked to the aqueduct final calendar year!” Livius tells Gaius (Tom Glynn-Carney, unrecognisable from his convert as Mark Rylance’s angelic sidekick in Dunkirk many thanks to a black wig that screams My Chemical Romance circa 2006) when he accosts him in the toilet.

From right here, the plot sets off at a breakneck rate, sprinting through broad swathes of background. When a selling price is put on his head, Livius flees to Greece, Livia and Nero go on the operate, then are referred to as back again to Rome, in which she commences a new romance with Gaius (significantly to the chagrin of his wife Scribonia). In episode 3, there is a finish transform of cast as the motion skips ahead 12 years, with a expecting Livia (Smutniak) vying to secure her now-husband (Matthew McNulty)’s electricity foundation in the Senate.

Kasia Smutniak normally takes on the function of Livia from episode 3

/ Sky

With frequent leaps forward in time, the dialogue generally strains under the excess weight of all the exposition that is essential to maintain us up to velocity (this ponderousness is not helped by the Roman tendency to give essential males several names), but for each individual potted history, there is a memorable, zingy line, like Livia’s response when she overhears Octavia and Scribonia mocking her at her very own wedding. “I’m youthful, prettier and richer than you, so why are you laughing at me?” she fumes, like a BC Blair Waldorf.

Cramming Livia’s prolonged, interesting life into just 8 episodes is an ambitious enterprise, so whilst Domina’s shifts in tone are relentless and often jarring, it is under no circumstances boring, The blend of significant drama and even higher creation values is generally an desirable just one, making this an entertaining spin on historic Rome, given depth by its compelling heroine.

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