HOVE, England, CMC – Jerome Taylor said he welcomed the chance to play county matches in England and hoped his brief stint with Sussex can spur a recall to the West Indies team. The 32-year-old fast bowler last month reversed his decision to retire from Tests last year, admitting he made a mistake and was working hard to regain a place in the Caribbean side for future matches. “I think I might have jumped the gun retiring from international cricket.,” he told the Argus newspaper. “When I sit at home and watch, I just want to get back out on the park and play for the West Indies again. I want to give back to West Indies cricket. That is what I always wanted to do growing up and hopefully I can do it again.” Taylor has played 46 Tests, 85 One-day and 23 Twenty20 Internationals for West Indies between 2003 and his decision to step away from Tests last July. He played in the Regional Super50 Tournament earlier this year for the Jamaica Scorpions, showing he had lost little of his fire and collected 16 wickets at 18.81 apiece in eight of his side’s 10 matches, and he also turned out for the franchise in four Regional 4-Day matches in which he grabbed eight wickets at 28.62 each. The West Indies selection panel, headed by Courtney Browne, however, ignored his claims and a record that include 130 Test scalps at 34.46, 126 ODI wickets at 28.16 and 24 T20I wickets for the preceding England ODI and ongoing Pakistan home series. For now, Taylor is relishing the chance of replacing injured South Africa fast bowler Vernon Philander at the 1st Central County Ground. He is looking to play a more prominent role having been disappointed with his figures of 1-54 from eight overs, as the Sharks secured a much-needed win on his debut against Glamorgan last Tuesday, having only arrived from the Caribbean 24 hours earlier. It was only the county’s second win in the One-Day Cup since August 2014 and boosted their hopes of challenging for a place in the knockout stages. “It was great to get the win, but I was not satisfied with my performance,” he said. “I was still probably a bit jet-lagged, but I don’t want to blame it on that. It is a game of cricket and I have played enough cricket to know what is required. “There is a lot of room for improvement, and hopefully, I can give some very good performances for Sussex while I am here. It is only a couple of weeks, but I will try to adapt as quickly as possible.” He said: “I’m loving every minute of it so far and the lads in the dressing room have made it a lot easier for me to settle in. But my body needs to acclimatise to the different temperature over here and the pitches are different. “It was also a bit strange bowling down the hill, but after the first three or four overs, you know you have to pull yourself up a bit. This is home for the next two to three weeks so I need to get used to it. “I’ve been in England before, but a long while ago, so it is about learning all over again. I am willing to do that and I’m sure it won’t take me long to hit top form.”
As Emily sits, not knowing what, if any, punishment she will be dealt by Joseph Lawrence (Bradley Whitford), the latter dances along to the song. He’s either oblivious to Emily’s situation, or perhaps he’s hyperaware and purposely tormenting her. The music can play tricks on the characters as well as the viewers. Facebook LEAVE A REPLY Cancel replyLog in to leave a comment Advertisement Advertisement Advertisement Twitter The emotions of climactic scene of Season 2 of The Handmaid’s Tale, which featured Alexis Bledel’s character Emily, were leavened by the use of an upbeat 1990s pop song by Annie Lennox. (GEORGE KRAYCHYK / HULO/THE ASSOCIATED PRESS) Login/Register With: The second season of The Handmaid’s Tale was brought to a close with a moment of cathartic violence. But one could argue the star of the scene wasn’t Alexis Bledel’s handmaid Emily but instead a voice off-screen: Annie Lennox.With Emily fearing for her life, the sound of Lennox’s symphonic pop cut “Walking on Broken Glass” breaks the silence, materializing via car radio. The tune’s upbeat tone contrasts with the pain of the character and, in turn, attempts to bring greater emotional weight to the scene by highlighting the show’s extremes. It’s one example of how the Hulu series (which airs in Canada on Bravo) used familiar pop music throughout its second season not as a cause for celebration but as a tool to torture.With “Broken Glass,” the desired effect was to make the audience uncomfortable. What at first starts as a simple juxtaposition soon becomes somewhat menacing.