The Club World Cup final victory over Paris Saint-Germain last summer was probably Enzo Maresca’s finest hour as Chelsea manager. He devised a gameplan, pinging balls over Nuno Mendes for Cole Palmer to chase, backed up by Malo Gusto, that tore the European champions apart in the first half. Liam Rosenior may try to exploit the same vulnerability, but this is a Chelsea that look weary, their exertions in the US perhaps having left them fatigued.
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It all began last December when WBD agreed to sell its Warner Bros. studio and HBO Max streaming service to the streaming giant Netflix. Days later, Paramount Skydance lobbed in a hostile bid to buy all of WBD. Amid multiple twists and turns—and the CEOs of both bidding companies separately visiting President Trump to make their cases—WBD declared on Feb. 26 that it would agree to Paramount’s bid, which had gone through various permutations to make it more appealing. Netflix co-CEO Ted Sarandos declined to sweeten the offer, saying that for Netflix the deal had always been nice-to-have, not need-to-have.，推荐阅读搜狗输入法2026获取更多信息
The very first thing I did was create a AGENTS.md for Rust by telling Opus 4.5 to port over the Python rules to Rust semantic equivalents. This worked well enough and had the standard Rust idioms: no .clone() to handle lifetimes poorly, no unnecessary .unwrap(), no unsafe code, etc. Although I am not a Rust expert and cannot speak that the agent-generated code is idiomatic Rust, none of the Rust code demoed in this blog post has traces of bad Rust code smell. Most importantly, the agent is instructed to call clippy after each major change, which is Rust’s famous linter that helps keep the code clean, and Opus is good about implementing suggestions from its warnings. My up-to-date Rust AGENTS.md is available here.
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