When the United Kingdom voted to leave the European Union last month, the seaside town of Port Talbot in Wales eagerly went along with the move. Brexit was approved by some 57 percent of the town's residents.

Now some of them are wondering if they made the wrong decision.

The June 23 Brexit vote has raised questions about the fate of the troubled Port Talbot Works, Britain's largest surviving steel plant — a huge, steam-belching facility that has long been the town's biggest employer.

Solar Impulse 2 has landed in Cairo, completing the penultimate leg of its attempt to circumnavigate the globe using only the power of the sun.

The trip over the Mediterranean included a breathtaking flyover of the Pyramids. Check it out:

President Obama is challenging Americans to have an honest and open-hearted conversation about race and law enforcement. But even as he sits down at the White House with police and civil rights activists, Obama is mindful of the limits of that approach.

"I've seen how inadequate words can be in bringing about lasting change," the president said Tuesday at a memorial service for five law officers killed last week in Dallas. "I've seen how inadequate my own words have been."

Mice watching Orson Welles movies may help scientists explain human consciousness.

At least that's one premise of the Allen Brain Observatory, which launched Wednesday and lets anyone with an Internet connection study a mouse brain as it responds to visual information.

The FBI says it is giving up on the D.B. Cooper investigation, 45 years after the mysterious hijacker parachuted into the night with $200,000 in a briefcase, becoming an instant folk figure.

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This is the first in a series of essays concerning our collective future. The goal is to bring forth some of the main issues humanity faces today, as we move forward to uncertain times. In an effort to be as thorough as possible, we will consider two kinds of threats: those due to natural disasters and those that are man-made. The idea is to expose some of the dangers and possible mechanisms that have been proposed to deal with these issues. My intention is not to offer a detailed analysis for each threat — but to invite reflection and, hopefully, action.

Alabama authorities say a home burglary suspect has died after police used a stun gun on the man.  Birmingham police say he resisted officers who found him in a house wrapped in what looked like material from the air conditioner duct work.  The Lewisburg Road homeowner called police Tuesday about glass breaking and someone yelling and growling in his basement.  Police reportedly entered the dwelling and used a stun gun several times on a white suspect before handcuffing him.  Investigators say the man was "extremely irritated" throughout and didn't obey verbal commands.

It can be hard to distinguish among the men wearing grey suits and regulation haircuts on Pennsylvania Avenue in Washington. But David Margolis always brought a splash of color.

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Montgomery Education Foundation's Brain Forest Summer Learning Academy was spotlighted Wednesday at Carver High School.  The academic-enrichment program is for rising 4th, 5th, and 6th graders in the Montgomery Public School system.  Community Program Director Dillion Nettles, says the program aims to prevent learning loss during summer months.  To find out how your child can participate in next summer's program visit Montgomery-ed.org

A police officer is free on bond after being arrested following a rash of road-sign thefts in southeast Alabama.  Brantley Police Chief Titus Averett says officer Jeremy Ray Walker of Glenwood is on paid leave following his arrest in Pike County.  The 30-year-old Walker is charged with receiving stolen property.  Lt. Troy Johnson of the Pike County Sheriff's Office says an investigation began after someone reported that Walker was selling road signs from Crenshaw County.  Investigators contacted the county engineer and learned signs had been reported stolen from several roads.

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A Nazi Roundup, Chaotically Evoked In 'La Rafle'

Nov 20, 2012

On June 23, 1940, the day after France signed the armistice that marked the country's official capitulation and partial occupation, Adolf Hitler toured Paris. In black-and-white footage taken on the day that opens the earnest and unconventional French docudrama La Rafle, the visiting Nazi leaders and their military escorts are more or less sightseeing.

They go by the Paris opera, the Arc de Triomphe, the Eiffel Tower; all are conspicuously empty of Parisians. Unsurprisingly, the Paris Hitler surveys and even awkwardly marvels at on his first and only visit to the city is one without its people — a grim image that foreshadows the unnaturally vacant apartments after a citywide purge that will follow two years later.

La Rafle ("the roundup") chronicles the Vel' d'Hiv Roundup of July 1942, in which roughly 13,000 Jews living in Paris (4,501 of them children) were removed from their homes by French police and sent to detention camps in the countryside, before being deported to Auschwitz. While approximately two-thirds of France's Jewish community survived the Holocaust, La Rafle focuses on a grave moment of extreme complicity and betrayal by the Vichy government and French police — a stain of the war that went unacknowledged by the French government until the 1990s.

Interested in showing the full spectrum of experience of the tragic event, director Rose Bosch unmoors the narrative from a single protagonist to focus broadly on the Nazis and the collaborators who set the roundup into motion, along with the Jews who were taken from their homes and those who tried to help them.

Those last two groups are at the center of a portrait painted in microcosm. Despite increasingly restrictive anti-Semitic regulations, Polish emigres Schmuel Weisman (Gad Elmaleh) and his wife, Sura (Raphaelle Agogue), like most of their friends and neighbors in the close-knit community of one Montmartre apartment building, count their blessings and remain hopeful; without money enough to flee, they need to believe it will somehow work out. Idyllic would be the wrong word to describe their children's lives, but their parents' love and encouragement temporarily separate Jo Weismann (Hugo Leverdez) and the other children on the block from the worst of what's coming.

La Rafle emphasizes the cruel dramatic irony of this historical moment by crosscutting scenes of familial warmth with those of the coming genocide's logistics. The Weismanns laugh as Jo mockingly imitates Hitler; cut to the Fuhrer giving a radio address in Berlin, calling for the Jews' extermination.

Later the children celebrate the rare gift of chocolate, while at his opulent private residence in the Bavarian Alps Hitler rewards the children of guests with pieces broken off a miniature chocolate Fuhrer. The decision to so closely link the families and the people making the decisions to oppress and exterminate them illustrates, with heartbreaking clarity, the power of xenophobia to drive action, but it also shows how easily the unthinkable can be made routine by bureaucracy.

Removed from the immediate consequences of his actions, French leader Philippe Petain reluctantly negotiates away France's Jews — first the stateless, then French nationals, then even the French-born children. The finer details of the raid are efficiently coordinated by the Paris police, who choose a date (they delay the roundup until after Bastille Day) and make specific allotments for what clothing and food items "detainees" may take from their homes.

When the raid begins, Bosch's camera desperately roves throughout the apartment building, showing the Weismanns but also as many confrontations, negotiations and moments of human struggle as possible; because there is no one story that can represent the totality of experiences of the Vel' d'Hiv Roundup nor the Holocaust, La Rafle insists on telling individuals' diverse stories, but provides the merest glimpses into their lives. When about 7,500 of the Jews detained by police are sent to the Velodrome d'Hiver, a bicycle-racing stadium that gives the raid its name, the camera soars to the rafters, straining to emphasize the magnitude of this event.

At times, the film's decentralized point of view and its own passionate desire to investigate the boundaries of its dramatic format leave the effort feeling almost scattershot. Bosch muddies the water, billing the film as a nonfiction drama when in fact details large and small have been adjusted to make a satisfying dramatic experience.

A doctor, a nurse and other characters enter and exit the film seemingly arbitrarily, evoking a sense of disruption and loss as families are torn asunder — but also leaving some of their stories hanging without ends.

Bosch, a former journalist, may have been more effective by conveying this story in a documentary. Yet La Rafle is also a film about redefining a moment in history that went ignored for decades; it's about the French speaking to themselves about their own story. It's a mainstream, sentimental drama because it needs to be. It announces in a clear voice that this happened.

Copyright 2012 National Public Radio. To see more, visit http://www.npr.org/.