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'I'm Your Woman' with Rachel Brosnahan is a new twist on thief-on-the-lam story
by Michael O'Sullivan, The Washington Post, Posted: December 11, 2020
Rachel Brosnahan and Arinze Kene star in "I'm Your Woman." ( Photo Courtesy of Amazon Studios)
Amazon Studios / MCT
A few surprising things happen, early on, in I'm Your Woman, a 1970s-set neo-noir crime thriller from director Julia Hart. (As in her excellent and equally eccentric 2018 film Fast Color, about ordinary people with superpowers, Hart co-wrote the screenplay with her husband, Jordan Horowitz.)
Jean, a naive and childless suburban housewife played by the Emmy-winning actress Rachel Brosnahan of The Marvelous Mrs. Maisel, welcomes her husband, Eddie, home one evening to discover he's got a baby in his arms. She's not sure where the child came from, but Eddie (Bill Heck) assures her that he's taken care of everything. Considering that Eddie is a career criminal — a thief, as far as Jean knows — his nonexplanation isn't terribly comforting. Still, she accepts it. Jean is used to defining herself around her husband.
Shortly thereafter, Jean learns a thing or two more when a guy named Jimmy (Jarrod DiGiorgi) shows up: There's a shoe box filled with $200,000 in cash in her bedroom closet, and Eddie isn't simply a thief. He's just killed the boss (not his first murder, either) and is now on the lam.
All of these things, coming in rapid succession, are mildly startling — more so to Jean than to those of us who are used to plot twists. But the true curveball comes in the fact that the film doesn't center on Eddie at all, or even on Cal (Arziné Kene), an old co-worker of Jean's husband who's sent by Eddie to protect her from the inevitable mobsters who figure Jean knows where Eddie's hiding.
In a more conventional telling, this might have been a story about Eddie. Heck is a fine actor (The Ballad of Buster Scruggs), but we don't actually see him again after the first five minutes. Alternatively, it could easily have been a story about the relationship that develops between Cal and Jean.
Admittedly, there's a bit of that latter energy here, and the relationship dynamic of these two characters is subtly limned by Hart and Horowitz's sensitive screenplay, as well as by Brosnahan and Kene's underplayed performances. But soon enough, after Cal has set Jean up in a remote cabin — where Cal's wife, son and grandfather (Marsha Stephanie Blake, De'Mauri Parks and Frankie Faison) soon join her — Cal also disappears.
This ignites the main action of I'm Your Woman, whose very title — suggesting the efforts of a loyal wife, or wives, to save their husbands — slyly subverts genre expectations. The question of whose woman Jean is, or will become, hangs in the air, and the answer isn't what you might expect.
For much of the film's first half, the baby cries inconsolably, which is one way — and not a pleasant one — of ginning up tension. But the narrative eventually gains a grittier, and far more interesting, kind of traction, as Jean and Cal's wife, Teri, grab the focus of the story, and hold it. In the process, the film becomes a parable of motherhood and female friendship, in the guise of a shoot-'em-up.
I'm Your Woman isn't so much off-kilter as it is ballasted by a different, perhaps lower center of gravity. The title sounds exploitative — perhaps even silly — but the tale it spins is one of power and, ultimately, of coming unexpectedly, satisfyingly, into one's own.
I'm Your Woman *** (out of four)
Directed by: Julia Hart with Rachel Brosnahan, Marsha Stephanie Blake, Arinzé Kene.
Available on: Amazon Prime Video
Run time: 2 hours.
Parent's guide: Rated R, for violence and strong language.
Michael O'Sullivan, The Washington Post
Designs from Philly-area residents part of the Kolam Project, which welcomes first South Indian vice president
Lini S. Kadaba, For The Inquirer
Philly's Bowerbird is streaming late-night concerts to hear as you fall asleep
How fast do you cancel streaming services? It's a problem for Hollywood.
Ryan Faughnder, Los Angeles Times


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Jeanne Mélin (17 September 1877 – 18 April 1964) was a French pacifist, feminist, writer and politician who wrote under the pseudonym Thalès Jehanne. She fought for peace between France and Germany, and for the right of women to vote. She was a candidate for election as President of France in 1947.

Early years
Jeanne Mélin was born in 1877 in Carignan, Ardennes, to a bourgeois family. Her father, who ran the family brickyard, was an anti-clerical Republican and supporter of Alfred Dreyfus. He was inspired by the theories of Jean-Baptiste André Godin, and was a philanthropist who wanted to put an end to poverty. Jeanne Mélin received a typical education for a girl of her class at the time.
She attended the Sainte-Chrétienne de Carignan boarding school for her secondary education. In 1898 Mélin joined Sylvie Hugo Flammarion's association for Peace and Disarmament by Women (La Paix et le Désarmement par les Femmes), and founded a branch of the association in the Ardennes. She developed moderate views based on the pacifist and educational virtues of motherhood.

From 1900 to 1914 Mélin fought for a moderate pacifism based on arbitration of disputes within the Peace Through Law Association (ADP: Association de la paix par le droit).
She was influenced by the socialist and pacifist Jean Jaurès.
In 1906 she became a member of the French Section of the Workers' International (SFIO: Section Française de l'Internationale Ouvrière).
She also joined the French Union for Women's Suffrage (UFSF: Union Française pour le Suffrage des Femmes), where she advocated a staged approach to giving women the franchise.
Mélin gained a solid reputation as a speaker through her participation in pacifist and feminist conferences in France and Europe between 1910 and 1914.
She had advanced views on morality, and in 1907 advocated birth control and sex education for girls as well as boys.

World War I
The outbreak of World War I (July 1914 – November 1918) caused an upheaval in Mélin's thinking. In August 1914 she was in Brussels at the meeting of European pacifists.
She did not accept the passive attitude of German pacifists such Alfred Hermann Fried, who took refuge in Switzerland and avoided comment on German responsibility.
She was shocked by the assassination of the anti-militarist leader Jean Jaurès.
On 24 August 1914 the Germans reached the Ardennes and her home town, where she lived with her aged parents, was bombed.
Her brother was mobilized and the factory that she co-directed with him was closed. She took refuge in Dun-sur-Auron, in the Val de Loire. From September 1914 to August 1915 she was a voluntary inspector at the military hospital in Dun-sur-Auron, which received many amputees.

From 1915 to 1918 Mélin became active in creating networks of feminists and radical pacifists.
In March and April 1915 Mélin  tried unsuccessfully to persuade the UFSF leaders to support the views of the International Congress of Women for Peace in The Hague (Congrès International des Femmes pour la Paix de La Haye), including abolition of war, women's suffrage and international pacifism and feminism.
She was unable to obtain a visa to attend the Hague Congress of April–May 1915.
In May 1916 Mélin created Les cuisines coopératives to feed and house refugees from the Ardennes, with the support of the APD.
She rehabilitated a run-down hotel in Paris, where she fed and lodged eighty families.

The Comité d'Action Suffragiste (CAS) was created in December 1917, directed by Jeanne Mélin, Marthe Bigot and Gabrielle Duchêne.
The CAS organized meetings to which they tried to attract workers, for example by showing films.
As well as agitating for women's suffrage, the CAS wanted to organize a referendum to end the fighting.
The CAS members did not agree with the UFSF, which openly supported the Union sacrée and took an aggressive nationalist stance in support of the war.
At a CAS conference on 7 March 1918 Mélin and Monette Thomas outlined a new constitution for France based on universal suffrage for women and men. It called for men and women to collaborate in rebuilding the cities that had been destroyed and to define new social and international laws. In the 1920s the Women's International League for Peace and Freedom (WILPF) would take up this cause. However, the CAS was unable to make its voice heard by the politicians.

Later years

After the war Mélin continued to agitate for pacifism, under the slogan "Never Again".
She placed great hopes in Communism, but was later disappointed.
Jeanne Mélin was one of two French delegates who attended the International Congress of Women in Zurich in May 1919 and swore to work towards the union of women "in order that war may never more dishonor humanity." She shook hands with Lida Gustava Heymann (1868-1943), who led the German section, and said that the courage of the German pacifists had "saved the honor of their fatherland".

The French section of the WILPF was close to the French Communist Party, and was attacked by the critics of that party.
Mélin left the French Communist Party in 1923.
She remained active in the WILPF in fighting for internationalism and establishment of international laws.
In 1924 she presented her Cahiers de la Paix (Notes on Peace) at the Washington congress of the WILPF.
During World War II (1939–1945) she was again active.
Women obtained the right to vote in 1944 after the liberation of France.
Mélin was a candidate for Presidency of the Republic in 1946.
Her program called for full civil equality, political and economic of both sexes, and the election of a Vice-President of the Republic.

Mélin's feminism became subdued after this.
In the last years of her life she espoused utopian socialist views in which she advocated the abolition of wage labor, the equitable distribution of wealth, and peaceful decolonization.
Jeanne Mélin died alone of a paralytic stroke on 18 April 1964, aged 86.

Selected works
 .
 .

See also
 List of peace activists

References

Citations

Bibliography

Further reading

1877 births
1964 deaths
French feminists
French pacifists
French politicians
French socialist feminists
French women non-fiction writers
Pacifist feminists
Non-interventionism
Women's International League for Peace and Freedom people

redpajama_set_name: RedPajamaWikipedia


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Home » Articles » Let's Watch: Code Lyoko – Episode 1 'Teddygodzilla'
Let's Watch: Code Lyoko – Episode 1 'Teddygodzilla'
By Vaal March 27, 2015 March 26, 2015 Articles, Let's Watch
My Let's Watch of Green Hornet got a good response, so I decided to do another one.
But what show to watch? Well, I was trying to be mindful of my globally represented reader-base and Code: Lyoko came to mind. For those of you not in the know, Code: Lyoko was a French-produced animated sci-fi series that premiered in 2004, which in a unique move, was given both a French and English voice track at the same time and distributed to 160 different countries.
It was pretty damn popular, and seems to remain so, with a number of still-active fan sites, and a place in the first column on the FanFiction.net 'Cartoons' category (I checked, and there had been a new fic posted within 8 hours of this writing, suggesting an ongoing fandom).
…Which means I might be getting myself into trouble here, much like that time I criticized Clockwork Earth's protagonist and it's author found out. And in exactly the same way too: I actually like Code: Lyoko n the same way I like the setting for Clockwork Earth. The problem is that there are flaws and cultural issues in the episode we're going to watch that I can no more ignore here than I could the protagonist's lack of curiosity from the aforementioned book.
Like Green Hornet, I'm showing the first episode here and like Green Hornet, I'm not only reviewing it in terms of what works and what doesn't, but in terms of how it performs as a first episode. And brother (or sister. Or sibling.), this episode is like a roadmap to making the least effective first episode EVER.
I'll get into that and everything else after everyone gets up to speed. For now, Let's Watch… Code: Lyoko
No cold open here, we go right to the theme.
I've heard this theme praised and called an earworm, but it doesn't really do it for me. I don't hate it, but it's a bit too soft and poppy to really stick with me. Not offensive, but not memorable.
Buuut, the theme does contain something for me to rant on; the thing that almost put me off this show in the first place (please note that until this writing, I never watched the show all the way through, and as of episode 23, I can honestly say I hadn't seen any of Season 1): the character models.
My god, they are bobble-head huge. Look at those things! And the foreheads, mein gott, the foreheads could serve as landing pads for SHIELD helicarriers. They also have this weird thing going on that I notice a lot in CG shows with kids: what I assume is baby fat is represented here by really jowly cheeks and pudgy little tummies. It's especially strange since it only shows up in their supposedly badass CG Lyoko Warrior forms.
Oh yeah, this show used both traditional and 3-d CG animation, with the later being used to represent the digital realm of Lyoko. This wasn't a new conceit in 2004, but it's used well here. I always find it funny that the more realistic CG models in a lot of these stories is used to represent a fake world despite most of the time, the show's CG being better than videogame tech at the time. Compare the animation (not models) of Code Lyoko to the Final Fantasy games out at the time and you'll see what I mean. Square would kill 10,000 men with a grpahics card just in the hopes that the murderous power could make the animation in their cut scenes look half as fluid as Code's. Not that they stand the test of time exactly, but FF-X and X-2 were still a lot more rigid than a lot of television and film CG at the time. Remember, this was near the beginning of the whole big budget games era and before the wasteful obsession over graphics dug in.
But yeah, the episode starts with… character who are not important. Okay, so the young school news girls, Millie and Tamiya are pretty central to this episode, but in the scope of the show as far as I've watched, they're pretty much background victims in other episodes.
They quickly provide exposition on he setting: Kadec Middle School, and tell us that the school prom is coming up. I have no idea if middle schools in Europe have proms, or maybe they didn't when I was in middle school but did in 2004, so I can't comment on this. They then introduce us to our main char—wait, no, they introduce us to our Libby (why yes, I do still refuse to use the more boring term 'Alpha Bitch'), Sissi.
Sissi is delightfully petty, as all Libbys should be, and decides to tease what I have to assume is a freaking twelve year-old about not having a date to the prom, going so far as to have her henchmen (in an odd twist, Libby does not have a group of girls backing her up, but two dudes, one smart, one dumb. Huh. Progressive!) feign utter, cartoonish disgust at the kid.
Millie then asks Ulrich, one of the main characters from the credits, to go with her and he awkwardly explains that he's too old for her and besides, he already promised to go with fellow main character, Yumi. By the way, this episode presents these two as not only a couple, but a well-established one—and that is a lie because they have that annoying will they/won't they thing for the duration of the show.
Two minutes and thirty seconds in, and we only NOW get to see our main characters. And they really seem to be secondary, as Millie is the one we focus on running off crying.
Next scene, we're now in a room with Jeremy, another main character, who is on his computer, talking to a CGI girl in a three-dimensional land of floaty islands named Aelita.
Aelita reports to Jeremy that it's been quiet around the 'towers'. He in turn tells her that he's working on a way for her to 'come and live with us', which she calls 'the key to materialization'. Jeremy admits that he doesn't know how to do it now, but will soon and thus someone called XANA won't be able to hurt her.
Yeah… that was a lot of mysterious stuff thrown at us with the only context that Aelita is actually in the computer being some ones and zeroes floating in the background of the window on Jeremy's computer. This despite the fact that she's standing on a floaty island with a normal background in regular shots.
If you feel lost now, you are right. At four minutes in-a quarter of the episode, we know very little of the premise of this show. The scene transitions also show the main characters in their Lyoko costumes, something we don't know about or understand, so it just serves to confuse more. But hey, maybe things will be explained in the next fifteen minutes!
So now we cut back to Millie and Tamiya with Tamiya comforting a crying Millie. Millie goes way off the deap end, declaring her hatred for everyone ever over Sissi being a bitch and Ulrich…going out with his girlfriend? What.
But oh noes! Millie's declaration of omnicidal rage draws the attention of… Brother Eye channeling the Terminator like in Future's End? No, seriously, we cut to computer vision, imposed over this evil eyes insignia, watching and listening to all this. Millie then tells of Tamiya for trying to comfort her and runs off with her teddy bear.
For those of you keeping count, Millie and Tamiya have taken up 2:30 of the 4:25 run time so far in the FIRST EPISODE of this show that ISN'T ABOUT THEM. And it's not going to get better, folks.
Back with the mains, Yumi tells Ulrich that it would have been okay if he took Millie to make her feel better and Odd (finally getting a speaking part five minutes in) cracks a joke about him going with Yumi. They then all agree that Sissi is awful while the girl herself ogles herself in a disco ball, which is a hilarious visual, especially when it turns out that she's right there in full view of them and heard the whole thing. I seriously love how much they and Sissi hate each other. It's so pointlessly vicious that it reminded me of real middle school.
But enough of the characters who are in the main credits! Back to Millie! Who… is… gibbering insanely to and about her teddy bear not caring how old she is… wow. Yeah, Millie needs a counselor. Now.
Tamiya shows up and displays her credentials as a geniunely enjoyable character by correctly mocking Millie for sulking while at the same time luring her friend out to get the hell over it. Millie then leaves with her, abandoning the bear who she previously acted like was her only remaining friend in a dirty garden shed. The camera lingers on it ominously as if you didn't see at the start that this episode is called TEDDYGODZILLA.
As soon as they're gone, a more interesting version of the smoke monster from LOST oozes out of the light fixture in the shed and engulfs the bear. We cut outside and hear a murderous roar! Millie count: we are 5:45 in and she's had 3:20 of that time. Remember, she will never get this kind of focus for at least 23 episodes.
Now we're back to Sissi, who mocks her henchmen and ditches them as she goes into her room. My god, she is a magnificent Libby. But things are not well, as the terminator-view from earlier is revealed to be looking out from under her couch!
…As she strips down to her underwear…
Preach on Jean Luc.
OKAY. HOLD ON.
I checked the wiki for this series and Sissi is supposed to be fourteen goddamn years old. Fourteen. One. Four.
Now I get that France, and for that matter, most of the developed world is less bothered by sexuality and nudity then we here in the US. I get that and in a lot of cases I applaud it. I'm from the internet, you can't scare me with a few start breasts and butts. And I get that this isn't even nudity, it's underwear.
I would let it slide it this scene wasn't the way it was. It is literally a solid minute of her like this, being shot form the perspective of the thing watching her and it lingers on her butt like the leer of an old man for multiple shots at multiple angles. There's even a shot of her scratching her butt, which would have been funny if it hadn't come after probably half a minute of undie shots.
I don't remember this from the episodes I watched previously, so maybe I'm watching the French video with English audio or something, but: No, Lyoko. Bad Touch. This was unsubtle even by anime standards. Even Fanservice-overloaded Love Hina didn't linger on fourteen year-olds.
Arg. I'm sure someone is going to call me a prude in the comments, but Jay-sus. Let's move on.
So Sissi (thankfully now in a robe) is led away by the principle after running for her life, and Our Heroes decide to check and see if Xana had anything to do with it. We the audience still have no idea what Xana is, so okay? They all conclude that her room being trashed is the result of a short circuit and leave… BACK TO MILLIE!
Millie and Tamiya head back to the garden shed to discover Millie's bear is missing. They are interrupted by Jim, who is an utter asshole to them and again mocks Millie for being young. Millie, being such a likeable little girl, freaks out at him and gets both her and Tamiya grounded in the dorms.
Proving she is the best friend ever, Tamiya calls Millie out on her obvious character flaws, then comforts her with how good their pictures turned out. Just as Odd shows up, desperate to get some screen time in his own show, they discover that Millie's bear was in Sissi's room via one of the photos!
Seeing his chance to actually get into the plot, Odd promises to look into it and takes the photo as proof.
But obviously, this isn't a show about Odd and his friends, as we instead cut to Jim being attacked by something with a giant teddy bear-shaped shadow.
Odd then gets literally three seconds of screen time looking at the room before cutting to Jim in the infirmary being considered nuts.
We finally get back to Ulrich, Jeremy and Yumi, all steadfastly denying that something weird happened to Sissi. Yumi exposits about being a day student, meaning she doesn't live on campus like the rest of them… and it's back over to the principal who had been talking ti Jim. Did the production team know who their show was about when they made this? We are at the ten minute mark and the main kids have been in less than half of it.
Anyway, the principal runs into Odd who asks about Jim's attack, discarding Jim's sketch of his attacker (bcause he thinks he's crazy). Odd picks it up and discovers the picture of a teddy bear, taking it to Ulrich and Jeremy as proof that XANA is afoot.
Whatever XANA is, they are more surprised that he's in a teddy bear than that he's attacking people. Odd asks who goes (where?) and who stays at the school Jeremy says that they need Yumi because a solo mission is too dangerous. Odd just grins and volunteers to do it anyway, getting a reprimand from. At 11:32, this is the first real characterization these kids get aside from 'middle school kids who react to Sissi and the all-important Millie'.
Odd then mentions something about how 'even going back in time, if there's an accident, it's 'game over'. Yeah, this is the only warning you're going to get that there's time travel in this episode and it goes by super-fast to the point that you may have missed it.
Also, death is time-proof. This is one of my problems with the series as a whole. While the 'Return to the Past' function allows the producers to cheat and have large scale destruction and crisis every week without actually changing the school, they shoe-horn in the idea that death can't be reversed to maintain drama and… it doesn't work. They're removed every other consequence of the character's actions but death, and we know death is highly unlikely in a kid's show, so it's the same as if they didn't add that addition at all. What it really does is put a lot of countdown timers on every attack, so they have to race to stop everything.
Anyway, Odd is sent with Jeremy for that solo mission Jeremy said 'no' to, and we get a stock footage sequence of the two traveling to the factory where the computer running the world of Lyoko is located. It's a pretty cool little sequence and they cut it well enough that it looks different depending on who comes to the factory.
It's only now that we learn that Aelita is in a computer program world—and that's only because Jeremy calls the transport process he sends Odd through 'virtualization'. Odd arrives in 3-D… and dressed as a purple catboy. He takes off running.
Ulrich reports that the bear got out of the school and Aelita responds that it XANA is in control it will go after his mortal enemies: the group.
And here's another problem with this episode. The bear singles out and attacks Sissi and Jim after each of them angers Millie. The implication is that this is because they angered Millie and that XANA is following some sort of empathic routine where he unleashes people's psyches in physical form.
Only… XANA will never do this again and in fact, shows little to no concept of psychological warfare in the first season. Plus, Aelita actually suggests that XANA is 'now' in control, as if Millie was sending this thing out before and now XANA hijacked it. This would be cool: Millie being a secret big bad while the team is distracted, but that's apparently not what's happening here.
So, Ulrich realizes that the bear is after Yumi while Odd and Aelita are attacked by 'monsters' that are clearly mechanical robots. Jeremy tells Odd to take good care of Aelita, while Ulrich races to go warn Yumi, trying to get her to answer her phone. Yumi is in the bath (and thank god, we only see her head sticking out of the tub, considering what we saw before).
The action on Lyoko is pretty good, but as a gamer, it occurs to me that every Lyoko sequence, both here and the rest of Season One, is an escort mission. For the non-gamers, an escort mission is a mission in game where you need to make sure some slow, incompetent and/or extremely fragile character you have no control over gets from point A to point B while everything ties to kill them. Aelita is almost completely useless, capable of altering terrain, but only if she gets down and sings a drawn-out hymn. And she's slow as hell despite running flat out at almost all times.
Oh, and wait, forget what I said about Yumi. There's a lingering shot of her leg getting out of the bath and putting on a towel (What is WITH this episode? I swear I don't remember this in other episodes).
Yumi (now clothes) and Ulrich run from the now-giant teddy bear and have an awkward moment that makes you question the earlier thing about Ulrich having already chosen to go to the dance with Yumi. Meanwhile, Odd runs afoul this big orb/tank thing and decides to have a stand-off with it that is very pre-racism Clint Eastwood. The orb thing is BAD. ASS. It splits open (with it weak point protected by its shell) and fires a giant laser WALL that fills an entire plane centered on its equator.
Back in the real world, Ulrich interrupts the prom to warn everyone about the teddy bear, giving Sissi enough time to be amazingly terrible again just before the bear attacks.
Odd wins his standoff and Aelita gets inside this tower thing that's required to take down Xana's attack, just in time to stop the bear from Hulk-smashiing Ulich. While Ulrich and Yumi get way more romantic than they will EVER BE AGAIN IN THE SERIES, the panels in the tower collapse into a ball of light that emerges from the factory and flows o'er the Earth (like the green flash event in the DU or instrumentality in Evangelion).
At this point, Ulrich remembers the audience has no goddamn idea why the light si sweeping the planet and yet Rei isn't exploding everyone into orange kool-aid, decides to keep cryptic and asks (in the best line delivery of the episode) "Ready to go into the past Yumi' like he's asking her to fly to Paris. Aww. They're cute.
WHITE LIGHT.
I admit that I like how Return to the Past comes with a 'rewind' sound effect.
We're now back to the start where Millie asks Odd out again and Odd agrees this time. Yumi is cool with it, and confusingly refers to Odd as her 'secret admirer' and says he'll take her. Sissi,a s is appropriate for her role, way more angry about this than she ought to be and it allows Ulrich to call her dumb. Which is a letdown because I wanted a better line than that, but fine.
How Was It Overall?
As a standalone episode of the show, it was below average for season one, and actually pretty bad for the series in and of itself. It was a bad choice to make the introduction to the series even if it served as a good pilot… which it didn't.
The entire first half of this episode was about a character who isn't important to the series, setting up an emotional motive that ultimately has nothing to do with the plot because like I said, XANA is not feeding on or taking inspiration from emotions. Further, when we get to the action, we only get to see Odd in action while Ulrich (who is the only one actually connected to Millie and her plot) and Yumi are running for their lives and Jeremy is mission control.
Nothing is explained. We start with everything already established and in media res, but that can work—it worked for Teen Titans, but Code Lyoko has such a complex premise, it really needed explanations. This isn't even a 'showing when you should be telling' thing, they don't show what we need to know either. It is entirely possible to come out of this episode thinking this is all magic and Lyoko is a fantasy world they can teleport to. It just takes missing one line and the world 'virtualization'.
I didn't get into it in the synopsis, but the dialog in this episode is atrocious. It gets much better later, but here, the English translation is stilted and makes everyone way, way too verbose, like those old Speed Racer episodes.
The cultural translation was smooth… except for what they seem to pass as fanservice, which was pure squick.
Other than that and the huge heads on the character models, the animation is nice and the backgrounds gorgeous.
But the quality art can't save a bad episode and many people agree with me that this episode hurt the show a lot in the early days. That it's still popular should be enough to tell you that it gets better. Quickly too. Do yourself a favor and check out Cruel Dilemma and Image Problem, episodes 6 and 7 respectively, for a better idea of what potential this show had and refused to show in its first episode.
Well, that's all for this week. If you want to see a show (available free on youtube) given a Let's Watch, let me know and I'll see what I can do.
A few bits of business: First, my author friend, Arianne 'Tex' Thompson, oh she of One Night In Sixes fame, has another book out, Medicine For The Dead, the much-awaited sequel to that series.
Second, a surprising number of people have asked (I'm still not used to being a Z-grade internet celebrity with people giving a crap what I think), so just to get it out there; yes, I stopped reading Harry Potter and the Methods of Rationality before the ending. No, it wasn't at the part you all think I would rage-quit. It was before that (and in fact, before the part you all seem to think I would love… might come back to read that part), after the prison arc where I just couldn't believe that Harry would try and rationalize away everything that obviously happened in that just to keep his status quo.
In its place, I'm now reading Harry Potter and the Natural 20, a seriously fun fic where a munchkin-created D&D character ends up summoned to the HP universe. Do yourself a favor and check it out!
Also, I've decided I've got too many little ideas to just do tiny blog posts for when it comes to WoE d20,a nd so I made a new place on the forum where I'll post ideas and open them to discussion. If you have trouble registering for the forum, email me and I'll approve you.
Last but certainly not least, Happy Belated 0th Birthday to Gwen, my new honorary niece. I am going to teach youh ow to annoy your mom so hard and will always ave advice and/or candy. This I swear.
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Kazorh
The dialog for episode 1 is pretty bad in the French version also.
I mean, this is the only episode of the series I've watched, but I choose to believe it gets better like you say it does in English.
It just so happens episode 1 is also all I've ever seen of Code Lyoko. I very intentionally never watched it again after seeing it.
I didn't like the art style with it's distorted-to-monstrosity humans. The premise has two big no-nos for me, first the 'being inside a computer' thing which betrays that we what we have here is someone writing about computers whose understanding of a computer is "magic box", and second the reset switch which is a clear statement the writers have no intention of putting in any effort at continuity and nothing will ever have any consequence.
The characterization came across as being intentionally made of poorly executed cliches, lacking a single character I'd have liked to hear any more about.
And to put the final nail on the coffin, I saw it dubbed in Finnish. To understand what this means you should know that Finnish dubs of children's shows are almost without exception done with absolute minimum investment of money, effort or talent, done by one of two equally horrible companies each having a total cast of about two people. Meaning there are less than 10 cartoon character voices total, all of which sound horrible and fake.
Oh yeah, and apparently the target audience is boys in their early teens. which is probably why they thought fan service of girls falling just short of the age of consent in France (15) would be a good idea.
bigjeff5
RE:HPMOR, I enjoyed that series very much at first, but the power creep just got to be way too much. Harry Potter isn't a smart little boy with good critical thinking skills, he's a reasoning god. That, and everything so far has happened in year 1. It gets to be absurd.
HPNAT20 is great, and not preachy at all. I've read up to the last 3 updates or so.
I found HP:MOR worth reading through, but I definitely didn't enjoy the end as much as the beginning and middle. There's a point where the humor pretty much disappears (for good reason, but I had found it quite funny and enjoyable, so I missed it). I also thought that it was a bit heavy-handed, at times, despite a pretty good attempt to show people as being narrow-minded (out of habit) rather than stupid (lacking the potential/ability to think).
HPNAT20 is great; it's a very fun read, and currently going in some interesting directions.
If anyone is looking for good HP setting fics that are very original, I'd recommend those by Inverarity (on FF.net). There are four completed stories of respectable length, following Alexandra Quick. They're set in the U.S., but it's very clearly in the HP world, despite the all-OC cast, and I actually find the writing and characters extremely good. Alexandra herself has more personality than Harry did, I think, starting out as a brat, but she grew on me as she grew up and acquired more virtues. One thing the author does well is show how Alexandra and her friends sometimes find their friendships difficult because of her personality, but they still value it and each other. A word of warning, though: the stories get pretty hardcore. They're not racking up a body count, but they don't pull punches, and there are some very emotionally hard-hitting moments, including several in the third story that reduced me to tears.The first one isn't too bad, but things have been ramping up since then (much like the HP novels, but imagine that the tone/mood starts at Chamber of Secrets, skips to Goblet of Fire, and then gets worse from there). Those who like the level of detail and interconnectedness in the HP books will find the Alexandra Quick stories similar; new information often casts old facts in a different light, and characters reveal their depth over time. It's good stuff.
Tex Thompson
Dude, thanks so much for the shout-out – and big grats on your new niece; I know you will school her in your cunning and dastardly ways!
Hey, glad to see you on the site, Tex!
And yes, I will teach her the ways of dastardliness. Now to figure out how to give a baby a handlebar mustache…
Oh, I forgot to comment on the main topic. Whoops.
So, just got around to watching this, and WOW, this really is a terrible jumping-on point to a series. I find it hard to believe that this is actually the first episode, it's so bad. I mean, as a stand-alone episode it isn't completely irredeemable (briefly focusing on side characters is perfectly acceptable once a series is established, after all), but as an Episode 1? It explains nothing about the setting, which is inexcusable when that setting includes a cyber-world or alternate dimension that people actually go into a la Tron, four kids with a private clubhouse/Batcave that allows them to access that world, the very real possibility of Teddy Bears being possessed and turned into giant monsters, an evil being/entity/program/WHATEVER, and adults who know nothing about any of this. That's just…wow. Terrible. Add a time travel mechanic on top of that, and this is the kind of crap that would make me fire my writers. I really can't even conceive how this made it to the screen in this form.
As far as the four (five, counting Aelita?) main characters, we barely see them interact with each other at all, and the mixed signals are bad. Ulrich and Yumi seem to be already-together at some points and awkward still-just-friends-because-they-won't-get-it-in-the-open at other times, as noted, while Odd is relaxed about soloing his escort mission (does he want all the XP and loot for himself? That I could believe) and no one seriously tells him to wait or anything, which suggests that they aren't that worried either. His various stunts in the cyber-world all seem pretty easy, which kills suspense or any fear that he might actually lose (helped along by the fact that it's a kids show and losing seems synonymous with death in the situation presented, also as noted). The dynamic between Millie and Tamiya is fine…but they're not main characters, and their relationship is the best defined one in the ep, which is a poor introduction.
Not to mention all the little flaws, like the fact that the groundskeeper dude apparently has the authority to restrict students to their dorms (doubtful), the fact that he actually tells another adult he saw a giant Teddy Bear (which no sane adult would do without evidence, but isn't apparently played for comedy), the lack of interest in the giant Teddy Bear footprints that are briefly shown, the fact that the Teddy Bear seems to start out antagonizing Sissi and then the grounds guy before shifting gears to target the protagonists, the fact that Ulrich straight up tells people a giant Teddy Bear is coming when he knows they aren't aware of the mystical/technological/whatever flavor of weirdness in the setting rather than just pulling the fire alarm, the fact that Millie left her extremely precious Teddy Bear in the shed in the first place for no reason, the fact that the smoke monster thing seems to have had no motive to take it over (rather than entering the world in any other way; if it can go through any light bulb, as shown, it must have a better option, like a toy dinosaur), and the fact that there doesn't seem to be anything stopping Aelita from walking into and manipulating the tower while Odd handles his fight. There's no barrier that goes down when the fight ends, and if anything it seems likely she would be safer inside the tower, since the bad guy(s) are trying to guard it. That would also make Odd's job easier (and completely unnecessary). Some of these are more serious flaws and some are nitpicks, but they all add up. The biggest problem is easily the improper focus on minor characters, which actually constitutes bad writing in a pilot. The fact that the villain/antagonist/whatever receives no explanation is the other thing that I can't get over. I just…don't see how they ended up with this. Maybe it was a bad draft that no one managed to fix, or maybe it started out okay and got hashed in editing, but whatever the process the result is pretty ugly. Oh yeah, and why don't the bad guy's minions just go after Aelita? She seems like a pretty easy target, and the episode as a whole implies that 1) she can be hurt, 2) she can't fight and needs protection, 3) the good guys aren't always taking shifts in TronWorld to guard her, and 4) the bad guy's minions can find attack her without too much trouble at any point. So why hasn't she been killed while they were unable to leave math class or something?
I'm not a fan of the art style, but that's more a matter of personal taste, so I'll give that a pass. Besides, I've complained enough. If it gets better later, then more power to the fans and credit to the creators for salvaging the idea.
The worst part? It's totally non-indicative of the show! XANA never pulls anything like this again, or even shows the ability to make thing grow or mutate. It's like he was channeling Lord Zedd.
This is why I decided to go through with this Let's Watch; it is such a teaching moment that it has to be discussed. They put every wrong foot forward for this and even then failed to even represent the show beyond the basic formula.
Also, sorry your post didn't show up immediately. For some reason, you occasionally get caught in the spam filter and I don't know why. Happened to Kazorh recently too.
No worries, fighting spam is a noble cause.
I wonder if this was written in a rush to conform to some weird list of network requirements, or something? Or if another episode was originally supposed to be the pilot and someone stupid axed it? That might explain things, partially.
The 'proper' pilot didn't show up until season 3

redpajama_set_name: RedPajamaCommonCrawl


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These plants are potted here at the store from our collection of new and garden aged pots.


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Home :: Society
Gujarat CM Modi criticises Central Govt. for constituting NCTC
Ahmedabad, Sun, 19 Feb 2012 ANI
Ahmedabad, Feb 19 (ANI): Gujarat Chief Minister Narendra Modi on Sunday criticised the Central Government's decision to set up the National Counter Terrorism Centre (NCTC) without consulting the State Governments.
Talking to reporters here, Modi said that it has become a habit of the Central Government to impose its authority and act against the sanctity of the federal structure designed by the Constitution.
"For the past few years the UPA government in Delhi has been attacking the federal structure and this could lead to serious problems in the country. The latest initiative that they have taken, without consulting any state government, overnight, empowers the federal government to dismiss the constitutional right of state governments to tackle law and order. This decision of the government is in itself poses a big question," said Modi.
He further advised the Congress party that the report of the Sarkaria commission, set up in June 1983 to examine the relationship and balance of power between state and central governments should be discussed after a joint meeting with all state chiefs.
"We have demanded that the central government should call for a meeting with the chief ministers of all states to implement the recommendations of the Sarkaria commission. For the past 30 years Sarkaria commissions report has been lying untouched, yet to be implemented and till the time the federal government refuses to listen to the plight to the state governments it will lead the country to a major crisis and its responsibility is of the federal government," Modi added.
Several state governments, including the Trinamool Congress (TMC), which is the second largest in the Congress-led United Progressive Alliance Government (19 Members of Parliament), joined the chorus against what is being seen as an attempt to infringe upon state's rights.
The main task of the NCTC would be to ensure that the wide variety of security organizations in the country work in tandem, at least on issues related to terrorism.
It will also have the power to seek information, including documents, reports, transcripts, and cyber information from any agency, including from the Central Bureau of Investigation (CBI), National Investigation Agency, National Technical Research Organization, Directorate of Revenue Intelligence and all seven central armed police forces including the National Security Guard (NSG).
The body, which will function under the Intelligence Bureau, has been given its own operational wing with powers to arrest and conduct searches under Section 43A of the Unlawful Activities Prevention Act. (ANI)
Read More: Ahmedabad | Central African Republic | Central Post Office | Modi Nagar | Post Bureau Extn Counter | Mumbai Central Ho | Central Police Lines | Central Secretariat | Modi Bo | Modi Circle-so Davanagere | Gb Central Bus Stand | Central Leather Research Insti | Central Vehicle Depot | Central Institute Of Technolog | Central Station | Tuticorin Central Bus Stand | Coimbatore Central | Paloorkavu Central | Kalla Central Hospital | Central Revenue Building | Gua | Orga | Narendra Modi | Congress


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Q: Make button active (md-button) I am wont to implement select menu from list.
I have some md-card of dishes, and when the user click on some of them, the button stay active, until user click again.
something like this:
 <div fxFlex *ngFor="let dish of category.dishes">
     <button md-raised-button (click)="dish.isSelected = !dish.isSelected"  [active]="dish.isSelected">
                            <md-card>
                             .....

any idea how to do this?

redpajama_set_name: RedPajamaStackExchange


Actress Anna Victoria made her appearance on season 2 episode 7 of Disney-ABC Domestic Television's show "Designated Survivor" starring award winning Hollywood actor Kiefer Sutherland. In the episode called "Family Ties". The episode is about a Turkish activist who ignites protests in the U.S., Turkey's president demands his extradition while the first family unknowingly finds themselves in the center of a battle that could threaten Leo's (the son of the president) future. Anna played the role of a Turkish protester.
This is not the only acting Anna has been doing recently. She played the lead, Teresa, in "Lost and Found" a short film about a young nun who is put in a tough a predicament of choosing between the convent and her dreams. In the end, she is pushed to run away from her family (the nuns) and her best-friend David, in pursuit of her happiness. The opportunity was eye-opening for Anna and made her fall in love with acting like never before as she had never had the responsibility of the main role.
Anna was also part of Marshall's short film Malicious Attack about bullying. Anna played one of the student of the high school. Malicious Attack is currently in post-production.
Victoria has some projects on the horizon as she is also schedule to be part of two projects associated with Matthew Marshall. The first, she will be part of a promotional video for iFilmGroup (https://ifilmgroup.org/) The group brings teens/youth and seniors together to form a partnership that enriches the lives of both young and old through the creative making of award winning films. The mission of this community based film group looks to bring young and old together to work to gain experience, have fun, express themselves in a creative way by having an opportunity to be a part of films and the film industry through working with the iFilmGroup team on productions and in doing so gaining experience and credits.
For the second Faklan is to be part of the cast of Marshall's newest film Blue Love. She will play a character named Blair Cyra who is a street person that has a run in with the lead character Kaitlyn who is being played by Helena Rose another familiar face in m & s Marshall Productions films. Rose was also part of Malicious Attack as well as appearing in Tuned In. The film centres around Rose's character who has endured domestic violence and has saw her life spin out of control and is enduring the mental and emotional fall out of what has gone one. Casting for other roles for Blue Love is currently in the process and the hope is to film in the new year around March or April.
Victoria has recently got word from the shows casting director that she will be called back to be an extra on another episode of Designated Survivor in the future.


In acquiring a five-player prospect package from the Los Angeles Dodgers for All-Star shortstop Manny Machado on Wednesday, including Cuban center fielder Yusniel Díaz, pitchers Dean Kremer and Zach Pop, and infielders Rylan Bannon and Breyvic Valera, the Orioles continued a process that began in last month's MLB draft of using this summer's talent-acquisition opportunities to fill in the gaps in their farm system.
The Orioles, by virtue of some improved draft classes, have loads of high-floor pitching, and have used 2017 and 2018 first-rounders DL Hall and Grayson Rodriguez to add some possible impact to that group. They're also well-set in corner outfield bats in the high minors, and don't have a single up-the-middle infielder in full-season ball. Oregon State shortstop Cadyn Grenier, their second draft pick this year, changed that.
The Orioles have traded All-Star shortstop Manny Machado to the Los Angeles Dodgers for five prospects, including 21-year-old Cuban outfielder Yusniel Díaz.
So it's no surprise that in selecting players from the Dodgers' system to trade for Machado, the Orioles filled some more gaps.
Díaz is a higher-ceiling center field prospect than the ones the Orioles have in the high minors, Cedric Mullins and Ryan McKenna. Bannon joins Grenier as an intriguing infield prospect. Kremer joins a thin crop of pitching prospects in the high minors, a list that pretty much only includes the injured Hunter Harvey and left-hander Keegan Akin at Bowie. Pop is a hard-throwing reliever in a system in which they're scarce. Valera is the Orioles' latest attempt at a utility man, a role they haven't filled since Ryan Flaherty left last year.
The centerpiece of the deal, though, is Díaz, the 21-year-old Cuban outfielder the Dodgers signed after he won the Serie Nacional Rookie of the Year award in Cuba in 2015. Díaz debuted stateside in 2016, but took a major leap forward this summer at Double-A Tulsa. Many credit his health, and a refined approach at the plate, for helping him unlock his potential at the plate.
Díaz impressed with a pair of home runs at Sunday's MLB All-Star Futures Game before a pair of Orioles scouts and is batting .314 with a .905 OPS in 59 games for the Drillers. Even before that, he was one of the breakout prospects in all of the minor leagues, though it's not as if he was a secret.
Between his signing bonus and the tax the Dodgers paid to sign him at 19, he cost $31 million, and has been in the spotlight ever since. He's well on his way to a career high in home runs with six so far, beginning to put his plus bat speed, strong bat-to-ball skills and approach together into a threatening package at the plate.
The power would be a bonus if the underlying skills behind his career .288 minor league average and this year's 41 walks against 39 strikeouts translate at the highest level.
Defensively, he has the speed and arm for all three positions, playing primarily center field in the Dodgers' system. Díaz was rated the No. 47 prospect in Baseball America's midseason rankings, No. 31 in Baseball Prospectus' midseason rankings, and No. 84 by MLB.com.
Bannon is another infield prospect to add to the Orioles' low minors along with Grenier and 2017 first-day draft pick Adam Hall. A teammate of Orioles left-hander Zac Lowther at Xavier, Bannon won Big East Player of the Year honors in 2017 as Lowther was named Pitcher of the Year.
The Dodgers selected him in the eighth round last year and jumped Bannon, 22, right to High-A Rancho Cucamonga to start 2018 after he played rookie ball last year. Despite not showing much power until his final year at Xavier, he's homered 20 times with 16 doubles in the hitter-friendly California League, helping him to a .296/.402/.559 line in 89 games. Despite some uppercut in his swing, his high strikeout rate is largely because of the deep counts he gets himself in, and he otherwise shows a good command of the strike zone.
Explore Manny Machado's career in this interactive timeline.
There are far fewer questions about his glove. Bannon is rated as an above-average defender at third base and has played some second base as well this season. The Orioles could use him at either spot, though there does seem to be some utility potential there, too. MLBPipeline.com had him rated No. 27 in the Dodgers system.
Kremer, who recently was promoted to Double-A Tulsa, was back-and-forth between the bullpen and starting rotation in parts of two seasons before he was in the Rancho Cucamonga rotation full-time this year.
Kremer, a 14th-round pick from Nevada-Las Vegas in 2016, responded well, posting a 3.30 ERA in 17 starts with 114 strikeouts in 79 innings with a 1.18 WHIP — impressive numbers for a hitter's league. He struck out 11 in seven scoreless innings in his debut for Tulsa on July 5, and hasn't pitched since. His 12.99 strikeouts per nine this season at Rancho Cucamonga is near-unheard of for a starter.
An Israeli dual-citizen who pitched for Israel in the World Baseball Classic last year, the 6-foot-3 Kremer is relatively new to pitching full-time and boasts a low-90s fastball that tops out at 96 mph with a three-pitch mix. His command of those and overall consistency this year has explained his recent success, and he'd jumped to No. 28 in MLBPipeline.com's Dodgers ratings.
According to Baseball America's midseason organizational rankings, part of his success came from changing to a four-seam/curveball mix from a two-seam/slider mix after consulting with the Dodgers' analytics staff. His new curveball projects as an above-average pitch.
Pop, too, defied the California League's reputation to pitch well there before the trade. A 2017 seventh-round pick out of Kentucky, Pop has dominated two levels with a sinker-slider combo in his first full year as a pro. His fastball runs 94-97 mph and has substantial horizontal break, complemented by a short, tight slider from a low 3/4 arm slot. Like most relievers, he needs to command them consistently for success.
The command has largely been there this year, as Pop struck out 24 in 16 1/3 innings with a 2.20 ERA for Low-A Great Lakes before going to Rancho Cucamonga and allowing one run in 27 innings with a 0.70 WHIP and 23 strikeouts against six walks.
The only piece with major league experience of the group is Valera, a 26-year-old Venezuelan infielder who came to the Dodgers from the Cardinals at the end of spring training. A career .302 minor league hitter, Valera hasn't hit for much power in his career, and has six hits — all singles — in 39 major league at-bats.
Valera played mostly at shortstop when in Triple-A with the Dodgers this year, though he's had extensive time at second base, third base and in left field. If Valera doesn't get a chance to replace Machado on the major league roster, he'll go to a crowded infield in Norfolk, with one minor league option remaining after this year.
While the Orioles will hope the major league return on this five-for-one deal is similar to the one that netted Adam Jones and Chris Tillman for Erik Bedard a decade ago, the parallels seem to end with the center field centerpieces, Díaz and Jones. Tillman was top-25 prospect himself, with a little more pedigree than the top starter in this deal, Kremer.
But in Kremer, Bannon, Pop, and even Díaz to some extent, the Orioles are placing a lot of value in present-day performance. Díaz showed the tools to make him a potential impact player at the Futures Game. What the rest lack in pedigree, for lack of a better phrase, and prospect fame, they make up for in performance. And the Orioles better hope they keep it up.


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"The Vagina Monologues" spark empowerment
Cast members run the opening scene of the Vagina Monologues on Thursday, Feb. 7, 2019 in Brunner Theater. With three performances, three different casts appear on Friday and Saturday. Photo by Thea Gonzales.
Giselle Barajas
Augustana's production of "The Vagina Monologues" written by Eve Ensler, has inspirational core beliefs about social change and leadership. The program this weekend stated, "One must look at the intersection of race, class, and gender to understand violence against women."
These core beliefs set the standards high, which Augustana's performance of "The Vagina Monologues" powerfully did these standards and core beliefs justice.
"The Vagina Monologues" started by catching the audience's attention with all the actors strutting powerfully on stage with their high heels and red and pink outfits. The unity of these actors corresponding colored outfits, effectively represented how the power of unity between women is necessary.
Immediately there was an aura of empowerment mixed with a bit of light humor as they repeated the phrase – "we were worried about vaginas." The loudness of the repetition of this phrase precisely portrayed the idea that the issues women face are something needed to be worried and thought about.
Notably, the simplicity of the stage set-up added to the strength and focus of what each actor was conveying. The lack of props, the shining light, and basic nude colored floor design, made the audience have more focus on the powerful words behind each actor's monologue, which I found to be very cleverly done.
The first monologue was an Augie Spotlight titled "If Knives Were Butterflies" written by assistant professor of French, Kiki Kosnick, and performed by sophomore Sophia Rose.
This first monologue powerfully told the story, from Kiki's perspective, of a trans woman AID's activist murdered "randomly" in a hotel room.
Sophia Rose's portrayal hooked the audience immediately into an emotional whirl as the friend's repetition of the word – "random" – struck a chord for transgender individuals everywhere. As this word was plastered on multiple media outlets to describe the "motive" behind the trans woman's death.
The characters anger towards the word "random" powerfully depicted the injustice that trans woman face in society still to this day. More importantly, the actors strong posture and grounded feet on the stage showed just how strong Kosnick felt about the act of violence committed against her friend.
Kosnick's monologue really set a strong tone for the rest of the production.
Throughout the rest of the production there was a multitude of monologues some being informative, others humorous, some sad. The variety of these underlying tones helped keep the audience entertained, while all still carrying the same message that vaginas are indeed beautiful.
Particularly, "The Flood" illustrated the importance of the normalization of getting wet "down there."
"The Vagina Workshop" reflected the importance for woman to feel comfortable with their own vagina's, specifically the clitoris. "They Beat The Girl Out of My Boy… or so They Tried" gave perspective on the unjust bullying transgirls go through as they "break stereotypes."
Specifically, "My Angry Vagina" was a perfect end right before intermission. It lightly played the humor on the various things the vagina has to put up with from tampons to the expectations to change the vaginas smell to wanting sex and foreplay. Rightfully ending with the statement – "My vagina wants everything."
Considering all these monologues, they all effectively painted pictures of the struggles and injustice women have always faced in society.
The way each actor put on a believable persona by just each individuals tone and the way they all held themselves on stage, made it clear for the audience to feel emotionally connected with the underlying message behind each different monologue. Already the first half of the show accurately depicted the importance of the need for social change from the injustices each character experienced.
After intermission, the show successfully started powerful again with "My Vagina Was My Village," vividly illustrating the feeling of violation from being sexually assaulted. Metaphors about the "river of poison and pus" was enough to bring audience members shaken.
"The Little Coochi Snorcher That Could" represented a moving story about experiencing being raped but then finding love for the vagina again through pleasuring one's self.
"Reclaiming Cunt" was a short but sweet message about reclaiming the word 'cunt' after the decades of hatred the word has been associated with to slander women.
"The Woman Who Loved to Make Vaginas Happy" accurately portrayed the story of a women learning to love all kinds of sex from sex with props to playful teasing.
This monologue left every audience member laughing with tears as it ended with the sounds of various types of moans.
During the second half of the show, all of these actors once again were successfully illustrating the beauty of the vagina and the injustice women face for having a vagina.
Some actors had differing accents, which cleverly reflected how women from all parts of the world face similar struggles, not just particular to women in one particular geographic location. In addition, other actors decided to walk around to emphasize specific phrases and the colorful personalities of each character. Meanwhile, other actors sat down on a chair center-stage emphasizing the defeat some women feel or the timidness developed in characters who became scarred from their experiences.
Lastly, the monologues ended with another spotlight titled: "Women's Incarceration." The words were powerful; various statistics about women in prison, specifically the rise in women of color in prison was enough to leave people's jaw's dropping.
The way multiple actors walked up on stage with their own unique portrayals of anger or sadness created a beautiful picture for the audience. As well as the way all the women in this monologue lined up together once they each finished, helped represent the unity and strength women have. Although, they still could've appealed to emotions a bit more to wow the audience more, for the most part this monologue was still definitely a necessary and well played out ending.
With all these powerful monologues and more, Augustana's production of "The Vagina Monologues" is a must see for all to feel empowered and proud to be a woman. This is especially important for men to better understand the struggles many women face.
After watching the entire production, I can say with confidence that we all indeed should still be "worried about the vagina."
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Vagina Monologues
Shades of Beauty celebrates Augustana women
Live theater alters ways during COVID-19
Using the least while making the most (out of quarantine)


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As far back as I can remember a pregnant woman was a priority but this wasn't so one brisk Autumn afternoon in 1955.
There I was, in full bloom, an expectant mother entering the local shoe store.
Arthur's Shoe Tree, was and is, a highly respected establishment in our home town of Bay Village, Ohio.
He smiled a gracious smile, and said, "Your wish is my command," but before he could get up from measuring my feet the bell above the front door started chiming and a young woman rushed into the store. Trust me, all eyes were upon her!
At the time there were several customers in the shop. Some were browsing while a smooth talking salesman was charming the others still everyone turned to see who was in such a big hurry.
As soon as I heard her mention George I knew she must be Joan Steinbrenner. What other George could it be?
In a split second Arthur was attending George's poor wife. As for me, the abandoned pregnant lady, I sat in the soft leather chair and observed the fascinating scene unfolding before me.
It wasn't long until a pleased Mrs. Steinbrenner left the shop with a box under her arm and an apologetic Arthur was back taking care of me.
At this point I should tell the reader what I learned from my, out the blue experience in the shoe store, but I prefer not to.
That day as I strolled out of Arthur's wearing my new walking shoes I realized it was still a brisk Autumn afternoon and, indeed, all was right with my world.
In January I gave birth to a beautiful baby girl. Oh yes, all was right with my world.
Yesterday on my 78th birthday my son Michael and his wife Michelle sent me a dozen lovely American Beauty roses and by late afternoon my small apartment was filled with their fragrance. It reminded me of a long ago time when I received my first dozens roses.
When I opened the door the man handed me a florist box with a red satin bow.
I quickly removed the bow, took off the lid, and to my delight, found a dozen American Beauty roses with a note inside.
I still have the note, the red satin bow and best of all, the memory.
There he was, sitting in my father's overstuffed easy chair, shaking his head.
I'm not sure what day God appointed George to run my life but he was my Boss long before the Yankees called him their boss.
That particular evening, in the spring of 1950, I was dressed in a navy-blue shantung suit and getting ready to go to a spinster dinner at my friend's house when George stopped by to visit.
At that time I had no idea who Miss Rheingold was but recently Bill Gutman, a well-known author and good friend, explained that, back in the day, Rheingold Beer ran a yearly contest in New York to choose the most beautiful contestant. Some of the finalist were Grace Kelly, Tippi Hedren and Hope Lange.


NEW HAVEN, Conn. – After a record-breaking season that culminated with winning the Women's Basketball Invitational tournament, the Yale women's basketball team gathered to celebrate and announce the team award winners last Friday night in the Kiphuth Trophy Room in Payne Whitney Gym. Sophomore guard Roxy Barahman (Calabasas, Calif.) won the Most Improved Player Award, senior forward Jen Berkowitz (Wayland, Mass.) won the Karen Yarasavage Bulldog Award and senior guard Mary Ann Santucci (Seattle, Wash.) won the Outstanding Leadership Award. The Bulldogs also recognized Berkowitz and senior guard Tamara Simpson (North Babylon, N.Y.) for joining the 1,000 point club.
En route to earning the Most Improved Player Award, Barahman was also an honorable mention All-Ivy League selection after emerging as an impact player. She was limited to 17 games (one start) last season but was back at full strength this year. She led the team in assists (4.1 per game, fourth in the Ivy League), was second in steals (2.0 per game, fourth in the Ivy League) and was third in rebounds (4.5 per game).
Barahman is in Davenport College at Yale and is a graduate of Oaks Christian.
Earning the Karen Yarasavage Bulldog Award caps a memorable season and career for Berkowitz. Last month she was named first team All-Ivy League, becoming the first Yale player to earn first-team honors since Sarah Halejian '15 in 2014. On Mar. 3 at Princeton, she added her name to the Yale record book when her layup at 5:15 of the first quarter gave her 1,000 points for her career. She is the 21st Yale player to accomplish that feat.
This was the best season of Berkowitz' career in many ways. She led the team in scoring (14.3 points per game, fifth in the Ivy League) and rebounding (7.0 rebounds per game, ninth in the Ivy League). She also had the league's best field goal percentage (.546) and established career highs in all three of those categories.
Berkowitz is a pre-med history of science, medicine and public health major in Saybrook College. Earlier this month she earned Academic All-Ivy League honors.
Santucci captained the Bulldogs to a record-breaking season, earning the Outstanding Leadership Award in the process. She finished her career having missed just one game in four years, and she had 52 starts. One of the team's top ballhandlers and perimeter defenders, she averaged 1.6 assists per game this season (third on the team) and was one of five players to average 22 or more minutes per game.
Santucci is a pre-med ecology and evolutionary biology major in Morse College. She graduated from Seattle Prep.
After joining the 1,000 point club with a layup in the first quarter against Indiana at Lee Amphitheater on Dec. 21, Simpson finished her career with 1,275 career points, ninth all-time at Yale. She was second on the team in scoring this season, averaging 13.7 points per game (eighth in the Ivy League) -- a 43 percent improvement over last season. She was second on the team in assists (2.4 per game). As prolific as she was offensively, Simpson also made her mark defensively. She was named Ivy League Defensive Player of the Year for the second straight season. She also was named second team All-Ivy League.
Simpson's defensive accomplishments were staggering. Her 130 steals this season broke her own school record by 40 and also broke the Ivy League record (125, Betsy Gilmore, Dartmouth, 1993-94). She averaged 4.2 steals per game, third nationally and 2.0 more than any other Ivy League player. Simpson, who set the Yale career record for steals last year, led the league in steals each year of her career. Her 362 career steals place her second on the Ivy League's all-time list, with Gilmore the leader at 370.
Simpson is a pre-med psychology major in Jonathan Edwards College. She graduated from Portledge School.
The seniors and award winners all played key roles in a memorable season. Yale's 54-50 win vs. Central Arkansas in the WBI championship game on Mar. 29 was the Bulldogs' 19th of the year, a school record. No other Yale team won more than 17 games in a season. Yale also won eight Ivy League games, tied for fourth on the school's all-time list. That included wins vs. rivals Harvard and Princeton.


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TMI Secures The Future Of Advertising in Move Away From Cookie Crumbs
by tmi marketing | Jul 23, 2020
The 3rd party cookie may soon be remembered as little more than an archaic framework from which true resonance between brand and interested parties was forged.
On August 27, 2019, Google published the results of a detailed study wherein they removed tracking or cookie features from the test group, to observe the impact on advertising and the general user experience. Amongst other things they noted that, "We saw a 21% increase in user clicks to close an ad by the treatment group (who encountered non-personalized ads). When prompted with a list of reasons why they wanted to stop seeing an ad, there was a 21% increase in user clicks on the reason "Not interested in this ad" and a 29% increase in user clicks on the reason "Seen this ad multiple times".
Closer inspection of marketing technology and methodology have surged since Google's press release of January 14 this year, cementing their suspected turn around on the use of 3rd-party tracking cookies. Many global advertisers have begun to lament the loss of such cookies as Google's own research showed that, "users without cookies generate at least 37.5%, and up to 66% less revenue." But the digital marketing industry has had a long time to prepare for the inevitable disappearance of 3rd-party cookies, and they won't entirely vanish from the scene until 2022.
The point, quite besides any privacy concerns, is that cookie-based marketing hasn't been the most effective methodology for some time now. Advertising agencies in-the-know have moved on to more technologically advanced and less invasive processes to secure mutual relevance between companies and the browsing public. The truth is that cookies weren't all that they were cracked up to be in the first place. While they were certainly better than the digital equivalent of cold calling, there was ample room for improvement.
This is why the TMI Collective is pleased to announce an exclusive collaboration with SQREEM. The global innovator which just took home the 20th annual British Chamber of Commerce Singapore Business Awards.
Combining SQREEM's groundbreaking technology with TMI's many years of advertising expertise is simply a natural fit and one which is already showing seismic shifts in profitability for clients and accuracy for consumers. Mercedes-Benz South Africa enjoyed an engagement rate of 30% (outperforming Google's display benchmark of 0.36% by 8000%). They acquired so many relevant, qualified leads that the call-centre requested the campaign be paused while they catch up.
SQREEM has built an AI platform able to grasp behavior, context, and logic, at levels of scale and complexity vastly beyond human capability and turned the process of identifying, targeting, engaging, and converting over three billion consumers across the world into a fully automated science. The AI is able to identify links and associations among vast, unstructured digital activities across any platform and determine macro-behavioral normalcy versus micro-behavioral abnormality.
The results are undeniable. 30% of static display ad impressions are typically lost to bots but SQREEM requires swipe interactions which guarantee a 100% human audience. The Google display click through rate is 0.36% while SQREEM delivers an entry CTR of 2%. Digital advertising is delivered via the ChannelSQREEM Brand Pod, similar in structure to a display banner ad, only leagues apart.
For the TMI Collective and SQREEM the future of marketing won't be decided in 2022 by the forced disappearance of 3rd party cookies, these companies have already moved beyond and will continue to carry the torch into a bright future under the banner of Channel SQREEM.
TMI MD Lauren Foster Joins Bookmarks Awards 2020 Panel
by tmi marketing | Nov 29, 2019
The judges have been assembled for the 2020 IAB SA Bookmark Awards, and we're excited to announce that TMI's Managing Director, Lauren Foster, has been selected to serve on the prestigious voting panel for the category "Innovative Engineers."
The Bookmarks Awards recognise companies who have demonstrated digital excellence, while also seeking to empower all members of the digital media and marketing industry to thrive in the digital economy. As in previous years, the event will honour the exceptional teams behind the most creative and innovative campaigns in eighty categories.
Lauren will be one of nine judges on the Innovative Engineers panel, chaired by Accenture Interactive Africa Lead, Dee Chetty. It is the judges' responsibility to comb through this year's submitted projects, compiling shortlists, and ultimately crown the winners in the categories of Web Applications, Digital Installations and Activations, Use of CRM, Loyalty Programs and Gamification, VR & AR, Internet of Things, Artificial Intelligence, and Craft – Software, Coding and Tech Innovation.
Lauren (centre) pictured here at the 2018 Bookmarks Awards, where the team scooped up an award for Paid Search Marketing.
Andrea Quaye, jury president of the 2020 Bookmark Awards commented, "I'm thrilled to be joined by such an esteemed and professional Bookmarks Jury in 2020 – a group of extremely talented individuals who bring a diverse point of view to the judging process and who share their expertise to set the benchmark for digital excellence in South Africa. Our job is to define what is considered to be the best work in digital – for its innovation, creativity, impact and effectiveness."
TMI is, of course, no stranger to the Bookmarks, having won the Bronze Craft Award and Golden Pixelor Paid Search Marketing in 2016, as well as a bronze award for Paid Search Marketing in 2018. With extensive experience leading an award-winning agency that's at the forefront of digital marketing innovation, Lauren will bring an expert eye and insightful mind to the evaluation process that will certainly contribute to the quality of the Bookmarks.
The Bookmarks is scheduled to take place on 19 March 2020 at The Galleria in Sandton. We wish Lauren all the best as she represents TMI Collective.
Why our #GooglePremierPartner status makes TMI a better digital partner for your brand
by tmi marketing | Nov 1, 2019
TMI has helped many businesses develop consistent, results-driven digital brand strategies, and at the core of this success is our Google Premier Partnership.
Having forever changed the online advertising landscape, Google's expansive portfolio of marketing platforms makes it the top destination for consumers' product searches and companies' ad placements.
A Google Premier Partnership is the highest Google certification that exists. It identifies the best performing agencies through criteria such as certification, ad spend, and company/client growth. To earn the Premier Partner badge, digital marketing agencies must employ at least two Google Ads certified account managers (we have multiple), demonstrate a healthy amount of activity through higher spend requirement, and must meet the performance requirements which are solid overall ad revenue and growth.
TMI have individuals who are qualified in the following core specialisations:
The Google Premier Partnership is an honour bestowed only upon a select few agencies. In fact, we're part of only 3% of all global agencies to have been awarded this prestigious status. This puts us at the forefront as a leading independent digital marketing agency. The endorsement is a testament to our experience, knowledge and ability as well as a reflection of the passion and dedication that our teams bring to client work.
It also reinforces our track record, making it easier for those looking to build their brand through smartly crafted advertising campaigns, to recognise us as true experts in the field.
What is means for businesses to work with a Google Premier Partner
In today's competitive marketplace, it is important for businesses to stand out, increase their revenue, whist keeping expenses low. GPPs know how to manage and control budgets within the stated campaign objectives. Certified account managers can reduce the cost of acquiring and converting new customers by determining and testing the types of ads that will most effectively increase return on investment (ROI).
GPPs are most skilled in harnessing the power of data and technology to give businesses the leading edge. Not only do they keep tabs on current best practices and trends in digital marketing but are also first in the know about upcoming changes and updates from Google. And, they're first in line to Beta test new tools and products.
Finally, GPPs get access to benefits that extend far beyond just basic community membership updates and phone support. They can take advantage of executive business training, dedicated account management, new business strategy consulting, and an invitation to the annual Partners summit.
To keep our badge, TMI must continuously meet Google's standards. This means we will continue to provide the best in class Google marketing services to our clients, whilst fully delivering on our promise to educate and empower businesses. We are extremely proud to have achieved the trust from Google to be responsible for developing leading brands.
TMI's Growth Fuels Exciting Rebrand
by admin | Oct 29, 2019
For over a decade TMI (The Media Image) has operated out of South Africa, running complex and ambitious campaigns for some of the most recognisable brands in the world. The concept right from the beginning was to establish a modern, skill and technology led company based in the cost effective environment of South Africa which could service the needs of global brands looking for high performance at a cost effective exchange rate. South Africa was an ideal culture and time zone location for this type of digital marketing work.
When TMI founder, Peter Brooke-Sumner, moved back from the UK to South Africa as one of the first hires of Google in the region, he developed a keen sense of exactly how such a service model would need to operate to produce client focused, performance results. The model took off and a UK based office was opened while the company established itself. After a few years of operation, however, the UK office was then sold. Since then TMI has expanded its client base to the USA, Australia and the UK as well, with Cape Town being the obvious choice to run operations from. From highly skilled workers, convenient time zones and operational proficiencies, there are numerous reasons why the Mother City is the prime location for operations.
Growth and Direction
TMI made a name for itself first as a Search/PPC agency representing large global accounts as well as leading market players in Africa. As the client base grew, the company's service offering expanded along with it to include Programmatic Retargeting, Search Engine Optimisation, Bought Media, Display, Video, Content Marketing, Creative Design and Social Media. By 2015 TMI boasted the largest DoubleClick-certified team in Southern Africa (and possibly globally at that time for an independent agency), with more than 40 qualified individuals across the Google Marketing Platform (formally DoubleClick integrated stack) including its demand-side platform (DSP), ad server and search management platform.
Over the years TMI has won over a dozen awards in recognition of high performance, ingenuity and campaign optimization. These include Bookmark, New Generation, AMASA and the African Crystal International Media Awards. In 2016 TMI entered into a joint venture with Quinton Jones to form TMI Media and collaborate on data-driven media solutions combined with the analytics and insights that digital provides. This strategic alliance has led to a unique blend of above and below the line expertise, allowing the agency to capitalise on every significant marketing channel from programmatic display to television.
The Rebrand
As part of the ongoing evolution, the agency gave its corporate ID a facelift to better represent the brand and its personality. Having adopted a new logo and aesthetics in 2019, the company officially changed its name to TMI Collective, which better reflects the wide range of marketing and communications disciplines on offer, across a global client base.
Says Peter Brooke-Sumner, "Although we've reinvented ourselves over the years, we're still the same team committed to quality and service excellence. Whether you've been working with us for some time now or are meeting us for the first time, we will continue to drive results across global campaigns."
#googlepremierpartner
Features & Opinions
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The Smoky Mountain Fiber Arts Festival highlights one of the unique crafts native to the Appalachian region, providing an interactive, educational community event to learn about the one-of-a-kind fiber arts activities. The festival will include Border collie sheep-herding, sheep-shearing, classes, workshops, marketplace of vendors, and art exhibits. Hands-on, educational demonstrations of fiber arts processes, such as spinning, weaving, needlecrafts and dyeing will take place for all ages to enjoy.


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socrata/ruby-focal
===================

socrata/base-focal image with Ruby installed

## Usage

Most uses of the image will be via `FROM socrata/ruby-focal:<version>` in a Dockerfile, nonetheless, you can run a Ruby container as follows:

```bash
docker pull socrata/ruby-focal:<version>

# Launch shell in the container
docker run --rm -t -i socrata/ruby-focal:<version> bash

# Bind mount a directory into the container and build or run something
docker run --rm -t -i -v `pwd`:/opt/my_app socrata/ruby-focal:<version> ruby my_app.rb
```

## Available versions

- `socrata/ruby-focal:3.1.x`

redpajama_set_name: RedPajamaGithub


text:
Scoreboard Standings Stats Polls Podcasts rotoworld PointsBet
COLLEGE BASKETBALL | NBC SPORTSCBB Select Team
Abilene Christian Wildcats Arkansas-Pine Bluff Golden Lions Buffalo Bulls Coppin State Eagles Eastern Kentucky University Colonels Fairleigh Dickinson Knights FGCU Eagles Harvard Crimson Howard Bison Liberty Flames Louisiana-Lafayette Ragin' Cajuns Marshall Thundering Herd Middle Tennessee Blue Raiders Murray State Racers NCAA Division I American Athletic Conference Central Florida Knights Cincinnati Bearcats Connecticut Huskies East Carolina Pirates Houston Cougars Memphis Tigers SMU Mustangs Temple Owls Tulane Green Wave Tulsa Golden Hurricane USF Bulls Atlantic 10 Davidson Wildcats Dayton Flyers Duquesne Dukes Fordham Rams George Mason Patriots George Washington Colonials La Salle Explorers Rhode Island Rams Richmond Spiders Saint Louis Billikens St. Bonaventure Bonnies St. Joseph's Hawks Umass Minutemen VCU Rams Atlantic Coast Conference Boston College Eagles Clemson Tigers Duke Blue Devils Florida Seminoles Georgia Tech Yellow Jackets Louisville Cardinals Miami Hurricanes North Carolina State Wolfpack North Carolina Tar Heels Notre Dame Fighting Irish Pittsburgh Panthers Syracuse Orange Virginia Cavaliers Virginia Tech Hokies Wake Forest Demon Deacons Big 12 Conference Baylor Bears Iowa State Cyclones Kansas Jayhawks Kansas State Wildcats Oklahoma Sooners Oklahoma State Cowboys TCU Horned Frogs Texas Longhorns Texas Tech Red Raiders West Virginia Mountaineers Big East Conference Butler Bulldogs Creighton Blue Jays DePaul Blue Demons Georgetown Hoyas Marquette Golden Eagles Providence Friars Rutgers Scarlet Knights Seton Hall Pirates St. John's Red Storm Villanova Wildcats Xavier Musketeers Big Ten Conference Illinois Illini Indiana Hoosiers Iowa Hawkeyes Maryland Terrapins Michigan State Spartans Michigan Wolverines Minnesota Golden Gophers Nebraska Cornhuskers Northwestern Wildcats Ohio State Buckeyes Penn State Nittany Lions Purdue Boilermakers Rutgers Scarlet Knights Wisconsin Badgers Missouri Valley Conference Wichita State Shockers Mountain West Air Force Boise State Colorado State Fresno State Nevada New Mexico San Diego State San Jose State UNLV Utah State Wyoming Pac-12 Conference Arizona State Sun Devils Arizona Wildcats California Bears Colorado Buffaloes Oregon Ducks Oregon State Beavers Stanford Cardinal UCLA Bruins USC Trojans Utah Utes Washington Huskies Washington State Cougars Southeastern Conference Alabama Crimson Tide Arkansas Razorbacks Auburn Tigers Florida Gators Georgia Bulldogs Kentucky Wildcats LSU Tigers Mississippi State Bulldogs Missouri Tigers Ole Miss Rebels South Carolina Gamecocks Tennessee Volunteers Texas A&M Aggies Vanderbilt Commodores West Coast Conference BYU Cougars Gonzaga Bulldogs Pepperdine Waves Saint Mary's Gaels New Mexico State Aggies North Carolina Central Eagles Northern Arizona Lumberjacks Ohio University Bobcats Old Dominion Monarchs Sam Houston State Bearkats Seattle Redhawks South Dakota Coyotes South Dakota State Jackrabbits Southern Jaguars UC Irvine Anteaters UConn UMBC Retrievers Western Illinois Leathernecks Western Kentucky Hilltoppers Wofford Terriers
No. 2 Kentucky rallies past Southern Illinois for 71-59 win
Associated PressNov 10, 2018, 12:41 AM EST
LEXINGTON, Ky. — Those lopsided wins No. 2 Kentucky is normally used to this time of year might eventually happen. All that mattered to the Wildcats was proving they could regroup from a blowout loss and get their first victory.
It certainly took everything for them to scrape past Southern Illinois.
Keldon Johnson and Immanuel Quickley each scored 15 points, Nick Richards grabbed a career-high 19 rebounds and the Wildcats rallied in the second half to beat the Salukis 71-59 on Friday night.
Kentucky (1-1) managed to bounce back from Tuesday night's 118-84 shellacking by No. 4 Duke, its most lopsided loss under coach John Calipari. It left the Wildcats a lot of room for improvement, but the biggest question was whether they could shake the disappointment of being pounded by the Blue Devils on a national stage.
The Wildcats did, but they had to work hard in the second half to overcome sloppy play and the veteran Salukis, who led 44-37 before Quickley and Quade Green (14 points) made consecutive 3-pointers to spark a 10-2 run for a 47-46 lead with 12:19 left.
"Our energy and effort was off the charts," Quickley said. "This team's really good with that. We just have to keep getting better every day, individually and as a team."
SIU didn't quit, but the Wildcats slowly extended their lead to 61-52 on consecutive three-point plays by Johnson and Green. Kentucky went on to win, and Calipari saw the effort as progress no matter how it looked.
"I just said, be happy we won and figure it out," said the coach, who has won all 10 home openers with Kentucky. "I've got a pretty good idea of how I'm going to do this now, and I'm just glad that we really got smashed, so there's no question.
"If you demand a lot, you get a lot. If you accept mediocrity, you're going to get it every time. … I was very aggressive today."
So was Richards, whose rebounding provided the biggest lift as Kentucky dominated SIU 48-19 on the glass. The sophomore forward had as many boards as the Salukis combined, surpassing his previous best of 15 last season against Fort Wayne. His total matched the highest by a Kentucky player since Michael Kidd-Gilchrist grabbed 19 against Louisville in December 2011.
"My team just needed to get rebounds with Reid (Travis) out of the game," said Richards, who also had three blocks. "Just playing my game and guys were just playing better, just trying to play harder as team to get the `W."
The Wildcats also shot 47 percent after halftime and limited SIU to 1 of 7 shooting from long range.
Aaron Cook had 18 points and Kavion Pippen 16 for the Salukis (0-1), who opened against their first ranked team since No. 13 Illinois in 2010. They shot 41 percent in their first meeting with the Wildcats.
PATIENCE, PLEASE
SIU coach Barry Hinson credited the Rupp Arena crowd of 20,277 for motivating Kentucky to rally past his squad. He also urged Big Blue Nation to use restraint when judging the perennially-young Wildcats.
"You want to microwave the maturation process and you can't do that," he said. "It takes time. So, back off and let these guys go through the maturation process and let coach Calipari do what he does best. By March, you're going to have something on the floor you're going to be really proud of."
Kentucky should remain in the Top 10 after a bounce-back win, even if it was a little shaky at times.
Southern Illinois: The Salukis returned five starters from last year's 20-13 team and played as if they had been together for a while, pushing the offensive tempo and forcing the Wildcats into mistakes most of the night. But they let their seven-point edge slip away because they missed shots and couldn't keep Kentucky off the glass, especially Richards.
"There's a difference between losing and getting beat," Hinson said. "Tonight, we got beat. Losing is unacceptable."
Kentucky: Developing chemistry might take a while for the Wildcats, who seemed out of sync for many stretches and committed 19 turnovers. They were fortunate that Richards was fierce on the glass while Green and EJ Montgomery (10 points) contributed critical scoring as Kentucky dominated bench scoring 32-6.


It's hard to believe that, combined, The Bachelor and The Bachelorette have 32 (!!!) seasons under their belts. As two of the most enduring and popular TV reality series, they provide an additional real-life hook as we watch and wait to see if the couples who end up together on the show *actually* make it work. It's probably not hugely shocking to learn that, through all of the drama, the underdog triumphs, the frustration and, of course, the looooove, only a few of the contestants remain in healthy, lasting relationships. But the ones that do give us hope — and a reason to keep watching. Check out the Bachelor and Bachelorette success stories from the show's history.
1. Jason Mesnick and Molly Malaney (Bachelor season 13): Jason and Molly are one of the best examples of the kind of ~drama~ we live for on this show. In the finale, Jason's final rose went to Melissa, but he broke up with her on the reunion special because he was in love with Molly, the runner up. They're now married and have a daughter.
2. Sean Lowe and Catherine Giudici (Bachelor season 17): Sean, the born-again-virgin Bachelor, picked Catherine and hasn't looked back. They got married in a TV special in early 2014, and this summer, joined the Bachelor Baby Boom, welcoming baby Samuel. They're impossibly cute.
3. Ben Higgins and Lauren Bushnell(Bachelor season 20): The most recent pairing from The Bachelor is Ben and Lauren. It's early days for these lovebirds, but they're currently living in Denver, CO, are planning their wedding and got their own spinoff.
40 miles down, 60 to go, and he agreed to a family photo!! So far, so good!!! 👫🏔🏃🏼🏆👫 #stressedwife #proudwife @ltraceseries #lt100run #leadman #whydomykidslookdowninpics?
4. Trista Rehn and Ryan Sutter (Bachelorette season one): Trista was the first Bachelor runner-up back in 2002, and in 2003, she became the first Bachelorette. Trista chose Ryan and they've become the gold standard in reality TV success stories: They've been married since their nationally televised wedding in late 2003 and have two children.
Missing my love @_jprosenbaum while away on momcation!
5. Ashley Hebert and JP Rosenbaum (Bachelorette season seven): These two show that maybe, just MAYBE, it's possible to settle into a normal life after reality TV fame. Ashley and JP married in 2012 and are about to welcome their second kid, a little sister to two-year-old Fordham.
6. Desiree Hartsock and Chris Siegfried (Bachelorette season nine): Desiree was eliminated from above-mentioned Sean's season, and while it was devastating at the time, it worked out for all — she went on to become a Bachelorette, and she and Chris were married in 2015. The two live in Seattle and are expecting their first child.
7. Kaitlyn Bristowe and Shawn Booth (Bachelorette season 11): Kaitlyn was part of the notorious two-Bachelorette season, which saw the men choose her to continue over the other contestant Britt Nilsson. Kaitlyn and her pick Shawn Booth are currently planning their wedding.
8. JoJo Fletcher and Jordan Rodgers: Jojo's weird and wild season of The Bachelorette just ended, but as of now, her engagement with Jordan is still on. If they stay together, that gives the happy Bachelorette couples a slight lead over those that resulted from The Bachelor. Just sayin'.
Who's your favorite Bachelor/Bachelorette couple? Let us know @BritandCo!


The new expressP2 card drive AU-XPD3 offers you the fastest speed currently possible with up to 17.6GBps*1. It was specifically designed for usage with the "B series" of the expressP2 cards to achieve this extraordinary speed. The Thunderbolt 3 interface enables the high speed of the XPD3. Its 8 times faster than USB 3.0 and twice as fast than Thunderbolt2.
Daisy chains are possible with the XPD3 with up to max 6 devices in one chain.
It will bring drastic time reductions to users. Actual time-saving with the AU-XPD3 (Tested with AU-XPD3 Beta + Macbook PRO 15" 2016 late + internal PCIe SSD).
MacPro / Thunderbolt 2 users also benefit from XPD3 speed thanks to Thunderbolt 3 to 2 adapter. The offload speed when using XPD3 / Thunderbolt 2 is almost 4x higher than XPD1 / USB3.0.
The AU-XPD3 supports both, "A series" and "B series" of the expressP2 cards. Still, maximum performance can be reached only with the "B series".


Looking for ideal Classic Goblets Glasses Manufacturer & supplier ? We have a wide selection at great prices to help you get creative. All the Glasses Set For Dringking are quality guaranteed. We are China Origin Factory of Goblets For Red White Wine. If you have any question, please feel free to contact us.


The logo of the Luxembourg Presidency is the result of a competition launched by the Luxembourg government and open to all graphic designers.
After analysing a hundred or more proposals received from some forty advertising agencies and freelance graphic designers, the choice was made of the logo described below.
The logo of the Luxembourg Presidency of the Council of the European Union consists of a red/blue square, intersected by the letters "eu" and the figure "2005", followed by ".lu".
The colours symbolise those of the Grand Duchy of Luxembourg (red-white-blue) and the European colours (blue-yellow).
The star picks up the idea of those on the European flag and the suffix ".lu" has the effect of the internet address of the Presidency (www.eu2005.lu) appearing in the logo.
The text below the logo (Luxembourg Presidency of the Council of the European Union) is in 4 languages: French, Luxembourg, German, English.
It can be used in full colour, black and white, negative, screened, in relief, and so on.
It is moreover effective on all media (for instance letterheads, small car stickers, publications, Internet...) and at the same time promotes the image both of Luxembourg and the Presidency.
Finally it is possible to use separate elements of the logo, which can then be applied as elements of illustration recalling the original.