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There's a scene about halfway into Jordan Peele's Get Out that to me sums up the genius and horror of that movie. It's wordless, and begins with a series of seemingly disconnected images: a crowd seated before a gazebo; a photograph of Daniel Kaluuya as the film's lead, Chris; Bradley Whitford, as the genial father of Chris's girlfriend, making strange hand gestures; people in the crowd holding up bingo cards. Then the camera pulls out, and the disparate pieces come together in a startling crash. Whitford is auctioning Chris off to a crowd of fellow white people. Later in the movie we'll learn more about what this will entail and why this abominable practice continues, but it's in this moment that Get Out spells out its terms, establishing stakes and villains, as well as its wicked, take-no-prisoners sense of humor.
There is no moment in Peele's follow-up to Get Out, Us, that delivers the same sense of revelation with a similar elegance. If Get Out was an arrow aimed straight for the heart, Us is firing in all directions. This doesn't make it a bad film—it is, in fact, a rich and heady stew, anchored by a stunning double performance from Lupita Nyong'o. But it does make it messy, in a way that a director who wasn't riding high off a genre-defining success like Get Out probably wouldn't be able to get away with. I found myself thinking that Us might have worked better as a miniseries, not only to give its various storylines and characters room to breathe, but so that it could do more work to spin out and elaborate on the various symbols and recurring images it keeps dropping into the narrative. What is the significance of Hands Across America, for example? What does Jeremiah 11:11 mean? What's with all the rabbits?
You can see this tendency in the way the film takes its time getting started, layering one prequel scene over another. First we get a title card informing us that beneath America lie thousands of miles of tunnels, some of unknown purpose. Then we watch a string of commercials on an old-fashioned TV (in whose screen is reflected a young black girl), including one for the 1986 anti-poverty project Hands Across America. Then we see the same girl (Madison Curry) at a fairground on the Santa Cruz boardwalk with her parents. She wanders onto the beach and into a hall of mirrors, where she encounters what appears to be her double, and the screen smashes to black. Then the opening credits run as the camera slowly pulls out from a wall lined with cages containing rabbits. It's only after all this that we arrive in the present, following a family car driving towards Santa Cruz for a summer vacation. Each of these non-sequitur moments introduces an image or recurring motif that eagle-eyed viewers will have to look out for once the story proper gets started, though the roster still isn't complete. The devilishly sharp fabric shears that have become the film's calling card in its promotional materials, for example, aren't introduced until the end of the first act.
With such a weight of symbolism, there's a strong temptation—especially for people like myself, who tend to approach pop culture in an analytical way—to try to "solve" Us. But the truth is, for every explanation I can come up with for the film's oddball worldbuilding, there will be half a dozen others just as compelling and worth thinking about. And even my best ideas about the movie fail to account for all of its details and evocative imagery. While I was writing this review, I came across a twitter thread in which the incomparable critics Samira Nadkarni and Aishwarya Subramanian were lamenting their inability to get to the bottom of the rich symbolism in the novels of Helen Oyeyemi, and it strikes me that Us, and perhaps Peele's filmmaking in general, possess the same quality. Like Oyeyemi, Peele has an approach to horror that focuses less on chills and affect and more on weirdness, which is in turn underpinned by a keen intelligence and a sharp political awareness. Like Oyeyemi's novels, what Peele has produced in Us works less because of one's ability to read it "correctly" as because of its overall effect. What follows, therefore, isn't meant to be a definitive reading, but a record of my immediate reactions to the film—which may mature and develop as I get more distance from it.
The family in the car are the Wilsons: mother Adelaide (Nyong'o), who is confirmed as the little girl from the prologue scene with a flashback that reveals that in the wake of her unspecified ordeal she was diagnosed with PTSD, father Gabe (Winston Duke), teenager Zora (Shahadi Wright Joseph), and pre-teen Jason (Evan Alex). They've arrived at a vacation house that used to belong to Adelaide's mother, but quickly reveal that in all their years of staying there, Adelaide has never allowed her husband or children to go to the nearby beach. Even when she agrees to make an exception, Adelaide is anxious, and nearly has a breakdown when Jason wanders off for a few minutes. Later she confides to Gabe about her experiences, but neither he nor we are able to understand what frightened her so much about her encounter. That conversation is cut short by the arrival of the Tethered, a family of doubles of our heroes, clad in red jumpsuits, armed with the aforementioned scissors, who quickly overpower the Wilsons.
Adelaide's double (referred to in the credits as Red, though she is never named in the film even though the other doubles all have names; this will turn out to be significant) explains, in the first of several monologues, that she and Adelaide have been linked since birth. She married her husband not because she loved him but because he was Gabe's double. Her children are doubles of Adelaide's children, though like their parents they are strange and sinister, characterized by alarming tics and perverse pleasures. While the Wilsons have lived lives of comfort and safety, the Tethered have been relegated underground, forced to suffer and do without, and driven mad by their deprivation. Now they want to sever their connection, cutting through the Wilsons' flesh to do it. When the family escape to the home of nearby friends, they find the same carnage there, and the TV news eventually reveal that the same uprising has occurred throughout the country.
In other words, Us is a film about the violent rise of the (literal) underclass. This is a trope that tends to have a racialized undertone, as does the home invasion genre that Us initially presents itself as—even when their villains are white, both are rooted in the anxieties of white society over the danger posed by an oppressed but ever-present non-white population. When the first trailer for Us dropped, many people commented on the significance of not only centering the film around a black family, but placing them in this genre, in which people who look like them are often the villains or nonexistent.
In the actual film, race feels a great deal less important than class. Or, to put it more precisely, it's the intersection of the two that feels like the film's ultimate focus, the fact that the Wilsons are not just a black family but one that is safely ensconced within the American upper-middle class. The early scenes in the movie do a lot to stress the family's financial and emotional security—not only the fact that they have a nice car, a nice summer house, and can afford to go on nice vacations, but that these are familiar environs to them, where they are part of the community. And yet Us also subtly reinforces the sense that the Wilsons are out of place.
It's notable, for example, that outside of the flashbacks to Adelaide's past, the Wilsons are the only black people in the movie. When the scope of the Tethered's attack becomes clear, the only other victims we see are white. This includes the Wilsons' friends and neighbors, Kitty and Josh Tyler (Elisabeth Moss and Tim Heidecker) and their twin daughters. From our first glimpse of them, it's clear that these are not very impressive people—Kitty complains that she could have made something of her life if she hadn't gotten pregnant, and Josh wastes no opportunity for douchy behavior. And yet the Wilsons, particularly Gabe—whom Duke plays with a deliberately exaggerated nerdiness, pitching his voice into the nasal range and constantly readjusting his glasses—are clearly in a semi-friendly competition with them, openly envying their boat, their car, and their smart house. There's a constant tension between the Wilsons naturally belonging in this world of affluence and security, and their need to prove that they belong by living up to the example of people like the Tylers.
Throughout the film, there are hints of the Wilsons' conflicted relationship with blackness. When the Tethered appear in the Wilsons' driveway, Gabe tries to drive them off by adopting a tough-guy, "street" persona that not even he seems to believe in, but which he clearly thinks of as the universally understood signal not to mess with him. Adelaide, meanwhile, immediately calls 911. In the context of this story, she's obviously right to do so, but it seems clear that the film is calling back to the multiple instances we've seen documented in recent years of black people having the police called on them, simply for going about their lives.
It's a context that changes the Tethered's claims against the Wilsons, moving them from the general to the specific. "You could have taken me with you", Red says to Adelaide of their childhood meeting. When we get to see the underground lives of the Tethered, they are a perverted, wordless parody of the kind of affluence the Wilsons take for granted. In one of the film's tour de force scenes, we rewatch young Adelaide's trip through the fairground as it was reflected in the underworld. Above ground, Adelaide's father wins her a t-shirt, smiling warmly as he presents it to her. In the underworld, his smile is a deranged leer, a shadow play bereft of triumph or happiness. He is performing a staple of middle class respectability—a father gifting his child with something she doesn't need but nevertheless wants—with nothing to back it up. The Tethered describe themselves as linked to their doubles, but what shows up on screen feels more like a cargo cult. Just as Gabe keeps trying to keep up with the Tylers in the hopes of becoming them (regardless of whether they are actually worth emulating), the Tethered are imitating all of us, including the Wilsons, hoping that by mimicking the forms of capitalism they can gain a foothold in it. Until, that is, they decide simply to take it.
It's interesting, in fact, to observe how the Wilsons' relationship with their doubles differs from that of anyone else we see. The Tylers are murdered within minutes of their doubles invading their home. But the Wilsons are toyed with, in ways that leave them avenues for escape and resistance. The film ascribes this to a particular sadism on Red's part—"we want to take our time" she tells Adelaide during their first meeting. But the film also implies that there is something special about the Wilsons, perhaps their liminal status conferring upon them some degree of protection. It's notable how little tension there is over whether the entire family will survive, even though in a film with so many main characters you'd expect at least one to buy it in order to establish proper horror bona fides (despite trailers that seemed to promise otherwise, Us isn't a very scary film; its horror is more existential than visceral, and there is in fact very little viscera on display). Even Gabe, whom we'd normally expect to die—not only because that's the role husbands and fathers are usually relegated to in family survival stories, but because he is so clearly unsuited to the new, apocalyptic reality established by the Tethered uprising—makes it to the end, and not as a newly minted badass. He never fully accepts the irrevocable loss of normalcy that has occurred around him, and even towards the end of the film he keeps trying to play by the old rules. "You don't get to make decisions anymore!" Adelaide snaps at him when he suggests holing up in a Tylers' house, waiting for help that clearly isn't coming. And yet he lives.
The reason Gabe lives—the reason the entire Wilson family lives—is Adelaide. In a film with the theme of doubling, you'd naturally expect confused identity to eventually crop up. As the family kept being separated and reunited in their scrambles to escape the Tethered, I was constantly on my toes for a switcheroo, for one of them to be killed and replaced by their double. It turns out, this has already happened. The reason we never find out Red's name is that her name is Adelaide. This is also the reason why she's the only Tethered who can talk, and the one who possesses enough shreds of sanity to come up with the plan to rise above ground and take over. It's the reason why Adelaide had PTSD—not from a single traumatic incident, but from a young lifetime of abuse and deprivation. The woman we've been rooting for it the little girl Adelaide met in the hall of mirrors, who kidnapped her double, imprisoned her in the tunnels, and took her place.
It's a revelation that comes in the film's final minutes, and I found myself wishing that the film had given it more time to percolate, for its implications to be considered (for that matter, it might have been interesting if we had gotten a sense that Adelaide has always known what she is, as opposed to the implication that she had suppressed this knowledge until the events of the film trigger her memories). On the one hand, there is the obvious point that there is no meaningful difference between ordinary people and the Tethered—Adelaide has lived a normal, respectable life above ground, while Red was driven to the same madness and violence as her compatriots who were born in the tunnels. This is a common trope of stories about a sinister Other—no matter how much the narrative and characters insist otherwise, there never seems to be any meaningful difference between humans and Cylons, or replicants, or Hosts. The "us" of the film's title—which conjures immediate associations of us vs. them—is in fact a way of reminding us that the enemy is indistinguishable from ourselves, and that we're only defining them as the enemy because it serves our purposes.
At the same time, it's impossible to avoid the implication that the Wilsons survive because Adelaide came from underground. Because her legacy of trauma and abuse has lingered with her despite the privileged life she stole and then built for herself. The fact that it is her children, but not her husband, who take up their mother's attitude, who fight for their lives with determination and ruthlessness, suggests that Adelaide has passed along her unease and anxiety despite not being consciously aware of them. This is seen as both a good and bad thing. At the end of the movie, we're not certain whether Adelaide is a monster. By which I mean, not a monster from horror movies, an Other who can be killed without remorse, but a human monster, the sort of person who takes what they want and then kills the person they stole from when they show up to proclaim their injury. In the film's final moments, Jason, who has witnessed Adelaide's final triumph over Red, regards her with suspicion. He isn't sure what she is, not because he thinks there's been a switch, but because he's starting to realize that he never knew her at all.
There's a lot more to Us than I've written here, and in fact I worry that by summing up my reading of the film I have reduced it something far less strange and baggy than it actually is. There is, for example, the fact that Red's plan includes, after the Tethered have killed their doubles, creating a giant human chain in homage to Hands Across America, whose significance escapes me entirely (others have written compellingly about this device). There are the rabbits that hop freely in the tunnel where the Tethered live (one of them is rescued by Jason—perhaps suggesting that in him and his generation lies the possibility of rapprochement with the Tethered?). And Red's explanation for the existence of the Tethered, which brings up government experimentation and control, feels at once deeply significant and completely beside the point. This is, as I said at the beginning of this review, a messy film, and any attempt to solve it will inevitably leave things out and miss important details. But that is also the film's genius. There is no artist in Hollywood who is doing the kind of things Peele is doing (well, maybe Donald Glover), and if what he delivers isn't always as sharp and instantly comprehensible as Get Out, it is also never less than fascinating.
essays film jordan peele
lisze said…
This review has made me wonder if Jordan Peele has read/drew any inspiration from Kelly Link's "Stone Animals."
It's been ages since I read that story, so I don't remember its details very well, but I was thinking today that as well as Oyeyemi, Link is another author whose writing Peele reminds me of. She definitely also uses horror as the framework of her storytelling, but usually occupies that framework with something much weirder and harder to pin down. Unlike Peele (and Oyeyemi), Link's writing doesn't have as obvious an undertone of political consciousness and social rage, but the style is very similar.
Hob said…
I'm a bit confused that you say that you can't think of any significance for "Hands Across America" in the movie... and then immediately link to two pieces that very clearly describe what it might be. I would think if you thought those were totally off base, you wouldn't call them "compelling", so...?
Thanks for this. I had similar feelings about the film. It wasn't as scary as I expected, I thought it was slow at times. It's a good film, but I didn't feel as much praise for it as others. Though when I got out of the theater... it was like I was in another world.
"Stone Animals" is about a family who move to a new house (partially in hopes it'll repair their marriage). Then, the items the family brought with them start being wrong or "haunted", as if replaced by exact replicas. Body parts and even a full person can also be "haunted." And the house is surrounded by rabbits. https://electricliterature.com/stone-animals/
I'm trying to think of other movies/stories in which the the protagonist commits a monstrous crime yet still remains deeply sympathetic, and coming up with nothing. Anyone have some candidates?
I would say the thing that distinguishes Us is less that its heroine does something terrible and more that she clearly doesn't regret it. There are a lot of movies about repentant bad guys seeking redemption, but Adelaide isn't sorry, and when she's given the chance to make things right with Red, she instead chooses violence (though you could argue it's not an entirely conscious choice since she doesn't realize what she did to Red until after she kills her). I'm sure Us isn't the only film to tell a story like this, but I am struggling to think of others, mainly because it's still fairly uncommon for films to place members of the underclass at their center. The reason we sympathize with Adelaide is because we know how few options she had, and most movie heroes aren't in that situation.
Justin Howe said…
Do you think the tethered as their presented are meant to be read as inherently broken or as people broken by their circumstances? Part of the what I'm feeling in my reaction and seeing in a lot of the fan theories around the movie seems to hinge on that question.
That "their" instead of "they're" will haunt me to my grave.
That seems like the fundamental issue raised by the Adelaide twist (which is why I say I wish the film had given it more time to breathe). As I write in the review, on the one hand, the fact that Adelaide is able to live a normal life, and is clearly a loving wife and mother, suggests that there is no fundamental difference between the Tethered and regular people. But on the other hand, she has clearly been shaped by her past, and this makes her capable of things that other people - Gabe and just about every other victim of the Tethered - can't do.
It's an excellent metaphor for trauma and the generational effects of poverty and suffering. Adelaide is a monster because she's human, because she did what she had to in order to escape hell, and she's still willing to do terrible things to hold on to her good life. That doesn't make her fundamentally different to humans, just someone who has lived in different circumstances.
Dave said…
I took the twist to mean that Adelaide always knew that she was a Tethered and that does a better job of explaining several things, such as her lack of hesitancy to kill, her knowing immediately what Red was, her strange moment with the Tethered version of her daughter when she seemed really empathetic to her, and her PTSD with Santa Cruz.
amcorrea said…
The Tethered could also be read as a metaphor for the darker side of "America"--our worst impulses exposed. I saw the dubbed version here in Colombia, and when Adelaide asks Red who they are, she replies "norteamericanos"--North Americans. The distinction is important, because here in Latin America we're taught that there are only five continents and America is one (not two). This made me think that Adelaide's idea to flee to Mexico was really the most sensible one, as the Tethered seem to be only a U.S. phenomenon, and by heading south, they would escape the Wall being erected by the insane...


Development is underway at Legacy Ridge, a Homes by WestBay community in Valrico. This quaint community nestled in the heart of an established residential neighborhood offers 67 homesites and is split into two distinct neighborhoods, each offering executive-style new homes.
"Legacy Ridge is a perfect pocket in an established neighborhood," said Janice Snow, Strategic Marketing Manager for Homes By WestBay. She reports that the new models are estimated for completion in fall 2017.
Floor plans available are from Homes by WestBay's Artisan Collection and there are nearly a dozen to choose from, ranging from 4-7 bedroom, 3-5 baths, three-car garages, brick-paver driveways and lead walk. These one- and two-story homes offer 2,562-4846 square feet with upper and lower level owner's retreats, open-plan grand living room, natural gas for water, cooking and laundry and outdoor spaces and designs offering bonus rooms.
"Our Artisan collection homes are a perfect complement to surrounding neighborhoods and gives those who want to move up, buy new, increase the size of their home, looking for latest designs, trends, energy efficiency. We can meet their needs without compromising where they already live, allows them to remain in their neighborhood," Snow explained.
Legacy Ridge is located at 2901 Brucken Rd. in Valrico. The Sales Office is located at 961 Collina Hill Dr. in Brandon. Hours are Monday, Tuesday and Thursday-Saturday, 10 a.m.-5:30 p.m. and 12 Noon-5:30 p.m. on Wednesday and Sunday. For more information, visit HomesbyWestBay.com/florida/valrico/legacy or call Lisa Starling or Dominick Colla at 813-774-6112.


Nostalgia is a huge part of why we love what we love as geeks. There's nothing quite like revisiting old favorites- rewatching movies, replaying games, rereading comics. These all have a way of bringing us back to the joy we experienced when first starting that new fantastical journey that still remains with us now.
After about 13 years of waiting, fans the world over are celebrating the highly-anticipated release of Kingdom Hearts 3. As avid gamers, many Sideshow staff members couldn't wait to get their hands on this new game to revisit their favorite characters and worlds, and experience all the new story and excitement the Square Enix game has to offer.
We asked some team members to tell us about their Kingdom Hearts fandom, their favorite Keyblades, and their hopes for KH3… This blog is Kingdom Hearts 3 spoiler-free!
Which of the other Kingdom Hearts games have you played?
Who is your favorite character? Favorite world?
"Single character? Oh gosh. I suppose Riku is my absolute favorite. I've always enjoyed the archetype of a person who started off as a rival, went towards the path of evil/darkness and found themselves on the other end being a hero in their own right. His growth has been just as enjoyable to watch as its been for Sora. Also, Riku's friendship with Mickey is precious. Best bros.
"My absolute favorite character is Riku. No question. He's better than Sora at almost everything, but what makes him interesting is his early willingness to dive into anything and everything that made him stronger or offered answers to questions he had. As a young kid, I found myself really relating to Riku, or at least wanting to be as instantly good at things as he seemed to be. Nowadays, his character has matured and is constantly faced with the consequences his earlier actions.
What are you most looking forward to in Kingdom Hearts 3?
What is your favorite Keyblade design?
How do you feel about the Gummi Ship?
Anything else at all that you'd like to add.
Big thanks to Sideshow's keyblade masters for sharing their excitement for the game! Be sure to check out our last Week in Geek, where Sideshow staffer Amy recounted her experience at the Critical Role D&D live show.


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GLOBAL MARKETS-Asian stocks creep higher, but weak growth worry caps gains
* Markets show some relief, but U.S.-China trade worries linger
* Commodities rise following Juncker-Trump meeting
* MSCI Asia ex-Japan +0.1 pct, SSEC -0.6 pct, Nikkei -0.2 pct,
By Andrew Galbraith
SHANGHAI, July 26 (Reuters) - Asian stocks inched higher on Thursday as the United States and Europe agreed to negotiations to ease barriers on trade, but ongoing concerns about the outlook for global growth weighed on investor sentiment.
A warning of slowing growth from Facebook Inc, which saw the company's stock fall as much as 24 percent in after-hours trading on Wednesday, highlighted risks for investors and businesses in the current earnings season.
Detroit automakers General Motors Co, Ford Motor Co and Fiat Chrysler Automobiles NV (FCA) also lowered their full-year profit forecasts on Wednesday, in an indication that trade war worries are far from over.
Furthermore, nearly three-quarters of economists polled by Reuters said trade protectionism would have a significant downward impact on global growth next year.
MSCI's broadest index of Asia-Pacific shares outside Japan edged up 0.1 percent.
After months of see-sawing prompted by uncertainty over trade, some markets were enjoying a relief rally, said Matt Simpson, senior market analyst at Faraday Research in Singapore.
"Possibly we've got a bit of Trump fatigue," he said, referring to Trump's turnabout on trade threats. "You know, nobody cares if it's going to happen or not at this stage. They just want a slight change of tone."
He added that ahead of U.S. second-quarter GDP data on Friday and a likely shift in the Bank of Japan's stimulus policy next week, investors were "in a bit of a holding pattern."
In China, the Shanghai Composite index fell 0.6 percent and blue-chip shares lost 0.9 percent. Concept stocks linked to Facebook were among the day's losers.
The prospect of weaker growth has prompted a loosening of fiscal policy in China as authorities seek to head off a slowdown. Most recently, China's central bank gave notice to some domestic banks that it would ease a capital requirement to support lending.
Shares in Taiwan gained 0.2 percent and Seoul's KOSPI added 0.6 percent, with Korean investors taking heart from a respite in trade tensions.
But data on Thursday showed South Korea's gross domestic product grew at a slower pace in the second quarter, and export growth weakened.
Australian shares were down 0.1 percent and Japan's Nikkei stock index was 0.2 percent lower.
After gains on Wall Street on Wednesday sparked by signs of sunnier days for U.S.-Europe trade, S&P 500 E-mini futures turned lower Thursday morning in Asia, falling 0.2 percent to 2834.75.
In a news conference following a meeting between the two leaders on Wednesday, U.S. President Donald Trump said he and European Commission President Jean-Claude Juncker had agreed to work to lower industrial tariffs on both sides.
Juncker also called a "major concession" Trump's agreement to hold off on car tariffs as the two sides launch negotiations to cut other trade barriers.
At the same time, Trump said Europe has agreed to increase purchases of U.S. liquefied natural gas and lower trade barriers to American soybeans.
The most active soybean futures were up 2 percent at $8.93-1/4 a bushel, after touching their strongest level since July 9 at $8.95-1/4. U.S. soybeans are among the goods China included in retaliatory tariffs after Washington slapped additional levies on $34 billion worth of Chinese goods on July 6.
But while the transatlantic mood was improving, "this deal, along with the breakdown of a large M&A deal, leave investors fearing that the trade war has just turned even more so on China," Citi analysts wrote in a note Thursday, referring to Qualcomm Inc dropping its $44 billion bid for NXP Semiconductors after failing to secure Chinese regulatory approval.
U.S. Treasury yields remained higher after the Juncker-Trump meeting. The yield on 10-year notes was at 2.9690 percent, compared with its U.S. close of 2.936 percent on Wednesday.
The two-year yield, which rises with traders' expectations of higher Fed fund rates, hit 2.6694 percent compared with a U.S. close of 2.657 percent.
Earlier in the week, Treasury prices had slumped along with Japanese government bonds on speculation the Bank of Japan may soon start to taper its massive stimulus.
The BOJ is said to be considering changing the composition of exchange-traded funds it buys as part of its stimulus programme. It holds a two-day policy review on July 30-31.
The dollar dropped 0.2 percent against the yen to 110.77
The euro was up less than 0.1 percent on the day at $1.1735, while the dollar index, which tracks the greenback against a basket of six major rivals, fell 0.2 percent to 94.141.
U.S. crude ticked up 0.1 percent at $69.39 a barrel. Brent crude was 0.6 percent higher at $74.39 per barrel.
Gold moved slightly higher as the dollar eased. Spot gold was traded at $1,232.09 per ounce.
Reporting by Andrew Galbraith, Additional reporting by Trevor Hunnicutt in New York Editing by Shri Navaratnam and Jacqueline Wong

redpajama_set_name: RedPajamaCommonCrawl


Nail cuticle is very important, because it makes your hands and manis look GREAT! Even if you don't do nails, cuticle care makes your hand looks much more healthier. I definitely think that everyone (including boys) should take care their cuticles! This is a long-due post about cuticles.
I am always on hunt for new nail treatments. One because I do at least one manicure per week, sometimes even up to 4, that makes my nail weak and cuticle drier. Secondly I am interested to learn more about different brands and better products. I have never finished one bottle of nail polish in my life (even the minis), but I am sure I can use up all my nail cuticle treatments. This is a great investment!
My stable nail cuticle treatment is LUSH Lemony Flutter (on the right). This is my holy life saver!!! I apply this balm to my cuticles every single night. Sometimes I even use it on my heels, elbow joints during the winter. I scooped out into small jars and carry around with me all the time. From my last visit of Lush shop, it can also use as hand exfoliator when you add a little bit sea salt in. Of course Lush sales were trying to persuade me to buy their Ocean Salt exfoliator, but I found that using the sea salt from kitchen just works as fine. One pot can last me about 3-4 months.
Let me say upfront I am not rich, and I initially thought this balm is very expensive especially in North America. The price is $16.95 both in States and Canada for 45g. For British Columbian, it's like $19 after taxes. From what I heard that it is much cheaper in Europe, but I am not sure. I can assume you that this balm worth every single penny for me. It is usually cheaper than Burt's Bee lemon butter as well if you do the math. Burt's Bee Lemon butter used to be my staple before Lush lemony flutter. You can find it in a lot of stores. They only have two sizes, small (8.5g) in travel sets or other sets, and large regular one. You cannot usually buy the small size alone and I need more than that for sure, so I only buy the regular ones. The regular price in Vancouver is about 8-9 dollars, sometimes 7 dollars if on sale. I stock them during Christmas 50% off season, so I usually get about 4 bucks for 17g. Strangely, I didn't find this deal during last Christmas anymore *sad*.
The left one is what I found in a whole food store, called Badger's Cream. It's a certified organic by USDA and a pot is about $ CAD $6-7. The quality is great and it has a hint of grass smell. Everything is great, price, amount and quality. The texture is very similar to LUSH's, but it won't work as good as Lemony Flutter. Maybe because it's not meant for cuticle care. I will repurchase for sure, it's nice to have a jar around. I heard that Badger also has a cream especially targets cuticle, but I haven't tried it yet.
Next group is oils. I am not a fan of oil type cuticle treatment, they are runny and not very effective (just to me maybe). Nevertheless, I always have a bottle sitting beside my laptop and I use it during my computer break. Compared to balm-like treatments, oil's effect is less obvious for me. I only use them when I only have short time to treat my cuticles. I used many different brands before, Cuccio, CND and Justnail here. Although some companies claim their cuticle oil is better than the others, I don't find them very different actually. I don't have the favorite oil product, I use whatever is easier to buy and cheaper of course. I am using Cuccio Cuticle Oil now, because they are available widely in Taiwan.
Lastly, it's from my old picture, but I want to tell you the to-go thing is important. I usually buy large bottle cuticle oils and I repackage them into small tubes so I can have to-go. It's cheaper compared to buy travel size or the to-go versions company selling. I know that this post is enough rant, and I should post this long ago. I hope this is helpful for everyone. If you have any questions let me know, and I would love to know what other peoples' favorites and the tips of keeping your cuticles healthy :) Comment below please!


text:
Chalcocrates felschei är en skalbaggsart som beskrevs av Heller 1903. Chalcocrates felschei ingår i släktet Chalcocrates och familjen Dynastidae. Inga underarter finns listade i Catalogue of Life.

Källor

Skalbaggar
felschei

redpajama_set_name: RedPajamaWikipedia


text:
package edu.ur.tag.html;

import edu.ur.tag.html.attribute.HtmlCoreAttributes;
import edu.ur.tag.html.attribute.HtmlLanguageAttributes;
import edu.ur.tag.html.event.HtmlKeyboardEvents;
import edu.ur.tag.html.event.HtmlMouseEvents;

/**
 * Input fields valid on all input tags.
 *
 * @author Nathan Sarr
 *
 */
public interface HtmlBaseInput extends HtmlCoreAttributes, HtmlKeyboardEvents,
HtmlMouseEvents, HtmlLanguageAttributes {

	public String getName();

	public void setName(String name);

	public String getType();

	public void setType(String type);

	public StringBuffer getInputAttributes();

	public String getTabIndex();

	public void setTabIndex(String index);

}

redpajama_set_name: RedPajamaGithub


I downloaded the ADIF of all my DXCC Award credits, used an ADIF to Excel converter and then I compared each to Log4OM. For each one I found in Log4OM that did not reflect the award I updated the QSO Awards tab with the proper DXCC credit. Surprisingly now in Statistics and Awards the QSO is merely "Confirmed" not the "Credit Granted" I expected.
How does one manually change the DXCC Status to "Credit Granted"? I don't see a field in Archive Manager for this..
ARRL evidently is not going to update my LoTW account (LoTW account and DXCC award account are linked so I don't know why it's not confirming the previous QSOs). I suppose for JTAlertX this is good enough (it's marked Confirmed at least).
Select each QSO>awards tab and you'll see award credited. Check the boxes that apply and save the QSO. You may have to restart Log4OM.
That's what I did to change them.. but they still only appear on the Statistics and Awards as 'Confirmed'.
Can you send me a adif file via my email address on QRZ a few, maybe 10, QSOs from your log that should be "credited"? I'll take a look at them. Thanks.
The issue that Marcus brings up is NOT a bug. The QSO Received status must be set to "V" (Validated) before it can be used for an award credit. Cards are "Validated" by a card checker or mailing them direct to the ARRL.
The user must set the QSO Received status to "Validated" in Log4OM.
That was it! Thank You very much guys!
Sorry for my lack of understanding to take up your time on this. I know better now and I've put it in my notes for 'the process to file' so when I submit cards again in a year I get it right.
Here is what I did wrong! When your DXCC shows new Credit Granted you then have to change all these in Log4OM to Credit Granted then add the DXCC award (ARRL does not match your paper QSL's to your uploaded LoTW QSO sadly). So, open the QSO and change the QSL - Received to Validated!
Then on the Awards tab, choose the DXCC award(s) like DXCC Mixed, DXCC Phone, DXCC Challenge.
You can save some money and time by basically entering all the data for the ARRL DXCC desk. When your ready to visit a card checker you then finalize and submit a DXCC application online, pay the amount it calculates for you, print the submitted application, and take it with the cards (in the order you entered them) to the card checker. You also need to print an envelope for your application and apply a stamp (just a standard envelope and postage since it's only your signed application being mailed in). The card checker will check your cards and mail-in your application and hand your QSL cards back to you! Then you wait anywhere from 4 to 8 weeks depending on how busy the ARRL DXCC desk workers are (FT8 has lead to a boom in DXCC certificate requests). The DXCC status web page is updated weekly and it discloses what week/month of received applications they are processing.
As you receive paper cards, you can logon to the DXCC site and enter them, you don't have to wait until a day before, or you can export all at once and import to the Online DXCC. If you eventually receive a LoTW confirmation you can delete the entry on the Online DXCC request form (you can add/delete very easily anytime and even over a long time period like a year!) Don't submit your application and payment until the day before meeting with your card checker. Each entry you enter is saved when you click the "Save" button and they remain on your open request indefinitely, and can be modified or deleted, until you submit it with payment. Another option is to merely mark your cards in Log4OM as 'submitted to card checker' and put them in an envelope/box and the day before you simply 'Export Cards Submitted to card checker' and import this file to the Online DXCC system! When your ready to visit the card checker you submit your application online and payment. You then print the submitted application and print an envelope for for it. Sign your application, put the appropriate stamp on the envelope, then go meet your card checker (hamfest is a popular location to do this).
In Log4OM, as you receive paper QSL's make sure you changed "Received" to "Y - yes (confirmed)" then it will give you the option of "Submitted to Card Checker". You can tick this box and enter it into the Online DXCC. Then put it into the box "TO DX LOG CHECKER".
If you do not enter them into Online DXCC then leave them merely as "Confirmed" and later, as you enter them, toggle the "Submitted" box. In this situation you will observe in "Statistics and Awards" they are purple with "C" for confirmed. Click this "C" and it will open a window with the QSLs for that band/mode. Tick the "Submit" box by a callsign and click 'Mark QSL as submitted to a Card Checker".
You can mix modes togher, the only thing you must do is keep the cards in the order you entered them into the online application. Also, if you've changed callsigns, put a small post-it-note or 3M post-it-flag on the card so your card checker notices it's your previous call. If one card has 2 QSL's but your only asking for credit for one, be sure to highlight the one you want (make it easy for the volunteer card checker).
That's about it. Just logon to the web site to enter new QSL cards or to create/modify/submit an application or track a submitted application. You have to submit and pay to get the form that you then take to the DXCC card checker. The online process steps you through each simple step. It asks if your seeking endorsements and/or new DXCC award application. It calculates how much you need to pay leaving you with only having to enter your credit card information. Then you just print out the application, make an envelope and your ready for the ham convention.
August 6, 2018: Logbook of the World application processing time is currently 1 - 2 business days. We are now processing paper applications received second week of July 2018, plus or minus a week or two. The current turnaround estimate is approximately 4 weeks.
If you collect all your DXCC credits by LoTW then your DXCC application, through LoTW, does actually get processed and in the mail in just a few business days! If however your having to go this route with paper QSL's for all those DX'ers that do not use LoTW then your going to have to wait (In the summer ham convention season they can get several weeks behind).


text:
GRANT GOODMAN
Directing & Teaching
Agent/Contact
Grant Goodman is an actor, director and voice over artist who has worked nationally and internationally, appearing on stage, film and television. Grant graduated from New York University's Tisch School of the Arts Drama Division and also studied acting at the world-renowned Stella Adler Conservatory of Acting, The National Shakespeare Conservatory and The Atlantic Theatre Company's acclaimed Acting School. His Off-Broadway credits include: Antony & Cleopatra, The Merchant of Venice (Theatre for a New Audience); King Lear, The Iliad (Lincoln Center); Richard II (New York City Center/Pearl Theatre Company); Pericles (Red Bull Theater) and The Three Sisters (Chekhov Now International Festival) among others. National Tours include: The Merchant of Venice - starring F. Murray Abraham (Theatre for a New Audience), King Lear (Aquila Theatre Company) among others. Regional Theatre credits include extensive work with: Yale Repertory Theatre, Shakespeare Theatre Company (Washington, D.C.), Hartford Stage, Chicago Shakespeare Theater, The Old Globe, Actors Theatre of Louisville, Cincinnati Playhouse in the Park, Milwaukee Repertory Theater, Utah Shakespeare Festival, Arizona Theatre Company, Pioneer Theatre Company, Northlight Theatre, Court Theatre, Playmakers Repertory Company, Indiana Repertory Theatre, Syracuse Stage, Clarence Brown Theatre, Illinois Shakespeare Festival, Kentucky Shakespeare Festival and The Shakespeare Theatre of New Jersey among many others. Film and Television: As the World Turns, Sex and the City and Sleepers. Some of Grant's favorite roles include Mr. Darcy in Pride & Prejudice, Septimus Hodge in Arcadia, Benedick in Much Ado About Nothing, Leontes in The Winter's Tale, John Proctor in The Crucible, Mark Antony in Julius Caesar, Bolingbroke in Richard II, Colonel Brandon in Sense & Sensibility, Edgar in King Lear, Prince Hal in Henry IV, Parts I&II, C.K. Dexter Haven in The Philadelphia Story, Hildy Johnson in The Front Page, Petruchio in The Taming of the Shrew and the title roles in Coriolanus, Macbeth and Hamlet. In 2015 Grant was selected to represent the U.S. in the prestigious International Acting Fellowship program at The Globe Theatre in London. A veteran of over 60 productions of Shakespeare's plays, Grant hopes one day to complete Shakespeare's entire canon.
© 2014 Grant Goodman
and grantgoodmantheatre.com
Management & Representation


text:
Matt Gaetz Investigated In Florida – Probe Explodes In Trump's Face
Caleb Newton
Although for now, President Donald Trump has gotten off the hook for his wide-ranging apparent criminal behavior — his pals aren't so lucky. This week, the Florida Bar announced that it was moving a case against Trump ally Rep. Matt Gaetz (R-Fl.) to the next stage, in which an investigator will do a deep dive into the incident in question and present findings to a grand jury-like body called the Grievance Committee. The case making it to this stage means both that the organization has determined not only that if proven true, the allegations of professional misconduct would warrant sanction, but that there's evidence warranting further investigation.
Gaetz is in the hot seat for public commentary targeting former longtime Trump "fixer" Michael Cohen on the day before he was set to testify publicly before the House Oversight Committee. He tweeted what amounted to a threat of revealing Cohen's supposed "girlfriends," suggesting that the now former lawyer should talk to his wife first who, in the Congressman's estimation, might not stay faithful to their marriage while Michael was in prison.
Gaetz eventually deleted the tweet but maintains that he essentially wasn't in the wrong; at the time the initial Florida Bar probe emerged, a Gaetz spokeswoman called an underlying complaint "frivolous," and now that it's proceeding to the investigation stage, his team offered:
'Congressman Gaetz remains confident that the Florida Bar will not impair his vigorous and successful representation of his district.'
It's not immediately clear what consequences the Congressman could face for his actions, although the probe underway is not a criminal investigation. The latest round of efforts to determine whether he violated legal standards for lawyers could take as long as 6 months; although most cases conclude with a recommendation to the relevant Grievance Committee, the next step would be a case before the state Supreme Court.
Ironically, Gaetz isn't at all alone among Trump camp members in having harassed Cohen at one point. The president himself has done so repeatedly, suggesting that federal investigators should look into his former associates' family despite an apparent complete lack of evidence supporting the notion. Even still, presidential lawyer Rudy Giuliani parroted the line on national television and told those concerned about Trump's seeming witness intimidation that he was just defending himself.
Cohen's testimony has actually wrought hardship for the president. In the wake of his accusations of wide-ranging fraud, investigations have gotten underway inside and outside of Congress with subpoenas to institutions like Trump lender Deutsche Bank. Although Trump has sued to attempt to keep that bank from complying with Congressional demands for information, they've reportedly already begun transmitting information to New York Attorney General Letitia James.
This week, Cohen began what's set to be a three-year prison sentence for crimes including a hush money scheme in which Trump himself was involved while in the White House that targeted women with whom the eventual president had affairs. It's one of a wide array of areas of legal vulnerability that remain wide open for the president, even in the wake of Special Counsel Robert Mueller concluding his Russia probe.
Featured Image via screenshot
matt gaetz
Previous articleRepublicans Turn On Trump To Get Funding To Puerto Rico & He's Pissed
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Republicans Turn On Trump In Spectacular Turn Of Events
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Kellyanne's Husband Says Law Firms Rejecting Trump
Former Trump WH Official Shoots Down Trump Claims
Guiliani Goes On Radio To Rant About Impeachment Trial


Silva has been with the tech giant for over a decade.
Melanie Silva has been announced as the new managing director for Google Australia and New Zealand, effective October 1. She replaces Jason Pellegrino, who announced his move to Domain in July 2018 to take up the role of CEO.
Silva has been with the tech giant for over a decade and has held a number of roles in this time. She joined the company from Fairfax Media in 2007 as the industry marketing manager for finance. Most recently, Silva was Google's MD for Go To Market Strategy and Operations for the APAC region.
Google's president of Asia Pacific, Karim Temsamani, said: "I am delighted that Mel will be leading our business in Australia and New Zealand. She is an exceptional leader who really knows how to bring the best out of people and has a thorough understanding of our partners' needs.


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text:
Integrations
============

It's possible to combine Opal-Browser with a lot of different workflows. Some are
better than others, but some are more suited at certain applications.

If you plan to do a static website, possibly you would like to base your work on
some static-* template. The downside is that you will need to recompile your work
each time you change something (except for static-rake-guard and
static-bash-opal-parser which is interesting only from experimentation viewpoint).

The dynamic-* templates will most of the time allow you to create a website with
both a frontend and a backend (some, like dynamic-rack-opal-sprockets-server won't
make your life easy though).

The sprockets integrations have a unique property, that you can name files like
`file.rb.erb` and then they will be preprocessed by ERB.

This directory is meant in general as a guideline, so the examples are as brief
as possible. I took a lot of time trying to understand how to integrate Opal, so
you can treat this directory as a library of my knowledge that you will be able
to use to get to use Opal as soon as possible!

TODO: dynamic-rails-opal-rails-with-sprockets


It's a battle of two of the largest smartphones on the market as drop test expert PhoneBuff on YouTube pits the new iPhone XS Max up against Samsung's Galaxy Note 9. At the beginning of the month, shortly after the Galaxy Note 9 launched, PhoneBuff put Samsung's latest flagship to the test against the iPhone X in a drop test showdown which the iPhone won (though not by much). So how does Apple's biggest phone ever stack up?
If you watched Apple's keynote live stream earlier this month, you might remember that the company referred to the glass on the iPhone XS and XS Max as "the most durable glass ever in a smartphone." For a phone covered in glass, the iPhone X was already surprisingly durable, but how would a much larger phone fare?
As it turns out, the iPhone XS Max passes a majority of the tests with flying colors. Once again, the first drop shatters the back of the Note 9, while the XS Max suffers far less damage. Both phones held up incredibly well after the corner drop, with the screens fully intact and little more than scuff marks on the corners in terms of damage. Finally, on the front drop, the iPhone once again topped the Galaxy by keeping the cracks on its display contained.
But in the bonus round, which consists of dropping each phone from a significant height up to ten times until they stop functioning, the XS Max failed three rounds in. The Note 9, on the other hand, lasted all ten rounds. This was enough to give the Galaxy Note 9 a one point edge in the final score, but both performed admirably.


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DivineEve4U2FinestPinayCockLoveandgirlsssSTEFANIVAS .JaquelineTSAmberScotValentineCuteCuteGirlxXx93 .BlondeLydia4YouSWETYINNAAmiraSoleyHardTrioCore .ThonyBabyStoryFullerLilyINNXHugeToysInMeXX .SwastiBlackMoonnnStunningSExyViCEMayaBerry .DICKSriderdonganahitmanboy1997SensualStunner .sexysaffaAdventureAliceTsSexServiceXChanelKunt .AdventureAliceSaraSexy2UUUCuteGirlxXx93PennyDavis .HardTrioCoreDolceVickyAmberScotAPRILxSKY .CharmEvelinsexysaffaAdventureAliceLovelyJulliette .DancingQueensSwastiDraMandyChanelAndDariffa .


Fruity Pebbles, Oreos, matcha, passion fruit, smores, churros. Did we get your attention? Now picture that on a doughnut! Yes, you'll have to put the diet on pause, but honestly, with Valkyrie Doughnuts, it won't be hard to!
National Doughnut Day is this month, and you need to treat yourself to some of the best doughnuts you'll have. You won't regret any second of it.
At Valkyrie Doughnuts, you will get to experience doughnuts on a whole new level. Every morning (and multiple times during the day) the staff makes a fresh batch of dough in their kitchen to prepare for the day. It won't matter the time of day; you will always be served a fresh, warm, soft doughnut. And all their doughnuts are egg and dairy free!
The varieties of doughnuts are endless. Customers can enjoy anything from a traditional glazed doughnut to a Fruity Pebbles, churro, or even Swedish Fish doughnut! Their doughnut menu changes daily, so you will be able to try many more unique creations. Every day is a surprise!


text:
#ifdef ROS
#include "motoman_driver/simple_message/messages/motoman_read_single_io_message.h"
#include "simple_message/byte_array.h"
#include "simple_message/log_wrapper.h"
#endif

#ifdef MOTOPLUS
#include "motoman_read_single_io_message.h"
#include "byte_array.h"
#include "log_wrapper.h"
#endif

using industrial::byte_array::ByteArray;
using industrial::simple_message::SimpleMessage;
using motoman::simple_message::io_ctrl::ReadSingleIO;

namespace motoman
{
namespace simple_message
{
namespace io_ctrl_message
{
ReadSingleIOMessage::ReadSingleIOMessage(void)
{
  this->init();
}

ReadSingleIOMessage::~ReadSingleIOMessage(void)
{
}

bool ReadSingleIOMessage::init(SimpleMessage & msg)
{
  ByteArray data = msg.getData();
  this->init();

  if (!data.unload(this->cmd_))
  {
    LOG_ERROR("Failed to unload ReadSingleIO data");
    return false;
  }

  return true;
}

void ReadSingleIOMessage::init(ReadSingleIO & cmd)
{
  this->init();
  this->cmd_.copyFrom(cmd);
}

void ReadSingleIOMessage::init()
{
  this->setMessageType(MotomanMsgTypes::MOTOMAN_READ_SINGLE_IO);
  this->cmd_.init();
}

bool ReadSingleIOMessage::load(ByteArray *buffer)
{
  LOG_COMM("Executing ReadSingleIO message load");
  if (!buffer->load(this->cmd_))
  {
    LOG_ERROR("Failed to load ReadSingleIO message");
    return false;
  }

  return true;
}

bool ReadSingleIOMessage::unload(ByteArray *buffer)
{
  LOG_COMM("Executing ReadSingleIO message unload");

  if (!buffer->unload(this->cmd_))
  {
    LOG_ERROR("Failed to unload ReadSingleIO message");
    return false;
  }

  return true;
}

}  // namespace io_ctrl_message
}  // namespace simple_message
}  // namespace motoman


Did you realize that there are more than 17 million females from the ages of 18 to 60 that do not carry medical insurance in the US? Being a part of the affiliation is the reason why the plans may be provided at decrease software process is trouble-free. Hosting website web The main risk for having access to low cost medical insurance is to purchase a coverage that includes fewer facilities. Some medical insurance is affordable for a cause: It doesn't provide much in the way in which of benefits.
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How Can I Get Cheap Health Insurance Coverage?


Most parents have experienced suiting up kids in a formal way is mission impossible. But that time lies behind us! Our boy's suits are so colourful that your little man actually wants to wear it himself. We can't promise anything, but Christmas is a magic time, you know… We even heard stories of boys who have never wanted to take the suit off! And to be honest: what's a better gift for a parent than the kid(s) being content during Christmas? It's time to spoil your little boy with one of our suits. See it as a gift for yourself! You're welcome.
Everybody likes to suit up for Christmas. So it would be unfortunate if you found a funny and crazy Christmas suit that's too smaal. Have a look at our Christmast suits for teen boys for the big boy suits.


text:
Q: rails 3.1.1 engines - with mountable engines, is it possible to access parent app assets, default layout? This is more for experimentation - I am aware that I can do this with --full but I wanted the functionality of namespacing in the app to avoid conflicts
The idea is to have a main app - which handles authentication, common items, admin screens etc
Then creating engines to add further functionality like

*

*crm

*cms

*blog

*wiki

*forum

*etc

These engines I can pick and choose as I need for whatever kind of app I am building.
Is this possible?
Is it just the case of applying both --mountable and --full options?
Experimenting - would there be any issue if I use the full option add rspec and then simple add
rails plugin new plugin_name --skip-test-unit --full --dummy-path=spec/dummy

and in lib\plugin_name\engine.rb
module PluginName
  class Engine < Rails::Engine

    # this is added by rails when an engine is mountable
    # to isolate the plugin and prevent name clashes
    isolate_namespace PluginName

    # one of the additions to make rspec work from command line for the plugin
    config.generators do |g|
      g.test_framework :rspec, :view_specs => false
    end
  end
end

I have already created both --full and --mountable engines and have rspec finally working for anyone reading there are some great articles (see below), but wondered of the wider impact of doing this for the solution I am trying to create
I am still playing with this and will post my findings..
Any help/discussion will be massively appreciated.
Please Note

*

*Why I want to do it - build once use many times...

*I would never want a non-tech/client to add "plugins/engines"  -  this is purely to entertain point 1.

Issues I am Having...

*

*Running the server on the top level app. Only when accessing content from the engine, (I can see by the error messages) I have a routing problem (root_path undefined or devise routes missing) - the parent application layout is being rendered, I can see it in the extracted source of the error. Progress but no cigar just yet!

Useful References

*

*Engines vs Mountable Apps

*3.1 engines with rspec

*testing rails 3 engines

*Listing Routes in a Mountable engine

A: I managed to get this working with the following steps:

*

*In my parent app I was mounting the engine in routes.rb
mount PluginName::Engine => '/plugin_name'

I just removed it.

*Created an application controller as Ryan Bigg below had stated.
class PluginName::ApplicationController < ApplicationController
  ...
end

*As I wanted to have things name spaced when generating controllers, models, tests so you have to essentially comment out the isolate_namespace PluginName lib\plugin_name\engine.rb when I wanted the gem to be run in the parent app.
It is not yet an ideal solution. off the top off my head, I could use something like:
isolate_namespace PluginName if %w[development testing].include?(Rails.env)

but will have to test if this is practical.
Kudos to Ryan for helping me find my way  many thanks
Furthermore, the same can be done with the --mountable switch version and all you need to do is one further step in your engines config/routes.rb replace
PluginName::Engine.routes.draw do

with
Rails.application.routes.draw do

A: Yes, you can reference the parent application assets just by referencing them in your application like normal:
  <%= stylesheet_link_tag "application %>

Although, not sure why you would want to do that because...
I'm going to answer your first question with the answer to your second question.
To use the application's layout you will need to modify the ApplicationController in the engine (which is namespaced) and have it inherit from ApplicationController in the engine.
That will then have the controllers for the engine using the layout provided by the engine. I'm doing this in my engine, forem.
One day, this will be covered in the Engines Guide that, at this time of writing, is currently being written.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Find last used element in object array I have an array of Student objects. I set the array length to 100, but it doesn't have 100 valid Student objects in it. I want to be able to iterate through the array and grab all the valid Student objects, then stop when I get to an array cell that doesn't have a Student object.
I have tried putting NULL into the array cell after the last Student, and then checking if (queriedStudents[i]) as well as if(queriedStudents[i] != NULL), but neither has worked for me.
What is the best way to find the end of the used part of my array?
Student *Welcome::queryStudents(int *queries) {
    int query = 0;
    Student *matchedStudents[100];
    int matchedPos = 0;
    while (queries[query] > 0) {
        for (int i = 0; i < numStudents; i++) {
            if (allStudents[i]->id == queries[query]) {
                matchedStudents[matchedPos] = allStudents[i];
                matchedPos++;
            }
        }

        query++;
    }
    matchedStudents[matchedPos] = NULL;

    return *matchedStudents;
}

And my code chunk trying to print out each Student's values:
        int i = 0;
        while (i < 100) {
            if (queriedStudents[i]) {
                cout << "ID:\t" << queriedStudents[i]->id << endl;
                cout << "Name:\t" << queriedStudents[i]->name << endl;
                cout << "Addr.:\t" << queriedStudents[i]->address << endl;
                cout << "Phone:\t" << queriedStudents[i]->phone << endl;
            } else {
                i = 100;
            }
            i++;
        }

A: You've got a bigger problem. You declare the array matchedStudents on the stack in the function queryStudents. When control passes out of that function, the array passes out of scope. If you're trying to use it later (by means of the pointer it returns, which was the first element of the array) then you're messing with deallocated memory, which will almost certainly lead to undefined behavior. It's as if you're visiting a house that has changed owners since you were last there; there's no telling what's changed, and if you wander around with your eyes closed you might get into trouble.
You can declare the array on the heap:
Student **Welcome::queryStudents(int *queries) {
  Student **matchedStudents = new *Student[100];
    ...
  return matchedStudents;
}

Or pass it in by reference:
void Welcome::queryStudents(int *queries, Student **&matchedStudents) {
    ...
}

Either way, you can then tackle the problem of how to indicate the end of valid pointers. Your method looks feasible, but bear in mind that as @JerryCoffin has pointed out, std::vector is available. Arrays are a pain, and the STL containers (such as vector) were made to take care of these grubby details for you. These days working with arrays serves almost no purpose except pedagogy; play with them until you understand the concepts, then use more advanced containers which are base on them.