text:
The Program on Information Resources Policy (PIRP) was a research program at Harvard University, sometimes referred to informally as "Harvard's think tank on the information age."  See  for a complete explanation.
It was established on February 1, 1973 by Anthony Oettinger and John LeGates and closed on June 30, 2011 by the same principals. It worked in the realm of communications and information resources. At most points in its history it employed as many as 15 full time staffers, mostly professionals, as well as hosting scores of visiting scholars and sponsored researchers over the years. At any given time it was supported by about 100 different public and private organizations.

During the 1980s the principals of PIRP, in addition to Oettinger and LeGates, included John F. McLaughin, who headed areas of postal policy as well as national security issues; Benjamin Compaine, who directed areas of the media and literacy; and Oswald H. Ganley, who focused on international issues such as transborder data flows.

As is typical for an academic program, it offered courses and seminars, but it also produced more than 500 book-length reports, most after reviews from industry, government and academia. However, its principal goal was to aid industry, government and public decision makers with sound reasoning and with information that was both impartial and competent. For that mission it developed research and dissemination methods that were innovative and unique.

How the program worked
In the words of the Program:
 We deal mainly with controversial matters of continuing relevance.
 We work on emerging issues in the middle time range—a focus close enough for the issues to be of concern to real stakeholders and remote enough for outcomes to be open.
 We lay out the essentials of controversies but do not take sides, make recommendations, or attempt to predict the future.
 We forego relationships that might bias us—such as consulting, partisan expert testimony, or membership on corporate boards.
 We operate with diversified financial support from stakeholders in the controversies worked on.
 Our work is reviewed by these stakeholders and by members of the relevant professions and disciplines.
 All our work is available to the public. Everyone knows in advance that this is so.
 Our work is neither proprietary nor classified. We neither work toward external deadlines nor respond to requests for proposals (RFPs).
 We aspire to intellectual, financial, and institutional stability regardless of the ins and outs of fashions and incumbencies.

The Program held itself as being both impartial  and competent.

Because it worked in areas of contentious policy debates, from its founding the Principals were concerned about the perception that, for many researchers, accepting funding from a particular interest could taint the findings of the research, no matter how impartial the authors claimed to be. To address this concern, Oettinger and LeGates devised a funding plan that sought small sums from many competing stakeholders in the information industries. "Being bought by everybody, we are bought by nobody," is how they explained this model. All operations were funded by "Affiliates" that provided contributions, usually on an annual basis, that went into a blended "pot." The Principals made the determination what research to undertake, aiming to build knowledge for use when and where it's needed. It never accepted funds from any source that would be designated for a specific research project. Whether a contributing affiliate or not, "We do not take sides—in any form. We are in the business of description, not prescription. We map the territory—you position your forces."

To address the goal of competence, PIRP established process of continuous fact-finding and written analysis. It created a "vetting" procedure for all its published research. A first draft would be circulated among Affiliates as well as outsiders who might have relevant expertise. Among the questions they were typically asked might be: Do we have the facts straight? Have we presented the position of your industry or your agency accurately? Have we unearthed the critical controversies?

The Program's primary avenue for disseminating its research was through its approximately 500 publications. Most were extensively reviewed by both disciplinary experts and by stakeholders in the topics under discussion. Full texts of almost all are available on the Program website.

However, PIRP's objective was to make the information it developed available to decision makers in real time. This was most often accomplished by  face–to-face meetings, usually with senior people in the affiliates. One customary format would be for the affiliate to describe its major uncertainties. The Program's Principal's would respond with whatever they knew that might be relevant. The hoped-for result, if any, would be better information and thinking for the affiliate. Although Program Principals did not sign nondisclosure agreements, it assured those with whom they met confidentiality. Program Principals also disseminated its findings and analysis through testimony and presentations, when requested, to Federal and state policymakers as well as in other public forums.

Financial supporters/work affiliates
Over its career, the Program was supported at one time or another by about 400 organizations, called "Affiliates". They included industry players, government agencies, non-profit organizations, trade associations and advocacy groups in the U.S., Canada and globally. It worked closely with those and many others.  Here is the complete list over the 38 years of its operations:

Reviews and compliments
The impact of the Program is hard to measure directly: How can it be determined that organizations made better decisions? One metric would the breadth and continuity of the financial support (see list of affiliates). Another would be quotable feedback and praise from the people with whom the program worked. Here are some samples. (A longer list is at.) :

In my view, you and your group are more significant than anyone else in the information age turning out so well.
Ivan Seidenberg, Chairman and CEO, Verizon, 2012
My Federal Agency is only a year old as of yesterday, but it owes some of the impetus for its formation to spade work begun by Mr. Oettinger, Mr. LeGates and your colleagues for the past several years.... Your Program has also been a source of important substantive ideas and insights. I myself have cribbed shamelessly.... Ambassador John E. Reinhardt, Director, International Communications Agency, 1979
A Nobel Prize should be created in Communications and Information so that The Program at Harvard can be awarded it (Comment published). Andrew Aines, Director of the Defense Science and Technical Information Program (Department of Defense)
I wish I had discovered this place two years ago before I went to the FCC. I'm sure I could have had two more productive years had I had a chance to talk to you beforehand. Anne Jones, Commissioner, Federal Communications Commission, 1981
You are like a breath of fresh air blowing through a miasma of hot air, which permeates the national dialogue on telephony. You are the only one I have met in the last fourteen years...who understands the situation, articulates it, and does so without prejudice. Edward P. Larkin, Chairman, New York Public Service Commission, 1984

No other participant has done as much as your group to make the information age as successful as it is. Lloyd Schermer
Chairman, American Newspaper Publisher's Association, Chairman and CEO Lee Enterprises. 2012
In the course of its work on developing the JCS bill, the Investigations Subcommittee, which I chair, has benefited significantly from the studies authored by retired General J. H. Cushman. I understand that the Program on Information Resources Policy has sponsored General Cushman's work, and commend you for supporting a project that is having an immediate, constructive impact as the Congress frames the future structure of the defense establishment. Congressman Bill Nichols, 1985

The Program on Information Resources Policy, through its independent and incisive analyses, free from special interest and partisan considerations, has helped me and my predecessors cut through the noise and get to the bottom of important public policy issues in the communications and information field. Over the years, the Harvard Program has become an indispensable institution on which policymakers in both the public and private sector have come to depend for truthful and fearless advice, even if its views have run sometimes counter to popular or conventional wisdom. For a Congressman to deal with people who are in fact impartial and competent is a rare experience. I recognize this program and your work as being critical to the development of sound telecommunications policy, and I support your continued efforts to examine these important issues. Congressman Edward J. Markey, Subcommittee on Telecommunications and Finance, 1991
This chapter is the most succinct and analytical source yet available for elucidating local distribution policy, planning, and marketing. Journal of Communication 1985
(Longstaff's draft is) the best thing I ever read in the field. I need another copy. Senator McCain is reading it and won't let it go. John McCain/Mark Buse, Senator John McCain's office, 1995
Your work is a distinguished contribution not only to the world of research and to your university, but to all of us whose life is caught up in the business of communication. Robert D. Lilley, President, American Telephone and Telegraph Company, 1974
Last week's conference was the finest I have ever attended. John R. Bennett, President, Transamerica Information Services, 1977
We are appreciative of the constructive work that you have been doing, particularly in the postal arena, and we certainly hope that you will continue to contribute to clearer thinking about the Postal Service here in this country. Kent Rhodes, Chairman, Reader's Digest, 1978
Your center is a gold mine of information—and I very much appreciate your thoughtfulness in filling up my reading file with such helpful and insightful materials. "You could have used my name if you hadn't asked", Executive Office of the President, 1990
Your chart of information industries revenues will save us and our consultants many hundreds of hours of labor. I am especially grateful for your willingness to send a handwritten table prior to publication—we will guard it with our lives. Charles M. Oliver, Director, Legislative and Regulatory Policy, CBS, Inc., 1981
I want both of you to know that our luncheon session last month and your follow-on work paid big dividends for us. George H. Bolling, Vice President, Advanced Programs, COMSAT, 1990
There is no trace of the mindless pap which passes as "debate on regulation." Media Information Australia, 1985
Have now read the C3I paper. Absolutely fascinating, and very useful to me in preparing a speech I hope to make on the SDI program later this week. The quality of the discussion was quite exceptional, and kept me reading all weekend! Sir Ian Lloyd, M.P., House of Commons, U.K., Chairman: All parties Committee on Communications Technology, 1986
The Program is in our view the pre-eminent honest broker in the massive job of keeping track of what is happening to, and within, the industry that comprises the means of moving information from place to place. John Morgan, Assistant to Executive Vice President, Communications Workers of America, 1981
There is no question at all that Washington looks at your work as an outside expert of very high credibility. I see your testimony reflected in their decisions as well as hearing about you in their discussions. Your work and your role are excellent. William Ditch, American District Telegraph Corporation, 1981
David Charlton was very high in praise for you as the highest quality effort he has ever come in contact with. Frank Kapper, Corning, Inc., 1989
I am amazed at the religious fervor with which Apple is using your map. I was handed it as background reading for my meeting with Sculley, Chairman and Nagle, Chief Scientist. They said "this may take you a while". John Schwartz, Newsweek (reporter), 1993

References

External links
 Official PIRP web site

Harvard University
Research projects

redpajama_set_name: RedPajamaWikipedia


We have a special guest Mark Hooper & Harrow Council's interpreting services who will representatives about their services for Deaf people at Harrow Deaf Club and it's your opportunity to feedback to Mark & Harrow Council about deaf services.
And we will provide delicious snacks and hold raffles draw with fabulous prizes!
So you better come along otherwise, you will miss out!


Wendy's 3-D Cats: 3-Ds: IT'S ALL RELATIVE!
Earlier this week, I went to visit my son, Ryan, at his house to see all of his renovations. He had the whole house painted inside, and wood floors put down in all the main living areas.
However, the real attraction is my grandkitties -- Sox and Missy. Sox is a slender long-haired male brown tabby, and Missy is a zaftig short-haired female with a brown tabby and white fur coat.
Whenever they come to visit me at my house, Sox is as laidback as ever, but Miss Missy turns into Miss Hissy! She is a very dominant ladycat -- even more than my Domino (which is really saying something).
In her own house, however, Missy is very relaxed and welcoming, as you will see.
Here's Sox relaxing on the carpet in the dining room. Upstairs, there is two tone gold-paint with blue accents. Very warm with a touch of cool.
Sox is a bit of a clown.
He doesn't sit like a normal cat.
He just likes to hang out whenever he can.
... I see you! My, what pretty green eyes you have Miss Missy!
We are now downstairs in the family room. You can see that the kitties have their own accommodations in front of the fire. Mmmm, toasty!
My son has quite the entertainment system, too. "Hey Dad, put it on Animal Planet, willya?", asks Sox. Can you see Sox in this picture? PURRhaps if you biggify?
Meanwhile, Missy is just making herself at home. After all, it IS her home.
And as I am leaving, she sweetly says goodbye by exposing herself. Don't you just love her belleh?
So nice to see your darling grandkits! Ryan's place is gorgeous! What a lovely home they have to share with their PURRson!
Such a great looking bunch they are fur sure!!!
My, what a tempting belly that is--I'd love to snorgle it! We had a cat named Missy who was definitely my father's cat. She would hiss and whap with no warning. What a lovely home.
That look like they are very comfy there for certain!
What a fun visit we had, cuz you were sweet and posted bunches of photos so we felt just like we were there!
What beautiful grand kitties yous has! We is hoping our grand Kitty, or in our case nephew cat comes to visit this summer.
What a couple of cuties Sox and Missy are!
OMC! Those TWO kitties have THREE Esses? We are being deprived.
THey are very sweet kitties. I like the gold and blue colors!
Your relatives are cool! I wish I could have a fireplace with an Ess to lounge upon!
Beautiful house! Wow, this is THE "Missy" of arm wrassling fame!


Save on the Rain Bird ESPSM6 (F38260) 6-Station Expansion Module, which is compatible with ESP-Me and ESP-SMTe series timers. Use this module to expand the number of stations you control with your irrigation controller.
Note: you should be aware that this expansion module is not compatible with the ESP-M or ESP-SMT timers.
The modules can be installed into any available slot on your sprinkler timer. One nice feature is that you can add this Rain Bird ESPSM6 expansion module without powering down your controller.
Offering over 4,000 unique irrigation products and holding over 130 patents, Rain Bird is committed to the design and manufacture of products that carry the highest long term value and quality. Rain Bird offers irrigation products for farms, golf courses, sports arenas commercial developments and homes in more than 130 different countries around the world.
If you have any questions about how this is supposed to be installed, please refer to the manuals before or you can contact us via chat or call.
this is a picture of 2 of the 3 zone units but part number is for the 6 zone unit. which is it?
Thank you for pointing this out, we have looked into it and corrected the problem.
Rated 5 by James B.


text:
namespace OTAPI.Callbacks.Terraria
{
    internal static partial class NetMessage
    {
        /// <summary>
        /// This method is called immediately before any code of the greetPlayer method executes.
        /// </summary>
        internal static bool GreetPlayerBegin(ref int playerId)
        {
            var res = Hooks.Player.PreGreet?.Invoke(ref playerId);
            if (res.HasValue) return res.Value == HookResult.Continue;
            return true;
        }

        /// <summary>
        /// This method is called after the vanilla greetPlayer method finishes.
        /// </summary>
        /// <param name="playerId"></param>
        internal static void GreetPlayerEnd(int playerId) => Hooks.Player.PostGreet?.Invoke(playerId);
    }
}

redpajama_set_name: RedPajamaGithub


As mentioned above; the SD-3 series effectively requires less depth than other woofers that are more physically shallow. First, they have a completely solid pole and thus require no room for air venting behind the motor. This allows the motor to be completely flush against the back wall of the enclosure. Secondly the entire SD-3 series features an inverted rubber surround – this reduces the space required in front of the woofer to about 1" total (we suggest 1.25-1.5" when possible for the best sound). So, despite not being an "ultra-shallow" woofer they have an effective total depth requirement of about 2" less than most traditional woofers of an equal depth.
Sundow borrowed some technology from their large high-excursion woofers and incorporated a hyper-extended pole-piece into the SD-3 line. This helps to prevent voice coil rocking & related damages at high levels of stroke – since the SD-3 has such a soft suspension and shallow depth it would be more prone to this without the hyper-extended pole. But, thanks to Sundown's extensive experience in building high-stroke subwoofers they were able to incorporate the ideal solution.
**NOTE: The parameter set for the SD-3 line has been optimized for very small sealed enclosures. They feature a very soft suspension, so they will not tolerate the high levels of abuse that ported enclosures can generate.


The Seminole Hard Rock Hotel & Casino Hollywood has hosted many events in the past. There are 31 listings stored in the HistoryGuide database for this property.
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text:
Anthony Romero
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Anthony D. Romero is the executive director of the American Civil Liberties Union.
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Photo by: Ofer Inbar, License: CC-BY-2.0, http://commons.wikimedia.org/wiki/File:Anthony_Romero_2007.jpg
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Anthony Romero was born on the 9th of July 1965 , which was a Friday. Anthony Romero will be turning 55 in only 356 days from today.
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Anthony Romero is 54 years old. To be more precise (and nerdy), the current age as of right now is 19719 days or (even more geeky) 473256 hours. That's a lot of hours!
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redpajama_set_name: RedPajamaCommonCrawl


"Choose a job you love, and you will never have to work a day in your life." This is a quote that I had heard over and over in the past but never truly connected with until I was introduced to massage therapy. During my training through the Institute of Massage Therapies, my life was changed forever. I had no idea how much benefit there was to receiving a massage, let alone giving one. Massage has taught me so much about myself, life, and our relationships to one another as human beings. I have gained an inner peace that I have not experienced since I was a child and I hope, through massage, that I will be able to share that peace with others.
Just Breathe...Let Massage Take Care of the Rest.


text:
Q: django sending email: SMTPAuthenticationError i am getting error when send email with django,
 Traceback (most recent call last):
  File "<console>", line 1, in <module>
  File "/home/apsijogja/djangogirls/myvenv/local/lib/python2.7/site-packages/django/core/mail/__init__.py", line 62, in send_mail
    return mail.send()
  File "/home/apsijogja/djangogirls/myvenv/local/lib/python2.7/site-packages/django/core/mail/message.py", line 286, in send
    return self.get_connection(fail_silently).send_messages([self])
  File "/home/apsijogja/djangogirls/myvenv/local/lib/python2.7/site-packages/django/core/mail/backends/smtp.py", line 92, in send_messages
    new_conn_created = self.open()
  File "/home/apsijogja/djangogirls/myvenv/local/lib/python2.7/site-packages/django/core/mail/backends/smtp.py", line 59, in open
    self.connection.login(self.username, self.password)
  File "/usr/lib/python2.7/smtplib.py", line 613, in login
    raise SMTPAuthenticationError(code, resp)
SMTPAuthenticationError: (535, '5.7.8 Username and Password not accepted. Learn more at\n5.7.8 http://support.google.com/mail/bin/answer.py?answer=14257 g10sm8484662pdm.29 - gsmtp')

this is setting.py
CCOUNT_ACTIVATION_DAYS = 3
EMAIL_BACKEND = 'django.core.mail.backends.smtp.EmailBackend'
EMAIL_HOST = 'smtp.gmail.com'
EMAIL_HOST_USER = 'myemail@gmail.com'
EMAIL_HOST_PASSWORD = 'blahblah'
EMAIL_PORT = 587
EMAIL_USE_TLS = 1

LOGIN_REDIRECT_URL = '/'

i already try with this link https://support.google.com/mail/answer/14257 but i am getting same error.
can you help me solve this problem?

redpajama_set_name: RedPajamaStackExchange


hd00:13La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
hd00:12La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
hd00:20Beach in Malaga. Malaga is municipality in Autonomous Community of Andalusia, Spain. Southernmost large city in Europe, it lies on Costa del Sol of Mediterranean.
hd00:07La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
4k00:18Malaga, Spain town skyline at the cathedral, city hall, and the Alcazaba citadel.
4k00:32Malaga, Spain. Drone view of Malagueta, the beach of Malaga. Beautiful panorama, seaside.
hd00:13Orange tree in Alcazar Gardens. Alcazar of Seville is royal palace in Seville, Andalusia, Spain, originally developed by Moorish Muslim kings.
4k00:16Aerial view of a traditional spanish white village in the mountains with a big chuch.
hd00:14La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
hd00:09La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
hd00:11La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
hd00:12Beach. Summer landscape. Estepona, Costa del Sol, Andalusia, Spain.
hd00:08La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
hd00:15La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
4k00:10Seville, Spain city skyline time lapse.
hd00:10Spanish horse doing piaffe, trotting on the spot. Slow motion.
4k00:12Timelapse Almeria West dessert Tabernas, Clouds moving along a western city background. Love this unbelievable west Andalusian landscape.
hd00:14SEVILLE, SPAIN - JANUARY 26 2017: La Casa de Pilatos (Pilate House) is an Andalusian palace, permanent residence of Dukes of Medinaceli, Renaissance and Mudejar styles, prototype of Andalusian palace.
hd00:10La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
4k00:11Fresh and tasty A bowl of Salmorejo. Typical summer meal, puree consisting of tomato and bread, originating from Cordoba in Andalucia, south Spain. It is made from tomatoes, bread, oil, garlic.
hd00:05La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
hd00:17Beautiful horses running, playing and grazing in Spring pasture, aerial view.
hd00:30Sanlucar, Spain - August 26, 2016: 4K Slow motion horse race on the shore of Sanlucar beach, Cadiz. Turf Thoroughbred horses gallop on the sand. Andalusian International Tourist Interest.
hd00:06La Casa de Pilatos (Pilate House) is an Andalusian palace in Seville, Spain, permanent residence of Dukes of Medinaceli, Renaissance Italian and Mudejar styles, prototype of Andalusian palace.
4k00:12Aerial view of Seville city including the Cathedral of Saint Mary of the See in Sevilla, Andalusia, Spain.
hd00:06Alcazar Gardens. Alcazar of Seville is royal palace in Seville, Andalusia, Spain, originally developed by Moorish Muslim kings.
hd00:30Close up of fishes in fountain lake of the gardens of Alcazar de los Reyes Cristianos, a medieval building located in the Andalusian city of Cordoba, Spain, near the Guadalquivir river and Mezquita.
4k00:24Aerial footage of Playa de los Muertos. Andalusian beach landscape. Carboneras. Almeria. Spain. 4K drone.
hd00:27Adding sugar to a coffee with a typicla Andalusian breakfast, toast, virgin olive oil and tomato.
hd00:44Pouring virgin olive oil on a toasted bread roll in slow motion, typical Andalusian breakfast.
4k00:064K footage of the flags that are on the top of the "Alhambra" of Granada, Andalusia, Spain. European flag, Andalusian flag, Spanish flag and Granada's flag. some wind that makee the flags.


text:
Raymond Historical Society – Pancake Breakfast
August 30, 2018 Joseph Candora Events/Festivals, Historic Sites, New England, New Hampshire, North America, Raymond, United States
The Raymond, NH Historical Society has several fund raising events throughout the year, one of which is a pancake breakfast. New photo by Wanderlust Family Adventure / Google Photos New photo by Wanderlust Family Adventure / Google Photos New photo by Wanderlust Family Adventure /
Raymond, New Hampshire
August 30, 2018 Joseph Candora About, Destinations, New England, New Hampshire, North America, Raymond, United States
Our home town of Raymond, New Hampshire is a typical small New England commuter town located in southern New Hampshire about twenty miles from the seacoast and twenty miles north of the Massachusetts border. The town has two river systems flowing through it the Exeter
Mel's Funway Park – Litchfield, New Hampshire
August 29, 2018 Joseph Candora Attractions, New England, New Hampshire, North America, United States
Mel's Funway in Litchfield, New Hampshire is the type of roadside amusement park common back in my childhood. A combination of snack stands, batting cages, mini-golf, arcades and go-carts. New photo by Wanderlust Family Adventure / Google Photos New video by Wanderlust Family Adventure /
Stowell Road Covered Bridge – Merrimack, New Hampshire
August 29, 2018 Joseph Candora Covered Bridges, New England, New Hampshire, North America, United States
The Stowell Road covered bridge spanning the Baboosic Brook in Merrimack, New Hampshire was built in 1990 and is one of the few covered bridges in southern New Hampshire. The bridge is easy to get to but parking and photo opportunities are not the best
The Healthy Buffalo (Chichester, New Hampshire) – Food Shop Review
August 29, 2018 Joseph Candora Food Shops/Bakery, New England, New Hampshire, North America, Reviews, United States
The Healthy Buffalo in Chichester, New Hampshire is the go to place in Northern New England for exotic meat. New photo by Wanderlust Family Adventure / Google Photos New photo by Wanderlust Family Adventure / Google Photos The meat here is all frozen and there


It was love at first sound - that 'fwip fwap' a jump rope makes as it quickly slaps the floor and swings over your head.
That was all it took for me to fall in love with boxing.
and was completely hooked on Zen Buddhism and how it related to the Samurai.. After a leg injury I turned to Tai Chi and Yoga, but something was missing, so I thought I'd give boxing a try.
As a young and somewhat arrogant self-proclaimed 'Martial Artist' I considered boxing to be barbaric, unsophisticated, and possessing nowhere near the same spiritually enlightened quality that I had in my Martial Arts practice.
I stood at the bottom of a very large set of stairs. I was nervous and anxious. Here I was this "non boxing guy" about to enter the lions den. As I began the ascent up the stairs into my first boxing gym, I heard it – that rhythmic and hypnotic 'fwip fwap' that only a jump rope can make and it was love at first sound.
Today I am a USA Boxing Certified Boxing Trainer/Coach, a USA Boxing Amateur Athlete in the Master Boxer Division and A certified Rock Steady Boxing Coach (Rock Steady is designed to help those fighting Parkinson's). I am also a certified Movement INTELLIGENCE Coach through the UK based Applied Movement Neurology Organization and I am a certified Animal Flow instructor - both of these certifications have complimented my Parkinson's Boxing program and training of seniors. My Animal Flow certification has been instrumental in the creation and design of programs for children/teens with Autism and special needs. these movements have also added to training tricks with amateur boxers and those I teach with an eye towards MMA.
I have an absolute love and passion for boxing as a form of fitness, as a sport and as something more than the sum of it's parts. I see it as something for everyone.I believe the specific movements, shapes and the intangibles of boxing can change lives. I believe boxing can be mentally and physically THERAPEUTIC - for me, in this moment, boxing is Zen.
I have trained all different levels of skills and ages – from the 8 year old learning how to throw a punch, the 19 year old hot shot looking to be the next Tyson and I've trained the 26 year old looking to simply have some fun and get fit. I've trained people in walkers and in wheelchairs. I've done the ring walk and worked the corner of the 33 year old having her first amateur boxing match and I've helped the 39 year old mother of 2 trying to get back into shape. I've helped that 44 year old, that 60 year old, that 72 year old get active, get into great shape and know what it's like to "Train Like A Boxer".
I've been very fortunate to be able to run group and individual bag/fitness classes as well as sparring classes and I've been privileged to train some amazing people for amateur boxing competitions and have helped them to discover and uncover their superb talents. I have Also had the amazing PRIVILEGE to train Parkinson's patients and couldn't be prouder to be in their corner and help them take back their lives and fight back!
I also enjoy helping new coaches and new trainers find their way and Their style in training boxers, and I've done some work/seminars for and with USA Boxing.


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Q: Custom URI Scheme link rendering in Lotus Notes I have an application which registers a custom URI scheme along the lines of:
myapp://action?parameter=value

The handler works well, and using Microsoft software, and software deriving functionality from is, urls renders fine if prefixed by the url: scheme, for an end result of:
url:myapp://action?parameter=value

In Lotus Notes hower this does not work.
Is there an alternative or other method to allow Notes to render my custom URI scheme as a link and pass it on to the underlying system?
Updated 2011-08-24:
Both domino and Notes are of version 8.5 (8.5.2 specifically).
I am primarily interested in getting these links to render in the body of recieved external email.


Click on the link for information about Recycling and Garbage Disposal from Harter's Fox Valley Disposal. Use the toll free number 1-888-804-8556 to contact the new hauler.
Click on the "Implements of Husbandry" link above to be redirected to the DOT website on this issue as well as the permit application. Contact Mike Fritz or the town clerk for more information.


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Wednesday NBA grades: Love, Rubio play like they should stay together
By Kurt HelinMar 20, 2014, 3:29 AM EDT
Our quick look around the NBA, or what you missed while getting sucked into an oral history of Nirvana….
Kevin Love, Minnesota Timberwolves. In a matchup of two of the top power forwards in the game, Kevin Love outplayed Dirk Nowitzki for a night. Love had 35 points and the Timberwolves final six in overtime — he hit what would be the game winner then defended Dirk Nowitzki on his attempt to force a second OT. Love also played well off Ricky Rubio, in a way that makes you think they could be quite a pair together… if Love is going to stick around past 2015. Which I wouldn't bet on.
Ricky Rubio, Minnesota Timberwolves. Rick Adelman will sit Ricky Rubio at times late in games. Not Wednesday. Rubio was the best player on the court — he drove and scored or found cutters, he made good kick out passes and at the other end was making steals. Rubio was decisive with the ball. Adelman rode Rubio through the entire second half and in overtime, because coaches ride the players having an impact. Rubio was that guy on Wednesday and keyed the Minnesota win — 22 points on 8-of-12 shooting (including two free throws to tie it in regulation), 15 assists, 10 rebounds, and 4 steals.
Carmelo Anthony, New York Knicks. Mike Woodson did nothing to show new boss Phil Jackson why Woodson should hang on to his job as coach — the Knicks were isolation heavy in this game. Anthony thrived in that setting, scoring 34 points on 12-of-23 shooting. The Pacers don't like to double but eventually they did and Anthony adjusted, sometimes by shooting quickly other times by making the smart pass out. Anthony showed Jackson exactly why Phil would want to keep him around.
Rajon Rondo, Boston Celtics. There were three keys to the Celtics beating the Heat for the second time this season. One was LeBron James was out for Miami. Another was that Avery Bradley and the rest of the Celtics were putting on a shooting show that likely impressed even Ray Allen — Boston was 13-of-28 from three. But the big one was Rajon Rondo, who late in the game just owned the Heat defense and did what he wanted, Rondo battled through foul trouble to put up 9 points, 10 rebounds and 15 assists (six of those 9 points came in the fourth quarter). He was impressive.


The starboard navigation light is assembled. Wires have been run under the luan decking.
West Marine has a tremendous inventory of boat supplies, boating equipment and boat related accessories.
The boat on trailer. This is the dual watercraft trailer from Harbor Freight reconfigured to handle the pontoons. You can see the rear seats and the mid seat.
Here are some wood boat parts before fiberglassing.
I used Evercoat 642 epoxy and Evercoat SeaGlass cloth.
The tail lights for the trailer are attached tn the stern when trailering.


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REVIEW: Tim Burton's Corpse Bride
If you should happen to attend a showing of Tim Burton's latest and notice a fellow patron with a manic grin, rubbing his hands together gleefully, don't be alarmed: Chances are it's just the owner of your local "Hot Topic" thinking about the new addition to his house that sales of "Corpse Bride" licensed merchandise to the emo/goth set is going to buy for him. "Can a heart still break once it's stopped beating?," one of the film's signature lines, may as well be subtitled "coming soon to a sullen teenager's diary near you."
Yes, it's a marketing phenom in the making. BUT, it's also a fine, fine little movie, so all that is easily forgiven.
It's been a banner couple of weeks for necrophilia, what with Mark Ruffalo falling for Reese Witherspoon's ghost in "Just Like Heaven" and now this: Shy, sensitive Victor Van Dort (Johnny Depp) is betrothed to Victoria Everglot (Emily Watson) as arranged by their parents. His are newly-rich fish merchants (the setting is Victorian England) counting on the marriage to raise them into high society, hers are bankrupt aristocrats counting on it to bail them out of destitution. Luckily, the kids charm the heck out of eachother right away, but Victor has a rough time memorizing the lines for the ceremony. Taking a walk in the woods to practice them, he slips the ring onto a tree branch for a prop… only to discover that the "branch" is actually the skeletal arm of a dead girl in a wedding dress. Named Emily, the titular corpse bride (Helena Bonham Carter) claws her way up from the dirt and promptly accepts what she assumes to be Victor's proposal of marriage.
All Victor wants is to get back to Victoria, but that's easier said than done: Emily is a bit on the posessive side, travel between the world of the living and the dead is easier said than done, (for the most part,) a rival for Victoria emerges in Lord Barkis Bittern and, complicating matters, there's a bit of mystery as to exactly how Emily wound up dead in the first place. But the real problem is that Victor does quite quickly develop feelings for the charming and distressingly attractive corpse bride herself.
Burton's welcome return to the realm of stop-motion animation wisely avoids similairities to the earlier "Nightmare Before Christmas," this time around the visual palette is playing heavily on design-as-metaphor: The world of the living is monochromatic, stiff and dark as a commentary on it's rigidly-structured Victorian setting; while the world of the dead is a Jazz-infused, rollicking place rendered in full color. Minimalism is a constant theme, as sparse trees and lonely buildings dot smooth-hilled landscapes unafraid of betraying their model origins.
In a way, looking like a living play-set is necessary for the film to function: Rendered in live-action or a more fluid form of animation, much of the humor found at the sake of corpses, bones and bodies would likely be too grotesque to maintain the fairytale-like tone. Emily, for example, has one arm and one leg comprised only of bone, a pop-out eyeball, exposed ribs and a worm that lives in her skull. Yet here, amid a cast who are all exagerrated grotesques in one way or another, she's able to look much more "eerie" than scary; and at times she's even just plain attractive… as puppets go. (It's worth noting that the modelers have invested both Emily and Victoria with oddly Maxim-esque figures.)
If the film has a flaw, it's that it's a bit too short. At 75 minutes, it stays on pace and gets about it's business with great efficiency, but some of it does seem to rush by. Certain segments, such as Victor's renunion with his deceased childhood pet or the visit by Emily's fellow undead to the living world just seem to cry out for greater room to breathe (though the later DOES contain a really adorable gag that's an instant classic of zombie comedy.)
Overall, though, this is everything so many were hoping it would be. It's creepy, lovely, well crafted, a great piece for families and just plain fun to watch. Definately reccomended.
REVIEW: Flightplan
WARNING: It is my duty to warn you that this review may contain spoilers. It is NOT my duty to warn you that the movie kind of sucks, but I'm doing it anyway because THAT'S how much I care about my readers.
A thought occured to me last week somewhere around the middle of my ordeal enduring "Cry_Wolf:" Is it possible that, when it comes to "what's-going-on-here" thrillers, audience expectations have actually come full circle? What I mean is… by now, we all "know" as filmgoers that it's never "the most likely suspect" because that wouldn't be very surprising. Yet, a few decades now of the person most likely to be guilty never being guilty may have finally grown old-hat… is it possible that, anticipating that very effect, writers of would-be mysteries are now assuming that our instinct to overlook "the most likely suspect" is powerful enough that to have that person actually be guilty of something can be considered a surprise?
You can draw your own conclusions about whether or not this applies to either "Cry_Wolf" or "Flightplan." What I can tell you they share in common is the link of being dull, predictable "mystery" films that are too easy to figure out and don't reward continued vieiwing after (or before, really) you guess who (if anyone) is up to no good.
Jodie Foster (looking about as depressed as I would be if I was a famous actress and this was apparently the only movie I could find to be in) toplines as a smart, tough, omnicompotent career woman who never takes guff from all the (always) much-taller males or (always) much more "made-up" women in her way… in other words, her go-to characterization ever since "Silence of The Lambs." Here, she's a recent widow flying to New York from Berlin on a giant-sized luxury plane, 6 year-old daughter in tow.
The next part has been obscenely well-covered in the promotion: She falls asleep, wakes up, the kid is missing. A search turns up nothing. An air marshall (Peter Sarsgaard) sticks close by. She starts to get crazy. Surprise! She is crazy: The kid is dead along with the husband, and she's delusional.
The iron law of "everyone thinks I'm crazy" movies is that a lead character is only REALLY crazy if craziness is suggested in the third act, the later the better. If accusations of insanity are made at any point during or before the second act, it means that the more crazier the conspiracy the more likely it is to be for real.
And so, surprising absolutely no one, nefarious doings are underway. Fortunately, Foster's character happens to be an aeronautical engineer who knows the construction of the plane inside and out, allowing her to John McLaine her way around the place while the film marks it's time in between "she's crazy" and "no, she's not crazy." Don't expect me to be impressed if you've already guessed that everything comes down to a claustrophobic stalking sequence in which a badly-beaten but ultra-endurant baddie waves a gun and rants aloud details designed to patch gaping plot holes. A big ol' No-Prize, though, for those who predicted that the film finds time to fit in preachy tableaus about post-911 airline paranoia.
There's really nothing to see here. It's dull, it's not engaging as a mystery, it's cast is largely wasted and it's visually flat. Skip it.
REVIEW: Lord of War
The "Goodfellas" model for criminal rise-and-fall sagas gets yet another workout here and, will wonders never cease, yields yet another fine film. The simple but sturdy template of Martin Scorsese's landmark gangland epic (in brief: streetwise, ambitious working-class kid climbs-to, overreaches-in and falls-from the top of seedy enterprise to the tune of generation-spanning popular music and historical-events backdrop) has been successfully wed to pornography (in "Boogie Nights",) cocaine smuggling (in "Blow,") and casino ownership (scorsese's own "Casino.") Now, in "Lord of War," it is wed to black-market arms trafficking.
Nicholas Cage has the Ray Liotta role as Yuri Orlov, a Ukrainian immigrant's son turned illegal weapons dealer. Starting small but ever eyes-on-the-prize, Yuri struggles at first to win the respect of the top-dog traffickers but is rebuffed by gun-running "aristocrat" Simeon Weiss for being undiscerning. Weiss, played by Ian Holm, is a kind of idealist who rationalizes his criminal trade by only selling weapons to those who's causes he believes in and supports, so Yuri goes the other way and becomes the guy who'll sell to anybody. When the Cold War ends and (so argues the film) the world is plunged into gray-area chaos, it's Orlov's style that's en-vogue and Weiss who's suddenly, pardon the pun, very much outgunned.
Along the way, the screenplay gives Yuri the chance to hit most of the key notes from the "Goodfellas" playbook: He weds the beautiful girl, flashes cash to suspicious relatives, drags his little brother (Jared Leto) into his world, dodges a determined ATF agent (Ethan Hawke) and soon gets in over his head… or does he?
Helmed and written by Andrew Niccol, the film is well-made, well-paced and highly well acted. It's also bleak, bitter, largely devoid of preachiness and cynical as all hell. These qualities will turn a few off, I speculate, but I found them greatly refreshing: Niccol trusts that most of us will understand already that illegal arms smuggling is wrong and doesn't turn the film into some kind of politicized message movie: A bad guy's crack about the 2000 U.S. elections and a title card informing us of statistics about arms dealing by UN Security Council members are the closest we come, and both are as couched in everybody-sucks cynicism as the rest of the film.
It's also about as subtle as a jackhammer, which at first threatens to become a problem but remains fun thanks to a consistency of tone: "For What It's Worth" plays over a sequence showing a bullet's journey from the factory floor to a victims skull. The sound of AK-47 shells discharging morphs into a cash-register ka-ching before Yuri's ears. A montage of cocaine use is set to, yes, "Cocaine." This kind of go-for-broke bluntness I usually enjoy in it's own right, but it's great to see it working towards a better film for a change.
The film really hits it's stride when Yuri strikes up business with African dictator Andre Baptiste (Eamonn Walker) and his gold-plated AK-47 carrying psycho/cannibal son. The film's welcome cynicism about it's primary subject extends (perhaps even increases) to his African clientel, and the films renderings of despotic, tribalistic war zones bludgeon the glossy fable of "The Constant Gardener" with it's saintly third world victims and guilt-ridden, martyred Westerners. Yuri's quick-fix solution, at one point, to the imminent capture of his planeload of contraband is so strikingly un-PC I nearly clapped for joy. So many films treat the chaos in Africa (Western-made, self-made or otherwise) with such delicate gloves, terrified to render native African characters as anything but one-dimensionally noble, that it's a real joy to see one where these characters are afforded the same dimension and moral complications as the leading-man American…
…who is, of course, an almost-completely ammoral but imminently-likable guy. As played by Cage, Orlov is the sort of character who starts out complicated and only gets moreso, but eventually can be defined by a simple trait: He does what he does because he likes being good at something. It's villiany as a matter of pride, and like any rise-and-fall antihero worth his salt it's both his strength and fatal flaw. You may or may not wind up rooting for him to get away with what he does, but chances are you'll be entertained watching him try.
Time will decide if "Lord of War" gets to be as enduring as "Goodfellas" or it's other kin. But for now, it's an extremely good, entertaining movie very likely playing near you, and you should definately make a point to see it. Reccomended.
REVIEW: Venom
"Venom" isn't a good film by any means, which is the BIG reason why you haven't seen it advertised or promoted hardly at all. The other reasons are more due to bad luck than bad filmmaking: It has the misfortune of being an R-rated slasher opening against the PG-13 rated "Cry_Wolf," of being distributed by the soon-to-be-no-more Dimension Films and of being set in the swamps of Louisiana which, you may have heard, are "sensitive material" right now. A run of lousy luck like that would be a lot for a good movie to overcome, and it's certainly too much for "Venom."
And yet, bad luck and all, I'm surprised to find I can't really give this a wholly bad review. Taken entirely on it's own merits, which is to say as a B-grade slasher with a voodoo/zombie tweaking, it's largely functional. It's principal cast is inoffensive and earnest, it's "monster" is amusing, it's gore is well used and it puts just enough novel spin on the undead-stalker-of-rural-teens formula to qualify as a genre-entry of note in it's own right.
The victims-in-waiting here are a gaggle of Louisiana teenagers (played, in a pleasant surprise, by actors who actually look like teenagers.) The "main heroes" are a nice guy who's content to live out his small town life and his girlfriend who pines for the big city. The evil MacGuffin is a suitcase housing a pair of magical snakes that had been used to suck out and contain the evil energy of countless murderers, criminals and sadists in voodoo last-rites ceremonies. Through various complications, the local Redneck Meanie (a garage mechanic) drowns in the swamp, gets nibbled by said snakes and transformed into a super-powered killer zombie who takes off on a killing spree, using tow-truck chains and his trusty crowbar as weapons of choice.
As setups for "Friday the 13th" lifts go, thats not bad. The only "duty" left to the film after that is to provide good death scenes (it's largely successful) for engaging characters (it's less successful.) The Bayou provides a nice change of scenery from the usual suburban schools and campgrounds in these movies, and as an honest-to-god slasher film it's much better than the bloodless (in every sense) "Cry_Wolf," while as a voodoo-tinged shocker it's got more real suspense than the classy but never-ever-scary "Skeleton Key."
It's the little things that make the difference in these movies: I like the use of a crowbar in place of the usual machete or hunting knife. I like that the characters (for the most part) don't meet their ends in the order I was expecting. A pair of kills involving a forked-road and a sandblasting machine are inventive. The baddie (named Ray) is clever and more resourceful than usual. A section in the middle, involving a makeshift voodoo ritual, is about the most creative "stop the monster" weapon since the paper-folding in "Tales From The Hood."
It ain't "good," but if you need to see a new slasher movie this is the one to see.
REVIEW: Just Like Heaven
I know some of you are seeing the trailers for this and thinking, "wait.. didn't this already suck once as 'Ghost?'" I know this because I was thinking the same thing, and I'm rarely quick enough to have told a joke first.
Either way, we were both wrong. Totally wrong. Here, instantly, is one of the best romantic comedies of the year. And I say this as someone who typically loathes romantic comedies. Each day comes with it's surprises.
This much you know from the trailer: Reese Witherspoon is Elizabeth, a workaholic do-gooding doctor who's skooshed in a car crash in the opening moments of the film. Mark Ruffalo is David, a depressed but good natured guy who rents a furnished San Fransisco apartment only to discover it's haunted… by Elizabeth's ghost. After some slapsticky playacting in "Beetlejuice" territory as to her innability to admit her own death and the first of three surprise plot twists, the real story is up and running: Solving the mystery of why Elizabeth hasn't crossed over and why David is apparently the only one who can see her now. Oh, and falling in love with one-another, of course.
Help on all these tracks comes in the form of an occult bookstore owner (Jon Heder, late of "Napolean Dynamite") who drops by to explain the film's hook: Elizabeth is way too alive to be dead, and for a live person David is way too dead inside. Get it? Also on hand is Donal Logue as David's psychiatrist buddy, who helps out in the third act when some lightly-illegal slaptick rescuing is required.
Yes, it's all just too cute for words. But it works, because the leads are good at this, because the supporting cast is efficiently used and the script is a great deal smarter than it needed to be. The supernaturality of the plot is actuality it's main non-romance focus, as opposed to a contrivance. The result is that, while it certainly works as romantic comedy, this is actually one of the more accutely spiritual movies to rear it's head in awhile.
About the actual plot not much more can be said. The film turns on a series of surprise revelations about the circumstances of it's protagonists, the "big" one of which I personally found a little easy to guess but the second of which really caught me off gaurd and changed the nature of the film for the better. (A third, concerning the possible extra identity of a supporting player, is saved for the coda.)
There's really not much more to say other than… what a nice surprise. I really enjoyed this one, highly reccomended for the date crowd or otherwise.
REVIEW: Cry_Wolf
"You're not as smart as you think you are," the unnervingly Val Kilmer-esque Westlake Prep journalism professor played by Jon Bon Jovi cautions Owen, the nominal hero of "Cry_Wolf." He could just as easily have been describing the film itself, yet another too-clever-by-half teen slasher entry with pretentions of parlaying self-awareness of it's own genericism (genericity?) within the genre into a kind of postmodern hipness. File it under "Scream," with an asterixed notation that at least "Scream" took almost half a decade to get tired and dated, while "Cry_Wolf" accomplishes the same before it's even finished it's running time.
Owen (Julian Morris) is the new kid (from Britain, even) at Westlake, a postcard-perfect prep school somewhere in the Northeast. It's big, it's old-looking, and it's stuck in the middle of a deep dark woods. Chasing the affections of resident hottie ice-queen Dodger (Lindy Booth,) Owen gets mixed up with a Scooby Gang of friends who pass the time playing mind games. When Owen's Sherlockian observational skills render their original games overly simple, they begin a new one: Using the recent murder of a townie girl as a basis, they start a rumor via an Email chain letter that a not-Jason-Vorhees serial slayer called "The Wolf" is stalking the students. Almost immediately, threatening AIM messages are getting sent, wierd doin's are transpirin', and someone dressed up like The Wolf (neon ski-mask and cammo jacket, *yawn*) is following the main cast around in the dark.
Extrapolate from there on out, and you'll probably imagine a movie at least slightly better than what's actually offered. We've been through this too many times: Everyone thinks everyone else is behind it all, friendships are tested, allegiances are formed and reformed. Yes, red herrings are swimming all over the margins of the frame at all times. Yes, various characters are only able to absolve themselves of suspicion by revealing deep, dark secrets about themselves. Yes, there are montages in which various scenes we've already witnessed are replayed with "but then THIS HAPPENED!!!!" extra endings. By the end, the only fun to be had is guessing which cliche of both the prep-school-drama and teen-horror genres will make it's appearance next. Cladenstine teacher/student copulation? Check. A costume party making difficult the pursuit of a costume killer? Check. Fogged-up mirrors? Don't even have to ask. This is tedious, plain and simple.
It didn't have to be. The slasher film has endured precisely because it's formula is basic enough to be tweaked interestingly by seemingly minor variations. Merely coming up with new and creative murder-weapons has kept "Friday The 13th" undead and kicking for eleven movies and counting. Absent that option (and blessed with the sacred PG13 rating for the trouble) there's still room to grow by stocking the film with intriguing or unexpected characters. Instead "Cry_Wolf" has only the usual mandatory grab-bag. Roll call: Good Guy, Redneck, Fat Guy, Freaky Guy, Black Guy, Slut, Geeky Chick and Hot Bitch. Everyone's present and accounted for.
The film even lacks in the realm of theme and narrative design. In spite of all the PDAs, cell phones and AIM connections that figure so prominently, no attempt is made to spin this out into some kind of commentary on techno-age detachment. The closest we get is the use of AOL Instant Messengers signature (and obnoxious) "bee-doomp!" alert bell as a kind of product-placement substitute for "one, two, Freddy's comin' for you." This is either the most bloodless slasher film ever, or the most violent infomercial ever.
Skip it.
REVIEW: The Exorcism of Emily Rose
WARNING: The new film "The Exorcism of Emily Rose" nominally presents itself as a mystery, and thus any serious discussion of the film and it's merits (or lack thereof) will contain SPOILERS. You have been warned.
Here is one of the great consistent ironies of the modern cinema: The horror genre, subsisting as it does largely on violence, sex and demonic imagery, is generally tops amongthe genres hated and cited as cause for censorship by religious organizations. However, the horror genre also subsisting as it does largely on the "reality" of demonic forces, good-versus-evil and the power of religious symbology, is the most consistently devout of modern film genres. To date, "The Exorcist" remains the most bluntly pro-religion film made by any major studio in the modern era, crucifix-masturbation and all.
So it's not really a surprise that "The Exorcism of Emily Rose," though it's being marketed as a straight horror film and maintains self-illusions of a courtroom drama playing out the grand questions of secularism versus faith, can only retain it's pretense of open-mindedness for so long before it collapses into both the traditional hokum of genre cliche's and, perhaps also, a work of only semi-intentional propaganda on behalf of doctrinaire fundamentalism. It's a film that seems to struggle, ultimately in vain, to remain a serious exploration of both sides… but is ultimately defeated both by a desire to be an effective scary movie and deliver a religious message, BOTH of which demand a single-mindedness that makes serious exploration impossible.
But first to the movie itself…
Let's get one thing out of the way right now: despite what the film's promotions, trailers and even it's final codas tell you, this is NOT A TRUE STORY. There is no Emily Rose, there never was, and that's that. The "based on" in "based on a true story" here refers to the 1976 case of German teenager Anneliese Michel, who believed herself posessed numerous demons (Hitler and Nero among them) and who was "exorcised" often multiple times in a day by a succession of multiple priests. When this experience eventually killed her, the priests and her parents were charged with negligent manslaughter and subsequently found guilty.
Aside from reimagining Michel as Emily Rose, the film also relocates the story to present-day rural America, reduces the number of priests and exorcisms to just one and leaves the rest of the Rose family out of the charges. Thus, the courtroom drama which frames the film is able to serve double-duty, "Inherit The Wind"-style, as an open forum to argue out the broadest possible competing points of religiousity and secularism: Accused of negligent homicide in the death of Emily Rose, (Jennifer Carpenter,) Father Richard Moore (Tom Wilkinson) is sent to trial. Campbell Scott is the devoutly-Christian prosecutor Ethan Thomas (as in "Doubting Thomas?") and Laura Linney is agnostic rising-star defense attorney Erin Bruner who takes the case for the career boost.
So, yes, the non-believer is representing the priest who's guilt or innocence largely depends on one's commitment to the spiritual, while rationality and the law of the strictly-physical is represented by a churchgoing Christian. Such irony! Can't you just see the screenwriter grabbing a celebratory second muffin to congratulate himself for such cleverness? In any case, here's the meat of our conflict: Father Moore is unafraid of verdicts or jail-time, he desires only his attorney's promise that he be allowed to use his testimony to tell the world "the truth about Emily." However, the Catholic Archdiocese paying for his defense would prefer he not say anything and just let the matter pass with minimal publicity.
Which track will Erin take? Will her lack-of-faith be tested by possibly-demonic encounters of her own? Will the innevitable resolution of this conflict cause an otherwise intriugingly ambiguous mystery story to go off the rails into 3rd-act speechifying? Are the courtroom scenes increasingly stacked in favor of one side? Do you really need to ask? (What I really need to ask is who told Campbell Scott it would be a good idea to play his role by doing an impression of Tom Skerritt.)
Despite a clunky opening, (Linney gets one of the most laughably exposition-dense character introduction scenes I've ever seen,) for the most part the film settles into a well-executed, comfortable pace for the most part: The courtroom scenes are well acted and efficient, even if it does all play out like "Law & Order: Satanic Victims Unit." We see the events leading up to Emily's death in flashbacks, often from both "believer" and "skeptic" viewpoints, and relative newcomer Carpenter throws herself into the Linda Blair role with gusto: Her Emily Rose; wild-eyed, clad often in a sopping-wet rustic nightgown, gifted with remarkable contortionist skills, shrieking in Aramaic and eventually Stigmatic, recalls both the beasties of "Evil Dead" or (to me, anyway) a pinup fantasy for Mel Gibson.
All of this stuff works really well, helped greatly by a talented cast of (mostly Canadian) top-tier acting talent. But they can only do so much, and soon enough the problems start to pile up. That the courtroom drama stacks the deck in favor of the defense is kind of innevitable, but it gets too far out of hand too soon: A witness giving the "skeptical scientist" side for the prosecution is, of course, an oily creep with subtly-gray fleshtones and a cold stare, while the defense counters with a spiritualy-inclined scientist played by Shoreh Agdashloo ("House of Sand & Fog" and "24") as an ethereal multi-culti Earth Mother archetype (this actress deserves better, she's mostly here to name-drop Carlos Castaneda for all you smarty-pantses in the audience.)
But the film doesn't really slip up until it's final act, the discussion of which warrants yet another MAJOR SPOILER WARNING…
…Come the last act, "the truth" comes into play and the film basically drops all pretense of being an objective observation of a debate-as-story. It's eventually not enough for the film to argue that Father Moore might not be crazy in his beliefs, it has to turn the whole case (and the movie) into a referendum on the need for spirituality in the modern world; "will Father Moore be found innocent?" morphs inexorably into "will the jury realize the need to let Father Moore go in order to strike a blow for faith against the tyranny of the scientific age?" without a second thought.
A final twist, involving a piece of evidence clumsily hidden from the audience until the last possible moment, gives the film a coda that would be shaky in a Bobsey Twins opus: That Emily's posession, her death and the resulting trial have actually been a grand piece of human theater staged by God as a way to remind people that Demons and, thus, their Angel enemies are still very much real. Seriously, that's what happens: God "dunnit," multiple deaths and all, in a bid for our attention. Evidently, appearing in misshapen pastry and on the back of Mexian highway signs just isn't cuttin' it anymore.
I'm actually wondering if the filmmakers realize what is being suggested by going this route. Do they even realize that they've essentially made a film who's message is: "The Lord works in mysterious ways, so don't question the actions of priests or anyone else carrying out his orders no matter how wrong they look to us mere mortals."?
This isn't to say that, if indeed the film is taking the form of an argument in favor of hardline religious fundamentalism that it's automatically "bad." In fact, it's overall a solid bit of work and, after all, "Birth of A Nation" and "Triumph of The Will" are still both important works of cinema despite championing the Klu Klux Klan and Nazism, respectively. The problem, rather, is that you need to be a filmmaker of incredible skill to make a climax this out-of-left-field work, and that's just not the case here. Every argument, no matter how ridiculous, can be made… just not by everyone.
Much like the similarly-afflicted "Frailty" of a few years back, "The Exorcism of Emily Rose" is an extremely interested, well-made and well-acted film that just isn't good enough to justify the extraordinary reach it asks a thinking audience to make. What begins as a clever fusion of courtroom drama and horror show ends up looking like a "Perry Mason" fanfic scripted by Pat Robertson, and the quality nosedives into strictly-average territory. But while the good parts last, they're good enough to justify a look.
A humble suggestion for the producers of "The Constant Gardener"…
Congratulations! For an "arthouse" poli-thriller in September, a lot of people are seeing your movie. Want MORE? Here's one way…
I… er… didn't say it was a good suggestion 😉
Marvel to make it's own movies
This has been floating around in the ether for awhile now, but to see it "confirmed" is pretty interesting none the less:
http://www.hollywoodreporter.com/thr/business/brief_display.jsp?vnu_content_id=1001054692
The gist of it is that Marvel Entertainment (formerly Marvel Enterprises, formerly just Marvel Comics) will now be self-producing it's own superhero movies as opposed to farming out characters to other studios (as has been the case with "Spider-Man," "X-Men," etc.) Also announced is that Paramount will handle the distribution.
The lineup that Marvel boss and exaggerator-extraordinaire Avi Arad has been announcing along with this is probably purely theoretical, but it tells a lot about what Marvel thinks is going to work and what won't. Included are…
CAPTAIN AMERICA: Looks like a no-brainer until you actually try to make it work. The fact is, the title alone means you can kiss most of the international boxoffice goodbye unless you've got the shrewdest marketing campaign in history to make it work. Mums the word on what this will actually be about: The character started out as one of many WWII-era patriotic adventurers, but for the majority of his existence (since the mid-1960s to the present) "Cap's" stories have centered around his being frozen just before the end of the war and unthawed in the modern world, and his attempts to readjust. Domestically, this could be a MASSIVE hit for them, which is why it's being named as the most-likely candidate for the first of this wave to get made.
THE AVENGERS: This is kind of a cheat, as it's already been announced that the adaptation of the superhero team book will actually be a direct-to-DVD animated feature based on "The Ultimates," which reimagines the Avengers characters through the prism of a Jerry Bruckheimer movie. Big mistake, if you ask me.
NICK FURY: Kind of an American James Bond, in the comics a WWII-era hero kept young via a youth serum. Left unsaid is whether this will be the "original" Nick Fury or the "Ultimates" incarnation of the character who's drawn as a dead-ringer for Samuel L. Jackson. Bruce Willis has been mentioned for this, I think the eyepatch would work for him.
BLACK PANTER: This would be interesting. Lead character is chief of an African tribe. Not only is he a superhero on the side, his "tribe" actually maintains a super-advanced city under their jungle and only use the spears-and-war-paint routine as a cover. If this is seriously on the table, it could be a starmaking turn for the right actor. Me, I'd hope for Djimon Honsou.
ANT-MAN: I really doubt they'd really make this any time soon, but it could be fun. Lead guy is Dr. Henry Pym, who can shrink himself and uses a special helmet to talk to ants. Really. In the books, Pym is notable for stretching the secret-identity bit to the extreme: He's ALSO "Giant-Man" when the shrinking-process is reversed AND for while he changed costumes and called himself "Yellowjacket."
CLOAK & DAGGER: Seriously? Okay, whatever. This was a late-80s/early-90s bit that was more noted for being ahead of it's time than really good. Heroes are a street-tough black guy/super-hot white chick team. He has a big flowing cape that contains a kind of black-hole in it's folds, and she throws light waves at people and wears a spectacularly revealing (for an 80s Superheroine) costume.
DR. STRANGE: Goody! Think Alastaire Crowley as a superhero. Former surgeon practices the occult, uses it to fight demons and crime. Could be great, could be ridiculous, but I want to see them try.
HAWKEYE: Now this is puzzling. This guy fights crime with a bow and arrow, wears a purple costume. VERY similar to DC comics' "Green Arrow," who fights crime with a bow and arrow while dressed like Errol Flynn-as-Robin Hood. An archer-vigilante movie would be cool, don't get me wrong, but what makes this a head-scratcher is that Marvel very publically killed this fellow off a few months ago.
POWER PACK: And now we know why Marvel brought these guys back. A family of cute little kids who all get super powers. It's pretty basic stuff, more popular in it's day for the incongruity of it's preteen heroes interacting with the increasingly-dark grownup heroes of the Marvel catalogue. As a family feature, though… sure, why not?
SHANG CHI: They've been talking this one up since "Blade" came out. This was a popular 70s book. Hero is a martial arts master, ongoing story has connections to the Marvel Universe incarnation of Fu Manchu (or am I thinking of someone else.)
Other names you might be looking for, (Iron Man, Silver Surfer, etc.) are, of course, previously-engaged to other studios.
REVIEW: Transporter 2
By all justice left in the world, the original "The Transporter" should be remembered as the definative "guy movie" in it's year of release. Unfortunately, the concept of "2002 guy movies" are haunted by the fetid spectre of the infamous Vin Diesel abortion "XXX." After audiences reacted largely with (charitable) apathy to that would-be "this guy is cool!" franchise-starter, the prospects for another "this guy is cool!" actioner were understandably limited. Still, enough action fans turned out for it to turn a respectable profit, and on word of mouth it wound up as a DVD smash hit.
Part of the reason for that is that it was a truly great action film, an expertly paced showcase of stunts, fights and chases anchored by a stiflingly cool lead performance from Jason Statham… perhaps the unlikeliest actor to emerge as a martial-arts star in recent history.
But a bigger part, I believe, was the curious way in which the film chose to define it's lead character, Frank Martin (Statham.) Specifically… he's not "defined" much at all. His surface… the shaved head, the cold stare, the impeccable black suit and the superhuman kung-fu skills… suggest a crossbreeding of Bruce Willis, James Bond and Jackie Chan, yes. But as far as details go, we learn ONLY that Martin is a BSAF veteran turned ultra-efficient wheelman-for-hire who likes schedules, luxury cars and comfortable living. Beyond that, he's nearly a perfect cipher, and I believe this to be the key: It's incredibly easy for the mind's eye to replace Martin with oneself, and it elevated "The Transporter" from just another action piece to a kind of vicarious-enjoyment dynamo.
This sequel finds Frank unchanged but the environment completely new: He's relocated from France to Miami, and scored a legal assingment as chauffer for the preschool-aged son of the U.S. Drug Czar (Matthew Modine.) The ruthlessly-efficient screenplay has the poor kid kindapped almost immediately, leaving Frank on the run as the prime suspect and, of course, bound by his famously unbreakable word to rescue him.
The real culprits are… well, thats actually sort of a surprise, as is the motive in what turns out to be a fairly twisty plot. Just know that Frank will be provided plenty of hired goons to tear apart in ever-more-creative ways (choreography by Corey Yuen of the famous Yuen stunt family,) including a sociopath female asassin who does her fighting while dressed like a moderately-priced crack whore. And he'll once again have back up of sorts from the original film's comic-relief French cop, who cuts his Miami vacation short to lend a hand and provide winking references to the original film (these DVDs need to start coming with coupons for madilene biscuits.)
As with before, the big showpieces are the unlikely but none the less impressive action and fight sequences. Truth be told, nothing can really hope to top the original's famous "oil fight," but this one gives it it's best shot. A firehose battle, a fistfight on a crashing plane and Frank's creative solution to a bomb on his car earned applause at my screening, I can report.
Audiences in general and action fans in particular have had to endure a lot of mediocrity this summer, but here's at least an actioner that delivers the goods with minimal hiccups. Reccomended, especially for fans of the first.


text:
2014-13 - Russian Federation - Suspension of Trade in Australian agricultural commodities
Purpose
To advise exporters of the immediate suspension of trade in Australian agricultural commodities including certain live animals to the Russian Federation.
The department has become aware that the President of the Russian Federation Vladimir Putin has signed a Presidential Decree on the 'Application of Certain Special Economic Measures in order to protect the national security of the Russian Federation'.
The Decree imposes immediate bans, for one year, on imports of specified agricultural commodities originating from countries including Australia. An unofficial translation of the Decree is provided at Attachment 1.
The list of agricultural commodities affected by the decree, identified by HS (Harmonized Systems) Code, is provided at Attachment 2.
In considering whether to grant an export permit the Secretary may refuse to grant the export permit if there is reason to believe that the intended country of destination will not permit consignment of live animals or reproductive material to enter.
Effective from 8 August 2014, the department will carefully consider all applications for export permits for live animals or reproductive material destined to the Russian Federation.
The department advises all exporters to proceed with extreme caution when considering whether to apply to export live animals or reproductive material to the Russian Federation.
The department is not aware if the list of commodities listed in the Decree will be expanded further.
The department will provide all exporters with updates as further information becomes available.
Jenny Cupit
Live Animal Exports Branch
Contact officer: Tim Naylor
Email: Livestock Exports
Attachment 1:
Unofficial translation on the measures for implementation of the Decree of the President of the Russian Federation of August 6, 2014 #560 "About the application of certain special economic measures in order to protect the national security of the Russian Federation".
In order to implement the Decree of the President of the Russian Federation of August 6, 2014 #560 "About the application of certain special economic measures in order to protect national security of the Russian Federation", the Government of the Russian Federation orders:
Impose for a term of one year a prohibition on the import to the Russian Federation of the agricultural products, raw materials and food, which originate from the United States of America, European Union countries, Canada, Australia, and Kingdom of Norway according to the attached list.
Federal Customs Service to provide control over the implementation of the paragraph 1 of this regulation.
The Governmental Committee for Monitoring and Operational Response to the Changes of the Conjuncture of the Food Markets, together with the highest bodies of executive authorities of the subjects of the Russian Federation, to provide balance in the food market and prevent escalation of prices of agricultural products, raw materials and food.
Ministry of Industry and Trade of the Russian Federation, Ministry of Agriculture of the Russian Federation together with the highest bodies of executive authorities of the subjects of the Russian Federation to organize conduct daily operational monitoring and control over the status of the relevant markets of agricultural products, raw materials and food.
Ministry of Agriculture of the Russian Federation, together with the interested federal bodies of the executive authorities, and with participation of the associations of manufacturers of agricultural products, raw materials and food, to develop and implement complex measures aimed to increase the supply of agricultural products, raw materials and food in order to prevent the escalation of prices.
Ministry of Industry and Trade of the Russian Federation, Ministry of Agriculture of the Russian Federation, Ministry of Economic Development of the Russian Federation and the Federal Antitrust Service, with participation of associations of retail trader networks and trade organizations to provide coordination of the work aimed at preventing escalation of prices.
The present regulation comes into force on the day of its official publication.
Head of the Government of the Russian Federation, D. Medvedev
Attachment 2: Impacted HS Codes
Beef, Fresh or Chilled
Beef, Frozen
Pork, Fresh, Chilled or Frozen
Poultry, Fresh, Chilled, or Frozen
Meat , Slated, Brined, Dried, Smoked, Flours
Fish, Live
Fish, Fresh or Chilled
Fish, Frozen
Fish Fillets, Fresh, Chilled, or Frozen
Fish, Dried, Salted, Brined, Smoked
Aquatic Invertebrates Other than Crustaceans/Mollusks
Milk and Cream, Not Concentrated or Containing Sweetening
Milk and Cream, Concentrated or Containing Sweetening
Buttermilk, Curdled Milk and Cream, Yogurt, Kefir, etc
Whey and Other Products Consisting of National Milk Constituents
Butter and Other Fats and Oils Derived from Milk
Cheese and Curd
Potatoes (Other Than Sweet Potatoes) Fresh or Chilled
Tomatoes, Fresh or Chilled
Onions, Shallots, Garlic, Leeks & Other Alliaceous Vegetables, Fresh or Chilled
Cabbages, Cauliflower, Kohlrabi, Kale and Similar Edible Brassicas, Fresh or Chilled
Lettuce (Lactica Sativa) and Chicory (Cichorium Spp.), Fresh or Chilled
Carrots, Turnips, Salad Beets, Salsify, Radishes and Similar Edible Roots, Fresh or Chilled
Cucumbers and Gherkins, Fresh or Chilled
Leguminous Vegetables, Shelled or Unshelled, Fresh or Chilled
Vegetables Nesoi, Fresh or Chilled
Vegetables (Uncooked or Cooked by Steam or Boiling Water), Frozen
Vegetables Provisionally Preserved (By Sulfur Dioxide Gas, in Brine, etc)
Vegetables, Dried, Whole, Cut, Sliced, Broken or in Powder, But Not Further Prepared
Leguminous Vegetables, Dried Shelled
Cassava (Manioc), Arrowroot, Salep, Jerusalem Artichokes, Sweet Potatoes, Fresh or Dried
Coconuts, Brazil Nuts and Cashew Nuts, Fresh or Dried
Nuts, Nesoi, Fresh or Dried
Bananas, Including Plantains, Fresh or Dried
Dates, Figs, Pineapples, Avocados, Guavas, Mangoes and Mangosteens, Fresh or Dried
Citrus Fruit, Fresh or Dried
Grapes, Fresh or Dried
Melons (Including Watermelons) and Papayas, Fresh
Apples, Pears and Quinces, Fresh
Apricots, Cherries, Peaches (Including Nectarines), Plums (Including Prune Plums), Fresh
Fruit Nesoi, Fresh
Fruit and Nuts (Uncooked or Cooked by Steam or Boiling Water), Frozen
Fruit, Dried, Nesoi (Other Than Those of Headings 0801 to 0806) Mixtures of Nuts
Sausage and Similar Products of Meat, Meat Offal or Blood
Prepared Products from Flour
Other Compounds of Alcoholic Preparations
Mixtures and Preparations of Animal or Vegetable Fats or Oils
Melting Cheeses
Other Food Products Not Elsewhere Specified or Included


text:
"Get out! Get out!! GET OUT!!!"
(SPOILER) Nathan Fillion's debut in tonight's episode of 'Desperate Housewives'. If you're curious about his new role, Zap2it has a video clip from the season 3 premiere.
Simon | Cast&Crew | 17:04 CET | 44 comments total | tags: nathan fillion. desperate housewives
looking forward to it--
rivergirl | September 30, 17:58 CET
madmolly | September 30, 18:33 CET
Me three. *grin*
FollowMal | September 30, 18:37 CET
Count me in too! We actually just finished the end of season 3 a few minutes ago. Just in time! :)
fizz6kitty | September 30, 18:51 CET
I'll be watching for Nathan...
MySerenity | September 30, 18:59 CET
Nathan makes his debut on Desperate Housewives on the 2nd anniversary of Serenity. Can you believe that it's already been two years since Serenity debuted in theatres?
Calatia | September 30, 19:02 CET
IM SO EXCITED! I love this show! Amazing. To hell with the haters, Desperate Housewives season 1 was as good as the best season of Buffy or Angel. And the episode "Bang" of season 3 is amazing. Some go as far as to call it "The Body" or "The Gift" of DH.
Bruce | September 30, 19:13 CET
Whoo-hoo!
And Happy Serenity Anniversary!
Anonymous1 | September 30, 19:24 CET
32 minutes and counting......*giggles with glee*
jenofthejungle | September 30, 19:28 CET
Sitting in the corner with Bruce. :)
IrrationaliTV | September 30, 19:58 CET
OK.........it was AMAZING. Promising start to the new season. Nathan got a lot of screen time and I laughed so hard when he had to check Susan. That scene was priceless. Also, does anyone else love Marcia Cross and Kyle Mclachlan? Cuz I do. And Felicity Huffman did amazing, as usual. Not loving the Gabby/Carlos affair...but nobody should ever try messing with Edie.
And the mystery? Intriguing...
DH is back, baby.
*cheers with TamaraC*
I made it fifteen minutes then turned it off. I just don't like this show.
The Dark Shape | September 30, 21:32 CET
Was happy that cable ran Serenity today on her 'versary. And now I get to see Nathan twice in one day. Shiny!
The Dark Shape, maybe you should give it more of a chance. Its the season premiere and naturally they're going to tie up all the cliffhangers and update us on what everyone's up to now before the actual plot begins. I thought the episode was spectacular.
Surely, if I would've just watched the first fifteen minutes of "Welcome to the Hellmouth" or any other of the season premieres (To me, most of them were weak.) I would've thought "Hey this show is crap" and I would've missed the brilliance of the show. But hey, maybe this show just isn't for you.
I suggest you go to tv-links.co.uk and go to the Desperate Housewives section and watch the episode "Bang" to see how amazing this show can be.
This wasn't the first episode of Desperate Housewives that I've seen. It just doesn't jive with what I enjoy.
And relax.
Relax? what do you mean?
I am glad that DH is back too! And that Nathan is on! Its a show that I really thought I would hate, and got very into it once I was watching it.
(umm, but I dont like his puffy hair) :)
mifeng | September 30, 23:24 CET
I couldn't open this clip. Oh well, I DVRed it.
Harmalicious | September 30, 23:25 CET
Bruce | October 01, 05:09 CET
He had to say it like 3 times. And relax.
Just thought it was funny.
Harvard Medical School.
And the fork scene. Got some real wacky neighbors there. But then maybe the Doc, the wife and the daughter will fit right in.
I'm glad to see Nathan on such a popular high profile show, and even though I don't care about most of the characters I do find the show entertaining because it is one which isn't afraid of dramatic plot changing events. They are not afraid of murder and mayhem.
embers | October 01, 00:09 CET
I agree with The Dark Shape. This show is not my style, and actually I didn't think Nathan got much screen time at all (like 4 short scenes, not much dialogue). IMO, the humor wasn't that funny, more corny than funny. I'm really, really happy for him getting on a popular series like this, so yay Nathan! But IMO it was too much of a soap opera for me to enjoy personally. Maybe I didn't get the humor or the enjoyment of the overall show b/c I'm a guy. My favorite show of the evening was Dexter, which is very, very different in tone from DH (Julie Benz was great again, BTW); to each their own! :-)
billz | October 01, 01:34 CET
Not my thang, either, but I hadda watch it for the turnipy-rich goodness of Nathan, who never disappoints, even when his manifold talents are underused.
QuoterGal | October 01, 03:59 CET
QuoterGal, it's very early on. I'm sure Nathan's manifold will come into play and soon.
madmolly | October 01, 07:52 CET
I tried, but I just can't tolerate this show, even for Nathan. Not the first time I've tried it, I got through a few of the first season eps because I adore Terri Hatcher, then tried a couple more when Kyle MacLauglin came on. It just irritates the hell out of me & leaves a bad taste in my mouth.
Shey | October 01, 08:08 CET
Not my favourite show and hubby positively dislikes it. He doesn't get the black humour part of it at all. Just sees people behaving appallingly. Consequently I missed most of the fork scene because he was flipping. But I did love "Good to put a face to the name" and "some ...Harvard Medical School."
What I put up with for that turnipy goodness.
Clementine | October 01, 09:02 CET
I was gone for three weeks and Nathan turned into a turnip? Can someone link me to where this turnip-business happened?
I'd only seen bits and pieces of DH before, not enough to suck me in but didn't dislike it. I'm happy to watch a few eps for Nathan (turnip or otherwise) and see if they let him shine.
Does anyone else find it very disconcerting to see him in plaid tucked-in shirts?
WillowSlay | October 01, 10:21 CET
Poor Nathan - overpowered by all that estrogen and very little opportunity to show off his charm and acting skill (though the gyno exam and Hatcher's resultant anger and petulance about being too young for menopause did crack me up). I liked that Nathan and Delaney have a creepy secret in a locked room but when he wasn't on screen I was sort of zoning out. Not having ever watched but one other episode a long time ago, I could not connect with these characters (it's probably that I'm pretty much burned out on these types of shows, having been a Melrose Place watcher from way back).
Tonya J | October 01, 10:22 CET
My Mom just called me this morning and said "Who is dressing him?
This is not his best look!" LOL
I enjoyed the show. I hope the funny continues and that they give him more to do. :)
FollowMal | October 01, 10:27 CET
"Who is dressing him?
This is not his best look!"
Agreed. Give that man some tightpants and a pistol.
Great job, Nathan. Good to see you back on T.V.
kerfuffle | October 01, 10:32 CET
I was never into this show, and I have definitely tried in the past. Just add it to the list of When Bad Shows Happen to Good Actors...
MySerenity | October 01, 10:45 CET
Who is dressing him? This is not his best look.
Good, I'm not the only one who thought that.
Glad to see him in prime time on such a popular show. I didn't have any interest in DH, until I heard Nathan would be on it. I'm surprised to say that I like the show.
teachndoc | October 01, 11:07 CET
Enjoyed it well enough. I watched all of Season 1 (way back when) when I considered it a good show, then just started up again because of Nathan. His scene with Susan in the office had me squirming AND laughing quite a bit. Susan is either very brave or a very cowardly woman (not sure which - though I'm leaning towards the latter), cuz if my neighbor had shown up to give me a pelvic exam I would have said, "Um, no." And then promptly have hollered for another doctor. The very slight noise she emitted at the end had me in hysterics. I thought that was a great scene to really bring Nathan into the show.
Also thought his checkered shirt was hideous. But it did make him look terribly preppy, which is the look I think they are trying to give him.
Good job, Nathan! Love ya', Big Guy!
p.s. Relax. Relax. OK, relax. (Tee hee)
mongorules | October 01, 11:33 CET
WillowSlay: I was gone for three weeks and Nathan turned into a turnip? Can someone link me to where this turnip-business happened?"
It's from a December, 2002 whedonesque-Joss-post of unparalleled hilarity and rumor-debunkation.
"All right, now I have to jump in and set the record straight. EW is a fine rag, but they do take things out of context. Obviously when I said I had 'closure', what I meant was "I hate Serenity, I hated Firefly, I think my fans are stupid and Nathan Fillion smells like turnips." But EW's always got to put some weird negative spin on it. But so we're clear once and for all: If you read a quote saying "I'd love to do more in this 'verse with these actors in any medium" all I'm saying is that Nathan has a turnipy odor. It's not his fault, he doesn't eat a lot of them but everyone else in the cast noticed it and tht's not really something I'm prepared to deal with any more. And Jewel said outright she wouldn't do scenes with him except stuff like the SPOILER SPOILER SPOILER funeral scene which was outside in a high SPOILER wind. So if I do manage to find another incarnation for my beloved creation, it will have been totally against my will.
I hope that clears everything up. Oh, and when I say I want to do a Spike movie, it means I have a bunion on my toe.
-joss (by which I mean Tim)
(no, actually me.)"
joss | December 21, 02:12 CET
See also here. :>
Thanks QuoterGal. And, that's a pretty fabulous shirt idea. (:
I haven't watched Desperate Housewives since a few episodes in the first season, but I happened to catch their recap last Sunday which basically got me up-to-date. I like most of the actors in this show, and yet it doesn't really do anything for me. If I weren't already an avid fan of Nathan's, this episode would not have changed my mind. Only the last scene gave him something to make him appear other than just another good-looking guy on the show.
I did like the scenes with "Mrs. Landingham" from The West Wing. "If you're checking to see if my brain is tapioca, it isn't!" (paraphrased) ;-)
And the so-called mystery seems pretty obvious to me, which means if Nathan weren't on it, I wouldn't be watching.
samatwitch | October 01, 16:05 CET
Um...are ya kidding me? Please say you're kidding.
If you're not kidding, here's how it is:
The costume designers weren't dressing Nathan. They're dressing the character he plays. And it just so happens that that guy wears plaid shirts. Tucked in.
I mean, it's like asking "Who's dressing her?" when talking about America Ferrera as "Ugly Betty".
Me? You know I like to see Nathan in a kilt. Or a towel.
I'll be in my bunk. I'm just sayin'...
But I know you're kidding, right?
AmazonGirl | October 01, 22:00 CET
Back when DH started, I found it to be good soapy fun, and yet it wasn't "must see" and I kept forgetting to watch it. Being a soapy show I quickly felt like I'd missed too much and dropped it.
I loves me some Nathan, so I watched the catch up show and the first ep of the season. The highlight for me was definitely Nathan's OBGYN office visit with Susan. As a woman I had to laugh at the pretty accurate, "feet up and scootch down" and then the hilarious "and relax" beat "and relax" beat "and relax". Guys, you just gotta have been there to really get it, I think :) That one scene showcased Nathan nicely, but the rest was just setting the stage.
The show definitely had a few other interesting moments, such as the previously mentioned scene with the older neighbor bristling at the condescending new (returning) neighbor, as well as the bullying alpha mom with Felicity Huffman. I'll be tuning in for Cap'n, and see what happens.
[ edited by ThereUR on 2007-10-02 22:37 ]
ThereUR | October 01, 22:18 CET
Didn't care for most of the show, but,
The scene where he examines Terri Hatcher's character is frigging hilarious. I laughed out loud.
dispatch | October 02, 01:05 CET
5m29s on YouTube.
moley75 | October 02, 04:10 CET
Man, that Josh Whelon is an A-Number-One JERK!
Thanks for the "Tim" quote and t-shirt link, QuoterGal (or is that LinkerGal?). I was wondering what all the "turnipy goodness" talk was about and was playing the entire Serenifly in my head trying to find a match.
Completely spaced the DH. Perhaps in reruns.
I, too enjoyed the opening of, oh, blast, what's it called -- the Devil one.
Lotsa humor.
It'll take several YEARS with my pathetic dial-up connection, but thanks moley75 for the link. Got it loading now.
tehabwa | October 02, 18:56 CET
Yes, moley75, thanks a lot for that link. I didn't really want to watch DH & I got to see Nathan anyway! He's so good. My husband watched Buffy Season 7 and Firefly about a 3 times each before he noticed that Caleb & Mal were played by the same person. (OK, he's not too observant of actors, but still, NF really melts into a role.)
jcs | October 02, 20:50 CET
You're everso welcome, WillowSlay and tehabwa - and Joe Swedon is a big jerk.
And thanks for the youtube link, moley75, watching his scenes again reminded me that I just hadda mention that the older lady neighbor in one of them - character "Ida Greenberg" - is our much-beloved Penishead Monster from"Doublemeat Place"... I mean, is actress Pat Crawford Brown.
I noticed that too, QuoterGal, but forgot to mention it. It was funny seeing her in a different role - and yet she looks almost the same; except for the penishead, of course. ;-)
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