Carbs! I love carbs. How about you, OiB readers? Surely, you have heard some media discrediting the greatness of grains throughout the years. Namely, people like to say that too many carbohydrates are bad for you and make you gain weight. Today, I would like to counter that superstition and fill you on why you need grains.
But not just any type of grain will work. You need to consume unprocessed (not refined) whole grains.
All grains, according to the Whole Grain Council, begin whole. Whole grains are, basically, the entire seed of a plant, made up of three edible parts—the bran, germ, and endosperm.
The barn is a multi-layered outer shell that has antioxidants, essential B vitamins, and plenty of dietary fiber.
The germ is the potential new sprout. Here, you find more B vitamins, some protein, minerals, and healthy fats.
Lastly, the endosperm is the energy supply of the germ. Contained in the endosperm are carbohydrates, proteins, and trace amounts of other nutrients.
When whole grains are stripped of some key parts—the bran, germ, or endosperm—they become refined or processed. White flour and white rice, for example, have had the bran and germ removed, leaving only the starchy endosperm behind.
That is the main question here, is it not? Obviously, whole grains have a lot of vitamins and nutrients than refined grains do, but these are not the main reason why you need them in your diet.
Starches throw your blood sugar out of whack. Whole grain carbohydrates do not have the same effect. Whole grains are slowly absorbed and metabolized, meaning that blood sugar stays level. Also, whole grains are known to reduce the onset of heart disease.
In fact, a recent 2016 study proved that whole grains are linked to a longer lifespan. The meta-analysis was comprised of 14 studies and found that eating 3 servings of whole grains a day was "associated with a 25 percent lower risk of death from heart disease, and a 14 percent lower risk of death from cancer".
How Can I Eat More Whole Grains?
As you can see, there are a lot of whole grain options out there. Add whole grain pasta or brown rice to the dinner plate, select bread made from whole grains and seeds, and opt for a bowl of oatmeal in the morning! I promise the greatness of grains will keep you satiated throughout the day and much healthier in the long run.
Feel free to share your whole grain tips, recipes, and knowledge with other OiB readers.


The Duggars are reportedly at odds with one another after Jill Duggar's husband, Derick Dillard, was fired from Counting On for making transphobic remarks about fellow TLC star Jazz Jennings. According to Radar Online, the religious family have mixed emotions about Derick, 28, getting the ax.
Earlier this summer, Derick also slammed Jazz's reality series, tweeting, "What an oxymoron… a 'reality' show which follows a non-reality. 'Transgender' is a myth. Gender is not fluid; it's ordained by God." Though some fans felt like TLC reacted too late, the network finally gave Derick the pink slip on Nov. 11.


text:
import os
import sys
import argparse
import numpy as np

import pandas as pd
import nibabel as nib
from surfer import Brain

import itertools as it

import matplotlib.pylab as plt
import matplotlib.image as mpimg
import matplotlib.gridspec as gridspec

import matplotlib.colors as mcolors
import matplotlib.cm as cm

#=============================================================================
# FUNCTIONS
#=============================================================================
def setup_argparser():
    '''
    Code to read in arguments from the command line
    Aso allows you to change some settings
    '''
    # Build a basic parser.
    help_text = ('Plot a single value for each region in the NSPN 500 parcellation a fsaverage surface')

    sign_off = 'Author: Kirstie Whitaker <kw401@cam.ac.uk>'

    parser = argparse.ArgumentParser(description=help_text, epilog=sign_off)

    # Now add the arguments
    parser.add_argument(dest='roi_file',
                            type=str,
                            metavar='roi_file',
                            help='roi file containing list of measure values - one for each region - csv format')

    parser.add_argument('--fsaverageid',
                            type=str,
                            metavar='fsaverage_id',
                            help='FSaverage subject id',
                            default='fsaverageSubP')

    parser.add_argument('-sd', '--subjects_dir',
                            type=str,
                            metavar='subjects_dir',
                            help='freesurfer subjects dir',
                            default=os.environ["SUBJECTS_DIR"])

    parser.add_argument('-c', '--cmap',
                            type=str,
                            metavar='cmap',
                            help='colormap',
                            default='RdBu_r')

    parser.add_argument('-c2', '--cmap2',
                            type=str,
                            metavar='cmap2',
                            help='colormap for the second overlay',
                            default='autumn')

    parser.add_argument('-cf', '--color_file',
                            type=str,
                            metavar='color_file',
                            help='file containing list of custom colors',
                            default=None)

    parser.add_argument('--center',
                            action='store_true',
                            help='center the color bar around 0')

    parser.add_argument('-t', '--thresh',
                            type=float,
                            metavar='thresh',
                            help='mask values below this value',
                            default=-98)

    parser.add_argument('-t2', '--thresh2',
                            type=float,
                            metavar='thresh2',
                            help='mask values below this value for the second color',
                            default=None)

    parser.add_argument('-l', '--lower',
                            type=float,
                            metavar='lowerthr',
                            help='lower limit for colorbar',
                            default=None)

    parser.add_argument('-u', '--upper',
                            type=float,
                            metavar='upperthr',
                            help='upper limit for colorbar',
                            default=None)

    parser.add_argument('-s', '--surface',
                            type=str,
                            metavar='surface',
                            help='surface - one of "pial", "inflated" or "both"',
                            default='both')

    parser.add_argument('-cst', '--cortex_style',
                            type=str,
                            metavar='cortex_style',
                            help='cortex style - one of "classic", "bone", "high_contrast" or "low_contrast"',
                            default='classic')

    arguments = parser.parse_args()

    return arguments, parser

#------------------------------------------------------------------------------
def calc_range(roi_data, l, u, thresh, center):
    # Figure out the min and max for the color bar
    if l == None:
        l = roi_data[roi_data>thresh].min()
        l = np.floor(l*20)/20.0
    if u == None:
        u = roi_data[roi_data>thresh].max()
        u = np.ceil(u*20)/20.0

    if center:
        # Make sure the colorbar is centered
        if l**2 < u **2:
            l = u*-1
        else:
            u = l*-1

    return l, u

#------------------------------------------------------------------------------
def plot_surface(vtx_data, subject_id, hemi, surface, subjects_dir, output_dir, prefix, l, u, cmap, thresh, thresh2=None, cmap2='autumn', cortex_style='classic'):
    """
    This function needs more documentation, but for now
    it is sufficient to know this one important fact:
	For the variable "cmap":
	    If you pass a word that defines a matplotlib
	      colormap (eg: jet, Rd_Bu etc) then the code
	      will use that for the color scheme.
	    If you pass a **list** of colors then you'll
	      just loop through those colors instead.
    """
    if cortex_style.count('_') == 2:
        cortex_style_list = cortex_style.split('_')
        cortex_name = cortex_style_list[0]
        cortex_min = np.float(cortex_style_list[1])
        cortex_max = np.float(cortex_style_list[2])

        cortex_style = ( cortex_name, cortex_min, cortex_max, False )

    # Open up a brain in pysurfer
    brain = Brain(subject_id, hemi, surface,
                      subjects_dir = subjects_dir,
                      background="white",
                      size=(800, 665),
                      cortex=cortex_style)

    # Create an empty brain if the values are all below threshold
    if np.max(vtx_data) < thresh:
        # Add your data to the brain
        brain.add_data(vtx_data*0,
                        l,
                        u,
                        thresh = thresh,
                        colormap=cmap,
                        alpha=0.0)

    # If you only have one threshold
    # then add the data!
    elif not thresh2:
        # Add your data to the brain
        brain.add_data(vtx_data,
                        l,
                        u,
                        thresh = thresh,
                        colormap=cmap,
                        alpha=.8)

    else:
        # Plot the data twice for the two
        # different settings
        vtx_data1 = np.copy(vtx_data)
        vtx_data1[vtx_data1>thresh2] = 0
        brain.add_data(vtx_data1,
                        l,
                        u,
                        thresh = thresh,
                        colormap = cmap,
                        alpha = .8)

        brain.add_data(vtx_data,
                        l,
                        u,
                        thresh = thresh2,
                        colormap = cmap2,
                        alpha = .8)

    # Save the images for medial and lateral
    # putting a color bar on all of them
    brain.save_imageset(prefix = os.path.join(output_dir, prefix),
                        views = views_list,
                        colorbar = range(len(views_list)) )

#-----------------------------------------------------------------------------
def combine_pngs(measure, surface, output_dir, cortex_style):
    '''
    Find four images and combine them into one nice picture
    '''
    figsize = (5,4)
    fig = plt.figure(figsize = figsize, facecolor='white')

    grid = gridspec.GridSpec(2, 2)
    grid.update(left=0, right=1, top=1, bottom = 0.08, wspace=0, hspace=0)

    f_list = [ '_'.join([os.path.join(output_dir, measure), 'lh', surface, cortex_style, 'lateral.png']),
               '_'.join([os.path.join(output_dir, measure), 'rh', surface, cortex_style, 'lateral.png']),
               '_'.join([os.path.join(output_dir, measure), 'lh', surface, cortex_style, 'medial.png']),
               '_'.join([os.path.join(output_dir, measure), 'rh', surface, cortex_style, 'medial.png']) ]

    # Plot each figure in turn
    for g_loc, f in zip(grid, f_list):
        ax = plt.Subplot(fig, g_loc)
        fig.add_subplot(ax)
        img = mpimg.imread(f)
        # Crop the figures appropriately
        # NOTE: this can change depending on which system you've made the
        # images on originally - it's a bug that needs to be sorted out!
        if 'lateral' in f:
            img_cropped = img[75:589,55:(-50),:]
        else:
            img_cropped = img[45:600,25:(-25),:]
        ax.imshow(img_cropped, interpolation='none')
        ax.set_axis_off()

    # Add the bottom of one of the images as the color bar
    # at the bottom of the combo figure
    grid_cbar = gridspec.GridSpec(1,1)
    grid_cbar.update(left=0, right=1, top=0.08, bottom=0, wspace=0, hspace=0)
    ax = plt.Subplot(fig, grid_cbar[0])
    fig.add_subplot(ax)
    img = mpimg.imread(f)
    img_cbar = img[600:,:]
    ax.imshow(img_cbar, interpolation='none')
    ax.set_axis_off()

    # Save the figure
    filename = os.path.join(output_dir, '{}_{}_{}_combined.png'.format(measure, surface, cortex_style))
    print filename
    fig.savefig(filename, bbox_inches=0, dpi=300)

#=============================================================================
# SET SOME VARIABLES
#=============================================================================
# Read in the arguments from argparse
arguments, parser = setup_argparser()

subject_id = arguments.fsaverageid
subjects_dir = arguments.subjects_dir
roi_data_file = arguments.roi_file
l = arguments.lower
u = arguments.upper
cmap = arguments.cmap
cmap2 = arguments.cmap2
color_file = arguments.color_file
center = arguments.center
surface = arguments.surface
thresh = arguments.thresh
thresh2 = arguments.thresh2
cortex_style = arguments.cortex_style

# Define the output directory
output_dir = os.path.join(os.path.dirname(roi_data_file), 'PNGS')
if not os.path.isdir(output_dir):
    os.mkdir(output_dir)

# Define the name of the measure you're plotting
measure = os.path.basename(roi_data_file)
measure = os.path.splitext(measure)[0]

# Define the aparc names
# Read in aparc names file
aparc_names_file =  os.path.join(subjects_dir,
                          subject_id, "parcellation",
                          "500.names.txt")

# Read in the names from the aparc names file
# dropping the first 41
aparc_names = [line.strip() for line in open(aparc_names_file)]
aparc_names = aparc_names[41::]

# Figure out which surfaces you're going to use
if surface == 'both':
    surface_list = [ "inflated", "pial" ]
elif surface == 'inflated':
    surface_list = [ "inflated" ]
elif surface == 'pial':
    surface_list = [ "pial" ]
else:
    print "Do not recognise surface. Check {}".format(surface)
    parser.print_help()
    sys.exit()

hemi_list = [ "lh", "rh" ]
views_list = [ 'medial', 'lateral' ]

# Check that the inputs exist:
if not os.path.isfile(roi_data_file):
    print "Roi data file doesn't exist"
    sys.exit()

if not os.path.isdir(os.path.join(subjects_dir, subject_id, "surf")):
    print "Fsaverage directory doesn't exist"
    print "Check subjects_dir and subject_id"
    sys.exit()

#=============================================================================
# READ IN THE MEASURE DATA
#=============================================================================
# Read in the data
df = pd.read_csv(roi_data_file, index_col=False, header=None)

#-------
# Make custom colorbar
if color_file:
    cmap = [line.strip() for line in open(color_file)]
    l = 1
    u = len(cmap)

    # If you've passed rgb values you need to convert
    # these to tuples
    if len(cmap[0].split()) == 3:
        cmap = [ (np.float(x.split()[0]),
                  np.float(x.split()[1]),
                  np.float(x.split()[2])) for x in cmap ]

else:
    # Set l and u so that they're the same for both hemispheres
    l, u = calc_range(df[0], l, u, thresh, center)

# Now rearrange the data frame and match it up with
# the aparc names
df = df.T
df.columns = aparc_names

# Now make your pictures
for hemi, surface in it.product(hemi_list, surface_list):

    prefix = '_'.join([measure, hemi, surface, cortex_style])

    # Read in aparc annot file which will be inside
    # the label folder of your fsaverage subject folder
    aparc_file = os.path.join(subjects_dir,
                          subject_id, "label",
                          hemi + ".500.aparc.annot")

    # Use nibabel to merge together the aparc_names and the aparc_file
    labels, ctab, names = nib.freesurfer.read_annot(aparc_file)

    # Create an empty roi_data array
    roi_data = np.ones(len(names))*(thresh-1.0)

    # Loop through the names and if they are in the data frame
    # for this hemisphere then add that value to the roi_data array
    for i, name in enumerate(names):
        roi_name = '{}_{}'.format(hemi, name)

        if roi_name in df.columns:
            roi_data[i] = df[roi_name]

    # Make a vector containing the data point at each vertex.
    vtx_data = roi_data[labels]

    # Write out the vtx_data
    #nib.freesurfer.write_annot(f_name, vtx_data, ctab, names)

    # Show this data on a brain
    plot_surface(vtx_data, subject_id, hemi,
                     surface, subjects_dir,
                     output_dir, prefix,
                     l, u, cmap,
                     thresh,
                     cmap2=cmap2,
                     thresh2=thresh2,
                     cortex_style=cortex_style)

#=============================================================================
# COMBINE THE IMAGES
#=============================================================================
for surface in surface_list:
    combine_pngs(measure, surface, output_dir, cortex_style)

redpajama_set_name: RedPajamaGithub


Children can be exposed to violence as direct victims, or as witnesses. This type of stress can impact their health and well-being. However, with the right support from key people and other resiliency builders in their lives, many children exposed to trauma can thrive.
All children are at risk for exposure to violence and trauma – it's not an issue that affects just certain groups of children. However, not all children have equal access to the things they need to recover and thrive. Learn more about what our neighbors in California are doing to promote equitable access to protective factors.
Learn from Dr. Nadine Burke Harris about the impact of childhood trauma on health – and what children need to heal.


text:
By Kevin Fearon
Posted 10th January 2019 12:46 pm
Politics and Democracy
Queen's University welcomes Tánaiste Simon Coveney
Queen's University Belfast last night welcomed Tánaiste Simon Coveney for a discussion on 'Maintaining the habit of Co-operation'.
As part of the Queen's University Policy Engagement Lecture Series, the Tánaiste joined a packed room of more than 300 people for meaningful discussion, engaged debate and open dialogue.
Speaking about Brexit at the event, the Tánaiste said:
"We want to make sure that UK withdrawal from the European Union doesn't jeopardise the foundation of the shared, peaceful future for everyone on this island provided by the Good Friday Agreement. That is our agenda."
He also called for more public discussion on pressing political issues. He said:
"Indeed, we need to find more ways and provide more spaces for such public conversations, where passionate beliefs and imaginative ideas can be aired in an environment that is as calm and considered as possible.
"Universities like Queen's are the perfect places to do that, as they engage our young people while stressing the values of objectivity and high-quality research, as well as inclusivity and mutual respect."
Vice-Chancellor and President of Queen's University Belfast, Professor Ian Greer said:
"I was delighted to welcome Tánaiste Simon Coveney to participate in the Queen's University Policy Engagement Lecture Series. It was an engaging speech and debate."
The Tánaiste's full speech is available to view here
Posted by Kevin Fearon
Kevin Fearon is the Business Alliance Manager for the Arts, Humanities and Social Sciences Faculty at Queen's University Belfast and manages the Queen's Policy Engagement initiative.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: It is possible that CAN bus node have multiple identifiers? I want to use CANopen, and by the preconfigured set a device can have more than one COB-ID(as it has different function codes)
I want to know if the CAN bus frame identifier uses CANopen's COB-ID as it is.

A: A CANopen node cannot use multiple identifiers at the same time, but it's technically possible to reconfigure the node-ID. According to CiA301 - CANopen application layer and communication profiles, during NMT state initialization the parameters of the manufacture specific profile area and of the standardized device profile area are set to their power-on values.
One way to implement this is to assign a default node-ID for the CANopen node. Then reserve a SDO object in the object dictionary to modify the node-ID after reset or power-on. Note that if you want to fully follow CANopen standard, when you change the node-ID, the CAN-ID allocation modify the IDs for the other NMT states and communication objects such as SDO, PDO, etc.
Check this link for further information.

redpajama_set_name: RedPajamaStackExchange


Maniesh Paul Cheers The Safety Ride Campaign In Mumbai!
Known for his superb come backs and wonderful sense of humour, Maniesh Paul has always been known for cheering up the audience and for fun frolick moments. Right from the word go, we have known Maniesh for his wit and humour, but the handsome hunk not only carries the responsibility of the entire reality show or any event that he hosts but also believes in the road safety of the common, taking up the responsibility and encouraging the policemen in the Safety Ride campaign.
Adds Maniesh, "Road safety is extremely important and vital. We live in a very busy lives where all of us are always in a rush, but it's important to understand the safety measures and thus, I felt if there is anyway I could contribute to this, I would happily give in"


text:
Person - García Valdecasas, Alfonso (1904-1993)
García Valdecasas, Alfonso (1904-1993)
García Valdecasas, Alfonso (1904-1993)Other forms
Montefrío (Granada, España) 1904-05-14 - 1993 (Según Diccionario de Catedráticos Españoles: 11 de abril de 1994)
He was a Spanish deputy, jurist and professor who was born in Montefrío (Granada) and passed away in Madrid. Son of Guillermo García-Valdecasas y Páez (professor of Civil Law and dean at the University of Granada) and brother of Guillermo García-Valdecasas (professor of Civil Law in Granada), he married María de Andrada-Vanderwilde y Bachoué de Barraute (daughter of the Marquises of Cartagena). His son Guillermo was Rector of the Royal School of Spain in Bologna.
He began his academic education, graduating in Law by the University of Granada. He was a student of the Royal School of Spain in Bologna. He continued with his legal studies in Germany, where he obtained the doctorate in Philosophy and Sociology.
His academic career stands out because he obtained the chair of Civil Law from the University of Salamanca, changing to the University of Granada. After some period in Germany, he went back to the University of Madrid where he made use of the chair of European Doctorate of Superior Studies and Civil Law.
Sanctioned in 1943.
Other activities he carried out were:
Gunnery Sergeant in the national troops.
Deputy by Granada at the Cortes Constituyents (Constituent Assembly).
Secretary of the editing commission of the Constitution of 1931.
Founder of Frente Español.
Subsecretary of National Education.
Director of the Institute of Political Studies and its Magazine.
Member of the academies of: Royal Spanish Academy Jurisprudence Legislation and Moral and Political Sciences. Member of the board of trustees of the Royal School of Spain in Bologna.
He belonged to the State Council.
Doctor Honoris Causa by the University of Pavía.
Spanish Civil War, 1936-1939
Profession (carried on by):
Lawyers in Spain
Catedráticos de Derecho in Spain between 1927 and 1974 Obs.: Universidad de Salamanca, Granada y Madrid.
Legislators in Spain in 1931 Obs.: Diputado por Granada en las Cortes Constituyentes.
Sergeants in Spain in 1936 Obs.: Sargento de Artillería por las tropas nacionales.
Place of arrival:
Germany Obs.: Estudiante.
Bolonia (Emilia-Romaña, Italia) Obs.: Estudiante del Real Colegio de España.
Fribourg Obs.: Estudiante.
Madrid (España) Obs.: Diputado. Trabajo, catedrático de la Universidad. Muerte.
Montefrío (Granada, España) in 1904-05-14
Lugar de Defunci¿n:
Madrid (España) in 1993
Catálogo de autoridades de la Biblioteca Nacional Alemana
Catalogue du Système Universitaire de Documentation
Diccionario de Catedráticos Españoles de Derecho (1847-1943)
CCBAE: Registro de autoridad de Alfonso García Valdecasas
Carvajal Ferrer, Javier (1926-2013) - Collateral
García-Valdecasas Páez, Guillermo (1869-1946) - Descendant (He/She is the son/daughter of; Padre del catedrático, Alfonso García-Valdecasas.)
Galán Gutiérrez, Eustaquio (1910-1999) ( Amigo del jurista: García Valdecasas. )
Ruiz de Alda, Julio (1897-1936) ( He/She/It collaborated with )
Segura Soriano, José Manuel (1891-1937)
Universidad Central (Madrid, España) ( He/She works for; Catedrático de Doctorado Europeo de Estudios Superiores; y Derecho Civil. )
Universidad de Granada (España) ( He/She works for; Catedrático. )
Universidad de Salamanca (España) ( He/She works for; Catedrático de de Derecho Civil. )
Represaliados:
Portal de Víctimas de la Guerra Civil y Represaliados del Franquismo de la Secretaría de Estado de Cultura
Catálogo de autoridades:
Cat¿logo de autoridades de la Library of Congress


Hi and good morning on this lovely Saturday! Hope you all are having a great start to your weekend. It was nice to sleep in and relax. As promised, if you follow me on my Instagram, I was going to write y'all a Disney post on my recent trip there.
Last weekend, I had the chance to go to Epcot with a couple of friends and had a blast. We started off with teriyaki chicken with rice and veggies in Japan. It was quite delicious so I didn't even have the chance to snap a picture of it. Surprising if you know me!
Sweets were on the list as well. We snacked on too many but it was too good to pass up. We didn't get a chance to go the frozen ride since it broke down but hopefully next time it will be up and running. At least we got to meet Anna and Elsa though. If you've been to Epcot and have any suggestions on what we should do next time, let me know in the comments below. Hope you all have a wonderful weekend!


text:
John Elgar Collins c1847 - c1922
[ Home ] | [ Census Index ] | [ Surname Index ] | [ Family History ] | [ Calendar ] | [ Reports ] | [ Timeline ]
The child of John Collins and Matilda Spratt, John Collins, the first cousin three-times-removed on the father's side of Nigel Horne, was born in Chislet, Kent, England c. 18471 and baptised there at St Mary The Virgin on 19 Sept 1847. He married Charlotte Harding at St George's Church, Ramsgate, Kent, England on 31 Oct 18743. Like his father, he was a shepherd.
During his life, he was living at Reynolds Farm, Chislet on 30 Mar 18516; at Sandwich Road, Minster, Thanet, Kent on 5 Apr 18917; and at Cheriton Street, Cheriton, Kent in 19011 and on 31 Mar 19011.
He died c. Apr 1922 in Elham, Kent2 and was buried at St Peter's Church, The Street, Swingfield, Kent on 10 Apr 19224,5.
John was born in 1825
Matilda was born on 5 Jun 1825
https://search.findmypast.co.uk/record?id=gbc/1901/0004513718
https://search.findmypast.co.uk/record?id=gbprs/cant/d/95570726
https://search.findmypast.co.uk/record?id=gbprs/cant/m/97006479/1
https://search.findmypast.co.uk/record?id=r_848240350
https://search.findmypast.co.uk/record?id=bmd/m/1874/4/az/000065/141
https://search.findmypast.co.uk/record?id=bmd/d/1922/2/az/000173/088
https://search.findmypast.co.uk/record?id=gbprs/cant/b/96110818
1901 England, Wales & Scotland Census - Findmypast (was age 52 and the head of the household)
England & Wales deaths 1837-2007 - Findmypast
Kent, Canterbury Archdeaconry marriages 1538-1928 - Findmypast
Kent, Canterbury Archdeaconry burials 1538-1988 - Findmypast
England Deaths & Burials 1538-1991 - Findmypast
1851 England, Wales & Scotland Census - Findmypast (was age 3 and the son of the head of the household)
Location for 1851 (Reynolds Farm, Chislet, Kent, England) differs from father's (Chislet, Kent, England)
Date of residence (30 Mar 1851) differs from father's in same year (1851)
Listed in the residence for 1901, but spouse Charlotte Harding is not
Listed in the residence for 31 Mar 1901, but spouse Charlotte Harding is not
Please send your comments and corrections to Nigel Horne
This website was generated by ged2site. Last updated on 05 Jan 2021


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MADELINE FUHRMAN: "KICKSTARTER"
Yes, Madeline is the sister of Isabelle Fuhrman! She's such an amazing singer that I had to post her video "Kickstarter" and do my part to help her achieve a dream. No, I don't normally post music videos on my website, but considering Madeline's talent and the cause, I thought I'd make an exception well worth making. She's trying to raise "TWENTY G'S" to make her first EP, and from the looks and sounds of her video, she's a talent worth supporting. Watch Madeline's video below, and you'll see what I mean. I LOVE THIS SONG!
"From the streets of France to the Los Angeles music scene, join MADELINE as she creates a new sound sure to change the music industry."
"Kickstarter is the world's largest funding platform for creative projects. Every week, tens of thousands of amazing people pledge millions of dollars to projects from the worlds of music, film, art, technology, design, food, publishing and other creative fields."
If you'd like to donate to Madeline's dream, visit the "Kickstarter" website by clicking here!
AS AN UPDATE (AND THANKS TO ALL WHO CONTRIBUTED),
MADELINE EXCEEDED HER $20,000.00 GOAL WITH A TOTAL OF $22,796.00!
I'VE LEFT THE POST HERE, BECAUSE THE SONG AND VIDEO ARE SO AWESOME!
CONTINUE TO ENJOY THEM BOTH, WHILE YOU CAN!
As I've said many times before, evil children scare the #&*% out of me! There's just something extra creepy about kids—having such innocent appearances—being the sources of malevolence, mayhem, and, in the worst cases, even murder. Esther (Isabelle Fuhrman), in Orphan, is more than among the most evil of children I've seen in a film; she is the most evil.
As for dreaded spoilers, they're hard to avoid—especially with a movie like Orphan. There's always the trailers we've likely seen somewhere before the movie; there's likely the comments we've heard from friends and the like, telling us about it long before we see it. Then, if that's not enough, and if none of the latter ever happened, we have the cover of the DVD (or Bluray) box. On it, there's a girl, in pigtails, in shadow, with the darkened recesses of her eyes making her all the more menacing, even to the most trusting among us. Around the girl's neck is a curious ribbon covering something we're not meant to see! That, of course, makes it all the scarier; a ribbon around a neck often means that, without it, the child's head will fall off! I know you've heard that story too.
Yes, before you ever see Orphan (the movie, that is), you'll already know that something is far from normal about this girl, even if you don't expect her head to fall off. The title alone given to a horror film is enough from the start, for me. No. Wait just a minute! I'm not saying that an orphan is necessarily an evil little monster—of course not. However, logical connections are only too obvious sometimes—and here, for sure. Even viewers "in the dark" so to speak, will see the light in regards to Esther, long before she evil ever lifts a finger to do her first evil thing.
In Orphan, we have Esther (now an icon of horror herself), played by the ever-talented Isabelle Fuhrman. Child actors have the extra difficult job of acting well, because…well…because they're children. Let's face it, children have chronologically less time to be trained and learn to be good actors, before it's time to act; it's just a fact. So, it's a wonder that they so often manage to act as well as some of the most seasoned and professional adults. And yes, Isabelle Fuhrman is one seriously big wonder of a child actress! At the age of 12, Isabelle nailed her part as an insane 9-year old (and something else I won't mention), with all the finesse and perfection that the best adults could deliver. As a precocious and malevolent child, Fuhrman's performance is matched by no other I know. In scenes where Esther commits her evil deeds, Fuhrman gives the character a realism that is truly chilling. Fuhrman's facial expressions and movements give Esther a look of determination and intention that makes this child monster all the more disturbing. As a viewer, we believe that she means to do what she does with all the premeditated plans of an adult; we believe that Fuhrman is Esther. Therein lies exactly the essence of the impact--an evil child acting just like an evil adult. No, of course Isabelle Fuhrman herself is in no way like Esther, obviously. However, Fuhrman's ability, especially as a child, to portray such a character with such realism is only proof of her superior skills as an actress at any age. A scene where CCH Pounder is the recipient of Esther's wrath comes to mind very vividly at this point.
In a video I watched on Youtube, made by Fuhrman, she addresses a fan question related to the issue of portraying a child killer: "Was it weird having to pretend to kill people?" Fuhrman answers the question in exactly the way I'd expect a professional to do so: "Not really, because once I became Esther, and I removed myself from the character, and it was just Esther, I held nothing back....it just kind of came to me in the moment, as Esther." (For those of you interested in hearing that from Isabelle Fuhrman herself, I've included the entire video below; the part I refer to begins at about the 3:40 mark and ends at 4:14.) This is exactly the type of quality possessed by the best of actors; Fuhrman not only has it, but knows how to articulate it like a professional as well.
Topping off all of this professional perfection, and as an added bonus, is a Russian accent Fuhrman delivers that sounds as authentic as Russian accents really are. In other words, it's a real Russian accent, with no acting or effort detected. Very impressive, indeed! Fuhrman's performance alone measures ten rockets on the Space Jockey Meter, regardless of what the movie scores!
What makes Esther even more dangerous than your typical evil child is her significance in the family who adopts her and the power she has over them as a result. The couple in the movie—Kate (Vera Farmiga) and John (Peter Sarsgaard)—are vulnerable, suffering emotional devastation from the the stillborn death of their last child. As if adoptive parents aren't often vulnerable enough, the recent death of a child has added reason to be more so than usual. Kate and John excuse Esther from continuing suspicion, often to the point of being unbelievable at times—that is until we remember their past and their desperation.
If you haven't yet seen Orphan, I will only say that the ending will surprise you. Right now, you're probably saying "With all the predictability already mentioned, what could be surprising? She's an evil orphan who'll do evil things!" Again, to avoid spoiling anything, I'll only add that whatever you may expect, will be short of what the film delivers in the end. Trust me on that.
Orphan is rated R for "disturbing violent content, some sexuality and language." However, "Is it really that disturbing, violent, and sexual?" you ask. Well, let me think about that a minute…YES! (Please notice that the amount of time necessary for me to type three dots is far less than a minute—joke intended!) Yes, Orphan is surprisingly all of those things—violent at times, disturbing lots of times, and even more sexual than one might expect. It's more sexual than expected, because the orphan herself is eventually part of the sexual nature of the film. You'll see what I mean in the end; I'm not about to tell you. I'll only say that it flirts with but never crosses the line for what is acceptable. When you discover who Esther really is, it won't be surprising at all.
As for violence, there's plenty of that—again even more than you might expect. The violence is often shown rather than implied, making it all the more—you guessed it—"disturbing" as well. Does the violence include blood?" Again, yes, and a fair amount of that too. When a certain victim is hit in the head with a hammer, there is little left to the imagination. Again, as for "disturbing", need I remind you of more than this: the violence is being carried out by a child. Case closed! Don't let the kids watch this one!
Back to acting, it's impressive that much of the key acting in the film is done by children. There's the amazing performance of Isabelle who we've already talked about, there's Jimmy Bennett as Daniel, and Aryana Engineer as Max. Max plays the hearing-impaired daughter of Kate and John and Daniel is the somewhat jealous, preteen son. Aryana and Jimmy match Isabelle's energy and talent playing their parts, giving the whole movie a much greater authenticity than it could otherwise have achieved. All in all, Orphan is a movie where the performance of the child actors could make or break it. In Orphan, all children involved, easily succeeded in "making" it.
Vera Farmiga does an excellent job as Kate—the emotionally-damaged, recovering alcoholic, still haunted by the death of her last child. Her performance, which requires much emotional acting, is very authentic and realistic. Without her talent, Orphan could have fallen flat, even before Isabelle Furhman arrived as Esther. Peter Sarsgaard (John), although annoying at times in his character, does an equally professional job of playing it. As John, Peter plays the part of a husband we want to scream at and yell "Wake up, and listen to your wife!" However, we have to remember that Peter is playing John as he's meant to be played, and again, as so many such people really are—annoying as all *&^%, but really like that nonetheless! Just playing the part of such a character deserves an extra rocket, as far as I'm concerned. Kudos to Peter Sarsgaard for so well playing a part that likely annoyed him as well.
Oh, and don't get me started about the part of Dr. Browning, played by Margo Martindale. Margo is an excellent, veteran character actor who I always enjoy seeing. She's always believable, no matter what her role; I think I'd believe her if she played the part of an alien from outer space in this movie. Margo has that sort of believability you'd feel talking to your own mother (or someone who you trust, hopefully also being your mother). As Dr. Browning (and playing her part to perfection), Margo is actually more annoying than John. "Why?" you ask. It's probably because she's the professional character in the movie who we expect to save the day with some professional observation about Esther—but she doesn't. Instead, Dr. Browning is…well…I'll let you see that for yourself too. However, I'll only add that Margo Martindale does another awesome job being believable, when we might want to believe otherwise. Margo also gives personality to a character who might otherwise blend into the background.
CCH Pounder is another veteran character actor who always delivers a solid performance, often playing people you can trust and believe. She does a great job of that in Orphan, as well as I've seen her do it elsewhere. In Orphan, Pounder plays the ever-believable part of Sister Abigail—the sister in charge of the orphanage where Esther initially resides. Like Margo Martindale, Pounder's presence gives Orphan an even greater air of authenticity. Not that the movie needs it, but Pounder helps to reinforce it nonetheless. I have read that David Johnson wrote the part of Sister Abigail with CCH Pounder in mind; that is ever so obvious, as she's perfect for the role.
I've heard other reviewers criticize the way that John is so unwilling to believe Kate, brushing off all of her concerns, thinking it all a part of her dysfunctional past and present. My response is to again, ask why viewers so often want movie characters to do what's logical, when people so often don't do it in life? How often have I had someone believe I did something I didn't do, because of some preconceived (and dysfunctional) notion on their own part? Too many times to count! Based on what people often consider symptoms of a bad movie, I've often felt like I was living a bad movie. But, unfortunately, it was reality! So, for all of you who expect things to be logical, rather than the way they often are, I say wake up! Reality is often stranger than the worst fiction!
Are there any problems with Orphan—plot holes, sundry ridiculous behaviors, and/or various unbelievable events? I say no. There were no moments in the movie that made me stop and wonder how the story got from here to there. There were no moments when characters did something that made me say, "You've got to be kidding me!" There were no moments when something happened that couldn't have been part of everyday, albeit extreme headlines. This final quality is one that many such movies don't have—despite all the extremes, Orphan stayed grounded, as a reality that could easily happen.
The only problem with Orphan is something that really isn't a problem at all. (Yes, I did seemingly contradict myself in the same sentence.) You see, earlier, before you have all the facts about Esther, you may, with good reason, find some of what's happening to be pushing the possibilities of what a child could do. You might say "Now how could a child be so savvy as to conceive of such a thing?" or "What friggin' planet did this child come from?" Yes, you might just say such things and think there's a problem, but never fear. The end will come soon enough…and therein lies something I'm not going to tell you. Yes, if you haven't seen Orphan yet, now is the time. If only to find out what I'm talking about, now is the time.
From this point, I could include an event by event analysis of all the evil things Esther does. I could also tell you why Esther is insane, providing you with her complete psychological profile…but don't count on it. Besides, you wouldn't really want me to do that anyway. Evil things in horror movies are best left to be discovered; telling about Esther's insanity would also spoil too much. So I'll leave it there. Oh, and for those about to accuse me of spoiling too much already by saying Esther is evil and insane, hold on just a minute! Remember the title, the DVD cover, and the fact that this is a horror movie! We've already talked about that. You've already been slapped in the face with that a long time ago! Have fun!
Orphan is on a short list of movies of its kind that delivers its payload, effectively and efficiently, with full force. You'll be hard pressed to find another orphan more evil than Esther; she's one you'll want to see but not adopt. I highly recommend the movie, with no rockets in reserve! Put Orphan on the launch pad today, and check it out!
Starring Isabelle Fuhrman, Vera Farmiga, Peter Sarsgaard, Margo Martindale, CCH Pounder, Jimmy Bennett, Aryana Engineer, Rosemary Dunsmore, Genelle Williams, and Karel Roden, Directed by Jaume Collet-Serra, Cinematography by Jeff Cutter, Editing by Timothy Alverson, Original Music by John Ottman, Story by Alex Mace, Screenplay by David Johnson, Casting by Ronnie Yeskel, Art Direction by Patrick Bannister and Pierre Perrault
Below, Isabelle Fuhrman explains how she dealt with portraying Esther as a killer. "Was it weird having to pretend to kill people?" Fuhrman's answer is as professional as you'd expect from someone as talented as her. It begins at about the 3:40 mark and ends at 4:14. Just slide that little time bar at the bottom to exactly wherever you want it. However, the video is so good that you might just want to watch the whole thing anyway.
ONLY IF YOU'VE ALREADY SEEN THE MOVIE (Notice I capitalized that!), and if you're interested in reminiscing through some of the brilliantly acted deeds of Esther, check out the video montage below. SPOILERS ARE EXCESSIVE! I normally don't include such things, but this was simply too good to exclude. It was put together by JillLovesChrisRE5 on Youtube, and it's called "The Dark Side of Esther". With guilty pleasure aplenty, enjoy!
ZOMBIE WHISPERER
"When good people die and are reanimated into soulless brain eaters, there's only one man who's their best friend, and that's Tony Mallone."
You've heard of horse whisperers, dog whisperers, and I'm sure even a few others I haven't heard of myself. I once even consulted a snake whisperer, after some unruly behavior from a rather large pet snake I once owned. Yes, and even I thought that was bizarre—just as you are, no doubt, thinking the same thing. However, one thing I'm sure you've yet to hear about is a zombie whisperer. Yes, you read that right—a zombie whisperer! Possibly, in this case, stranger things have indeed not happened before.
Zombie Whisperer is a new reality-TV web series starring Matt Fowler as Tony Mallone—the tough but calm, streetwise soother of the restless undead. Yes, if a brain-eating member of your family ever causes a problem (as if that wouldn't happen), there's no other man for the job. Making your dangerous dead once again docile and domestic is just a call away. No zombie is too undead for Tony! I don't know his number off hand; I misplaced in somewhere in all the excitement. However, one thing's for sure—it's not a 555 number. Tony Mollone plays his part for real! I started to call this a mock-reality TV show, but, with all the zombie sightings lately who knows?
Episode 1 of Zombie Whisperer begins with a viewer warning: "Do not attempt the techniques you are about to see without consultin' a professional!" (Yes, the "g" in consulting is also ellipted in the text, exactly as the southern-accented narrator says it.) After the show's opening montage, Tony Mallone is introduced as "world-renowned expert and original creator of PETZ" (People for the Ethical Treatment of Zombies). Tony then approaches the front door of his next zombie owner in distress—Tammy (Lacy Hornick). Tammy is a giddy, 20ish woman seemingly more enamored with meeting Tony than she is disturbed by her zombie problem. However, in true professional form, Tony wants to "get right to it"—right to solving the zombie problem that is. Bob (Kyle Duncan Graham) is Tammy's pet zombie she found digging through her garbage one day, before taking him in as her pet. Tammy has "a soft spot for zombies." Bob has since become "out of control", causing, you guessed it, the need for Tony Mallone! "You must become what you hope to control," says Tony.
Speaking of the "zombie-digging through the garbage" detail, this is nice touch you may feel as well. Some zombies it seems, except for the wild ones, have become domesticated like dogs, incapable of living on their own. Instead of being self-sufficient brain eaters, they forage for food, also living off the refuse of people rather than the brains of the people themselves. In the event that some domestic types regress to their stereotypic habits, again Tony Mallone is only a phone call away. Tony can, no doubt, tame a completely wild zombie as well. Yes, I have no doubt.
Although I care little for reality TV, I have a great love for mock-reality TV! I guess you could say that I really love seeing something I don't care much for mocked to the point of being humorous. At least it then becomes useful for something. The Zombie Whisperer is just the type of mock-reality TV that I love. Everyone plays the part as seriously as you'd expect such a thing to be done in real life. Out of control zombies would have their ironic share of humor anyway—once the novelty of it all wore off. Yes, I think even household zombie problems might become old hat and halfway ignored soon enough. "My zombie's been acting up. I may need to call a zombie whisperer next week." You know how people are. So, as a humorous but true social statement (yes, there is some intelligent stuff here), Zombie Whisperer tells its story to make us think, while making us laugh at the same time. However, since brains are always in short supply around zombies, you won't have to think too much.
I've seen Matt Fowler in a number of other roles, and he always makes himself the character he plays 100%. In Trespasser (also featured and reviewed on Space Jockey Reviews), Matt plays a psyco killer with all the eerie lack of emotion you'd expect to see. Without a word said, he develops a potential "cardboard" presence into a memorable character, all in under five minutes! In Zombie Whisperer, Matt does the same knock out job. As Tony Mallone, and in true zombie-whispering form, he makes his larger than life character believable, in an unbelievable situation. Matt plays it straight, serious, never-cracking a smile, even when lesser zombie whisperers might fall apart. (Yes, you can tell I'm having fun with this.) Yes, it takes a certain type of talent to pull off such a part, and Matt pulls it off without the need for a double tap…or double take, I should say! (For the meaning of double-tapping, see the "Galactic Glossary" here on Space Jockey Reviews.)
Lacy Hornick (as Tammy) gets my award for the short film actress most qualified for a job on Saturday Night Live. Lacy (who I have not seen previously) is an actress I'd really like to see again. As I said, she does just the perfect sort of exaggerated, faux-serious character acting that helps make this episode of Zombie Whisperer work so well. Playing this part too seriously wouldn't have worked as well, but Lacy nails it, just as it's needed. Again, I will look for Lacy in the future; with such performances, I'm sure she'll show up often.
What can I say about Kyle Duncan Graham as Bob the zombie? Is he just another token, undead corpse in a very alive web series episode? NO! (Notice that I capitalized the "N" and the "O" in that answer.") In a series like Zombie Whisperer, a standout performance as a zombie is key. Without a good zombie, such a show could fall flat. No fear here! Kyle (as Bob) is a zombie to remember, in as much as zombies can be remembered. His zombie growls are as authentic as any I've heard; when he reaches out for you with those bloody, undead zombie hands, he means it! Get out of the way, and cover your skullcap! Yes, it would be easy for zombies to be forgotten altogether in such reviews; it happens all the time. How often do zombies get credit where it's due for their undead talents? Rarely ever! But here, in this review, Kyle Duncan Graham as Bob gets a special place to be remembered. After all, zombies were once people too.
What is the zombie's problem? How does the amazing Tony Mallone solve the problem? Does anyone get killed in the process? What is Tony Mallone's "groundbreaking technique"? Is Tammy a happy, satisfied customer in the end, who will recommend Tony to all her friends? What happens to Bob the zombie? Those are all really good questions; but, if I answered all of that, you wouldn't have to watch Zombie Whisperer, would you? No, you wouldn't. And I'd be the last to cause any zombie-loving watcher of such zombie shows to find cause to skip this one. So, make sure to catch Zombie Whisperer on www.funnyordie.com. Funny or Die a website that allows viewers to watch a feature show and then vote it "funny" or "die" (as in, I suppose, dying a very unfunny death.) I am happy to report that I voted "funny" for The Zombie Whisperer. After all, I guess it's only appropriate that a zombie show doesn't die. That just wouldn't be right!
The Zombie Whisperer is a new and (as you can already tell) very original web series. It's created by Matt Fowler and Kelsey Boutte and also directed by Matt Fowler. Makeup and special effects are also done by Kelsey Boutte. Without the need to mention it (although I will anyway), Matt Fowler and Kelsey Boutte have created a series that truly stands out in the lineup of other shows I've seen. It gets my highest recommendations!
I actually liked Zombie Whisperer so much that I plan to feature episodes right here on Space Jockey Reviews. New episodes will be posted when available. However, you're in luck! The first episode I've reviewed here is posted below! Tony Mallone himself (Matt Fowler, of course) informed me that the second episode (and possibly the third) will be filmed in the first week of September and available to the public by the third week. In the meantime, check out the first episode below! (Viewer discretion is advised!) Oh, and if you have any zombie control problems, you know who to call—the name is Tony Mallone!
"Zombies in the wild are very dangerous. You have to show him that you're the leader of the pack." ~ Tony Mallone
Starring Matt Fowler, Lacy Hornick, and Kyle Duncan Graham, Series Narration by Justin Rupple, Directed by Matt Fowler, Assistant Director Megan Powers, Director of Photography Gennaro Desposito, Editor Gennaro Desposito, Production Sound Mixer Chris Ehling, Camera Operators Gennaro Desposito and Megan Powers, Special Effects by Kelsey Boutte and FXtive Creations, Produced by Kelsey, Boutte, Gennaro Desposito, and Matt Fowler, Production Assistants Chris Ehling and Melissa Newman, Produced for Apocolypse T.V. by Brooklyn West Productions, With special thanks to Sal's Hot Dogs and Squirrel Wrangling by Kimberly Desposito
Labels: Dark Comedy, Evil Children, Horror, Mockumentaries, Zombie Whisperer, Zombies
E.A. POE'S BERENICE – Part 1 of a Poe Trilogy Coming Soon!
"The eyes were lifeless, and lustreless, and seemingly pupilless, and I shrank involuntarily from
their glassy stare to the contemplation of the thin and shrunken lips. They parted; and in a smile
of peculiar meaning, the teeth of the changed Berenice disclosed themselves slowly to my view."
~ Edgar Allan Poe, Berenice
Fellow Poe fans out there, it's time to break out the Champagne and party! "Why?" you ask. Well, there's good reason. A lesser-known tale of Poe has now been made as a short film–or as part of a series, I should say. After watching the trailer, I am most excited about seeing the whole film. "Which story is it?" you ask. It's "Berenice", aptly called E.A. Poe's Berenice. It's the first of three such Poe tales scheduled to make a trilogy; the other two in the works are "The Tell-Tale Heart" and "The Cask of Amontillaldo". Can this get much better? I doubt it!
For those of you (if I can find any) who don't know Poe's "Berenice", let me be the "stately bird of yore" who informs you, while "beguiling all my sad soul into smiling." (Well, my soul isn't really sad, but it'll do for the time, for rhyme.) "Berenice" is, without a doubt, one of Poe's most violent tales. According to its written form (not necessarily from the film form, as I have not seen it), it's about a man named Egaeus who is preparing to marry his cousin Berenice. (Sound familiar?) Egaeus falls into periods of intense focus, obsessive compulsive behavior, and depression, during which all he sees or seems "is but a dream within a dream." (I just had to throw it in. ) Berenice begins to deteriorate from an unknown disease, with only her teeth remaining as the healthy parts of her body. (What a terrible way to watch your loved one go!)
Even though I don't know the exact course of the film's plot as compared to Poe's, I should stop here for fear of revealing, or maybe stealing, the plot as it is, or as it's not. (Yes, I'm emulating a Poe-like rhyme "keeping time, time, in a sort of runic rhyme," so bear with me.) "A bit farther," you say. Okay. Egaeus begins to obsess over Berenice's teeth, as the enduring image of his loved one. (No, not her eye; that's a different tale.) One day, Egaeus wakes up from a period of "focus" with an uneasy feeling, and…and for fear of pulling the teeth right out of this future feature, I'm really stopping right here. Yes, I'm really stopping, before I'm buried prematurely, walled up in a basement, or chopped into pieces and buried beneath the floorboards of an old house…by a man who's fixated on my right eye, my teeth, and who knows what else! Oh well, this could go on and on until I've "marveled this ungainly fowl to hear discourse so plainly." For now, this bird hath spoken–"this grim, ungainly, ghastly, gaunt and ominous bird of yore…Quoth the raven, "Nevermore."'
E.A. Poe's Berenice was written by Iwan Benneyworth, directed by Michael Stern, and produced by Visitor One Entertainment (formerly Mabus Productions). It stars the beautiful Lauren Nicole Paige as Berenice and Faron Salisbury as Egaeus . Also featured are Stephanie Ann Whited as Berenice's mother, Jessica Moss as Annie, Catherine Goodrich as Little Berenice, and Toby Wherry as Dr. Cartwright. From the trailer (which is all I have to go by at this point), the acting looks solid, the production values look high, and, if that's not enough, it also looks to be following the storyline of the original Poe penned himself. For starters, that's the type of good news we like to hear about anything Poe! Only "the bells, bells, bells" may ultimately tell! "What a world of merriment" the movie foretells! From the looks of everything, all the "bells" and whistles look firmly in place for this production!
Faron Salisbury (as Egaeus) and Lauren Nicole Paige (as Berenice) in E.A. Poe's Berenice (Trust me; if this is anything like Poe's version, this idyllic romance in the gazebo won't last long!)
"Deep into the darkness peering, long I stood there, wondering, fearing Doubting, dreaming dreams no mortals ever dared to dream before." ~ Edgar Allan Poe–of course! No, it's not a line from "Berenice", but, certainly it is in the spirit of those demented, delusional thoughts and dreams that inspire us, as it seems, as "a dream within a dream." Most certainly, it works just as well for Berenice.
Okay, enough of all the classic Poe quotes mixed in with my totally fresh and original writing! (wink, wink ) Go ahead and watch the trailer for E.A. Poe's Berenice; it's surely enough to keep your "Tell-Tale" hearts beating, without entreating. If you're like me, you'll want to see all of this episode, and the other two as well! In the meantime (yes, here I go again), "Let me see, then, what thereat is, and this mystery explore…Quoth the raven, "Nevermore."'
E.A. Poe's Berenice has already won an award for Best Drama at Cape Fear and Best Thriller at the LA iTV Fest. Mabus Productions is also currently talking with TV networks about the possibility of doing a miniseries. Episodes will be available to watch on iTunes and the like soon. Stay tuned for more information!
* Quoted excerpts above were borrowed from "The Raven", "The Bells", and, of course, Berenice–works by none other than the obvious master of the macabre and father of detective fiction, Edgar Allan Poe. Credit is hereby given where credit is due.
Check out the official website for E.A.Poe's Berenice at www.thetalesofpoe.com
For more about director Michael Stern, visit his page on www.imdb.com
See Lauren Nicole Paige's official website at www.laurenpaige.com
Check out and "Like" The Tales of Poe on Facebook by clicking here!
Also, check out The Tales of Poe on Twitter by clicking here!
"Once upon a time, there was an old woman who lived in a lonely cottage" in the country? Yes, of course, it was the country. Or, was it really a house in the city? According the Brothers Grimm, it surely was a cottage, most idyllic and unlike the urban home in Rose White. Or, once again, depending on the perspective we chose, I suppose it could be either.
That is exactly the unique perspective taken by Rose White—the new film from director Daniel Kuhlman. From the beginning narration, Rose White is told, basically, as "Snow-White and Rose-Red" from the Brothers Grimm. The story soon connects loosely to the original we know, adding a fresh, modern story along the way. In Rose White, the lines between fantasy and reality are blurred and events are interchangeable—fantasy seems real at times, while reality seems fantasy at others. Elements of surrealism give the movie a fairy-tale feel throughout. The combination creates what is easily a new film classic, taking a respectable place as a fairy tale itself.
"What's it about?" you ask. Well, I'll just say, without spoiling such a wonderful film, that it's like the original fairy tale, here and there, with loads of original material added to make it an all new experience. Alliances are made, bonds of friendship and love are formed, and people do all manner of bad things that people often do. However, whatever you do, don't dismiss this one thinking you already know the story. Trust me! You don't!
In Rose White, there are many parallels to the Brothers Grimm version, just as there are many differences. As in the original fairy tale, there's an elder sister (Erin Breen) and a younger sister (Deneen Melody)—Rosalyn and Lilly. Also included are human counterparts for a bear (Daniel Kuhlman), and a dwarf—a rather nasty little dwarf I should add—not unlike his parallel in the Grimm version. One difference is a clever twist with his name; in Rose White, the would-be dwarf is appropriately called Little Man. There's also a human referred to, in narration, as The Wolf (Anthony Fleming III), who is not in the original tale we know; he's complete with his own pack of other wolves—or, in this case, henchmen. Add to that a pack of prostitutes that, while necessary in Rose White, have no parallel in the original—of course! Oh, and is there a fairy tale prince? It's a nice thought, but I'll never tell.
Yes, of course, there are no prostitutes, drug addicts, drug dealers, insane characters, or delusions of fantasies in the original; but, that's what makes Rose White so unique, dark, and truly original itself. It is exactly those elements that make Rose White such a gem of modern story telling—a true fairy tale for the times. It's tough, down-to-earth, and just as gritty, visceral, and real as real life is. Rather than bears, dwarves, and possible princes, we have crime bosses, drug dealers, and prostitutes. Even the Brother's Grimm might write about such things, if they lived today.
The gritty, visceral realism is just what makes Rose White a fantasy thriller that also crosses over into the category that I call real-world horror. It's horrific, not because of supernatural monsters, demons, and the like, but instead because it is often a part of the real world we live in. So, in that sense, Rose White is also a horror story for the times—one without real people turned into bears by dwarves, but one with real people turned into things arguably even worse. Yes, Rose White is a fairy tale with no happy ending in the real world; but does it, perhaps, give us a sense of deliverance and happiness in another world? Does it, maybe, give us that feeling we want in the end, despite all else? I'll never tell.
Deneen Melody is an actress with more unique looks than any actress I've ever seen—anywhere! I've watched her play all character types, with truly diverse appearances, in a variety of other performances. In Crestfallen, Deneen played a jilted, suicidal woman who had to show much emotion with her face and body language, because the movie had no dialogue. In Rose White, Deneen plays a young woman in a movie with dialogue, but almost no speaking time for her character. Once again, Deneen does this with perfection. Yes, even with few words to say, Deneen stands out and captivates us with a childlike innocence needed for the part. In her role as the mute and delusional younger sister, Deneen is a girl who lives life as a fairy tale, in her own mind, to protect herself from a painful reality. She shows emotions that make us believe she is experiencing what she faces in the film. This viewer, for one, could hear countless words of dialogue from the expressions on Deneen's face alone—begging, pensive, and wishful looks, along with later expressions of peace, solace, and happiness. Deneen's movements are cautious and reluctant to fit a mood in one scene, while lilting, graceful, and flowing in others, just as one would expect from a fairy tale princess. Deneen becomes the character she portrays, absorbing herself in the necessary reality, as a metaphor to her own part in Rose White. With or without words to say, Deneen's talent as an actress speaks clearly here as well as ever! Kudos to Deneen Melody for a beautiful performance…again!
I often say that the best actors are those that make me forget they're acting. Erin Breen is an actress who does that every time, no matter where I see her. She delivers a knock out performance in Rose White, as well as ever. The force and impact of Erin's character (Rosalyn) as she plays it, is simply awesome to watch. She commands her part, like the true professional she is, giving the elder sister just the extra punch we expect. Erin's character calls for one who's tough, streetwise, and stronger than her sister, while still being sexy, graceful, and even vulnerable. She nails this character like she was born to play it, absorbing herself in her role, making us believe she is Rosalyn! Whether playing a prostitute (as Rosalyn) or a fairy tale damsel, Erin has the range of a true professional, and it shows every bit in her performance! In Rose White, her expressions are always just right to convey the emotion of the moment, letting the viewer know exactly what Rosalyn is thinking, feeling, or fearing. Here, I'll adapt a fitting cliche to most appropriately describe Erin—her face is surely worth more than the proverbial "thousand words." I truly enjoyed watching her performance! Oh, and the brush of the rose petal across the lips...just perfect, Erin!
Daniel Kuhlman—the director—also plays the part of The Bear. As the character requires, and true to the Grimm Brothers tale, Kuhlman is friendly and helpful, claiming to be out for the best, while still having the potential to be dangerous; but, unlike in the Grimm version, this bear is not so selfless in his methods, relying more on plan than coincidence. Kuhlman plays his part low key at times, and forceful at others, all the more effectively as a result. There is a certain uncomfortable feeling we get watching his quiet assertions and calm demeanor juxtaposed with what we suspect—carnal, selfish motives, ready to spring forth in a moment. Yes, watch for a lustful glance at the elder sister at an unexpected moment, and you'll know what I mean; a very nice touch, it was! Yes, Kuhlman plays his part in much the same way that a bear might behave, making us all the more cautious as we watch him and try to trust him. Kuhlman's character, as well as the others in Rose White, reminds us of what a true fairy tale is, and the lessons it tries to teach us—don't get too comfortable with that wolf (or as it is here, that bear) in sheep's clothing! He might just kill you someday!
Speaking of a wolf, Anthony Fleming III plays The Wolf in Rose White; his screen time is limited but powerful, leaving just the indelible effect that's needed for a street-wise drug dealer. Anthony's delivery of his few lines alone efficiently develops a character that we know, because it is otherwise a stereotype. Here however, Anthony as The Wolf is no stereotype; he is original and unique, making him one to remember.
Last but not least is Tom Lodewyck as Little Man—another character whose counterpart appears in the Grimm version, but not in the form or character depicted in Rose White. Yes, Tom Lodewyck as Little Man is much like the original fairy tale dwarf villain we'd expect, even much worse—and I don't mean the Disney type singing "Hi, ho, it's off to work we go." This guy's work (if you can call it that) is as despicable as is his character, and Tom Lodewyck plays the part to make us dislike him appropriately. His part as the local crime boss is not the worst of what he does! Tom's not in the movie a lot; but when he's there, he makes his presence known with his power to make us despise his character. I guess you could call that great use of limited time on screen.
Rose White was written and directed by Daniel Kuhlman, co-directed by Brian Kilborn, and produced by Daniel Kuhlman, Deneen Melody and Anthony Sumner. The story was developed by Deneen Melody and, of course, based on "Snow-White and Rose-Red" by the Brothers Grimm. The whole team of directors, producers, writers, and actors has created a must-see film for modern audiences, as much as for audiences of any time to come. With the cinematography alone, Rose White is a work of art in motion—a poem animated, painting its metaphors vividly for all to see. In one of many scenes to remember, Lilly steps out of her dark home in the city, into a beautiful forest with sprites in flight, sunlight, and fairies abound. The transition occurs flawlessly, just as Lilly's foot touches the ground, moving things from reality to fantasy, or perhaps the other way around. For this scene and many more of the kind, Rose White is a movie not to miss. I highly recommend it!
No praise for Rose White would be complete without mentioning the original music by Matt Novack. His score for the movie is haunting and foreboding, yet magical and ethereal, elevating the story beyond its limits, to a higher level. Novack's music reminds us that it's reality, while at times convincing us that it's a fairy tale. His music flows, with transitions in the movie, in and out of reality—or, at least, reality as it is perceived. Novack's score creates the perfect duality of effects, working flawlessly with the movie's fairy tale/reality theme. It's actually a soundtrack I'll be looking for!
Speaking of fairy tale themes, the voice over narration (done by Deneen Melody) is the icing on the cake! This gives the viewer the sense of being told a story, rather than just watching a movie. Fairy tales are classically told, and, as Melody reads, a sense of fantasy is felt. What's perfect is that the story is told just like a real fairy tale, using such words as "once upon a time" and the like. The language, in general, sounds straight from any volume of Grimm's collected works, although we know it's not. Again, without this, Rose White could not be the success that it is.
For me, in the end, there was a most impressive and poetic metaphor relating to the bonds formed between Lilly and Rosalyn. You won't see it until the end, but when you do, there'll be no way to miss it. I wish I could tell you more, but I wouldn't want to spoil the ending of such a beautiful film. Let's just say that, while messy, it ties things up (or bonds them together) most literally and figuratively.
Rose White is about reality and what it really is; is it what we experience and believe to be objective? Or is reality, perhaps, just as much what we see, feel, hear, and sense as real in our own mind. Rose White is about how physical manifestations of the imagination and human bonds create anything but something imagined. It's about how real life can, indeed, be the most horrific fairy tale you'll ever know. However again, happiness, as imagined, is maybe all that matters.
"…and when the elder would say, 'We will not leave each other,' the younger would answer, 'Never so long as we live.'" ~ The Younger, Rose White
Starring Erin Breen, Deneen Melody, Daniel Kuhlman, Tom Lodewyck, Anthony Fleming III, Celeste Williams, Valerie Meachum, Sean Bolger, David Goodloe, Thurston Hill, Sheri Savage, Marla Seidell, Stephanie Andrews, Jay DeLaRosa, Anne Marie Boska, and Brooke Lodewyck, Written and Directed by Daniel Kuhlman, Co-Directed by Brian Kilborn, Cinematography by Jeremy Kuhlman, Original Music by Matt Novack, Story by Deneen Melody (Based on "Snow-White and Rose-Red" by The Brothers Grimm) Produced by Breakwall Pictures in association with TinyCore Pictures For information about Breakwall Pictures, click here!
Labels: Fantasy, Real-World Horror
E.A. POE'S BERENICE – Part 1 of a Poe Trilogy Comi...


Minecraft and Target parties feature a scavenger hunt and details about Grid Runners.
Minecraft parties are coming to Target on September 22. These events will feature beloved community creators from YouTube and Twitch. The event will also have an accompanying livestream. Viewers will learn details about upcoming Minecraft mode Grid Runners.
Attendees will get a chance to participate in a scavenger hunt and giveaways. And the store is sure to have all of the new merch on prominent display in case you brought your wallet.
Target says most of its stores are participating in the event. But do you want to double check if yours is? Enter your zip code here to find your nearest Target.
All of this excitement is leading into Minecon Earth. That fan event aims to bring Minecraft fans together around the world. The global gathering is happening September 29 at a Microsoft store near you. It will also stream online and feature a 90-minute Minecraft keynote with new details about changes and improvements coming to the game.
Target is also getting in on the Minecon Earth action. You can find Minecon Earth-themed products at the retailer beginning this month. So even if you don't have a Microsoft sore, you can still get a T-shirt or collectible.


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How Alaska Airlines Helped Avert a Holocaust (Part Two: Iraq) PLUS A GIVEAWAY
The continued story of how Alaska Airlines helped avert a holocaust in the Middle East. This month: Iraq.
"Behold, I will lift My hand in an oath to the nations,
And set up My standard for the peoples;
They shall bring your sons in their arms,
And your daughters shall be carried on their shoulders…." (Is 49:22)
This is a follow-on to the post I did last month about the role scrappy little Alaska Airlines played in rescuing tens of thousands of nomadic Jews from Yemen in 1949. Alaska partnered with the brand-new Jewish state to airlift an entire ancient people group of Jewish nomads to Israel in its steel "eagles" (a.k.a., WWII surplus aircraft). Tens of thousands of nomads who had never seen an airplane were induced to board one, after their rabbis reminded them of God's promises that they would be carried home by Gentiles (Is 49:22, above), and mount up on wings like eagles (Is 40:31).
But the Jewish population threatened by pogroms wasn't limited to Yemen. The next group facing a potential holocaust resided in Iraq, where Jews had lived comfortably since the Babylonians conquered Judah more than 2500 years earlier.
Displaced Iraqi Jewish family, 1951
But during WWII, Hitler's Nazism was eagerly adopted by Iraqi Muslims. In May 1941, in the aftermath of a failed coup by pro-Nazi militarists, the Iraqi Jewish community was the target of a vicious pogrom which became known as the Farhud ("violent dispossession").
I'll let New York Times bestselling author Edwin Black carry the story.
Hundreds of Jews were cut down by sword and rifle, some decapitated. Babies were sliced in half and thrown into the Tigris river. Girls were raped in front of their parents. Parents were mercilessly killed in front of their children. Hundreds of Jewish homes and businesses were looted, then burned. The carnage continued unabated for almost two days… Throughout the last years of the war, the murder spree was celebrated across the Arab world and in German ceremonies.
- Edwin Black, The Times of Israel, 5/31/16
Like their European brethren a decade earlier, the Iraqi Jews told themselves these difficulties would pass. But after Germany's defeat, Iraq and other Arab nations became havens for escaped Nazis. A German newspaper estimated that 2,000 German Nazis lived happily under state protection in Egypt alone. Nazis also attained positions of power and influence in Syria, Lebanon, Iraq and Iran.
Once the UN vote [that established Israel] registered, a new anti-Jewish campaign exploded in Iraq. This time, it was not just pogroms but systematic pauperization, taking a cue from the confiscatory techniques developed by the Nazis. Jews were charged with trumped-up offenses and fined exorbitant amounts. All the while, mob chants of "death to the Jews" became ever more commonplace.
- Edwin Black
With the Arab coalition's resounding defeat in the 1948 Israeli War of Independence, antisemitic fervor continued to escalate.
Zionism itself now became a crime, punishable by up to seven years in prison. As every Jew was thought to be a Zionist, every Jew was thereby criminalized.
In urban sweeps, thousands of Jewish homes were searched…. Hundreds of Jews were now arrested, forced to confess under torture, punished financially, and sentenced to long jail terms….
Executions and confiscations followed. In October, all Jews — an estimated 1,500 — were summarily dismissed from their government positions…. Many purged Jewish government employees, highly skilled and formerly well paid, were now destitute and reduced to selling matches on the streets….
The Iraqi government ultimately decided to expel its Jewish populace. And it did so with malice. The window of opportunity to emigrate to Israel opened for just a year. Jews had to register to emigrate. Once registered, their assets were effectively forfeit. And if Jews who registered failed to leave within fifteen days? There would be "concentration camps." Germany all over again.
Rather than the 10,000 emigrants Iraq had anticipated, Israel planned for 100,000. And with newly-destitute Jews* sleeping on Baghdad streets, selling their blankets for food, and threatened with concentration camps, the land route wasn't expeditious enough. An emergency airlift was needed once more.
* Estimates of the value of Jewish assets seized by the Iraqi government range up to $300 million in today's money.
Iraqi Jews arrive in Israel. Near East Air Transport plane stands in the background.
Israel turned again to Alaska Airlines' Wooten and Maguire, who played such prominent roles in rescuing the Yemeni Jews.
The Mossad called in its most reliable partner for airlifting Jews: Alaska Airlines…. El Al, Wooten, and Alaska formed a new airline with a new identity called Near East Air Transport (NEAT). Israeli ownership was hidden, so NEAT appeared to be strictly an Alaska Airlines venture….
On May 19, 1950, the first 175 Jews were airlifted out of Iraq in two C-54 Skymasters…. [The operation] became known by the original code name, Operation Ezra and Nehemiah, for the prophets who had led the Jews of Babylon out of exile back to Israel millennia before….
Iraqi Prime Minister Nuri Said sensed a new opportunity. Israel's nascent infrastructure seemed ready to collapse under the weight of absorbing holocaust survivors from Europe, as well as refugees from Eastern Europe and from the Arab world. There weren't enough dwellings to house them. Were there even enough tents?
"Enlarge the place of your tent,
And let them stretch out the curtains of your dwellings;
Do not spare;
Lengthen your cords,
And strengthen your stakes.
For you shall expand to the right and to the left..." (Is 54:1-3)
Said reasoned that if he could force Iraq's destitute Jewish population down Israel's throat, he could cripple or even bankrupt the tiny nation.
Said demanded that Israel absorb 10,000 refugees per month, every month… As of May 31, 1951, no more exit visas would be issued. If Israel would not accept these stateless enemies now, the concentration camps would be readied.
The flights increased, day and night, using twin engines, four engines, any craft available, through Nicosia or direct to Tel Aviv — as many as possible, as fast as possible…. The crowds gleefully stoned the trucks that delivered the refugees to the airport. The Jews were mocked every step of the way….
Between January 1950 and December 1951, Israel airlifted, bused, or otherwise smuggled out 119,788 Iraqi Jews — all but a few thousand.
An immigration camp in Israel, 1951
This scenario that played out in Yemen and in Iraq would soon be repeated across Lebanon, Egypt, Morocco and Libya. During its first years, the infant Jewish state, with a total population of only one million in 1949, absorbed some 850,000 Arab Jews from the surrounding nations.
"I will bring your descendants from the east,
And gather you from the west;
I will say to the north, 'Give them up!'
And to the south, 'Do not keep them back!'
Bring My sons from afar,
And My daughters from the ends of the earth—" (Is 43:5-6)
I'm hosting a drawing for a copy of Kristy Cambron's split-time historical novel, The Lost Castle, for new subscribers to my newsletter. You'll also receive updates on my novel, including an opportunity to gain complementary pre-launch access. To enter, please REGISTER HERE by Thursday, August 30. (I'm also giving away a second copy to a current subscriber, so those of you who registered in previous months will have another chance to win. :) )
I stepped away from a marketing career that spanned continents to write what I love: stories of reckless faith that showcase God's hand in history. I'm so excited to work with the all-star team at Mountain Brook Ink to launch my debut novel, The Plum Blooms in Winter, this December! Inspired by a remarkable true story from World War II's pivotal Doolittle Raid, The Plum Blooms in Winter is an American Christian Fiction Writers' Genesis Contest winner. The novel follows a captured American pilot and a bereaved Japanese prostitute who targets him for ritual revenge. Please also feel free to check out my blog, Five Stones and a Sling, which hovers in the region where history meets Bible prophecy meets current events. It's rich ground--we live in a day when prophecies are leaping from the Bible's pages into the headlines!
I live outside Phoenix with my husband, a third-generation airline pilot who doubles as my Chief Military Research Officer. We share our home with two mostly-grown-up kids and a small platoon of housecats.
Posted by Linda Thompson at 12:30 AM
Labels: 1950s, 20th Century, Israel, Linda Thompson
Connie Porter Saunders August 28, 2018 at 8:35 AM
Very interesting! Thanks for sharing.
Linda Thompson August 28, 2018 at 6:13 PM
Thanks for reading, Connie! I'm delighted you found it interesting. <3
Betti August 28, 2018 at 2:57 PM
Wow! The things we never learned in history class - it certainly makes some of those scriptures clearer, when you consider the trials of the Jewish people. Thanks for the giveaway, even for those of us who have been around for awhile...lol
bettimace at gmail dot com
Got it, Betti! And thanks for the encouraging comment. :)
Yes, this is absolutely my passion... pointing people at all the amazing ways God is fulfilling prophecy in our day.
Connie R. August 28, 2018 at 4:59 PM
Interesting how it was thought that the influx of Jews would paralyze Israel. Thanks for the post.
My pleasure, Connie! So glad you found it interesting. :) God bless!
Very interesting post. I love history and like learning about WWII facts including the Doolittle raids. Hubby and I have watched a number of movies about them. Thanks.
Linda Thompson August 29, 2018 at 10:19 AM
You're welcome, Paula! Thanks for reading! (You'll definitely want to check out my novel i December... Just sayin'... :) )
Linda Thompson September 1, 2018 at 4:08 PM
Hi, folks! I just wanted to let you know that Noeleen won my drawing this month. Thank you for your interest!