Night School is directed by Malcolm D. Lee. The film stars Kevin Hart, Tiffany Haddish, and Rob Riggle.
Teddy Walker dropped out of high school in the early 2000s, but life has been going good, as he's dating the beautiful Lisa, who he plans to marry. While Teddy's barbeque grill salesman job pays considerably less than Lisa's corporate job, he gets the good news he'll be inheriting the business when the owner retires! But a mishap derails Teddy's future plans, and he's forced to attend night school with a colorful group of people and a sassy instructor so he can get a sales job with an old friend. But it quickly becomes apparent passing the class will be more difficult than Teddy ever anticipated, and it doesn't help that the school's principal is someone who Teddy bullied long ago. Will Teddy be able to keep it a secret from Lisa he's got to attend night school, or will his plans come crashing down?
Kevin Hart, Tiffany Haddish, and Rob Riggle are all hilarious. Seeing that they were uniting for one movie seemed like comedy gold, but alas, it was not meant to be. Night School has a formulaic plot, lazy writing, cheap gags, wasted potential, too much of certain characters and not enough of others, and the characters the movie does choose to focus on are one-dimensional and boring. The movie does have a few funny moments, but if you've seen the trailer, you've already seen the best of what the film's got to offer.
The stars do the best they can with the material they're given. But despite half a dozen writers, very few of the gags stick. They deserve a better movie than this one. As is, the plot simply goes through the motions. Kevin Hart and Tiffany Haddish get a few solid one-liners, but everyone else feels like they're simply going through the motions. Despite Teddy being engaged to Lisa, she's in the movie surprisingly little. Another wasted character is Teddy's wisecracking and insulting sister, who also is barely in the film. The night school class is, essentially, one-joke characters who wear out their welcome surprisingly fast and only have a handful of laughs throughout the movie's frustratingly-long 110 minutes.
The lazy writing emphasizes physical gags and cheap, juvenile jokes. The result is a lack of consistency, with one of the biggest offenders of this being someone who falls of a rooftop and is severely injured… only to be back in the class with no injuries whatsoever almost immediately thereafter! Hell, even if they'd put him in a cast afterwards, it would be slightly more believable. A subplot of Teddy working part time at a Christian Chicken establishment shows initial potential but is basically cast aside and never lives up to what it could have been. Several scenes at the "night school" are clearly filmed during the day. Teddy tries to hide that he's going to night school from his wife-to-be… we know how things like this go in every single movie. It's a generic, paint-by-numbers plot, and it simply isn't that funny.
One can't help but wonder if Night School would have worked better as a television sitcom than a feature film. The writing is lazy, and it wastes a brilliant cast of comedic talent. You'll probably chuckle a few times, but save yourself about two hours and just watch the trailer instead. Most of the "good stuff" is there.
Rating: One star out of four.
DISCLAIMER: All images in this review are the property of their respective copyright holders, including HartBeat Productions, Will Packer Productions, and Universal Pictures. For promotional use only. All rights reserved.
Vacation - This Trip with the Griswolds is Definitely Not One to Go On!
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Unexpectedly Yours - Filipino Romantic Comedy Drama is Unexpectedly Entertaining!
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The step-by-step demo of my portrait of Ruth has been accepted! :D Although it is in the Portraiture channel, I thought I would just post a note about it here because it is done with pastels.
Sorry If I stepped on your toes, but being a portrait pastelist myself..it bothers me.
Some artists would argue (and I think there is such an argument going on in another forum right now :rolleyes: ) that you shouldn't work from photos. Some would say that using a computer to do some of the work is wrong. I say why not use the technology - I think if you're gonna use a photo why not use it to it's full extent? I'm sure that if they had been available to the artists of the past many of them would have used these devices.
Sandra, I teach portrait with pastels, charcoal and oils.
If I have enough time, another full day I try to include working from photo. It is what a lot of people have to use to get the job done. Children especially. I have tried using Super Glue, Duct Tape and the camera seems to work best for me in those situations.
As I have said in portrait, great demo. I agree with Terry, the use of Photos in todays busy world keeps your model in one spot long enough to view their features for measurment and characteristics.
If I didn't have photos, I would never have an opportunity for portrait practice as anyone I know is always on the go, never having enough time to sit still.
As a matter of fact, one of the greatest tools I use is placing the photo and a picture of your original work side by side in photoshop. (your suggestion, if you remember) The computer quickly shows where a porportion error is happening. The eye may spot it if you reflect in the mirror or turn your work facing the wall and leaving it there for a day or two before looking at it again, but who has the time to wait a few days before working on a piece again.
Another computer tool I use is taking a digital of my drawing, which may not be going well, load it into photoshop, print it out and make vine charcoal drawing corrections on the print out. I found this saves wear and tear on my mi-tientes paper and the frustration of ruining good paper or having to start all over again with a completely new drawing.


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Reps To Increase Supreme Court Justices From 21 To 41
Posted by News Staff on December 10, 2020,
The House of Representatives, on Wednesday, passed through First Reading a bill which seeks to increase the number of Justices of the Supreme Court of Nigeria from 21 to 41.
The bill which seeks to alter the 1999 Constitution (as amended), Cap. C23, Laws of the Federation of Nigeria, 2004, was sponsored by Chairman, House Committee on Judiciary, Hon Onofiok Luke.
According to the proponent of the bill, the proposed amendment was aimed to ensure expedite dispensation of justice and hearing and determination of appeals and for related matters.
The bill seen by Tribune Online seeks to alter Section 230(2a) of the Principal Act by substituting for the word 'twenty-one', the word 'forty-one'.
Also at plenary, the House passed through First Reading a Bill which seeks to make all appeals to the Supreme Court to be by leave in order to reduce the workload on the Court, expedite hearing and determination of appeals, and encourage efficiency and quality.
As proposed by Hon Onofiok Luke, the proposed legislation seeks to alter the provisions of the 1999 Constitution (First Alteration) Act, 2010 and the Constitution of the Federal Republic of Nigeria (Second Alteration) Act, 2010.
He solicited for the substitution for section 233 of the 1999 Constitution, section 24 of the Constitution (First Alteration) Act and section 6 of the Constitution (Second Alteration) Act.
Hon Luke also called for the amendment of Section 233 of the Constitution, section 24 of the First Alteration Act and section 6 of the Second Alteration Act to be substituted for the following new section- (1) The Supreme Court shall have jurisdiction, to the exclusion of any other court of law in Nigeria, to hear and determine appeals from the Court of Appeal.
"(2) All appeals from the Court of Appeal to the Supreme Court shall be with the leave of the Supreme Court except decisions on any question- (a) whether any person has been validly elected to the office of President or Vice President under this Constitution; (b) whether the term of office of President or Vice President has ceased; (c) whether the office of President or Vice President has become vacant; (d) whether any person has been validly elected to the office of Governor or Deputy Governor under this Constitution; (e) whether the term of office of a Governor or Deputy Governor has ceased; (f) whether the office of Governor or Deputy Governor has become vacant; and (g) any pre-election matter as provided under this Constitution.
Subsection (3) also provides that: The Supreme Court may dispose of any application for leave to appeal from any decision of the Court of Appeal in respect of any civil or criminal proceedings in which leave to appeal is necessary after consideration of the record of the proceedings if the Supreme Court is of the opinion that the interest of justice do not require an oral hearing of the application; while subsection (4)(a), (b) and (c) also stipulates that: "In considering application for leave to appeal, the Supreme shall have regard to the novelty or reconditeness of the decision sought to be appealed; the fact that the decision sought to be appealed against relates to interpretation or application of this Constitution, Chapter IV of this Constitution or is on the sentence of death; or interest of justice.
Subsection (5) also provides that: "An application for leave to appeal shall be heard and determined expeditiously by the Supreme Court and for the purpose of hearing and determining of an application for leave, the Supreme Court shall be duly constituted if it consists of not less than three Justices of the Supreme Court.
Subsection (6) stated that: "Any right or leave of appeal to the Supreme Court from the decisions of the Court of Appeal conferred by this section shall be exercisable in the case of civil proceedings, at the instance of a party thereto, or with the leave of the Supreme Court at the instance of any other person having an interest in the matter, and in the case of criminal proceedings, at the instance of an accused person, or with the leave of the Supreme Court at the instance of any other person having an interest in the matter, or subject to the provisions of this Constitution and any powers conferred upon the Attorney-General of the Federation or the Attorney-General of a State to take over and continue or to discontinue such proceedings, at the instance of such other authorities or persons as may be prescribed.
He also proposed that subsection (7) should provide that: "Any right or leave of appeal to the Supreme Court from the decisions of the Court of Appeal conferred by this section shall, subject to section 236 of this Constitution, be exercised in accordance with any Act of the National Assembly and rules of court for the time being in force regulating the powers, practice and procedure of the Supreme Court."
Hon. Luke also proposed the Substitution for section 234 of the Constitution that will indicate that: "For the purpose of exercising any jurisdiction conferred upon it by this Constitution or any law, subject to section 233 (5) of this Constitution, the Supreme Court shall be duly constituted if it consists of not less than five Justices of the Supreme Court; provided that where the Supreme Court is sitting to consider an appeal arising from the interpretation or application of this Constitution, Chapter IV of this Constitution, or to exercise its original jurisdiction in accordance with section 232 of this Constitution, the Court shall be constituted by seven Justices."
Source:- Tribune
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Cost-sharing provisions in commercial insurance plans and Medicare Part D options have led to much less-affordable specialty drugs in the market, according to an article published on Health Affairs.
The article's authors aim to address how cost-sharing provisions and rising drug costs are threats to that affordability, and provide possible solutions to produce out-of-pocket costs protections for patients.
"Policies that include consideration of value for establishing cost sharing and coverage are more challenging to implement but may be a more promising long-term strategy," the authors write.
Specialty drugs, the authors write, can be considered a main driver of the spending growth.
Click here to read the full article on Health Affairs.


This fits your. Pop goes the TOAST! Get your pan ready and catch all the "toasted" bread - You never know how many will pop up! Then, match it to your placemat, but just don't catch the stinky fish or you must give up a slice! The player with the most food on their plate WINS!


Since stepping on to the 16:36 train from Manchester to London last Sunday I have been trying to put together some thoughts on the Unofficial Histories Conference, held over the weekend of the 15th and 16th July 2013 at Manchester Metropolitan University and the People's History Museum. This is a quick summary of my own views of the conference but please feel free to share yours or let me know you interpreted papers etc., differently.
On that train from Manchester I realised that what I really enjoyed about the weekend, was that more than an average academic conference Unofficial Histories felt like a celebration of history as, to quote Raphael Samuel, a 'social form of knowledge', reinforcing the importance and power of history in this form. The relevance of history to today's world was consistently emphasised over the weekend, whether it can inform our views of current political situations or develop our historical practice, and I was truly inspired by the amount and value of the work being done out there by all those who love history.
The opening papers went some way in setting the tone for the rest of the weekend. Adam Gutteridge discussed the value of public history in giving people the tools to question preconceived ideas, and that it was the process more than the product that was important. As historians and archaeologists we have particular skills and by sharing them with the public, and, importantly, giving them intellectual freedom to pursue projects, we could be empowering others. Greta Williams Schultz and Jess Bradley discussed disability history in the context of recent changes in the law regarding benefits for disabled people. It looked at stigmatisation and the creation of two contrasting images of disabled people. That of the 'worthy' disabled person, seen as early as Ancient Greece where myths celebrated the disabled people who survived being abandoned at birth, seen again in the the World War One war-hero and Paralympic 'superhumans'; contrasted to the disabled person seen to be reliant on charity from the community or government, the modern day 'scrounger'. Through these images the person is removed, and it is important to create a greater awareness of disability issues with the disabled person as a central focus, and history is part of that. David Rosenberg told us about a collection of radical tour guides from across Europe who had recently met up to share experience and histories – through this they were finding parallels in radical histories, this included a match girl strike, months a part in London and Oslo, in 1888/9, as well as drawing similarities to modern day struggles. This group of radical tour guides also tried to put together a manifesto of who they are and what they are trying to achieve. David really made me think about audience and who we are talking to as historians and public historians. He discussed the types of people who we went on his tours mentioning that a lot of the time participants already had an interest in radical history. He also mentioned a weariness of potential elitism of social media and digital technologies. Social media is very useful for increasing or targeting an audience (I am writing this on a blog afterall), but it is not necessarily as universal as we'd perhaps like to think. This international collection of radical tour guides is growing and they hope to eventually produce radical travel guides, something I for one would love to see.
I could easily go through each paper I saw and give a brief description with some points about the main ideas I took from it, they were all brilliant and gave me lots of food for thought, but instead I'll just mention some broad themes that covered a few papers and try to discuss what I learnt from them.
History can be an important element in the process of healing people or countries after conflict.
The practise of good historical research can be used in conjunction with other mediums, such as theatre or museum displays, to explore ways to bring fractured communities together. However the manipulation and the writing out of history of particular groups can lead to further tensions and the opening of old wounds. This was exemplified in Laura De Becker's paper on how the genocide in Rwanda was being remembered in official and unofficial memorials, between them leaving no space to commemorate the murder of moderate Hutus alongside Tutsis.
Heritage policy should involve people.
Modern museum practise has developed great ways to ensure that people of different backgrounds are represented in their displays moving away from the dominant White Male history. Though there is always more work to be done, these shouldn't feel like add-ons but be fully integrated, possibly changing a visitor's preconceptions, as discussed by David Callaghan when looking at Birmingham Museum and Art Gallery. In a wider sense local councils could possibly learn a lot from museums, and that audience research is essential, something pointed out by Anna Scott in her paper that looked at a local heritage policy developing around a link to the Pilgrim Father's, however this heritage appeared to be almost unknown in the local population and little if no research into the number of American visitors to the area.
Emotion can play an important part in historical research.
We all do research for the love of the topic, but sometimes we can work with something we find particularly emotive, especially when looking to defeat a perceived injustice. This can appear in many ways, through working closely with a community or through nostalgia and can be a useful motivator but it was also acknowledged that it was also necessary to find that space to do research as objectively as possibly – the only way to do your area of research justice is to use your skills as a researcher to the best of your abilities. Two particularly emotive papers were from Holly Gale Millette looking at the boaters community in the midst of attempts from outside to reform and regulate their way of life; and Ian Waites who framed happy childhood memories of living on a council estate within a revaluation of the historiography of the English council estate.
Finally, collaboration is almost essential in reaching out to the public and accessing those unofficial histories.
Collaboration ran through the whole conference, from a paper looking at using oral history with archaeology from Kerry Massheder; to the collective of radical tour guides; to the film that finished off the weekend looking at a community theatre project in Salford that used Frederich Engles' The Condition of the Working Classes as a starting point. To me this was a vital factor if we want to encourage the public to see any benefit in historical research and to see it as relevant to them.
As you can probably tell I had a brilliant time at the Unofficial Histories conference and I feel like I took a lot from it. The whole ethos of the event was to spread the historical word, so to speak. Not necessarily pushing one period of history or one method; but to explore how we communicate our art and reminding us of why it is important to do so.
I'll finish with an image of the Collective of International Radical Tour Guides' proposed manifesto, as it has many points I think we could all agree on.
A very quick post to mainly promote my local history society: HistoryTalk!
It is the community history society for North Kensington and I have volunteered for them as part of the Britain at Work project, and I also had the pleasure of a giving a talk in Spring on the centenary of the Electric Cinema on Portobello Road.
But thought I'd copy and paste some of the details below as well – hope to see some of you there!
(Please contact HistoryTalk for locations and further details).
Portobello Roots the market in the 1920s and 30s.
With local historians Eddie Adams and Tom Vague.
Portobello Today and its Future children from Colville Primary School present their documentary Stall Stories.
Following this there will be a panel discussion with speakers from Save the Portobello Road Market campaign.
A talk by Mark Olden about the murder of Kelso Cochrane in 1959, based on his new book.
Britain at Work oral history project update.
Britain at Work Project Page & a blog I've written about my involvement so far.
An introduction to the history, politics and culture of North Africa. Ten free sessions.
Starts Monday 26th September 6.30-8.30pm. Ends Monday 5th December. Break on 24th October.
Arabic. Complete beginners welcome. Six free sessions.
Starts Saturday 29th October 3-6pm.Ends Saturday 3rd December.
their experiences and memories. This term the focus will on bilingual publication and music.
Ten free sessions. Starts Friday 16th September 1.30-3.30pm. Ends Friday 16th December. With some breaks.
Local history and reminiscence looking in particular at Norland Market, Latimer Road, Wood Lane, Frestonia, White City Stadium and more.
Eight free sessions. Starts Wednesday 5th October 2-4pm. Ends Wednesday 30th November. Break on 2nd November.
walks & talks through the Eastern edge of North Kensington (into Westminster) Look at old photos and maps, share memories of more recent changes and go out on visits and walks.
Eight sessions. £2.50 per session. Starts Monday 12th September 10.30-12.30pm. Ends Monday 14th November. With some breaks.
Last week I had the pleasure of attending the opening of the new exhibition at the London Guildhall Art Gallery, Working Lives of the Thames Gateway. I was there for Culture24 and my review of the exhibition can be found here.
The exhibition is the result of a three-year oral history project focused, as the title gives suggests, on the working lives of people who lived and worked in the Thames Gateway area, an area that was once the industrial heartland of East London. As a volunteer on two oral history projects (see my previous post) I found this exhibition particularly interesting.
It is popular for exhibitions to use and integrate oral histories into their narrative, but this exhibition is slightly different as it is based on an oral history project. Consequently the objects and panels were supporting the oral histories and the historical research done in tandem with that.
With two listening posts at either side of the exhibition offering snippets of a total of 16 interviews, and transcript extracts as part of the panels I was very aware that the history on offer was only a fraction of that contained in the over 250 interviews conducted.
I get the feeling the exhibition is only an introduction to the work done by the Eastside Community Heritage group and their volunteers. The exhibition itself does cover some interesting aspects of life working in the Thames Gateway, the sense of community and recreational activities organised by the companies, but it is understandable that the output of the project is an exhibition, a book, a documentary and an education pack.
It really highlighted for me the difficulty in presenting a thought-provoking and engaging exhibition on such a large topic with a massive source base, but with restricted money and space. With this in mind I think the exhibition does very well, and its setting at the Guildhall is striking, the use of images on the windows really draw you up to the landing. Also the juxtaposition of the exhibition with the portraits and busts of kings and queens is interesting, its like two historiographical traditions having a stand-off, top down vs social history. For me social history wins every time.
Hopefully in the coming months there will also be some events that can explore some of the related topics of the Working Lives of the Thames Gateway in more depth, or maybe I'll just have to buy the book.
As a final point, here's a link to an interesting blog asking: What is the Thames Gateway? An interesting point regarding the framework put upon this oral history project. Boundary choices are always interesting for defining a history project's standpoint, and as the Thames Gateway is designated area for regeneration it could be seen as a nostalgic look at an area before it fell into decline, or perhaps seen as slightly more forward looking and political objective. I'm defiantly going to have to get the book to decide.
For a while now I've been interested in oral history, wanting to learn more about its contribution to our knowledge and understanding of the past. Consequently last year I started volunteering on oral history projects.
Oral history was a practice that was first cultivated by the folklore and linguistic scholars. With the popularity of social history in the middle of the twentieth century, it began to talk to social historians. Oral history was initially seen as a way to discover 'hidden histories', to give a voice to the every-man (or woman) in industry or agricultural.
With the cultural turn came a new critical and literary understanding of the technique. Cultural history encouraged the use of oral history, especially as a way to research the everyday, but underlined that it's value is best realised alongside other sources to help evaluate its reliability and factual content.
Today oral history is used to cover a breadth of people and topics, made all the easiesr by the growing British Library Sound Archive and other smaller archives. It is also extremely popular in museum exhibitions and in community projects, this may be because it is one of the simplest ways to get communities involved and engaged in history. I have been volunteering on such community two projects, based on opposites sides of London to try to learn more.
The first project is Britain at Work: 1945-1995, and focuses on the employment history of ordinary people in the West London area after the Second World War. The idea is to record how ordinary people helped rebuild the country after the War through their jobs as factory workers, teachers, bus conductors etc. It is run by the local history society, HistoryTalk and funded by the TUC, which also leans the project towards an interest in union history, but it is an overwhelming influence.
The other project is a bit different and mainly focuses on an area in East London called the Hackney Cut, part of the canal that cuts away from the River Lee, and now sits in the shadow of the new Olympic Park. This is an artist lead project, so we volunteers conduct the oral history interviews with locals who have memories/experience of the Cut and the artists use them as inspiration for art work. This is run by [SPACE], an arts organisation, based in Hackney that provides studio spaces for artists to work in and exhibit work, and is funded by the HLF.
Both projects, though quite different in style and focus have one main objective in common, to record a part of history that may otherwise be forgotten or at least not recorded in some way.
Many interviewees ask why their story is important, and it's my job to explain that in years to come we'll have the official record of how a company functioned, or where houses were built, but that isn't the same as an account of the atmosphere of a factory, or why they enjoy living on the canal. The small human details.
Consequently through these projects I feel that I have learnt a lot about oral history, what it is and how it is used. I also feel that I have helped contribute to worthwhile historical projects and through my role as interviewer become a part of those histories.
Please feel free to get in touch if you'd like to get involved with these projects, I'd be happy to forward the project coordinators details. It would also be great to hear about any other Oral History projects going on in London, or indeed the country or world!!