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Indy 500: Fernando Alonso unhurt after practice crash
Ex-Formula 1 world champion Fernando Alonso has emerged unhurt from a crash in practice for the Indianapolis 500. The 37-year-old Spaniard is making
By: bbc.com
Ex-Formula 1 world champion Fernando Alonso has emerged unhurt from a crash in practice for the Indianapolis 500.
The 37-year-old Spaniard is making his second attempt at the event but the accident on Wednesday was the latest in a series of setbacks this year.
Alonso said he had made a "mistake", adding: "It was understeer and even if I lifted the throttle on the entry of the corner, it was not enough.
"I completely lost the front aero. The wall came too close and too quickly."
McLaren have set up a new team to run Alonso at the prestigious Indy 500 this year as he seeks to become only the second man in history to complete motorsport's unofficial 'triple crown', which also includes the Monaco Grand Prix and Le Mans 24 Hours, both of which he has already won.
But the team have suffered electronic problems that badly afflicted running in a test last month and then electrical problems cut short their first day of practice on Tuesday. The accident - at Turn Three on the oval track which has average speeds of about 230mph - has cost Alonso more mileage.
Alonso had set 16th fastest time at the time of his accident, his 225.433mph average 3.4mph down on pace-setter Scott Dixon of the Ganassi team.
Alonso, who was taken to the medical centre and released after checks, said: "We will lose a little bit of running time again. I'm sorry for the team, but we will learn and hopefully we will come back stronger tomorrow.
"We worked quite a lot on the car and definitely now it's quite damaged, so I feel sorry for the team and for my mistake, hopefully tomorrow we're back on track and back stronger."
The team said it was unlikely they would run again on Wednesday, but there was a small possibility they might get out for a few laps at the end of day if they felt they could get the car ready without rushing it.
Alonso, who in 2017 qualified fifth with the Andretti team and led the race for 24 laps before retiring with an engine failure in the closing stages, has just two days of practice on Thursday and Friday remaining to prepare for qualifying, which runs over two days this weekend.
Saturday defines positions 10 to 30 on the grid, as well as which nine drivers will go through to compete for pole position and the top positions on the grid on Sunday.
The fastest nine on Saturday then run again on Sunday to compete for pole position.
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January 13, 2015 2:36AM EST
Egypt: 3-Year Sentence for Atheist
Convicted Under Blasphemy Laws
***The below news release was updated to correct that four people were sentenced for blasphemy in Luxor governorate in June 2014.
(New York) – An Egyptian minor offenses court on January 10, 2015, sentenced a student accused of writing Facebook posts that insulted Islam to three years in prison. The sentence, one of several handed down on blasphemy charges in recent years, came amid a coordinated government crackdown on perceived atheists.
Authorities arrested the student, Karim Ashraf Mohamed al-Banna, with a group of other people at a café in the Beheira governate in November 2014, the Association for Freedom of Thought and Expression reported.
"Atheists are one of Egypt's least-protected minorities, although the constitution ostensibly guarantees freedom of belief and expression," said Sarah Leah Whitson, Middle East and North Africa director. "Egyptian authorities need to be guided by the constitution and stop persecuting people for atheism."
Al-Banna's sentencing is part of a wider government push to combat atheism and other forms of dissent. It came after police closed a so-called atheists café in downtown Cairo on December 14, and one of the country's highest Sunni authorities issued a survey that purported to document what religious officials described as a worrying number of atheists in Egypt.
Ishak Ibrahim, a researcher for the Egyptian Initiative for Personal Rights (EIPR), told the Agence France Press (AFP) news agency that a local newspaper identified al-Banna as an atheist after his arrest, and that neighbors had subsequently harassed him. Al-Banna's lawyer, Ahmed Abdel Nabi, told AFP that al-Banna's father had testified against his son and accused him of "embracing extremist ideas against Islam."
A court will hear al-Banna's appeal on March 9, 2015, and his bail has been set at 1,000 Egyptian pounds (US$140), his lawyer told AFP.
Since Egypt's 2011 uprising, authorities have increasingly investigated blasphemy allegations stemming from both private complaints and government prosecutions. The majority of those investigations, documented by the EIPR, have concerned alleged insults against Islam, though at least two men have received prison sentences on charges of insulting Christianity. Cases of alleged blasphemy often arise out of personal or unrelated disputes.
Recently, the authorities have targeted perceived atheists. Police said the café shut down on December 14, 2014, in Cairo's Abdeen district was popular with suspected atheists, and District Administrative Chief Gamal Mohie told the Mada Masr news website that the coffee shop was unlicensed and "popularly known as a place for Satan worship, rituals and dances." He said police had raided the café in November. The Al-Monitor news site reported that a previous owner said he closed the café and leased it to a new owner in June because security forces had targeted the café as a hub for political activists.
On December 10 the Dar al-Ifta, a Justice Ministry wing that issues religious edicts, released a survey claiming that Egypt was home to 866 atheists, the highest number of any country in the Middle East. Two aides to the Grand Mufti – the head of the Dar al-Ifta – described the supposed increase in atheism as "a dangerous development" that "should ring alarm bells," Mada Masr reported.
In March, the Interior Ministry official in charge of security in Alexandria said he would form a task force to arrest atheists. In June, following the election of President Abdel Fattah al-Sisi, Egypt's youth and religious endowments ministries announced a joint campaign to confront the spread of atheism.
From 2011 to 2013, courts convicted 27 of 42 defendants on charges of contempt for religion, according to the EIPR. Judges acquitted three defendants and rejected charges against 11 others for lack of standing.
Egypt is party to human rights treaties, including the International Covenant on Civil and Political Rights and the African Charter on Human and Peoples' Rights, which require its government to respect and protect freedom of religion and belief and freedom of expression, without any discrimination.
Article 64 of Egypt's constitution states that "freedom of belief is absolute" but guarantees "freedom of practicing" only to followers of Islam, Christianity, and Judaism.
In many blasphemy cases, according to the EIPR, government prosecutors and private plaintiffs have invoked article 98(f) of the penal code, which prescribes a sentence of six months to five years and a fine of 500 to 1,000 Egyptian pounds for anyone who uses religion to propagate "extremist ideas" to incite strife, insult a monotheistic religion, or damage national unity.
Blasphemy prosecutions continued in 2014. On December 27, prosecutors filed charges against author Fatima Naaout for allegedly writing sarcastic comments on her Facebook wall about the slaughter of animals for the Eid al-Adha holiday. In June, an appeals court in Beni Suef governorate upheld a five-year sentence in absentia for Karam Saber, who was charged in 2010 after publishing a short story collection entitled, "Where is God?"
Also in June 2014, separate courts in Luxor governorate imposed blasphemy sentences of up to six years on four people. A minor offenses court sentenced Kirollos Shawki Atallah to six years for posting photos on Facebook deemed defamatory to Islam. A minor offenses appeals court upheld a conviction and imposed a six-month sentence on Dimyana Obeid Abdel Nour, a primary school teacher whose students had accused her of ridiculing Islam. The same appeals court issued six-month blasphemy sentences for Shahira Mohamed Ahmed Suleiman and Khalifa Mohamed Kheir, according to the EIPR.
In June 2013, a court in Assiut governorate sentenced a Coptic Christian lawyer, Roman Murad Saad, in absentia to one year in prison with hard labor for "ridiculing" the Quran at a Lawyers Syndicate meeting.
In December 2012, a blogger, Albert Saber, was sentenced to three years in prison. He was accused under article 98(f) and other provisions of establishing web pages including "Screwing the Gods" and "Egyptian Atheists." Critics had also claimed he posted the film "Innocence of Muslims," a film considered anti-Islamic, on his website. He was released on bail pending his appeal and fled Egypt.
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The real reason Meghan Markle won't wear a Victoria Beckham dress
Nov 9th 2018 10:44AM
Meghan Markle is always keen to support her friends in fashion by wearing their designs during her royal engagements. But there is one item you won't see the Duchess of Sussex rocking anytime soon — a Victoria Beckham dress.
While the Beckhams are good friends of the royal family — and even attended Harry and Meghan's wedding in May — it turns out VB's dresses aren't such a perfect fit for the 37-year-old royal.
Meghan Markle's best style moments ever
LONDON, ENGLAND - SEPTEMBER 06: Meghan, Duchess of Sussex and Prince Harry, Duke of Sussex attend the '100 days of peace' concert to commemorate the centenary of the end of the First World War at on September 6, 2018 in London, England. The evening will benefit three mental health charities 'Heroes', 'Combat Stress' and 'Heads Together'. (Photo by Neil Mockford/GC Images)
WINDSOR, ENGLAND - JULY 26: Meghan, Duchess of Sussex attends the Sentebale Polo 2018 held at the Royal County of Berkshire Polo Club on July 26, 2018 in Windsor, England. (Photo by Samir Hussein/Samir Hussein/WireImage)
LONDON, UNITED KINGDOM - JULY 17: (EMBARGOED FOR PUBLICATION IN UK NEWSPAPERS UNTIL 24 HOURS AFTER CREATE DATE AND TIME) Meghan, Duchess of Sussex and Prince Harry, Duke of Sussex visits The Nelson Mandela Centenary Exhibition at the Southbank Centre on July 17, 2018 in London, England. The exhibition explores the life and times of Nelson Mandela and marks the centenary of his birth. (Photo by Max Mumby/Indigo/Getty Images)
LONDON, ENGLAND - JULY 14: Meghan, Duchess of Sussex attends day twelve of the Wimbledon Tennis Championships at the All England Lawn Tennis and Croquet Club on July 14, 2018 in London, England. (Photo by Karwai Tang/WireImage )
DUBLIN, DUBLIN - JULY 11: Meghan, Duchess of Sussex visits Irish President Michael Higgins and his wife Sabina Coyne at Aras an Uachtarain during their visit to Ireland on July 11, 2018 in Dublin, Ireland. (Photo by Pool/Samir Hussein/WireImage)
DUBLIN IRELAND - JULY 11: Meghan, Duchess of Sussex attends a meeting at the Taoiseach during their visit to Ireland on July 11, 2018 in Dublin, Ireland. (Photo by Pool/Samir Hussein/WireImage)
DUBLIN, IRELAND - JULY 10: Prince Harry, Duke of Sussex and Meghan, Duchess of Sussex attend a reception at Glencairn, the residence of Robin Barnett, the British Ambassador to Ireland during day one of their visit to Ireland on July 10, 2018 in Dublin, Ireland. (Photo by Geoff Pugh - WPA Pool/Getty Images)
LONDON, ENGLAND - JULY 10: Meghan, Duchess of Sussex attends as members of the Royal Family attend events to mark the centenary of the RAF on July 10, 2018 in London, England. (Photo by Jeff Spicer/Getty Images)
LONDON, ENGLAND - JULY 05: Prince Harry, Duke of Sussex and Meghan, Duchess of Sussex arrive to attend the Your Commonwealth Youth Challenge reception at Marlborough House on July 05, 2018 in London, England. (Photo by Yui Mok - WPA Pool/Getty Images)
Prince Harry, Duke of Sussex and Meghan, Duchess of Sussex during day one of Royal Ascot at Ascot Racecourse. (Photo by Steve Parsons/PA Images via Getty Images)
WIDNESS, ENGLAND - JUNE 14: Meghan, Duchess of Sussex opens the new Mersey Gateway Bridge on June 14, 2018 in Widness, England. (Photo by Samir Hussein/Samir Hussein/WireImage)
LONDON, ENGLAND - JUNE 09: Meghan, Duchess of Sussex heading back to Buckingham Palace during Trooping The Colour on the Mall on June 9, 2018 in London, England. The annual ceremony involving over 1400 guardsmen and cavalry, is believed to have first been performed during the reign of King Charles II. The parade marks the official birthday of the Sovereign, even though the Queen's actual birthday is on April 21st. (Photo by Chris Jackson/Getty Images)
LONDON, ENGLAND - MAY 22: (L-R) Camilla, Duchess of Cornwall and Meghan, Duchess of Sussex attend The Prince of Wales' 70th Birthday Patronage Celebration held at Buckingham Palace on May 22, 2018 in London, England. (Photo by Chris Jackson/Chris Jackson/Getty Images)
The newly married Britain's Prince Harry, Duke of Sussex, (R) and Meghan Markle, Duchess of Sussex, (L) leave Windsor Castle in Windsor on May 19, 2018 after their wedding to attend an evening reception at Frogmore House. (Photo by Steve Parsons / POOL / AFP) (Photo credit should read STEVE PARSONS/AFP/Getty Images)
Britain's Prince Harry, Duke of Sussex and his wife Meghan, Duchess of Sussex walk down the west steps of St George's Chapel, Windsor Castle, in Windsor, on May 19, 2018 after their wedding ceremony. (Photo by Ben STANSALL / POOL / AFP) (Photo credit should read BEN STANSALL/AFP/Getty Images)
KING'S LYNN, ENGLAND - DECEMBER 25: Princess Beatrice, Princess Eugenie, Princess Anne, Princess Royal, Prince Andrew, Duke of York, Prince William, Duke of Cambridge, Catherine, Duchess of Cambridge, Meghan Markle and Prince Harry attend Christmas Day Church service at Church of St Mary Magdalene on December 25, 2017 in King's Lynn, England. (Photo by Chris Jackson/Getty Images)
LONDON, ENGLAND - APRIL 25: Meghan Markle attends the Anzac Day service at Westminster Abbey on April 25, 2018 in London, England. (Photo by Samir Hussein/Samir Hussein/WireImage)
LONDON, ENGLAND - APRIL 23: Prince Harry and Meghan Markle attend the 25th Anniversary Memorial Service to celebrate the life and legacy of Stephen Lawrence at St Martin-in-the-Fields on April 23, 2018 in London, England. (Photo by Neil Mockford/GC Images)
LONDON, ENGLAND - APRIL 21: (EMBARGOED FOR PUBLICATION IN UK NEWSPAPERS UNTIL 24 HOURS AFTER CREATE DATE AND TIME) Meghan Markle attends the Invictus Games Reception at Australia House on April 21, 2018 in London, England. (Photo by Karwai Tang/WireImage)
Britain's Prince Harry's fiancee, US actress Meghan Markle, attends a reception for Women's Empowerment at the Royal Aeronautical Society in central London, on the fourth day of the Commonwealth Heads of Government Meeting (CHOGM) on April 19, 2018. (Photo by CHRIS JACKSON / POOL / Getty Images) (Photo credit should read CHRIS JACKSON/AFP/Getty Images)
LONDON, ENGLAND - APRIL 18: Meghan Markle attends a reception with delegates from the Commonwealth Youth Forum during the Commonwealth Heads of Government Meeting at Queen Elizabeth II Conference Centre on April 18, 2018 in London, England. (Photo by Mark Cuthbert/UK Press via Getty Images)
BELFAST, UNITED KINGDOM - MARCH 23: Meghan Markle and Prince Harry depart after visiting the iconic Titanic Belfast during their trip to Northern Ireland on March 23, 2018 in Belfast, Northern Ireland, United Kingdom. (Photo by Karwai Tang/WireImage)
LONDON, ENGLAND - MARCH 12: Meghan Markle and Prince Harry attend the 2018 Commonwealth Day service at Westminster Abbey on March 12, 2018 in London, England. (Photo by Samir Hussein/Samir Hussein/WireImage)
BIRMINGHAM, ENGLAND - MARCH 08: Meghan Markle visits Millennium Point on March 8, 2018 in Birmingham, England. (Photo by Samir Hussein/Samir Hussein/WireImage)
EDINBURGH, SCOTLAND - FEBRUARY 13: Meghan Markle visits Social Bite, a cafe that donates all profits to social causes, during their first official joint visit to Scotland on February 13, 2018 in Edinburgh, Scotland. (Photo by Karwai Tang/WireImage)
LONDON, ENGLAND - NOVEMBER 27: (EMBARGOED FOR PUBLICATION IN UK NEWSPAPERS UNTIL 24 HOURS AFTER CREATE DATE AND TIME) Prince Harry and Meghan Markle attend an official photocall to announce the engagement of Prince Harry and actress Meghan Markle at The Sunken Gardens at Kensington Palace on November 27, 2017 in London, England. Prince Harry and Meghan Markle have been a couple officially since November 2016 and are due to marry in Spring 2018. (Photo by Karwai Tang/WireImage)
TORONTO, ON - SEPTEMBER 23: Meghan Markle attends the Opening Ceremony of the Invictus Games Toronto 2017 at the Air Canada Arena on September 23, 2017 in Toronto, Canada. The Games use the power of sport to inspire recovery, support rehabilitation and generate a wider understanding and respect for the Armed Forces. (Photo by Karwai Tang/WireImage)
TORONTO, ON - MAY 31: Actress Meghan Markle attends the Instagram Dinner held at the MARS Discovery District on May 31, 2016 in Toronto, Canada. (Photo by George Pimentel/WireImage)
LOS ANGELES, CA - MAY 20: Meghan Markle arrives at the P.S. Arts' The Party held at NeueHouse Hollywood on May 20, 2016 in Los Angeles, California. (Photo by Michael Tran/FilmMagic)
TORONTO, ON - MARCH 22: Actress Meghan Markle attends the World Vision event held at Lumas Gallery on March 22, 2016 in Toronto, Canada. (Photo by George Pimentel/WireImage)
NEW YORK - MARCH 18: Meghan Markle seen at the Today Show on March 18, 2016 in New York, New York. (Photo by Josiah Kamau/BuzzFoto via Getty Images)
Actress Meghan Markle arrives at 'ELLE'S 6th Annual Women In Television Dinner' held at the Sunset Tower. (Photo by Frank Trapper/Corbis via Getty Images)
NEW YORK, NY - JUNE 24: Actress Meghan Markle attends the 2015 NBC New York Summer Press Day at Four Seasons Hotel New York on June 24, 2015 in New York City. (Photo by Mireya Acierto/FilmMagic)
NEW YORK, NY - MAY 14: Actress Meghan Markle attends the 2015 NBCUniversal Cable Entertainment Upfront at The Jacob K. Javits Convention Center on May 14, 2015 in New York City. (Photo by Robin Marchant/Getty Images)
NEW YORK, NY - OCTOBER 28: Model Meghan Markle attends the Elton John AIDS Foundation's 13th Annual An Enduring Vision Benefit at Cipriani Wall Street on October 28, 2014 in New York City. (Photo by Jamie McCarthy/WireImage)
NEW YORK, NY - SEPTEMBER 05: Model Meghan Markle attends the Peter Som fashion show during Mercedes-Benz Fashion Week Spring 2015 at Milk Studios on September 5, 2014 in New York City. (Photo by Mireya Acierto/Getty Images)
NEW YORK, NY - FEBRUARY 08: Meghan Markle is seen at Lincoln Center for the Performing Arts on February 8, 2014 in New York City. (Photo by Jacopo Raule/Getty Images)
LONDON, ENGLAND - NOVEMBER 11: Meghan Markle attends the UK Premiere of 'The Hunger Games: Catching Fire' at Odeon Leicester Square on November 11, 2013 in London, England. (Photo by David M. Benett/WireImage)
In a recently unearthed interview, the former Suits star explains why she would never wear a VB dress.
Speaking to Glamour UK back in 2017, Meghan explains: "Now what I'm starting to learn is, even though things look amazing on the hanger, it doesn't mean they're going to look amazing on me.
"For example, I love Victoria Beckham dresses, but I don't have the long torso to support that silhouette."
Though Meghan doesn't think she can pull off a Victoria Beckham dress, she has been able to show her love for the brand during her time with Harry. The mom-to-be wore a white cashmere sweater by VB in one of her engagement photos with Prince Harry.
Prince Harry and Ms. Meghan Markle have chosen to release this official portrait photograph to mark their engagement. The photograph was taken by photographer @alexilubomirski earlier this week at Frogmore House, Windsor.
A post shared by Kensington Palace (@kensingtonroyal) on Dec 21, 2017 at 3:59am PST
Something tells us Victoria was pretty happy with that!
See more of Meghan's famous friends below:
Meghan Markle with other famous faces
WEST HOLLYWOOD, CA - JANUARY 20: (L-R) Actors Abigail Spencer, Jordana Brewster, Meghan Markle and Sarah Hyland attend ELLE's 6th Annual Women in Television Dinner Presented by Hearts on Fire Diamonds and Olay at Sunset Tower on January 20, 2016 in West Hollywood, California. (Photo by Stefanie Keenan/Getty Images for ELLE)
NEW YORK, NY - FEBRUARY 01: (L-R) Meghan Markle, Serena Williams and Hannah Davis participate in the DirecTV Beach Bowl at Pier 40 on February 1, 2014 in New York City. (Photo by Kevin Mazur/Getty Images for DirecTV)
NEW YORK, NY - FEBRUARY 01: Meghan Markle, Nina Agdal and Shay Mitchell participate in the DirecTV Beach Bowl at Pier 40 on February 1, 2014 in New York City. (Photo by Mike Coppola/Getty Images for DirecTV)
WEST HOLLYWOOD, CA - JANUARY 20: (L-R) Actors Abigail Spencer, Meghan Markle and Constance Zimmer attend ELLE's 6th Annual Women in Television Dinner Presented by Hearts on Fire Diamonds and Olay at Sunset Tower on January 20, 2016 in West Hollywood, California. (Photo by Stefanie Keenan/Getty Images for ELLE)
NEW YORK, NY - SEPTEMBER 11: Georgina Chapman (L) and Meghan Markle attend the Marchesa show during Spring 2014 Mercedes-Benz Fashion Week at New York Public Library on September 11, 2013 in New York City. (Photo by Gary Gershoff/WireImage)
NEW YORK, NY - SEPTEMBER 07: Models Meghan Markle (L) and Petra Nemcova attend the Herve Leger By Max Azria fashion show during Mercedes-Benz Fashion Week Spring 2014 at The Theatre at Lincoln Center on September 7, 2013 in New York City. (Photo by Astrid Stawiarz/Getty Images for Mercedes-Benz Fashion Week Spring 2014)
NEW YORK, NY - SEPTEMBER 05: Model Meghan Markle (L) and actress Jamie Chung attend an exclusive preview of the Marchesa Voyage for ShopStyle collection on September 5, 2014 in New York City. (Photo by Neilson Barnard/Getty Images for ShopStyle)
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How Disney buying 20th Century Fox will change superhero movies forever
Sam Ashurst
14 December 2017, 0:38 am
Superhero movies are about to change in a very significant way. Disney's has acquired 20th Century Fox's film and TV properties, which means they now own a LOT of your favourite comic-book characters.
This is huge news for the industry. Disney has added 20th Century Fox to a stable that already includes Marvel, Lucasfilm and, well, Disney – it's basically become unstoppable.
But that's Paramount, Universal and Sony's problem – comic-book fans have their own intense repercussions from the deal to process.
Marvel now has the only comic-book properties it didn't have the rights to, back. It already has Spider-Man, thanks to the Sony deal. By buying Fox, Disney, gets X-Men, Fantastic Four and Deadpool – which might not sound like a lot, but the X-Men has a whole universe of characters, Fantastic Four could be the jewel in Marvel's crown, and Deadpool is basically essential for the future of the superhero genre.
And, going by recent comments from Kevin Feige, it sounds like Marvel has already planned for the eventuality. "We've got another 20 movies on the docket that are completely different from anything that's come before – intentionally."
"There will be two distinct periods. Everything before Avengers 4 and everything after."
In the light of the latest news, these are very interesting statements. Planning twenty future movies suddenly becomes very easy now Marvel has all of its characters back. They could get twenty from the X-Men stable alone.
That's not to mention what a valuable property Fantastic Four suddenly becomes in Marvel's hands. The cursed franchise would get a new lease of life in the MCU, something fans have been crying out for since even before Josh Trank's terrible take on the characters.
If they get it right, it'll further solidify Marvel as the brand that can achieve the impossible – adding to the recent miracles they've worked with Spider-Man.
But what's really fascinating about Disney's Fox deal isn't the fact we'll get a new Wolverine, and see him in his iconic yellow costume for the first time (despite how incredible Hugh Jackman was in the role, we'll always be disappointed he didn't wear his comic-book outfit), it's not even that we'll probably see George Clooney as Mr Fantastic driving the Fantasticar. No, it's what they'll do with Deadpool.
Deadpool is basically a franchise refresher – whenever any of the MCU's properties start to feel stale, they can inject Ryan Reynolds (presuming they keep him in the role – and we can see no reason why they wouldn't) to parody / deconstruct whatever series has started to feel repetitive, giving it new life. Think Thor: Ragnarok, but even more so.
The Merc with a Mouth would have been right at home in 'Ragnarok'.
But how will all of these characters suddenly show up? Easy, Marvel has a Multiverse (basically, hidden parallel universes which contain different versions of every Marvel hero), which could be introduced during Infinity War, once Thanos gets his paw on all the Infinity Stones.
Evangeline Lilly as The Wasp
If Ant-Man and the Wasp's Evangeline Lilly is to be believed, it sounds like that's where the MCU might be going.
"When I heard about Infinity War and the direction that they're heading, I did have this moment of realising, 'Oh, wow, there's a bit of a déjà vu for me with the Lost franchise'," Lilly said. "We are hitting that season four space where everything's about to shift, and you're about to lose the solid ground underneath you."
Yep, sounds like parallel worlds to us. Maybe the Multiverse is where The X-Men have been hiding for all of this time?
But, before you start strapping on your Cyclops cosplay in celebration, there is a downside.
Fox's film division has recently grown into a reliable source of interesting superhero movies, and their approach to franchises in general is edgy / risky (just look at Logan and War For The Planet Of The Apes from this year for proof).
Now Fox will be folded into Disney, we've lost both a bold voice and a clever competitor – one of the driving forces that's kept Disney's game focused.
This means that if Disney goes through a bad patch (it might seem impossible now, but failure comes to us all), we're in trouble. Where will we turn for our superhero cinema? Universal? Paramount? SONY? Warner Brothers' DC movies rebirth, following the failure of Justice League, suddenly feels a lot more important.
But let's keep things positive for now – fans have clamoured for Marvel to get back all of its key titles for a decade, and they've just seen it happen. Not only that, but iconic characters that have been adapted into graphic novels outside of Marvel could get a rebirth at the Mouse House. Forget Alien Vs Predator, you could be about to see The Guardians Of Galaxy get invaded by the Xenomorph, or Kraven The Hunter track down the Predator.
Basically, not even the sky will be the limit for Disney now – but, while they're formulating their future, let's hope they listen to the wisdom of one of their most evergreen characters. Because what was it Uncle Ben said about 'great power,' again?
The pros and cons of 20th Century Fox's Marvel properties joining the MCU
How to watch the entire MCU in the right order
Avengers: Infinity War trailer breakdown


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Peter Jackson has been shooting The Hobbit in 3D at 48fps*. Jim Cameron is looking at doing Avatar sequels at 60fps. The preview of some of The Hobbit footage this last week caused some concern and confusion. I didn't see the footage but will describe some of the reasoning and history of why frame rates are being explored.
Doug Trumbull developed the Showscan process (60fps) years ago and I worked on some projects in it as well as projected the demos for awhile. It was actually 72fps when I started but we conducted tests with people wired up and there was a definite response to the higher frame rates. Most dramatic was 24 to 48 and then it started tapering down by 60 fps. Dogs and most animals see at a higher frame rate than people. Dogs would go crazy in the showscan theater in a way they don't in a regular theater.
Keep in mind when you're seeing something projected at 24fps the projector is showing the same image 2 or 3 times (48 or 72fps) to avoid you seeing flicker because the human eye can easily see 24fps changes. On film projectors they had multi-blade shutters to accomplish this. Also note that before sound fps was 16-18 and 24fps was determined as the slowest frame rate they could use with sound. It wasn't based on research for the best quality but the least expensive to make do. Just like the layout of the qwerty keyboard (standard keyboard used around the world) was simply base on the limits of the mechanics of the day (avoiding jammed keys) and not on best usage.
Doug showed a Showscan demo that had a roller coaster ride (like the This is Cinemarama demo decades before) and a log ride. The demo would start in 35mm 24fps and then would switch to 70mm 72fps. At that point the entire audience would feel the movement of the coaster and the sloshing of the log. It was in fact a very real and visceral experience. You were there. In the log ride there was a shot of a waterfall and of a duck flying up with water drops flipping off it's wings. At 24fps that scene has a blurred waterfall and very blurred wings which we expect for film because we're used to it. A similar scene at 72fps you could see the full waterfall effect as if it were live and could see the wings of the bird just like you can in real life.
This is NOT the Saving Private Ryan look. This doesn't strobe and this isn't artificial.
One of the demos he later showed was a projectionist behind the screen leaning on the screen and talking to the audience. Most people thought it was real.
This works great for simulator rides where you have action going on. I directed the Space Race simulator ride at ILM. We shot it on VistaVision but it was created for 60fps Showscan. If you saw the results converted to 24fps compared to true 60fps there was no comparison. In one you're watching a movie and in the other you're experiencing the movie. This is why most special venue films and simulator rides run at higher frame rates since they're not locked into a standard and since they want to provide a real experience.
For film it produced a grain free experience and with 70mm it showed everything so makeup and closeups could be problematic. Just as 4k resolution, higher frame rates give more of a sense of details for flaws on set are more readily apparent. As with 3D stereo, some of the old filmmaking cheats are less tolerated.
With 3D stereo you're relying on eye disparity. And with 24fps you actually get a lot of strobing for any image that moves sideways or during a pan. And that's one of the problems Cameron and Jackson are trying to solve by going to a higher frame rate.
So with 48 or 60fps you have a much more real and visceral experience. You tend to move or jump in your seat more during action sequences or POV shots because you're mind is no longer looking at an illusion projected up on the screen. Your subconscious mind is responding because it now believes much of what it's seeing is real. The difference of going 2k to 4k is much less than going from 24fps to 48 or 60fps. You can see the difference on any device, any size. Those with newer TV sets can get a pseudo feeling for this by switching on the 120fps or 240fps cinema mode. But realize this is a simulation, not real original images, and realize it's on a small screen compared to being 40 feet or more across.
Part of the problem is video was developed to run at higher frame rates. For years of course it was inferior in terms of quality and live events have a certain look. This includes soap operas. One of the main reasons for that look was the 60 fields per second. And that's why 24fps video, when it finally came, was overwhelming chosen by filmmakers because it had a look like 'film'. It wasn't because of lack of depth of field or film grain that caused the obvious difference of video to film. It was primarily the frame rate.
Had video been at 24fps it's much more likely audiences would be more welcoming to higher frame rates. As it is anything starting to resemble live video has a stigma attached.
Because 24fps has a bit of an illusion to it and because we've been so ingrained by seeing so much of it all our lives, it provides a slightly dream like quality to this form of story telling. At higher frame rates action sequences will seem more real but likewise so will the people, acting and sets. Will this make them appear more as soap operas for standard dialog scenes? I suspect young people use to video games will have no difficulty adjusting but for most of the audience it may be a bigger jump.
24fps may be like the qwerty keyboard that continues years beyond it was required simply because it formed a standard that everyone learned and is comfortable with, despite not being the most efficient.
Doug Trumbull is doing on going tests including up to 120 fps and hopes to show comparisons likely in the fall of 2012. The VES and other groups are working with Doug when he is ready for presentations. His new method also includes a much more effective means to convert down to other frame rates. His website provides more details on the history and reasoning of frame rates and the other issues he's been pushing (brighter projection, etc)
Here's a recent video interview with Doug,
As far as visual effects is concerned all of these newer processes (4k resolution, 3D stereo, higher frame rate) add more work and require more time. That's why the compression of post-production schedules combined with the desire from the studios for more advanced effects work and the additional workload of these new technologies results in massive overtime and frustration of the visual effects crews.
3D stereo requires twice as much rendering and requires some tasks to be done twice. Some things that visual effects relied on, such as standard 2D matte paintings, can no longer be done in the same way.
Moving from 2k to 4k resolution results in 4 times the size of image data. That takes more time to render, composite, move files, etc and takes 4 times the amount of disk space.
Higher frame rates increase many of these tasks in proportion to the increase in frames. Many frame by frame hand work (and yes, believe or not people work by hand on individual movie frames) such as rotoscoping will obviously require more care. Hopefully splining and other other systems will minimize the additional frame specific work but there will always be some.
*FPS stands for Frames Per Second. These are the number of still images displayed in sequence in a second of time to create the illusion of motion.
[Update 12/2/2012 Just saw THE HOBBIT at 48fps. It definitely reduced the stereo horizontal strobing that's common in stereo films and smoothed some of the fast action. There were a few odd shots in regard to motion. Some seemed to have been sped up in post. A little sense of video in some of the earlier scenes but once the movie gets going it doesn't draw attention to itself but certainly added a bit more realism with the 3D and higher frame rate. I hope to see it again soon to review more fully at a close position to the screen. ]
[Update 12/13/2012 I do recommend people try to see it at 48fps with an open mind so you can decide yourself. This could be one of the only times you get the opportunity to see a full feature film at 48fps (if the results don't sit well with the studio they will not do it again)
As I've covered elsewhere this of course is the first attempt to do a full film at this rate so there are bound to be issues that will have to be sorted out.
Also in the future we may see variable fps films. 24fps for 'normal' scenes and then a shift to higher fps for action scenes,POV scenes or as a creative choice to different viewpoints or sequences just as directors choose at times with color grading or other manipulation. Doug's film BRAINSTORM was supposed to show the brainstorm experiences at 60fps so they were different. Wizard of Oz has black and white until the Oz sequence. ]
Labels: 24, 48, 48fps, 60, 60fps, 72, 72fps, avatar, doug trumbull, fps, frame rate, hobbit, showscan, simulator ride, space race, Trumbull, vfx
Dan April 26, 2012
"One of the demos he later showed was a projectionist behind the screen leaning on the screen and talking to the audience. Most people thought it was real."
That's kindof the key ingredient of illusion, isn't it? Context and a bit of misdirection. It seems like when you want to introduce something new you have to slip it in under the creative radar or people will be jolted out of their suspended disbelief. We've all got a whole lifetime of mental programming that says a movie is 24fps.
My personal feeling as a VFX veteran and life-long film snob, for what it's worth, is that artistic standards need to be raised in kind with technological standards. Simply flipping a switch on more quality, more frames, stereo, CGI etc. etc. doesn't automatically make a film any better.
Ok so more frames means smoother motion, which drastically changes how shots in motion will play on screen which should completely change how those shots are composed etc etc etc...
That's a platitude and probably seems like an obvious criticism but sometimes it's worth stating. Dramatic revisions to a 100 years of cinematic visual language will require invention of new words and phrases or your audience will be unhappy with a poor translation.
Great insight, Scott. It's nice when someone with actual experiecne can explain this issue without resulting to throwing temper-tantrums.
This is all very interesting, found this one to be good related read too.
http://www.popcorntaxi.com.au/2012/04/blog/48-frowns-per-second-what-all-the-48-fps-fuss-is-about/
Rich April 29, 2012
My personal issues with higher frame rates are as follows:
1) It pulls me out of the experience. If the intent is to make a film more real and visceral, it fails on me. When I look at high frame rates, like what Michael Mann used for "Public Enemies" or the 60fps often used in video games, it's very off-putting to me. In my eyes, it doesn't look real, it looks fake. Even films converted to PAL feel odd and off-putting to me. Granted I've never seen Showscan, so I can't speak to that, but what I have seen I don't like. I know people may say I'm just a traditionalist or a film snob or "I'll just have to get used to it," but I don't want to get used to it.
Being a filmmaker who started out shooting on video is probably the main reason for this. Back before 24fps video, we tried every trick in the book to make movies shot on video look like film, from high-contrast imagery to frame blending and deinterlacing - anything we could find to get rid of that video look. So seeing people I respect advocating doing the reverse of what I strived for years to accomplish is very disheartening for me.
2) I quite simply don't want movies to become more real and more visceral. I watch a movie to escape reality, not to be sucked back into it.
3) If you need higher frame rates to create a visceral experience and pull an audience into your story, then you have failed as a storyteller.
Just my opinion, of course. People may like the new format, or at least get used to it, and I may be forced to accept it eventually, but I sure as heck am not gonna go quietly. :-)
Blackout September 28, 2015
Agreed! The 60fps experience is going to be reserved for 'shock' films such as horror, VR, games, camcorder found footage, and the like. It's just TOO close to what we see and the costumes look like costumes... that foam rock that worked in 24p looks like ass in 60fps! The makup shows in 60fps... the actors look like actors. 60 fps turns a film into a play, where you can move the audience member around in the play.. but plays have a higher suspension of disbelief than films. Just take a look at any of the blu rays being played on 4k TVs with the 'trumotion' or tweening frame speed up effect. They look AWFUL, like you are watching behind the scenes footage. Not for a second do you believe a pirate ship is a pirate ship in 60p... you KNOW it's a set. A movie at 24p is a painting, a movie at 60p is a photograph. Use accordingly.
Matt Moses May 03, 2012
48fps sucks. 60 is worse. Douglas Trumbull is a scientist.
Hmm, video games have the advantage that they calculate the motion blur. So you have the blur of 24 or 25 fps on the 60 or more fps motion. This adds to a movie look while having video framerates but is technically not possible to recreate with live action.
I managed to see the last 10 minutes or so of The Hobbit part 2 the Desolation of Smaug, in the HFR mode, and I have to say that I really did not like it. It did not look cinematic at all, it just looked really fake. The images looked sterile. Since just about all cinemas are now projecting digitally, it seems that the "problems" of 24 fps are emphasized. I am already longing for the good old days of when film was being projected.


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redskins-eagles playlist
(photo by Brian Murphy)
1. "Gotta Have It" by Kanye West and Jay-Z
The Washington Redskins had the unique opportunity to effectively end the Philadelphia Eagles' season with more than two months remaining on the schedule.
The Redskins also had the chance to avenge last season's lopsided loss to Philly while showing the rest of the NFL that this year is different and that these Redskins can handle the spotlight.
Unfortunately, Washington was unable to take advantage of the situation and instead of silencing the critics and getting revenge on a divisional rival, the Redskins are left searching for answers after a disheartening 20-13 loss to the Eagles.
Philadelphia came into this contest with a 1-4 record and the weight of the world on their shoulders.
Coming into the game, the Eagles were getting beat in the trenches on both sides of the ball, defensive players failed to execute something as simple as tackling a ball carrier consistently and quarterback Mike Vick had a turnover in 12 straight-games.
All the Redskins had to do was get off to a fast start to make Philadelphia play from behind, and there was a good chance that the burgundy and gold faithful would have enjoyed a front-row seat of the beginning of the end for Andy Reid and the Eagles.
Of course, nothing is that simple in Washington. So naturally, the Eagles jumped out to a 20-0 lead in the first half and held on for the win.
And while there's plenty of blame to go around after a loss, one Redskins player did his best to ensure where the bulk of the criticism was directed.
2. "I'm Not the One" by The Black Keys
What do Tom Brady, Mike Vick and Rex Grossman all have in common? Each quarterback has finished a game this season with four interceptions.
But while the Patriots and Eagles remained confident in their starting quarterbacks, the same cannot be said for the Redskins. Not after Grossman completed twice as many passes to Eagles defenders (four) than Redskins receivers (one each to Jabar Gaffney and Donte Stallworth).
In three quarters of action, the artist formerly known as Sexy Rexy completed nine passes on 22 attempts for 143 yards with zero touchdowns and four interceptions. That's good enough to earn a 23.7 quarterback rating and an early trip to the showers.
"Bottom line is you have a good day or you don't," said head coach Mike Shanahan. "We'll take a look at the film and try and talk about where the mistakes were in the reads and those types of things. Right now everybody knows that if you have four picks in a game good things aren't going to happen."
Amazingly enough, this isn't even Grossman's only four-interception performance – the nine-year veteran threw four picks against Arizona back in 2006.*
*You might remember this game for it's memorable post-game rant by Grossman's head coach Dennis Green.
"You've just got to flush it," Grossman said of his disappointing performance. "There are so many times in this league that you face adversity for one reason or another that you've got to go back to your core beliefs. I believe in myself no matter if the whole stadium doesn't or the coaching staff doesn't. Whatever the situation is, I believe in myself that every single play I'm going to get it done. So, I fall back on that."
While that's all well and good, I'm not so sure anyone else in town has quite as much confidence in Grossman after this dud of an outing.
Watching Grossman's performance spiral worse and worse with each passing game, it's nearly impossible to build a case for The Rex Cannon to take the field again anytime soon.
3. "Brand New Day" by Van Morrison
Once Grossman's day mercifully came to an end, Redskins fans got their first glimpse of backup John Beck.
The fifth-year pro shot up from relative obscurity to presumed starter during the lockout, but was unable to unseat Grossman for the starting job during the preseason.
Had Grossman simply been mediocre against the Eagles, Washington would have likely won and Beck would still be an unknown commodity.
But Grossman was so awful that he left his coaching staff little choice and now there's every reason to believe Beck will be the team's starter moving forward.
Beck wasn't spectacular against Philadelphia, but he was better than Rex – completing eight of 15 passes for 117 yards in one quarter of action.
The former BYU standout also scored a two-yard touchdown on a quarterback draw and also completed a career-long 32-yard pass to receiver Terrence Austin.
"When I came in we had the whole fourth quarter and that was enough time to potentially win the game," Beck said. "That was the number one thing on my mind. We were a couple scores away from tying this thing up, potentially sending it into overtime and right now I'm thinking about those plays and what I could've done that so that way whatever happens next, the next time I get on the field, I want to be fully ready and do the best I can."
4. "Unhappy" by Outkast
After punting on their first possession, the Eagles scored on each of their next four drives against Washington.
Philadelphia mounted drives of 11, 10, 10 and eight plays while racking up 264 total yards and 20 points against a shell-shocked Redskins defense that couldn't get off the field.
Even though the Eagles entered the game last in the NFL in turnover ratio and with a makeshift offensive line, the Redskins defense was unable to get consistent pressure on Vick.
"There weren't too many assignment adjustments that we had to make," said safety Oshiomogho Atogwe. "It was more of an attitude and an emotional adjustment. I believe coming off of the bye week we came into this game flat. We didn't start as intense as the defense usually does. That can hurt you against a team like this that is so offensively powerful."
In the second half though, the Redskins defense finally got rolling. Philadelphia's second half possessions resulted in two interceptions, two punts and a turnover on downs which is why Washington still had a chance to tie the game on a day when the offense was so dreadful.
"Coming out for the second half, we just started to play the way we know how to play," Atogwe continued. "It worked in our favor in that half, but unfortunately, it takes two halves of football to win."
5. "Broken" by Jack Johnson
Offensive lineman Kory Lichtensteiger is likely done for the season after tearing ligaments in his knee. Tight end Chris Cooley needs surgery after fracturing his index finger. Tackle Trent Williams suffered a high-ankle sprain that will likely sideline him for at least a game or two.
And suddenly, one of the NFL's healthiest teams is scrambling to fill the void on an offense that has shown no signs of being able to handle adversity.
Washington's offensive line wasn't going to be confused for "The Hogs" as it was, but with Lichtensteiger and Williams out of the lineup it's going to be even tougher for the Redskins running game to get going (the Redskins had just 42 yards on 14 carries against Philadelphia) or for whoever is playing quarterback to have enough time to let his receivers run a route.
For as ugly as things got on Sunday, it's conceivable that things could get even worse before they get better if the Redskins can't find a way to put together a serviceable offensive line.
Finally, here's a link to my favorite photos I was able to capture during the game.
ExKiwi Krol
"Detachable Penis" by King Missle
The song works for a little bit, then just goes nuts. The guy leading it shouldn't really be, because he goes way overboard and misses his notes and a true meaning for the overall song.
(It works, trust me. If Grossman comes back and does this again, we can all say he lost his penis again)
One thing Grossman isn't missing is balls. Unfortunately his brain is short circuited up his butt.


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Larissa Wäspy
Clear. Versatile. Unique.
Larissa Wäspy is a vocal shape-shifter. The congenial and highly versatile soprano regularly inspires audiences and the art world with her clarity of expression and her enormous radiance on stage. Whether as the Sandman or as Helena, Larissa Wäspy is adaptable and versatile and fills each of her roles with the full power of her personality.
The soprano started taking private singing lessons at the age of 11. In 2006, she continued her early development and vocal training at her parents' home and in her local area with vocal studies at the Musikhochschule Karlsruhe, where she studied with Maria Venuti, Klaus Dieter Kern, Ingrid Haubold and Professor Christiane Libor. In 2009 she began her studies in opera vocal performance at the Institut für Musiktheater (Karlsruhe), where she graduated in 2014 with a master's degree. This was complemented by additional master classes with Brigitte Seidler-Winkler, Anne Le Bozec, Regina Werner and Marlis Petersen.
Early Roles
In 2003 she won the 2nd prize in the federal state-level competition Jugend musiziert. Her first roles came early on: Larissa Wäspy was from 2003 to 2006 a member of the choir at the Young Opera at Staatsoper Stuttgart, where she appeared in Haydn's The Travelling Ceres and Shostakovich's Moscow, Cheryomushki. In addition, Larissa Wäspy sang solo parts in the commissioned works Erwin, the natural talent by Mike Svoboda and Träumer by Matthias Heep. She also played Gretchen in Busoni's Doctor Faust at the Staatsoper Stuttgart.
The Soprano's Versatile Range
Larissa Wäspy's repertoire is broad. Besides roles like Zerbinetta from Ariadne auf Naxos, Adele in Fledermaus, Cunégonde in Candide and Morgana in Alcina, she also played Helena in the university production of A Midsummer Night's Dream in 2010.
The soprano was a member of the opera studio of the Badisches Staatstheater Karlsruhe from 2011-12 to 2013-14. Here she sang parts including Héloise (Bluebeard), Countess Ceprano/Page (Rigoletto), the shepherd (Tannhäuser), Frasquita (Carmen), Papagena (The Magic Flute), Yvette (The Passenger), Barbarina (The Marriage of Figaro), Ida (Fledermaus), Xenia (Boris Godunow), Max (Wo die wilden Kerle wohnen), First Niece (Peter Grimes), Kleines Vrenchen (Romeo und Julia auf dem Dorfe), Taumännchen (Hansel and Gretel) and Feklusha (Katja Kabanova) .
Larissa Wäspy is a scholarship holder at the Hildegard Zadek Foundation.
In 2013 she played the First Niece in Peter Grimes at the Hamburg State Opera.
It was as the Sandman and the Dew Fairy in Hansel and Gretel that the soprano made her debut at the Semperoper Dresden. In 2016-17 she appeared as Snow White in the new production of the same name and as Yvette in The Passenger.
At the beginning of 2019, she sang the role of Barbarina at the Hamburg State Opera.
In June and September 2019, she will appear at the Hamburg State Oprea as Wawa in Moscow, Cheryomushki.
© 2023 Larissa Wäspy
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June 5, 2011 By Simon R. Leave a Comment
As we head into another summer movie season full of action, dudes built like mack trucks, and explosions galore, I thought it would be fitting to take a step back to an earlier time before films were all about spectacle and marketing tie-ins. Close Encounters of the Third Kind is, in many ways, the best kind of science fiction even though there are virtually no explosions and we only get glimpses of aliens or spaceships until the very end. Directed by Steven Spielberg, one of the masters of the genre, it follows the story of average dude Roy Neary (Richard Dreyfuss, fresh on the heels of another little movie he did with Spielberg) who gets a tad too close to an alien spaceship one strange night while out in his pickup truck investigating a widespread power outage. Over the next few days he starts having visions of an object that he feels compelled to re-create in paintings, clay, and mashed potatoes at the dinner table. Meanwhile, other people around the country are having similar visions and experiencing otherworldly phenomena, most notably Barry Guiler, a kid with a curious bent who wanders a bit too far from his mom one night only to get picked up by the invaders. Throughout all this we never actually see the aliens–only the effect they are having on the people who claim to have experienced these encounters.
While North America is being sent into a tizzy trying to deal with the strange phenomenae, entire squadrons of missing World War II aircraft are discovered in the desert in mint condition. It's these strange events that cause French scientist Claude Lancombe to investigate the matter further, leading to the eventual discovery of a probably location for an alien landing site along with five distinct musical tones that might possibly lead to a method of communicating with the extra terrestrials. Keep in mind there's no gunfights, and no national monuments are singled out for destruction. In many ways, Close Encounters of the Third Kind more accurately resembles a cerebral thriller or mystery like Inception or Vertigo rather than a traditional science fiction movie, but it's these qualities that make it anything but traditional. And yet, Spielberg keeps things engaging and interesting throughout, while building up to a climax that is as massive in scope as anything we might see in a multiplex today.
Roy Neary, searching for meaning in a pile of clay.
Just as E.T. was first and foremost a story about divorce that also happened to involve aliens from another planet, Close Encounters is a story about family that is struggling to stay together despite the father's descent into madness. Roy Neary is a good guy who is overcome with strange visions, and pushes his family away while they struggle to deal with changes they cannot hope to understand. The focus is kept squarely on Neary's quest for understanding, Jillian Guiler's search for her son, and their refusal to accept anything other than concrete answers. Strangely, there is little to be found in the way of redemption, as Neary makes some very unexpected choices near the end–choices that Spielberg himself has since admitted he would change if he were to make the movie today. But these unconventional choices made by Neary lend an authentic quality to the movie that is fairly unique in modern cinema, and coupled with the stunningly realistic special effects that can easily hold their own against anything Hollywood has to offer today, catapult Close Encounters to the upper echelon of cinematic science fiction. This one is not to be missed by anyone who is a fan of the genre, or anyone who just likes good movies.
Have you seen this movie? Rate it!
Filed Under: Science Fiction Tagged With: Drama, Richard Dreyfuss, Science Fiction, Steven Spielberg, Suspense
By Simon R. 3 Comments
When going to any Michael Bay film, it's best to check your brain at the door from the get-go and just abandon yourself to the idea that you will not be watching high-quality cinema. You'll get explosions, hot chicks, muscled-up dudes, fast cars, and more explosions. But even so, some of his films really go […]
By Matt V Leave a Comment
Critics are calling Oblivion a mixed bag of sparse sci-fi plot threads strung together loosely and liberally. They're right. I expected as much. After all, what ground could the post-apocalyptic thriller have left to cover? A future decades ahead. Earth laid to waste. Little to no survivors. Futuristic machinery patrolling a ravaged globe. Human technicians […]
Trailer-Based Predictions for the 85th Oscars
By Dwise1 Leave a Comment
Get ready for some Oscar love! The internet is positively brimming with predictions and opinions on who will/should win the coveted Oscar statuettes, so why should we at Walking Taco be any different? Although I've seen more of this year's contenders than last year, I am still woefully behind. However, to keep the trend rolling, […]
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Chris Gollon: Works on Khadi Paper
Viewing Room, 22 September - 20 October 2020
Chris Gollon: Works on Khadi Paper: Viewing Room
Past viewing_room
Chris Gollon in his studio hand colouring 'The Whisper' etching, 2016
Our first viewing room gives an insight into Chris Gollon's work on Khadi paper.
"As I visited Chris's river island studio every two weeks in the late 1990's, I often used to buy his materials for him, since my gallery in East London was a stone's throw from Brick Lane where Atlantis, one of the biggest art materials stores in Europe, was then based.
One day they happened to have a big display of Khadi paper, an Indian acid-free cotton rag paper. An ancient practice in India, it is a rough hand-made paper with fabulous texture, and it even came in many different colours. So I bought Chris a few sheets, and he really took to it."
David Tregunna, Director, IAP Fine Art
Head, acrylic on khadi paper. 9 x 6 inches (23 x 15cm), 1999.
Private Collection.
Flute Player, acrylic on khadi paper. 31 x 24 inches (79 x 61cm), 2000.
At Le Bal (II), acrylic on khadi paper. 29 x 21 inches (74 x 53cm), 2006.
All the above works are reproduced in art historian Tamsin Pickeral's excellent book on Chris Gollon's life and work Humanity in Art. As with everything Chris Gollon touched in terms of painting or printmaking, he was always quick to absorb existing practices and then take them somewhere new, developing his own innovations. In 'Head' he delights in making the image seem like some ancient fragment of a painting from another time, helped by the ragged texture of the paper and the fact he does not paint straight edges, yet this woman has a modern consciousness. Using Khadi paper, he could immediately see the various effects this rough ancient paper could give him.
With the 'Flute Player', he applies the paint much thinner so there is deliberate paint shrinkage, giving this work the look of an ancient mural, as if it is slightly flaking in parts. Yet with a modern twist, he paints his signature at a short remove.
"Chris and I would often talk about the books of Hermann Hesse, in particular Steppenwolf, Klingsor's Last Summer, and the collection of short stories Strange News From Another Star. In the latter, which Chris recommended I read, in two of the stories Hesse subverts our notion of time, with a mysterious and hypnotic flute player pulling us away like the Pied Piper, into a dreamlike world of the subconscious or of magic, where anything can happen. This always appealed to Chris, and he often used mysterious flute players in his paintings, hinting at alternative realities. Not unlike Hesse, Chris Gollon's imaginative paintings continue to subvert conventional thinking and our notions of what is real."
David Tregunna
In the third painting At Le Bal (II), we see Chris Gollon's interest in both film and music. Ettore Scola's award-winning film without dialogue Le Bal inspired a whole series of paintings 2006-2007. The film charts six decades inside the same Parisian dance hall, up until the 1970s. Brilliantly choreographed, with the same characters, who never age, but the times, dances and fashions and politics change, and loves are lost and won. Gollon was very taken with this visually beautiful spectacle, strewn with broken hearts, sensuality, and an array of human hubris and foibles. In this work, he applies the paint very thickly, building up layers as he would on canvas, creating wonderful matt, creamy flesh tones. Yet the incredible texture of this stiff hand-made rag paper remains. This sheet was black, which meant Chris Gollon could dispense with his usual practice of making the image first in grisaille, using black paint, since half the work was done by the paper.
Chris Gollon, Study (II) on Khadi paper for Gimme Some Wine
Chris Gollon, Gimme Some Wine - Male Version
I remembered how beautiful the texture is. Less is more is the motive here. One must let the paper do most of the work. The result makes them very alive." Chris Gollon, 2016
Pretty Girl, acrylic on khadi paper. 12x 12i nches (30 x 30cm), 2016. Private collection.
The advantage of all works on paper, whether Khadi rag paper or standard fine art papers, is twofold.
Firstly, a sheet of paper is inexpensive, so artists can take huge risks on them, and if it goes wrong, they don't waste a £100 canvas. Secondly, leaving unpainted areas seems to matter less than on canvas, since the background even if unpainted still seems to recede into an infinite distance.
In 2016, Chris Gollon returned to Khadi paper, supplied this time by Curtis Ward, who kindly sourced many of his materials. This series of small paintings in acrylic on Khadi paper were all painted in the last year of his life, with some being studies in his last great series of works 'Gimme Some Wine' (seen above and below). As he began the series he observed: "This new set of heads and still life is painted on Khadi paper. From the first, I remembered how beautiful the texture is. Less is more is the motive here. One must let the paper do most of the work. The result makes them very alive." Chris Gollon, 2016
IAP Fine Art holds Chris Gollon's artist's estate, and below is a small selection of the available works we hold on Khadi paper. Please contact us for further details.
Potential purchasers are very welcome to view works in Monmouth or our Viewing Room in London E1.
With our Covid-19 safety measures in place, and masks worn, viewings are by appointment.
Chris Gollon, Trouble (II)
Chris Gollon, Still Life With Falling Candles
Chris Gollon, Still Life With Falling Candles: Jazz Version
Chris Gollon, Miss Jones
Chris Gollon, Still Life With Three Friends
Chris Gollon, Trouble (I)
Chris Gollon, Study (V) on Khadi paper for Gimme Some Wine
Chris Gollon, Study (IV) on Khadi paper for Gimme Some Wine
Chris Gollon in his river island studio near Hampton Court, 2008.
Photograph © Christina Jansen
Chris Gollon (1953 - 2017) has been represented by IAP Fine Art since 1993. Born in London, as well as substantial critical acclaim, he enjoyed many solo museum exhibitions in the UK, and major museum acquisitions including the British Museum.
Following his untimely death in 2017, critical acclaim continues, with several books published featuring his work and a museum retrospective of his music-related works. Eleanor McEvoy – with whom Chris Gollon enjoyed a two-year exercise in artistic boundary crossing 2015-2017 – launches a new album in 2021, entitled 'Gimme Some Wine'. The title track is a song she wrote inspired by Chris Gollon's work, which she dedicated to him. The album launch also coincides with the release of a short film charting the Gollon/McEvoy artistic collaboration and is the story of the song.
For more information on Chris Gollon, click: here.


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newsletter for faculty and staff | summer 2018
The silent admonishment of a summer to-do list in late August
Convocation gets a facelift
Welcoming two new Associate Deans
Arts & Letters - worth a look
Three new unit names to note
Ups and downs of the Hub elevator
» Doug Peers, Dean of Arts
With the new student orientation just two weeks over the horizon, I find myself in the all too familiar and depressing situation of wondering what happened to the summer, even though I always look forward to the start of the new academic year.
There are new students and new faculty to welcome, the rolling out of the Arts First program, which made me the envy of my fellow deans at our national meeting, and I am near giddy at the thought of a functioning (usually) elevator in the Hub. Our enrolments for the fall look good (especially from international students), our colleagues have done very well in recent research competitions, and Senate has approved the creation of a new school, the renaming of a department, and a new constitution for the Faculty
But I can't help but look at the To-Do list on my desk that is silently admonishing me. It has been thirty years since I first took up an academic appointment and I still overestimate what I can manage to do in the summer. The fence still needs fixing, an annoying leak in the roof continues to baffle me, I am overdue on a book review and a manuscript assessment, and that brilliant article on Hemorrhoids, Colonial Medicine and the Indian Cavalry I have been planning to write remains a figment of my overambitious and perhaps overactive imagination. I do however have the title: "Piles of Troubles and Troubles with Piles: Penetrating Insights into Proctology and the Indian Cavalry – Hard Facts and the Real History from Below." I did manage to get in a week in my happy place (aka the British Library where not even the sweaty conditions of the London Underground in heatwave dampened my enthusiasm at finding yet more 19th century courts martial to ponder), and saw some great plays at Stratford.
The big challenge this summer was getting everything in place for the launch of Arts First. I am grateful to all the faculty and staff who stepped up to the challenge and worked so hard to recruit in short order so many promising new colleagues and assist in helping them get their footing here on campus. We continue to look to develop new programs and courses that build upon not only our longstanding strengths at Waterloo but also tap into the new possibilities opened up by the many new hires across the Faculty.
» Arts communications
We're sure the gold drapes were fashionable at some point, but we were happy to see the new look at convocation this spring! Those on stage likely didn't miss the aged orange chairs that used to be borrowed from the old Board and Senate room.
While the decor is the most notable feature of the makeover, improved signage, redesigned brochures and other digital assets and a new website were also key to improving the experience for students and their families. The look was an ideal blend of the old and the new, with the University seal and the mace keeping traditions in mix.
There was also a first for Arts this year: two ceremonies weren't enough to celebrate all of our amazing students. An evening ceremony was added this spring.
Another notable moment: Waterloo's 200,000th graduate crossed the stage. (Rumour has it the graduate was an Arts student, but we can neither confirm nor deny this fact.)
Here are some of our favourite memories from this year's celebration (select photo to view larger image):
Welcoming two new Associate Deans of Arts (with a quick Q & A)
Stratford School of Interaction Design & Business
Formerly know as the Stratford Campus, by now our satellite has grown six-fold in student numbers and has definitely made a name for itself in the competitive world of digital business education. Read more about the the name-change.
Department of Communication Arts
After an unmentionable amount of time and effort by department members, the home base of Speech Communication, Theatre and Performance, and Digital Arts Communication has a brand new name to reflect their core teaching, practice, and scholarship strengths, as well as their collaborative opportunities.
Centre for Mental Health Research & Treatment (CMHRT)
Adding the last word, Treatment, emphasizes something that's been happening for a long time. In addition to being a Senate-approved research centre, and the training site to many cohorts of clinical psychology PhD students, the CMHRT has and continues to provide mental health services to people in Waterloo Region and on our own campus.
Ana Ferrer,
Associate Dean, Research
Professor Ferrer joined the Dean of Arts Office in July as our new Associate Dean, Research. A member of the Department of Economics, she is an expert in labour markets, education, immigration and family economics. Prof. Ferrer is the current director of the Canadian Labour Economics Forum (CLEF), an associated researcher at the Centre for Research and Analysis of Migration (CReAM) and a research fellow at the Institute of Labour Economics (IZA). She also contributes to the Canadian Labour Market Information Council (LMIC) as a member of its Labour Market Expert Panel.
Q & A with Ana
What do you consider the most important function of your AD Research role?
I am very excited about my new job. I think that research is at the core of forming critical and inquiring minds, which is the mandate of our university. The Faculty of Arts does very innovative and important research that has great social impact. It will be my priority to keep support for Arts research and to come up with innovative ways to increase that support, and of course, to make sure that everybody knows what wonderful things we do here!
What is your idea of perfect happiness?
What is your idea of misery?
No chocolate.
What is your favourite food or drink?
Let me surprise you here a little bit. Chocolate is my favourite drink, not my favourite food (the spice laden, thick hot chocolate my grandma used to make). My favourite food cannot be further from chocolate, it is paella, as my father makes it
What natural talent would you most like to possess?
Wouldn't it be wonderful to be able to have infinite amounts of chocolate without any health concern?
Elizabeth Nilsen,
Interim Associate Dean, Graduate Studies
Professor Nilsen is our Interim Associate Dean, Graduate Studies until January 2019—joining us from the Department of Psychology, where she was recently Associate Chair, Graduate Studies. Prof. Nilsen's research focuses on socio-cognitive development in the preschool and school years, with a specific focus on children's communication skills. She is a research supervisor for graduate students in the Clinical Psychology program, supervises the clinical activities of graduate students training in the Centre for Mental Health Research & Treatment, and is director of the Cognitive Development Lab.
Q & A with Liz
What do you consider the most important function of your AD Grad Studies role over the six months?
As much as I'd like to push through new initiatives like "disco-wear Tuesdays", 6 months is not much time to have such radical changes. Thus, I see continuing to support the departmental grad officers in ensuring the success of their graduate students as being my main objective. Within Arts we have diverse graduate programs and a stellar set of graduate students who are conducting exciting research – these aspects make it a pleasure to be stepping into this role.
Climbing some big rocks somewhere, watching my little ones puddle-jump, and ocean views
Traffic and lukewarm coffee.
(Decent) ice cream.
(For the sake of my family during camping trips), the ability to carry a tune and/or remember the words to songs.
Arts & Letters — worth a look
» Arts Advancement and Arts communications
Down time? What down time? It's been a busy season here in Arts. The summer 2018 issue of Arts & Letters, our biannual publication for alumni and friends (faculty, staff, and retirees too!), spotlights researchers, students, and alumni tackling hot topics, enjoying alumni events, creating a ripple effect in the Hub, and celebrating our connections!
And a big thank you to everyone who made these new scholarships and awards possible!
Here's a look at some of this issue's features:
Arts and AI: Keeping it human
Could artificial intelligence take your job? Is it as unbiased as we think? We hear from professors and alumni in Arts on some of the biggest challenges of AI, and how their work impacts this important field.
Students tackle populism and the future of democracy
With generous support from the Jarislowsky Foundation, the new Global Engagement Seminar gives students the chance to collaboratively address global challenges of the 21st century.
Professor Emanuel Carvalho: Da Bomb!
Alumni, friends and colleagues join together in establishing a scholarship to honour outstanding commitment and impact in teaching and service.
A 3MT judge reflects
The Three Minute Thesis competition showcases young people and their intellectual development, writes first-time 3MT judge, Professor Emeritus Peter Woolstencroft. It also allows the judges and attendees to grow.
Ups and downs of the Hub elevator (in case you haven't noticed)
It was a running joke for over a year — because it wasn't running at all.
As you know, the Hagey Hall Hub opened for the start of the new school year in 2016, minus a working elevator. In the many months that followed, the fate of the great glass elevator remained a mystery.
Until Arts Convocation this June, that is. In what can now be considered a case of "famous last words", our dean called out the infamous elevator in his address to students.
"I have also been hoping — perhaps unreasonably — that the elevator in the Hagey Hub would be working by the time you graduated. Sadly, the latter hope has not been realized," Doug Peers joked. "Please bear in mind that I am a historian, not an engineer, and there is very little I can personally bring to the situation."
We're still not sure how it happened, but the elevator was up and running the next day. (A special thank you to Plant Operations and the elevator experts!) Let's hope for smooth running with plenty of ups and downs in the Hub this fall term.
Just in case you need proof:
April 12 in the Hub
"A true community comes together in good times and in tragedy. The Humboldt incident reminds us that life can change in an instant. It was important to wear our jerseys and stand with the Faculty of Arts community, the University, and our country to offer our support to the Humboldt Broncos and their families. Strength comes in numbers. #JerseysForHumboldt #UWaterlooArts" — Pat Gruber, Administrative Assistant, Economics
Inside Arts is published each term. Comments, ideas, and submissions are always welcome. Please contact Wendy Philpott.
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PAS building, room 2401
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I concur that it is clearer to use 24:00 than 0:00 when representing continuous time. Also in Japan for example, a store or a public elevator will write its open hours in a continuous manner. So if store hours is at 12 noon to 2 AM, the sign will read as 12:00 ~ 26:00.


The deal with The Durst Organization more than quintuples Nasdaq's existing footprint at the property.
The 10th floor will be home to a state-of-the-art event space as an extension of the Nasdaq MarketSite and feature a 2,100 square foot outdoor terrace overlooking Times Square, above the world-famous Nasdaq Tower, for Nasdaq clients and prospects with the capacity to host more than 400 people for corporate events.
The 15-year lease for 145,000 square feet, includes an extension of the current 24,000 square foot MarketSite lease.
The home to the Market Intelligence Desk that consists of a team of market professionals, all working to keep clients on top of the market with up-to-the-minute analysis and information.
The three-year MarketSite expansion and relocation initiative will commence construction this summer and is slated for completion in December 2021, with phased move-ins beginning in spring 2019.
4 Times Square has recently undergone a $140 million capital improvement program. The 45,600 square foot amenity floor, featuring a café and coffee bar run by Michelin Star Chef Claus Meyer and first-class conference, meeting and event spaces managed by Convene, will open to tenants and their guests later this year.
The Durst Organization has already leased over half of the space formerly occupied by Condé Nast. The Nasdaq deal marks the first of the building's upper floors to be leased prior to Skadden, Arps, Slate, Meagher & Flom's departure in 2020.


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(…)the results from the judges was a little unexpected and it's safe to say they were being very strict, in the end they only chose 12 pieces.
Selecting 12 from a submission of over 2700 has raised a little discussion now. So please share your thoughts in the comments.
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