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Emperor Antoninus Pius (r. A.D. 138-161)
In going through some of my photos of Athens, Greece, I came across a shot I had taken of a bust of Antoninus Pius.
Antoninus Pius. Reigned A.D. 138-161. Photo ©Leon Mauldin.
My priority in the limited writing I've done on Roman Emperors has been to deal with those who reigned during A.D. 1st century, i.e., those that intersect with biblical history. For example, click here ("Roman Emperors During the Gospels and Acts) and here ("Emperor Galba: the Year of Four Emperors). But here we offer at least a brief introduction to the life and reign of this 2nd century emperor, Antoninus.
Antoninus Pius was born in A.D. 86 at Lanuvium in Latium. He spent his youth at Lorium, not far from Rome. He married Annia Galeria Faustina. When Lucius Aelius Caesar, Emperor Hadrian's (r. A.D. 117-138) adoptive son and heir died in January 138, Hadrian then adopted Antoninus, February 25. Antoninus ascended the throne upon Hadrian's death, July 138.
Michael Grant states that Antoninus's "deferential attitude" to the Roman senators "prompted them to confer on him the unusual title of 'Pius', honouring (sic) his religious and patriotic dutifulness" (The Roman Emperors, 83).
Antoninus Pius. Istanbul Archaeology Museum. Photo ©Leon Mauldin.
Regarding the land and people of Judea, Grant writes:
There Antoninus Pius soon modified, without completely abandoning, his predecessor's [Hadrian] veto on circumcision; that is to say he allowed Jews to circumcise their sons but forbade them to admit converts to the rite, thus weakening Jewish competition with the actively proselytizing Christians. Moreover, the ban debarring Jews from entry into Jerusalem was maintained, and indeed enforced by the construction of a ring of military posts round the city (86).
However, Grant's last statement above is contradicted by Nigel Rodgers, who stated, "Later, Antoninus Pius (reigned AD138-161) quietly revoked his predecessor's decree and allowed any Jews, who wished to, to return to the now utterly desolate site of Jerusalem" (Roman Empire, 219).
Interestingly, as emperor, Antoninus never left Italy (Rodger, 35); "Antoninus himself never once left Italy throughout the course of his reign" (Grant.86).
At his death, his adoptive son Marcus Aurelius said, "Remember his qualities so that when your last hour comes your conscience may be as clear as his" (Grant, 88).
Gibbons lavished much praise on the period which included the reign of Antoninus:
If a man were called to fix the period in the history of the world, during which the condition of the human race was most happy and prosperous, he would, without hesitation, name that which elapsed from the death of Domitian to the accession of Commodus. The vast extent of the Roman empire was governed by absolute power, under the guidance of virtue and wisdom. The armies were restrained by the firm but gentle hand of four successive emperors, whose characters and authority commanded involuntary respect. The forms of the civil administration were carefully preserved by Nerva, Trajan, Hadrian, and the Antonines, who delighted in the image of liberty, and were pleased with considering themselves as the accountable ministers of the laws. Such princes deserved the honor of restoring the republic, had the Romans of their days been capable of enjoying a rational freedom. (Gibbon, E. (2004). The history of the decline and fall of the Roman Empire. (H. H. Milman, Ed.). Bellingham, WA: Logos Bible Software.
That kind of praise and honor somehow puts me in mind of Proverbs 21:2: "Every way of a man is right in his own eyes, But the LORD weighs the hearts."
1 Comment	| Athens, Bible History and Geography, Italy, photography, Roman Emperors, Roman Empire, Rome	| Tagged: Antoninus Pius	| Permalink
The "Horns of Moses"
One of the innumerable attractions in Rome which we were able to see last week was that of Michelangelo's Moses, housed (among other artistic works/artifacts) in the Church of San Pietro in Vincoli. The statue of Moses was sculpted by Italian High Renaissance artist Michelangelo Buonarroti, who created this work in the years 1513-1515. This sculpture was originally commissioned in 1505 by Pope Julius II for his tomb.
Michelangelo's Moses, in Rome. Photo ©Leon Mauldin.
Moses is here depicted as seated, holding the two tablets of stone. Some suggest the intensity portrayed is meant to represent his holy anger when he cast down the stones upon being confronted with Israel's idolatry.
But to the point of this post, Moses is seen here with two horns on his head. This is based on a rendering of Exodus 34:29 in the Vulgate, the Latin translation of the Bible in use during Michelangelo's time. The English Standard Version renders the text, which speaks of Moses coming down from Mt. Sinai after talking with God, "When Moses came down from Mount Sinai, with the two tablets of the testimony in his hand as he came down from the mountain, Moses did not know that the skin of his face shone because he had been talking with God." The Latin Vulgate renders the Hebrew word qaran, "to shine" as "horned." Hence the horns on Michelangelo's Moses.
The NET Bible contains this translator note:
The word qaran is derived from the noun qeren in the sense of a "ray of light" (see Hab. 3:4). Something of the divine glory remained with Moses. The Greek translation of Aquila and the Latin Vulgate convey the idea that he had horns, the primary meaning of the word from which this word is derived. Some have tried to defend this, saying that the glory appeared like horns or that Moses covered his face with a mask adorned with horns. But in the text the subject of the verb is the skin of Moses' face.
The statue stands 8 feet, 4 inches and is made of solid marble.
Church of San Pietro in Vincoli, Rome. Photo ©Leon Mauldin.
Click images for larger view.
2 Comments	| Art, Biblical Interpretation, Italy, Old Testament, photography, Rome, Travel	| Tagged: Michelangelo, Moses	| Permalink
Bologna's Sea-god Neptune, and More
As we continued our travels in Italy, we left Florence this morning and made a lunch stop at Bologna where we saw a statue of the Roman Sea-god Neptune at the square.
Portion of city square at Bologna, Italy. Sea-god Neptune is seen at far left center. Photo by Leon Mauldin.
As we traveled north we crossed the Po River. The terrain had changed as we left the hills and saw flat, very fertile, farmland.
Po River. Photo by Leon Mauldin.
We reached our destiny of Trieste by late afternoon. Tomorrow our group is meeting with a congregation made up of Christians, many of whom have ties and connections with the folks on our tour. Gianni Berdine is the local evangelist here in Trieste. Several of us went for a walk after dinner.
Trieste Square. Photo by Leon Mauldin.
Trieste is located in the extreme northwest of Italy, on the Adriatic Sea, and borders Slovenia. This is one of the great Piazzas of Italy.
2 Comments	| Italy, photography, Roman Empire, Travel	| Tagged: Bologna, Italy, Trieste	| Permalink
St. Paul Outside the Walls
My group arrived safely Tuesday morning in Rome. We visited the Papal Basilica of St. Paul outside the Walls, as well as other stops, including the catacombs, as time permitted before dinner. This building was constructed to honor the martyrdom of Paul.
The facade at the quadriportico at the Basilica of st. Paul outside the Walls. Photo by Leon Mauldin.
As a result of the Edict of Milan in the year 313 AD, the official persecution of Christians cease. The Emperor Constantine had a basilica built over the tomb venerated as that of the Apostle Paul.
Group shot at the basilica. Photo by Leon Mauldin.
Group shot at colonnade at basilica. Photo by Leon Mauldin.
All of our group is well. More to come!
3 Comments	| City Walls, Italy, photography, Roman Empire, Rome, Travel, Uncategorized	| Tagged: St..Paul Outside the Walls	| Permalink
At Rhegium, Italy, on the Way to Rome
Acts 28 narrates the Apostle Paul's voyage to Rome, traveling as a prisoner. Having wintered at Malta due to a ship wreck, the journey continued: "We put in at Syracuse and stayed there three days. From there we cast off and arrived at Rhegium, and after one day a south wind sprang up and on the second day we came to Puteoli" (vv.12-13).
At Rhegium, Italy, looking across Strait of Messina to Sicily. Paul's ship made a brief stop here. Photo by Leon Mauldin.
The Baker Encyclopedia of the Bible has this information on Rhegium:
Important Italian harbor visited by Paul in his journey to Rome (Acts 28:13). From Malta, Paul's ship traveled north to the Sicilian capital of Syracuse; then in the absence of a south wind they may have tacked into the Strait of Messina, finding good harbor at Rhegium. Another south wind carried them from Rhegium to Puteoli in the Bay of Naples—the ship's destination, since Puteoli was southern Italy's chief port, receiving the great Alexandrian grain vessels.
The Strait of Messina was well known to every Roman navigator. Passage here was necessary in order to gain access to Italy's west coast; but its obstacles were numerous. Obstructions, shallows, and the narrow width (c. seven miles from Rhegium to Messina) forced ships to stay at Rhegium until an adequate south wind arose.
The name "Rhegium" (modern Reggio or Reggio di Calabria) may have come from a Greek verb, meaning "to tear" or "rend." Sicily, it seemed, had been "torn from the mainland" and Rhegium was the nearest Italian port. (Vol. 2, p. 1857).
Rhegium, on the "toe" of the "boot" of Italy, across from the island of Sicily. BibleAtlas.org.
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Temples in Pompeii, Italy
The Roman city of Pompeii, as was generally the case in the world of the 1st century, was a city of many gods.
Pompeii–as you might expect, given its many gods–had many temples, though by no means one for every god or goddess who might intervene in the lives of its inhabitants. They came in all sizes, in varying degrees of prominence and with very different histories. Some stretched back to the earliest years of the city. The temple of Apollo next to the Forum was established by the sixth century BCE at the latest. (The Fires of Vesuvius.281-282).
Temple of Apollo, Pompeii, Italy. Photo by Leon Mauldin. Mt. Vesuvius may been seen the the background.
Most of the rest [of the temples] date to the second century BCE or later. The Small Temple of Fortuna Augusta was dedicated to an almost untranslatable combination of the goddess of Good Fortune or Success (Fortuna) and the power of the emperor (the adjective Augusta can confusingly, or conveniently, refer either to the first emperor Augustus himself, or to imperial power more generally–for subsequent emperors used "Augustus" as part of their titles too) (Ibid.)
Temple of Fortuna Augusta, Pompeii. Photo by Leon Mauldin.
Pompeii is a city "frozen" in time by the eruption of Mt. Vesuvius, AD 79. Though this is not a "biblical city" it preserves scenes from a Roman city in the AD 1st century, and thus has tremendous value to us. Thus it helps us to see the setting for the biblical world in the early New Testament era.
When contemplating the widespread idolatry of the biblical world, I often think of Paul's statement to the Corinthians, many of whom had themselves formerly been idolaters:
we know that "an idol is nothing in the world," and that "there is no God but one." For even if there are so-called gods, whether in heaven or on earth– as there are many "gods" and many "lords"– yet for us there is one God, the Father, from whom are all things, and we for Him; and one Lord, Jesus Christ, through whom are all things, and we through Him. However, not everyone has this knowledge. (1 Cor. 6:4-7, HCSB).
Leave a Comment »	| Archaeology, Bible History and Geography, Bible Study, Italy, New Testament, photography, Roman Empire, Temples, Travel, Uncategorized	| Tagged: Apollo, Augusta, Fortuna, Pompeii	| Permalink
Syracuse, Mt. Etna, and Taromina, Sicily
Yesterday (Saturday) we visited the archaeological sites Syracuse, Sicily, and from there went on to Mt. Etna (Europe's most active volcano), and then to Taromina. While at the Greek theater at Syracuse we took this group photo.
Group photo at Greek Theater at Syracuse, Sicily. Photo by David Deason.
This theater was built in the 5th century BC.
The city of Syracuse was founded in 733 BC by Greek settlers from Corinth. Some names associated with Syracuse include Aeschylus, considered the father of the Greek tragedy. The philosopher Plato was in Syracuse. Syracuse was the birthplace of Archimedes, the famous mathematician and most influential scientist of the ancient world.
But actually none of those names brought us to this ancient site; rather it was its biblical mention in connection with Paul's journey (as a prisoner) to Rome. Of that point in the journey Luke writes, "And landing at Syracuse, we stayed three days" (Acts 28:12).
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Photo: Nur Hazwani Othman/Shutterstock
Glamour and Gluttony in Kuala Lumpur's Bukit Bintang Neighborhood
Culture Insider Guides Kuala Lumpur, Malaysia
Aisha Preece
Bukit Bintang means "Star Hill" in Malay. In Malaysia's capital city, the term is synonymous with lively nightlife, blinding city lights, bustling crowds, and an excellent mix of street food and high-end dining, often right next to each other. The bright lights may be reminiscent of New York's Times Square, but Bukit Bintang is more upscale and eclectic. Today, this is Kuala Lumpur's most vibrant and happening neighborhood and an unmissable stop on any trip here. Here's how to get the most out of Bukit Bintang.
First, understand a bit of the neighborhood's history.
Photo: TK Kurikawa/Shutterstock
Bukit Bintang was a focal point in the deadly race riots that took place a half-century ago on May 13, 1969. Malaysians clashed heavily, and violently, with Chinese and Indian immigrants following an attempt by the Malay government to create a more diverse, multiracial society. This followed the country's general election three days prior, in which opposition parties, which were heavily Chinese, performed strongly against the Malaysian incumbent party — leading to a resulting sense of empowerment and resentment by different ethnic groups. Nearly 600 people were killed, according to some estimates, and the country's first Prime Minister, Tunku Abdul Rahman, was forced to step down.
In the 1980s, an attempt to rejuvenate the area lead to a flurry of retail developments, which have gradually transformed Bukit Bintang into a lively entertainment district and hip food hub. The last 10 years have seen a number of high-end malls and nightlife districts sprouting up, cementing its reputation as a base for the city's increasing number of international tourists.
Come on an empty stomach.
Photo: Helissa Grundemann/Shutterstock
Underneath those bright city lights is enough food to keep even the most diehard foodie busy for months. You can explore Jalan Alor, a street lined with hawker stalls selling an array of local delicacies, until the early hours of the morning. Keep your eyes peeled for the Wong Ah Wah BBQ chicken wing stall. Its juicy chicken wings will leave a sweet-sour, slightly fragrant taste in your mouth. Alternatively, go underground at the LOT 10 Hutong Heritage Food Village, just off the train station and Jalan Sultan Ismail. The entrance is small and, like the space itself, unassuming, but after taking the escalator down, a full-on food court experience opens up. Try hokkien mee, friedkway tiao, wantan mee, soong kee beef noodles, or the aptly named roast duck. For something a bit more upmarket, try the restaurants in Starhill Gallery.
About a half-hour walk from the heart of Bukit Bintang is the Central Market, also known as Pasar Seni. Translating to "Art Market," it offers an array of traditional handicrafts. If you walk upstairs, there is also a food court filled with delicious local food as well as a famous Peranakan-style restaurant that shouldn't be missed. Finally, a 22-minute walk will take you to the Pudu Glutton Street night market. You can do exactly what the name says and be a true glutton for the night. Not many tourists know about this, but locals travel far and wide for the crispy fried chicken, delicate steamed pork buns, tender soy noodles, and local desserts at this locally renowned hawker stall alley.
Shop, but beware of counterfeits.
Photo: nvelichko/Shutterstock
For high-end fashion, the Pavilion KL and Starhill Gallery both have Louis Vuitton, Hermes, and Gucci. Nevertheless, the 12-story Berjaya Times Square and Isetan have mid-range options to suit savvy shoppers. The former also has an indoor theme park with 14 different rides, including a roller coaster. If you are looking for something budget-friendly, opt for Sungei Wang and Lot 10, which has an array of equally fashionable local boutiques. If you want to purchase or fix any electrical devices, visit Low Yat Plaza. Be sure to haggle at all three retail outlets as the initial prices quoted will be marked up, and the vendors will expect you to bargain for a final price. Another thing to bear in mind is that there is a strong chance the electrical products offered will be counterfeit; as such, warranties may not be valid in your respective home countries.
Have a drink at Southeast Asia's most unique bar.
Photo: Dzerkach Viktar/Shutterstock
A mere 10-minute walk from Bukit Bintang but still on Jalan Sultan Ismail is a bar with a 360-degree view of the city, the Heli Lounge Bar. During daylight hours, this skyscraper rooftop serves as a functioning helipad. At night, it's one of the most unique spots to get a drink in all of Southeast Asia. You can catch the sunset on this rooftop bar, jam to the tunes of a DJ, and do your best not to succumb to vertigo — but book in advance as it's a popular place to take pictures. The drinks are also expensive, so it's worth ordering one drink to catch the sunset and heading to Changkat to party the night away.
Changkat Bukit Bintang is the city's hotspot for partying, with KL's most popular bars and clubs located along the street — perfect for a pub crawl. The Havana Bar & Grill and Pisco combine Latin American themed restaurants with nightclubs. Expect to eat good steak at the former and impressive cocktails at the latter. Beyond those two, head to these spots for late-night drinks and dancing:
The Rabbit Hole has a variety of different themed rooms to cater to any music taste. It offers '80s hits, techno, and R&B music for all types of partygoers.
If you are a whiskey connoisseur, then head to The Whiskey Bar. It has a chilled, sophisticated ambiance and a selection of more than 650 labels stocked. If craft beer tickles your fancy, then Taps Beer Bar offers the largest range of craft beer in Malaysia.
No Black Tie offers live music and has a laid-back and casual ambiance. Apart from jazz music, it also offers poetry acts and readings by locals. Opium is a glamorous oriental-themed bar with exotic cocktails.
If you are looking for a large party venue to have a dance-off on a neon-lit dance floor, head to the Zion Club Kuala Lumpur. It normally features EDM music but also has a reggae bar in one section of the club.
Be a tourist and take in some sights.
Photo: ArtRomanov/Shutterstock
After you've eaten to your heart's content, partied until sunrise, and shopped until your bank starts getting alarmed, you could take a break the urban excess and head to the KL Forest Eco Park. Formerly known as the Bukit Nanas (Pineapple Hill) Forest Reserve, this is one of the oldest forest reserves in the country. The three-acre area houses a range of tropical flora and fauna. The canopy in the trees is particularly exciting as it gives the sensation you are walking on air through dense forest trees. Entry is free, and there is also a children's playground and a wooden gazebo offering sweeping views of KL.
Photo: Selfie Museum KL/Facebook
Or go on all in and hit up the most guilty-pleasure-worthy attraction in the neighborhood: the Selfie Museum. Yes, you can now visit a colorful, candy-sprinkled museum dedicated to the art of selfies. Before you dismiss this idea as millennial self-indulgence, the idea behind the concept came from how families bond when they eat and take pictures together. It is also important to bear in mind that apart from posing with the desserts, you get to eat them too. There are nine delectable dessert-themed rooms and five Malaysian inspired desserts. The museum was supposed to be closed by now, but its run keeps getting extended due to popularity. Even if it does close for a bit, the chances of it coming back are strong.
While here you should also take in the spectacular views from the Menara KL Tower. Standing at 1,380 feet tall, the Menara KL Tower has a viewing deck that is 330 feet higher than the Twin Towers Skybridge. Expect to see miles and miles of the city from a unique angle. If hunger hits, the tower also has a revolving restaurant, Atmosphere 360.
If you're prepared to walk 30 minutes, visit the oldest Hindu temple in Kuala Lumpur, the Sri Mahamariamman Temple. It has a main prayer hall, as well as intricate carvings of Hindu deities with precious stone and gold embellishments. The Chan See Shu Yuen Temple is the oldest surviving Buddhist temple in Malaysia. You can say a silent prayer or admire the gold-plated shrines and colorful pillars that pay respect to ancient Chinese history. In both places, you will be required to take your shoes off, and unfortunately, there are occasions when shoes have been stolen. Bring a plastic bag to place your shoes in, and bring them along with you to safeguard your footwear.
Photo: Farizun Amrod Saad/Shutterstock
A range of accommodations will suit many budgets, all within close proximity to food and shops. If you're looking for glitz and glam, opt for the JW Marriott KL or the Ritz Carlton. Both are walking distance to the Bukit Bintang malls and no more than a 20-minute walk to the Petronas Twin Towers and Suria KLCC, a massive shopping mall nearby. Try the sumptuous buffets to sample award-winning Chinese-Malaysian cuisine. You've never had mall food that wowed you like this.
Alternatively, you can check out the boutique hotels WOLO and the Kuala Lumpur Journal Hotel. The latter has an infinity rooftop pool while the former has its own in-house bakery. If you visit WOLO, be sure to order the eggs benedict breakfast. It's their specialty, and experienced travelers to Asia who also happen to be fans of a Western breakfast know that a good one can be a rare find.
How to get to Bukit Bintang
Generally, most people take Grab, a ride-hailing app similar to Uber, from the KLCC train station as the prices are quite reasonable. The company actually merged with Uber's Malaysia operation, so you're going to have to download Grab if you want to hail rides in the city. It shouldn't cost more than RM5, or about $1.25.
You can also get to Bukit Bintang by train via the MRT Sungai Buloh-Kajang (SBK) line or the KL Monorail. Both will take you directly to the Bukit Bintang station. If you're traveling from KL Sentral, (one of the main train connections ), you can alight the SBK Line via Muzium Negara, which is a five-minute walk from KL Sentral. If you're coming in from Kuala Lumpur International Airport, a Grab ride should run about RM80, or $20. The neighborhood itself is highly walkable, so you won't need a car and generally shouldn't need to hail rides unless you plan to head to other parts of town.
If you do decide to rent a car and park in the area of Changkat, note that parking is difficult to find. Often you will encounter parking attendants manning free parking lots. If you park, they expect a fee, and if you refuse to pay, your car may be damaged when you return. Sometimes it's worth paying the small fee to avoid any hassles.
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redpajama_set_name: RedPajamaCommonCrawl


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CAAP expects more flights, carriers with new, modern airports in PH
(Logo grabbed from the Civil Aviation Authority of the Philippines Facebook)
THE Civil Aviation Authority of the Philippines (Caap) expects low-cost carriers in North Asia to mount more flights to the Philippines following the country's enhanced connectivity and improved airport facilities.
Although he admitted that the country is years behind airport development, Caap Director General Jim Sydiongco said this situation has already improved with the government building brand new airports and improving existing ones.
"Now we see growth of low-cost carriers (LCC) in Asia alone that led to tourism and economic growth in our country. We are ushering in a new Philippines that is ready to become a premier destination," said Sydiongco, during the 2019 Capa LCC North Asia Summit held in Radisson Blu Hotel Cebu on Monday, June 24, 2019.
Since the Duterte administration took over in 2016, Sydiongco said the government has completed two new airports—the Bohol-Panglao International Airport and Lal-lo International Airport); one under construction—Bicol International Airport—that is already halfway complete or 58.23 percent complete as of June 12; and one airport that is to be constructed—the New Manila International Airport—in Bulacan.
"With this new addition we are giving more options to the traveling public as the project is now accepting potential challengers to the original proponent," he said.
Aside from building new airports, the government is also upgrading existing gateways.
Sydiongco said that under the Duterte administration they have improved, rehabilitated and expanded 13 domestic airports and two international gateways.
Eight international airports and 18 domestic airports, on the other hand, are in the various stages of airport improvement.
Tourism Secretary Bernadette Puyat said the agency is working together with different stakeholders in the aviation industry to pave the way for enhanced air connectivity and seamless travel as the Philippines is an archipelagic country.
"Route development for the Philippines is essential to the growth of tourism," said Puyat, in a speech delivered for her by Tourism Undersecretary Benito Bengzon Jr.
Puyat said enhanced air connectivity is pivotal to the increased arrivals to the country and it has propelled the growth of international passenger traffic at 10.22 percent on the average per year for the last three years. This percentage, Puyat added, is even higher than the 6.3 percent growth for international passenger traffic in Southeast Asia during the same period.
In 2018, the Philippines welcomed 40 new international flights that were mounted by both foreign and local carriers in Korea, China, Japan, Hongkong, Macau, Taiwan and Australia, producing a total of 1.6 million new international air seats to the Philippines.
Puyat also assured the top officials of LCCs present in the summit that improving and modernizing airport facilities and infrastructure are among the top priorities of the Duterte administration under its Build, Build, Build program.
Moreover, she said the recent inauguration of Terminal 2 of the Mactan-Cebu International Airport and the Bohol-Panglao International Airport are some of the gateways that are expected to decongest the traffic of Ninoy Aquino International Airport in Manila.
The Philippines welcomed 7.1 million foreign touirsts in 2018, up by 7.65 percent compared to the 2017 arrivals of 6.6 million. Arrivals from North Asia makes up the biggest source market for the Philippines with a combined arrivals of 3.84 million or 53.92 percent of the total arrivals. (KOC)
Civil Aviation Authority of the Philippines


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Before I get into Tru Calling, I must wonder aloud--or whatever the onscreen text version of aloud is--have I shared Noel Taylor's (1993, February 12) review of Groundhog Day? Back in '93, Taylor wrote a review for the Ottawa Citizen and, well, he didn't really like the movie. Probably because he's a Canadian fool, but I can't be sure; I don't know the guy. Anyway, the title of his review is "Even Bill Murray can't save repetitive comedy." And, he says, somewhat accurately, "Murray being nice is less fun than Murray being insufferable," and less rightly, "He does his best, but Groundhog Day is one of those comedy routines Murray should have been glad to escape from."
Counter that with Bill Provick (1993, September 3), also at the Ottawa Citizen: "If only Bill Murray could be this funny all the time. Perhaps he should always co-star with a groundhog. He was hilarious as in Caddyshack as the crazed groundskeeper stalking a relentless rodent [not a groundhog, I would point out] and he's quite amusing her as a smartass weatherman trapped in small-town Punxsutawney, Pennsylvania, on Groundhog Day." Provick calls it a "tailor-made role." I kinda hope Provick and Taylor fought about it, except that fight would have been Canadian and far too polite.
Speaking of Canadian reviews of Groundhog Day, Peter Birnie (1993, February 12) at the Vancouver Sun has a nice, wholesome turn of phrase in his review; "Holy Gophers," he writes, "I can't believe I'm using these words to describe a Bill Murray movie: Heartwarming. Charming. Delightful. Complicated." Bill Brownstein (1993, February 13) at the (Montreal) Gazette says Groundhog Day "will remedy many of your winter woes. The tonic? A ton of chuckles."
"A ton of chuckles?" Who talks like that?
And, I'm stuck on old reviews today, because I'm going through my folder of unread Groundhog Day articles. I've watched the film already today. Tru Calling plays on the TV.
"Murray hasn't made a comedy this winningly dumb and smart and - yes - sweet in a long time," Steven Rea (1993, February 12) at the Philadelphia Inquirer said. "If, indeed, he ever has." Rea does point out a couple faults in the film, though. "There are times," he writes, "when you wish that [Harold Ramis] had pushed the material just a little further and worked just a little harder. And the ending has a sort of Hollywood tidiness to it that is disappointing in light of some of the inspired business that has come before." Amusingly," Rea follows that up with this parenthetical: "(OK, I don't know how I would have ended it; maybe the letdown is unavoidable.)"
Meanwhile, by the way, Jason Priestley's Jack is delightfully pushy as a character so far in Tru Calling. Not just this episode ("Rear Window") but the few he's been in so far. He's obviously making moves, quite deliberately, into Tru's turf, but it all plays just innocently enough that he'd seem like a potential love interest if the show were not also insisting on keeping Luc around.
And finally, at the end of this episode, Davis and Tru learn that Jack may be repeating days; he was hospitalized for believing as much.
New episode: "D.O.A." Lindsay's new (old) guy proposed between the last episode and this one, even though it is logically the very next day--or Tru and Davis are very slow in processing new information. She did know the guy previously (dated him while studying abroad), but they only got back together... I was going to say "yesterday" but Tru just said it has been a week that they've been dating this time.
An interesting note I didn't expect: in an interview with Psychology Today (1996, July/August), Harold Ramis actually said of Rubin's script for Groundhog Day, "what it lacked was comedy." "I rolled up my sleeves and made it funny," he says. A little full of himself, I think. Not entirely off the mark, but still.
Tru told Jack what she does. The Tru/Luc (Truc?) shippers must have cursed at the screen when this episode aired originally.
It occurs to me that I said I wasn't going to go episode by episode on Tru Calling, but what the hell?
(I've got a few time loop movies still to watch for this blog as well.)
Jack reveals he's acting in favor of people dying. He's the Evil Rewinder.
Jack: Tru, think a minute. Nadine Casola is supposed to die. Why should you change that?
Tru: Because someone asked me to. Because l can.
Jack: That's not good enough. You have no idea what you're doing. lf you save someone who shouldn't be here, there are consequences.
Tru: Do you think l'm messing up some grand plan? Maybe l am the plan! lf someone needs my help, l am not gonna stand by and watch.
Jack: And I'm not gonna stop you... this time.
He lets her act, but now she and Davis (who figured it out on his own) know Jack's working against them.
Episode also gets Tru and Luc back together just before it ends. I have a few vague bits of info about this show, and I know Luc's going to die. I now assume he's dying in the next episode. Get them back together then rip them apart. That's drama.
Season finale time: "Two Weddings and a Funeral."
Episode starts with Tru and Davis arriving at Jack's apartment, mostly empty. He's gone because they were "on to him." Except, well, keep reading.
Episode establishes that a) Lindsay is already getting married and b) it has been less than a month since she and Harrison broke up. My problem here is not with Lindsay being too quick in her relationships--that's her prerogative--but Tru and Davis spent a week worrying about Luc's possible rewinding and have now spent another 2-3 weeks doing... well, nothing about Jack being the bad guy. And they knew where he lived but were only "on to him" after those same weeks? Well, Tru apparently told Harrison about Jack between episodes, so I guess she did the least she could do. Actually, there's another problem--Jack's conversation with Harrison plays like there should have been a few episodes in the meantime, building up Jack as the bad guy...
Jack: Look, l know Tru wants you to think l'm the enemy. l'm not. Your sister and l just see things differently, that's all.
Harrison: Right. She saves people and you kill them.
Jack: l'm not a killer. Straight up. When a bullet gets shot into a man's chest l don't pull the trigger. When a drunk driver takes out a family of four, l'm not behind the wheel.
Harrison: But when those people ask for my sister's help you're not exactly lending a hand now, are you?
Jack: Death can be tragic. Death can be unfair. But as much as we may all hate to admit it death is inevitable. l'm merely helping fate get what it wants.
Harrison: And you're telling me this because?
Jack: Because she listens to you. And you love her. And l know that you will find a way to make her stop. Stop saving the lives of people who are supposed to die. Stop messing with fate. And stop screwing with the order of the universe.
Harrison's line after he dies--to jump ahead a bit--fits with there being a bunch of other episodes building up Jack as the bad guy; Harrison says, "You can't let him win."
Amusingly, Harrison is excited about being the one whose death triggered this resumption.
I imagine Jack's rewinds make no sense without Tru, yet he was doing it before she was. He relives a day to do what? To make sure it happens how it already did. Boring.
Jack insists that if Tru saves Harrison, someone else will die in his place. Jack's knowledge seems to come form nowhere. I don't like that. He's not Tru's opposite if he's got a preternatural source for his information.
Tru tells Luc what she does. He leaves. Tru has to go save her brother rather than chase after Luc.
Jack sets Luc up to get killed.
His insistence that someone else would die instead of Harrison--Jack argued that as if the universe would correct itself, but he specifically manipulated things. I can't decide if Jack is a liar or a crazy person. Maybe he's both.
Another narrative issue--aside from Jack's motivations being a little weird--is that Luc never actually got to believe Tru's story before he was killed, so they were actually barely back together when he died, so aside from some serious Truc(k)ers, dramatically speaking, Luc's death doesn't seem all that important. He averaged one scene per episode the last few episodes, then it was like he was about to become important again but never did.
The final twist kinda makes up for a lot of the weaknesses here, though. Jack is working with Tru's father who was the Evil Leaper to Tru's mom's Sam Beckett. Nice touch.
Today's reason to repeat a day forever: to find my Evil Leaper (or Evil Looper, I guess) and, you know, hang out.
Labels: bill murray, blog, eliza dushku, every day, groundhog day, groundhog day project, jack, jason priestley, luc, matt bomer, phil connors, review, season finale, tru calling, tru davies


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Single Or Album?
What is your strategy for music distribution and promotion? For example, you may have ten or more tracks in your catalog, which means you could release a full feature album at one time. But should you do that or release a single first?
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Most major digital platforms will not give much attention to promoting independent artists. This means your full-length album may disappear soon after its release date. So, you can release a single first and modify your distribution strategy with the feedback you receive.
However, the artist should consider the genre: hip-hop artists may wish to produce mixtapes with 15 to 20 tracks. It is a way to show their talent and is also a tradition in hip-hop culture.
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He took first place among the finalists for this week's 'Shop Contest. Who is arniejolt? Correct! I'll take potpourri for a thousand, Alex, and another 19 hilarious send-ups of Bungie's weird keep-your-hands-where-we-can-see-em performance at the PS4 announcement event. See them in the gallery above!


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Best Bets: Jungle Jog, Unity bike ride, ninja course
@vfreile
Jungle Jog — Head to Seneca Park on Sunday, July 17 for the Seneca Park Zoo Society's Jungle Jog, which leads runners through the park and sections of the zoo. The event includes a 5K race at 8:30 a.m., followed by the Seneca Park Mile at 9:45 a.m. and a free Kids' Fun Run, a 50-yard dash, at 9:30 a.m. for children who are seven and younger. Entry costs $25 for the 5K, $15 for the Seneca Park Mile. The race raises funds for lemurs — in Madagascar and in the Seneca Park Zoo, 2222 St. Paul St., Rochester.
Unity Bike Ride — Join this free 8-mile bike ride around southwest Rochester with City Councilman Adam McFadden at 7 p.m. on Thursday, July 21. Participants must bring their own bike and helmet and are asked to meet at 6:30 p.m. at Bulls Head Plaza, where Genesee and West Main streets and Chili Avenue intersect. The idea behind the ride is for community members to come together and bring peace to the streets in an effort to stop violence in the city. (585) 428-7538.
Obstacle course — Rochester Parkour will offer two obstacle courses for anyone 6 and older to coincide with the University Avenue Music and Arts Festival on Saturday, July 23. Two courses will be open from 2 to 4 p.m. at Rochester Parkour, 1344 University Ave. There will be a ninja warrior-style course in which the floor doubles as lava and a laser beam course, dubbed the ninja spy maze. Each attempt at a course costs $1. (or you can spend $5 for six passes or $10 for 14 passes.) rochesterparkour.com (585) 204-7537.
VFREILE@Gannett.com


Texas Game Wardens are not playing around when it comes to seafood in East Texas.
According to TylerPaper.com, five of the citations were written at Tyler businesses, and three were to citizens selling seafood individually.
A recent two-day inspection operation yielded a total of 60 citations at about 50 establishments. Warnings were handed out to 12 seafood restaurants, fish markets and wholesale commercial fish dealers in Tyler, Quitman and Longview.
It seems that most of the violations were related to paperwork or documentation. Locations in Tyler cited included Kabayan Asian Food Mart, two Super Mercado locations, Import Emporium and Country Meat Market.
A couple of private Tyler residences were also cited for not having fish dealer licenses. In Longview, Fisherman's Market was given a citation for having oysters in an undocumented container. East Young Seafood was also given a warning for not having a nongame sales permit, according to the Tyler Paper.


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MSU vs. Iowa staff predictions
Graham Couch, Chris Solari, Joe Rexrode
Lansing State Journal writers Graham Couch and Chris Solari and Detroit Free Press / LSJ MSU beat writer Joe Rexrode predict the outcome of Saturday's Big Ten championship game between MSU and Iowa.
GRAHAM COUCH: Iowa proved its legitimacy to me a month ago, impressively beating up on Indiana in Bloomington on the same weekend MSU's defense collapsed at Nebraska. Back then, I'd have taken the Hawkeyes without blinking. But over the last two weeks, no one in the Big Ten has been more complete or adaptable than the Spartans. The idea that this will be a low-scoring slug-fest is to confuse offensive balance and brand with this year's reality and this week's conditions. These two offenses scored 35 or more points 11 times this season and today they'll be on dry track indoors. Make it: MSU 38, Iowa 34
JOE REXRODE: Don't be fooled into thinking this is a mismatch in the Spartans' favor. The only thing about the Hawkeyes that matters is how they play, not who they have or haven't played. And Iowa has become a special team. But then, the same is suddenly true of MSU. This one comes down to the fourth quarter, and it's the Spartans' senior quarterback who makes the difference and gets his team into the College Football Playoff. Make it: MSU 28, Iowa 23
CHRIS SOLARI: Experience in big games matters, and there is no bigger Big Ten game than this one, with a College Football Playoff spot on the line. The Spartans will use their strength in the trenches to slowly crawl away from the clawing Hawkeyes, but Connor Cook and MSU's passing game will be at its best to make the key plays to lock up a spot among the nation's four elite teams. Make it: MSU 31, Iowa 21


Glad you've been getting something out of the Mix Rescue columns. It certainly sounds like you have from this mix!
On the whole the drums are nicely balanced and blended, with a good sense of dimension to them. I think the cymbals probably have a touch too much 10kHz, because they get a little wearing at higher volumes and overshadow other parts in that region excessively for me. The sustain you've got out of the snare is fantastic, and it holds its place well in the track, but I'm not sure the sound you've chosen really fits the kit or song that well in a wider sense, and I have some misgivings about its blend within the kit. The kick is also a bit of a sticking point for me, because (for want of a better description) it isn't really serious-sounding enough for me. It's quite flappy and lacks low end compared to most of the renditions so far. The sound of the kick can have a huge impact on the way a track is perceived, and I think this choice is making things a little too upbeat, given the lyrical subject material. There's an impression of gated reverb on the snare too, which when combined with the lightweight kick and prominent bright chorusing/reverb effects conjures up a strong flavour of the late 80s for me. While this is a period of music that I have a lot of time for, Young Griffo don't seem to me to be the kind of band that benefit from a connection with the kind of artificial shininess that tends to infuse sounds of that era.
You've made the bass nice and tuneful in the track, without bloating out the low end (although I might pull out a decibel or two at 100Hz), which is great -- love it! It really helps drive the track along. Do deal with the fret squeaks, though, if you can. The guitars are also good, although again perhaps a little too watered down with effects for the style. Mono compatibility is a big problem as regards the main chorus guitar riff, the level of which suffers badly in mono. The bright vocal effects also become a bit phone-booth-y in mono, and the 'air' on the snare/cymbals loses some of its sheen too.
The chorus vocal tones are pretty good, although with some overprominent sibilant whistling still to be taken care of in the 10kHz region. The verse vocal, on the other hand, feels rather too thin and waspy for me, such that I'm finding it difficult to connect with it on an emotional level. Give it some more 900Hz or so and I think it'll already work a lot better. Vocal tuning is still on the 'to do' list as well, of course.
Despite these issues, I have to say that this is probably one of the most exciting versions I've listened to so far. The bass presentation, the liberal drum-buss compression, the fullness of the effects (although there's a risk of clutter during some fuller sections), and the nice transition stunts (the lead-in to the choruses, for example) are all clearly part of the recipe, but I also wonder whether the timing has been tweaked somehow too, because things seem to bounce along really well. What this mix has which so many of the mixes so far don't is a real forward momentum. The long-term dynamics are rather well-judged too, especially in resisting the temptation to rock out too far in the mid-sections so that the final chorus still has enough firepower to compete.
Thanks for sharing this with everyone. There's a lot to be learned from your overall methodology in this mix, even for those who don't agree with the aesthetics of any specific sounds/effects you've used.
"Walk away from the Scissors Tool with your hands in the air!" You're certainly not shy of editing things around, and I'm delighted to see someone really pushing this aspect of the production as far as this, because it constitutes a useful test of concept. Your reasoning seems pretty clear and defensible to me: the vocal is the star, so it should get in early and then remain in view as much as possible. It's particularly interesting to hear the song with vocals in the first chorus, because I'd almost certainly have done something with vocals there too, and I'm actually surprised that no-one's tried it before now. However, the outcome of your reasoning is that we end up with a short total duration of 2:20, as you've already mentioned in your post. Although this works for Blur's Song 2, and might indeed be made to work for this song as well, I'm not sure that it's actually playing to the song's strengths -- and might also rub most bands up the wrong way too! "Where's my guitar solo gone?!" While I agree that the raw multitracks do tread water to some extent at all the moments you've cut, I reckon there's only so far the editing solution will get you in practice.
So if you can't edit, what are the alternatives? Well, my instinct would be to try to make subsidiary hooks out of some of the non-vocal features that are already there, such as the guitar riff in the reintro and the outro solo. I'd also look at possibilities for making more of the backing vocals as a general concept, and get busy trying to re-use hook phrases and ideas from the lead vocal elsewhere in the mix wherever interest appears to dip. I'm not saying I wouldn't do *some* section edits in your position, but it's a question of degree.
Given the focus on the vocal for editing purposes, I was surprised you didn't allow the singer to have a fuller and more involving tone for the verses. Clearly the choruses don't have much room for this kind of sound, but that's no need for the verses to feel at all anaemic. A bit of boost around 2kHz, a more flattering compressor, a hint of stereo width, and some ambience reverb could work wonders in very little time, I reckon. You've maintained the vocal balance well maintained though, as it is, particularly in the choruses, where the lyric intelligibility is great.
Effects are an area which could probably do with a bit more work, I think, because the blend of the drum kit and the mix as a whole isn't terrific, and I suspect that adding more sustain and size-illusion would help further your vision for the track. Overall tonality is a bit thin, and more energy in the general region of 500Hz would help here, as would taming things a bit at 10kHz -- the cymbals in particular are rather sharp for me there. You lose quite a lot of 'air' from the cymbals and vocals in mono, but the guitars don't seem to fare that badly.
You mentioned that you were worried about the low end. This will have been very difficult to judge on the cans and Tapcos, and I'm not sure that typical hi-fi speakers are likely to be any more revealing here -- it's not uncommon for hi-fi equipment to hype the low end. As far as I'm concerned the bottom octaves feel about right to me, especially as there's often a fair bit of variation between different engineers in this respect.
Thanks for posting this mix. Your exploration of the possible edits is very instructive indeed, and although you could do more to inflate the sonics here, you've nonetheless done a good balancing job so far.
The sustain you've got out of the snare is fantastic, and it holds its place well in the track, but I'm not sure the sound you've chosen really fits the kit or song that well in a wider sense, and I have some misgivings about its blend within the kit.
Thanks, I was pretty happy with the snare and tried to make it sound quite deep with a big boost in the LMF. Initially when I hear the raw tracks my gut instinct was that it maybe wasn't recorded with the right snare and I'd be trying others during the session. Can you reference or describe a snare sound that you think would work better and explain how you would intergrate it further with the kit?
There's an impression of gated reverb on the snare too, which when combined with the lightweight kick and prominent bright chorusing/reverb effects conjures up a strong flavour of the late 80s for me. While this is a period of music that I have a lot of time for, Young Griffo don't seem to me to be the kind of band that benefit from a connection with the kind of artificial shininess that tends to infuse sounds of that era.
The kick is also a bit of a sticking point for me, because (for want of a better description) it isn't really serious-sounding enough for me. It's quite flappy and lacks low end compared to most of the renditions so far.
Well I had it beefier to start with , then I went and listened to a few of their references and came away with the impression ( rightly or wrongly ) that it wasn't that prominent in some of the songs they liked, so I tried to sit it above the bass and try to make the bass driver the track along instead. I also ended up rolling some bottom off the whole mix when I heard it the next morning just before I posted it.
Do deal with the fret squeaks, though, if you can.
Mono compatibility is a big problem as regards the main chorus guitar riff, the level of which suffers badly in mono.
I think I know why that is now, I used Brainworx Shredspread set fairly wide to give the chorus guitars a lift and I I forgot to check the mix as a whole in mono until it was too late. I have the guitars opposite panned, so do I try inverting the phase of one of them or is there a more elegant solution ? Or is it just the plugin that needs it's mono gain turning up ? I will try it.
Vocal tuning is still on the 'to do' list as well, of course.
I actually did some just to nudge it into shape, again not a huge fan of overdoing it - I find the overuse/abuse of Autotune etc. really puts me off alot of modern songs - I don't remember people complaining in the 70's - 80's & 90's about poor pitch on vocals ( though I did have WTF moment the first time I heard " Don't you Want Me " by the Human League...with those female vocals ...now considered a classic ) so I'm on the fence about that one. To be honest I didn't really hear anything major in the vocals that made me want to dive into the pitch correction plugins, actually they're one of best vocal performances I've had the pleasure of mixing so maybe my viewpoint is skewed.
Despite these issues, I have to say that this is probably one of the most exciting versions I've listened to so far.
That's made my day because "exciting" was kind of what I was going for really chuffed with that, makes the countless hours reading about mixing in SOS worthwhile.
but I also wonder whether the timing has been tweaked somehow too, because things seem to bounce along really well.
No, I didn't tweak anything on that front at all...I try to avoid it unless things are obviously out and need rescuing, maybe it the 8th note delay buss which I rode into the mix at certain times that help.
What this mix has which so many of the mixes so far don't is a real forward momentum. The long-term dynamics are rather well-judged too, especially in resisting the temptation to rock out too far in the mid-sections so that the final chorus still has enough firepower to compete.
Thanks I always try to do that with my mixes, I usually start out with quite a low level on the DAW Output meters and turn the monitors up more ( Adam A7's ) but I find it gives me enough headroom when levels start creeping up without me feeling I'm not mixing loud enough. Domestics mean I can't monitor that loudly anyway and with this one I ended up doing the last part on headphones which I loathe to do but I only had one night to meet the deadline.
I usually end up with 10 or 12 subgroups that I do alot of automation on so on this one for instance when the chorus hits I rode up room mics, brought in a much more distorted bass track that I'd multed, rode up the kit global ambience return, the vocal FX send and the Shredspread fader and then pulled them some ( or all for the bass ) of the way back for the next verse.
I do like the jangly tone you've opened the tune with, and it immediately demanded my attention. However, I wonder if it's just a little too bright, because it does make the drums and guitar sound a little underwhelming when they arrive, which would be self-defeating in the long-run.
If you approach the kick-drum more along those lines, I think it'll quickly become more obvious that the low end of the bass and guitars need nudging up below 200Hz or so to warm them up. That said, the bass is really nicely controlled and it cuts through wonderfully on the small speakers, while the guitars are kept out of each other's way so that the texture remains pretty clear throughout, and nothing starts sand-papering my ear canals come the mid-section either. (That said, maybe the cymbals could be softened slightly in the 10kHz region during the outro, when the solo guitar hits.) I'd like a bit more of that secondary guitar part in the choruses still, though.
I like the way you've dealt with the lead vocals a lot. They feel chunky enough to command the track, but not so big that they upset the well-judged balances. There is a little too much sibilance for me, though, so it'd be worth putting a de-esser into action. I also like the way you've flown in the BVs in the reintro, and the harmonies in the chorus are interesting, even though they perhaps draw undue attention away from the lead in the grand scheme of things -- although that might just be me having heard the track hundreds of times now without them. The vocal tuning and timing does still need work.
By choosing to keep a fairly compact stereo picture, you've managed to maintain decent mono compatibility, which is great. However, although you do paint out to the edges of the picture in stereo, it does nonetheless feel a little bit too constricted for me, and I'd probably try to introduce more non-essential stereo widening tactics -- some wide stereo background hiss might be a worthwhile thing to try, for example, although be careful not to overemphasise the 10kHz cymbal danger zone.
Thanks for getting involved with the competition. This mix already works very well on an Auratone, which says a lot about your balancing skills, and you've made the long-term dynamics work pretty well too. Your job now is to try to retain those advantageous characteristics while fattening up the stereo presentation, I think.
Hi Manuel, I've not reviewed many mixes so I hope this helps you.
Bass sounds really nice, you managed to get a heavy sounding bass without it being too over powering and muddy. I thought the drums had a bit too much reverb for my taste at the start but sounded better when the main riff comes in. The vocals come through nicely and the delay works really well. Overall I think this is a good attempt. Keep it up.
Is this link active? Soundcloud is giving me an error message.
Can you reference or describe a snare sound that you think would work better and explain how you would intergrate it further with the kit?
There have been some nice ones already on this thread, but you'll have to flick back through a few of the critiques to find them, because all these mixes are beginning to become one big blur to me now! As far as blending is concerned, I'd try to do this by first switching the snare on and off while the mix is playing. When it's not there, imagine what its tone should be, then pop it back in and see if the odd narrow EQ notch might make it sit more naturally. Then I'd look at the possibilities offered by short ambience reverb, but trying to match the acoustic signature of the ambience to the overheads if you can. It can sometimes take me 10 minutes or more to find the right raw reverb preset to start work from in situations like this, so don't hurry that bit of the process.
It's always tricky to judge the bottom octaves, and engineers do differ quite a bit in their approaches here. I've personally prefered to err on the side of more rather than less, more in line with the Cog and Death Cab mixes, but it's always going to be a moot point. The advantage of less low end, of course, is that you can usually get more loudness out of the end result.
It might perhaps surprise you to hear that I actually agree with you, but it's not the presence of these things in the mix that bugs me, it's the balance. Tuck it into the mix a bit more and I'm all for it.
I agree with you, but in my experience you can do a massive amount to correct and tighten vocal tuning without actually killing the emotion (if you're careful), and like it or not we do now live in an age where the listening public have grown accustomed to unnaturally tight tuning.


Irish Blog: A FEW GOOD WOMEN !
A FEW GOOD WOMEN !
One of the better reports from the apparent Irish Stalinist, the Pensive Quill.
Deputy Clare Daly (Ind) asked the Tánaiste and Minister for Foreign Affairs and Trade the steps he has taken in his dealings with the Northern Ireland and British authorities to highlight the wide-spread concern that exists in relation to persons (details supplied) being in prison without knowing the charges against them and without an open trial.
Deputy Eamon Gilmore (Lab): I am very aware of the cases to which the Deputy refers and my officials monitor these and other cases very closely. The first individual referred to has been detained since 13 May 2011, following the revocation of her life licence by the Secretary of State for Northern Ireland. Genuine concerns about several aspects of this case have been raised by Deputies on many occasions, and I have raised them very frankly with the British Government, most recently when I met the Secretary of State for Northern Ireland on Monday, 11 February. I have been advised that the Parole Commissioners for Northern Ireland will determine in March on the issue of her continued detention.
In relation to the second individual referred to, the British authorities have confirmed that he was released under licence in 1992. The Secretary of State for Northern Ireland revoked that licence in April 2010 and the individual, has as a result, been in custody for the past two years and nine months. I understand that an appeal on the case will be heard by the Supreme Court in Belfast shortly. As the case is the subject of an ongoing legal process, it would be inappropriate to comment further at this time.
Deputy Clare Daly: I appreciate that the Tánaiste has raised those matters but all of us need to do more. We were among a cross-party delegation that went to Maghaberry Prison where we visited both Martin Corey and Marian Price in recent weeks. The health of Marian Price in particular is a cause of grave concern. We all have a role in putting pressure, not just on the British authorities but also on the Northern Ireland Administration. Deputy O'Sullivan is correct; the Minister, Mr. Ford, could release the two individuals on compassionate grounds at the stroke of a pen.
The issue is a serious one. I am shocked that the media have not taken it up to a greater extent. The cases involve two people who have been in prison for almost two and three years, respectively. They do not know the charges against them. Their solicitors are not entitled to the evidence against them. In the case of Marian Price's parole commission hearing, a representative is being appointed on her behalf to represent her. This is a person she cannot meet, who cannot discuss matters with her or talk to her. This person will attend her hearing, which will be held behind closed doors, which she herself is not allowed to attend. If that was taking place in a tin-pot African dictatorship, we would be banging our drums demanding justice. It is happening on this island and it is absolutely unlawful and disgraceful. I echo the point made previously on whether we can get an official from the southern Government to be a public voice at the hearing. Could we demand that the case is held in public and that Marian Price and her solicitor could attend? Could we begin to address the issues in the broader European Union community because it is a serious erosion of human rights?
Deputy Eamon Gilmore: Two cases were referred to in the question. In one case a Supreme Court case is shortly to be held on it so I cannot say anything much further in that regard.
In the second case the individual was sentenced to two life terms of imprisonment – 20 years imprisonment to run concurrently. In March 1975 the individual concerned was transferred from prison in England to Armagh Prison. On 30 April she was released from Armagh on humanitarian grounds. The release was on licence and the licence was then revoked on 15 May 2011 by the then Secretary of State for Northern Ireland. An issue arose about the terms of the revocation. The Secretary of State for Northern Ireland and the Northern Ireland Office inform us that the parole commissioners considered the terms of the royal prerogative of mercy after receiving submissions on behalf of the prisoner, that the Secretary of State ruled that the life sentences were not remitted by the royal prerogative of mercy, and that the individual remained subject to the life sentence.
The prevailing policy within prisons themselves is a devolved matter which is the responsibility of the Department of Justice in Northern Ireland. The Northern Ireland Prison Service is an executive agency of the Department and the Police Service of Northern Ireland. I have received a briefing on the assessment of the parliamentary delegation which visited Maghaberry Prison. My officials are monitoring the situation closely. It is the subject of discussion between the Secretary of State and I and between officials of my Department and corresponding officials in the Northern Ireland Office. That will continue to be the case. I am very much aware of what is going on.
Deputy Clare Daly: If people have done something wrong and have broken the law, they should of course be brought to justice and to trial. This is the opposite case where people are imprisoned for a period of years whose cases have been heard in open court. They have been found to have no case to answer and then secret evidence has been introduced behind closed doors. That is a fundamental attack on human rights and civil rights for everyone in Irish society and beyond.
Why does Martin Corey have to go to the Supreme Court? An open court has already said he has no case to answer. These are serious matters. It is 41 years since Bloody Sunday when people marched against internment. Now there is a new Administration and a new power structure but people are in prison who do not know the reason they are there. The Northern Ireland Minister for Justice could release those two people at the stroke of a pen. I hope that when we have next month's ministerial Question Time, we do not have to raise the two cases in question because if Marian Price is not released soon on compassionate grounds, given her ill health, it will lead to a seriously destabilising situation in the North for the foreseeable future.
Deputy Eamon Gilmore: In one case, as I said, there will be a Supreme Court hearing and my information is that it is due to be held shortly. A date was set for it earlier in the month but the hearing was not held on that date. I understand a new date will be set for it shortly.
My understanding is that the parole commissioners will hear the Marian Price case in early March. Three dates have been indicated to me as to when the case will be held and it has been indicated to us that there will be a decision shortly after that. Clearly, we cannot prejudge what that decision is likely to be and I will certainly be keeping a very close watch on what is happening and my officials will be doing that on my behalf.
29. Deputy Mick Wallace (Ind) asked the Tánaiste and Minister for Foreign Affairs and Trade in view of the fact that Marian Price has been interned without trial for a period of nearly two years, if he will consider raising the matter at a European level; and if he will make a statement on the matter.
33. Deputy Aengus Ó Snodaigh (SF) asked the Tánaiste and Minister for Foreign Affairs and Trade if his attention has been drawn to the deterioration of the physical and mental health of a person (details supplied); his views on their prison conditions; and if he has discussed them with British Secretary of State, Theresa Villiers.
63. Deputy Luke 'Ming' Flanagan (Ind) asked the Tánaiste and Minister for Foreign Affairs and Trade the discussions he has had with the Northern Ireland Office and the Secretary of State with regard to Marian Price; and if he will make a statement on the matter.
66. Deputy Damien English (FG) asked the Tánaiste and Minister for Foreign Affairs and Trade if his attention has been drawn to the fact that the Stormont Assembly Minister, David Ford, denied until the last minute compassionate parole to persons (details supplied); if he will raise with Minister Ford at their next meeting the need to address compassionately requests from both in view of the limbo position in which they have been placed, having being neither charged with an offence, nor given a release date, granted bail or seeing the evidence against them; and his views on a royal pardon issued to one of the persons in the 1970s being conveniently misplaced.
67. Deputy Martin Ferris (SF) asked the Tánaiste and Minister for Foreign Affairs and Trade if he has raised with the British authorities the continued detention-internment without trial of two Irish citizens (details supplied) in prison; and if he has demanded their immediate release.
Deputy Eamon Gilmore: I propose to take Questions Nos. 9, 29, 30, 33, 63, 66 and 67together.
I am very aware of the cases to which the Deputy refers and my officials monitor these and other cases very closely. The first individual referred to has been detained since 13 May 2011 following the revocation of her life licence by the Secretary of State for Northern Ireland. Genuine concerns about several aspects of this case have been raised by Members on many occasions, and I have raised them very frankly with the British Government, most recently when I met the Secretary of State for Northern Ireland last Monday, 11 February. I have been advised that the parole commissioners will determine in March on the issue of her continued detention.
In relation to the second individual referred to, the British authorities have confirmed that he was released under licence in 1992. The Secretary of State for Northern Ireland revoked that licence in April 2010 and the individual has as a result been in custody for the past two years and nine months. I understand an appeal in relation to the case will be heard by the Supreme Court in Belfast shortly. As the case is the subject of an ongoing legal process, it would be inappropriate to comment further at this time.
Deputy Seán Crowe: There has been some discussion of this but I want to add a few points. The nature of these cases involves unseen and unknown evidence, so it is difficult for people to defend themselves when they do not know what evidence has been presented against them. The common denominator is the involvement of shadowy figures in the background from MI5 and MI6 who are not friends of the Irish peace process. The Minister said he would get the report of the delegation that visited Marian Price. That delegation has stated that her health is getting worse and we know she is only allowed to exercise in a corridor late at night, with no access to the fresh air or the environment. She is also concerned that there is talk of closing the wing she is on and returning her to what she described as the dungeon. She said that part of the problem with the dungeon was that she was refused access to medication. The Red Cross has been refused access to Hydebank where she is being held. Will the Minister raise that with the British Government?
Deputy Eamon Gilmore: I have already brought to the attention of the Secretary of State the previous visit that was undertaken by a group of Oireachtas Members whom I subsequently met and whose report and assessment I was given. On a continuing basis, we have raised with the Minister for Justice in the Northern Ireland Executive the conditions in which Ms Price is being held. The immediate focus is on the hearing by the parole commissioners that is due in early March.


text:
John Oliver: This Right-Wing Media Company Is National Threat to Local News
'The most influential media company that you've never heard of'
"They're injecting Fox-worthy content into the mouths of your local news anchors," says John Oliver. (Screengrab: "Last Week Tonight")
In Sunday's episode of "Last Week Tonight," host John Oliver took on media consolidation and the not-so-covert conservative bias at Sinclair Broadcast Group's local news stations.
"With Sinclair, they're injecting Fox-worthy content into the mouths of your local news anchors—the two people who you know, and who you trust." —comedian John Oliver"Sinclair may be the most influential media company that you've never heard of," Oliver said of the nation's largest television-station conglomerate. In May, the company announced it was acquiring Tribune Media for $3.9 billion, which will add the Tribune's 42 stations to Sinclair's 173. The acquisition requires regulatory approval from federal antitrust regulators and the Federal Communications Commission.
Watch the full segment below:
A defining component of Sinclair is the "must-run" strategy. Local producers across the country are sent video segments they are required to work into their broadcasts, along with scripts that local anchors use to introduce them. To demonstrate this, Oliver aired several clips of a particularly amusing—and ridiculous—anchor intro for one of the segments: "Did the FBI have a personal vendetta in pursuing the Russia investigation of president Trump's former national security adviser Michael Flynn?"
But after detailing the far-reaching claims on which that segment centered, Oliver identified the overarching issue: "There is real power in hearing your trusted local newscasters using 'FBI' and 'personal vendetta' in a sentence."
Though it's commonly compared to Fox News, Oliver characterized Sinclair's conservative angle as more covert than its cable comrade: "In contrast to Fox News, a clearly conservative outlet where you basically know what you're getting, with Sinclair, they're injecting Fox-worthy content into the mouths of your local news anchors—the two people who you know, and who you trust."
And those nightly news anchors are trusted sources among the American public. Last year the Pew Research Center found that people trust local news sources more than national news sources, family and friends, or social media.
Sinclair also reports on terrorism—"every single day, whether there is something major to report on or not"—through its "Terrorism Alert Desk," which has aired unsubstantiated claims that even the right-wing news outlet Breitbart reported on cautiously. "I did not know it was possible to dip beneath the journalist standards of Breitbart," said Oliver. "That's like being too bad a chef to work at a carnival food cart."
Though Oliver jokes around about Sinclair's content quality and company policies, he also strike a serious note about the consequences of corporate media consolidation: "Should this Tribune acquisition go through, there are going to be even more good journalists having to see their hard work placed alongside terror desk nonsense, just as there'll be even more unsuspecting audience members who will be getting a heaping dose of Sinclair's content, possibly without realizing it."
Free Press Advocates Decry 'Unprecedented' and 'Unjustified' Restrictions on Reporter Access to Trump Impeachment Trial
Should Facebook and Twitter Stop Trump's Lies?
Media, Journalism, Corporate Power, FCC, Sinclair Broadcasting


text:
Q: she kicked me right in the teeth. Is there a pun in this phrase?
dialogue of an NPC in the game.

I ran forward into the crowd, yelling for them to stop, but… I… I tripped and fell in the mud. I looked up and saw the face of a kindly grandmother. I reached for her hand and…she kicked me right in the teeth.

players reaction options.

1.That's horrible
    2.You got beat up by an old woman?

if you choose 2, response is:

You may think this is funny now, but it was devastating at the time.

picture comes from a PC game.
Is there a pun here? (the idiom "a kick in the teeth")
Or simply mean a real kick in the face?

A: The word right there means  "directly, not to any degree indirectly" or "precisely" or "exactly".

He stepped right in a pile of dog-shit.
The train arrived right on time.
You can put the letter right on that table there beside you.
Tell me where it hurts. Here?
  --No.
  Here?
  --No.
  Here?
  --Ouch! Yes, right there.

So, she kicked me right in the teeth literally means that gave him or her a kick directly in the mouth.
I assume you are asking about a "pun" because of the phrase You may think this is funny now.... I do not see any sort of pun but a reversal of the kindly grandmother stereotype and mockery in player response #2, You got beat up by an old woman? The phrase to get beat(en) up means to be struck multiple times, again and again. Bullies beat people up, for example. The game's question #2 does not accurately reflect what happened in that regard, and it mocks the victim by implying that he or she was overcome and defeated in a fight by an old woman who was presumably physically weak.  That is why the game replies "You may think this is funny now...". A person who mocks an injured victim in that manner would probably be laughing derisively. At the very least they see humor in the situation. The victim does not find it funny.

A: NO, there is not a pun
As has already been explained, "a kick in the teeth" is a fairly common expression which figuratively means someone has betrayed you.
However in your example it actually says "she kicked me right in the teeth". This makes it very specific, and actually implies that it was a literal kick in the teeth. This is further evidenced by the detailed description - the person was lying on the floor and reached up to someone else to help them, but they kicked them in the teeth, which would be logistically possible in that position. If it wasn't for this additional context I might have wondered if it was a bad translation of the idiom "a kick in the teeth", but as it is I believe it is meant literally.

A: After reading other answers, I have to say this is certainly literal, but not for the reason people are claiming.  The idiom is:

a kick in the teeth

Note that the word kick is a noun in this context.
When switched from a noun to an active verb, the sentence suddenly becomes more visceral, more real, and thus takes on the literal meaning:

She kicked me in the teeth.

In general, adding words like "right" for emphasis to these types of idioms describing physical actions does not change the meaning, it simply makes it stronger.

He hit the nail on the head --> He hit the nail right on the head.
Her response was a kick in the teeth --> Her response was a kick straight in the teeth.

The above phrases retain their idiomatic meaning even with the addition of the emphasis words in the middle.  It is the grammatical change that shifts the tone from idiomatic to literal in this case.

redpajama_set_name: RedPajamaStackExchange


When asked, 81% of guests say the thing they remember most about a wedding is the entertainment (Band / DJ).
A full 65% of couples that used a band to entertain at their wedding reception, said, if they had it to do over again, they would have chosen a disc jockey!
Wedding disc Jockey rates vary based on skills, year of experience, emcee abilities, level of service, level of involvement/coordination, quality of equipment, music knowledge, mixing ability/DJ talent, and personality. Not all wedding DJ's are created equally. Everyone has seen a "bad" or cheesy wedding DJ at some point.
Rates for the DJ industry vary greatly, ranging from $750.00 to $3,500.00 with an US average of $1,400.00 for a 4-5 hour reception.
The best price is not always the best deal, especially if you are planning a wedding. 100% of brides would have spent more money on their entertainment & made it their #1 priority in hindsight!
A professional wedding entertainment company will normally invest 12 to 20 hours to your special event, but it may appear that you are only paying for "4 hours".
According to Modern Bride Magazine, entertainment is, on average, 5% of a bride's wedding budget, however, over 50% of your guests will remember the performance of your disc jockey more than anything else at your reception.
Most (about 75%) first-time brides will receive a diamond engagement ring (67% of repeat brides).
35% of weddings occur in the summer; 29% in the spring; 23% in the fall; 13% in the winter.
80% of traditional weddings are performed in churches or synagogue.
Four out of five brides are employed.
35% of Brides and Grooms have a valid passport.
53% of weddings occur in the afternoon; 31% in the evening; 16% in the morning.
and 10% each in fraternal halls, private homes, and other locations.
38% of weddings have a buffet; 34% have a sit-down dinner; 28% serve only cake and punch.
62% of weddings have a flower girl.
56% have a ring bearer.
More than 4.2 million unmarried couples live together.
Couples spend an average of $4,000 on their honeymoon. That's three times as much as the average U.S. adult spends on a vacation.
The length of an average honeymoon is seven days.
45 percent of honeymoon trips are to domestic locations; 55 percent are foreign.
The Honeymoon Industry is a 12 billion dollar a year industry.


Traditional Endpin Holder made from rubber with reinforced metal spike disc.
The Dycem Black Hole Cello/Double Bass Mat is made from material that has exceptional sticking power on all surfaces. It has up to three times the coefficient of friction of rubber. No slipping even on marble or parquet. Best Seller. Made in UK.
RDM Slipstop in Blue for Cello, Bass annd drums features an Aluminium Plate with a big easy to find cup for the spike and a spounge rubber bottom which sticks to the floor while protecting it. Made in USA.
RDM Slipstop in Pink for Cello, Bass annd drums features an Aluminium Plate with a big easy to find cup for the spike and a spounge rubber bottom which sticks to the floor while protecting it. Made in USA.
RDM Slipstop for Cello Platinum Colour, Bass annd drums features an Aluminium Plate with a big easy to find cup for the spike and a spounge rubber bottom which sticks to the floor while protecting it. Made in USA.
Traditional Cello Endpin Stop (Rubber Doughnut) made from Sponge Rubber with reinforced Metal Cup for Spike. Made in Germany.


College Passions is a free dating site for West Virginia college students, alumni, faculty & staff. Join for free and take advantage of free email, chat, forums and more.
Mountaineer Singles - The Way Mountaineers Meet!
MountaineerSingles.com is a site for single people with a connection to West Virginia University. A service for Alumni, Students, Staff & Friends of WVU. Register for free now.
Campus Explorer provides a college matching service for State of West Virginia college students.


text:
The Jackson House: Still an Unpolished Gem
By Yoselis Ramos • Oct 13, 2013
The Jackson House sits on 851 East Zack Street.
WUSF/Yoselis Ramos
Willie Robinson owns the Jackson House but doesn't live there.
Willie Robinson tells a brief history of the Jackson House to by-walkers.
The roof of the porch has holes and water damage.
Damaged roof on the Jackson House.
There have been a few projects geared to create a renaissance of the rich African-American history that is part of the bedrock of Tampa.
Click here to listen to the story
The proposed Perry Harvey Senior Park would honor the African-American hub of businesses that lined Central Avenue before much of the area was bulldozed in the 1960s. One of the few historic landmarks of that time still standing is the Jackson Rooming House on East Zack Street. For years, plans have been in place to restore it, but those are currently at a standstill.
At the edge of Downtown Tampa, with its high-rises and commercial buildings, stands the two-story Jackson House. The lone survivor of what used to be a vibrant area could easily be missed if you're not looking for it, as it's now surrounded by asphalt parking lots.
The house has holes on the roof and the structure isn't so steady. But stand on the porch or sit on the bench with the red chipped paint, and you can easily feel how this was once a home.
"First of all, I'd like to say, 'Welcome to you, to the Jackson House, Ms. Ramos,'" says Willie Robinson Jr., as he greets me with a smile.
The house has been in his family for three generations, standing in this very spot for more than 100 years. It's also now on the National Register of Historic Places.
During the peak years, when Central Avenue was considered the Harlem of Tampa, the 24-bedroom Jackson Rooming House was a place where black travelers could lodge. It stood just across the street from the old Union Railroad Station during the era of segregation.
It's the house where Ella Fitzgerald wrote her breakthrough hit song "A Tisket, A Tasket" and where Martin Luther King Jr. had breakfast at the kitchen table. But most importantly to Robinson, it's where his family lived for so many years.
"And that family reaches all the way back all the way into the 1800's," Robinson says.
Robinson invites me to sit down on the porch as he brings out photo albums and framed pictures of his family.
"I want to introduce you to my grandmother- my mother's mother- this is Sarah Jackson Robinson."
Robinson's grandfather built the boarding house for her.
"I always make the comment that she had to be a very good looker or something that he liked, for him to build a 24-bedroom house for her. It's kind of hard to get a 3-bedroom or a 2-bedroom house built, but for a 24-bedroom house, she had to be a looker," Robinson said.
He adds that his family always had a good work ethic -- his grandmother oversaw three businesses.
"She started a laundry service because we (were) so close in proximity to the courthouse that her four daughters ran the laundry service," he said. "And for her two sons that she had, she started the first black cab company, which was named the Jackson Cab Company."
Robinson brings out one last photograph of him and his mother sitting on this very porch, smiling for the camera.
"I got her to smile, she didn't want to smile. But I got her to smile by telling her, 'you know you was my first girlfriend and the only girlfriend' and she just had to laugh at that," Robinson said.
Robinson's mother died a few months after that picture was taken in 2006, and Robinson inherited in the house. However, it's in pretty bad shape: the roof leaks and needs to be rebuilt to keep water from getting in. The house needs foundation work, asbestos and lead need to be removed, and an addition to the house has to be demolished.
In 2011, Tampa-based Bracken Engineering Inc. stepped in to help.
Matthew Depin is a project engineer. He says his company decided to help at no cost to Robinson.
"Once you get talking with Mr. Robinson and you realize the history of the house and the significance of it being the last privately-owned free standing structure in downtown with ties back to segregation and black history, there's no way we could not be interested in the house and preserving all that it stands for," he said.
Depin also said restoring the entire house would cost close to $1.5 million. Money is what is holding them back.
The only thing keeping Robinson from fundraising is a response from the IRS. He's created the Jackson House Foundation as a nonprofit organization so as to solicit tax-exempt donations. The IRS has sent a letter stating that it will make a decision within 90 days. For now, Robinson waits.
Editor's Note: After the publication of this story, Willie Robinson and members of his board met with city officials. City officials have given a one to two week deadline to get the entire structure of the house stabilized and shored.
Bracken Engineering will be erecting a temporary construction fence around the property by the end of the week (Oct. 14). The company will be submitting permit-ready drawings for placing the interior shoring by the following week. Then, donations and bids will be solicited for the shoring.
If the deadlines pass, it is not certain what actions the City will take but demolishing the house is a likely option.
Central Avenue
Harvey Park
The Jackson House
Saunders Library to Preserve African-American History
By Yoselis Ramos • Oct 4, 2013
Central Avenue was once the "Harlem of Tampa," where black-owned businesses flourished. The historic Jackson House – a boarding house – rented rooms to stars like Ella Fitzgerald and Cab Calloway. Former Florida NAACP director, civil rights activist Robert W. Saunders was born and raised just around the corner.


First aired October 5th, 2011.
A 10-episode limited series inspired by the film, FX's Fargo will feature an all-new "true crime" story, with the series following a new case and new characters, all entrenched in the trademark humor, murder and "Minnesota nice" that has made the film an enduring classic. Fargo is written by Noah Hawley. Executive Producers are Joel & Ethan Coen, Warren Littlefield, and Geyer Kosinski. Fargo is produced by FX Productions and MGM Television.
First aired April 15th, 2014.
First aired August 4th, 2005.
The first season, subtitled The People v. O. J. Simpson, presents the murder trial of O. J. Simpson, based on Jeffrey Toobin's book The Run of His Life: The People v. O. J. Simpson. The second season, subtitled The Assassination of Gianni Versace, explores the murder of designer Gianni Versace by serial killer Andrew Cunanan, based on Maureen Orth's book Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U. S. History. A third season, based on the aftermath of Hurricane Katrina, and a fourth season, based on the the Clinton–Lewinsky scandal, are in development.
First aired February 2nd, 2016.
Set in 1814, Taboo follows "James Keziah Delaney," a man who has been to the ends of the earth and comes back irrevocably changed. Believed to be long dead, he returns home to London from Africa to inherit what is left of his father's shipping empire and rebuild a life for himself. But his father's legacy is a poisoned chalice, and with enemies lurking in every dark corner, James must navigate increasingly complex territories to avoid his own death sentence. Encircled by conspiracy, murder and betrayal, a dark family mystery unfolds in a combustible tale of love and treachery.
In addition to Tom Hardy, Taboo also stars Jonathan Pryce, Oona Chaplin, Stephen Graham, Michael Kelly, Jessie Buckley, David Hayman, Tom Hollander, Jason Watkins, Franka Potente, Jefferson Hall, Ed Hogg, Leo Bill, Christopher Fairbank, Richard Dixon, Mark Gatiss, Nicholas Woodeson, Lucian Msamati, and introducing Robert Parker.
Taboo is created by Steven Knight with Tom Hardy and Chips Hardy, who is also the show's consulting producer. Executive producers are Ridley Scott and Kate Crowe for Scott Free Films, Tom Hardy and Dean Baker for Hardy Son & Baker, and Steven Knight, with Timothy Bricknell producing. Taboo is directed by Kristoffer Nyholm (Eps. 1-4) and Anders Engström (Eps. 5-8), and reunites Hardy and Knight for their third collaboration following Locke and Peaky Blinders.
First aired January 10th, 2017.
First aired September 6th, 2016.
You're the Worst, from Stephen Falk, stars Aya Cash (The Wolf of Wall Street), Chris Geere (The Spa), Kether Donahue (The Carrie Diaries), and Desmin Borges (The Good Wife). You're the Worst is a comedic love story about what happens when two toxic, self-destructive people (Cash and Geere) fall in love despite themselves and attempt the impossible—a relationship.
First aired July 17th, 2014.
First aired September 4th, 2018.
Los Angeles 1981. A storm is coming and its name is cocaine. Snowfall is a one-hour drama set against the infancy of the crack cocaine epidemic and its ultimate radical impact on the culture as we know it. The story follows three characters on a violent collision course: Franklin Saint, young street entrepreneur on a quest for power; Gustavo Zapata, a Mexican wrestler turned gangster in search of his American dream; and Logan Miller, a prominent family's "black sheep" desperate to escape his father's shadow.
First aired September 25th, 2018.
Young computer engineer Lily Chan investigates the secretive development division of her employer, a cutting-edge tech company based in San Francisco, which she believes is behind the murder of her boyfriend.


One India Next is among Gurgaon's first mixed use developments. This is a 10-acre development that will have high street retail and exclusive office spaces as well as well-appointed residences for executives who'd like to walk to work. The project will also have its own members-only club..