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Senate panel approves Gov. Ron DeSantis' proposal to import drugs from Canada
By Christine Sexton
| News Service of Florida |
| TALLAHASSEE
Bottles of prescription medicines ride on a conveyor belt at a pharmacy warehouse in Florence, N.J. (Julio Cortez / AP)
Gov. Ron DeSantis' push to allow the state to import drugs from Canada is moving ahead in the Legislature, though some lawmakers say there has been a sustained effort to try to stop the plan.
The Senate Health and Human Services Appropriations Subcommittee on Tuesday became the latest panel to approve a proposal (SB 1528) that would authorize the state to ask the federal government to approve the importation program.
DeSantis has championed the legislation as a way to curb prescription drug costs. But his effort continues to draw opposition from representatives of the pharmaceutical industry who say importing drugs could increase the amount of unsafe and counterfeit drugs.
Mark Delegal, a lobbyist for the Pharmaceutical Research and Manufacturers of America, told senators Tuesday that they can lower prescription drug costs in other ways, including cracking down on pharmacy benefit managers that, he said, don't pass along savings and rebates to consumers.
"People are watching you," he said. "Counterfeiters are watching you. The public is watching you. And when you give a green light to this Canadian system, it's going to change public conduct. They are going to go out and start saying, 'Hey, this has been green-lighted.' And all the counterfeiters will pop up and begin to make their products available."
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The Senate Health and Human Services Appropriations Subcommittee added two amendments to the bill, one of which deleted a proposed requirement that Canadian suppliers export drugs "at prices that will provide cost savings to the state."
Chairman Aaron Bean, a Fernandina Beach Republican and sponsor of the bill, said the federal government wouldn't approve the program if there weren't cost savings and that the language was redundant and unnecessary.
DeSantis wants to import prescription drugs from Canada to Florida
But Sen. Kathleen Passidomo, R-Naples, pressed Bean about eliminating the requirement, noting that savings are her top priority. Passidomo said she wants to make sure that the program 'bears fruit" and that it doesn't just create an opportunity for the "middleman."
DeSantis has made the creation of a drug-importation program a top health care priority since taking office in January. DeSantis on Monday made a trip to Sun City Center, a well-known retirement community outside Tampa, to rally support for the proposal.
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DeSantis was joined by Bean, House sponsor Tom Leek, R-Ormond Beach, and Agency for Health Care Administration Secretary Mary Mayhew, who would be charged with carrying out the program.
The House is poised Wednesday to debate its version of the bill (HB 19) on the House floor. The House version would establish two drug-importation programs. One would apply to state government programs and would be run by the Agency for Health Care Administration. The other program would be known as the International Drug Importation Program and would be run by the Department of Business and Professional Regulation and more geared to consumers.
The Senate version of the bill differs in that it would establish one program to allow drug importation from Canada. If the federal government signed off, the Senate bill also would require the program to come back to the Legislature for final approval before it could be implemented. The House bill would not require final legislative approval before implementation.
Sen. Ed Hooper, R-Clearwater, noted that he had been heavily lobbied on the bill and called it controversial. But at the end of the day, Hooper said the costs of "prescription drugs are way too high in this country," and not enough is being done to bring down the costs.
Drugs and Medicines


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Home / News / NI pre-reg exam to be held in June after pandemic 'significantly impacts' joint plans with GPhC
NI pre-reg exam to be held in June after pandemic 'significantly impacts' joint plans with GPhC
Pre-registration students in Northern Ireland will sit a 'bespoke' registration exam on 8 June, instead of the common registration assessment arranged by the GPhC in July, the Pharmaceutical Society NI has said.
In a statement published yesterday (24 March), Dr Jim Livingstone, president of the PSNI, said it was 'unacceptable' to delay the exam for 'a second year'.
The two regulators announced in 2019 that they would introduce a common registration exam across the UK from 2021, but the PSNI said the pandemic had continued to 'significantly impact' their joint plans.
The GPhC recently announced that its delayed summer registration assessment would take place on 27, 28 and 29 July 2021.
Dr Livingstone added that both remain committed to the UK-wide assessment, 'but must adjust full implementation until the Autumn 2021 planned assessment at the earliest'.
According to PSNI, the format and content of its separate June assessment will be in the style and to the standard of the originally planned common registration assessment.
It is also likely to be paper based, 'largely due to the unavailability of Pearson VUE centres in Northern Ireland during June'.
'Unacceptable' to delay further
With exams in England, Scotland and Wales delayed because of the need for socially distanced events and the higher number of trainees, Dr Livingstone said the GPhC and PSNI 'had to react differently' to the pandemic.
'The situation in Northern Ireland is different, as sufficient alternative venues are available for our smaller number of trainees, allowing us to proceed as planned, albeit on a paper-based assessment,' he said.
'The Council of the Pharmaceutical Society NI has therefore approved a Northern Ireland registration assessment for June 2021 because it considered it unacceptable to delay assessment and registration processes for a second year.'
He added: 'We will be in touch with trainees with more details on venues, as well as the application process, for now we ask that you hold 8th June 2021'.

redpajama_set_name: RedPajamaCommonCrawl


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Hollywood Reporter George interview -with puppy....
by party animal - not! Fri 20 Nov 2020, 19:38
https://www.hollywoodreporter.com/race/george-clooney-on-covid-family-and-directing-and-starring-in-netflixs-oscar-hopeful-the-midnight-sky-qa
Re: Hollywood Reporter George interview -with puppy....
by Missa Fri 20 Nov 2020, 21:06
Oooh, I was happy to see the name of the "very small movie" he's going to be working on next in Boston, The Tender Bar. The book by the same name, which I'm assuming it's based on, is excellent, and it's a story right up George's alley.
Clooney-love. And they said it wouldn't last
by annemarie Fri 20 Nov 2020, 21:30
NOVEMBER 20, 2020 8:00am PT by [size=13]Scott Feinberg[/size]
[size=48]George Clooney on COVID-19, Family, and Directing and Starring in Netflix's Oscar Contender 'The Midnight Sky'[/size]
George Clooney in Netflix's 'The Midnight Sky'
The Academy Award winner's seventh film as a director, which drops Dec. 23, stars him as a dying scientist caring for a young child while racing to save mankind.
George Clooney has a beautiful family, fame, fortune and two Oscars on his mantelpiece, but he is as paralyzed by the ongoing COVID-19 pandemic as anyone else. "I haven't seen my parents in eight months," he laments by phone from his Studio City home during a long and wide-ranging conversation with The Hollywood Reporter. "It's wild."
Apart from spending time with his wife, Amal Clooney, their 3-year-old twins and a St. Bernard puppy that occasionally interrupts his train of thought, Clooney has occupied himself during lockdown by finishing his seventh film as a director, The Midnight Sky, an adaptation by Mark L. Smith (The Revenant) of Lily Brooks-Dalton's 2016 novel Good Morning, Midnight, which Netflix will begin streaming Dec. 23.
Clooney also stars in the postapocalyptic film, although viewers would be forgiven for not recognizing him. Indeed, People's two-time Sexiest Man Alive looks nothing like himself, having dropped a significant amount of weight, grown a bushy grey beard and assumed a hunched posture in order to play Augustine, a dying scientist who winds up caring for a young child while racing to try to deter astronauts from returning to an Earth that is no longer habitable by mankind.
"It's a story about trying to communicate and trying to be in touch with one another," Clooney says. "When I read the script I thought, 'Well, this is an issue we have in general because of how polarized we are as a world and how we're having such trouble contacting one another.' And then, when a pandemic hits, it actually is physically impossible to contact one another, to be in each other's space, and everybody is just trying to get home. And so, unfortunately, it's timely."
Here is a transcript of the full conversation, lightly edited for clarity and to eliminate spoilers.
George, I was looking at the calendar and I see that it's been a year and a half since we recorded an episode of my podcast ahead of Catch-22. It turns out a lot can happen in a year and a half.
GEORGE CLOONEY Yeah, gee, the world does change a lot. I haven't seen my parents in eight months. It's wild.
Is everybody with you good, though?
Yeah, we're fine. We have it the easiest of anybody because we're in California, which is easy. I wrapped the movie, got back here and had just started editing — it was like, March 1 — and then everything shut down, so we just worked from home. The kids and my wife are here and we have 3 acres in the middle of town, so for us, the only thing we miss is our family — Amal's mom and dad and her brothers and sisters and my sister and my mom and dad. But you know, they're small prices to pay compared to what everybody else has had to go through. How about you? Are you doing all right?
Yeah, no huge complaints. We're all spread out, but doing well. I appreciate you asking.
It's a weird time.
One thing that's nice, though, is that we can still consume movies through Netflix, so I guess that's a good thing that you partnered with them on this one!
Good timing that I was with Netflix, huh? I mean, it's funny. Tenet and us are like the only two big films that are coming out this year.
Pretty much, yeah. And a lot of L.A.-based folks still haven't even seen Tenet because they can't show it in a theater here.
I haven't seen it either. Trying to force people into a movie theater is an awfully tricky thing to do when you're in the middle of a pandemic.
Exactly. I'm going to come to that with how you guys are adapting to the situation. But first, let me ask you this. Everybody's heard how you mapped out your career as an actor — I don't know if you still go with this, but — the whole "one for me, one for them" thing. And I just wonder if you've also had a gameplan like that for directing, because I'm looking at the seven movies you've directed — Confessions of a Dangerous Mind (2002), Good Night, and Good Luck (2005), Leatherheads (2008), The Ides of March (2011), The Monuments Men (2014), Suburbicon (2017) and now this one — and there are exactly three years between each of them.
Well, I think that's sort of the natural order of things. I mean, [the 2019 Hulu limited series] Catch-22 was a year and a half of my time — it wasn't some small event, it was like doing a six-hour movie — so that took a lot of time to do, but it was enjoyable and it was a fun and exciting thing to take on. And then, I suppose if you think about development and then shooting and then postproduction, that's a couple of years usually anyway in between. I never thought about that, but I suppose that's about where it ends up. It's hard to find things you like, you know?
To me it's a pretty impressive, steady pace. I don't know too many filmmakers who are able to direct one every three years, and also do acting and other stuff in between.
Yeah. I mean, my focus has been on so many other things, too. I've got twins. And Amal and I have a foundation, and we've been doing an awful lot of work on that, and fundraising for that and stuff. Because there's an awful lot of work to do in the world besides just acting and directing and that kind of stuff. So I'm certainly not acting at the pace that I did at any other time in my life, but you know, I'm fairly comfortable with where my career is, so it's kind of easy to be able to say, "Well, I'm going to take some time and spend time with my kids and spend time working on things that maybe can help other people."
Definitely. And congrats to you and Amal on the Simon Wiesenthal Center honor the other night. I tuned in and it was great.
Oh, you did? That was nice. That was Jeffrey [Katzenberg] calling us up and asking if we'd be involved. And I'd done the voiceover for their documentary [about Shimon Peres]. It was nice. All these things are so odd — I recorded the acceptance speech in the screening room in our house where I could stand up and say thank you. It's such an odd world to not be in a room with you and, you know, a thousand other people.
And you just had a spare menorah hanging around? (Laughs.)
Yeah, I just had one hanging there. Actually, it was a candelabra off of the piano that we made look like a menorah. The guys [from SWC] came by and stood outside the door, and I was inside, and they were recording me with a remote camera. It was really funny.
Let's talk about The Midnight Sky. I know it started as the novel, then it was adapted into a screenplay. At what stage did you first come across it? And why do you think it appealed to you?
Netflix sent it to me to act in, and I thought it was a great part — you know, I loved it. But I'd done these two space movies, one with [Steven] Soderbergh [2002's Solaris] and one with Alfonso [Cuarón, 2013's Gravity], and both of them are really interesting and really talented men and the movies are really unique and interesting. I had a take on what I would try to do, not differently, but take what they learned and try to move it in a different direction. And so I called up Scott Stuber and I said, "You know, Scott, I think I know how to do this one." And he said, "Really?" And I said, "Look, yes, I would like to play the part, but I think I have a different take on it." A lot of it was about taking out a lot of the dialogue, because I felt like it was more of a meditation. If you're talking to a little girl who doesn't talk, you don't need to talk that much. There isn't that much to say. There's an old movie called Gigot with Jackie Gleason in it. I have no idea if it's any good, but I remember watching it when I was a little kid, and he plays a clown — I think it's an Italian film — but he's mute. Maybe he doesn't play a clown, he plays a homeless guy that's mute. But he takes on this little girl and takes care of her, and her mother's I think a prostitute. But I always remembered that there's this interesting quality — I also had it on ER. On ER I played a pediatrician. I was a womanizer, I was a drunk, but I always took care of kids. "Don't touch that kid!" "Leave that kid alone!" And once you do that, you can do almost anything else — you can be grumpy, you can be angry, you can be flawed — "but he still likes kids!" You know? And so, I thought that the part for me was easier — there aren't that many guys that can get a big movie made that are right for this part, you know? The guys that I've sort of worked around, like Brad and Matt, these guys are all too young to play it. And I was on the young side for it, but I thought there was a way to do it. And so, from the moment I read it, I loved the part. I loved the story. I loved what it really talks about at the end — without giving away anything, about redemption. I thought, "If you're going to do something that's pretty dark and doesn't give you such a big hole in your chest, at least there's this feeling that although we may not get out alive, we might get out intact," you know? There is still this hope. I responded to it because of that, I think.
Do you think that it would've appealed to you in the same way before you yourself had kids?
Sure. Yeah. I mean, look, a good script's a good script. I don't have to be a heroin addict to play a heroin addict. It was funny, though, because I'd have to do these kind of harrowing scenes in London — the stuff where I fall in the water, that we did in a giant tub out in the soundstage in London — and my kids came to visit that day. And I have to come out in this awful moment, and I've lost my thing that keeps me alive. And my daughter's there going, "Papa, I want to come swimming with you!" (Laughs.) And I was like, "You're a lot of help, kid." So now when I tell my kids I have to go to work, they think I go swimming.
Almost every time in the past when you've directed a movie, or even with Catch-22, you've played supporting parts, which, I would guess, made the directing a bit more manageable. In this case, you are directing and playing the lead. Is there a secret to navigating that workload? Is there somebody who, when you're in front of the camera, you ask to sort of direct you?
You know, my [Smokehouse Pictures] partner Grant [Heslov] and I, we've been together for 40 years, and he always sits in the chair next to me. We know each other so well. We've never had an argument. We're really good, close friends. We live a couple of blocks apart from each other. I'd come pick him up on the way in to work and we'd be wearing the same clothes — we've just been around each other for so long. And so he always sits next to the monitor. You know, your tendency when you're directing yourself is to do less takes or just to be like, "OK, that's fine," because you just want to move on, and also, there's a little bit of — you don't ever want to do more takes on yourself than you do on somebody else! But Grant would be there going, "Do another take!" He's great at that. But this one, in an interesting way, was two movies: We shot all of my stuff first — first we went to Iceland and then we went to London and shot every bit of my stuff. Then we took off for the Christmas holiday — it gave us time to finish building the space sets — and then we shot all of the space stuff. So it made it easier in a way, because it was like shooting two different films, you know? And thank God, because it would've really been too much to take on. And I was very happy to shave that beard off — my kids, my wife, everyone was happy for me to lose that beard.
Well, I was going to ask you about the physical transformation, because it's not just the beard. You're playing a guy who is dying of something, and I think you did something with your weight, as well …
Yeah, I lost a lot of weight.
I don't think we've seen you this beat up and transformed since Syriana [the 2005 film for which Clooney won the best supporting actor Oscar]. What was the process here?
I knew that he had to look like that he was in trouble. And the coughing and the weight loss and all that stuff just was — it's basically in the script, is that this guy is dying. And it's tricky because I'm kind of a jock in real life — you know, I play a lot of sports and stuff — so even the way he carried the gun had to be different. It had to be as if you're a scientist who's suddenly been given a gun to use. And so everything had to be unathletic — there isn't this heroic kind of stuff. I'm 59 years old, so nothing's very heroic anymore (laughs), but in general, the idea of trying to save the little girl? I'm leaning on her more than picking her up and carrying her, you know? And I think those were all important elements. It's a tricky balance, as you could probably guess, because we were out in — it was 40 degrees below zero and 70 mile-per-hour winds, and we've got these strings tied to us so that we don't get lost from one another when these winds come through, because you can't see your hand in front of your face. And it's a skeleton crew of very few people out there. A really, really, really hard shoot. And I've lost a lot of weight — that's good for the actor, right, because you're weak — but a director is a general. The director's the guy that's got to go, "OK, let's all pick up these camera boxes now and —" Because, again, it was a skeleton crew, so we were all just grabbing stuff and running. So it was this weird balance. The minute you said "Cut," they would have to blow a hair dryer on my eyelids to unfreeze them because they would freeze shut. And then I'd come running out going, "All right, let's move!" And we'd grab all the equipment and move to the next location. Because, you know, we could start shooting — because the sunlight was such a minimal moment — at 11:30, and we'd run out of sunlight by 3. It's tricky. And Caoilinn [Springall, Clooney's primary scene partner in the film] is 7 years old, so we've got school and those kinds of issues, too. She had never acted before, that little girl. Isn't she amazing?
Totally. Where did you find her?
We read, I don't know, a couple of hundred little girls. And she came in — her mom works in the business in England — and she was the very last girl we saw. She had these amazing eyes. But then the question was, "Can you do these other things? Like, can you be scared?" You know, scared is a hard thing for grown-up actors to play! You always admire people in those horror films who have to scream and yell — it's actually not an easy acting job, to be scared. But I would bet you that 50 percent of the things I did with her, I did it in one take. Which puts all of us actors to shame, you know, because I'd go, "Give me your sad, scary face." And she'd do this brilliant thing. And I'd go, "Yeah, like that!" And I'd look over at David Oyelowo and I'd go, "Give me your sad, scary face." And he'd be like, "Shit. Give me a few minutes." So it was really funny. She's just a natural. And having played a pediatrician on ER, I worked with a lot of kid actors, and most of the time they are really prepared and trained and everything is planned, so they have an idea of what they're doing. She would just turn and look at you and stare at you. She would respond to everything you do. And that's very rare. She wasn't in a rush. We have a scene where we're looking up at Polaris and I just look at her and I go, "That's Polaris." And she looks at me and looks up and shakes her head. She just reacted to everything. And, you know, the shoot would've been a lot longer were she not so easy and good.
I was wondering if you were drawn to your part in any way by the fact that — and I mean this with no disrespect to any of the other parts you've played — there is no, or very little, of the kind of famous Clooney twinkle or charm on display here. This guy's pretty un-charming. So is this you without a safety net, in a way?
Well, it was. I mean, it's a tricky thing, right? The safety net was that I was directing it, so I knew what I needed — I knew what the director needed in the scene. I've done a lot of parts where — the Oceans films, for instance — there's always a version where it's like, "Well, everything's going to be OK." But Michael Clayton [Clooney's character in the 2007 film of the same name] was always a little lost. And I think in The Descendants I was more cuckolded than I'd been. So I've had certain things that I've been able to do a little net-less along the way. But this was one where I knew, "This is despair," so there can't be any of that. I think there's only two moments in this that I even crack a smile, and one is the very last moment of the film for me. So yeah, it felt like I was taking a lot of chances with it, but I enjoy that. Clearly, if you look at the things I've done over my career, I didn't take the easy route, ever. And that means sometimes people don't like them, and that's OK.
It seems like you have developed a bit of a behind-the-scenes stock company on the films you have directed, and a bunch of these people are involved with this one, too — the cinematographer Martin Ruhe, the production designer Jim Bissell, the costume designer Jenny Eagan and the VFX supervisors Matt Kasmir and Chris Lawrence, among others. Does it help to have history with people in those roles, especially when you're out in the middle of nowhere freezing your ass off?
Yeah. I think most directors would say the same thing to you, which is that once you get a team together of people that you really love working with — I mean, Jim Bissell and I have done almost every film together and Jenny Eagan and I have worked on three or four different projects. Matt Kasmir, the effects guy, I've done three projects with now; he did a brilliant job with Catch-22, and I just think those guys are amazing. And you know, I didn't have the 1st AD that I've worked with before, but I loved the guy that I worked with, Lee Grumett. I've worked with Martin a lot, the cinematographer, and he's a genius — I thought the work he did on The American is beautiful, the work he did on Catch-22 was stellar, and I just thought this is his best thing, he was really inventive and creative. There are things that you can learn from Gravity, for instance: the thing that Alfonso really took to a different level was making sure that space was never north, south, east, west. Up isn't up, necessarily, since there is no up when you're not in gravity. And so watching Gravity a few times really helped us, once we got inside those chambers where there's no gravity, to be able to have the camera constantly rotating in a way that doesn't make you vomit, but keeps the understanding that what is up and what is down is all relative.
I was also really struck by the way you guys handled the floating blood.
It's pretty great, isn't it? Yeah, that's the effects guys, because obviously we're not hanging blood around. They just did an amazing job with that. But it's funny, that's one where it only works if the actors sell it, because that's a really hard scene to do if you're not able to look out and see what you're seeing, which is all the blood. I got the idea because I think in the script it says that she runs out of oxygen, which is kind of what happens to Sandy [Bullock] in Gravity, and I thought, "Oh, we've seen that before." And then I was watching this old video, I think it was either [former astronaut] Mark Kelly or his brother, up in space, playing with water — like, they'd pour it out and let it float in the air and then they'd drink it out of the air — and I thought, "Well, what if we did that with blood?" But the trick was, it just can't be this morbid, bloody thing. We wanted it to be a ballet. We wanted it to feel like it's dancing in this sort of elegant, horrifying, but kind of beautiful way. Normally when you go to effects guys, they just give you blood. And these guys really had a sense of making it move in a way that would match the score.
Speaking of which, the score is great. Alexandre Desplat is always amazing.
He's always good. And it was interesting, when I first sent him the script, he goes, "I was thinking maybe I should do a synthesizer," and I was like, "No, we're not going to do synthesizers." And this one was a real challenge for him. It's the most music he's done in a movie, and it's just got so many different elements — it can't all be just down, you know? There have to be some heroic moments, and there have to be some quiet moments, but there's also action in it. It was a really difficult score for him, and it took him a long time. And then to record it was crazy: We were doing it with the London Symphony Orchestra at Abbey Road, and Alexandre was in Paris — he couldn't get into England, so he's conducting from Paris via Zoom — and we can't get into England, so we're watching at 4 in the morning, Grant and I, sitting in the screening room, on a screen, with the Zoom on the left so we could talk to Alexandre and listen to the score. And we could only do it 15 instruments at a time, even though it's a 150-piece orchestra, so we were doing it piece by piece by piece. We would go, "OK, I can't tell if this works yet or not, until you put it all together." So, I mean, it was more tedious, but it was a really interesting way of learning what works and learning about how to piece music together.
What was it like to have to cast and voice your younger self? [The film features a younger version of Clooney's character in flashbacks.]
It's funny because we'd looked at a lot of guys. Everybody kind of knows what I looked like when I was 35 years old because that's when ER hit, so I was just looking for somebody with a lot of eyebrows. And then, in came Ethan [Peck], who's just this wonderful actor. And he's big and tall. He's got a deeper voice than I do, this fucker. And he's like, 6-foot-3. And he's really handsome. I figured, "Fuck it, I'm casting it, I'll make sure I get to look good!" And then I talked to him about it and I said, "Listen, no one's going to know, because it's a flashback and we're not going to be putting chyrons up of, you know, 'This is Augustine younger.' I said, we're going to go to Lucas Sound and we're going to do a blend of your voice and my voice. And I said, 'This has to be you and I as a team here doing this. I don't want it to be ever misconstrued any other way. I want you and I to go into this together. And if you're OK with that —' And he gives a wonderful performance. It's really hard to do because my voice is etched through his voice as well.
And it turns out he's Gregory Peck's grandson?
He's Gregory Peck's grandson, yeah. We actually put a shot of Gregory Peck from On the Beach [the similarly postapocalyptic 1959 classic film] in the movie, you know, so Kyle is watching and listening to Gregory Peck in there. Yeah. And I mean, he reminds you of Greg! It was funny, he came onto the set, and the first day was where he does his presentation, you know? And he's wearing a tuxedo, and he's like 6-foot-2, and he's shaved, he's handsome. And all the women on our set — you know, the makeup girl and Jenny Eagan — suddenly they stopped speaking for a while. (Laughs.) I was like, "All right, everybody, let's get back to work!" You know? "Leave him alone. His tie is fine, stop fixing it." (Laughs.)
And then I guess a different kind of problem arose when, at some point, you got a phone call informing you that your leading lady, Felicity Jones, was pregnant.
Shit, I mean, that was crazy!
How do you react to that? Honestly …
I mean, I did the right thing, which is the first thing you say is, "Congratulations, that's great!" It's her first kid, she's very excited about it. But we understood immediately that that was going to cause us some issues. The first option, which would've been [what one did] 15 years ago, was to say, "Well, then, OK, you shouldn't do the movie." And I'm glad that we're now past all of those kinds of, you know, "a pregnant woman can't do the part" kind of thing. I'm very happy that, at the very least, we've kicked that ball far down the road. So I went to Netflix, and the first thing we talked about was doing head replacement. We shot for a couple of days doing that. You shoot it three times — the first thing we do is we shoot it with her, and then we shoot it with a stand-in and then we shoot it with the frame empty. And the reality is, it changes your acting. You're acting differently. It makes you more careful, somehow, and it didn't feel organic. And it's hard for the other actors, too, because they have to do scenes three times. So then I just went home one night and sat there and called up Grant and I said, "You know, they've been in space for two years. People get attracted to each other. People get pregnant. You know, shit happens. It happened in the '50s in the back of a Volkswagen, why can't it happen in space?"
In zero gravity? Yeah, I guess it's possible.
Yeah, exactly. And so I called her up and said, "How do you feel about that?" Because she was gung-ho to do anything. I said, "Look, we're not going to put you on a wire. We'll work around it. We'll get these chairs that can move up and down and stuff. We'll figure it out. But let's make it a part of this story." And then I had to call Netflix and talk to them about it. And it was an interesting conversation because at first they were like, "Well, doesn't this complicate things?" And I was like, "I think, in a way, it simplifies things, because I think, in a way, it gives a continuum to this that I think, by the end, matters, as long as we address it." You know? I've spent a lot of time doing improv, and you learn when you do improv to say, "Yes, and …" right? You always have the "Yes, and …" You can never say, "No." It's "Yes, and …" If I say, "Well, there's an elephant over there," you can't say, "No, there isn't," because then the improv dies. But if you say, "Yes, and there's a lion's den," you keep going. And so if she's going to be pregnant, then "Yes, and …" It was like, "Well, then we have to address it in a way that makes sense. We want the guys [the crewmates of Jones' character] to be involved in trying to name the baby. And we want to take a piece of machinery and make it somehow a baby scanner suddenly and give them this sense of intimacy that we sort of were lacking, actually." And by the end — you've seen the ending — there's actually a real reason for it to be there.
I love the scene with the plane crash survivor because we see that Augustine's willing to put him out of his misery, but he won't do that to himself. What is it that you think keeps him fighting?
There's only one reason to hang in there, and, without giving away too much, the bottom line is saving mankind, you know, trying to save mankind. He has one job to do, which is to say, "Turn around! Don't come back!" Specifically, there's more of a reason we find out as time goes on. But I love that scene. It's funny, I looked at cutting it because it doesn't really further the story; there's not much you get from that scene, except that you're taking a guy who's a scientist and you're having him sit there with a guy who's dying and there's nothing he can do, and the world is dying and this guy's going to die. It's not a matter of if, but at what point, and it's going to be a pretty miserable way to go, and you can see that he's asking Augustine to end it for him. And you see by the time I walk out, after killing him, this is not something scientists do — it changes people — and the score sort of helps reflect that. And it changes the temperature of the film from that moment on. It's funny, though, when I watched it the first time I thought, "Well, if I need to, for time, I can pull this." But the longer we got into it, and with the beautiful piece of score that Alexandre wrote for that moment, it suddenly felt like this is actually the turning point, where it goes from abstract, in a way, to real. This isn't his job. He's not a killer. And suddenly, that's what he had to do. So I love that scene. That guy is terrific — it's hard to come in and just play 'dying dude,' you know? And do it subtly.
The entire ensemble is filled with pros.
You listen to pilots when you hear those black box recordings, and even when the plane is going down they're like, "OK, now try the flaps. Now try the thing." You want these guys [the actors playing the crew] to be pros and not panic, and they were. And when you have David and Kyle [Chandler] and Demián [Bichir] as sort of the older hands? I mean, I told Demián and Kyle — because those parts were written much, much, much younger — I wanted them to be like the two old Muppets in the balcony, you know? I wanted them to be those guys and have a great friendship so that by the end their friendship matters, as well. And they were just so wonderful. And Tiffany [Boone], she came in and read. It was the hardest part to cast. I don't know why. There's no explaining why one doesn't work and one does. She had to be young. She had to be smart. You had to believe that she could be an astronaut, but she had to be vulnerable. And for whatever reason, it just wasn't right. There were a lot of people who were very good, a lot of really wonderful actresses. And then Tiffany came in and just knocked it out of the park. She's another one of those actresses who shows up and you go, "Maybe 15 percent less of that," and she just got it. She was really technically proficient.
Finally, can you share how the pandemic has affected not only your release plans, and also if you think it might affect how viewers connect to this story?
I'll answer the second part first, which is it's a story about trying to communicate and trying to be in touch with one another. When I read the script I thought, "Well, this is an issue we have in general because of how polarized we are as a world and how we're having such trouble contacting one another." And then, when a pandemic hits, it actually is physically impossible to contact one another, to be in each other's space, and everybody is just trying to get home. And so, unfortunately, it's timely. It wasn't designed specifically to be as timely as that; it was designed to start a conversation about what man is capable of doing to man if you don't pay attention, if you're not on top of things. Bad things don't happen all at once; you ease into them, you know? So I feel like that's why it resonates as much as it does.
Now, the release part of it. I mean, look, we just yesterday went over to the Village Theater in Westwood — it was eight of us — and for the first time since I finished the movie, I got to watch it in 4K on a giant screen, and it's breathtaking. You know, the cinematographer's a genius, and the effects are amazing and to see it on a big screen is the way you're supposed to see a film like this, you know? It was made for that. And you know, we'll do a premiere somewhere at a drive-in somewhere to see at least something on a big screen. But yeah, it's unfortunate. But, on the other hand, the good news for us is that there is Netflix, a place that's willing to spend the money to make a film like this. This isn't a small film by any means, you know? And it is committed to making these kind of films and committed to giving you a place to release them. I mean, this is a bigger film than I've ever done, but most of the films I do are, like, $15 million films, which are low-budget films in the studio world. You would always have to go to Focus or Miramax or someplace else to get a movie made inside the studio system, but a lot of those places are gone and most places aren't making movies in that world. A lot of times you're raising the financing yourself. And it's nice because places like Netflix and some of the other streaming services are making those and they need content.
I guess I should ask, and I don't know if you can say, but ballpark even, what was the budget?
Well, it wasn't $100 [million], so that's good for us because it looks like it was a lot more than everybody thought it was. I'm actually not quite sure what it was — Grant would know — but we came in about $5 million under budget, which is always good, because Grant and I, our one thing is, we never want to come back and say, "We need more money." We try to use other people's money judiciously. This is an art form where somebody else puts up, say, $25 million, and we get to do what we want to do, and I think we have a responsibility to try to do that inside a budget that we've agreed to, unless something, you know — COVID has changed it all. Grant and I are going to do this movie called The Tender Bar, and it's not a big-budget film at all. It's a $22 million film. But COVID adds $6 million to this movie.
All of the precautions, all of the time that it takes, all of the testing, the bubbles you have to create. I mean, it's just really — they're surprisingly expensive. At some point, forgetting the idea of a vaccine, forgetting the medicines that we'll have and all of that, it's going to come down to really good, fast, instant testing, like a pregnancy test. And then everybody can go back to school and go to work and go to concerts and go to movies and do everything. You slam a thing up your nose, if it turns green you go in, if it turns red you go home.
Well, in the meantime, congrats on the movie, thank you doing this and take good care.
OK, buddy. Stay safe. Talk to you soon.
by LizzyNY Fri 20 Nov 2020, 21:34
PAN - Thanks so much for the link to this. It's a great interview. It goes into a lot more detail about the film and the state of the film-making process during the virus. George sounds pretty optimistic about things getting back to close-to-normal relatively soon. I hope he's right.
by carolhathaway Fri 20 Nov 2020, 21:39
I just love those long interviews!
carolhathaway
Achieving total Clooney-dom
George is papa , I love that. it sounds like it will be good.


Good LORD! Could Touré's take on Kanye West be any more CONDESCENDING?
Posted at 2:12 pm on April 25, 2018 by Sarah D.
Freedom of thought? What a novel concept.
with love I am invincible. Truth is subjective but love is the most powerful force in the world and the world needs to express more of it.
I said express love more because we have love but we don't express it. My friend Tmills will always say "I love you" and it used to make me feel weird to hear that. Now I tell everyone I love them. He sparked me to start expressing love more.
Kanye's making it harder to love Kanye. It's always been hard loving Kanye, but the righty rhetoric aligns him with people and ideas that are actively hostile toward black and brown people. I'm going to continue to try to keep loving him because, you know, he's made so much great music, but there's only so many times that he can play with right-wing toys before I start to feel like nah, there's no beat hot enough and no verse dope enough to make me put on your record and also forget that you think it's cool to co-sign people whose politics are dangerous for black people.
But I'm not done with him yet. Our relationship may be growing complicated but for now, I'm sticking with my man. Because I still don't know if his heart is all the way in on the right. Maybe he's just trolling us. Maybe he thinks being a black conservative seems like the most radical move he could make right now and he wants to shock, but he doesn't really believe any of that stuff. That would be a dangerous game. Either way, Kanye just empowered [Candace] Owens, made her famous, helped her broadcast her message. She'll always be the one who Kanye co-signed. Expect to see her on Fox News way more.
Ye's making it harder to keep justifying him but for now, I still do. Because I still don't believe that he really believes any of that conservative stuff. But then again, I don't believe Owens really believes that stuff either.
Because how could any black person believe "that conservative stuff"? Take it from a woke progressive like Touré. Nothing says "progress" like sneering at minorities who take pride in thinking for themselves.
Sorry, Kanye. But that's just not good enough for Touré.
Because if there's one thing Kanye West needs to do, it's explain himself to Touré. Maybe this is performance art. Maybe it's genuine. But who is Touré to decide what Kanye West — or anyone else — should believe?
Man. People say Kanye's got an ego. He's got nothing on Touré!
'Sweet Jesus': Didn't think Kanye West's latest crossover could get weirder? You thought WRONG!


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Roger R. Talbot è irlandese di nascita, ma da oltre quarant'anni risiede in Italia. È un appassionato studioso di teologia, storia e letteratura. Nel 2008 pubblica il suo primo libro I numeri della sabbia, presso la Sperling & Kupfer.
Il libro viene pubblicato in lingua tedesca il 23 luglio 2009, con il titolo Die letzte Prophezeiung.
Il 24 giugno 2009 l'autore annuncia sul suo blog, su MySpace, di aver iniziato a scrivere il suo secondo libro. Attualmente vive tra Roma, Toscana e Irlanda.

Opere
 I numeri della sabbia nel 2008
 Il cenacolo delle sorelle nel 2010

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


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You are here: Home / Reading / Top 12 Nostalgic Books to Read This Winter Break
Top 12 Nostalgic Books to Read This Winter Break
December 10, 2020 // by Danielle Falco
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Semesters in 2020 don't count, right? Well, now that it's coming to an end, it's time to celebrate by breaking out some of your favorite nostalgic books this winter break. It used to feel so easy to breeze through a few books a week— and maybe it can again. These books from your childhood will get you back in a calm mindset, and the new ones 2020 has to offer you can inspire new hope into your creativity.
Twelve of your favorite books are waiting for you.
1. The Chronicles of Narnia by C.S. Lewis
You can't think of Narnia without thinking of a long winter, right? (A place I would not mind being transported to this winter…). The movies consumed all of our childhoods, so it's time to get back into this pentalogy series. Starting with The Magician's Nephew and ending off at The Last Battle, return to Narnia and all the magic and creatures it offers.
With more than just the Pevensie children from the 2005 movie, the series goes deeper into the world of Narnia with characters like Professor Digory Kirke, and even more dwarves and princes.
"I really loved the sibling's dynamics because they felt real… the idea of a child realizing their mistake and fixing it just made me really happy instead of the 'he's evil' thing that happens a lot in novels," St. John's University junior Samantha Haynia said. "I also really liked [that it] showed a very healthy child-adult dynamic."
Delve into these nostalgic books that'll let you experience this children's fantasy world in a whole new way. And we all need a little magic this break.
2. Alice's Adventures in Wonderland & Through the Looking Glass by Lewis Carroll
Down the rabbit hole! Lewis Carroll's Wonderland world is way wackier than any of the movies can portray. Underrated character: the Gnat who really likes hearing jokes. When it tells a joke and wishes Alice had said it instead, the Gnat actually cries… mood. BUT, there's way more that these books offer, like fresh eyes into our adulthoods!
Now that we know rationality and reality, it's time to perceive the absolutely incomprehensible Wonderland all over again. If you need a great way to revisit childhood and want to experience some truly interesting illustrations, the Wonderland series is a must-read.
3. A Series of Unfortunate Events by Lemony Snicket
I can't count the amount of words that these books taught me. They also touch upon topics like death, in a much deeper way than necessary for a seven year old. That doesn't mean it wasn't— and still remains— one of the most entertaining series ever. As college students now, we can appreciate the ironic and overly dark humor way more than we did as kids.
The narration is engaging and humorous enough to keep you going, and the story will keep you in your seat for hours and hours trying to take it all in. Orphans, murders, adventures and mystery mix to make a great batch of nostalgic books… right?
4. Cemetery Boys by Aiden Thomas
Check out a new release that's one bound to be a favorite among readers. Follow a trans boy's journey to prove he is really a brujo—or male warlock—after being rejected by his family. To do this, he and his cousin accidentally raise a dead boy from school… oops. It's a story that takes elements from all different genres, so there is something for everyone to enjoy. It'll spark the interest of your childhood while still appealing to your young adulthood—I mean, romance, mystery, and ghosts? It has it all.
When I found out Christopher Paolini published this book at 16, it 1) gave me a wild amount of hope for writing, and 2) surprised me that a teenager can write a whole tetralogy. And come on, we all wanted a dragon. This break, let's revisit the bond between a rider and its dragon in these classic fantasy and nostalgic books full of evil, elves and magic. This novel is a great way to get your mind into a youthful mindset with the voice of a teenage author himself, and it will probably give you a whole new perspective on writing styles too.
6. The Outsiders by S.E. Hinton
Okay, this is for the ones who want to squeeze a good cry into winter break. In the 1960s, a young greaser deals with the clashing of disparate socioeconomic circles, and he's named Ponyboy (that's really his name).
"We read it in 7th grade and I think the reason why I loved it so much is that the whole class really got into it and made it such a fun experience to read together… It's still something me and my friends from elementary school talk about today," St. John's University senior Jaqueline Lepore said. "If I reread now, I think I would approach it from a totally different perspective, especially with the experience I've gained through the major."
The novel is coming-of-age, it's tragic and—especially during quarantine— it just makes you want to hug your friends.
7. Not So Pure and Simple by Lamar Giles
Another new release, and this one is way more than the average guy-pursues-girl romance. When Del follows his longtime crush Kiera into a Purity Pledge group at a camp, he faces more challenges than he expected. The book hits all the marks on a classic romance, but builds more on topics like toxic masculinity and sexuality. It's just what you would look for in a contemporary book, and it's enjoyable through and through.
8. Percy Jackson Series by Rick Riordan
A huge universe, and worth every page of it! College students have a whole new understanding of what it's like to grow up, and revisiting coming-of-age stories will help us see little things we might've picked up from books—like Rick Riordan's extraordinary humor.
"It is valuable in the memories it brings back, and the reminder to return to basic values like kindness that people forget sometimes as they get older," Binghamton University junior Patricia Ebrahim said.
This original pentalogy starts with a teenager discovering he is the son of Poseidon, and goes to a camp of other Greek demigods. It makes you want to choose your own god or goddess to identify with— looking at you, Athena— and go along for the long adventure.
9. Dear America Series by Multiple Authors
Raise your hand if you remember these more than you remember some elementary school history classes. This series offers a thirty-six book selection, all written as diary entries of young women throughout history. This includes events like the sinking of the Titanic, the U.S. Civil War, the Vietnam War and so much more.
As kids, these books were a great introduction to some topics that went undiscussed in school education—like internment camps and western expansion. College students will know even more about these events, and can look at these books with a new and informed gaze. It was engaging and educational as a kid, and will be endearing to return to now.
10. The Harry Potter Series by JK Rowling
Now that you finished re-watching A Very Potter Musical, maybe it's time to get back to the source. This series really offers it all in your nostalgic books category, and it's just what you'll need this winter as the plot unfolds throughout the seven-book series. With transcendent themes like friendship, loyalty and bravery, no matter what age you are, you're bound to fall in love with the world all over again. And if you missed your campus this year, Hogwarts will always be there to welcome you home and stay for the holidays.
11. The Princess Bride by William Goldman
As you wish… The Princess Bride is not only a great movie but one of the great nostalgic books. William Goldman presents the novel like the film adaptation, and creates a frame narrative where he gives you the good parts of the epic romance/adventure. Unlike the movie, it's a little denser, and that's perfect for a college student trying to get a little more enjoyment out of a beloved story. With just enough snarky humor that your childhood self didn't quite pick up on, this just meets all of your requirements for nostalgic books, complete with pirates, swords and love.
12. Little Women by Louisa May Alcott
You can find the Christmas season and Christmas scenes all throughout this classic novel. It's great for winter, and even greater for discovering a timeless story of our rebellious protagonist, as well as the relationship she has with her sisters. More than just the winter vibes, Little Women offers a tale of female individuality from an 1800s author's perspective, and even today, it hits home in some of its more tragic scenes. If you're looking for an unforgettable and touching read—you found it.
Filed Under: Reading Winter
About Danielle Falco
Danielle Falco is a junior year English and History double major at St. John's University.
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Mar 13, 2018 1:50 pm 2018-08-13T02:45:50-05:00
San Francisco Shock signs two new players, underage signings to debut "soon"
The four players will bolster the Overwatch League roster.
Nicole Carpenter
Photo by Robert Paul via Blizzard Entertainment
A support player and a DPS player have been added to San Francisco Shock's Overwatch League team.
Park "Architect" Min-ho, formerly of South Korean Overwatch team X6-Gaming, and Grant "moth" Espe, previously of Toronto Esports, have joined the Overwatch League roster, San Francisco Shock announced today. The two new players bring the San Francisco roster up to 11 players.
The announcement also confirmed that the organization's two underage players, Jay "sinatraa" Won and Matthew "super" DeLisi, will debut in the Overwatch League "soon." San Francisco Shock previously said sinatraa will become eligible to play in the league on March 22. Super will debut ahead of the Overwatch League's third stage.
Sinatraa is an eagerly anticipated player, and a top pick during the Overwatch League's scouting period. The 17-year-old DPS player reportedly signed a $150,000 contract with the San Francisco Shock, $100,000 more than the league's minimum salary.
San Francisco Shock will be counting on the new additions to lift the team from the depths of the Overwatch League standings. The team hasn't performed great in their inaugural season, and have struggled against the Overwatch League's top-tier teams.


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Harry Potter Stars Daniel Radcliffe, Emma Watson, Katie Leung Support Trans People After J.K. Rowling's Transphobic Tweets
"It's clear that we need to do more to support transgender and nonbinary people, not invalidate their identities, and not cause further harm."
By Lauren Rearick and De Elizabeth
Stephen Lovekin/Getty Images
Updated June 13, 2020 at 2 p.m. ET:
In the days since J.K. Rowling doubled down on her anti-trans comments with a lengthy essay, several Harry Potter stars have stepped up to advocate for transgender rights.
Most recently, Rupert Grint and Emma Watson have added their voices to the conversation, joining Daniel Radcliffe and Katie Leung who previously spoke out against the author's harmful comments.
"Trans people are who they say they are and deserve to live their lives without being constantly questioned or told they aren't who they say they are," Emma, who portrayed Hermione Granger in the popular fantasy series, wrote in a Twitter thread on June 10. "I want my trans followers to know that I and so many other people around the world see you, respect you and love you for who you are." The actor added that she donates to Mermaids and Mama Cash, two organizations aiming to support the transgender community.
Rupert, who is known for his portrayal of Ron Weasley, issued a statement in response to Rowling's comments. "I firmly stand with the trans community and echo the sentiments expressed by many of my peers," he said, per The Sunday Times. "Trans women are women. Trans men are men. We should all be entitled to live with love and without judgment."
Rupert's on-screen sister, Bonnie Wright, took to Twitter to share her thoughts on the subject. "If Harry Potter was a source of love and belonging for you, that love is infinite and there to take without judgment or question," she said. "Trans women are Women. I see and love you, Bonnie x."
Fantastic Beasts star Eddie Redmayne also spoke out, telling Entertainment Weekly that he disagreed with Rowling's comments. "Trans women are women, trans men are men and non-binary identities are valid," he said in a statement. "I would never want to speak on behalf of the community but I do know that my dear transgender friends and colleagues are tired of this constant questioning of their identities, which all too often results in violence and abuse. They simply want to live their lives peacefully, and it's time to let them do so."
Days after J.K. Rowling made a series of transphobic tweets, Harry Potter star Daniel Radcliffe has spoken out in defense of trans people. In a written response for the Trevor Project, the actor wrote that "transgender women are women," a statement that stands in direct opposition to Rowling's recent views.
Previously, Rowling tweeted an article that called attention to structural health care issues for people who have periods. Sharing the article, Rowling wrote, "I'm sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?" Many on social media pointed out Rowling's error, noting that other people — such as transgender men and nonbinary people — can also menstruate (and that there are women who don't). Rowling responded by continuing her series of anti-trans tweets, this time incorrectly conflating sex and gender.
For his involvement, Daniel wrote that his response isn't intended to be seen as "in-fighting between J.K. Rowling and myself." Rather, he said that he had felt compelled to say something. He said that questioning the gender validity of trans people "erases the identity and dignity of transgender people and goes against all advice given by professional health care associations who have far more expertise on this subject matter than either Jo or I."
"According to The Trevor Project, 78% of transgender and nonbinary youth reported being the subject of discrimination due to their gender identity," he continued. "It's clear that we need to do more to support transgender and nonbinary people, not invalidate their identities, and not cause further harm."
Noting that he's still learning how to be a better ally to transgender people, Daniel pointed readers to additional resources. He then addressed longtime Harry Potter readers who had felt hurt by Rowling's comments. "I really hope that you don't entirely lose what was valuable in these stories to you," he said. "If these books taught you that love is the strongest force in the universe, capable of overcoming anything; if they taught you that strength is found in diversity, and that dogmatic ideas of pureness lead to the oppression of vulnerable groups; if you believe that a particular character is trans, nonbinary, or gender fluid, or that they are gay or bisexual; if you found anything in these stories that resonated with you and helped you at any time in your life — then that is between you and the book that you read, and it is sacred. And in my opinion nobody can touch that. It means to you what it means to you and I hope that these comments will not taint that too much."
Daniel isn't the only star of the series to speak out. Katie Leung, who portrayed the film's single main Asian character, Cho Chang, addressed criticism regarding her character's name, E! news reports. On June 7, Katie tweeted, "So, you want my thoughts on Cho Chang? Okay, here goes...(thread)." She then followed the tweet up with a thread of different charitable organizations and information centered on Black transgender people. She ended the thread with, "#AsiansForBlackLives."
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Want more from Teen Vogue? Check this out: J.K. Rowling's Use of Anti-Trans Language Is Harmful — Especially Now
KeywordsHarry PotterJK Rowlingdaniel radcliffeemma watsonRupert GrintEddie Redmayne
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Period Poverty Is Real but the Idea That Only Women Have Periods Isn't
On the first National Period Day, we need to think beyond the incorrect idea that periods are just for women.
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On behalf of The McKeon Law Firm posted in Child Custody on Saturday, June 30, 2018.
When you are going through a divorce and you have children with your ex, you will need to decide what model of parenting you are going to use. One of these options is co-parenting. This has become more common in recent years, which is likely a good thing since it usually means the child has more consistency than what is possible with some other models.
On behalf of The McKeon Law Firm posted in Divorce on Wednesday, June 27, 2018.
Mediation is a way that many people resolve the issues that must be handled before a divorce can be finalized. This means that you and your ex will work with a neutral third party to come to agreements on everything related to the divorce. Trying to come to these agreements can be a challenge.
On behalf of The McKeon Law Firm posted in Divorce on Saturday, June 23, 2018.
Going through a divorce is a stressful experience, and many people will do anything that they can to speed it up. Sometimes, that can mean seeking an uncontested divorce by agreeing on all of the terms of your divorce with your ex. In 2015, Maryland changed state laws to allow for much faster uncontested divorces for couples without minor children.
On behalf of The McKeon Law Firm posted in Child Custody on Tuesday, June 19, 2018.
After a divorce, you may not feel very happy with the custody arrangements. You may not get to spend much time with your children or end up denied visitation and parenting time altogether for a variety of reasons. Thankfully, the courts recognize that situations change over time. Regardless of the outcome of your custody proceedings or the reason that they didn't go in your favor, you will almost always have an opportunity to improve them and spend more time with your children.
On behalf of The McKeon Law Firm posted in Divorce on Thursday, June 14, 2018.
The situations that lead to divorce are often very stressful. You have to make sure that you aren't letting all that stress get to you as you are working through the decisions of the divorce. In some cases, exes will prey on emotions in an effort to get what they want. Simply put -- you can't let that happen.
On behalf of The McKeon Law Firm posted in Divorce on Saturday, June 9, 2018.
When you are walking down the aisle, you don't think that your marriage will end in a divorce. Instead, you assume that your marriage is a life long commitment.
On behalf of The McKeon Law Firm posted in Child Custody on Monday, June 4, 2018.
Going through a divorce is rough for children. Everything that they've gotten used to is being turned upside down. Parents often try to figure out ways to make the transitions easier for the kids. This isn't always something that goes smoothly, but using the co-parenting model might help you and your ex to provide the positive environment that the children need to thrive.
On behalf of The McKeon Law Firm posted in Child Custody on Saturday, June 2, 2018.
Child custody matters can lead to contentious situations faster than many others. When you are in the middle of a custody battle, there are several things that you need to keep in mind. One of the most important is that your children have what they need to thrive. We can help you find ways that might make this happen.


Manual DescriptionVehicles left behind. If you slow ly pass a vehicle that side assist has detected (the difference in speed between the vehicle and your vehicle is less than 9 mph or 15 km/h), the display in the exterior mirror turns on as soon as the vehicle enters your blind spot. The display will not turn on if you quickly pass a vehicle that side assist has detected (the difference in speed between the vehicle and your vehicle is greater than 9 mph or 15 km/h). Functional limitations.
The radar sensors are designed to detect the left and right adjacent lanes when the road lanes are the normal width. In some situations, the display in the exterior mirror may turn on even though there is no vehicle located in the area that is criti· cal for a lane change. Do not cover the radar sensors with stickers, deposits, bicycle wheels or other objects, because this will affect the function. Do not use side assist when towing a trailer.


To read more about HTTP/2 in general, check out the Introduction to HTTP/2 article.
Let's see how you can use HTTP/2 Server Push today with Node.js and speed up your client's load time.
With Server Push, we can send assets to the browser before it has even asked for them to reduce the initial loading time for our users.


text:
Q: Java OpenCV detect and crop circullar/elliptical shapes I am trying to detect and crop circullar/elliptical shapes of different sizes.
This is an example of an image I am trying to do the detection and croping.
Input Image
The result I am trying to get in the aforementioned image is 3 cropped images
looking like this:
segmented part 1, segmented part 2, segmented part 3
Another image could look like this: different image
Just like the previous image, I am trying to do the same to this one.
The shapes are dramatically smaller from the first one.
Can this be achieved algorithmically or should I look for a machine learning-like solution?
Note: The final image has been applied by the following filters: Gaussian Blur, Grayscale, Threshold, Contour and Morphological Dilation.
[EDIT]
The code I have written(not working as intended):
findReference() finds a shape in the middle of the image and returns its rectangle.
    private Rect findReference(Mat inputImage) {
        // clone the image
        Mat original = inputImage.clone();

        // find the center of the image
        double[] centers = {(double)inputImage.width()/2, (double)inputImage.height()/2};
        Point image_center = new Point(centers);

        // finding the contours
        ArrayList<MatOfPoint> contours = new ArrayList<MatOfPoint>();
        Mat hierarchy = new Mat();
        Imgproc.findContours(inputImage, contours, hierarchy, Imgproc.RETR_EXTERNAL, Imgproc.CHAIN_APPROX_SIMPLE);

        // finding best bounding rectangle for a contour whose distance is closer to the image center that other ones
        double d_min = Double.MAX_VALUE;
        Rect rect_min = new Rect();

        for (MatOfPoint contour : contours) {
            Rect rec = Imgproc.boundingRect(contour);

            // find the best candidates
            if (rec.height > inputImage.height()/2 & rec.width > inputImage.width()/2){
                continue;
            }

            Point pt1 = new Point((double)rec.x, (double)rec.y);
            Point center = new Point(rec.x+(double)(rec.width)/2, rec.y + (double)(rec.height)/2);
            double d = Math.sqrt(Math.pow((double)(pt1.x-image_center.x),2) + Math.pow((double)(pt1.y -image_center.y), 2));
            if (d < d_min)
            {
                d_min = d;
                rect_min = rec;
            }

        }
//        showReference( rect_min, original);

        return rect_min;
    }

I use the rectangle as reference and create a bigger one and a smaller one, so that similar shapes fit in the dimensions of the smaller and bigger rectangle.
findAllEllipses() tries to find similar shapes fitting in the smaller and bigger rectangles. After that it draws ellipses around the found shapes.
private Mat findAllEllipses(Rect referenceRect, Mat inputImage) {
        float per = 0.5f;
        float perSquare = 0.05f;

        Rect biggerRect = new Rect();
        Rect smallerRect = new Rect();

        biggerRect.width = (int) (referenceRect.width / per);
        biggerRect.height = (int) (referenceRect.height / per);

        smallerRect.width = (int) (referenceRect.width * per);
        smallerRect.height = (int) (referenceRect.height * per);

        System.out.println("reference rectangle height: " + referenceRect.height + " width: " + referenceRect.width);
        System.out.println("[" + 0 +"]: biggerRect.height: " + biggerRect.height + " biggerRect.width: " + biggerRect.width);
        System.out.println("[" + 0 +"]: smallerRect.height: " + smallerRect.height + " smallerRect.width: " + smallerRect.width);

        //Finding Contours
        List<MatOfPoint> contours = new ArrayList<>();
        Mat hierarchey = new Mat();
        Imgproc.findContours(inputImage, contours, hierarchey, Imgproc.RETR_TREE,
                Imgproc.CHAIN_APPROX_SIMPLE);

        System.out.println("the numbers of found contours is: " + contours.size());
        int sum = 0;
        //Empty rectangle
        RotatedRect[] rec = new RotatedRect[contours.size()];
        for (int i = 0; i < contours.size(); i++) {
            rec[i] = new RotatedRect();
            if(contours.get(i).toArray().length >= 5 ){
                Rect foundRect = Imgproc.boundingRect(contours.get(i));
//                Rect foundBigger = new Rect();
//                Rect foundSmaller = new Rect();
//
//                foundBigger.width = (int) (foundBigger.width + foundBigger.width * per);
//                foundBigger.height = (int) (foundBigger.height + foundBigger.height * per);
//
//                foundSmaller.width = (int) (foundRect.width - foundRect.width * per);
//                foundSmaller.height = (int) (foundRect.height - foundRect.height * per);
                if (
                         (biggerRect.height >= foundRect.height && biggerRect.width >= foundRect.width)
                         && (smallerRect.height <= foundRect.height && smallerRect.width <= foundRect.width)
                         && (((foundRect.width - foundRect.width * perSquare) <= foundRect.height) && ((foundRect.width + foundRect.width * perSquare) >= foundRect.height))
                         && (((foundRect.height - foundRect.height * perSquare) <= foundRect.width) && ((foundRect.height + foundRect.height * perSquare) >= foundRect.width))
                ) {

                    System.out.println("[" + i +"]: foundRect.width: " + foundRect.width + " foundRect.height: " + foundRect.height);
                    System.out.println("----------------");
                    rec[i] = Imgproc.fitEllipse(new MatOfPoint2f(contours.get(i).toArray()));
                    sum++;
                }
            }

            Scalar color_elli = new Scalar(190, 0, 0);
            Imgproc.ellipse(inputImage, rec[i], color_elli, 5);
        }
        System.out.println("found ellipses: " + sum);

//        trytest(ImageUtils.doResizeMat(outputImage),0,0);
        return inputImage;
    }

Unfortuantelly there are several variables that are hardcoded into the method.
This is used to make the smaller and bigger rectangles (used as a percentage)
float per = 0.5f;

perSquare is used to get shapes closer to a square (fluctuated width height)
float perSquare = 0.05f;

This code might work in some images, while on others will not find a single shape, like I mentioned the shapes are circullar/elliptical and of different sizes.

redpajama_set_name: RedPajamaStackExchange


text:
KALISCH, ISIDOR:
By: Cyrus Adler, S. Mannheimer
American rabbi and author; born Nov. 15, 1816, at Krotoschin; died May 11, 1886, at Newark, N. J.; studied theology, philosophy, and philology at the universities of Berlin, Breslau, and Prague. In consequence of giving public expression to his too liberal views, in poems and articles, he was compelled to leave Germany, and after staying for a short time in London he went to the United States (New York, 1849).Kalisch occupied rabbinates at Cleveland, Ohio (Tifereth Israel); Cincinnati, Ohio (Ahabath Achim); Milwaukee, Wis. (B'ne Jeshurun); Indianapolis, Ind.; Leavenworth, Kansas; Detroit, Mich. (Beth El); Newark, N. J. (B'nai Abraham); and Nashville, Tenn. (Ohavai Shalom). He lectured frequently, especially after 1875, when he had retired from the ministry. He wrote a number of essays, monographs, discourses, and disquisitions. In Leeser's "Occident" (1851-52) he published a series of "Exegetical Lectures on the Bible"; in the Cincinnati "Israelite" (1854-55), "Contributions to Philosophical Literature." The London "Jewish Chronicle," the "Jüdisches Literatur-Blatt" of Magdeburg, the Vienna monthly "Beth Talmud," and other periodicals, published articles from his pen. Kalisch's first work, "Wegweiser für Rationelle Forschungen in den Biblischen Schriften" (Cleveland, Ohio, 1853), was translated into English by M. Mayer under the title "A Guide for Rational Enquiries into the Biblical Writings" (Cincinnati, 1857); "Die Töne des Morgenlandes," a collection of his German poems, appeared at Detroit in 1865; in 1868 he produced an English translation of Lessing's "Nathan der Weise"; in 1877 an English translation of the "Sefer Yeẓirah," with preface, notes, glossary, and a "Sketch of the Talmud"; in 1881 he translated into English S. Munk's "Philosophie et Ecrivains Philosophes des Juifs." His last work was a translation into English of "Ha-Tappuaḥ," a treatise on the immortality of the soul, supposed to be by Aristotle. He translated from the Hebrew "The Book of Antiochus" also, and a "Discourse on the Advantages of the Mosaic Law" (delivered in 1267 before King Jacob at Saragossa). Kalisch was one of the leading spirits of the rabbinical conference held at Cleveland in 1855, and one of the editors of the "Minhag America" prayer-book.
In Memoriam Rev. Dr. Isidor Kalisch, Newark, N. J., 1886;
Steinschneider, Hebr. Uebers. p. 268.
A. S. Man.


Lux2news is the primary school magazine. Published twice a year, it highlights the work done by nursery and primary pupills.
It is also a good opportunity to give an overview of the field trips or class trips and the different events in our school.


text:
Q: What's the difference between bundling and zipping a git repo? When I perform a
git bundle create ../`basename $PWD`.all.gitbundle --all

in a git repository the created bundle file has a size about 4.8MB. When I zip the entire repository folder the resulting file has 26,2MB.
Basically I look for a way to backup the entire repository without loosing any information. But given the archived file size differences I assume git bundle doesn't backup everything or is more efficient than a simple zip.
Could someone please shed light on this?

A:
The bundle command will package up everything that would normally be
  pushed over the wire with a git push

http://progit.org/2010/03/10/bundles.html
This means that the bundle will not have stale objects etc which will be part of your repository. Also, you should not count the actual files in the working directory of your repo, but only the .git with objects and other meta-data as it is these that the bundle will contain and not the files in their original form.
For backup you can look at using git clone --mirror option or just archiving the repo as you have done. A bundle is not a viable backup option for a repo as you will lose config, reflog, stale objects etc.

A: I think git uses zlib to compress.
zip isn't the greatest archiving format when it comes to size, though. zlib uses delta-compression to further reduce size, which is this (thanks Wikipedia):

Delta encoding is a way of storing or transmitting data in the form of differences between sequential data rather than complete files

That might account for your tiny filesize. I tried a file on the excreted git bundle, and it said that the bundle is just raw data.

A: I don't find git-bundle a good idea for maintaining a backup of your repository. Either create a bare repository and push onto it the refs you wish to track in your backup, or use good old tarballs. The difference between the two is that pushing allows you to back up only selective branches. For example, you might wish to ignore scratch branches in your backups. Zipping your repository will bluntly back up absolutely everything -- including your stash, untracked files, object files and any temporary editor files.
I usually just zip the whole thing. You might run git-clean -fdxn and then git-clean -fdx to carefully wipe out everything that's not stored in your repository. If you really insist on size efficiency when you perform the backup (and you shouldn't; just let Git worry about this), then you can garbage-collect before your backup, and maybe even prune your reflog. But you know, I wouldn't. Storage is cheap these days, and by doing so you merely lose on the backup's value.


Oh my goodness, I forgot to show you guys what I've done. Shame on me!
First off I knit some clothes for my doll from the toys to knit book and I also knit my daughter a rabbit from the well dressed bunny pattern. Her's looks quite a bit different from the one I made for my son. For her's I made floppy ears, larger eyes, and the nose is satin stitch rather than the v shape.
Here's my latest. I knit him using the Well Dressed Bunny pattern. I was going to make the little clothes for him, but my son wanted him just the way he is.
Finished the monster I was working on for my daughter the other day.


One thousand seven hundred and thirty six. I've been squirreling away rifle rounds for years: in the basement, the trunk, my locker at the plant, under the bed, in the closet, my folk's house in Jackson, Everywhere. The ones at my folk's place are effectively out of play, but having made it to the plant and back safely I have all the others with me.
I suppose I could get more in town, but right now every fool in a hundred miles is desperately looking up where all the gun stores are... Bang! One thousand seven hundred and thirty five.


Note: Some models of Ultraboost 3.0 have translucent rubber cages (such as the Oreo). Adhesion to these is weaker than regular Ultraboosts and the product is not recommended.
Our huge variety means that you can match them to any colourway. The best bit,they can be removed quickly and easily without any residue on your cageto put your next set on and update the look again!
Our recommended lifetime is roughly 3-4 months depending on wear. They will strengthen with age unless adhesive is exposed to air.


Thursday – that day where we anticipate the weekend and are feeling tired from the week before. With that in mind, here are six things this sunny Thursday.
1. Walking to work now that autumn is here, there are different things to see – the large oak trees in the Botanic Gardens are shedding their leaves and scattering their acorns all over the ground, the flower beds have been prepared for the planting of daffodil bulbs and the birds…well, the ducks are still noisy, the kakas are still flying over head and the blackbirds are still their cheeky selves.
2. At last, I had an X-ray and ultrasound for my frozen left shoulder. As a reward, I grabbed a cup of tea and a blueberry and coconut cake in the cafe in the library.
3. It turned out to be yet another glorious, sunny day. Nothing beats Wellington on a good day, and we've had quite a lot of them recently.
4. I had the time and space to also pop into the City Art Gallery today, enjoying particularly Bullet Time, featuring the work of two New Zealand video artists, Steve Carr and Daniel Crooks. I sat for at least 15 minutes watching half of Steve Carr's Watermelon. Take out half an hour and watch. It is strangely compulsive viewing.
5. Thursday is Pilates – what more can I say? Bought some red chard on the way there to enjoy with sausages.
6. Thursday evening is here. The cat is asleep, dinner has been eaten and it is time to see what Netflix has to offer. Tomorrow is Friday…and there is a long weekend with several things planned to look forward too. Goodnight from Wellington!


I have a footer navigation menu set up, but the columns are totally disproportionate. There are eight items in the first column and four items in the second column. I have no idea how or if I can make them even, but it looks really unprofessional to have it so out of whack. How can I fix this? Please advise!
My site URL is as follows: http://accucull.com/.


Hello, I would like to see more pictures of the 2015 RAM 1500, stock# 13462P.
Hi, my name is and I am interested in your I need info about your 2015 RAM 1500 (13462P).
*Default estimated payment is based on 3% rate for 60 months and $6,990 down payment. Estimated payments are for informational purposes only and don't account for acquisition fees, destination charges, tax, title, and other fees and incentives or represent a financing offer or guarantee of credit from the seller.
Please send me the vehicle history report for your 2015 RAM 1500 (13462P) that I saw on the KX Automall.
I am interested in this 2015 RAM 1500 (13462P) that I saw on the KX Automall. Please contact me with more information.


Micro-Distributing is a leading provider of drug and alcohol testing and employee screening products and services, offering a comprehensive array of solutions that are easily customized to suit any drug testing and screening programs needs including FDA approved testing devices and SAMHSA certified laboratory services. MD has developed proprietary products and strategic partnerships with the best the drug testing and screening industry has to offer for a true One-Source Solution to your drug testing and employee screening needs.
The Clean Team started as a three-person housecleaning company in San Francisco in 1979. The Clean Team now offers a free resource website for answers to cleaning problems and a print and on-line catalog of the cleaning products and tools found to be the best, fastest, greenest, and most personally safe.
With over 50 years of combined experience Cleaning Business Builders has a deeper, wider, and more enduring track record than any other cleaning consulting organization.
Modern Cleaning provides the most up-to-date cleaning technology as a distributor for the industry's leading equipment providers. We offer practical support and training options that allow for maximum value on an ongoing basis. We build a specialized partnership based on a revolutionary industry-tested process, premier industry-recognized tools, and superior customer service.
THE CLEANING EXPERT. Entrepreneur, Author, Speaker, Founder: Debbie is a leading expert in the cleaning industry. She started her business out of the trunk of her car and grew it to one of the largest maid services in the country.
The Association of Residential Cleaning Services, International (ARCSI) was established to assist residential cleaning service owners and professionals in starting, promoting, building and expanding their businesses.
The leading trade association for the cleaning industry worldwide, ISSA has a membership that includes more than 9,200 distributor, manufacturer, manufacturer representative, building service contractor, in-house service provider, residential cleaning, and associated service members.
ProTeam the Vacuum Company® manufactures ergonomic commercial backpack vacuums, canisters, and HEPA vacuums designed to clean more area in less time.
The Gift of Clean is a universal gift card for the residential cleaning industry. While other industries and companies have been able to tap into the $200 billion dollar gift card business, if you're like other cleaning companies, you see very little revenue from gift card sales.
Industry experts tell us that the cleaning gift card market revenue is potentially in excess of $1 billion annually. The cleaning industry has been unable to make any in roads into this potentially large revenue stream primarily due to its absence in retail stores where 75% of all gift cards are sold.
Cleaning companies can join the Gift of Clean Network FREE. You will earn a commission when you sell the gift cards on your website. Learn more about the Gift Card industry and how the Gift of Clean can help you grow your business in an article from Ernie Hartong, former ARCSI Executive Director. Click HERE.
Moody Insurance Worldwide specializes in tailored insurance programs for the professional cleaning industry. Moody has been endorsed as a preferred vendor for over 20 years by many of the leading cleaning franchises and trade associations.


In 1895 a young Italian named Guglielmo Marconi invented what was called the wireless telegraph. He used radio waves to transmit Morse code then it later became known as the radio. Eventually we had a 20th century where we took recorded sound for granted.
As citizens we can find our voice with the 1st Amendment. This American youth has a sound in his head and in fact I think we have a changing soundtrack throughout our whole lives. I remember when I was 10 going on 11 when I would listen to this song everyday that described my life. It was an amazing song that would relate to the things I was going through.
I think in this modern world most people listen to music to motivate them.
This song relates to my life that I was living when I was younger. Now that I have matured and looked at it, I like that I learned from my mistakes. It motivated me to change my ways in life. Like getting back enrolled in school, getting a job, not relying on my family for money when I need it. That made me change a lot; now my head is going in the right path to success so I can do bigger and better things in life instead of staying in the fixed mindset of trouble.
Do I have new sounds that motivate?
Now that I really know the meaning about life, this song doesn't motivate me at all. I have a new sound track that motivates me. I have sounds that talk about the things I went through and the things that I'm going to accomplish later in life.
How has my motivation changed over time?
My motivation changed a lot, I think ever since I received the news I'm going to be a dad to an amazing kid that made me realize that I'm going to have to step up and be in my kids life. When I say yes to this responsibility of fatherhood I must say no to the things and the people that take me away from my kids life. We need to sing songs of commitment. We need to say yes the the bigger and more beautiful things in life instead of getting caught up in negativity.
Are there any ways where I find that my motivation has always been the same?
We as human beings are led by some of the same ideals of truth. An example of this in American history is that we have always had the "same song" so to speak of "Liberty", "Natural Rights", and "We the People" but every time we sing it we get better at applying it to our citizens- this is called Civil Rights in America. This is in some ways is the same song that Dr. Martin Luther King Jr sings in the 1950s and 1960s and it is the same song we sing today when we stand up to injustice.


text:
Q: Eliminate airspace issues in wpf with PrintWindow and interopbitmap I have a question about a possible fix for airspace issue in wpf. By airspace i mean the problem of using wpf and win32 windows at the same time and the fact that win32 windows come on top always.
I have a win32 window that I want to incorporate into my wpf app. But I want to use all the fancy wpf stuff there also (like putting something above it etc..).
I know this is not possible because of airspace issues.
My win32 window is only a video window so it has no keyboard or mouse active parts. So my idea was to copy window content periodically using PrintWindow win32 function into some memory space where I would pick it up using Interopbitmap then I could use that interopbitmap as a source.
Also I would hide that win32 window so its not showing (supposedly printwindow works off hidden windows).
Unfortunately I don't know much about win32 programming so I failed so far. Does anyone else have experience with this? Or maybe has another solution for escaping the airspace issues?
I was doing something like this
this.dispatcher = Dispatcher.CurrentDispatcher;
Utilities.GetClientRect(this.hwnd, out rect);

width = rect.Right;
height = rect.Bottom;

this.dc = Utilities.CreateCompatibleDC(IntPtr.Zero);
this.hBitmap = Utilities.CreateCompatibleBitmap(dc, width, height);
Utilities.SelectObject(this.dc, this.hBitmap);
this.BitmapSource = (InteropBitmap)Imaging.CreateBitmapSourceFromHBitmap(this.hBitmap, IntPtr.Zero, Int32Rect.Empty, System.Windows.Media.Imaging.BitmapSizeOptions.FromEmptyOptions());

and then periodically from another thread (5 times per second) i did this
Utilities.PrintWindow(this.hwnd, dc, WindowPart.Client);
this.dispatcher.BeginInvoke(DispatcherPriority.Render, (Action)this.BitmapSource.Invalidate);

I just got a black screen so that obviously doesn't work.
Any help would be appreciated.