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The White Lotus ends with sex, scams and unlucky slips: Mystery floating corpse is revealed and even MORE bloody deaths uncovered in the explosive season two finale
The Season 2 premiere in late October began with a flash-forward where Daphne (Meghann Fahy) found a dead body floating in the sea
The circumstances leading up to the mysterious death has finally been revealed… with several other characters meeting their demise as well
The episode takes place on the last day for all of the guests at The White Lotus as shocking revelations are uncovered
HBO has already renewed The White Lotus for a third season, though no casting has been revealed at this moment
SPOILERS: There will be SPOILERS for The White Lotus Season 2 finale below so read on at your own risk
The second season of HBO's The White Lotus came to an end on Sunday, with the identity of the mystery corpse seen in the premiere revealed to be Tanya McQuoid (Jennifer Coolidge).
The season opened with Daphne (Meghann Fahy) chatting with some new guests on her last day at The White Lotus in Sicily, before going out for a swim… where she discovered a corpse floating in the sea.
The Season 2 finale – appropriately entitled Arrivederci – the guests all get ready to leave the resort, but not before the mysterious death is uncovered… with many other characters meeting their untimely demise as well as a sinister plot is uncovered.
Corpse: The second season of HBO 's The White Lotus came to an end on Sunday, with the identity of the mystery corpse seen in the premiere revealed to be Tanya McQuoid (Jennifer Coolidge)
Reveal: The season opened with Daphne (Meghann Fahy) chatting with some new guests on her last day at The White Lotus in Sicily, before going out for a swim… where she discovered a corpse floating in the sea
Mystery: The Season 2 finale – appropriately entitled Arrivederci – the guests all get ready to leave the resort, but not before the mysterious death(s) are uncovered
Overboard: Tanya McQuoid goes overboard in a tragic accident in the final moments of The White Lotus, dying a tragic death
Lifeless: She was seen lifeless in the sea, ultimately drifting out towards The White Lotus
Body: Her body was ultimately discovered by Daphne (Meghann Fahy), as teased in the opening scene back in the Season 2 premiere
The finale begins with Ethan (Will Sharpe) laying in bed, imagining his wife Harper (Aubrey Plaza) having sex with his friend Cameron (Theo James) before he gets out of bed.
Meanwhile, Daphne (Meghann Fahey) is on a video call with their kids, as she keeps trying to get him to speak with their kids but he keeps hesitating before finally going to talk to them.
Albie (Adam DiMarco) is in bed with Lucia (Simona Tabasco), telling her he wants to help her and take her to Los Angeles.
Ethan: The finale begins with Ethan (Will Sharpe) laying in bed, imagining his wife Harper (Aubrey Plaza) having sex with his friend Cameron (Theo James) before he gets out of bed
Dom is looking through old wedding photos, with a twinge of sadness while, back in the villa in Palermo, Tanya (Jennifer Coolidge) wakes up and finds Quentin (Tom Hollander) and the other men talking in hushed tones.
Quentin offers her coffee and asks how Niccolo was, as she said the whole night was a dream.
She says she wishes she can take them all with her, and asks if anyone has seen her assistant Portia (Haley Lu Richardson).
Hushed: Dom is looking through old wedding photos, with a twinge of sadness while, back in the villa in Palermo, Tanya (Jennifer Coolidge) wakes up and finds Quentin (Tom Hollander) and the other men talking in hushed tones
Quentin: Quentin offers her coffee and asks how Niccolo was, as she said the whole night was a dream
Portia wakes up in her hotel with Jack (Leo Woodall) and she can't find her phone, saying she needs to call Tanya but Jack pulls her back in bed and says it will all be fine.
Jack says maybe she left it at the bar but she says she definitely had it last night because she was trying to find him on Instagram but he says he doesn't 'do that s**t,' which worries Portia.
Meanwhile, back at The White Lotus, Valentina (Sabrina Impacciatore) wakes up in the empty hotel room when a maid tries to enter the room.
Phone: Portia wakes up in her hotel with Jack (Leo Woodall) and she can't find her phone, saying she needs to call Tanya but Jack pulls her back in bed and says it will all be fine
Maid: Meanwhile, back at The White Lotus, Valentina (Sabrina Impacciatore) wakes up in the empty hotel room when a maid tries to enter the room
Mia (Beatrice Grannò) asks Valentina if she liked last night, and says she was good, but she doesn't answer and rushes off.
Cameron and Daphne are at breakfast with Will and Harper as Cameron and Daphne make small talk about some friends back home.
Cameron says that people can't even succeed anymore because they might harm someone, but Harper just calls him an 'idiot,' which he takes with a smile.
Mia: Mia (Beatrice Grannò) asks Valentina if she liked last night, and says she was good, but she doesn't answer and rushes off
Idiot: Cameron says that people can't even succeed anymore because they might harm someone, but Harper just calls him an 'idiot,' which he takes with a smile
Albie meets his father Dom for breakfast, immediately asking his father for 50,000 Euros.
Dom realizes he wants it for 'that girl' but Dom won't do it, adding, 'Albie, get real. A lot of people need help.'
'You're just gonna go through life trying to rescue every desperate girl you come across?' Dom asks. and says, 'Well, good luck with that. Don't expect me to subsidize.'
Euros: Albie meets his father Dom for breakfast, immediately asking his father for 50,000 Euros
'Think of it as a karmic payment,' Albie says, adding, 'For all the s**t you've done,' as Dom offers 10K Euros.
Albie says he wants her to visit Los Angeles and an amused Dom says, 'How are you going to make it in life if you're this big a mark?'
'I'll help you with mom. Give me 50 and I'll help you with mom. I'll tell her how sorry you are and how this whole trip, all you could think about was her, and how it seems like you've really changed. Yadda, yadda,' Albie says.
Payment: 'Think of it as a karmic payment,' Albie says, adding, 'For all the s**t you've done,' as Dom offers 10K Euros
'You would do that?' Dom says, when Bert (F. Murray Abraham) arrives, asking what they're talking about but they don't say.
Meanwhile, Valentina arrives at the front desk, as Isabella comes up and asks if she's thought about bringing Rocco back to the front desk.
Valentina appears lost at first, but then remembers and agrees to bring him back, which overjoys Isabella.
Valentina: Meanwhile, Valentina arrives at the front desk, as Isabella comes up and asks if she's thought about bringing Rocco back to the front desk
Overjoyed: Valentina appears lost at first, but then remembers and agrees to bring him back, which overjoys Isabella
Valentina orders Salvatore to go back to the beach club and bring Rocco back, which clearly angers him, asking where he'll be the next day and she says, 'Washing dishes' before he takes off.
Back in Palermo, Tanya is sitting with all her luggage as she walks through the villa again, trying to find anyone.
She goes back to the photo of Quentin and her husband Greg when they were younger, when Quentin finds her.
Luggage: Back in Palermo, Tanya is sitting with all her luggage as she walks through the villa again, trying to find anyone
She asks who the other man in the photo was and she says he was Steve, who worked at a dude ranch, adding, 'we used to go fly-fishing and drop acid together.'
Tanya says he looks just like her husband Greg and the resemblance is 'uncanny.'
Mateo comes and wants to say goodbye to Tanya since he is staying behind in Palermo, as Tanya and Quentin leave.
Mateo: Mateo comes and wants to say goodbye to Tanya since he is staying behind in Palermo, as Tanya and Quentin leave
Back at The White Lotus, Ethan and Harper go back to their room, as Ethan is clearly upset.
'You f***ed him. You f***ed him to get back at me but I did nothing wrong,' Ethan said.
Ethan insists that they were doing something and she says she doesn't know why the door was latched.
Room: Back at The White Lotus, Ethan and Harper go back to their room, as Ethan is clearly upset
She insists she didn't do anything and she's not lying, adding, 'Haven't I always been honest with you?'
'Yeah, but you're lying now,' Ethan says, adding he can't move on unless she tells him, 'exactly the truth.'
Harper sighs and comes clean, saying, 'OK, we did shots at the bar and yeah, I was really mad at you about the hookers and the condom and the whole situation and then he said, "Let's go upstairs."
Lying: 'Yeah, but you're lying now,' Ethan says, adding he can't move on unless she tells him, 'exactly the truth'
'The night before, at dinner, he kept touching my leg, or something. I dont know I was drunk, obviously. So we went upstairs, I let him in the room, he latched the door… and then he kissed me,' Harper admits.
'But that was it. That was all. You came up right away. He went through the connecting door. And he kissed me for like two seconds. It was nothing. And I was drunk. And I'm not even attracted to him anyway. He's disgusting, okay? It was a drunk, stupid nothing. I regretted it immediately, okay? That was it,' Harper says.
Ethan says, 'So you didn't come up here for the hat?' and she admits that she didn't.
It: 'But that was it. That was all. You came up right away. He went through the connecting door. And he kissed me for like two seconds. It was nothing. And I was drunk. And I'm not even attracted to him anyway. He's disgusting, okay? It was a drunk, stupid nothing. I regretted it immediately, okay? That was it,' Harper says
She shoots back, 'And the real issue is that you're not attracted to me anyway. You don't want have sex with me. You make up excuses. You'd rather watch porn. That is the problem. Not Cameron kissing me for two seconds.'
'You're still lying to me,' Ethan says, adding ,'I came up, like, ten minutes after you and you're telling me that all you did was kiss
'All right. You didn't f**k him, but what happened? Did you suck his dick? Did you blow him? Did he get his d**k out?'
She insists, 'I told you what happened,' as Cameron storms out, looking for Cameron, but Daphne says he went out for a swim.
Ethan finds him in the water and confronts him, asking if he invited him on vacation so he could f**k his wife.
Confront: Ethan finds him in the water and confronts him, asking if he invited him on vacation so he could f**k his wife
Ethan hauls off and punches Cameron as the start fighting, as Ethan tries to down him underwater but Cameron turns the tables for a bit, starting to drown Ethan as they both get up and a random man gets between them.
Ethan gets one last punch in before walking off as Cameron lays back and floats in the sea… going under the water.
Back in Palermo, Jack and Portia are having breakfast as she keeps worrying about her phone.
Worrying: Back in Palermo, Jack and Portia are having breakfast as she keeps worrying about her phone
'I'm here for work, and Tanya's my boss, and I have to call her,' Portia says as Jack says, 'Yeah, well, she can't talk to you now anyway 'cause she's on the boat. They're heading back to Taormina.'
Jack says he's drying her back to Taormina and he wanted to show her around the island before they go back.
Portia takes Jack's phone and calls Tanya and she tells her that she saw Quentin and Jack and they were 'naked and stuff like that.'
'Well… he was kinda f***ing his uncle,' Tanya says, adding she didn't have the heart to tell her before.
'I feel like something bad is happening. I don't know, I just have this really weird feeling that something bad is going to happen,' Portia says.
Portia says that, 'Jack got really drunk last night and he was saying how like, um, Quentin has no money, and he almost lost his house, and he's about to come into this giant windfall or something, and Jack is helping him.'
Tanya says that she remembers the photo on Quentin's desk… when she pieces it together, adding Greg insisted on coming to Sicily.
Insist: Tanya says that she remembers the photo on Quentin's desk… when she pieces it together, adding Greg insisted on coming to Sicily
'If we divorce, he gets basically nothing… but if… I die…' Tanya says, telling Portia to meet her in Taormina, adding, 'We gotta get the f**k outta here,' when Jack comes back, as Tanya realizes Quentin might be trying to kill her to get her money.
She tells him, 'I need to get back to Taormina, like– like right away,' but he says, 'Your flight's not till tomorrow. It's our last day together.'
She says she needs to get back right away and he tells her not to worry.
Money: 'If we divorce, he gets basically nothing… but if… I die…' Tanya says, telling Portia to meet her in Taormina, adding, 'We gotta get the f**k outta here,' when Jack comes back, as Tanya realizes Quentin might be trying to kill her to get her money
Flight: She tells him, 'I need to get back to Taormina, like– like right away,' but he says, 'Your flight's not till tomorrow. It's our last day together'
Ethan is walking on the beach when Daphne calls to him, saying he hasn't seemed himself the past few days.
She asks if it's work stuff and he says no, and he tells her, 'I think… I don't know… Cameron and Harper… maybe something happened.'
Daphne looks wistfully at the sea before turning back to Will and says, 'I don't think you have anything to worry about.'
Himself: Ethan is walking on the beach when Daphne calls to him, saying he hasn't seemed himself the past few days
Something happened: She asks if it's work stuff and he says no, and he tells her, 'I think… I don't know… Cameron and Harper… maybe something happened
Worry: Daphne looks wistfully at the sea before turning back to Will and says, 'I don't think you have anything to worry about'
'I mean, we never really know what goes on in people's minds or what they do, right? You spend every second with somebody and there's still this part that's a mystery. You know? You don't have to know everything to love someone,' Daphne says.
'I think you just… do whatever you have to do, not to feel like a victim of a life, you know,' Daphne says.
'You just use your imagination,' she says, asking if they've been over to Isola Bella, saying she wants to see it before they leave, asking Will to walk with her, which he does.
Victim: 'I think you just… do whatever you have to do, not to feel like a victim of a life, you know,' Daphne says
Imagination: 'You just use your imagination,' she says, asking if they've been over to Isola Bella, saying she wants to see it before they leave, asking Will to walk with her, which he does
He follows her on the sandy path to Isola Bella as she looks back at him with a smile.
Back on the boat, they drop anchor and Quentin says they want their last meal on the boat, saying they're as close as they can get on a big boat.
Quentin says that her 'paramour' Niccolo is going to meet her on a dinghy and take her back to shore personally.
Follows: He follows her on the sandy path to Isola Bella as she looks back at him with a smile
Close: Back on the boat, they drop anchor and Quentin says they want their last meal on the boat, saying they're as close as they can get on a big boat
Close: Quentin says that her 'paramour' Niccolo is going to meet her on a dinghy and take her back to shore personally
Back at the front desk, Mia comes to see Valentina, saying she looks beautiful, as Mia asks how her day is.
Mia says she will sing tonight and Valentina asks if they can spend more time together, as Mia agrees.
Mia says she needs a 'real lesbian lover' though and says she knows a lot of lesbians saying she'll show her around the clubs.
Beautiful: Back at the front desk, Mia comes to see Valentina, saying she looks beautiful, as Mia asks how her day is
Time: Mia says she will sing tonight and Valentina asks if they can spend more time together, as Mia agrees
When Mia leaves, she sees Rocco back with Isabella, and welcomes him back, when the pianist/singer comes back and is welcomes by everyone… but he's surprised when he sees Mia at the piano.
He asks what she's doing here, saying she doesn't sing at his piano.
Valentina says Mia replaced her while he was at the hospital but she says Mia has his job now.
Welcome: When Mia leaves, she sees Rocco back with Isabella, and welcomes him back, when the pianist/singer comes back and is welcomes by everyone… but he's surprised when he sees Mia at the piano
Piano: He asks what she's doing here, saying she doesn't sing at his piano
'The guests prefer her to you,' Valentina says before firing Guissepe, as he angrily walks out.
Portia nervously gets in the car with Jack, asking if she's been kidnapped, saying she knows he stole her phone.
'Please can you just tell me the truth. I know you've been lying to me. I know Quentin's not your uncle,' Portia says.
Guests: 'The guests prefer her to you,' Valentina says before firing Guissepe, as he angrily walks out
Nervous: Portia nervously gets in the car with Jack, asking if she's been kidnapped, saying she knows he stole her phone
Jack insists Quentin is his uncle and Portia says, 'Yeah? You f**k your uncle?' as Jack tries to process this.
He says he'll just take her back now but Portia wants to take a cab.
'It takes a couple of hours. You can't afford a cab. Anyway, me uncle made me promise to drive Ya. You don't want me to get in trouble now, do Ya? Just let me do me job. Yeah?'
Yeah: Jack insists Quentin is his uncle and Portia says, 'Yeah? You f**k your uncle?' as Jack tries to process this
Job: 'It takes a couple of hours. You can't afford a cab. Anyway, me uncle made me promise to drive Ya. You don't want me to get in trouble now, do Ya? Just let me do me job. Yeah?'
'How am I your job? Like, you've just been, like, assigned to me this,' Portia says but Jack screams at her telling her to, 'Just leave it alone.'
Tanya goes up to talk with the boat captain, telling him her whole story.
'I know it sounds crazy, but my husband, he knows Quentin. See, he brought me to Sicily and then he left, so he could have an alibi. And then these gays, they take me off to Palermo and then they set me up with this guy who's in the mafia and he's coming here I– I think to try to throw me off the boat. They're going to do Greg's dirty work for him because he's gonna pay them with my money so they can decorate their houses or some shit. I may– may be paranoid, but I need you to drive me in the boat, drive the boat to the shore. Please? These gays, they're trying to murder me,' she says.
Captain: Tanya goes up to talk with the boat captain, telling him her whole story
Story: 'I know it sounds crazy, but my husband, he knows Quentin. See, he brought me to Sicily and then he left, so he could have an alibi. And then these gays, they take me off to Palermo and then they set me up with this guy who's in the mafia and he's coming here I– I think to try to throw me off the boat. They're going to do Greg's dirty work for him because he's gonna pay them with my money so they can decorate their houses or some shit. I may– may be paranoid, but I need you to drive me in the boat, drive the boat to the shore. Please? These gays, they're trying to murder me,' she says
The man at the helm doesn't seem to understand as Niccolo arrives on his boat, waving at Tanya, strapping a duffle bag around his shoulder before he boards the boat.
Back at the resort, Cameron and Daphne head to the restaurant, as Cameron casually slips an envelope to Lucia.
Envelope: Back at the resort, Cameron and Daphne head to the restaurant, as Cameron casually slips an envelope to Lucia
Ethan and Harper are at their table as Harper sheds a tear, when Cameron and Daphne join them, seemingly ignoring everything that happened earlier.
Dom, Bert and Albie come to dinner as Mia runs up to tell Bert that she got the job singing her and gives him a hug.
Dom tells Albie he did his 'karmic payment' and transferred the money, but he doesn't want to talk about it again.
Job: Dom, Bert and Albie come to dinner as Mia runs up to tell Bert that she got the job singing her and gives him a hug
Dom asks if Albie might put in a word for his mother and Albie says he already did.
Bert comes back and tells them he got 'aroused' when Mia hugged her, adding, 'Our Achilles heel is an Achilles c**k.'
Albie says he's going to pass on dinner as he rushes off to be with Lucia.
Cameron proposes a toast to an 'amazing trip,' adding, 'When some… flunky in the housing office at Yale decided to put me and E in the same dorm room, who would've known that all these years later, we'd still be in each other's lives? I think that's pretty cool, man. And, Harper, it has been fantastic to finally get to know you properly.'
Cameron toasts, 'to friendship. To travel. To the good life. Cheers,' as Daphnie says, 'Next year The Maldives.'
Toast: Cameron toasts, 'to friendship. To travel. To the good life. Cheers,' as Daphnie says, 'Next year The Maldives'
Albie goes to Lucia, telling her to check her bank account as she hugs him with glee.
Back on the boat, Quentin says she wanted Tanya to have a 'magical time' adding they are all jealous.
Niccolo arrives and sits next to her and Quentin says Niccolo can take her back any time.
Jealous: Back on the boat, Quentin says she wanted Tanya to have a 'magical time' adding they are all jealous
Tanya says she would like more white wine and Quentin says they have 'all the time in the world' and lights a cigarette.
Ethan and Harper get back to their room, as Harper asks, 'Ethan… what's gonna happen to us?'
Ethan walks up to her and strokes her face, before kissing her neck and taking her dress off… when they accidentally knock over the porcelain statue in the room.
Break: Ethan walks up to her and strokes her face, before kissing her neck and taking her dress off… when they accidentally knock over the porcelain statue in the room
Albie and Lucia are in his room as she thanks him before they start kissing, while Dom is alone in his room.
He calls Albie's mother, surprised that she answered.
'Listen… I can't talk right now, but just call me when you get back into town,' she tells him as he says he will.
Kiss: Albie and Lucia are in his room as she thanks him before they start kissing, while Dom is alone in his room
Dom: Albie and Lucia are in his room as she thanks him before they start kissing, while Dom is alone in his room
Jack stops the car seemingly in the middle of nowhere before he gets out of the car to have a cigarette.
Portia asks where they are, and she says she thought he was going to take her back to Teremina.
He says they're not going to Teremina, telling her they're near the airport. He says she shouldn't go to the hotel adding these are 'powerful people' and she shouldn't f**k with them.
Back: Portia asks where they are, and she says she thought he was going to take her back to Teremina
Powerful: He says they're not going to Teremina, telling her they're near the airport. He says she shouldn't go to the hotel adding these are 'powerful people' and she shouldn't f**k with them
He says he knows she's smart and says she shouldn't be stupid before getting in his car…. and just before she takes off, he throws her phone out of the window.
Back on the yacht, Tanya says she has to go to the powder room as she goes and grabs the black duffel bag Niccolo brought on board, opening it and finding a rope, tape and a gun.
They come after her and pound on the door as Quentin wants to have a little talk… but Niccolo bursts through the door and Tanya shoots him twice, while crying.
Phone: He says he knows she's smart and says she shouldn't be stupid before getting in his car…. and just before she takes off, he throws her phone out of the window
Gun: Back on the yacht, Tanya says she has to go to the powder room as she goes and grabs the black duffel bag Niccolo brought on board, opening it and finding a rope, tape and a gun
She keeps walking through the boat, firing the gun at random… as she has seemingly hit everyone, firing a round through Quentin's heart.
'Is Greg having an affair?' Tanya asks, adding, 'Tell me, I know you know. Tell me!' One of the other men gets up and Tanya tries to fire at her but the gun is empty as he jumps into the sea.
The boat captain sees what happened and starts running as Tanya finds the dinghy and tries to jump onto it from the boat, but she doesn't, breaking down in tears.
Heart: She keeps walking through the boat, firing the gun at random… as she has seemingly hit everyone, firing a round through Quentin's heart
Affair: 'Is Greg having an affair?' Tanya asks, adding, 'Tell me, I know you know. Tell me!' One of the other men gets up and Tanya tries to fire at her but the gun is empty as he jumps into the sea
Tears: The boat captain sees what happened and starts running as Tanya finds the dinghy and tries to jump onto it from the boat, but she doesn't, breaking down in tears
She tries again, getting her legs over the railing, telling herself, 'You got this,' before she slips, hits her head on the railing and falls into the sea.
Tanya is seen lifeless floating in the depths of the sea, when it cuts to the next morning.
Lucia is dressed, trying to sneak out of Albie's room, as she smirks and looks back at him before leaving, as the sound of the door shutting wakes Albie up.
Slips: She tries again, getting her legs over the railing, telling herself, 'You got this,' before she slips, hits her head on the railing and falls into the sea
Lifeless: Tanya is seen lifeless floating in the depths of the sea, when it cuts to the next morning
Lucia: Lucia is dressed, trying to sneak out of Albie's room, as she smirks and looks back at him before leaving, as the sound of the door shutting wakes Albie up
They episode cuts back to the premiere… where Daphne finds a corpse in the sea… that's revealed to be Tanya, as the corpse is loaded into a vehicle.
Back at the airport, Dom and Bert and Albie all find themselves smiling at and checking out another Italian woman before heading to their terminal.
They walk past Portia, who picks up a pair of sunglasses, as she heads to her flight.
Daphne: They episode cuts back to the premiere… where Daphne finds a corpse in the sea… that's revealed to be Tanya, as the corpse is loaded into a vehicle.
Airport: Back at the airport, Dom and Bert and Albie all find themselves smiling at and checking out another Italian woman before heading to their terminal
Sunglasses: They walk past Portia, who picks up a pair of sunglasses, as she heads to her flight
Cameron and Daphne seem happy in the terminal as do Ethan and Harper, as Portia finds Albie in the terminal.
She asks where his family is and she says they're 'right over there,' and she says her boss isn't answering her phone.
'Oh did you hear one of the guests drowned in the hotel? It was crazy. They found a bunch of dead bodies on the yacht too,' Albie tells her.
Happy: Cameron and Daphne seem happy in the terminal as do Ethan and Harper, as Portia finds Albie in the terminal
Terminal: Ethan and Harper relax in the airport terminal after their stay at The White Lotus
Drown: 'Oh did you hear one of the guests drowned in the hotel? It was crazy. They found a bunch of dead bodies on the yacht too,' Albie tells her
He asks about Palermo, and she says it was, 'not great,' and Albie admits the girl, 'played me.'
Portia asks him for his number as they exchange phones with a smile.
Meanwhile, back in Sicily, Lucia and Mia give hugs to the man assumed to be her pimp – who's actually a doorman at another hotel – as they get lost in the crowd as the episode, and the second season, come to an end.
Not great: He asks about Palermo, and she says it was, 'not great,' and Albie admits the girl, 'played me'
Numbers: Portia asks him for his number as they exchange phones with a smile
Lucia and Mia: Meanwhile, back in Sicily, Lucia and Mia give hugs to the man assumed to be her pimp – who's actually a doorman at another hotel – as they get lost in the crowd as the episode, and the second season, come to an end
Fake pimp: The fake pimp that Lucia claimed she owed money too was really just a bellboy at a nearby hotel
The White Lotus Season 2 Finale Twitter Reactions
HBO aired the Season 2 finale of The White Lotus on Sunday night, which revealed the death teased at the beginning of the season.
The episode brought out a number of different reactions on Twitter, which we have compiled below.
Be warned, there will be SPOILERS for Sunday night's Season 2 finale of The White Lotus below, so read on at your own risk
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Cloudy. High 63F. Winds light and variable..
Cloudy with occasional showers overnight. Low around 60F. Winds SSW at 10 to 15 mph. Chance of rain 50%.
Richard Smith and his wife Gus Smith clean up after the flooding from Tropical Storm Irma in 2017. That storm led to $3 million in federal funding so the U.S. Army Corps of Engineers could study how to reduce the peninsula's flood risk. File/Grace Beahm Alford/Staff
By Grace Beahm Alford gbeahm@postandcourier.com
Charleston glimpses possible storm protections as Army Corps launches flood study
By Chloe Johnson cjohnson@postandcourier.com and Robert Behre rbehre@postandcourier.com
In the future, peninsular Charleston could be braced from storm flooding by breakwaters, tide gates, pumps and enhanced marshes.
Those were some of the options presented to the public for consideration Thursday evening by the U.S. Army Corps of Engineers, which is launching a three-year, $3 million study of possible protections for the historic city.
The study will focus on reducing future storm risks downtown, and its recommendations could pave the way for new federally funded projects, but that is not a given.
"There's no guarantee, no guarantee of federal money for anything we come up with, but folks, this is the pathway, the opportunity for us to get there, and that's why it's so critical," Charleston Mayor John Tecklenburg said at the meeting.
About 60 people perused the presentation Thursday, and they later got a chance to talk with some of the corps' experts. Members of the public also may comment with cards and or online at arcg.is/00aCj9.
Army Corps of Engineers Col. Jeffrey Palazzini provided an outline of the study and what's at stake.
"We work right here. There's flooding right here sometimes," he said of the Corps' Charleston office. "This is near and dear to our hearts."
Flooding is such an important consideration to Linda Clement, who attended the Thursday meeting, that when she recently decided to move, she studied the historic Halsey Map, which shows the location of Charleston's creeks and streams that have been filled in over time on the peninsula — areas where it is most likely to flood.
Clement ended up landing in Wagner Terrace, a big improvement from a former neighborhood downtown where the streets on either side of her house would flood, she said.
"I wanted to stay on the peninsula, so I educated myself," Clement said.
But she added that further study on where to put flood protections should take into account the poorer populations of the city, which might be less able to afford measures themselves to mitigate flooding.
No specific proposals were presented at the meeting, though several general categories of flood mitigation, ranging from highly-engineered floodgates to "living shorelines" buffered with planting, were posted on the wall and used with discussion fodder with attendees.
Already, the city is working on some massive projects to offset flooding, including the Crosstown drainage project and the raising of the Low Battery sea wall by sea wall by 2½ feet.
Tecklenburg said that in the future, it may make sense to further extend barriers around the peninsula.
"Charleston peninsula will need to have some perimeter protection in addition to the drainage systems, pump systems the city is currently engaged in putting in place," he said. "In my mind, you need to extend that around the peninsula ... this study is going to take that concept and really apply it, does it really make sense?"
During the next year, Palazzini said the corps' engineers, economists and planners will scope out the pros and cons and cost effectiveness of the different ideas.
Their work is expected to be presented to the public early next year for further feedback.
"There's certainly no recommendations yet," Palazzini said. "There are a lot of analyses that are going to be done."
The study not only will look at possible structural fortifications, such as the city's current project to raise the Low Battery, but also elevating or relocating structures. The ultimate recommendations could include a mix of both.
The Army Corps of Engineers recently wrapped up a similar $3 million study of the Norfolk, Virginia area.
It broke that metro area into four sections, and its recommendations included extending existing floodwalls to protect Norfolk's economic core and creating a new storm surge barrier to reduce flooding in the Lafayette River watershed.
The study, which was completed last year, also recommended several nonstructural steps, including basement fills, elevating structures, and buyouts.
The Charleston study is expected to be completed in 2021.
The work will be "just a piece of a complex puzzle of Charleston preparing for our future and dealing with the challenge of flooding and sea level rise," Tecklenburg said. "It's not just the peninsula, it's West Ashley, it's James Island, it's Johns Island."
Get the best of The Post and Courier, handpicked and delivered to your inbox every morning.
Reach Robert Behre at 843-937-5771. Follow him on Twitter @RobertFBehre.
Finding $2 billion isn't easy: Forum to focus on funding Charleston's flood fixes
Charleston Mayor John Tecklenburg, Dale Morris from The Water Institute of the Gulf, and Walter Goldsmith from First Tryon Advisors will hold a public discussion Wednesday about how Charleston may pay for its infrastructure needs relating to flooding.
Sea Wall
Robert Behre
Robert Behre works as an editorial writer with a focus on local government, transportation and the built environment.
Chloe Johnson
Chloe Johnson covers the coastal environment and climate change for the Post and Courier. She's always looking for a good excuse to hop on a boat.
Cane Bay High teen found dead in car, coroner says. 'It was scary,' student tweets
Charleston Animal Society takes in 50 dogs from the 272 animals found at SC puppy mill
SC's largest hospital system lays off 327 more employees as it tries to cut costs
Boone Hall Farms Market closing in Mount Pleasant for relocation across US Highway 17
New hotel opens in downtown Columbia, two others announced for Lexington and West Columbia
Bosch to cut 430 jobs, add others in North Charleston as auto market changes
Dine like it's 2048 at new downtown Charleston vegan restaurant from The Rarebit's creator
Columbia group worried about health effects from new 5G wireless technology
Charleston-area homicides jump 34% in 2019, the deadliest of the decade
Hicks column: Mount Pleasant is planning for rainy days - and yes, even snow

redpajama_set_name: RedPajamaCommonCrawl


A leading doctor has said that Ireland should set a target of six hours to admit or discharge patients who arrive at emergency units.
Peadar Gilligan, new president of the Irish Medical Organisation (IMO) and a consultant in emergency medicine, said that the average waiting time in Dublin A&Es was 14 hours.
He described hospital overcrowding as an "absolute outrage" that was "costing lives and must stop". People had died, he said, from not getting necessary treatment and from being at increased risk of infection.


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Q: DirectoryRef: use in 2 different folders In my installer project I have a harvested output of a referenced project which creates a fragment and, inside it, DirectoryRef element.
<?xml version="1.0" encoding="utf-8"?>
<Wix xmlns="http://schemas.microsoft.com/wix/2006/wi">
    <Fragment>
        <DirectoryRef Id="MyProject.Content">
            <Directory Id="dir9B0F2CD8423EA8141263E4CAA24D1234" Name="Data">
    <!-- subfolders, components etc. -->

Now, in my main wxs file I need to include MyProject.Content directory as a subfolder of two different directories.
I include <Directory Id="MyProject.Content" /> as a child of one directory and it works fine, files are added.
But if I include it in another directory I get:
error LGHT0091: Duplicate symbol 'Directory:MyProject.Content' found.
How can I reuse DirectoryRef twice?

A: The Id of non-Ref elements must be unique. So, somewhere in your .wxs code you have Directory Id='MyProject.Content' twice.
Unfortunately, the design of heat.exe that is part of the WiX Toolset adds a lot of identifiers preventing your scenario. You'd need to remove the Id attributes and probably still have to harvest twice to get two different ComponentGroup identifiers. This scenario just isn't in the design of heat.exe.
Contrast that with something like the WiX Expansion Pack advanced harvesting's solution where the HarvestFolder or HarvestProject element is placed directly in your .wxs code. Then you can place those elements in the appropriate directories and unique identifiers will be generated.

redpajama_set_name: RedPajamaStackExchange


Why Personal Training in Canberra?
Over the past 11 months, I have been running the Integrated Fitness & Nutrition Body Recomposition Program via remote coaching, using a combination of email, phone and Skype consultations to stay in contact with my clients.
The program, and more importantly the people who have implemented it, have been successful in achieving their goals. However, there was one thing missing.
There were new clients who wanted help with technique, intermediate clients who needed some assistance with accountability and advanced clients who could benefit from an experience eye looking at their session. These clients would all benefit from supervised training at some stage of their programming.
Since IFN wasn't provided these face-to-face sessions, we helped these clients find personal trainers nearby, and of hopefully the right skillset. However, it wasn't always ideal... some trainers didn't like running someone else's program, others wanted to sign the client fulltime and generally speaking, the standard was not aligned with the expectations of Integrated Fitness & Nutrition.
This is not meant to be a dig at other trainers. Some of the trainers were excellent and we still recommend them to clients, as required.
I decided to start personally training my Body Recomposition Program clients right here in the Canberra. Obviously I can't get to Western Australia or to the UK to train every client (we are working on that), but for everyone in Canberra, you can now come down and be coached through your sessions.
All training is conducted at the House of Reps Gym, which is located in the Canberra CBD. I wanted a location that is near to where people live and work, because who wants to travel 30 minutes each way for a one hour morning training session – not me!
I also wanted a facility with similar values to me - I wasn't going to try and sell memberships just so I could have the 'privilege' of using a commercial gym. I just want to train people and work hard, just like I expect them to do. This facility certainly delivers on that front!
Training will be run from Monday-Saturday between 6am-10am. You can book an exclusive one-on-one sessions or work with a small group (three to four) of clients who are also working with Integrated Fitness & Nutrition. The private gym will also allow the development of a community of like-minded individuals who are there to train, learn and engage… no showboating here!
If you aren't an Integrated Fitness & Nutrition Body Recomposition Program client, you can still get a training session, subject to availability. My number one priority is to coach the BRP and make sure that people who are investing in themselves are getting coached well – which is a common them across all of our services.
To begin with, sessions will only be conducted in the morning. I would like to expand into evening session later on, but my other commitments won't currently allow this. If there is significant demand, I will look at hiring a quality personal trainer who can run these sessions with IFN clients. In the meantime, it's the early risers who will be getting into the best shape of their life!
I also prefer morning sessions – because there are no excuses. You can't get stuck at work or caught in traffic at 7am. So if you want to be at the gym, you can make it. And hey, if you don't want to be there, that is cool too!
If you are interested, get in contact and we can see if Integrated Fitness & Nutrition is right for you!


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Q: In Django, how do I keep a running list of notifications for the user? When the user clicks the "My Notifications" tab, I want him to see a list of new and old notifications and the time that the action happened. That means, the notifications must be stored, and must even have a cursor to be paged through.
Does the Django message framework do this?

A: Adjusting Django messages framework to fit with your requirement would be a big deviation from the way the framework works.
I would strongly recommend not to use the framework for this particular use-case since creating a simple Django model (User FK, Notification, created datetimestamp) would be a better approach.

A: Yes, as Siddharth rightly mentioned, you can't use the builtin framework to do this, as this is a big deviation from what it is intended to do.
But, there is an app for that. django-notification app does precisely that!


Opposed choice could be outlined as strategic habits by the more knowledgeable associate in a contract against the interest of the much less knowledgeable accomplice(s). If the Trump Administration adjustments guidelines to take away the limit on quick-term plans someday throughout 2018, then premium will increase for ACA individual-market plans in 2019 (which might grow to be public throughout the spring and summer time of 2018 and be finalized within the fall of that yr) are prone to be considerably increased than they otherwise can be, as ACA-compliant insurers value within the larger threat of adverse choice on account of quick-term plans.
The employer was providing medical health insurance to a small group of workers; when the anticipated stage of future expenditures elevated sharply, the employer's premium swelled in due proportion, which motivated a renegotiation and in the end the shift to a brand new contract decreasing future funds. The personal medical insurance ombudsman experiences that it received 4,265 complaints from shoppers in the 2014-15 monetary yr, a rise of 24% on the earlier yr.
Although it's exhausting to say what the future holds for the ACA, the following overview of latest performance metrics may assist shed some mild on the volatile individual medical health insurance market. The proposed alternative plan, just like ACA, includes a disincentive for not shopping for insurance coverage. As of June 2017, Baby Boomers accounted for 27.3 p.c of the personal medical insurance market in Australia.
Emma Court covers healthcare for MarketWatch from New York.
Earlier this yr, federal judges blocked two multi-billion-dollar medical insurance mergers: that of Anthem and Cigna and that of Aetna and Humana. Cigna and Oscar Health are the one two insurance companies offering Inexpensive Care Act health plans in Nashville for 2018. Verily previously scored partnerships with life sciences and health-care firms together with Sanofi and Dexcom, primarily involving bringing its technological expertise to the desk. This means more shoppers may be incentivized to drop their ACA plans. A lot of the testimony focused on the need to fund value-sharing discount (CSR) payments, improve flexibility under the ACA's section 1332 waiver program and set up a federal reinsurance program.
The American well being care system is dominated by institutions such because the AMA who do NOT need any type of value control They also prevent one of many primary options of a free market from being utilized by their members. Federal reinsurance would radically remodel the person insurance coverage market, whereas leaving personal insurance coverage and client choice in place. 6 Tim Jost, Trump Executive Order Expands Alternatives for Healthier Folks to Exit ACA," Health Affairs weblog, October 12, 2017.
Potential impression on health insurance, and the advantages for people, the group and the economy. Price-sharing subsidies are solely available on Silver plans in the alternate. The result's discrimination of residents – insurers can deny insurance coverage to sure classes of residents (elderly, women, chronically ill, individuals with obese, etc.). By the way, discrimination in the insurance market will improve with the expansion of the possibilities of genetic testing and detection of the genetic danger of individuals and populations.
At the prime of most lists is making certain federal cost of subsidies to insurers to pay the out-of-pocket bills — resembling deductibles and copayments — to guard prospects with the bottom incomes.


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This entry was posted in Garden, Gratitude, Nature, photo, Uncategorized, Wildlife Habitat and tagged Acorn, anaerobic, birds, Carolina Blue, Entwined Garden, Gardens, gratitude, nature, Oak, Photo, Plant, squirrel, tannic acid, Tree, Woodland.
Always love hanging out with you, Suz! Always inspired fun!
Never realized what challenges these beautiful oaks might bring (although I had some bad ice storm experiences when living under pines). Glad you found a moment to reflect and be grateful for them Jayme. Bundle up this week!
My deer do eat ivy, fortunately. But I know what you mean about the oaks. Not much grows under there except the acorns. Have you tried euphorbia robbiae? It is one of the few things that works for me.


text:
Bei der Ruine Mittlere Birseck (auch Äussere Birseck genannt) handelt es sich um wenige Reste einer Burg etwa 0,5 km östlich von Arlesheim im Kanton Basel-Landschaft in der Schweiz.

Lage
Die Ruine befindet sich nördlich vom Schloss Birseck und etwa 100 m südlich der Ruine Hintere Birseck. Von der Ruine sind Reste des Rundturms und Spuren eines Nebengebäudes im Süden erhalten. Südlich der Anlage befindet sich der Hohle Felsen und eine Bunkeranlage.

Geschichte

Über die Entstehung der Burg ist wenig bekannt. In historischen Quellen des 13. Jahrhunderts wird sie als «turris versus Birsecka» (Turm gegen Birseck) bezeichnet. Womöglich wurde sie von den Grafen von Frohburg zusammen mit anderen Anlagen um ca. 1160 errichtet, um ihre Expansion zu stärken. Dagegen wehrte sich der Basler Bischof, bis schließlich um 1245 die Burg Birseck mit anderen Besitztümern in der Umgebung vom Graf Ludewig von Frohburg und seinem Sohn Hartmann an den Hochstift von Basel (Lütold) übergeben wurden. Dabei kam die Mittlere Birseck ebenfalls in den Besitz des Hochstifts. Daraufhin wurden die Burgen an die Familie Reich entlehnt. Die nördliche Burg wurde zu Burg Reichenstein umbenannt.

1292 wurde der Turm der Mittleren Birseck (beim Hohlen Felsen) bereits als verlassen und zerstört bezeichnet.

Weblinks

Einzelnachweise

Arlesheim
Mittlere Birseck
Erbaut im 12. oder 13. Jahrhundert

redpajama_set_name: RedPajamaWikipedia


Welcome to Bluebell Farm: Serenity, tranquility and privacy on 90 acres with a mile of Shenandoah River frontage. Updated rambler with all new kitchen & bathrooms. Gorgeous views. Wildlife abounds. Room for your horses or vineyard. Federal riparian easement; low taxes; right to build 2nd home. (2 parcels: 70+20 acres) Adjoining 2.6ac lot for sale. See Documents for more information. Farm Remarks: Bluebell Farm: Mostly fields (have been hayed in past) on three levels, minimal slopes, some woods intermingled and far West end. Two parcels: TM#047-A-072 (70ac) +TM#046-A-1-54A (20ac). Lower field subject to River activity. All buildings are above flood zone. Aerial photo in Docs and/or Google. Riparian easement on 86 ac of total 90 ac. Some limits to animal grazing - See Easement.
Directions: From I-81 (exit 283)at Woodstock, left on Main St (Rte 11) North to right on Moose Rd (Rte 664) on north end of Woodstock. Approx 3 mi to property at end of Moose Rd.


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One page ALS, beginning "I was delighted, so was Zelda, to hear that you are back in Europe."
FITZGERALD, F. Scott.
Published: N.p., n.d., [c.1929]
This Side of Paradise.
"I Didn't Get Over", two draft manuscripts and typescripts, with holograph corrections, for the short story.
Tender is the Night.
Typed letter signed ("Scott" in ink) to Gilbert Seldes.
Fitzgerald writes to Gilbert Seldes from France. Undated, but likely in 1929.
"I was delighted, so was Zelda, to hear that you're back in Europe. Ring Lardner sent me a clipping about your play - I know how it feels to see one go pop before your eyes and I deeply sympathized with you...Zelda has been sick on and off for a year and we've come to this little lost town for a widely famed salt cure for her...he writes of their plans for the coming months, inviting Seldes to visit...After that, our plans depend, as usual, on finance...Always Your Friend, Scott Fit-."
Single page.
Creased from folding, in excellent condition.


Whether its from Tennessee, Texas, Georgia, Louisiana, or the Carolinas, southern BBQ is the sweetest and most sultry taste around. Complete with all the fixin's, our Southern comfort food is sure to satisfy any appetite. Also try our signature sandwiches, burgers, and fries. Bring the whole family and experience our down home cookin' for yourself. You'll never forget your first time! You'll be back for more of Utah's best smoked meats and burgers. Truly a great BBQ joint and Burger restaurant.


text:
Q: java.lang.NoClassDefFoundError: sun/reflect/Reflection while running from jar I built a jar using Ecplise, setting the main class properly.
When I run "java -Xms512m -Xmx1024m -jar foo.jar config.ini" from the command line (Windows), I get an below exception
Exception in thread "main" java.lang.NoClassDefFoundError: sun/reflect/Reflection
        at com.jidesoft.plaf.UIDefaultsLookup.getCallerClassLoader(Unknown Source)
        at com.jidesoft.plaf.UIDefaultsLookup.get(Unknown Source)
        at com.jidesoft.plaf.vsnet.VsnetWindowsUtils.initComponentDefaultsWithMenu(Unknown Source)
        at com.jidesoft.plaf.LookAndFeelFactory.installJideExtension(Unknown Source)
        at com.jidesoft.plaf.LookAndFeelFactory.installJideExtension(Unknown Source)
        at com.jidesoft.plaf.LookAndFeelFactory.installJideExtension(Unknown Source)
        at com.jidesoft.swing.JideButton.updateUI(Unknown Source)
        at java.desktop/javax.swing.AbstractButton.init(AbstractButton.java:2136)
        at java.desktop/javax.swing.JButton.<init>(JButton.java:131)
        at java.desktop/javax.swing.JButton.<init>(JButton.java:85)
        at com.jidesoft.swing.JideButton.<init>(Unknown Source)
        at com.jidesoft.swing.JideButton.<init>(Unknown Source)
        at ro.sync.ui.application.lb.<init>(Unknown Source)
        at ro.sync.exml.m.d.<init>(Unknown Source)
        at ro.sync.exml.m.d.dqe(Unknown Source)
        at ro.sync.exml.m.c.<init>(Unknown Source)
        at ro.sync.ecss.extensions.api.component.AuthorComponentFactory$2.<init>(Unknown Source)
        at ro.sync.ecss.extensions.api.component.AuthorComponentFactory.init(Unknown Source)
        at ro.sync.ecss.extensions.api.component.AuthorComponentFactory.init(Unknown Source)
        at ro.sync.ecss.samples.AuthorComponentSample.<init>(AuthorComponentSample.java:311)
        at ro.sync.ecss.samples.AuthorComponentSample.main(AuthorComponentSample.java:545)
Caused by: java.lang.ClassNotFoundException: sun.reflect.Reflection
        at java.base/jdk.internal.loader.BuiltinClassLoader.loadClass(BuiltinClassLoader.java:602)
        at java.base/jdk.internal.loader.ClassLoaders$AppClassLoader.loadClass(ClassLoaders.java:178)
        at java.base/java.lang.ClassLoader.loadClass(ClassLoader.java:522)
        ... 21 more

A: If you were really using Java 8 to run this, your JAR would probably work just fine ...
But the evidence suggests that you are actually running the code in a Java 9 or later JVM, where the "missing" sun.reflect.Reflection class has been moved to the jdk.unsupported module.
The simplest solution will be to run this on Java 8 only.  Alternatively, you will need to figure out where in your code-base (or dependencies) the sun.reflect.Reflection class is being used.  (It looks like it is in com.jidesoft.plaf code.)

*

*If it is your code that is using the class, figure out how to do what Reflection is doing ... without relying on internal APIs.

*If it is a dependency, look for a newer version of the dependency that supports Java 9 and later.

This may help you work around the (apparent) Java 9+ compatibility issues in the jidesoft code.

*

*It looks like you may be using the JIDE Common Layer.  There is version of this on GitHub in the jidesoft/jide-oss

*There is a file in the repo called README JDK9.txt.  It says the following:
--add-exports java.desktop/com.sun.java.swing.plaf.windows=ALL-UNNAMED
--add-exports java.desktop/javax.swing.plaf.synth=ALL-UNNAMED
--add-exports java.desktop/sun.swing=ALL-UNNAMED
--add-exports java.desktop/sun.awt=ALL-UNNAMED
--add-exports java.desktop/sun.awt.image=ALL-UNNAMED
--add-exports java.desktop/sun.awt.shell=ALL-UNNAMED
--add-exports java.desktop/sun.awt.dnd=ALL-UNNAMED
--add-exports java.desktop/sun.awt.windows=ALL-UNNAMED
--add-exports java.base/sun.security.action=ALL-UNNAMED

Remove xerces.jar from the classpath

These would appear to be instructions on how to use the dependency on Java 9 or later.

*In the repo there also seem to be versions of the source code for Java 8 and Java 9.

I'm afraid, I can't tell you how to build and run the Java 9 version of the code.  If it is too hard for you to figure it out, my advice is to run your application on Java 8.
Finally, there are things in the jide-oss issue tracker that suggest that this code is unlikely to get much "love" in the future.  In particular, there doesn't appear to be any enthusiasm for addressing the various problems caused by the codebase's reliance on JDK internal APIs.  This will be increasingly problematic as the Java team close off access to those APIs.  So I would advise:

*

*Start looking for alternatives for the functionality that the jidesoft code is providing you.

*Don't develop new applications that rely on jide-oss.

*For an existing application, either plan to rework the code to use the alternative, or resolve to make Java 8 (and no higher!) the required platform for your application.


text:
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN"
    "http://www.w3.org/TR/xhtml11/DTD/xhtml11.dtd">

<meta http-equiv="Content-Type" content="application/xhtml+xml; charset=UTF-8" />
<meta name="generator" content="AsciiDoc 8.6.8" />
<title>git-blame(1)</title>

git-blame(1) Manual Page

NAME

git-blame -
   Show what revision and author last modified each line of a file

SYNOPSIS

git blame [-c] [-b] [-l] [--root] [-t] [-f] [-n] [-s] [-e] [-p] [-w] [--incremental] [-L n,m]
            [-S <revs-file>] [-M] [-C] [-C] [-C] [--since=<date>] [--abbrev=<n>]
            [<rev> | --contents <file> | --reverse <rev>] [--] <file>

DESCRIPTION

Annotates each line in the given file with information from the revision which
last modified the line. Optionally, start annotating from the given revision.

The command can also limit the range of lines annotated.

The origin of lines is automatically followed across whole-file
renames (currently there is no option to turn the rename-following
off). To follow lines moved from one file to another, or to follow
lines that were copied and pasted from another file, etc., see the
-C and -M options.

The report does not tell you anything about lines which have been deleted or
replaced; you need to use a tool such as git diff or the "pickaxe"
interface briefly mentioned in the following paragraph.

Apart from supporting file annotation, git also supports searching the
development history for when a code snippet occurred in a change. This makes it
possible to track when a code snippet was added to a file, moved or copied
between files, and eventually deleted or replaced. It works by searching for
a text string in the diff. A small example:

$ git log --pretty=oneline -S'blame_usage'
5040f17eba15504bad66b14a645bddd9b015ebb7 blame -S <ancestry-file>
ea4c7f9bf69e781dd0cd88d2bccb2bf5cc15c9a7 git-blame: Make the output

OPTIONS

-b

        Show blank SHA-1 for boundary commits.  This can also
        be controlled via the blame.blankboundary config option.

--root

        Do not treat root commits as boundaries.  This can also be
        controlled via the blame.showroot config option.

--show-stats

        Include additional statistics at the end of blame output.

-L <start>,<end>

        Annotate only the given line range.  <start> and <end> can take
        one of these forms:

number

If <start> or <end> is a number, it specifies an
absolute line number (lines count from 1).

/regex/

This form will use the first line matching the given
POSIX regex.  If <end> is a regex, it will search
starting at the line given by <start>.

+offset or -offset

This is only valid for <end> and will specify a number
of lines before or after the line given by <start>.

-l

        Show long rev (Default: off).

-t

        Show raw timestamp (Default: off).

-S <revs-file>

        Use revisions from revs-file instead of calling git-rev-list(1).

--reverse

        Walk history forward instead of backward. Instead of showing
        the revision in which a line appeared, this shows the last
        revision in which a line has existed. This requires a range of
        revision like START..END where the path to blame exists in
        START.

-p

--porcelain

        Show in a format designed for machine consumption.

--line-porcelain

        Show the porcelain format, but output commit information for
        each line, not just the first time a commit is referenced.
        Implies --porcelain.

--incremental

        Show the result incrementally in a format designed for
        machine consumption.

--encoding=<encoding>

        Specifies the encoding used to output author names
        and commit summaries. Setting it to none makes blame
        output unconverted data. For more information see the
        discussion about encoding in the git-log(1)
        manual page.

--contents <file>

        When <rev> is not specified, the command annotates the
        changes starting backwards from the working tree copy.
        This flag makes the command pretend as if the working
        tree copy has the contents of the named file (specify
        - to make the command read from the standard input).

--date <format>

        The value is one of the following alternatives:
        {relative,local,default,iso,rfc,short}. If --date is not
        provided, the value of the blame.date config variable is
        used. If the blame.date config variable is also not set, the
        iso format is used. For more information, See the discussion
        of the --date option at git-log(1).

-M|<num>|

        Detect moved or copied lines within a file. When a commit
        moves or copies a block of lines (e.g. the original file
        has A and then B, and the commit changes it to B and then
        A), the traditional blame algorithm notices only half of
        the movement and typically blames the lines that were moved
        up (i.e. B) to the parent and assigns blame to the lines that
        were moved down (i.e. A) to the child commit.  With this
        option, both groups of lines are blamed on the parent by
        running extra passes of inspection.

<num> is optional but it is the lower bound on the number of
alphanumeric characters that git must detect as moving/copying
within a file for it to associate those lines with the parent
commit. The default value is 20.

-C|<num>|

        In addition to -M, detect lines moved or copied from other
        files that were modified in the same commit.  This is
        useful when you reorganize your program and move code
        around across files.  When this option is given twice,
        the command additionally looks for copies from other
        files in the commit that creates the file. When this
        option is given three times, the command additionally
        looks for copies from other files in any commit.

<num> is optional but it is the lower bound on the number of
alphanumeric characters that git must detect as moving/copying
between files for it to associate those lines with the parent
commit. And the default value is 40. If there are more than one
-C options given, the <num> argument of the last -C will
take effect.

-h

        Show help message.

-c

        Use the same output mode as git-annotate(1) (Default: off).

--score-debug

        Include debugging information related to the movement of
        lines between files (see -C) and lines moved within a
        file (see -M).  The first number listed is the score.
        This is the number of alphanumeric characters detected
        as having been moved between or within files.  This must be above
        a certain threshold for git blame to consider those lines
        of code to have been moved.

-f

--show-name

        Show the filename in the original commit.  By default
        the filename is shown if there is any line that came from a
        file with a different name, due to rename detection.

-n

--show-number

        Show the line number in the original commit (Default: off).

-s

        Suppress the author name and timestamp from the output.

-e

--show-email

        Show the author email instead of author name (Default: off).

-w

        Ignore whitespace when comparing the parent’s version and
        the child’s to find where the lines came from.

--abbrev=<n>

        Instead of using the default 7+1 hexadecimal digits as the
        abbreviated object name, use <n>+1 digits. Note that 1 column
        is used for a caret to mark the boundary commit.

THE PORCELAIN FORMAT

In this format, each line is output after a header; the
header at the minimum has the first line which has:

40-byte SHA-1 of the commit the line is attributed to;

the line number of the line in the original file;

the line number of the line in the final file;

on a line that starts a group of lines from a different
  commit than the previous one, the number of lines in this
  group.  On subsequent lines this field is absent.

This header line is followed by the following information
at least once for each commit:

the author name ("author"), email ("author-mail"), time
  ("author-time"), and timezone ("author-tz"); similarly
  for committer.

the filename in the commit that the line is attributed to.

the first line of the commit log message ("summary").

The contents of the actual line is output after the above
header, prefixed by a TAB. This is to allow adding more
header elements later.

The porcelain format generally suppresses commit information that has
already been seen. For example, two lines that are blamed to the same
commit will both be shown, but the details for that commit will be shown
only once. This is more efficient, but may require more state be kept by
the reader. The --line-porcelain option can be used to output full
commit information for each line, allowing simpler (but less efficient)
usage like:

# count the number of lines attributed to each author
git blame --line-porcelain file |
sed -n 's/^author //p' |
sort | uniq -c | sort -rn

SPECIFYING RANGES

Unlike git blame and git annotate in older versions of git, the extent
of the annotation can be limited to both line ranges and revision
ranges.  When you are interested in finding the origin for
lines 40-60 for file foo, you can use the -L option like so
(they mean the same thing — both ask for 21 lines starting at
line 40):

git blame -L 40,60 foo
git blame -L 40,+21 foo

Also you can use a regular expression to specify the line range:

git blame -L '/^sub hello {/,/^}$/' foo

which limits the annotation to the body of the hello subroutine.

When you are not interested in changes older than version
v2.6.18, or changes older than 3 weeks, you can use revision
range specifiers  similar to git rev-list:

git blame v2.6.18.. -- foo
git blame --since=3.weeks -- foo

When revision range specifiers are used to limit the annotation,
lines that have not changed since the range boundary (either the
commit v2.6.18 or the most recent commit that is more than 3
weeks old in the above example) are blamed for that range
boundary commit.

A particularly useful way is to see if an added file has lines
created by copy-and-paste from existing files.  Sometimes this
indicates that the developer was being sloppy and did not
refactor the code properly.  You can first find the commit that
introduced the file with:

git log --diff-filter=A --pretty=short -- foo

and then annotate the change between the commit and its
parents, using commit^! notation:

git blame -C -C -f $commit^! -- foo

INCREMENTAL OUTPUT

When called with --incremental option, the command outputs the
result as it is built.  The output generally will talk about
lines touched by more recent commits first (i.e. the lines will
be annotated out of order) and is meant to be used by
interactive viewers.

The output format is similar to the Porcelain format, but it
does not contain the actual lines from the file that is being
annotated.

Each blame entry always starts with a line of:

<40-byte hex sha1> <sourceline> <resultline> <num_lines>

Line numbers count from 1.

The first time that a commit shows up in the stream, it has various
  other information about it printed out with a one-word tag at the
  beginning of each line describing the extra commit information (author,
  email, committer, dates, summary, etc.).

Unlike the Porcelain format, the filename information is always
  given and terminates the entry:

"filename" <whitespace-quoted-filename-goes-here>

and thus it is really quite easy to parse for some line- and word-oriented
parser (which should be quite natural for most scripting languages).

Note

For people who do parsing: to make it more robust, just ignore any
lines between the first and last one ("<sha1>" and "filename" lines)
where you do not recognize the tag words (or care about that particular
one) at the beginning of the "extended information" lines. That way, if
there is ever added information (like the commit encoding or extended
commit commentary), a blame viewer will not care.

MAPPING AUTHORS

If the file .mailmap exists at the toplevel of the repository, or at
the location pointed to by the mailmap.file configuration option, it
is used to map author and committer names and email addresses to
canonical real names and email addresses.

In the simple form, each line in the file consists of the canonical
real name of an author, whitespace, and an email address used in the
commit (enclosed by < and >) to map to the name. For example:

Proper Name <commit@email.xx>

The more complex forms are:

<proper@email.xx> <commit@email.xx>

which allows mailmap to replace only the email part of a commit, and:

Proper Name <proper@email.xx> <commit@email.xx>

which allows mailmap to replace both the name and the email of a
commit matching the specified commit email address, and:

Proper Name <proper@email.xx> Commit Name <commit@email.xx>

which allows mailmap to replace both the name and the email of a
commit matching both the specified commit name and email address.

Example 1: Your history contains commits by two authors, Jane
and Joe, whose names appear in the repository under several forms:

Joe Developer <joe@example.com>
Joe R. Developer <joe@example.com>
Jane Doe <jane@example.com>
Jane Doe <jane@laptop.(none)>
Jane D. <jane@desktop.(none)>

Now suppose that Joe wants his middle name initial used, and Jane
prefers her family name fully spelled out. A proper .mailmap file
would look like:

Jane Doe         <jane@desktop.(none)>
Joe R. Developer <joe@example.com>

Note how there is no need for an entry for <jane@laptop.(none)>, because the
real name of that author is already correct.

Example 2: Your repository contains commits from the following
authors:

nick1 <bugs@company.xx>
nick2 <bugs@company.xx>
nick2 <nick2@company.xx>
santa <me@company.xx>
claus <me@company.xx>
CTO <cto@coompany.xx>

Then you might want a .mailmap file that looks like:

<cto@company.xx>                       <cto@coompany.xx>
Some Dude <some@dude.xx>         nick1 <bugs@company.xx>
Other Author <other@author.xx>   nick2 <bugs@company.xx>
Other Author <other@author.xx>         <nick2@company.xx>
Santa Claus <santa.claus@northpole.xx> <me@company.xx>

Use hash # for comments that are either on their own line, or after
the email address.

SEE ALSO

git-annotate(1)

GIT

Part of the git(1) suite

Last updated 2012-10-01 13:59:22 PDT

redpajama_set_name: RedPajamaGithub


No,it isn't a school,but it's a post office.
Is this a post office?
No,it isn't a post office,but it's a football pitch.
Is this a football pitch?
No,it isn't a football pitch,but it's a bank.
No,it isn't a bank,but it's a computer shop.
Is this a computer shop?
No,it isn't a computer shop,but it's a playground.
No,it isn't a playground,but it's a cinema.
No,it isn't a cinema,but it's a greengrocer's.
No,it isn't a greengrocer's,but it's a school.
Is the cafe opposite the school?
Yes,the cafe is opposite the school.
Is the playground behind the bank?
Yes,the playground is behind the bank.
Is the cinema next to the greengrocer's?
Yes,the cinema is next to the greengrocer's.
Is the computer shop between the bank and the post office?
Yes,the computer shop is between the bank and the post office.
Is the post office between the bank and the post office?
Is the post office opposite the computer shop ?
Is the football pitch behind the cinema?
No,the football pitch isn't behind the cinema, but it's behind the school.
Is the bank next to the greengrocer's?
Is the greengrocer's between the cafe and the computer shop?
No,the greengrocer's isn't between the cafe and the computer shop, but it's between the school and the cinema.


Computes the auto-correlation of a signal.
This input supports the following data types.
The normalization method to use to compute the auto correlation of the input signal.
Autocorrelation of the input signal.
where the symbol ⊗ denotes correlation.
Notice that the number of elements in the output sequence Rxx is 2 N − 1 . Because you cannot use negative numbers to index arrays, the corresponding correlation value at t = 0 is the Nth element of the output sequence Rxx. Therefore, Rxx represents the correlation values that this node shifts N times in indexing.