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Hannibal 1.07: Sorbet
Posted on May 11, 2013 by staff writer | 37 Comments
Hannibal airs Thursdays at 10pm on NBC
WHAT'S UP GUYS. I'm sorry this is late, I just got back from visiting family in South Carolina. (We're cannibals, too, but not the sexy European kind. We're the hillbilly kind. The Wrong Turn kind. The 2,000 Maniacs! kind. Let's not talk about it.)
PREVIOUSLY: FREDERICK CHILTON WAS THE WORST EVER AT EVERYTHING; The Former Surgeon Known as Dr. Gideon took credit for the Chesapeake Ripper murders, thanks to a combination of unethical psychiatric methods and an FBI/Freddie Lounds merger; the real Chesapeake Ripper didn't take too kindly to that and gave Jack an arm belonging to the possibly dead/hopefully just maimed (????? wtf samantha. this show has given me weird priorities) Miriam Lass, his former protege/Will Graham; our Not Benjamin Raspail, Franklin, put a Kleenex on Hannibal's side table LIKE A GROSS HORRIBLE MONSTER; and Alana and Will have never been alone in a room together.
FBI ACADEMY, QUANTICO, VIRGINIA
Will, teaching a class, starts us off with a cheerful breakdown of the Ripper's methodology so far:
"The Chesapeake Ripper kills in sounders of three. He did his first victims in nine days–Annapolis, Essex, Baltimore. He didn't kill again for eighteen months, then did his next sounder of three in as many days, all of them in Baltimore. I use the term sounders because it refers to a small group of pigs. That's how he sees his victims. Not as people, not as prey. Pigs."
I wonder how many trainees have tried to write PSYCHOANALYZE ME on their eyelids.
Will goes through the Jeremy Olmstead murder, showing a picture of the impromptu toolbox that was his body in relation to the Wound Man drawing. He notices Jack watching, and goes to the next slide–Miriam Lass's trainee ID. Jack looks on the verge of actual tears when Will says that her severed arm was only found because the Ripper wanted it to be.
"The Chesapeake Ripper has remained consistently theatrical." Will says, and Jack closes his eyes.
INSIDE A LADY'S THROAT STARING AT HER EPIGLOTTIS
ew!!!
get us the fuck out of here, miss frizzle!!!
OUTSIDE A LADY'S THROAT AT THE OPERA
HELLO WE WERE JUST INSIDE YOU
She is singing the aria "Piangerò la sorte mia" from Handel's Giulio Cesare. I'm not a big opera fan, but the lady has a cool dress and her voice is beautiful. If anybody knows her name, please share! I can't find it anywhere :( She is Emily Klassen!
ALSO: LOL
Hannibal is in the audience. We go into his ear, and when we come back out, he's crying. Watching him cry is Franklin Froideveaux, and watching Franklin watch Hannibal cry is this cutie:
"omg franklin u slut"
WHO IS KINDA PISSED APPARENTLY.
Hannibal starts the standing ovation, and the singer bows gracefully. Later, in the lobby, Hannibal is accosted by Mrs. Komeda (ELLEN GREENE! HELLO VIVIAN CHARLES <3) (and I'm pretty sure Mrs. Komeda is her name) (which I don't know if it's pronounced this way but I'm pronouncing it like comida because that is hilarious), who laments that he hasn't thrown a dinner party for everyone in ages. She says it's always a huge production, essentially dinner and a show.
Hannibal: I will [cook for you] again. Once inspiration strikes. You can't force a feast, a feast must present itself.
Mrs. Komeda: It's a dinner, not a unicorn.
Hannibal: But the feast is life. You put the life in your belly and then you live.
Me: Somebody needs to pass on the next glass of champagne.
sometimes you just gotta get crunk at the opera am i right
Mrs. Komeda notices Franklin trying to get Hannibal's attention, and Hannibal finally turns to him. He introduces his cute friend as Tobias, and there is a lot of lingering ominous staring as Mrs. Komeda asks how Hannibal and Franklin know each other. Hannibal defers, claiming a desire to remain mysterious outside of the opera, but Franklin's just like I'M HIS PATIENT.
Hannibal asks how he liked the opera, and Tobias tells Hannibal that Franklin's eyes kept wandering over to Hannibal. Hannibal tells Tobias to leave something for them to discuss at Franklin's next session, and Tobias looks like he's about to shank somebody. Possibly Hannibal. I hate it when I accidentally get into pitched battles with dudes for the affections of people I don't like! So annoying!
Tobias and Franklin move along, and Hannibal says "Who's hungry?"
JACK CRAWFORD'S SUBCONSCIOUS WHICH LOOKS LIKE THE QUANTICO ANALYSIS LABS/MORGUE
Jack hears a phone ringing in the empty morgue. He opens one of the refrigerators and pulls out the table, where Miriam Lass's arm is clutching the ringing phone.
JACK CRAWFORD'S EMPTY BED
It's actually his phone in real life, which wakes him up.
AN SUV IN THE MIDDLE OF THE NIGHT
Jack and Will look sleepy in the driver's and passenger's seats, respectively. Jack explains that they're going to a hotel, where a body was found in a bathtub–abdominal trauma, with organs removed. Will remarks that it sounds more like an urban legend than the Ripper, but Jack just tells him that the room is sealed, so Will is gonna get it fresh.
"Fresh as a daisy?" Will says.
"I KIND OF HATE YOU AND THE THINGS YOU SAY THAT YOU SEEM TO FIND AMUSING" Jack doesn't say.
"Fresh enough for you to tell me whether or not it's the Ripper." Jack does say. "Then you can go back to class."
Will scoffs. "You don't want me in a classroom. You want me to wrap my head so tight around the Ripper, I won't go back to class until he's gone."
"Your bad luck that you're the best, pal."
Will asks if Jack is expecting another couple of bodies. Jack says yes, and Will warns Jack not to let the Ripper stir him up. "He left you Miriam Lass's arm so he could poke you with it."
Jack asks why he didn't leave the rest of her, and Will says that it was different with her, that he didn't want to humiliate Miriam like he did the rest of the victims. Jack extrapolates that he must have respected her more, because she figured out who he was.
"He may be starting another cycle, Will."
"The Ripper contacted you directly. If he was killing again, he wouldn't be subtle about it. He would just pick up the phone. Any more phone calls, Jack?"
Jack says if this is the Ripper, they've got a window of a few more bodies before the Ripper goes underground again, and they need to catch him this time. Last time the window closed, he lost the Ripper and Miriam. Jack just looks constantly like he's about to cry this whole episode.
Cops are gathered out in the hallway. Katz, Price, and Zeller are going over the room already. Jack asks if anyone touched the body, and Zeller says that for once, the local cops behaved themselves. Price says it's pretty obvious the dude is dead without touching the body, but Katz is like "I touched it." Zeller supplies that the body had surgery performed pre-mortem, but then it was unperformed–WITH BARE HANDS–and the sutures were all ripped out. Zeller also admits to touching the body. FUCKIN' ZELLER.
Price says that pieces of the body were dropped from the bed to the bathroom, and all of the agents pile in to check it out again. Will sits next to the bathtub, which is full of dead guy, and says that the surgery wasn't performed there (as there would have been more blood). Katz and Price brainstorm that the actual removal might have been performed on whatever transport the killer used. Will notices that the man tore out his own sutures, and the kidney's gone, but the heart is present. Traumatized, but present.
Will sits forward, and Jack is immediately like EVERYONE GET THE FUCK OUT HE'S ABOUT TO DO THE EMPATHY AND YOU DON'T WANNA GET ANY ON YOU.
Will goes into his mind palace. He backs out of the room, and when he comes back in, the stag is there already!
"HOLY CRAP WILL THERE'S A GUY IN HERE!"
Will walks further into the room. The victim is standing, bloody and pulling at his stitches.
Signs of a struggle indicate he's suffering from a severe, violent emergence from deep sedation.
The guy flies at Will immediately, and they slam each other bloodily around the room for a minute before Will manages to shove him down into the bathtub, climbing in with him.
His heart seizes up. I open his chest wall. I spread the ribs. I take his heart in my hand. Internal…cardiac…massage.
Will comes back to the present, and yells for Jack.
"This wasn't brutal. The killer wasn't killing. He was trying to save his life." Will looks back toward Jack. "The Ripper ever do that?"
SAME HOTEL ROOM LIKE 4 MINUTES LATER
Zeller: It's the Chesapeake Ripper.
Will: IT'S NOT THE RIPPER ZELLER YOU EVOLUTIONARY MISTAKE.
Zeller: There are too many similiarities.
Will: THERE AREN'T ENOUGH AND IF YOU DON'T SHUT YOUR MOUTH YOU'RE GONNA FIND OUT WHAT IT'S LIKE TO INVESTIGATE CRIMES WITH YOUR DICK STAPLED TO YOUR FOREHEAD.
Zeller starts listing off the similarities (surgical cuts instead of stabs, clothed victims on display, etc.), and Will argues that they're only potential similarities, and could be entirely coincidental. Zeller starts arguing again, so Will shuts the bathroom door in his face.
Please note Katz's subtle Will Graham Face in the background.
Jack: Are you sure?
Will: More or less.
Jack: Tell me why you're sure.
Will explains that this killer isn't the same one that would leave a body in a church pew with their tongue marking the page of a bible. He thinks this is possibly a medical student or trainee who made a mistake during a back-alley surgery of some kind.
Jack says they need to find the Ripper, and Will once again assures him they will. Jack says Will's not gonna get the chance to shoot him. "I'm gonna do that."
Will: You can't just jack up the law and get underneath it.
"How do you think I got my name, bitch?"
"Tell me how you see the Ripper, Will." Jack says.
Will sighs and answers with "I see him as one of those pitiful things sometimes born in hospitals. They feed it, keep it warm, but they don't put it on the machines. They let it die. But he doesn't die. He looks normal. Nobody can tell what he is."
You know, I always struggle with what to write in my little brothers' birthday cards, but I think Will might have just solved my problem.
(I'm pretty sure that quote is straight out of Red Dragon.)
HANNIBAL LECTER'S SEX OFFICE, BALTIMORE, MARYLAND.
Hannibal opens the door and invites Franklin in. Hitch up your underoos, 'cause it's about to get uncomfortable as balls in here.
Visual representation of awkward.
Hannibal asks Franklin why they ended up at the opera at the same time, and Franklin lies his way through some story about how it wasn't an accident but he also somehow wasn't totally stalking Hannibal. Hannibal's like OH THIS IS UNFORTUNATE.
Franklin: I want you to be my friend.
Hannibal: Of course you do. Check me out.
"It makes me sad that I have to pay to see you." Franklin complains. Hannibal tilts his chair back and falls into a trapdoor in the floor and moves to Tierra del Fuego to herd goats on horseback because this is all very embarrassing. Kudos to–holy shit, I can't find the actor's name ANYWHERE. It's not in the credits at the beginning or on the internet. WHO ARE YOU. Anyway, the actor does a good job with Franklin. DAN FOGLER DAN FOGLER IT'S DAN FOGLER.
Franklin says he listened to Michael Jackson the night before, and says that the saddest thing about him dying was that Franklin never got to meet him, and that he thinks he could have saved him from himself.
"In this Michael Jackson fantasy, how was this friendship returned?" Hannibal asks.
"I just get to touch greatness."
DR. BEDELIA DU MAURIER'S SEX OFFICE
FINALLY! GILLIAN ANDERSON HAS ARRIVED! She is DR. BEDELIA DU MAURIER! Best name in history! I'm so excited!
Dr. du Maurier is Hannibal's psychiatrist. She also takes precisely zero of his shit, and in a way, knows him better than anybody because she knows he's a total faker.
Bedelia: I have conversations with a version of you. And hope that the actual you gets what he needs.
Hannibal: A version of me.
Bedelia: Naturally, I respect its meticulous construction. But you are wearing a very well-tailored person suit.
Hannibal: ….omg does she know about the skin suit
Hannibal asks if that's how she refers to him with other psychiatrists, but she says she doesn't refer to him with other psychiatrists. BECAUSE SHE IS A PROFESSIONAL. We find out she's only got one patient, and that's only because Hannibal "chose to ignore" her retirement.
Hannibal: The patient who wears a person suit.
Bedelia: Maybe it's less of a person suit and more of a human veil.
Hannibal: ……OMG DOES SHE KNOW ABOUT THAT TOO
She says that Hannibal must be lonely, but Hannibal says he has friends, and opportunities for friends. He says that they are friendly, but Bedelia shuts it down, saying that Hannibal's her patient and colleague, and at the end of the hour they'll have a glass of wine, but Hannibal will be drinking it on the other side of the veil.
Hannibal's like, I only wear the veil at home to take cute selfies that I never post. :(
Bedelia gets up, asking if he'd like a red or white. Hannibal suggests pink instead.
HANNIBAL LECTER'S SEX OFFICE
Will is there for his appointment. As he walks past Hannibal to take his jacket off, he says "You've been drinking."
NOW WHO'S THE SNIFFY WEIRDO, WILL?
Oh wait haha there's a bottle on the table. Hannibal says he had a glass of wine with his last appointment, telling Will he has an unconventional psychiatrist.
Will: We have that in common.
Hannibal: …..wait, am I just your psychiatrist or are we best friends!?!?!
Will: Yes is the answer to that question.
Hannibal: /leaves glittery macaroni ~*~FRIENDSHIP~*~ art in desk for the time being
Hannibal says that having a glass of wine would be totally normal, and pours one for Will.
A fine rosé, with a good mouthfeel and a piquant boquet of grapefruit, currants, and SICK SHROOMS.
Hannibal says he saw the new article on Tattlecrime.com, and asks if the Ripper has struck again. Will gets up, agitated, and says no.
"It's not the same guy." he adds.
"Maybe it's never been the same guy." Hannibal suggests.
"What, now he's got a friend?"
Hannibal considers the macaroni art in his desk. MAYHAP NOT ALL IS LOST.
They discuss what the Ripper might be trying to hide with the mutilation. It's the organ removal–Hannibal nudges Will in the direction of organ traffickers, and even Will's like "LOL ok yeah sure. I'll keep that in mind if another body drops."
"Please do." Hannibal says.
Then the shrooms kick in, and Hannibal becomes a spider that only speaks in pinecones.
BLACK AND WHITE FLASHBACK, HANNIBAL LECTER'S SEX KITCHEN OF DRAMATIC IRONY
Hannibal gets his blood drawn by a super unpleasant private doctor dude. The dude is like "You are probably riddled with the herp so you had better tell me before I have to find out." Hannibal asks for his business card, which we see in a non-flashback ends up on a wheel full of business cards. Hannibal plucks the card out, and finds a recipe in his box o' recipes.
If you're interested.
Later that night, it's raining and dark and scary on a backroad. The doctor pulls off to the side of the road with a gas leak. HAHA, HANNIBAL'S JACKING OUR CANNIBAL SWAG! THAT'S HOW MY HILLBILLY BRETHREN GET ALL OUR VICTIMS!!!
I mean. That's how my hillbilly brethren get all their victims.
Seriously, though, just keep driving until you can't anymore and then get out and run. It's worth a fucked-up car when your delectable buns are on the line!
I mean your normal buns!!
That probably don't even taste good!!!
A car pulls up behind him–it's Hannibal, obviously, asking if he needs some help. The dude's like YEAH I DO TOTALLY and doesn't even get suspicious probably until Hannibal is actively murdering him.
QUANTICO ANALYSIS LAB OF MURDERED A-HOLES
The doctor is in…half. He was found on a school bus in two separate pieces, kidney and heart removed. Fuckin' Zeller starts in with how it's the Ripper, but Will is still not convinced. He seems to lean toward the "coverup for organ harvesting" theory, particularly when Katz explains that the organs were taken in a way that would allow them to be viable until given to the buyer. However, Will ends up falling down on the side of different killers once again, remarking that the Ripper was more elegant and had different motivations. The discussion at Quantico is intercut with preparation of the kidney and heart, which is wonderful because Bryan Fuller confirmed that it's actually Mads Mikkelsen doing the close-up food prep. I didn't know I could get a meatboner, but here we are.
HANNIBAL LECTER'S SEX KITCHEN
Hannibal and Alana are cooking dinner together! It is pretty hot! He gives her a beer that he's brewed in wine barrels for two years–likely using Miriam Lass in the process. I looked up some ways to make person-beer and reported my findings here, but considering Hannibal uses a centrifuge setting on his food processor (OMG I DIDN'T KNOW THAT WAS A THING) to separate blood later on, and since I assume the liquid he refers to at that point is plasma that adds a "sweet taste," it's possible there's blood plasma in the beer. IN ANY EVENT, Alana loves it, especially when she finds out it's her own private reserve.
Hannibal asks Alana if she's purposely avoiding talking about Will. She smiles and assures him that she is definitely avoiding talking about Will, because she doesn't want to have any information about him that she shouldn't have as his friend. ALANA MY SWEET MILDLY MANIPULATIVE PRINCESS.
Hannibal asks if she ever consulted on the Ripper case, and she says she hasn't since Jack asked her to before Miriam Lass disappeared.
"You had me examining PhD candidates that week." she reminds him.
Hannibal saucily says "You realize those PhD candidates thought we were having an affair. Why didn't we?"
"You were already having an affair." Alana sauces back. "Will does that too, you know?"
"What? Have affairs?" HE CAN FEEL THE MACARONI ART PULSING WITH LUST INSIDE HIS DESK. SOON IT WILL BE TIME.
LET'S DISCUSS HER DRESS. ARE THOSE PACMANS? WHY DO I LOVE IT SO? Same goes for Caroline Dhavernas's face.
"Flirtatiously change the subject. You have that pathology in common."
Hannibal says she never talked about Will, even before Hannibal met him. Alana says she just wants everyone to leave Will alone. She adds that it's not even about Will, but Jack is grooming him to catch the Chesapeake Ripper.
Hannibal says "I sincerely hope he does."
JACK'S SUBCONSCIOUS QUANTICO ANALYSIS LAB
Jack opens up another refrigerator, but there's nothing in it. The music goes nuts as he senses something behind him and turns around. Will, dead and naked on one of the tables and with a Y-incision on his torso, sits up slowly. His left arm is missing.
Even when he's dead and partially dismembered, I'm apparently still winning Hugh Dancy Sex Chicken, by the way. HOW ABOUT YOU?
It's genuinely creepy as a scene/visual, and a good insight into Jack's emotional state. So often in these shows, the boss character is the unfeeling, undemonstrative macho badass father-mentor-standin who's Lost A Man Once (but that doesn't matter after the episode's over and the status quo is resumed). Jack seemed like this initially, but he's got an inner life as rich and dark and in turmoil as anyone else on the show, and we get to see that. It would be so easy to hate Jack, but like: he's scared that his wife is dying and he's twisted up on the inside with guilt from every direction (Bella and Miriam and everyone else the Ripper's killed) and his nightmares involve Will Graham ending up cold and dead on his watch. That's fucking beautiful, and he's fascinating.
Will disappears, and Jack is left staring at the slab.
HANNIBAL LECTER'S SEX HOUSE
More recipes!
This chicken liver will be provided by a coat tailor.
The lungs are from a rare bookstore owner.
The brains will be from an IT guy. HAHA GOOD LUCK HANNIBAL. (just kidding i have the utmost respect for it guys can somebody please fix my computer it is ALL fucked up)
More butcheryporn. Oh my god I'm so hungry BUT ALL I HAVE IS HELLO PANDA COOKIES. Hannibal finishes up and smiles fondly into his freezer, like "I have meated enough for today."
QUANTICO ANALYSIS LAB OF SHUT THE FUCK UP ZELLER THE ADULTS ARE SPEAKING
There are now four bodies, all missing different organs. Price is like "Someone's even missing a spleen! A FUCKING SPLEEN." Haha, he's just so over this whole case.
Price and Zeller speculate about what kind of harvester would possibly need this volume of organs in such a short span of time. Zeller says maybe they're selling to China, and Price says there's a cultural taboo about voluntary organ donation. Zeller bitches, but Price is like "I WAS AGREEING WITH YOU DICKBALLS."
basically this is how i feel about zeller, too
Jack breaks up the brewing catfight and asks Will to confirm that there are two killers and that one of them is the Chesapeake Ripper. Will does.
HANNIBAL LECTER'S SEX OFFICE OF DISCOMFORT.
Hannibal invites Franklin in. Franklin, I would like to note, is now DRESSED LIKE HANNIBAL.
His Trapper Keeper is just COVERED in "<3 Franklin Lecter <3"[/caption] Franklin starts creepin' immediately: "I discovered that we are cheese folk. I saw you shopping for cheese. I didn't say hello, because you were so uncomfortable last time I did." Hannibal plays along, saying that the city is very small. Franklin leans forward and touches Hannibal's knee, saying that Jose's is the best place to get cheese. He asks if Hannibal knows what tyromancy is. Hannibal: "Divination by cheese." I can do that! I know exactly where any given piece of cheese I can find is going to end up, and that is in my mouth. Franklin says "It's like a magic 8-ball I could eat." Maybe I was wrong about you, Franklin. You seem like my type of people. I also love esoteric magical practices and cheese. Franklin says his friend from the opera, Tobias, doesn't eat dairy. Hannibal's just like "Do you desire Tobias sexually?" and I'm all "Yes" and Franklin's like "WHAT NO I MEAN I'VE INHALED SOME DICK IN MY DAY BUT WHAT YOU SUGGEST IS PREPOSTEROUS." Hannibal: You care deeply about Tobias. Despite differences, he's your best friend, but you're not his. Franklin: Well, it's sad when you say it like that. Hannibal: Are you afraid of being alone? Franklin says he's afraid of hurting, that it comes with a "dull ache." Hannibal says "It can." HANNIBAL LECTER'S SEX OFFICE
Hannibal, smiling, opens the door to the waiting room. The smile drops off his face when he sees that it's empty, and that Will has missed his appointment. He goes back into his office and moves stuff around, staring dejectedly at Will's entry in his appointment book.
The Lacrimosa part of Mozart's fucking Requiem is playing over this whole scene. DO YOU KNOW THE ENGLISH TRANSLATION OF THAT PART?
That day of tears and mourning,
when from the ashes shall arise,
all humanity to be judged.
Spare us by your mercy, Lord,
gentle Lord Jesus,
grant them eternal rest. Amen.
HANNIBAL THIS IS THE MOST DRAMA QUEENY YOU'VE EVER BEEN. AND I LOVE IT.
[caption id="attachment_12150" align="aligncenter" width="500"] I laughed so hard during this scene that now all I can taste is blood.
Hannibal then stomps off to find his man.
WILL'S SUBCONSCIOUS
Abigail–Hi, Abigail!–and Will sit across from each other in a dark field, separated by Cassie Boyle's body. Will is wearing a Garrett Jacob Hobbs fishing vest.
"It's better that it's just the two of us." Abigail says, smiling dreamily.
"Will." Hannibal's voice echoes over the scene. Abigail looks up at the sky and says "Dad?"
"Yes?" Will answers.
"There's someone else here."
The field turns back into Will's classroom. Hannibal says his name until he is shaken out of his open-eyed nap. "I have a 24-hour cancellation policy." Hannibal snits. Will's like WHAT YEAR IS IT and Hannibal tells him it's almost 9 o'clock. Will apologizes, but Hannibal says there's no need.
Will expresses a desire to stop sleeping altogether, because that's the only way to keep the nightmares at bay. Hannibal looks at the photos scattered on the table in front of him, and is like "I can imagine how this would give you nightmares."
Will stands next to Hannibal and asks for his opinion on the Ripper. They reiterate that it's about disgracing unworthy people, and Hannibal says the Ripper takes the organs because he feels the people don't deserve them. Will literally scoots away like three feet, whether he's conscious of it or not.
Hannibal picks up the picture of Miriam's severed arm and asks about it. Will explains the situation, and says that the Ripper had no reason to humiliate Miriam.
"He was trying to humiliate someone." Hannibal says. Will tells him it was Jack.
"Did it work?" Hannibal asks.
"I'd say it worked really well."
Hannibal's furious throbbing erection then knocks over several chairs.
ELSEWHERE AT QUANTICO, JACK'S OFFICE
Katz has basically solved the whole case and saved the day like she does ALL THE TIME. She shows Jack a hotel security video of a first-responder ambulance driving away from the scene, and tells him that the city hires private ambulance companies.
"Where's Will Graham?" Jack says.
WILL'S CLASSROOM OF MURDERBONERS AND STANDING WAY 2 CLOSE 4 COMFORT
Jack walks in with Katz and greets both Will and Hannibal. He asks if Hannibal would like to ride along to apprehend the Chesapeake Ripper, and Hannibal's like "LOL yeah but we'd better take one of the Escalades, this turgid manbeef isn't gonna fit in a towncar."
AMBULANCE DISPATCH HOUSE
The ambulance they're looking for is indeed not where it belongs. The driver, Devon Silvestri, is planning on taking the MCATs according to the owner of the place. He wasn't scheduled for the day, either. Katz asks about GPS systems in the ambulances, and the owner says they're consumer-grade. Katz, ONCE AGAIN SAVING THE DAY, says she can find the ambulance if the radio's on.
Hannibal leans in toward Will. "This is very educational." Will tinysmiles at him. Aaw.
SOME GARAGE, EMPTY EXCEPT FOR THE MISSING AMBULANCE
The FBI tactical team, led by Jack with a shotgun, find Silvestri mid-harvest. Silvestri tells Jack he can't remove his hands or the victim will die, and Jack yells for Hannibal. Jack asks if Hannibal can assess the situation. Hannibal climbs into the ambulance and says "He was removing his kidney–poorly. I can stop the bleeding."
He pulls off his jacket and jams his hands into the guy, presumably pinching an artery shut or something. Silvestri is ordered out of the ambulance, and Will and Hannibal stare dramatically at each other.
"You see my hands all up in this dude's guts? This could be you."
"That's the sweetest thing anybody's ever said to me."
IT'S VERY POIGNANT.
HANNIBAL'S SEX KITCHEN
Hannibal prepares delicious-looking food with a kitchen full of sous-chefs. OMG, DREAM JOB. He does the thing with the blood and the centrifuge button and explains to an awkward-looking Will that he'll serve it with tomatoes (and he pronounces it tomAHto. I always wondered who actually pronounced it that way, and the answer is–as the answer is to so many bizarre questions these days–Mads Mikkelsen).
Hannibal asks Will to stay for dinner, but Will declines, saying he wouldn't be good company.
Hannibal: I disagree. But, before you go–what became of Mr. Silvestri's donor?
Will says Hannibal saved his life, and asks why Hannibal quit being a surgeon. Hannibal's like "I killed someone. LOL. This is gonna be so hilarious in like a year." Actually, the patient died. Will says that he was an ER surgeon, that was to be expected. Hannibal says it got too difficult, so he decided to expend his energy in the culinary arts, and that he heals people's minds instead now, and "No one's died as a result of my therapy."
Will smiles and says he has to go. "I have a date with the Chesapeake Ripper."
Hannibal's like "Or Rippers?" Will answers in the negative. "Jack must be devastated." Hannibal says, grateful for murderboner-disguising aprons.
"He is." Will puts a bottle down in front of Hannibal and says "Enjoy the wine." before he leaves.
Jack stares at the Big Board o' Victims, and leaves the office. No phones ring and no Wills rise from the dead on his way out.
HANNIBAL'S SEX DINING ROOM
BEAUTIFUL FOOD. A TON OF CLAPPING. RICH PEOPLE ARE SO FUCKING WEIRD. ALANA'S THERE.
Hannibal: Before we begin, you must be warned: nothing here is vegetarian. Bon appetit.
DISCUSSION TOPICS:
+Was will extra weird about Hannibal in this episode? I felt like sometimes he was getting suspicious, but it feels a little early in the season for that.
+Which dish did you want to eat the most? WAS IT ALL OF THEM?
+How hilarious was Hannibal's OMG WILL MISSED HIS APPOINTMENT emotional breakdown?
+Tyromancy: yay or nay?
+Is Katz the best or is Katz the best?
+How many NBC executive business cards will you be collecting if the show doesn't get renewed?
+WHAT IS A SORBET
Written by: staff writer
This entry was posted in Television and tagged FINE MIDDLE-AGED CANNIBALS, Hannibal, hannibal lecter, NBC, television, will graham. Bookmark the permalink.


Kate Connell Potts is the private yoga teacher's best friend. Through her book and course, The Art Of Teaching Private Yoga, she supports private yoga teachers building businesses around 1x1 work. Kate brings her teachings as a yoga professional into each training and also delivers straight-talking advice based on her years of experience in online marketing, digital product design, and program and course development. Her life's work is teaching others to teach well. She lives in Iowa City with her husband Matt and their son, Anderson.


text:
By Trae Cadenhead
Earlier this year I had the pleasure of hearing the debut album from All Things Bright and Beautiful and was simply blown away. Essentially, All Things Bright and Beautiful is the moniker that Lee Bozeman (of Luxury) creates his own music under. On the afternoon of Friday, July 2, shortly after an impressive show backed with the band from Namelessnumberheadman, I met with Lee for an interview. Since the artist hospitality tent was closed we moved on to a youth leader's tent that was mostly empty. I started the tape recorder and this is what followed...
Trae: I guess let's start with you introducing yourself.
Lee: I'm Lee. Lee Bozeman. All Things Bright and Beautiful slash Luxury.
Trae: How old are you?
Lee: I'll be 32 next week.
Trae: How did All Things Bright and Beautiful come about? Is it a band that we'll be seeing for awhile or is it a project? Or...
Lee: I guess it's out of necessity. Having done Luxury for so long, we moved out of the area - my wife and family and I did - and I wanted to keep doing music, but to do it as a cohesive group as Luxury was kind of difficult. Not that we stopped doing it obviously because we're doing a new record, but I also wanted to do something solo. I didn't like the idea of just, "Hi, I'm Lee Bozeman, here's my songs" so I wanted to create something, a moniker of sorts, that would work to convey an image and message that people would get to know. As long as there's a record label out there for a guy that just records songs and doesn't tour and doesn't promote himself necessarily, I'll keep making records.
Trae: Okay, cool. Do you see a big difference between All Things Bright and Beautiful and Luxury as far as where you want to go musically?
Lee: With Luxury it's obviously a collective experience. All of the creativity, whereas I was responsible for the songwriting end of things, all of the arrangement and elements that combine together to make a song were done collectively as a band. When you're doing something on your own you have to really be the one who drives all the creativity. So when I recorded the record, I had all of the songs in place and all of the instrumentation worked out how I wanted it. Of course there was some manipulation and tweaking with it when we actually recorded it, but for the most part it's a totally different beast when you're doing the recording especially. And the All Things record itself really isn't a live record. It wasn't born in a live setting. It's just something where I sat in my laundryroom basically and just started recording one day. It's a different experience. Luxury was always a live experience and the songs were born out of a live setting.
Trae: What was it like taking these songs that were designed specifically for a CD and turning them into a live experience for Cornerstone?
Lee: It's difficult. You have to have the right people. With my record it's often difficult to find people who are skilled musically who can play a lot of the different piano parts and keyboard parts and then also have the ability to play with a certain amount of conviction. You know, the rock experience. Usually they're one or the other. Using Namelessnumberheadman as a backup band - which I've done several times now - I think it's gotten to the point now where by bringing in a second drummer especially, it adds a lot of tension the live experience. We can kind of focus more on the energy of it as opposed to the technicalities of it. A lot of songs have to be adapted and played differently. You probably noticed today a few of the songs were totally different expressions than they are on the record. They sound better live that way. Otherwise it just sounds weak.
Trae: It really was a totally different experience. I mean, they're both great experiences, but different. So moving on, what bands do you feel have influenced you musically?
Lee: Hmm.
Trae: I guess that's kind of the hard question that everyone asks.
Lee: There's so many it's hard. I've been listening to music really with some conviction now for 17 years, as a teenager you know. For me when I was first getting into music, it was Depeche Mode and The Smiths. They were my two pillars and they still to this day remain to be my two favorites. But that doesn't really mean anything as far as what I'm doing today. It obviously formed a lot of my likes and dislikes. I like people that can speak lyrically especially. I like the certain amount of darkness that comes with a particular style of music. So from there, anything from some obvious influences like Radiohead or The Flaming Lips or things like Low or even Sufjan Stevens, which is more recent. It's so difficult to even begin to run down the list.
Trae: The album really takes an interesting approach. Especially for a CD sort of released in the Christian market somewhat. Lyrically where you've got songs ranging from the apocalypse to sex to...
Lee: Back to the apocalypse.
Trae: Yeah. Was there a theme that you had in mind in trying to tie these things together or where did it all start?
Lee: Well, some of the songs were written a few years ago. After the last Luxury record came out. Probably about three years ago I put together a collection of seven songs that I sort of produced on my own, just burning some copies and passing them around. They were, for the most part, really personal. They were songs like "Post Modern Love" which is obviously personal, "Transfiguration" which has personal themes to it. Lyrically I wanted to approach it in a different way, but I never set out to necessarily be controversial or be... it's certainly provocative. I think all good music is usually provocative in one way or another. But I just wanted to deal lyrically with themes that would say something, that would be meaningful and push people in one way or another. You know, people can either sympathize with it or they're creeped out by it and don't like it. So obviously there's some amount of poignancy to it.
Trae: Yeah, that's definitely something I can see in listening to the record. It does a feel a lot more personal than...
Lee: Right. And going back to influences, I was an English major. I taught English for a couple of years and I was a big book reader and poetry reader. Lyricism, which is a totally different animal...
At this point a kid comes up and asks us if we are youth leaders. We tell him we aren't and he leaves, with our train of thought thrown off a bit.
Lee: Umm, sorry...
Trae: You were talking about poetry...
Lee: Yeah. Obviously I read a lot so a lot of my influences come from the literary world. I'm not at all a person who thinks, "I'm just putting poetry to music." Because that's a complete sham and people don't do that. But one of my big influences is Flannery O'Connor. All of the issues I deal with on my record are things that she deals with in every story she ever wrote. The apocalypse, sex, racism, and all those things - not that I dealt with racism necessarily - but I just think she dealt with it in such a bold and honest way. It's so provocative and so influential. For this All Things Bright and Beautiful record that was really a main influence. Especially the end times theme. I really love that imagery even though I don't necessarily get into a belief in the apocalyptic jargon that's going on today. I find it interesting and the imagery in songwriting is really powerful so I just enjoy that. I like to comine the real personal, sexual aspects with this otherwordly element.
Trae: Most CDs from Christian artists try to paint over the struggles and I found it really refreshing to find someone who doesn't do that.
Lee: I really hope it's above the whole Christian / non-Christian dispute. I think it is. I didn't worry about it. I mean, I am fundamentally a Christian artist in the broader sense of the term. I think that gets watered down so much in this culture that, you know, hardcore bands try to be really really pro-Christian and they do it with this kind of passion that really just comes off kind of weak to me. Even in the "secular" world, most musicians that write lyrics are writing lyrics that don't really mean anything. So I hope the record is above that discussion. I mean, it's profoundly Christian. I think it's the most Christian thing that I've ever done, but so many Christians won't see that and miss the point. You know, because I'm so much better than they are.
We both laugh.
Lee: Of course, that's a joke.
Trae: But yeah, it is really sad that so many people totally miss that...
Lee: Yeah, there's a sadness to it. But it's also the reality of things. We primarily view music as entertainment. There's this certain fraction of the population that views it as art and being meaningful, but some people just listen to music to shake their head to it.
Trae: A lot of people feel like if they're just getting that "Christian" message in there then they're not doing themselves any harm, I guess...
Lee: Right. I think that's a small part of the population. I think most people are smart enough that they can listen to any type of music that's out there and make judgements about it and still be alright. Obviously there's a small portion that only listens to things that are Christian and my record will really confuse them and make them angry probably. But I'm not worried about that necessarily.
Trae: So I guess that's not really your audience in the long run anyway?
Lee: No, I don't really know who the audience is. I think generally it's just thoughtful people. People that generally have liked it and talked to me about it, they have been rather intelligent, thoughtful people and it means something to them.
Trae: What is the writing process like for you and what do you go through?
Lee: I don't know, it's always changing. I keep a notebook where I always write song titles with just whatever strikes me. Everything generally starts with a song title of some sort. The majority of them come from film or something I'm reading or an advertisement that I see somewhere. In certain blocks of time I'm working on music and when I have a certain direction to go in, things kind of things begin to flow out pretty rapidly. And then when I'm done with it, I'm done with it. I'm not one of those guys that writes a song a day or a hundred songs a year or anything like that. Every song I write, I try to make it as good as possible. I don't like mediocre songs so if it sounds mediocre to me, I just don't even bother with it. That's sort of the process and lyrically it all unfolds from there. I don't really know how it happens, it just kind of happens. It's usually spurred by a title of some sort... although everything I just said is kind of untrue for the last record. I don't know if you noticed, but all of the song titles have nothing to do with the songs themselves. They never appear in the songs. All the lyrics in the songs were kind of inspired by the titles but didn't have anything to do with them necessarily.
Trae: That is really an interesting approach.
Lee: Yeah, I didn't write any choruses. Purposefully it was kind of... obviously it's singable, but it's not a verse - chorus - verse - chorus sort of thing. I try to just take it in a different route.
Trae: Kind of going back to the themes that the album deals with, can you explain the relationship that you see between sex and faith?
Lee: I think generally people are fundamentally sexual creatures and we also have this element of belief to us. Naturally these two are going to intersect at points. And with Christianity there's this kind of moral level that we're trying to attain if we're being honest in our Christianity and being faithful to it. We are always... I hate the word "struggling" but really that's what it is. We're always working on being better people. Within sexuality itself, our culture is so confused sexually. We are for the most part really oversexed with the images we see, the language we use, the clothes we wear, and the things that we accept as being normal are really pretty sexually explicit. And then you have other cultures like the Muslim culture that are the complete opposite where they hide everything and turn everything off. I think there's a natural balance that the Christian world should bring to that between chastity, humility, and the pursuit of righteousness. You can't really separate your faith from how you view sexuality.
Trae: So this is probably the most controversial album that Northern Records has put out. Was there ever any concern about that before the album was released?
Lee: No. Never. I gave them a copy of the demo songs with all of the lyrics beforehand and they never said a word about it. They are incredibly generous people and they realized that it was going to be a difficult album to market for them because Christian bookstores won't carry it, understandably. And then you can't necessarily pitch it to the mainstream because it's so spiritual in nature. So it's kind of this in limbo record and, "Hey, no one's ever gonna hear it, but that's fine." At least it's out there and perhaps something will happen with it. But they've always been really great about it and really supportive and they continue to be.
Trae: That's really cool. As far as some specific songs, I was wondering where the opening from "Transfiguration" came from.
Lee: There's an orthodox monastery in upstate New York called New Skeet and they had a taping of one of their divine liturgies. So that is a taping of the epistle reading from the liturgy of the transfiguration which happens to be in the church. And that's one of the nuns reading from the epistle. I ripped it off of a video of theirs that they had made of that service and it happened to be in the key of C, which is what the whole song started in and it just worked really well and I liked it so...
Trae: It's really cool and really unexpected when it turns from that two part two of the song.
Lee: Right, to part two. And I don't know if they fit together necessarily, but I like them together so...
Trae: It catches your attention.
Lee: Right.
Trae: "Wedding Feast of the Lamb" was probably the highlight for me of the whole album. What was the inspiration behind that song?
Lee: I needed another song and just started working on it. Lyrically I wanted to do something that gave some closure to the record. It's pretty grand in its scope as it kind of chronicles life in a strange sort of way from the daily work habits to heaven. And there's definitely references to Flannery O'Connor in there with a book she wrote called The Habit of Being which is referred to. And Thomas Murton, who's another Catholic writer. There's something in there about the little flower which is his patron saint. I don't know, these things kind of grow on themselves and blossom out of the smallest seeds. Musically, that one was influenced by Radiohead. It's kind of an obvious influence on that song. I just wanted the song to kind of build on itself and I think that it does.
Trae: If there's one thing that you want people to get out of the album, what would it be?
Lee: I don't know, those kinds of questions are always so difficult because they're so vague. I don't know that there's one thing I want to promote with this record. It's an experience. Like any good record it's an experience that's different from one day to the next. Some of the albums that I love the best, I've been listening to them for 15 years and it's different today than it was 15 years ago. I hope it's not something that seems like I was trying to do these things just to get some attention. I hope it's something that will be meaningful years from now. And I think that it will be, I don't know that it will be, but I think that it will. I want people to think about it and embrace the broader themes and not just take it at face value.
Trae: That's all of the questions I have. Is there anything else you wanted to say?
Lee: No, I never have more to say. But thank you for doing this.
Trae: Oh, thank you.
With this I shut off the tape recorder and we talked for a few minutes more about film and the possibility of me using some of Lee's songs in films I'm planning to do in the future. A few minutes later we said goodbye. It's difficult for me to stress enough how unique and important the All Things Bright and Beautiful album is. Lee is creating some profoundly meaningful songs and I was very grateful to have a chance to get to know him and learn more about what he is doing.
Trae Cadenhead is a student at Union University. He is pursuing a Digital Media Studies major with a Film Studies minor and plans to become involved in film making following school. Trae also has an enormous interest in music. Along with writing for the Tollbooth, Trae maintains Loconotion (loconotion.surfhere.net), a digital archive of his
thoughts on music and movies as well as a gallery of the art and video work he has done.

redpajama_set_name: RedPajamaCommonCrawl


text:
Foxconn's Zhengzhou plant is offering a 5,000 yuan subsidy for employees who keep working January 1-March 20
Foxconn's Zhengzhou plant is offering a 5,000 yuan subsidy for employees who keep working in key roles from January 1 to March 20, reports the South China Morning Post.
The plant belong to Apple's main manufacturing partner is still struggling to resume full capacity after workers clashed with guards over COVID-19 controls last month. Since then, the sudden relaxation of China's zero-COVID policy by Beijing has led to a surge in infections across the country.
From the South China Morning Post: According to a WeChat post published by Foxconn's integrated Digital Product Business Group, the division responsible for iPhone production, the Zhengzhou plant is offering a 5,000 yuan subsidy for employees in key manufacturing department roles from January 1 to March 20, a 4,700 yuan subsidy for those in non-key roles, and 4,500 yuan for workers in other departments.
The company said it will provide a list of employees who qualify for the subsidy on March 10. The bonuses will be paid on March 20, while workers will need to be a valid employee as of that date to receive the subsidy, according to its WeChat post.
The Zhengzhou facility also extended its "show up" bonus payments for employees. Workers are entitled to a 6,000 yuan bonus if they work more than 23 days in January 2023, according to the factory's notice.
Due to China's problems with COVID, the TrendForce research group has lowered its estimates of iPhone 14 device shipments to 78.1 million units this year. As a result of COVID, the capacity utilization rate of Foxconn's base has yet to risen above the level of 70%, adds the research group. The outbreak in Zhengzhou was at its worst just as Apple was trying to ramp up sales of the new iPhone models for this year (i.e., the iPhone 14 series) to a peak.
PreviousFormer Apple patent attorney claims she was unlawfully fired after reporting domestic abuse
NextEstimated Shipments of iPhone 14 Devices in 2022 Lowered to 78.1 Million Units
Quark extends 'buy one, get one' offer on QuarkXPress 2016
Akvis Retoucher updated to version 4.0
Six more join the cast of Apple TV+'s 'High Desert'
NewerTech ships battery charging/conditioning stations for Apple


text:
Kirk Cousins leads Vikings to back-to-back go-ahead drives in 34-31 win over Packers
By The Athletic Staff
November 21, 2021Updated 5:40 PM EST
Back-to-back go-ahead drives late in the final three minutes Sunday powered the Vikings past the Packers, one of the best defenses in the league, for a 34-31 victory in Minneapolis. It moved the Vikings to .500 for the first time this season, while handing Green Bay its second loss in the last three weeks.
With the game tied at 31, Greg Joseph nailed a chip shot to win as the clock hit zero. But it was quarterback Kirk Cousins who guided the Vikings, going 24 for 35 with 341 yards, three touchdowns and zero interceptions to give Minnesota (5-5) its second consecutive win. Cousins posted an average depth of 10.9 yards, his highest single-game average in over a year. It was a similar display of aggressiveness to last week's Vikings win over the Chargers.
Late in the fourth, Cousins led the Vikings for a touchdown to command the lead: They converted on two third downs to Adam Thielen, then to Justin Jefferson for a touchdown. (Jefferson racked up 169 yards and two TDs.) Dalvin Cook, who finished with 86 yards and one touchdown, converted a two-point conversion to give the Vikings a brief 31-24 lead.
That's when Aaron Rodgers answered with a one-play, 75-yard touchdown pass to Marquez Valdes-Scantling to tie the game with just over two minutes to go. But then the Vikings again cut through the Packers' defense, which struggled most of the afternoon to pick up consistent stops. The Vikings were nine of 13 on third down and capitalized on eight Packers penalties.
For Green Bay (8-3), Rodgers finished with 385 yards, four touchdowns and zero interceptions, including a pair of TD passes to Davante Adams (115 yards). Josiah Deguara chipped in another TD catch, but the Packers' run game wasn't itself with Aaron Jones out. AJ Dillon ran for 53 yards on 11 carries.
Earlier on the day, Packers kicker Mason Crosby also missed a field goal shorter than an extra point off the upright, and star offensive lineman Elgton Jenkins exited with a knee injury. The fear is that he tore his ACL. An MRI will determine the full extent of the injury.
(Photo: Adam Bettcher / Getty Images)
Chiefs silence the Cowboys, Jonathan Taylor runs over the Bills, Titans & Seahawks in panic mode, Vikings shine & more with Nate Tice
Another Sunday down, and we're left with more questions than answers. What do we make of the Chiefs defense...
What would Randy Moss say about Justin Jefferson's dazzling performance against Green Bay?
Jon Krawczynski
Buckle up! Sundays with the Vikings may not be 'fun,' but it's time to buy back into this team
Chad Graff
Packers defense collapses, Aaron Rodgers' 'very painful' toe: Observations from Green Bay's loss to Vikings
Matt Schneidman
Minnesota Vikings Week 11 preview: Predictions and what to watch for Sunday against the Packers
The Athletic Minnesota staff
Our Vikings writers make predictions and look at the key storylines for Minnesota's game against the Green Bay Packers on Sunday.
Packers at Vikings spread, odds, picks and trends: Expert predictions for NFL Week 11 game
See odds, expert selections and storylines for the Week 11 game between the Packers and the Vikings.
Ranking NFL offenses on opening drives: Vikings shine while Packers and Saints struggle
Some of the NFL's best offenses, including the Cardinals and Cowboys, don't get off to fast starts. Imagine if they did.


text:
Q: RequestMapping не работает, хотя GetMapping или PostMapping работают У меня есть Spring MVC приложение, когда я заменяю @GetMapping("/addPhoto") на RequestMapping(name = "/addPhoto",method = RequestMethod.GET) у мене просто не стратует программа

[2019-01-28 07:01:26,525] Artifact tests:war: Error during artifact deployment. See server log for details

Форма
  <html>
 <head>
<title>File uploading</title>
</head>
<body>
<fieldset>
     <form enctype="multipart/form-data" action="/addPhoto" method="post">
     <input type="file" name="photo" >
     <input type="submit"  value="Go!"  >
 </form>
</fieldset>
</body>
</html>

Контроллеры:
 @RequestMapping(name = "/addPhoto",method = RequestMethod.GET)
public String getPhoto(){
    return "uploadAFile";
}
@RequestMapping(name = "/addPhoto", method = RequestMethod.POST)
public String gg(@RequestParam("photo") MultipartFile file){
    return "redirect:/addPhoto";
}

Это еще не все, даже если я заменю RequestMapping на PostMapping и GetMapping форма просто не будет отправлять параметр "photo". Из-за чего не работает RequestMapping и как исправить проблему с параметрами, заранее спасибо.

A: Проверьте наличие в контексте сервлета бина типа org.springframework.web.multipart.support.StandardServletMultipartResolver.

A: Попробуйте заменить:
@RequestMapping(name = "/addPhoto", method = RequestMethod.POST)

На:
@RequestMapping(value = "/addPhoto", method = RequestMethod.POST)

redpajama_set_name: RedPajamaStackExchange


text:
Q: custom data coercion with django modelform Caveat: I don't have a deep knowledge, so if I'm barking up the wrong tree please let me know.
Anyways, I'm working on writing a tagging app. I want the user to be able to enter a list of space separated words rather than have to browse through a gigantic list of tags.
There are two models. One holds the name of the tags, and another holds tag assignments.
class Tags(models.Model):
    name = models.CharField(max_length=50)

    def __unicode__(self):
        return self.name

class Tagged(models.Model):
    tag = models.ForeignKey(Tags)
    app = models.CharField(max_length=256)
    app_item = models.IntegerField()

The modelform just displays the tag field as that is the only input needed from the user.
class TaggedForm(forms.ModelForm):
    class Meta:
        model = Tagged
        fields = ('tag',)
        widgets = {
            'tag': TextInput(),
        }

The problem I'm having is that while I am able to enter a list of space separated choices, the input is rejected as invalid.

Select a valid choice. That choice is not one of the available choices.

What I would like to do is get the data, coerce it into valid choices myself and return that cleaned data as a choice field (ie: take what's unexpected and user-friendly and make it expected and django friendly).
My question is, how can I do this and simply as possible?
Thanks.
Edit:
The solution follows the recommendation of Tisho.
The data is cleaned in the form and a custom save function handles the saving so the app only needs to pass in a few variables. It's still a bit rough around the edges (no permissions for instance), but it works.
class TaggedForm(forms.Form):
    tags = forms.CharField(max_length=50)

    def save(self, app, app_item, tags):

        # Convert tag string into tag list (whitespace and duplicates are removed here)
        split_tags = list(set(tags.strip().split(' ')))
        tag_list = []
        for tag in split_tags:
            if tag != ''  and tag != u'':
                tag_list.append(tag)

        # Get list of current tags
        current_tags = Tagged.objects.filter(app=app, app_item=app_item)

        # Separate new, stable, and old tags
        # (stable tags are deleted from tag_list leaving it populated by only new tags)
        old_tags = []
        if current_tags:
            for tag in current_tags:

                # Stable tags
                if str(tag.tag) in tag_list:

                    # Delete tag from tag_list (this removes pre-existing tags leaving just new tags)
                    del tag_list[tag_list.index(str(tag.tag))]

                # Old tags
                elif not str(tag.tag) in tag_list:
                    old_tags.append(tag.tag)

        # Remove old tags
        try:
            Tagged.objects.filter(tag__in=old_tags).delete()
        except Tagged.DoesNotExist:
            pass

        # Add new tags
        for tag in tag_list:

            # Get tag object
            try:
                tag=Tags.objects.get(name=tag)
                tag.save()

            # Create new tag
            except Tags.DoesNotExist:
                tag = Tags(name=tag)
                tag.save()

            # Add new tagging relationship
            try:
                new_tag = Tagged(tag=tag, app=app, app_item=app_item)
                new_tag.save()
            except Tags.DoesNotExist:
                pass

    def clean(self):

        # Get tags
        try:
            tags = self.cleaned_data['tags'].strip().split(' ')
        except KeyError:
            tags = False

        # Process tags
        if tags:

            # Variables
            tag_list = ''

            # Build tag list
            for tag in tags:
                if tag != '' or tag != u'':
                    tag_list += tag + ' '

            # Assign and return data
            self.cleaned_data['tags'] = tag_list
            return self.cleaned_data

        # Just return cleaned data if no tags were submitted
        else:
            return self.cleaned_data

Usage: The tagging logic is kept out of the application logic
tagged_form = TaggedForm(request.POST)
if tagged_form.is_valid():
    tagged_form.save('articles', 1, request.POST.get('tags',''))

A: As long as you just need a list of tags here - you don't need a forms.ModelForm. A ModelForm will try to create a Model(Tags) instance, so it will require all the fields - app, app_item. A simple form will do work just fine instead:
class TagsForm(forms.Form):
    tags = forms.CharField(max_length=200)

and in the view just process the form:
if request.POST:
    form = TagsForm(request.POST)
    if form.is_valid():
        tags = form.cleaned_data['tags'].split(' ')
        # here you'll have a list of tags, that you can check/map to existing tags in the database(or to add if doesn't exist.. some kind of pre-processing).

I don't know what your real goal is, but from here you can display a second form:
class TaggedForm2(forms.ModelForm):
    class Meta:
        model = Tagged

and after you have the tags from the user input, to create a new form:
form = TaggedForm()
form.fields['tag'].widget = forms.widgets.SelectMultiple(choices=((t.id, t.name)
                            for t in Tags.objects.filter(name__in=tags)))

I'm not sure if this is even close to what you need, just adding some examples here..


ABSTRACT: Transcriptional profiling of 13.5 day mouse embryo forelimbs. Gene expression comparison done between wild type and Chsy-1 gene knockout mice. Two-condition experiment, control (wild type) vs. test (Chsy-1 knockout). Biological replicates: 9 control replicates, 13 test replicates.
Project description:Transcriptional profiling of 13.5 day mouse embryo forelimbs. Gene expression comparison done between wild type and Chsy-1 gene knockout mice. Overall design: Two-condition experiment, control (wild type) vs. test (Chsy-1 knockout). Biological replicates: 9 control replicates, 13 test replicates.
Project description:We have performed an RNA-seq experiment to identify expression and alternative splicing differences between WT and Mbnl3 isoform knockout mice E15 forelimbs. We have also identified and characterized transcriptome wide Mbnl3-binding sites in C2C12 cells and E15 forelimbs. 6 total samples were analyzed: E15 forelimbs from 3 WT and 3 MBNL3 ΔE2/ΔE2 female mice (15dpc). For HITS-CLIP, 3 samples each of C2C12 cells, WT E15 forelimbs and Mbnl3 ?E2 forelimbs were analyzed for Mbnl3 binding site analysis.
Project description:The development of vertebrate extremities is a complex process which requires a highly coordinated network of different transcriptional activities. The homeodomain transcription factor Shox2 is a key player in limb formation controlling neural, muscular and skeletal development. Here, we compared gene expression profiles of wildtype and Shox2 knockout limbs using microarray experiments to identify Shox2 target genes. Forelimbs of E11.5 mouse embryos were dissected and genotyped for RNA extraction. RNA from 3-4 embryos of 2 different pregnancies was used for hybridisation to 2 arrays per genotype (wildtype and Shox2 knockout) and compared.
Project description:The development of vertebrate extremities is a complex process which requires a highly coordinated network of different transcriptional activities. The homeodomain transcription factor Shox2 is a key player in limb formation controlling neural, muscular and skeletal development. Here, we compared gene expression profiles of wildtype and Shox2 knockout limbs using microarray experiments to identify Shox2 target genes. Overall design: Forelimbs of E11.5 mouse embryos were dissected and genotyped for RNA extraction. RNA from 3-4 embryos of 2 different pregnancies was used for hybridisation to 2 arrays per genotype (wildtype and Shox2 knockout) and compared.
Project description:This study aims to look at gene expresion profiles between wildtype and Bapx1 knockout cells of the forelimbs in a E12.5 mouse embryo. Instead of looking at the whole forelimbs, only cells expressing Bapx1 were sorted by Fluroscent Activated Cell Sorting (FACS) and subjected to expression profiling by microarray. Overall design: EGFP was knocked into the Bapx1 locus by homologous recombination in mESC followed by generation of stable mice line. Wildtype and homozygous embryos expressing EGFP was was used to dissected out the forelimbs and Fluroscent activated cell sorting was used to sort out cell expressing Bapx1 as marked by EGFP. Total RNA was extracted and hybidized to an Illumina WG6 v2 mouse array.
Project description:We have analysed and compared mRNA expression between wt embryos and embryos deficient for Arid3b in E9.5 trunks, with the aim of identifying differentially expressed genes that could give us a clue to the functions of Arid3b during development. Trunks were dissected from E9.5 embryos (including the body from the otic vesicle to somite 15 and forelimbs). Four wild-type and four mutant embryos were collected and pooled for each of the microarray triplicates.
Project description:Advancing our understanding of embryonic development is heavily dependent on identification of novel pathways or regulators. While genome-wide techniques such as RNA sequencing are ideally suited for discovering novel candidate genes, they are unable to yield spatially resolved information in embryos or tissues. Microscopy-based approaches, using for example in situ hybridization, can provide spatial information about gene expression, but are limited to analyzing one or a few genes at a time. Here, we present a method where we combine traditional histological techniques with low-input RNA sequencing and mathematical image reconstruction to generate a high-resolution genome-wide 3D atlas of gene expression in the zebrafish embryo at three developmental stages. We also demonstrate that our technique is suitable for spatially-resolved differential expression analysis in wildtype and Gli3 mutant mouse forelimbs. Importantly, our method enables searching for genes that are expressed in specific spatial patterns without manual image annotation. We envision broad applicability of RNA tomography as an accurate and sensitive approach for spatially resolved transcriptomics in whole embryos and dissected organs. To generate spatially-resolved RNA-seq data for zebrafish embryos (shield stage, 10 somites, 15 somites, 18 somites) and mouse forelimbs (E10.5), we cryosectioned samples, extracted RNA from the individual sections, and amplified and barcoded mRNA using the CEL-seq protocol (Hashimshony et al., Cell Reports, 2012) with a few modifications. Libraries were sequenced on Illumina HiSeq 2500 using 50bp paired end sequencing. Selected zebrafish libraries were sequenced on MiSeq 250bp paired-end to improve 3' annotations.


M. MICHEL DEBRE A CONSTANTINE - LE GOUVERNEMENT SEMBLE DECIDE A CORRIGER CERTAINES ERREURS - ROME - LA PRINCESSE SORAYA - DES CHEFS FLN AURAIENT ETE EXECUTES EN TUNISIE.
LA POLITIQUE ETRANGERE FRANCAISE ET NOTRE POSITION A L'EGARD DE L'ALLEMAGNE - RMADIER - INDOCHINE - LE MINIMUM VITAL - LE RATTACHEMENT DE LA SARRE A LA FRANCE - BAUDOUIN - CERDAN A NEW YORK.
UNE CRISE POLITIQUE MENACE L'ANGLETERRE - RAMADIER EXPOSE A L'ASSEMBLEE SA POLITIQUE ECONOMIQUE - LES PETITES NATIONS - L'AMIRAL D'ARGENLIEU - HO CHI MINH - TANGUY-PRIGENT - MARIAS MOUTET - ABD-EL-KRIM - MME PETAIN A L'ILE D'YEU - CE N'EST PAS PIERROT LE FOU QUI A FAIT LE COUP - MARY CHURCHILL.
ETAPE DANS L'ORGANISATION DE LA PAIX - LE TRAITE D'ALLIANCE FRANCO-BRITANNIQUE A ETE SIGNE - A LA CONFERENCE DE MOSCOU - DELIBERATION CONSACREES A L'INDOCHINE - M. P.H. TEITGEN - DE BRINON A FAIT SON ENTREE EN HAUTE COUR - M. MONS A TUNIS.
LES FONCTIONNAIRES - LA CONFIANCE AI GOUVERNEMENT EST VOTEE PAR L'ASSEMBLEE - RAMADIER - LE RAVITAILLEMENT - LE CHRBON MANQUE - LE COLONEL GORUSSARD - M. HAAG - HENRI MARTEL REMPLACE MARRANE - LA MORT POUR GADIER - 10 ANS DE BAGNE POUR AUBLET - LE PROBLEME COLONIAL ET L'INDOCHINE - DANS LE SECTEUR DE HUE-TOURANE.


Advisory assets continue to move in lockstep with the markets, crossing $6.3 trillion and reaching a record-high at the end of the second quarter. Net flows decreased for the second quarter in a row, to $78 billion, on the heels of four consecutive quarters with net inflows of over $100 billion.
This quarter's edition of Central examines longer-term trends in the SMA space and takes a closer look at the continuing evolution of advisory platforms and how traditional and model SMA portfolios are coexisting.
View MMI Central Q2 2018.
COMING Q3! – A new "Central" – With the transition of MMI's industry data platform to Cerulli Associates, MMI members will see a new-style quarterly data summary effective with Q3 2018 data. The report will showcase the combined MMI and Cerulli industry data sets, which will be rebranded as MMI-Cerulli Advisory Solutions Data. The new report will offer the same quick, easily digested overview of the investment advisory solutions marketplace that MMI members have come to expect, but with an updated design and the insights of the Cerulli research team.


text:
Guglielmo Burelli (né le  à Vicence en Vénétie en Italie) est un joueur de football italien, qui jouait en tant qu'arrière latéral.

Biographie
Burelli commence sa carrière dans le club de sa ville natale, le Lanerossi Vicence en 1956.

Il fait ses débuts en Serie A sous le maillot du Lanerossi le  lors d'un US Palerme-Vicence (3-1).

Il évolue ensuite pendant une année complète à la Juventus (il y dispute sa première rencontre le  lors d'un succès 3-2 sur la Fiorentina), avec qui il remporte un championnat d'Italie et une coupe.

Il rejoint ensuite Bologne puis l'Udinese, et termine sa carrière à Varèse.

Palmarès
 Juventus
 Championnat d'Italie (1) :
 Champion : 1960-61.

 Coupe d'Italie (1) :
 Vainqueur : 1959-60.

Liens externes
  Profil de Burelli sur Myjuve.it
  Profil de Burelli sur Enciclopediadelcalcio.it

Footballeur italien
Joueur du Vicenza Calcio
Joueur de la Juventus FC
Joueur du Bologne FC 1909
Joueur de l'Udinese Calcio
Joueur de l'AS Varèse 1910
Naissance en juin 1936
Naissance à Vicence

redpajama_set_name: RedPajamaWikipedia


International Paymentsplatform with multiple service offerings across web / mobile channels. Adding international payment capabilities to theexisting banking platforms in the US.
The positionrequires teamwork and communication withthe client's technical team for alignment towards the common goal in aContinuous Delivery environment with highly frequent releases to production.
The delivery approach is Scrum, so working experience with Agile delivery isdesirable.
The UI Developeris expected to work across two large projects following immediate priorities,yet to be defined, and filling in the capacity gaps according to project needs.
A high autonomy level and good communication skills are necessary to cope withthe context shift at some point in time. The required background should bebuilt around the React tech stack and go a bit beyond to support the E2Etesting activities.
The UI Developer is going to join the existing cross-functional team of 27 andwill work along with UI developers, automation testers, Test Lead, ProductOwner, Scrum Master including client representatives.


text:
For the special edition of Hellbilly Deluxe 2, three additional tracks were added. "Theme for an Angry Red Planet" is the intro to "Mars Needs Women" split into its own track and "The Man Who Laughs" is a new version of the album's closer. "Devil's Hole Girls and the Big Revolution" is an intense beating that's heavier than many of the album's original tracks. That's not to say that tunes such as "Jesus Frankenstein," "Sick Bubblegum" and "Death and Destiny Inside the Dream Factory" aren't filled with plenty of road rage, but the additional tunes do a nice job of augmenting the original album. "Everything Is Boring" is more standard metal aggression with the usual dissatisfactions with life. Zombie also adds a raw garage-rock pulse to what he does. The other new track, "Michael," sways with extra weight as it threatens to come loose from Zombie's hand and crush anyone in its way. Rob Zombie needs to make a new full-length, for sure, but he could also do well by emptying the vaults of whatever he hasn't gotten around to releasing, as the bonus cuts here clearly indicate.
Hellbilly Deluxe 2 (Special Edition) [Audio Version] Rob Zombie
Devil's Hole Girls and the Big Revolution
Jesus Frankenstein
Sick Bubblegum
Theme for an Angry Red Planet
Mars Needs Women (Without Intro)
Werewolf, Baby!
Everything Is Boring
Virgin Witch
Death and Destiny Inside the Dream Factory
Cease to Exist
Werewolf Women of the SS
The Man Who Laughs
℗ 2009, 2010 The All Blacks U.S.A., Inc. and Hellbilly Deluxe 2, LLC
ImAnAhole , 09/28/2010
All about the new tracks!
The opening track, "Devil Hole Girls" truly beckons back to the original Zombie sound, probably his best song in some time. Joey Jordison's drumming is flawless and a welcome pump of adrenaline in the band. Can't wait for the live show! If you already have the album the bonus tracks are totally worth the purchase, if you haven't gotten this yet this is the version to get as it's like an entirely new experience!
Devilmanny , 10/02/2010
I don't get the crying about the good old days. There are so many killer tracks on this cd it is insane. I just saw him live two nights ago and it was amazing. The opening of the was Jesus Frankenstein and it was classic Zombie!
TheGreatDicktator , 09/30/2010
The new tracks rock! People who dislike this are dbags!
More By Rob Zombie
Venomous Rat Regeneration Vendor
The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser
Educated Horses
20th Century Masters - The Millennium Collection: The Best of Rob Zombie
Hellbilly Deluxe
Remixploitation
Rob Zombie Presents Captain Clegg and the Night Creatures
Rob Zombie & Captain Clegg & The Night Creatures
Brutal Planet
Stone Sour (Special Edition)
The Sickness (10th Anniversary Edition)
House of Gold & Bones, Pt. 1


Okay, not so great at this one-update-a-day thing. But I'm still trying! Now that Gaijin Kanpai is over I have more incentive to keep this up.
Today's song is "Robinson," a Spitz track that influenced melodic structure in J-pop for the latter half of the 90s. This type of song is the reason I got into J-pop (or one of them anyway). There's a sort of hanging chorus ending that J-songs have had since 1995 that I absolutely love. It's a resolute, optimistic song tinged with melancholy and doubt that everything will work out at the same time.
Here's the song 🙂 Enjoy!


Building trust between our business and the community is our top priority. Your vehicle's mechanical issues will be diagnosed and communicated honestly and in detail to give you a clear idea of cost and repairs needed.
In 2014 it was only a dream to have an honest repair shop that the community can rely on. Once making a family commitment it became relaity. Thank you to the Subaru community and our customers for the great support!
we are your one-stop shop for everything Subaru and more. Our services range from simple oil changes and vehicle inspections to engine rebuilds, brake repair and more. We also offer many parts for your Subaru.
The Subie Shop llc is an Independent Subaru service and repair shop. The owner is a fully certified Subaru Senior Master Technician as well as ASE-master certified – "Automotive Service Excellence". With sixteen years of dealership experience in auto maintenance, engine repair, and customer service, you will feel at ease leaving your vehicle with Justin.
You will receive complete attention to your automotive needs and concerns with honest estimates and fair rates.
We will do our best to work with your needs because we understand the demands of busy schedules.


1. Find the Blog tab and choose Blog Posts.
2. Check the circle or click on the Settings Gear Icon and select "Visible / Hidden".
You can filter your blog posts by keyword and date.
2. Choose filter type from Filter By drop-down menu.
2. Click on the Settings Gear Icon and select View in Store to see its preview.


text:
US Gambling Sites US Horse Racing Betting Sites Virginia Online Horse Betting
Virginia Online Horse Betting
Virginia where the first English settlement was established in what would become the United States was initially a betting friendly territory. But since importing the first horses from Europe in 1609, the Old Dominion State has slid toward the back of the pack when it comes to gambling.
Today, the state has relatively restrictive gambling laws, which prohibit casinos, cardrooms and greyhound racing as well as online wagering. It does, however, offer a state lottery and allows horse racing and off-track betting at licensed facilities, as well as charitable gaming on bingo, raffles and the like.
The state has a feast-or-famine history when it comes to horse racing. The first racetrack in Virginia was a 1-mile oval opened in 1739 in Williamsburg. At least seven other thoroughbred tracks opened in the colony during the 18th century.
But scandal and corruption ultimately led the state Legislature to ban gambling at horse tracks in 1894 and it wasn't until that voters in 1988 approved a referendum allowing pari-mutuel gambling on horse racing — as long as local voters said yes. Many saw that as a delayed reaction to a Virginia-bred horse, Secretariat, winning the Triple Crown in 1973.
At least five racetracks opened in the wake of the vote, but none was successful. So in 1992, the Legislature offered another inducement – creation of a network of at least a half-dozen "satellite wagering facilities."
That paved the way for the opening of Colonial Downs in New Kent in 1997, a track that was situated far from population centers and designed to befit form the far-flung OTB betting.
That didn't happen, however. The track ceased offering thoroughbred racing in 2013 and halted standardbred harness racing the following year.
But hope springs eternal, and the approval of historical horse racing games, slot-machine-like machines that offer the opportunity to bet on historical racing, has breathed new life into the track. New management plans to offer 15 live racing programs in 2019.
Virginia horse racing betting websites 2020
DRFBets.com;
KeenelandSelect.com
NYRABets horse racing site Virginia
Parbet.com
TVG bet app
TwinSpires.com
XpressBet.com
While many online horse racing betting websites of advance deposit wagering, which allows residents to bet on horse racing via telephone or the internet, some see Virginia's online gambling laws authorizing pari-mutuel betting as an invitation in 2020.


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Alternatives to Payday Loans at 4,214% APR
Retailers are reporting gloom and doom on the high streets of Britain, but there is still one sector that is expecting to do big business this Christmas: payday lenders.
Online lender Ferratum claims that more than 2 million people have already applied for payday loans, and Ian Porter, the company's UK sales and marketing manager, says: "We are already seeing a significant increase in applications for our micro-loans and we still have weeks to go until Christmas Day."
Payday loans – the lenders prefer to call them short-term or micro-loans (a term more commonly associated with tiny loans to women in developing countries to help them start home businesses) – are designed to tide borrowers over until their next pay cheque. The money is usually provided quickly: Wonga boasts it can decide in seconds whether to lend and pays cash into your account within 15 minutes of a loan being approved. They are designed to be paid back quickly, usually in a month or two.
Payday loans incur enormous rates of interest – Ferratum charges a typical APR of 3,113% while Wonga, the highest profile payday lender in the UK, charges 4,214%. Labour MP Stella Creasy, who has campaigned for tighter control of high cost lenders, describes such firms as the "legal loan shark industry". But the lenders say APRs are an inappropriate measure, as they are distorted by the short length of the loans.
Charges mount up when the borrower is unable to repay the loan at the end of the month, or can repay but immediately needs to borrow the same amount again. The lenders all claim to select their clients carefully, choosing only those who are able to repay. Wonga says it uses thousands of pieces of data available online to check the suitability of its clients. Ferratum says it has received applications from people with many different occupations including solicitors, doctors and nurses.
But Itisam Akhtar, manager of My Home Finance in Birmingham, a low-cost alternative to payday and doorstep lenders established by the National Housing Federation, sees it differently. He says: "The majority of our clients are on benefits. We look at [potential customers'] bank statements, and we've seen many payments to payday lenders."
It was reported recently that there has been a fourfold increase in the number of people with payday loans coming to its bureau for help with debts. Gillian Guy, CAB chief executive, says: "On average, clients with payday loans had eight debts, while those without payday loans had five. Evidence suggests a pattern of people in long-term financial difficulty with other debts, who are much more likely to take out a payday loan to try and deal with these problems."
So what are the cheaper alternatives to payday loans?
In the past five years, credit unions have made about 500,000 loans to higher risk borrowers, 80% of whom are claiming benefits. Whereas Wonga charges about 1% a day, loans from some credit unions will cost no more than 1% a month – an APR of 12.7% – up to a maximum of 2% a month or 26.8% APR. This means someone borrowing £500 for a year would pay a total of £534.06 at the lower rate, and £569.55 at the higher rate.
Credit unions have had a fusty reputation in the past, restricting their membership to people in certain professions or to small community groups. They were of little use to someone needing to borrow money in an emergency, as they required borrowers to save for weeks with the union before it would consider lending to them.
However, five years ago the government made £100m available through the Growth Fund, which has enabled credit unions to become more flexible, start assessing risk properly and lend to people without a previous membership or savings record.
Mark Lyonette, chief executive of the Association of British Credit Unions, says a £300 loan from a credit union would save a borrower £200 on the cost of a typical doorstep loan. "We are encouraging borrowers to use some of that difference to start saving: not all of it, just £2 or £3 a week. It means that by the time the loan is paid off, they have a pot of about £50 which can make all the difference to their self-confidence and esteem," he says.
There are 420 credit unions around the country, of which 120 are lending from the Growth Fund. To find out more go to www.findyourcreditunion.co.uk but remember: you will still have to become a member of the union to borrow, but in some cases you will no longer have to save with it.
My Home Finance
This scheme was launched in the autumn of 2010 to lend to people who are financially excluded and normally have no option but to borrow from payday and door-step lenders. The lender charges a typical interest rate of 69.5% APR, which might sound high compared to credit unions, bank loans and even credit cards, but Tess Pendle, head of My Home Finance, says it reflects the risk of lending to higher risk customers.
Clients are interviewed by a My Home Finance adviser about their finances and their bank statements are checked to work out what size of repayments they can afford. Only those who are bankrupt or simply cannot afford a loan are likely to be refused.
There are just 10 branches so far, all in the Midlands, but Don and Liz Hackett, who have taken out three loans with My Home Finance, think the scheme should be extended nationwide. The Coventry couple, aged 64 and 55, are older than the majority of My Home Finance clients: Mr Hackett retired early from his job as a lorry driver through ill health.
He tried to borrow from a high street bank four or five years ago, but because the couple were on benefits and his credit record was bad, his application was rejected. The couple have borrowed from doorstep lender Provident Financial, and are still paying off a £300 loan taken out a year ago, at the rate of £10 a week. But My Home Finance is much cheaper, and they have a good relationship with their adviser.
Mr Hackett says: "We have just taken out a £389 loan to pay for Christmas presents for the grandchildren (we don't buy presents for the grown ups) and food. We've got 10 people coming for Christmas Day. One of my sons is getting married next summer, so if we've paid off this loan by then, we'll take out another one for the wedding."
What else to avoid
■ Weekly payments shops such as Brighthouse or PerfectHome. They enable you to buy electrical goods and furniture immediately and pay in instalments, but the total cost is far higher as a result. They also try to sell you accidental damage and theft insurance, which pushes the total up astronomically. At PerfectHome, for example, the label on a Hotpoint fridge/freezer says the cost would be £579.99 at 29.69% APR, and the customer could buy this over 156 weeks at £5.34 a week – a cost of £833.04. The "optional" Coverplus policy costs a further £984.75, taking the weekly cost to £9.06 or £1,413.36 over the three-year repayment period.
■ Unauthorised overdrafts. The Consumer Finance Association is fond of quoting how much these cost compared to its own payday lender members' charges, which gives you some idea of how astronomical they are. It cites the cost of an unauthorised overdraft of £200 from the Halifax, which incurs a daily fee of £5: "The actual APR of the overdraft transaction is 90,888.9%."


text:
Avolon
Time to update our analogue laws to cope with digital economy
Mark Paul
The way consumers access many everyday products and services has been turned on its head over the past five or six years by smartphones and the on-dem(...)
Aviation recruitment is booming and there are many ways in
In 2017 commercial aircraft carried 4.1 billion passengers on 37 million commercial flights. There were more than 31,000 commercial aircraft registere(...)
Clare-born CEO of Embraer says airline industry 'deeply lacking' in females
Gordon Deegan
The Clare-born president and CEO of the commercial arm of Embraer Aviation has said the airline industry "is deeply lacking in an embarrassing fashion(...)
Chinese FDI to Ireland up to €87m, bucking trend elsewhere
Charlie Taylor
Chinese foreign direct investment (FDI) into the State rebounded last year, jumping 218 per cent to $100 million (€87.2 million), according to a study(...)
Avolon orders 100 Airbus aircraft valued at €10bn
Avolon, the aviation leasing company based in Dublin, has ordered 100 Airbus aircraft from the A320neo family valued at $11.5 billion (€10.1 billion) (...)
Dublin-based Avolon reports rise in airline customers and aircraft
The number of aircraft owned and managed by Dublin-based lessor Avolon rose by 1 per cent in the third quarter to 571. The company said it also had t(...)
Avolon opens global headquarters in Ballsbridge
Colin Gleeson
Aircraft-leasing company Avolon has opened a new global headquarters in Ballsbridge, Dublin. The majority of the company's 250 global workforce will (...)
China has been buying Irish: should we be worried?
Joe Brennan
In Dublin's gossipy stockbroking community, it was a wonder that the talks were kept under wraps for so long. It emerged in early February that Goodb(...)
Orix deal poised to cut Avolon borrowing charges
Peter Hamilton
August 8, 2018, 11:03
Aircraft lessor Avolon's deal with Japanese giant Orix is likely to cut the Irish aviation financier's borrowing charges. Orix Corporation agreed to (...)
Chinese owner of Avolon in talks to sell a stake to Japan's Orix
HNA, the Chinese conglomerate unwinding a global acquisition spree, is in advanced talks to sell a minority stake in Dublin-based jet lessor Avolon t(...)


Bad News, Men: You're Not Very Charming A new piece in The Atlantic argues that American men lack charm, both in the movies and in real life.
Katharine Hepburn and Cary Grant in The Philadelphia Story, in which Cary Grant is very charming.
I hate to break this to you, Men Of The Entire United States (Especially Actors), but The Atlantic has just run a lengthy piece pronouncing you un-charming.
Women commonly complain about the difficulty in gaining any conversational purchase when, say, trying to engage the fathers of their children's classmates or the husbands of their tennis partners. The woman will grab from her bag of conversational gambits—she'll allude to some quotidian absurdity or try to form a mock alliance in defiance of some teacher's or soccer coach's irksome requirement. But the man doesn't enter into the give-and-take. The next time they meet, it's as though they've never talked before; the man invariably fails to pick up the ball, and any reference the woman might make to a prior remark or observation falls to the ground. Men don't indulge in the easy shared confidences and nonsexual flirtations that lubricate social exchange among women. Even in the most casual conversation, men are too often self-absorbed or mono-focused or—more commonly—guarded, distracted, and disengaged to an almost Aspergerian degree.
So basically he just ... doesn't like you. Not only doesn't he like you, but he doesn't like you on my behalf, because I and my kind are constantly trying to get you to have a decent conversation, and you're self-absorbed and guarded and not paying attention, and maybe you're all kind of almost on the autism spectrum (!). Why, if I had a nickel for every time I called up one of my girlfriends on my Princess phone and said, "There I was, alluding to a perfectly good quotidian absurdity, and he wasn't lubricating our exchange at all!" Well, if I did, I would have enough nickels for another Princess phone, that's what.
In fairness, this might be only men who have school-aged children or wives who play tennis, because this is (according to this explanation) the kind of way that women meet you men in non-romantic settings. This can only be the direct result of the coming abolition of work outside the home, which I am super-glad to hear about, because ugh, I'm tired of having a job where all day long, I meet men who aren't my friend's husbands or my children's fathers. Bo-ring.
But there are lots of other reasons it is reportedly clear that you have no charm, O American Men: you like sports ("the seriousness with which American men take sports both confirms and exacerbates their suspicion of charm"), you fail to look good in tuxes even in my imagination, and you eternally fall short in the area (mastered by Cary Grant in the movies) of making me and other women appear "simultaneously regal and hilarious" when we converse.
It's funny, because I was wondering why I didn't feel regal and hilarious, and for a while, I thought it was my tendency to spill coffee on myself, but now I know it was that you lack charm. Tsk. Honestly.
You see, there used to be actors who had charm, Schwarz said, including Cary Grant (duh-doy!) and especially James Garner, who seems to be the real definition of charm in Schwarz's eyes. He is described as a "hardscrabble Oklahoman, [who] is at once worldly and untainted by sophistication." I've been meaning to tell all of you to stop being so tainted with sophistication, by the way, so I'm glad someone brought it up.
But in the end, it turns out that charm is very, very dangerous. (Twist ending, kind of!) "The charming man (or woman)," says Schwarz, taking a momentary interest in the charm of women, who up until now only appeared in our story as conversationally frustrated tennis players, "always knows that he (or she) is pulling something off, no matter whether that charm is used to put the wallflower at ease, to get the soccer dad to exchange some pleasantries, or to close the sale. The charmer knows that he or she is manipulating—and in the end, it's impossible not to be at least slightly contemptuous of the object of one's manipulation."
So it turns out that charm is not necessarily a good thing; it is, as he says, "amoral." But it's good in movie stars, who once had it to spare, unlike the meathead clowns floating through the films of today. Said meathead clowns are incapable of embracing the definition of charm, even though it is broad enough (in Schwarz's eyes) to encompass Grant, Clark Gable, William Powell and Fred MacMurray — not one but four white men wearing suits and fedoras born in a 16-year period beginning in 1892!
The message: be more charming, movie actors! And continue being suspicious of charm, other American men! And try to be better conversationalists, and maybe comb your hair, and stop rejecting my attempts to engage you with everything in my bag of conversational gambits! Frankly, I'm exhausted.


text:
Q: How can I run a command at start-up on Ubuntu server not as root? Occasionally (it's pretty rare) my VPS provider has to reboot my VPS in order to fix issues or apply a patch. Is there any way to run commands as my user automatically once the VPS reboots? I've read about putting scripts in /etc/rc.local but my understanding is that those scripts will be run as root. In particular I would like to run the following commands:
screen -U -S Irssi irssi
screen -S rtorrent rtorrent

This way Irssi will automatically reconnect to its IRC servers and rtorrent will begin seeding again so that they don't have to wait for me to see the email from my VPS provider, login, and restart them manually. Any advice would be much appreciated!

A: See /etc/crontab
You can set it up to start something with a "user" and have options
string         meaning
------         -------
@reboot        Run once, at startup.
@yearly        Run once a year, "0 0 1 1 *".
@annually      (same as @yearly)
@monthly       Run once a month, "0 0 1 * *".
@weekly        Run once a week, "0 0 * * 0".
@daily         Run once a day, "0 0 * * *".
@midnight      (same as @daily)
@hourly        Run once an hour, "0 * * * *".

Default on any Ubuntu machine:
# /etc/crontab: system-wide crontab
# Unlike any other crontab you don't have to run the `crontab'
# command to install the new version when you edit this file
# and files in /etc/cron.d. These files also have username fields,
# that none of the other crontabs do.

SHELL=/bin/sh
PATH=/usr/local/sbin:/usr/local/bin:/sbin:/bin:/usr/sbin:/usr/bin

# m h dom mon dow user  command
17 *    * * *   root    cd / && run-parts --report /etc/cron.hourly
25 6    * * *   root    test -x /usr/sbin/anacron || ( cd / && run-parts --report /etc/cron.daily )
47 6    * * 7   root    test -x /usr/sbin/anacron || ( cd / && run-parts --report /etc/cron.weekly )
52 6    1 * *   root    test -x /usr/sbin/anacron || ( cd / && run-parts --report /etc/cron.monthly )

So basically you want somerthing like:
@reboot {your_user} {your_script}


This error had a very, very deep stack trace far into the depths of React, and I was worried I had encountered a nasty React bug. After some poking around & googling, I discovered that multiple versions of React do not play nicely with each other, at all. When I had installed both those react component libraries, each installed their own version of React, version 0.12. I was using React version 0.13.
Hopefully, this can help someone out and not have them lose a few hours to this problem.


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A Message From Your Composer: Lock Your Picture, Please!
by Michael Murie
in Filmmaking, Post-Production
composer, film score, Mason Daring
It's a fraught moment for any director — "locking picture," with all the finality the term signifies. But, as a panel on "Scoring for Television & Film" at the recent Independent Film Festival Boston (IFFBOSTON) revealed, for composers it's a vital stage in their process of scoring a film.
The panel was moderated by filmmaker and musician Tim Jackson, and the panelists were composers Mason Daring, John Kusiak and Sheldon Mirowitz. The discussion covered how they got into the business, how they write music, the differences between drama and documentary and much more, but Daring's fairly lengthy exhortation on locking picture was the most interesting moment.
As Daring — whose films include John Sayles pictures like Matewan — described it, the biggest problem for composers today is that directors and editors are finding it way too easy to change their movie. "Editing has become a video game," he said. "And it's so much fun, people can't stop."
He went on to explain how in the days of film, cutting out frames, or adding a dissolve, was a process that could take minutes or even days, so the process was much more deliberate. "There was a tremendous feeling of relief when you locked a picture."
Now, films are being changed and finessed and deadlines are flying out the window. This, he said, can be a particular problem with documentaries because the editor and director don't know the story — finding that story is often why they are making the movie in the first place. And it's so easy to change a movie now that they just keep on doing it. "We're chasing a moving target," he said. "We score a scene, and we send it in, and they say, 'Oh, yeah, we changed that last night,' because they can't stop!"
Eventually a film gets to the point, Daring says, where "[it's] getting different but it's not getting better." From that moment on, it will keep getting different for many weeks until finally it starts getting worse. If they're lucky, they eventually realize this, and they go back to an earlier cut.
But this process not only drains the directors and editors, it has an impact on the composers too. Daring made the point that composers are some of the few people that get to see the movie "for the first time — the poor director and the editor, they can't." That's lost if the movie keeps changing after the composer gets it. In fact, the composer can start to lose sight of the project too. "We write a scene, the film changes, we write a scene, the film changes, we lose all sense of how it works."
"And let me explain, it's not just about money," Daring concluded. "We invest something of ourselves in writing and if we know that scene is going to change, there's a limit to how hard we're going to push to write it. So to all would-be filmmakers out there, when you want to go work with a composer, please, dear God, lock your film before you give it to them because it makes an enormous difference in how well you can work with the composer."
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North Korea threat on agenda when South Korean foreign minister visits Japan
By Haejin Choi
File Photo - South Korean Foreign Minister Kang Kyung-wha speaks during a U.N. Security Council meeting to discuss the acute threat posed by the proliferation of weapons of mass destruction, on the sideline of the 72nd United Nations General Assembly at U.N. Headquarters in New York, U.S., September 21, 2017. REUTERS/Brendan McDermid
SEOUL (Reuters) - South Korea's foreign minister will visit Japan this week to meet her Japanese counterpart, the foreign ministry said on Sunday, with Seoul and Tokyo seeking to boost cooperation over the handling of North Korea's nuclear and missile programs.
The need to confront the threat posed by North Korea's ballistic missile and nuclear tests comes despite lingering tension over the issue of sexual slavery during Japan's wartime occupation of Korea.
Kang Kyung-wha will arrive in Tokyo on Tuesday and meet Japanese Foreign Minister Taro Kono during her two-day visit, her first trip to Japan as South Korea's top diplomat, the foreign ministry in Seoul said in a statement.
"The two ministers will exchange views on issues of common interests focusing on bilateral relations and North Korea-related issues, including its nuclear programme," the ministry statement said.
South Korea and Japan are seeking to improve security cooperation over North Korea, but there have been conflicting signals over whether they can resolve a feud over "comfort women" who were forced to work in Japan's wartime military brothels.
Ties have been frozen over the issue, with South Korean President Moon Jae-in has promising to renegotiate an unpopular 2015 pact signed with Japan.
Under that pact, Japan apologized again to former comfort women and promised 1 billion yen ($8.9 million) for a fund to help them. The two governments agreed the issue would be "irreversibly resolved" if both fulfilled their obligations.
Reporting by Haejin Choi; Editing by Paul Tait