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Once Upon a Time in Tarantino's Hollywood
J. Hoberman
Andrew Cooper/Sony Pictures
Leonardo DiCaprio as Rick Dalton and Brad Pitt as Cliff Booth in Quentin Tarantino's Once Upon a Time in Hollywood, 2019
As accomplished a director as any in Hollywood, Quentin Tarantino makes movies that are, at their swaggering best, energetic and inventive, rich in fantasy and blithely amoral: consummate Hollywood entertainment complete with megalomaniacal aspirations to universality. "I am not an American filmmaker," he once told a packed press conference at the Cannes Film Festival. "I make movies for the planet Earth!" Only Martin Scorsese, perhaps, rivals Tarantino in his historical knowledge of the medium. As for fanboy enthusiasm, Tarantino has no peer.
True to that form, his new movie, Once Upon a Time in Hollywood, is a fetish object as well as a film, as much curated as it is directed. Set mainly in Los Angeles in early to mid 1969, it is a cornucopia of lovingly selected artifacts ranging from radio spots and dance moves to comic books and billboards. The attention to period detail is impressive given that, as the title tells us, the movie is a fairytale—albeit one at least as violent as those collected by the brothers Grimm. It's also, despite its historical specificity, a revisionist thesis that is more about 2019 than 1969.
Like most of Tarantino's films, Once Upon a Time is predicated on revenge—although the motor here is not as immediately apparent as it was in Kill Bill or Django Unchained. In genre terms, Once Upon a Time is a buddy film, a mode that reached its apogee in 1969 with the enormously successful Western Butch Cassidy and the Sundance Kid. Once Upon a Time is also a sort of Western. The pals are a fading actor, Rick Dalton (Leonardo DiCaprio), known mainly for playing a TV bounty hunter, and his stunt double-cum-driver, Cliff Booth (Brad Pitt). The savages are the Manson Family, holed up in a Hollywood ghost town, the abandoned TV Western location known as the Spahn Movie Ranch.
Tarantino skillfully interweaves the drama (or comedy) of Rick and Cliff's dwindling careers with an account of the year's most notorious crime. In their shambolic way, the heroes cross paths with the Manson girls, as well as Rick's neighbor Sharon Tate (Margot Robbie), the young wife of Roman Polanski—and the most famous victim of a murder spree that began on the night of August 8, 1969. Tarantino thus succeeds in superimposing two meta-narratives: the end of the Western and the self-destruction of the counterculture. Both stories are symptomatic of the war in Vietnam, though here Vietnam is little more than background noise, cited briefly on the radio and in the babbling of the most talkative Manson maenad.
Tarantino told Esquire that, as a six-year-old growing up in Los Angeles, 1969 was the year that "formed" him. While it's unclear what a first-grader's perspective might have been, the summer of '69 produced three world-historical events: the moon landing, Woodstock, and the Manson murders. The latter would certainly have been closest to home for Tarantino, and perhaps not only for him. Nor is Once Upon a Time its only fiftieth anniversary commemoration. Another feature film, Charlie Says, directed by Mary Harron from Guinevere Turner's script, focuses on the women who carried out the murders, while a new book from Tom O'Neill, Chaos: Charles Manson, the CIA, and the Secret History of the Sixties, marshals considerable circumstantial evidence connecting Manson to the FBI Cointelpro and the CIA "Chaos" operations, as well as tracking his earlier activities in Haight-Ashbury during the 1967 Summer of Love. Tarantino, though, has no interest in these details. Rather, the Manson cult is a foil, a twist on the old Western trope of when the bad guys come to town.
Leonardo DiCaprio as Rick Dalton in Quentin Tarantino's Once Upon a Time in Hollywood, 2019
Once Upon a Time opens on February 8, 1969, nineteen days into the first Nixon administration, a moment that might be suspended in time—it wasn't for another few weeks that, inspired by the Living Theater's Paradise Now, a drunken Jim Morrison pulled down his leather pants on stage and became the hippie whom straights loved to hate. And it wasn't until the next month that, musing on the counterculture, the new president warned "this is the way civilizations begin to die," providing a cue for California's then governor, a former actor named Ronald Reagan, to declare his position toward Berkeley's student demonstrators: "If it takes a bloodbath, let's get it over with."
The film industry had then only begun to assimilate the meaning of Bonnie and Clyde, a movie that had polarized audiences, largely by generation, on its release two years earlier. Arthur Penn's Depression-era gangster romance considerably upped the level of acceptable onscreen mayhem, and by 1969 two more extreme examplars, Sam Peckinpah's ultra-violent Western The Wild Bunch and Dennis Hopper's openly countercultural youth film Easy Rider, were in post-production and screened later that year.
In Tarantino's film, the Old Hollywood about to be overtaken by the new wave is embodied by Tate and Polanski. Though the director was then, after Rosemary's Baby, at the peak of his career, he, like Manson, barely surfaces here—appearing as a haute-hippie Hollywood prince, dressed like Little Lord Fauntleroy, who pilots his Rolls Royce around the Hollywood hills with his trophy beside him. For her part, Tate prances radiant and heedless through a glamorous party at the Playboy mansion. This hedonist heaven is the polar opposite of the dusty faux Western town that the Manson Family calls home—a derelict movie set that suggests, in its downbeat grittiness, the New Hollywood.
Absorbed in all aspects of cinema, Once Upon a Time moves from set to scene, to screening room to theater, and back again. Rick Dalton struggles with a featured role in a new TV pilot: playing a Western villain whom the show-runner wants to have a contemporary look, he bears more than a casual resemblance to Charlie Manson. Tate goes to the movies to watch herself in a Dean Martin action-comedy, while Cliff Booth picks up a hitchhiker who takes him to the Spahn Movie Ranch. (Students of Manson Family lore will register that among their victims was a former stuntman named Shorty Shea.)
Margot Robbie as Sharon Tate
After a six-month hiatus, during which, among other unmentioned events, men land on the moon and hippies prepare to gather at Woodstock, the action jumps to August 8, the night of the first murders. Rick has returned from Rome, having made a comeback of sorts in Italian Westerns, flying first class with his new Italian wife, while Cliff rides in coach. Tate by now is heavily pregnant. Mick Jagger is singing "Out of Time." What follows is a minute-by-minute account of the night's activities, much of it mediated by the media. Face to face with a trespassing long-hair, Rick refers to him as "Dennis Hopper," logging his contempt for the most notorious of Hollywood hippies. Recognizing Rick as a former TV cowboy, the Mansonettes engage in a bit of acid-ripped social theorizing: "If you grew up on TV you grew up watching people killed."
It's a funny riff but ominous. Earlier, the movie showed Cliff, Rick, the Manson followers, and presumably everyone in American tuning in to watch the popular TV show The FBI. Tarantino is using this primitive critique of media violence and the TV generation to explain himself and what follows: in this, if not in life, Old Hollywood prevails.
Once Upon a Time had its première at the Cannes Film Festival, where many in the audience were taken with its tone—wistful verging on elegiac. Tarantino was compared to John Ford. Others, less susceptible to cowboy romance, have found Tarantino's nostalgia as reactionary as Trump's, some even suggesting that, as displaced white men, Rick and Cliff are prototypical MAGA-hat heroes. (One need only step back from the story to see that insouciant roughnecks like these were not being phased out in 1969; it's more that, fifty years later, they have become anachronisms replaced by the CGI cyborgs of Hollywood's comic-book movies.)
Where the critique may be closer to the mark is that to be nostalgic for the Western is, in some ways, to be nostalgic for a particular regime—call it white supremacy, manifest destiny, or Hollywood über alles. Cliff's casual disparagement of Mexicans is a deliberate inoculation, signaled by Tarantino to seem "old-fashioned"—however topical that bigotry may in fact be today. A more overt, explicitly comic example of nativist revenge is directed at the martial arts star Bruce Lee (played by Mike Moh), in which he is mocked by Cliff, picks a fight with him, and gets his comeuppance.
Lee's daughter has complained about what she sees as a slanderous scene. In actual fact, Lee, who was at the time a featured player on The Green Hornet TV show as well as a martial arts instructor to the stars, did brawl with a stunt man. But that was not until 1973, and it is unlikely Lee suffered the ridiculous mortification shown here.
It's excusable that Tarantino chose to portray Lee, the only significant person of color in the movie, as an obnoxious braggart—showbiz is full of such types. We, in 2019, are meant to understand that Cliff is fighting to protect his status. But Tarantino seems to have little awareness of how his joke would have played in 1969. Back then, a murderous hatred of "orientals" and "gooks" was common currency and practically government-sponsored, given all the American grunts waging war in the jungles and paddy fields of Indochina. The scene is thus Rambo avant la lettre: by humiliating Lee, Cliff was paying back the VC.
Hollywood's changing mores, though, surely were on Tarantino's mind. Once Upon a Time is the first movie he has made since the disgrace of his longtime patron, Harvey Weinstein. Was Tarantino chastened by Weinstein's fall or simply resentful at the loss of a major sponsor? Once Upon a Time repeatedly points out that Cliff has avoided punishment for a crime against a woman more egregious than any of the charges laid against Weinstein: he has killed his wife. So what are we to make of the fact that Cliff is also the movie's most likable character?
The women in Once Upon a Time, in fact, are notably depersonalized, undeveloped in Tate's case and, with Manson's harem, merely menacing. Tarantino evidently had no interest in representing the maenads as victims of the patriarchy, whereas previous films of his, notably Jackie Brown and Kill Bill, have featured strong female leads. Certainly, these young women are no one's idea of feminist heroines; perhaps they deserve their abject state. With its contrasting focus on Manson as a crafty misogynist who uses public mortification and gaslighting to manipulate his female followers, Charlie Says is far more relevant to Trump's America: the cult leader as a demagogue writ small.
If Manson gets short shrift from Tarantino, it may be because movies are an inherently authoritarian medium and there is room for only one autocrat in Once Upon a Time. More than any other working director, Tarantino understands the dark desires for domination and vengeance that movies can enable… because they are his. More self-aware than Spielberg and less cynical than Hitchcock, Tarantino is absolutely sincere in his grateful, reverent attachment to Hollywood and his obsession with the movies of his adolescence. And in successfully implicating the audience and satisfying its bloodlust at the conclusion of Once Upon a Time, he pulls off an impressively Hitchcockian switcheroo.
In the Hollywood world of wish-fulfillment, Tarantino's 2009 Inglourious Basterds, a movie that began with the title "Once Upon a Time in Nazi-Occupied France" and climaxed with a band of Jewish-American commandos, led by Brad Pitt's wily hillbilly, contriving to kill Hitler, may be a tough act to follow. But by recreating "1969" Hollywood in his own image, Tarantino has done so. He has made Once Upon a Time, with a title evoking his own career and its ending to end all endings, what used to be called a "movie-movie." His most personal film, it is also the one he has hinted may be his last. If so, he will have quit while he's ahead.
Once Upon a Time in Hollywood, directed by Quentin Tarantino, is on general release.
Quentin Tarantino directing a scene from Once Upon a Time in Hollywood, 2019
If Heaven Ain't a Lot Like Disney
Sarah Kerr
Ronald Reagan's Reel Life


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redpajama_set_name: RedPajamaGithub


1.15 MB הוסף ב04 nov 2012 שוחק 319,110 פעמים.
Amuse yourself with this hilarious game where Son Goku and Freezer are fighting once again. This time on a ping pong battle. Help Son Goku to defeat Freezer on a 21 points game. Good Luck!


text:
Teacher Misconduct Project
Forums > Sexual Abuse of Students > Cougars >
Guilty! Kaitlyn Ann McKool, Windber, Pennsylvania (arrested Feb 2015)
Discussion in 'Cougars' started by News Readers, Feb 13, 2015.
News Readers The Paperboy
(not sure which is Kaitlyn Ann McKool)
Kaitlyn Ann McKool (1xx Western Avenue, Johnstown, Pennsylvania), 23, academic aide (AmeriCorps volunteer supervised by Appalachia Intermediate Unit 8) for Windber Area School District, Windber, Pennsylvania, "charged ... with having sex with a student"
Teacher's aide in Windber Area School District charged with having sex with a student
Borough police charged Kaitlyn Ann McKool, 23, of Johnstown, with institutional sexual assault and disorderly conduct. Police said McKool, an academic aide, allegedly carried on a sexual relationship with a 16-year-old boy from Dec. 25, 2014, through Jan. 28, 2015.
http://www.times-news.com/news/teac...cle_dbad0eba-b3b4-11e4-b6b5-e71ac3ee2ff5.html
Kaitlyn Ann McKool, Johnstown, Pennsylvania, AmeriCorps, Appalachia Intermediate Unit 8, Windber Area School District, Windber
News Readers, Feb 13, 2015
Teacher's aide charged with having sex with student
Police said a teacher's aide in the Windber Area School District was charged with having sex with a student. Police said 23-year-old Kaitlyn McKool has been charged with institutional sexual assault and disorderly conduct after school administrators reported the assault of a 16-year-old.
http://www.wjactv.com/news/features...rs-aide-charged-having-sex-student-5063.shtml
TMP Himself
Borough police charged Kaitlyn Ann Mckool, 23, of Johnstown, with institutional sexual assault and disorderly conduct. Police said Mckool, an academic aide, allegedly carried on a sexual relationship with a 16-year-old boy from Dec. 25 through Jan. 28. The student told authorities "nothing inappropriate occurred on school property," according to a criminal complaint.
http://www.tribdem.com/news/teacher...cle_e25571e6-b3a3-11e4-8493-3357c5bfffe7.html
TMP, Feb 15, 2015
Knippy Super Major Contributor
GUILTY (BTW McCool is on the RIGHT in the picture at the top of this thread)
A Pennsylvania public school tutor charged with having sex with a 16-year-old student will serve probation in a first-offender's program on a reduced charge of corruption of minors.
Somerset County District Attorney Lisa Lazzari-Strasiser told the (Somerset) Daily American she agreed to the deal because 23-year-old Kaitlyn McCool will lose her state teacher's license as part of the agreement.
McCool can ask the court to expunge her record if she completes the probation successfully. A judge must still set the term of probation.
http://www.nbcphiladelphia.com/news...ders-Program-In-Pupil-Sex-Case-302148631.html
Knippy, May 26, 2016
TMP, Jun 4, 2016
bishop bell church of england school
clark county school district
cyril wengert elementary school
david schlomann
east sussex county council
hillsborough county public schools
jefferson county public schools
jeremy forrest
megan stammers
melvyn sprowson
miami-dade county public schools
st. lucie public schools
val verde unified school district
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redpajama_set_name: RedPajamaCommonCrawl


Sufian bin Suhaimi (born May 3, 1992), or Sufian Suhaimi is a Malaysian singer known for his single Terakhir. The song "Terakhir" has also entered the 31th Song Contest Award (AJL) held on 22 January 2017 at the Putra World Trade Center. The song was composed by himself and two friends, Sirkhan and Rinkarnaen.
Sufian bin Suhaimi (born May 3, 1992), or Sufian Suhaimi is a Malaysian singer known for his single Terakhir.
The song "Terakhir" has also entered the 31th Song Contest Award (AJL) held on 22 January 2017 at the Putra World Trade Center. The song was composed by himself and two friends, Sirkhan and Rinkarnaen.


text:
Shytownmofo Lab Technician
Here's a Sara/Greg exchange from "Down the Drain" that cracked me up.
Sara: I heard you finally lost your virginity. (Greg looks at her funny)
Your first autopsy. How did it go?
Greg: It was okay. How about your first time? How did you react?
Sara: I puked.
Greg: I didn't puke.
Sara: Way to go, tough guy.
Related to that one, from Swap Meet Greg's giving Mia the bags with all the condoms and sex toy they took from the house...
Sort of reminds me of college.
Really? Sara said you didn't lose your virginity until you were 22.
(Didn't Greg tell Sara he didn't lose his V-card until he was like 22 in that scene from Down the Drain? IIRC he did. )
Shytownmofo, Jun 11, 2008
Yeah, I think she asked him how old he was when did lose his actual virginity and he said 22. He didn't seem embarassed about it or anything. He was kind like "big deal". :lol: Cute scene.
About the Mia scene, I didn't like that she said that to him. It seemed kind of nasty on her part. But, then again I don't like that Sara told her that either. It wasn't any of Mia's business and it wasn't Sara's place to tell anyone that either. It just kinda bugged me. :lol: I don't know what Sara's motivation was. maybe she told Mia that thinking maybe Mia would be impressed that he waited that long and would maybe go out with him or something.
But, Mia saying that bugged me to no end. It seemed kind of snarky the way she said it... like she was demeaning him for it or rather making fun of him for it. Personally, I found it refreshing. To me, it would be like well, that probably means he's slept with less people than he would have most likely if he'd started out at 16 or 18... Cause this was Season 5. Greg is 32 now or maybe 33. So, 3 and a half seasons ago, he would have still been in his twenties.
He was probably like "huh?" in that scene cause the loss of his virginity had nothing to do with the case at all. There was no reason for Mia to bring that up.
GregNickRyanFan, Jun 13, 2008
Or, she may have been sharing to try and make her feel comfortable with the team/Greg. She did seem a bit uncomfortable/awkward and just a touch germophobic at the beginning of Season 5. Still, that was not cool for Sara to do.
Yeah, it did come across in a very snarky and slightly demeaning way. Like he's somehow "Less Than" because he's not a big old stud who was sleeping around in college.
BTW, according to the character bio, Greg was born in 1975. CSI started in 2000. That would have made him 25 when he first appeared on the show, meaning he'd have only lost his Virginity 3 years before hand. That would likely indicate that he hadn't been sleeping around, unless he was a bit of a slut trying to make up for lost time, but that doesn't seem like Greg to me.
I do agree that there was not a reason for Mia to bring that up, other than to be mean. IMO it was really unfair, especially because Greg had been so nice to her up until that point.
Yeah. He was always saying something about how he checked a girl's dna or something to see if they'd be compatiable with making a kid or something. He was a bit of a flirt, but not a slut. :lol: But, I think the fact that he hadn't been with that many women is really sweet. It would mean that there wouldn't be that many women I'd have to worry about being compared to in that manner... you know? :lol:
Yeah, I know. I don't think he flirted with her anymore after that. :lol: I think the whole "I don't eat birthday cake... blowing out the candles..." scene was before this, but I"m not sure. Cause I think he asked her if she wanted to grab a bite to eat somewhere with him and she said she doesn't eat out cause of expectorant.
Szmile Police Officer
Okay, I'm obviously going completely nuts here... I've seen every episode of CSI (seasons 1-7 more than twice) and I've never heard Greg saying when he lost his virginity! I saw the ep when Mia mentioned it but I swear I have never, ever heard Greg himself saying it. Could you please put me out of my misery and tell me which part of Down The Drain this was?!
Szmile, Jun 13, 2008
Well, I thought the scene was there, but I just read the transcript for that ep and it's not there... but then again, those transcripts cut out most of that bomb squad guy's convo with Griss. Where he said "only one thing you need to worry about. If you ever see me running try to catch up." That part isn't even in the transcript. It just has Grissom saying "Hey, Rick watch your step." (the guy's name is Rick Dyrst or something like that) and then Warrick comes in, says something to them and then leaves. Then Rick opens the fridge sees the liquid explosives and tells Griss to get out now. So, they may have cut the Sara/Greg virginity talk out of the transcript too. ==
Here are some quotes from "Harvest":
Grissom (to pediphile suspect Marlon Waylord): How does a six year old act hot?
Greg: I'm smiling on the inside.
Brass (to Alicia Perez's father): You're her father, you dumb bastard! You're supposed to protect her!
I think that Greg said that as an aside when Sara was asking him about the autopsy. Something like she asked him if he was expecting a ball of light or something, and he afterwards added "And for the record, I lost my virginity when I was 22." or something to that effect. I'll have to dig out my DVD and watch that episode again.
Moving back to more On Topic stuff, the whole of "Ending Happy," where Brass is interviewing the barkeep Connor and the prostitute Dreama, and they start breaking down when he says they killed him. Then, the phone rings and It's Robbins, saying "Wait a minute, there's more...." That was just priceless, IMO.
From "What's Eating Gilbert Grissom":
Grissom is talking to a guy who's at working chopping wood with a chipper.
Gil: Gil Grissom, Las Vegas Crime Lab.
Other guy: Walter Bailey, Master of the Universe.
I love these one:
Nick (watching people race go-karts): You know, when I was a kid, we used to make these things out of lunch trays and you know, lawn mower engines.
Greg: When I was a kid I used to make bombs... little bombs.
Sara: Sometimes, I think we made up God just to have someone to blame for our mistakes. (Grissom notices something on the body, and walks out of the lab without acknowledging Sara's statement, she calls out after him) It's... just a theory!
Greg: I went shopping and bought every brand of hotdog they sell in Las Vegas.
Grissom: Who's paying for it?
Greg: You mean the lab's not gonna reimburse me?
Grissom: No.
Greg: Well I couldn't identify the chatter teeth logo so I figured I could physically match one of these to the one found in the victims stomach. You know, maybe comparing that twisty thing at the end.
Grissom: Sounds like a good idea, Greg. I'm still not paying for it.
Greg: Fine, I guess I'll just eat hotdogs for the rest of the year.
:lol: I love Greg!
Dizzney Moderately Insane Moderator
Eszie, you forgot the best part of that scene.
GREG: Now there's over 50 major brands.
GRISSOM: Good luck. I'm rooting for you.
GREG: Well, hopefully I find a wiener. :lol:
Dizzney, Jul 4, 2008
:lol: What ep/season is that? I can't believe I don't remember that scene!
That's Season 6, forget which episode number, but it's called Dog Eat Dog. It was the Thanksgiving (US) ep that year. A man who literally ate himself to death.
(Appetizing, I know)
Shytownmofo, Jul 5, 2008
Oh. I won't get to watch that ep again till next month. I'll get that season for my bday. :lol:
DJRideout Following the trace Moderator
From, 'The Theory of Everything'
NICK: "Don't taze me bro!"
GRISSOM: *gives Nick a look* "Don't tempt me!"
DJRideout, Jul 6, 2008


65-1,212. Implementation of act by entities engaging in lead-based paint activities; when. Licensure, certification or training program accreditation for a business entity, public agency or individual who engages in lead-based paint activities shall not be required until such time as the secretary adopts rules and regulations to implement the provisions of the residential childhood lead poisoning prevention act.
History: L. 1999, ch. 99, § 14; Apr. 22.


text:
Launched: insurance protection for technology-enabled healthcare and wellness services
By DigiconAsia Editors | Tuesday, July 21, 2020, 11:46 AM Asia/Singapore
The devastating effects of the pandemic may dampen risk-taking in the health-tech arena, but one insurer is jumping in to help.
While already a rapidly growing area within healthcare globally, the impact of COVID-19 has accelerated the uptake of digital health services such as remote medical consultations and wearable health monitoring gadgets.
The number of telehealth users across Asia, had risen sharply in early 2020, making it an attractive sector to new entrants and investors. Due to the risks involved in such tech ventures, firms currently have to purchase individual policies for each risk class. Now, specialist insurer Beazley has launched a comprehensive all-on-one modular insurance policy to ease the hassles involved.
The insurance plan offers four pillars of cover to ensure health and technology policyholders are not left with unexpected gaps in coverage. These include:
Medical malpractice and professional indemnity are included as standard and cover bodily injury to any patient caused by a negligent act, accident or cyber incident.
Tech and media liability cover technology platforms or products such as computer or telecommunications hardware or software, or related electronic products, against failure.
Public and products liability provide full coverage for accidents resulting in bodily injury and property damage caused by products, including tech products such as wearables and self-monitoring healthcare devices.
Cyber cover protects against a broad range of cyber threats, including business interruption; cyber extortion and data recovery loss; data and network liability.
No-gap cover supports meditech
The "virtual care" insurance has launched in Singapore and Hong Kong where the firm also provides optional extensions catering to various business needs, including mitigation costs, medical regulatory costs, claims due to loss of documents, and reputational damage costs.
The policy also covers a range of lifestyle and wellness technologies that assist users with managing their lifestyle choices.
Evan Smith, Beazley's global head of miscellaneous medical and life sciences, said: "COVID-19 has driven a mass uptake of digital health services globally. The adoption of such technologies comes with a wide range of interconnected risks that are distinct from traditional healthcare exposures, such as data privacy and security concerns, and technology failure. Beazley Virtual Care addresses the complexity of these risks by offering no-gap cover in one policy for healthcare and tech providers."
The launch of the policy in the region follows successful launches over the past three years in North America, the UK and Spain.
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Late in 1924 a series of "Standard loading conditions" were formulated by the Engineering Division for use in comparing the merits of different types of metal wing-spar construction and published in Serial Report No. 2450. Early in 1925 a circular proposal was sent to the industry calling for bids on designs of metal spars for the "Single-bay observation" loading of this report. Several of the designs submitted in response to this circular were purchased, and these spars as well as several others have been tested by the division. This document is a progress report giving the essential data obtained from the tests made to date. The principal subjects will be the progress made to date, the present status of the project, proposed developments, and a discussion of certain auxiliary questions that have arisen in connection with the tests.