text:
Q: How to prevent flickering in ListView when updating a single ListViewItem's text? All I want is to update an ListViewItem's text whithout seeing any flickering.
This is my code for updating (called several times):
listView.BeginUpdate();
listViewItem.SubItems[0].Text = state.ToString();    // update the state
listViewItem.SubItems[1].Text = progress.ToString(); // update the progress
listView.EndUpdate();

I've seen some solutions that involve overriding the component's WndProc():
protected override void WndProc(ref Message m)
{
    if (m.Msg == (int)WM.WM_ERASEBKGND)
    {
        m.Msg = (int)IntPtr.Zero;
    }
    base.WndProc(ref m);
}

They say it solves the problem, but in my case It didn't. I believe this is because I'm using icons on every item.

A: The accepted answer works, but is quite lengthy, and deriving from the control (like mentioned in the other answers) just to enable double buffering is also a bit overdone. But fortunately we have reflection and can also call internal methods if we like to (but be sure what you do!).
Be encapsulating this approach into an extension method, we'll get a quite short class:
public static class ControlExtensions
{
    public static void DoubleBuffering(this Control control, bool enable)
    {
        var method = typeof(Control).GetMethod("SetStyle", BindingFlags.Instance | BindingFlags.NonPublic);
        method.Invoke(control, new object[] { ControlStyles.OptimizedDoubleBuffer, enable });
    }
}

Which can easily be called within our code:
InitializeComponent();

myListView.DoubleBuffering(true); //after the InitializeComponent();

And all flickering is gone.
Update
I stumbled on this question and due to this fact, the extension method should (maybe) better be:
public static void DoubleBuffered(this Control control, bool enable)
{
    var doubleBufferPropertyInfo = control.GetType().GetProperty("DoubleBuffered", BindingFlags.Instance | BindingFlags.NonPublic);
    doubleBufferPropertyInfo.SetValue(control, enable, null);
}

A: To end this question, here is a helper class that should be called when the form is loading for each ListView or any other ListView's derived control in your form. Thanks to "Brian Gillespie" for giving the solution.
public enum ListViewExtendedStyles
{
    /// <summary>
    /// LVS_EX_GRIDLINES
    /// </summary>
    GridLines = 0x00000001,
    /// <summary>
    /// LVS_EX_SUBITEMIMAGES
    /// </summary>
    SubItemImages = 0x00000002,
    /// <summary>
    /// LVS_EX_CHECKBOXES
    /// </summary>
    CheckBoxes = 0x00000004,
    /// <summary>
    /// LVS_EX_TRACKSELECT
    /// </summary>
    TrackSelect = 0x00000008,
    /// <summary>
    /// LVS_EX_HEADERDRAGDROP
    /// </summary>
    HeaderDragDrop = 0x00000010,
    /// <summary>
    /// LVS_EX_FULLROWSELECT
    /// </summary>
    FullRowSelect = 0x00000020,
    /// <summary>
    /// LVS_EX_ONECLICKACTIVATE
    /// </summary>
    OneClickActivate = 0x00000040,
    /// <summary>
    /// LVS_EX_TWOCLICKACTIVATE
    /// </summary>
    TwoClickActivate = 0x00000080,
    /// <summary>
    /// LVS_EX_FLATSB
    /// </summary>
    FlatsB = 0x00000100,
    /// <summary>
    /// LVS_EX_REGIONAL
    /// </summary>
    Regional = 0x00000200,
    /// <summary>
    /// LVS_EX_INFOTIP
    /// </summary>
    InfoTip = 0x00000400,
    /// <summary>
    /// LVS_EX_UNDERLINEHOT
    /// </summary>
    UnderlineHot = 0x00000800,
    /// <summary>
    /// LVS_EX_UNDERLINECOLD
    /// </summary>
    UnderlineCold = 0x00001000,
    /// <summary>
    /// LVS_EX_MULTIWORKAREAS
    /// </summary>
    MultilWorkAreas = 0x00002000,
    /// <summary>
    /// LVS_EX_LABELTIP
    /// </summary>
    LabelTip = 0x00004000,
    /// <summary>
    /// LVS_EX_BORDERSELECT
    /// </summary>
    BorderSelect = 0x00008000,
    /// <summary>
    /// LVS_EX_DOUBLEBUFFER
    /// </summary>
    DoubleBuffer = 0x00010000,
    /// <summary>
    /// LVS_EX_HIDELABELS
    /// </summary>
    HideLabels = 0x00020000,
    /// <summary>
    /// LVS_EX_SINGLEROW
    /// </summary>
    SingleRow = 0x00040000,
    /// <summary>
    /// LVS_EX_SNAPTOGRID
    /// </summary>
    SnapToGrid = 0x00080000,
    /// <summary>
    /// LVS_EX_SIMPLESELECT
    /// </summary>
    SimpleSelect = 0x00100000
}

public enum ListViewMessages
{
    First = 0x1000,
    SetExtendedStyle = (First + 54),
    GetExtendedStyle = (First + 55),
}

/// <summary>
/// Contains helper methods to change extended styles on ListView, including enabling double buffering.
/// Based on Giovanni Montrone's article on <see cref="http://www.codeproject.com/KB/list/listviewxp.aspx"/>
/// </summary>
public class ListViewHelper
{
    private ListViewHelper()
    {
    }

    [DllImport("user32.dll", CharSet = CharSet.Auto)]
    private static extern int SendMessage(IntPtr handle, int messg, int wparam, int lparam);

    public static void SetExtendedStyle(Control control, ListViewExtendedStyles exStyle)
    {
        ListViewExtendedStyles styles;
        styles = (ListViewExtendedStyles)SendMessage(control.Handle, (int)ListViewMessages.GetExtendedStyle, 0, 0);
        styles |= exStyle;
        SendMessage(control.Handle, (int)ListViewMessages.SetExtendedStyle, 0, (int)styles);
    }

    public static void EnableDoubleBuffer(Control control)
    {
        ListViewExtendedStyles styles;
        // read current style
        styles = (ListViewExtendedStyles)SendMessage(control.Handle, (int)ListViewMessages.GetExtendedStyle, 0, 0);
        // enable double buffer and border select
        styles |= ListViewExtendedStyles.DoubleBuffer | ListViewExtendedStyles.BorderSelect;
        // write new style
        SendMessage(control.Handle, (int)ListViewMessages.SetExtendedStyle, 0, (int)styles);
    }
    public static void DisableDoubleBuffer(Control control)
    {
        ListViewExtendedStyles styles;
        // read current style
        styles = (ListViewExtendedStyles)SendMessage(control.Handle, (int)ListViewMessages.GetExtendedStyle, 0, 0);
        // disable double buffer and border select
        styles -= styles & ListViewExtendedStyles.DoubleBuffer;
        styles -= styles & ListViewExtendedStyles.BorderSelect;
        // write new style
        SendMessage(control.Handle, (int)ListViewMessages.SetExtendedStyle, 0, (int)styles);
    }
}

A: I know this question is quite old, but because this is one of the first search results on Google I wanted to share my fix.
The only way i could remove flickering 100% was to combine the answer from Oliver (extension class with double-buffering) and using the BeignUpdate() and EndUpdate() methods.
Neither of those on their own could fix flickering for me.
Granted, I use a very complex list, that I need to push into the list and also need to update it almost every sec.

A: The ListView in CommonControls 6 (XP or newer) supports double buffering. Fortunately, .NET wraps the newest CommonControls on the system. To enable double buffering, send the appropriate Windows message to the ListView control.
Here are the details:
http://www.codeproject.com/KB/list/listviewxp.aspx

A: In .NET Winforms 2.0 there exist a protected property called DoubleBuffered.
By inheriting from ListView, then one can set this protected property to true. This will enable double buffering without needing to call SendMessage.
Setting the DoubleBuffered property is the same as setting the following style:
listview.SetStyle(ControlStyles.OptimizedDoubleBuffer | ControlStyles.AllPaintingInWmPaint, true);

http://connect.microsoft.com/VisualStudio/feedback/ViewFeedback.aspx?FeedbackID=94096

A: this will help:
class DoubleBufferedListView : System.Windows.Forms.ListView
{
    public DoubleBufferedListView()
        :base()
    {
        this.DoubleBuffered = true;
    }
}

A: If you only want to update the text, simply set the changed SubItem's text directly rather than updating the entire ListViewItem (you've not said how you're doing your updates).
The override you show is equivalent to simply overriding OnPaintBackground, which would be a "more correct" managed way to do that task, and it's not going to help for a single item.
If you still have problems, we'll need clarification on what you've actually tried.

A: This is a shot in the dark, but you could try double buffering the control.
SetStyle(
  ControlStyles.AllPaintingInWmPaint |
  ControlStyles.UserPaint |
  ControlStyles.DoubleBuffer, true)

A: Call the BeginUpdate() method on the ListView before setting any of the list view items and then only call EndUpdate() after all of the items have been added.
That will stop the flicker.

A: Simple solution is this:
yourlistview.BeginUpdate()
//Do your update of adding and removing item from the list
yourlistview.EndUpdate()


The #MeToo movement correlates with a sharp increase in internet searches related to sexual harassment and/or assault, per study data published in JAMA Internal Medicine. These data underscore the scope of sexual assault and harassment in the United States and reflect a need for structural-level interventions.
Initiated by actress Alyssa Milano following public accusations of sexual misconduct against film producer Harvey Weinstein, the #MeToo movement encouraged survivors to share their stories on social media. Using raw search count estimates abstracted from Comscore, investigators monitored the volume of Google searches related to sexual assault and harassment in the months following the inception of #MeToo. Analyses were limited to searches originating in the United States and included all queries using the term "sexual" with "harassment" or "assault" between January 1, 2010 and June 15, 2018. Investigators also monitored the volume of searches regarding reporting of sexual misconduct and preventative training. Search volumes were reported as a ratio of all Google searches and were adjusted for changes in Google use over time. A counterfactual scenario was manufactured from predicted search volumes, thus providing "expected" query numbers for comparison.
Sexual harassment and/or assault searches exceeded the expected volume by 86% (95% CI, 60%-117%; P <.001). Observed search volumes remained higher than expected for 8 months following the initiation of #MeToo. The number of relevant searches ranged from 40 to 54 million from October 15, 2017 to June 15, 2018. Searches related to reporting and preventive training were 30% (95% CI, 23%-39%; P <.001) and 51% (95% CI, 43%-60%; P <.001) higher than predicted between the beginning of #MeToo and the conclusion of the observation period.
These study data indicate the power of grassroots campaigns in raising awareness about public health issues. The scope of #MeToo engagement on social media reflects a larger need for structure-level interventions from policy and health officials. In response to a clearly expressed public need, public health officials must expand the availability of resources for victims and invest in resources for preventative training.


I stayed here with my parents and toddler. We had a 2 bedroom/2 bathroom apartment. The apartment had a great view, was very clean and spacious.
Staff were very helpful. Free Wi-fi which was unlimited. 10 minute walk from the Esplanade and CAT bus stand.


Now, I don't want to get your hopes up unreasonably high over this only to dash them, so please don't tell your childhood self what I'm about to say until we get confirmation — but, just so you know, there might be a Kenan & Kel reunion in the works. Wait, no, what did I just say? Step away from your time machine, we have to hold off on spreading this news to our younger selves until it's beyond the rumor stage. I know I've already burned Baby Alexis too many times with all those Friends reunion false alarms that never actually came to anything, and I don't want the same to happen to you.
OK, sonow that we're all solidly feeling like our rational adult, selves, I can give you some of the details of this potential reunion, right? I'm trusting you, so don't let me down.
I miss and love those guys, it was awesome times. I wish we could just pick up and do Kenan & Kel: The Grown-Up Years, getting everyone back working together. I feel like it would be an awesome moment for everybody.
Am I crazy, or did he just name the revival show? I don't want to push or anything, but it seems like you have a title all picked out, so what's stopping you? And Thompson continued by saying, "I mean, we might as well; it couldn't hurt. If people want it then they should have it." So you mean it's all up to us? Why didn't you say so before? I've just been over here biding my time sipping my orange soda, and all this time, you were just waiting for me to tell you I want a Kenan & Kel reunion?
Well, I want it! Let me know if me writing it down here is enough, or if I should also be getting in touch with my Congressman. Bottom line: this has to happen.


text:
You are here: Home / Practice Areas / Miami Probate Attorney
Probate is one of those legal procedures that just about everyone undergoes at some point in their lives. The process can get surprisingly complex if estate finances are complicated, or if a large amount of assets must be distributed. At Lorenzo Law, we know how to handle your probate problems.
Firm founder Jose M. Lorenzo is well respected among both clients and peers — prestigious lawyer directory Avvo.com, for example, rates his legal services at a perfect 5/5 based on over 50 reviews. Let us put our resources to work for you! Following is a brief overview of how probate law works in Florida (minus the hidden complications, which are almost always relevant).
Assets That Don't Go Through Probate
Not all assets need to go through probate to be distributed — title to certain kinds of property can pass automatically. Some examples follow:
Assets held in joint tenancy or tenancy by the entirety. When one tenant dies, the property automatically passes to the surviving tenant.
Assets held in a living trust.
Assets for which a named beneficiary exists — a life insurance policy, assets held by an IRA or a 401(k), securities held in a transfer-on-death account, funds in payable-on-death bank accounts, etc.
Because these types of ownership schemes are extremely useful, you would likely benefit from some state planning if you own significant assets. In particular, an unincorporated small business owner who wishes to pass on his business to his descendants needs to know how to keep company assets out of probate
Illustrative Example
Daniel dies with the following assets:
$16,000 in a savings account in his name.
$32,000 in a joint checking account with his brother (they were partners in a business venture when Daniel died).
A house titled in his name.
$110,000 in cash held in bank accounts owned by a living trust titled in his name, the benefits of which are regularly distributed to his sons on a monthly basis.
A truck titled in his name.
A life insurance policy worth $62,000 that names his church as the beneficiary.
Daniel's wife predeceased him, and he is survived by two sons. He has no debts except a $36,000 mortgage debt on his home His last will and testament leaves all of his property to his adult sons in equal portions. His property is distributed as follows:
His $16,000 in savings is distributed equally to his sons ($8.000 each) by the probate court.
The $32,000 in the joint checking account goes to his brother immediately, with no need for probate.
His home is sold for $140,000 under the supervision of the probate court, the mortgage is paid, and the remainder is split between his sons after the cost of sale is deducted. Each receives about $50,000. One son could have kept the house for himself with the agreement of his brother, by paying his brother $50,000 and taking over the mortgage.
Payments from the living trust continue with no interruption.
The probate court rules that the truck belongs to each son in equal portion; they can sell the truck and split the proceeds, or one son can keep the truck by paying his brother for half of it.
The life insurance policy benefits are paid to the church with no need for probate.
Simplified Probate Procedures
Simplified probate procedures apply if:
The estate includes no real estate, and all property is exempt from creditors' claims except for funeral expenses and expenses for the last two months of the deceased's last illness; or
The deceased has been dead for more than two years, or (in some cases) if estate assets don't exceed $75,000 above the amount subject to creditor claims.
If either of these two circumstances apply, the probate process will be far less burdensome than full probate administration would be.
Formal Probate Administration
Most estates with significant assets are subject to full probate administration. The full formal probate process works like this if all goes smoothly:
The executor nominated in the deceased's will, or an "interested party" (someone who stands to gain or lose from the outcome of probate proceedings) petitions the probate court sitting in the county where the deceased died to be appointed the personal representative of the estate.
The court appoints the personal representative (typically the person nominated in the will, if the deceased left a will).
The court notifies two groups of people of the upcoming probate proceedings (i) people who stand to inherit under the will and (ii) people who stand to inherit if the will is declared invalid.
The court issues the personal representative Letters of Administration, which give the personal representative the authority to represent the estate in dealings with third parties such as creditors and debtors.
The deceased's last will and testament is filed with the probate court, if one exists.
The will is proven valid, typically through the use of witnesses and/or notarized statements, or it is declared invalid. Probate can proceed even if no will exists.
The personal representative inventories estate assets, collects its debts and pays its creditors.
The personal representative submits a final accounting of the estate to the court; this document summarizes the his actions and includes a plan for distributing estate assets.
Interested parties are notified of the asset distribution plan, and anyone who has an objection can file it with the probate court.
If there are no objections (or after they have been resolved), the personal representative distributes all estate assets that remain after estate creditors have been satisfied.
The personal representative submits evidence of his estate administration to the probate court and asks the court to close probate.
The probate court issues an order closing probate.
Intestate succession is a statutory distribution plan that applies when the deceased leaves no valid will. In that case, the Florida intestate succession statute functions as a "will" that distributes estate assets to children, parents, or other close relatives according to certain rules of priority. If the deceased dies with a spouse but no descendants, for example, the spouse inherits everything. Other outcomes are possible depending on who survives the deceased.
Anne dies with a will, and she is survived by her husband Jack. Jack has two adult stepchildren who are Anne's biological children, not Jack's. Anne leaves all of her estate, with a net value of $480,000, to Jack. Anne's children's lawyer advises them that if Anne's will is declared invalid, they will share half of the estate (25 percent each) under Florida's intestate succession laws.
The children then launch a will contest in which they claim that Jack exercised undue influence over his wife during her terminal illness. They win the challenge, and each inherits $120,000 minus their half of the cost of litigation.
Probate litigation can be initiated by any interested party, and it can greatly add to the time and trouble of probate proceedings. Some of the most common grounds for probate litigation n Florida include:
An allegation that the will is fraudulent or that someone exercised undue influence over the deceased when the will was being created or amended;
An allegation that the deceased lacked "testamentary capacity" when the will was created or amended (he was mentally incompetent due to illness, for example).
Disputes filed by creditors of the estate.
Allegations of misconduct against the personal representative including fraud, self-dealing, mismanagement and failure to share information, among other possible allegations.
Our firm handles cases in the following practice areas, among others:
Probate Administration and Litigation
Is a lawyer required for probate?
Probably. Under Florida probate law, an estate lawyer is required unless (i) the estate includes no real estate; and all property is exempt from creditors' claims except for funeral expenses and expenses for the last two months of the deceased's last illness; or if the personal representative is the sole beneficiary of the estate. In any case, retaining a lawyer is a good idea, since the process can get complex even for a small estate.
Expedited probate procedures might be completed in a month or two. Formal probate, however, takes anywhere from four months to a year; even more time might be required if a dispute erupts. As always, the length of time required depends to a great extent on the details of the case.
Phil dies leaving a large estate. One of his daughters launches a will contest, claiming that Phil was subject to the "undue influence" of Phil's son. A hearing is held and the court upholds Phil's will. Meanwhile, the executor is having a hard time locating Phil's assets, which are spread out all over the world. Additionally, the probate court entertains questions about its own jurisdiction to dispose of property located outside of Florida. Probate ends up taking two years to resolve.
What's the difference between an executor and a personal representative?
An "executor" and a "personal representative" are two different names for the same position. Although Florida typically uses the term "personal representative", the two terms are essentially interchangeable.
Who can serve as a personal representative?
To serve as personal representative of a Florida probate estate you must be:
Over 18 years of age;
Either a Florida resident or a relative of the deceased;
Mentally and physically able to perform the duties of a personal representative; and
Never convicted of a felony.
Robert dies a widower, and his will nominates his son Travis as executor of his small probate estate. Although Travis was only 16 when the will was signed, he is 19 now. The probate court reluctantly appoints him, although his siblings object to the appointment on the basis of his inexperience and doubts about his character.
Travis, however, was arrested for a felony drug offense before he was appointed, and even though the charges were still pending, did not tell the court about it at the time of his appointment. He is convicted of the felony, and when the probate court learns of this, he is removed as executor.
When selecting a personal representative among qualified applicants, the court will apply the following priority:
The person nominated in the will.
The spouse of the deceased.
A candidate who is elected by a majority in interest of the heirs (heirs who collectively stand to inherit more than 50 percent of the estate).
Marie dies with a will that names her friend Terri as executor. The court declines to appoint Terri, however, because she is not an immediate relative and because she lives in California. Since Marie never married, the court asks the heirs to elect a nominee for executor. Of the three heirs, one stands to inherit 60 percent of the estate, and the other two stand to inherit 20 percent each.
The 60 percent heir nominates himself as executor, while the other two heirs vote for someone else. Since the 60 percent heir stands to inherit more than half of the estate, his vote outweighs the other two combined, thus his nomination of himself prevails, and the probate court appoints him executor of Marie's estate over the objections of the other two heirs.
Can a spouse be cut out of a will?
No, not unless the spouse signed a prenuptial agreement with the deceased that provides for this outcome. Otherwise, the surviving spouse is entitled to thirty percent of the "elective estate", even if the will left a smaller amount or even if it purported to cut the spouse out of the estate entirely. The calculation of the "elective share" is too complex to explain here.
Vera, a wealthy Silicon Valley executive, marries Tom, an aspiring actor and a waiter at a local diner. Due to the large wealth and age disparity between them, before the marriage Vera insists that Tom sign a prenuptial agreement leaving Tom only a moderate amount in the event of a divorce or Vera's death. Tom reluctantly signs the agreement.
Vera dies suddenly and unexpectedly a year later and, although her will leaves Tom less than five percent of her estate, Tom claims the spouse's elective share, which is substantially more under Florida law. The executor of Vera's estate produces the prenuptial agreement, however, and Tom's claim is eventually defeated.
Is it ever too late to begin probate?
Theoretically, no — there have been cases where probate has been delayed until decades after the death of the deceased. These cases tend to be difficult to manage, however, because by this time even many of the heirs have died and their own probate proceedings must be taken into account.
Do I need to appear in court?
Almost certainly not, so don't worry if you live out of state. Florida law does not require the heirs, the beneficiaries, the personal representative or even the lawyer to appear in court — it is all handled by mail, email, telephone and fax. Even if the estate is contested, your lawyer may be able to appear in court for you with no need for your personal attendance.
Will the estate have to pay estate tax?
Probably not. Florida does not currently impose an estate tax, and the IRS imposes estate tax only on estates with taxable values that exceed the estate tax exemption, which is currently set at more than $10,000,000. The estate might have to file federal and state estate tax returns, however, even if it owes no estate taxes.
Brad's estate is valued at $22.7 million, and the applicable federal estate tax exemption is only $11.4 million in the year he dies, leaving him with a surplus of $11.3 million not covered by the exemption. $9.4 million of this amount however, sits in an irrevocable trust that is cleverly structured to avoid estate tax. Accordingly, Brad's taxable estate is only $13.3 million, $1.9 million over the estate tax exemption.
Brad's estate ends up paying $760,000 to the IRS. With proper estate planning, he may well have been able to trim that amount down to zero. The good news is that Brad owes Florida nothing — Florida imposes no state income tax, no state inheritance tax and no state death tax. If Brad is subject to the tax jurisdiction of another state (by owning real estate there, for example), he might become liable for taxes there. Certain other exceptions apply (see below).
Do beneficiaries have to pay an inheritance tax?
In most cases, they don't. Exceptions do exist — if the inheritance came from an IRA, U.S. savings bonds or a Keogh Plan for example. Another exception applies to an inheritance of real property from another state, in which case the property might be subject to the inheritance tax imposed by that state. Consult with a lawyer for details on which other exceptions may apply.
Hire a Miami probate lawyer.
If you require the services of a probate attorney, then you need to contact us as soon as possible. Call us at (305) 999-5411, fill out our online contact form, email us at jml@joselorenzolaw.comor visit our office at Coral Gables or Ft. Lauderdale. Our law firm serves clients in Miami FL, Miami-Dade, Fort Lauderdale, Coral Gables and elsewhere in South Florida, as well as throughout the state.

redpajama_set_name: RedPajamaCommonCrawl


text:
London Bridge is a central London railway terminus and connected London Underground station in Southwark, south-east London. It occupies a large area on three levels immediately south-east of London Bridge, from which it takes its name. The main line station is the oldest railway station in London fare zone 1 and one of the oldest in the world having opened in 1836. It is one of two main line termini in London to the south of the River Thames (the other being Waterloo) and is the fourth-busiest station in London, handling over 50 million passengers a year.

The station was originally opened by the London and Greenwich Railway as a local service. It subsequently served the London and Croydon Railway, the London and Brighton Railway and the South Eastern Railway, thus becoming an important London terminus. It was rebuilt in 1849 and again in 1864 to provide more services and increase capacity. Local services from London Bridge began to be electrified in the beginning of the 20th century, and had spread to national routes by the 1930s. The station was extensively rebuilt by British Rail during the 1970s, along with a comprehensive re-signalling scheme and track alignment. It was further redeveloped in the 2010s to better accommodate the Thameslink route which provides a connection to Gatwick Airport, Luton Airport and Crossrail.

London Bridge is served by Southeastern services from Charing Cross and Cannon Street to destinations in southeast London, Kent and East Sussex and is a terminus for many Southern commuter and regional services to south London and numerous destinations in South East England. Thameslink services from Bedford, Cambridge and Peterborough to Brighton and other destinations in Sussex and Kent began serving the station in 2018.

Location
The main line station is one of 19 UK stations managed by Network Rail. It has a ticket hall and entrance area with its main frontage on Tooley Street, and other entrances on Borough High Street and within the main line station concourse. It is one of two mainline London termini south of the River Thames, the other is Waterloo.

The Underground station is on the Jubilee line and the Bank branch of the Northern line. River buses use the nearby London Bridge City Pier.

History
London Bridge station was opened on 14 December 1836, making it the oldest London railway terminus that is still running. It was not the earliest station in the London metropolitan area, as the London and Greenwich Railway had opened stations at Spa Road (in Bermondsey) and  on 8 February 1836. The completion of the line into London Bridge was postponed because of delays in constructing a bridge at Bermondsey Street. From 10 October 1836, trains were able to operate as far as the east end of this bridge, with passengers having to walk the last . The station has had several changes of ownership and complete rebuilds since opening.

London and Greenwich Railway station

The original station had four tracks and was  wide and  long. It was approached through a pair of iron gates. Three tracks led into two platforms as a stub end of a viaduct. The station was entirely exposed to the weather until a tarred canvas roof was erected in 1840. Sixteen columns and fourteen beams from this structure were retrieved in 2013 and given to the Vale of Rheidol Railway in Aberystwyth, Wales for use in a planned railway museum.

Before completing the train shed, the London and Greenwich Railway entered into an agreement with the proposed London and Croydon Railway for the latter to use its tracks from Corbett's Lane, Bermondsey, and to share its station. However, the Greenwich railway had underestimated the cost of building the long viaduct leading to London Bridge and was not able to build a sufficiently large station for the traffic for both companies, and so in July 1836 it sold some land adjacent to its station (then still under construction) to the Croydon railway to build their own independent station.

London and Croydon Railway station

The London and Brighton Railway and the South Eastern Railway (SER) were also planning routes from London to Brighton and Dover respectively, and the British Parliament decided that the London and Greenwich line should become the entry corridor into London from South East England. The two railways were therefore required to share the route of the London and Croydon Railway from near Norwood (which in turn shared the route of the London and Greenwich Railway from Bermondsey to London Bridge). As a result, in 1838 the London and Croydon Railway obtained powers to enlarge the station it was then constructing at London Bridge, before it had opened for traffic.

The London and Croydon Railway opened its line and began using its station on 5 June 1839; the London and Brighton Railway joined it on 12 July 1841, followed by the South Eastern Railway on 26 May 1842. It was soon found that the viaduct approaching London Bridge would be inadequate to deal with the traffic generated by four railways, so it was widened by the Greenwich Railway between 1840 and 1842, doubling the number of tracks to four. The new lines, intended for the Croydon, Brighton and South Eastern trains, were situated on the south side of the existing Greenwich line, whereas their station was to the north of the London Bridge site, leading to an awkward and potentially dangerous crossing of one another's lines. The directors of the companies involved decided to exchange sites; the London and Greenwich Railway would take over the newly completed London and Croydon Railway station, whilst a new joint committee of the Croydon, Brighton and South Eastern companies would demolish the first station and build a new one on its site.

Joint station

Plans for a large new station were drawn up, designed jointly by Lewis Cubitt, John Urpeth Rastrick and Henry Roberts. Drawings were published in the Illustrated London News and George Bradshaw's Guide to the London and Brighton Railway 1844. They show 'a quasi-Italianate building with a picturesque campanile'. It opened for business in July 1844 while only partially complete, but events were taking place which would mean that the bell tower would never be built, and the new building would only last five years.

In 1843 the SER and Croydon railway companies became increasingly concerned by the high tolls charged by the London and Greenwich Railway for the use of the station approaches, and gained Parliamentary approval to build their own independent line into south London to a new station at Bricklayers Arms, which was vaguely described as a "West End terminus". This line opened on 1 May 1844 and most of the services from these two companies were withdrawn from London Bridge, leaving only the Greenwich and Brighton companies using London Bridge station. The Greenwich company was on the brink of bankruptcy and so was forced to lease its lines to the SER, which took effect from 1 January 1845. The next year the Croydon and Brighton companies, along with other small railways, merged to form the London Brighton and South Coast Railway (LB&SCR). Consequently, there were only two companies serving London Bridge. The LB&SCR used the unfinished joint station until it was demolished in 1849 and a larger building constructed.

South Eastern Railway station

The SER took over the second London and Greenwich station (which had been built for the London and Croydon Railway) and sought to develop that site rather than continue to invest in the former joint station, which became the property of the LB&SCR. The SER station was therefore rebuilt and enlarged between 1847 and 1850, to a design by Samuel Beazley. At the same time yet further improvements were made to the station approaches, increasing the number of tracks to six, which entirely separated the lines of the two railways. Once these extensions were complete the SER closed its passenger terminus at Bricklayer's Arms and converted the site into a goods depot in 1852.

London Bridge station remained the London terminus of the SER until 1864 when its station was again rebuilt. Five of the existing platforms were converted into a through station to enable the extension of the main line into central London and the opening of Charing Cross railway station, and in 1866 to Cannon Street station. In 1899 the SER entered into a working amalgamation with the London Chatham and Dover Railway (LC&DR) to form the South Eastern and Chatham Railway Companies Joint Management Committee. Junctions were laid to enable trains through London Bridge to reach the LC&DR stations at Holborn Viaduct and St Pauls.

London Brighton and South Coast Railway station

The LB&SCR took over the unfinished joint station, which they demolished in 1849 and opened a temporary station in 1850. This was rebuilt and enlarged in 1853–4 to deal with the additional traffic from the lines to Sydenham and . A three-storey box-like structure in Italian style was erected, with the name of the railway emblazoned on the top parapet.

In 1859 the LC&DR applied to the LB&SCR for running powers from Sydenham to London Bridge, but was refused. However, some ticketing arrangement was made between the two companies as the LC&DR advertised connections to and from London Bridge in its timetables in The Times and Bradshaw's Railway Guide for July 1861. This arrangement was short-lived pending the construction of the LC&DR line to Holborn Viaduct.

The LB&SCR also built the Terminus Hotel at the station in 1861. It was designed by Henry Currey, architect for St Thomas's Hospital, and had 150 public rooms over seven stories. It was unsuccessful because it was on the south bank of the river, so was turned into offices for the railway in 1893. It was destroyed by bombing in 1941.

An Act of Parliament of 1862 gave the LB&SCR power to enlarge the station further. Over the next few years under the direction of new Chief Engineer Frederick Banister, the company built four more platform-faces in an adjoining area to the south of its existing station to cope with additional traffic generated by the completion of the South London Line and other suburban lines to Victoria station. This had a single-span trussed-arch roof measuring , and was designed by J. Hawkshaw and Banister. During the first decade of the twentieth century LB&SCR station at London Bridge was again enlarged, but overall London Bridge station remained a "sprawling confusion".

The chaotic nature of the station at the turn of the century was described in John Davidson's poem, "London Bridge":

The South London Line from London Bridge to Victoria was electrified in 1909 with an experimental overhead system. It was successful and other suburban services were electrified including the line to Crystal Palace in 1912. Because of World War I, the line to Croydon was not electrified until 1920.

Southern Railway station

The Railways Act 1921 led to the Big Four grouping in 1923. All of the railways of southern England combined to form the Southern Railway (SR), bringing the London Bridge complex under single ownership. The wall that divided the Chatham and Brighton stations was partially knocked through in 1928 to provide an easier interchange between stations. This allowed a greater range of platforms to be used for the increasingly frequent suburban rail services to London Bridge.

Between 1926 and 1928 the Southern Railway electrified the SE&CR suburban lines at London Bridge using a third rail system, adapting the existing LB&SCR routes to it at the same time. The first electric services ran on 25 March 1928 from London Bridge to Crystal Palace via Sydenham, followed by a peak hour service to Coulsdon North on 17 June. This was followed by electric services to Epsom Downs via West Croydon, Crystal Palace via Tulse Hill, and Streatham Hill, and to Dorking North and Effingham Junction via Mitcham on 3 March 1929. At the same time as electrification, the SR installed colour light signalling. The Southern Railway electrified the Brighton Main Line services to Brighton and the South Coast, providing a full service to  on 17 July 1932. This was followed by a full electric service to Brighton and West Worthing on 1 January 1933, followed by services to Seaford,  and  on 7 July 1935 and to  and  on 3 July 1938.

By the 1930s, a regular feature of London Bridge traffic was a glut of commuter services all departing at or shortly after 5:00 pm. A typical timetable included 12-car services to Brighton, Eastbourne and Littlehampton, all between 5:00 and 5:05. "The fives" continued to run until the mid-1970s.

Both the London Bridge stations were badly damaged by bombing in the London Blitz in December 1940 and early 1941. The shell of the two stations was patched up but the former Terminus Hotel, then used as railway offices, was rendered unsafe and demolished.

British Railways station

British Railways (BR) took over responsibility for the station in 1948 following nationalisation of the railways. They did not consider London Bridge a priority at first, and the war-torn damage of the station remained into the 1960s. Electrification of the lines into London Bridge continued during the 1950s and 1960s, with the final steam service running in 1964, when the line to Oxted and Uckfield was replaced by diesel / electric multiple units. The very last scheduled steam train was the 4.50am to Tonbridge via Redhill on 4 January 1964 hauled by an N class locomotive.

By the early 1970s the station could no longer cope with the volume of traffic. Between 1972 and 1978, BR significantly redeveloped the station and its approaches. This included a £21 million re-signalling scheme that consolidated 16 signal boxes into a new London Bridge Area Signalling Centre and a new station concourse designed by N. D. T. Wikeley, regional architect for the Southern Region. This was opened 14 December 1978. New awnings were added over the former SER platforms, but the arched Brighton roof was left. It was described by The Oxford companion to British Railway History as "one of the best modern station reconstructions in Britain".

Patronage to London Bridge tailed off from a peak in the early 1970s. The station remained popular for through routes to the City and the West End, but the number of terminal trains declined significantly by the early 1980s. The bridge over the station's north end became Grade II listed in January 1988, while Platforms 9–16 (the former LB&SCR side) became listed the same that December.

In 1991, a "Thameslink 2000" project was proposed that would improve services between London Bridge and the Great Northern lines. It was originally hoped the work would be complete by 1997. A £500 million refurbishment programme was announced by Railtrack in 1999, which would have seen the station complex rotated by 90 degrees, and large amount of shopping space added.

Thameslink Programme

The station was comprehensively redeveloped between 2009 and 2017 with the rebuilding of all platforms, the addition of two major new street-level entrances, and changes to passenger concourses and retail facilities. The Shard opened next to the station in 2012. It included a new entrance and roof for the terminal level concourse, and a larger bus station was constructed in front of the building.

This was followed by a major transformation programme known as Masterplan, linked to the Thameslink programme.

Work began in 2012 with the terminal platforms adjacent to St Thomas Street, reducing the number from nine to six and extending them to accommodate longer 12-car trains. Through platforms were increased from six to nine, all of which catered for 12-car trains. In the redeveloped station, Charing Cross services were assigned four new dedicated platforms (6, 7, 8 and 9), and Thameslink services to platforms 4 and 5. The existing platforms for Cannon Street services on the north side of the station were also rebuilt.

During the works, Charing Cross trains did not call at the station for most of 2015–16 as the platforms were rebuilt, followed by Cannon Street trains from 2016 to 2017. Thameslink services to/from the Thameslink core did not stop between 2015 and May 2018, when an all day service with significantly enhanced frequency began as the programme of works was completed.

As part of the rebuilding works, the listed northern wall of the terminus train-shed was demolished and replaced with a new retaining wall, and the listed bays of the roof over the terminating platforms were dismantled and stored. Each of the rebuilt platforms has its own full length platform canopy.

The footbridge dating from the 1970s that linked platforms for passenger interchange was also demolished, replaced by an interchange concourse underneath the platforms accessed by lift, stairs and escalator. This required the demolition of brick vaults between Stainer and Weston Streets, which were pedestrianised and became part of the new concourse. A wider route was created through the Western Arcade to Joiner Street and the underground station by relocating existing shops in to renovated barrel vaults. Two major new street level entrances were opened to the south on St Thomas Street, and to the north, on Tooley Street. This required demolishing the 1893 SER office building.

The refurbished station was officially opened by Prince William, Duke of Cambridge on 9 May 2018. The total estimated value of the project was around £1 billion. In July 2019, the refurbished station made the shortlist for the Stirling Prize for excellence in architecture.

In 2020 the Thameslink lines at London Bridge were one of the few locations in the UK to use a digital signalling system.

National Rail station

The station's platform configuration is:
 Platforms 1, 2 and 3 serve trains to/from  and southeast London and Kent.
 Platforms 4 and 5 serve Thameslink trains between the Brighton main line and the Thameslink core via .
 Platforms 6–9 serve trains to/from  to southeast London, Kent and East Sussex.
 Platforms 10–15 are terminal platforms, which serve mainly Southern services toward south London and the south coast.

The platforms are linked together by a large street-level concourse, offering a ticket office, retail facilities and waiting areas, with entrances on St Thomas Street and Tooley Street. In addition, an upper level entrance gives direct access to platforms 10–15.

Services
London Bridge is one of the busiest stations in the UK, with an estimated 63.1 million passenger entries/exits in 2019/20. However, as with other stations, patronage dropped dramatically as a result of the COVID-19 pandemic. The estimated usage figure fell 78% in 2020/21 to 13.8 million, although it rose in the ranking by one place to the third busiest in the country, behind  and Victoria, both also in London.

Typical services from the station are:

Southeastern to/from Charing Cross
The typical weekday off-peak service in trains per hour (tph) is:
 15 tph to London Charing Cross
 4 tph to  via  of which 2 continue to
 4 tph to  via
 2 tph to  via
 1 tph to
 1 tph to  via
 2 tph to  via  (1 semi-fast, 1 stopping)
 1 tph to  via

Southeastern to/from Cannon Street
The typical weekday off-peak service in trains per hour (tph) is:
 8 tph to London Cannon Street
 2 tph to  via
 2 tph to  via  and , returning to London Cannon Street via
 2 tph to Slade Green via Bexleyheath, returning to London Cannon Street via Woolwich Arsenal and Greenwich
 2 tph to  via  and Woolwich Arsenal

Southern
The typical weekday off-peak service in trains per hour (tph) is:
 2 tph to  via
 2 tph to  and , dividing and attaching at
 2 tph to  via
 2 tph to  via Crystal Palace
 2 tph to  via
 1 tph to  via

Thameslink
The typical weekday off-peak service in trains per hour (tph) is:
 4 tph to  via
 2 tph to  via  and Gatwick Airport
 2 tph to  via Redhill
 2 tph to  via , ,  and
 2 tph to  (stopping)
 4 tph to  (semi-fast)
 2 tph to  via
 2 tph to  via Stevenage

London Underground station

The Underground station is between Southwark and Bermondsey on the Jubilee line, and between Borough and Bank on the Bank branch of the Northern line. In , it was the  station on the network with  million users. It is the only station on the London Underground network with "London" in its name (while the NR termini are named, for instance, "London Waterloo" the Underground station is simply named "Waterloo").

There are two platforms on each line and two main sets of escalators to and from the Tooley Street ticket hall. All four platforms are directly accessible from the Borough High Street entrance/exit. There is an emergency exit to Joiner Street.

Northern line
The first underground station at London Bridge was part of the second section of the City & South London Railway (C&SLR). The company had been formed on 28 July 1884 with the intention of constructing a line under the Thames from  to Stockwell via Elephant and Castle and Kennington, which opened on 18 December 1890. No station was provided at London Bridge; the first station south of the river was at Borough. King William Street was found to be badly placed owing to a steep incline towards the station from underneath the Thames, which limited its capacity.

When the decision was made to extend the C&SLR northwards to Moorgate, a new pair of tunnels was constructed from north of Borough station on a new alignment providing a more convenient route and the opportunity to open a station at London Bridge. The tunnels to King William Street and the station were closed and the extension and London Bridge station opened on 25 February 1900.

The station entrance was originally at Three Castles House on the corner of London Bridge Street and Railway Approach, but has since been moved to Borough High Street and Tooley Street. The original entrance remained standing until March 2013 when it was demolished.

In the aftermath of the King's Cross fire in 1987, an independent report recommended that London Underground investigate "passenger flow and congestion in stations and take remedial action". As a consequence, the congested Northern line platforms were rebuilt during the late 1990s, increasing the platform and circulation areas for the opening of the Jubilee Line Extension.

The station is arranged for right-hand running because it is in a stretch of the Northern line (from just south of Borough to just south of ) where the northbound line is to the east of the southbound, instead of to the west.

Jubilee line
The Jubilee line station is between  and . It opened on 7 October 1999 as part of the Jubilee Line Extension, although trains had been running through non-stop from the previous month. It took months of major engineering works to relocate buried services in the surrounding streets to enable the Jubilee line's construction. A new ticket hall was created in the arches under the main-line station, with entrances at Joiner Street and Borough High Street.

During excavations a variety of Roman remains were found, including pottery and fragments of mosaics; some of these are now on display in the station. The Jubilee line platforms have been fitted with platform screen doors in common with all other below-ground stations on the extension.

There is a facing crossover to the west of the station enabling trains to terminate here.

Connections
London Buses routes 17, 21, 35, 43, 47, 133, 141, 149, 343, 344, 381, 388, 521 and night routes N21, N133, N199, N343 and N381 serve the station and bus station.

Accidents and incidents

There have been several recorded accidents at London Bridge station, though relatively few of these have caused fatalities. The most serious accidents were:
 On 1 February 1884, the 12:05 pm London Bridge to Victoria, hauled by LB&SCR Terrier No.71 Wapping, collided with a D1 tank which was fouling the exit from the platform. Two carriages derailed.
 On 27 November 1895, a local train hauled by LB&SCR Terrier No. 70 Poplar collided with the buffer stops.
 In August 1926, a F1 class locomotive overran the buffers and crashed into a brewery.
 On 9 July 1928, B2X class locomotive No. B210 was in a sidelong collision with an electric multiple unit after the driver of B210 misread signals. Two people were killed and nine were injured, six seriously.
 On 23 January 1948, a train formed of a 6PAN and a 6PUL unit, which formed that day's 7:30 am service from  coupled with the 8:50 am from Seaford, was allowed to draw up to the inner home signal, where it should have stopped. Instead, it overran the signal and collided at a speed of between  with an empty stock which had formed the 8:20 am from  and was waiting to depart London Bridge's platform 14 for . This train was formed of two 6PAN units. The train that was struck was forced through the buffers and demolished a bookstall. Two train crew and one passenger were killed and 34 people were injured.
 On 11 April 1989, a passenger train arriving from  collided with the buffers. Six people were injured.
 On 28 February 1992, a bomb planted by the Provisional IRA exploded at the station, injuring 29 people.
 On 3 June 2017, the station was closed for several hours during a terrorist attack on London Bridge and in nearby Borough Market.
 On 29 November 2019, the station was closed for several hours during a terrorist attack on London Bridge where two people were fatally stabbed.

References
Notes

Citations

Sources

External links

 London Transport Museum Photographic Archive

 Station information on London Bridge station from Network Rail

Thameslink Programme publicity:

Jubilee line stations
London Underground Night Tube stations
Northern line stations
Tube stations in the London Borough of Southwark
Former City and South London Railway stations
Railway stations in Great Britain opened in 1900
Railway termini in London
Railway stations in the London Borough of Southwark
Network Rail managed stations
Former London, Brighton and South Coast Railway stations
Former South Eastern Railway (UK) stations
Railway stations in Great Britain opened in 1836
Railway stations served by Govia Thameslink Railway
Railway stations served by Southeastern
Charles Henry Driver railway stations
Henry Roberts railway stations
Lewis Cubitt railway stations
Railway stations located underground in the United Kingdom
London station group
1836 in London

redpajama_set_name: RedPajamaWikipedia


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This paper develops a theory of scope assignment to wh-phrases as resulting of a process of selective spell-out of copies created from Internal Merge. We show that so-called LF-movement is not a viable option in the current theory of grammar. We therefore pursue the idea that all movement is overt and this, taken in conjunction with a tripartite structure for question formation (involving a clause-typing interrogative C, a Q particle, and a wh-phrase) yields a transparent, syntactically driven theory of scope which we then extend, more speculatively to Quantifier Raising in general.
Published on 05 Oct 2017.


text:
Content Writing and Copywriting
One of the most developing and helping domain is digital marketing which as a whole consist of many types in which the process of marketing takes place. Some of the widely used marketing techniques under digital marketing are social media marketing, content marketing, email marketing and so on. In all these methods content writing through which marketing is been established but few people confuse the term content marketing with copywriting due to which a lot of work can be disturbed. Now you must be wondering what is the main difference between both these terms content writing and copywriting. As it is possible that you must be looking for a job in one of these domains but in confusion opt for another one or maybe you are running a business and wonder who should you hire either a content writer or a copywriter and for this you must know the difference between both term and job responsibilities for.
Also Read: What is Google Analytics and how to Use It? and List of Digital Marketing Tool
As per various resources available online both content writing as well as copywriting is essential for the growth of an organization. But at the core, both have a different purpose and due to some reason, they merge into each other at times. Here the difference between both copywriting and content writing is just a fine line. Both are a great help in a business to get more revenue with time. The work in both cases is of a writer. One thing that must be kept in mind that the way they are written is quite similar. One of the big fact differences is for the purpose they are written for. Content writing all about offering value while copywriting is about persuading what the reader wants. In this article, we are going to have a closer look at how these two terms content writing and copywriting are different from one another.
Also Read: What is marketing?
Also Read: Why is Content Vital in Digital Marketing and How to create a Digital Marketing Strategy
What is Content writing?
At the start one thing is sure that content writing serves a different purpose than copywriting. Yes, it possible that through content writing persuading can also be done but that is not the real goal here. As the main goal of content writing is to add value to the reader. As in here, you are presenting valuable information and through this, the reader trust in your business grow. Overall a content writer writes to inform, educate so sometimes entertain. As with great content, you are nurturing all the possible buyers as the content delivered from your side warm them up to buy from you later. Nowadays every possible domain has opened its gate for content writing because this the way through which profession or experts can deliver maximum knowledge to the world. Apart from this in the business world content writing is used more as an indirect way to generate sales. This thing however is not applicable in the case of copywriting. Also, content writing is more like a formal approach. The purpose of content writing is simple as in here you write so that readers can follow your thoughts. Through this relation is built as it shows the reader your character and makes them feel understood. Just you need to write in a way that the people reading feel connect and comfortable. The main responsibility of a good content writer is to increase traffic as well as engagement in the particular website.
Also Read: How to use Google AMP for your Mobile Site
Also Read: 11 Tips You Can Try Today To Create Exceptional Content For Your Website and Digital marketing for my business
Copywriting on the other hand can be described as a writing skill that is persuasive to others through written words. This is more like a strategic way of writing as in here every sentence been written has a meaning linked to it. All you do is lead your reader through your copy work and persuade them to take actions. The action in here can be anything like a mail, buying something or even clicking a link. This writing is nothing the writing that you have learnt in your school days.
It's not even related to academic writing as people many times confuse copywriting with other writing. This is an informal way of writing which often mistaken as a formal way of writing. In copywriting, you must just write in the way you speak. It's just liked a conversation so that readers feel connected. A good copywriter must always know the basic emotional triggers that can be used over the readers. One more thing that he must do is to know who all are his targeted audience so that such mythological things can be presented that can build the trust of the readers in investing their time as well money in the blog or product you as a copywriter is delivering. A copywriter follows a whole different concept as compared to the content writer as in here one can work without being so much creative but there so many other things that they can learn and honour. As once you are done with all the important principles then copywriting is nothing but a mechanical job. Just remember to add a twist to your writing so that readers feel connected to you. As in copywriting interesting things are more important as compare to creative things.
Also Read: How To Make Money With Youtube Videos
Also Read: 7 Secrets To Writing Quality Content That Stands Out on the Web and How to get Freelancer Digital Marketing work
Main differences between Content writing and Copywriting:
The first difference that is kind of important is the outcome
In content writing, it's mostly about knowledge sharing and relationship building but in the case of copywriting it about making sales here, the content demands the reader to act something.
I hope the information been shared above will be useful to all my readers.
Writing Your Strong Bachelor Thesis: Effective Strategies
Why is Content Vital in Digital Marketing
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text:
The Watch now comes with larger displays, an electrocardiogram and a thinner body than the Series 3.But the one thing
AppleTechnology company
didnt improve was the Watchs battery power life.Still, for the average consumer, this is absolutely the
Watch to get.
CEOChief Executive Officer
Tim Cook took the wraps off of the $1 trillion-companys newest
smartwatchA smartwatch is a wearable computing device that closely resembles a wristwatch or other time-keeping device
on Wednesday.The Apple(apple.com) Watch Series 4, which goes on sale Sept.21 starting at $399, is the first major upgrade to the device since it debuted in 2015.
Bigger screen, thinner body
For the Series 4, Apple has completely changed its case sizes.Previous Apple Watches were available in 38mm and 42mm sizes.I wear the 42mm Series 3 and it sits perfectly on my wrist.Now, be that as it may, Apple is offering the Apple Watch in 40mm ($399) and 44mm ($429).The Series 4 also has an edge-to-edge display, meaning theres far more screen real estate.
Alternate Title: Apple Watch Series 4 hands-on: Big screens, big improvements
Despite the increased sizes, the Series 4 still fits nicely.It didnt feel much larger than the Series 3, but the 44mms screen looked far bigger than its predecessors.once I strapped the Series 4 to my wrist it felt like I was just wearing a screen, which is exactly what Ive always desirable from a smartwatch.
Apple has put that larger screen to work, too, by creating new watch faces that support the Series 4s edge-to-edge design.Now complications, such as heart rate, calendar and steps, curve about the screens corners.The smaller screen on the older Watches made that impractical.Photos, something that you could already view on the Series 3, look far improved on the Series 4 thanks to its increased display size, as well.
Apple,Android
View photosThe Apple Watch Series 4 comes with a vibrant edge-to-edge display.MoreIf you were holding out on the Apple Watch in view of the fact that you thought you wouldnt be able to see anything on its relatively small screen, the Series 4 might be the solution.Theres so much information packed on the the display its incredible.
And yet, the Series 4s body is thinner than last years model, making it feel flatter once you wear it.Apple says the 4 measures in at 10.7mm thick, while the Series 3 is 11.4mm.That might not sound like a big change on paper, but when you wear the Watch everyday, it could create an appreciable difference.
Thankfully, Apple isnt looking to gouge previous Apple Watch owners when it comes to the Watchs bands.So, if you have an earlier generation Watch with a band you absolutely love, you may still use it on the Series 4.
A new crown, fall detection and heart health
Apple also added a new Digital Crown to the Series 4.Now when you scroll through a list with the dial, youll feel a small tick of haptic feedback.Apple says the
featureSpecial attraction
makes it easier to scroll through lists, and you know what, the company is right.I regularly find myself lost items when using the Digital Crown on the Series 3.It just feels too smooth.With the Series 4s haptic feedback, you can truly feel when you are scrolling through a list, which should make it more difficult to skip items.
Apple has also upgraded the gyroscope and accelerometer to be able to detect when the wearer falls, slips or trips.Apple wouldnt let me fall while wearing the Watch in the hands-on area, and no matter how much I asked an attendant to trip me he wouldnt, so I cant say how well this feature worksyet.
The idea behind fall detection is to provide emergency support if you go down and cant get back up.If the Watch detects that youre immobile for 60 seconds behind you fall, it will automatically call emergency services and send a message to your emergency contacts.
View photosThe Series 4 now provides haptic feedback when scrolling through lists with the Digital Crown.MoreStory Continues
Apple is also charging into the medical realm with the inclusion of an FDA-approved electrocardiogram.Using the ECG app, which will be available in the U.S.later this year, a wearer can determine if they have an abnormal heart rhythm.It works by using an electrical current in the Watch itself.When you press your finger against the Digital Crown while wearing the Watch, you create a closed circuit that can measure your hearts rhythm.
This is may be the most important step up for the Apple Watch, as it helps move Apple closer to the medical field.The Apple Watch is already being used in medical studies, and this just took the company to the next level.
Unfortunately, the application wasnt available during my demo, so I wasnt able to test it out for myself.
View photosThe rear of the Series 4 has a new heart rate monitor.MoreAll of this is powered by the Apple Watchs new S4 chip, which Apple says is two times faster than the S3 chip found in the Apple Watch Series 3.During my demo, the Series 4 proved responsive, but I was only using a demo unit.So Ill have to wait until I get my hands on an actual retail device to know how much faster it is than the Series 3.
The one thing Apple didnt seem to improve upon when it comes to the Series 4 is the Apple Watchs battery life.The company says that its latest wearable will get the same 18-hour battery life as the Series 3.Thats a disappointment, especially if you were holding out for this years model with the hope that you could use it for longer without having to recharge it every night.
To be fair, I get about two days out of the Series 3 before I need to recharge it.I also have the Watch set so that I dont receive certain
emailE-mail (electronic mail) is the exchange of computer-stored messages by telecommunication
notifications, which saves on battery life.Still, if Apple wants more people to drop $399 or $429 on a smartwatch, it needs to improve that battery life.
The Series 4 certainly has the makings of a worthwhile smartwatch.But Ill have to hold off on making any recommendations until I get my hands on one for more than a few minutes.


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Book Review: "Dreamworks Animation: Intertextuality and Aesthetics in 'Shrek' and Beyond"
Contributor March 24, 2021 0 Comments
Meanwhile, Shark Tale is hampered by cultural stereotypes: Italian American actors play gangsters, African Americans play "hustlers." Summers writes: "[T]he likes of Shrek and Shark Tale celebrate the 'irreverence' of their fantastical protagonists while failing to reconcile the racial, ethnic, and gender stereotypes and inequalities that their stories tangentially invoke … [T]his 'irreverence' masquerading as subversion means that it cannot truly be said that, ideologically speaking, the studio's cg films represent a substantial affront to Disney in the way that Warner Bros.' Golden Age work has been argued to do."
Author Sam Summers with his new book. (Photo by MissELaing)
Ultimately, Dreamworks didn't completely rewrite the Disney formula. In some cases, it followed the Disney playbook quite closely. The studio's influence on the industry has been significant, but stops short of revolutionary.
Dreamworks Animation: Intertextuality and Aesthetics in "Shrek" and Beyond by Sam Summers. Palgrave Macmillan, 242 pp., 2020.
Summers acknowledges the limits of Dreamworks' subversiveness. The "narrative-cartoonal mode" of their films didn't put an end to the Disney model (Summers notes that even Dreamworks made Disneyesque films like The Prince of Egypt and Spirit: Stallion of the Cimarron). And as Summers rightly points out, Shrek failed to upend Disney's princess archetype. Fiona, for all her belching and kung-fu moves, is still often a "damsel in distress."
In his new book, Summers, a lecturer in animation history and theory at the U.K.'s Middlesex University, argues that Dreamworks triggered a rupture in the animation industry. It did this with its pop culture nods and winks (or "intertextual references" if you prefer a more scientific label, as good academic soldier Summers does); contemporary pop songs; celebrity voice actors; and use of satire, parody, and pastiche. This, in his view, is particularly true of Megamind, Kung Fu Panda, Bee Movie, Shark Tale, and the Madagascar and Shrek franchises.
Using a mix of animation/cultural studies references — Paul Wells, Maureen Furniss, Umberto Eco — along with a litany of examples from assorted Dreamworks films (most prominently Shrek), Summers also attempts to uncover the influence these traits have on the story (e.g. how the use of a specific pop song can impart meaning to a scene solely through its lyrics) or on the characters (e.g. a character played by Mike Myers, Eddie Murphy, or Will Ferrell is going to come preloaded with expectations from an audience).
"Spirit: Stallion of the Cimarron": Dreamworks' 2002 feature sang from the same hymn sheet as Disney's animated features of the 1990s, writes Summers
In each chapter, Summers offers a fascinating and detailed breakdown of what he sees as a primary characteristic of Dreamworks films, such as comedy, music, celebrity voice actors, or satire/pastiche. (There is also a "bonus" section focusing on how the studio's works have been reappropriated online via fan-created memes and videos.)
This "Shrekoning", as Summers terms it, eventually triggered a split from the dominant Disney model as more and more studios (e.g. Blue Sky, Nickelodeon, and Sony) embraced Dreamworks' more contemporary, self-referential, pastiche-heavy tone. Even Disney features, like Ralph Breaks the Internet, have fallen in line with a strong use of meta-humor.
While Pixar tends to get all the love, flowers, and swooning for their impact on the cg animated feature, Sam Summers suggests that "on a narrative and tonal level" the influence of Dreamworks Animation has been more profound.
This approach to animation, as Summers acknowledges, was not entirely innovative. Tex Avery at MGM, Looney Tunes, and the like frequently played around with the audience by making contemporary references, breaking the fourth wall, and almost never allowing the audience to forget that they're watching a silly work of fiction. Still, in the context of American studio animated features of the early 21st century, the Dreamworks approach felt quite fresh. Dreamworks was certainly not the first to use celebrities as voice actors, but, according to Summers, their first 31 films featured 310 known actors.
For Summers, Dreamworks' playful, self-referential narrative approach marked a break from the more dominant "realistic" worlds of Disney and Pixar features. ("Realistic" is a tricky word to use with animation, but what Summers seems to mean is that Disney and Pixar films create largely logical, self-contained worlds. You typically don't see Elsa, Raya, Woody, or Buzz acknowledging the audience or making pop culture references like in, say, Shrek.)
CategoriesMovie Animation
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Framing Britney Spears was kind of disappointing
By ivosoares,
February 7, 2021 in Britney Spears
ivosoares
The documentary was good, but it missed so much important information like I don't get it. Where's Lou Taylor? Where's the dementia claim? Where's the money laundering? The medication issues
Created Feb 7
Last Reply Feb 7
SUCCESSICA IS A QUEEN 4 posts
PokemonSpears 2 posts
ivosoares 3 posts
Easy There 3 posts
ChrisBritSlo
I see "Framing" like It was meant for general public and newer generation, who is not aware of Primeney. Us fans know most of the informations that were shared, but GP does not. So It was very importa
joanhs
I just kNEW some fans wouldn't be satisfied Honey, this was not for you! This was for the general public. It started out about only being about her ***uality, that was the pitch. They started researc
Zayn Rivers
Well, it's better than nothing. At least now a lot of people (that are not fans FANS) know about what's happening 🧐
jordeezy
I agree BUT Fe was a great addition, so I just take it as an interview with Fe. Also, it was good to hear other people who have worked with Britney in the industry. Overall, though, the documentary skimmed the surface and had cute visuals. I also really liked the part where they interview the paparazzi guy she pulled the umbrella on. When I see that footage of her with the shaved head, it always makes me wish we would have gotten a Blackout performance of her rocking that look with AMAZING colorful eye makeup.
chizwhiz
The court case is ongoing and mentioning allegations from within it is potentially libellous and contempt of court.
I see "Framing" like It was meant for general public and newer generation, who is not aware of Primeney. Us fans know most of the informations that were shared, but GP does not. So It was very important to raise awareness.
I just kNEW some fans wouldn't be satisfied Honey, this was not for you! This was for the general public. It started out about only being about her ***uality, that was the pitch. They started research long before #FreeBritney really took off. See the interviews with Samantha posted on here and you will know MANY people tried to stop her from doing the doc! SHe has spoken to lawyers. That way we can conclude, Lou Taylor probably sent her lawyers and The New York Times got scared.. Lou have sued fans.
But bottom line is, this was not only about c-ship but about britney the person, and how people see her differently
kleinbritney
You should turn a second part that takes apart the contradictions of guardianship down to the last detail.
SUCCESSICA IS A QUEEN
Solar Flare
I respectfully disagree and think that they covered the topic of the conservatorship very well. It was the other stuff that fell short and left me disappointed. I liked the vintage footage, and what not, but they could have selected more, or better, coverage and talked about her legacy some more. Not once in the documentary, anyone mentioned how much of a diligent worker she was, or how many days/hours/weeks she would spend in rehearsal. Her brilliance as a pop tycoon and artistry was never mentioned once??? Her phenomenal skills as a singer, dancer and gymnast. The development of her baby voice and why that may have robbed her as being a 'serious' singer. And even how before her conservatorship, her art was often times censored by her label as she wanted more creative control. Regardless, people need to be reminded of why the public fell in love and were so infatuated with her in the first place. She put in that work nobody else was willing to do and I was hoping this documentary would transform the public's perception on her 'talent'. And aside from the brief clip of Felicia showing the placards, the topic of sales were never discussed. Why might this be relevant? Because I think it's important for people from this younger generation, or any non-fans, to be aware of what Britney's legacy meant for the culture and how it really was unprecedented, especially during a time when grunge, hip-hop, alt-rock soloists and pop groups were dominating. I will say that I appreciated them showing the clip from 'Star Search'. I also think they could have selected some better photographs and kept some of the unpleasant trauma/imagery (mostly the head shaving incident since it could be triggering for Britney herself) at a minimum. Anyway, those are really the two aspects of the documentary where the NYT failed to capture. Other than that, it was great and I'm glad the public is becoming more aware.
NewDisplayName
Yes I felt that too.. they should dive deep in a law and show how dirty they played and how messy they put her under c-ship but I hope it's just a stray and other documentaries are on the way for that.
p.s. I liked that lawyer said that it might never be needed to put her under c-ship cause she was capable of logical judgment at that time but he was very careful with his words sadly
I get your point, but like somebody said here already - this needs to be pretty simple and understandable for the GP.
Too much information and names would confuse people, also calling out Lou Taylor seems dangerous because remember she wanted to sue Jordan for QUOTING somebody's (bad) opinion (!) about her.
16 minutes ago, GODNEY IS A QUEEN said:
I respectfully disagree and think that they covered the topic of the conservatorship very well. It was the other stuff that fell short and left me disappointed. I liked the vintage footage, and what not, but they could have selected more, or better, coverage and talked about her legacy some more. No one in the documentary, anyone mentioned how much of a diligent worker she was, or how many days/hours/weeks she would spend in rehearsal. Her brilliance as a pop tycoon and artistry was never mentioned once??? Her phenomenal skills as a dancer and gymnast. The development of her baby voice and why she chose to incorporate that style throughout her work. Like, come on. People need to be reminded of why the public fell in love and was so infatuated with her in the first place. She put in that work nobody else was willing to do and I was hoping this documentary would change the public's perception on her 'talent'. And aside from the brief clip of Felicia showing the placards, the topic of sales were never discussed. Why might this be relevant? Because I think it's important for people from this younger generation, or any non-fans, to be aware of what Britney's legacy meant for the culture and how it really was unprecedented, especially during a time when grunge, hip-hop, alt-rock soloists and pop groups were dominating. I will say that I appreciated them showing the clip from 'Star Search'. I also think they could have selected some better photographs and kept some of the unpleasant imagery (mostly the head shaving incident since it could be triggering for Britney herself) at a minimum. Anyway, those are really the two aspects of the documentary where the NYT failed to capture. Other than that, it was great and I'm glad the public is becoming more aware.
more than that, I think they should've made evident the fortune she represents and why having her conserved is so much more lucrative and takes a completely different perspective than just wanting her to be good, mentally or in terms of her health.
I think it was ok that they didn't focus on the superstar, because this wasn't an entertainment documentary, or some sort of biography, but they did miss many interviews or yeah, like for example that FF interview where she's asked if she wants to be there, or the fact that she spoke about the conservatorship in 2016 but it was censored, etc.
They should've also made more clear all the irregularities about the process of how she was placed under the conservatorship, or all the loopholes of how she's able to keep shared custody of her children, yet she's not fit to provide for herself, because there's no clauses about it, because conservatees aren't supposed to be her age and have underage children. Or how she's the one that has to pay Kevin a monthly fee.
Still, I feel like they did a good job. It was different than the typical vh1 program or gossip show, I just feel like in the direction they took, they could have interviewed more people then, like producers, directors, etc.
25 minutes ago, PokemonSpears said:
I understand some of your points but you can't possibly discuss Britney's trajectory without mentioning why and how she got to the unprecedented heights she did. Now the documentary covered some of that but a lot of detail was left out or just skimmed through. For example, how other aspiring artists built their careers off of Britney's name. That was a huge thing they left out. Topping the Forbes 100 List at age 20. Her lucrative business deals and work schedule. Or like I said earlier -- her drive, dancing skills and work ethic weren't brought up once. The reason these are important is because much of the general public has this tired perception that Britney is 'untalented' or that she was just handed a record deal which is why I preach that it's important for the general public to be reminded of why the world was fascinated with her from the get go.
And I don't know why you say the irregularities of the conservatorship weren't fully covered when they did a fine job discussing most important aspects.
but they talked about the conservatorship in a general way. Other than Adam Streisand sharing his part of the story, they didn't mention Britney needed to be informed that she was gonna be put under a conservatorship with several days in advance, but Jamie asked the judge not to do so, or that Jamie didn't go under any sort of evaluation to see if he was fit to take the role of conservator. Or the fact that Lynne mentions in her book that the conservatorship was planned way before any of the hospitalizations happened, or that the hospitalizations actually didn't find anything wrong and even the first time she was released less than 24 hrs later, instead of waiting for the 72hrs that the 5150 specifies, again, because they didn't think she needed to be there any longer.
They talked about this mysterious medical report, but they didn't go on to say that the doctor that had attended Britney refused to give a report, then the judge ordered another doctor to do the evaluation, yet Sam Ingham came with a third doctor out of nowhere to give the report, and the judge took it as gospel, without feeling the need to see Britney in person even once. Or the whole fact that the conservatorship was granted in record time, when we hear countless cases of people that actually need a conservatorship for their parents or grandparents, and aren't granted, because excluding Britney Spears, conservatorships are actually very hard to grant.
So at the end, the viewer can still think "see, there's still some stuff that we don't know" and justify with it the conservatorship, when the things that we DO know, like what the law says compared to what's on the legal documents, prove that many things of that process were wrong and/or irregular.
She could've been Britney, or Mandy Moore, she could've been as disciplined as she is, or she could've been the laziest celebrity, and it wouldn't matter, the important thing here is that the whole conservatorship and the way it was placed on her, was wrong, and they should've gone deeper as to why that is, and what could've been the interest for people to do it.
Now among the other people they could've interviewed, was the guy that leaked the letter she wrote in 2008/09, or they could've at the very least mentioned it.
But I mean, it was ok, we already knew what this was gonna be about with the interviews the producer has done these past few days, and the reviews we got, so it's not like I was expecting more than what we got. BUT, they could've added more.
2 minutes ago, PokemonSpears said:
I see your point and agree. They could have added those points in to inform the general public some more. However, I think they did a decent job highlighting the sum of what a conservatorship is and how it essentially became what we know of it today. After all, they dedicated an entire 30 minutes alone on the topic and I believe it was the right amount of information for the general public, key word: general public, to grasp onto and analyze. I don't think anyone who watched the documentary and has an ounce of common sense interpreted the conservatorship as something justified. In fact, the documentary did a great job highlighting why the system is in fact corrupt. Sure they may have left out certain claims but keep in mind this was a step in the right direction and the topic has reached its widest demographic yet.
I was mainly arguing how Britney's history, work ethic and overall legacy should have been highlighted, just as much as the conservatorship in the documentary. Even if it meant extending the documentary to more than just 75 minutes because i's really safe to say that Britney's meteoric rise and stardom is probably the greatest 21st century story in pop culture and why I think it would have been a great opportunity for the general public to be reminded or informed. Not that they did a bad job highlighting it but the commemorating could have been lengthier or gone in more detail.
Easy There
It was a little disappointing when it comes to FreeBritney.
But it did a great job of making ppl emphasize with Britney based on how media nad GP treated her still treats her till this day.
Also thi documentary was not about celebrating her achievements and career even though it reminded ppl of that as well. Idgi why are some stans are complaining about that part.
Its least of our worries.
And 3rd of all this documentary was not made just for stans by fellow stan.
It was made by NY Times mostly for GP who is not familiar with her situation. Or chooses to forget years of abuse she went trough.
16 minutes ago, Easy There said:
But that is what gets people intrigued. With unprecedented heights comes more empathy and that is why Britney is so beloved. People need to be reminded of what she did and what she accomplished, as a young female within a male dominated, cut-throat industry, in order to better understand her situation. Again, it's not like the documentary didn't discuss that but it could have gone into more detail and covered more aspects, especially when it came to her work ethic, artistry and talent.
2 minutes ago, GODNEY IS A QUEEN said:
But that is what gets people intrigued. With unprecedented heights comes more empathy and that is why Britney is so beloved. People need to be reminded of what she did and what she accomplished, as a young female, in order to better understand her situation. Again, it's not like the documentary didn't discuss that but it could have gone into more detail and covered more aspects, especially when it came to her work ethic and talent.
Yeah agree to extend.
But I am really pleased of what they did with this documentary.
In my opinion their main goal was to remind ppl of abuse she went trough by us (GP) and media.
Humpney
I think this was made more for the general public than stans/enthusiasts that already know every single detail. I felt that they wanted to keep it simple and easy to digest while conveying the key points that they want people to know.
and it's working
7 minutes ago, Humpney said:
I just wish that **** Loucifer and her stalkerish (alleged) ways were at least mentioned.
She along with Vivian psycho were masterminds behind this conservatorship
Forever222
It shamed Jamie and the media really well. It started a campaign of questioning the probate court and lawyers motives.
Public pressure is needed. Whoever pushed for this did the right move. It's setting up the next phase of her freedom.
In depth documentary's will no doubt continue to come for many years.


On Wednesday, August 30th, San Pedro Police charged a 16-year-old minor for the murder of 34-year-old Armando Lopez. On Sunday, August 20th, Lopez, Belizean carpenter of the San Pedrito Subdivision, was socializing at a local bar on Barrier Reef Drive when he was fatally shot by an assailant. In the early stage of the investigation, police detained two persons, who were later released, but a few days later they apprehended their main suspect, a 16-year-old minor believed to have also participated in the shooting.
The shootout took place in broad daylight shortly after 2PM on Barrier Reef Drive, one of San Pedro's busiest streets. According to a brief police report released on Monday, August 21st, Lopez suffered from gunshot wounds to his chest and died on the spot. The results of their primary investigation led to the arrest of two individuals. One was detained on the island, while the second person was arrested while travelling to Belize City on the water taxi. "We will boost up the police presence on the island," Assistance Commissioner of Police, Edward Broaster told reporters. "We ask San Pedro residents to cooperate with the police, as we will be conducting vigorous operations on the island to deal with this issue." Broaster stated that a motive for the murder cannot be established as yet.
According to eyewitnesses, the culprits who killed Lopez had it all planned out. They told The Sun that minutes before the fatal shooting, two male persons were observed walking back and forth from the bar as they planned their move. They say that at one point, one of the persons walked passed the bar and headed north-ward on Barrier Reef, while his companion went inside the bar and shot Lopez. The assailant then ran in the same direction as his companion, heading to the beach where it is believed that they got on a boat and made good their escape. When police arrived at the scene, Lopez took his last breath and passed away before he could receive medical assistance.
Other persons that knew him did indicate that Lopez would become aggressive at times while drinking.
This is the third violent crime on Ambergris Caye for the month of August, and the fifth murder of the year for the island. On Saturday, August 12th, a shooting incident in the San Pedrito Area left two minors and one adult injured. They were lucky to survive the attack, and two days later Christian Espat was arrested and charged for the incident.
Almost a week later, 24-year-old Scott Charles, was shot at his residence on Wednesday, August 16th. He succumbed the following day, while undergoing medical treatment in Belize City. On August 24th, Jose Armando Marroquin and Sarbelo Marroquin were formally charged for Charles' murder.
In the meantime, police continue their work on the island, increasing personnel to deter any further escalation of criminal activity on Ambergris Caye.