Cosmedics' doctors use advanced laser technology to destroy the virus causing warts and verruca.
Laser delivers intense light in very short bursts, which penetrates the skin to destroy the papillomavirus beneath the skin's surface, so that the wart is finally stopped.
For those who've failed elsewhere, laser is an excellent option for removing warts or verruca.
At Cosmedics Skin Clinics, all wart and verruca treatments are done by our doctors as this is a medical treatment and without expert care can cause problems.
Our Putney skin clinic has the latest Harmony XL Pro equipment, which offers fast and effective treatment with results normally being achieved in just one session.
The treatment itself is surprisingly comfortable. Depending on the area being treated, the doctor may numb the area in advance, but this isn't always necessary. After treatment, the skin will blister for a few days then go red. Wounds generally healed in under a week.
Laser wart and verruca treatment is available exclusively at our Putney skin clinic.
All London clinics offer cryotherapy treatment for warts with our trained doctors and surgeons.


text:
Q: i am stuck on the "world weather online" webhook code implementation in the API.AI given on their doc page I am following step by step the starter guide of API.AI docs from their website, now i am stuck on the "fulfillment" section.
Everything is working but when i try to retrieve request info from my Actions on Google ,weather-app, then its not giving me response from fulfillment that I deployed. It still answer the default response that i hardcoded in the Weather-app agent.
'use strict';

const http = require('http');
const host = 'api.worldweatheronline.com';
const wwoApiKey = '***i used key here from their website***';
exports.weatherWebhook = (req, res) => {
  // Get the city and date from the request
  let city = req.body.result.parameters['geo-city']; // city is a required param
  // Get the date for the weather forecast (if present)
  let date = '';
  if (req.body.result.parameters['date']) {
    date = req.body.result.parameters['date'];
    console.log('Date: ' + date);
  }
  // Call the weather API
  callWeatherApi(city, date).then((output) => {
    // Return the results of the weather API to API.AI
    res.setHeader('Content-Type', 'application/json');
    res.send(JSON.stringify({ 'speech': output, 'displayText': output }));
  }).catch((error) => {
    // If there is an error let the user know
    res.setHeader('Content-Type', 'application/json');
    res.send(JSON.stringify({ 'speech': error, 'displayText': error }));
  });
};

function callWeatherApi(city, date) {
  return new Promise((resolve, reject) => {
    // Create the path for the HTTP request to get the weather
    let path = '/premium/v1/weather.ashx?format=json&num_of_days=1' +
      '&q=' + encodeURIComponent(city) + '&key=' + wwoApiKey + '&date=' + date;
    console.log('API Request: ' + host + path);
    // Make the HTTP request to get the weather
    http.get({ host: host, path: path }, (res) => {
        let body = ''; // var to store the response chunks
        res.on('data', (d) => { body += d; }); // store each response chunk
        res.on('end', () => {
            // After all the data has been received parse the JSON for desired data
            let response = JSON.parse(body);
            let forecast = response['data']['weather'][0];
            let location = response['data']['request'][0];
            let conditions = response['data']['current_condition'][0];
            let currentConditions = conditions['weatherDesc'][0]['value'];
            // Create response
            let output = `Current conditions in the ${location['type']}
              ${location['query']} are ${currentConditions} with a projected high of
              ${forecast['maxtempC']}°C or ${forecast['maxtempF']}°F and a low of
              ${forecast['mintempC']}°C or ${forecast['mintempF']}°F on
              ${forecast['date']}.`;
            // Resolve the promise with the output text
            console.log(output);
            resolve(output);
        });
        res.on('error', (error) => {
            reject(error);
        });
    });
  });
}

A: I had the same issue as of Aug 2018, and the go-to answer always seemed to come back to inputting "api.worldweatheronline.com".
I was able to get mine working by typing in the address below. Make sure you input your two key correctly too.
 api.worldweatheronline.com/premium/v1/weather.ashx?key=yourwwokey

This seems to do the trick, although I don't know why the syntax of the address has changed from one to the other.

redpajama_set_name: RedPajamaStackExchange


Dual 12-in. shrouded fan system for all 27-to-29-in.-wide radiator cores. Utilizing the largest 225-watt motors which should be able to cool most big block engines, the Jetstreme is also available with 160w or 130w motors for small block engines, too.


'I put it to you that you were obviously drunk when you took my client's instructions,' said counsel.
Mr Tewkesbery affected to look pained. 'That I was obviously drunk?', he asked.
Mr Tewkesbery thought for a moment.


text:
from __future__ import division, print_function, unicode_literals

from cocos.cocosnode import CocosNode
import pyglet
from pyglet.gl import *
from cocos.euclid import *
import math
import copy

cuadric_t = '''
void main() {
    vec2 pos = gl_TexCoord[0].st;
    float res = pos.x*pos.x - pos.y;
    if (res<0.0) {
        gl_FragColor = gl_Color;
    } else {
        gl_FragColor = vec4(0.0,0.0,0.0,0.0);
    }
}
'''

class Shader(object):
    def __init__(self, source):
        self.source = source
        self.shader_no = glCreateShader(self.shader_type)
        if not self.shader_no:
            raise Exception("could not create shader")
        prog = (c_char_p * 1)(source + chr(0))
        length = (c_int * 1)(0)
        glShaderSource(self.shader_no, 1,
                       cast(prog, POINTER(POINTER(c_char))),
                       cast(0, POINTER(c_int)))
        glCompileShader(self.shader_no)
        self.program_no = glCreateProgram()
        if not self.program_no:
            raise Exception("could not create program")
        glAttachShader(self.program_no, self.shader_no)
        glLinkProgram(self.program_no)

    def begin(self):
        glUseProgram(self.program_no)

    def end(self):
        glUseProgram(0)

class VertexShader(Shader):
    shader_type = GL_VERTEX_SHADER

class FragmentShader(Shader):
    shader_type = GL_FRAGMENT_SHADER

# cuadric = FragmentShader(cuadric_t)
__parameter_count = 0

def parameter(default=None):
    global __parameter_count
    name = str(__parameter_count)
    __parameter_count += 1

    def setter(self, value):
        self._dirty = True
        setattr(self, "_" + name, value)

    def getter(self):
        return getattr(self, "_" + name, default)

    return property(getter, setter)

ROUND_CAP, SQUARE_CAP, BUTT_CAP = range(3)
MITER_JOIN, BEVEL_JOIN, ROUND_JOIN = range(3)

class Context(object):
    def __init__(self):
        self.color = 255, 255, 255, 255
        self.stroke_width = 2
        self.cap = ROUND_CAP
        self.join = ROUND_JOIN
        self.transform = Matrix3()

    def set_state(self):
        glPushAttrib(GL_CURRENT_BIT | GL_LINE_BIT)
        glColor4ub(*self.color)
        glLineWidth(self.stroke_width)

    def unset_state(self):
        glPopAttrib()

    def copy(self):
        return copy.deepcopy(self)

def flatten(*args):
    ret = []
    for a in args:
        for v in a:
            ret.append(v)
    return ret

class Segment:
    def __init__(self, start, end, width):
        self.start = Point2(*start)
        self.end = Point2(*end)
        self.width = width
        self._tl = None
        self._bl = None
        self._tr = None
        self._br = None

    @property
    def direction(self):
        return Vector2(*(self.end - self.start)).normalized()

    @property
    def line_width(self):
        return (
            Matrix3.new_rotate(math.radians(90)) * self.direction *
            (self.width / 2.0)
            )

    @property
    def tl(self):
        if self._tl:
            return self._tl
        return self.end + self.line_width

    @property
    def tr(self):
        if self._tr:
            return self._tr
        return self.end - self.line_width

    @property
    def bl(self):
        if self._bl:
            return self._bl
        return self.start + self.line_width

    @property
    def br(self):
        if self._br:
            return self._br
        return self.start - self.line_width

    @property
    def left(self):
        return LineSegment2(Point2(*self.bl), Point2(*self.tl))

    @property
    def right(self):
        return LineSegment2(Point2(*self.br), Point2(*self.tr))

    @property
    def points(self):
        return flatten(self.bl, self.br, self.tr, self.bl, self.tr, self.tl)

    def reversed(self):
        return Segment(self.end, self.start, self.width)

class Canvas(CocosNode):
    def __init__(self):
        super(Canvas, self).__init__()
        self._dirty = True
        self._color = 255, 255, 255, 255
        self._stroke_width = 1
        self._parts = []
        self._vertex_list = None
        self._context = Context()
        self._context_stack = []
        self._texture = image = pyglet.resource.image('draw_texture.png').get_texture()

        self._context_change = True
        self._position = 0, 0

    def draw(self):
        if self._dirty:
            self._context = Context()
            self._parts = []
            self.free()
            self.render()
            self.build_vbo()
            self._dirty = False

        # set
        glEnable(self._texture.target)
        glBindTexture(self._texture.target, self._texture.id)
        glPushAttrib(GL_COLOR_BUFFER_BIT)

        glEnable(GL_BLEND)
        glBlendFunc(GL_SRC_ALPHA, GL_ONE_MINUS_SRC_ALPHA)

        glPushMatrix()
        self.transform()
        # cuadric.begin()
        self._vertex_list.draw(GL_TRIANGLES)
        # cuadric.end()

        # unset
        glPopMatrix()
        glPopAttrib()
        glDisable(self._texture.target)

    def endcap(self, line, cap_type):
        strip = []
        texcoord = []

        if cap_type == ROUND_CAP:
            s = Segment(line.start,
                        line.start + (-line.direction) * line.width / 2,
                        line.width)

            strip.extend([int(x) for x in flatten(s.bl, s.br, s.end,
                                                  s.br, s.tr, s.end,
                                                  s.bl, s.tl, s.end)])

            texcoord.extend([0.1, 0.9, 0.1, 0.5, 0.5, 0.9,
                             0, 0, 0.5, 0, 1, 1,
                             0, 0, 0.5, 0, 1, 1, ])

        elif cap_type == SQUARE_CAP:
            segment = Segment(line.start,
                              line.start + (-line.direction) * line.width / 2,
                              line.width)

            strip.extend([int(x) for x in segment.points])
            texcoord.extend(
                flatten(*[(0.1, 0.9, 0.1, 0.5, 0.5, 0.9) for x in range(len(segment.points) // 6)]))

        return strip, texcoord

    def build_vbo(self):
        strip = []
        colors = []
        texcoord = []
        for ctx, parts in self._parts:
            start_len = len(strip)
            for line in parts:

                # build the line segments
                last = line[0]
                segments = []
                for next in line[1:]:
                    segments.append(Segment(last, next, ctx.stroke_width))
                    last = next

                # do we need caps?
                if line[0] == line[-1]:
                    closed_path = True
                else:
                    closed_path = False

                # add caps
                if not closed_path:
                    vertex, tex = self.endcap(segments[0], ctx.cap)
                    strip += vertex
                    texcoord += tex
                    vertex, tex = self.endcap(segments[-1].reversed(), ctx.cap)
                    strip += vertex
                    texcoord += tex

                # update middle points
                prev = None
                for i, current in enumerate(segments):
                    # if not starting line
                    if prev:
                        # turns left
                        inter = prev.left.intersect(current.left)
                        if inter:
                            prev._tl = inter
                            current._bl = inter
                            bottom = prev.tr
                            top = current.br
                        else:
                            inter = prev.right.intersect(current.right)
                            if inter:
                                prev._tr = inter
                                current._br = inter
                                bottom = prev.tl
                                top = current.bl

                    # add elbow
                    if prev and inter:
                            if ctx.join == BEVEL_JOIN:
                                strip.extend(
                                    [int(x) for x in list(inter) + list(bottom) + list(top)])
                                texcoord += [0.1, 0.9, 0.1, 0.5, 0.5, 0.9]
                            elif ctx.join in (MITER_JOIN, ROUND_JOIN):
                                if bottom == top:
                                    far = Point2(*bottom)
                                else:
                                    far = Ray2(Point2(*bottom),
                                               prev.direction).intersect(Ray2(Point2(*top), -current.direction))

                                strip.extend([int(x) for x in
                                              list(inter) + list(bottom) + list(top) +
                                              list(bottom) + list(top) + list(far)])

                                if ctx.join == ROUND_JOIN:
                                    texcoord += [0.1, 0.9, 0.1, 0.5, 0.5, 0.9, 0, 0, 1, 1, 0.5, 0]
                                elif ctx.join == MITER_JOIN:
                                    texcoord += [0.1, 0.9, 0.1, 0.5, 0.5, 0.9, 0.1, 0.9, 0.1, 0.5, 0.5, 0.9]

                    # rotate values
                    prev = current

                # add boxes for lines
                for s in segments:
                    strip.extend([int(x) for x in s.points])
                    texcoord += flatten(
                        *[(0.1, 0.9, 0.1, 0.5, 0.5, 0.9) for x in range(len(s.points) // 6)])

            colors.extend(list(ctx.color) * ((len(strip) - start_len) // 2))

        vertex_list = pyglet.graphics.vertex_list(len(strip) // 2,
                                                  ('v2i', strip),
                                                  ('c4B', colors),
                                                  ('t2f', texcoord), )
        self._vertex_list = vertex_list

    def on_exit(self):
        self.free()
        super(Canvas, self).on_exit()

    def free(self):
        self._dirty = True
        if self._vertex_list:
            self._vertex_list.delete()
            self._vertex_list = None

    def set_color(self, color):
        self._context.color = color
        self._context_change = True

    def set_stroke_width(self, stroke_width):
        self._context.stroke_width = stroke_width
        self._context_change = True

    def set_endcap(self, cap):
        self._context.cap = cap
        self._context_change = True

    def set_join(self, join):
        self._context.join = join
        self._context_change = True

    def rotate(self, radians):
        self._context.transform.rotate(radians)

    def translate(self, vect):
        self._context.transform.translate(*vect)

    def move_to(self, position):
        self._position = self._context.transform * Point2(*position)

    def line_to(self, end):
        if self._context_change:
            context, parts = self._context, [[self._position]]
            self._parts.append((context, parts))
            self._context = context.copy()
            self._context_change = False
        else:
            context, parts = self._parts[-1]

        end = self._context.transform * Point2(*end)

        if parts[-1][-1] == self._position:
            parts[-1].append(end)
        else:
            parts.append([self._position, end])

        self._position = end

    def push(self):
        self._context_stack.append(self._context.copy())

    def pop(self):
        self._context = self._context_stack.pop()

class Line(Canvas):
    start = parameter()
    end = parameter()
    stroke_width = parameter()
    color = parameter()

    def __init__(self, start, end, color, stroke_width=1):
        super(Line, self).__init__()
        self.start = start
        self.end = end
        self.color = color
        self.stroke_width = stroke_width

    def render(self):
        self.set_color(self.color)
        self.set_stroke_width(self.stroke_width)
        self.move_to(self.start)
        self.line_to(self.end)

redpajama_set_name: RedPajamaGithub


Mostly clear and windy. Low 61F. SW winds at 20 to 30 mph, decreasing to 10 to 15 mph..
Mostly clear and windy. Low 61F. SW winds at 20 to 30 mph, decreasing to 10 to 15 mph.
Israel Mena, five (left); Catalina Hernandez, 20 months; and Patricia Amaya, four, collect baskets filled with goodies at the Los Angeles County Department of Children and Family Services' Palmdale office Tuesday.
PALMDALE — The Easter Bunny made an early stop Tuesday at the Palmdale offices of the Los Angeles County Department of Children and Family Services, where a bevy of baskets awaited distribution to area families.
The more than 200 baskets brightly decorated and filled with goodies were the product of a cooperative effort with the Assistance League of Antelope Valley and Journey Church in Lancaster, Sam's Club and the department staff at the Palmdale office.
gional Administrator Nan-cy Ramirez, who helped coordinate the effort.
A few families were on hand to pick out their baskets on Tuesday morning, while the majority will be delivered by social workers to the families in their case loads during the week.
"It means a lot. I've got a lot of help from the Palmdale office," said Mindy Mengoza, joining the celebration Tuesday and collecting baskets for five-year-old Israel Mena, Catalina Hernandez, 20 months and five-month-old Bruno Hernandez.
This is the third year the Palmdale office has held the basket giveaway,.
"I'm excited to take part in it," social worker John Austin said. The family that represented his first case as a social worker was on hand to collect baskets for their children.
The Assistance League of Antelope Valley has taken on the project in its mission to serve children and families, member Susan Abrams said.
The organization decorated and filled 75 baskets, much as they do for other service projects, such as kits for sexual assault survivors and homeless veterans and support for area schools.
"We have wonderful membership," Abrams said.
Beyond the baskets in a conference room for the celebration, an additional 30 baskets were with the office's emergency response group, ready to help brighten the day of families who are initially contacted by the department, Supervising Children's Social Worker Deborah Keyser said.
"We love to have these events. Every year it's a labor of love," she said.
In addition to Easter baskets, the office presents backpacks to families in time for the start of school each year and Halloween costumes in late October.
"It's important for the community to see what we do. Really good stuff comes out of this office," Ramirez said.
To share your opinion on this article or any other article, write a letter to the editor and email it to editor@avpress.com or mail it to Letters to Editor, PO Box 4050, Palmdale CA 93590-4050.


text:
How Technology Driving Change In Post Pandemic
March 4, 2021 October 19, 2022 wppoonam
Information technology companies emerged as the biggest beneficiary of the new wave of digital transformation, with the pandemic acting as a catalyst for organizations across sectors to fast-track adoption of digital and cloud-led technologies to survive in the new normal.
Much of this digital innovation in emerging technologies, such as cloud, artificial intelligence (AI), analytics and big data, which saw unprecedented demand, is not likely to reverse even in a post-pandemic world. IT firms leveraged this digital boost, helping clients stay afloat following the coronavirus outbreak with technology solutions to operate remotely and efficiently.
Covid-19 And Digitalisation
The COVID-19 pandemic changed numerous aspects of how we live but it profoundly changed how many people worked, forcing millions to work from home. It also put a spotlight on corporate technology and whether companies could still operate productively and efficiently with many of their staff working at home.
There was a fast adoption of home working technologies such as Zoom, a popular video conferencing platform which reported a daily rise in meeting participants from 10 million in December 2019 to 300 million by March 2020. And Microsoft Teams has more than tripled the number of daily active users since late 2019.
While employee health and safety rightly remain the top priority, digital leaders also need to consider carefully the continuity, scale and scope of their digital operations in these new and unfamiliar trading conditions. Inevitably, as they struggle with business plans in a constant state of flux, investment in digitalisation projects will be way down their list of priorities.
Opportunity To Transform To The 'New Normal'
As Covid-19 pressurises the global supply chains of companies will increasingly start to build resilience in their businesses by complementing product-focused models with scalable and stable digital alternatives. This might include businesses diversifying from their core offer to sell data and AI assets to third parties. Supermarkets ensure adequate stock of products in their warehouses and to promote real-time availability of their products in grocery stores.
Due to self-isolation, consumers who normally visit physical stores are increasingly shopping online with the result that e-commerce is booming especially when it comes to tinned goods, pasta, health and sanitary products.
What's more, as staying in becomes the new going out, instead of visits to concerts, museums and events, consumers are seeking equivalent AR and VR experiences, which can be enjoyed safely while sitting on the sofa. Hand-in-hand with this, we are already seeing growing demand for digital media and entertainment including social media, gaming, news, video streaming and books as people seek to relieve boredom and fill the time previously taken up with travelling and socialising face-to-face.
As businesses work to simultaneously secure loyalty and revenue, technologies that facilitate experiences that drive stickier relationships and competitive differentiation are likely to rise to the top of that deck. We expect innovations in cloud infrastructure, application architecture, and AI and machine learning will serve as catalysts for these digital transformations that deliver new experiences centered on convenience, context and control.
Companies to make data-driven decisions on how best to adapt and retain customers. Businesses need to capture and unify disparate sources of consumer data, and effectively contextualize and operationalize information to push critical insights across channels and stakeholder groups that shape the customer journey. In 2021 business leaders will pursue a reconstituted set of IT stack initiatives heavily embossed by the black swan that was 2020. If there was a silver lining to 2020, it was that the pandemic was adept at shining a light on IT strengths and weaknesses equally, providing clarity on necessary course correction.
With an increased focus on health and safety in the workplace, smart buildings can help ensure the workplace and building environment is up to par. Smart offices use automated processes to enhance buildings operations, from air conditioning and heating, through to lighting and security.
People are used to a certain ease of functioning in domestic life and expect a similar experience in the office. The smart home illustrates some of the trends that will unfold in the smart office in the future. Voice assistants are among the most popular home technology.
In the life of people, it is not as prevalent but that could change as more indispensable for domestic tasks and hygiene concerns encourage a contactless environment. But while we are not going to see major changes over night, it has taken a pandemic to change the technology and bring new features that could make our life more efficient, productive and healthy.
ArticlesIZ_2021_ARVR, IZ_2022_INFLUENTIAL
delasign: Creative, Design Technology to Reimagine a Mixed Reality Future
Discover how AR and VR will change the Approach in a Post-Pandemic World
Five Key 5 Benefits Why Building an Agile Team Can Be Valuable for Your Business
Many organizations are making the effort to become more agile. Whereas traditional organizations seem mechanical, hierarchical,...
How Entrepreneurs Can Make Smart Decisions Quickly
Entrepreneurs build their own selections, perceive their inventive visions, and develop long relationships with different entrepreneurs,...
May 10, 2022 wppoonam
How To Encourage Entrepreneurial Mindset
A leadership development plan is a useful tool to ensure that your organization has a strong...

redpajama_set_name: RedPajamaCommonCrawl


text:
The Best Comedies on Netflix Right Now (January 2022)
By Garrett Martin and Paste Staff | January 3, 2022 | 12:00pm
Comedy Lists netflix
Netflix's focus on original content is really starting to impact its lineup of movies. You'll see a lot of Netflix originals on the list below, but not enough to make up for all the classics that have fallen out of rotation over the last few years. At one point this list had 50 movies on it every month; now it's usually only 30 movies deep. At this point we might have to sit through every one of those Adam Sandler movies to see if any are actually good enough to recommend.
Fortunately a few true classics have returned lately. Step Brothers and Stripes are both back on the original streamer, and back near the top of our list. And to Netflix's credit, they've been slowly building up a roster of legitimately good Netflix exclusives like The Mitchells vs. the Machines and Bad Trip. It might not be as deep of a roster as it was five years ago, but there's still a great variety of comedies to choose from.
Anyway. Enough blather. Let's take a quick trip through the funniest movies on Netflix right now. Again, for the purpose of these rankings I'm looking at how funny a movie is alongside how well made it is—meaning you might see some absolutely hilarious comedies that aren't that well respected by critics coming in higher than better reviewed, more technically proficient films. You can call this the Mindhorn / Casa de Mi Padre (RIP!) Rule—yeah, they're not better movies than, say, The Artist, but they definitely make me laugh more.
Here are the best comedies on Netflix as of December, 2021.
1. Monty Python and the Holy Grail
Directors: Terry Gilliam, Terry Jones
Stars: Graham Chapman, John Cleese, Eric Idle, Terry Jones, Connie Booth
Rotten Tomatoes Score: 97%
It sucks that some of the shine has been taken off Holy Grail by its own overwhelming ubiquity. Nowadays, when we hear a "flesh wound," a "ni!" or a "huge tracts of land," our first thoughts are often of having full scenes repeated to us by clueless, obsessive nerds. Or, in my case, of repeating full scenes to people as a clueless, obsessive nerd. But, if you try and distance yourself from the over-saturation factor, and revisit the film after a few years, you'll find new jokes that feel as fresh and hysterical as the ones we all know. Holy Grail is, indeed, the most densely packed comedy in the Python canon. There are so many jokes in this movie, and it's surprising how easily we forget that, considering its reputation. If you're truly and irreversibly burnt out from this movie, watch it again with commentary, and discover the second level of appreciation that comes from the inventiveness with which it was made. It certainly doesn't look like a $400,000 movie, and it's delightful to discover which of the gags (like the coconut halves) were born from a need for low-budget workarounds. The first-time co-direction from onscreen performer Terry Jones (who only sporadically directed after Python broke up) and lone American Terry Gilliam (who prolifically bent Python's cinematic style into his own unique brand of nightmarish fantasy) moves with a surreal efficiency. —Graham Techler
2. Monty Python's Life of Brian
Director: Terry Jones
Stars: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin
Pretty much made on George Harrison's dime and considered, even if apocryphally, by the legendary comedy troupe to be their best film (probably because it's the closest they've come to a three-act narrative with obvious "thematic concerns"), Life of Brian got banned by a lot of countries at the butt-end of the '70s. As a Christ story, the telling of how squealy mama's boy, Brian (Graham Chapman) mistakenly finds himself as one of many messiah figures rising in Judea under the shadow of Roman occupation (around 33 AD, on a Saturday afternoon-ish), Monty Python's follow-up to Holy Grail may be the most political film of its ilk. As such, the British comedy group stripped all romanticism and nobility from the story's bones, lampooning everything from radical revolutionaries to religious institutions to government bureaucracy while never stooping to pick on the figure of Jesus or his empathetic teachings. Of course, Life of Brian isn't the first film about Jesus (or: Jesus adjacent) to focus on the human side of the so-called savior—Martin Scorsese's take popularly did so less than a decade later—but it feels like the first to leverage human weakness against the absurdity of the Divine's expectations. Steeped in satire fixing on everything from Spartacus to Franco Zeffirelli's Jesus of Nazareth, and buttressed by as many iconic lines as there are crucifixes holding up the film's frames (as Brian's equally squealy mother hollers to the swarming masses, "He's not the messiah. He's a very naughty boy!"), the film explores Jesus's life by obsessing over the context around it. Maybe a "virgin birth" was really just called that to cover up a Roman centurion's sexual crimes. Maybe coincidence (and also class struggle) is reality's only guiding force. Maybe the standard of what makes a miracle should be a little higher. And maybe the one true through line of history is that stupid people will always follow stupid people, whistling on the way to our meaningless, futile deaths. —Dom Sinacola
3. Step Brothers
Stars: Will Ferrell, John C. Reilly, Mary Steenburgen, Richard Jenkins, Adam Scott
If we're judging in terms of pure quotability, the only comedy film of the last 20 years to even exist in the same solar system as Step Brothers is Anchorman. What does this say of us as viewers? Step Brothers is perhaps the finest distillation of the post-2000s man-child comedy subset, taken to the illogical extreme. Its two central characters are each in their 40s, and equally incapable of taking the barest shred of responsibility for their lives outside of the protective cocoon of home. Brennan (Will Ferrell) doesn't understand where a person might go in order to obtain toilet paper when they run out. Dale (John C. Reilly) erroneously believes he can inherit his father's "family business" of being a medical doctor. The characters are so exaggeratedly helpless that the film somehow manages to achieve transcendent punchlines toward the end simply by showing them forced to adapt to the mundanity of normal life. What other film could turn "taking baby Aspirin to reduce my risk for heart attack" into a genuinely laugh-out-loud moment? But more than anything, Step Brothers is what happens when you simply let two of the finest comic actors of a generation play off each other and improvise to their heart's content, with a rare form of chemistry that would be impossible to fake and flanked by brilliant supporting work from the likes of Richard Jenkins, Mary Steenburgen, Adam Scott and Kathryn Hahn. —Jim Vorel
4. Lady Bird
Director: Greta Gerwig
Stars: Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Beanie Feldstein, Timothee Chalamet
Before Christine "Lady Bird" McPherson (Saoirse Ronan)—Lady Bird is her given name, as in "[she] gave it to [her]self"—auditions for the school musical, she watches a young man belting the final notes to "Being Alive" from Stephen Sondheim's Company. A few moments before, while in a car with her mother, she lays her head on the window wistfully and says with a sigh, "I wish I could just live through something." Stuck in Sacramento, where she thinks there's nothing to be offered her while paying acute attention to everything her home does have to offer, Lady Bird—and the film, written and directed by Greta Gerwig, that shares her name—has ambivalence running through her veins. What a perfect match: Stephen Sondheim and Greta Gerwig. Few filmmakers are able to capture the same kind of ambiguity and mixed feelings that involve the refusal to make up one's mind: look to 35-year-old Bobby impulsively wanting to marry a friend, but never committing to any of his girlfriends, in Company; the "hemming and hawing" of Cinderella on the, ahem, steps of the palace; or Mrs. Lovett's cause for pause in telling Sweeney her real motives. Lady Bird isn't as high-concept as many of Sondheim's works, but there's a piercing truthfulness to the film, and arguably Gerwig's work in general, that makes its anxieties and tenderness reverberate in the viewer's heart with equal frequency. —Kyle Turner
5. Stripes
Director: Ivan Reitman
Stars: Bill Murray, Harold Ramis, Warren Oates, P.J. Soles, Sean Young, John Candy, John Larroquette, Judge Reinhold
Stripes might not be as beloved as Ghostbusters or Groundhog Day, but John Winger, the sarcastic, irreverent cabdriver who joins the army after his life falls apart, should be Bill Murray's defining role. (Or, at least, early Murray, before he became a respectable actor.) Sure, Murray had already developed his voice at Second City and on Saturday Night Live, and premiered it on the big screen with Meatballs, but Stripes put Murray's anti-authoritarianism up against the most authoritarian institution in America, allowing him to reach new heights of smarmy disrespect. And it's not afraid to make him look like an asshole without trying hard to rehab him, something that can't be said about Ghostbusters or Groundhog Day. Stripes has problems as a movie—it drags on too long, the last third is overblown and unrealistic, and the way it treats women was uncomfortable back then and would be downright unacceptable today—but between Murray, Harold Ramis, John Candy, Judge Reinhold, John Larroquette, and a fantastic straight man performance by Peckinpah tough guy Warren Oates as the drill sergeant, it might be, laugh for laugh, the funniest movie on this list.—Garrett Martin
6. The Mitchells vs. The Machines
Director: Mike Rianda
Stars: Danny McBride, Abbi Jacobson, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett
Animated generational divides have never been more like a sci-fi carnival than in The Mitchells vs. the Machines. Writer/director Mike Rianda's feature debut (he and co-writer/director Jeff Rowe made their bones on the excellently spooky, silly show Gravity Falls) is equal parts absurd, endearing and terrifying. It's easy to feel as lost or overwhelmed by the flashing lights and exhilarating sights as the central family fighting on one side of the title's grudge match, but it's equally easy to come away with the exhausted glee of a long, weary theme park outing's aftermath. Its genre-embedded family bursts through every messy, jam-packed frame like they're trying to escape (they often are), and in the process create the most energetic, endearing animated comedy so far this year. —Jacob Oller
7. 21 Jump Street
Director: Phil Lord, Chris Miller
Stars: Jonah Hill, Channing Tatum, Brie Larson, Dave Franco, Ice Cube
Against all odds, 21 Jump Street—a movie based on a Fox television series remembered mainly for helping launch the career of Johnny Depp and briefly reminding the world that Dom DeLuise had a son—is an immensely enjoyable, frequently hilarious film. The premise is unchanged. Two youthful-looking (and since this is a comedy, spectacularly incompetent) police officers are assigned to a special division that places undercover agents in schools in an attempt to stop illegal activity. For officers Schmidt (Jonah Hill) and Jenko (Channing Tatum), fresh out of the academy, this is not so much an opportunity as a richly deserved exile. Their mission, as delivered by a purposefully prototypical Angry Black Police Captain (Ice Cube): Contain the spread of a dangerous new drug that has shown up at a local high school. For Jenko, the return to high school represents a return to his glory days. For Schmidt, it's more of a return to the scene of a crime where the body outlined in chalk looks suspiciously like his own. Unlike so many comic remakes, reboots and long-delayed sequels, 21 Jump Street doesn't overly rely on nostalgia to generate its laughs. Hill isn't doing anything he hasn't done before, but that doesn't make his deadpan-acerbic delivery any less funny, especially alongside the earnest doofus-ness of his partner. Hill and Tatum are supported by a strong ensemble of recognizable faces, including Rob Riggle, Ellie Kemper and Chris Parnell. But though "ensemble piece" usually refers to cast and crew, 21 Jump Street is even more impressive when viewed as an ensemble of comedic approaches. There are laughs to suit all tastes—from sarcastic jibes to pratfalls, from pokes at film conventions ("I really thought that was going to explode.") to exuberant, undeniably infectious, juvenile displays. And each is conveyed in a measure appropriate to its form. As a result, there's just not much time spent watching 21 Jump Street without at least a smile on one's face. —Michael Burgin
8. She's Gotta Have It
Stars: Tracy Camila Johns, Spike Lee, John Canada Terrell, Tommy Redmond Hicks
Spike Lee arrived as a fully-formed talent with this small-budget, black-and-white debut, which wound up being one of the most important movies in the rise of independent films in the 1980s. Lee brought a voice and verisimilitude to the screen that hadn't been seen before, with a movie that's smart, funny and audacious. The central theme—that women can sleep around as much as men, and that they shouldn't be judged or scorned for it—is still relevant 30 years later. In fact, it's so relevant Lee adapted the movie into a Netflix series that premiered last year.—Garrett Martin
9. Hunt for the Wilderpeople
Director: Taika Waititi
Stars: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Oscar Kightley, Tioreore Ngatai-Melbourne, Rhys Darby
Bella's (Rima Te Wiata) first encounter with Ricky (Julian Dennison), the new foster child she's agreed to take on, doesn't inspire confidence, especially with her clumsy jokes at the expense of his weight. In turn, with child-services representative Paula (Rachel House) painting Ricky as an unruly wild child, one dreads the prospect of seeing the kid walk all over this possibly in-over-her-head mother. But Bella wears him down with kindness. And Ricky ends up less of a tough cookie than he—with his fondness for gangsta rap and all that implies—initially tried to project. An adaptation of Barry Crump's novel Wild Pork and Watercress, Taika Waititi's Hunt for the Wilderpeople thrives on upending preconceived notions. The director shows sympathy for Ricky's innocence, which is reflected in the film's grand-adventure style. Cinematographer Lachlan Milne's sweeping, colorful panoramas and a chapter-based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm-hearted dynamic between Ricky and Hec (Sam Neill), even the film's most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own. —Kenji Fujishima
10. Bad Trip
Director: Kitao Sakurai
Stars: Eric Andre, Tiffany Haddish, Lil Rel Howery, Michaela Conlin
What's most distinguishable about Bad Trip is the way that it depicts the public which it interacts with. The film never aims to humiliate or dehumanize its subjects—instead of being disparaged or mocked in the name of comedy, bystanders are portrayed as more of a righteous tribunal than mere crabs in a barrel. The reprehensible behavior showcased always stems from Andre, Haddish or Howery, with spectators taking it upon themselves to moralize and attempt to salvage any remaining shred of the incognito actors' perceived dignity—perhaps all too perfectly exemplified in a scene with a parking lot Army recruiter who civilly declines Andre's offer of a blowjob in exchange for execution during a profound period of hopelessness. This ability to invoke public reaction—with no rubric for hardline emotions that the actors must elicit—is what allows the fabric of Bad Trip's humor to shine through. With the professional actors shouldering the burden of both maintaining character for the benefit of the film's overarching narrative as well as ensuring that the orchestrated gags play perfectly, the public's only obligation is reacting genuinely, whether that be expressing anger, frustration, disdain or bewilderment. It's this spectrum of varied emotion that is woven into the very fabric of the film, giving it an overtly genuine tone. At times it is even surprisingly heartwarming, with good samaritans stepping in to talk characters off of ledges and break up public quarrels.
11. Dolemite Is My Name
Director: Craig Brewer
Stars: Eddie Murphy, Keegan-Michael Key, Mike Epps, Craig Robinson, Tituss Burgess, Da'Vine Joy Randolph, Kodi Smit-Mcphee, Snoop Dogg, Ron Cephas Jones, Barry Shabaka Henley, Tip "TI" Harris, Luenell, Tasha Smith, Wesley Snipes
"I want the world to know I exist," Rudy Ray Moore (Eddie Murphy) declares in Dolemite Is My Name. Awareness on a grand scale is an ambitious goal—but it didn't stop Moore from trying. Rudy Ray Moore is a multi-hyphenate performer looking to propel his comedy career. After seeing Rico (Ron Cephas Jones), the local homeless man that visits where Rudy works, do stand-up, Moore decides to steal and refine Rico's material. He assumes the character of Dolemite, a sharp, vulgar pimp who oozes confidence, and the "new" material kills in local clubs. Eventually, Moore signs a comedy record deal and charts on Billboard. Emboldened, he sets a new goal: to make a Dolemite film, exhausting all his personal expenses to do so. At the heart of Dolemite Is My Name is the smooth-talking man himself, played by Eddie Murphy. The actor has, since 2012, been quiet in the public eye, taking years-long breaks between films. In 2016, he resurfaced for the drama Mr. Church, his performance praised but the film critically panned. Being hailed as his "comeback" role, Dolemite finds Murphy in fit comedy shape, tackling this lead part with gusto. He embraces Moore's slightly goofy enthusiasm and can-do attitude without a hint of mocking. For a character like Dolemite, so deeply rooted in the Blaxploitation era of the '70s and frankly riddled with so many stereotypical elements, Murphy succeeds by being earnest, even when delivering Dolemite's raunchiest lines. He reminds us he's one of the best at balancing drama and comedy. A figure who could have been an offensive caricature in the wrong hands, Dolemite, in Craig Brewer's film, is so much more; we go beyond the surface of the character, exploring one man's quest for stardom and the entrepreneurial risks he took to be the talk of the town. We get a film befitting of Moore's legacy while simultaneously reminding audiences the star power of Eddie Murphy. —Joi Childs
12. Hail, Caesar!
Directors: Ethan Coen, Joel Coen
Stars: George Clooney, Tilda Swinton, Josh Brolin, Ralph Fiennes, Jonah Hill, Alden Ehrenreich, Christopher Lambert, Channing Tatum, Scarlett Johansson
The period zaniness of Joel and Ethan Coen's Hail, Caesar! is an ode to old Hollywood—and much more—as only they can do, tracing the efforts of James Brolin's studio scandal fixer through a parade of 1950s soundstages, back lots and actors. His latest potential headline concerns the abduction of a Biblically epic movie star—George Clooney having a helluva good time doing his best Chuck Heston/Kirk Douglas amalgam—by what turns out to be a tea sandwich-serving think tank of communists. Other subplots have Scarlett Johansson's starlet plotting out her unwed motherhood in the public eye and the screen makeover of an unsophisticated cowboy by Ralph Fiennes' debonairly enunciating director, Laurence Laurentz. There are dueling gossip columnist twins (Tilda Swinton pulling double duty), a hapless film editor (Frances McDormand) and scattered movies-within-the-movie, which even pauses midway through for a thoroughly enchanting—and cheeky—Gene Kelly-styled song-and-dance number starring Channing Tatum as a heavily made-up matinee star with controversial extracurricular activities. Most of the main characters/performances take blatant inspiration from Hollywood legends of yore, and the cast seems to have as much fun as the Coens. Hail, Caesar! is by no means their best work, but it's characteristically gorgeous, spiritedly acted and rife with political, religious and creative (sub)text for moviegoers as thoughtful and dorky as Joel and Ethan themselves. —Amanda Schurr
Director: Sean Foley
Stars: Julian Barratt, Essie Davis, Richard McCabe, Alex Wyndham, Steve Coogan
Julian Barratt gives a charismatic lead performance, using those chiseled cheekbones and glorious mustache in concert with uncommonly sad eyes to make his washed-up actor Richard Thorncroft both recognizable and worthy of empathy, despite his arrogance and stupidity. The rest of the cast is also strong, though largely overshadowed by Barratt's magnetism. If Steve Coogan, who also produced, wants to continue spending large chunks of his time in very small, brutally funny roles in comedy movies (see: The Other Guys, In the Loop, and technically Hot Fuzz), that's fine by me. Kenneth Branagh, shockingly, cameos as himself in one early scene where he auditions Richard for a Hamlet adaption—it's nice to see he has a sense of humor about still being the go-to Shakespeare guy. It's clear, in any case, that Mindhorn is a labor of love for the cast and crew.—Deborah Krieger
14. Mars Attacks
Director: Tim Burton
Stars: Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Jim Brown, Rod Steiger, Natalie Portman, Lukas Haas,
With Jack Nicholson as president, Sarah Jessica Parker's head appearing atop a chihuahua body and an alien race that speaks in a bird-like squawk, Mars Attacks is filled with enough campy goodness to make even the most serious sci-fi fan crack a smile. Although it was initially received poorly among critics and fans alike, repeat viewings of Mars Attacks made this one shine for a cult audience.—Sean Doyle
15. The Edge of Seventeen
Director: Kelly Fremon Craig
Stars: Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick, Haley Lu Richardson
Craig may not always get the details right, but her larger vision—alternately pitiless and forgiving of teenage foibles in the midst of adolescence—is still bracing. And the performances she encourages from her actors help pick up the slack. This is Hailee Steinfeld's first major performance after she burst onto the scene in the Coen Brothers' True Grit in 2010, and if she showed remarkable pluck and heart there, she shows a talent for comedy here that one might not have been able to guess at from the earlier film. And what a joy Woody Harrelson is here, putting on a master class in minimalist acting, inspiring giggles while barely seeming to move a muscle.—Kenji Fujishima
16. Observe and Report
Director: Jody Hill
Stars: Seth Rogen, Ray Liotta, Michael Pena, Anna Faris, Jesse Plemons, Dan Bakkedahl
In 2009 comedy fans bought tickets for Observe and Report expecting Seth Rogen's lovable stoner man-child schtick. Instead they had to confront the ugly, violent dark comedy that director Jody Hill perfected with his HBO shows Eastbound & Down and Vice Principals. Rogen is surprisingly good in a role that seems written for Danny McBride, a seething cocktail of confusion, depression, arrogance and anger. Anna Faris, Aziz Ansari, Michael Pena and a young Jesse Plemons round out a strong cast.—Garrett Martin
17. The Lovebirds
Director: Michael Showalter
Stars: Issa Rae, Kumail Nanjiani, Paul Sparks, Anna Camp, Kyle Bornheimer
Michael Showalter updates the After Hours template with this fun romp, in which a modern, mundane couple who just broke up gets entangled in unexpected crime and danger. Rae and Nanjiani are a great comic duo who nail the mix of pettiness, tenderness and lived-in comfort of a couple who have already been going through the motions longer than it took to establish them; their blithe bickering and chatter, insistent whether they're infiltrating a secret society orgy or about to be tortured, is consistently funny without feeling too quippy or sitcom-ish. There are a lot of movies like this—Date Night, Game Night, probably others that have the word "night" in the title—but The Lovebirds might be the sharpest one since Scorsese sent Griffin Dunne panicking through mid '80s Manhattan.—Garrett Martin
18. Always Be My Maybe
Director: Nahnatchka Khan
Stars: Ali Wong, Randall Park, Keanu Reeves, Michelle Buteau, Vivian Bang, Karan Soni
A film written by and starring Ali Wong and Randall Park was always guaranteed to be a home run, but the endlessly funny and charming Always Be My Maybe truly exceeds all romcom expectations. The duo (who penned the script with Michael Golamco) play childhood friends who lose touch after an impulsive teenage romance ends badly. From there, Wong's Sasha becomes a celebrity chef as Park's Marcus continues to live at home and work for his father's blue collar business after his mother's tragic passing. They each have things to learn from one another, sure, but Always Be My Maybe doesn't just end when romance blossoms; it leans into the complications of two adults with independent lives choosing to be together and figuring out how to make it all work. Part of that, crucially, includes both Marcus and Sasha playing supportive roles in one another's careers rather than compromising and giving up their passions to be together. Director Nahnatchka Khan keeps the stylish film moving at a pleasant comedic clip throughout, and there's a killer cameo appearance you will not want spoiled before you see the movie. Seriously, you should watch it right now. —Allison Keene
19. Between Two Ferns: The Movie
Director: Scott Aukerman
Stars: Zach Galifianakis, Lauren Lapkus, Ryan Gaul, Matthew McConaughey
Netflix originals are routinely criticized for their general low stakes vibe, like they're the modern equivalent of old primetime made-for-TV movies from the '70s and '80s. You can't really say that about Between Two Ferns: The Movie, because "low stakes" has been the entire point of Zach Galifianakis's web series all along. This Funny or Die production sends Galifianakis and his public access crew (including Lauren Lapkus) on a cross-country jaunt to save their show and help Zach realize his dreams of being a legitimate late-night talk show host. Along the way they interview people like David Letterman, John Legend, Chance the Rapper, Benedict Cumberbatch, Brie Larson, and more. (And for some reason Phoebe Bridgers and that guy from The National show up for a musical number.) Scott Aukerman's screenplay is as absurd and hilarious as you'd expect, and a game cast keeps it running smoothly throughout. Between Two Ferns: The Movie is basically the Citizen Kane of entirely unnecessary feature-length adaptations of one-joke web shows.—Garrett Martin
20. The Incredible Jessica James
Director: Jim Strouse
Stars: Jessica Williams, LaKeith Stanfield, Noël Wells, Taliyah Whitaker
Jessica Williams plays Jessica James, a twenty-something theatre fanatic who's trying to get one of her plays produced while simultaneously dealing with a breakup. The ex? Damon, played by the equally wonderful Lakeith Stanfield (Atlanta, Short Term 12), who can't manage to stay out of Jessica's dreams. When she meets a new fling, played by the comically refreshing Chris O'Dowd, she begins to re-evaluate her love life while clinging to her life goals. When do you know you've made it? As lighthearted as the film can be, it's rooted in an exploration of the deeper questions that any artist, or person for that matter, grapples with. Williams is hilarious, which we all know from her time on The Daily Show. She's also incredibly powerful, showcasing a feminine strength that's so crucial to this generation and a passion for her craft that's the opposite of the indifference often associated with millennials. The film is perfect for a popcorn and beer night with the gals and guys. —Meredith Alloway
21. The Artist
Director: Michel Hazanavicius
Stars: Jean Dujardin, Bérénice Bejo, John Goodman
In his black-and-white ode to the Golden Age of Hollywood, Gallic writer-director Michael Hazanavicius honors form as well as content, packaging his romantic melodrama about the rise of a new ingénue and the fall of a silent movie star in 1920s and '30s Los Angeles in luxurious black, white, and shades of shimmering silver. It's a beautiful, ambitious, nostalgic endeavor that demonstrates its makers are, indeed, artists. —Annlee Ellingson
22. To All the Boys I've Loved Before
Director: Susan Johnson
Stars: Lana Condor, Noah Centineo, Janel Parrish
To All the Boys I've Loved Before, the teen scene's newest runaway hit, is a flat-out excellent film. It is not excellent "for a teen flick." It is not excellent "for a romantic comedy." It is excellent for a film. TATBILB fully inverts the 80/20 ratio: Within the first 20 minutes, all five of the deeply private love letters our daydreamy, emotionally buttoned-up protagonist Lara Jean (Lana Condor) has written to her childhood crushes over the years have been stolen and mailed out—including the one to her neighbor and best friend, Josh (Israel Broussard), who just happens to also be her older sister's just barely ex-boyfriend. This swift puncturing of any protracted emotional dishonesty Lara Jean might have hoped to indulge in, well, forever, leaves the film's final eighty minutes free for her to embrace some really radical emotional honesty. The importance of Lara Jean and her sisters being half-Korean, and the majority of the cast (along with Mahoro) non-white, is hard to overstate, but it isn't the most impressive thing about the cast by a long shot. In a genre that can so often see its characters lean too far into caricature, Lara Jean's world is instead populated with teens—and through them, love—you can believe in. —Alexis Gunderson
23. Little Evil
Director: Eli Craig
Stars: Adam Scott, Evangeline Lilly, Bridget Everett, Clancy Brown, Sally Field, Owen Atlas
Seven years after he gave us Tucker & Dale vs. Evil, one of the best horror comedies in recent memory, director Eli Craig has finally returned with another horror comedy exclusive for Netflix, Little Evil. An obvious parody of The Omen and other "evil kid" movies, Little Evil wears its influences and references on its sleeve in ways that while not particularly clever, are at least loving. Adam Scott is the sad-sack father who somehow became swept up in a whirlwind romance and marriage, all while being unfazed by the fact that his new step-son is the kind of kid who dresses like a pint-sized Angus Young and trails catastrophes behind him wherever he goes. Evangeline Lilly is the boy's foxy mother, whose motivations are suspect throughout. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose? The film can boast a pretty impressive supporting cast, from Donald Faison and Chris D'elia as fellow step-dads, to Clancy Brown as a fire-and-brimstone preacher, but never does it fully commit toward either its jokes or attempts to frighten. The final 30 minutes are the most interesting, as they lead the plot in an unexpected direction that redefines the audience's perception of the demon child, but it still makes for a somewhat uneven execution. Tucker & Dale this is not, but it's still a serviceable return for Craig. —Jim Vorel
24. Mascots
Director: Christopher Guest
Stars: Jane Lynch, Parker Posey, Fred Willard, Christopher Guest, Ed Begley Jr., Jennifer Coolidge, Harry Shearer, Zach Woods
"Diminishing returns" might apply to Christopher Guest mockumentaries more than anything else on earth, but when you start from the unparalleled heights of Waiting for Guffman and Best in Show there's a long way to plummet. To wit: Mascots, his latest film, is still full of great performances and good jokes. Much of his stock company returns for the Netflix exclusive (Parker Posey, Jane Lynch, Fred Willard and Ed Begley Jr. are still standouts), and although the absence of Eugene Levy and Catherine O'Hara is palpable, the ensemble is still stocked with capable improvisers. The satire isn't as sharp as his earlier films, but there's still an endearing goofiness at the movie's heart.—Garrett Martin
25. Wine Country
Director: Amy Poehler
Stars: Rachel Dratch, Ana Gasteyer, Amy Poehler, Maya Rudolph, Paula Pell, Emily Spivey, Tina Fey, Jason Schwartzman, Cherry Jones
As much of a vacation for its cast as a movie, Amy Poehler's Wine Country is a low stakes sketch of a movie that gets by on charisma and sweetness. Poehler and a crew of fellow Saturday Night Live vets—including Rachel Dratch, Maya Rudolph, Ana Gasteyer and Tina Fey, as well as former SNL writers Paula Pell and Emily Spivey—play a group of friends touring California's wine country on a 50th birthday trip. They're each in their own way dealing with their own midlife crises and disappointments, and the ways they discuss and relate to them are both funny and realistic. It's essentially a woman's take on the kind of shaggy hang-out comedy Adam Sandler's been making with his friends for decades, and with the requisite differences in taste and perspective you'd expect from that comparison. Wine Country is perfectly fine.—Garrett Martin
26. Eurovision Song Contest: The Story of Fire Saga
Director: David Dobkins
Stars: Will Ferrell, Rachel McAdams, Dan Stevens, Pierce Brosnan
Eurovision Song Contest: The Story of Fire Saga is—let's be honest here—a bit on the thin side, and a little confusing. It's got just enough sincerity to undermine its own satirical impulses and just enough pandering snark to undermine its own sincerity. It runs long, and it leans on a trope, Ferrell's master trope and the common denominator in most of his best performances—the lovable but fundamentally clueless and self-absorbed man-baby who can't get out of his own way. It's a trope that, thanks to Ferrell himself, we have mined pretty thoroughly in comedy over the last few decades. And yet, even as Eurovision Song Contest makes a number of perplexing moves in its two-hour-plus runtime, you kind of can't help rooting for it, and for its principal characters, because its refusal to be cynical operates as a vital, oxygenating escape hatch right now.—Amy Glynn
27. Vampires vs. the Bronx
Director: Osmany Rodriguez
Stars: Jaden Michael, Gregory Diaz IV, Sarah Gadon, Shea Whigham, Method Man, Chris Redd
Rotten Tomatoes Score: N/A
Vampires have historically been used as a metaphor for practically any societal evil you can think of in cinema, but the "vampire as gentrification allegory"? Now that's a new one. And that's what you'll see in Netflix's Vampires vs. The Bronx. It makes its political message abundantly clear. These are indeed vampiric real estate developers, intent on snapping up properties like the neighborhood courthouse, which is immediately reimagined as an upscale condo development titled "The Courthaus." A bit on the nose, perhaps, but pretty funny at the same time.—Jim Vorel
28. Our Idiot Brother
Director: Jesse Peretz
Stars: Paul Rudd, Elizabeth Banks, Zooey Deschanel, Emily Mortimer, Kathryn Hahn, Steve Coogan, Rashida Jones, Adam Scott
Netflix wasn't making original movies in 2011, and yet that's exactly what Our Idiot Brother feels like. It's a movie that's so relaxed and where the stakes are so low that it barely feels like it exists, but with a great cast full of funny and likable performers. Paul Rudd stars as a guileless modern day hippie failing to rebuild his life after a jail sentence, with Zooey Deschanel, Emily Mortimer, Elizabeth Banks, Kathryn Hahn, Steve Coogan and Rashida Jones playing the various siblings, exes and in-laws that he bothers. It's a minor but pleasant film that stays afloat almost entirely because of that cast and its own lack of pretension.—Garrett Martin
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This major may be added to the Senior High-Junior High/Middle School Instructional License as described in the Department of Curriculum, Instruction, and Media Technology. This major requires a cumulative grade point average of 2.5.
Required 9 credit hours of electives selected in consultation with the advisor, or an 18–24 hour minor.
Senior high-junior high/middle school instructional license as described in the Department of Curriculum, Instruction, and Media Technology.


We can't do this without YOUR voice being heard! Local municipalities are uniquely qualified and trusted by their residents to manage the installation of technology infrastructure in their communities so should be allowed to make decisions about this new technology. However, the wireless industry doesn't see it that way. They are pressing our elected representatives for weaker regulations so they can continue to profit at the expense of our health, privacy and safety and security.
This is a grassroots effort, as we all know that the wireless industry throws a lot of money at politicians.
Call your representatives in Washington today. Please don't wait. Ask others to do the same. Talking points HERE.
Send this easy one-step National League of Cities on-line form to YOUR City Leaders and your Members of Congress to stop the FCC's one-size-fits-all 5G preemption in its tracks by SUPPORTING H.R. 530, the "Accelerating Wireless Broadband Development by Empowering Local Communities Act of 2019." Find your U.S. Representative HERE.
Send this "Policy Guidance Regarding Wireless Radiation" by Fmr. State Senator and Aeropsace Engineer, Patrick Colbeck, to your elected representatives.
Share this flyer with others.
Share this WISN lead news story of January 3, 2019 about the dangers of 5G and wireless technologies.
Read, sign and share this International 5G Appeal to the U.N., WHO and all governments in opposition to 5G.
Tell YOUR U.S. Congressional Representatives to NOT support the STREAMLINE Act S. 3157. Find your U.S. Representative HERE.
Tell YOUR Wisconsin State Legislators you are opposed to "small" cell 5G antennas in your neighborhood and laws removing local control over the siting of cell towers both large and "small" near homes and schools. Other states are able to pass protective ordinances to keep cell towers (large or small) away from homes and schools. Because of our State laws, it is very difficult for local government in Wisconsin to pass protective ordinances. That needs to change this legislative session starting in January 2019. Find your State Legislators HERE.
Phone calls to elected representatives are much more effective. Talking Points HERE.
Letters mailed to Washington D.C. can take weeks to reach your representative because the letters are screened off-site. It is better to call or email your U.S. Congressional Representatives.
Send your elected representatives, local officials, schools, health departments, friends and loved ones this Fact Sheet on 5G and Small Cells. Most people have not heard of 5G and are not aware of proven health effects of wireless radiation.
Ask your elected representatives to support faster, safer, more reliable wired fiber optics.
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There is a lot of information on the topic of wireless radiation and it can be a bit overwhelming. A great place to start is by watching this video featuring Cece Doucette, a Technology Safety Educator, who gives a clear and concise presentation to the Ashland, MA Board of Health. Share her video to help educate your own schools, town managers, boards of health, librarians, senators, and state representatives.
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Sample Phone Message – I'm calling to ask the (Senator or Representative) to please protect our health, privacy, safety, security and the environment by prohibiting telecom companies from placing powerful 5G antenna all over our neighborhoods without local review. We have a right to determine how to integrate wireless technology into our own community. Telecom companies should not be allowed to override local control. I'd like to know what the (Senator or Representative) is doing to stop the placement of these cellular antenna in my front yard? I'd like (him/her) to support faster, safer, more reliable wired fiber optics all the way to my home. Could (he/she) please call me back. Thank you.
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Our children deserve better. We all do. Please watch this short video and if you don't want a 5G cell tower in front of your house, please call Washington today! Take Action and let your voice be heard.


text:
Active Security: The Gun Debate Comes to the Synagogue
Donnablankinship September 5, 2019 Uncategorized
By Donna Gordon Blankinship September 2019
People visit the memorials to victims of the mass shooting at the Tree of Life synagogue in Pittsburgh.
Yocheved is a gun-owning Jewish mother who thinks it's not anyone's business—not even her rabbi's—if she decides to carry a weapon to Rosh Hashanah services this year. She doesn't know if any other gun owners in her community are armed when they attend services at her Orthodox shul in Dallas, but she believes they are. Yocheved, who moved to Texas from California about two years ago, in part because of less stringent gun laws, thinks her community would be safer if all Jews concealed a weapon under their clothing or tallit.
"I would feel very comfortable if I went into synagogue and everybody had concealed carry," said the 57-year-old, who asked that her last name not be used because she fears for her safety. "The bad guy would probably know that and would not use that synagogue as a target."
Yocheved became a strong supporter of guns in synagogue after personally experiencing anti-Semitic threats when she spoke publicly about her love for Israel. With the recent shootings inside and outside congregations in Pittsburgh, Poway, Calif., and Miami, more and more Jews in the United States feel that their institutions are under threat—and that armed guards and even armed congregants may be the only way to assure their safety.
Violent anti-Semitism is not a new experience for American Jews. In the 1950s and '60s, for example, a wave of white supremacist bombings hit synagogues in the South. Another wave of violence hit Jewish institutions in the West in the late 1990s and early 2000s.
Many communities responded to the attacks by hiring guards and locking their doors full-time. But the nationwide movement to strengthen security didn't seem to infuse every community—big and small, rural and urban—until the deadly shootings over the past year in Pittsburgh and Poway. After those attacks—11 were murdered at the Tree of Life synagogue in Pittsburgh in October 2018 and one at Chabad of Poway in April of this year—American Jews began waking up once again to the very real threat of anti-Semitic violence in their places of worship. These fears are compounded by a rise in the number of mass shootings at schools, clubs, shopping malls and other public spaces.
Rabbi Daniel Weiner (center) lobbied for stronger gun laws in Washington State alongside former Congress-woman Gabby Giffords and her husband, Mark Kelly, an astronaut running for the U.S. Senate.
Not only has the debate over how best to secure our synagogues become more widespread, but the tone and content of that discussion has changed. In addition to armed guards, the conversation in many Jewish institutions now includes how and when to conduct lockdown and exit drills and whether synagogues should allow congregants to carry concealed weapons to either assist or replace professional security. And while there are no hard numbers on any of these developments, experts suggest that an increasing number of Jews are arming themselves in the belief that they must be prepared to defend themselves and their fellow congregants in the event of an attack.
How did we go from simply promoting tighter gun laws—as, for example, many Jews in the Seattle area did in the aftermath of a deadly shooting at the Jewish Federation of Greater Seattle in 2006—to debating if we should share our sanctuaries with friends and family members with Glocks concealed under their jackets?
The answer is complicated. The debate over weapons in synagogues is not simply an argument between Second Amendment die-hards and liberals fighting for stronger gun laws. It involves rising anti-Semitism, easier access to firearms and concealed carry permits, different laws in different states, as well as political rhetoric, hate speech and a social media free-for-all amplifying all the above. This includes white nationalists who have excelled at using social media to share their message and recruit new followers.
The gun debate is "just another example of how the Jewish community reflects society in general," said Amy Asin, director of Strengthening Congregations for the Union for Reform Judaism.
Darla Kashian, a 55-year-old mother of a 9-year-old son and a 12-year-old daughter living in St. Paul, Minn., tweeted after a shooting at a summer festival in California earlier this year that her children are afraid at school, they're afraid at synagogue and afraid at big events. A financial adviser, Kashian has long advocated for stronger gun laws and is on the safety committee at Shir Tikvah, a Reform congregation in Minneapolis. "Why do you keep taking me to unsafe places?" she quoted her daughter saying to her.
Dr. Murray Zedeck, an 82-year-old retired family physician and gun owner with residences in Florida and Colorado, agrees there is a need to strengthen gun laws. But he does not believe the Second Amendment should be blamed for violence in America.
"Guns don't kill people any more than knives or indeed cars. It's people that kill with the tools they have at hand," he said. "The solution is to enforce and strengthen laws already in existence and not attack good people with guns."
All the major American Jewish denominations have advocated for tightened gun laws. But all the groups—Orthodox, Conservative, Reform and Reconstructionist—leave individual choices about security up to their member synagogues.
In about one in five hate crimes in the United States, the victims are targeted on the basis of religion. Of the 1,749 victims of anti-religious hate in 2017, 58 percent were attacked because of anti-Jewish bias, according to the FBI. Anti-Muslim bias is a distant second, making up 18.6 percent of anti-religious hate crimes in that same year.
Jim Elliot (center), chief deputy at a Chicago area sheriff's office, with security officers during a synagogue trip to Israel
While some synagogue leaders have made headlines recently by stating publicly that they are in favor of arming congregants, they appear to be in the minority. And law enforcement experts offer many reasons why they think that is a bad idea.
The notion of armed congregants "just scares the heck out of me," said Jim Elliot, chief deputy at a county sheriff's office in suburban Chicago who also serves on the Facilities and Public Safety Committee at Temple Chai in Long Grove, Ill. His Reform temple decided to ban guns from the building and hire armed security after Illinois changed its laws in 2013 to permit the public to carry concealed weapons. The board hired off-duty law enforcement officers to guard the building on Shabbat, during religious school and other times the building gets heavy use.
Armed congregants would be a big problem for law enforcement during an active shooter situation, Elliot explained. They don't want civilians walking around the temple shooting at each other, making it potentially difficult to pinpoint an attacker. "The bad guy is probably not walking around wearing a hat saying, 'I'm the bad guy,' " he said.
Elliot lists several other reasons to ban guns from inside a synagogue. They are an insurance liability for the congregation. Allowing guns inside means any visitor could bring a weapon to shul, not just the people chosen to help with security. In addition, the requirements for a concealed weapon permit includes only minimal training in most states. Just because someone has experience target shooting or might even be ex-military doesn't mean they have the abilities of a police officer in a stressful situation, he said. "I could have been a cook in the military. That doesn't mean I'm able to deal with an active threat."
In 2004, the Jewish Federations of North America and the Conference of Presidents of Major American Jewish Organizations formed the Secure Community Network, known as SCN, to address both growing domestic anti-Semitism and FBI reports of threats from foreign terrorists. The group helps synagogues and other Jewish organizations assess threats, make security plans and train staff and volunteers. It also works with the FBI and Department of Homeland Security to connect the dots on perceived threats and share information widely among American Jewish institutions.
"We've gotten very good, unfortunately, at understanding those threats," said Michael Masters, national director and CEO of SCN, who previously served as executive director of the Department of Homeland Security and Emergency Management for Cook County, Ill. He said synagogues have been targeted by both home-grown and international terrorists because they are a symbol of Jewish life as well as the place where more Jews gather than any other American Jewish institution.
The father of two young daughters, Masters said the single goal of his organization is clear: "We want to make sure no one questions dropping kids off at school, sending them to camp or walking into shul."
Michael Masters, national director of Secure Community Network
Acknowledging that organizations need to make their own decisions about concealed carry and armed security guards, Masters echoed Elliot in cautioning community leaders to think hard before allowing anyone not professionally trained in law enforcement to bring in guns. In some areas of the country, like the South, where the Pew Research Center says 36 percent of people own guns, the debate over congregants bringing weapons into the sanctuary is more common. According to Masters, this practice, along with the debate itself, is much less prevalent in other parts of the country. However, there are exceptions, with a lively debate raging in some Jewish, particularly Orthodox, communities in the New York and New Jersey area.
Zedeck, the retired physician who is licensed to carry a concealed handgun in Florida and Colorado, thinks the tide is shifting toward more acceptance of gun ownership among Jews. He may or may not be armed when he walks into either of the two congregations he belongs to in Colorado and the North Miami area, the site of a recent drive-by shooting of a man outside a local synagogue. Zedeck declined to name his synagogues, but said he is not a frequent attendee at either one.
Even though he supports tougher gun laws, such as background checks, Zedeck said, "My very liberal friends would say I'm a gun nut."
Zedeck, who grew up in Brooklyn, N.Y., thinks community attitudes about guns changed after the creation of the State of Israel and again when concealed carry permits became easier to obtain in Florida in the 1980s and in the 2000s in Colorado. Gun laws vary from state to state, but more than 30 states, including those where Zedeck lives, have some form of reciprocal agreements allowing someone with a concealed carry permit in one state to bring it to another state.
People respect strength, he said. "People respect the State of Israel, not because they like Jews but because it's strong."
Gun owner David Shatz, 58, of Cherry Hill, N.J., is not interested in carrying a gun to shul himself but said he would feel a lot safer if fellow congregants, particularly those with military backgrounds, were allowed to do so, which they're not. Since the Pittsburgh shooting, his modern Orthodox synagogue, Congregation Sons of Israel, has hired an armed guard to stand out front every Shabbat as well as on holidays and other events. Members are now required to use a key fob to enter the building and visitors have to buzz and wait at the door. The congregation installed a reinforced gate and concrete pylons this summer to further improve the synagogue's security.
"My synagogue prior to the shooting in October was probably as vulnerable as any other synagogue in America," said Shatz, who works for a car donation organization. "People could walk in. Nobody questioned who you were."
Yocheved, the Dallas gun owner, who has her own marketing firm, practices regularly at an indoor shooting range. The recent spate of shootings at schools, synagogues, churches and public spaces has left her feeling continually frightened. She believes one of the most dangerous places for Jews today is in shul. "There have been times when I have not gone to synagogue because I was afraid," she admitted. "If I can't feel protected in synagogue, there's a problem with our country."
Rabbi Daniel Weiner of Temple de Hirsch Sinai in Seattle doesn't buy these pro-gun arguments. He called arming congregants a "misplaced, delusional idea." He said that if trained police officers generally hit their mark less than 30 percent of the time, according to a study of the New York Police Department, then why would nonprofessionals expect to make a difference in the stressful moments of a synagogue attack.
His large Reform congregation, which is split between two campuses, has had armed guards outside their buildings every day for decades, in part because the campuses are on the edge of a high-crime neighborhood. Even in the wake of the Pittsburgh and Poway attacks, the congregation has not reconsidered its no-weapons-in-the-buildings policy.
After the Seattle Federation shooting, Weiner became a leader in the fight for tighter laws to keep guns out of the hands of abusers, teens and the mentally ill. He worries that congregants with guns are more likely to kill another member than an armed assailant. He cited a 2007 incident in a Dallas synagogue, when the accidental discharge of a weapon during Erev Rosh Hashanah services injured the gun owner's adult daughter and two other congregants.
Weiner called on Jews everywhere to be more thoughtful and deliberate and not give in to their fears. "There's just no need for firearms in a congregation," he said. "We take security incredibly seriously."
He said that security experts told his synagogue that having an armed guard outside the building "hardens the target," making it less likely to be attacked, because potential shooters are driven to try somewhere else. Having an unknown number of amateur gun owners inside does not have the same impact, Weiner said.
Asin from the URJ acknowledged that security decisions are easier at well-funded congregations like Temple de Hirsch Sinai. In smaller towns, where the local police force doesn't patrol on a regular basis, or at less wealthy synagogues that can't afford trained security officers, the decisions are more complex. But many communities have overcome these challenges by forging strong relationships with local law enforcement or forming cooperatives with other congregations.
Jim Elliot, the chief deputy in the Chicago suburbs, said that every synagogue should work toward strengthening its relationship with local law enforcement. Reach out, welcome them into the building for a cup of coffee or make known that they can use the facilities for a bathroom break while doing their neighborhood rounds, he said.
Paying for security is an important part of the plan, but only one part, Elliot said. Security hardware, well-trained volunteers and general community awareness are also essential to any good synagogue security plan, he said.
Inspiring a congregation to be responsible for its own security is the goal of another national group, the Community Security Service, which since 2007 has been quietly training volunteers across the nation to protect Jewish spaces by teaching them to identify threats and work with police.
While the Secure Community Network focuses on nationwide and local threat assessment, CSS focuses on training volunteer security and increasing community member awareness. Like SCN, CSS does not encourage volunteers to carry guns.
"We started with 10 volunteers in New York," said Jason Friedman, executive director of the New York-based CSS. "Just by word of mouth, we have grown and grown and grown." He said CSS has trained more than 4,000 security volunteers in New York, New Jersey, Washington, D.C, Maryland and California and recently started groups in other states in other parts of the country.
Ten years ago, people were saying we don't even need security, the Navy reservist recalled. Now many want to take personal responsibility for their own safety. He believes the growth of his organization is evidence that the conversation around synagogue security has changed.
This is hard work requiring dedication and time for training as well as making sure participants remain aware and engaged. It's more difficult and complicated than debating whether guns should be allowed in sanctuaries and communal spaces, he asserted. "Sometimes, the gun debate hides a little bit of laziness."
Published in September 2019 at https://www.hadassahmagazine.org/2019/09/04/active-security-gun-debate-comes-synagogue/
Donna Gordon Blankinship is a freelance writer based in Washington State.
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Murray Zedeck says:
This is a good review of a difficult topic that unfortunately is a sign of the times where law enforcement professionals are denigrated and not appreciated for the work that they do. In view of this, personal responsibility is a necessity. These are not the "good old days" and perhaps there never were any as far as anti-semitism is concerned.
Donnablankinship says:
Thanks, Murray. And thanks for your contribution. Donna


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