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Home Actors/Actress Peter Farrelly Net Worth, Movies, Children
Peter Farrelly Net Worth, Movies, Children
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Peter Farrelly Age
Peter Farrelly Height
Peter Farrelly Green book
Peter Farrelly Movies
Peter Farrelly Children
Peter Farrelly Author
Petter Farrelly Awards
Peter Farrelly Net Worth
Peter John Farrelly (conceived December 17, 1956) is an American movie film director, screenwriter, producer, and writer. Alongside his sibling Bobby, the Farrelly siblings are generally well known for directing and creating eccentric, somewhat hostile parody and rom-com movies, for example, Dumb and Dumber, Shallow Hal, Me, Myself and Irene, There's Something About Mary, and the 2007 revamp of The Heartbreak Kid. These hits as acceletaed Peter Farrelly Net Worth over the years.
Farrelly was born in Phoenixville, Pennsylvania, to Mariann (Neary), a medical attendant expert, and Robert Leo Farrelly, a doctor. His grandparents were Irish workers. He was brought up in Cumberland, Rhode Island. He moved on from Kent School in 1975 and from Providence College. Farrelly chose to seek after composition full-time, which provoked him to leave his place of employment and migrate to Cape Cod, Massachusetts where he found a new line of work as a waiter.
He contemplated composing for a period at UMass Amherst, however was eventually disappointed with the program, and exchanged to Columbia University in New York City, which Farrelly said he found extremely fulfilling. He later ended up keen on screenwriting, which drove him to coordinating. He settled on this vocation choice after huge numbers of his screenplays sold, yet were not created. In 2018, Farrelly directed Green Book, which won the Toronto International Film Festival's People Choice Award. He is a distributed writer, with works including Outside Providence and The Comedy Writer. He lives in Los Angeles, while Bobby stays in Massachusetts.
Born on December 17, 1956 Peter Farrelly age is 62.
Peter Farrelly Height is 5′ 11¾" (1.82 m)
A working-class Italian-American bouncer becomes the driver of an African-American classical pianist on a tour of venues through the 1960s American South
<<<See the bio of Nick Vallelonga who's also associated with Green Book >>>
There's Something About Mary (executive producer), 1998 / comedy – romance
Outside Providence (producer), 1999 / comedy – drama – romance
Me, Myself & Irene (writer/director/producer), 2000 / comedy
Say It Isn't So (producer), 2001 / comedy – romance
Osmosis Jones, 2001 / animation – adventure
Shallow Hal, 2001 / comedy – drama- fantasy
Spouse: Melinda Farrelly (31 December 1996 – present) ( 2 children)
Peter Farrelly has 2 Children: Apple Farrelly and
While Peter Farrelly has certainly become well known as a movie producer, chief, and scriptwriter, he is likewise a distributed writer. His epic, Outside Providence, which is semi-personal, was distributed in 1988. It was later promoted into a film in 1999. Peters second novel, The Comedy Writer, was discharged in 1998.
Toronto International Film Festival People's Choice Award :2018 · Green Book
Golden Globe Award for Best Screenplay – Motion Picture:2019 · Green Book
Producers Guild of America Award for Best Theatrical Motion Picture:2019 · Green Book
PGA Vision Award for Theatrical Motion Pictures:1999 · There's Something About Mary
After directing and producing several high grossing films, Peter Farrelly Net Worth currently is at $40 Million.
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My Heartbreak Over the Ghomeshi Verdict
An Amazing Meeting of the Minds: The One Spark Pro...
Thursday, March 24, 2016 8:41 AM
I am heartbroken over the Jian Ghomeshi verdict. There are countless pioneers, trailblazers, advocates, and allies of the violence against women movement that can explain the socio-political and legal implications far better than I can, but I feel its impact deeply. For all of us that work with One Spark to ensure that women achieve financial independence, we do this work because there is no question that when women lack access or face barriers to resources, their vulnerability to violence is increased exponentially. Likewise, when a legal system reacts with impunity to punching, choking, and otherwise abusing a woman, that system makes all women vulnerable. When we treat victims of violence like they have only experienced a crime if they did and said the right thing before, during, and after it happened, that makes all women vulnerable. When we send the message to survivors of physical and sexual violence that we will employ every legal means and loophole to tear you down before you may or may not see justice, that makes all women vulnerable.
Jian Ghomeshi did not say that he did not hurt women, nor that he did not enjoy it. But, that wasn't the issue. The issue was the role of the women: did they collude, did they reveal all the details, did they lie, did they contact him after the fact…did they…did they…did they…
But, nobody denied he hit them and he choked them. And nobody denied he held the balance of power while he was hitting and choking them. Now, he'll see another day to hit and choke again, as will others that know that the Ghomeshi defence can be their defence and that the complainants' shame and humiliation can be their victim's shame and humiliation.
As much as I love the "I believe you"/ "We believe you" hashtags, those of us that work in the violence against women field – and make it our daily mission to broadcast that message to survivors - tend to inherently start from a place of belief, compassion, and trust, so these campaigns and messages reiterate existing systems of support. The fundamental challenge is to effectively address the flaws in our systems and power structures that critically exacerbate the vulnerability of women. In time, I know the heartbreak of "not guilty" will translate into a strengthened resolve to make change: it will fuel the work of so many that understand that violence against women and the risk of violence against women are woven into our socio-economic and legal systems and the processes that support them. And so our work marches on in the hope of a day when #webelieveyou is a systemic starting point and no longer a necessary rally cry for women impacted by violence and re-victimized by the very systems that are supposed to protect them.
With peace and hope,
Executive Director, One Spark

redpajama_set_name: RedPajamaCommonCrawl


I was invited to join in the celebration of Cabbage Patch Kids 30th anniversary that took place October 15th in Toronto. I was unable to join but I'm excited to share with you some awesome news from Jakks Pacific and CPK. The information and photos below were provided to me by the PR company working with Jakks Pacific.
-Beginning November 1st, consumers will be encourage to join our online community by liking the Jakks Pacific FB page, sharing their memories and posting pictures. Each day we will randomly select one winner to receive a 30th anniversary Cabbage Patch Doll.
-We are very lucky to have as our partner Canada's leading toy retailer. Toys R Us has been a primary Cabbage patch adoption center for Canadian children for 30 years and what better place to throw our nation wide party than at their stores. Mark the date on your calendar, Saturday Nov 16 we will be hosting parties at 6-flagship Toys R Us location across the country. Vancouver, Calgary, Edmonton, Montreal and two in the GTA; Vaughn Mills and Sherway Gardens. At these stores consumers will have the opportunity to celebrate by having their photo taken, receive a custom CPK Frame, mini doll loot bags, tasty treats and $5off coupons. On November 16th Toy R Us locations across the country will have special pricing on Cabbage Patch Kids product to help recreate the craze of 1983.
-In 1983 the Make-A-Wish organization was born and is celebrating 30 of granting wishes for children. We love and support the work they do. We are thrilled to help kick-off the Make-A-Wish season of giving with a $5,000 cash donation as well a commitment for a season of partnership with toys and fund raising.


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Oxford research tackles threat of antibiotic resistance
Oxford University is opening a new research institute dedicated to tackling resistance to antibiotics.
The university said this is one of the biggest rising threats to global health, already causing 1.5 million deaths per year worldwide, according to BBC.
The institute will be funded by £100 million donated by the Ineos chemical company.
Vice chancellor Louise Richardson said the COVID pandemic had shown the "high cost of ignoring something that is likely to head our way".
'Growing menace'
There will be 50 researchers working in the new Ineos Oxford Institute for Antimicrobial Resistance, addressing the "overuse and misuse" of antibiotics, which the university warned could cause 10 million excess deaths per year by 2050.
Routine operations and "taken-for-granted treatments" would become much riskier without effective antibiotics, said the university.
"The growing menace of bacterial resistance to antibiotics is one of the most under-reported issues of our time," said David Sweetnam, a surgeon advising the new institute.
"We now have a very narrow window of opportunity in which to change course and prevent the unthinkable from becoming the inevitable," he said.
Professor Richardson said the growth of resistance to antibiotics made it "absolutely imperative that we act"
"It may seem very costly to do all this research now but it's nothing on the cost of failure to act," she said.
The vice chancellor said Oxford's success in developing a COVID vaccine had created a much more positive public perception of university research and the value of experts.
'Cannot get enough of experts'
"We were able to adapt so quickly and produce a vaccine in less than a year because we had spent 20 years working on it, doing blue skies research," said Richardson.
There had been debates about universities not providing value for money and too many people going into higher education, but Richardson suggested the public mood had changed.
"The British public cannot get enough of experts at the moment," she said.
The high-profile development of a COVID vaccine had shown the value of university research, said Richardson — "critical not just to health, but to the economy, to the preservation of culture and to generation of new ideas".
"It's so much in the national interest that we have good universities," she said.
Sir Jim Ratcliffe, billionaire chairman of Ineos, said the partnership with Oxford aimed to "accelerate progress in tackling this urgent global challenge".
WHO: Pandemic 'nowhere near over' as many countries post record cases
Australia has record COVID-19 deaths; hospitals under stress
Interior Minister urges full resumption of in-person education
Iran's daily COVID cases surpass 3,000, deaths at 20: Ministry
Iran's daily COVID cases surpass 2,000, deaths hit 32: Ministry
Iran reports nearly 2,000 daily COVID cases: Ministry
President says no shortage of COVID vaccines, urges all to get third dose


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Q: How to get the ylabel function in Matlab working correctly So I'm trying to use this code to generate plots:
%initialize some variables
antibodies = {'Rel-A','p-Rel-A','IkBa','p-IkBa','A20'};
titles = {'PBS','GOX','TNF','L','M','H'};
x_axis = {'1h','3h','6h'};
y_axis = 'Optical Density';

%create figure
figure('name','Time Course,PBS,Cyt')
for j=1:5,
   subplot(5,1,j)
   errorbar(avg_time_course_data{2}(j,1:3),avg_time_course_error{2}(j,1:3))
   set(gca, 'XTick', 1:6, 'XTickLabel', x_axis)
   title(antibodies(j))
   ylabel(y_axis);
end

When I run this script however I get the plots but with no Y label! Does anybody know why?

A: I changed some lines in your code. I also tested with errorbar(rand(1,10), rand(10,1)).
%initialize some variables
antibodies = {'Rel-A','p-Rel-A','IkBa','p-IkBa','A20'};
titles = {'PBS','GOX','TNF','L','M','H'};
x_axis = {'1h','3h','6h'};
y_axis = 'OD'; % I made the string shorter, because it was overlapping the other ylabel on my screen.

%create figure
figure('name','Time Course,PBS,Cyt')
for jj=1:5,
   subplot(5,1,jj)
   errorbar(rand(1,10), rand(10,1))
   set(gca, 'XTick', 1:6, 'XTickLabel', x_axis)
   title(antibodies(jj))
   set(get(gca,'YLabel'), 'String', y_axis); % The code now use a different method for setting the ylabel string.
end

Let me know if it helps you.

redpajama_set_name: RedPajamaStackExchange


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text:
The Rick And Morty Garage Mystery That Still Has Fans Stumped
By Mike Bedard/Updated: Feb. 3, 2021 8:51 am EST
Every super genius needs a lair — a place they can visit to get away from it all and just focus on whatever task is at hand. Batman has the Batcave. Professor X has Xavier's School for Gifted Youngsters. Meanwhile, Rick Sanchez from Rick and Morty has his family's garage, but he has managed to transform this car hole into a blissful sanctum.
It seems like everything in there is placed with intention. Even some dead flies laying on the counter can secretly activate another one of Rick's gadgets. And considering everything Rick does seemingly serves a purpose, it's easy to overthink the matter, and try to find Easter eggs, to get a deeper glimpse into the scientist's psyche.
For instance, one of the best background details on the show can be found on the shelving on the other side of Rick's workstation. You can always see a box labeled "Time Travel Stuff," which seems to suggest Rick has attempted to pull a Back to the Future despite his frequently-mentioned disdain for such concepts. However, if you look closely, there's another item in his garage that has Rick and Morty fans stumped as to whether there's a deeper meaning.
The clock in Rick's garage is almost always pointed to 2 o'clock
There are a ton of bizarre sci-fi gadgets you can find in Rick's garage, so it's easy to overlook some of the more mundane items, like the clock perched right over the calendar. So far in the series, nothing important has really come out of the timepiece. It's not like Rick appears to be stashing weapons behind it or anything. However, there is something interesting about it which some fans on Reddit have locked onto – namely, the fact the hands are usually positioned at 2 o'clock.
This is in spite of the fact that we see scenes in the garage which occur at various times of the day, and yet, and the clock rarely ever changes. One could surmise the clock is merely broken, and Rick simply doesn't have the desire to fix it. This doesn't quite add up, though, when you consider there have been some rare instances where the clock does read something different. For example, this happened on season 1's "Anatomy Park," where the clock is pointed toward 3 o'clock.
This occurs again in season 2's "A Rickle in Time" when, once again, the clock's hands are at 3 o'clock.
There doesn't seem to be any rhyme or reason to the clock's position and why it only randomly differs every so often. Normally, the creators pay a lot of attention to detail, but this truly seems like it might just be something an animator put there without a second thought. On the aforementioned Reddit thread, one user, my_gamertag_wastaken, suggested it's just a matter of positioning the arms in a way that results in the clock "looking nice."
Maybe we need to remember this classic line from Rick, "Why was Knight Rider called Knight Rider? The car's name was Kitt – nobody rode Michael Knight. You're overthinking it."
Perhaps we shouldn't look too deeply into this one.


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Innen Leben (Originaltitel: Insyriated, alternativer Festivaltitel: In Syria) ist ein Spielfilm von Philippe Van Leeuw aus dem Jahr 2017. Die belgisch-französisch-libanesische Koproduktion basiert auf einem Originaldrehbuch Van Leeuws. Das kammerspielartige Drama schildert 24 Stunden im Leben syrischer Zivilisten, die während des Bürgerkriegs gemeinsam in einer Wohnung in Damaskus eingeschlossen sind.

Der Film wurde am 11. Februar 2017 im Rahmen der 67. Internationalen Filmfestspiele Berlin in der Sektion Panorama uraufgeführt und gewann dort den Publikumspreis. Ein deutscher Kinostart erfolgte am 22. Juni 2017.

Handlung
Damaskus, während des Bürgerkriegs: Die Ehefrau und Mutter Oum Yazan harrt mit ihrem alten Schwiegervater Abou Monzer, ihren Kindern Yara, Aliya und Yazan und der philippinischen Haushaltshilfe Delhani in ihrer Wohnung im 2. Stock eines Mehrfamilienhauses aus. Ebenfalls kurzfristig Aufnahme gefunden hat die ausgebombte junge Nachbarsfamilie Samir und Halima mit ihrem Baby sowie Yaras Freund Kareem, der bei einem Besuch von schweren Gefechten überrascht wurde und die Lage abwartet. Oum Yazans Ehemann ist fort und wird für den Abend erwartet. Die Fenster der geräumigen Wohnung zum Innenhof bleiben aus Angst vor Scharfschützen verhangen, während aus der Ferne Detonationen oder Helikoptergeräusche zu hören sind. Die Wasserversorgung ist zusammengebrochen, und der Gang nach draußen, um neues Wasser zu holen, gefährlich. Strom-, Internet- und Telefonnetz funktionieren nur zeitweise.

Samir und Halima planen für den Abend die Flucht mit Hilfe eines französischen Journalisten in den Libanon. Als Samir für die Vorbereitungen am Morgen das Haus verlässt, wird er von einem Scharfschützen angeschossen und bleibt reglos im Innenhof liegen. Die verängstigte und religiöse Delhani, die ihren Sohn vermisst, wird unfreiwillig Zeugin des Vorfalls und weiht Oum Yazan ein. Diese hält es für klüger, Halima vorerst nichts davon zu erzählen und weist Delhani an, ihr Wissen für sich zu behalten. Trotz des Krieges versucht die resolute Oum Yazan den Familienalltag aufrechtzuerhalten. Gemeinsam wird gegessen, Oum Yazans Schwiegervater unterrichtet Enkel Yazan, während ihre älteste Tochter Yara mit Kareem flirtet.

Als es zu schweren Bombenexplosionen im Viertel kommt, überschlagen sich die Ereignisse. Über den Balkon verschaffen sich zwei Männer Zutritt in die verrammelte Wohnung. Sie waren zuvor von der energischen Oum Yazan durch den Türspion harsch abgewiesen worden. Halima und ihr Baby schaffen es nicht, sich mit den anderen in der Küche zu verbarrikadieren. Sie belügt die Männer, die auf der Suche nach Diebesgut sind, dass sich hinter der verschlossenen Tür nur eine alte Frau und ihr Sohn befinden würden. Daraufhin wird sie vom Älteren der beiden vergewaltigt, während Oum Yazan, Delhani, Abou Monzer, Yara, Aliya, Kareem und Yazan unfreiwillig zum Teil Ohrenzeugen des Verbrechens werden. Die geschändete Halima ringt ihrem Vergewaltiger das Versprechen ab, das Haus und seine Bewohner zu beschützen.

Nachdem die beiden Männer die Wohnung verlassen haben, kümmert sich die Gemeinschaft notdürftig um die unter Schock stehende Halima, die sich später mit ihrem Baby in ihr Zimmer zurückzieht. Delhani bedrängt Oum Yazan, Halima vom Schicksal ihres Mannes zu erzählen, über das sie verbotenerweise bereits mit Abou Monzer gesprochen hat. Als Halima am späten Abend von Samirs Schicksal erfährt, erleidet sie einen Nervenzusammenbruch. Sie reist die Vorhänge auf, um die Aufmerksamkeit der Heckenschützen auf sich zu ziehen und kann nur mit größter Mühe wieder beruhigt werden. Halima macht sich daraufhin auf, Samirs Leichnam zu bergen. Kareem und Yara helfen ihr dabei. Es stellt sich heraus, dass Samir noch lebt, aber durch eine tiefe Schusswunde in den Rücken schwer verwundet ist. Freunde von Oum Yazans Ehemann werden verständigt, die den bewusstlosen Schwerverletzten abtransportieren. Halima und ihr Baby sollen am nächsten Abend folgen. Über den Verbleib von Oum Yazans Ehemann können die Freunde nichts sagen. Sie raten ihr, die Wohnung zu verlassen, doch Oum Yazan will bleiben.

In der Nacht, als kurzzeitig das Telefonnetz wieder funktioniert, erhält Oum Yazan eine verspätete, kryptische Sprachnachricht von ihrem Ehemann. Am nächsten Morgen, als sein Sohn noch immer nicht zurückgekommen ist, steht Abou Monzer rauchend vor dem verhangenen Fenster und ist den Tränen nahe.

Hintergrund
Innen Leben ist der zweite Spielfilm des überwiegend als Kameramann tätigen Belgiers Philippe Van Leeuw. Sein Debüt als Regisseur und Drehbuchautor hatte er 2009 mit Ruanda – The Day God Walked Away gegeben, der aus der Sicht einer Frau vom Völkermord in Ruanda berichtete. Mit dem Drehbuch für Innen Leben hatte Van Leeuw bereits 2013 begonnen. Er wurde dazu von einer realen Erzählung aus Aleppo angeregt: "Eines Tages im Dezember 2012 erzählte mir eine Freundin aus Damaskus, dass ihr Vater für drei Wochen in seiner Wohnung in Aleppo eingesperrt war – ohne Telefonanschluss oder andere Kommunikationsmöglichkeiten, weil die Stadt durch Bomben so sehr zerstört war. Ich sah diesen einsamen Mann vor mir, wie er in seinem eigenen Zuhause eingesperrt war, und stellte mir auch andere wie ihn vor, die Tag für Tag ums Überleben kämpfen.", so Van Leeuw.

Van Leeuw beschrieb das Filmprojekt als "[...] von einer gewissen Dringlichkeit getrieben." Er habe sich für Innen Leben von Anfang an auf die Wohnung der Familie als einzigen Handlungsort und die Zeitspanne von 24 Stunden festgelegt. Außerdem wollte er keine Verurteilung oder eine aufgedrückte moralische Haltung in seinem Film zeigen. Beim Verfassen des Drehbuchs ließ sich Van Leeuw von den exilierten syrischen Filmemachern Hala Mohammad und Meyar Al-Roumi beraten sowie von eigenen Kenntnissen über die Region inspirieren. Bezüglich des Spannungsaufbaus von Innen Leben verwies der Filmemacher auf David Finchers Thriller Panic Room (2002). Van Leeuw verzichtete aber eigenen Angaben zufolge auf Tricks und Spezialeffekte, sondern interessierte sich nur für "[...] den ungeschönten Blick auf das Drama der Situation, in der sich die Figuren befinden." "Wie in meinem letzten Film, The Day God Walked Away, war ich sehr darum bemüht, in meiner Herangehensweise an Gewalt jegliche Nachsicht und jeglichen Voyeurismus zu vermeiden. [...] Die gewalttätigen Handlungen, die im Film dargestellt werden, sind eher akustischer Natur als visueller. Ich versuche immer, etwas visuell auszudrücken, anstatt Dialoge zu benutzen, um die Dinge zu vermitteln. Meiner Meinung nach sollten Gesichter und Körper alles erzählen.", so Van Leeuw, der als weiteren Bezugspunkt den Filmemacher Jacques Tourneur nannte.

Bis auf die israelisch-arabische Schauspielerin Hiam Abbass, Diamand Abou Abboud und die in Frankreich geborene Juliette Navis wurden alle übrigen Rollen mit syrischen Darstellern besetzt. Navis verfügte über keine Sprachkenntnisse in Arabisch und musste daher ihren Text phonetisch erlernen. Da es nicht möglich war, die Dreharbeiten in Syrien stattfinden zu lassen, wurde Innen Leben im libanesischen Beirut gedreht. Einige der Schauspieler, die in Syrien lebten, mussten während des gesamten Drehs im Libanon bleiben, das es zu gefährlich war, zu pendeln. Die im Film spielenden Kinder sind alle syrischer oder halbsyrischer Abstammung. Ihre Familien kamen als Flüchtlinge in den Libanon.

Hiam Abbass fühlte sich eigenen Angaben zufolge verpflichtet, die Rolle der Oum Yazan anzunehmen und lobte das Drehbuch. Die Geschichte erinnerte sie an den Palästinakrieg (1947–1949). "Gerade wegen meiner eigenen Geschichte und der Geschichte meiner Vorfahren traf es einen Nerv. Es war nicht sehr schwer für mich, mich sofort mit diesen Leuten zu identifizieren, mit dieser Geschichte und diesen Figuren, und in der Lage sein, ihm zu geben, was ich von meinem emotionalen Gepäck hatte."

Rezeption

Christiane Peitz (Der Tagesspiegel) lobte nach der Berlinale-Uraufführung in ihrer Kurzkritik Innen Leben als klaustrophobisches Kammerspiel und bewertete die Leistung von Hauptdarstellerin Hiam Abbass als großartig. Differenzierter äußerte sich Claudia Schwartz (Neue Zürcher Zeitung) zum Film. Sie lobte die Darstellerleistungen in dem alle politischen Diskussionen ausblendenden Film, der als "humanistisches Manifest" eine "redliche Arbeit" sei. Innen Leben sei aber genauso problematisch wie der letztjährige Berlinale-Gewinner Seefeuer. Neben fehlendem politischen Gespür entwickle der Film "in seinem moralischen Wahrheitsfuror keine Distanz zum eigenen Verfahren". Schwartz kritisierte die lange Darstellung der Vergewaltigungsszene Halimas, die man als Tatort-Folge als zu "realitätsnah" aus dem Fernsehprogramm nehmen und Zuschauerempörung hervorrufen würde. "Kino schafft keine politischen Zeichen, indem es in der Luft liegende Themen bebildert, wie «Insyriated» das zeigt, sondern wenn es gelingt, einen Kontrapunkt zum Zeitgeist zu setzen, wo es Empathie auslöst und das Problem weiterdenkt als das allgemeine Fühlen und Meinen.", so Schwartz, die fürchtete, dass bei so viel moralischem Anspruch eine kritische Debatte ausbleiben könnte. Anja Seeliger (Perlentaucher) empfahl Innen Leben anzusehen, auch wenn Philippe Van Leeuw "keine neuen Einstellungen oder gar eine neue filmische Sprache für diese Situation" finde. Der Film erinnere daran, dass es im Krieg keine richtigen Entscheidungen gäbe: " Auch etwas nicht zu tun, ist eine Entscheidung, die Opfer kostet. Man kann nach diesem Film über viel diskutieren, nur zum Moralisieren hat man überhaupt keine Lust.", so Seeliger.

Jonathan Romney (Screen International) fühlte sich an die ebenfalls kammerspielartig inszenierten Filme Panic Room von David Fincher, Sieranevada von Cristi Puiu und Das Fenster zum Hof von Alfred Hitchcock erinnert. Er lobte das Schauspielensemble, im Besonderen Hiam Abbass und Diamand Abou Abboud. Abbass würde als Oum Yazan eine "ihrer bis heute kraftvollsten Darstellungen" abrufen. Der Film sei ein "straff konstruiertes, intensives klaustrophobisches Drama" und biete "eine manchmal nervenaufreibende Darstellung dessen, was passiert, wenn Konflikte auf den häuslichen Raum treffen." Romney wies auch auf die komplexe Tongestaltung von Paul Heymans und Alex Goosse hin. Deborah Young (The Hollywood Reporter) rezensierte den Film als "ernüchternde, schnelllebige Studie eines syrischen Haushalts unter Belagerung", dessen Situation der geschlossenen Gesellschaft durch den klaustrophobischen Raum und begrenzten Zeitrahmen das Drama erhöhe. Auch Young lobte sehr die Darstellerleistungen von Abbass und Abou Abboud und verwies darauf, dass Van Leeuw bewusst auf Nahaufnahmen der Schauspieler verzichte. Jay Weissberg (Variety) störte sich ähnlich wie Claudia Schwartz an der "wohlmeinenden, aber grob melodramatischen Geschichte". Van Leeuws Regie sei "flüssiger" als sein Dialog und Weissberg verwies u. a. auf die Abschiedszene am Anfang zwischen Halima und Samir. Der Kritiker zitierte insbesondere die Szene, in der sich die Familie unter Oum Yazans Kommando in der Küche verbarrikadiert, während Halima vergewaltigt wird. "Das Problem im Film ist nicht, dass Oum Yazan ihren Altruismus verloren zu haben scheint, sondern dass das Skript so berechtigt diesen Moment schafft, um die Art von moralischem Dilemma zu erzwingen, das in der Regel in High-School-Ethik-Klassen behandelt wird.", so Weissberg, der stattdessen Delhani als die rundeste Figur des Films betrachtete. Die Tragödie in Innen Leben werde auf "billige Fernsehtricks" reduziert. Weissberg lobte die "flüssige" Kameraarbeit von Virginie Surdej, während die minimale Filmmusik von Jean-Luc Fafchamps "unglücklicherweise kitschig und schlecht eingesetzt" sei.

Auszeichnungen
Innen Leben gewann auf der 67. Berlinale den Panorama-Publikumspreis für den besten Spielfilm sowie das Europa Cinemas Label als bester europäischer Film der Sektion. Das europäische Kino-Netzwerk gibt finanzielle Anreize, um den Film in den europäischen Kinos zu zeigen. Im selben Jahr wurde der Film auf dem Seattle International Film Festival gezeigt, wo Philippe Van Leeuw einen dritten Platz als bester Regisseur belegte. Innen Leben gelangte auch auf die Auswahlliste für den Europäischen Filmpreis 2017.

Weblinks
 Profil bei berlinale.de

Einzelnachweise

Filmtitel 2017
Belgischer Film
Französischer Film
Libanesischer Film
Filmdrama
Kriegsfilm
Thriller

redpajama_set_name: RedPajamaWikipedia


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Partner country feature: Malacca – ten years on, culture meets culture
rivierabarnes	2018-07-17 One Comment
Ten years after being placed on the world heritage list, Malacca (capital of the state of the same name) has major ambitions to further its cultural impact on the world.
The most recent example is the opening, in July, of the "Encore Melaka" theatre extravaganza: a timely, and extremely powerful addition to the city's collection of treasures.
Encore Melaka, a scenic venue overlooking the Straits of Melaka, is a purpose-built 2,000-seat theatre, designed for the high-tech telling of Melaka's rich history. Encore Melaka presents a mesmerising performance with a series of touching life stories of the locals. It is not designed as a cultural performance for tourists, but more as a performance that reflects a society that embraces diversity and inclusiveness.
In a 70-minute show, the audience is led through six centuries of history, crossing through time and space. What they take home is not merely the story of a rich historical place, but an intellectual reflection of the true essence of Malacca – a model of multicultural coexistence.
Acclaimed as the most innovative director in China, Wang Chaoge serves as the chief director of Encore Melaka. Wang pioneered real-scene performances in China and has taken the Impression & Encore Series to a commercial success internationally.
Astoundingly Rich Cultural Heritage Leads to Ongoing Tourism Growth
Malacca is of course famous for its rich cultural heritage, subsequent to the colonial rule of Portuguese, Dutch and British.
Already in 2017, Malacca is reported to have registered 16.7 million visitors, a new record for the state, placing it as the main single tourist destination in the country outside of Kuala Lumpur, with the majority of tourists coming from China, Singapore, Indonesia, Hong Kong and Taiwan. It is projected that 17-million people will visit the state in 2018.
Stadhuys, Malacca
With a diversity of cultures and races, similar in some ways to George Town in Penang, the city of Malacca is primarily known today for its Baba Nyonya culture (couples formed by the marriage of Chinese men with local women), and Kampung Morten, where one can find a collection of almost 100 fascinating traditional Malay houses.
Melaka River – a growing attraction
Once a pivotal trade route during the 15th century, Sungai Melaka (Malacca River) adds a great deal to the charming atmosphere around the town's central area. Early in the morning, or late in the afternoon capture beautiful water reflections. A river cruise is an increasingly popular way for people to see the sights of Malacca at a leisurely pace, in comfort and without breaking the bank.
The river is where the town's history began, and it has played a key role over the years.
A few decades ago the river was a smelly waterway lined with dilapidated houses on stilts and the untidy rear-side of crumbling shop-houses. In recent years, it has had a major facelift, with great efforts being made to preserve many of the historic buildings and bridges along the river. Some buildings are painted with colourful murals depicting different aspects of the town's rich history and culture. The river tour takes the visitor back through more than 600 years' history in the region. The total journey takes around 45 minutes. It operates from day to night and both offer a considerably distinct experience.
A Veritable Centre of Heritage
Christ Church, St. Paul's Hill, and Cheng Hoong Teng Temple are just a few of the headliners that attract tourists from all over the world to Malacca. Kampung Kling Mosque and A Famosa Fort should also be on anyone's list when visiting the city.
St Pauls Church, Malacca
It was in 2008 that Malacca was named UNESCO World Heritage City. Today there are plenty of sites to visit over the course of a few of days, and the list continues to grow.
Categories2019 Partner Country
Tagsencore, Malacca, Malaysia, world heritage
Partner Country Feature: Discovering Malaysia's Secret South
Partner country feature: Penang – when local heritage becomes world heritage
ejsna	 2018-08-28 at 7:51 am
Went on a cruise on the Star Flyer sailing from Thailand to Singapore and Malacca was one of our ports of call. That was so long ago. I loved the "antiquity" of it.


Q. There has been a request by some parishioners for a statue of our Patron Saint to be placed in our church. There is already a statue of the Saint at the back of the church. Would it be appropriate to have another statue in the church and, if so, where should it be placed?
There are several questions then that need to be asked when responding to a request to place a statue in a church: Is there already a suitable image in the worship space? Does the proposed image reflect the spirituality of the parish as a whole? Do the qualities of this piece of art make it appropriate for placement in the church for public veneration?
In keeping with the General Instruction, a second image of the Saint should not be placed in the church. If the proposed new image is of superior quality, perhaps it could replace the original image. This will be problematic if parishioners have a particular affinity with or attachment to the existing statue or it was donated by current parishioners or their forebears. The Constitution on the Sacred Liturgy indicates that decisions about the quality of images for churches need to be made by people with expertise in art (CSL #126).
Some churches still have statues or other objects in central locations in the worship space, despite the fact that they are quite inappropriate in light of post-Vatican II theology and liturgical practice, because they have been donated by parishioners or their relatives. For this reason, it is important to exercise caution when accepting gifts of church furnishings or decoration.
With regard to the placement of statues and other images, the guiding principle is that all art and environment must serve the liturgy, not the other way around. The central liturgical symbols are the altar, font and lectern. Visual objects such as statues, banners and flowers should never draw attention away from these central symbols or from the sacred action of the assembly. Rather, they should contribute to the sacred mysteries being celebrated.
A balance needs to be struck between over-decorating the worship space and leaving it too bare. Blank walls, vast empty spaces and a complete absence of artwork will not open us up to the transcendent. On the other hand, an overabundance of statues and images can be disquieting and intrusive. It is also difficult to experience the power of a symbol when it is multiplied, and thereby diminished.
Rational and informed discussion can often uncover "win/win" solutions rather than "either/or" choices in situations such as this. Perhaps placing the statue in a separate shrine would be a way of accepting the gift without intruding on the worship space and the community.


I'm not sure about you but I cannot live without my daily English breakfast tea brewed up in my favourite teapot. Mamas breakfast hits all the right spots and will leave you wanting more.
Mamas Breakfast is a high-quality English Breakfast blend with the best ingredients so you feel comfortable knowing you are sipping on quality tea.
Steep for 4 to 7 minutes and drink me anytime of the day hot with or without milk.
Fennel, Anise and Orange Peel add to its sweetness, with Caraway and nettle giving it a warming, earthy note.


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Bon Jovi prepping 40th anniversary box set
News was revealed during a SXM roundtable discussion
Jon Bon Jovi has confirmed that he is compiling a follow up to Bon Jovi's 2004 box set, 100 Million Fans Can't Be Wrong, for the band's 40th anniversary in 2023. During a recent SiriusXM Roundtable celebrating the 35th anniversary of Slippery When Wet, JBJ revealed that his team is currently archiving material from their vaults for the project.
"To coincide with what will be our 40th anniversary in 2023, we're in the midst of archiving anything and everything we have, and much to my surprise, there's probably 40 or 50 songs that we had no idea existed," Bon Jovi shares. "We're going through that all right now. And now that technology is such — whether it's lyric books or photographs and video and film and things — I had no idea that I was such a hoarder, we have a lot. And to coincide with the 40th anniversary is going to be the be all end all box set."
Further details will be revealed as they become available.
Pop star P!nk was tapped to host the Zoom roundtable that included drummer Tico Torres, keyboardist David Bryan and bassist Hugh McDonald along with Slippery video director Wayne Isham and video producer Curt Marvis. The special is currently airing as an audio program on Bon Jovi Radio on the SiriusXM app, and included about 100 SXM contest winners watching as it all unfolded off air.
100 Million Fans Can't Be Wrong celebrated the band's 20th anniversary and marked a milestone of surpassing 100 million albums globally. The set featured a collection of B-sides and unreleased demos up to that point across four CDs with a bonus DVD of behind the scenes footage and more.
The band's most recent album, 2020, was released last fall and premiered in the top ten around the world.
Cole Swindell releases 'Drinkaby' January 27, 2023
Toosii kicks off 2023 with 'Magic Potion' January 27, 2023


At a 1950s Coney Island amusement park, the wife (Kate Winslet) of a carousel operator (Jim Belushi) begins to unravel; she's having an affair with a handsome lifeguard (Justin Timberlake), and her husband's daughter (Juno Temple) is hiding from mobsters. Much like cinematographer Vittorio Storaro enchanted us with the look of Café Society (2016), this one wouldn't be as effective without his colorful and nostalgic portrait of Coney Island and its cotton candy-scented atmosphere. That's the backdrop of a story that often looks like it could take place on a stage, relying on dialogue and passionate confrontations between the actors. Dangerously close to being too artificial, but still vibrant throughout, with a dynamite performance by Winslet.
2017-U.S. 101 min. Color. Written and directed by Woody Allen. Cinematography: Vittorio Storaro. Cast: Kate Winslet (Ginny), Justin Timberlake (Mickey Rubin), Juno Temple (Carolina), Jim Belushi (Humpty), Max Casella, David Krumholtz.


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The Walking Dead Has Reportedly Filmed Death Scenes For All 11 Of Negan's Potential Victims
Published 6 years ago: June 20, 2016 at 9:45 am -
Filed to:amc
io9negantelevisiontvwalking dead
The situation revolving around The Walking Dead's latest cliffhanger — a recreation of an infamous murder scene from the comics that AMC has managed to stretch out so far for pretty ridiculous. Turns out, however, that its absurdity cannot match the lengths AMC is going to keep the outcome secret.
The detail comes out of an extensive Hollywood Reporter piece about the show's next season, and how it intends to deal with the consequences of Negan brandishing his barbed-wire-wrapped baseball bat in the faces of the majority of the show's principal cast. But how do you avoid getting the cliffhanger you've inconceivably stretched out for months and months spoiled ahead of broadcast? By filming the opening scene of the upcoming seventh season over and over again, each time with a different actor taking the fatal blow.
According to THR's sources, that's exactly what AMC has done, in an attempt to dissuade spoiler-hungry set photographers from figuring out who really dies. There were 11 potential victims — Rick, Carl, Michonne, Glenn, Maggie, Abraham, Sasha, Daryl, Eugene, Aaron, and Rosita — so that means AMC recorded 11 takes of the same scene. The director of the episode and the show's producers will then slot in the true take in the editing process.
Kinda a crazy length to go to for something that viewers should have probably gotten to learn in last season's finale, isn't it?


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Frank Ocean's "Songs 4 Women" Is a Lesson in Singing for Yourself
Frank Ocean's "Songs 4 Women" teaches us never to make music for love's sake.
Donna-Claire Chesman
Art By: Jake Franssen
How do we balance having fun with getting ours? Simple: We don't. A job is a job, a passion is a passion, and blending the two inevitably results in complications. Frank Ocean's "Songs 4 Women" tackles this phenomenon as one of the more raw cuts on his 2011 debut mixtape, nostalgia, ULTRA..
"Songs 4 Women" is a blithe tune about the balance between making music to get at love and loving to make music. When your passion becomes your job, Frank sings, how do you keep the passion going? Of course, the job of a heartthrob is to "get at women," but when that job overtakes your mental, how can you enjoy the fruits of your labor? These are the central questions of the song.
"Songs 4 Women" opens with a question, too. Frank begins in a state of concern, wondering if he's singing for the right reasons, or if he's singing "'cause that's what the bitches wanted." The first verse is concerned with Frank's conquests, and the small details of the girl's car, the bus, riding shotgun and waiting for the parents to be gone, situate us in the throes of blissful high school days. These are the days where taking up space felt risky, where love was hyperbolic, and everything about every shared moment was thought on wistfully. Here, we get the sense there's nothing better than singing for women. Nothing can go wrong—until it does.
The second verse introduces our conflict. "Now I'm in the lab, always working late / Always sleeping past the breakfast she makes," Frank details. Slowly but surely, he's lost his passion and turned singing into work for the sake of love. With that energy evaporated from Frank's work, the girl of the track has moved on from Frank Ocean and is bumping Drake's new shit. By the end of the second verse, we get the sense Frank's pursuits of music were all for nothing—only because he pursued music for all the wrong reasons. It's a quick lesson in keeping vision and staying grounded, but it's precious as well. The angst bubbles over on the outro, where Frank airs his frustrations and stays the course. These are all songs for women. It'll work out; eventually, he hopes.
"She used to stop by, come and holla at me / Put her purse down and try to battle rap me / She don't do that no more, no more, no more / Don't even listen to the songs I record"—Frank Ocean, "Songs 4 Women"
With that, "Songs 4 Women" is also about the fallout of being in love for love's sake. We have the whole second verse as our prime example. Again, Frank leans on imagery to tell his tale. The purse detail is a special one, signifying the woman of the track has settled into her life with Frank. It makes the following line about her absence all the more cutting. We miss her and her purse. Quite literally, she is gone, and so is her discerning ear. We get the sense there was never love in the first place. It was all about the feeling of being in love, but not the love itself.
Within this fallout, too, there are layers. "Songs 4 Women" is not accidentally one of the most fun and ironic tracks on nostalgia, ULTRA.. The song pictures Frank as a young man and not the prophetic soul he grows up to be. The song imagines Frank as nothing more than a schoolyard boy snapping and singing to pick up girls and raise his acumen as a young man. Those very girls break his heart like it's nothing. There's a balance of power that should be missing from the narrative of boy-meets-girl. It's progressive, and it's a touch funny, given Frank's coming out as bisexual.
Unraveling the cut even further, we find Frank slyly attacking toxic masculinity. You see, much of the women-chasing on "Songs 4 Women" feels like a joke. There's an air of you-can't-be-serious humor surrounding the song. The hook's final lines—"You'd be singin' to her, like lah dah-dah, dah-dah / Lah dah-dah, dah-dah, lah dah-dah, dah-dah"—amplify this point. Frank's crackling delivery is the furthest thing from serious; he sounds like he's mocking his efforts to pursue women. He sounds like he's mocking the whole institution of love for love's sake. We get the sense Frank Ocean thinks this entire business is ridiculous.
Just listen to the morphing quality of the hook. With the first iteration of the chorus, Frank confidently declares "Yeah" when asked if he sings songs to get at women. By the second, after realizing how fruitless his endeavors were, he morosely says, "Naw." This tiny shift paints a vivid picture, one of the processes of losing love and losing passion. Frank shows us no one wins when games are played. Everything has to come from a pure place to be lasting. Neither Frank's girl nor his work endures. It's heartbreaking, as Frank declares on the second hook, but he did this to himself.
The irony jumps out in full force on the close of the second hook. "Now I'm singing lah dah, dah-dah 'bout heartbreak / And now I'm singing lah dah, dah-dah 'bout love lost." There are a handful of subtle changes here to advance our point—for one, Frank transitions from songs about love to songs about heartbreak, which is a telegraph for the rest of his illustrious career. In retrospect, this line is some heavy foreshadowing. Secondly, the vocal fry of the first chorus is gone. Now working from a place of genuine feeling, Frank's seriousness and polish are back. He's showing us he's down for music for passion's sake. It's a worthy pivot that gives "Songs 4 Women" an additional thematic body.
In the end, "Songs 4 Women" is as comical as it is a serious warning for all artists. We chuckle as Frank chases women, clearly unconcerned. Then we worry with him as his work overtakes him in an unhealthy way. We leave with this: Make art and make love for the love of the process, not for any external reward. The moment your art begins to look outside of itself, that's the moment the passion dies. With the death of passion comes the death of quality, and without either, we wonder why we're making art in the first place.
Suddenly, the disinterest of the girl morphs as the hook does. We realize the leading woman here is a metaphor for Frank's interest in his art. "Songs 4 Women" sets up a meta-narrative whereas Frank toils for validation's sake, his interest in creation wanes. Somewhere between Frank's vocal fry and his smooth "lah dah, dah-dah, dah" we realize there's no point in writing songs for women. We're better off writing songs for ourselves.
Nostalgia, FOREVEROpinionNostalgia, UTLRA.
Frank Ocean's "Swim Good" & Overcoming Heartbreak
"Swim Good" is not an emotive swan song.
nostalgia, FOREVER: Frank Ocean's "Strawberry Swing"
The duality of "Strawberry Swing" is a reminder to make blessings out of the ordinary.
Frank Ocean's "Lovecrimes," an Alternative Interpretation
The crime of ownership is not intentional, just immature.
Frank Ocean's Forever Reminder to Let Go of the Past
"Dust" is focused on appraising the past as a means of heading off into the future.
Frank Ocean's "American Wedding" & the Sound of American Heartbreak
"Jesus Christ, don't break my heart."
Frank Ocean's "There Will Be Tears" & the Pangs of Missing Your Father
"You can't miss what you ain't had, well I can."
Frank Ocean's "Novacane" Is an Excercise In Suffering for Desire
"Can't feel a thing."
Frank Ocean's "We All Try" & the Power of Believing in Something
"I don't believe our lives are simple."


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Two of those rising stars? Both Pensacola born. Both learned the game as youths here. Both with Pace connections.
Toronto Blue Jays third baseman Josh Donaldson could win the American League MVP title. Let's say, he should win the AL MVP title. His consistency and eye-popping production has put him in conversation among the best players in the game.
Pace High grad Addison Russell, 21, is one of the Chicago Cubs' youth brigade of phenoms. He'll be a factor Wednesday night when the Cubs face the Pittsburgh Pirates in their one-game, wild card playoff.
"I am happy for both of those players and how they've represented our area," said Mac Seibert, Tate High grad and area resident, who is the Midwest Scouting Supervisor for the New York Mets. Seibert helped assemble a Mets roster that won the National League East.
Seibert, who will be in New York for the Mets' playoff series, completes the trifecta of local connections to baseball's grand, climactic October.
"I'm excited to see what Addison Russell does in the future. I think his future is really, really bright," Seibert said. "He's part of the resurgence of the Cubs.
"And Donaldson? Probably the only word you can use to describe his season is, Wow! You are talking about an MVP type of year without question."
Let's start with Donaldson, who turns 30 on Dec. 8. He went from youth leagues in Pensacola, two years at Pace High, two final years at Faith Academy in Mobile, three seasons at Auburn, then into explosion as a big league superstar.
He was drafted by ... ironically ... the Cubs in 2007. In 2008 he was traded to the Oakland A's. He became an MLB All-Star. He was already into fame when the A's opted last November to make a blockbuster trade with the Blue Jays.
And this season? Wow is right. Donaldson has been virtuoso.
He led the majors in runs (122). He led the American League in RBIs (123) and extra-base hits (84), while batting .297 with 41 home runs, 41 doubles. You're talking numbers that put him into the elite of elite.
"I never saw him in youth ball here or high school. I didn't see him play until he was at Auburn," said Seibert, 48, who managed the Pensacola Pelicans for two seasons (2007, 08). "But I know some guys who coached him at the youth level. They always talk abut what kind of player and what kind of competitor he was.
"I think what has happened is his strength matched up with his level of competitiveness and his baseball skills. And now you are truly getting to see what he is capable of doing."
Seibert said Donaldson has been a talk among insiders throughout baseball. He has channeled some of his competitive fire into leadership. Now nearing 30, he's become an assertive veteran in the Blue Jays clubhouse.
"Statistics show us everything he has accomplished on the field. But what you don't hear about is all that he provides in the clubhouse and the things that happen away from the field," said Seibert, who was promoted by the New York Mets four years ago from area scout to one of their four regional supervisors.
"(Blue Jays) are as pleased with him when he leaves the field as when he is on the field. That is a great testament to the person," Seibert said.
In Chicago, Russell's infield versatility with the Cubs gives them options on a roster and minor league system full of talent. And didn't we say he's only 21-years-old?
With him, Kris Bryant, Anthony Rizzo and all these other 20-somethings on the Cubs, this won't be a cameo in the playoffs. Count on it being a frequent occurrence.
The game's best pitcher, the Cubs' Jake Arrieta, who is 29, pitched in Pensacola on April 5, 2014 against the Blue Wahoos while with the Tennessee Smokies. Just another example of the world-class baseball talent people in our town have seen at Blue Wahoos Stadium.
Arrieta has turned unbeatable, almost unhitable. The Cubs have him on the mound Wednesday.
They are a big market with all this talent now and a great manager (Joe Madden).
One of the standout elements of baseball's post season is you have the four largest cities in the U.S. (New York, Los Angeles, Chicago and Houston) and Canada's largest city (Toronto), all with their teams in the playoffs.
"I think it is great for the game itself," Seibert said. "I think what you will see happen in eight, 10, 12 years down the road is you are going to see the next generation of minor league and major league players come out of these areas, because of the excitement and passion of playoff baseball."
In New York, Seibert had a hand in helping build that excitement. He's been part of a Mets turnaround (first division title since 2006) that includes the most homegrown, drafted players of any post season team.
"Our scouting staffs have played a very vital role in those players who have produced at the major league level," Seibert said. "We are really invested with the club on the field from a player development-scouting standpoint. That is really exciting,
"I thought going into the year we were much improved and I was excited about that. I think the reality is that the Washington Nationals didn't live up to expectations and the Phillies and the Marlins and the Braves all struggled this season.
"And so our division was weakened and we knew were were better and it proved out. This has been very rewarding."
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Special Recognition: Have I Got News For You
Have I Got News For You is TV's most popular satirical news format… allegedly.
Hat Trick Productions for BBC One
What is certain is that Hat Trick Productions' format has expertly skewered the powerful and pompous for 50 series – spearheaded for 25 years by team captains Private Eye editor Ian Hislop and, in all but one series, surrealist comedian Paul Merton.
Overcoming the downfall of one-time host Angus Deayton in 2002, the format continued on an arguably stronger footing with a slew of guest hosts, from comedians Alexander Armstrong and Jo Brand to Jeremy Clarkson (pictured), Anne Robinson and Alistair Campbell, plus curveballs like Brian Blessed and William Shatner – not all of whom were made to feel entirely comfortable.
It also provided the springboard for London mayor Boris Johnson to turbocharge his political career, while other brave politicians, including Lembit Opik, Alan Johnson and Charles Kennedy, made memorable appearances – along with a tub of lard, a last-minute replacement for Roy Hattersley.
Against its famously low-budget set and props – including the Wheel of News, the One-Armed Bandit of News and the Strengthometer of News – the format has remained reassuringly familiar, while somehow striking the right tone on many of the complex and upsetting news stories that have come its way, from 9/11 to phone hacking, the Jimmy Savile revelations and the Charlie Hebdo massacre.
Each week, viewers are treated to the picture quiz, the odd-one-out round and the missing word competition – offering national exposure for guest publications from Modern Ferret to Potato Storage International and Poultry World.
The show has entertained viewers of up to 7 million following its move from BBC2 to BBC1 in 2002 and, despite the acceleration of rolling news and the rapid responses of social media, it shows no signs of slowing down.
Here's to the next 25 years… Goodnight.
Bandit TV
Banijay
Endemol Shine Group
Hat Trick Productions
BBCS ties with Sarah Brocklehurst indie
Agrees partnership deal with Animals / Black Pond producer's Brock Media
Werner Herzog helms Storyville volcano doc
Brian Leith Productions' The Fire Within explores lives of Katia and Maurice Krafft
BBC England boss: north east has been underserved
Aisling O'Connor sets out plans to make 'big impact' in the region


Insights by Stanford Business › How Do You Define "Culture"?
The Spring 2018 issue of Stanford Business magazine focused on the theme of "culture," as applied to corporations, society, and individuals. For a deeper dive, we asked faculty at Stanford Graduate School of Business to suggest books, articles, and films that explore the theme more broadly. Here are their recommendations.


In Puerto Vallarta there's a fantastic company that specializes in open-ocean dolphin encounters via a boat-based dolphin watching tour. Within Nuevo Vallarta there are three professional facilities that offer swim-with-the-dolphins programs. Each program offers an excellent opportunity to learn about these amazing and intelligent marine mammals while interacting with them in their captive water environment. Most dolphin encounter programs are generally structured for small groups.
For viewing and interacting with dolphins in their natural habitat, this company employs listening equipment to locate wild dolphins out in the ocean. Once dolphin pods are found, boat passengers are encouraged to enter the water to interact with these dolphins in their natural ocean environment. Wildlife Connection guides are professional biologists who enjoy sharing their knowledge about marine-life and providing interesting insights about the bottlenose dolphins living in the waters of Banderas Bay. This unique opportunity to swim with wild dolphins out in the open ocean is a very special once-in-a-lifetime experience not to be missed.
The Vallarta Adventures Dolphin Center overlooks the beautiful Nuevo Vallarta Marina. This facility services not only tourists in Nuevo Vallarta, but vacationers who are staying in Puerto Vallarta as well as those arriving on cruise ships. Within Vallarta this is the premier place to swim with Pacific Bottlenose dolphins and to swim with sea lions. Several different interactive programs are offered to include the dolphin signature swim, an extreme swim, private swims for couples, private swims for families, a kids program, trainer for a day, and a program for special-needs guests. You'll create memories that will last a lifetime. For the best rates book online four days or more in advance of your first Vallarta Adventures tour.
This beautiful water slide park and interactive aquarium offers swim-with-the-dolphin programs as well as sea lion encounters. Aquaventuras Water Park is located in Nuevo Vallarta just 10 minutes from the PVR airport at the first entrance (southern entrance) to Nuevo Vallarta. It's on the right-hand side when exiting the freeway, just behind the tall, white Eurowindows building. This really fun water park offers daily dolphin and sea lion shows, and 10 exciting water slides. There is a Water World children's area with a pirate ship, low-speed mini water tobagans and a kiddie paddling pool. This facility is further enhanced by a lazy river, swimming pool, lounge areas, and a snack bar.
Aquaventuras Water Park is open Monday through Friday from 10 a.m. until 5 p.m. At the entrance to Aquaventuras visitors can purchase discounted combo packages that include the water slide park entrance free plus specific food items and beverages.
Separate from the water park's operational hours, Aquaventuras has a swim-with-the-dolphins program. The Dolphinarium is open every day. As of 2014, the participation fee is $25 USD for adults and $19 per child (ages 4-11). Rates for the dolphin (or sea lion) swim adventures program: $109 USD for adults and $79 USD for children (ages 8-11). The daily dolphin swim schedule is: 10 a.m., 11:15 a.m., 1:45 p.m., and 3 p.m. The dolphin swim fees include water slide park admission. But keep in mind that the water slide portion of the facility is closed on weekends, so be sure to plan accordingly. The prices for professional swim-with-the-dolphins photos start at $16 USD, with the prices for videos starting at $39 USD.
Days/Times for Dolphin Swims: Monday through Sunday, at 10 a.m. and 12 p.m.
Splash Water Park Dolphin Swim Program in Nuevo Vallarta, Mexico.
Swimming with the dolphins is the highlight of the day when visiting Splash Water Park in Nuevo Vallarta, Mexico. This unique experience gives participants the opportunity to interact with sweet and friendly bottlenose dolphins. The 45-minute program begins with a brief orientation given by a dolphin trainer. The informative talk provides information about these intelligent, talented, and amazing mammals. Groups of six participants then jump into the pool and begin their exciting 30-minute dolphin experience. Under the instructor's supervision, the dolphins swim freely for the first 12 minutes while they become acquainted with their new friends. Once dolphins have had an opportunity to have a close encounter with participants, everyone can fully interact with the dolphins for 18 minutes. You can pet them, dance with them, sing with them, hug them, and enjoy a dorsal tow around the pool.
Reservations to swim with the dolphins must be made at least 7 days in advance. Reservation changes and cancellations must be made at least two days prior to the day of the activity. Reservation changes and cancellations one day prior to the activity are subject to a 50% charge. No refunds or cancellations can be made within 24 hours of your visit.


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Visit C&EN Website
Assistant Professor (Tenure-track) in Chemistry Education Research
University of Wisconsin - Milwaukee
Salary + Benefits
Laboratory, Research-Applied, Research-Basic, Teaching-Graduate, Teaching-Undergraduate
The University of Wisconsin-Milwaukee (UWM) is seeking applicants for a tenure-track faculty position in Chemistry Education Research. The Department seeks an individual with a strong commitment to research and teaching. Preference will be given to applicants with expertise in either quantitative or qualitive methods; an interest in developing collaborations within the University for building a stronger discipline-based education research core; and an interest in building collaborations and working with stakeholders on institutional transformations, particularly those aimed at increasing student success. Preference will also be given to applicants with secondary expertise in a subdiscipline of chemistry that would also provide teaching opportunities in upper-level undergraduate chemistry courses.
Applicants must have a Ph.D. in Chemistry, Chemistry Education or a closely related field, and post-Ph.D. research experience. This could be a traditional post-doctoral, teaching post-doctoral or similar position. Position responsibilities will include developing an independent, extramurally funded research program, establishing collaborations both within the Department and across campus, and teaching graduate and undergraduate courses in chemistry or chemistry education. Review of applications will begin on November 1st, 2021 and continue until the position is filled, priority will be given to applications received by October 31st, 2021. A complete application will consist of a cover letter, curriculum vitae, concise statement of research interests and teaching philosophy, an estimate of start-up costs, and three letters of recommendation. Please visit https://jobs.uwm.edu/postings/31461 for more details and to apply; UWM will not consider paper, e-mailed, or faxed applications.
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Adrian Masters is a Welsh journalist, presenter, author and political moderator.

He is currently the Political Editor at ITV Cymru Wales.

He previously worked for the BBC, contributing to BBC Radio 4's Yesterday In Parliament, most BBC Wales television programming, and both the Good Evening Wales and Good Morning Wales radio shows.

Early life and career

Masters was born and grew up in Newport, Wales, where he continues to live. Masters began his journalism career at the now defunct Touch Radio, and later Red Dragon fm in 1993 (now Capital South Wales).

BBC News

Masters worked on a number of BBC television broadcasts including Dragon's Eye, the Welsh edition of the Politics Show, and BBC Two's am.pm. On radio he hosted shows including Called to Order, Good Evening Wales, and occasionally he presented Good Morning Wales. He also worked on broadcasts throughout the year covering election and conference programmes, as well as moderating constituency hustings.

Masters later became a BBC Wales political correspondent, where he was responsible for covering news about the National Assembly and Parliament of the United Kingdom on BBC Wales radio and television programmes.

He was a contributor on Welsh news for BBC Radio 4's Yesterday In Parliament and also went on to also serve as a main political reporter on Good Morning Wales.

During his time at the BBC, he twice won Radio Journalist of the Year at the Celtic Film and Television Festival.

ITV Cymru Wales

Masters joined ITV Cymru Wales in 2010. As ITV political editor in Wales, Masters reports all political stories for the nightly news programme Wales at Six, as well as a specialist Thursday night political debate show titled Sharp End. He moderated ITV Wales' debates as part of the 2015 General Election.

In June 2015 he was named in the top fifty most influential Welsh figures on Twitter by Wales Online.

In February 2017 Masters was nominated for Welsh Political Journalist of the Year at the Wales Media Awards.

In January 2016 he moderated the Institute of Welsh Affairs Brexit debate in Cardiff between First Minister Carwyn Jones and then UKIP leader Nigel Farage. The event was broadcast on ITV Cymru Wales.

In 2017 Masters released his novel "Nothing Has Changed" which covered his political diaries from the 2017 General Election. BBC presenter Huw Edwards described the novel as "a terrific account of the surreal 2017 campaign in Wales with great access to the main players."

In February 2019 Keith Flett's Beard Liberation Front named Masters in their annual St David's Day Beard of Wales poll. He came second behind Sunday Times Media and Entertainment Editor Grant Tucker.

In July 2019 Masters became the subject of coverage for turning down a question to Prime Minister Boris Johnson. Johnson's staff had informed the attending Welsh journalists during the Prime Minister's trip to the country that they would not be permitted to hold on camera interviews, and stated that only oral questions would be asked of the Prime Minister. Masters refused the interview, stating staff at Number 10 were restricting the access of the Welsh press during the visit.

Other programming and appearances
Masters produced a BBC Wales documentary about the Newport Art College era in the city, which launched the careers of the likes of Joe Strummer of The Clash, Green Gartside, and Justin Kerrigan.

He also writes frequently for the Wales Arts Review.

Other activities

Masters runs a personal blog where he discusses books, music, and art, and his appreciation of the Scottish rock band Cocteau Twins.

Personal life

Masters lives in Newport. He divides his time between Westminster and Cardiff Bay.

Awards

Bibliography

 2017, Nothing Has Changed, Parthian Books,

See also
 Politics of Wales
 Media of Wales
 ITV Cymru Wales
 BBC Wales

References

External links

Personal website
Professional blog
 ITV News profile

News items

 Press Gazette July 2019

1984 births
Living people
People from Newport, Wales
Welsh television journalists
British political commentators
British political journalists
British social commentators
ITN newsreaders and journalists
BBC newsreaders and journalists
BBC television presenters


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Q: How to fetch Build information in jenkins I've build a sample project in Jenkins by cloning from the Github repo. Can I get all the Jenkins and Git build details (such as the last commit ID, Origin details, Jenkins build number, Build URL, workspace location of Jenkins, Last commit author name) in a HTML page (It should be created after jenkins build) after triggering a build in Jenkins?

A: Jenkins and Git provide global variables which can be directly accessed in jobs irrespective of pre build or post build actions.
You can check global variable list with below url.
http://your-jenkins-url-here/env-vars.html

To access user defined variables, you can use below regex pattern:
${ENV,var="MY_VARIABLE_NAME"}

A: You can get all the variables of the Jenkins pipeline by the below:-
script {
      // Prints all the variables
      sh "printenv"
}

After this you can store all the variables inside a file and publish that file using the HTML Publisher plugin to get the result in a HTML page. You can make changes in the below code:-
publishHTML([allowMissing: false, alwaysLinkToLastBuild: false, keepAll: false, reportDir: 'fileDirectory', reportFiles: 'index.html', reportName: 'HTML Report', reportTitles: 'titleName'])


Ben is a rising star for a major corporate law firm. By day he wears smart business suits, at night he takes on a new persona - that of Catalina the Superhero Transvestite... The Darth Vader to this Lucy Skywalker hilarious Sci-fi comedy is, Killgarth The Negative, an alien war monger who has landed on Planet Earth and embarked on a vengeful journey to find Catalina.


Blinking red light: Indicates the battery is charging.
Solid red light: Indicates battery is fully charged.
Solid blue light: Battery is charging something else.
Pronto 12V (Basecamp) battery pack doesn't seem to be charging. Is it defective?


TBG members receive generous discounts on courses, tickets for selected events and purchases at the TBG shop as well as free admission to the renowned TBG Lecture Series. Members also enjoy reciprocal privileges at more than 250 botanical gardens and arboreta across North America and discounts at select Toronto Nurseries.
TBG members also receive notice and regular updates on horticultural events, lectures, courses, and more through Trellis magazine and the Program Guide, mailed directly to their homes.
Your membership dollars help support the TBG's operations, such as educational programs of adults and children, 17 contemporary gardens and a wealth of year-round activities.
Included with your membership is a one-year subscription to your choice of Better Homes and Gardens® or Martha Stewart Living magazines.
An affordable learning experience for eco-minded students under the age of 25, enrolled in an instruction full-time program.
Please contact the Development Office for further details.
Thank you for your Parking donation!


Wire Skeleton Costumes Are Electrifying « Adafruit Industries – Makers, hackers, artists, designers and engineers!
The EL wire was sewn to the shirt/pants using clear thread. Seven 6′ to 10′ lengths of wire were used to complete the 2 skeletons. Cutting and soldering the EL wire is finicky but very doable. In order to plug the EL wires into the EL Escudo Dos, you will need to terminate them with JST-PH connectors. When the whole suit went dark (which happened a few times) the cause was always an EL wire with a bad connection. If this happens to you, remove the EL wire one circuit at a time from the EL Escudo Dos to see which EL wire is the cause.


(Enviken) 13 tracks (39:03) another great rockin' release from Sweden! Fannie Mae & The Dynamites all wrote their own songs (except 'Dreamlover') Female Rock & Roll at its best! Highly recommended. 12 page booklet incl. all lyrics.
Customer evaluation for "Live Love - Give Love (2013)"


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The Games Canon; or Canon Games
July 17, 2013 Michael Hancock
Michael Hancock is the Book Reviews editor on First Person Scholar. He is a PhD candidate in the Department of English Language and Literature at the University of Waterloo. Currently, his grey matter is engaged in writing a dissertation on the use of image-based and text-based rhetoric in videogames.
My first thought when I sat down to write this editorial was "canon." Not "cannons," thankfully, as in that case, my second thought would have been Sid Meier's Pirates, at which point the editorial would have been indefinitely postponed. No, I was thinking about canon, helpfully defined by the Oxford English Dictionary as "a body of works, etc., considered to be established as the most important or significant in a particular field." A canon is about inclusion and exclusion, about what makes the cut and what gets left behind. And in a very real way, working with and against the notion of canon that informs my work in game studies, as a scholar, as a contributor to First Person Scholar, and, particularly, as editor of the site's book reviews.
Book Reviews Editor
A part of me still cringes at my editorial title. First Person Scholar is a publication aimed at producing critical analysis of videogames—isn't critical analysis of books, even books about videogames, putting us at a position, perhaps even a retrograde position, one step removed from the actual subject of interest? It's a question I want to answer, need to answer, but in order to do so, I have to take an even bigger step back, away from game studies entirely into the disciplines where discussions of canon started. As many game scholars, my background is literary studies, so I'm all too aware of where the canon starts. Originally, it was an ecclesiastic term, used by the Christian Church to refer to both the set of books recognized as official and genuine, but also to refer to any sort of Church-related decree. That use means that canon, right at its root, bound up with certain other heavily charged concepts: law, rules, Western religion, authenticity, system—even formalism, for those anticipating the connection to game criticism. In fact, the way people respond to games or almost any entertainment medium can be considered in terms of creating a canon—think of the hierarchies and exclusions performed in an Internet top ten list.
Later, the term was appropriated by the humanities, and English and literary studies in particular. In this context, it was used in the sense supplied by the OED, that list of works that a student in a first year English course MUST be subjected to for their own edification and well-being. Usually, that means a steady diet of figures such as Shakespeare, John Donne, Henry David Thoreau, and any number of individuals who traditionally and not coincidentally turned out to be old white men. And this focus became particularly troubling when you juxtapose it with those associated canon cluster terms above. If someone such as Charles Dickens is the authentic, exemplary English author, what model are we setting up for how writing is to be done and appreciated? More importantly, who are we excluding?
To its credit, my discipline (eventually) realized the problems with the canon, and interrogated their many varied positions toward it, in works ranging from Amy Tan's essay "In The Canon for all the Wrong Reasons" to John Guillory's Cultural Capital: The Problem of Literary Canon Formation. And my own department, the University of Waterloo's English Language and Literature, has done well in challenging the old divisions, our Shakespeare class being taught alongside classes on gender issues, postcolonialism, and race, not to mention classes on popular culture, superheroes, and digital life writing. But for the issue at hand, I think consideration of the canon is relevant to game studies. If nothing else, the canon debates in English represent a cautionary example one that perhaps we have already failed to avoid; a possible interpretation of the early 2000 narratology/ludology debate could be that it was a territorial argument about what methodology would be canon for game studies.
Significant Texts
Now, however, I think we've reached a slightly different position. With the either/or argument of narrative and games subsiding, there's a lot more voices to be heard. Both approaches still exist, but we've also got platform studies rubbing shoulders with adaptation studies, ethnography sharing room with procedural rhetoric. I was discussing the current state of game studies with a colleague recently, and complaining that game scholars lacked a commonly read set of texts in the way that the humanities had works like Foucault's Discipline and Punish, or Butler's Gender Trouble—essentially, I was arguing for a game studies canon, without directly saying so. While the colleague in question certainly could have argued that we do have certain common figures, she took a different tact entirely. (And here you'll have to forgive me; I'm paraphrasing, probably to the point of misrepresentation.) Rather, she argued that yes, we don't have that shared background—but that's a good thing. It's what makes game studies multidisciplinary and interdisciplinary, what allows us to create hybridity and diversity. (In fact, she also challenged my claim that English had as many common figures as I was pretending it did, pointing out that every university's English department had their own set of significant texts, and the divergence between two schools can be very great, in multiple senses of the word great.)
And the more I think about it, the more inclined I am to agree with her argument over my own. In my personal research, I don't really gravitate toward any particular methodology. They all have their strengths and weaknesses, and the one I use depends on what I'm using it for, what sort of arguments I want to invoke, and what the games at hand I'm considering lend themselves to. But at the same time, though, I think there's a risk involved in ignoring issues of canon entirely. If no attention is paid to official canons, then, as contradictory as the term sounds, an unofficial canon rushing in to fill its space. For me, the perfect example comes from my admittedly overdetermined reading of Ring Bearers: The Lord of the Rings Online as Intertextual Narrative, edited by Tanya Krzywinska, Esther MacCallum-Stewart, and Justin Parsler. The book, though rather brief for an anthology, contains some genuinely intriguing ideas about adaptation, MMOs, and game design at large (consider that a single sentence version of the usual FPS book review style).
But the part of the book that leaped out at me as most interesting was a short passage from the introduction: "One of our concerns as editors, particularly during the lengthy period spent concerning of the collection and getting it ready to go to press, was whether LOTRO would garner and then retain the numbers of players needed to keep the game from being beached on the reef of financially unsustainable MMORPGs" (1). I can only speculate on why the editors were concerned about this issue—the early collapse of LOTRO doesn't invalidate the research they performed, after all. But two obvious reasons present themselves. First, LOTRO's end would place some rather rigid strictures on any future research conducted on the game. A videogame, though more than the sum of its cultural parts, is a different entity when it's not a part of current play practices, and that dictum holds true for MMO games more than most, just because they're so defined by their player community. Second, and unfortunately more important, there's the concern from the publishing side of the equation, that a book devoted to a specific game has to justify its existence, to prove its value—value in a sense of cultural capital as well as actual, financial capital. Put more crudely than Ring Bearers' editors would say or ever implied, LOTRO's financial success justifies the existence of scholarly criticism of LOTRO.
Canon of Capitalism
The same logic, extended to game studies at large, creates a canon of capitalism, where the most studied games are also the most financially lucrative, or those that captured enduring public attention. I don't personally have any evidence to back up this claim beyond that of an anecdotal sort, but World of Warcraft is quite possibly the most studied game in all of game of game studies, in terms of having the most books devoted to its study; I'd attribute that attention to both its financial success and its ongoing persistence in public awareness. Close behind, I'd wager, are Second Life, and the Grand Theft Auto series, for similar reasons relating to how deeply they penetrated into the public in their time(s) in the spotlight. My argument, however, isn't really about why they became popular, but that their popularity demonstrates an already-existing canon in game studies, a set of priorities that we operate by whether we acknowledge them or not—especially if not, I think. An implicit canon can be more insidious than an explicit one, because it's only when a canon becomes explicit that it can be directly challenged.
As our editor-in-chief Steve Wilcox developed at length in his article on middle-state publishing, one of the underlying goals of First Person Scholar is to move beyond the narrow list of commonly studied games, or common approaches, to give voice to new ideas and perspectives. In a similar vein, my personal goal as book reviews editor is to show that no single book exists in a vacuum and must to be read in conjunction with what's already out there, to demonstrate the unacknowledged trends that we operate under, to spread word about voices that deserve to be heard. That's why we have reviews of Hyrule Historia in the same place as reviews of Walton's aesthetic theory and Anna Anthropy's Rise of the Videogame Zinesters. That's why we have reviews from scholars focusing in rhetoric and medicine policies alongside those specializing in popular culture and videogames.
You're not going to remove the notion of canon from videogame discourse, especially in terms of popular discourse; our industry is too wrapped up in being an industry, too attached to Metacritic and other ranking systems. And our unstated canons have done a lot of damage over the years, from the exclusion of women to denying the status of game to those currently labeled "ungames." And that's why it's not just a good thing but a necessary thing that groups and individuals such as Anita Sarkeesian's Feminist Frequency and The Borderhouse exist. A canon is like a cannon in the sense that it too can be used as a weapon, albeit a weapon of exclusion rather than physical violence. But I think it's better used as a tool, a device by which we can interrogate our unconscious assumptions about what we value, and why.
Editorial Esther MacCallum-Stewart, Justin Parsler, Michael Hancock, Tanya Krzywinska
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Werner's Cairns blog: The possible reasons why there is so much trouble in the world today.
The possible reasons why there is so much trouble in the world today.
Following are the results of a WORLD SURVEY BY PHONE, conducted by the UN.
The only question asked was: "Would you please give your honest opinion about solutions to the food shortage in the rest of the world?"
8. In Australia they hung up as soon as they heard the Indian accent.
People born between 1960 and 1979 are called Generation X.
And people born between 1980 and 2010 are called Generation Y.
Why do we call the last group Generation Y.
The cartoonist explained it very eloquently on the right.
I found that "survey" very interesting and thanks for the chuckle. Of course, Australians remember the Indian telemarketers too well and I'm not surprised that they hang up when hearing an Indian accent on the phone.
Thank you for enlighten me about the Y generation, however, I was also born in that time span, so I practically belong to the Y generation, but the criterion given doesn't apply to me. I have a job, live in my own flat, have my own car, clean my room, wash and iron my clothes and buy my own food. And, furthermore, I wear my pants high enough to cover the Y.
Is wind power just a lot of hot air?


Twitter is the best place to see what's happening in the world right now and to talk about it, especially through premium video. Twitter today unveils over 50 premium video content collaborations, bringing hundreds of hours of live stream and video highlights programming, across sports, entertainment and news, to the platform. FMA Indonesia, FOX Sports Asia, NBC Universal, Network 18, NET TV, Red Chillies Entertainment, Sony Music, Stadium Astro Malaysia, and VICE Media are among the partners that Twitter will collaborate with to bring new content to audiences in Asia Pacific and opportunities for APAC advertisers. The announcement expands the premium video content available on Twitter to advertisers in Asia Pacific and builds on extensions of existing global and regional content deals.
At the TwitterFronts event in Singapore, we presented the content partnerships to brand and agency partners in the region. They were joined by guest speakers including Christine Fellowes (@ChristiFellowes), Managing Director, NBCUniversal, Avinash Kaul (@avikaul), COO, Network18, Shanna Murady, CCO, FMA Indonesia, CK Lee, VP Of Sports Content, Astro Malaysia, Binda Dey (@bindadey), Head of Marketing, Red Chillies Entertainment, Talina Cruz (@talinacruz), Senior Manager, Digital Marketing & Visual Content, Sony Music, and Serene Lee, Head of Sales, VICE, among others.
Content is happening now at Twitter, and we have proven through the efficacy of the partnerships we have crafted, that content programming and distribution on Twitter is an essential part of any media company's audience engagement and content monetization strategies. Asia Pacific is accelerating growth for Twitter. Our unique and strategic value proposition that positions Twitter as a complement, not competitor to traditional media companies, has delivered great success and we seek to drive forward with more live stream and premium video content partnerships in the region.
Video continues to be an important way to stay informed and engaged on Twitter, especially for the younger millennial audience in Asia Pacific. Building on the success of our premium video content launch at All That Matters last year, we are proud to expand our live stream and video highlights programming that is brand safe and will appeal to the audience and advertisers in APAC. The move strengthens Twitter's presence and partnerships in the region, sharing with the world what's happening right now in Asia Pacific and for global audiences to talk about it.
Sony Music: Music is one of the most talked about topics on Twitter, and music fans are one of the biggest communities on the platform. In a partnership with Sony Music, we're giving brands the chance to tap into this massive community, with custom content from APAC's biggest stars, behind the scenes clips and action that's on Twitter first. It all kicks off with award winning artist @GuySebastian.
Red Chillies Entertainment: A long-term partner of Twitter's in India, Shah Rukh Khan's production house, Red Chillies Entertainment (@RedChilliesEnt) will be launching video content from upcoming Hindi blockbuster, Zero, on Twitter, and brands have an opportunity to leverage this Bollywood conversation. Along with this, RCE will be producing an exclusive live show only streaming on Twitter featuring the King Khan himself.
NBC Universal - NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks, and a suite of leading Internet-based businesses. Their partnership with Twitter will bring E!'s signature Live from the Red Carpet events as well as popular TV programming from @eonlineasia, @eonlineau and @DivaTVAsia to the platform and available for brand sponsorships.
NBCUniversal International Networks are delighted to be bringing NBCU's global partnership with Twitter to life across Asia. Kicking off our partnership in the region, the E! People's Choice Awards represents a wonderful opportunity to engage with pop culture fans across Asia. As the only award show that truly reflects the power of the people's vote, E's partnership with Twitter truly demonstrates the perfect opportunity for brands to forge deeper, more meaningful connections with their consumers.
UEFA Champions League on FMA Indonesia (@FMA): The most important football club competition in the world is going to be brought to Twitter fans via Indonesia @FMA, already a partner of Twitter during the last FIFA World Cup. Fans of Cristiano Ronaldo, Messi, and Salah will have access to near live highlights throughout the competition on Twitter, until the very last game, on June 1st 2019 in Madrid.
Formula One® on FOX Sports Asia: FOX Sports (@FSAsiaLive) is one of the most popular sports networks in Asia-Pacific. With the partnership, FOX Sports will showcase F1® action to fans on Twitter in real time via the handle @FSAsiaLive. The whole weekend of updates, action and interviews, delivered to fans on the go.
English Premier League on Stadium Astro Malaysia (@StadiumAstro): The English Premier League is undoubtedly the best football league in the world. The action and the excitement will be on Twitter thanks to the partnership with Stadium Astro, the home of the EPL in Malaysia.
Indonesian sports fans practically live on Twitter and as premium sports license holder, partnering with Twitter has been a no-brainer decision. During the 2018 FIFA World Cup, Twitter enabled us in delivering high quality content quickly with visible engagement and a high impact. Our World Cup highlights was a success for us and our sponsors and we are looking forward to extend this partnership for the next seasons of Champions League and Europa League.
NET TV - NET. (@netmediatama) is a major television station network in Indonesia that produces TV programs primarily aimed for family and young viewers. With their renewed partnership with Twitter, they are bringing their top-rated TV programs to the platform and available for brand sponsorships. The content on Twitter includes popular TV talk shows such as Ini Talkshow, Tonight Show, Sarah Sechan as well as their other highly-rated entertainment, sitcom and reality shows such as The Comment, Waktu Indonesia Bercanda, Breakout, The East and 86.
Network18 - Network 18 is one of the largest media conglomerates in India, featuring channels @CNNNews18, @CNBCTV18News, News18 Regional channels (formerly ETV), @MoneyControl, @First Post, @HistoryTV18 and many more. The partnership with Twitter will include three-tiered sponsorships for video clips around major tent-pole events: Budget Day programming with market leaders @CNBCTV18News, election news with @CNNNews18, as well as premium video highlight clips from factual entertainment leader @HistoryTV18.
VICE (@VICE): VICE is the world's leading youth media company, building a deeply relevant, local presence across Asia Pacific through its Singapore HQ and multiple offices across the region. This partnership will bring a powerful new offering for audiences and brands alike, combining VICE's compelling voice with Twitter's immediacy and conversational power — delivering premium content to wherever young audiences are consuming news, culture and talking about what's happening in their lives, at scale.
Network18 is delighted to strengthen its partnership with Twitter. With India's largest news network in its fold, Network18 today reaches out to 670 million television news viewers through 20 news channels in 15 Indian Languages. Its array of digital properties reach 32 million news consumers on the internet . With our massive reach and Twitter's real-time conversational capability, this collaboration sets a benchmark proposition for prospective advertisers and business partners. We believe that this partnership will amplify the digital reach of a brand or idea to the next level of visibility and engagement.
The partnership with Twitter is an exciting opportunity for VICE to reach even more audience across the region, pairing the power of the platform with our unique storytelling ability to lend a voice to the young people of Asia.