text:
PERU: What matters ahead of April presidential vote
Nicholas Watson
Teneo
There are just under 11 weeks to go before the 11 April first round of the presidential election. Below we examine the state of the race alongside key signposts and scenarios.
Voting intentions remain dispersed, with a high number of undecided voters. No candidate is currently polling above 20%.
There are four presidential candidates in the front rank. These are George Forsyth (National Victory – VN), Keiko Fujimori (Fuerza Popular – FP), Julio Guzman (Purple Party – PM), and Veronika Mendoza (Together for Peru – JPP). Forsyth continues to lead the polls and appears to have recovered from a poll dip that he suffered in November. Fujimori, Guzman, and Mendoza are all polling under 10%.
Trailing behind these four is a second group of candidates – hovering at or under 5% in the polls – which includes Daniel Urresti (Podemos Peru – PP), Yonhy Lescano (Popular Action – AP), and Hernando de Soto (Avanza Pais).
A striking feature shared by the top four candidates is their high rejection ratings: according to the most recent Ipsos poll, 71% say they would definitely not vote for Fujimori, 52% would not vote for Guzman, 48% reject Mendoza, and 42% would not vote for Forsyth. Fujimori's past obstructionism, the corruption allegations against her, and her father Alberto Fujimori's controversial legacy, all explain her anti-vote. Guzman could be paying the cost of incumbency since his former PM colleague Francisco Sagasti is caretaker president (even if Sagasti has left the PM and Guzman is not in government). Mendoza's leftism counts against her, while Forsyth's rejection rating is likely to reflect recent policy flip-flopping, combined with signs that he is out of his depth.
Fujimori's rejection rating makes it difficult for her to progress to the second round. Her legal difficulties are an added obstacle; for example, she must ask for permission from a judge if she wishes to leave Lima. Guzman's chances could continue to correlate with perceptions of Sagasti's caretaker administration, particularly his handling of the pandemic. It does not bode well for Guzman that a second coronavirus wave is expected to be reaching a sustained peak over February and March as campaigning intensifies – while the vaccination roll-out has yet to start.
There are three other aspects to consider in the weeks ahead:
More of the electorate (20%) believe Forsyth will eventually win than actually support him (17%). This dynamic could have an important impact on undecided voters, many of whom will make up their minds in the final days of the campaign and tend to vote for a candidate they perceive as a winner.
There is enormous value in being seen as the candidate who can best stand up to (and eventually defeat) negative or nefarious forces: the mantle of the anti-populist, the anti-leftist, or the anti-Fujimori candidate. As evinced by Fujimori's rejection ratings, any candidate who faces her in a second round would be the clear favorite. Guzman best fits this anti-role, though he would face his own challenge because he risks being seen as the establishment candidate. A Guzman versus Forsyth run-off would therefore pit anti-populism versus anti-establishment sentiment and could be the most highly contested of the eventual second-round scenarios.
Finally, 11 weeks provides plenty of time for scandals, drop-outs, and alliances with the potential to alter the state of the race.
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Recent trends in the recruiting industry may harm a job hunter's chance for success. New tactics are leaving some college and high school seniors staring at a phone that never rings. Why? Now, when headhunters or employers research new candidates, they don't stop at past employers and references. Instead, they head straight to the Internet.


As most know, the Academy Awards were this past Sunday in the US, and it was not without drama and (expensive!) glamour. But you can get this dramatic look for free! And here in SL, Around the Grid is running their 8th Annual Oscar Fashion Photo Contest through Sunday, March 5, 2017. So grab a gown, take some snapshots, and post your pics on flickr, because the guaranteed prize fund for this year's contest is L$50,500, with L$25,000 going to the first place winner! So stop by The Free Dove and enter now!
* Insider Tip: You can usually find the previous month's mini-hunt items still around. Check for the pink heart balloons around The Free Dove for alaskametro February mini-hunt gifts in March!


From their Ipana Toothpaste to Vitalis Hair Grooming Tonic to Mum Deodorant to Minit-Rub Analgesic Ointment, Bristol-Myers remained an almost continuous presence over Radio for the entire duration of the Golden Age of Radio era.
Bristol-Myers had sponsored Eddie Cantor's variety program Its Time To Smile during which breakout singing sensation Dinah Shore was prominently featured. Eddie Cantor became one of Dinah Shore's most dedicated and persuasive promoters so when it came time for Dinah Shore to merit her own headlining Radio feature, it was Bristol-Myers that was the first to gamble--successfully--on Dinah Shore's rising success over Radio.
Over that same period, Dinah Shore was repeatedly voted America's most popular female singer. As she became more comfortable leading her own programs her poise, timing and extemporaneous delivery skills improved with each new feature program.
Dinah Shore's first solo outing over Radio was the Bristol-Myers-sponsored Songs By Dinah Shore, a weekly fifteen-minute variety feature over NBC-Red, NBC's commerically sponsored network. Broadcast from Hollywood, Songs By Dinah Shore ran for twenty-six installments between November 2nd 1941 and April 26th 1942. Bristol-Myers promoted its Sal Hepatica and Minit-Rub products throughout Songs By Dinah Shore.
For Dinah Shore's second outing sponsored by Bristol-Myers, her new series was repackaged as In Person: Dinah Shore over The Blue Network. In Person: Dinah Shore replaced the Paul Lavalle orchestra with that of Gordon Jenkins. Retaining the fifteen-minute format, In Person: Dinah Shore premiered on May 1st 1942, six days after the final Songs By Dinah Shore over NBC-Red. Truman Bradley replaced Harry Von Zell as Dinah's announcer and the new series retained the "Dinah" theme song.
In Person: Dinah Shore aired for a total of fifty-two weekly Friday night installments between May 1st 1942 and April 23rd 1943 promoting Bristol-Myers' Mum Deodorant. Bristol-Myers had actively promoted Mum as a male deodorant since the product's inception. But throughout the 1940s Bristol-Myers began to target a female audience for the product. Given the somewhat feminine packaging for Mum Deodorant, we remain somewhat bemused that Bristol-Myers initially targeted a male audience for the product in the first place.
The major change in format between 1941's Songs By Dinah Shore and 1942's In Person: Dinah Shore was primarily due to the December 7th 1941 attack on Pearl Harbor that officially brought the United States into World War II. In the wake of our entry into World War II, and owing also to Dinah Shore's tireless efforts entertaining American and Allied troops at home and abroad, In Person: Dinah Shore was framed as a weekly report to America's G.I.s on the music scene on the Homefront.
Recorded live before a predominately G.I. audience from its Hollywood studio, In Person: Dinah Shore played directly to the troops and the loved ones they'd left behind. More in the vein of a 'Hollywood Canteen of the Air,' In Person: Dinah Shore's format had Dinah Shore reading--and fulfilling--mailed song requests from G.I.s and relating often poignant anecdotes she recieved from both her Homefront and G.I. listeners. The result was an often very intimate and touching fifteen-minute mix of popular topical music of the era woven together with heartfelt observations on life on the Homefront in the wake of Pearl Harbor.
8:30 p.m.--Dinah Shore (WENR): on new schedule.
8:30 p.m.--Dinah Shore (WENR): "Sleepy Lagoon," "Don't Sit Under the Apple Tree," "Over the Rainbow."
8:30 p.m.--Dinah Shore (WENR): "I Don't Want to Walk Without You," "All I Want Is You."
8:30 p.m.--Dinah Shore (WENR): "Three Little Sisters," "You Go to My Head," "Kerry Dance."
8:30 p.m.--Dinah Shore (WENR): "Conchita," "Skylark," "One Dozen Roses."
8:30 p.m.--Dinah Shore (WENR): with Eddie Cantor as guest; "Jingle, Jangle, Jingle," "All I Need Is You," "Don't Sit Under the Apple Tree."
8:30 p.m.--Dinah Shore (WENR): "Memphis Blue," "It Had to Be You."
8:30 p.m.--Dinah Shore (WENR): "Summer Time," "Three Little Sisters," "All I Need Is You."
8:30 p.m.--Dinah Shore (WENR): "Conchita," "Yankee Doodle Dandy," "I Remember You."
8:30 p.m.--Dinah Shore (WENR): "I'm Blue All Day Sunday," "Give Me Something to Remember You By," "Mad About "Em Blues."
8:30 p.m.--Dinah Shore (WENR): "Tangerine," "Jersey Bounce," "Time On My Hands."
8:30 p.m.--Dinah Shore (WENR): sings "I Met Him on Monday."
8:30 p.m.--Dinah Shore (WENR): "How Come You Do Me Like You Do Do Do," "Sleepy Lagoon," "Manhattan Serenade."
8:30 p.m.--Dinah Shore (WENR): salutes service men; introduces new song, "Rolleo Rolling Along."
8:30 p.m.--Dinah Shore (WENR): dedicates "Yankee Doodle Dandy," and "He's My Guy" to service men.
8:30 p.m.--Dinah Shore (WENR): "He Wears a Pair of Silver Wings," "Dearly Beloved."
8:30 p.m.--Dinah Shore (WENR): "Why Don't You Fall in Love With Me?," "Idaho," "Cow Boogie."
8:30 p.m.--Dinah Shore (WENR): reads her diary, sings "Who Wouldn't Love You," "Memphis Blues," "Stardust," "He's My Guy."
8:30 p.m.--Dinah Shore (WENR): "Kalamazoo," "Be Careful, It's My Heart," "Basin Street Blues," "Wonder When My Baby's Coming Home."
8:30 p.m.--Dinah Shore (WENR): "Dearly Beloved," "Wonder When My Baby's Coming Home," "St. Louis Blues."
7:15 p.m.--Dinah Shore (WLS): at new hour.
7:15 p.m.--In Person: Dinah Shore (WLS): "He's My Guy."
7:15--Dinah Shore (WLS): "Embraceable You," "Who Wouldn't Love You"?
7:15--Dinah Shore (WLS): with Elsie Janis, guestar.
7:15--Dinah Shore (WLS): "Kalamazoo," "Dearly Beloved," "Cow Boogie," "Take Me."
7:15--In Person, Dinah Shore (WLS): "Manhattan Serenade," "He's My Guy," "I Met Him on Monday," "Praise the Lord and Pass the Ammunition."
7:15--Dinah Shore (WLS): "White Christmas," "Embraceable You," "Praise the Lord and Pass the Ammunition," "Kalamazoo."
7:15--Dinah Shore (WLS): "This Is the Army, Mr. Jones," "Serenade in Blue," "Begin the Beguine," "Mr. Five by Five."
7:15--Dinah Shore (WLS): "I Can't Give You Anything But Love," "I Came Here to Talk for Joe."
7:15--Dinah Shore (WLS): "Memphis Blues," "A Bicycle Built for Two," "Why Don't You Fall in Love With Me?"
7:15--Dinah Shore (WLS): "A Touch of Texas," "Chloe."
7:15--Dinah Shore (WLS): "Hip Hip Hurray," "Mr. Five by Five," Irving Berlin medley.
7 p.m--Dinah Shore (WLS): "The Road to Morocco," "Day Break," "June in January."
7:15 p.m--Dinah Shore (WLS): "You'd Be So Nice to Come Home To," "Honeysuckle Rose."
7:15 p.m--Dinah Shore (WLS): "I Wanna Go Back to West Virginia," "I Had the Craziest Dream," "The Last Time I Saw Paris."
7:15 p.m--Dinah Shore (WLS): "Murder, He Says," "Touch of Texas," "I'm Getting Tired," "Stormy Weather," "I Cried for You," and "Comes Love."
7:15 p.m--Dinah Shore (WLS): "Can't Get Out of This Mood," "For Me and My Gal," "Moonlight B ecomes You," "Brazil."
7:15 p.m--Dinah Shore (WLS): "Blow, Gabriel, Blow," "I've Heard That Song Before," "I'm Getting Tired So I Can Sleep."
7:15 p.m--Dinah Shore (WLS): "When Johnny Comes Marching Home," "Why Don't You Fall in Love With Me?" "Abraham."
7:15 p.m--Dinah Shore (WLS): "That Old Black Magic," "Tea for Two."
7:15 p.m--Dinah Shore (WLS): "Don't Get Around Much Any More," "I've Heard That Song Before."
7:15 p.m--Dinah Shore (WLS): "Hit the Road to Dreamland," "You'd Be So Nice to Come Home To," "Tea for Two."
7:15 p.m--Dinah Shore (WLS): "Spring Is Here," "Easter Parade," "Singing In the Rain," and others.
7:15 p.m--Dinah Shore (WLS): "What's the Good Word, Mr. Blue Bird," "As Time Goes By," "Shine On Harvest Moon."
7:15 p.m--Dinah Shore (WLS): "Blues in the Night," "Where or When," "Hit the Road."
7:15 p.m--Dinah Shore (WLS): "Comin' In on a Wing and a Prayer," "Black Magic," "Always."
1944 The American Band Of the A.E.F.
BEVERLY HILLS. Calif. - Entertainer Dinah Shore, whose career spanned radio, television and concert performances, died today. She was 76.
Miss Shore, who was recently diagnosed with cancer, died at her home here after a short illness, said publicist Stephanie Masters.
Miss Shore's grown children and ex-husband George Montgomery were with her when she died, said spokeswoman Connie Stone.
Her television career spanned the 1950s to the early 1990s, when she had a half-hour talk show, "A Conversation with Dinah," on The Nashville Network.
Miss Shore, who won 10 Emmy Awards, started in 1951 with "The Dinah Shore Show," a live, 15-minute musical show. The more elaborate "'The Dinah Shore Chevy Show" premiered in 1956 and ran until 1963.
From 1974-79 she was in "Dinah," from 1970-74 in "Dinah's Place," and from 1979 to 1984, "Dinah and Friends."
Referring to the TV camera, she said in a 1989 Associated Press interview: "I don't know how to be afraid of that old red eye. It's one person to me. I don't visualize large numbers of people out there.
I'm comfortable with it." Prior to going into television, she was a singing star on radio known for such hits as "I'll Walk Alone" and "The Anniversary Song."
She occasionally appeared in films in the 1940s including "Follow the Boys" and "Fun and Fancy Free."
She was born Frances Rose Shore on March 1, 1917 in Winchester, Tenn.
A graduate of Vanderbilt University, she began her broadcast singing career in 1938 on New York's WNEW, joining the NBC network later that year and signing a contract with RCA Victor in 1940. A year later she joined Eddie Cantor's radio program; by 1943 she was starring in her own radio program, sponsored by General Foods.
She married Montgomery in 1943 and had two children, Melissa Ann Hime, born in 1948, and John David Montgomery, born in 1954. She divorced Montgomery in 1962. A second marriage to Maurice F. Smith in 1963 lasted only a year.
For more than two decades she had played host to the Dinah Shore Classic golf tournament in the Palm Springs area. She was also a champion of animal rights.


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futuresciencenews
newenergyreport
realsciencenews
News & Articles By Ramon Tomey
Evidence of life on Mars erased over time – NASA scientists
Researchers at the National Aeronautics and Space Administration (NASA) have stated that evidence of ancient life on Mars may have been "erased" as the planet's climate changed. Scientists claimed that millions of years ago, Mars was full of lakes that possibly harbored microbial life. However, its climate eventually changed – drying out these lakes as a result. The salty […]
Asteroid that killed dinosaurs also caused GIANT tsunamis
Scientists recently discovered that an asteroid that hit the Earth and killed the dinosaurs millions of years also sent mile-high tsunamis crashing into North America. They found proof of this event through fossilized "mega-ripples" buried within sediments in the central Louisiana area. The finding contributes to the larger search for evidence of the asteroid's impact […]
Studies highlight the dangers of face masks for children
Face masks have been a necessity for everyone since the Wuhan coronavirus (COVID-19) pandemic began. But two studies have pointed out that face masks do more harm than good, especially to children. Both papers focused on the negative effects of high concentrations of carbon dioxide (CO2) children inhale when wearing masks for prolonged periods. The […]
New battery technology to take electric VTOL vehicles off the ground
A team of researchers has looked into a new kind of battery to power electric vertical takeoff and landing (eVTOL) vehicles. According to the Pennsylvania State University (Penn State) researchers, batteries for eVTOL vehicles have special requirements. Given these requirements, the scientists say the batteries will be built with these specific specifications in mind. The […]
Chinese AI fighter pilots defeat human counterparts in air combat
A new report by the Chinese People's Liberation Army (PLA) said artificial intelligence pilots have fared "better than humans" in the field. These AI systems, designed to "sharpen the sword" for PLA Air Force pilots, managed to shoot down their human counterparts in simulated dogfights. The Chinese military's foray into AI technologies for its air […]
"Holy grail" electric vehicle battery takes design cues from BLT sandwich
A bacon, lettuce and tomato (BLT) sandwich is a good solution for hunger. Interestingly, scientists have also looked to this sandwich to solve a common issue with electric vehicle (EV) batteries. A lithium metal battery whose design is inspired by the sandwich addressed needle-like growths that undermine battery performance. Scientists also touted the lithium metal […]
Highly efficient solar-powered evaporator promises up to 20 liters of fresh water daily
Regular access to fresh water is a luxury for more than 1.5 billion people who live in arid locations. On the other hand, sunshine is abundant in these places that lack fresh water. With this in mind, a team of researchers are developing a device that creates fresh water using the power of the sun. […]
Breakthrough (and scary) technology allows scientists to collect DNA from the air
A breakthrough technology allows scientists to obtain DNA samples from the air. The new technology collects environmental DNA (eDNA) shed by animals and humans for identification. Previously used to study fish, animals and invasive species, eDNA now shows promise in fields such as infectious disease epidemiology and forensics. Prior to the study, eDNA had been […]
HyPoint develops breakthrough fuel cell prototype for aircraft
Fuel cell manufacturer HyPoint has developed a breakthrough fuel cell prototype for aircraft. The company that develops zero-emission hydrogen fuel cell systems for the aviation industry unveiled the prototype on Tuesday, March 2. HyPoint said its turbo air-cooled hydrogen fuel system would drive the development of zero-emissions aircraft and play a key role in curbing […]
Are hydrogen-powered freight trucks ready to roll out?
Freight trucks powered by hydrogen fuel cells are recently starting to gain ground. Rising interest in them comes contrary to criticism about their inefficiency compared to electric battery-powered counterparts. Despite not being in commercial production, many companies are now turning their heads toward hydrogen fuel cells as a possible alternative for powering delivery trucks. Toyota […]
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redpajama_set_name: RedPajamaCommonCrawl


Our Guns N' Roses universe brings Rachel Lorin to our NYC iHeartRadio Studio. Scotto hasn't stopped talking about the 22-yr-old rocker since she opened up for Sebastian Bach in Poughkeepsie.
We bring Rachel to the AFD Show to find out how GNR shaped the model/singer/actress' career and how she wants to bring rock music back to mainstream radio. Lorin also joins Brando & Scotto's debate on whether GnR and other iconic bands should still release new music.
Also what does ... See More Steven Adler being asked to stop talking about GNR mean? All this and more on episode 17 of Appetite for Distortion! Please subscribe on iHeartRadio & iTunes.


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Mansour Martin Spring/ Summer 2021
by Anna Barr
20 Jul. Paris. Spring/Summer.
Belgian creative duo Mansour Martin presented their Spring/Summer 2021 sustainable collection on the SPHERE Showroom, the official showroom of the Paris Fashion Week, operated by the Fédération de la Haute Couture et de la Mode.
The look book's black and white portraits intermingles with the colored photos shot and styled by Benoit Bethume at a 50s building in Brussels featuring models which the designers imagined as residents of the building.
The collection takes on the brutalist architecture theme, designed during the lockdown resulting new awareness also influenced the designers: the relationship to oneself, to the body, to life in the city, which is now organized in a different way.
"It all started with a sketch of an architect's plan drawn by the designers. The plan of an imaginary building, where motifs of facades, windows, and elevators are intermingled with horizontal cuts representing corridors, rooms, and terraces. In the terraces, figures have been designed for a softer and more poetic life."
The simplicity of the lines of each of the garments also echoes the purity and sobriety of Brutalism. The collection also sees an artistic collaboration, of painting on clothes, with Aurélien Delahaies.
"We gave Aurélien the architectural plan that we had imagined and designed and gave him the freedom to reinterpret it in his own way to create the motif of the painting. We then worked together on the colors and materials" explain Mansour and Martin.
In creating their brand, one of Mansour and Martin's objectives was to highlight a multitude of eco-friendly solutions and to offer a selection of respectful, responsible, and sustainable clothing. The pieces are made in France, Belgium, and Portugal, and are, for three-quarters of the collection, totally sustainable. The designers call upon independent manufacturers or small family factories depending on the quantities requested. All the jersey is now totally recycled, made from a French fabric.
Mansour Martin supports the LGBTQI+ Where Love Is Illegal association.
Converse Chuck Taylor All Star Crater sacai x Albert Einstein
actual Mansour Martin Spring/ Summer 2021
previous Converse Chuck Taylor All Star Crater next sacai x Albert Einstein
Fucking Young! Collection 725,00€


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text:
Koji Igarashi shares a very interesting rule the dev team had to follow when creating Bloodstained: Ritual of the Night's bosses
Talk about a tough boss!
In an interview with Gamasutra, Bloodstained: Ritual of the Night creator Koji Igarashi was asked about the guidelines that were followed when developing the game. Turns out he only had one strict rule that his team had to follow when coming up with boss ideas.
I wouldn't call it a design guideline but Bloodstained does follow a strict rule that I always make the team [adhere] to.
That is...the developer who creates the boss must beat their own boss without taking a hit and only using a dagger! (We almost didn't make it...)
We make sure that it's possible to beat a boss without taking a hit regardless of the difficulty and by doing so, we reduce the number of unfair enemy attacks. Removing the "unfairness" allows players to think about what they could have done to avoid a Game Over. It makes them want to challenge the boss again using a different method. It's a golden rule we follow in our games. (Honestly, don't ask us to complete this challenge more than once though...)
Tags: kickstarter, eshop, igarashi, switch
Games: Bloodstained: Ritual of the Night
sneakers Guru
Tue Jul 23 19 10:57am
That's pretty neat to learn.....guess makes sense...if they can do it with the basic weapon and not getting hit, then would be doable with anything else
fylo Ace
Yes, and that in turn makes the battle more replayable. At the same time, some game bosses are still fun even when there's an specific way to take them down.
All in all, it's commendable since I think western developers don't do this, given most of their boss battles are bullet sponges.
kirby Enthusiast
Tue Jul 23 19 12:33pm
The woeful port of this soured me and put me off purchasing this game. It's a shame they didn't have a rule about releasing subpar ports then many more people would have purchased it on the switch and liked it rather than waiting for it to go to the bargain bin.
I think the alternative would have been delaying the Switch version, which in turn will have lead to less sales. Damned if you do and damned if you don't.
Wed Jul 24 19 07:00am
True but a bad quality game is eternal because now we are stuck with a cart game that is a day one flop which stains it for life because when nintendo pulls the plug on the system what you get day one is all you'll experience. So in other words is once its old it won't be gold if that play on words works.
What is also true is that these day one reviews are going to stick now and tarnish the games reputation so whilst a delay may have been frustrating I'd have preferred it.
Another thing that boggles me is why is the switch version always an after thought when the console itself is vastly more popular than say an xbox and is doing better than the ps4 in some regions.
My final point is that Nintendo needs to pull their finger out and stop making it harder for developers by releasing a much more underpowered console. Doom eternal is likely going to be another eternal flop just like this game if not for the same reasons but for the cart costs.
Don't get me wrong I love my switch but I am so far past making excuses for nintendo or any developers that treat the system or their own launches without the thought, respect or integrity that the system and its customer base deserves.
I honestly feel like delaying it wouldn't have hurt them as much as this has. There are plenty of examples of games that have released much later on the switch that sold extremely well such as dragon ball fighterz for one.
I don't feel it's "as much" of an after thought as the Wii or Wii U in terms of support. In this case the Switch version came at a late state of development. I don't know if they did start anything on the planned Wii U version, but regardless the Switch version needed more time do to it being late in the pipeline. Another thing with this game is that even on regular PS4 the performance isn't ideal sin some aspects.
My final point is that Nintendo needs to pull their finger out and stop making it harder for developers by releasing a much more underpowered console.
Nintendo's business strategy don't follow the trends of Sony and Microsoft. Even back when they had parity with the Gamecube, they still didn't pursue online, or media players. The design of the console was criticized and several of their games were rushed (even though they turned better than today's rushed games).
I do hope it improves, at the very least to make it worthwhile in the long run to the ones who bought it. But I do think interest does fade on a game that releases later than the other versions. But who knows, I think it depends on the game.
zombie aladdin Guru
Sounds a lot like the rule in ancient times that the architect of a bridge must be the first one to travel across it. Pretty neat.
Switch eShop file size round-up: Metro Redux titles, Devil May Cry 3 Special Edition, The Dark Crystal: Age of Resistance Tactics, and more
Jan 19, 20:49 by jaimealexlara
Jan 19, 19:45 by chesu
Killer Queen Black update teased for Jan. 21st, 2020
Jan 19, 18:58 by cyruszuo


text:
Callum Petch's Bottom 10 Films of 2017: #5 – #1
These films shine bright, alright, but not like diamonds.
We are almost there! Finally! The end is so close I can practically taste it! I have been writing for a straight fortnight, currently totalling 36,741 words, I haven't been outside of my house for pleasure in over 3 weeks, nor have I gone to bed before 1am for most of that, and I am losing my FUCKING MIND! But on the other side of these final 5,000+ words lie salvation, so LET'S! GET! THIS! OVER WITH! Yesterday, we covered the first 5 entries (and other assorted amenities) to my Bottom 10 Films of 2017, and today we finish it. So, for the final time, GO ON AND SAVE YOURSELF, TAKE IT OUT ON ME!
There may be spoilers, proceed with caution.
05] The Emoji Movie
Dir: Tony Leondis
Star: T.J. Miller, James Corden, Anna Faris
An easy target? One that quite literally everybody has been raking over the coals since the very second that it was announced, and was obviously never going to be any good? "Callum, I thought that you weren't going to go after such blatant fish-in-a-barrel?" Well, folks, I didn't want to, but The Emoji Movie really does live down to the incredibly low expectations that its mere announcement set back in those brighter-looking halcyon days of early-2016. Sometimes, it even tries to find brand new lows to sink to, like having James Corden sing a parody of "Nobody Knows the Troubles I've Seen," an African-American spiritual hymn that originated during the days of slavery, called "Nobody Knows the Touch-Screens I've Seen," or the time where Jailbreak yells out "MEN ARE ALWAYS GETTING CREDIT FOR WOMEN'S WORDS AND I'M SICK OF IT" yet never gets touched upon again, like it's here purely in the hopes that this kind blatant feminist pandering will make critics like myself somehow give the entire film a passing grade, or the fact that I am fairly certain, based on the compelling evidence presented by The Emoji Movie, that nobody involved with it even understands how smartphones work.
The Emoji Movie is an exercise in irritation, 86 minutes of barely-thought-through soulless corporate homogeny. Don't try turning watching this film into a drinking game based on how many plot points and ideas The Emoji Movie nicks from better animated movies, not even for a joke, because you will die of liver failure before it's even half done. Inside Out, Wreck-It Ralph, Toy Story, The LEGO Movie; imagine the worst possible outcome of every single one of those, smush them together indiscriminately, and then stop the concoction every 5 minutes to shill whichever apps were at their most popular 3 or 4 years ago, and you have The Emoji Movie. The complete blatant ineptitude of said shilling – at one point, our cast hide out from security bots aiming to delete them by diving into the Dropbox, whereupon Jailbreak says "they can't get into this app, it is totally secure" – would honestly be pretty funny were the film not dripping with active disdain for any viewer watching it, and especially its target audience. The results betray a creative team desperately trying to get on-side with the youth of today whilst also openly hating every second of their continued existence; cursing the sky trying to figure out how it has come to this, and why teenagers are all so awful. "Words aren't cool," sincerely bleats one of the film's non-characterised humans, whilst Gene mocks the audience's supposedly-insufficient attention spans in his opening voice over.
A film at war with itself, The Emoji Movie also wants to be about stuff, rather than just free advertising to whichever companies were most willing to subsidise the film's costs. Director Tony Leondis – who is the one who pitched the film to Sony in the first place, and even has screenwriting credits – would like for you to think of Gene's inability suppress his feelings, and the fact that he can make more than one expression in a world that frowns upon such a thing, as a metaphor for gay people coming to terms with their homosexuality… just maybe don't pay attention to the fact that his world is nearly completely destroyed because of this fact, or that he got this trait from his dad, or the fact that Gene is in love with Jailbreak, or the fact that he can only commit to his "meh" persona once Jailbreak rejects him, because a woman is honour-bound to reciprocate a man's affections once they have been declared otherwise THEY'RE the unreasonable harlot… The Emoji Movie is so haphazard and devoid of a coherent guiding hand that everything about it falls apart under the slightest scrutiny. It doesn't matter if anybody involved was trying to make something with artistic merit out of their assignment. They've made a hollow and empty monument to late Capitalism all the same.
Animation deserves better. Yes, you likely knew this was coming given whose words you're reading, but it doesn't make the sentiment any less warranted. 2017, whilst phenomenal in almost every other aspect of moviemaking, was a rather down year for Animation as a medium of theatrical storytelling. After the heights of 2016, any year would have been a relative downturn, but the year nonetheless saw a lot of films that shared The Emoji Movie's lack of interest in doing anything other than lining their studios' pockets. Cars 3, Despicable Me 3, and My Little Pony: The Movie span wheels, LEGO Ninjago had the best joke of the entire year but stuck too close to a slowly dwindling formula, and cheap foreign shovelware abounded. But even with that deflating state, the year's best animated features (setting aside the anomaly of My Life as a Courgette) still managed to rise above what on-paper sounds like nakedly cynical cash-grabs. LEGO Batman delivered timely commentary on the state of Batman as a brand and geek "fandom" as a whole, whilst The Boss Baby is actually a searing indictment of Capitalism as depicted through gonzo metaphorical storytelling and luscious visual animation. And if anybody still wants to try and falsely label either film as nothing more than profit-maximisers, then they can be shut down by merely pointing to both films' strong characters, whip-sharp comedy, and sincere hearts, because tangible effort went into the making of them both.
That's all The Emoji Movie had to do at least minimise the damage it has done to Sony Pictures Animation and the medium of Feature-Length Animation as a whole: put in some tangible goddamn effort. Instead, no matter what anyone may try and claim, it says absolutely nothing, not even "buy more apps!" At one point, the gang discover a deleted love letter their human had written to his crush that is entirely made up of the lyrics to "Diamonds" by Rihanna. It could either be a funny joke about the vapid profundity of teenagers, or it could be a failed and cheesy attempt to inject some legitimate heart into our underwritten human characters. It is instead lingered on for a moment, and then passes without any comment.
04] Ghost in the Shell
Dir: Rupert Sanders
Star: Scarlett Johansson, Michael Pitt, "Beat" Takeshi Kitano
It is weird that Ghost in the Shell became a cultural touchstone, right? I mean, I get how – releasing right at the time that the Anime Boom was going into full-effect in America, being all serious and philosophical and critically-acclaimed, and then having its imagery, visual aesthetics, and themes jacked wholesale by two of the most visionary zeitgeist-capturing filmmakers of the late-20th Century will make you a landmark cultural touchstone – but I'm still shocked as to why. I got the chance to rewatch that 1995 anime in a cinema early on in 2017, and was reminded of its brilliance, but also reminded of its incredible difficultness. This is a very slow, insular, intellectual mood piece that gleefully throws itself headfirst into very abstract concepts and places an inordinate amount of trust in the viewer to be able to keep up. I'm not sure that I even fully understand it, and I've been regularly viewing it since I was 17! I'm not saying that it's a bad thing that Ghost in the Shell became one of the pillars of Anime and Manga in the West, not in the slightest, I'm just acknowledging that it's kind of weird.
As a result, I guess I have no right to be surprised that Rupert Sanders' multiple-decades-too-late Live-Action American remake of Ghost in the Shell strips out everything but the barest essentials required to still call the movie Ghost in the Shell, and fills in that missing space with the Generic Late 90s Action-Thriller, Sub-Division D: Anime Wannabe template. Still didn't stop me from exiting the cinema literally shaking in rage, though! Ghost in the Shell makes such a meal of its source material – which is an awkward mishmash of the original Manga, visual references and setpieces used in the classic Anime, disparate strands from both seasons of Stand Alone Complex, and the 2014 remake of Robocop of all goddamn things – that you could mass-produce the results and sell them as dog food.
Narratively, it is painfully predictable and dramatically-inert, with dialogue so laughably blunt and cheesy one would think GitS was an 80s American B-Movie, and characters almost completely lacking in defined or memorable personalities. Thematically, themes of transhumanism, dissociative identities, the increasing encroachment of technology upon our everyday lives, and what it means to have a soul have all been dumbed to near-non-existent levels in favour of "Corporations are bad and scary, OOGIE-BOOGEDY-BOO!" so cliched and simplistic that it makes a pot-smoking teenager that's just discovered the concept of Communism seem like an intellectual genius on par with Socrates. Visually, not only is it in the hands of Rupert Sanders, one of the dreariest directors to ever be given 9-figure budgets, all it does is blandly recreate the exact kind of visual aesthetics that almost every other sci-fi director, good and bad, has stripped bare for their own works throughout the past 20 years. Little of it coheres, either, once again continuing to perpetrate Western science-fiction's long-standing tradition of raiding Asian iconography for their technological dystopias without either making those worlds feel alive or including well-drawn Asian characters as the driving force of those stories.
Which brings us to the twist. That one. That both the Major and Kuze, despite being played by White actors, are really Japanese natives that were kidnapped by the evil corporation at the centre of everything to be used as experiments in the field of cyborg weaponry – their Asian identities being erased and their minds and memories being transferred into White bodies, which have been deliberately designed to be perfect in every way. It's a twist that practically presents a solution to those (completely justified) claims of whitewashing that dogged the film's production on a gift-wrapped silver platter, opening the door for long-overdue commentary on Asian cultural erasure in Western media, and how Western media's decades of prizing Whiteness as the perfect ideal can negatively affect Eastern perceptions of their own culture and representation. And do you know what this Ghost in the Shell does with it? Nothing. Nothing at all, because to dwell on the philosophical ramifications of this twist would be to take valuable time away from The Big Expensive Third Act Action Climax, so, rather than think about it, the film tells us to take this shockingly nonsensical and tone-deaf twist at face-value, to find Scarlett Johansson and Michael Pitt calling each other "Motoko" and "Hideo" with glumly straight-goddamn-faces powerful storytelling instead of the dictionary illustration of White Privilege. It displays the reveal, assuming you could still salvage it (not my place to say athough Hollywood Reporter held an excellently insightful roundtable that you should read), to be nothing but a desperately inept attempt to save face.
And yet, I am kind of thankful for the existence of Ghost in the Shell. I mean, rarely have I been presented with the perfect metaphor for how Hollywood studios typically handle remakes of Asian media: yanking them out of their specific cultural environments, erasing their cultural identities and forcing them into an idealised White body under the guise of a 'post-racial' society, and then parading around that new version as if it is inherently desirable because now it stars faces you sort of recognise and you don't have to read subtitles anymore. Still, I won't forget leaving the cinema in seething expletive-filled rage, since this bastardisation had the gall to end on a recreation of one of the franchise's most iconic shots whilst Kenji Kawai's legendary theme plays, as if everybody involved seriously thought they'd done Ghost in the Shell proud.
03] Bright
Dir: David Ayer
Star: Will Smith, Joel Edgerton, Lucy Fry
Remember when you were, I dunno, let's say 5? Remember how you'd come up with these grand and epic stories to amuse yourself and your friends as you were playing? They'd be born from simple ideas based around stories you read or saw, mixed in with your own limited imagination, and they'd completely fall apart under the thinnest of scrutiny because they weren't that deep? But that was ok because you were a child just amusing yourself for a short while over an idea that you found cool, not a collection of fully-grown adults being paid millions of dollars to spend several years of their lives dedicating themselves to bringing this vision to life, and also believing that their idea is filled with cutting and relevant social commentary about race relations and class warfare? If you'd made Bright at age 5… well, you wouldn't have made Bright, because you were a child and would have had to deal with homework or something like that. Instead, Bright was conceived by the world's most popular streaming service, a 32-year-old wünderkid screenwriting prodigy (according to himself because 80% of his work says otherwise), and a 49-year-old fitfully-talented writer-director. One of them once famously claimed that Bright could be their Star Wars.
Bright is so fundamentally ill-conceived, so completely misjudged on a foundational level, and so completely bereft of any thought put into its premise beyond the one that inspired the initial elevator pitch that I was oftentimes agog at the car-crash display that ran in front of me for almost 2 ceaseless hours. The casual, impersonal ugliness that characterised David Ayer's last film returns in full force attached to what I think are attempts at social commentary that don't seem to equate to or mean anything – "fairy lives don't matter today" has been rightly circulated for mockery by those in the Film Criticism sphere, but what's most mindboggling about it is how completely meaningless that line is even within the context of the film. Bright does largely avoid vomiting backstory into the viewer's face (except for the laughably terrible times where it does), which is something I would like to applaud except that it means that the film's world doesn't make any sense when thought about for longer than a few seconds. "Our world as it is today, except that fantasy creatures are also there standing in for the Lower Classes and 1%" is all good as a starting point, except that no further thought or development of that idea came about, with everyone instead racing straight into filming like they'd just struck oil.
Characters all have one trait and one trait only, that trait being "asshole." Some are "racist asshole," others are "murderous asshole," and others still are "asshole but also that one Mexican stereotype David Ayer has a concerning obsession with," but all of them are assholes. Except for Nick, he's "condescending stand-in for well-meaning Black people," although in Bright's universe, the oppressed minorities that Orcs are stand-ins for brought their subjugation upon themselves by being very evil thousands of years back – except that they can't be stand-ins for oppressed minorities, because human institutional racism is still a thing, and Will Smith is our protagonist, and… Look, the social commentary and metaphors make absolutely no sense other than basic "maybe don't be an arsehole" because no aspect of this world has been thought through beyond the most simplistic of outlines. It's all vague, alluded-to generalised sentiments with no weight or thematic cohesion. Orcs are just "oppressed people." Elves are just "rich" and in some cases "evil." Wands are "like a nuclear bomb," except that they can only be touched by certain "Brights," who are even referred to as "chosen," which make them little more than MacGuffins. And our villains want to resurrect something from the past that we don't see or know anything about to destroy the world. Children's colouring books display more developed storytelling than Bright.
And I fear that this was all intentional. Bright is the kind of movie that shatters into a thousand pieces if one so much as blinks in its general direction, yet it is what Netflix has chosen to go with for its first blockbuster movie – this cost $90 million, which is hilarious to me given just how cheap the film looks, and the fact that the plot keeps contriving excuses to return to the same 3 locations. It has enough action setpieces (really terribly shot and lit setpieces) and recognisable movie stars and the kind of high-concept premise that blockbusters typically have, and yet it is completely devoid of even basic substance. It is a film that fails to cohere on a moment-to-moment level and is entirely disinterested in trying to gain or keep a hold of the attention of any viewer not slumped down in a half-hungover daze on their sofa just wanting something to act as background noise whilst they do menial tasks. The film just trundles along, fulfilling the basic obligations required of a narrative-based movie, and you're expected to just groove on the appearance of moving pictures and sound. Or maybe not even that; you're equally expected to minimise the tab it's playing in and surf the web for 2 hours. Every now and again, an explosion will occur, or one of the film's terrible songs will play, or Will Smith will say something that approximates a witty quip if you just ignore the words involved in it, and you'll alt-tab back over for a few seconds to see what's occurring, before alt-tabbing back to Facebook Messenger or what have you. It even ends with an interminably long scene in which our leads recap the entire plot of the film we just saw, in detail, for the benefit of those who weren't paying attention.
Back in the day, we would have called a film like Bright a career-killer. It would have been released into cinemas, savaged by critics, mostly ignored by audiences that would have had to pay direct money to watch it, and every last person involved with it would have been burying their careers in a shared grave come Monday morning. Today, though, Bright gets a sequel greenlit two days before the film was even released, and Ayer, Smith, and Edgerton are all locked in to return 2 weeks later. Maybe Netflix really are trying to kill movies after all.
02] Alien: Covenant
Dir: Ridley Scott
Star: Michael Fassbender, Katherine Waterston, Danny McBride
Once upon a time, Ridley Scott understood the Alien. Back in 1979, he made the decision in post-production to cut a very-expensive, special-effects-laden scene from Alien where Ripley stumbles upon the Alien's nest, with Dallas and Brett cocooned inside slowly turning into new Aliens, begging Ripley to incinerate them. Scott rationalised this decision due to it coming slap-bang in the middle of Ripley's tense back-and-forth cat-and-mouse escape from the Nostromo during its self-destruct sequence, ruining the tension and pacing. He is right, but I think he also understood the other reason why the scene had to go: it told too much. The Alien is so absolutely, pants-shittingly, nightmare-hauntingly terrifying primarily because it feels like a nightmare made flesh – a given since its design came from H.R. Geiger's own nightmares, but point stands. We learn just enough about it to give it dimension and feel like a real creature, but not so much that all of its mystique disappears. Imagine how absolutely terrifying it must have been for our ancestors to first meet a tiger thousands of years ago, now fast-forward to a time where we know almost everything there is to know about tigers. It's kind of like that.
The cocoon sequence is technically impressive and terrifying separated from the context of the Alien and the rest of Alien. In context, however, it's just a little too much detail about the life cycle of the Alien, and a little too direct for a film that knows the subconscious is a far more effective conjurer of wicked fates than the conscious mind ever could. In Alien, we learn just enough about the Alien to make it feel real and then our subconscious fills in the rest, spurred on the carefully-chosen facts we do know, what parts of the creature's anatomy we can make out, and the inhuman physicality that Bolaji Badejo brought to the creature's movements and body language. You know why the escape pod scare always got me despite my having seen the film at least 70 times over 13 years? It's because the moment where you are presented with incontrovertible evidence that it can think, quite possibly the scariest moment in the entire film for me even though it's not new information when it does arrive, works precisely down to it subverting typical nightmare logic and acting in understandable ways; again, like a nightmare crossing over into reality just enough to remain paralyzingly terrifying. And, once upon a time, Ridley Scott understood this.
With Alien: Covenant, Scott has finally managed to do what naming it, making more of it, turning it into cannon fodder, giving it a Queen, making it fight the Predator, merchandising it, toy-ing it, shoving it into Mortal Kombat, and years upon years of franchise mismanagement could not: it made me no longer scared of the Alien. Even if I hadn't ended up completely and totally non-plussed by the Alien when it finally shows up, Covenant would still have been a terrible movie. The dialogue is crap, the tension is non-existent, every single one of its characters are thinly-sketched and irritating dumbasses of the highest order, there are a trio of abysmal performances – Katherine Waterston, especially, continues to be one of the worst actresses working today, importing over the exact same "Carrie from Homeland in the middle of one of her Jazz freak-outs" performance she gave in Fantastic Beasts and Where to Find Them, and I have no patience for her "12 year-old at a Middle School play" style of acting – and the themes of destructive creators and God Complexes are nothing but half-baked retreads of those Scott more fittingly explored in Blade Runner. Prometheus made me angrier, but that at least aimed higher and had the C-Section sequence. Covenant is too deliberately middle-of-the-road and pedestrian to provide feelings that strong on its own.
But none of that not is why Covenant stuck in my craw so thoroughly throughout 2017. No, it's because of just how much it works to try and kill the Alien. Republican politicians don't try as hard at killing poor people as Alien: Covenant does in trying to murder the Alien, and they don't do so in as many ways as Covenant does. For starters, Covenant is a deeply, deeply, DEEPLY silly movie, yet is so desperate to appear philosophical and be a "thinking man's sci-fi" that it only makes the silliness stick that much more. Everybody is blathering on about the nature of man and purpose and other first semester of Psychology nonsense, and then a designated Horror sequence turns up and everybody seamlessly switches into the kinds of pratfalls and poor decision-making that's more befitting a Looney Tunes villain, even after you try and give them the leeway that one is supposed to give horror movie protagonists. That unawares silliness even bleeds over to the Alien itself in an infamous chestburster sequence that, in this deadly serious sci-fi allegory about God complexes run amok, calls to mind no less a filmmaker than Mel Brooks.
But silliness alone cannot kill the terrifying power of the Alien. It's had multiple bust-ups with the Predator and those are the definition of silly. Nor can the aforementioned back story cooked up by Covenant – David did it cos he was bored, which is a complete synopsis of both this and Prometheus in all honesty – since, let's face it, the mystery of the Alien died out as soon as they made Aliens, and that didn't stop Aliens from being nerve-shreddingly tense all the same. And nor can alternately inept and passionless filmmaking, since those are practically featured components of every Alien film post-Alien 3. And shoving the Alien into the third act of an otherwise largely-unrelated movie so that we can redo the beats from Alien in a third of the time doesn't inherently cheapen the creature, since, when you look at it in the evolution of the horror genre, the Alien is effectively a slasher movie villain but in the form of a wild animal, so I guess the shower-sex murder makes a kind of sense. And making it entirely CGI, embarrassingly low-rent CGI at that, does not necessarily finish the character off on its own, by turning it into yet another weightless computer creation like so many others in today's blockbuster landscape…
But all of that? Together? And with Ridley Scott back in the driver's seat of his original creation, pretty bullishly making a big show and dance about his return coming from a creative desire rather than money? Yeah. Yeah, that'll do it. By dropping the Alien into that swirling cauldron of shite, Scott and Covenant finally managed to kill my fear of the Alien stone dead. Individually, those factors don't particularly do much damage, none more so than other iconic characters having their names slowly dragged through the mud thanks to years of bad franchise management. But the Alien always had a special aura around it to me, something that always caused it to make me so supremely terrified about it that I still, to this day, have not played Alien: Isolation despite it sounding like the perfect treatment for the creature. Perhaps I'm privileged because I wasn't around in the 80s when it was being sold to literal children, but the Alien was able to weather everything and still come out with its specific terror intact. Covenant, thanks to everything I described in this entry, broke that spell and turned it into nothing more than a generic third-act monster made up of thousands of weightless digital pixels with behaviour exactly like that of the killer in a High School slasher movie. It's not even a man in a cheap suit, anymore. It is, for the first time, fully unreal, and a nightmare cannot come back from that.
A few months after we both saw Covenant, Lucy and I re-watched Alien at her place. Alien is still a masterpiece, but the escape pod scare did not send fear shooting down me like it used to. I will never forgive Ridley Scott for that.
01] Beauty and the Beast
Dir: Bill Condon
Star: Emma Watson, Dan Stevens, Luke Evans
My Bottom 5 Films this year, as well as the unofficial entry of Transformers: The Last Knight, all share a thematic link between them. It's why they're all grouped together and it's why they're the only entries on this Bottom 10 that I've written with genuine venomous passion. 2017 was a phenomenal year for movies, I stand by that assertion wholeheartedly, and just as many of those phenomenal films were coming from big expensive studio-backed blockbusters and long-storied franchises as they were low-budget little-seen indies, which was fantastic to see. But I am incredibly hesitant to remain optimistic about this becoming a trend. Because, in addition to your Blade Runners and your Guardians of the Galaxys and War for the Planet of the Apes', studios were just as willing this year to try and push the limits of what audiences might consider acceptable amounts of "not trying."
The Emoji Movie, Ghost in the Shell, Bright, Alien: Covenant, Transformers: The Last Knight. These are works that all see "artistic worth" as a distant second to "making a lot of money for as little effort as possible." Some of them decided to abuse the false notion that kids animation requires no quality control or artistic intentions because kids, and more importantly the parents that pay the entry fees, only want bright shiny colours to distract them for 90 minutes to absolute breaking point. Others believed that their generic, uninspired, lifeless template blockbusters could successfully make up that handicap by, in the most mercenary fashion possible, slapping largely-unrelated franchise branding over the top of it and reeling in a few easy bucks from fans of said franchise hoping for nostalgia kicks or an excuse to become very angry on the drive home. Then there were those who decided to actively reward those who treat movie watching as nothing more than background static to the vastly more important jobs of "doing literally anything else" by wasting hundreds of millions of dollars creating films that collapse the second that any conscious thought is applied to them by the viewer.
Some of these cons failed, others succeeded moderately well, but they are all absolutely where the major Hollywood studios would love for the movies to become in the future. Anything that makes the process in which they can dive into pits filled with Scrooge McDuck-levels of money more efficient. We got lucky this year that a whole bunch of hard-working, visionary, and talented filmmakers – and I'm not just referring to the directors who get all of the credit, I'm talking about every single person involved in those films that made up my Top 20 for the year – brought tangible passion and creativity to projects that theoretically should have been additional bodies to add to this particular pile of examples. Let's be frank, a 21 years later Trainspotting sequel had no right to be as excellent as it was. But it's not always going to be like this, and much of this year's Summer movie season gave us a worryingly bland, empty taste of what that future could be like. In all honesty, you could rearrange every prior entry in this Bottom 5 into any order you'd prefer and I'd still agree with you over it, but my #1 cannot be budged.
Beauty and the Beast is not a good movie, more of a "death by a thousand cuts" scenario, but it is the best of this Bottom 5 by an astronomical margin. After all, in its best moments, it is a direct live-action translation of Disney's own 1991 animated masterpiece, just with bad singing and staging that makes everybody look like animatronics in the process of breaking down – and in its worst, it's Disney CinemaSins-ing their own movie in real-time, but that's a whole other article I'll likely never get to. If you do just want to turn up and have your nostalgia centres comforted by seeing all of the best parts of Beauty and the Beast "reimagined" in live-action, then this new one has you covered, because that is all that it is aiming to do. Maybe also just stop paying attention to the film completely when it starts altering or adding in certain lines and scenes, though, otherwise you might start noticing the seams coming apart and be driven slowly insane by everybody somehow managing to screw-up the easiest lay-up in the world.
But compare Beauty and the Beast to Disney's prior history of remaking or reimagining their Animated Classics for live-action purposes, or even just remaking forgotten live-action works. Alice in Wonderland, Oz: The Great and Powerful, Maleficent, Cinderella, The Jungle Book, Pete's Dragon. What started out as radical reinterpretations of the original text, for good or ill, peaked with Maleficent – which reimagined Sleeping Beauty as a crazed feminist rape-revenge piece, and is exactly as much of a perversely amazing pile-up of a movie as that sounds – and ever since has largely turned into straightforward translations of whatever the Disney Franchise Wheel of Fortune landed on this quarter. Cinderella had everything but talking mice and the songs, The Jungle Book put some of the songs back in, and now Beauty and the Beast is just straight-up the original film but with the occasional minor change or additional song try and justify the whole enterprise. Some of these films have been great, the Pete's Dragon remake was even a vast improvement on the original, but that's not the point. The point is that, even when they phone in something like Beauty and the Beast, Disney can get away with it because they are Disney.
Until Star Wars: Episode VIII – The Last Jedi came out, Beauty and the Beast was the highest grossing film of the year worldwide. In a way, it's just a continuation of the fact that the most successful movie of any given year is a sequel or franchise entry. You would have to go back to 2009 – because, remember, Frozen is a part of the Disney Animated Canon, which makes it part of a franchise – to find the last original movie that was the year's top earner (Avatar), and then back to 1998 to find the time before that (Armageddon). But I can't help but get hung up on this fact. Beauty and the Beast has no reason to exist, not when every family is practically given a Home Video copy of the animated version the second that the mother of the household gets pregnant (it comes free with every ultrasound), other than to guarantee record 1st Quarter profits for the Disney corporation based solely on the back of brand recognition. Alice in Wonderland was godawful, but at least everybody there was trying something different with the material. All of them post-Cinderella add nothing to the originals. It's not like Disney needs the money! They're not early-2000s Disney, they're not going to become suddenly insolvent! They could have written off the losses provided by that Pirates of the Caribbean fifth-quel nobody saw via the profits generated by Guardians of the Galaxy vol. 2 alone, never mind Star Wars!
Disney doesn't need this. They've got LucasFilm, they've got Marvel, they've got Pixar, and they've got their animation department. If there was a big-ticket movie in 2017 that you saw, chances are it was Disney-affiliated. And it's only going to get worse from 2018 onwards. We are getting Mary Poppins sequels, a live-action Winnie-the-Pooh movie, a live-action Dumbo, a live-action Aladdin, a live-action-ish Lion King (those last 3 are all within 4 months of each other), a live-action Mulan, more Planes movies, Pixar are still making sequels, and even Disney's own animation studio, which has only made one direct sequel in their whole animated canon (and it wasn't a particularly good one), now have 2 coming in successive years. And this is all, of course, without mentioning the continuing steam train of Marvel and Star Wars instalments. Could these all be great and surprising and potentially escape the mercenary reasons for which they were greenlit? Of course! If you'd told me at the beginning of the year that one of the best films of 2017 would be an X-Men-related movie, I would have laughed in your face. But it's a slate that reflects a complete aversion to any idea that isn't guaranteed an opening weekend of $80 million+ because of market analytics and brand recognition and all of the things that are anathema to artistry.
But they'll get away with it because they're Disney. They are too wedded to all of our individual pop culture evolutions, my own included, to ever be sufficiently called out on it. As long as enough of those remakes/reimaginings are at least decent, as long as Pixar puts out something original every 4 films, as long as Star Wars and Marvel don't start sucking consistently, as long as the animated classics that made their name are still there, as long as they occasionally do things like write Ava DuVernay a $100 million cheque to make the blockbuster she's clearly always wanted to make, none of us are ever going to stop watching Disney films. We couldn't even if we wanted to. And when the schedule starts potentially looking a little anaemic, then they'll just buy up some competition instead and add a few more lucrative brand names to the library, as they have just done with 20th Century Fox, before trying to squeeze just a little bit more out of the cinemas that show their films because, again, they can't not show Disney films. Every big-ticket item is in some way Disney-affiliated now.
This is why Beauty and the Beast is my #1, because it represents the future and that future leaves me deeply concerned. I'll see you at the midnight screening of A Wrinkle in Time, yeah?
Tomorrow: Nothing. There is none. WE ARE DONE! I AM FREE! FREE AT LAST! I AM GOING TO GO AND FEEL SUNLIGHT ON MY FACE! GOOD NIGHT!
Callum Petch is one step closer to the edge and he's about to…
January 6, 2018 January 6, 2018 Callum PetchBest Of/Worst Of2017, Alien, Alien: Covenant, Beauty And The Beast 2017, Bright, David Ayer, Disney, Ghost In The Shell, Katherine Waterston, Max Landis, Michael Pitt, Netflix, Ridley Scott, Rupert Sanders, Scarlett Johansson, Sony Pictures Animation, The Emoji Movie, Tony Leondis, Transformers: The Last Knight, Worst Of
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A field trip to the Eugene Science Center creates a fun and engaging experience for students while helping teachers to meet educational goals. Groups can choose to explore space through a Planetarium show, discover science in depth through a guided lab experience, or visit the Exhibit Hall for self-guided exploration. For more complete science discovery, schedule time for a combination of these activities.
EDUCATION RESOURCES are available here to further support student learning experiences.
Self-guided exploration of our hands-on exhibits for up to 40 students at once. Exhibit Hall visits last between 45 and 60 minutes. See our current and upcoming exhibits.
An immersive visual experience for up to 60 students (70 visitors total) at once. Showtimes vary between 15 and 50 minutes. See our selection of planetarium shows, including show lengths and age recommendations.
A classroom program with hands-on activities led by a Eugene Science Center educator for up to 24 students at once. Enrichment Labs last between 45 and 60 minutes. See our complete list of Enrichment Labs.
Fill out our online form to reserve your group visit. Available visit times are generally Tuesday through Friday, 9:15AM-4PM. We occasionally accommodate trips outside these hours; please inquire with Guest Relations.
If you have further questions or have difficulty with our online form, please contact Guest Relations at 541-682-7895 or [email protected].
Our Guest Relations Staff will contact you to review your request. You will receive an e-mail from us when your trip is confirmed.
Please contact us to find out if we have written or online educator guides available for the current exhibits or your planetarium show. We encourage you to review them prior to your visit. Teachers are also welcome to visit in person during our regular open hours to preview the exhibits free of charge!
When you arrive, our staff will meet your group for a 10-minute orientation to prepare everyone for a fun-filled day of discovery! Be prepared with a headcount of both students and adults upon arrival.
Teachers and adult chaperones are free for every 6 students attending. Additional adult chaperones pay admission at the student group rate.
We offer field trip scholarships for schools that serve low-income students. You may request scholarship funding while booking your field trip online.
The Eugene Science Center does not have an indoor lunch area for large groups. Covered outdoor seating near our front entrance is available on a first-come basis. We have a classrooms and a Community Room that can be reserved by smaller groups for an additional fee. See the registration form for details.
Our Museum Store features learning toys and small novelty items. Students are allowed in the Museum Store only while accompanied by an adult. All store revenue supports ongoing Museum activities. We encourage your group's patronage!


This is a placeholder page for Mickey Wilson, which means this person is not currently on this site. We do suggest using the tools below to find Mickey Wilson.
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Poor posture mal-aligns the joints of the spine and periphery. This puts the mechanical structures of the body at a disadvantage. This disadvantage can be the cause of injury, or can be a factor which stops or slows recovery from injury.
Ergonomics is the relationship of the body with the objects around it such as a computer workstation, a bike or even a tennis racket. The physiotherapists at Head 2 Toe are experts at assessing and advising on ergonomics.
Knowing how to setup your office chair and computer workstation, or hold and use a tennis racket can vastly improve the efficiency of movement and lessen the loads involved. This can speed the recovery from injury, and make further injury less likely.
The Physiotherapists at Head 2 Toe are experts at assessing and training posture. In conjunction with manual therapy, stretching and exercises we will use techniques such as postural taping, video analysis and feedback, which will help you to optimise your posture.
We will talk about your workstation set-up, or driving position or even solutions for poor sleeping habits and pillow choice.
This places your joints and muscles at an advantage, making recovery from injury faster and optimising performance at sport, in the workplace or in daily activity.


A long-term capital gain or loss is the gain or loss stemming from the sale of a qualifying investment that has been owned for longer than 12 months at the time of sale.
The long-term capital gain or loss amount is determined by the difference in value between the sale price and the purchase price. This figure is either the net profit or loss that the investor experienced when selling the asset. Short-term capital gains or losses are determined by the net profit or loss an investor experienced when selling an asset that was owned for less than 12 months. The Internal Revenue Service (IRS) assigns a lower tax rate to long-term capital gains than short-term capital gains.
A taxpayer will need to report the total of their capital gains earned for the year when they file their annual tax returns because the IRS will treat these short-term capital gains earnings as taxable income. Long-term capital gains are taxed at a lower rate, which as of 2019 ranged from 0 to 20 percent, depending on the tax bracket the taxpayer is in.
When it comes to capital gains losses, both short-term and long-term losses are treated the same. Taxpayers can claim these losses against any long-term gains they may have experienced during the filing period. These figures are all reported on tax Form 1040.
For example, imagine Mellie Grant is filing her taxes and she has a long-term capital gain from the sale of her shares of stock for TechNet Limited. Mellie first purchased these shares in 2005 during the initial offering period for $175,000 and is now selling them in 2019 for $220,000. She is experiencing a long-term capital gain of $45,000, which will then be subject to the capital gains tax.
Now assume she is also selling her vacation home that she purchased in 2018 for $80,000. She has not owned the property for very long, so she has not gathered much equity in it. When she sells it only a few months later, she receives just $82,000. This presents her with a short-term capital gain of $2,000. Unlike the sale from her long-held shares of stock, this profit will be taxed as income, and it will add $2,000 onto her existing wage calculation.
If Mellie had instead sold her vacation home for $78,000, experiencing a short-term loss, she could have used that $2,000 to offset some of her tax liability for the $45,000 long-term capital gains she had experienced.
Capital gains yield is the price appreciation component of a security's total return.


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Q: paperclip not uploading image I have followed the steps given here but the images are not getting uploaded.
The following is the log for server :-
Started GET "/pics/thumb/missing.png" for 127.0.0.1 at 2014-10-14 16:53:22 +0530
ActionController::RoutingError (No route matches [GET] "/pics/thumb/missing.png"):
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  activesupport (4.1.2) lib/active_support/cache/strategy/local_cache_middleware.rb:26:in `call'
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  actionpack (4.1.2) lib/action_dispatch/middleware/static.rb:64:in `call'
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redpajama_set_name: RedPajamaStackExchange


text:
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Tag » the eminence in shadow
Crunchyroll Games Launches The Eminence in Shadow: Master of Garden Mobile RPG
New game based on the anime is available on iOS and Android
November 29, 2022 11:30am EST (11/29/22)
The latest anime-based RPG from Crunchyroll Games is The Eminence in Shadow: Master of Garden, which officially launched today on iOS and Android devices. Read on for more.
Wednesday November 2, 2022
Crunchyroll Games to Launch The Eminence in Shadow: Master of Garden Game
RPG based on the anime series is on the way this November, pre-registration is live
November 02, 2022 11:50am EDT (11/2/22)
Crunchyroll Games is getting ready to put control of another anime series right in your hands, this time with the upcoming launch of The Eminence in Shadow: Master of Garden. Read on for more.
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Abstract To assist groups interested in inventorying air emissions of various potentially toxic substances, EPA is preparing a series of documents such as this to compile available information on sources and emissions of these substances. This document deals specifically with phosgene. Its intended audience includes Federal, State and local air pollution personnel and others interested in locating potential emitters of phosgene in making gross estimates of air emissions therefrom. This document presents information on (1) the types of sources that may emit phosgene, (2) process variations and release points that may be expected within these sources, and (3) available emissions information indicating the potential for phosgene release into the air from each operation.
Notes Distributed to depository libraries in microfiche. "September 1985." Includes bibliographies.
Supplementary Notes See also PB86-117587.
Corporate Au Added Ent United States. Environmental Protection Agency. Office of Air Quality Planning and Standards. ; United States. Environmental Protection Agency. Office of Air Quality Planning and Standards.


text:
Record number of students abroad for CentreTerm 2017
A record number of Centre College students are currently studying abroad during 2017, learning about such varied subjects as the science behind the art created by the great French impressionists, theological studies in Israel and post-revolutionary life in Cuba over the decades.
According to Milton Reigelman, director of the Center for Global Citizenship, more than 230 students are studying with Centre faculty in 13 countries this month, including Thailand, New Zealand, Italy, Ghana, the Netherlands and the United Kingdom, among others. Many of these classes are interdisciplinary in nature, giving students the opportunity to not only learn in new settings but from unique perspectives.
Centre is committed to educating students to become global citizens, and because of these efforts, the College is consistently recognized as one of the nation's top institutions for study abroad. The Institute of International Education (IIE) named Centre #3 in the nation for study abroad participation rates at undergraduate institutions in its 2016 ranking. Including semester-long options, more than 380 Centre students studied abroad during the 2014-15 academic year.
Study abroad opportunities are guaranteed to every Centre student through the Centre Commitment, and every incoming student is also guaranteed a free passport through the Centre's Your Passport Initiative. Many students take advantage of these opportunities, with 85 percent of Centre students studying abroad at least once and around 30 percent studying abroad two times or more.
by Elizabeth Trollinger
By Centre News|2018-07-03T15:31:17-05:00January 12th, 2017|CentreTerm, News, Study Abroad|


You've just received an impossibly long list of supplies from the school and your kids have grown out of most of their clothes. Back to School shopping is a necessary evil, but that doesn't mean it has to cost a fortune. I share my advice with PIX11's Betty Nguyen on how to save money on everything your kids need for school.
I recently discovered Swap.com, which is the top site for online consignment. You can sell your kids' gently-used clothes and then use your earning towards other clothes, backpacks and other essentials on the site. The site has over gently used 2mm items, so you'll have plenty to choose from all at 80-90% off retail.
If you have a Sam's Club or Costco membership, you may not think of using it for school supplies, but you can find essentials, like pencils, pens, notebooks and folders at these stores. No membership? Try Boxed.com or the Boxed app. They offer price club prices without the membership fees and they ship for free.
Earning cash back is a great way to save while you're shopping, but sometimes it takes some work to find the best deals. To make saving easy, try a browser extension like the SwagButton from SwagBucks. It takes a couple of seconds to install and then as you shop online at hundreds of stores, you'll be alerted to available cash back offers that you simply click on to activate. You can redeem your earnings via Paypal or gift cards.
No sale on an item you need for Back to School? Never fear! Use a site like Gift Card Granny to look for discounted gift cards. By shopping with a discounted gift card for Target, Amazon, or wherever else you plan to shop, you'll automatically save between 2-30%, sale or no sale.
Students and teachers, if you have a school I.D., don't forget to use it. Countless retailers, like Microsoft and Apple, offer discounts when you present your I.D. (Gift Card Granny has a comprehensive list). And to save even more, set a deal alert for any item on deal site Slickdeals.net for the best deals. If you're not sure what you want, set an alert for "Back to School" to be privy of all the best deals.


What a long strange trip its been. Established in 1997 we are just footsteps away from the State Capital building. For over two decades we've held vigil over protests, marches, farmers markets, art fairs and Iron Man competitions. But, perhaps most importantly, we take care of the everyday working men and women who just need a cup of joe to go. Much has changed, much has stayed the same. We roll on.
Michelangelo's prides itself on prompt, friendly and efficient customer service. Our commitment to our customers is 100% - no holding back. We deliver on all fronts - from the coffee, the sandwiches and desserts and the over-sized welcome you feel when you walk in the door.
We're not going anywhere. We are ready and waiting for you.


text:
En nageltång är ett verktyg för att klippa naglar. Tången har i grunden samma konstruktion som en avbitartång. I likhet med dessa finns den både som sidavbitare och ändavbitare. Verktyget har sin största nytta vid klippning av hårda och tjocka naglar, i synnerhet på tårna. Det är allmänt förekommande och används inte minst av fotterapeuter.

Hygienartiklar
Naglar

redpajama_set_name: RedPajamaWikipedia


text:
Utricularia capillacea är en tätörtsväxtart som beskrevs av Carl Ludwig von Willdenow. Utricularia capillacea ingår i släktet bläddror, och familjen tätörtsväxter. Inga underarter finns listade i Catalogue of Life.

Källor

Bläddror
capillacea


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https://independent-magazine.org/2011/11/22/katherine_brodsky_indie-distribution_fundraising_tips/
Articles Tagged Casting
Of-the-Moment Tips on Funding Indies, Social Media, Genre Films, TV Pitches and More
By Katherine Brodsky
The hot topic at this fall's BNA Atlas International Film & TV Finance Summit, the 11th Annual in New York, was how to master the business side of film in order to even attempt the creative side. Discussions among those present, myself included, ranged from marketing to financing and distribution. In other words, the talk… Read more »
10 Filmmakers to Watch in 2011
By Nikki Chase
It's time for our annual 10 Filmmakers to Watch list. We've pooled our resources and brainpower to get the scoop on who's who this year. This list brings together filmmakers of all backgrounds and media, including animation, shorts, Web series, narrative features and documentaries. Some of the names are already familiar to our site, while… Read more »
Facebook Exclusive Content for 10 to Watch
Editor's Note: This collaborative reporting effort was led by Nikki Chase, Maddy Kadish and Beth Brosnan. Be sure to check out our exclusive daily content on Facebook. We'll also have daily updates right here, so you can keep track of the list, and a final feature story with background on all 10 filmmakers on May… Read more »
Do Canadian Indies Depend on American Celebrity?
Barney's Version is a Canadian film with a lot of stars, especially American ones like Paul Giamatti and Dustin Hoffman. At a special tribute at this year's Toronto International Film Festival producer Robert Lantos proclaimed that it's not that he is opposed to working with a small budget, it's that the ambitious stories he'd like… Read more »
Film Journal: Survival Strategies During Production
By Valerie Weiss
In my last installment of my film journal, I wrote about the importance of pre-production for laying the groundwork for principal photography. What I learned during principal photography was that no matter how much you prepare, how long you plan, things will change—locations fall through, actors' availabilities shift, and you need to continue pre-production into… Read more »
Film Journal: The Importance of Pre-Production
In my first two installments of my Film Journal for The Independent, I wrote about the philosophy behind the $200,000 independent film. In this installment, I will talk about laying the groundwork to make our film at this budget, the period known as pre-production, and how the making of Losing Control reinforced the film's theme… Read more »
What an Actor Looks for in a Filmmaker
By Erin Trahan
He's most recognized for his menacing role as Ethan Rom on Lost, most respected for playing the cheated-on, threatening husband in In the Bedroom, and most pitied as an innocent victim in The Grudge. Yes, William Mapother can play scary. But he can also play nice. Exhibit A: A charming scene in the light and… Read more »
AIVF: And What it Meant to Me
I first became aware of AIVF when Martha Gever was editor of The Independent. I marveled at this national organization that put out each month a magazine chock full of weighty, intellectual and critical articles on film and video. The magazine wasn't glossy and was not determined to be a general "industry rag." At that… Read more »
Voices from Issues Past
What happened at AIVF over the last 30 years? Coming up with a coherent and entertaining way to answer that question was not an easy task. Instead of recounting the factual history—which would put most readers to sleep—we decided to let the voices (of past and present) speak for themselves. What follows is a conversation… Read more »
Recasting the Casting Director
By Amy Goodman
Producer Sandra Katz has tried for three years to raise money for Nothing Men, a film by first-time director John Serpe. "It's a vicious cycle," she says. "You can't get all your financing until you get a name actor, and you can't get a name actor until you get your financing." Sound familiar? It's a… Read more »


Squeeze pages, sometimes also known as lead generator pages, are one of the basics on an internet marketer's arsenal.
Squeeze pages are very, very single minded pages. Their sole aim is to prize an email address out of a visitor. Once they've signed up, you have their permission to email them over and over again. But you need them to sign up to your list first!
Firstly, pick a template for your lead generation page. You can find these on the web either for free or for a small charge. If you choose the free option, make sure your target market is well away from such well trodden areas as internet marketing, weight loss and (weird as it may sound) dog training. If you don't do this, there's a high chance that your potential customer will have encountered a near-identical squeeze page so many times before, they're bored with it. Which means they'll be more likely to click away.
Then modify your template. As a minimum, you will need to add in a headline relevant to your offer and some "selly" bullet points. You may also want to split test your headlines to make sure that you're getting the maximum number of sign-ups. Some marketers have reported that they regularly get 7 out of ten people signing up from the squeeze pages they create.
You can also test other elements on your lead generation page. Most of the time, people report that they get better results when they add audio messages to their squeeze pages. Test audio. Also test whether you get better results if the message starts to play as soon as a visitor gets to your squeeze page.
Nowadays, you will find video appearing more frequently on squeeze pages. Many marketers have found that using a "part one" video on their squeeze page with "part two" only available after sign-up is a very effective technique. If you go down this route, take inspiration from the cliff hangers you used to watch at Saturday morning cinema. Or if you're too young for that, think of any episode of the television series "24". Make sure your viewer is hungry for more information. Which you'll let them have - once they've confirmed their email address.
You can get your squeeze pages designed at the click of a button with this simple lead page generator.