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Ryan K Lindsay – Writer
Tag: triona farrell
RKL Annotations – BEAUTIFUL CANVAS #3
Beautiful Canvas is a comic from Sami Kivela, Triona Farrell, Ryan Ferrier, Dan Hill, and myself through Black Mask Studios.
Issue #3 was shifted back a week, but distance [of time] makes the heart grow fonder, right?
Below are my annotations. An inside look into my brain as I reflect on our making of this issue, and a chance for me to unpack what I'm seeing in the work now, and how I feel it connects on a broader spectrum. I hope you dig, and find something that'll help your mind think/make comics in the future.
THE COVER – SAMI KIVELA
Sami came up with a bunch of those little warning signs for the cover and eventually chose the best ones to use. I love that Sami's brain is constantly cooking when you collaborate with him. He's such a gentlemen, and a crazy genius to boot.
I love that the gorgeous exosuit Sami designed gets some play here.
This page didn't exist for a few drafts. I cut straight to Lon launching out the window to open this issue, and I'm glad now I didn't. This flashback isn't much on narrative, but it sets a character tone, and we get to call back to it later, so it pleases me so.
That idea of having a wide white bar down the side and putting text into it is very obviously something I stole from Brubaker's work on KILL OR BE KILLED. I won't try and hide that influence. And I'm actually happy with the excerpt from the book Lon is reading – sometimes those words never come to me, and sometimes they work. These one work [for me].
Seeing the girl twice playing on this page, when you know she dies in a minute, gets more heartbreaking every time I read this page.
Dig that exosuit superheavy design by Sami, and Tree coloured the hell out of it. Writing this sort of stuff is the absolute best part of the job.
Also really love how Sami timed this page to match with the final page of #2 so it makes sense for it to have happened and worked out. Sami's layouts are genius for this kind of thing. You can also see that ghost reflection in one of the shards of glass and realise that Sami is damn well capable of anything on a page.
Choreographing everyone on this page did my head in during the planning stage. Who was going to react, how, where, why, and what would it leave them doing and where?
In the end, I don't think this is my strongest page. It gets Asia moving out of the scene. It gets Eric to see Milla in the chopper, but it doesn't do much more. It's a bit thin, really. I like the pacing of Eric's lines, and the passage they take, but they aren't doing much.
"I'll do better next time" is all we can say, right?
PAGE FOUR
Whereas this page certainly does something. We reveal this idea of 'sleeper agents' that Milla has access to and can activate. This should answer certain questions the answer might have been holding onto. Does it grab their face and scream the answer into their retinas? No. I want you to piece it all together. But it's all here, coming to light.
THEY BOTH YIELD is a prime example of the way I'm giving info out. That title clearly tells you what I think of both of these characters, but it won't say it outright. I refuse, and I hope you don't mind.
PAGE FIVE
This page reveals Alex has run away from Lon, but we don't show you Lon on the car, coming to, without him until the next page. Again, just the way I like to roll things out. I'm sure it'll throw too curvy a ball for 1 in 10, but I think the rest won't mind.
That plant horse is just madness, right? I sometimes feel like I could throw anything at Sami and he'd nail it. Also love that pink background Tree dropped on the mayhem. Makes it pop in all kinds of funky ways for your mind.
This is an instance of a boring page – Lon wakes, she gets picked up by Asia, they move to where the action is going to be – and yet I'm completely happy with it, and here's why.
I used the page to show a little more about Lon, and even Asia.
Lon stares down the ghost of the girl she killed, and she walks away mid-sentence. She's trying her damnedest to move on.
And Asia has just stepped up to show herself as this rad sci fi bike riding lady of action who isn't going to back down from the situation. She's going to stand by her girl.
The way Sami paced out Asia picking up Lon is really well done, and that bike is just crazy gorgeous. I think flying bikes are my new trope.
Okay, we see that Alex is a super danger to everyone around him, we get Lon and Asia moving to the scene, and we start to connect Eric and Milla. This page does stuff, but I'm not crazy excited by how it does it. It's perfunctory, it's just doing what it has to do. I did struggle with this page in the script, because I had characters who needed to get into position, and I had to place them into position, and that's kinda all I did.
The sfx of the helicopter being dragged down into the road was my idea – and I'm not certain I made the right call with it.
I didn't notice Sami snuck a CHUM Easter Egg into Panel Three.
Also: don't ask me the timeframe on Eric getting to the downed chopper just after Lon and Asia zoom away.
PAGE EIGHT
Sami draws the best faces. His angry Alex is a sight to behold. That he can go from humanity to wild sci fi destruction in half a page consistently excites me. He's an illustrator who is limitless, and writing for that is as much fun as it is anxiety inducing. You never want to waste what you've got.
The way Triona handles the building corner falling, and the pink background building to an emotional retaliation is lovely. Every panel always has so much feeling in it.
PAGE NINE
That big mess of rubble and a map is why artists hate writers.
I'm sure colourists hate writer, too.
Basically, writers are dicks.
But this page looks so good, and gives us such information, and it's funky in a way only comics can do so beautifully. We get our guy saving himself, and then a showdown with Alex, and then fire across the page. There's tension and time and space on this page. Sami did a great job with the duelling fire across the bottom, and we crosscut with Eric's conversation with Milla just to layer in a bit more, and draw both scenes together a little bit.
People have wanted answers, and this page is what it looks like to get answers from me. Milla is somewhat oblique about it all, but she's also laying a lot out on the line here. What she's doing is clear, and the scope to which she is doing it. The rest of the page isn't very razzle-dazzle, but you need to focus on these words. I need you to understand what's going on.
PAGE ELEVEN
Milla gets one last dig in at Eric, about spreading who he is, and then we introduce Moore to the scene. Because things have to finally move on – you can see I'd be horrible at writing a 5 page sequence of talking heads because I'd constantly worry I was losing the reader. All i ever do is worry about these pages – is it too boring, is it too confusing, is it too lame…reframe, repeat.
Eric's action against Moore is harsh, maybe not well thought through, but he's operating from emotion now. Milla got under his skin.
PAGE TWELVE
Hot damn Sami and Tree know how to create pain and scope for their firefights. Especially with those inset panels, they make you linger, they drag you into the smoke and hold you there.
Asia drops a little more exposition – because the facts are rolled out slowly, and she has a plan. We also know she's gutsy enough to try it, too.
PAGE THIRTEEN
I love the colours on this page, the heat of the yellow. You feel it all.
Then we get that panel, and Asia Prof X's into Alex's head. For me, she's looking in there here and seeing a representation of what he feels. It's not literal, how many of our thoughts and feelings ever are? But it's the monster he feels he's become in this short amount of time, it's this horrible dragon he feels affinity with – which is a problem because he saw his mother as the dragon, too. He's blaming her for what he's becoming, which is totally unfair and untrue.
So Asia gets knocked down and we get yet more inset panels of Lon just looking at everything. She's weighing up her options, she's looking at what needs to be done against what she hoped was all she'd have to do. I needed to make Lon's choice in this sequence difficult, so we build up her tension with the moments/panels.
PAGE FOURTEEN
"Kicking back the tide" is such a great saying. And so many of my characters will do just that, endlessly.
Eric is here to mess up Milla's cabbage patch, and he openly tells her so. This is one of those 'down' pages, where for pacing you are setting up for the next moment. I just wish it did more for Eric or Milla rather than just a decent line for each one.
Though I do like that Sami seems to be driving the extra car, and he goes up in flames. That must've been fun, ha.
PAGE FIFTEEN
Those smoke clouds from Sami/Tree are just gorgeous. There's such beauty in them.
Eric throwing Moore into that car is the end of his story, and what a way to close out. I liked Moore, but this was his abrupt stop, he doesn't get a full looping arc like the others.
I like the angle Sami uses for the final two panels as we split Eric from the camera, we give that pause of time, that shift of focus. Sami's an expert at making the physics of those moments work so well on the page.
PAGE SIXTEEN
This page is all about Asia giving up and Lon realising she has to take a new angle on things. The plan she's been running with since like Page 4 of issue #1 won't hold anymore, sometimes you're a killer and you have to kill. So Lon has to make a choice, and act upon it.
That gun barrel inset panel, and the pink, and the sfx, is what collaboration looks like. Every person in the squad worked to make that moment pop like that.
PAGE SEVENTEEN
Lon approaches the scene, she's cold now, detached from things. Asia is reactive and hustling, and all Lon can offer the solution is more bullets. She's broken by now, and on a slippery slope towards the end of this issue. All roads are leading to this final page, now.
The briefcase full of fish is something I now wish was just real and able to be bought in some local market.
PAGE EIGHTEEN
Eric is completely sucked in here. And he's processing, pausing, and then realises he can search for his daughter.
I wish I'd build a buffer panel between the 1-2 here, just to give his thoughts a little more time, even just a white bar, something. Reading it, the moment feels quicker, and I wanted it to be him really pausing and then realising what he can do with this camera.
Milla sees what's happening, and she wants it recorded – which should tell you so much about her, and what she does, and what she loves. And at the same time, Eric looks back at her and he's just giving up. He's got his daughter on screen, and he's…well, it makes more sense next issue, but this reaction from him is totally in character here. For this moment, he's beyond thinking about Milla.
PAGE NINETEEN
This is the tipping point for Lon, where she sees this whole mess fucking up her world. This is what makes her realign herself, yet again.
Sami and Tree did such an amazing job of showing Asia walking into Alex's mind by walking into his panel – all an idea from an edit by Dan Hill. I swear, everything you love about this comic exclusively was not me, haha. Though I did purposefully make Alex's repeated word mean two totally different things across those two panels. He's telling Asia not to come in, but then he's chasing it by telling her not to care.
Again, Sami's inset panels electrify the pacing, the transition of things. They also make me subtly think about that cut back-and-forth you'd get in ALTERED BEAST when levelling up. I'm sure that's not what Sami was drawing from, but it's what I'm connecting to.
That goddamn dragon and all it symbolises.
Alex turns now, not pushing Asia away, but rather pulling her in. Holding her in close for the body blows.
PAGE TWENTY
Sami gives us Milla, and her movement, and the drones, and even a sign pointing to the Market Square 5 miles away. Damn, he knows how to get everything you need right in front of you.
The rest of this page is dedicated to Milla being a dick and just enjoying what she has created. She can hustle her ass somewhere AND take little moments to engage with the art of her city.
And the look on her face says it all, she's enjoying all this far too much. Also: dig that green background in the final panel.
PAGE TWENTY ONE
I used the word beautiful in this comic at strategic places to show you what the 'beautiful' of the title is – and it's anything but our standard definition of the word. It's usually the opposite, and it's ghastly, and yet it's also completely what's captivating on the page and in a narrative. We love seeing the shitshow in stories, and that's just how Milla views the real world.
How far apart are we, truly?
Lon is alone now. Asia is trapped in the head, Alex is out, and then the ghost appears, making her feel more trapped inside herself.
It took me ages and ages to get the right rewrite to unlock what the girl said here. Man, it was like pulling teeth, but I really think we pulled it together.
When she whispers, you can zoom in and read it. I always hate that squiggly line that means you can't know yet. It gets me every time, so I couldn't do that to you.
And so Lon turns a corner. She is truly sorry, and she is honest when she says she didn't know how to save 'you' – which could be Alex, could be the ghost, could be herself. In this moment, she doesn't feel like a saviour, she feels like a killer, and she feels like she's giving up. So she aims the gun, at the ghost, and on the other side, in the line of fire, we see Alex.
Will the shot at least save Asia, she doesn't know, but dealing out death, yet again, is all she's got.
PAGE TWENTY TWO
I'm interested to see what people think of this final page. It's wild, and silent, and so beautifully illustrated. Sami shows that bullet getting closer and closer – yet another ending splash that plays with time. Triona nails the concept of the flames and the heat intensifying.
I did have a movie title caption on this page until the final lettering draft, where I realised we just didn't need it.
This moment wasn't the bombast, not really, it's about being inside Lon's head to feel this moment drag out slowly. This is her death, come what may.
Truth, Beauty, Erudition – choose one
Starting to get into a swing writing these.
Man, Sami continues to slaughter these illos for these pieces, right? This one right here is just glorious, really something of beauty and value. Just like the flick it discusses because THE RUNNING MAN will be curriculum viewing within the coming decade, you better believe it.
Weird, tangentially connected, a delight to write. I wonder if anyone is really reading these?
And that's us for another month. Join us on the final Wednesday of August as #4 lands and concludes this wild wild ride, you'll see it on the stands because it looks like this:
Spread the good word:
Issue the number #2 is live in the world, and we are all exceptionally proud of our work. I actually think it's one of my better second issues, and I know if you've already scoped that final page that you know we're leaving things with a big ol' boom, so we hope you're hooked by now.
I think this is my favourite cover for the series.
Man, I never can tell with Sami. His cover game is so airtight, I had this problem with CHUM, too. I could never pick a favourite cover.
I loved #1, but this one is just truly beautiful. The layout/design is spectacular. And yet it's so seemingly simple. I think it's this striking balance that draws me in every single time. Lon is front and centre, and Sami has her covered in pencil shadings. Like she doesn't belong to the pop funk world around her. She's looking down, she's thinking, she's all brain.
But the ground is electric with colour, and with hidden danger. That puddle of a dragon is subtle enough, but still enough to be emblematic. And I love pink as the colour to tie it together. Between the Evorah in NEGATIVE SPACE and this book now, pink has become a colour I am loving for my projects.
That pink logo also pops like crazy, it's my favourite colour variation of it so far.
Maybe just put the comic down right now and raise both hands in a little round of applause for Sami and Tree here, right? This dream sequence is just all kinds of brutal, and the ink wash approach was completely right, and Tree just makes it feel haunted.
From memory, I initially scripted this brain dalliance as just a smash cut from the end of last issue, but somewhere along the way [and let's be honest, it was probably at the suggestion of Dan Hill] we put Lon into the first panel, dead in the water, because I think it would connect things better, as well as raise the stakes if the audience thought she was dead.
Alex sinks into the water and Sami drew those tears in as he drops and it's just…brilliant. He's dropping away, but then looks up one last time. And the way Sami layers all of these panels, everything overlaps, juts into, maybe hides behind. It's got this fractured quality to it, like still images that appear around and after one another and not quite a linear flow of storytelling. It's a dreamlike quality.
I love that Sami drew Alex's mum with a '#1 MOM' logo on it, makes this callback to her work way more effectively.
We get the two hands about to touch through the surface of the water, a little touch of creation to foreshadow a touch of destruction.
Sami draws a nasty looking evil mother turning into a dragon, doesn't he? That final panel makes one hell of a page turn, and I'm actually proud of the phrase that splits the page. It's this weird dichotomy so many characters feel in this book, and here it's finally given words.
I sent Sami the script and the next day woke to an email of him cursing me out. Because of this page :]
But I told him I knew he'd slaughter it [and he knows if not, then he's got complete carte blanche to change the page up, because I trust him], and he told me he also knew he'd kill it – but it was gonna be crazy work. And I'm sure it was, but tell me this page wasn't worth it.
That dragon is so intense, Sami really brings each line into play, and the hand/claw pushing Alex down deep into the darkness across those panels is just gorgeous. The faces surrounding that central strip are haunting. Everything on this page builds tone, including Ferrier's letters for the disembodied voice. This page is a design beast in regards to placing the reader into the world.
And then we end with Alex on the shores of a distant land – so far, they are the antipodes of where he was. The page being upside down was a way to really reorient the reader, show they how drastic this move for Alex is. He's getting away from that old life.
I'd assume by this page, away from the dragon, away from the funk, when the reader sees we are still in this muted landscape they will assume something is amiss. This isn't real.
I love that dragon silhouette in the sky beyond the building, like Alex's subconscious up there, never far away, never forgetting, always dangerous, but something you can hide from.
I considered making it Room 237, or something, but went against the urge.
This here is our real introduction to Asia Benchley. As she walks through Alex's mind. The apartment full of water should be the dead giveaway. It's an idea I've used more than once in my head and on certain pieces of paper. It intrigues me, and I don't even truly know why.
The final line from Asia brings so many truths home. Truths about Lon, as well as Alex. No one wants to kill anyone here, but if they felt they needed to, well…what would happen?
The transition to Lon's line here is meant to show that Alex is somewhat hearing what's being said. He might be passed out on the couch, but it's all sinking in. As happens with all little kids.
It's also me trying to play Lon's transition into this new scenario with as much honesty as possible. I didn't want her certain she's made the right choice. This kid just took out a kill squad, he's clearly pretty messed up. This shouldn't be an easy decision, this was something she rashly did, and now she's honestly dealing with the feedback it's giving.
Because when I write impossible worlds, that feature pyrokinesis, I want to be as honest as possible :]
Then we just drop a tonne of exposition through Asia. Though I still try to make it sound like honest conversation. So Asia talks about knowing what's in Alex's mind, but she doesn't outright say she was walking around in there. I think it's clear enough on the page, but I couldn't stand to have her explaining something to her girlfriend that Lon would so clearly know.
With enough of that out of the way, we then cut to the character meat of the page. Lon is not only prepared to kill Alex if she needs to, but she's open enough with Asia to admit such a thing. That should be two bombs dropped in the one line.
And after such a line, Asia gives her a kiss on the head. If you can't figure out their relationship from this page then you really aren't reading.
The line here where Lon tells Asia to step into her head, yeah, *this* is the expositional line explaining what Asia can do. This is where I work it in, and how. I don't think it's clunky, it's pretty clear, and it informs an actual new element of the scene, not just sitting there to explain itself.
And Asia's reply ["I told you I'd never do that, because you told me I'd never have to."] is a line also serving dual purpose. It really doubles down on how much these two love/trust each other, but it also allows me to build a gap between them. A divide where Asia won't just have her all figured out. Or won't go in there and tweak until she's fixed things.
I love the way Sami weighted the page. The top half giving us the build up, and the bottom half giving us the payoff. And what a bottom panel – I think this harkens back to the structures Sami and I played with in DEER EDITOR. The top half being one page, the bottom half another. So the top here works on its own, and kind of page turns into that half-page splash. I mean, a better writer would have had that kiss on a full splash, but honestly, who has that real estate lying around?
So we cut the page and give the emotional beat space in the bottom half and Sami just lays it out perfectly. Lon and Asia kiss and it isn't salacious, or full of lust, this is just two people in love looking after each other. The space around them is so well weighted, and then the image of the girl in the window brings it all together for us. Lon's head still isn't on straight, there are still problems floating along. This just isn't going to be a fun ride for her.
Establishing shot of a new location, a tailless balloon with no character in sight, and that person using a sarcastic nickname. Yeahhh…it's like I'm daring the reader to keep up as I try to confuse them.
A caption here would make things so so clear, but I just couldn't do it.
I was never sure about this set up, I feel like it's a big swerve to get Moore to figure out where Lon took Alex, but I fell in love with the idea of the toothpaste delivery of this weird city-ambience connectivity drug. THAT part I just had to do.
I must have scripted that interaction he has with the guy on the toilet a dozen times. I never felt like I was making anything clear through their chat, I really stressed it, but I think we kinda got there in the end.
Hopefully the bottom half of the page gets us there anyway because Tree's funky red background for the toothpaste is so wild, and then she and Sami just jam so well on that mirror turning into this weird circuit board in his mind as he freaks the fuck out.
FLAKK is one hell of a SFX for toothpaste spitting. Enjoying hearing it for the rest of your life now.
That second panel with Moore post-freaking out, that background, those eyes, hell, that skin tone. C'mon, like Tree isn't your colouring idol now. She brings so so much to this book, she's a phenomenal storyteller.
Moore comes out of his buzz the exact same way I come out of unlocking a major piece of any story – swearing and tapping furiously into my phone.
And so now we have a great way for Milla to know where Lon and Alex are, but they also get connective tissue on another plot element…
So now we know Eric Robinson is connected to this in deeper ways. And he's back into the narrative stream, loitering around the building where Lon and Asia are.
Man, I'm still digging so hard on this rad jacket Sami gave to Milla. It's just one of those beautiful things that happens on the page and you gotta smile. Then there's her crude response to her snivelling assistant. Again, she is so much fun to write.
I had to choose my lines from her here carefully – because I had a lot of options to choose from. How she spoke about Eric mattered, what analogies she used would show how precise I would or wouldn't be. Dan flagged the double negative of "When you unlock a secret level, you don't not enter." And I looked at that line a lot, and I totally know what he means, but I hope it glides into your brain smoothly anyway.
I hope – because hope is all you have when you ignore your editors note :]
That bottom panel is so cinematic. It also gives the page this weird sweeping camera motion, like we start above the building, and each panel brings us lower, until we are looking up at the chopper as it takes off. It's a really well laid out page.
As for the movie title – KILL YOUR DARLINGS, AND WRITE IN THEIR CHALK OUTLINES was a tweet I wrote like 3-4 years ago. I loved it then, I love it now, and I completely love how it works with this moment. It completely matches that idea that Milla is building a story here, she's participating in art, and she's totally down to 'kill her darlings.'
I want to use this line again for my memoirs. #copyright [<—that's legally binding, right?]
This page is all about setting up Milla's mindset and methodology – I think maybe I give more time to that than just watching Milla chew up the scenery. It's because Milla's whole schtick is so large. She's set all of this up just to watch it unfold, and when it goes awry, that's okay, because the narrative swerve is merely to be absorbed and appreciated.
The whole narrative of the book hinges on the fact Milla sets this up, and then rolls with the punches. This story is her beautiful canvas. So I hit the point, and her point, more than once because it's important to everything. This is who she is, and we have to believe it.
She would literally shoot a man in Reno just to watch him die.
But then, at page's end, she kinda reverses it by telling her assistant to just shut up and enjoy the ride and not overthink it. Which is also my head, too.
This concept – the room tabula rasa, with the very first thing for their baby – there's something poignant about this room. I'm sure it'll be skipped over by half the readers, but hopefully a white room amidst this funk pop story stands out, and people look into it for a moment.
Lon is in here, with only the future around her, and yet she's brought one thing in – the girl, the past, her problems. This is exactly what's wrong with Lon at this point in time.
I think Asia mentioning the timeframe here is the first indication we get of when that very first scene took place, where Lon killed the girl and got the phone call from Asia, and where it related to the now. There was a week between, enough time to think, enough time not talking to be a problem.
Lon still doesn't talk. Think how much time passes between Asia holding the ice creams, and then them being open and eaten. Lon is at such a loss.
I called for the centred panel with the floating text because I wanted it uncertain whether these things are spoken or just body language assumed. That relationship shorthand of silence is so powerful, and capturing it in a different way on the page intrigued me.
Oh, and I totally chose Cornetto's because of Edgar Wright, don't @ me.
Oh, shit, and notice how Tree uses those orange backgrounds to show love and connection, and the red/pink for danger. I just noticed that orange now. Damn, she's so good.
There's a lot of info truncated here, basically for real estate. The idea is that Asia's landlord is some kind of building overlord [I kept thinking like in THE RAID in my head] and he's got his goons conducting a sweep of the building…ostensibly looking for something, most likely looking for Alex.
I rewrote these panels a bunch of times to jenga in what I NEEDED the reader to know, amidst what got it across smoothly.
Lon mentions a Betamax because it's as ubiquitous in this world as Ello is. Just another perk of playing in your own reality.
The differing opinions/options given by these two parents-to-be is fascinating. Lon is over-protective, trying to prove herself, and Asia is pragmatic. Resourceful.
I love that red hand of violence.
The image of Lon suiting up, that this normal apartment had this funky sci fi suit in the cupboard, is just another attempt at subtle gonzo pulp integration.
Lon and Asia arguing across those tall panels just feels like great Sami storytelling. The relationship argument while getting changed taken to the next level. With a little dose of extra exposition about Alex and his powers.
The goons interacting through the door and its voice accessibility is yet more set-dressing for this future. But it also allows this moment where the script flips and the goons hear the door announce it'll open. A great way to transition the page with that inset panel, it has this cinematic feel – you can see that moment occurring in a silent beat on the screen right before the noise starts, right?
However, the greatest moment here is that Dutch angle on Lon standing ready to fuck shit up. I love this panel, it's an example [again] of Sami taking something simple written and just elevating it visually. Pure genius.
Fight. Page.
This right here is where you get out of Sami's way.
You can draw the zigzag down the page repeatedly to follow the links between panels, the flow of weapons and blows and arms. It's a masterclass. Then match it with those yellows from Tree, and you've got a wordless page that I find endlessly readable.
Lon is representing outside and Asia holds the party line with her, now protecting Alex.
These trancer goons just came out so damn well from Sami. Love those yellow visors. I wish I got to play with their joint speech a little more.
Asia reflected in his visor looks killer. But I hope I didn't script for that. I doubt I did, I'm rarely that clever.
That inset panel of him grabbing Asia's shirt is just a great segue to the quick mindscape panel of her going "full bane" on him and snapping his neck. But only doing it in his mind ,not actually in person. Which is something I hope people get.
This page came out so damn well. I did script this idea, but it was so damn easy to script, but then seeing how Sami and Tree pull it off, well, that's just alchemy.
Lon is carving up that room, and is most likely punching that last trancer square in the dick [which I didn't script, but really wish I had].
Asia is looking, but also very obviously missing Alex – great staging by Sami, and the helmet flying in is pure genius [def didn't script that one].
Then Alex hiding and sneaking away is so well handled, and having the feet at the door wasn't in the script, but it adds so much more to this page turn, as does the inset panel of Alex looking up with that face.
I also remember getting the page back and thinking Tree was a genius for the colour changes across tiers, and then checking the script and seeing that I called for it. One of the very very rare times I've been ahead of the curve with a colouring note.
I'm hoping this dick-punching action swerving into a talking heads page messes with the flow with enough of a jarring impact that we all kind of feel like Alex in this moment.
Tree made that drink pop green and I love such a bold choice.
This was yet another page where a tonne of redrafting finally got me there. That balance – what do I need to express, what's going to feel natural, what's just enough. Eric has to drop some knowledge, he confesses that he's got something similar to Alex – which is a tease into his abilities. He talks about how shit it feels, and this all teases his past, also.
I also had to pick the right examples for what it felt like. Just the right levels of dirty.
And then we kick in the Junkie XL jams as we drop that final panel. Sami draws faces so damn well. It's one of the main things I try to script for him, because he nails it every single time. Totally on point emotional, slightly overplayed so to be heightened, but never comical.
And then that red eye.
The entire sequence of Lon smashing the window, grabbing Eric, dragging him in, and punching him was one I just couldn't see. Mapping that out wasn't something I had in my head – in fact, I so rarely see locations in my mind first, especially when it comes to buildings/rooms. I'm lousy for it. So scripting this was kind of a Hail Mary, and you hope Sami can land it.
I mean, of course he can, so it's maybe a Hail Mary from 30 yards out, but it's still this blind zone for me.
For me, this page isn't as exciting as the others, it's a scripted moment to transition us from one place to another. These are the pages I want to refine. I think Lon punching him in the face is fine, and their banter is fine, but this is what I need to tighten up.
Though Sami's inset panel of Alex is dynamite, and a great springboard into that final callback line that pushes us across to the next page…
I love the way Sami draws fire. I didn't realise it so much until we got stuck into this book, but now it feels written for him because that fire is so good.
Asia running in to help Alex, too cool his mind, is something I wish we could have given more real estate.
I do dig the idea that Eric can't speak because Lon has lifted him up, and so we use the caption, but I wonder if it's…necessary.
I think the bigger problem is Eric's reaction to all of this. He's subdued because the story needs him to be. This is my weakest moment.
The pose of Lon, and that inset panel, are my two favourite things on this page. That Sami also got the helicopter into the background is the third.
I gave Asia that line to make it sound like she's mentally helping with his pain, but I don't think I nailed it with clarity. It's a band aid solution to my hack writing, and it's not sticking.
Milla reading this whole thing like she's reading a comic cracks me up.
This moment that finally ties Lon into this connection between Eric and Milla.
Though those two eyeball reactions to Eric's line are for very different reasons, because each person hears the truth they know.
I'm hoping by this page, with Eric being so chill about his arm, that you think something extra is going on. Then Eric unpacks his story in as few words as possible, basically because. Who wants his whole life story? Hell no.
Milla is incredulous, and Eric is in charge again. He knows he's in on this one, hook, line, and sinker.
Then we get Alex turning, with those eyes, which is totally just a metaphor. The dragon within him is alarmed. I wonder how many will take it literally, or hate that it's not really. I wrote it as a lead in to what happens next. These eyes are the windows to his soul.
The layered balloons was a gamble that I'm hoping pays off. It's Alex hearing whatever the hell he's going to hear, because in this current state he's going to be pretty damn emotional, and also because it helps us justify what happens next. It's all set up.
I think I scripted maybe 5, or 6, panels for this page. Sami truncated things and improved the flow so much. That second panel of Alex just looking out sells it all. You know what he's thinking, so then your mind can fill in all the closure it needs between panels because you know the location and the character motivation, so you can participate and place the characters around the room a little.
This page was an idea I had scripted, and I saw it taking place in complete profile, using the time of panels to show Alex falling. But then Sami did it from above…and it's so much better, right?
But I think it's the inset panels of everyone's reactions that I love the most. Great idea from Sami.
Then there's the colouring getting darker as the page descends, and Alex falls into darkness. I love it.
And I wonder if anyone noticed that the shards of glass coming out into the air kinda resemble a set of dragon wings. Because the dragon within is the beast to control.
I wanted to end this issue strong, make people definitely feel a whole lot about coming back for more, and so we planned this out quite early on. Alex jumping to his death, us watching him go down, it's brutal. You have to come back next month to know more, right?
Fun, as always.
Damn, look at that LOOPER piece. Utterly stunning, Sami continues to crush it on these.
I liked doing this Jam Session with Dan Hill because I genuinely unlocked a few new things through the course of it. I also firmly had this flick's aesthetic in mind when coming up with this world, the aesthetic, the genre mash up rules, the time period. Even had the score on a lot while scripting it.
Another fun page to put together. I can only hope some people dig these.
And that's us for another month. Join us on the final Wednesday of August as #3 lands, you'll see it on the stands because it looks like this:
EIR Kickstarter Launches
EIR is here – an all ages sci fi one-shot comic for just $1
THE CAMPAIGN JUST WENT LIVE – LINK
This all ages sci fi one-shot comic with:
Alfie Gallagher art
Triona Farrell colours
Ryan Ferrier letters
Dan Hill edits
and me writing is 24 pages of narrative we believe in.
And here's why you should head along through the link and slap down some money, if you dig.
Backers in the first 24 hours at $3+ get themselves 4 extra all ages downloads that night for amazing books – MORE INFO HERE
This is an all ages sci fi story with a young female lead that's got intergalactic adventure and is also deeply about how we deal with some of the hardest human emotions
If you make your own comics, you can pledge to get Alfie Gallagher to ink you one, and he'll send you the art, while Triona Farrell colours the file and emails you that for use, strike quickly because this one won't last – MORE INFO HERE
Oh, and every time we hit backer totals of 100 increments, I'm going to unlock 5 pledges to get:
EIR Post Parcel pledge level
@ $30, which will include:
EIR – the comic printed up
FATHERHOOD – a one-shot comic I wrote in 2013 for the parents out there
EIR Character Cards – I'll print 3 character cards out, on card, just for you
EIR pin up print – an A4 print of the pin up!
A special, one of a kind, printed and signed script cover sheet with a 6 word story on it and a helmet sketch from Ryan K Lindsay.
So keep your eyes on my backer count and be ready to pounce, the first batch just went live, I wonder how long they'll last. See you at 200, I guess.
This is my fourth Kickstarter campaign, raising over $10,000 for DEER EDITOR over 2+ years, and I've always delivered, and always make it a habit to make sure my backers get plenty and plenty of extras for their money.
This book is also insanely gorgeous, as Alfie/Triona just level up as an art team and bring everything out in beautiful four colour.
Still unsure, scope this great early review by LJ Phillips at Black Ship Books, where he says, "What makes the story so touching is the simplicity and sweetness of the conclusion. It ends with hope. Sometimes we don't need to believe in monsters so much as to believe that we can defeat them."
Hit the campaign up, look around, get in cheap, get in for art, get in however you want, and please spread the word – indie DIY comics is a hard game, every recommendation matters, and books can die on the vine from apathy, so I hope we've excited you. EIR is something personal, and something wildly fun.
EIR KICKSTARTER LINK – $1 ALL AGES COMIC OR BUST
EIR – Meet Your Next Comic Cover Team
EIR is an all ages sci fi one shot comic from Alfie Gallagher and myself coming to Kickstarter Nov. 01 – all basic details here.
In our bid to raise a little capital for all of us in the EIR Corp Building, we are offering a very special pledge level, exclusive to 1 [one], and it's of particular interest to those making their own DIY comics. Yes:
Meet Your Next Comic Cover Team
For $180 [Aussie dollars], you can work with Alfie Gallagher on inks and Triona Farrell on colours, to get a gorgeous cover for your own comic, and Alfie will even send you the OG inked artwork in the mail.
Putting together a DIY comic is hard, then getting it noticed is sometimes harder. Having a legit A+ cover helps that, and you can see from above, Alfie/Tree are a dream team. Need more convincing? here's a cover style pin up they've also done for EIR:
There are other opportunities to buy or request art from Alfie through the campaign, so scope his style here.
Our Kickstarter launches Nov. 01 @ 4pm EST [Australia] so set your alarms for that moment because I know this pledge will not last long, and it's the sort of thing that will take your comic to the absolute next level, and also gets your office wall a superb slice of ink featuring your own character.
To consider Alfie's level of cover game, just feast your eyes below. And prepare your November budget, because you will want this one, and want to get it quickly.
EIR – all ages sci fi comics for everyone, on Kickstarter, Nov 01.
EIR is coming to Kickstarter in November
I'm heading back to Kickstarter in November with EIR
This all ages sci fi 24 page one-shot comic is rocking Alfie Gallagher on art, Triona Farrell on colours, Ryan Ferrier on letters, Dan Hill editing, and me writing the script, all through my DIY imprint Four Colour Ray Gun.
The campaign launches on November 01, and there will be a sweet offer coming for those who back in the first 24 hours [more exciting info being released soon].
We'll be starting the PDF of the comic at $1 – and we hope this lures in everyone who is, or has, a kid with a mobile device and who loves great genre fiction that doesn't pander or talk down, has something important to say, and does it through insane intergalactic adventuring and a great young female lead in Sasha.
The campaign will expand to more pledge levels:
a $3 PDF absolutely full of extras – process material/sketches/designs, the script, an essay about other great all ages comics, etc.
the chance to get some Alfie commissions @ $90, or a cover from him @ $110 [all crazy bargains, he's just so good]
an Audio Commentary from me
At present, there won't be any options to buy the book in print through the campaign [see my usual complaints about the Australian postal system/costs], though perhaps exclusive opportunities could become available throughout the campaign [and extras could come with those rare print copies]… :]
This will be my fourth Kickstarter campaign, after raising over $10,000 for DEER EDITOR with Sami Kivelä across 3 years, and I'm excited to launch something new, and completely standalone.
Also a reminder that you can VIEW THE EIR TEASER TRAILER HERE
The whole team at Helmet HQ is keen to get this book out into the world because it means so much to us, and we completely believe in it and love it.
And we hope you do, too. DIY comics are fun to make, scary to make, and beautiful to get into the right hands. We hope you help us in November find all the people who need this and get us funded, and beyond.
THANK YOU, and stay tuned for more news in the coming weeks to see all the reasons to get excited and how this campaign can also work for you.
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European Football Home
Zlatan Ibrahimovic statue has nose cut off by vandals
http://www.bbc.com/sport/football/50892046
The statue has been vandalised several times since it was unveiled on 9 October
Vandals have cut off the nose of a statue of Zlatan Ibrahimovic outside Malmo's stadium in Sweden.
It is the latest act of vandalism directed at the statue since it was announced that Ibrahimovic had invested in a rival club last month.
Former Sweden striker Ibrahimovic, 38, made his professional debut for Malmo 20 years ago.
The statue's artist Peter Linde has appealed for people to stop the vandalism.
Ibrahimovic statue: Vandals try to saw through feet
The former Ajax, Juventus, Inter Milan, Barcelona, AC Milan, Paris St-Germain and Manchester United player is looking for his next club having left LA Galaxy at the end of the MLS season.
On 27 November it was announced he had bought 25% of the shares in Hammarby, who finished third in this year's Swedish championship
That same day, the 3.5 metre high bronze structure, commissioned by the Swedish FA and unveiled on 9 October, was sprayed with paint, set on fire and a toilet seat put over its arm. Ibrahimovic's house in Stockholm was also vandalised, with 'Judas' painted on the front door.
The statue when it was vandalised last month
Gauff sets up Osaka meeting in last 32
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redpajama_set_name: RedPajamaCommonCrawl


It seems that we are finally getting winter weather. Here in the East Mountains we had maybe an inch of snow this morning but the wind is doing its best to blow it all away. Which reminds me to remind you all that should we get an actual snow storm, we follow APS announcements for a 2 hr. delay or closure.
This Tuesday our 5th grade class will attend a retreat at St. Pius X H.S. Mrs. Lincoln and Mrs. Hiller will drive, and me if needed. The students will need to return a signed permission slip.
On Friday, the school finalists for the Geography Bee will compete right after our announcements in the gym (around 8:15 a.m.) You are welcome to attend.
Next week is Catholic Schools Week and most all of our schools, including Fatima will hold Open House days. Ours will be Thursday and Friday, Feb. 2 & 3 from 9-2. If you know someone who is considering a Catholic education for their child(ren), please invite them to stop by for a tour.
Please keep in mind that we will have registration for school year 2018-19 on Saturday, Feb. 3 from 9-2.


One day Jane took Rosie to school and Rosie was very shy. When they got there everybody was looking at Rosie weirdly. There was something very strange about all the other children, they were green with red spikes and Rosie was purple with gold spike.
When everybody was doing their work Rosie noticed two girls had asked to go to the bathroom and suddenly the fire alarm went off and Rosie ran and grabbed the children out of the bathroom and they were safe!
Everybody stared at Rosie strangely and the teacher grabbed the girls and shouted at Rosie. The girls ran to Rosie and gave her a big hug and said "Thank you for saving us!" The teacher looked confused and everyone shouted "Hero Rosie! Hero Rosie!" and from then on Rosie was famous and not shy!
Was both moving and funny. I love the idea of a fire alarm going off at school for dragons.


Welcome to Cypress Park Home Depot in Los Angeles, CA, where we can make your home remodeling dreams come true. We're excited to help you with your next home improvement project.
Here at your North Los Angeles hardware store, customer service is our first priority. Our friendly and knowledgeable associates are here to help with everything from finding the right tools for the job to answering your questions on how to install hardwood floors.
To give back to our community, we're happy to support Florence Nightingale Middle School and Irving STEAM Magnet School. We also participate in the yearly Lummis Festival in Northeast Los Angeles.
So the next time you're in the Glendale or Alhambra neighborhoods, drop in and see us. You can find us north of the intersection of I-5 and Route 110, near the Los Angeles River Center and Gardens. We're close to Dodger Stadium, Los Angeles State Historic Park and the Heritage Square Museum. We look forward to seeing you in our aisles.
Things are easy to find and the place is clean and personnel are accommodating and friendly and helpful.
This store is a cut above all the other Home Depot stores that I have been at as the customer service is great.
This store is fully stocked. I found everything I needed.
Store was very clean. The cashiers are friendly and efficient.
The store was busy but the associates still acknowledged my daughter and I. There was an associate who went above and beyond. I needed help at the door knob section and she was busy with a couple other customers but as soon as she was done she came to help me. Julissa, was extremely helpful and kind! I recommend this store no doubt. I come about twice a week and I've always been helped and guided the right direction.


Each stone protruding from the wall of the Museum at Culloden Battlefield represents a fallen fighter from the battle.
After lunch we made it to our final destination in the Muirtown Basin, Inverness. Upon arrival, we journeyed by coach through Inverness to the historic site of the Battle of Culloden, where we explored the museum and grounds. Afterwards, we traveled back in time to the Iron Ages, with a visit to the site of the Clava Cairns—three large and impressive, ancient burial chambers. The setting sun painted the cairns in beautiful colors and a few of us enjoyed a moment of meditation.
Upon arrival back at the boat, we enjoyed the fruits of our photographic labors with a wonderful slideshow compiled by Brenda, before crew and guests made their 'thank yous' and farewells before dinner. Dinner saw a wonderful rendition of Robert Burns's "Address to a Haggis," as given by hotel manager, Brian. We finished off the day with some wonderful dancing from a local highland dance group.


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Audi Says Small Amount of Biofuel Powered Victory at 2008 24 Hours of Le Mans
LE MANS, France — With last month's 76th running of the 24 Hours of Le Mans endurance race, Audi has won eight out of the past nine years. Impressive. But amazingly, for the past three years the German carmaker has been winning and innovating with diesel technology at the same time. In 2006, the R10 TDI became the first-ever diesel to win at Le Mans, and Audi did it with diesel again last year. On June 15, the carmaker did it a third time—with biofuel in the tank.
Well, okay, not 100 percent biofuel. Audi's engineers wouldn't tell us the exact percentage of BTL (that's Biomass to Liquid, the process used to make gas from otherwise unusable stuff, such as trash, tree bark or wood scraps) in proportion to the usual GTL (Gas to Liquid). But Michael Dick, a member of the board of management at Audi AG, says, "a small amount of biofuel is mixed with the previously used GTL."
The low-sulfur fuel doesn't smell, at least from the Audi's tailpipes, thanks to dual particulate filters from Dow (which are not required by Le Mans regulations). And because a proportion of the fuel is sourced from good ol' Mother Nature, it promises to reduce CO2 production by 90 percent compared to normal diesel fuel.
Neither drivers nor team members could seem to discern much difference between the biofuel mix and the GTL at the race. That's because there is none, as far as vehicle setup or driving characteristics are concerned. The twin-turbocharged, all-aluminum, 5.5-liter V12 TDI powering the R10 still puts out in excess of 650 hp and 811 lb.-ft. of torque, by way of the same Garrett TR3076R turbochargers, huffing a maximum regulated 42.6 psi of air into each (restricted) intake plenum.
The fuel is injected at incredibly high pressure, in excess of 2000 psi, which ensures a fully atomized burst of fuel. The high pressure and the more efficient combustion of the new biofuel further boost the R10's efficiency. On average, the Audi can complete 12 laps of the 13.63 km track before needing to refuel, which means the R10 is battling on the track for a rather long 45 minutes at a time. That's pretty slick when you consider that the average lap speed is just a sliver under 150 mph. Oh, and the car breaks 200 mph twice during that lap.
The big V12 will rev to 5,000 rpm and still make power in those upper rev reaches, which is an achievement for any diesel. Also, consider that the car makes full torque at idle, which is more than twice the figure a Lamborghini Gallardo can generate at redline. And because it has such a broad, flat torque curve, the R10 needs only five forward gears.
But it wasn't biofuel or even diesel fuel that gave Audi the victory this year. It was durability. Peugeot ran the same biofuel in its 908 HDi FAP cars and lapped the circuit seconds faster than the R10. But the Peugeot fell short of the Audi in reliability and pit stop strategy (the winning R10 spent less than 32 minutes in the pits over the 24-hour span). Audi is expected to announce a new race car sometime around October. Could this next-gen racer employ even cleaner and more efficient engine technology, including larger proportions of biofuel? Given Audi's penchant to innovate, we don't see why not. —James Tate
• EARLIER: Audi R8 Diesel Uses R10's V12 TDI Engine
• PM NEWS: Jetta TDI Cup Shows Off Clean Diesel's Racing Power
• VIDEO: PM Hits American LeMons Race in VW GTI
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DJ Mario's International Music Puts Life in French,English ,Arabic Weddings and Lebanese Parties in Montreal, Laval and Quebec and ready to travel anywhere in the world. .
Memorable occasions require more than just a group of people gathered to enjoy. Most of the time, a wedding, a birthday party, corporate event or any other event would be best enjoyed with music played by a disc jockey, plus a few drinks and a good night of dancing and partying.
We have all your needs From the lights and sound up to the lineup of music to play, we will ensure everybody will have a wonderful time. Among our specializations are All types of weddings,Arabic weddings and Lebanese parties where you'll find us serving mp3s of the 60s and the top 40 hits of the present,House ,Hip hop,Dance,Latino,Italian and international Music selection.
For more than 20 years in Montreal Quebec,I dedicated my full attention to weddings and it's needs.
We offer our services to all your party needs, any kind of event.
We have the best DJs for your night club. We promise to make you dance til the last minute.
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Plan directly your dream night with Dj Mario.
All rights reserved 2012 - DJ Mario's web site content are exclusive ,any unauthorized usage of any content on this web site will not be tolerated.
we welcome any link to our web site,we believe in the exchange of links.If you have any objection on any of our content please advise us. WE FULLY BACK ALL OUR CONTENT ,WE GUARANTEE OUR SERVICE AND CONTRACT,WE ASSUMES THE DELAYS OR NON PRODUCTION FOR ANYTHING WE SIGN FOR. PRICES ARE SUBJECT TO TAXES DEPENDING ON THE PROVINCE ,COUNTRY YOU LIVE INN. WE ARE NOT RESPONSIBLE FOR ACCIDENTS CAUSED BY OTHER EMPLOYEE WORKING IN ANY PLACE WE ARE DELIVERING A CONTRACT. WE ARE NOT RESPONSIBLE FOR ANY LAST MINUTES CHANGES IN A PLAN UNLESS WE DECIDE ON IT. WE ARE NOT RESPONSIBLE FOR ANY DELAYS CAUSED BY SECURITY MEASURES OR ELEVATOR SHUT DOWN OR NON DELIVERING ON TIME FOR A HALL OR RECEPTION BY ITíS MANAGEMENT. NO ONE IS AUTHORISED TO USE OUR EQUIPMENT,OR TO TELL US WHAT TO DO UNLESS DESIGNED BY THE CONTRACT ITSELF. WE ARE NOT RESPONSIBLE FOR CONFETTI CLEANING OR PAYING FOR CLEANING. WE ARE NOT RESPONSIBLE FOR ELECTRICITY SHUT DOWN . client MUST ASSUME HE'S PART OF THE CONTRACT ON LAST MINUTES CANCELATION. CANCELATION OF THE SAME DAY OF THE EVENT LEADS TO A FULL PAYMENT OF THE CONTRACT. WE ARE NOT RESPONSIBLE FOR FIRE DETECTORS UNLESS WE ARE TOLD ABOUT IT. WE BELIEVE THAT A GOOD SERVICE AND COMMUNICATION CAN HELP IN THE MAKING OF A GOOD EVENT AND ONLY GOOD THINGS HAPPENS WHEN THE CHEMISTRY AT WORK IS GOOD. WE HAVE A FULL TRUST IN OUR SERVICE AND WE STICK UP FORWARD FOR THE SUCCESS OF ANY EVENT WE SIGN FOR.
For more than 20 years in Montreal Quebec, I dedicated my full attention to weddings and it's needs. I upgraded my system and my library program to fit your demand. I guarantee a sucess to your dream night with my experience and reputation. Elegant Dj booth and state of the art sound and lighting such as LED lignts dry ice and much more.
Having a conference? Or a Christmas party? Or for any coroprate event? We have all what you are looking for. From microphones, projectors, TV, screen, sound, light, background effect, music and much more. We ensure on time service, prompt communication and competitive pricing. An experience which will guarantee the success of your coroporate event.
We offer our services to all your party needs, any kind of event, pool party, Christmas party, baptism, sweet sixteen, bar/bat mizvah and many more. We have the widest music selection available, over 100 gigs of MP3 from the 60's till today's best hits. The best variety of international music, such as Arabic, Greek, latin, Italian, Iranian, Moroccan, Algerian and much more.
We have the best DJs for your night club. We promise to make you dance til the last minute permitted by law. We have all the sound power to your concert event from 100 to 2000 people. State of the art sound, lighting and equipement covering all your artistic needs.
Choosing the proper DJ for your wedding is not a simple thing,it is the biggest responsibility. The DJ is the responsible of a good or bad wedding music selection, and the talent of mixing is not given to all. Choosing the right moment to play the proper song and judging your crowed's favorite takes too much experience and many more question we can answer you when you come and meet with us. We love what we do ,we love music ,we take it seriously . Make sure you call us and give us a Shot on your event.
514 730 1730 is our Mobile phone, info@djmario.com is our e-mail. Montreal wedding business ,event and corporate ,parties and clubs.
You can expect that we'll be setup, on time, dressed appropriately before your event or reception begins. No excuses.
Your event is special. We're veterans and know how to do it the right.
You can expect a written contract that is clear and concise. No surprises.
You can expect outstanding planning assistance. Our easy-to-use online planning tools makes the planning process a blast!
Please explore our website and gain ideas for your next event.
Your day is special, let our experienced disc jockey's keep it that way. Let's imagine, plan, and create a wedding entertainment experience that is fun and unique! Feel confident that with DJ Mario you will be receiving quality service, ensuring that you and your guests will have an incredible time.
Throughout the course of planning your wedding, it can sometimes be difficult to keep the planning process a fun experience. DJ Mario is here to help relieve you of that unwanted stress during the process of your wedding.


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Today: Cooler. Mostly cloudy. Scattered sprinkles in the morning, then numerous showers and scattered thunderstorms in the afternoon. Some thunderstorms may produce heavy rainfall in the afternoon. Highs in the upper 50s. East wind 5 to 10 mph. Chance of rain 70 percent.
Tonight: Periods of showers and scattered thunderstorms in the evening, then periods of showers after midnight. Some thunderstorms may produce heavy rainfall in the evening. Lows in the lower 40s. North wind 10 to 15 mph. Chance of rain near 100 percent.
Tuesday: Blustery. Mostly cloudy in the morning then clearing. Isolated showers in the morning. Highs in the upper 50s. North wind 15 to 25 mph.
Tuesday Night: Clear. Lows in the middle 30s. Northeast wind 5 to 10 mph in the evening becoming light and variable.
Wednesday: Mostly sunny. Highs in the lower 60s. Southwest wind 10 to 15 mph.
Wednesday Night: Partly cloudy with a 30 percent chance of showers. Lows in the middle 40s.
Thursday: Mostly cloudy with a 40 percent chance of showers. Highs in the middle 60s.
Thursday Night And Friday: Mostly clear. Lows in the lower 40s. Highs around 60.
Friday Night: Partly cloudy. Lows in the upper 30s.
Saturday: Cooler. Mostly cloudy with a 50 percent chance of rain showers. Highs in the upper 40s.
Saturday Night: Mostly cloudy with a 40 percent chance of rain showers. Lows in the upper 30s.
Sunday: Partly sunny. Highs in the lower 50s.


When any MSAD #75 employee or contracted individual knows or has reasonable cause to suspect that any child enrolled in the district may be a victim of child abuse or neglect, he/she will notify the Principal or a designee appointed by the principal.
School staff members are mandated by Maine Law to report any suspicion of child abuse or neglect. Mt. Ararat Middle School beliefs include the concept of advocacy for children who are victims of child abuse or neglect. At the same time, our beliefs include the establishment of a supportive and understanding relationship with parents. Abuse/neglect situations present an opportunity for parents to get support and education from staff at Mt. Ararat Middle School.


For the most convenient place to buy all the pool supplies you need all season long, come see us at Christian Pools! We offer the best selection in name-brand pool products, parts and supplies, along with outstanding customer service.
We also know that understanding the products you use to maintain your pool is key to keeping it clean and protecting it through the years. We stock brands you can rely on. You'll get better results using full-concentration chemicals and high quality tools. And our staff is specialized. We are pool professionals, not sales associates. Rely on us to answer your questions and advise you on products and pool care.
A swimming pool is a lot of work, but owning one is worth the attention. Let us make the demands of ownership easier. Whether you need a one-time repair or regular service throughout the year, we can help.
From traditional backyard pools to upscale poolside settings, we can handle all aspects of service, maintenance and repair to keep your pool looking its best. Our trained technicians will take care of your pool quickly and efficiently every time. They can also repair all types of pool equipment, including timers, heaters, pumps, filters and more. From chemical service to repairs, we provide the best year-round care for your pool.
Our service team is fast, efficient, and on time so you never miss an important maintenance task. We provide year round pool and spa care to make your life easier - Call us to schedule an appointment today or come by the store, we look forward to seeing you!


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Casting Coup Month: The Picture of Dorian Gray
They beat me to it. True, a version of the story appears every couple of months or so, but not a major theatrical release. And here it comes, this year, directed by Oliver Parker, starring Ben Barnes and Colin Firth. Dammit all, and here I had the perfect cast!
Oscar Wilde's homoerotic masterpiece was given its first big-screen spectacular in 1945. I believe it was Halloween when I saw it. Turner Classic Movies had a horror marathon, and oh I couldn't wait to see it! Angela Lansbury + George Sanders = AWESOME! And when I finally did...I was a little disappointed. The film was a trifle dull, not at all a horror piece, despite the supernatural elements. Dorian bored me, the addition of a second love interest (played by Donna Reed) was uninteresting, and there was that atrocious little song they made Angela sing. But Sanders was awesome. And then, of course, there were the four color sequences, depicting the painting in all its horror.
Funnily enough, though nominated for Art Direction-Interior Decoration, Black-and-White (losing to the Japanese-set Blood on the Sun) and Best Supporting Actress (Angela Lansbury, losing to Anne Revere for National Velvet), it only won Best Cinematography, Black-and-White (Harry Stradling, Sr.). At that time, some categories were divided into Color and Black-and-White. It has always seemed odd to me that the winner of the Black-and-White category had color sequences. But I see their point. The Picture of Dorian Gray is, indeed, a beautiful film to look at. I find the scenes with Angela Lansbury and the final scene of Lowell Gilmore especially impressive. It's certainly leaps and bounds superior to the screenplay.
I can only hope that the new Dorian Gray is as beautiful as this version. I can only hope my cast is better than the original's, and as good as the upcoming one's. Let's see.
LADY VICTORIA WOTTON
Who is She: Wife to Lord Wotton. Appearing only once, her Ladyship is romantic and rather silly, and has a mania for attending church.
Lisa Carpenter, who appeared uncredited and did nothing else. This is what I found when I Googled the name. I think it fits.
Helen McCrory (Interview with the Vampire, the upcoming Harry Potter and the Half-Blood Prince)
Who is She: A pretty, bored young noblewoman who flirts with Dorian at his country estate.
Mary Forbes (The Awful Truth, Ninotchka)
Natascha McElhone (Ronin, TV's Californiacation)
McElhone may not be the "young woman" the book describes, but I frankly like the idea of an older woman intrigued by Dorian's good looks, still willing to throw herself at him. It's good drama and good comedy at the same time! Plus, McElhone is a fox.
LADY AGATHA
Who is She: Lord Henry's aunt, a woman who does much charity work in London slums.
Moyna MacGill (The Unsinkable Molly Brown, My Fair Lady), mother of Angela Lansbury
Gemma Jones (Bridget Jones's Diary, Harry Potter and the Chamber of Secrets)
A brilliant actress, Gemma Jones can bring a bit of the stiff upper lip and old lady mannerisms the role requires. She can be disapproving, playful, awful, wonderful. The type of person Lord Wotton would love to hang out with.
Who is He: A doctor, formerly friends with Dorian, but one who has since severed all ties with the young man due his reputation. Dorian blackmails him into helping to cover up a crime, and Campbell is unable to take it.
Douglas Walton (Bride of Frankenstein, Camille)
My Choice: Razzie Award Nominee for Worst Supporting Actor (Hudson Hawk), SAG Award Winner for Best Ensemble (Gosford Park)
Richard E. Grant (The Age of Innocence, Penelope)
Oh, Richard E. Grant. He sneers, he disapproves, he's pale. He fits costume dramas perfectly, because he looks so out of place in the modern era. Well, unless it's Spice World. Anyway, like every other role that's not in the first chapter, he would only get a scene or two, so you want a gripping actor that can sell us on Campbell. And that's Grant.
MRS. VANE
Who is She: A faded actress, mother of James and Sibyl. She sees Dorian's wealth as a suitable partner for her daughter, a decision she eventually regrets.
Lydia Bilbrook (Dr. Jekyll and Mr. Hyde [1941], The Spider Woman)
My Choice: Academy Award Winner for Best Actress (Darling), BAFTA Award Winner for Best British Actress (Darling), Golden Globe Winner for Best Actress in a Drama (Away from Her), SAG Award Winner for Best Actress (Away from Her), Hollmann Award Nominee for Best Actress (Away from Her)
Julie Christie (Troy, Dragonheart)
This would be delicious. Christie, the most modest of grande dames, could play off her reputation as one of the greatest living actresses (that is not Meryl Streep). I mean, Julie Christie? As a has-been? Not to mention the fact that she could totally sell it. I see her channeling Glenda Jackson.
JAMES VANE
Who is He: Sibyl's brother, a hot-headed, protective sailor who returns to England to take revenge on Dorian.
Richard Fraser (How Green Was My Valley, Bedlam)
Patrick Baladi (Last Chance Harvey, the upcoming The International)
There was an episode of Poirot in which Baladi plays a hot-tempered, protective farmer who goes to a local inn to take revenge on a blackmailer. So...yeah, he can do it.
SIBYL VANE
Who is She: A beautiful and naive actress who falls in love with Dorian -- and he with her. But, of course, falling in love makes her realize how false the theatre is, a realization she comes to just when Dorian brings his friends to the theatre to be impressed. Oops! (Though, frankly, this is strange. Doesn't knowing what love is only improve your understanding, and thusly, your performance?)
Originally played by: Academy Award Nominee for Best Supporting Actress (Gaslight, The Picture of Dorian Gray, The Manchurian Candidate), BAFTA Award Nominee for Best Supporting Actress (Death on the Nile), Golden Globe Winner for Best Supporting Actress (The Picture of Dorian Gray, The Manchurian Candidate)
Angela Lansbury (The Mirror Crack'd, Nanny McPhee) -- and look at that image. That's what wins you a Cinematography Oscar, friends.
Kelly Brook (The Italian Job, Marple: The Moving Finger)
Okay, I'll confess, she does not exactly look "innocent". But I approve of her as an actress. Angela Lansbury played a madam the year after Dorian came out. And she'd be in period garb anyway. Plus, she's hot. I would fall for her. Why shouldn't Dorian?
BASIL HALLWARD
Who is He: An artist who feels compelled to capture Dorian's beauty on canvas after meeting him at a party. It proves to be his masterpiece. He later fears for Dorian's soul, tries to keep Lord Henry away, and eventually discovers a secret that may cost more than he bargained for.
Lowell Gilmore (Fortunes of Captain Blood, King Solomon's Mines)
My Choice: SAG Award Winner for Best Ensemble (Gosford Park)
Jeremy Northam (A Cock and Bull Story, The Invasion)
LORD HENRY WOTTON
Who is He: To quote Sparknotes: "A nobleman and a close friend of Basil Hallward. Urbane and witty, Lord Henry is perpetually armed and ready with well-phrased epigrams criticizing the moralism and hypocrisy of Victorian society. His pleasure-seeking philosophy of 'new Hedonism,' which espouses garnering experiences that stimulate the senses without regard for conventional morality, plays a vital role in Dorian's development."
Originally played by: Academy Award Winner for Best Supporting Actor (All About Eve), Golden Globe Nominee for Best Supporting Actor (All About Eve)
George Sanders (The Jungle Book, Village of the Damned)
Toby Stephens (Orlando, Die Another Day)
Any son of Maggie Smith is going to get cast. Done deal. And Toby can be charmingly villainous, as evidenced by his turn in Die Another Day. He can give off that "is he or isn't he" vibe, as showcased in Poirot: Five Little Pigs. And he's a hell of an actor, as witnessed in the PBS miniseries Jane Eyre. Stephens is perfect for this role.
DORIAN GRAY
Who is He: The protagonist. "A radiantly handsome, impressionable, and wealthy young gentleman, whose portrait the artist Basil Hallward paints. Under the influence of Lord Henry Wotton, Dorian becomes extremely concerned with the transience of his beauty and begins to pursue his own pleasure above all else. He devotes himself to having as many experiences as possible, whether moral or immoral, elegant or sordid."
Hurd Hatfield (King of Kings, Crimes of the Heart)
JJ Feild (Poirot: Death on the Nile, K-19: The Widowmaker)
Isn't he pretty?
Best Actor: JJ Feild
Best Supporting Actor: Jeremy Northam, Toby Stephens
Best Supporting Actress: Kelly Brook, Julie Christie
Labels: Casting Coup Tuesdays, The Picture of Dorian Gray
Across the Pond, and Holy Crap
Birthday Break
The 2008 Hollmann Awards in 2009!
A Look at the Nominees
Casting Coup Month: One Flew Over the Cuckoo's Nes...
Casting Coup Month: Murder on the Orient Express
Award Weekend
Casting Coup Month: The Lost Weekend
Casting Coup Month: Swing Time
Casting Coup Month: It Happened One Night
Casting Coup Month: Dr. Jekyll and Mr. Hyde
Yawwwwn


text:
Cumbria selected
Sex text Sellafield officer handed suspended sentence
https://www.bbc.com/news/uk-england-cumbria-29855608
A former civil nuclear police officer who sent "deeply unpleasant" sexual text messages to women he did not know has been given a suspended sentence.
Steven Mennim, based at Sellafield, also lied to police to try to cover his tracks, Carlisle Crown Court was told.
The 33-year-old, of Newlaithes Avenue, Carlisle, admitted four counts of harassment and one of attempting to pervert the course of justice.
He was handed a nine month sentence suspended for two years.
The court heard Mennim sent the messages to four women whose numbers he picked at random from online advertisements.
Judge Peter Hughes QC said the offences would normally warrant a custodial sentence.
However, he referred to psychiatric reports which found Mennim was suffering from post traumatic stress disorder as a result of childhood abuse.
Mennim, who has since lost his job at Sellafield, was also given a two-year supervision order and an indefinite anti-social behaviour order.
HM Courts Service


For the last few months, I've really wanted to spend some time spinning. I was 100% sure that a certain kitten wasn't ready for the spinning wheel though, and while I could shut him out of the room, I didn't think I could spin with the Meows of Great Sadness right outside the door. I like to listen to music while I spin, not drama. So there hasn't been spinning. Over the weekend I decided that it was possible that Maximus was ready for the spinning wheel, so I brought it downstairs where I could spin with him and Logan. Logan got very excited when he saw the spinning wheel and did a few circles of waggy happiness himself. Then he laid down behind me so he could be close and watch, while being out of the way of the wheel. Good dog.
Max waited until I got it set up and then he came to check things out. First he watched it for a few minutes, from a distance. Then he stalked the drive wheel. Deciding that wasn't a good place to attack, he attacked my leg. Then he attacked my spinning stool's leg. Then he jumped three feet straight up in the air for no reason and followed that with a bath. Once he was clean he tried to attack my face, then the spinning stool's legs again, and then the oriface hook, which hangs off the Scotch tension knob. Next he attacked the fiber I was spinning, which he was able to pull out of my hands, break it free from the wheel and run across the room with it. He was so in shock that he'd gotten that far with it (so was I) that he stopped and I went and got it back, removing it carefully from his mouth and claws. Once I started spinning again, he started his attack circuit all over, but he didn't go for the fiber again. I'm not sure if having more spinning wheel time will help the novelty to wear off for Max and he'll chill out or if he'll just come up with new and more inventive ways to attack. On the other hand, I can still spin while being attacked. Good to know!
oh, the Meows of Great Sadness--kitties have SUCH problems! humans will just never understand.
I, too, have a new kitten who attacks anything that moves, so I love reading your blog. I have an English Lab who is very mellow - an extremely good girl. I've managed to keep knitting, but have had to give up beading for a while. Your description of the "attacks" during spinning was so familiar.


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Legal Operations Solutions: How to Separate Value from Vaporware
Kelli Negro | March 19, 2018
When it comes to technology-based Legal Operations solutions, it's vital for CIOs, CTOs and other Legal Ops tech leads to spot the differences between what a technology promises it may (eventually) deliver, and the benefits and ROI it actually provides from its first day of implementation.
That's brought home in a new AboveTheLaw.com article, What Legal Tech Needs To Learn From The Theranos Debacle. Theranos, of course, was the healthcare technology company whose bold promises about its blood testing tech earned it $700 million from investors and a $9 billion valuation.
Its claims, thanks to investigative work by the Wall Street Journal, were found to be inflated, even criminal; last week its founder/CEO, Elizabeth Holmes, its former president and the company as a whole were charged with "massive fraud" by the U.S. Securities and Exchange Commission.
As the column's author, attorney Carolyn Elefant, explains,
"If the Theranos saga sounds familiar, it should because we've seen it play out in the legal tech arena. Any lawyer who questions or constructively criticizes a "disruptive company" is derided as a Luddite and ostracized from further conversation. The echo chamber likewise extends to the legal trade press. The media picks up on every company press release boasting of strategic partnerships and integrations and AI and blockchain. Yet few reporters ask whether that strategic partnership will actually improve the service provided today, or if it is just another PR tool to enhance the company's stature. Nor do they inquire whether the dozens of companies who now tout use of AI have actually developed "smart" technology, or have just repackaged and rebranded more conventional tools. The media is also quick to pick up on the launch of innovative law firms, but nowhere to be found when those companies go south."
For the technology decision-maker who's been charged with finding Legal Operations solutions that provide reliable and immediate ROI, as well as helping Legal Ops progress toward a more evolved level of Business Process Management and digital transformation, it's a valid concern.
What platforms are actually tangible, verifiable Legal Operations solutions? And which might turn into overly-ambitious (or hyperbolic) busts?
It's critical to separate value from vaporware
One yardstick an aspiring adopter needs to use in assessing potential Legal Operations solutions is the Time-To-Value (T2V) KPI we've explored before. A platform vendor should be able to comfortably explain how quickly their product delivers benefits and ROI, and exactly what those benefits will be.
Here are some of the key questions to ask any technology vendor about their product that can help sort out real value providers from pretenders:
How soon will the product provide "hard" ROI like cost savings, whether in labor costs or actual materials or logistical costs?
How fast will it make a positive impact on Legal Ops responsiveness and client service?
What are the "soft" benefits to Legal Ops and the entire enterprise, in terms of improved collaboration, workplace culture, employee engagement and other improvements? And how quickly will those take shape?
How easy is it to implement their technology, and will it disrupt legacy systems or require rip-and-replace?
How stable and reliable is the company behind the product?
How good is their customer support, willingness to resolve issues and provide training and customization?
Can they cite case studies and customer testimonials to back any of this up?
A MISSION: IMPERATIVE for identifying the right Legal Operations solutions
Another good way to safeguard yourself against making the wrong decision when it comes to Legal Operations solutions adoption? Learning from the experts, and asking them some pointed questions.
There are multiple good resources available, including AboveTheLaw.com, Law.com, research and articles by HBR Consulting and others, including what we try to convey in this blog. What's more, there will be another unique opportunity to interact with legal tech expertise at our free March 29th webinar, MISSION: IMPERATIVE – How Technology is Evolving the Role of Legal Operations.
Top technologists, analysts and Legal Ops leaders will discuss the future legal technology, and how to make more informed choices when it comes to a Legal Operations solutions adoption path.
Use the link below to get the details about our panel of Legal Ops all-stars, and to register. Again, it's absolutely free. But in terms of how worthwhile it can be when it comes to choosing the right Legal Operations solutions in the months and years to come, and avoiding vaporware and empty promises? We're confident you'll find it invaluable.
Kelli Negro
Kelli brings deep experience and insight into technology adoption to the blog. As Chief Marketing Officer at Mitratech, she drives business results through omni-channel marketing and content strategies that are grounded in research, analysis and customer insight. Kelli came to us from Thinksmart, a recent acquisition.


"Taking photographs helped me break down barriers."
Stephen's renowned for capturing the dignity of people in his stories, often in some of the most dangerous conflicts and situations. And it's his unique photographic insight that truly uncovers some of the culture and communities that have existed for hundreds of years, yet are fast disappearing from our world.
In Episode 3 of Tales by Light Season 2, Stephen attempts to break down a new barrier. He's seeking a new perspective on death—to see if he can uncover a more natural view of the subject that has overshadowed his entire working life. Stephen poses the question: Will he ever be able to see death and life in the same way?
Stream Tales by Light on Netflix.
Images have the power to connect and change the world, giving voices to people, cultures, nature and past generations – allowing them to be heard.


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Q: Chrome Extension interacting with page styling (Bootstrap container missing left padding) I have the following problem in my page (which uses bootstrap), which I also notice on the Official bootstrap examples: ( http://getbootstrap.com/examples/grid/ )
Even though the .container class has:
.container {
    padding-right: 15px;
    padding-left: 15px;
    margin-right: auto;
    margin-left: auto;
}

15 pixels of left and right padding, in reality, for some reason I can't pinpoint, the left padding seems to be halved.
In my case, where I set
$grid-gutter-width: 15px;

the actually padding-left of the container, even though it is reported as "7.5px" which is correct, seems to be 0.

A:
That is really strange... in my it works just fine.
When I disable it, it works correctly aswell.
The only think that I saw, is that you are cutting a part of the browser.
see the yellow rectangle that contains div.container 345px x 3427px

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Gold BTFD
at 10:00 am on August 18, 2020 | 14 comments
Momentum-based trading systems have been popular for decades, given their low correlation with traditional benchmark returns and, therefore, their potential for generating alpha. The strategies tend to have common components, including set rules for entering and exiting positions. Although there are a variety of methods employed to produce a trade signal, many rely on simple moving averages—such that a buy (sell) is triggered if spot moves above (falls below) a specified moving average. Other popular methods include "crossover strategies," where a trader goes long (short) if a faster-moving average exceeds (breaks below) a slower-moving average, and "breakouts," where a trader buys (sells) an asset if spot surpasses (undershoots) the prior high (low) over a certain time horizon. For example, the "Turtle Experiment" of 1983 relied primarily on a breakout-based system, according to Faith (2013). Despite the different methodologies, CTAs tend to see similar returns, especially during periods of large market moves (Exhibit 1). In fact, according to Clenow (2013), most of the variation in returns between funds comes from factors such as asset composition, risk level, and position size, rather than the specific trade signal.
…even though CTAs are probably already short Dollars, we see scope for further weakness as (i) fresh shorts could be triggered soon and (ii) longer-term investors start to participate as well, particularly in the Euro and other European assets.
This may prove right, not least amid the hysteria of fakeflation, but it is counter-intuitive stuff. As I noted this morning, weak DXY:
and strong EUR:
are both very stretched. For gold to keep rallying, both of these will need to persist with their trends into big oversold and overbought conditions.
Remember, EUR is the key input into DXY and DXY the key input into gold. More precisely, the relative strength or weakness of the underpinnings of DXY – monetary, fiscal, strategic etc – determine gold's value.
I expect both to do so, but the more the market leans one way the harder it is to push it further so I'd expect it to be more difficult for both than has been the case so far.
Likewise for gold which has a long history of violent corrections amid bull rallies.
At least, that's how markets used to work. During the fakeflation it has all been about momentum and positioning be damned so it's quite possible that the market just keeps getting more imbalanced.
Those that agree with MB's longer-term bull case for gold should use these pullbacks as opportunities to dollar average into miners.
Presumably, that's why this:
Warren Buffett's Berkshire Hathaway made its first investment in a gold miner last quarter, even though the famed investor has warned against betting on the precious metal for at least two decades.
The conglomerate bought 20.9 million shares of Barrick Gold, worth about $564 million at the end of June, according to its latest portfolio update. The miner was its only new holding in the period.
The news of Buffett's backing sent Barrick's stock price up as much as 11% on Monday.
Berkshire's move is a shock given Buffett's repeated dismissal of gold as a compelling investment.
He has called it less appealing than a farm or a business because it doesn't produce anything, and pointed out that it has massively underperformed stocks in the long term.
Legendary investor and Platinum Asset Management founder Kerr Neilson will leave the fund manager's investment team at the end of August after concluding his proteges don't need him around anymore, and he can apply his time and wealth to other causes.
But stepping away from the market altogether is not so easy for the billionaire who introduced global investing to Australia. He is bullish on gold, which has shattered records this year as US real yields turned negative and monetary stimulus stokes fears of sovereign default risk.
"You have to have gold," he said. "The system's too discordant not to have gold." He owns both the commodity and the equity, although suspects gold miners will eventually run the boom's course by over-investing in new production.
Crucially, central banks are also supporting the price of gold by adding to their reserves such that they can avoid sanctions, or insure against foreign exchange devaluation.
"All these despotic places have been adding to their gold."
Gold miners NEVER kill gold booms, just as falling jewellery demand doesn't either. Marginal additions to supply or withdrawal of demand are tiny relative to investment demand. Investment demand is the ONLY marginal price setter for gold.
The higher the price goes, the more marginal the miners that should be bought.


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