It is sad that most cannot detect the fallacies in such "logic." It is sadder still that most are ready to assume the worst, gullibly presuming that such a representation of our teaching together with the issues in question, constitutes a fair and adequate representation thereof.
Any such caricature of the true issues, however, is simply begging the question, and is most misleading. Besides its inaccuracy and lack of fairness, it assumes what is at issue, which is whether by the words "shall not be forgiven," it follows that some will be subjected to unending divine wrath, even as interminable estrangement from God. It is also a straw man, for it only disproves that which we do not deny, the proposition that if some were to lie under a penalty consisting of unending divine wrath, it could not also be true that no one, actually, would ever be subjected to such a penalty.
However expressed, the gist of the argument often set forth by believers in the eventual salvation of all concerning this question of the sin that shall not be pardoned is that it is not to be understood categorically. It is claimed that the Lord's statement about a sin that will not be pardoned is not absolute or unqualified. The sin, it is explained, will not be pardoned only within the present eon and the coming eon, not beyond. This supposition is inferred from the words, "neither in this eon nor in that which is impending." It is then further claimed that, following the coming eon, the penalty which formerly had applied to this misdeed will then be rescinded. It is said that such sinners will then be pardoned, so that, at the consummation, they may finally be saved.
Conversely, believers in eternal torment, besides claiming that the duration of the penalty for this sin is "eternal," not eonian, also place great stress on the account in Luke 12, which simply declares of such sinners that they "shall not be [being] pardoned" (v.10), making no mention of either the present or the impending eon. Since the record in Luke is in the form of a declarative sentence ending in a period, one in which it is therein affirmed simply that this sin "shall not be pardoned," it is claimed that not only will this sin not be pardoned either in the present or in the coming eon, but that it will not be pardoned–period.
Remarkably, all such believers, whether in the salvation of all or in the eternal torment of many, are united in the supposition that if those committing the sin of the blasphemy of the spirit are not pardoned from the penalty of this sin, then they cannot be saved. Hence, the universalist believers seek to prove that, eventually, such pardon will be granted, while the partialist believers seek to show that it will not.
This issue, however, in relation to the question of final destiny, is a false issue; yet it is the one that is nearly always debated concerning the so-called "unpardonable sin." The issue is not whether pardon will or will not eventually be granted. The issue is, instead, whether the revelation of Scripture, elsewhere stated, concerned with the accomplishment of Christ's sacrificial death, affirms (1) that all those for whom Christ died will be saved, and (2) that He died for all.
To put this another way, If it is really true, concerning mankind, that, Even as, in Adam, all are dying, thus also, in Christ, shall all be vivified . . . the last enemy death being abolished . . . that God may be All in all (1 Cor.15:22,26,28), then we may be certain that whatever the negative truth may be concerning a sin that shall not be pardoned, it will not deny the positive truth that God shall be All in all mankind.
Will those for whom Christ died be saved? And, Did He die for all? If so, then all will be saved; if not, then all will not be saved. Whether we answer in the affirmative or in the negative to these questions, in either case, any question concerning the sin which shall not be pardoned is a moot point, one without significance insofar as these far grander questions are concerned.
Still, it is well to understand the subject of the sin that shall not be pardoned. Yet in their preoccupation with issues of final destiny, those arrayed on both sides of that much more consequential question, often have failed to resolve significant issues of this lesser subject at hand.
The simple fact is that the present and the coming eons are the only periods in which pardon is offered; and, during these periods, this sin under consideration will not be being pardoned. It follows from this, then, that this sin will not be pardoned. Period. However, it does not follow from the fact that those committing this sin will not be pardoned–that is, released–from the penalty which Justice deems fit to impose, that they will not be saved. The Scripture never declares that the punishment imposed upon any sin is that of endless punishment. And, neither in Matthew 12, Mark 3, Luke 12, or any other chapter of Scripture, are we told that a penalty which includes unending divine wrath even as interminable human misery, shall accrue to those who blaspheme the spirit.
Wherever we read that a sin shall not be pardoned, or forgiven, the sense is simply that whatever the just penalty may be for such a misdeed, it will not be remitted, or let go. It does not follow, however, from the phrase, concerning him "that blasphemeth against the Holy Ghost," that "it shall not be forgiven" him (Luke 12:10, AV), that that from which he shall not be "forgiven" (i.e., released) is a penalty consisting of abiding estrangement from God in the presence of eternal burnings.
Where we read in this verse, as in the Concordant Version, that "the one who blasphemes the holy spirit shall not be pardoned," the implicit idea, conveyed through the figure of ellipsis, is that such a one shall not be pardoned from the penalty which justly accrues to this sin. From a literary standpoint, it is simply incorrect to interpret such texts as if their sense were, "shall not be pardoned," from a penalty consisting of or incorporating a specific woe, namely, that of eternal separation from God.
Such verses say nothing as to the nature of the penalty for such disobedience; to claim that they do manifests a deficiency of reading comprehension. Or, in the case of any who are aware that these texts, indeed, do not reveal the nature of the penalty which accrues to this sin and yet argue as if these texts did contain such information, the error then becomes that of circular reasoning, assuming what is at issue as if it had been proved. Such an error is exacerbated by making such arguments on the basis of our texts under consideration (i.e., Matt.12:31,32; Mark 3:28-30; Luke 12:8-10), ones which are incapable of answering such a question.
In accord with English idiom, the Concordant Version translates aphiêmi as "pardon" when used of a king or governor, and as "forgive" when used in familial or other interpersonal relations. It is a word of wide usage denoting broadly "let off" or "away." Its elements signify "FROM-LET." The idea is to "let" something go, or let someone off. When used of matters of penality, one who is "FROM- LETed," is one who is exempted from whatever penalty would otherwise be due; likewise, one who is not "FROM- LETed," is one who is not exempted from whatever penalty would otherwise be due.
Thus the blasphemy of the spirit shall not be pardoned. The fact that this is so neither in this eon nor in that which is impending, simply brings before us those eons in which "every sin and blasphemy shall be being pardoned," in the case of those obtaining pardon. The reason, however, why the one who is blaspheming against the holy spirit shall not be pardoned, is not because such a sin is some sort of mysterious "super-sin," but because such a sin precludes Christward repentance. Any who maintained such blasphemy unto death, blocked off the only pathway leading to their pardon. Therefore, instead of obtaining pardon, they became "liable to the eonian penalty for" this very sin.
Those who are aware of the pertinent issues concerning this word, will not merely slavishly copy the lexical claims of others, in support of their own opinion, making no mention of other scholarly sources affirming contrary opinions. Being well-versed in the literature, they will be well aware that, as on practically all issues, here too, scholars differ among themselves, even among those of common tradition.
Indeed, no one who is well-informed on this subject, claims that the essence of the word aiõnion ("eonian," CV), itself, consists of the idea of endlessness, since at least certain texts are stipulated as being incapable of such a signification. Likewise, all such ones acknowledge that, at least in some cases, the word is used of finite duration. Therefore, the only objective idea inherent to the word itself is that of "pertaining to (inherently unspecified) duration." Hence, even if one should, on hermeneutical grounds, claim that the referential meaning of this word, in certain contexts, is the notion of endlessness, he nevertheless may not affirm that such a notion is inherent to the word itself, in its essential meaning.
Wherever we read that a sin shall not be pardoned, we should always ask ourselves, Not pardoned from what? The answer to this question, of course, is, Not pardoned from whatever the penalty may be to which those who commit this sin shall be subjected.
Much of the confusion surrounding this subject arises from the uncomely custom among men of declaring to certain of their offenders, "I'll never forgive you." They imagine that by the Lord's words that there is a sin that shall not be pardoned, He means to convey essentially that which they themselves mean by their own phrase, "I'll never forgive you." Any such presumption, however, is surely a gratuitous opinion.
By such assertions, men mean to affirm that because of a certain misdeed committed by the other party, they have resolved to impose a certain policy on that other party accordingly. Their policy here, it is claimed, shall consist of their never forgiving him of his wrongdoing. In turn, by this they mean to say that they will always hold it against him while acting in a way toward him consistent with such interminable unforgiveness.
The Lord Jesus, however, in declaring of the sin of the blasphemy of the spirit that it shall not be being pardoned, says no such thing as this, speaking either of Himself or of His God and Father. Instead, He simply affirms that the one committing this sin will not be released from whatever penalty it may be that God has appointed unto such sinners. Specifically, He does not say, nor do His words entail, that the penalty which God has appointed unto such ones is that of unending misery and wrath.
Should the penalty, however–as is indeed the case–which has been appointed consist of the forfeiture of eonian life, even as subjection to divine indignation in the day of judging, then that is the penalty from which such an offender will not be released (i.e., pardoned or forgiven).
Only if, on other grounds, it could be proved that the penalty of this sin were that of interminable divine indignation, could it then be said that such sinners would never be released from such a penalty. Even in that case, however, it would still be incorrect to say that any such woeful judgment is revealed here, within our texts in question.
Hence the claim that the word of our Lord's testimony on this theme (cf Matt.12:31,32; Mark 3:29; Luke 12:10), entails it being so that those committing the sin of blasphemy of the spirit will be subjected to a future consisting of never-ending misery–eternal punishment by and everlasting estrangement from God–is perfectly mistaken. Any such claim is merely a misreading of the Scripture. No such notion either inheres in or follows from the Lord's own carefully-chosen words.
Thus, from Jesus' words concerning the sin of the blasphemy of the spirit, we simply learn that this sin shall not be being pardoned, or let go; accordingly, the person himself who blasphemes against the holy spirit shall not be being pardoned. Hence, anyone committing this sin will not be released from whatever penalty should be imposed on this very misdeed, according to the divine determination.
To say any less than this about these texts, is to deny that which the Lord has plainly set forth. Yet to say any more, is to address issues not inherent in the text itself. All that the Lord is affirming here is that those committing this sin will not be exempted from its due penalty–whatever that due penalty may be, and for however long it may be imposed.
"The blasphemy of the spirit consists in attributing the works of Christ, done by the power of God's Spirit, to demons or unclean spirits. As these works were the means used to produce repentance and pardon, and this was essential for entrance into the kingdom [prophesied by Israel's prophets], it is readily seen that pardon is impossible in such a case. The time, however, is limited to this eon or the coming eon of the kingdom. Eventually, all mankind will be far more than pardoned. They will be justified (Rom.5:18) and reconciled (Col.1:20). But this will not take place until a full eon later, when the kingdom is given over to the Father (1 Cor.15:24).
Similarly, just as our Lord declared that those who blasphemed against the holy spirit would not be being pardoned, He likewise affirmed that the indignation of God "is remaining" on those "being stubborn" as to the Son (John 3:36). Yet even as this latter passage does not address what will be the consequence, in relation to indignation, should such stubbornness be removed, the former texts do not address what will be the result consequent to the time when one who was not pardoned is nevertheless judged.
We should not reason if a sin should go unpardoned, that therefore those who do not obtain pardon but instead enter the judging, will never be saved. Even in human systems of justice, many who never obtain a pardon, who instead must undergo the full penalty for their lawless deeds, after they have done so, are released from prison, having paid their debt to society. It does not follow because they were never pardoned, that they were never released from prison. Even in the case of the most serious crimes where the death penalty is imposed, the state, at that juncture, considers justice to have been met. It does not sentence the criminal to "eternal" death, but simply to death. Should God resurrect and eventually vivify one thus put to death (and He will!), the state could have no objection that the demands of its justice had not been met, in any such case.
Warnings concerning the sin that is not being pardoned, are not addressed to the members of the body of Christ. Instead, Paul's message to us is that we are not appointed to indignation, but to the procuring of salvation, through our Lord Jesus Christ, through Whom we shall be saved from the indignation of God (1 Thess.5:9; Rom.5:9).
Further, we are not saved because we believe, but we believe because we are saved. While it is true that we must believe if we would be saved, this is so simply in light of the fact that salvation is not apart from faith. It is not, however, that we are "required" to believe and accept Christ, for our salvation is in grace, apart from law. Instead, we are graciously granted to be believing (Phil.1:29); God parts a measure of faith to each of His chosen ones (Rom.8:33; 12:3).
God saved us out of our unbelief. Even as in the case of Paul, the "faith and love in Christ Jesus," "overwhelms" our unbelief (1 Tim.1:14,16). Like self-control, faith is a fruit of the spirit (Gal.5:23); not a prerequisite of salvation. Our salvation is not a matter of our making some sort of "responsible" decision in favor of a requirement, but of being chosen and predesignated of God, before the disruption of the world (Eph.1:4,5).
As presented in Paul's evangel, eonian life is a gracious gift (Rom.6:23). Hence, in granting us eonian life, God displays not the generosity of His reward, but the transcendent riches of His grace (Eph.2:7). In this provision, He makes known not His integrity as a faithful Rewarder, but His vast love as a gracious Saviour. Hence, as many do, to make our eonian life hinge on our own obedience, is egregiously to misrepresent Paul's evangel at its very core.
For us, Grace reigns, for life eonian (Rom.5:21), any forfeiture of an allotment in God's kingdom that may be incurred by us for unfaithfulness, notwithstanding (cp 2 Tim.2:11-13; Gal.5:21).
4 Thus, in this connection, where sin increases, grace superexceeds (Rom.5:20). God has designated us beforehand for the place of a son for Him through Christ Jesus (Eph.1:5), having chosen us, foreknown us, called us, graced us with faith, and justified us as well, all unto this glorious end (Rom.8:30; cp 1 Cor.1:24).
This is the evangel of our salvation; it is the evangel which Paul heralded among the nations (Gal.2:2). It is in accord with the delight of God's will and for the laud of the glory of His grace (Eph.1:6).
Beyond these marvelous considerations as to our own salvation, may we indeed also come to realize the glorious truth that our Saviour, God, wills all mankind to be saved, and to come into a realization of the truth (1 Tim.2:4). That is, God has formed the decision that this should occur; and, He is operating all in accord with the counsel of His will (Eph.1:11). All His counsel shall be confirmed, and all His desire will He do (Isa.46:10).
God is not exclusively the Saviour of believers, but especially the Saviour of believers. Those who believe, enjoy a special salvation, with unique blessings for the eons to come. God is not only our Saviour, but is also the Saviour of all mankind (1 Tim.4:10). The fact is that God will one day abolish death and become All in all (1 Cor.15:26,28). It is His purpose as well, through Christ Jesus, to reconcile all, whether those on the earth or those in the heavens; thus, "making peace through the blood of His cross" (Col.1:20).
All contrary claims such as that all "Christ-rejectors" or sundry other sinners will be eternally lost, must be repudiated. Those who make such claims are simply mistaken.
Such ones do not have a realization of "the grace of God in truth" (Col.1:6), nor of "the gratuity in grace, which is of the One Man, Jesus Christ" (Rom.5:15). Yet it is only thus, in gratuitous grace, that "Christ Jesus . . . is giving Himself a correspondent Ransom for all" (1 Tim.2:6). And, it is also only thus, consequently, that, "even as, in Adam, all are dying, thus also, in Christ, shall all be vivified" (1 Cor.15:22).
In the question of human destiny, those who oppose the grace of God in truth, either deny that Christ died for the sake of the salvation of all mankind, or, alternatively, represent salvation as a reward for obedience, while merely calling it a "free gift." "As to the faith, they swerve" (1 Tim.6:21), in advocating any such false teachings.
May we be given eyes to see and ears to hear "the truth of the evangel," the evangel which the apostle Paul heralded among the nations. "Now may the God of expectation, be filling you with all joy and peace in believing, for you to be superabounding in expectation, in the power of holy spirit" (Rom.15:13).
1. Funk & Wagnalls Standard College Dictionary, p.522 (Pleasantville, New York: The Reader's Digest Association, 1966).
2. Extensive information concerning the words "eon" and "eonian" and the various issues related to these words, is contained in many of our publications. These include the booklets, " 'The Ages'; 'Eon, as Indefinite Duration' "; "Whence 'Eternity'? "; "Eternal Torment or Universal Reconciliation?"; "The Saviour of All Mankind"; and the books, ALL IN ALL; and THE MYSTERY OF THE GOSPEL.
3. A. E. Knoch, THE CONCORDANT COMMENTARY, p.27.
4. It does not follow that if we do not enjoy an allotment in God's reign, that we therefore will not live under its jurisdiction. Basileia (translated "kingdom") is simply the corresponding noun of the verb basileuõ (translated "reign"). It will be helpful for us to be aware that even as basileuõ literally means "reign" (used as a verb), thus also, basileia also literally means "reign" (used as a noun). The former means "to exercise a king's sovereignty"; hence, the latter means "the sovereign power pertaining to [a king's sovereignty]." It is only when basileia is used metonymically, as a figure of speech for "a realm ruled by a king" (or the territory or people thereof), that it should be understood in the common sense of the English "kingdom" (i.e., dominion). Yet it is on this basis, that of the common English usage of "kingdom," that it is claimed that those who do not "inherit the kingdom," must necessarily either be dead or in hellfire. Any such notion related to basileia here, however, is not only unwarranted but mistaken, for it contradicts the glorious truth that "the allotment of life eonian" (Titus 3:7) is an expectation in grace.


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Челябінський тролейбус () — діюча (від 5 грудня 1942 року) в обласному центрі місті Челябінську тролейбусна система Росії.

У теперішній час (станом на 2009 рік) челябінська тролейбусна мережа охоплює основні райони міста і нараховує 23 маршрути (3 місце в Росії після Москви і Санкт-Петербурга). Протяжність тролейбусної мережі — понад 200 км.

Експлуатацію тролейбусної мережі здійснює МУП «Челябгортранс».

Історія та перспективи

Тролейбусний рух у Челябінську був відкритий в роки Німецько-радянської війни. Перші тролейбуси, які курсували по місту, були евакуйовані з Москви. Офіційна дата експлуатації тролейбусної мережі міста — 5 грудня 1942 року — перший рейс пройшов маршрутом «ЧТЗ — вул. Клари Цеткін». Протяжність тролейбусних ліній на день відкриття становила 18 км, було відкрито 2 маршрути.

У теперішній час (1990—2000-і) челябінська тролейбусна мережа зростає дуже повільно, хоча і швидше за трамвайну: так ще наприкінці 1980-х — на початку 1990-х відкрито рух по Курганському шосе до ТЕЦ-3, по Сєвєро-Западу: вулицями Братів Каширіних і Молодогвардійців. У деяких випадках відкриття тролейбусного руху супроводжується закриттям трамвайного.

6 вересня 2006 року на день міста відкрито тролейбусний рух вулицями Братів Каширіних (на захід від вулиці Молодогвардійців) і Чичеріна.

У найближчі роки планується прокладка лінії в бік селища Чурилово вулицями 1-ю Ельтонською, Ферганською і 3-ю Ельтонською.

У віддаленій перспективі заплановано будівництво ліній вулицями Енгельса і Курчатова до залізничного вокзалу «Челябинск-Главный», вулицями Доватора і Дзержинського від залізничного вокзалу до кінотеатру «Аврора», східною частиною вулиці Братів Кашириних — до Свердловського проспекту та ще далі — вулицею Свободи, а також — проспектом Комарова. Попри те, що мова про введення в експлуатацію цих ліній велася ще в 1990-ті, вони й досі не побудовані — у МУП «Челябгортранс» посилаються на постійний брак коштів.

З 1 червня 2018 року вартість проїзду становить 20 руб., за транспортною картою — від 20 руб. 70 коп. до 23 руб., в залежності від суми поповнення за транспортною картою; пільговий проїзд — 10 рублів.

Маршрути
У 2018 році в Челябінську діють 17 тролейбусних маршрутів:

Рухомий склад

У Челябінську експлуатуються тролейбуси таких моделей:
 ЗіУ-682;
 ЗіУ-683;
 ЗіУ-6205;
 БТЗ-5276-01;
 Тролза-5264-01 «Столица».
 ЛіАЗ 5280 — прибули в місто наприкінці листопада 2007 року, від 15 лютого 2008 року розпочато їх експлуатацію.

У теперішній час більша частина челябінських тролейбусів — ЗіУ-9 та його модифікації. Після 2000 року був придбаний тролейбус «Тролза», однак наступні поновлення парку (за винятком останніх, у липні-серпні 2006 року) знову здійснювались за рахунок модифікацій моделі ЗіУ-9. Окрім тролейбусів, вироблених у місті Енгельсі, в Челябінську експлуатуються аналогічні тролейбуси Башкирського тролейбусного заводу. Кріме того, у складі 3-го депо перебуває 19 угорських тролейбусів «Ikarus-Ganz», отриманих із Німеччини у вересні 1996 року, що пропрацювали на вулицях міста до березня 2009 року. Ці тролейбуси були випущені в Угорщині у 1988—89 роках, до прибуття до Челябінська працювали в Німеччині в містах: Веймар, Хойєрсверда, Еберсвальде.

Для нумерації пасажирських тролейбусів використовуються, як і для трамваїв, 4-значні числа, у яких перша цифра збігається з номером депо. Така нумерація є надлишковою, адже друга цифра номера для тролейбусів кожного депо також є унікальною: зокрема, для нумерації тролейбусів першого депо використовують номери 1001—1299, другого — 2401—2699, третього — 3701—3899. Вантажні та навчальні тролейбуси мають 3-значні номери.

Станом на квітень 2007 року в Челябінську нараховується 410 тролейбусів, з числа яких близько 270 щодня виходять на лінію.

Примітки

Джерела і посилання

 Транспорт  у Енциклопедія «Челябінськ»
 Челябінський тролейбус на сторінці Челябінського електротранспорту  на transphoto.ru («суміщений трамвайно-тролейбусний сайт»)
 Челябінський тролейбус  на trollcity.narod.ru («Тролейбусні міста Росії»)

Тролейбусні системи Росії
Транспорт Челябінська

redpajama_set_name: RedPajamaWikipedia


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Goodbye Mr. Loser 2017 (令伯特烦恼) Movie Review
Movie Review • Comments (4)
Goodbye Mr. Loser 2017 (令伯特烦恼) Movie Review | by tiffanyyong.com
Recommended Audience: Fans of Ian Fang 方伟杰, Hoon Mei Sim 云镁鑫, Lim Yi Xin 林一心, Phoebe Huang 黃嘉千, Anjoe Koh 许愫恩, Lex Pun 方贾为, Adrian Teh 郑建国, 夏洛特烦恼 and romantic comedy movie fans
Goodbye Mr. Loser (令伯特烦恼) Movie Synopsis
Yi Bai (Ian Fang), a middle-aged nobody with a lot of regrets attended the wedding of Xiao Wei, his high school crush. He got drunk and made a fool of his wife. Angry, she chased him with a knife, forcing Yi Bai to hide in the washroom. When he emerged, he found himself in another dimension – he travelled back in time to 1999! Yi Bai is a high school student again and he can re-live his life, allowing him to fix any mistakes he made and achieve all the fame and success he missed out on the first time around. He records hit songs long before the original artists and makes lots of money, but the more successful he becomes, the more he realizes that people around him are just making use of him and his wealth. Will he find anyone who is truly genuine?
Goodbye Mr. Loser (令伯特烦恼) Viewer Rating: 3/5 ***
Goodbye Mr. Loser (令伯特烦恼) Movie Review:
The success of many films are actually dependent on the time, place (location) and person (天时、地利、人和), and I had to say the main problem with "Goodbye Mr. Loser" was that it was screened in Singapore a little too late. Clashing with the release of the Thai remake Suddenly Twenty which had the same time-travelling theme, and when the Chinese film Suddenly Seventeen (28岁未成年) released late last year, had done such a great job bringing out the mentality of a 17 and 28 year old despite having the same physical outlook, it was difficult not to compare.
If you are a fan of Our Times (我的少女时代), this is probably one of the closest version you can get for now if the 2015 hit was remade in Singapore or Malaysia's context. Cassette tapes, tamagochi, posters and nineties' hit songs, you can even see the Ian Fang-version of Ouyang Fei Fan (欧阳非凡) playing guitar for his fan girls. And yes, there's a Lin Zhenxin (林真心) ogling behind a tree too. Add the classic must-have rooftop scenes if you want.
I felt that the story dealt poorly on the clichéd theme of "treasure your true love", something I believed what every audience will know that the movie was aiming to tell right from the start. But to me, there were so many variables that seem to be overlooked. When Yi Bai was given a second chance to fulfil his singer dream, he wasn't grateful for that opportunity, and was as hot-tempered as ever (my heart clenched tighter each time he smashed a guitar).
It was convenient to assume that his childhood crush (Anjoe Koh) wasn't exactly the angel he imagined her to be, or that when one become famous, he will start feeling lonely or empty. It seem so absurd to me when he felt that his original wife, Ah Hua (Hoon Mei Sim) was his true love, after enjoying nearly 2 decades of fame and wealth; some people always want what they can't have.
This film delved more into personality and attitude instead. As the saying goes, "A bad attitude is like a flat tyre, if you don't change it, you'll never go anywhere" in this case, be happy. It allows audience (if one bother to look beyond the parodies and jokes) to choose whether they wish to be Yi Bai – the one who is never satisfied with what he had regardless of his financial status, or Ah Hua – the one who focuses on simple happiness, regardless on who she ends up with.
I was quite offended when the film tried to do a Huan Zhu Ge Ge with characters using a single word from the original names, but completely irrelevant music and lines. It made me feel like third-rate imitation that failed to amuse me. Unlike "Our Times" where the male characters are both equally charming in their own way, Lin Yu Kang (Lin Yi Xin) did not exactly convince me that he's a star-student or decent goody-two-shoes. Chen Xiao Wei (Anjoe Koh) is pretty, but obviously pretentious.
The hooligans made me want to just do a face-palm and sigh. The China version had a more menace-looking gangster at the very least. Besides that, after having so many other films as comparison, it was odd when I see a time travel back to nearly 17 years ago, but most character seems so… old. Aside from the school uniform and a simple hairstyle change, they still look identical. We all know make-up can do wonders, so why didn't they try to put a little more focus on that? Thank goodness Ian Fang's baby face pass off equally well as a student.
If you feel that I've been ranting, pardon me. I'm a great fan of the nineties period and coming-of-age film, hence I couldn't help but be critical of a genre that I liked so much. I had to admit, if the songs were not dubbed so unevenly, I think Ian Fang is the perfect fit for Yi Bai, at least a slightly more appropriate one that Shen Teng. His atrocious behaviour upon returning back to 1999 might be a tad over-the-top, but I agree, when you think you're in a dream, you do whatever you want! He was the most charming when he plays the lonely yet famous singer who seem to have everything, yet nothing. I thought I saw the reminiscence of the times before the time travel coming, but he still managed to touch me with his performance.
If anyone managed to pull of a comedic role seriously well, it is definitely Phoebe Huang, who acted as Yi Bai's mum. She is a natural, and breathed life to her otherwise small role. I was impressed how likeable she made her character out to be, despite her equally outrageous behaviour.
Last but not least, feisty Jin Hua aka Yi Bai's wife by Hoon Mei Sim. I didn't like her initially due to her perfect radio deejay intonation, something that made her a misfit. But after a while, I realised it was because of how similar her character was with mine back in my school days, a tomboy whom always seem to be invisible to the popular guys, and attracting only the oddballs. That odd nostalgia of the old times, and the little timely reminder of how sometimes, what you want might not be what you need… to be happy, was greatly appreciated.
"Goodbye Mr. Loser" (令伯特烦恼) was a Malaysian remake of a hit 2015 Chinese comedy (夏洛特烦恼), which was based on a 2013 play from Mahua FunAge, a privately owned Beijing theater company known for its wildly popular comedies.
This Malaysian remake almost got slapped with an 18-rating, on top of its 13 cuts. After appealing to the Malaysian Censorship Board (LPF), the movie eventually ended up with a P13 rating and one censored scene. The cut involved a three second-long kissing scene between Fang and Koh as it was non-consensual. However, another kissing scene between Fang and Hoon remained intact.
The team managed to find many lookalikes of celebrities from the 1990s era. These talents were sourced from different countries. A-mei (Jian Yu Hui 简语卉) is from Taiwan, Andy Lau (Andy Liu 刘伟政) is from China, Obama (Ilham Anas) is from Indonesia, Jay Chou (陈日丰 Cliff Chan Yat Fung) is from Hong Kong, and Yoo Jae Suk (Cai Wei Lian 蔡威廉) is from Kuala Lumpur.
Malaysia's Olympic medal-winning shuttlers Chan Peng Soon (陳炳順), Goh Liu Ying (吳柳瑩) cameoed as a quarrelling couple Ian Fang bumped into after he got popular while Goh V Shem (吳偉申) cameoed as Ian Fang's cousin who is a chauffeur.
The original theme song "陪你" (With You) is written by director Adrian Teh 郑建国 and sang by Christine Fan 范瑋琪 .
Goodbye Mr. Loser (令伯特烦恼) is out in cinemas on 30 March 2017.
*Disclosure: Invitation by Clover Films Singapore. No monetary compensation was received for the movie review.
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1/2 of #TheEpiphanyDuplet, Tiffany Yong juggles her ABCs – Acting, Blogging and Coaching/Consulting as she is fuelled by passion and drive to succeed.
It is not easy to make a living in Singapore just purely based on Acting, so with Blogging to help her with her online presence, and Coaching kids drama, private tutoring and freelance social media consulting to finance her life, she is currently leading the life most people hope to have: Living the Dream!
» Movie Review » Goodbye Mr. Loser 2017 (令伯特烦恼)...
4 Responses to Goodbye Mr. Loser 2017 (令伯特烦恼) Movie Review
nicol says:
i haven't watched this or the older version. it's not something i would choose to watch though
It sounds like the original film was so much better than this remake, sorry you weren't so happy with it. At least you were able to watch both versions. Sometimes, it's just better not to make any more movies and just stick to the original ones.
Franc Ramon says:
There's so many films now with back to the past theme. It does make a nice story telling perspective though with the play in time.
Bhusha says:
I don't find the story line impressive! I'm kinda tired of this concept of going back to your adolescence or 20 years or something!
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"Mulan (2020)" Movie Review
by Ethan Gerling | Art Director September 8, 2020
written by Ethan Gerling | Art Director Published: September 8, 2020 Last Updated on October 16, 2020
Walt Disney Company Direct to Consumer International Media Center
After a history of almost 100 years, Disney has cemented itself globally as the largest distributor of cinematic magic and happiness, unrivaled by any corporate entity within the industry.
So upon viewing the recent reimagining of the '90s animated classic "Mulan," you may be surprised that what you find is not an honorable retelling of an already astonishing story that adds its own modern flair. Rather, Disney has instead twisted a salt-covered knife into my childhood and has gutted me of my cherished memories from the original film, and has replaced them with this hollow, piteous excuse for a movie.
With nearly double the budget as its predecessor — $90 million to $200 million, as reported by the-numbers.com — "Mulan (2020)" is proof that while Disney still has the ability to create some truly wonderful and original movies like "Moana" and the "Wreck-It Ralph" franchise, making these kinds of movies is simply their choice. As a conglomerate, Disney can either put thought and whimsy into their projects, or they can allow a mathematical formula to piece together what it is we call "a film."
Seconds in, the audience is greeted with a painful number of clichés, the two biggest offenders being:
The inclusion of narration telling us exactly what we can see happening on screen because this PG-13 adaptation of a 22-year-old film thinks its audience to be infants. This happens several times throughout the movie, ripping us out of the narrative and undermining the few moments that may have been capable of drawing out some sense of emotion.
A subversion from the story of the original film wherein Mulan has a special control over the vast amount of chi within her unlike anyone else, supporting a redundant "chosen one" narrative. This detail is more in tune with the Chinese folklore that inspired the films, but it is exclusively detrimental to any theme the 2020 film tried to present.
This second issue is uniquely frustrating, as what made the 1998 movie so impactful to much of its audience was how hard Mulan had to work and train just to be at the same level as all of the men surrounding her, let alone stronger than them. This struggle was so relatable to the film's female audience young and old, and to the young girls it was an inspirational message telling them that regardless of their sex they were capable of amazing things.
The "chosen one" aspect of the new "Mulan" abandons this message, and instead says that if you want to be successful you better hope you were selected by some deity, otherwise you are destined to a life of mediocrity.
I must clarify, initially I was going to attempt to view "Mulan (2020)" independently from "Mulan (1998)." However, after actually seeing the new "Mulan," I'd say it's fair for me to draw comparisons between the two since it does the same by inserting several out of place callbacks to the original film into itself.
The innocent usage of a few musical stings from the 1998 movie was fine. On the other hand, naming a character we only see once "Cricket" in reference to the animal companion from the original movie, when every other character has a traditional Chinese name, is inexcusably forced. In the end, all these callbacks only made me think about how almost all of the changes made in "Mulan (2020)'s" writing were questionable at best. For example, the omission of each and every character with a complex or interesting story.
With the absence of key characters such as Mushu and Shang from the 2020 film, the assumption would be that it would make up for these absent narratives by adding some additional depth to the other characters. This assumption would be incorrect. There was an attempt, as is evident by the addition of Xian Lang, a second villain threatening the safety of China.
Xian Lang's story is at first empathetic, but it is undermined by her undefined and seemingly infinite powers that she could clearly use to conquer the world whenever she wants but for some reason doesn't. The primary antagonist, Bori Khan, is written just to be as evil as possible and nothing more. The one empathetic aspect of his story (which is yet another cliché that goes entirely unexplored), is countered by his raging misogyny.
Mulan herself is an incredibly shallow character in this version of the story. Since a large portion of her struggle is eliminated by her being born with superhuman abilities, there is more of an emphasis on her difficulties hiding her identity as a female from the military men surrounding her.
Admittedly, there are some scenes involving Mulan binding her chest that do a great job representing Mulan's overall difficulties during this period through an image of physical pain. The chest binding even forms a neat narrative circle when it comes to benefit her later in the film, and I would say this was probably my favorite addition to the Mulan narrative.
The real problem with this story is the way Mulan herself is portrayed. This is the fault of both the actress Liu Yifei, who I think only shows emotion twice in this two hour film, and the director Niki Caro, who decides to not give the lead character any scenes to actually reflect on her decisions or even voice a thought.
As a character Mulan has such little voice. Yes, in the action sequences of course she is unchallenged, but any words that come from her that should be impactful are stripped away. I mean this both figuratively and literally.
In every moment where Mulan should speak up and say something emotionally charged, the camera instead just zooms in slowly on her neutral face until the movie cuts to the next scene. This happens quite often.
On the literal side, during one of the film's most important scenes, Mulan has a brief monologue where her point is ignored by the soldiers surrounding her until her final line. In the 1998 film, the line was said by her. In the 2020 film, the line is instead given to one of the other male characters, essentially taking away all of Mulan's strength where it really matters.
The last aspect of the film I have yet to discuss is the action sequences. "Mulan (2020)" is very much an action movie, hence why it is PG-13. As to be expected, it spends much of its time on various scenes of war. Sadly, the fight choreography for these scenes are lacking.
Many technical aspects of the fights are distracting, such as obvious CGI replacements of the characters, random slow motion cinematography, and the nauseating abundance of rapid camera cuts. Additionally, the fights also repeat the same gimmicks far too often and randomly allow characters to perform inhuman stunts in one moment and in the next they are overcome by something mundane.
There really is no reason to watch 2020's Mulan, especially when it's barricaded behind at minimum, a $7 Disney+ subscription as well as an additional $30 price tag. The movie is a poorly executed action film with minimal story beats and zero passion. It is a husk of what once was a glorious and inspirational story filled with fantasy and consequences. The only purpose "Mulan (2020)" serves is as a symbol for 2020 itself: a relentless carnival of folly that only seems to get worse over time.
Disney+Ethan GerlingIndianapolisIndymovie reviewMulan (1998)Mulan (2020)The ReflectorThe Reflector OnlineUIndyUniversity of Indianapolis
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Collation viii, 37 p. ; 28 cm.
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Mehbooba welcomes Rajnath Singh's remark on dialogue in J&K
Home » Jammu » Mehbooba welcomes Rajnath Singh's remark on dialogue in J&K
Says a peaceful engagement urgently needed to get JK out of violence cycle, appeals Hurriyat to display maturity, show responsibility towards people
JAMMU, MAY 26: Chief Minister, Mehbooba Mufti has welcomed the assertion of the Union Home Minister, Rajnath Singh today that Centre is ready to talk to every stakeholder including Hurriyat Conference in Jammu & Kashmir if it comes to table.
The Union Home Minister made these remarks in an interactive session with a television channel today.
In a statement, the Chief Minister described it as a welcome step to initiate dialogue and reconciliation in the State. She said that given the positive outcome from the ground on the Ramadhan ceasefire in the State, the peace constituency in the country and the State should feel encouraged to start the much needed process of peaceful engagement with all stakeholders in the State.
The Chief Minister hoped that parties and groups like Hurriyat Conference will seize the opportunity and show their responsibility towards the people of the State by displaying the much needed maturity so that the opportunity is not wasted. She said a peaceful engagement among all the stakeholders in the State is urgently needed to get Jammu & Kashmir out of the unending cycle of violence and provide its people, a secure, prosperous and peaceful future.
Mehbooba Mufti said she has reiterated it time and again that dialogue is the only way forward for resolving issues as violence has lost its relevance in the contemporary world besides taking a heavy toll of the people and the societies. She said even arch-rival nations like US and North Korea and North Korea and South Korea ultimately had to take to table to iron out their mutual issues


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Page celebrates 10 years at Hanson
PEORIA, Ill. — Serena Page, P.E., PLS, a civil engineer at Hanson Professional Services Inc.'s Peoria office, recently celebrated 10 years of service with the company.
Page, who joined Hanson in 2009, has provided surveying and engineering services for projects, including the base roadway repairs for the Illinois Air National Guard's 182nd Airlift Wing and the study and design of the Washington Street reconstruction, both in Peoria; planning for the Seminary Street overpass in Galesburg for BNSF Railway Co.; and a design survey for the Monroe County Airport's runway rehabilitation in Bloomington, Indiana, as part of the facility's sinkhole repairs.
Page received bachelor's and master's degrees in civil engineering in 2009 and from Southern Illinois University Carbondale and is a licensed professional engineer and professional land surveyor in Illinois. She is a member of the American Society of Civil Engineers, Illinois Professional Land Surveyors Association, National Society of Professional Surveyors and the Society of Women Engineers.
Hanson is a national, employee-owned consulting firm providing engineering, planning and allied services. The Peoria office is located at 7625 N. University St., Suite 200, Peoria, IL 61614. The office may be reached by phone at (309) 691-0902.


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Artists Profile – John Gillies
John Gillies is an Australian artist and musician, particularly known for his 'multi-layered and complex' video works and installations. He has also curated a number of video art programs. Gillies studied Visual Arts and Music at the University of Southern Queensland including film and video under David Perry. He also studied at Sydney College of the Arts.
Gillies has produced many works since the early eighties including Hymn (1983), Techno/Dumb/Show (1991), My Sister's Room (2000) and Divide (2006). and collaborated with many performers including The Sydney Front (Techno/Dumb/Show, Test) and Clare Grant (The Mary Stuart Tapes). His video work is held in public collections such as the Art Gallery of New South Wales, Sydney; Australian Centre for the Moving Image; Fukuyama Museum of Art; National Gallery of Australia and the Queensland Art Gallery, Brisbane.
Image: John Gillies, Witkacy & Malinowski: a cinematic séance in 23 scenes, 2017 – 2018, 40 min film, 5.1 or stereo sound


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Clark Diggs, Joetta
Adam R. Hornbuckle
was born in East Orange, New Jersey, the eldest of the two children of Jetta Clark and Dr. Joe Louis Clark. The Clarks lived in Newark, a short distance from her birthplace, until moving to South Orange after the 1967 riots. Her father, who served as the principal of Eastside High School, in Paterson, New Jersey, gained national attention for enforcing discipline and improving academic achievement at Eastside, one of the state's toughest inner-city schools, and became the subject of the 1989 film Lean on Me, in which the award-winning actor Morgan Freeman portrayed him.
Clark performed with the Alvin Ailey Junior Dance Company until the age of fourteen, when she began to participate in track, concentrating on the half-mile (880 yards), the distance at which her father excelled at William Patterson University (then known as the Paterson State Teachers College) in Wayne, New Jersey. Interviewed for the Best ...
Walker, Weldy
Christopher Devine
baseball player and activist, was born Welday Wilberforce Walker in Steubenville, Ohio. He was the fifth of six children born to Moses W. Walker, a physician and minister. He was reared, along with the rest of his siblings, by Caroline (O'Harra) Walker, but Weldy's death certificate lists his mother as Maria Simpson. This information was supplied to the coroner by Walker's nephew Thomas Gibson, who in the early 1920s claimed not to know Weldy's mother's identity. It is unclear whether the change in Gibson's information evidences newfound knowledge, a disclosed Walker family secret, or fiction. Walker's first name likely paid homage to the local pioneer Alexander Welday (although when and why Walker changed its spelling is unknown), and his middle name likely honored the English abolitionist William Wilberforce.
Steubenville where Walker would spend most of his life was a racially progressive town known for ...
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