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Census Bloodbath: Overshoot the extreme, max the envelope, and so on
DEATH SPA
Yesterday was Halloween, Halloween, Halloween, yesterday was Halloween, here's our crossover! As if he needs any introduction, our friend Brennan Klein of Popcorn Culture, as well as many other places these days, shall be taking on the task of reviewing three wholesome, edifying 1950s sci-fi films of the kind we so often do around here, while I review three slasher films straight from the pit of moral decay called the 1980s.
Directed by Michael Fischa
Written by James Bartruff and Mitch Paradise
With William Bumiller (Michael), Brenda Bakke (Laura), Ken Foree (Marvin), Alexa Hamilton (Priscilla), Rosalind Cash (Sgt. Stone), Francis X. McCarthy (Lt. Fletcher), Merrick Butrick (David), and Shari Shattuck (Catherine)
Once again, we question our taskmaster, for Death Spa is not a slasher, and not even not-a-slasher in the sense that, for example, I object a little to A Nightmare On Elm Street calling itself a slasher. It's a straight-up haunted house movie, Death Spa, albeit one that happens to feature an incredibly large body count. Not The Burning large, mind you, nor even Friday the 13th Part Whatever large. More like Carrie large, and Carrie style, and yet Carrie is not a movie I thought of during my viewing, despite the heavy showcase of telekinesis, and despite an awful lot of dawdling in the women's showers. Perhaps it's because Death Spa is so many things, all rolled into one. It's not a slasher, but it certainly has a slasher's bravado, and a slasher's appealing looseness, and much more besides. It's kind of amazing, and while my mind was briefly cast back to 2015 when Brennan snuck Killer Party into the rotation (this being another pretty resolutely non-slasher kind of slasher, that also sucked), when the results are this fascinating, I won't complain. The upshot is that between Death Spa and Slumber Party Massacre II, this year's Popcorn Culture/Kinemalogue crossover's given us the best slate of slashers (or slasher-like objects) so far, despite The Prowler being the worst of these since I, Madman. So: thanks, B, you knew what you were doing.
Does it mean anything that the two good (hell, great) ones this year only take on a slasher's form, but then do something different with it, whilst The Prowler is entirely content to be little more than its basic elements of a sex murderer in a costume, young adult victims, and pointy things? Maybe so, and one of the things Death Spa is, obviously enough, is a slasher (or "slasher") to arrive after Nightmare recharged the subgenre by essentially turning it into ghost-based horror with novel amounts of blood. Curiously, it's also got some Colossus: The Forbin Project in it—betcha didn't see that coming—and Demon Seed, too, not to mention Rebecca and Wait Until Dark, and if we're doing Hitch and pseudo-Hitch, and it's a horror film, well, of course it's going to throw a pinch of Psycho into the mix for flavor.
But maybe above everything, it's Poltergeist In a Gym.
Well, not yet.
Specifically, the Starbody Health Spa, as we discover during a creative title drop that sees the camera gliding in through an L.A. night toward the fitness club, its neon sign blazing until a flash of lightning knocks half the letters out, leaving only D EA TH SPA to shine. The first few minutes are concerned with letting us get our bearings in the nearly-empty facility, illuminated by moody red and teal nighttime lights, and, eventually, we see one of its last occupants, Laura, still dancing in the dark. Afterward, she hits the sauna, where a burst of chlorine spits out of the steam vents, only slightly burning her, but, more importantly, blinding her. We get a taste in this prologue of almost everything Death Spa has to offer, beyond its influences: incredibly striking solid color photography emphasizing deep blacks and weird neons; female nudity; and oddball kills (even if this one doesn't succeed) that use the setting itself as the murder weapon.
For this is but the first of many uncanny and increasingly-deadly events to befall the gym, and the weight of the crisis falls on Laura's boyfriend and the Starbody's owner, Michael Evans, who's barely found the strength in the last year to pick up the pieces in the aftermath of his wife Catherine's suicide, brought on by a pregnancy that ended in death for the child and paraplegia for the woman, and which she effected by dousing herself with gasoline before setting herself on fire in their yard. It's not been a good year for Michael, and, honestly, things aren't looking up.
Is it possible that Catherine's back for revenge? Well, it says so in the Amazon rental synopsis. So yes.
These incidents naturally bring the police into the picture, and in the process some lame plot by Michael's business partners is uncovered, and even a parapsychologist gets involved, but none of this matters nearly as much as the Starbody's IT guy, or maybe its resident mad scientist, David Avery, introduced to the cops as Michael's "ex-brother-in-law," hence Catherine's brother-by-blood, a sibling deeply affected by his sister's loss, and fixed upon the idea that Michael drove her to her death—which means that the only reason Michael hasn't fired him yet is because David built the incredibly advanced computer that runs his gym. (Keep going. I know, but let's just ignore it. This plot is more afraid of you than you are of it.)
And David's grudge is kind of a red herring, which is interesting, because Death Spa lets you know right away that David's skills, however elite, couldn't possibly (just for example) be turning bolts in a diving board, and he definitely didn't code up those tiles that start flying in the ladies' shower room. But there's something about David that ain't right.
Death Spa is bizarre and wonderful, and the worst thing about it is that it probably wouldn't have been hard to make a genuine exploitation masterpiece out of it, since all the elements are there, first and foremost the remarkable look of it, thanks to director Michael Fischa and, especially, cinematographer Arledge Armenaki (astonishingly, the latter never had a career beyond the B-movies; less astonishingly, he started that career in the late 1970s). Sometimes it's gritty and flatly overlit; sometimes it's plunging into sheets of black and purely expressionist color; sometimes it just lets blaring white negative space swallow up the subjects; sometimes, very occasionally, it's concerned with nothing but a genuinely beautiful vista with purple sunset skies seen from a hillside veranda, with a man and woman impeccably composed into the shot, one in the foreground, one in the background, thinking about different things and balanced by the circular geometry of a hot tub, an empty space where another person used to be. Death Spa's a lot of stuff, like I said, and in a lot of ways, but it tends to work, and there's an Italy-meets-L.A. thing happening in Death Spa's best scenes where it's a lot more interested in atmosphere, searing neons, and the arrangement of human objects in the frame.
Not even necessarily dead objects: honestly, some of Death Spa's coolest material is in the first act, after Laura's been hurt, but before people start dying, wherein we get to know the leads, sure, but Fischa takes the time to (yeah, pad the movie, too) settle us into the Starbody Health Spa as a fully-functioning and rather pleasant community, complete with local characters, from the gay guy who gently rebuffs the straight woman hitting on him with the utterly-classic "I'm Beta, you're VHS," to the middle-aged dude who, despite apparently spending all his time in the gym, can barely bench the bar, yet is better described as a loveable dork than as a creep; all told, it's a community you like hanging out in. The movie is ribboned with fantastic little interstitial scenes of this sort, where people dressed in boldly-colored spandex and legwarmers and tank tops all stretch and dance and push weights and eat kale amidst the pastel magnificence of Robert Schulenberg's production design, an aesthetic of kitsch that suggests it's starting to at least have an inkling what "kitsch" is. Part of me wants to abandon caution and call Death Spa, if it's a slasher, the best-looking one they ever made. Meanwhile, Peter Kaye's score is a little to the left of the usual synths—gloomier—and while it's not one for the ages, it's a solid accompaniment to the more macabre goings-on here at the Starbody.
Because, as the name implies, Death Spa does have a whole hell of lot of interest in the dead and the dying, too, with some gore sequences that remind you that, after the dawn of videotape, blood was back in fashion. Death Spa's deaths are plentiful and varied, and amongst them is one of the best slasher (oh, hell, now I'm doing it) kills I've personally ever seen, an acid bath that slowly leaves its victim naught but exposed meat and bone in a pool of roiling blood, and still slowly twitching its life away. The average is certainly less exemplary—there's one that's literally a woman writhing and pretending to die while blood pours out of the unplugged blender she's wearing on her hand—but Death Spa, in this case as in many others, reminds you that it couldn't have been nearly as cheap as most of its direct-to-video kin, with surprisingly good wire effects as the supernatural comes more directly into focus, and bodies get whipped around like dolls across the full length of rooms. (It also explains Michael's extraordinary mansion, since it was probably one of its producers' mansions: a split-level, borderline-Escheresque wonderland that is probably the worst place on Earth that Michael could have brought his blinded girlfriend, a source of tension all by itself.)
Death Spa even has a leg up on most 80s lo-fi horror in terms of actors: for starters, one I've actually heard of and seen in real movies and in a pretty major role, namely Merrick Butrick, doubtless given the name David here in honor of his strongest brush with fame in Star Treks II and III. (For those in the know, this is a clue as to Death Spa's production history—it was actually made in 1987, failed to get theatrical distribution, and that's how it wound up on the home video market—in other words, it significantly predated Butrick's tragic death from AIDS-related complications in the year of Death Spa's release. Another clue is that the gore scenes, likely reinserted after sitting in somebody's house for two years, have a different film quality, ala My Bloody Valentine's restored cut. A final clue is, well, the 1987 copyright notice; I'm not that good a film detective.) And Butrick is, I'd say, easily the best in show: not every line he reads is gold—he has a big "no" that is, I'm afraid, kind of risible—but he's a better actor than the vast majority of people in movies like these, and somewhere in the middle of the film, he latches onto the film's only really frightening scene, in which he notes that since Laura is blind, there's no pressing need to hide the debate he's having on his face about whether or not he's going to jam a screwdriver through her skull. But hardly anybody's bad here, and, as Michael, William Bumiller is given more to do than most horror protagonists, and gives more in return, spending most of the movie with a "Jesus Christ, what now?" look on his face that he can modulate into a certain brittle, damaged, yet still-broish charm. Nor is it possible to overlook Shari Shattuck, a constant fixture in Michael's dreams and waking nightmares as Catherine, who gets to trill lines like "Die, and be with me together forever in hell," and really sell the shit out it.
And that's why it's a shame the script by James Bartruff and Mitch Paradise (uh-huh) is exactly the kind of slapdash nonsense you'd expect from the words "direct-to-video late-80s horror movie." Well, maybe not exactly—it's certainly lively, well-paced, funny, and it knows how to deliver on its basic premise of "Death Spa, the Spa That Eats"—but it is almost laughably unconcerned with solid cause-and-effect, let alone solid computer programming or electrical engineering, and the question you're asking the entire time is, "If it's a ghost, and has always been a ghost, what about this scenario ever demanded a sci-fi master computer running the place?" And there's something wrong in the climax—it's definitely partly the script, but I suspect it's likewise the editing, that doesn't quite master the geography of the gym and make it plain where certain events are in relationship to each other, making scenes of grisly murder feel like they take place on different planets, rather than in the same building, so little do they interact or affect one another. And, all throughout, the film also has a distressing tendency to just drop incredibly heavy emotional exposition like bricks into its character scenes, the screenwriters evidently having not much actual humanoid interest in Michael's cautious relationship with Laura, his regret over Catherine's death, or his increasing certainty that Catherine's back and thinks they're still married. Some of Death Spa's imperviousness to logic and allergy to character arcs is just pure genre (for example, you can't close down the gym, or there wouldn't be tons of people to massacre at its Mardi Gras party; you can't spend long scenes without tits or blood and expect the natural audience for this to not get bored). And I recognize the attraction of prioritizing the prurient, like the fact that what's happening in David's head is more interesting to the writers than what's happening in Michael's; and yet it's somewhat in conflict with a director and an actor who do seem to care.
It is, of course, a stupid thing to complain about the lack of an Oscar-worthy grief drama hiding inside a movie that, when it starts to run out of reasonable ideas, takes recourse to killing a man with a reanimated dead fish inside a freezer. And, personally, I would hardly trade the movie that kills the man with a reanimated dead fish for anything else in the world.
Killer: Catherine and [David, who's been possessed and femmed, this being the precise moment where David goes from being the vengeful maid in Rebecca to being Norman in Psycho, though you do feel bad for the poor guy]
Final Girl: N/A, Michael, I guess
Best Kill: Linda is the Incredible Melting Woman
Sign of the Times: A mullet and the big patches of shoulder hair unhidden by the lead's revealing tank tops are no obstacle to his being King Sexy of the gym
Scariest Moment: David comes by Michael's house and finds only Laura at home, and as friendly and conciliatory as she's trying to be, he keeps staring right at her, and playing with that screwdriver
Weirdest Moment: We learn that Michael Fischa thinks an asparagus stalk is an appropriately sexy subject of foodplay
Champion Dialogue: "The computer doesn't control tiles, for Christ's sake!" Runner-up: "Why shouldn't I be cheerful? My club is being sabotaged, my girlfriend is temporarily blinded, and my lawyer's wearing the cutest shorts I've ever seen."
Body Count: Conservatively speaking, fourteen, including some dead extras we see, but it could be closer to a hundred. As for the "main" deaths, I will be honest, I learned very few of these people's names, so I'm mostly copying off Brennan here:
1. Catherine, in flashback, belatedly realizes that only she can prevent body fires
2. Robert is my butterfly, sugar, baby, when he gets his torso torn apart by the chest machine
3. Marcie is hit with a curtain rod or something (?) through the neck
4. Linda mellllts dude
5. Dr. Moray ain't afraid of no ghost, and pays the price
6. Jeffrey has his face smooshed, like your aunt would do, if your aunt were the She-Hulk
7. Tom's face becomes an exit wound, and right when he was about to get laid, too
8. The bartender's arm is chewed up by a blender; I guess the movie's got some Maximum Overdrive in its DNA, too
9. Lt. Fletcher is nipped in the carotid by a fish
10. Priscilla is torn to pieces by the shrapnel of an exploding mirror
11. Catherine, again, banished back to hell (well, maybe) when her [human host...]
12. [...David] is electrocuted by cross-circuiting something or other in the breaker box or whatever, I'm not an expert, but anyway, it's extremely rad
TL;DR: A beautiful piece of stylistic gamesmanship that also involves a massive amount of high-test gore along with a heaping helping of 1980s nostalgia porn, not to mention a fair serving of what amounts to 1980s actual porn. No, you couldn't go too far wrong with watching Death Spa.
THE OLD SWITCHEROO!
Brennan's Cardboard Science
2014: Invaders From Mars The Day the Earth Stood Still Them!
2015: The Giant Claw It Came From Beneath the Sea The Brain From Planet Arous
2016: Invasion of the Body Snatchers Godzilla (1954) The Beginning of the End
2017: It Conquered the World I Married a Monster From Outer Space Forbidden Planet
2018: The Fly Attack of the 50 Ft. Woman Fiend Without a Face
My Census Bloodbath
2014: My Bloody Valentine Pieces The Burning
2015: Terror Train The House on Sorority Row Killer Party
2016: The Initiation Chopping Mall I, Madman
2017: Slumber Party Massacre Hello Mary Lou: Prom Night II Happy Birthday to Me
2018: The Prowler Slumber Party Massacre II Death Spa
Labels: 1989, 9/10, film as ornamentation, haunting, Horror, Michael Fischa, slasher
Brennan November 2, 2018 at 11:24 AM
Now you can't just go around cavalierly saying an 80's horror movie "isn't a slasher." Here's the secret, my friend: EVERY movie from the 80's is a slasher.
I'm so glad you liked this one too! I'm going to have to try to outdo myself next year and I'm worried that might not be possible.
Hunter Allen November 6, 2018 at 8:45 AM
Hey, I'm back from South Carolina now!
"EVERY movie from the 80's is a slasher."
That speaks to a deeper truth.
As for next year, not to tell you what to do... but there are the deep reserves of Major Arcana left to get to. And honestly, other than the Halloween franchise, which I'm up on (82% up on, anyway, never seen either 6 or Resurrection), they're pretty big blindspots for me. For example, I've never actually seen a movie where *Jason* Voorhees kills someone.
Actually, I might've seen The Curse of Michael Myers. I forget whether I finished the ol' Thorn Trilogy.
Forgetting Part 6 is the best course of action, honestly.
And no Jason? I've got my work cut out for me still, then. *rubs hands together*
Hunter Allen November 6, 2018 at 12:10 PM
Hooray?
The meanness of the used-ta-been
Love and death
No country for old women... or young women... or w...
Does the letter of authenticity come with a letter...
Sure, convince them they're straight! I know I rea...
Mother, may I?
They're not sending their best
Predator Week, part II: Oh, it's the urban jungle,...
Disney's Challengers, part II: A bug's life
Census Bloodbath: Overshoot the extreme, max the e...


text:
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redpajama_set_name: RedPajamaCommonCrawl


LC Subject Headings: Chromium -- Environmental aspects.
Soil pollution -- Hawaii -- Oahu.
Citation: Dugan GL, gee HK, Lau LS. 1983. Decontamination of chromium contaminated soil and water: Pearl Harbor Naval Shipyard, Pearl Harbor, Hawaii, phase 2. Honolulu (HI): Water Resources Research Center, University of Hawaii. WRRC special report, 1:10:83.
dumpster loads were above the 5-mg/l limit, and these were reprocessed.


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The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland
Steven D Andrews, Adrian J Hartley
Inverness College UHI
Lake margin sedimentary systems can provide highly sensitive records of sedimentary response to climate change. The Middle Old Red Sandstone of Northern Scotland comprises a thick succession of cyclic lacustrine sediments. Within this succession the deepest lake phase, the Achanarras fish bed, allows bed-scale correlation over 160 km across the basin. This provides a unique opportunity to examine the character of synchronous lake margin deposits, and their response to climatically driven lake level fluctuations, across a large continental basin. Detailed characterization of two separate lake margin systems was carried out utilizing multiple sections in western Orkney, in the north, and Easter Ross, in the south. Seven facies have been recognized, which include upper and lower shoreface, deep lake, shallow lake, playa, turbidite and fluvial facies. Differences in vertical and lateral facies stacking patterns reflect the response of these systems to climatically driven fluctuations in lake level. Comparison of the northern and southern systems examined highlights the variable response of lake margin systems to the same climatic change and related lake level fluctuations. In the south, a greater fluvial influence is recognized on the development of the lake margin successions, whereas in the northern example, which lay on the downwind margin of the lake, shore zone facies are more commonly developed. The variability recognized can be accounted for by regional variations in sediment supply, coastal physiography, lake size, bathymetry and potential fetch. Lake level stability is also recognized as a major control on the development of lake margin sedimentary systems, as is the linked or unlinked relationship of the catchment and the lake basin climate for which a conceptual model is proposed.
https://doi.org/10.1111/sed.12200
10.1111/sed.12200Licence: Unspecified
Fingerprint Dive into the research topics of 'The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland'. Together they form a unique fingerprint.
lake level Earth & Environmental Sciences
lake Earth & Environmental Sciences
basin Earth & Environmental Sciences
Old Red Sandstone Earth & Environmental Sciences
shore (nonmarine) Earth & Environmental Sciences
fetch Earth & Environmental Sciences
playa Earth & Environmental Sciences
climate change Earth & Environmental Sciences
Andrews, S. D., & Hartley, A. J. (2015). The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland. Sedimentology, 62(6), 1693-1716. https://doi.org/10.1111/sed.12200
Andrews, Steven D ; Hartley, Adrian J. / The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland. In: Sedimentology. 2015 ; Vol. 62, No. 6. pp. 1693-1716.
@article{c623ca82fdde4486bc268b35d92b82f6,
title = "The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland",
abstract = "Lake margin sedimentary systems can provide highly sensitive records of sedimentary response to climate change. The Middle Old Red Sandstone of Northern Scotland comprises a thick succession of cyclic lacustrine sediments. Within this succession the deepest lake phase, the Achanarras fish bed, allows bed-scale correlation over 160 km across the basin. This provides a unique opportunity to examine the character of synchronous lake margin deposits, and their response to climatically driven lake level fluctuations, across a large continental basin. Detailed characterization of two separate lake margin systems was carried out utilizing multiple sections in western Orkney, in the north, and Easter Ross, in the south. Seven facies have been recognized, which include upper and lower shoreface, deep lake, shallow lake, playa, turbidite and fluvial facies. Differences in vertical and lateral facies stacking patterns reflect the response of these systems to climatically driven fluctuations in lake level. Comparison of the northern and southern systems examined highlights the variable response of lake margin systems to the same climatic change and related lake level fluctuations. In the south, a greater fluvial influence is recognized on the development of the lake margin successions, whereas in the northern example, which lay on the downwind margin of the lake, shore zone facies are more commonly developed. The variability recognized can be accounted for by regional variations in sediment supply, coastal physiography, lake size, bathymetry and potential fetch. Lake level stability is also recognized as a major control on the development of lake margin sedimentary systems, as is the linked or unlinked relationship of the catchment and the lake basin climate for which a conceptual model is proposed.",
author = "Andrews, {Steven D} and Hartley, {Adrian J}",
note = "Output produced while at Cambridge Arctic Shelf Programme - full text version available from Cambridge Arctic Shelf Programme repository.",
doi = "10.1111/sed.12200",
journal = "Sedimentology",
Andrews, SD & Hartley, AJ 2015, 'The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland', Sedimentology, vol. 62, no. 6, pp. 1693-1716. https://doi.org/10.1111/sed.12200
The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland. / Andrews, Steven D; Hartley, Adrian J.
In: Sedimentology, Vol. 62, No. 6, 05.2015, p. 1693-1716.
T1 - The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland
AU - Andrews, Steven D
AU - Hartley, Adrian J
N1 - Output produced while at Cambridge Arctic Shelf Programme - full text version available from Cambridge Arctic Shelf Programme repository.
N2 - Lake margin sedimentary systems can provide highly sensitive records of sedimentary response to climate change. The Middle Old Red Sandstone of Northern Scotland comprises a thick succession of cyclic lacustrine sediments. Within this succession the deepest lake phase, the Achanarras fish bed, allows bed-scale correlation over 160 km across the basin. This provides a unique opportunity to examine the character of synchronous lake margin deposits, and their response to climatically driven lake level fluctuations, across a large continental basin. Detailed characterization of two separate lake margin systems was carried out utilizing multiple sections in western Orkney, in the north, and Easter Ross, in the south. Seven facies have been recognized, which include upper and lower shoreface, deep lake, shallow lake, playa, turbidite and fluvial facies. Differences in vertical and lateral facies stacking patterns reflect the response of these systems to climatically driven fluctuations in lake level. Comparison of the northern and southern systems examined highlights the variable response of lake margin systems to the same climatic change and related lake level fluctuations. In the south, a greater fluvial influence is recognized on the development of the lake margin successions, whereas in the northern example, which lay on the downwind margin of the lake, shore zone facies are more commonly developed. The variability recognized can be accounted for by regional variations in sediment supply, coastal physiography, lake size, bathymetry and potential fetch. Lake level stability is also recognized as a major control on the development of lake margin sedimentary systems, as is the linked or unlinked relationship of the catchment and the lake basin climate for which a conceptual model is proposed.
AB - Lake margin sedimentary systems can provide highly sensitive records of sedimentary response to climate change. The Middle Old Red Sandstone of Northern Scotland comprises a thick succession of cyclic lacustrine sediments. Within this succession the deepest lake phase, the Achanarras fish bed, allows bed-scale correlation over 160 km across the basin. This provides a unique opportunity to examine the character of synchronous lake margin deposits, and their response to climatically driven lake level fluctuations, across a large continental basin. Detailed characterization of two separate lake margin systems was carried out utilizing multiple sections in western Orkney, in the north, and Easter Ross, in the south. Seven facies have been recognized, which include upper and lower shoreface, deep lake, shallow lake, playa, turbidite and fluvial facies. Differences in vertical and lateral facies stacking patterns reflect the response of these systems to climatically driven fluctuations in lake level. Comparison of the northern and southern systems examined highlights the variable response of lake margin systems to the same climatic change and related lake level fluctuations. In the south, a greater fluvial influence is recognized on the development of the lake margin successions, whereas in the northern example, which lay on the downwind margin of the lake, shore zone facies are more commonly developed. The variability recognized can be accounted for by regional variations in sediment supply, coastal physiography, lake size, bathymetry and potential fetch. Lake level stability is also recognized as a major control on the development of lake margin sedimentary systems, as is the linked or unlinked relationship of the catchment and the lake basin climate for which a conceptual model is proposed.
U2 - 10.1111/sed.12200
DO - 10.1111/sed.12200
JO - Sedimentology
JF - Sedimentology
Andrews SD, Hartley AJ. The response of lake margin sedimentary systems to climatically driven lake level fluctuations Middle Devonian, Orcadian Basin, Scotland. Sedimentology. 2015 May;62(6):1693-1716. https://doi.org/10.1111/sed.12200


text:
Home/All/Baccarat Online Casino Card Games
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text:
Why would Harry call Voldemort Riddle?
"Severus Snape wasn't yours," said Harry. "Snape was Dumbledore's, Dumbledore's from the moment you started hunting down my mother. And you never realized it, because of the thing you can't understand. You never saw Snape cast a Patronus, did you, Riddle?"
Deathly Hallows, chapter 36: "The Flaw in the Plan"
Dumbledore used to call Voldemort Tom or Riddle because Voldemort was once Dumbledore's student whose name was Tom Riddle at the time. But, why would Harry call him Riddle?
I Love You 3000
I Love You 3000I Love You 3000
Taunting? "I know your secret" etc – calccrypto Apr 5 '15 at 16:11
Short version: psychological warfare.
Voldemort hates his muggle name, as Slytherincess points out in an answer to a related question:
'You think I was going to use my filthy Muggle father's name for ever? I, in whose veins runs the blood of Salazar Slytherin himself, through my mother's side? I, keep the name of a foul, common Muggle, who abandoned me even before I was born, just because he found out his wife was a witch? No, Harry. I fashioned myself a new name, a name I knew wizards everywhere would one day fear to speak, when I had become the greatest sorcerer in the world!'
Chamber of Secrets Chapter 17: "The Heir of Slytherin"
"Voldemort" is more than a name, it's an identity. It's a way of elevating himself above the people he hates, and past he hates more. "Voldemort" is powerful: the Dark Lord, the most feared wizard of all time, practically a god in the eyes of his followers, saviour of the Purebloods. "Tom Riddle" is powerless: a small, frightened, unloved, half-blood child.
Using that name effectively does two things:
It reminds Voldemort of how utterly powerless he is; no matter how hard he tries, he's still that frightened child
It rejects Voldemort's self-written mythology, and rejects his power to impose that mythology
Neither of those things are conducive to Voldemort's continued mental stability.
It's also probably because Dumbledore always did:
'It was foolish to come here tonight, Tom,' said Dumbledore calmly. 'The Aurors are on their way -'
'By which time I shall be gone, and you will be dead!' spat Voldemort.
'You do not seek to kill me, Dumbledore?' called Voldemort, his scarlet eyes narrowed over the top of the shield. 'Above such brutality, are you?'
'We both know that there are other ways of destroying a man, Tom,' Dumbledore said calmly
Order of the Phoenix Chapter 36: "The Only One He Ever Feared"
He does it again in Half-Blood Prince, even after Voldemort protests:
Dumbledore stood and swept over to the cabinet where he now kept the Pensieve, but which then was full of bottles. Having handed Voldemort a goblet of wine and poured one for himself, he returned to the seat behind his desk. "So, Tom... to what do I owe the pleasure?"
Voldemort did not answer at once, but merely sipped his wine. "They do not call me 'Tom' anymore," he said. "These days, I am known as —"
"I know what you are known as," said Dumbledore, smiling, pleasantly. "But to me, I'm afraid, you will always be Tom Riddle. It is one of the irritating things about old teachers. I am afraid that they never quite forget their charges' youthful beginnings."
Half-Blood Prince Chapter 20: "Lord Voldemort's Request"
This is just another type of psychological warfare. Dumbledore is often called "the only person Voldemort ever feared", so using Dumbledore's mannerism is another way of getting inside Voldemort's head.
Jason BakerJason Baker
I disagree with point 1 though. Even Dumbledore says that Voldemort was perhaps the most brilliant student ever in Hogwarts. He also says this: Never forget, though, that while his soul may be damaged beyond repair, his brain and his magical powers remain intact. It will take uncommon skill and power to kill a wizard like Voldemort even without his Horcruxes. – Pryftan Jul 7 '18 at 1:24
I agree with all the psychological warfare points, and how that would be part of why he called him Riddle.
However, it is also true that Harry, probably more than any other than Dumbledore, knew Voldemort as Tom Riddle also, having viewed Tom from Dumbledore's perspective through his many private sessions with Dumbledore and his thoughts via the Pensieve.
ScottSScottS
...Plus the diary... – Pryftan Jul 7 '18 at 1:12
He says to mock him. To show that he is not scared of him. To show that his current value is as good as Riddle and no longer as the mighty Voldemort.
studstud
I think the main point is covered in Jason's answer, Harry (like Dumbledore before him) wanted to remind Tom that he was just a person, and using his real name helped do that. Also Harry wanted to remind Voldemort (and everyone else) that Voldemort was a half-blood, and using his father's surname helped to accent that. But it is also the case that at Hogwarts surnames are used when someone is being told-off or bullied. "Come here Potter" sounds more aggressive than "Come here Harry". So I'd say there are three reasons:
To remind Tom that he's just the same as everyone else
To remind everyone (including Tom) that his father, Mr Riddle, was a muggle
To claim the school-master-like authority of using Riddle's surname to address him
Point 2 implies that Harry thinks in terms of the racist muggle terms, and considers muggles to actually be low, or is willing to stoop to the enemy's level in order to hurt them with their own pureblood-ism. I think we'd all like to think better of him than that. – Kzqai Apr 7 '15 at 17:13
No it doesn't, it just seeks to undermine Voldemort's rhetoric. – dumbledad Apr 7 '15 at 17:40
Actually @Kzqai is exactly correct. Harry wouldn't be reminding everyone. Neither would he think of Riddle as anything but a formidable foe just because his father was a Muggle. Harry is above that. Remember how he defends Hermione in front of Horace? 'One of my best friends is Muggle-born,' said Harry, 'and she's the best in our year.' Harry has no prejudice feelings toward Muggles whatever. Besides that: most people had no idea Tom Riddle was Voldemort and I'm pretty sure that beside a few of the intimates there nobody knew it even in the end. It's a name he hates though. – Pryftan Jul 7 '18 at 1:17
I think Harry is also trying to remind and warn Voldemort that he is mortal like his father was before him. Despite Voldemort's desperate attempts to cheat death, Dumbledore and Harry have destroyed most of his horcruxes. Harry is giving him fair warning that the end is near.
TracyTracy
Actually at this point all his Horcruxes were destroyed for Harry didn't take off the Cloak of Invisibility until after Nagini was killed... But he does tell Voldemort that he has seen what he had become and to try for remorse (though it is suggested it would have killed him but he had no remorse anyway so moot point). I don't know why anyone down voted you (and made worse by not saying anything) - your points are valid so I'll push it back to 0 even if it's not an elaborate answer. – Pryftan Jul 7 '18 at 1:19
protected by I Love You 3000 Apr 9 '15 at 6:34
Not the answer you're looking for? Browse other questions tagged harry-potter or ask your own question.
Why did Tom Riddle change his name to Voldemort?
Why Did Tom Riddle Think He Was the Only One Who Found the Room of Requirement?
Why Was It 'Essential' That Voldemort Kill Harry Potter?
Was there a Taboo trace charm associated with the name "Tom Riddle", or just with the name "Voldemort"?
Why would Dumbledore encourage people to call Voldemort Voldemort instead of Tom Riddle?
Snape's Pensive memory chronology question
How could Snape have known what this scene looked like?
Why would Dumbledore say "After all this time?" to Snape?
Would Snape have switched sides if Voldemort never attacked Harry and the Potters and instead attacked Neville and the Longbottoms?
Why did Harry resent Dumbledore at the beginning of Deathly Hallows?
Why did Harry Potter trust Snape?


text:
package com.pearl.game.playermanager;

public interface Domain {

}

redpajama_set_name: RedPajamaGithub


text:
An ongoing study of movies, stories, and the themes that fuel them
About Reel to Reel
What I've Watched (Alphabetical)
What I've Watched (By Series)
What I've Watched (Significant Shorts)
Your Turn to Pick #1: Goodfellas
Posted by blakemp
Originally posted on The All New Showcase:
It's time for an all-new Showcase feature! Have you ever sat around with your friends, family, or significant other, trying to choose a movie to watch and finally giving up and turning to reruns of The Simpsons? Blake and Erin certainly have. And that's where this new series…
Posted in Geek Punditry.
Tags: 1990, Goodfellas, Joe Pesci, Martin Scorcese, Ray Liotta, Robert DeNiro
Lunatics and Laughter Day 9: Arachnophobia (1990)
Director: Frank Marshall
Writers: Don Jakoby, Al Williams & Wesley Strick
Cast: Jeff Daniels, Harley Jane Kozak, John Goodman, Julian Sands, Stuart Pankin, Brian McNamara, Mark L. Taylor, Henry Jones, Peter Jason, James Handy, Roy Brocksmith, Kathy Kinney
Plot: Dr. James Atherton (Julian Sands) takes photographer Jerry Manley (Mark L. Taylor) with him on a hunt through the Amazon rainforest, hoping to discover new species of insects and arachnids. Manley has been ill, and fights a fever as they march through Venezuela. The search bears fruit – the team discovers a large, highly aggressive spider Atherton has never seen before. When the still-sick Manley goes to bed, a male "General" spider that stowed away in his pack bites him, killing him in seconds. When his body is found, his death is attributed to the fever and he is sent back to the United States, with the spider that bit him hiding inside.
Manley's body is returned to his family in Canaima, where town mortician Irv Kendall (Roy Brocksmith) opens the box and finds him shriveled up, drained of fluid, and in a state that's not at all conducive to an open casket. The spider sneaks outside, gets snared by a bird and is carried to the barn of a house where Dr. Ross Jennings (Jeff Daniels) and his family are moving in, Ross replacing the retiring town doctor Sam Metcalf (Henry Jones). Ross even starts a wine cellar in the basement. When his son discovers a house spider, the arachnophobic Ross has his wife Molly (Harley Jane Kozak) take it to the barn, unaware of the enormous Venezuelan spider hiding in the hay. That night the spiders meet, and mate.
Ross is shocked the next day when Dr. Metcalf tells him he's decided not to retire after all, crushing Ross, who was supposed to inherit his patients and establish a practice. As he leaves Metcalf's office he encounters Sheriff Lloyd Parsons (Stuart Pankin) writing him a ticket. He's rescued by Margaret Hollins (Mary Carver), a retired schoolteacher who dislikes Metcalf and is glad to have the option of another doctor. She's pleased to be Ross's first patient. Unfortunately, she's also his only patient.
Mary turns out to be perfectly healthy, and she tries to cheer him by offering to throw a "Welcome to Canaima" party. While he's at the office, Molly goes to photograph the barn and discovers a gargantuan spider web in the rafters. She misses the huge egg sac that soon looses a new generation of spiders. Over the next few days they spread out, one of them sneaking into Margaret's house and killing her.
Ross gets more bad news the next day when he finds the wood in his cellar is weak and rotten. It gets worse when he goes to Margaret's and finds her body. Although most of the town believes Metcalf's diagnosis of a heart attack, Ross insists on an autopsy, but the Sheriff blocks him. The spiders strike again soon afterwards, killing a high school football player. Metcalf is next, bitten on the toe and dying as his wife sees the spider.
Convinced the deaths are spider-related, Ross calls the closest expert he can find, Atherton, who is skeptical until he realizes Ross is calling from the late Jerry Manley's hometown. Atherton sends his assistant, Chris Collins (Brian McNamara) to help with the investigation, and joins himself when bites are found on all three victims. Chris manages to capture a live specimen in Margaret's house for study. Meanwhile town exterminator Delbert McClintock (John Goodman) discovers the spiders are immune to his toxins – if not a heavy boot.
Atherton examines the captured spider and determines it's the hybrid of the Venezuelan spider and a house spider. It has a short lifespan, but the General male no doubt has a queen hiding somewhere that will have the ability to create a new generation capable of reproduction. If they can't destroy it before her nest hatches, Canaima will fall, then the next town, then the next. Phil, Chris and Delbert map out the attacks and realize the nest is on Ross's property. Atherton, meanwhile, finds Molly's photograph of the web and comes to the same conclusion. He arrives first, and is bitten and dead by the time the others arrive. Delbert finds Atherton's body and pulls out his own "special" blend of toxins to fight the creatures.
Ross and Chris go to the house to try to get his family out. The living room is suddenly filled with thousands of deadly spiders. Everyone but Ross escapes, and he falls through the rotten floor into the cellar, where he finds the egg sac. He starts to douse the sac with wine so he can burn it, but is attacked by the original General male. He manages to burn it just as the sac starts to hatch, but it isn't dead. Grabbing his nail gun, he fires the torched male into the egg sac, killing it and destroying the rest of them in one strike. In the end, the Jennings return to San Francisco, glad to be back in a world where events are totally under their own control… until the earthquake starts.
Thoughts: Although not remembered as well as many of the other films on this list, Arachnophobia holds a special place in my heart – it's the first horror/comedy I remember actually seeing in theaters. (Yes, even my beloved Ghostbusters was a video find for me. I may even have seen the cartoon first before I ever saw the movie, I honestly don't remember.) And no matter how much technology may improve the home theater experience over the years – higher resolution, more DPI (whatever that is) streaming video that also makes popcorn in a variety of flavors, whatever – there will always be an irreproducible charm in going to a theater, sitting in a darkened room with others, and absorbing a fun movie in a community experience. This was such a movie for me.
Arachnophobia falls into the more "serious," Type-A category of horror/comedy. In fact, the first act of the film, while we're in Venezuela, has little comedy at all, giving us a prologue that very easily could have led into a straight (albeit somewhat cheesy and overdone) traditional horror film. The comedy comes in once we get back to Canaima, and even then it's very dry at first. Ross, depressed at only having one patient, hopes that she'll turn out to be "ravaged by disease," then moments later (on screen, at least) coolly denies that very wish when she turns out to be in perfect health. For much of the film, the comedy we get is well below the threshold that flips the switch and makes it a legitimate horror/comedy and not simply a lite PG-13 horror film. When that switch finally is flipped, it's due almost entirely to the injection of the John Goodman character.
Delbert is the one wacky character in the midst of a group that doesn't really have time to be funny. Once the real situation becomes clear, Daniels and company have to deal with thousands of very fast murderers about the size of a quarter… that's about as serious a situation as we've yet seen in this horror/comedy project, and they don't really play it for laughs. Delbert is our comic relief, an exaggerated character that borders on the cartoonish. Goodman is a fantastic actor, a wonderful comedian (with dramatic chops that are frequently overlooked), but Delbert actually takes things almost too far a few times. Part of it may simply be familiarity with John Goodman – he's well-known enough now that it's hard to see him play the part without just getting a very strong sense of him putting on the character. But at the same time, he's really an odd man out in this movie. That isn't necessarily a bad thing, that's his role after all, but there are moments where he goes far enough to jolt you out of the scene.
By contrast, Jeff Daniels works well as the sort of small-town everyman (although the Ross Jennings character is, technically, a San Francisco transplant). He does, however, latch on to several stereotypes. If you're going to do a movie where the monster is a spider, you almost have to make your hero an arachnophobe, and Frank Marshall actually takes him to the ridiculously young age of two to establish the initial childhood trauma. That scene, where he describes a spider assaulting him in the crib, is one of the funnier moments in the earlier part of the movie, in fact. He still keeps his dryness with him, even after the spiders attack. (In the climax, as he tries to pelt the male with wine bottles, he stops himself from using a particularly good vintage). But nothing he does would be funny enough to classify the movie as a comedy, in and of itself, without Goodman tipping the scales.
Director Frank Marshall is much better known for his straight comedies, but he does a decent job here conveying the horror. There are plenty of small touches that add to the horror – slow pans across spider webs and small shadows that twitch and creep … they're all wonderful moments that will chill you nicely if you've got a fear of spiders already. For all the hairy legs and downright chilling movement that a spider brings with it, though, the really scary thing about this movie isn't what the monster looks like. Most horror films rely on showing you something grotesque or mutating something mundane into an object of terror. Not so much in Arachnophobia. The hybrid spiders, for all the terror they create, don't look that different from a traditional spider. The fear comes from the fact that these tiny killers – unlike the likes of Jason Voorhees or Michael Myers – could literally be anywhere. How often do you look under your blankets before you get into bed or peek in your shoes before you put them on? Marshall even manages to work in a twist on the old "wiggling doorknob" routine so prevalent in horror movies – in this version, it's the swarm of spiders actually pushing through and rattling the knob in the process.
There's a bit towards the end, while Daniels tries to battle the hiding spider in his cellar, where he's looking around frantically for a monster that is utterly invisible. It brings to mind every time you've ever walked into a spiderweb and started flailing madly, looking like a lunatic to anybody who happens to see you. That's a really funny moment, when it happens to someone else. But that moment encapsulates the whole movie. In the world Marshall creates, every miniscule nook and cranny of every room could be hiding grim death for anyone unlucky enough to encounter it at the wrong time. If you're not scared of spiders, that thought could be enough to drive the fear into you.
Posted in 2-Lunatics and Laughter, Comedy, Horror
Tags: 1990, Al Williams, Arachnophobia, Brian McNamara, Don Jakoby, Frank Marshall, Harley Jane Kozak, Henry Jones, James Handy, Jeff Daniels, John Goodman, Julian Sands, Kathy Kinney, Mark L. Taylor, Peter Jason, Roy Brocksmith, Spiders, Stuart Pankin, Wesley Strick
Mutants, Monsters, and Madmen Day 31: Misery (1990)
Director: Rob Reiner
Writer: William Goldman, based on the novel by Stephen King
Cast: James Caan, Kathy Bates, Richard Farnsworth, Francis Sternhagen, Lauren Bacall
Plot: Paul Sheldon (James Caan) is a novelist feeling weighed down by the success of a series of bodice-rippers featuring the character Misery Chastain. Celebrating a new work, unrelated to Misery, Paul is driving down a remote mountain road in a snowstorm and winds up crashing his car. A woman named Annie Wilkes (Kathy Bates) finds and rescues him, telling him the phone lines are down and she's been unable to go for help. She also happens to be a big fan of Misery Chastain. Paul's legs are severely damaged and he's unable to walk, but Annie – a nurse – is slowly nursing him back to health. Annie asks if she can read the new book he had in the car with him, to which he graciously agrees. After beginning the book, Annie finds herself uncomfortable with the swearing, and almost spills scalding soup on Paul.
Paul's agent (Lauren Bacall) has called the local authorities about his disappearance, and the Sheriff (Richard Farnsworth) and his wife (Francis Sternhagen) begin a search. Annie comes in from town with Sheldon's newly-released Misery's Child and tells him she spoke to a doctor and his agent, and that an ambulance will be sent for him as soon as the road to the hospital is dug out of the snow. When Annie realizes that Misery dies at the end of the new book, she goes berserk and nearly bashes Paul's head with a table. Instead, she smashes it against the wall and reveals she lied about calling for help – nobody knows where Paul Sheldon is. She later forces him to burn the only copy of his new novel as a sort of sick penance, then returns with paper and a typewriter, insisting Paul write his "masterpiece": Misery's Return. When he requests a different kind of paper – a ruse to make her leave the house – she smashes the box of paper down on his injured legs, but leaves. Alone, Paul explores the house in his wheelchair, finding an unnerving shrine to his work and Annie's stash of medication. He steals some pills to go along with pills he's been hiding in his mattress, but is almost caught sneaking around when she returns.
The Sheriff finds Paul's smashed car, which has been buried under the now-melting snow, and the state police assume he has died, but the Sheriff realizes from the dents on the car door that someone pried him out of the wreck. Back at Annie's, she forces Paul to start over Misery's Return, claiming the way he brings her back is a cheat (something she feels particularly angry about, going on a wild tangent about how an old movie serial once cheated her in a similar way). He goes back to work, turning out page after page of Misery's Return… and getting his hands on a knife. The night before he plans to strike, Annie drugs him and straps him to the bed, revealing she knows he's been wandering the house and has found his knife. As punishment, she hobbles him, breaking his legs with a sledgehammer. A chance encounter with Annie leads the Sheriff to suspect her, and he comes out to her house; she drugs Paul and dumps him in the cellar. He wakes up and calls for help, and Annie kills the Sheriff. Strangely unaffected, she tells Paul she plans to kill him, then herself, but he manages to delay her by tempting her with the end of Misery's Return. At the final moment, just before she can read the end of the book, he sets the manuscript on fire and attacks her with the heavy typewriter. The two grapple and, in a bloody standoff, Paul manages to kill her. Eighteen months later, we see him back in New York, with a new novel about to hit. His agent suggests he try a book about his ordeal with Annie, and Paul tries to shrug it off… but he'll never be rid of her entirely.
Thoughts: This is one of my favorite Stephen King novels and, in fact, is also one of my favorite film adaptations of his work. (To this day I'm not sure if I love the movie because I love the novel or in spite of the fact.) Admittedly, the story hits home for me as a writer. The scene where Annie makes Paul burn his new book (to his way of thinking, the best thing he's ever written) is more terrifying to me than any legion of slashers, zombies, madmen or monsters you can create. I did find myself screaming at the screen on occasion – "It's the 1980s, Paul! To hell with superstition! You have the technology to make a copy!"
This is, again, one of those rare instances where the Academy Awards really got it right. Kathy Bates got an Oscar for this movie – to date the only major Oscar a Stephen King adaptation has won, although they've been nominated for a few more – and you can tell why from the earliest scenes. She goes from creepy to dangerous slowly, gradually, eventually becoming terrifying in the process. By the time she's casually sloshing lighter fluid around the bed and insisting Paul burns his book, you're really starting to fear her. The transformation is remarkable and subtle and really the work of a master thespian, and it's made even more effective by keeping the core of the character consistent. Even at the very beginning, where she's gently taking care of him, something about the character just seems off. As that odd "off" feeling slowly takes over her persona, the sort of naïve quality she has at the beginning is never entirely eliminated – no matter how furious she gets, she still speaks in an almost childlike manner, refusing to use profanity and sticking to homespun colloquialisms that you'd expect coming from somebody's grandmother.
James Caan, meanwhile, plays off Bates perfectly. He comes across as someone who's a little self-involved, a little narcissistic, and to a degree he can even see his time with Annie as a sort of punishment for that. Even before Annie truly starts to scare him, there's a level of discomfort he displays that really goes far beyond that of a humble writer who doesn't know how to deal with a gushing fan. As Annie grows more dangerous, the relationship between the two of them transforms from that of a nurse and patient to a pair of adversaries in a truly lethal chess game. Annie grows to see Paul as hers, as something that belongs to her, and he has to find unexpected wells of ingenuity to get out alive. Perhaps the bravest move Stephen King made in crafting the story, though, is that he never particularly tries to make Paul into a hero. Even by the end, there's no real undercurrent of nobility to him. Sure, he's the victim and you sympathize with him (it would be impossible not to sympathize after you see the incredible, impossible angle his foot goes in when she smacks it with that sledgehammer), and you even root for him in those last blood-soaked moments of revenge, but he's still kind of a jerk.
To a large degree, this is a two-person show (and in fact, in the live action stage version that was produced, only Paul and Annie's characters are ever seen on-stage). The subplot about the Sheriff's search for Paul, while included in the book as well as the novel, isn't really that essential – in fact, the way the Sheriff dies without really affecting the plot reminds me very much of Dick Halloran in The Shining – and it would have been fairly easy to lift the whole thing right out had the screenwriter so desired. But William Goldman is a better writer than that. (If you recognize his name, he's also responsible for the classic Butch Cassidy and the Sundance Kid and, one of my personal favorites, The Princess Bride.) Goldman knew just how to balance the two to prevent Annie from ever going so far that the audience couldn't take it. In fact, in the original novel, Annie chops Paul's legs off instead of just breaking them. In his 1995 book Four Screenplays, Goldman explains that he changed that scene because it would have been too much for the audience to take, that they would never be able to forgive Kathy Bates the Actress as opposed to Annie Wilkes the Character. And y'know, I do believe he was right.
The relationship between Paul and Annie echoes Whatever Happened to Baby Jane? in a few key ways. Although Paul isn't related to Annie and has no allegiance to her, he's stuck in a wheelchair and cut off from the outside world, leaving himself totally dependent on her for his survival for as long as she remains sane enough to not slice him open like a fish and leave his guts in a steaming pile on the floor. King even picks up a little 1,001 Arabian Nights, with Paul playing Scheherazade, using the finale of Misery's story to extend his own life.
Annie is a great villain, perhaps the best, most fully-realized one Stephen King has created. Although it strikes me that, for all her lunacy, I don't know that I think Annie was completely crazy. Those old movie serials did cheat an awful lot.
Tomorrow we move forward in the 90s, as the man who changed horror twice before changes it again. It's 1996, and Wes Craven brings us Scream.
Posted in 1-Mutants Monsters and Madmen, Thriller
Tags: 1990, Francis Sternhagen, James Caan, Kathy Bates, Lauren Bacall, Misery, Richard Farnsworth, Rob Reiner, Stephen King, William Goldman, Writer
What I Watched In… May 2018
What I Watched In… April 2018
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I am a programmer developing an app for this challenge. I am looking for a middle school math teacher to help me out. I need someone to put together a lesson on the platform I am building, and (hopefully) test the application in a live classroom.


The number of dangerous buildings in the city has increased by 1,000 this year as compared to 2016, revealed a survey by the Thane Municipal Corporation (TMC).
More than 4,700 buildings in the city are in a dangerous condition, according to the survey. Moreover, the number of buildings in extremely dangerous categories also increased to 95 buildings, despite the TMC evacuating more than 59 out of the 69 buildings in this category last monsoon.
With monsoon around the corner, TMC began a ward-wise survey of dangerous buildings in the city early this month. TMC published the list in local publications for residents to know if their buildings feature in the list and evacuate it on their own. Otherwise, TMC will evacuate them forcefully if required. A survey of the number of people residing in these buildings is still in process.
Naupada has 61 extremely dangerous building which is the highest in Thane. The survey also stated that there are 2,260 buildings in C2B and 2,236 in C3 categories – buildings which can be repaired without evacuation.
"Last year we had evacuated 59 buildings in C1 category. However, some of the buildings which got a stay order by the court featured again on the list. Some buildings which are empty but are yet to be demolished also featured on the list. The number of dangerous buildings also increased as all buildings in Sindhi Colony in Kopri, Kamgar Hospital in Wagale Estate and Mhada Colony in Vartak Nagar entered this list this year," the officer said.
HOW DANGEROUS IS YOUR BUILDING?
C3: Buildings that require minor repairs.
The Naupada and Kopri wards have an alarming number of extremely dangerous buildings. There are 61 buildings in C1 and C2A categories in this ward, the highest in Thane. Naupada is the oldest part of the city and most buildings in this area are more than 30 years old. These buildings are all dilapidated and due for redevelopment. The area is congested and so most redevelopment projects are stalled owing to demand for extra floor space index (FSI).
There are also conflicts between owners and the tenants of most of these buildings. Last year demolition of few buildings in Naupada and Kopri wards was also stalled as residents got a stay order from the court, the officer added.
The number of unsafe buildings in Mumbra, Wagale Estate and Diva are the highest with each ward having 1,459, 1,355 and 819 dangerous buildings respectively. However, the dangerous buildings in Wagale Estate and Diva are mostly in C2B and C3 category which can be repaired. Mumbra has 45 buildings in C2A category.


The HX-WA3 has advanced further with a considerable increase in toughness. It is waterproof down to 5m / 16ft, freezeproof down to -10°C / 14°F, and dustproof. This makes shooting possible in even harsh environments.
*** Retouching can be used with eight types: One Point Colour, Old Movie, Fisheye Effect, Soft Skin, Monochrome, Sepia, Vivid and Soft.
• The functions of the Eye-Fi™ card (including wireless transmission) are not guaranteed to work on this product.
In the case of a malfunction of the card, please contact the card manufacturer.
• Install the software supplied with the Eye-Fi™ card in advance on your PC, and configure the Eye-Fi™ settings.


Madman McKay Jays (8-0) continued their unbeaten run with a 13-6 victory over the Avengers and got by the West Coast Grinders 8-5 in Comox Valley Men's Slopitch Tier 1 play last week.
The second-place Grinders edged Solo La Puntita 12-11. Solo rebounded with an 11-1 win over the winless Heaters 4.0. Seeco Slammers won both their games, 19-3 against the Heaters and 16-10 over the Avengers.
KNB Steamers continue to lead Tier 2, taking out Danny Glovers 9-2 and easily winning 12-1 over Rennie's Rascals.
Weavers Leather Ballbusters kept pace with a 13-9 victory over the Rascals.
Coco Loco's fell 10-9 to the CV Marine Misfits but won their first game of the year as they doubled Danny Glovers 12-6.


Smartphone apps can help you get new customers and increase your sales at the same time.
This is especially true if you have a niche market and you can translate that idea into a smartphone app. Smartphone apps can easily enhance the interaction that goes on between your customers and your products or services.
With more and more people owning a smartphone, they are realizing just how convenient and easy it is to just use an app for anything that they do. Instead of firing up a browser and tapping in the Facebook URL, all they have to do is to open their Facebook app and update. A lot of other companies are going the same route. For example, Paypal has a secure app that makes it easier for you to pay invoices using your iPhone, Android device or Blackberry.
Also, having your own app can help you gain recognition among potential customers. Just think of it as having a bookmark on their phone home screens that goes straight to a page where you can put your business, product or services in front of people.
Further, it helps cement your image for your potential customer. For example, a good money management app can effectively promote your investment brokerage. Or a real estate agent can get an app to help showcase his properties in a professional manner, making it easier for would-be buyers to get more information on the properties, or schedule a guided tour with the agent.
To be successful, you have to take a long hard look at your business and see what kind of app could help you create a good reputation among your customers and your potential customers. Make sure that your app adds value or is very useful to ensure that people would be using it and would be glad to be using it.
While apps can be a great marketing opportunity, you should not abuse it. If you come out with an app that does nothing but try to sell your products and services, without adding value to the user, then it is going to fail. For instance, there has been a lot of movies that come up with an app that delivers nothing but the movie trailer or a link to the movie's website. People would just be annoyed and you lost out on the opportunity to engage your potential customers.


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? [Meteorology and Hydrology] Meteorological Condition? Neijiang is of subtropical monsoon moist climate with an annual average temperature around 18℃. The climate is mild and moist with plenty rainfall, abundant sunlight and heat, and long frost-free period, characterized by warm in winter and cool in summertime, and rain in hot seasons. In 2016, the average temperature was 18.4℃, 0.8℃ higher than that in previous years, ranking the fourth in the history, thus the year of 2016 was a notable year with higher temperature. The average annual total precipitation was 1034.4mm, 4% higher than that in the same period of the previous years; and the average sunshine duration was 1214.0 hours, 11% higher than that in previous years. In winter days, there were severe temperature drop and heavy snowfall days. During flood seasons, there were three regional rainstorms. In hot summer days, high-temperature days were obviously staggered. In autumn, continuous rainy days were not severe and as usual.
Rain Condition During the flood season in 2016, the total precipitation of Neijiang ranged from 551.0mm to 1036.0mm, and the average precipitation of the river basin was 741.2mm, 2.1% less than the average of previous years in the same time. During flood seasons, the maximum precipitation within the basin was 1036.0mm at Shuanghe hydrological gauging station of Longchang County; while the minimum was 551.0mm at Dengying hydrological gauging station of Zizhong County.
In 2016, rainstorms mainly appeared from June to August; the heaviest one was on 12th to 13th in July, in Neijiang, it rained medium to heavy on a large scale, with rainstorm and heavy rainstorm in a few areas. The maximum precipitation within one hour, the maximum precipitation within 6 hours, and the maximum precipitation within a day all appeared at Shuanghe hydrological gauging station, Longchang County, respectively were 61.5mm, 106.0mm and 145.5mm.
During flood season in 2016, there were two hydrological gauging stations with daily precipitation ranging from 100mm to 200mm, 15 hydrological gauging stations with daily precipitation ranging from 50mm to 100mm, among which the maximum precipitation was 145.5mm at Shuanghe hydrological gauging station of Longchang County. Within 6 hours, there was only one hydrological gauging station with over 100mm precipitation, and the maximum precipitation was 106.0mm at Shuanghe hydrological gauging station of Longchang County, and there are other 12 stations with precipitation ranging from 50mm to 100mm. Within one hour, there were 2 hydrological gauging stations with over 50mm precipitation, and the maximum precipitation was 61.5mm at Shuanghe hydrological gauging station of Longchang County, and there are other 18 stations with precipitation ranging from 30mm to 50mm.
Water regimen According to the statistics from the 5 hydrological gauging stations (among which Weiyuan hydrological gauging station is a new-built one) of Neijiang, there is one station, Lingjiachang hydrological gauging station by Changtan River, with low flood level, and other 3 station, Dengying hydrological gauging station by the main stream of Tuo River, Yuantanwan hydrological gauging station by Mengxi River, and Neijiang Dongdukou flood-prevention hydrological gauging station, with small-scale flood level. Within the river basin of Neijiang, the year of 2016 is estimated as small-scale flood year.
Within Neijiang, the maximum flood of each river appeared in May to August.
At Dengying hydrological gauging station, by the middle reach of the main stream of Tuo River, at 10:06, July 9th, the annual highest water level was 325.84m, with corresponding discharge 1710 m3/s, estimated as small-scale flood level.
At Lingjiachang hydrological gauging station, by Changtan River, at 09:46, May 9th, the annual highest water level was 27.86m, with corresponding discharge 69.3m3/s, estimated as low flood level.
At Yuantanwan hydrological gauging station, by Mengxi River, at 10:00, August 4th, the annual highest water level was 19.10m, with corresponding discharge 52.7m3/s, estimated as small-scale flood level.
At Weiyuan hydrological gauging station, by Weiyuan River, at 21:36, August 4th, the annual highest water level was 92.38m, with corresponding discharge 64.0m3/s.
At Dongdukou flood-prevention hydrological gauging station of Neijiang, at 06:30, May 24th, the annual highest water level was 297.48m (owing to the impact of Tiangongtang water power station downstream rather than the peak stage of flood), estimated as small-scale flood level.
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Librarian in Training: Public Speaking for the Terrified!
Anyone who knows me in real life will know that I am not what you would call a natural public speaker. The thought of standing up in front of more than two people terrifies me to my very core, never mind having to sound intelligent in front of a room full of every librarian in my organisation! So when I was asked to be part of a panel discussion at yesterday's libraries @ cambridge conference I said yes with more than a little trepidation. However if 2013 is going to be my Chartership year I had better learn how to push my boundaries and there's nothing like jumping in at the deep end!
remember to talk to the audience not just your fellow panelists, especially if you're responding to an audience question. And don't do that thing where you imagine the audience naked - never a pretty image!
if you have a last minute panic and end up rocking in a corner before the session remember that it's only an hour out of your life. Try to think of it as a conversation with other people interested in the topic rather than a scary experience (something else which works for me in job interviews). Audience members wouldn't be there in the first place if they weren't interested in what you have to say!
Being involved in a panel discussion is a way to ease yourself into public speaking. You're not up there on your own giving a paper and you can share the responsibility for questions with others meaning that you're not totally put on the spot. Taking part in a conference is a great opportunity and will look good on your CV in what is an increasingly competitive job market. It might take a lot of convincing (never mind a couple of stiff drinks) to get you up there but I promise that it will be worth it in the end. If all else fails remember that if I can do it, so can you!


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Home » GAMING » January 9 Pokemon Direct – Breakdown Of New Info
January 9 Pokemon Direct – Breakdown Of New Info
BY Taylor Bauer January 9, 2020March 7, 2021
The January 9 Pokemon Direct took place this morning, I'm here to make sure you're all caught up on the latest from Nintendo and Game Freak. Let's get into the latest news we learned this morning.
January 9 Pokemon Direct Breakdown
Okay, so as I mentioned yesterday, everyone is very excited about what the Pokemon Nintendo Direct has to offer. You can read my speculation in the article, or, just enjoy this overview of what we learned today.
Pokemon Mystery Dungeon Rescue Team DX
Image Credit: Pokemon Company/Game Freak/Nintendo
The Direct opens with an announcement of Pokemon Mystery Dungeon: Rescue Team DX. The Mystery Dungeon series is an RPG alternative to the normal Pokemon games. If you remember the first games in the series, then you've been playing Pokemon for awhile. The originals debuted on the Game Boy Advance in two versions: Red and Blue. Sound familiar? Well, they're being repackaged as Pokemon Mystery Dungeon: Rescue Team DX for the Nintendo Switch. If you're anxious for the game, then I have good news: you won't have to wait long. The game releases March 6, 2020, with pre-purchase opening later today. A demo version of the game, for those who want to try it, releases today. All data transfers to the full game upon release.
Pokemon Sword and Shield Updates Next on January 9 Direct
Surprise, surprise. Nintendo and Game Freak are ready to release DLC. As an obvious perk, the DLC for Sword and Shield replace the expanded versions of past Pokemon games. For example, instead of doing UltraSun and UltraMoon after Sun and Moon release, DLC lets players continue the adventure. Footage for the DLC follows, with two names emerging.
The first DLC pack is called "The Isle of Armor." The second DLC pack is called "The Crown Tundra." Firstly, "The Isle of Armor" releases in June 2020. Secondly, "The Crown Tundra" follows sometime in the Fall of 2020. Game Freak clearly states they are still working on the game. That's probably why we didn't see actual game footage. Both DLC come packaged in an expansion pass.
The DLC campaigns introduce new areas of the Galar Region, as well as new Pokemon. In keeping with the games, each version comes with game-specific Pokemon.
The Isle of Armor
In "The Isle of Armor," you meet Mustard, who mentors you on the mysterious island. At one point, Mustard earned the Pokemon Master title. Different rivals, Klara for Sword and Avery for Shield, come with each title. The DLC introduces a legendary Pokemon, the fighting-type Kubfu. He's basically a little bear that Mustard gives you to train. He evolves into Urshifu, who uses a fighting-dark type style as well as a fighting-water style. Urshifu also utilizes a Gigantamax form. Upon evolution from Kubfu to Urshifu, you can choose which fighting style you want to use.
The final evolutions of the three starters in Sword and Shield are getting Gigantamax forms as well. The DLC is also bringing new fashion items, bike looks, and a few new items. The theme of "The Isle of Armor" is growth.
The Crown Tundra
As the name suggests, "The Crown Tundra" is a frigid wintery mountain area full of villages. The area features temples and mysterious trees. You'll meet a new companion who guides you through the area. Calyrex is the new legendary Pokemon in this DLC. It's a psychic-grass type, and is basically fancy deer looking Pokemon. The DLC also features co-op with new dens. In these dens, you can find new additions to the game, including legendary Pokemon from past games. You get a ton of new clothing items from this region as well.
At the end of its description, we discover that both regions are seamless with the main map. We also discovered 200 new Pokemon are releasing into the game. This is likely a response to the numerous protests the game experienced before launch.
Pokemon Home
We saw mention of Pokemon Home, the bank system where you can transfer Pokemon. The company confirmed you still cannot transfer Pokemon into Sword and Shield that do not appear in the main game or expansion pass. Pokemon Home is set to launch in February 2020.
January 9 Pokemon Direct – How Much Does the DLC Cost?
After showing both DLC previews, the January 9 Pokemon Direct displays the cost of the expansion pass. The expansion pass, which includes both DLC packs, is going to cost $30. Players can go to the Sword and Shield menu in-game and pre-purchase the expansion pack. Doing so gets players a special shirt.
Taylor's Take – Grading the January 9 Pokemon Direct
Okay, I'm going to write up this section like we're just chatting. From my perspective, there's more good in the January 9 Pokemon Direct than bad. The addition of 200 new Pokemon from past games is a welcome bonus. Plus, the DLC packs look pretty fun. I like the idea of separate, one-off campaigns featuring legendary Pokemon. The Pokemon Bank announcement also brings the feature to us a little sooner than expected. The announcement of Pokemon Mystery Dungeon Rescue Team DX is also fun, but it's likely going to be $60. That's a hefty price for a remaster of two Game Boy Advance era games.
I'm also not thrilled with the $30 DLC cost. I think $20 is fair, putting each DLC pack at $10 each. From what we saw, I don't see $30 of new content in the upcoming DLC packs. Maybe I'm wrong; the company spokesmen said we'd see more in the coming months.
If we're going to grade this on an A-F scale a la the American school system, I'm giving this a solid B. Nothing announced today sells people on the games who hated the missing National Dex. I don't care how cute the little fighting bear is from "The Isle of Armor." He's not making up for the fact that Game Freak punted on including all Pokemon as past games had. I think players who enjoy Sword and Shield are going to be happy with the January 9 Pokemon Direct.
Are you happy with what you saw from the January 9 Pokemon Direct? Let me know in the comments!
GAMINGNintendo
NintendoPokemonPokemon Sword and Shield


text:
Q: Mail.app on 10.8: How to get back the "N Messages Selected" label? In OS X 10.7 Lion: Mail.app in "classic layout" (Preferences > Viewing > Use classic layout), would display a very helpful "N Messages Selected" label in the empty bottom pane when you selected multiple messages:

But in OS X 10.8 Mountain Lion, the helpful label is gone and replaced by some terrible (slow, choppy) animation of individual messages flying around and being added to a stack of overlapping messages.
Question: is it possible to get the old "N Messages Selected" label back on OS X 10.8?

A: I usually just drag the selected messages a few pixels and then let them drop back. While you're dragging them, the number of messages is shown next to the cursor.
Not exactly the same thing, but it does the job for me.

redpajama_set_name: RedPajamaStackExchange


Note - These pegs are approx an 1/8in shorter then the ones we sold a year ago. The original machine shop making them went out of business so this is the replacement we are offering until we contract with a new machine shop.
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