We've been fortunate to be able to make visits to each and every Disney theme park in the world. Over the course of those visits, and for countless hours in between, we discussed and debated how we'd rank the different parks. In this post, we set out to rank the 12 Disney Theme Parks Around The World.
Ranking posts are a bit silly in concept, but we're fans. We've ranked all the iconic castles of the Disney parks, and we've ranked all the rides at Walt Disney World.
For a first look at the rankings, check out this video—but we definitely recommend you read on to learn all about the Disney parks of the world and to see the thoughtful analysis we put into these rankings!
Let's start by getting some basic questions answered.
How many Disney parks are there in the world?
There are twelve Disney parks in the world across six different resorts. Walt Disney World also has two water parks—Typhoon Lagoon and Blizzard Beach—but we're not counting those in this post.
How many Disneylands are there Around The World?
There are six Disneylands—that is, "castle parks"—around the world. Each Disney resort has one "Disneyland" or "castle park" and four resorts have other parks as well.
Where are All the Disneylands and Theme Parks located?
This post contains a ranking of the individual parks, not of the resorts. Thus, there's no discussion of hotel count and quality, transportation around the resort, dining options outside the parks, or anything else beyond the individual parks.
If you'd like to cut straight to the rankings, click here. If you stick with us until then, though, you'll learn in our opening to this post how we think about theme parks and get some important background about what went into our rankings—but it's going to be a long ride.
There are some real challenges to the task of ranking the Disney parks. First, it's not like we went from one to another day after day. There were months between some visits and days between others.
Second, we had a limited time at each park. While we always err on the side of overstaying, there's no doubt it takes time to truly appreciate a good theme park. We don't claim to be experts about every park.
Relatedly, we have vastly more experience at Walt Disney World than the other resorts. This helps some parks there that take time to really understand, while it hurts others that suffer from fatigue easily.
Finally—and what this post is really about—there is just the question of what makes a good theme park. It should go without saying that this list is subjective. But we've also tried to think it through and come up with some sort of support for our positions. Any good subjective ranking should maintain some consistency in the factors it's considering.
When you get down to the actual rankings, you'll maybe think it reads somewhat like a list we threw together like any other clickbait list (we really hope not). But that's because we didn't want to devote hundreds of words to each park, and it would be incredibly boring for people who just care about the list to have to hear us go on about the same things over and over.
Before we get to the rankings, you'll get the "behind the scenes" look into how we actually built the list. Hopefully that lends support to the final list we came up with. But if you think we got something wrong, either in our choice of factors or how we applied them, feel free to sound off in the comments!
Finally, this post is going to move freely between the plural first-person "we" and the singular "I". That's because while much of it is what I, Ken, think, a good deal of it is stuff what we, Ken & Emily, have discussed and agreed upon.
Spoiler alert: the bulk of this post is going to be entirely about how we decide which parks have the best "theme." Before we get to that, though, we wanted to talk about some other factors that play a role in our rankings.
These factors are actually going to be quite prevalent in the rankings themselves. We're not going to talk them to death here (like we do with theme) because they're much more straightforward, especially at Disney parks.
Besides theme, attraction lineup is probably the most important factor in comparing theme parks. When we think about attraction lineups, we're thinking how you'd compare these parks if you just ripped out the attractions, lined them up one after another, and rode/experienced them independent of the rest of the park. Attractions play a huge role in theming, too, but we'll discuss that more later.
One of the quickest (and probably most common) ways to compare two theme parks is just to talk about the attractions. At Disney parks, this is sometimes quite boring as many share identical or nearly identical rides. In general, attraction lineups will play a large role in our rankings, with bonus points being given for high-quality, unique attractions.
This one is a new addition to the post (read on and you'll probably gather why). If a park has a lot of good rides, but they never work, it's not very good. If it has a lot of good restaurants, but they all always have lines—again, not good. We don't give away many "sh*t happens" points because frankly, things go wrong more at some parks than others because they just aren't as well-run.
At Disney parks, customer service tends to be excellent. Even veterans of both Disneyland and Walt Disney World can't agree on which destination has better cast members, but most everyone agrees they are, on average, great. There is variation amongst the Disney parks, and we'll make some note of it in the rankings.
Also, Walt Disney World, being the "vacation kingdom" has better in-park restaurants than the other resorts simply because people who are visiting are actually looking for a nice, slow sit-down meal. Parks that thrive on single-day visitors won't cater as much to those seeking dining experiences, that's what hotels are for.
We don't let crowds or guest behavior impact our rankings much at all. Some people like the energy of crowds, some people like to have an empty park. While the media went wild over "bad" guest behavior in Shanghai Disney Resort, we find behavior at most every other park to be much worse.
We definitely could reconsider the significance of crowd levels. Crowd levels are a point of controversy at the American parks, and they will become even more of an issue when Star Wars: Galaxy's Edge opens up on both coasts. Keep in mind, by the way—crowds are a conscious choice that park operators make.
People are way too quick to let Disney off the hook when parks get overcrowded. Yes—the parks will be their busiest on holidays. But that doesn't mean Disney is right to allow them to become as busy as they do. We're not saying here that they're definitely wrong, just that there is a cost-benefit analysis as to crowd levels and guest experience.
Sorry, like dining, we're not really great at evaluating shows and parades. You'll find very limited discussion of them in our rankings. If we really put our thought into it, we definitely could rank the shows and parades, but if you shuffled around the parks they were in, our views on the parks probably wouldn't be impacted.
Any quick, to-the-point ranking post would just add a paragraph about theme to the above list and move on to the rankings. Maybe they'd even assign numbers to each factor. Yea sorry, we're not going to do that.
While the other factors all matter and will pop up in our rankings, we want to talk most about theme. In part this is just because that's the kind of people we are. But it's also because theming is more challenging to identify and compare across parks.
This is especially true in Disney parks, where the second most important factor, attraction lineup, can be boring to evaluate due to the number of cloned rides across the parks. That's not to say the attractions themselves are boring, not at all! Rather, the lineups in each park are pretty excellent, and it's just not always fun to nitpick between excellent lineups. So, let's talk about theme.
A "theme park" differs from an "amusement park" in that the former must show some commitment to a theme other than unbridled enjoyment (that is, amusement). To be a good amusement park, a place needs a good attraction lineup, but a theme park specifically needs something more (that is, theme).
Theme can be present in different ways. One way, for example, is simply to name the lands and rides something keeping with the theme and add some minimal level of on-theme design to the attractions. All theme parks, including the Disney parks, do at least this.
Tokyo DisneySea offers "ports" (instead of lands) named, for example, "Mysterious Island," "Lost River Delta," and "American Waterfront." In the castle parks, Adventurelands around the world offer Jungle Cruise rides. Frontierlands are home to Big Thunder Mountain.
Another way to bring theme into the park is in the design of the non-attraction elements, particularly the other details in the lands. Do the walkways, the stores, the open spaces, and the restaurants also fit the theme? This aspect of "theme" is most often referred to as the "immersive" quality of the park.
Disney excels at immersive design in its lands. For example, immersive design can be seen in Treasure Cove at Shanghai Disneyland, where the restaurants, shops, and walkways are designed to be reminiscent of a pirate-occupied Caribbean town.
The Disney park that we find best at immersive design is Tokyo DisneySea. Its themed ports radiate with detail, completely enveloping you once you set foot in them.
While this type of immersion—design and detail with a consistent theme—is important, there is a second type of immersion we find much more important, and that is narrative immersion.
A player gets immersed in a narrative when he or she starts to care about the characters and wants to know how the story is going to end.
For our context, we're going to modify it a bit. We're going to define narrative immersion at theme parks as immersion in which the details and designs draw you into a story or otherwise succeed in teaching you something. The "theme" of theme parks is then something akin to the story being told or the lesson being taught.
Plenty of Disney rides (the majority, probably) achieve narrative immersion through traditional storytelling. Pinocchio's Daring Journey, Splash Mountain, and Mystic Manor are examples of such rides. Few rides don't even attempt at narrative immersion. Carrousels, Mad Tea Party, and Slinky Dog ZigZag Spin are rides lacking narrative immersion.
Arguably, the best type of narrative immersion occurs when a guest becomes a character in the story. While Disney is said to be taking this idea to a new level with the new Star Wars: Galaxy's Edge lands, this in-depth immersion already present in how you experience lands and attractions. Mr. Toad's Wild Ride, Avatar: Flight of Passage, and Rock 'n' Roller Coaster are examples of this.
Important to our definition, though, is that a traditional "story" isn't completely necessary. Some theme parks or attractions convey a lesson in a story-like manner but without a series of causally-connected events (which is what really makes a story).
One example of such an attraction is "it's a small world." The lesson here is the similarity and unity of all people. That lesson is conveyed in the largely physical similarities of the dolls (despite differences in certain features), the constant music/melody of the song, the consistent lyrics (despite its changing languages), and the cross-cultural use of dance as a means of expression.
Your experiences across scenes of "it's a small world" are all connected. They aren't causally connected, as in a typical story, but they are experientially and thematically connected. This experiential connection, whether it occurs in the face of a series of casually connected events or not, is what creates narrative immersion.
What's important, and what distinguishes narrative immersion from detail/design immersion is that your experiences and interactions with those details and designs are a part of a unified experience with a unified message.
If a good theme park is a collection of stories, the interplay of narrative within a ride, narrative within a land, and narrative within a park is also important to understand.
Theme parks and lands might be thought more like storybooks or collections of connected stories than individual stories. Those stories are connected by a theme. But the best storybook isn't simply a collection of similarly-themed stories. The best storybook has a unified lesson, maybe even an "arc" or journey that it takes the reader on. The best theme parks collect stories (rides) into chapters (lands), and connect those chapters into one overarching idea (theme).
By way of a quick example, let's pick on Guardians of the Galaxy—Mission: Breakout! at Disney California Adventure. We'll get into the details of identifying a theme in a bit, but for now, let's stick to the obvious. The "theme" of Disney California Adventure is, very roughly, "California." Mission: Breakout! is located in Hollywood Land, a land dedicated, obviously, to Hollywood.
Mission: Breakout! is a fantastic ride. We think it's one of Disney's best (and we're not Marvel geeks at all). Not only is it highly enjoyable, but from the second you arrive at the queue, you're buried in narrative. The story that you're experiencing is played out throughout the queue. The narrative is what makes immersion real. Because the narrative is very much active and alive, it's arguably even better than its predecessor ride, The Twilight Zone Tower of Terror.
The premise of Tower of Terror is that you're in an unused hotel. Dust has built up and the scene looks much like it would in the 1930s. By way of immersive design, the Hollywood Studios version of this building is amazing! But by way of narrative, it actually falls short of Mission: Breakout!
Conversely, on Mission: Breakout! the narrative, and the rider's involvement in it, is clear. We're there for a tour and to see the latest addition to the Collector's collection. And while we wait, we get to see some elements of the collection. We're told of the security protocols that are in place for our visit (which are admittedly a bit cheesy and a narrative stretch). The feeling of "wow, what a place…what cool things" is exactly the feeling you'd have if you were visiting the actual collection.
But the success of Mission: Breakout! as an attraction is in stark contrast to its role in the land and park at large. Yes, the ride sits in Hollywood Land, and Guardians of the Galaxy is a Hollywood production, but is that really the hook to hang your hat on? This is especially questionable when you look at the theming of the land and the role Tower of Terror, which was a 1930s style Hollywood hotel, played.
Things can change, though. Hollywood Land very well may change from being about Hollywood as a place and culture to be more about Hollywood productions themselves. If the land continues to evolve that way (as, for example, Hollywood Studios in Florida is), then the ride may wind up right at home.
Now this was a ride about Hollywood!
For now, there's really very little about the park's California theming in Mission: Breakout! The narrative makes no effort to fit the ride into the park, and in that way while the ride is a stunning achievement, the theming of the land and the park suffer for it.
Some fans no doubt scoffed at the last section, thinking that as a Hollywood production, Mission: Breakout! is perfectly on-theme. While we disagree (the ride is just too far removed from the core theme of California), it does bring us to a larger question—how does one identify the theme of the park?
One place to start is the name of the park. This will rarely tell the entire story, but it will often at least tip you off as to the general direction. "Animal Kingdom," "Hollywood Studios," "California Adventure," and "DisneySea" are examples of names that tip their hand a bit. "Disneyland" is unfortunately unhelpful, and perhaps even a bit of misdirection.
There are other sources one would look to for theme. Creators, designers, imagineers, and executives are all fine ideas. From all of these sources, you'll get a good idea of the theme. But there is one better place to look.
The final place to find the theme is in the park itself. Examine the park. Listen to it. Figure out what the park tells you. That's the theme. The best theme park doesn't even have to tell you its theme. It could be named "Walt's Theme Park" without any dedication, and it would tell you its theme.
That doesn't mean the park screams its theme at you. I'm not sure I would ever have identified the "America" part of Walt's dedication without being told it. But over time, certainly one comes to understand that it is about the interplay of exploration, science, and fantasy. The park is clearly about the past, the future, and the dreams that are responsible for both.
This brings us near to the close, but with one challenge—the challenge of evaluating the theme of the different castle parks. Disneyland, as the original castle park, is the only one with a truly unique theme. Just as all philosophy has been said to be footnotes to Plato, you might say that all the castle parks are just interpretations of Disneyland.
International castle parks are particularly challenging to evaluate. Disneyland is explicitly dedicated to the ideals, dreams, and hard facts that created America. It would be awkward for the international parks to take a shot at better execution on that theme.
Shanghai Disneyland, indeed, clearly eschews that theme altogether. That park substitutes Treasure Cove (Caribbean themed) for Frontierland (an undeniably American land). It also replaces Main Street, U.S.A. with the ill-conceived "Mickey Ave." The park is left, sadly, without much of a theme.
If you read the dedications of the international castle parks, they reflect the problem here. Unable to claim to be about America, they're left sort of being "about" fun/joy/imagination.
Disneyland winds up being the clear winner here, because it has and exemplifies a theme that is something more than fun and imagination. In truth, we're not sure if that impacted its position in our rankings. What we can say is that when we talk about castle parks, we're sort of forced to put bigger questions of theme to the side.
Walt Disney Studios Park is the "other" park at Disneyland Paris. At its most basic, the park is an interpretation of Hollywood Studios. While the park offers two unique, even good, rides—Ratatouille: L'Aventure Totalement Toquée de Rémy and Crush's Coaster—it really lacks its own identity.
The park's design completely misunderstands what makes a theme park "tick." Some of the best design elements of Hollywood Studios were taken and stuffed into Disney Studio 1, an indoor boulevard of shops and restaurants, while much of the rest of the park is left bland and uninteresting.
The addition of a French-themed area along with the Ratatouille ride is textbook abandonment of theme for the sake of shoving an attractive ride and area into a park. Toy Story Playland was not a much better idea. The park is the only true "half-day park" in the Disney portfolio.
Disney has indicated some commitment as of late to improving this park. While it's unlikely the park will ever be so transformed as to make the top five of this list, enough good attractions and lands could put it into the middle of the pack.
There is good in Hong Kong Disneyland, there just isn't much of it. The park is small enough to be fully experienced in a day, which makes it unique among castle parks. There are standout attractions, like Mystic Manor and Big Grizzly Mountain Runaway Mine Cars, but the park overall suffers from the same patchwork problem that plagues Walt Disney Studios Park.
I read in the fantastic book The Haunted Mansion: Imagineering a Disney Classic that the park has a number of small lands in part because of a cultural predisposition toward numerousness over depth. If true, our feelings of negativity toward the patchwork nature may just be a cultural disconnect.
More to the point, though, Hong Kong Disneyland is the park that suffers most from being an interpretation of Disneyland. And it's the only castle park that doesn't really do anything better than Disneyland.
In the same way that Disney has recently shown interest in improving Walt Disney Studios Park, they have plans to improve Hong Kong Disneyland. Hopefully, the addition of new lands and some changes to the castle will help this park come into its own.
It's easy to put Hollywood Studios down here because it's in the middle of a rebuilding phase. Toy Story Land didn't do much for us. Star Wars: Galaxy's Edge (aka Star Wars Land) will likely move it up a few spots.
While much of the park is designed around Hollywood as a city and the studios as an experience, the heart of the park is transitioning to be more simply about putting the guests in the films. Is this a weak theme? Maybe—after all, all theme parks are about putting guests in a story.
Regardless, Toy Story Land and Galaxy's Edge are committed to this idea. They continue the tradition of Twilight Zone Tower of Terror, Honey, I Shrunk the Kids: Movie Set Adventure, and Star Tours: The Adventures Continue.
At this moment, it's tough to say more about Hollywood Studios (and a waste to talk much more about the #10 spot). We'll need to see how the new lands mesh and where the rest of the park goes from here. It's possible, even likely, that Hollywood Studios moves up to the seventh spot on this list in a few years.
Shanghai Disneyland is ambitious. The park offers TRON Lightcycle Power Run, Pirates of the Caribbean: Battle for the Sunken Treasure, and what could be Disney's best attraction worldwide, Challenge Trails. Unlike the other castle parks, which mostly recycle lands and designs, Shanghai swung for the fences with a hyper-modernized Tomorrowland and an entirely new land, Treasure Cove.
Parts of Shanghai Disneyland are simply stunning. The details in many parts are stunning. Despite being lower on this list than several castle parks, this might be the international castle park we're most likely to recommend a visit to, simply because of its willingness to be different.
But Shanghai's ambition and need to be different get it into trouble. Mickey Ave., an attempt to bring a cartoon flare to the entrance of the park, is a tacky replacement for Main Street U.S.A. The castle is the largest Disney has ever built, its absurd size fitting for a park with an absurd amount of open space (which residents of Shanghai are likely to find appealing, we admit).
We'll throw this in here. There's a lot of nonsense around the internet about the behavior of Chinese guests at Shanghai Disneyland. Frankly, we found the behavior in Shanghai Disneyland to be among the best in all Disney parks, possibly second only to Tokyo.
I spent years of feeling like I didn't "get" Epcot. See, others seemed to get it, or at least they pretended to, and I just couldn't figure it out. Finally, I listened more to what people were saying (including in the comments here), and it hit me—I don't get Epcot because I didn't experience it when it was actually a great theme park.
Theme parks are in constant tension. Should they offer the best ride possible? Should they stick entirely to their theme? What if guests don't care for the theme?
Epcot was ahead of its time as far as theme park design. It chose an incredibly ambitious theme—let's call it "progress"—and it threw it in your face, not really caring whether or not you wanted something with a little more whimsy.
But that was before. When the park had things like Horizons, Wonders of Life, World of Motion, and the original Imagination! pavilion. While we could argue about the old attraction portfolio vs. the modern one, there's no doubt the theme was more coherent "back in the day." The modern park is a little tougher to analyze.
One on hand is the World Showcase. Eleven themed lands each celebrating a different country, all standing side by side. With food, drinks, shopping, design elements, and even people from the different countries, the World Showcase is a fantastic place to be, and it is Disney design at its finest.
Then there is Future World. While it used to be a true celebration of human achievement, Future World has lost much of its luster to time. It retains some high-quality experiences, though. Soarin' remains a top Disney attraction, and while Test Track has been strongly bested by its technological descendant, Radiator Springs Racers in Disney California Adventure, it remains a hit ride. And let's never forget Living With The Land!
Finally, I want to say that if I were just an ounce more entranced by beauty, Epcot would be near the top of this list. The number of awe-inspiring, stunning views you can find in this park easily put it in contention for most beautiful theme park in the world.
Like several other parks on this side of the list, a large overhaul of Epcot is upcoming. Besides the addition of the completely off-theme Guardians of the Galaxy ride, Future World is expected to see a massive design overhaul.
California Adventure would be much further down this list if not for one big reason—Cars Land. Cars Land is one of the finest spaces Disney has created in the world. While we've consistently been disappointed by Toy Story Lands and we aren't impressed with Pixar Pier, Cars Land is what a land based on a Pixar product should look like. It's in keeping with the theme of the park, it's immersive, and it's just downright beautiful.
Outside of Cars Land, California Adventure has some other standouts. Guardians of the Galaxy — Mission: Breakout!, while having little to do with California, is a great ride. And World of Color is a unique Disney offering that many consider among the best nighttime shows.
Grizzly Peak is a second standout land from a design perspective. Pixar Pier—while not a great land—certainly looks great and boasts Toy Story Midway Mania! and the underrated (in our book) swinging cars on the Pixar Pal-A-Round.
The attraction lineup is impressive and the theming is above average, but it's Cars Land that really takes this park to a higher level for us.
Magic Kingdom really feels like what it is—Disneyland 2.0. The castle is bigger. The park layout is much better-planned. Main Street, U.S.A. is a little fancier and little less small town.
The creation of "New Fantasyland" between 2010 and 2014 gave the park a boost, creating space, bringing in some more modern design, and adding a modern roller coaster in Seven Dwarfs Mine Train.
Magic Kingdom is also home to two of the most famous Disney restaurants, Be Our Guest and Cinderella's Royal Table.
If Magic Kingdom has a fault, it's having to share the best attractions with three other parks. Star Tours: The Adventures Continue finds its home in Hollywood Studios, rather than Tomorrowland (where it is in other parks). DINOSAUR, Florida's technological equivalent of Disneyland highlight Indiana Jones Adventure, is placed in Animal Kingdom.
The blessing of space in Florida means that great ideas don't have to be shoved into every corner available to Magic Kingdom. Does this create a better guest experience in many ways? Of course! But do we think the individual park sits a little lower for it? Yes.
If you feel like #6 is a bit low for Magic Kingdom, let us try to put your mind at ease. This is really the turning point of the list, where it becomes less about finding faults and more about how Disney somehow manages to outdo itself. Magic Kingdom is a very high benchmark for a great park, and the parks we put above it are excellent to the point that there's no shame in sitting just behind them.
The thing about Tokyo Disneyland, though, is it's really hard to find fault in it. It offers a lineup of attractions that largely mirrors the other castle parks, but with the added bonus of an improved Winnie the Pooh ride, Pooh's Honey Hunt, and a unique experience in Monsters, Inc. Ride & Go Seek.
Then there are the smaller factors. The cast members in Tokyo are the best in the business (no offense to all the others, who are great as well!!). The food, particularly the snacks, in Tokyo is legendary.
In these ways, Tokyo Disneyland is everything in a near-carbon-copy park that Hong Kong Disneyland isn't. Where Hong Kong Disneyland held back on some of the most important elements of Disneyland, Tokyo Disneyland took Magic Kingdom and made simple but significant changes.
Disneyland Paris was the first new Disney park either of us visited in 20 years. As such, it took some getting used to. But as we spent more time in it, we came to deeply appreciate the storytelling that goes on in the park.
The park's castle is a standout, with rich, unique design and a dragon. The Dragon's Lair under the castle is the single best use of castle space in a Disney park.
Disneyland Paris's Frontierland is one of the rare Disney lands with a rich storyline itself, and you might not even notice it your first few times in the land. Adventure Isle is one of the best spaces to explore in Disney parks. Swiss Family Treehouse and the Queen of Heart's castle in Alice's Curious Labyrinth offer tremendous views.
Every inch of this park oozes with beautiful detail. In terms of operations and food selection, Disneyland Paris would probably be last on this list. But the things it does well are important, and it does them incredibly well.
What unites the top three parks on our list is that each has an ambitious theme with even more ambitious, park-wide execution.
Disneyland Park is a fantastic theme park beyond its unique position in Disney history as the original, Walt-built park. The park, dedicated to the dreams, ideals, and hard facts that made America is a design masterpiece, packed with some of the best attractions Disney has to offer.
Like the two parks we place ahead of it, Disneyland executes amazingly on a challenging theme. Disneyland's execution of that theme, though, is remarkably subtle. If you asked nine out of ten people in the park on a given day what it was dedicated to—what it's theme is—they would probably only get as close as imagination.
And there's nothing wrong with that, it's a joyous imaginative place. But underneath is a story about America—about its past and its future, and about the dreams that drive the American spirit. And once you really see that, you can't un-see it.
Perhaps the best thing that Disneyland has to offer is a lens on all the other Disney parks, especially the castle parks. You can't understand Expedition Everest in Animal Kingdom unless you've experienced Matterhorn at Disneyland. You don't know just how perfect Space Mountain can be until you've ridden the Disneyland version. And let's be real—Mr. Toad's Wild Ride is just an unbeatable dark ride.
We're in disagreement on the top two spots because they're just that close. For the sake of this list, we're going with the actual author's (Ken's) opinion, which is that Tokyo DisneySea falls in the number two slot.
Tokyo DisneySea is beautiful. It is large. It is wildly entertaining. It has excellent snacks. And Tokyo DisneySea has the best attraction lineup of any Disney park, with replicated standouts like Tower of Terror (more interpretation than replication), Toy Story Mania!, and Indiana Jones Adventure.
Take out the heavy hitting attractions, and Tokyo DisneySea, still excels. Sinbad's Storybook Voyage is entrancing. Fortress Explorations is far and away the best space for exploring in a Disney park (with S.E.A. tie-in to boot!). And Teddy Roosevelt Lounge will have a very high spot on our upcoming list of top Disney bars.
But Tokyo DisneySea is so much more than its attractions. Only Epcot, and maybe Animal Kingdom, can really match it in terms of beauty and awe-inspiration. We're talking about a park with a land—not just one attraction, but multiple attractions and a restaurant—inside an artificial mountain!
And then there's theme. The "Sea" in DisneySea is played out in the park with the traditional "lands" being replaced with ports. These ports reflect the complex relationship between humans and the sea. Whether it's the picturesque Arabian coast, the volcanic island of intrigue and adventure, or the bustling ports of the United States, Tokyo DisneySea reminds us of the role that the sea plays in shaping our minds and culture.
Putting Animal Kingdom in the number one spot is probably controversial to some and completely obvious to others. It has only recently escaped its reputation as a half-day park, with many still arguing it can't quite fill a full day.
We can't disagree that Animal Kingdom is, on an attraction-by-attraction basis, less demanding of your time than the other Disney parks. It does offer moments of greatness in its attractions, though. Kilimanjaro Safaris is a special attraction. Flight of Passage is often thrown around as one of the best theme park attractions of all time.
And Expedition Everest: Legend of the Forbidden Mountain, from queue to gift shop, ranks among our favorite Disney experiences. And let's not forget Tiffins and Nomad Lounge, two great non-attractions in the park.
The park also excels in the design and beauty department. It's been pointed out in the comments that much of this beauty is natural, and perhaps the park shouldn't get credit for that. Maybe—but much of it is created, and the park doesn't simply showcase the natural, it integrates with it. The artificial beauty is on full display in Pandora—The World of Avatar.
But what Animal Kingdom does better than any other park, even Tokyo DisneySea, is tell a story. If you read the opening to this post, you would be reasonable to conclude that much of what was written was written with Animal Kingdom in mind.
Most of our meditations on theme are built around articulating two things: what Disneyland, Tokyo DisneySea, and Disney's Animal Kingdom do great and what Animal Kingdom does better than those other two.
Like Tokyo DisneySea, Animal Kingdom is truly about something. It's about the relationship between humans and nature. And while Tokyo DisneySea does an excellent job of molding its ports to its theme and its rides to its ports, Animal Kingdom is better at fitting the individual rides to the theme.
I've written about this at length in my post celebrating the 20th birthday of Animal Kingdom, but the individual attractions in Animal Kingdom each tell us something about how we connect with nature. There's really no escaping Animal Kingdom once you step foot in the park, and that's what sets it apart from every other park on this list.
This post has been super fun to write! Hopefully in the future we'll be able to update this list. We're always trying to get back to every park, and we've updated this post a few times.
But we'd also love to hear what other people think. As we tried to make clear, we're certainly not experts on theme park design. By our own admission, it's pretty clear we're missing out on some things. And our experiences might just not match yours!
So, tell us, what are you favorite Disney parks? How do you evaluate them? We'd love to hear From You!
We've visited all 12 Disney theme parks in the world, here's how we rank them!


text:
Amiodarone in cardiac arrhythmias
[proceedings of a symposium held at Guy"s Hospital, London, on 27th October 1978 sponsored by Reckitt-Labaz] ; edited by W. T. Simpson and A. D. S. Caldwell.
Publisher: Royal Society of Medicine, Publisher: Grune and Stratton in London, New York
Amiodarone -- Congresses.,
Arrhythmia -- Chemotherapy -- Congresses.
Series International congress and symposium series - Royal Society of Medicine -- no. 16, International congress and symposium series -- no. 16.
Contributions Caldwell, A. D. S., Simpson, Wilfrid Tord.
LC Classifications RC685.A65 A45, RC685A65 A45
Pagination viii, 72 p. :
Ventricular arrhythmias occur commonly following myocardial infarction and carry important prognostic implications. The mechanisms involved are varied and time‐dependent, changing with the evolution of the infarct, and this has implications for the management of both the arrhythmia and the index ischemic insult, which are discussed in this by: 4. Background. Sudden cardiac death (SCD) is an important cause of death nowadays. People at high risk (mainly with any sort of heart disease) die unexpectedly from cardiac causes, primarily from arrhythmia (an irregular heartbeat). The treatment of choice is a device called an implantable cardiac defibrillator (ICD), but it is not widely available in low- or middle-income countries. Amiodarone is used worldwide to treat cardiac arrhythmias, as well as highly symptomatic cases of atrial fibrillation. With this expanded use, especially following its United States Food and Drug Administration approval, and its use as a long-term therapy in common practice, reports of. Background: Amiodarone and acupuncture (AA) are commonly used to treat cardiac arrhythmia (CA). The objective of this systematic review is to assess the efficacy and safety of AA for patients with CA.
Arrhythmias are common after cardiac surgery such as coronary artery bypass grafting surgery. Although most of these arrhythmias are transient and have a benign course, it may represent a significant source of morbidity and mortality. Postoperative arrhythmias (POAs) include atrial tachyarrhythmias, ventricular arrhythmias, and : Bandar Al-Ghamdi. Introduction. A basic knowledge of the cardiac action potential and cardiac conduction system facilitates understanding of cardiac arrhythmias. The effects and side-effects of anti-arrhythmic drugs are depended on the influence on ion channels involved in the generation and/or perpetuation of the cardiac . Cardiac Arrhythmia PDF 1. Seminar on Cardiac Arrhythmia and its treatment Submitted by Souvik Pal Roll No: Reg. No: S_ID: B , 3rd Year, 6th Semester Netaji Subhas Chandra Bose Institute of Pharmacy Tatla, Roypara, Chakdaha, Dist-Nadia, Pin- Affiliated to Maulana Abul Kalam Azad University of Technology BF, Sector 1, . The most commonly prescribed AAD is now amiodarone. This drug is effective in terminating and preventing a wide variety of symptomatic supraventricular and ventricular arrhythmias. However, amiodarone is plagued by frequent side effects and requires close monitoring. The most concerning toxicity is pulmonary fibrosis.
Drug cabinet: Anti-arrhythmics Some abnormal heart rhythms can be treated with medication. Consultant cardiologist and electrophysiologist Dr Martin Lowe explains all to Doireann Maddock. An arrhythmia is an abnormal heart rhythm and it happens as a result of a problem with the electrical impulses that regulate your heart. It can make your.
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Amiodarone in cardiac arrhythmias Download PDF EPUB FB2
Amiodarone in Cardiac Arrhythmias (International congress and symposium series / Royal Society of Medicine) [W.T. Simpson] on *FREE* shipping on qualifying offers. Amiodarone in Cardiac Arrhythmias (International congress and symposium series / Royal Society of Medicine): W.T.
Simpson: : Books. Amiodarone in cardiac arrhythmias. London: Royal Society of Medicine ; New York: Grune & Stratton, (OCoLC) Material Type: Conference publication: Document Type: Book: All Authors / Contributors: A D S Caldwell; W T Simpson; Royal Society of.
It is used to help keep the heart beating normally in people with life-threatening heart rhythm disorders of the ventricles (the lower chambers Amiodarone in cardiac arrhythmias book the heart that allow blood to flow out of the heart).
Amiodarone is used to treat ventricular tachycardia or ventricular fibrillation.5/ amiodarone with placebo that reported the incidence of supraven-tricular arrhythmia, atrial fibrillation, or atrial flutter as the primary end point.
Data Extraction: Two investigators independently collected all data. Discrepancies were resolved by consensus.
Data Synthesis: After File Size: KB. apy. Monitor heart rate and rhythm throughout therapy; PR prolonga-tion,slightQRSwidening,T-waveamplitudereductionwithT-wavewid-eningandbifurcation,ongationmaybe associated with worsening of arrhythmias and should be monitored closely during IV therapy.
Report bradycardia or increase in arrhyth-File Size: KB. User Reviews for Amiodarone to treat Arrhythmia. Also known as: Pacerone, Nexterone. The following information is NOT intended to endorse drugs or recommend therapy. While these reviews might be helpful, they are not a substitute for the expertise, skill, knowledge and judgement of healthcare practitioners in patient care/ Can be useful to control heart rate in patients with atrial fibrillation when other measures are unsuccessful or contraindicated.
Heart Rate Control. Cardioversion: 5 to 7 mg/kg IV over 30 to 60 minutes, then to g per day continuous IV or divided oral doses until 10 g total 1. mg IV over 10 min, then to 1 mg/min 2. Within ACLS, amiodarone is used for its antiarrhythmic properties and is effective for the treatment of supraventricular arrhythmias and Amiodarone in cardiac arrhythmias book arrhythmias.
The mechanism of action for amiodarone's antiarrhythmic properties remains unclear, but it continues to be the primary antiarrhythmic medication for the treatment of ventricular fibrillation and ventricular tachycardia within the cardiac arrest algorithm.
Amiodarone (pacerone & nexterone) is a medication formulated to improve heartbeat rhythm. Doctors prescribe the drug to patients with life-threatening ventricle-related heart rhythm disorders to ensure the heart beats normally. The ventricles are the heart's lower chambers that allow blood flow out from the heart.
Amiodarone is an antiarrhythmic medication used to treat and prevent a number of types of irregular heartbeats. This includes ventricular tachycardia (VT), ventricular fibrillation (VF), and wide complex tachycardia, as well as atrial fibrillation and paroxysmal supraventricular tachycardia.
Evidence in cardiac arrest, however, is poor. It can be given by mouth, intravenously, or ncy category: AU: C, US: D (Evidence of risk). Amiodarone is used worldwide to treat cardiac arrhythmias, as well as highly symptomatic cases of atrial fibrillation.
With this expanded use, especially following its United States Food and Drug Administration approval, and its use as a long-term therapy in common practice, reports of cancers temporarily related to amiodarone have begun to by: 2.
Amiodarone is recommended for shock-refractory ventricular arrhythmia during resuscitation; however, it is unknown whether amiodarone is effective for preventing ventricular arrhythmia recurrence in out-of-hospital cardiac arrest (OHCA) survivors treated with targeted temperature management (TTM).Cited by: 1.
Amiodarone as an iodinated benzofuran derivative is a potent antiarrhythmic drug that is being used for the treatment of a wide variety of cardiac arrhythmias.
For the first time, the Russian physiologist, Gleb Von Anrep discovered the original precursor molecule of Amiodarone that was called : Fereshteh Mehraein. Neonatal Cardiac Arrhythmias INTRODUCTION: Identification and treatment of arrhythmias in newborns is challenging and differs from older children, and the natural history of arrhythmias presenting in the neonatal period is often dramatically different.
METHODS OF DIAGNOSIS AND THERAPY: For management of arrhythmias, consult Cardiology team. Medication Classification. Amiodarone is classified as an antiarrhythmic drug, meaning that it is used on patients who have heart arrhythmias especially atrial flutter, atrial fibrillation, and tachyarrhythmias.
The most common arrhythmia that we use this medication on. Amiodarone is very effective for the treatment of atrial arrhythmias, especially atrial fibrillation. In the CTAF study, amiodarone was more effective at maintaining sinus rhythm than sotalol or propafenone.
72 This was also echoed by findings from the SAFE-T trial, which compared amiodarone to sotalol or a. Amiodarone in the prevention and treatment of arrhythmia. Auer J(1), Berent R, Eber B. Author information: (1)2nd Medical Department, General Hospital Wels, Austria. @ There is good evidence that amiodarone is effective against a variety of arrhythmias and that it may be superior to other drugs in some by: Amiodarone is an antidysrhythmic used to terminate reentrant atrial or ventricular arrhythmias and has been a recurrent part the Advanced Cardiac Life Support (ACLS) algorithms.
It undergoes hepatic metabolism through cytochrome oxidase systems to produce another pharmacologically active but less potent metabolite, desethylamiodarone. The Role of Intravenous Amiodarone in the Management of Cardiac Arrhythmias Annals of Internal Medicine; (4): Amiodarone: Reevaluation of an Old Drug.
be effective in children with cardiac arrhythmias'; amiodarone resulted in either complete control (60%) or clinical improvement (/').1 The oral dosage and plasma concentrations of amiodarone associated with arrhythmia suppression in children havenot beenpreviously reported.
The unwanted effects experienced by adults receiving treatment with Cited by: Amiodarone is an iodinated benzofuran derivative that was synthesized and tested as an antianginal agent in the s but was later discovered to have antiarrhythmic properties.
Amiodarone is widely prescribed, largely due to its efficacy in the management of both supraventricular and ventricular arrhythmias. Amiodarone was initially developed in the early s as a treatment for angina pectoris, since it produces coronary vasodilation and decreases cardiac oxygen demand.
However, its pronounced antiarrhythmic effects redirected its use and amiodarone has become a widely used class III anti-arrhythmic drug. Compared to other antiarrhythmic drugs, it is more effective in treating both Cited by: Inthe American Heart Association recommended amiodarone as the primary antiarrhythmic agent for persistent ventricular tachycardia or ventricular fibrillation.[10].
Amiodarone is used to treat life-threatening heart rhythm problems called ventricular arrhythmias. This medicine is used in patients who have already been treated with other medicines that did not work well.
Amiodarone belongs to the group of medicines known as antiarrhythmics. It works directly on the heart tissue and will slow the nerve. The clinical uses of amiodarone, including recommendations for its use in the treatment of various arrhythmias, are discussed separately.
(See "Amiodarone: Clinical uses" and "Antiarrhythmic drugs to maintain sinus rhythm in patients with atrial fibrillation: Recommendations" and "Supportive data for advanced cardiac life support in adults with. Catheter Ablation of Cardiac Arrhythmias E-book.
by Shoei K. Stephen Huang and Mark A. Wood. out of 5 stars 4. Kindle $ $ 54 to rent $ to buy. Hardcover Electrophysiological Foundations of Cardiac Arrhythmias: A Bridge Between Basic Mechanisms and Clinical Electrophysiology. by Andrew L. Cardiac Arrhythmias John A Kastor,University of Maryland, Baltimore, Maryland, USA ine,amiodarone,b-adrenergicblockingagents,calciumchannelantagonistsand of sudden cardiac death due to a potentially fatal Cardiac Size: KB.
Amiodarone in the prevention and treatment of arrhythmia Article Literature Review in Current opinion in investigational drugs (London, England: ) 3(7) August with 45 Reads.
Abstract. Continuous ECG monitoring is a useful method to evaluate the efficacy of antiarrhythmic drugs. The aim of our study was to evaluate the effects of amiodarone ( mg day −1 for seven days and then mg day −1, five days a week, for 60 days) in 20 patients with chronic ischaemic heart disease ascertained by stress test, thallium myocardial scintigraphy and coronary Cited by: 1.
Amiodarone is an oral and injectable drug that is used to correct abnormal rhythms of the heart. (It is an antiarrhythmic medication.) Although amiodarone has many side effects, some of which are severe and potentially fatal, it has been successful in treating many arrhythmias when other antiarrhythmic drugs have failed.
Amiodarone is considered a "broad spectrum" antiarrhythmic medication. Conversion to oral amiodarone after intravenous (IV) administration. Less than 1 week IV infusion: mg/day ; week IV infusion: mg/day ; Greater than 3 week IV infusion: mg/day; Pediatric.
Drug Resistant Refractory Cardiac Arrhythmias (Off-label) Oral. Therapy for arrhythmias involves analysis of the proarrhythmic and adverse side effects and the desired antiarrhythmic effects of a medication. In the past decade, data on the increased mortality rate noted with conventional antiarrhythmic drug therapy have prompted the reexamination of available therapies and investigation into new Cited by: US Pharm.
;7:HSHS Ventricular arrhythmias are disturbances in cardiac impulse generation or conduction that occur below the level of the bundle of His, which separates the atrial and ventricular tissues. These dysrhythmias include premature ventricular contractions (PVCs), ventricular tachycardias (VTs), ventricular fibrillation (VF), and sudden cardiac death (SCD).

redpajama_set_name: RedPajamaCommonCrawl


Campaign Brief reported on a new anti smoking campaign in the latest newsletter.
What bugs me about anti smoking campaigns is that they are so focused on smoking. Research has proven that smokers feel the urge to smoke stronger when they get reminded of cigarrettes (Lindstrom, Buy-ology for example).
Also, in the world of coaching, we always strive to help people see where they wish to be rather than to dwell on the problems involved in their current situation. When thinking about everything that is wrong, your head will be filled with this, and it will affect your mood and expand the negativity.
Some people believe it´s good "to get it out" but thinking is not a zero sum game. When "getting your anger out" by screaming or doing a boxing class, you will only increase the levels of anger and testosterone, making things worse. A better way is to focus on new habits, new visions, constructive perspectives. To kill the darkness with light.
I inteviewed several people for an anti-smoking campaign last year, and it was obvious that the minute an anti-smoking ad entered the television, people rushed out to smoke! As a kind of defence system, their brains started coming up with reasons FOR smoking. "Ah, it´s relaxing, oh, my life is crap so I deserve it, eh, I´m healthy and can quit if I get sick..."
Most campaigns with the aim to put people off smoking are created by non-smokers. They are created by high achievers working in ad agencies, by those who are childless and problemless, young and carefree. Their view of smokers and their complex relationship to the nicotine is many times naive and shallow.
I know the creators of this campaign means well, but does it work? I doubt it. The problem is not how to manage getting where you want to be, but to want it.
Perhaps a better strategy is to help smokers relax in other ways? Make them happy, enhance their lives, spread joy in their misery by focusing on other things. Distract them, entertain and give hope. Deal with their need to rebel. Offer them stuff to do with their hands.
I know when I quit smoking 16 years ago (started as a rebellious 12 year old, but don´t tell my mum :) it was because I started going to the gym, and exercise became a new obsession. I wanted to be fitter, so I had to stop poisoning myself. I replaced the "smoker" identity with a healthy "gym chic" one. To just give up the cigarettes without having anything to fill the void with would have been harder.
The Australian National Preventive Health Agency (ANPHA) and media communications agency UM are launching My QuitBuddy, a program to help people quit smoking and stay smoke free.
My QuitBuddy is a highly intuitive digital program that can be personally customised by each user. Smokers can set their own goals, the reasons they are quitting, include photos and recordings of loved ones and even add buddies they can call upon in times of need.See the app here.
Says James Filmer, UM chief digital officer: "We have designed this app to provide vital support for people through the hardest periods in their quit smoking programs. It includes tips and distractions to overcome cravings and all the facts you need to understand the impact smoking has on your health. It is a highly personalised 24/7 tool."
To summarise the enormity of the challenge for anti-smoking campaigns, tobacco smoking is one of the single largest preventable causes of premature death and disease in Australia, accounting for approximately 15,500 deaths per annum. Tobacco is responsible for more deaths in Australians up to age 64 than all deaths attributable to alcohol and illicit drugs combined across all age groups.
The My QuitBuddy app is so far designed to run on Apple iPhones or iPads, but after it's initial launch this week a rapid development program is in place to make the app available to multiple mobile phone platforms.
My QuitBuddy is now available as a free download.
Strategy and overall concept for the app were developed by UM, with design and development from mobile development specialists The Project Factor.


Trading on the Nordic energy market calls for in-depth knowledge of water availability in the two Nordic countries with major hydropower production.
We offer a general hydrological package for Sweden and Norway, covering precipitation, snow, soil water and runoff. The results are based on the modern and updated E-HYPE model developed by SMHI, and forecasts are shown in the most relevant form, i.e. GWh.
The model runs daily and incoming data are supervised and analysed by hydrologists with experience in the energy market.
It will be a very mild, windy and unstable period. Deep low pressure will pass in north with fresh, at times strong southwest wind. Much above normal temperature. The precipitation will be concentrated in the mountain range, with 20-50mm/10days, locally more. Most of it in form of snow, but in connection with the mildest air rain elements even in the mountains. Other parts of the country 5-15 mm. In the middle of next week change to southerly wind and some precipitation from south.
Increasing from 18 to 20 TWh, which is 2 TWh higher than the seasonal norm.
The inflow between 80 and 100 GWh/day is just above normal (70).
SMHI hope to meet you at E-world 2018 6-8 February in Essen, Germany.
Contact our Sales team if you want to test our products or visit our stand at E-world.


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Borassodendron machadonis es una especie de palmera perteneciente a la familia Arecaceae. Se encuentra en Malasia y Tailandia en los bosques de tierras bajas a una altitud de hasta 500 metros. Está considerada en peligro de extinción por la pérdida de hábitat.

Taxonomía
Borassodendron machadonis fue descrita por (Ridl.) Becc. y publicado en Webbia 4: 361. 1914.
Etimología
Borassodendron: nombre genérico compuesto del nombre del género Borassus y dendron = "árbol.

machadonis: epíteto
Sinonimia
 Borassus machadonis Ridl.

Referencias

Enlaces externos

machadonis
Plantas descritas en 1914
Plantas descritas por Ridley
Plantas descritas por Beccari

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text:
CapoTrave
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English extracts
It is a story which – halfway between inner confession and choral representation – seems to be suitable for Andrea Cosentino's theatre made of odd and surreal characters. Director Luca Ricci has had the idea to make Cosentino play the role of a benefactress and he has created a sarcastic and funny show, winner of "Teatri del Sacro" Festival. (…) Accompanied by Danila Massimi's music, Cosentino takes us through an unforgettable collection of human misfortunes, thanks to his unconventional and funny interpretation, so sweet and comic at the same time. (Graziano Graziani, www.minimaetmoralia.it, 9 March 2016)
Each character has his own typical trait, in his way of speaking and moving, and their vision, one after another, makes us laughing and almost acclaiming the miracle – since we are on the topic- because we have just seen a show made of few means, but of talent too, and with a true faith: for the theatre. (…)If the opportunity arises, do not miss it! (Francesca De Sanctis, L'Unità, 29 February 2016)
Lourdes is a route of the comicality which describes humanity in the most religious contexts. The provincial life led by the characters underlines the funny things, making typical folkloric personages emerge in front of each spectator who surely recognizes them. (Rosella Matassa, www.gufettopress.it, 27 February 2016)
Luca Ricci, artistic director of Kilowatt Festival and founder of CapoTrave company, carries out a meticulous and delicate direction. (…) Irreverent and grotesque, the show is so fascinating that even in the non-believers can touch the conscience and can make you reflect seriously about the path/viaticum towards the salvation, the healing, both physical and moral. (…) Andrea Cosentino performs many characters, including a peculiar final narration, but he plays the role of Maria with harrowing humanity: she symbolizes an unspeakable truth which nobody dares to pronounce, she moves and makes you laugh, dividing strategically the stage with Danila Massimi's percussion instruments and her mesmerizing and precious voice. (Mario Di Calo, www.femaleword.it, 25 February 2016)
Lourdes mixes the sarcastic taste of grotesque and dreamlike visions and the sweetish taste of the comedy which almost reaches and comes close to poetic lyricism, arriving at the hearth of the most intimate and desperate human tragedy. Using the biting style of caustic and irreverent irony, Andrea Cosentino enters with frenetic movements in a tragi-comic display of hysteric puppets. (Gisella Rotiroti, http://cheteatrochefa-roma.blogautore.repubblica.it, 24 February 2016)
An unusual collaboration between Andrea Cosentino and Luca Ricci, also director, for a common script which is spontaneous, rapid, seriously funny. (Nicole Jallin, www.quartaparetepress.it, 23 February 2016)
From a lucky union among Cosentino, CapoTrave company with director Luca Ricci and Rosa Matteucci's novel "Lourdes", a beautiful monologue was born, which is deservedly one of the winners of "2015 Teatri del Sacro" contest. It is a verbal hail, litany and stream of consciousness, with lively, witty, very funny, but also bitter, tones. While the actor is sipping miraculous water from a Virgin Mary- shaped bottle, Danila Massimi sings and plays arcane percussion instruments: a soft but significant presence, which underlines the color, the atmosphere and the suspense during the different stages of the show. (Anna Barenghi, www.ilgrido.org, 22 February 2016)
Cosentino masterfully succeeds in playing his character. (…) The wonderful live voice belongs to Danila Massimi who – touching delicately percussion instruments- accompanies Cosentino's words creating a surreal atmosphere. (…) Don't miss it! (Marianna Zito, http://modulazioni-temporali.webnode.it, 22 February 2016)
Cosentino and Ricci outline a course of circular, but varied, action which in the end brings back to the starting point: is a believer meant to obey, accept his sorrow and annihilate his existence in the anguish of sin? Maybe not. And yet, everybody, even the more atheistic, sometimes needs a sacred image to whom spitting in the face asking "So what?" (Adriano Sgobba, www.paperstreet.it, 19 February 2016)
After funny scenes such as the Platonic love for the crazy Gonzalo and the abandonment of an old woman without hesitation so as not to miss the train, Maria finally comes to the cave where there is the flash intuition: (…) Cosentino stands out for his frenetic and expressive, but never formal, interpretation. (Alex Guizio, www.altrevelocita.it, February 2016)
Lourdes is a tale made by different shades, by rough and peculiar scenes, by crude and hyperrealistic details, such as the dialect from Umbria, used to represent disfigured and tragically funny characters. The text of the show is mostly based on Cosentino's interpretation and Ricci's adaptation; by all means they try to make the language comic which, from a certain point of view, lends itself to laugh, because it is characterized by an exponential and cruel accumulation of adjectives and adverbs. (Jacopo Gardelli, www.ravennanotizie.it, 18 January 2016)
"Lourdes", played by Andrea Cosentino, is one of the most successful shows at 2015 Kilowatt Festival (…): the characters, mildly parodic, are sorrowful and nostalgic, neither too far nor too close to us. They come up to us and make us examine them, asking us if we too have decided to have faith. (Francesca Gambarini, Hystrio, October 2015)
It is easy to find out humanity in the characters of "Lourdes", played by Andrea Cosentino and directed by Luca Ricci. (…) Danila Massimi's live music suspends, but does not break, Cosentino's rhythm, giving life to it. (…) Behind the grotesque, the protagonist Maria Angulema's disorientation and fragility are hidden: during her grieving process, she is questioning herself and her convictions. (Rossella Porcheddu, www.teatroecritica.net, 7 August 2015)
An important sign has been left by "Lourdes". (…) In this show there is often something prodigious, which is almost impossible to explain, but it gets immediately under spectator's skin and it is based on some unpredictable slipping, little eclipses, that mark the transition from comic moments to touching ones. (Andrea Pocosgnich, www.teatroecritica.net, 19 June 2015)
In "Lourdes", based on the same title debut novel by Rosa Matteucci, the body is at the center of creation. (…) The specious observation of a suffering word is demolished by the surprising final, where God enlightens the protagonist, reminding her arrogance towards the troubles of the world. (Mario Bianchi, www.klpteatro.it, 18 June 2015)
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We're a privately owned residential agency dealing with student lettings, professional lettings & property management.
We are pleased to offer this stunning one bedroom, one bathroom apartment, in the Aaben Development. A new development of 105 homes, located on Leaf Street in Hulme. The Aaben is the first One Living development by One Manchester, a not for profit organisation providing homes and community services in Manchester. One Manchester's aim is to create communities that are safe, happy and prosperous places to live. All money raised will go into funding other One Manchester projects. You will be able to rent your home for as long as you need to, giving you both security and peace of mind.
This apartment briefly comprises an open plan kitchen and living room with galley style kitchen, a spacious double bedroom and bathroom with shower over the bath.
Each property is finished to a high standard, featuring wood effect flooring in the living area and hallways, as well as carpets in all bedrooms. The kitchen has contemporary high gloss fitted furniture, oak coloured worktops complemented by wall tiling. Every apartment has an integrated washer dryer, a large fridge freezer, integrated dishwasher, hob, cooker hood and oven.
Additional benefits with this apartment include underfloor heating, lifts to all floors and secure cycle storage.


Got hair? Need a way to keep it back?
give him or her a bath twice a day at mealtime.
Our custom knit "DOGGIE BIBS" are easy to slide on and prevent their hair from getting in their food bowl. GREAT for RAW feeders or wet food like The Honest Kitchen Meals.
Please allow 7-10 days -all custom made.
Please measure your dogs head from the top to under the chin (not tight) . You can see the photo of where it is going to sit. No need to measure the neck.


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Review: Sex Farm aka Frustrated Wives (1973, Arnold Louis Miller)
"Come on doll, move your arse" is the ungallant first line of dialogue you hear in this film, spoken over an establishing shot of an abode that is the epitome of 1970s middle class suburbia. Terrain that the British sex film would make its own during that decade, along the way mythologizing British suburbia as a place of wife swapping parties, of husbands who are having it away with their secretaries, leaving them incapable of satisfying their wives back home, who instead turn to milkmen, window cleaners and door to door salesmen for their sexual needs during those lonely hours of 9 until 5. Such was the sex film potential of the 'burbs that even that most metropolitan of sexploiteer, Arnold Louis Miller, was lured towards it and tempted away from the bright lights, big city London-centric sleaziness of his earlier films; Secrets of a Windmill Girl and West End Jungle.
As far as suburban British sex films go Sex Farm eschews the misery drenched believability of Anthony Sloman's Not Tonight Darling and puts its foot down firmer on the comedy peddle than Derek Ford's Suburban Wives and Commuter Husbands, even if in the end Sex Farm does swerve out of control and becomes as uneven as the genre ever got.
A peek inside the house seen in the opening shot reveals the expected marital dysfunction behind the comfortable exterior. Robert (Australian actor Tristan Rogers) is into ass fucking his wife Diane (Amber Kammer) and thinks of himself as God's gift; strutting around their bedroom praising himself. "You know I'm great, quantity and quality, that's me" he tells Diane, who is turned off by his sexual demands and narcissism, and finds comfort in munching her way through a chocolate box (not incidentally a sexual euphemism, chocoholism is Diane's comedy trait in the film). Elsewhere Diane's friend Cheryl (Hilary Labow) is having her own early morning quarrel with husband Tom, albeit for different reasons. Cheryl's problem is the lack of attention she has been getting from Tom. Evidentially Tom is a 'once a week if you're lucky' merchant, leading her to accuse him of being past it, as well as becoming suspicious that his sexual prowess is being drained away elsewhere "why you lousy bastard, you're having a bit on the side aren't you". These early, argument filled scenes breathe life into a claim once made by Ray Davies of The Kinks that "I've got nothing against suburbia other than it destroys people".
With Robert busy at work, and Tom mysteriously called away, Diane and Cheryl decide to team up for the weekend and visit a health farm in the hope of getting up to a few extra marital affairs of their own. Initially it looks as though the pair might have made a bad mistake and that their weekend is likely to be summed up by the film's aka title 'Frustrated Wives' rather than its 'Sex Farm' one. Dr Schroeder (Gordon Whiting) rules the health farm with a Teutonic iron fist, confiscating food and booze from the women as they enter the farm, then locking it away in a glass cabinet full of similar contraband, which proves to be a mouth-watering sight to chocoholic Diane "look at all those confiscated choccies". The No-Fun ethos of Schroeder appears to have spread to the predominantly elderly and female residents, one of whom Mrs. Pelham (Marjorie Summerville) has a touch of the Mary Whitehouse about her, taking one look at these two newcomers through her thick rimmed glasses and judging them "not our type at all". Although in retrospect this introduction to Mrs. Pelham is a deliberately deceptive one, given the big shock involving this character that awaits later on in the film.
Fortunately there is some half-way decent male talent lurking about the place in the form of Frank and Charles, two married crumpet chasers who've been lured to the health farm for similar reasons as Diane and Cheryl, and spend the weekend trying to pull both women, as well as Schroeder's ditzy secretary (Claire Gordon). In the 1950s and 60s Gordon had a prolific if minor league acting career, you might remember her as the student who gets Michael Gough's mad scientist hot under the collar in Konga. In 1968 she married satirist William Donaldson, a relationship that the tabloid press would later have a field day documenting, with the red tops alleging that the couple regularly indulged in cannabis use, held sex orgies, socialised with famous DJs and that Donaldson sent pornographic photos of his wife to contact magazines. Maybe living a life that sounds like the plot of a British sex film leads one to appear in a few of them, as that is exactly what Claire Gordon did, making a full frontal film comeback in this as well as Suburban Wives and Commuter Husbands. Sex Farm certainly gives Gordon more to do than her two Derek Ford films, but at the same time validates Ford's decision not to press her too much as an actress in his films. Gordon's unnamed Sex Farm character is obviously modelled on Marilyn Monroe complete with Xeroxed little girl lost mannerisms and speech patterns, a shtick so routed in 1950s America that it feels extremely awkward transplanted to these very British, very 1970s surroundings. A couple of years later British sex comedy actress Suzy Mandel would channel Monroe to more spectacular effect in TV's The Love Boat and the Amero Brothers' Blonde Ambition, resurrecting Monroe's Some Like It Hot character Sugar Kane for the latter. Sadly Gordon is just a little too knowing in her dumb blonde moments and her attempts at being sexy feel similarly forced. As a result you never really buy into her character as being a real person, ditto the actor playing Dr. Schroeder, who appears competent, but insists on pitching his performance at an amplified level that is way over the top even for a comedy. Schroeder takes in just about every ranting, dictatorial German cliché going, running about the health farm shouting 'raus raus' or proclaiming 'o mein gott in himmel' at rule breaking outrages. All that is missing from the character is a monocle to fall out at impropriate moments.
Slightly better value for money is the health farm's French chief (Patrick Tull) who hates preparing dull health food meals as much as the residents hate eating them. In a scene that sees him and Diane unleash their pent up carnal and culinary desires, she strips off and he devours food off her naked body. A proto 9½ Weeks piece of food flavoured foreplay made funnier by Amber Kammer's very real and unscripted looking reactions to having tomato sauce squirted over her boobs and trifle dropped on her, followed by her equal amusement at her co-star making both a meal of her and his French accent.
Man-eater Cheryl meanwhile has her lustful sights aimed in the direction of Jim (Barry Rhode), the farm's sports instructor who hides his muscular body under the supremely unsexy armour of a vest and a pair of NHS glasses. There is more than a touch of Howard Nelson about this character, who is decidedly more comfortable leading out of shape old folk in exercise routines than he is being sought out by the opposite sex. Some of his dialogue could have come directly from the mouth of Mr. Vanderhorn himself "I'm a man of sports… I need to abstain from all sorts of things for the sake of my body". Sentiments that don't wash with Cheryl who responds by hiding the Vanderhorn clone's glasses, his search for which ends with him on top of a now naked Cheryl. Subsequently rendered rampantly heterosexual, the sports instructor wastes no time in putting the moves on Diane, seducing her whilst she is using one of those bum shaking exercise machines (probably not the technical term for this device) so popular in sexploitation films of this time and immortalised by Tom Chantrell for this film's very own poster.
Alan Paz's script suggests aspirations to be both Jackie Collins and Talbot Rothwell, thus female bottom pinching and double-entendres sit alongside laugh out loud dialogue aimed at puncturing the egos of full of themselves 1970s men. Robert's secretary -after being screwed by him on the office floor– tells him he'd be better off pursuing a career at the general post office as "if letters came as quickly as you do, postal delays would be a thing of the past". Contradictory impulses fuel this film. Pushy displays of heterosexuality can result in men being put down, called a "bastard" or patted on the alpha male back, depending on Sex Farm's ever changing mood. Personable as its heroines are, the film isn't above turning against them either. The aforementioned female bottom pinching sees Mr Williams, a repulsive cigar chomping Northerner, constantly grapping Diane's ass and crotch in gym class, advances missed by the short sighted instructor who gets the wrong end of the stick and ends up accusing Diane of acting neurotic in class. A routine repeated ad infinitum during the scene, which becomes uncomfortably malicious in the way it encourages you to get off on Diane's distress and regards her as a cry baby and party pooper.
To further rock this uneasy boat Sex Farm includes a couple of subplots that are played as straight drama and so stick out like sore thumbs amidst the silly stuff. Lesley (Gillian Brown) a fragile housewife is using her stay at the health farm to come to terms with her sham marriage and suppressed sexual feelings for other women. "I wanted to get away from my husband, l loathe him, when he touches me and everything, it's disgusting" she tells Diane and Cheryl who are prepared to lend her a sympatric ear... if nothing else. As if to validate Lesley's hostility towards men, we also get to see Robert's relationship with his secretary turn sour after he eavesdrops on her badmouthing him to a co-worker (although why Robert should get his nose put out by this when she has said worse to his face is anyone's guess.) Robert's response is to lure the secretary to his house, slap her about a bit and rape her, but it turns out she likes this sort of thing, and Robert forcing himself on her causes him to go up in her estimation… so that's alright then. A few years earlier this type of behaviour would have resulted in characters' careers and social standing being destroyed in films like 'The Wife Swappers' but perhaps sensing the consequence free, comic hedonism that lay ahead for the British sex film no one suffers for their actions here. If anything Cheryl and Diane's trip to the health farm, Tom's weekend affair with a female petrol pump attendant and Robert's rape of his secretary are shown to refresh these characters and their relationships… détente is established between the two couples before the end credits and as they say in fairy tales "…they all lived happily ever after".
Miller's previous film 'A Touch of the Other' aka House of Hookers, had the feel of unfulfilled sexploitation, with potential skin flick elements largely kept on a leash, possibility due to having relatively mainstream performers Kenneth Cope and Shirley Anne Field playing the leads. Here though Miller has no qualms about delving into X-rated territory with both Amber Kammer and Hilary Labow going topless right from the outset. Their casting suggesting a grab for a big bust fetish audience, with both ladies being amply endowed in that department. Neither are any great shakes as actresses, Kammer in particular is mesmerizingly bad, single handily subverting the tone of several scenes by delivering double-entendre laced dialogue without the remotest hint that its meant to be comedic, and is so stilted in her first scene with Tristan Rogers that rather than an opening dramatic punch to the film it feels like you are watching a parody of a soap opera. Modern viewers however might be distracted from Kammer's acting by her uncanny resemblance to Victoria Coren (try to watch the film in the same light now that I've planted that wicked thought in your mind). Its not just the expected cast members that are baring the flesh here, overweight actor Patrick Tull has plenty of it to show in his role as the French chief, leaving on only his chief's hat for the scene where he fucks Diane on a table. In a greater surprise elderly actress Marjorie Summerville takes off her clothes and lives a bit in the film too, when her character Mrs. Pelham gets a topless rub down from a jack the lad masseur. Given the Whitehouse-esque traits exhibited by this character earlier in the film one wonders if ol'Miller wasn't having a bit of fun at the expense of the British sex film's No.1 nemesis before he hung up his sex film hat for good (Sex Farm was Miller's last feature film before his Global-Queensway company turned to making documentary shorts). Miller might actually have overestimated the British censor's tolerance to sex and nudity here as Sex Farm found itself initially being rejected outright by the BBFC and as a result received only a limited release in London. It wouldn't be until 1976 that a cut version of the film was granted an X-certificate for general release, it was this version released on videotape in 1979, with the climatic orgy (scored to Cliff Twemlow's DeWolfe composition 'What you put into it') and the rape scene showing signs of a tussle with James Ferman's scissors.
Of late there has been a remarkable about turn when it comes to interest in Arnold Louis Miller's films. Once a barely remembered footnote to the career of Michael Reeves and director of curiosity rousing but impossible to see nudies, these days Miller gets to have his films screened at the BFI Southbank and you can the buy the likes of Nudes of the World, West End Jungle, Primitive London and London in the Raw on DVD. The latter duo released by the BFI, an achievement that on its own pisses over Matthew Sweet's typically negative 2005 prophecy that this strand of British cinema are "films that will never be released on DVD by the British film institute". Far from being the 'forgotten embarrassment' that Sweet likes to damn the British sex film as being, Miller's films are not only enjoying a new lease of life but can claim to have had an immediate influence over other artists and filmmakers. Clips from West End Jungle have found their way into a Marc Almond music video, and that Miller film looks to have provided the visual blueprint for the black and white, early 1960s segments of Michael Winterbottom's recent Paul Raymond biopic. Old sexploitation films never sleep when it comes to finding new ways of parting the British public from their money either, and dedicated followers of fashion can now buy their own Primitive London CD soundtracks, T-shirts and mugs, a trendy London boutique even bears the name of that 1965 Miller epic. Lovely as it is to see a 90 year old retired filmmaker like Miller suddenly being appreciated on account of a career that offered him few crumps of praise while it was active, the critical establishment still seem a little more cautious about letting films of Miller's ilk in from the cold than the general public do.
Lofty reappraisals of Primitive London and London in the Raw -at first glance evidence of the genre being finally embraced by the intelligentsia – often exhibit an unwillingness to accept the material for what it is, and adopt a delusional approach of over-interpreting and over-intellectualising these films, seemingly born solely out of a need to justify these films as being 'worthy' of both the writers themselves and for highbrow consumption. Don't get me wrong I'm all for taking British exploitation cinema seriously, but when you have people making borderline 'Room 237' type claims, such as insisting scenes from Pete Walker's Frightmare are 'really' about women's fear of abortion and public menstruation, you can't help feeling that they're reading a bit too much into these films, and become suspicious of their reasons for doing so. Call me a swine for sniggering but I've lost count of the times I've seen people make fools of themselves in print by pointing to a scene in Miller's London in the Raw -in which beatniks take glamour photos for girlie magazines and eat cat food out of poverty- as a revelatory moment that shines a light of truth on the British counterculture's hither too secretive reliance on the commercial world of pornography to stay afloat- when in reality all they're watching is a bunch of youthful actors Miller hired to play beatniks for the afternoon and filmed them eating cans of tuna with cat food labels stuck on them.
Predictably a degree of cherry picking from the genre exists in these circles, with films that don't lend themselves as easy to being rethought as profound, sociological statements getting the cold shoulder. To these people the words 'George Harrison Marks' and 'David Sullivan' produces the same reaction that the sight of a heroic Peter Cushing brandishing a crucifix gets from a Hammer Vampire…but hey if the intelligentsia isn't ready for Come Play With Me, fuck 'em….for some reason Confessions of a Window Cleaner has become the real favourite whipping boy for this crowd, resulting in a film enjoyed by millions of average cinema goers, that sold all over the world and represents a true British success story, being written off by the likes of Dominic Sandbrook as a cultural embarrassment and dubbed the nadir of British cinema.
Sex Farm then will prove a little harder piece of the Miller oeuvre for this crowd to digest than those earlier films of his. Everything the genre's detractors find disreputable about these films, cheap production values, gratuitous nudity, comedy descended from equally frowned upon forms of working class entertainment…the music hall….the seaside postcard, are all alive and well and living at this Sex Farm. Phoney 'fans' of the genre, you know the type who seem to have a mental block on praising any examples of it outside of Cool it Carol and Eskimo Nell, and who use the latter as a stick to beat the rest of the genre about the head with, will find much to sneer at and ridicule here, for Sex Farm can't hide what it humbly is, nor can it be dressed up to be what it isn't. Take it or leave it, there is no middle ground with this one, if you truly understand the genre's soul then Miller's sex film swansong is yet another curtain raiser on a time where the sight of women baring their big bristols on the silver screen whilst delivering gloriously trashy dialogue like "while that mouse is away this pussy will play" was a box office crowd pleaser. For those dedicated to seeing this period concealed from the history books the mere existence of a film like Sex Farm will give them many a sleepless night.
Julian Offbeat said...
Excellent stuff, yet again.
Review: Sex Farm aka Frustrated Wives (1973, Arnol...


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Jean Case: We Must 'Be Fearless' in Order to Live Extraordinary Lives
by JEAN CASE
"Be Fearless: 5 Principles for a Life of Breakthroughs and Purpose" by Jean Case is a call to action for those who seek to live extraordinary lives. Maybe that's you. Below is an excerpt from the Introduction, Copyright © 2019 by The Case Foundation.
If you think that only a rare genius, an exceptionally privileged individual, or a massively funded organization can launch a breakthrough product or bring a world-changing movement to life, I'll introduce you in these pages to the fearless people from all walks of life who have made the unimaginable possible. You might be dazzled by their achievements, and it's easy to assume they possess extraordinary abilities or advantages that set them apart from ordinary strivers. But I have news for you. Their single common trait was this: they were all passionate about making the world better. They seized an opportunity and kept at it in spite of daunting barriers, frequent failures, and loud objections—and they succeeded. Today we look at them, our most iconic creators, and wonder how the world ever existed without their contributions. But, as you will see here, many of their stories provide inspiration and helpful hints on how we can all make a greater impact in every aspect of our lives and serve as beacons of fearlessness for others.
Today's global challenges — poverty, civil unrest, political stalemates, economic divisions, climate change—play out daily against the backdrop of our living rooms. But if these problems seem too big and complex—easier to ignore than to even attempt to solve— know that there has never been a better time to engage. An explosion of technological innovation is transforming the way we live. And if we're going to keep up with the rapid pace of change, we need to rethink the old ways of doing things.
My husband, Steve, and I started the Case Foundation in 1997 with a fearless mission: to invest in people and ideas that can change the world. This means we're always investigating and experimenting to find the best ideas out there, the best leaders, the best models for innovation. A few years ago, we engaged a team of experts to determine the "secret sauce" that propelled those rare leaders, organizations, and movements to success. They discovered five principles that are consistently present when transformational breakthroughs take place. To spark this sort of change, you must:
Make a big bet. So many people and organizations are naturally cautious. They look at what seemed to work in the past and try to do more of it, leading to only incremental advances. Every truly history-making transformation has occurred when people have decided to go for revolutionary change.
Be bold, take risks. Have the guts to try new, unproven things and the rigor to continue experimenting. Risk taking is not a blind leap off a cliff but a lengthy process of trial and error. And it doesn't end with the launch of a product or the start of a movement. You need to be willing to risk the next big idea, even if it means upsetting your own status quo.
Make failure matter. Great achievers view failure as a necessary part of advancing toward success. No one seeks it out, but if you're trying new things, the outcome is by definition uncertain. When failure happens, great innovators make the setback matter, applying the lessons learned and sharing them with others.
Reach beyond your bubble. Our society is in thrall to the myth of the lone genius. But innovation happens at intersections. Often the most original solutions come from engaging with people with diverse experiences to forge new and unexpected partnerships.
Let urgency conquer fear. Don't overthink and overanalyze. It's natural to want to study a problem from all angles, but getting caught up in questions like "What if we're wrong?" and "What if there is a better way?" can leave you paralyzed with fear. Allow the compelling need to act to outweigh all doubts and setbacks.
These five principles can be summarized in two words: Be Fearless. Taken together, they form a road map for effective change- making for people from all walks of life, but it's important to note that they aren't "rules." They don't always work in tandem or sequentially, and none is more important than another. Think of them as a set of markers that can help identify when decisions are being made fearlessly.
Click here to download an audio segment of the book.
As a philanthropist, investor and internet and impact investing pioneer, Jean Case advocates for the importance of embracing a more fearless approach to innovation and bringing about transformational breakthroughs. She currently serves on the boards of Accelerate Brain Cancer Cure (ABC2) and the White House Historical Association, as well as on the advisory boards of the Brain Trust Accelerator Fund, Stanford Center on Philanthropy and Civil Society and Georgetown University's Beeck Center for Social Impact and Innovation.
This excerpt was featured in the Jan. 27th edition of The Sunday Paper, Maria Shriver's free weekly newsletter for people with passion and purpose. To get inspiring and informative content like this piece delivered straight to your inbox each Sunday morning, click here to subscribe.
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Recent Case Law
Burden & Ors V ESR Group (NZ) Limited & Anor
High Court of New Zealand
Venning J
14 June, 3 July 2019
[2019] NZHC 1546
Copyright – remedies – at earlier trial judgment given on secondary infringement – whether fair and convenient to amend statement of claim to allow claim of primary infringement at remedies hearing – issuing copies to the public – plaintiffs also bringing second proceeding for primary infringement – defendants' strike out application – whether abuse of process – right to access justice for primary claim – s 27 New Zealand Bill of Rights Act 1990; ss 9, 16, 31 Copyright Act 1994 (NZ).
In 2014 (the 2014 proceedings) the plaintiffs successfully bought a copyright infringement claim against the first defendant ESR in respect of its actions in importing items of furniture from Vietnam and selling these in New Zealand. At first instance Duffy J issued declarations, an injunction restraining ESR from further importing, selling or dealing with the infringing products, an order for delivery up and a direction for filing affidavit evidence as to the extent of importation. The Judge reserved issues relating to damages or an account of profits.
ESR appealed and the plaintiffs cross appealed. The Court of Appeal allowed the plaintiffs' cross appeal as to the ownership of the copyright works and consequently their qualification to sue in New Zealand. The Court of Appeal also allowed the appeal in part. The court accepted that while the High Court was correct to find that ESR was liable for secondary infringement, it was only liable for importation and sale of goods after dates in August and September 2014 (when it was put on notice).
In 2018 the plaintiffs' solicitors commenced a separate set of proceedings (the 2018 proceedings) in which they alleged both primary and secondary infringement by ESR and its director. The proceedings also claimed against ESR for breach of the Fair Trading Act 1986.
Strike out application of 2018 proceedings by defendants
The defendants to the 2018 proceedings sought to strike out the 2018 proceedings on the basis of res judicata, abuse of process and insufficient particulars to establish a cause of action. The plaintiffs accepted that the Fair Trading Act cause of action should not be pursued and that, having succeeded in the secondary infringement claims in the 2014 proceedings, these should be struck out. Argument focused on striking out of the claim for primary infringement ie issuing infringing copies to the public.
Amendment application in respect of 2014 proceedings by plaintiffs
At the same time the plaintiffs sought leave to amend their claim against ESR in the 2014 proceedings to allege (as part of the adjourned remedies claim) a new cause of action alleging primary infringement. This primary infringement was the issuing to the public of infringing copies of the furniture from May 2013.
The proposed amendment application also included further infringing items that had not been expressly pleaded in the 2014 proceedings. ESR accepted that a number of these items had shape similarity in material aspects to the plaintiffs' copyright works.
The plaintiffs relied on authorities in UK intellectual property cases where, at the remedies phase, the court will often permit the plaintiff to extend the inquiry as to damages or account of profits to new causes of action (and different infringing copies) if it is fair and convenient to do so. The plaintiffs further claimed that it was consistent with the overriding objective of the High Court Rules (r 1.2) to secure the just, speedy and inexpensive determination of the proceeding to permit the amendment at this stage.
Held, refusing the amendment to the 2014 proceedings but also refusing the defendants' strike out application of the 2018 proceedings.
The amendment application
(i) The scope of the proceedings before Duffy J was a claim for secondary infringement and there was no claim for primary infringement [34]. The wording of the injunction granted was consistent with the pleading of secondary infringement – not of primary infringement which was not pleaded in the 2014 proceedings [35].
(ii) There was good reason to distinguish between permitting an amendment to enable all possible infringements that might follow from the initial liability phase and amendments which seek to plead and raise a separate basis for liability. The first should be permitted, the second should not. There was no finding in the 2014 proceedings that ESR had committed primary infringement [36]. It was quite a different issue to suggest that a fresh cause of action requiring proof of different elements should be permitted [37]. It was open to amend the pleadings at the inquiry as to damages stage to encompass the additional items of furniture as particulars; it was not open to plead and establish a separate and distinct cause of action for primary infringement given the issues that such a cause of action can give rise to [44].
Unilin Beheer BV v Berry Floor NV [2007] EWCA Civ 364; AP Racing Ltd v Alcon Components Ltd [2016] EWHC 815 (Ch), [2016] FSR28; Nokia Corporation v Liu [2009] FCAFC 138, (2009) 179 FCR 422; and Fabio Perini SPA v LPC Group PLC [2012] EWHC 911(Ch) referred to; Jeans West Corporation (NZ) Limited v G-Star Raw CV [2015] NZCA 14 distinguished.
(iii) ESR would be unfairly prejudiced at this stage of the 2014 proceedings by having to face a new cause of action at the inquiry as to damages phase [51].
(iv) As to the extent of evidence required, while the evidence might be limited to proving primary infringement, issues might arise on the subject of "issue to the public" under s 9 [52].
(v) The consideration of efficient use of judicial resources was neutral. If the plaintiffs succeeded in opposing the strike out (as they did), there would be two separate hearings, but the focus of the first hearing on damages arising from the 2014 proceedings should be relatively straight forward [53].
(vi) Leave to amend the 2014 proceedings to cover primary infringement was declined but granted so as to represent the Court of Appeal findings as to the ownership of copyright and to include secondary infringement in relation to the additional items of furniture identified in the schedules to the proposed amended claim (with one exception) [54].
The 2018 proceedings
(vii) It was wrong to hold that because a matter could have been raised in earlier proceedings, it was necessarily abusive to raise it in later proceedings. That was too dogmatic an approach. What was required was a broad merits-based judgment. The issue was whether in all the circumstances the plaintiffs' claim is an abuse [67].
Johnson v Gore Wood & Co [2000] UKHL 65; 2001 1 All ER 481 at 498 – 499 applied.
(viii) It would not be an abuse of process to permit the plaintiffs to pursue ESR with a claim for primary infringement [70]. The issue of primary infringement was not before this court or the Court of Appeal in the 2014 proceedings. While there may have been information available to the plaintiffs and their advisers which should have put them on notice that such a claim might be available, the focus of the pleading in those 2014 proceedings was on the ownership of the copyright and then on the importation and secondary infringement. It would be draconian to prevent the plaintiffs from pursuing a claim for primary infringement merely on the basis that they failed to seek leave to amend their pleadings in the 2014 proceedings to add a claim of primary infringement [71].
(ix) To deny the plaintiffs the right to pursue a claim for primary infringement in the circumstances of the case would be to deny them their right under s 27 New Zealand Bill of Rights Act 1990 to access the court to have that claim heard [72].
(x) ESR was not able to satisfy the court that the proposed claim for primary infringement was legally untenable. The test for strike out was different for the test on the application for leave to amend pleadings.
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Guess who just got older? Bösendorfer, one of the most renowned Austrian Piano makers, are celebrating their 180th anniversary this year. The piano makers have come up with a brand new limited edition product to mark their anniversary. The piano makers have created a Grand Piano that is veneered with the exclusive Vavona Maser wood which contrasts with the black lacquer impressively. This limited edition Piano is available in all model sizes from 170cm to 290cm. This limited edition is restricted to just 50 Piano's. This is sure to be one grand celebration for Bösendorfer.