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3P Reviews: The Umbrella Academy, Season One, Episode Five
May 17, 2019 November 2, 2019 angryhappyhat
Creativity: 6
Overall Plot: 5
Spoilers: Yes. Also minor spoilers for Fantastic Beasts and Where to Find Them, Game of Thrones, and Sky High. I swear that will make more sense when you get to it.
Episode Five: Number Five – ****
Part One: "Let Me Get Your Ape Hands Off of Me!"
We've found it: the best line in this series. Or indeed any series.
After the home run of the previous episode, it would be difficult for the series to maintain that level of cohesion. Unsurprisingly, this episode has some flaws, and isn't quite as tight as the previous episode — or at least the last part of it. Thankfully, it's not as loopy as the start of the previous episode either. This is a middle-of-the-road episode. That said, I think this is the point in the series where it fully figured out what it wanted to be.
The opening demonstrates the identity of the series well. We return to Five as he wanders the wastes, Dolores in tow, then skip forward to him as an adult decades later. He runs into an odd woman, who waves at him, despite the apparent desolation of the Apocalypse, and we return to the present. The poppy soundtrack is there, but it fits the tone of the scene. Beats are played to the cuts and motion of the characters, making the music seem almost subdued because it doesn't clash with the scene. The music, along with the editing and cinematography, is outlandish enough to present a distinct style — one that is fun and weird and a bit corny — but not so outlandish that it overpowers the story. The elements blend together, meaning that opinion of the opening is a matter of personal taste.
Not all of the episode is like this, but enough of it manages to convey the same sense of stylization that I'm willing to let things that would otherwise bother me slide. The style works for this show, and I can respect that. It even extends to the naming of the episode — objectively, this is a silly name considering how on-the-nose it is and how we've already had an episode focused on Five, but it's simultaneously fitting. I can't deny that I would do exactly the same thing if given the opportunity, good idea or not.
Plot-wise, this is a decent middle chapter. It has a few cohesive main storylines, which I'll get into, but most of it features plotlines ambling along as they do. Luther is more or less witless and spends the entirety of the episode looking confused and concerned, but that's somehow fitting. He gets some development eventually, don't you worry.
Grace is back, which just verifies to me that she was never really broken in the first place, which I would say undermines the emotional weight of Diego's moments surrounding her in the last two episodes. I'll explore this a bit later. Pogo is also acting suspicious again, which is kind of funny because by this point, it's obvious he was a red herring to keep us off the scent of Leonard — something the show did poorly because it dropped Pogo acting suspicious almost as soon as Leonard came onto the scene. This will never make sense.
I'm starting to love a lot of the unnecessary bunny trails and side plots, in this series, to be honest. Hazel and Cha-Cha try to remain important within the story as they negotiate the return of their time-travel briefcase. However, they remain utterly delightful despite, you know, the murdering. I especially love Hazel's fascination with Agnes the donut lady (who is from the books, actually — has the pink hat and everything). I love how he starts to pick up birding from her, and I love even more that this is completely unrelated to anything else in the story. It's very odd, and something I would normally criticize, but it's too cute for me to dislike. A random donut baker teaching a time-traveling assassin how to identify birds? What not to love?
Cha-Cha going to the library for research is similarly quaint, as is Allison using a microfiche (I have literally never seen one of these in person and I refuse to believe the internet doesn't have the newspaper clippings she wants, but it makes for a charming shot of them sitting across from one another).
The ice cream truck playing Ride of the Valkyries is one of the best images I've seen in a long time. Is is silly? Oh absolutely. It's one of the silliest things in this show, and that's saying something. It is also perfect in every way. What really makes it, I think, is Ben sitting on the dashboard going, "Weeeeeee!!!!!"
More of that, please, Season Two?
The reason for the ice cream truck is — well actually it doesn't have much reason other than the show creators saw the opportunity and took it. But it's tangentially related to Five's subplot in this episode, which mainly concerns him negotiating a deal with Hazel and Cha-Cha to talk to their (and by extension, his) boss. Back at home, Five has figured out through "equations" a list of people, one of whom will be somehow responsible for the apocalypse. He aims to murder all of them, just in case. When Luther finds out that none of these people are directly responsible for anything sinister, he opts to stop Five by holding Dolores hostage. This is a wonderful little exchange, and eventually results in them teaming up to negotiate with Five's former boss. In doing so, Five is re-hired by the time agency and ensures that his family won't die in the oncoming storm. Or does he?
Yeah, I get the sense that this plot thread was designed to extend the series a bit. It's actually something taken from the comics to a small degree, but as it manifests here, Five's foray into the time agency feels like a detour. Especially given that it separates him from all of the other characters and only advances the uninteresting end of the world plotline.
In retrospect, the ice cream truck has very little to do with any of this. It's very inconvenient to Five's subplot, actually. I'm sure you'll be shocked to learn that the ice cream truck is the brainchild of Klaus (and also Diego, presumably). Speaking of which.
Part Two: Klaus DOES NOT Like the Box
Time for the obligatory Klaus section.
Full disclosure, after about the halfway point, I think the series starts getting a bit weird with Klaus. In the first half of the season, he's a minor character who's interesting more for his fun personality than his contribution to the plot. He gets a nice payoff to his arc in the fourth episode, but even then, that's a personal subplot, not something tied to the broader narrative.
While technically speaking Klaus almost never actually contributes to the main story in any substantial way, starting with this episode, the series just decides to pile all of the character development onto him. Seriously, Klaus gets about five more complete subplots specific to him shoved between now and the end of the season. The other main characters get at most three.
And, I mean, it's Klaus, so I'm not complaining, but that's a delicate line to walk. I said at the beginning of the series that I suspected the creators of the show liked the character as much as I did, and this is partly why I said that. In the comics, Klaus is the Maryest of the Sues, and is appropriately insufferable for much of run to date. Elements of the character's potential depth are there, but the comics spend so much time trussing up how tragic and important he, while downplaying his legitimate flaws, that he becomes bereft of subtlety and his wins delegitimized.
The show makes the smart move to disempower him and keep him as an interesting side character, cutting out most of the his useful abilities from the comics and heavily restricting the one he keeps. These constraints mean the character is starting at a much lower level, so even small victories feel substantial for him. This is what made the previous episode so satisfying. However, the more the series shoves on Klaus, the closer he gets to his book counterpart, and the fewer constraints the character has that require creative workarounds. Highly flawed characters struggle more to get what they want; characters who have a lot of narrative mobility have an easier time of things and tend to gravitate toward obvious resolutions to conflicts. The show still has a lot of things it can do with Klaus because his character traits offer different foci that can conflict with one another. However, I'll start to worry if the second season focuses on him as much as it does here. Best to keep us wanting more of the fun characters instead of giving us more than we want.
But all that's in the future. This particular episode merely continues to layer the drama on Klaus. More specifically, it jumps from Klaus' big character development moment in Episode Four right into another one, as he experiences trauma in the past and returns to the present. The funny thing is, the show demonstrates an unusual amount of restraint and finesse with this new development.
Okay, well I mean he pops back into existence on the bus with dog tags and blood on his hands, so take a wild guess where he went, but unlike with Luther's tragic experience, the show takes its time in revealing what exactly happened. To some extent, I think that's kind of the point; Klaus disappearing is a comedy beat (and a brilliant one at that), so him reappearing is done in a similar ilk. The overt Vietnam war getup is similarly amusing at first, to the point where I wouldn't have put it past the series to reveal that Klaus just ended up in the middle of a firefight and endured shenanigans. Instead, the series opts to make Klaus' experience emotionally resonant, developing it as a major part of his character from this point on.
This choice is curious, but ultimately a very good move. Over the course of the episode, we get glimpses at what happened, but most significantly, a stark change in Klaus' character. He's depressed, for one, shaken from his experience and equally shake to be back. He never mentions his time-travelling to anyone, even though Five figures it out, and in fact, he never mentions this to anyone else explicitly for the rest of the season. While he retains his baseline wit, he delivers it in an exhausted manner, which isn't out of character (he speaks in the same way at the end of the first episode when talking to Ben), but is unusual for him. Diego, who spends much of the episode ferrying Klaus around and has several nice bonding moments with him, even mentions this.
Of course, the delivery sometimes leaves something to be desired. I don't mean to make light of combat trauma, and PTSD is often addressed or implied in characters who have fought in the Vietnam War specifically because that war was especially horrifying. Still, turning Klaus into a veteran so abruptly in the middle of the story is an odd way to promote character development. His arc is about becoming a mature adult, broadly speaking, but there are a lot of ways to go about telling that story. Sending him off to see the horrors of war is not only a bit cliched, it also doesn't work well for this specific character if the point is to show him the hard things Real Men have to face. Oh no, dead people, however will Klaus cope.
As his experience unfolds, we get new information that re-contextualizes our understanding of what he's going through, and that's what makes this subplot work for me. It's not just that Klaus has gone through war, it's that he's gone off for ten months of having an adult relationship with another human being and we're catching him shortly after that relationship has ended in tragedy. The revelation that Klaus was romantically involved with a fellow soldier, Dave, is rather substantial, considering his stated lack of long-term relationships and generally weak ties to his family members. Gaining a long-term romantic partner is something I would expect to change Klaus' behavior far more than merely stumbling into the Vietnam War, regardless of how that relationship ended. It's fitting that it would take a toll on him to go back to normal life after all of that, and not showing his experience to the audience lends it that much more weight. I'm not even really upset that the show opts for the "kill your gays" trope with Dave; yes, it would be nice for the gay characters to have a happy ending, but we're nowhere near the ending and no one has gotten a happy anything yet. Plus, in this series, Dave being dead seems more like a minor inconvenience than anything. I know he doesn't become a recurring dead character in this season, but it's a possibility is all I'm saying.
Oh, also, shout out to the showrunners for making Klaus' gayness a visible thing and not just lip service. That's always nice to see. Now go give Vanya a girlfriend.
Part Three: Always Label Your Murder Victims
Again, speaking of which.
So despite being emphasized as the most important character in the first episode — and arguably the point-of-view character — Vanya has played a surprisingly insubstantial role in the series so far. To recap, she has learned of her father's death, gone to his funeral (or I suppose ash-scattering would be more accurate), reconnected with her family, briefly housed Five, met and started a relationship with some man, disconnected with her family, and now she's auditioning for a new job. This sounds reasonably impressive given the time span of about about four days, until you realize that her siblings have been off time-travelling and fighting masked assassins and solving murder mysteries and getting kidnapped and otherwise having life-altering experiences at a breakneck speed. Meanwhile, Vanya's fretting over whether she's going to have coffee with her boyfriend or her sister.
Then again, that's Vanya's story, isn't it? She's the insubstantial one. Her narrative is meant to ground the absurdity of the rest of the plot because she's the normal one of the group. She doesn't have powers, nor does she have a particularly interesting life. She's not a movie star or an addict or an astronaut or anything else. She plays and teaches violin. And I love that. I do wish she had more people outside of her family to interact with so that she wasn't so tied to Leonard, but the mundanity of her day-to-day activities is sweet. Her interactions with Leonard and Allison continue to be charming, even when the story tries to shove superhero plot shenanigans into them.
The contrast between Vanya's life and those of her siblings is compelling because it offers much-needed narrative space for the overall story to grow. Often, stories with supernatural characters or epic plots or magic will lose touch with the humanity of their characters in small ways because eventually their motives all surround some contrived action plot. This is what makes Five occasionally insufferable — when he's too focused on stopping the end of the world, he's little more than an action figure. Superhero stories in particular fall into this problem a lot because they feel the need to elevate the stakes through scale, rather than intimacy.
The Umbrella Academy is somewhat unique, then, in that much of its stakes surround character interrelationships and personal growth. Yes, there's the end of the world to contend with, but for much of the show, only a handful of characters actually seem to care about this. Allison's concerns are chiefly getting her daughter back. Klaus' concerns are getting drugs and dealing with trauma. Diego's concerns are coping with grief. Even Five and Luther, who are the most plot-focused of the group, have personal interests only tangentially related to stopping the end of the world — Luther wants to live up to his father's expectations, and Five cares more deeply about his family than he lets on. Most superheroes have personal motivations, but these are usually just background details on their character sheets. In the Marvel films, for instance, characters rarely have much time to just be themselves and focus on their interests, because bad guys need getting. In a show, though, much more time can be spent on small plot threads that would be difficult to justify in a blockbuster, but ultimately come across as more fulfilling than any action setpiece.
Vanya is a particularly interesting addition to the series, because while all of the other characters participate in both personal stories and the main plot, Vanya is restricted to the former. Being powerless, she offers the unique perspective of a bystander in a superhero narrative, and not just any bystander, but a perpetual one. Characters like Vanya rarely get much volition in superhero stories, usually acting as props for the heroes to keep safe or as obstacles for the heroes, forcing them to hide their powers in an effort to look normal. Bottom line, normal characters exist to make powered characters more special, ergo the story is rarely interested in their lives.
However, unpowered characters surrounded by heroes can have highly compelling narratives themselves. Sokka from Avatar: The Last Airbender is the only unpowered character in the main group, and he occasionally points out how inadequate he feels when everyone else is off shooting magic at one another. Sokka contributes to the main group as the idea and comic relief guy, but he's a dynamic character on his own and has complex relationships with the rest of the core team.
An even more pertinent example comes from a stranger source. One of exactly two good additions to the Wizarding World franchise via the Fantastic Beats films is the muggle character Jacob. He's the audience vector, experiencing the magic of the Wizarding World for the first time, but his inability to use magic and his status as a muggle in a world not designed for him puts him at a constant disadvantage when participating in the adventure. He comes up with original solutions to problems and points out larger failings in the Wizarding World's systems when he finally comes to understand them. While I won't say the series does Jacob justice as a character, he objectively makes the films less terrible. Marginally.
Vanya's lack of interaction with her siblings frustrates me a bit because it's exactly these interactions that could bring her to be a more integral part of the story. It works with Allison — her relationship with Allison is easily the strongest part of either character's arc, and the hints about her childhood connection to Five are likewise intriguing. I like seeing all of these characters interact with one another, but I'm curious to know how Vanya would act if left to make small talk with Luther or Klaus, or even Diego. I understand that the series wants to present her as isolated from the others in the flashbacks, but there's a lot of untapped potential in her trying to forge bonds with her siblings now that they're older, no longer superheroes, and their father isn't standing in their way.
Of course, by this episode, it's clear what Vanya's actual role in the story is. Leonard has gone from being a bit suspicious to murdering one of Vanya's coworkers and leaving the corpse in the attic next her… name tag? Yeah, I'm not actually sure this ever comes back into the story. The point of it is to clear up the first violin chair so that Vanya can audition, which is actually a gorgeous scene — the use of space in the auditorium is especially effective, and I haven't touched upon it yet, but the use of violin music throughout this series is beautiful. The purpose of the scene, though, as with Leonard dumping out Vanya's pills, is to create a dramatic reveal. Surprise, surprise, Vanya actually had powers all along, and her pills were suppressing them. She doesn't realize it as she plays, but whatever her music is doing, it's creating an ominous force that seems to have an influence over people. But if she was superpowered like her siblings, why has her father been lying to her all these years and trying to suppress it? What nefarious plot is Leonard concocting with that book? And what does Pogo know about it?!?!
Yeah, considering my excitement at Vanya initially not having powers, you can imagine I'm not thrilled with this development. You can see it coming from a mile away, but given how many stories with a similar premise (Sky High, My Hero Academia, heck, even Game of Thrones if you want to include birth titles) eventually give the disempowered characters more powerful abilities than those around them, some more variety wouldn't be unwarranted. It's not that stories about weak characters proving everyone wrong by becoming stronger are necessarily bad, it's just that we don't have many stories about weak characters being valid while staying the way they are.
I have more thoughts on this, so expect me to talk more about it more in a few episodes.
Tagged Characters, Drama, Essays, Fantasy, Fiction, Graphic Novels, Longform, Reviews, Sci-fi, Television, The Umbrella Academy, Writing
Previous post3P Reviews: Fullmetal Alchemist: Brotherhood, Season Two, Episode Two (Episode Sixteen)
Next post3P Reviews: Game of Thrones, Season Eight, Episode Five


Release date. July 29, (). Running time. minutes. Country, United States. Language, English. Budget, $20 million. Box office, $ million. Cocktail is a American romantic drama film directed by Roger Donaldson and written by . That's what you want for a big commercial Hollywood movie. Tom Cruise in Cocktail () Tom Cruise and Elisabeth Shue in Cocktail .. 29 July (USA) See more» $11,,, 31 July , Wide Release Enjoy a night in with these popular movies available to stream now with Prime Video. Cocktail () on IMDb: Movies, TV, Celebs, and more Jump to: Release Dates (21); Also Known As (AKA) (21) USA (pre-release title), The Bartender.
Cocktail was a big draw at the box office in . If some other drug were treated this way in a movie, lots of outraged people -- including. One of cinema's greatest guilty pleasures, Cocktail starred Tom Cruise Bryan Brown explained that when Cruise came on board, the movie. bedrooms. What is remarkable, given the subject, is how little the movie knows about bars or drinking. Cocktail. | Roger Ebert. July 29, | 7 Print Page.
Read the Empire review of Cocktail. Find out everything Release date 1 Jan ; Certificate 15; Running time minutes; Movie Cocktail. July 29, , Page The New York Times Archives ''Cocktail,'' the movie , celebrates the sleazy life that the novel originally satirized. Cocktail Directed by Roger Donaldson Produced by Ted Field Robert W. Cort Cinematography Touchstone Pictures Distributor Buena Vista Pictures Distribution Released July 29, Running Cocktail is a romantic drama film released by Touchstone Pictures. . Disney Wiki is a FANDOM Movies Community.


Aby Sam Thomas is the Editor in Chief of Entrepreneur Middle East, a business magazine catering to the region's entrepreneurs and business-minded readership.
In this role, Aby writes and edits for Entrepreneur Middle East'smonthly print publication, as well as for its website, www.entrepreneur.com/me. He is especially interested in stories on startups and the people behind them, and finding out how they put a successful enterprise together.
Before working in the media sector, Aby was an analyst programmer with Accenture, where he worked with J. P. Morgan Chase's investment banking arm at offices in Mumbai, London and New York. He holds a Master's Degree in Journalism from the Columbia University Graduate School of Journalism in New York.


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E. C. Mobley (born 1839/40) was a lawyer and member of the Texas House of Representatives from January 11, 1881 to August 3, 1881. He defeated Hal Geiger who was seeking re-election in Robertson County, Texas in 1881. Mobley resigned his office when he moved out of the district. Geiger won the special election to replace him. He was a lawyer and a Democrat.  Originally from Georgia, he was listed as 42 years old in 1881.

See also
African-American officeholders during and following the Reconstruction era

References

Members of the Texas House of Representatives
1830s births
Year of birth uncertain
Year of death missing
1840s births
19th-century American politicians

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Rachael Ray 'Round and Square' 16-piece green Salad Plate Dinnerware Set is used for serving salads, other types of foods, Salad leaves of all kinds will look delectable when served on these vibrant Round and Square salad plates from Rachael Ray. The unique shape of these plates combines round traditional design with modern square bases.


I woke up to a beautiful sight this morning. Our garden is covered in snow, the sun is shining, and moments ago I sent Mads and Ronja off with a sled to play in the snow.
So what am I doing back here? I'm sitting on the couch, covered with a warm duvet. Frida and I took over Mads' flu that put him out of business for a few days, and now I just hope that she and I will be well for tomorrow when there's a big Christmas party at Mads' work.
Karen and her family were supposed to visit us today, but of course I had to cancel that as well. Bummer. However, 12 hours on a plane isn't much fun if you're coming down with the flu, so it's a good thing they will be back sometime during the next year!
I promised you guys a picture of Frida wearing the Dolly daisy dress, and this is it.
There was just no way to get her to stand and not chase the camera, so you will have to do with this sitting image of the dress. I can just see her wearing this dress along with the little red shoes from my own childhood – she'll be adorable.
This entry was posted in Day to day, Family, Frida, Sewing, Winter and tagged #6, 06/08, 6/2008, baby wale, corduroy, daisy, dolly dress, dress, flowers, flu, invisible zipper, ottobre, ottobre design, plum, sick, size 74, sled, snow, stenzo, stenzo kids, tunic, Winter, yoke.
What a GORGEOUS picture of the weather outside!! I hope you and your sweet girl feel better soon, the flu is such a pain. I love the dress and look forward to the onion patterns post 🙂 Rest up!
what a beautiful child! the dress is perfect for her.
ice on the trees looks so magical. we don't get very much snow, but we do get a fair amount of ice storms. i don't like what happens to the electricity, but i do love to see everything glittering in the sunlight.
ps. i will definitely be watching for the onion patterns. i have always wanted to try them.
Oh I am sorry to hear that the two of you are not feeling good. I know exactly how you feel! Haha.
Frida looks adorable in that dress, and I found the same fabric at Banberry Place if anyone is interested. Too bad I just finished ordering $100 worth of fabric from Buntefabrics, otherwise I would have grabbed it. She looks great in that dress. I cannot wait to try that pattern.
Im sad to say that we never get snow in Florida. I cannot wait to introduce it to the kids.
Oh yippee a giveaway, what a nice gesture. I will be there. Have a nice weekend even though you don't feel good Astrid.
And I love Frida's dress… you know, I was just at a new fabric store that had tons of similarly printed corduroy – 50% off. Regularly $5.99….I thought of you – so please let me know if you ever want me to pick some up for you! I mean it!
I cannot believe I didn't buy any Onion Patterns while the stores were open! Oh well, next time!
Oh, that first picture is really beautiful. Almost makes me want to live in the snow and ice :).
The little brown dress looks even cuter on!


2,7 Výsluní railway station 800 m n.m.
7,7 Nová Ves railway station 759 m n.m.
13,8 Pod Výsluním crossroads 583 m n.m.
The town has a square floor plan with the Renaissance Square in the centre, which is dominant of the village, church of St.Václav. At the square is also Empire Town Hall.
The trail leads from the village through valley of Prunéřovský stream, which is the subject of a natural park. You will find here a group of commemorative trees. You can also go to the ruins of Gothic castle Hasištejn.


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Q: ConsoleBuilder - Adding Filtering (part of Search) Features I find Microsoft's documentation for ConsoleBuilder to be poor. I've managed to create a custom device view, which almost does everything I want.
But, the search function is slow and expensive on server resources. I'm currently just pulling a static list that can be re-ordered via column headers. Does anyone know how to get the 'criteria' functionality enabled (like Powershell's Out-GridView) without using search to process the database directly?
I can't see any tabs with this set-up, so it may not be possible anyway.
Any ideas on this (or even some decent documentation in general!) would be greatly appreciated.

A: On the general tab for your particular view form in Console Builder, you will find a field called Search Folder ID. Giving this a value enables the search function.
The search function includes a criteria section, which allows you to search via all relevant fields for the displayed query datasets. The criteria search is faster than the universal searchbar function. (Details on optimising the universal search function are currently unknown to me.)

More information can be found here: https://blogs.technet.microsoft.com/matt_hinsons_manageability_blog/2013/08/21/using-configmgr-2012-console-builder-create-custom-console-nodes/
Check Step 6, more specifically

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Q: Return Twice from File Within a loop I'm trying to return a value from a file twice (the first value, then the second value) before completing the loop. It currently returns the first value from the file twice before repeating the loop.
I could save the information in separate files but I don't know how to pull the first value from each file before repeating the loop. Ideas?
This is my script:
Loop, read, C:\Users\Michael\Google Drive\AutoHotKey\Reference Files\item.txt
{
Loop, parse, A_LoopReadLine, %A_Tab%
    {
    sleep 1500
    send 1
    sleep 1500
    send {enter}
    send 52
    sleep 1500
    send {enter}
    send 4
    sleep 1500
    send {enter}
    sleep 1500
    Send %A_LoopField%
    sleep 1500
    send {enter}
    sleep 1500
    Send %A_LoopField%
}

}

A: You've already got the first value - when the loop reads the line, you've got a_loopfield - that's the value of the very first line in each file.
But you are only looking in one file!  That's why you only get one value.  If you want to loop through all the .txt files in that directory, you have to use a wildcard.
Here's a schematic for you (an idea; you'll have to tweak it):
Loop, read, C:\Users\Michael\Google Drive\AutoHotKey\Reference Files\*.txt  ;loop through all .txt files in this directory
{
    thisfile = %a_loopfield%
    Loop, parse, A_LoopReadLine, %A_Tab%  ;now parse the file that is being looped
        {
            msgbox The file is: %thisfile%`r and the first line is %a_loopfield%
            break  ;since we only want the *first* line, then don't read any more of this file
    }
}


Purpose: To upgrade KACE agents campus-wide.
Impact: Users not directly impacted, however a new "K" icon will appear in the System Tray in Windows (or Menu bar on Macs) that gives the status of the agent's connection to the KACE Systems Management Appliance. Icon also allows users or IT service providers to force an inventory update or restart the KACE agent service (a.k.a. "konea").
Affected: Marshall-owned workstations with KACE agent installed.


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El río que nos lleva és una pel·lícula espanyola de 1989 dirigida per Antonio del Real , adaptació cinematogràfica de la novel·la homònima de José Luis Sampedro. El guió era d'Antonio Larreta, supervisat pel mateix Sampedro i Del Real, la música estava a càrrec de Carles Cases i Lluís Llach, i la fotografia va ser de Federico Ribes.

Repartiment
El repartiment principal va ser el següent:
 Alfredo Landa: «el Americano»
 Tony Peck: l'irlandès Shannon
 Eulàlia Ramon: Paula
 Santiago Ramos: Dámaso
 Fernando Fernán Gómez, don Ángel
 Antonio Gamero: «Cacholo»
 Concha Cuetos: Cándida
 Ovidi Montllor: «Cuatro dedos»
 Mario Pardo: Seco
 Juanjo Artero: «el Rubio»

Guardons
La pel·lícula va ser guardonada en deu festivals internacionals i, en 1990, va rebre el Premi al millor director que concedeix l'ADIRCAE (Assemblea de Directors, Realitzadors Cinematogràfics i Audiovisuals Espanyols). També va ser declarada d'interès per la UNESCO.

Alfredo Landa va estar nominat al Goya al millor actor en la 4a edició dels Premis Goya, que finalment va guanyar Jorge Sanz per Si te dicen que caí.

Referències

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Pel·lícules d'Espanya del 1989


I have been married for a long time. So has my husband, cooincidentally.
Also, he's tall, so I married up.
Want to know how I feel about being married? Do you really?
I often have better appreciation for my spouse when he's not here. Because of him, I have three children whom I love with every molecule of my being. Because of him, we have a beautiful home to live in and because of his influence, we have much less junk around. Because of him, I drive a really great car that fits my needs perfectly.
Sometimes when he's home, his higher standards make me nervous and I start to question my competence.
This is not the way all marriages work.
But in marriage, you are tied to a person, who is, by definition, human--prone to error.
Before I continue, can I just say that, as a thirty something year old woman, I find myself quoting my parents waaaay more than I ever thought I would as a teenager?
My dad told me that "Marriage is the graduate school of life." Having never attended more than a single course's worth of graduate school, I can't say I understand this aphorism as well as my dad does, but it still speaks to me.
For the most part, married people choose their own fate, or.... their own adventure. Graduate students, I imagine, rarely end up in grad school without putting a good amount of effort into the endeavor.
And it's not a small thing!
Okay. Here's what I really think. I realize that people fall in love and that they want to be married to the person they love, but marriage is less about the love that sends chemicals around tweaking your brain, and more about the deep love that happens by choice. Marriage is where the tweaking, natural drug of love, becomes the kind of love you have for your parents. In other words, I don't think a person can expect to get a contact high off the person they marry for 80 years, but what grows instead is better.
You fall in love and you can't stop thinking about him? You feel like you will die if you don't get to see him (and kiss him) every day? Good!
But this is better: You can't stop thinking about him because he is part of you. Your home is his home. You know his imperfections intimately. He knows yours. You are not together because you forget to eat, just being around him; you are together because you choose to be. Because he holds your heart. Because you want to be there with him when he's an old man. Because just touching him lowers your blood pressure and makes you relax when you didn't realize you were tense.


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This year, I got to present along an all-star cast at the USATF SPEED Summit in NJ. Basically, the goal is to breakdown the elements of coaching based on science, and then use this science to bolster what we do on track. Smarter plan = better results. Or maybe I should say smarter people help us develop better plans? This is the conference I was most looking forward to this year, and it did not disappoint.
So let's get past the sarcasm in the title, and go straight to the big picture: if you run slow, you take short strides and your turn over isn't that quick. The only way to run faster is to increase your turnover and your stride length. So it shouldn't be a surprise when you hear that faster runners have a longer stride length than slower runners. But now we get into an interesting question…..is stride length the cause or the effect? Or more specifically, why do some runners appear to bound effortlessly over the ground?
They are stronger. About 80% of the cost of running comes from holding your body up against gravity. If you have strength reserves, it's easy to combat gravity and float from step to step. This extra strength enables more "hang-time" which translates to a longer stride length with less effort. Take home here? Get stronger.
How can you develop running specific strength? You can run. Collegiate and sponsored athletes get two workouts a day, and are racking up big miles. You know what else they do? They lift weights to develop strength reserves. Its highly likely that you don't have the time and energy to rack up monster miles each week. But take a look at your week. Can you examine your training program and budget 30 min 2x's a week for some strength work? If the answer is no, take a look back at the Achievement Triangle post…..and ask yourself where you'd like to be. And if you are over 40, this is not optional. Get strong to get faster.
This entry was posted in rehab, running, triathlon and tagged Anatomy for Runners, Dicharry, gait analysis, injury, jay dicharry, rebound physical therapy, Running injury barefoot minimalist, shin splints, speed clinic, strength training, stress fracture, technique, training, triathlon, UVA Running Medicine on June 10, 2013 by an athlete's body.
I don't know what it is, but I've always felt like my stride is shorter than a prototypical runner's. I do get a bit jealous sometimes when I see these lankier runners with long legs kind of just float by on their toes because I know that can't be what I look like when I run. How come when I take a peek at their pace on the treadmill, though, they're usually running at a slower pace than I am? Perhaps they're just recovering! I do strength training twice a week and find that my pace is still just a bit more labored than the guys with the long legs. Is that a product of my body type or does that really mean that I need to do more strength training or more miles?
tough to say from the info you are providing…..few things to keep in mind – efficient strides that seem to float by can be at any pace, and result when the person has optimized their motion, and their control of their motion into their running form. So basically, you could have issues with mobility, strength, or your form….or all 3! Sounds like a thorough running eval is in order…..
Do you have a list of the optimal strength training exercises to improve your run? Eager to incorporate strength training to try to improve my speed!
Hi Chris – I'm always a bit cautious to provide lists like this. Why? 2 reasons. First: Different people need different exercises. I've got no way of throwing out a generic list to someone that will really target their unique needs. Second: People not used to doing high intensity training need help. I get frustrated when people who've never done weight training say they tried weights and it hurt them. I can assure you that it wasn't the weights, it was the poor form the person had when doing weights. I HIGHLY recommend getting a session with myself, or someone in your area to teach you correct form. Better form = better results.