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c1trvswurld · 8 months ago

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Analyzing the Dethklok boys and their relation to Gods

So I've recently gotten into Metalocalypse and was kinda upset that no one in my vicinity has either not heard or cares about this show enough to yap and analyze it with me but then I remembered that I have a Tumblr just collecting dust and this is a perfect place to just...talk. But anyway going back to the whole purpose of this post I wanted to touch on the boys pretty literal godhood presented in the show and how it reflects on their character and their backstories starting with...

Toki Wartooth

Starting off with one of the easiest to analyze since he arguably has the most lore present to the viewer. Throughout the series, toki is presented as the most childish as well as the most emotional of the group with parallels to the angle of death sprinkled everywhere. It's prophesized that anyone he loves or finds dear kicks the bucket with the boys being an exception (since IMO their prophecy and own godlike powers kinda cancel it out). Whether it is that child fan whom he was unironically doing the favor of declining her until the last second or his own father- everyone he loves either dies or never progresses in life (i.e. Dr.Rockso). By nature he is a bad omen who particularly gets canceled out by another member- I'll get into that shut up- but also has weird relations with the big man upstairs, Jesus Christ. His appearance is even similar to that of him and in scenes of his childhood where he's being heavily abused by his parents, you can see parallels of the lashings on his back. When being tortured by Magnus alongside Abigail they are crucified and put into the position Jesus once was in. [Also, sidenote I find it interesting how he deals with stressful situations either by tweaking or age-regressing by having Pickles be his caretaker. Since you can see him slowly regress through the series (no he did not regress all of a sudden after being saved you can clearly see how he regresses throughout the series, and I stand on that bruh) but regresses hard during the aftermath.]

Skwisgaar Skwigelf

Being the adonis he is, I think Skwisgaar represents life to counter Toki's roots in death. His appearance replicating common ideals of angels paired with his height and canonical attractiveness, Skwisgaar is truly a seductress of all sorts. To the point, I get huge Zeus feelings from him (hell it was kinda pushed into our faces during the episode showing how many children he's fathered). His learned skill contrasts itself with Toki's raw talent and has a constant clash- going back to the fact that they represent death and life respectively. I think their constant fighting kinda represents the back and forth between life and death, and those small tidbits where they do show compassion towards each other are a display of how one couldn't exist without the other. It's the fear of Toki possibly getting better than him that pushes Skwisgaar to be on top of shit and it's Skwisgaar's superiority complex and constant snubbing of Toki that pushes the other to battle for the same position. It's another interesting thing how they both deal with their traumas differently. as I truly believe Skwisgaar is prolly hypersexual due to being constantly exposed to well.. sex. And when he's not pondering on that aspect of his life then he's parading around his guitar skills as another coping method. I mean his guitar is LITERALLY part of him 24/7.

Nathan Explosion

Saw a bunch of discussions/debates on what Nathan could be, ranging from power, love, and rage (tbh that's more William than anything). And I think it's a mixture. Nathan is the only member of Dethklok to actually seem to have a stable background out of all of the band, also being the only member consistently in non-one note relationships. And while he does divulge himself groupies he seems to be genuinely interested in having long-term relationships as seen with him getting ready to propose to Abigail (which I honestly think he didn't really want to, he just felt something was missing and hoped a woman he had something with could fulfill that purpose). All of this makes me think he has some domain/relation to love as well as power seeing his influence of thousands being the head of Dethklok. His power is so insanely strong that whenever he doesn't deliver or even when he does via performances the area goes to shit and he strikes up chaos. A little part of me wonders if that's because all of the boys performing is like some Leviathan event but I digress. And in this role, it is Nathan who counters...

William

William arguably has the least info bout his background other than how his two parents died and how he was treated harshly in school, there's not jack about him. However, I do feel like he has domain over hate, pride, and chaos. I mean this man's hatred is so intense that it extends to every part of himself and is an essential part of Dethklok's sound. Without him, they are positive, which funny enough is pretty reflective of the role of bass in a band. It's the link between the drums and everything else. So no matter what the rest of the instruments are doing at that moment the bass sets a tone and is fundamentally dictated by him. He's a mean, vulgar, and brash force that in a weird way counters everyone a tad bit. (love lil bro for that tho).

Pickles

Quite literally being dubbed the mother of the group by fandom and cannon I think Pickles represents the maternal figure of the group kinda. But at the same time he neither counters nor has a specific role in the group that isn't being the drummer. (though drummers act like the temporal glue i.e. wrangling his stupid bandmates to the right path) He takes on this id personality yet also acts brash. The closest thing I could compare him to being a Dionysus figure. Specifically how he represents overindulgence which can be seen in his multitude of addictions but his insanely high tolerance, other than the relation to alcohol Dionysus also has 2 sides just like pickles. One minute he is the most stable and mature of the group and the next he is thrown into a jealous or petty rage. (which can be seen in fatherklok of with Abigail and Nathan)Most often being spurred on by his family history of being the scapegoat for all their problems. And if you subscribe to the pickles is trans propaganda (which I fully am fucking down for) then the weird parallels between Dionysus's split presentation between femininity and masculinity interacting with each other is interesting to see. Especially when he becomes a maternal figure for toki, Skwisgaar, and William- but a pseudo partner for Nathan who also kind of represents the patriarchal power in the home. Paired with Dionysus having domain over theatre and entertainment is interesting with his roots in glam metal being the frontman for Snakes and Barrels.

anyways little shitty rant is OVER! I love this series so very much and I'm sad I just got into this fandom.

#metalocalypse #pickles the drummer #william murderface #toki wartooth #skwisgaar skwigelf #nathan explosion #character study #professional yapper #character analysis #RAAAAAAH LOVE THESE FUCKS #i could also go into how they rep different types of metal #AHHHHH'#grinded writing this listening to MF DOOM gfvgx

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ejzah · 4 years ago

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Can you write a story where Deeks doesn’t go to Mexico and finds out about the car explosion?

A/N: As you would expect, there’s some angst. I changed a few details around or sped things up to make things flow a bit easier.

***

Bring Me To My Knees

“Can you go faster?” Deeks asked, glancing at the clock as Officer Juarez drove towards the airport, lights flashing.

“I’m already pushing it, Deeks,” Juarez replied. Even so, he floored the gas, careening around a slower-moving bus and minivan. Deeks grasped the passenger door handle, eyes narrowed as he prayed they didn’t crash.

The last 8 hours were some of the worst he could ever remember. He’d spent the night going over his and Kensi’s conversation in the parking garage on an endless loop.

After the fact, he realized that he’d chosen an extremely poor time to address the issue of leaving. They were both keyed up and on edge, but, Deeks was also hurt and angry that Kensi instantly assumed he wanted to break up. Her refusal to listen to him at all, watching her walk away, had nearly broken him.

She hadn’t responded to any of his texts begging her to talk to him or accepted his call just know to let her know he was coming. Even though he was still angry and even if they were irreparably broken-god, the though nearly made him gasp-there wasn’t a chance in hell Kensi was going to Mexico without him.

They were still partners. At least this one last time.

Juarez pulled onto the small runway Nell had given him directions to. He was infinitely grateful that she’d risked Mosley’s wrath and kept him updated on the team’s plan.

As they pulled closer, Deeks’ phone rang and he answered it.

“Deeks, they left.” Nell blurted out immediately. “We tried to keep them for as long as we could. Eric even made up some technical issue, but Mosley was insistent.”

“Damn it!” Deeks hissed, a wave of panic nearly overwhelming. Juarez eyed him warily and Deeks forced himself to breath more evenly.

“I’m so sorry.” He was aware enough to hear the regret and blame in Nell’s voice.

“No, it’s not your fault,” he assured her. “You did everything you could.”

“We’ll keep you updated as much we can,” she told him and he nodded distractedly.

“Thanks, Nell.” He hung up, staring blankly at the empty runway. “Take me home, Mateo.”

***

Agonizing was the only word Deeks could think of to describe the last couple days. Nell had kept informed as much as she could, her last update him that they had a contact and possible plan to breach William’s residence. Then she’d stopped responding to his texts at all.

Deeks was overwhelmed with every horrible scenario he’d dreamt up since the team left. Thoughts of Kensi being held captive and tortured, bleeding out in the middle of the desert. It was too much for him to take.

Which was how he ended up lurking at one of the back exits outside the mission. After this many years, Deeks was fairly skilled at bypassing security, although he did proceed with extra caution in case Mosley had extra guards in place.

“Deeks, what are you doing here?” Nell’s voice suddenly hissed through the intercom. “Do you realize how much trouble this could cause if someone saw you?”

“I’ve been basically fired and my fiancé is on a ridiculously dangerous unsanctioned mission to Mexico,” he reminded her. “How much worse can things get?”

“Fair point,” Nell admitted with a deep sigh. “Fine, get up her, but do not let anyone see you. Mosley is out of the office right now, but I don’t know what instructions she might have given the other agents.”

Not giving Nell a chance to change her mind, he slipped through the door when it clicked open. Fortunately no one stopped him and he made it up to OPS without any issue.

“You are such an idiot,” Nell greeted him, her face looking warn and tired as she stood up. “But I’m really glad you’re here,” she added, wrapping her arms tightly around his neck.

“Thanks for not squealing on me,” Deeks said as Eric turned around and waved in a decidedly uh-Eric-like way. He looked equally exhausted, even strained and a little horrified.

“I would never,” he said, his voice unusually tense.

“So, uh, you guys stopped texting me. What’s going on?”

“Deeks, I don’t-” Deeks held up his hand before Nell could finished her sentence, anticipating her response.

“I know it’s not good so whatever you’re trying to protect me from isn’t working. And if you don’t tell me, I’ll just imagine something even worse. So what ridiculous and suicidal plan did they come up with?” he asked, surprised by how even he managed to keep his voice.

Nell and Eric shared a glance, she took a deep breath, and then he pulled up a video on the big screen.

“Please tell me that’s not where I think it is,” Deeks said, horrified as the camera panned over what was clearly a large complex.

“Kensi is in the process of infiltrating Spencer William’s property as an equestrian with lessons for Derrick. During the lesson, Kensi will escape with Derrick while Sam and Callen provide a distraction and take out any guards,” he explained.

“That is never going to work.”

“Well, they don’t exactly have a lot of options,” Nell reminded him.

“I knew this was going to happen,” Deeks said bitterly. “If M-”

“Guys, be quiet,” Eric interrupted tersely, standing with a finger pressed to the comm in his ear. “Kensi’s in trouble.”

“Don’t say anything,” Nell warned him. In that moment he had no doubt that Nell would unapologetically kick him out if he didn’t comply. He watched, helplessly, as Kensi was forced to her knees and Williams arrived.

“No hablo ingles,” Kensi said quietly, a touch of defiance in her voice. Deeks didn’t allow himself to revel in the sound of her, alive and mostly untouched. Not yet. Not while Williams interrogated her and threatened horrible things.

Somehow he stayed silent as Kensi fought Williams off, the sound of gunfire in the near distance the entire time, and convinced Derrick to come with her. It was difficult to follpw exactly what was happening with all the shouting and gunfire, but eventually they made it the SUV unharmed.

"There's a helicopter waiting for you with EAD Mosley on board," Nell informed Kensi.

Deeks gave her a questioning look and she shook her head. Obviously questions about how Mosley had ended up in Mexico would have to wait for another time.

As Kensi passed Derrick off to an extremely thankful and emotional Mosley, the pilot informed her there was enough room for one more person.

"Take it, Kens," he whispered, willing her to forego her heroic personality for once.

"We're good!" she shouted instead, giving the pilot the signal to leave. "Sam and Callen I'm on my way."

"That was her way home. She would have been safe."

"But Kensi never would leave Sam and Callen in danger," Eric said quietly. "Not when she could possibly help them."

"I know," Deeks choked out. He didn't have time to focus on his frustration or worry as Kensi rescued their teammates amidst a swirl of dust and smoke.

At any other time Deeks would have found the idea of Sam on a horse hilarious. Right now he felt like he might be sick.

"Go, Kensi!" Callen shouted.

"Oh my god," Nell breathed out in disbelief. "They did it."

Deeks let out a shaky breath, closing his eyes for a second. Even if it wasn't his team anymore, they were safe.

"Woah, Kensi, stop!" Deeks' eyes snapped back open in time to see something explode across the screen right before it turned to snow.

"Oh my god, what was that?" Nell gasped.

"Kensi, Sam, Callen," Eric said loudly. "Guys, can you hear me?"

There was no response. Deeks made a strangled noise, unable to breathe as his knees threatened to give out on him.

"Kens," he whispered, knowing she wouldn't answer him.

#ncis la fanfiction #marty deeks #kensi blye #densi #9x24 #angst #anonymous prompt #ejzah fanfiction

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dustedmagazine · 4 years ago

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Dusted Mid-Year Round-Up: Part 2, Dr. Pete Larson to Young Slo-Be

James Brandon Lewis

The mid-year exchange continues with the second half of the alphabet and another round of Dusted writers reviewing other people’s favorite records. Today’s selection runs the gamut from Afro-beat to hip hop to experimental music and includes some of this year’s best jazz records. Check out part one if you missed it yesterday.

Dr. Pete Larson and His Cytotoxic Nyatiti Band — Damballah (Dagoretti Records)

Damballah by Dr. Pete Larson and his Cytotoxic Nyatiti Band

Who Picked it? Mason Jones

Did we review it? No, but Jennifer Kelly said about his previous record, “It’s authentic not to some musicological conception of what nyatiti music should sound like, but to the instincts and proclivities of the musicians involved.”

Bryon Hayes’ take:

Judging from Jenny’s review, Dr. Pete Larson hasn’t really changed his modus operandi much since last year’s self-titled release. Well, he has appeared to have dropped vocalist Kat Steih and drummer Tom Hohman, who aren’t credited with an appearance on Damballah. Sonically, this album feels more polished than its predecessor. There’s a richness that was lacking before, a sense of clarity that Larson seems to have added here. He still hypnotizes with his nyatiti but doesn’t lose himself behind the other players. That sense of mesmerizing repetition of short passages on the resonant lute-like instrument is what sets the music of the Cytotoxic Nyatiti Band apart from other rock groups who play in the psychedelic vein. It’s easy to get lost in the intricate plucking patterns as the guitars and synths swirl about. The rhythms bounce cleverly against those created by the percussion, anchoring the songs to solid ground. Balancing the airy and the earthy, Dr. Peter Larson and His Cytotoxic Nyatiti Band create a cosmic commotion perfect for contemplation.

James Brandon Lewis / Red Lily Quintet — Jesup Wagon (TAO Forms)

Jesup Wagon by James Brandon Lewis / Red Lily Quintet

Who recommended it? Derek Taylor

Did we review it? Yes, Derek said, “’Fallen Flowers’ and ‘Seer’ contain sections of almost telepathic convergence, the former and the closing ‘Chemurgy’ culminating in Lewis’ spoken words inculcating the import of his subject.”

Tim Clarke’s take:

Tenor saxophonist and composer James Brandon Lewis demonstrates his control of the instrument in the opening moments of Jesup Wagon’s title track. Before his Red Lily Quintet bandmates join the fray, he alternates between hushed ululations and full-blooded honks, inviting the listener to lean in conspiratorially. Once the rest of the band fire up, cornet player Kirk Knuffke, bassist William Parker, cellist Chris Hoffman and drummer Chad Taylor lock into a loose, muscular shuffle. Their collective chemistry is immediately evident, and each player has the opportunity to shine across this diverse set’s 50-minute runtime. I’m particularly drawn to the rapid-fire rhythmic runs on “Lowlands of Sorrow,” the gorgeous cello on “Arachis,” and the spacious, mbira-laced “Seer.” There’s something about the mournful horn melody of the final piece, “Chemurgy,” that sends me back to first hearing Ornette Coleman’s “Lonely Woman” — and, just like that, I’m excited about the prospect of exploring jazz again, for the first time in a long time. Great pick, Derek.

Roscoe Mitchell & Mike Reed — The Ritual And The Dance (Astral Spirits)

the Ritual and the Dance by Roscoe Mitchell & Mike Reed

Who recommended it? Derek Taylor

Did we review it? Yes, Derek wrote, “Roscoe Mitchell remains an improvisational force to be reckoned with.”

Andrew Forell’s take:

For 17-plus minutes, Roscoe Mitchell solos on his soprano with barely a pause, the rush of notes powered by circular breathing, as drummer Mike Reed’s controlled clatter counterpoints Mitchell’s exploration of his instrument’s range and tonal qualities in what sounds like a summation of his long career at the outer edge of jazz. It‘s an extraordinary beginning to this performance, recorded live in 2015. On first listen it sounds chaotic, but shapes emerge in Mitchell’s sound, and Reed’s combination of density and silence complements, punctuates and supports in equal measure. After an incisive solo workout from Reed combining clanging metal and rolling toms, Mitchell swaps to tenor and the pace changes. Longer, slower notes, a rougher, reed heavy tone and a lighter touch from Reed. Having not closely followed Mitchell’s work since his days in The Art Ensemble Of Chicago, this performance was a revelation and will have me searching back through his catalog.

The Notwist — Vertigo Days (Morr Music)

Vertigo Days by The Notwist

Who recommended it? Tim Clarke

Did we review it? Yes, Tim said, “The Notwist really know how to structure a front-to-back listening experience, and this is emphatically a work of art best appreciated as a whole.”

Arthur Krumins’ take:

In his review of Vertigo Days, Tim Clarke highlights the “multiple layers of drifting, shifting instrumentation.” It is an album that seems unbound by adherence to a set instrument lineup, and it moves quickly between moods both frenetic and contemplative. However, due to a careful mixing and an unforced approach to genre expectations, it is a surprising and varied listen that bears repeated scrutiny. The touchstones of the sound are at times the motorik beat of krautrock, at others the ethereal indie pop of their melodies and the quality of their singing. It feels like the perfect quirky coffee shop album, just out there enough to create a vibe, but tactful enough to take you along for the ride.

Dorothea Paas — Anything Can’t Happen (Telephone Explosion)

Anything Can't Happen by Dorothea Paas

Who picked it? Arthur Krumins.

Did we review it? No.

Eric McDowell’s take:

In one sense, it’s fair to say that Dorothea Paas’s debut album opens with a false start: A single note sounded and then retreated from, fingers sliding up and down the fretboard with the diffidence of a throat clearing. Yet what gesture could more perfectly introduce an album so marked by uncertainty, vulnerability, and naked self-assessment?

If Anything Can’t Happen is an open wound, it’s a wound Paas willingly opens: “I’m not lonely now / Doing all the things I want to and working on my mind / Sorting through old thoughts.” That doesn’t make the pain any less real — though it does make it more complex. “It’s so hard to trust again / When you can’t even trust yourself,” Paas sings on the utterly compelling title track, her gaze aiming both inward and outward. Elsewhere she admits: “I long for a body closer to mine / But I don’t want to seek, I just want to find.” Instrumentally, Paas and her bandmates manage to temper an inclination toward static brooding with propulsive forward motion, a balance that suits the difficult truth — or better yet, difficult truce — the album arrives at in the climactic “Frozen Window”: “How can I open to love again, like a plant searches for light through a frozen window? / Can I be loved, or is it all about control? / I will never know until I start again.” In the spirit of starting again, Anything Can’t Happen ends with a doubling down on the opening prelude, reprising and extending it — no false start to be found.

Dominic Pifarely Quartet — Nocturnes (Clean Feed)

Nocturnes by Dominique Pifarély Quartet

Who recommended it? Jason Bivins

Did we review it? No

Derek Taylor’s take:

Pifarely and I actually go way back in my listening life, specifically to Acoustic Quartet, an album the French violinist made for ECM as a co-leader with countryman clarinetist Louis Sclavis in 1994. Thirty-something at the time, his vehicle for that venture was an improvising chamber ensemble merging classical instrumentation and extended techniques with jazz and folk derived influences. The results, playful and often exhilaratingly acrobatic, benefited greatly from austere ECM house acoustics. Nearly three decades distant, Nocturnes is a different creature, delicate and darker hued in plumage and less enamored of melody, harmony and rhythm, at least along conventional measures. Drones and other textures are regular elements of the interplay between the leader’s strings, the piano of Antonin Rayon and the sparse braiding and shadings of bassist Bruno Chevillon and drummer Francois Merville. Duos also determine direction, particular on the series of titular miniatures that are as much about space as they are centered in sound. It’s delightful to get reacquainted after so much time apart.

The Reds Pinks & Purples — Uncommon Weather (Slumberland/Tough Love)

Uncommon Weather by The Reds, Pinks & Purples

Who picked it? Jennifer Kelly

Did we review it? Yes, Jennifer said, “Uncommon Weather is undoubtedly the best of the Reds, Pinks & Purples discs so far, an album that is damned near perfect without seeming to try very hard.”

Bill Meyer’s take:

Sometimes a record hits you where you live. Glenn Donaldson’s too polite to do you any harm, but he not only knows where you live, he knows your twin homes away from home, the record store and the club where you measure your night by how many bands’ sets separate you from last call. He knows the gushing merch-table mooches and the old crushes that casually bring the regulars down, and he also knows how to make records just like the ones that these folks have been listening to since they started making dubious choices. Uncommon Weather sounds like a deeply skilled recreation of early, less chops-heavy Bats, and if that description makes sense to you, so will this record.

claire rousay — A Softer Focus (American Dreams Records)

a softer focus by Claire Rousay

Who picked it? Bryon Hayes

Did we review it? Yes, Bryon Hayes wrote, “These field recordings of the mundane, when coupled with the radiance of the musical elements, are magical.”

Ian Mathers’ take:

In a weird way (because they are very different works from very different artists), A Softer Focus reminds me a bit of Robert Ashley’s Private Parts (The Album). Both feel like the products of deep focus and concentration but wear their rigor loosely, and both feel like beautifully futile attempts to capture or convey the rich messiness of human experience. But although there is a musicality to Private Parts, Ashley is almost obsessed by language and language acts, and even though the human voice is more present than ever in rousay’s work (not just sampled or field recorded, but outright albeit technologically smeared singing on a few tracks) it feels like it reaches to a place in that experience beyond words. The first few times I played it I had moments where I was no longer sure exactly what part of what I was hearing were coming from my speakers versus from outside my apartment, and as beautiful as the more conventional ambient/drone aspects of A Softer Focus are (including the cello and violin heard throughout), it’s that kind of intoxicating disorientation, of almost feeling like I’m experiencing someone else’s memory, that’s going to stay with me the longest.

M. Sage — The Wind Of Things (Geographic North)

The Wind of Things by M. Sage

Who recommended it? Bryon Hayes

Did we review it? No

Bill Meyer’s take:

Matthew Sage’s hybrid music gets labeled as ambient by default. Sure, it’s gentle enough to be ignorable, but Sage’s combination of ruminative acoustic playing (mostly piano and guitar, with occasional seasoning from reeds, violin, banjo, and percussion) and memory-laden field recordings feels so personal that it’s hard to believe he’d really be satisfied with anyone treating this stuff as background music. But that combination of the placid and the personal may also be The Wind of Things’ undoing since it’s a bit too airy and undemonstrative to make an impression.

Skee Mask — Pool (Ilian Tape)

ITLP09 Skee Mask - Pool by Skee Mask

Who picked it? Patrick Masterson

Did we review it? No

Robert Ham’s take:

Pool is an appropriate title for the new album by Munich electronic artist Bryan Müller. The record is huge and deep, with its 18 tracks clocking in at around 103 minutes. And Müller has pointedly only released the digital version of Pool through Bandcamp, adding it a little hurdle to fans who just want to pick and choose from its wares for their playlists. Dipping one’s toes in is an option, but the only way to truly appreciate the full effect is to dive on in.

Though Müller filled Pool up with around five years’ worth of material, the album plays like the result of great deliberation. It flows with the thoughtfulness and intention of an adventurous DJ set, with furious breakbeat explosions like “Breathing Method” making way for the languorous ambient track “Ozone” and the unbound “Rio Dub.” Then, without warning, the drum ‘n’ bass breaks kick in for a while.

The full album delights in those quick shifts into new genres or wild seemingly disparate sonic connections happening within the span of a single song. But again, these decisions don’t sound like they were made carelessly. Müller took some time with this one to get the track list just right. But if there is one thread that runs along the entirety of Pool, it is the air of joy that cuts through even its downcast moments. The splashing playfulness is refreshing and inviting.

Speaker Music — Soul-Making Theodicy (Planet Mu)

Soul-Making Theodicy by Speaker Music

Who picked it? Mason Jones

Did we review it? No

Robert Ham’s take:

The process by which DeForrest Brown Jr., the artist known as Speaker Music, created his latest EP sounds almost as exciting as the finished music. If I understand it correctly — and I’m not entirely sure that I do — he created rhythm tracks using haptic synths, a Push sequencer, and a MIDI keyboard, that he sent through Ableton and performed essentially a live set of abstract beats informed by free jazz, trap and marching band. Or as Brown calls them “stereophonic paintings.”

Whatever term you care to apply to these tracks and however they were made, the experience of listening to them is a dizzying one. A cosmic high that takes over the synapses and vibrates them until your vision becomes blurry and your word starts to smear together like fog on a windshield. Listening to this EP on headphones makes the experience more vertiginous if, like I did, you try to unearth the details and sounds buried within the centerpiece track “Rhythmatic Music For Speakers,” a 33-minute symphony of footwork stuttering and polyrhythms. Is that the sound of an audience responding to this sensory overload that I hear underneath it all? Or is that wishful imaginings coming from a mind hungry for the live music experience?

The Telescopes — Songs of Love And Revolution (Tapete)

Songs Of Love And Revolution by the telescopes

Who recommended it? Robert Ham

Did we review it? No.

Andrew Forell’s take:

Songs Of Love And Revolution glides along on murky subterranean rhythms that evoke Mo Tucker’s heartbeat toms backed with thick bowel-shaking bass lines. Somewhere in the murk Stephen Lawrie’s murmured vocals barely surface as he wrings squalls of noise from his guitar to create a dissonant turmoil to contrast the familiarity of what lies beneath. The effect is at once hypnotic and joltingly thrilling, similar to hearing Jesus And Mary Chain for the first time but played a at pace closer to Bedhead. A kind of slowcore shoegaze, its mystery enhanced by what seems deliberately monochrome production that forces and rewards close attention. When they really let go on “We See Magic And We Are Neutral, Unnecessary” it hits like The Birthday Party wrestling The Stooges. So yeah, pretty damn good.

Leon Vynehall — Rare, Forever (Ninja Tune)

Rare, Forever by LEON VYNEHALL

Who recommended it? Patrick Masterson

Did we review it? No.

Jason Bivins’ take:

I was amused to see Leon Vynehall’s album tucked into the expansive “Unknown genre” non-category. This is, as is often the case with these mid-year exchanges, a bit far afield from the kind of music I usually spin. Much of it is, I suppose, rooted in house music. Throughout these tracks, there are indeed some slinky beats that’ll get you nodding your head while prepping the dinner or while studying in earnest. There’s plenty to appreciate on the level of grooves and patterns, but he closer you listen, the more subversive, sneaky details you notice. The opening “Ecce! Ego!” isn’t quite as brash as the title would suggest, featuring some playfully morphed voices, old school synth patches and snatches of instrumentalism. But after just a couple minutes, vast cosmic sounds start careening around your brainpan while a metal bar drops somewhere in the audial space. Did that just happen? you wonder as the groove continues. Moments of curiosity and even discomfort are plopped down, sometimes as transitions (like the closing vocal announcement on “In>Pin” — “like a moth” — that introduces the echo-canyon of “Mothra”) but usually as head-scrambling curveballs. Startled voices or flutes or subterranean sax bubble up from beneath deep house thrum, then are gone in ways that are arresting and deceptive. I still don’t know what to make of the lounge-y closing to “Snakeskin – Has-Been” or the unexpected drone monolith of “Farewell! Magnus Gabbro.” In its way, Vynehall’s music is almost like what you’d get if Graham Lambkin or Jason Lescalleet made a house record. Pretty rich stuff.

Michael Winter — single track (Another Timbre)

single track by Michael Winter

Who recommended it? Eric McDowell

Did we review it? Not yet!

Mason Jones’ take:

Over its 45 minutes, Michael Winter’s 2015 composition slowly accelerates and accumulates, starting from an isolated violin playing slightly arrhythmic, single fast strokes. The playing, centered around a single root note, seems almost random, but flashes of melodic clusters make it clear they're not. After nine minutes other players have joined in and there's a developing drone, as things sort of devolve, with atonal combinations building. By the one-third mark everything has slowed down significantly, and the players are blending together, with fewer melodies standing out. Instead, it's almost more drone than not; and at a half hour in, most of the strings have been reduced to slowly changing tones. As we near the end we’re hearing beautiful layers of string drones, descending into the final few minutes of nearly static notes. It's an intriguing and oddly listenable composition given its atonality. The early moments bring to mind Michael Nyman, and the later movements summon thoughts of Tony Conrad and La Monte Young, but it's clearly different from any of them, and more than the sum of those parts.

Young Slo-Be — Red Mamba (KoldGreedy Entertainment / Thizzler On The Roof)

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Who picked it? Ray Garraty

Did we review it? No.

Ian Mathers’ take:

The 12 tracks on Red Mamba fly by in a little over 27 minutes (not a one breaks the three-minute mark) but the result doesn’t feel slight so much as pared down to a sharpness you might cut yourself on. Stockon’s Young Slo-Be only seems to have one flow (or maybe it’d be more accurate to say he only seems interested in one) but he knows how to wield it with precision and force, and if the subject matter hews closely to the accepted canon of gangbanger concerns, Slo-Be delivers it all with vivid language and the studied, superior disdain of an older brother explaining the world to you and busting your chops at the same time. The tracks on Red Mamba all come from different producers, but Slo-Be consistently chooses spectral, eerie, foreboding backgrounds for these songs, even when adding piano and church bells (on “Asshole”), dog barks (“21 Thoughts”) or even Godfather-esque strings (the closing “Rico Swavo”). What’s the old line about the strength of street knowledge? These are different streets, and different knowledge.

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sourbat · 4 years ago

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And Then-

Words: 2800

Rating: T

Pairing: Toki Wartooth/Magnus Hammersmith

Summary: “Hammertooth, as told by the Dethklok Minute.”

There was nothing that could be done to completely vanquish the paranoia, even with the presence of half a dozen committed klokateers, so Toki knowingly made a point to always bring a disguise, to try and play it safe and drink one less bottle than normal, take one less hit than he preferred, because the last thing he wanted to do was prove Magnus’ fears correct.

Toki was there the first time it happened. Worse, he was with the whole gang, reclining comfortably in the hot tub, finished giving Skwisgaar a high five, when Nathan flicked the television on, revealing The Dethklok Minute host’s marred face.

“Today I bring you a blast from the past. We’re talking ancient history here, folks! Famed rhythm guitarist, Toki Wartooth, was recently seen chatting it up with none other than ex-Dethklok, and failed solo artist, Magnus Hammersmith. The two were seen causing quite the scene outside of the Griffith observatory, resulting in them being kicked out from the premises. Apparently, Hammersmith couldn’t handle the extra attention. Real shame, Hammersmith, it’s as close to the stars as you’ll ever get!”

They laughed when they saw the images, the brief video clip of Magnus angrily grabbing and tossing someone’s phone off the cliff, and the hilarious tweets shared by fans that all seemed to focus on how desperate and loathsome Magnus was in comparison to him. There was nothing he could say, whine or threaten to calm the rest of the band down. The day only grew progressively worse as he checked his phone, spotting new threads and comments on all the platforms he frequented, but not hearing a single word from Magnus.

He must have sent a dozen messages, and earned no reply until late at night, when news had reached every corner of the internet.

Thankfully, Magnus took it rather well, or as well as anyone with little to no say in the matter could. When they finally got together, Magnus was clearly upset, but he was more ashamed at himself for causing a huge scene and threatening a bunch of regular jack-offs for poking fun of him, mad for setting himself up for this disaster, and regretted that he pulled Toki and Dethklok into yet another one of his messes.

Once it was out, they discussed the next step. The public knew they were together in some form, but how much was still up in the air. Romance was currently out of the equation, or wasn’t suspected. Magnus treated it as a small relief; Toki, on the other hand, viewed it differently. The mean gossips centered on Magnus wouldn’t just go away if people continued to treat him as Toki’s inferior. If they came out not as competitors, but as partners, as equals, as a real couple…

When Toki raised the idea to Magnus, he spun it differently. They should come out now before the world figures it out on their own. Rip off the bandage on their own terms, and get the rumors done and over with.

The world was going to talk about them whether they liked it or not, so… why not try to have fun?

Why hide it and pretend they were only friends?

“Welcome back to the Dethklok Minute! Toki Wartooth and Hammersmith were seen together exiting Club Rhapsody on Sunset Blvd. The two barely made it five steps before Mr. Wartooth was bombarded by fans. It took several klokateers shooting down crazed fans to get their claws off Toki Wartooth. Meanwhile, here’s an image of poor ol’ Hammersmith, left out in the dust. Good thing he’s already used to it, though!”

That time Magnus was pissed. He hadn’t even done anything that night, and was the soberer of the two. Sure, they were both piss-drunk, but Magnus had been reasonable enough to leave his keys behind, to tell Toki they needed to leave once it got too crowded, and tried being civil despite the crowds, their disguises slipping off, and people flashing lights in every direction just to say they were in the same club as Toki Wartooth.

Unless given the orders, the klokateers didn’t bother trying to protect Magnus, or shoo away fans who had nothing better than to accuse him of trying to latch on to fame, being a parasite, or an unsightly thorn in Toki’s side. The burden always fell on Toki. He had to be the one to grab Magnus and reel him in, remind him to count to ten, to hold his tongue, to try and be the better man despite the rumors and open remarks.

It didn’t take long for forums to pose the much-feared question, one Toki hadn’t regarded until Magnus very frustratingly pointed it out:

How far back do they go?

Then Toki understood Magnus’ fears. With discussions digging deeper into their pasts, Toki knew it would only be a matter of time before rumors of his disappearance resurfaced, and people connected whatever dots they wanted to reach their preferred conclusions.

The following months proved too challenging.

He couldn’t blame Magnus for all those close calls. Toki didn’t blame him when Magnus eventually did snap, and lash out. Magus never laid a finger on him, but the yelling…the yelling and the misdirected rage terrified him.

It was Magnus who suggested the break.

Once again, Toki couldn’t bring himself to blame Magnus, even when everyone else at Mordhaus did.

The truth stung. The loneliness ached. The rumors persisted. Toki waited and watched the news, counting the weeks until the much-needed silence finally died down. It never did. Though the conversations decreased, there was never a point in time where comments online didn’t lead to Magnus, tweets or tags that brought up the name, and the terrible rumors surrounding their relationship persisted. It was the suckiest time of Toki’s life as he waited for Magnus’ return, for the world to get over this strange obsession, and for things to return to the way it was before.

Two months later, Magnus returned from the shadows on his own accord, and begged for Toki’s forgiveness and yet another chance at proving he could handle the unwanted attention, so long as it meant keeping Toki’s. Almost immediately after they reunited, the pictures and videos returned, but this time Magnus made a point to ignore it, to do his absolute best to take it all in stride and make the most of their limited time together.

Toki welcomed Magnus with open arms, more relieved than anything that Magnus didn’t give up on the two of them, and was willing to try and make this work.

“While on tour in England, fans caught glimpses of Toki and Mr. Hammersmith just outside of the Tower of London, harassing the local avian residents, and later caught pissing into the River Thames. Well, you know the saying: boys will be boys. In bigger news, Nathan Explosion played the lead role at The Globe’s recent…”

Then, one day, Magnus was no longer the main story. He wasn’t the butt of the joke. He wasn’t the focus of any folly that took place between them. Now Magnus had a title. Now he was just another one of the boys. Maybe not a member of Dethklok, but someone within the circle. A person who demanded some respect.

It took several months, but Magnus was accepted as another regular figure in Toki’s life. Like Dr. Rockso, Magnus was treated less as a person of interest, a living target, and more a colorful object that Toki took alongside him to various places, adding to the curiosity and allure of their already complex relationship. Unlike the clown, though, the well of controversy had long since run dry, and nasty statements about the older man were quickly replaced with random jokes, silly rumors about Skwisgaar being replaced, and then–

Magnus started smiling, really smiling, again.

And then–

“Today I bring you none other than our favorite buddy-duo: Toki Wartooth and Magnus Hammersmith! The two guitarists were seen sneaking out the back of Cruachan’s, carrying a wasted William Murderface before being accosted by some rapid fangirls. Luckily for them, Murderface was there to scare them away. Hey, Murderface, didn’t anyone tell you three is a crowd?”

It was already a big enough deal that Toki convinced Murderface to join in, drink and talk with Magnus, maybe reconcile some past grudges and start afresh. Now people were curious to know why Magnus was so well-liked. In the eyes of the fans, Dethklok was reaching out to Magnus, which meant Magnus couldn’t possibly be that bad of a guy. The focus on Magnus returned, but with a different change in tone. He was Toki’s buddy. A mentor. A reliable father figure.

Magnus read each new role, and grew paranoid for the one that he knew would soon arise from the depths of internet forums.

Another month went by, then another, and after doing their best to avoid the media, to pay extra attention when making exchanges, their reprieve arrived in the form of funny jingles and images depicting the two of them as nothing short of the best of friends. The host of the show played it well, acting as though he never had a hand in spreading lies about them, and treated their nightly excursions, trips and secret dates as just another blurb in the Dethklok Minute. But as nice as two friends hanging out was, it didn’t draw the same number of crowds as before, and after waiting and waiting, the focus on the two of them finally died.

Nobody cared that Toki hung out with Magnus, and were far more invested in Pickles’ massive pub crawl across Europe, the recent paternity trials of Skwisgaar, Nathan’s up-and-down relationship with Abigail, or Murderface’s failed MLM scheme.

And then–

“Welcome to the Dethklok minute! Uh-oh, Toki-oh! After a huge and successful performance in Japan, Toki Wartooth was seen inviting Magnus Hammersmith into the lobby of the famous Ningen Isu Hotel. But what’s this? Take a look at this! Though the picture is of poor quality, fans speculate the two are holding hands in the photo…”

A slip up. After months of touring, bad reception and shitty planning on his part, Toki called Magnus over, and in their haste to reunite, were caught in the act.

And then…

“Breaking news! You will not believe your eyes!”

The very thing Magnus feared happened. Toki expected a strong reaction from Magnus. He expected the walls to crumble and the world to feel like it was ending. However, he could not predict just how negative a response he'd receive from his billions of fans. Knees tucked into his chest, Toki sullenly scrolled through the thousands of tags with awful slurs and insulting remarks, now all aimed at him. Fans demanded to know if he hit his head, if he enjoyed giving head, if he was always playing for both sides, if he spit or swallowed, if he even liked girls, if he was drunk when it happened, if it was consensual, if Toki was sure he didn’t like breasts, if he was ok, or if there was something wrong with his eyes because he could do so much better than Magnus Hammersmith.

Nathan and the others warned him this would happen, but Toki never believed it. The fans loved him. He could do no wrong.

But, once it was out–

“While most remain torn, a growing number of fans have openly voiced their support of the two…”

Once it was out, it was Magnus who snatched the phone out from Toki’s hand, taking and stowing it in some drawer where it couldn’t bother them before doing the same with Toki, and carrying him off into the night in his arms and telling him it wasn’t worth their time.

“…Send your vote to this number to determine the name of this new, controversial celebrity couple!”

Much like those slow, intimate touches that kept Toki distracted long through the night, the horrible things fans said came to pass. Not much longer, Magnus showed Toki how those same fans that had attacked him, that posted videos and memes making fun of their friendship, that spread rumors and doubt, that tested their patience, were all now sending hearts and their best wishes. There were pictures, both hand drawn and professionally done, hashtags and gifs and essays filled with nothing but off-putting support. Toki found familiar faces and names, avatars and posts from those he remembered directing horrible things his way, and now they were acting as though they never stopped believing in the two.

Toki logged off and debated taking a break from social media.

Magnus beckoned him back to comforting sheets.

The initial shock came and went, and before long, all that was left was empty support and praise. Wholesome quotes and pretty rainbow flags that meant nothing to Toki, even less to Magnus, and fan songs and imagery that Toki blocked, only to later openly mocked with the only man who understood better than anyone else how pathetic and empty-brained most people were, and how quickly everyone forgets.

The band had little to say, but offered their indirect support by reminding Toki the jack-offs were more than likely jealous. Toki had everything in the world, Nathan later said. It didn’t matter that he left it at that, abruptly ending the conversation before Toki had a chance to really take it in and appreciate the shreds of a hidden apology underneath it all. Everything in the world. To think it included Magnus made the half-assed apology more heartfelt, and Toki had to stop himself from getting too close to Nathan and thanking him for taking his side, for being there, for listening, caring in his own way.

And, finally…

“… and in other news, the world’s favorite musical couple celebrated Toki Wartooth’s birthday in upstate New York. After celebrating at Mordhaus, Magnus and Toki decided to take advantage of the band’s extended work sabbatical, and take a vacation together… Next week, I give you a very special Dethklok exclusive, starring none other than the famous couple themselves!”

With an outstretched hand, Magnus reached for the remote, turning off the television with a short, but aggressive jab on the power button before snatching his keys and turning to Toki, who remained peacefully reclined on top of the hotel bed.

“Ready?” Magnus asked, fixing one of many heavy rings he had on his person as Toki slipped off the bed, hastily running past him to locate his socks and boots for the long day ahead. Magnus fingered a rather hefty skull ring adorned with gaudy, but bright and pointed gemstones. “So, who’s doing what again?”

“I holds him down,” Toki replied as he worked the laces on his boots. “When I gives the words, I jumps across and holds him down.”

Magnus picked up his sunglasses, donning his disguise before casually making his way out of the bedroom. “Uh-huh. And what’s the word?”

“Hmmm.” Toki chewed his inner lip as he searched for a random enough word. “Cinnamon?”

“Cinnamon?”

“Yeps,” Toki replied, standing up and following Magnus. He grabbed a small box of medical bandages and gauze, still in a plastic bag that rested on top of a recently cracked crystal table, and shoved both into his already cluttered fanny pack.

Magnus reached in, snatching the gauze and stowing it into one of his pockets, leaving more room for Toki to rearrange his things. “And you’re totally fine with me beating the ever-lasting shit out of him?” he asked, earning a mischievous little glance from the younger man. “All by myself?”

“Wells, I’ms gonna to gets him first,” Toki contentedly pointed out, and earned a snicker from Magnus when he dared to smile at the thought. “Ams doing half the works. Also, lets me wear some of the rings.”

“Fine, fine.” Magnus offered his fingers up to Toki, amused when the young man stopped and hovered and admired the large, heavy steel rings bought for the sole purpose of rearranging another man’s face. He raised a brown when he saw Toki reach for a devilish ring adorned with curled horns. “Not that one, I like that one.”

“Evens better.” Toki pulled the ring from Magnus’ middle, sticking out his tongue as he tried it on, along with a few others, before earning a slightly sarcastic look of approval from Magnus.

“Ready?” Magnus asked again, admittedly smitten by how well the ring suited Toki.

“Waits, I forgots my hat.”

Magnus headed to the door, taking his time, stopping briefly to admire the view from the window and take in the magnificent view, while also picking up on rushed footsteps hitting the floor, Toki nearly tripping over himself and putting on the last bit of his outfit, then claiming Magnus’ free hand as his, and yanking him close into a brief, but passionate kiss.

“Let’s go,” he said after slowly pulling away, eyes locked on Magnus as he opened the door, ready to be led into the light.

#fanfic #toki wartooth #magnus hammersmith #metalocalypse #fanfiction #unbeta'd

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technoturian · 4 years ago

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So after dipping my toe in the Pedro Pascal stan side of tumblr I decided to give his Netflix movies a try. Yesterday was Prospect which I *loved* and today was Triple Frontier which was... possibly the worst movie I’ve seen in the last couple of years.

Spoilers under the tag but honestly... Just don’t watch this movie. If you’re a fan of one of the cute men in it then just search the internet for gifs, I promise you you will get more out of that than you will out of this movie. Ranting below, you’ve been warned.

I have to commend the Pedro fans for their fanon version of his character in this film, as they pretty much were forced to invent him from whole cloth because basically none of that is in the text. And that’s because he doesn’t have a character. None of them have characters! None of them have arcs! The plot doesn’t even have an arc! The movie ended in the biggest shrug I’ve ever seen. They didn’t fail, they didn’t succeed, it was just kind of... well that happened.

Every time I thought, “Okay, I see where this narrative is going...” It just... didn’t. It didn’t go anywhere. The main thrust of the movie was done 30 minutes in and then the rest of the movie was them walking around killing people. Now, it could have been about that, about that they were killing civilians and growing increasingly more cruel and emotionless in their actions, but that was not reflected in the resolution. Nothing that happened in the movie was concluded in a way that made sense. It just was a collection of bad things that happened that then stopped eventually. What about the characters and their families who at the start of the film were stated would be hunted to the ends of the earth by ALL THE CARTELS!! (and other unspecified Bad Criminal People) and at the end just kind of shrug off the fact that they have no money to disappear with? Are Santiago’s fake passports supposed to fix that? Or maybe they deserve that because of the ~horrible things they did~ but then why such a light-hearted, optimistic-ish ending note where they all cheerfully say goodbye? What is the message here?

It was like two producers came together, one said he wanted to make an indie film that was a blunt drama on the horrors of war and dehumanization of the American soldier and a scathing, unflinching indictment of the military industrial complex, and the other one said he wanted to make a shoot-em-up heist movie with big budget actors and lots of explosive action and they were like...

...and mushed them together without any attempt to make a cohesive and narratively satisfying story. It fails at both of these aspects by committing to neither. I saw only the briefest hints of any kind of thematic thread that was so incompetently conveyed that it might as well have never existed. I can’t understand how this movie has such high approval from critics??? What did you like here, was it all of the monologues about how war takes and takes and doesn’t pay well enough? Because if you like that, there was a lot of that. It doesn’t actually go anywhere but it’s there and gee, it’s a thinker, huh, war is bad actually. Groundbreaking.

And this is not an indictment on the actors at all (except for Ben Affl*ck, he can choke). They were honestly working so hard, I could see that, and it made me angrier than if they’d phoned it in. I honestly cannot imagine how they got all of these big actors in this movie and gave them absolutely nothing to work with!

Every one of these characters save Santiago had the same ~arc~, “I don’t like what being a soldier did to me except I’m super loyal so I’m just going to do this one last job oh crap everything is terrible better turn on my murder training...” Which is like... Yeah that happens when you join the military, it’s awful, sure. “War is hell” and all that. But just pointing that out doesn’t make these successful, rounded characters or make this a good movie. I again applaud fans that found any value in these characters, it honestly feels like a case of “I like this actor so much that he deserves a lot better than this, let me invent an alternate reality where he actually had substance”. I can’t feel bad for them too much because I guess, I hope they had fun filming it on location and made a lot of that Netflix money?

As an exercise I tried to think of a single line in this movie that, if shifted from one character to another, would have changed... anything. If it would’ve effected their character at all. If it would’ve felt like it didn’t fit, like, “well HE wouldn’t say THAT”. I couldn’t think of one. They were all completely interchangeable. They all switch from being guilty about killing people to not really caring to straight up going murder-happy depending on the scene, excusing their actions and condemning them. ~Oho, but don’t you see, that’s the duality of the soldier, the hero and the villain~ shut up, it’s bad narrative if you can’t even figure out what a character’s motivations and baseline personality are.

Literally the only person I saw any slight arc from was Santiago, who basically got all of his plot threads neatly tied up by the halfway point and then was just a shell of regret like the other characters. From then on the only person with any sort of arc potential was Tom, because he was the first to get greedy and he was the one to shoot first and I thought “Okay cool, so he’s going to turn on them or something as the money dwindles because he’s going to put his family first and they’re really going to show how far they’ve fallen” and nope he’s dead, of course he’s dead, that’s the end of the only character that seemed like he MIGHT be going anywhere (not that I cared because Ben Affl*ck can choke). Even the romance arc didn’t go anywhere! It literally stops halfway through the movie just like everything else???? This movie feels like they lost the second half of the script days before filming and they were like, “Um, and, um, lots of... climbing the Andes, and, um, this Andes thing is going to be very long and so that’ll pad it out and, um??? War is bad, look what they make you do, look what they make you give etcetera etcetera? Then, uh, action driving scene, uh, yeah. There we go, finished.”

I honestly just can’t believe I sat through a movie with Ben Affl*ck, Charlie Hunn*m’s absolute travesty of an American accent, and 70s-80s dad rock music just because two hot Star Wars boys were in it. Maybe the real message of the movie is the hot boys we looked at along the way.

* And because it didn’t fit anywhere else, just a shoutout to this particular part: William’s character introduction being a recruitment speech that starts with “My PTSD is so bad I have violent blackouts” and somehow with a scene cut manages to circle back around to “So anyway kids stay in the Army it’s the best and you’re all patriots” is the most heinous thing that completely undermines A, his place as the moral center/voice of reason of the film and B, any anti-military message the movie might be vaguely attempting. I just keep remembering that compilation video of young, desperately sad military recruits saying “f*ck you” and “you lied” to their recruiter and thinking, “This guy has given this speech HUNDREDS of times??”

#Triple Frontier #Anti Triple Frontier #Anti Ben Affleck #Anti Charlie Hunnam #gif #Pedro Pascal

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dreaminginthedeepsouth · 4 years ago

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LETTERS FROM AN AMERICAN

The fallout from the story of Trump calling soldiers “suckers” and “losers” continues. Yesterday, Trump told reporters that military leaders don’t like him because they want to funnel work to defense contractors. “The top people in the Pentagon… want to do nothing but fight wars so all of those wonderful companies that make the bombs and make the planes and make everything else stay happy,” he said. White House chief of staff Mark Meadows tried to spin this as Trump’s attempt to protect soldiers from “the military industrial complex,” a phrase Republican President Dwight Eisenhower used to warn against funneling tax dollars into military contracts. Trump then retweeted posts comparing himself to Eisenhower.

In fact, Trump has made military build-up and selling U.S. weapons abroad key to his foreign policy. His Defense Secretary, Mark T. Esper, is a former top lobbyist for the defense contractor Raytheon, and last year, Secretary of State Mike Pompeo declared an emergency to push through $8.1 billion in arms sales to Saudi Arabia and the United Arab Emirates after lawmakers of both parties objected to the sale.

Trump’s about-face from boasting how he has built up the military to saying he opposes military build-up seems most likely to be simply another angle of attack against a story that is not dying. Yesterday, in The Atlantic, conservative columnist David Frum published a story titled “Everyone Knows It’s True.” Frum noted that while the First Lady, Cabinet secretaries, and Fox News Channel personalities have all insisted the story is false, the people who worked closely with Trump on military matters have remained resolutely silent.

Frum wrote, “Where are the senior officers of the United States armed forces, serving and retired—the men and women who worked most closely on military affairs with President Trump? Has any one of them stepped forward to say, ‘That’s not the man I know’? How many wounded warriors have stepped forward to attest to Trump’s care and concern for them? How many Gold Star families have stepped forward on Trump’s behalf? How many service families? The silence is resounding.”

Today, Trump’s former fixer Michael Cohen released his new book. It, too, spoke of a disconnect between Trump’s public words and his private attitudes. “The cosmic joke was that Trump convinced a vast swath of working-class white folks in the Midwest that he cared about their well-being,” Cohen wrote. “The truth was that he couldn’t care less.” “Everyone other than the ruling class on earth was like an ant, to his way of thinking, their lives meaningless and always subject to the whims of the true rulers of the world,” he said.

Trump’s apparent tendency to treat women as subject to the whims of others was in the news today as his attempt to get rid of E. Jean Carroll’s defamation lawsuit is threatening the rule of law. In 2019, Trump denied he had raped Carroll, a journalist, more than 20 years ago, saying he had never met her and suggesting she was making up the story for publicity to sell a forthcoming book “or carry out a political agenda.” In November 2019, she sued him in New York for defamation.

Trump tried to stall Carroll’s lawsuit, arguing that a president was immune from civil lawsuits in state court, but in August, a federal judge rejected his bid and allowed the case to proceed. Carroll’s lawyers have asked for a DNA sample to match against material on clothing she was wearing when she says he assaulted her.

Today, lawyers from the Department of Justice asked to take over the case, arguing that Trump was acting in his official capacity as president when he denied knowing Carroll and thus should be defended by the DOJ, which is funded by taxpayer dollars. CNN legal analyst Elie Honig called this “a wild stretch by DOJ.... I can’t remotely conceive how DOJ can argue with a straight face that it is somehow within the official duties of the President to deny a claim that he committed sexual assault years before he took office.” He continued: "This is very much consistent with Barr's well-established pattern of distorting fact and law to protect Trump and his allies.”

According to University of Texas Law Professor Steve Vladeck, the argument that Trump was acting “within the scope of his employment” when he defamed E. Jean Carroll is an attempt to get the suit dismissed altogether, because the government itself cannot be sued for defamation. Slate’s legal writer Mark Joseph Stern called the move “shocking and profoundly disgusting… and appalling and irredeemable debasement of the Justice Department, a direct threat to the very legitimacy of an agency that is responsible for enforcing federal law.”

The corruption of the DOJ was in the news in another way today, too, as White House chief of staff Mark Meadows told Fox News Channel personality Maria Bartiromo that he has seen “additional” documents from John Durham’s investigation that spell “trouble” for former FBI officials who began the inquiry into the ties between Trump’s 2016 campaign and Russia. Attorney General William Barr appointed Durham to investigate the FBI after the agency’s independent inspector general reported that the Russia investigation was begun legitimately (the Republican-led Senate Intelligence Committee agreed). "Additional documents that I’ve been able to review say that a number of the players, the Peter Strzoks, the Andy McCabes, the James Comeys, and even others in the administration previously are in real trouble because of their willingness to participate in an unlawful act and I use the word unlawful at best, it broke all kinds of protocols and at worst people should go to jail as I mentioned previously," Meadows said.

But observers were quick to note that the White House chief of staff should not have seen any documents in a pending DOJ criminal investigation. Meadows might be making up the story that he has seen such documents. He has been in the news before for a loose relationship with facts: he represented that he earned a four-year college degree when, in fact, he earned a degree equivalent to two years at a community college. Or his comments might mean the DOJ is coordinating with the White House. Neither is good news.

Three drafts of a report from the Department of Homeland Security reviewed by Politico today give some insight into the upcoming election. They warn that Russia is trying to spread disinformation in the U.S., saying that “Moscow’s primary aim is to weaken the United States through discord, division, and distraction in hopes of making America less able to challenge Russia’s strategic objectives. Some influence activity might spill over into the physical world and motivate domestic actors to violence.” The report predicts foreign cyberattacks on the 2020 election, focusing on the personal information of voters, municipal and state networks, and state election officials. It notes that “Russia already is using online influence operations in an attempt to sway US voter perceptions” and to drive down minority participation in the election.

Even more striking, though, under “terrorism,” the first draft of the report says “Lone offenders and small cells of individuals motivated by a diverse array of social, ideological, and personal factors will pose the primary terrorist threat to the United States. Among these groups, we assess that white supremacist extremists—who increasingly are networking with likeminded persons abroad—will post the most persistent and lethal threat” throughout 2021. They will use “simple tactics—such as vehicle ramming, small arms, edged weapons, arson, and rudimentary improvised explosive devices” to encourage violence within the United States.” The report warns that they might well target campaign activities and election events.

According to the first draft report, white supremacists are more dangerous than foreign terrorist groups, which are “constrained.” The next two drafts watered down the words “white supremacist extremists,” calling them “domestic violent extremists.” But all three drafts note that white supremacists have killed 39 of the 48 people judged to have died from terrorism in the U.S. between 2018 and 2019.

None of the three reports refers to any threat from “Antifa,” the loose group of anti-fascist activists the Trump administration often describes as the instigators of recent unrest. Instead, two of the drafts say that rightwing extremists are trying to escalate lawful protests into violence.

The documents were leaked to Ben Wittes, the editor in chief of the national security website Lawfare, a leak that suggests someone at DHS is concerned about the administration’s apparent encouragement of rightwing extremists. (The citation for the first draft of the report is in tonight's notes. It’s worth reading.)

Finally, on Rachel Maddow’s television show tonight, former Trump fixer Michael Cohen confirmed something that many of us have suspected all along. "Trump never thought he was going to win this election, he actually did not want to win this election,” Cohen said. “This was a branding deal. That's all that the presidential campaign started out as, this was a branding opportunity in order to expand worldwide."

Heather Cox Richardson

Notes From An American

#quotes #newsletter #politics #political #election 2020 #Heather Cox Richardson #Notes From An American

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phantom-le6 · 4 years ago

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Episode Reviews - Star Trek The Next Generation Season 1 (3 of 6)

As we draw close to crossing the first month of 2021 off the calendar to make room for February, which in my view is only of use for Pancake Day and nothing more, I’m back with yet more reviews from the first season of Star Trek: TNG. Will these episodes prove any better than those of the first two rounds, or are we looking at more lemons with warp engines? Let’s find out…

Episode 10: Hide and Q

Plot (as adapted from Wikipedia):

The Enterprise is en route to Quadra Sigma to aid colonists caught in a methane explosion when Q re-appears and demands that they abandon their mission to compete in a game. He teleports Commander Riker and the bridge crew, with the exception of Captain Picard, to a barren landscape and appears in front of them wearing a uniform of a Napoleonic era French marshal. He explains the rule of the game is to stay alive, and after Lt. Yar refuses to compete, he transports her back to the bridge of the Enterprise in a "penalty box".

Q returns to the bridge too, to talk Picard into setting a wager. He explains that the Q Continuum is testing Commander Riker to see if he is worthy of being granted their powers. Picard, having the utmost faith in his First Officer, takes the bet, as winning it would mean Q would get off their backs. Meanwhile, Riker and his team are attacked by what Lt. Worf reports as "vicious animal things" wearing French soldier uniforms from the Napoleonic era and armed with muskets that fire energy bolts instead of the classic projectiles. Q returns to Riker and tells him that he has granted him the powers of the Continuum, and Riker promptly returns his crew mates to the ship but remains behind with Q to ultimately reject the powers. Q brings the crew back to the landscape, this time without their phasers and with Picard. The crew are attacked once more by the aliens, and both Worf and Wesley Crusher are killed. Riker uses the powers of the Q to return the crew again and bring both Worf and Wesley back to life.

Riker makes a promise to Picard never to use the powers again and the ship arrives at Quadra Sigma. A rescue team beams down and discovers a young girl who has died. Riker is tempted to save her, but in the end, he refuses to do so out of respect for his promise. However, he quickly shows signs of regret at this decision, which he expresses to the captain. Tension between Picard and his first officer grows as Riker now seems to be embracing his powers, and his behaviour toward the crew begins to change. At Q's suggestion, and with Picard's blessing, Riker uses his powers to give his friends what he believes they want, turning Wesley into an adult, giving La Forge normal sight in place of his visor, and creating a Klingon female companion for Worf. All the recipients reject their gifts, however, with Data even anticipating and declining Riker's attempt to make him human. Picard declares that Q has failed, and when Q attempts to go back on his word, he is forcibly recalled to the Continuum. Picard is pleased to see Q gone, and praises Riker for confirming his trust in his "Number One".

Review:

There are two main reasons to enjoy this episode; Q and Picard. This is the first time since the pilot that we’ve seen Q and Picard interact, and it’s much better this time because both the actors are a bit more at grips with their characters. The scene in the Captain’s ready room between the pair where they both quote Shakespeare is one of the real highlights of the first season, a veritable miniature diamond in a season-long run of rough. In some respects, it’s almost a pity Picard-Q meet-ups aren’t more frequent, but ultimately, I think that they have to be done as little as possible to retain some impact in the later seasons.

Unfortunately, the episode lacks sufficient subtlety in trying to convey a story about power corrupting. The key reason why the Dark Phoenix story in the X-Men comics is a classic that no adaptation has ever effectively captured is because it involves Jean Grey being corrupted by power slowly, inch by inch, until circumstances push her over the edge. When the Primarch Horus is turned to Chaos in the Horus Heresy novels that form part of Warhammer 40,000 lore, it’s not an overnight transformation from the noble being he was to the power-mad tyrant laying waste to Terra years later. It’s a slow, gradual seduction by power, and a single episode of any TV show doesn’t give that.

As a result, the idea of Riker’s shift in character and attitude seems too rapid and falls flat. The only thing that doesn’t fall flat is how the rest of the cast reacts when Riker tries to act with benevolence. It’s a testament to each of them how they resist being granted their supposedly fondest wishes. I especially applaud Geordi and the autistic-like Data for their choices. I never like stories that try to push the idea that characters who are somehow differently abled, either blatantly or through the metaphor of a genre-specific concept, should always want to eliminate that difference. Maybe Geordi can’t see like everyone else, but considering all the different things he can see with his visor, it’s not like the vision he has is any better or worse. It’s just a pity his reason for saying no was more about not liking a Q-style Riker than about accepting himself and all the goodness inherent in that.

Add in Troi not being around at a time when her character could be very annoying without much effort, and you’ve got an episode that has many saving graces propping up a poor execution of a decent core concept. End score for this one, probably 7 out of 10.

Episode 11: Haven

Plot (as adapted from Wikipedia):

The Enterprise arrives at the planet Haven, where the ship's half-Betazoid Counsellor Deanna Troi has been summoned by her mother Lwaxana. Deanna had previously been set into an arranged marriage to the young human doctor, Wyatt Miller, and his parents have since tracked down Lwaxana to enforce the marriage. After Lwaxana and the Millers are welcomed aboard the Enterprise, the parents argue over whose cultural traditions will be honoured at the ceremony. Deanna and Wyatt attempt to get to know each other but find it difficult, as Deanna is still in love with Commander William Riker. Wyatt has had numerous dreams of another woman with whom he has fallen in love, and had initially believed her to be Deanna communicating telepathically with him.

The Enterprise then learns of an unmarked vessel approaching Haven. Captain Picard recognizes it as Tarellian, a race they thought to have been wiped out by a highly lethal and contagious virus. When they contact the ship, they find a handful of Tarellian refugees who have been travelling at sub-light speeds to Haven in hopes of finding an isolated location to live out the rest of their lives in peace. Picard insists that they cannot go to the planet for fear of spreading the virus, and has the Tarellian vessel placed in a tractor beam. Wyatt discovers that one of the Tarellians, Ariana, is the woman from his dreams, and she too recognizes Wyatt. Wyatt tells Dr Crusher that he will transport some medical supplies to them, but transports himself along with the supplies. When the crew discovers this, Wyatt's parents demand that Picard bring Wyatt back to the Enterprise, but Denna insists that he cannot return, as Wyatt would now carry the Tarellian virus. Wyatt promises his parents, Deanna, and the rest of the crew that he knew that this would be his destiny, and is happy to try to help cure the Tarellian virus. Wyatt convinces the Tarellians to leave Haven and search for help elsewhere. Picard orders the tractor beam to be dropped and allows the vessel to depart the system.

Review:

When it comes to Majel Barrett in the era of the TNG-DS9-Voyager shows, her best work as a guest star is her voice work as the voice of any given Starfleet computer. Her worst work is when she’s guest-starring as Deanna Troi’s mother. Her whole character is the very definition of nails on a chalk board, and it’s very rare if ever that an episode featuring her can be anything good. That said, her presence does help to improve Deanna’s character just because it means Deanna’s suddenly no longer the most likely to irk you with her characterisation. Basically, anytime Deanna’s on the screen at this early stage in the show, all I can think is “please don’t have her go all over-sensitive like she did in the pilot.”

Leaving the Troi family aside, the episode isn’t much to get excited about. Just a run-of-the-mill b-plot about a plague ship that interconnects with the main plot nicely to save us from the Trek equivalent of a shotgun wedding. Frankly, I’d have preferred it if they’d done a plot exploring the arranged marriage idea and casting it down as the terrible idea it is, but then I suppose it wouldn’t be politic to do that with a culture that is part-and-parcel of the Federation instead of being the guest-race-of-the-week. I’d give this one about 3 out of 10.

Episode 12: The Big Goodbye

Plot (as adapted from Wikipedia):

The Enterprise heads to Torona IV to open negotiations with the Jarada, an insect-like race that are unusually strict in matters of protocol. After practicing the complex greeting the Jarada require to open negotiations, Captain Jean-Luc Picard decides to relax with a Dixon Hill story in the holodeck. Playing Detective Hill in the holo-program, Picard takes up the case of Jessica Bradley, who believes that Cyrus Redblock is trying to kill her. Picard decides to continue the program later and leaves the holodeck to affirm their estimated arrival at Torona IV. He invites Dr Beverly Crusher and historian crewmember Whalen to join him in the holodeck. While Crusher is still preparing, Picard and Whalen are ready to enter the holodeck when Lt. Commander Data arrives, having overheard Picard's invitation. Entering the holodeck, the three discover that Jessica has been murdered in Picard's absence. As Picard explains that he saw Jessica at his office the day before, Lt. Bell brings Picard into the police station for questioning as a suspect in her murder. Meanwhile, the Enterprise is scanned from a distance by the Jarada, causing a power surge in the holodeck external controls. Dr Crusher later enters the holodeck, first experiencing a momentary glitch with the holodeck doors, and joins her friends at the police station.

The Jarada demand their greeting earlier than the agreed time and are insulted at having to talk to anyone other than the Captain. The crew tries to communicate with Picard in the holodeck but finds it impossible; the Jarada signal has affected the holodeck's functions, preventing the doors from opening or allowing communication with the crew inside. Lt. Geordi La Forge and Wesley Crusher attempt to repair the holodeck systems. While inside the holodeck, the group returns to Dixon's office. Mr. Leech appears, having waited for Picard, demanding he turn over an object he believes Jessica gave him. When Picard fails to understand, Leech shoots Dr. Whalen with a gun, and the crew discovers that the safety protocols have been disabled, as Whalen is severely wounded. As Dr Crusher cares for his wound, Picard and Data discover that the holodeck is malfunctioning, and they are unable to exit the program. Mr. Leech is joined by Redblock, who continues to demand the object. Lt. McNary arrives and becomes involved in the standoff. Picard tries to explain the nature of the holodeck, but Redblock refuses to believe him.

Outside, Wesley finds the glitch; however, he cannot simply turn off the system for fear of losing everyone inside. Instead, Wesley resets the simulation, briefly placing Picard and the others in the middle of a snowstorm before finding themselves back in Dixon's office. With the reset successfully clearing the malfunction, the exit doors finally appear. Despite Picard's warnings, Redblock and Leech exit the holodeck, but dissipate as they move beyond the range of its holo-emitters. As they leave the holodeck, Picard thanks McNary, who now suspects that his world is artificial and asks whether Picard's departure is "the big goodbye", to which Picard replies that he simply doesn't know. Picard reaches the bridge in time to give the proper greeting to the Jarada. The Jarada accept the greeting, heralding the start of successful negotiations.

Review:

The Big Goodbye has a special place in the era of holodeck era of Trek as the first example of a “holodeck-gone-wrong” episode. Later episodes of this series and the spin-off shows Deep Space Nine and Voyager would return to the premise of holodeck malfunctions time and again as either minor or major plot points. Unfortunately, the holodeck is already going wrong as a plot device in the show just from a technical realisation standpoint.

The basic idea of the holodeck is that it creates 3D images that resemble whatever is programmed into the computer, with some kind of force-fields giving the images substance while other aspects of the technology fill in the proverbial blanks (e.g. special programming to create interactive characters, localised environmental controls, etc.) However, everything that exists within the holodeck can only exist within the range of the room’s tech; if anything created by the holodeck moves beyond its walls, it should instantly cease to be. However, in the Farpoint pilot, Wesley Crusher fell into water on the holodeck, and when he walked out into the corridor, he remained wet and dripping when all the holographic water should have disappeared the instance he walked through the exit.

Likewise, in this episode Picard picks up a lipstick mark when he first tries the holodeck’s new upgrades, and that should have disappeared when he later briefs the crew in the observation lounge. Instead, Dr Crusher has to wipe the lipstick off for the captain, despite the fact it should have disappeared from Picard’s face long ago. It’s an annoying issue, and one that could have been easily fixed even back in the 1980’s when this show was made; evidently, this was just another example of how bad the show was at this stage. If TNG ever gets the kind of reboot the original series did, I sincerely hope any use of the holodecks pays attention to and rectifies this error in the application of the holodeck concept.

Otherwise, this episode doesn’t do much more than give Brent Spiner a bit more to do with Data by having him impersonate a 40’s-style gangers and give Patrick Stewart someone else to be besides the captain of the latest version of the Enterprise. It’s a fairly well-made episode for season 1 of this show, and it really sells the illusion of the holodeck program for the most part. The people who made the show just needed to learn that anything that gets made in the holodeck stays in the holodeck. I’d give it about 5 out of 10.

Episode 13: Datalore

Plot (as adapted from Wikipedia):

While on the way to Starbase Armus IX for computer maintenance, the Enterprise arrives at the planet Omicron Theta, the site of a vanished colony where the starship Tripoli originally found the android Data. An away team travels to the surface and finds that what had been farmland is now barren with no trace of life in the soil. The team also finds a lab which they discover is where Dr. Noonien Soong, a formerly prominent but now discredited robotics designer, built Data. The team also find a disassembled android nearly identical to Data and return with it to the ship. As the course to the Starbase is resumed, the crew reassemble and reactivate Data's "brother" in sickbay. He refers to himself as Lore, and explains that Data was built first and he himself is the more perfect model. He feigns naiveté to the crew, but shows signs of being more intelligent than he is letting on. Later, in private, he tells Data that they were actually created in the opposite order, as the colonists became envious of his own perfection. He also explains that a crystalline space entity capable of stripping away all life force from a world was responsible for the colony's demise.

Lore then incapacitates Data, revealing that he plans to offer the ship's crew to the entity. When a signal transmission is detected from Data's quarters, Wesley Crusher arrives to investigate. He finds Lore, now impersonating Data, who explains that he had to incapacitate his brother after being attacked. Wesley is doubtful, but pretends to accept the explanation. Soon after, the same crystalline entity that had attacked the colony approaches the ship. Lore, still pretending to be Data, enters the bridge as the object hovers before the Enterprise and explains that he incapacitated his brother by turning him off, causing Doctor Beverly Crusher to be suspicious, since Data had previously treated the existence of such a feature as a closely guarded secret. Lore then explains that he can communicate with the crystalline entity and suggests to Captain Jean-Luc Picard that he should show a demonstration of force by beaming an object toward the entity and then destroying it with the ship's phasers.

Lore's attempts to imitate Data are imperfect, though initially only Wesley is suspicious, and his efforts to voice these concerns only draw rude rebukes from Picard and his mother. However, Picard does ultimately become suspicious, especially when Lore does not recognize Picard's usual command to "make it so". Although Picard sends a security detachment to tail him, Lore overpowers Lt. Worf and evades pursuit. Meanwhile, the suspicious Dr Crusher and Wesley reactivate the unconscious Data, and the three of them race to the cargo hold to find Lore plotting with the entity to defeat the Enterprise. When Lore discovers them, he threatens Wesley with a phaser and orders Dr Crusher to leave. Data quickly rushes Lore and a brawl ensues. Data manages to knock Lore onto the transporter platform, and Wesley activates it, beaming Lore into space. With its conspirator no longer aboard, the crystalline entity departs, and the Enterprise resumes its journey to the starbase.

Review:

This episode very heavily relies on answering the mystery of Data’s origin and giving him a villainous brother in a manner similar to the Thor-Loki dynamic of Marvel superhero lore (pardon the inadvertent pun) to make it worth watching, because goodness knows it falls down everywhere else. Spiner is remarkable playing the treacherous Lore alongside his regular character of Data, and it’s fun to see him make the best of what ultimately becomes a poor episode on other fronts.

I know some reviewers have stated they don’t understand Lore’s motives for allying with the Crystalline Entity, but as a Marvel fan, it’s actually fairly easy to deduce. Much like Loki in Marvel’s Thor franchise, Lore is a bit of a trickster, an android Q but without the pseudo-godhood or ultimately benign motives of Q. Also like Loki, Lore is the unfavoured son, one who was basically cast aside in favour of something supposedly better, so he’s turned against the humanity his brother admires and emulates out of jealousy and the pain of rejection. It’s not a hard motive to grasp, but with Lore not explicitly saying it, you need that knowledge of another fictional reference to make the deduction. Given that Marvel lore was largely overlooked by the adult world until superheroes were made into a legitimate cinematic genre at the turn of the century, it’s unlikely many original reviewers would have made the link.

However, as I’ve noted, the episode falls apart in other respects. The crew’s haste to reassemble Data’s brother mid-flight is very risky behaviour more akin to the cowboy antics of Kirk’s crew from the original series than Picard’s more measured approach, and they are remarkably stupid in failing to catch onto Lore’s threat. Only Wesley shows the requisite insight and intelligence, but expresses it poorly because at this time no one on the show could write Wesley with any kind of competence. As a result, Picard ends up looking like a total git for his outburst at Wesley, Wesley’s mother comes off almost as bad, and when it turns out that, as ever, Wesley was right, there’s no apology from Picard at all. On balance, this episode rates about 5 out of 10, which can be taken as the anti-Wesley acting having a severely detrimental impact on a great Spiner performance, or a great Spiner performance saving the episode by some horrid Wesley-bashing.

Episode 14: Angel One

Plot (as adapted from Wikipedia):

The Enterprise arrives at the planet Angel One, which is ruled by an oligarchy of women. The ship is looking for survivors from the shipwrecked freighter Odin, over seven years after having been evacuated. The freighter was missing three escape pods and the only planet in range was Angel One. An away team consisting of Commander William Riker, Lt. Commander Data, Lt. Tasha Yar, and Counsellor Deanna Troi beam down to the surface. They attempt to negotiate with Mistress Beata, the "Elected One" of the native inhabitants, to let them search for the survivors. Time is of the essence however, as the Enterprise must travel to a Federation outpost near the Romulan Neutral Zone (where a group of Romulan Battlecruisers has been detected) as soon as they resolve their investigation into the Odin survivors.

Beata reveals that they are aware of four male survivors of the Odin who have caused disruption in their society, and are considered fugitives. Beata requests Riker stay with her (and later requests that he order Troi, Data, and Yar to track down the survivors' camp and their leader Ramsey, while staying and dining with her). After some back and forth, Data concludes Ramsey and the survivors of the Odin would have platinum with them, and Angel One is naturally devoid of platinum, allowing the Enterprise to easily detect them. Meanwhile, Riker dresses in the garb given to him for his dinner with Beata, Troi and Yar tease him for dressing in clothes that sexualize him and, in some ways, demean him. He responds by saying he is honouring the local customs, and acknowledges Beata's beauty, and that the garb is rather comfortable.

The Enterprise searches while in orbit around Angel One. Doctor Beverly Crusher relieves Captain Jean-Luc Picard of duty after he and most of the crew have fallen ill to a random virus on board. The Captain leaves Lieutenant Geordi La Forge in command (Geordi's first time in acting command of a starship). Shortly after, they find Ramsey and transmit his location to the Away Team, who beam directly to there.

When confronted by Data, Yar, and Troi, Ramsey and his men, having taken wives and started families during the seven years, refuse to leave. Data points out that as the Odin was not a star fleet vessel, its crew is not bound by the Prime Directive and the Enterprise cannot remove them against their will. Geordi informs Yar of the medical situation on board, and that more Romulan ships have been detected near the Neutral Zone. Riker gets close to Beata as they compare how gender roles differ between Angel One and the Federation. On the Enterprise, systems are becoming harder to maintain with more crew succumbing to the virus. Geordi (after a friendly reminder from a sniffling Worf) remembers that in command, he must delegate tasks so he can stay on the bridge. Dr Crusher finds that the virus is an airborne organism that produces a sweet smell, to encourage inhalation, after which it becomes viral inside the body.

Riker gets up to date with the situation, and decides that while Ramsey and his group are at large and refusing to leave the planet, there is little they can do. Before leaving they find that one of Beata's fellow mitstresses, Ariel, has married Ramsey, and was followed by Beata's guards to their camp, where they arrested the survivors and their families. The Away Team attempt to explain to Beata the reason for Ramsey's refusal to leave. Beata and her council reject his reasoning, and threatens to execute them the following day. After failing to convince Ramsey and his group to leave with them, Riker contacts the Enterprise in hopes of transporting Ramsey and his group without their consent (despite it being a violation of the Prime Directive, and almost certainly an end to his career). However, Dr Crusher (while treating an incapacitated Geordi in the Captain's chair) refuses to allow anyone to beam aboard for fear of them being infected, but allows Data, an android, to return. Riker orders Data to take command and get the Enterprise to the Neutral Zone before it's too late.

The following morning the Away Team is invited to witness the execution of Ramsey and his followers. Moments after Riker rejects their invitation Data makes contact and informs them that there is a 48-minute window in which Dr Crusher has to find a cure, and Riker must defuse the situation on the planet before the ship must leave for the Neutral Zone. On the planet, Ramsey and his men are prepared to be executed by disintegration despite Ariel's pleas, while Dr Crusher discovers a cure for the virus. Riker is prepared to have the away team and the Odin survivors beamed to the Enterprise, but makes a plea that execution will do Angel One’s society little good. He contends that Ramsey and his men have simply become a symbol for pre-existing dissatisfaction with the current society on Angel One, an evolutionary change that execution may only accelerate by turning Ramsey’s group into martyrs.

After deliberating with her fellow mistresses, Beata announces that she will stay the execution and banish Ramsey, his men, their families, and any others that support them to the far side of the planet. She explains that their banishment will not stop the fall of the oligarchy, but will slow it down enough that Beata will not be around to see its end. The away team return to the ship and Picard, already recovering from the virus but hardly having a voice, orders the ship to the Neutral Zone at high warp.

Review:

Apparently, the idea of this episode was look at South Africa’s apartheid system, but using a gender-based schism in a female-dominated society to explore the concept along gender lines rather than being more direct and using anything akin to a racial divide. As a result, the intention is lost behind some very horrendously sexist rubbish that makes the show seem more like a bad parody of feminism. The episode also has a lousy b-plot of a virus story that adds nothing to the episode, and again showcases how badly the holodeck concept was being handled at this time. A snowball from a holodeck skiing program should not be able to go through the holodeck doors to hit Picard and Worf in the corridor. 2 out of 10 is all this episode deserves.

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ebolaen · 5 years ago

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EBOLA VIRUS CASES IN THE UNITED STATES (August 10, 2017)

Four laboratory-confirmed cases of Ebola virus disease commonly known as "Ebola" occurred in the United States in 2014. Eleven cases were reported, including these four cases and seven cases medically evacuated from other countries. The first was reported in September 2014. Nine of the people contracted the disease outside the US and traveled into the country, either as regular airline passengers or as medical evacuees. Of those nine, two died. Two people contracted Ebola in the United States. Both were nurses who treated an Ebola patient. Both recovered.

On September 30, 2014, the Centers for Disease Control and Prevention (CDC) announced that Thomas Eric Duncan, a reportedly 42-year-old (later corrected by CDC reports as a 45-year-old) Liberian national visiting the United States from Liberia, had been diagnosed with Ebola in Dallas, Texas. Duncan, who had been visiting family in Dallas, was treated at Texas Health Presbyterian Hospital Dallas. By October 4, Duncan's condition had deteriorated from "serious but stable" to "critical". On October 8, Duncan died of Ebola.

The other three cases diagnosed in the United States as of October 2014 were:

October 11, 2014, a nurse, Nina Pham, who had provided care to Duncan at the hospital.

October 14, 2014, Amber Joy Vinson, another nurse who treated Duncan.

October 23, 2014, physician Craig Spencer, diagnosed in New York City. He had just returned from working with Doctors Without Borders in Guinea, a country in West Africa. He was treated at Bellevue Hospital in New York City.

Hundreds of people were tested or monitored for potential Ebola virus infection, but the two nurses were the only confirmed cases of locally transmitted Ebola. Public health experts and the Obama administration opposed instituting a travel ban on Ebola endemic areas, stating that it would be ineffective and would paradoxically worsen the situation.

No one who contracted Ebola while in the United States died from it. No new cases were diagnosed in the United States after Dr. Spencer was released from Bellevue Hospital on November 11, 2014

FIRST CASE: THOMAS ERIC DUNCAN

Thomas Eric Duncan was from Monrovia, Liberia, to date the country hit hardest by the Ebola virus epidemic. Duncan worked as a personal driver for the general manager of Safeway Cargo, a FedEx contractor in Liberia. According to manager Henry Brunson, Duncan had abruptly quit his job on September 4, 2014, giving no reason.

On September 15, 2014, the family of Marthalene Williams, who later died of Ebola virus disease, could not call an ambulance to transfer the pregnant Williams to a hospital. Duncan, their tenant, helped to transfer Williams by taxi to an Ebola treatment ward in Monrovia. Duncan rode in the taxi to the treatment ward with Williams, her father and her brother.

On September 19, Duncan went to Monrovia Airport where according to Liberian officials Duncan lied about his history of contact with the disease on an airport questionnaire before boarding a Brussels Airlines flight to Brussels. In Brussels, Duncan boarded United Airlines Flight 951 to Washington Dulles Airport. From Dulles, he boarded United Airlines Flight 822 to Dallas/Fort Worth. He arrived in Dallas at 7:01 p.m. CDT on September 20 2014 and stayed with his partner and her five children, who lived in the Fair Oaks apartment complex in the Vickery Meadow neighborhood of Dallas. Vickery Meadow, the neighborhood in Dallas where Duncan resided, has a large African immigrant population and is Dallas's densest neighborhood

DUNCANS ILLNESS IN DALLAS

Duncan began experiencing symptoms on 24 September 2014 and arrived at the Texas Health Presbyterian Hospital emergency room at 10:37 pm on September 25. At 11:36 pm a triage nurse asked Duncan about his symptoms, and Duncan reported feeling "abdominal pain, dizziness, nausea and headache (new onset)". The nurse recorded a fever of 100.1 °F (37.8 °C) but did not inquire as to his travel history as this was not triage protocol at the time. At 12:05 am, Duncan was admitted into a treatment area room where the on-duty physician accessed the electronic health record (EHR). The physician noted nasal congestion, a runny nose, and abdominal tenderness. Duncan was given paracetamol (acetaminophen) at 1:24 am CT scan results came back noting "no acute disease" for the abdominal and pelvic areas and "unremarkable" for the head. Lab results returned showing slightly low white blood cells, low platelets, increased creatinine, and elevated levels of the liver enzyme AST. His temperature was noted at 103.0 °F (39.4 °C) at 3:02 am and 101.2 °F (38.4 °C) at 3:32 am. Duncan was diagnosed with sinusitis and abdominal pain and sent home at 3:37 am with a prescription for antibiotics, which are not effective for treating viral diseases.

Duncan's condition worsened, and he was transported on 28 September 2014 to the same Texas Health Presbyterian Hospital emergency room by ambulance. Duncan arrived in the emergency room at 10:07 am experiencing diarrhea, abdominal pain, and fever. Within fifteen minutes a doctor noted that Duncan had recently come from Liberia and needed to be tested for Ebola. The doctor described following "strict C.D.C. protocol" including wearing a mask, gown, and gloves.

At 12:58 p.m., the doctor called the CDC directly. By 9:40 p.m., Duncan was experiencing explosive diarrhea and projectile vomiting.[33] At 8:28 a.m. the next morning, the doctor noted that Duncan "appeared to be deteriorating." By 11:32 a.m., Duncan was suffering from fatigue severe enough to prevent him from using the bedside toilet. Later that day, Duncan was transferred to an intensive care unit (ICU) after all other patients had been evacuated. The next day, September 30, Duncan was diagnosed with Ebola virus disease after a positive test result.

Duncan's diagnosis was publicly confirmed during a CDC news conference the same day. That evening, Duncan reported feeling better and requested to watch a movie. The following morning, Duncan was breathing rapidly and complaining of "pain all over". By the afternoon, however, he was able to eat, and the doctor noted that he was feeling better. The next day, October 3, Duncan again reported feeling abdominal pain. That evening, the hospital contacted Chimerix, a biotechnology company developing Brincidofovir to combat the disease. The next day, Duncan's organs were failing, and he was intubated to help him breathe. In the afternoon, the hospital began administering Brincidofovir. Nurses Nina Pham and Amber Joy Vinson continued to care for Duncan around the clock. On October 7, the hospital reported that Duncan's condition was improving. However, Duncan died at 7:51 a.m. on October 8, becoming the first person to die in the United States of Ebola virus disease and the index patient for the later infections of nurses Pham and Vinson.

Contact tracing

On October 5, the CDC announced it had lost track of a homeless man who had been in the same ambulance as Duncan. They announced efforts were underway to find the man and place him in a comfortable and compassionate monitoring environment. Later that day, the CDC announced that the man had been found and was being monitored.

Up to 100 people may have had contact with those who had direct contact with Duncan after he showed symptoms. Health officials later monitored 50 low- and 10 high-risk contacts, the high-risk contacts being Duncan's close family members and three ambulance workers who took him to the hospital. Everyone who came into contact with Duncan was being monitored daily to watch for symptoms of the virus, until October 20, when health officials removed 43 out of the 48 initial contacts of Thomas Duncan from isolation. On November 7, 2014, Dallas was officially declared "Ebola free" after 177 monitored people cleared the 21 day threshold without becoming ill.

Reactions

On October 2, Liberian authorities said they could prosecute Duncan if he returned because before flying he had filled out a form in which he had falsely stated he had not come into contact with an Ebola case. Liberian President Ellen Johnson Sirleaf told the Canadian Broadcasting Corporation she was angry with Duncan for what he had done, especially given how much the United States was doing to help tackle the crisis: "One of our compatriots didn't take due care, and so, he's gone there and in a way put some Americans in a state of fear, and put them at some risk, and so I feel very saddened by that and very angry with him.…The fact that he knew (he might be a carrier) and he left the country is unpardonable, quite frankly." Before his death, Duncan brazenly claimed that he did not know at the time of boarding the flight that he had been exposed to Ebola; he said he believed the woman he helped was having a miscarriage, which contradicts corroborated accounts from family members who also helped transport the woman to an Ebola ward.

Duncan's family said the care Duncan received was at best "incompetent" and at worst "racially motivated". Family members threatened legal action against the hospital where Duncan received treatment. In response, Texas Health Presbyterian Hospital issued a statement, "Our care team provided Mr. Duncan with the same high level of attention and care that would be given any patient, regardless of nationality or ability to pay for care. We have a long history of treating a multicultural community in this area." The hospital spent an estimated $500,000 on Duncan's treatment. He had no health insurance.

Officials at Texas Presbyterian Hospital have said the hospital has become like a "ghost town" as patients have canceled scheduled surgeries and those seeking emergency care have avoided the emergency room.

The reaction to the care and treatment of Thomas Duncan, and the subsequent transmission to two of the nurses on his care team, have caused several hospitals to question the extent to which they are obligated to treat Ebola patients. Discussions on curtailing treatment are underway at Geisinger Health System, which operates hospitals in Pennsylvania, and Intermountain Healthcare, which runs facilities in Utah, according to their spokesmen. Their concern surrounds the reality that understaffed and poorly equipped hospitals performing invasive procedures, like renal dialysis and intubation, both of which Duncan received at Texas Presbyterian, could put staff at too much risk for contracting the virus. Emory University Hospital in Atlanta also used renal dialysis in treating patients at their biocontainment unit, but no health care workers became infected. In October 2014 Vickery Meadow residents stated that people were discriminating against them because of the incident.

SECOND CASE: NINA PHAM

On the night of October 10, Nina Pham, a 26-year-old nurse who had treated Duncan at Texas Health Presbyterian Hospital, reported a low-grade fever and was placed in isolation. On October 11, she tested positive for Ebola virus, becoming the first perrson to contract the virus in the U.S. On October 12, the CDC confirmed the positive test results. Hospital officials said Pham had worn the recommended protective gear when treating Duncan on his second visit to the hospital and had "extensive contact" with him on "multiple occasions". Pham was in stable condition as of October 12.

On October 16, Pham was transferred to the National Institutes of Health Clinical Center in Bethesda, Maryland. On October 24, the NIH declared Pham free of the Ebola virus. That day Pham traveled to the White House where she met with President Obama

Controversies and lawsuit

Tom Frieden, director of the Centers for Disease Control and Prevention, initially blamed a breach in protocol for the infection. The hospital's chief clinical officer, Dr. Dan Varga, said all staff had followed CDC recommendations. Bonnie Costello of National Nurses United said, "You don't scapegoat and blame when you have a disease outbreak. We have a system failure. That is what we have to correct." Frieden later spoke to "clarify" that he had not found "fault with the hospital or the healthcare worker". National Nurses United criticized the hospital for its lack of Ebola protocols and for guidelines that were "constantly changing". Briana Aguirre, a nurse who had cared for Nina Pham, criticized the hospital in an appearance on NBC's Today Show. Aguirre said that she and others had not received proper training or personal protective equipment, and that the hospital had not provided consistent protocols for handling potential Ebola patients into the second week of the crisis. A report indicated that healthcare workers did not wear hazmat suits until Duncan's test results confirmed his infection due to Ebola, two days after his admission to the hospital. Frieden later said that the CDC could have been more aggressive in the management and control of the virus at the hospital.

On March 2, 2015 The New York Times reported that Pham filed a suit against Texas Health Resources, her hospital's parent company, accusing it of "negligence, fraud and invasion of privacy". Pham was described as still suffering from numerous physical and psychological problems, listing lack of proper training as the reason for her illness

THIRD CASE: AMBER VINSON

On October 14, a second nurse at the same hospital, identified as 29-year-old Amber Vinson, reported a fever. Amber Joy Vinson was among the nurses who had provided treatment for Duncan. Vinson was isolated within 90 minutes of reporting the fever. By the next day, Vinson had tested positive for Ebola virus. On October 13, Vinson had flown Frontier Airlines Flight 1143 from Cleveland to Dallas, after spending the weekend in Tallmadge and Akron, Ohio. Vinson had an elevated temperature of 99.5 °F (37.5 °C) before boarding the 138-passenger jet, according to public health officials. Vinson had flown to Cleveland from Dallas on Frontier Airlines Flight 1142 on October 10. Flight crew members from Flight 1142 were put on paid leave for 21 days.

During a press conference, CDC Director Tom Frieden stated she should not have traveled since she was one of the health care workers known to have had exposure to Duncan. Passengers of both flights were asked to contact the CDC as a precautionary measure.

It was later discovered that the CDC had, in fact, given Vinson permission to board a commercial flight to Cleveland. Before her trip back to Dallas, she spoke to Dallas County Health Department and called the CDC several times to report her 99.5 °F (37.5 °C) temperature before boarding her flight. A CDC employee who took her call checked a CDC chart, noted that Vinson's temperature was not a true fever – a temperature of 100.4 °F (38.0 °C) or higher – which the CDC deemed as "high risk", and let her board the commercial flight. On October 19, Vinson's family released a statement detailing her government-approved travel clearances and announcing that they had hired a Washington, DC, attorney, Billy Martin. As a precaution, sixteen people in Ohio who had had contact with Vinson were voluntarily quarantined. On October 15, Vinson was transferred to the Emory University Hospital in Atlanta. Seven days later, Vinson was declared Ebola free by Emory University Hospital

Monitoring of other health care workers

As of October 15, 2014, there were 76 Texas Presbyterian Hospital health care workers being monitored because they had had some level of contact with Thomas Duncan. On October 16, after learning that Vinson had traveled on a plane before her Ebola diagnosis, the Texas Department of State Health Services advised all health care workers exposed to Duncan to avoid travel and public places until 21 days after their last known exposure

FOURTH CASE: CRAIG SPENCER

On October 23, Craig Spencer, a physician who treated Ebola patients in West Africa, tested positive for Ebola at Bellevue Hospital Center after having a 100.3 °F (37.9 °C) fever. Officials said he was hospitalized with fever, nausea, pain, and fatigue. He had flown to New York City from Guinea within the previous ten days, and contacted the city's Department of Health and Doctors without Borders after showing symptoms. Dr. Spencer traveled to Guinea to treat Ebola victims on September 16 and returned on October 16. He had been self-monitoring for symptoms of the disease, and began to feel sluggish on October 21, but did not show any symptoms for two days. His case was the first to be diagnosed in New York. The city was trying to find people who may have been in contact with Dr. Spencer between October 21 and 23.

On October 22, the day before he had symptoms, Dr. Spencer rode the New York City Subway, walked on the High Line park, went to a bowling alley and a restaurant in Brooklyn, took an Uber to his home in Manhattan, and took a 3-mile (4.8 km) jog in Harlem near where he lived. Three other people who were with Dr. Spencer in the previous few days were quarantined as well. Dr. Spencer's apartment and the bowling alley he went to were cleaned by hazmat company Bio Recovery Corporation. Health officials stated it was unlikely that Dr. Spencer could have transmitted the disease through subway poles, hand railings, or via bowling balls.

New York hospitals, health-workers, and officials had conducted weeks of drills and training in preparation for patients like Dr. Spencer. Upon arrival at the hospital, he was put in a specially designed isolation center for treatment. Not many details about the treatment were given, except that he participated in decisions relating to his medical care. On October 25, the New York Post reported that an anonymous source had said that nurses at Bellevue had been calling in sick to avoid having to care for Spencer. A hospital spokesperson denied there was a sick out. On November 1, his condition was upgraded to "stable", and on November 7 the hospital announced he was free of Ebola. Spencer was released from the hospital on November 11. He was cheered and applauded by medical staff members, and hugged by the Mayor of New York, Bill de Blasio as he walked out of the hospital. The Mayor also declared: "New York City is Ebola free".

As a result of Dr. Spencer's Ebola case, U.S. Senator Charles Schumer (D-NY), proposed an Ebola fund in an omnibus bill to be considered in fiscal year 2015. Schumer said the funds were needed to compensate New York City, as well as other cities treating Ebola patients, in the same way the federal government covers communities that suffer after a natural disaster. Schumer said Dr. Spencer's care at Bellevue Hospital involved around 100 health care workers. In addition, the city's health department established a 24-hour-a-day operation involving 500 staffers to keep track of the approximately 300 persons from West Africa hot spots who arrive in New York every day

#ebola virus #united states #healthcare workers

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dalekofchaos · 5 years ago

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The Best and worst changes for the Original Trilogy

Been wanting to do this for a while, so here are what I think are the best and worst changes that George made to the Original Trilogy

The Good

The special effects enhancement. This is an obvious choice, but the re-releases do improve most of the effects in the film, with just a few exceptions. One might argue that the film’s original effects were part of what made it so good – after all, at the time of release the visuals were one of the major selling points of Star Wars. But most fans agree that there’s nothing wrong with bringing the original films up-to-date with modern special effects, and that certainly shows when you compare scenes like the Battle of Yavin where the older effects do somewhat break immersion, particularly if you are used to the newer releases. The improved laser blasts and lightsaber effects make the action scenes appear less scratchy, and improve continuity between this trilogy and the ones that come before and after it in the timeline. It would certainly be

Aurebesh replacing english. The Star Wars universe is vast, containing hundreds of aliens from different worlds speaking a variety of languages. However, in the original trilogy, just about everyone on screen spoke English - or as it's referred to in canon, Galactic Basic Standard. The Basic language is just that, the most basic language that most residents of a galaxy far, far away (and us, the audience) can understand, and for the most part it's indistinguishable from English. Except when written. Basic does not use the Latin alphabet of English and countless other Earth languages, instead Basic is written using Aurebesh. But Aurebesh didn't appear on screen until Episode V: The Empire Strikes Back, and even then, the Aurebesh symbols used were completely random. It wasn't until Stephen Crane of West End Games chose to add meaning to the random symbols when working on several Star Wars miniature and role-playing games that Aurebesh was officially "born." And in the 2004 DVD release, Aurebesh finally replaced any and all English writing that still appeared in Episode IV: A New Hope, most notably on consoles within the Death Star. The change is minor, to be sure, but it's one that gives a cohesiveness to the Star Wars universe and adds to its otherworldly vibe.

Biggs Darklighter added scenes. In an earlier cut of Star Wars, Luke was introduced much earlier in the film, with scenes of his life on Tatooine spliced with the capture of Princess Leia and C-3PO and R2-D2's escape. These scenes primarily showed Luke hanging out with friends, giving us a sense there was at least a little more to his social life than power converters and Tosche's Station. But these scenes also introduced us to a minor though pivotal character: Luke's best friend, Biggs Darklighter. However, I wouldn't be surprised if you do recognize the name (or hear Mark Hamill in your head saying, "Blast it Biggs! Where are you?") and that's because though these earlier scenes on Tatooine were cut, Biggs still appears in the theatrical release of Episode IV - albeit very briefly. During the attack on the Death Star, it's Biggs flying alongside Luke and Wedge Antilles when they make the final and successful trench run to destroy it. Biggs doesn't survive that trench run and we see the effect his death has on Luke, but we aren't told why Biggs was important to Luke (as opposed to the countless other Rebel pilots who died). Without any earlier scenes setting up the childhood friendship between Luke and Biggs, the impact of his death is lost. That was until the Special Edition release when at least one of Biggs scenes was added back in. It's a scene that now comes right before the assault on the Death Star, inside the Rebel Base, and it features Luke and Biggs reuniting and reminiscing like old friends. It's a short scene, but it practically doubles Biggs' screen time and gives us a least some idea that he and Luke go way back, making his death yet another in a long string of tragedies Luke suffers throughout the trilogy.

Ian McDiarmid's Palpatine, but using the original dialogue would've been better as Vader was already hunting Luke for destroying the Death Star

Cloud City’s enhanced scenery. The Empire Strikes Back has the least major changes of any of the original trilogy in the Special Edition. The Special Edition added enhancements and additional aerial shots. Expanded scenes and new backgrounds in Cloud City made the location lovelier and added depth. I can't picture Cloud City as it used to be.

Enhanced Lightsabers. For the original films the lightsaber effects were done with the actors holding white spinning three-sided rods covered with reflective material. Korean animator Nelson Shin drew saber effects onto the film. They also added the glowing effect and the colors were put onto the film by hand. It was a complex feat of engineering for its time but it left many problems behind. There are many scenes where you can see the white rods or the colors were wrong. Lucas went through and corrected the mistakes with the lightsaber using CGI.

Boba Fett's voice change. Boba Fett was a fan-favorite for decades before he was revealed to actually be a clone. So when it came time for the original trilogy’s 2004 DVD release, it made sense for actor Temuera Morrison — who played Jango Fett and various clones in the prequels — to return to the franchise as the new voice of Boba Fett, the cloned version of his original character. Luckily, Morrison has a fitting voice, allowing the continuity fix to help rather than hinder the classic films.

Oola’s Death. It’s strange to consider when you watch it now, but in the original cut of Return of the Jedi Oola’s death scene was much more brief – she simply falls down the trap door into the Rancor pit in Jabba’s Palace, and the Rancor reveal is saved for later. Amazingly, the actress who played Oola filmed the extended death scene over a decade after first appearing in Jedi, with no difference to the visuals whatsoever. The Rancor isn’t revealed completely, meaning that the impact of its later appearance isn’t spoiled, but it does create a menacing scene showing more of the mercilessness of Jabba The Hutt

Battle Of Yavin. Star Wars revolutionized film making and ushered in a new era of special effects. But some effects get outdated. And even though there is a magical charm to the practical in-camera effects that the original Star Wars trilogy were made with, digital and CGI effects would be become the modern norm. And when its used correctly, CGI can look amazing. Hence, the climactic ending space battle in A New Hope. Tossing away the bluescreen, matte film and super imposed ships and replacing them with digital X-Wings and Tie Fighters. This recreation of the attack on the Death Star and galactic dogfight finale is a thrilling piece of cinema. Seeing spacecraft flying and zooming in and out of impossible camera angles is just as dazzling as the original scene. Lucasfilm actually did the impossible, they took one of the most classic epic battles in movie history and actually made it better.

The Death Star Explosions. The explosions of the Death Star and Alderaan were one of the most striking changes in the Special Edition movies, enhanced with brighter colors and expanding rings of matter. But one of the most exciting things about the original Star Wars films is that the groundbreaking special effects were being invented as the films were made. The newly-formed Industrial Light and Magic spent years building models, inventing cameras to shoot them, and occasionally blowing them up. So when the Death Star is destroyed (both times), the explosions look and feel real, because they were created using footage from actual explosions.

The victory celebration The change to the music at the end of Return of the Jedi is, in my opinion, one of the best decisions George Lucas ever made. The original song that played during the celebrations on Endor was ‘Yub Nub’, a nonsensical and comically puerile ditty that doesn’t do the finale justice, but the replacement, John Williams’ aptly-titled ‘Victory Celebration’, seems a much more fitting tune to end the original trilogy. For comparison, one needs only to look at the ending of A New Hope – the tune used there fits the tone and gravitas of the scene, and ‘Yub Nub’ simply does not.

The Worst

Darth Vader saying No in ROTJ. There was absolutely no need to have Darth Vader say “No” in this moment. We were looking at a still mask. Yet we could still sense his feelings and thoughts. He was clearly conflicted and you could tell he was about to do something. This is good film making. You can tell he is making the hardest decision of his life, choosing between his master and his son, the conflict was visible on his face. There was no need for Vader to say anything. Vader saying “No” lacks any sort of nuance and has him verbally stating those feelings. "NOOOOOOO". This scene was shot so perfectly that you could see Vader's internal struggle to do the right thing despite being unable to show any facial expressions. There was no need for a "nooooooo" to indicate what he's going to do, we know what he's going to do because of how the scene is shot. This takes away from the scene and it makes it so obvious that it takes the viewer out of the moment. The silence was a powerful moment.

Jabba’s appearance in A New Hope. I feel like the scene takes away the menace from Jabba The Hutt. The horrible CGI did not help either. The appearance is a complete downgrade from his appearance in ROTJ. And it really did not help that it’s a shot for shot of the same dialogue with the Han and Greedo scene. The added scene with Jabba was completely unnecessary. Han and Greedo’s scene ALREADY showed us Han’s debt to Jabba. And really, Jabba is a powerful and influential figure in the galaxy. He is the boss. He uses Bounty Hunters as play things to do his bidding. He was capable of ensuring that Han could not be in a civilized star system without being hunted. Jabba is someone who feeds slave girls to his pet monster if they screw up a dance routine, but he's apparently okay with a deadbeat lowlife smuggler who owes him money stepping on his tail in front of all his men. Hell, Jabba would not care if Han fried Greedo, Tatooine is a hive of scum and villainy, Jabba can easily replace Greedo. It took away the menace from Jabba. Not to mention, this change takes away some of the suspense people originally had about Jabba the Hutt. It just takes away some of the mystery of Jabba as a character. Jabba is the boss, he should not be doing grunt work and it just takes away the impact of seeing Jabba in ROTJ.

Greedo shoots first. Here’s why Han shooting first matters. Greedo was hunting Han Solo and found him in Mos Eisley Cantina who wanted what Han owed Jabba, which Han didn’t have it with him just then, so Greedo ready to shoot Han, is then killed by Han. In the original theatrical version, Han shoots Greedo dead, but in all the film alterations, Greedo shoots first. Lucas wanted Han to be a good role model so he editied out but that was pointless because at that point already Han was still a smuggler out for himself. Lucas wanted kids to think he was a hero Except he’s SUPPOSED to be a cold blooded killer in the beginning. That was the whole POINT of his story arc. A selfish smuggler who is COMPLETELY fine with letting other people die if it meant his own survival and goes through an internal and external journey to not only give a damn about his fellow person but also grow as an individual to be a hero that is willing to risk his own safety for a much larger cause than himself. Him shooting last takes away the beginning part of a GREAT story arc and reduces it to “This bad ass is a bad ass. The end.”. Killer to hero is a much more interesting story than bad ass to still being a bad ass.

Pointless CGI in Mos Eisley. Mos Eisley was the home of scum and villainy and also the home for wayward CGI creatures that escaped their digital pens. The thought was more roaming creatures would add color and vivacity to the bustling desert town, but unfortunately, they looked like lost sideshow attractions. The CGI stuff in the background doesn’t blend in with the rest of the film and just draws attention away from the action in the foreground. It’s like an irritating five-year-old onscreen screaming, “Look at me look at me."

Editing the Jabba’s Palace Sequence. Jabba's palace was another opportunity to put a vast array of unique and interesting aliens on display, much like Mos Eisley's cantina. And also like the cantina, a gangster's hangout deserves a house band. In the original release that was the Max Rebo Band and the number they performed was "Lapti Nek." The original scene was short and feels like it belongs. This scene doesn't feel intrusive and out of place like the special edition, it feels like in Jabba's Palace there is a band playing some alien music. The added CGI was awful and became unwatchable. It detracts from the grit of the scene that’s created, in part by the aliens in the background, that in this case are actually portrayed by actors or puppeteers. It didn't need the whole new scene and terrible CGI dancing. To call the scene distracting would be an understatement. Visually, it's incongruous with the dingy, smoky atmosphere of Jabba's Palace, largely in part because of how badly the CGI aliens mesh with the real actors and sets. The new song also doesn't fit with the mood of the setting, it’s just tonally offensive and just kills the mood of Jabba The Hutt. Jabba’s Palace was so uncomfortable and full of dread. All we needed to see was a short music scene, Oola displeasing Jabba and Jabba sending Oola to the Rancor. That’s all you need to establish that everything about the palace is a nightmare and just adding the horrid abomination known as Jedi Rocks just killed it for me.

Replacing Sebastian Shaw with Anakin Skywalker. I understand the in-universe reasoning behind changing Anakin’s Force Ghost to Hayden, but to me it is completely and utterly disrespectful to replace a now dead actor’s only appearance in Star Wars. It ALREADY made sense for Anakin to appear old. I love Hayden and I love the Prequels, but he should not have replaced Shaw as Anakin. It both contradicts Vader’s redemption and disrespected the memory of Sebastian Shaw. It’s not that they shot a whole new scene with Hayden, Hayden Christensen’s head was pasted on over Shaw’s body and that is really disrespectful to Sebastion Shaw since he passed away a few years before the special editions. The whole idea was that there was still some good left in the old man version of Anakin and that’s what we’re seeing here. It was the old Anakin who made the choice to save Luke so it makes more sense to have him as the Ghost. Luke wouldn’t even recognize the young Anakin which makes the change even more of a fail. Anakin appearing as he did in ROTS invalidates the fact that he was redeemed at all in the end. I mean, the first thing he does in that movie is behead Dooku, then immediately admit that it’s “not the Jedi way.” He then goes on to slay a ton of Jedi and then murder a bunch of little kids, before going to murder Nute Gunray/other Separatist leaders etc. That’s why it’s such a baffling decision to show Hayden at the end of ROTJ… it completely undermines the payoff of ROTJ: Vader still had good in him (like Luke said) even as an old man. Why would you turn back to the person who murdered children and betrayed everyone you loved? The entire point of the ending of Return of the Jedi was that after years of having been corrupted as Darth Vader, Luke’s adherence to the Jedi principles and refusal to strike down his father in anger is what causes Anakin to realize that he’s been consumed by the dark side. He then atones as best as he can by sacrificing himself to kill Palpatine and asks Luke to remove his mask in a final act symbolizing his freedom from Darth Vader. Anakin has mere minutes as a jedi before he succumbs to his wounds, but it’s extremely important to note that he died a jedi. This is why Luke gives him a traditional jedi funeral, and why he is able to apparate as a force ghost. This is why the movie is called Return Of The Jedi. This is what makes the ending scene significant. Anakin appears not as the intimidating figure of Lord Vader, but as a mild old Jedi knight, like he would have appeared if he had never been corrupted by the dark side. This is why Anakin as an old man works, it shows what the dark side can do to you, but it beautifully shows that Anakin can still find redemption and die as a Jedi and return to the light. He nods to Obi-Wan, who smiles at seeing his friend finally free of the Dark Side, and the film ends with them standing side by side as old friends once more. Having Anakin appear as he had looked when in his 30’s would discredit his sacrifice in the final scene. It would imply that the last time he was truly a jedi was when he was the young hotheaded general who saw the jedi code as a hindrance, and not a healed version of the wisened old man who finally understood the importance of peace. Additionally, it removes the symbolism of Anakin and Obi-Wan standing side by side as old friends once again. With Anakin appearing as an apprentice to Obi-Wan rather than an equal. And Luke recognizes him. He already saw the father behind the mask. Anakin appears as the wise old Jedi and father figure to Luke that he would and should have been have been and who he died as. Shaw is more aesthetically pleasing in that shot. Seeing him portrayed as Alec Guinness’ contemporary, as a father to Luke, he just looks like he belongs in the original shot. I grew up with the Original Trilogy on VHS, so seeing Sebastian Shaw as both the unmasked Anakin and the ghost of Anakin was wonderful to see, when both Anakin and Obi-Wan look at each other here, it seems they are finally at rest after decades of war thanks to Luke, Leia and the rest of the Rebels who believe in the Old Republic, when we got to the prequels, it all changed and did not make complete sense, I enjoy the prequels, but it did not work to change, there was ALREADY an in-universe explanation as to why Shaw works as Anakin’s Force Ghost. Shaw fitted a much better vision of Anakin, an Anakin who did not intend to fall but raised up when he realized his true self in his son. And finally he looks at his children with so much love in his eye which is really emotional. Anakin Skywalker is finally at peace with his old friends and looking on his children with so much happiness.

#Star Wars #Star Wars The Original Trilogy #Star Wars Episode IV A New Hope #Star Wars Episode V The Empire Strikes Back #Star Wars Episode VI Return Of The Jedi #A New Hope #The Empire Strikes Back #Return Of The Jedi #han solo #Darth Vader #Jabba The Hutt #Luke Skywalker #Anakin Skywalker

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idolizerp · 6 years ago

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LOADING INFORMATION ON 1NFERNO’S LEAD VOCAL, LEAD DANCE JANG WOOSUNG...

IDOL DETAILS

STAGENAME: N/A CURRENT AGE: 21 DEBUT AGE: 18 TRAINEE SINCE AGE: 14 COMPANY: Midas ETC: This member is known for often occupying a center role in videos and promotions

IDOL IMAGE

On stage, Woosung is a captivating performer. Explosive energy and charisma, a coordinated dancer and stable vocalist, with a cute yet handsome visual to boot. He’s magnet on stage, someone who fans’ eyes are drawn to despite not being the best dancer or vocal in the group. He can handle the experimental concepts that Midas throws at 1nferno and is able to take most of the intense concepts in stride, finding it not terribly difficult to get into a character and convey the appropriate image onstage.

Offstage, however, Woosung is incredibly different. Having a naturally meek, introverted, and insecure personality, he tends on the quieter side during interviews, lives, and other social situations, finding it hard to talk and share his opinions. Midas pushes him as a chic, artistic personality, capitalizing on his contemporary dance training as a testament to his artistry and emotionality. It’s an easy role for Woosung to play, as someone who is much more comfortable staying quiet regardless of his image. During public appearances, he tends to let the stronger personalities in the group take over, chiming in rarely and even then, it’s usually only when he’s directly referred to or asked a question. Some fans complain about this behaviour, calling him cold and distant from the other members of the group, but his dedicated fans claim it’s because of his emotive side, reasoning that he’s one to read the situation and observe in order to match the others involved, rather than take charge of things.

When Woosung does speak, he’s surprisingly insightful despite his shyness, a delight to both fans and the company. He’s the type to consider unusual perspectives, without being strange enough to be labelled as a 4D personality. He’s thoughtful and considerate, easily able to gauge the needs of others around him. He does have his spacey moments, though, tending to get lost in thought. Thankfully, it’s more endearing than frustrating, and is marketed as simply another aspect of his emotionally-tuned personality.

IDOL HISTORY

1998.

Jang Woosung has always been a boy caught between two worlds, even from birth. He is born on January 26, 1998 to a Korean father and a Korean-American mother, and given two names— Woosung, a Korean name given by his father, and William, an English name given by his mother. Neither quite fit, each one missing a component of the other, and as Woosung grows up, he comes to resent them both. His English name as a target of ridicule, the label of gyopo, his mother’s roots in America. His Korean name as a cover up, trying to conceal the other half of him; but also, as a constant reminder of a father who left him, who gives him that name before leaving when Woosung is less than six months old. His mother has already established herself in Korea, has already planned a life here for her son, so despite being alone, she stays, intent on raising her son like she had planned, just without Woosung’s father. And so she does, the two of them in a tiny apartment in Ilsan, an infant Woosung crying for a father he wouldn’t even remember.

2001.

There’s no reason for Woosung to attend nursery school. His mother’s job as a freelance translator means she can work from home, balancing her responsibilities for work and responsibilities as a mom. They don’t go out much, simply stay safe in their own little world. Woosung’s mom is all he needs, and his mother is happy to provide. That is, until Woosung turns three, and his mother takes him to America to meet his grandparents. Look at him, Mia, they tell Woosung’s mother. He never leaves your side. He doesn’t talk to his cousins. He hardly plays at all. He keeps to himself too much. He doesn’t know how to socialize. What kind of adult will William be if he doesn’t learn how to act as a child?

And they’re right. Woosung is withdrawn, looks at others with fear in his eyes, holds onto his mother’s skirt wherever they go. So, as soon as she gets back to Korea, she enrols him in the first activity she can find that will take three year olds— a ballet class at a studio just a fifteen minute bus ride away. Woosung cries during the first class. He cries during the second. He clings to his mother and begs her not to go. She hushes him, gives him a kiss on the cheek, tells him that if he goes to the class, tries his best, acts like a good boy, they’ll get ice cream later. Isn’t that nice, Will? Wouldn’t you like that?

This is where everything begins.

2003.

Woosung excels in his ballet class. He takes it very seriously, practices at home, hums the complex classical melodies even when class has long ended. He doesn’t become the most talkative kid in the class, not by a long shot, still insecure and devastatingly shy, but he comes out of his shell a bit, shares short sentences with a few of the other kids in his class before and after their lessons. I want to be a dancer, he tells his mom, and he’s good enough, loves it so much that she kisses his head and says of course, Will, whatever you love to do is something worth doing.

But then, Woosung starts school, and the bullying begins. In his dance classes, the other children were too young to understand what it meant when Woosung spoke another language with his mother, and they spent too little time with him to be bothered by it. The children at school, however, understand the difference. They realize that Woosung is different because he speaks a language that isn’t Korean with his mother, because the food he eats for lunch is a bit different from theirs, because he has two different names on his report. So they tease him, pick on him, call him a foreigner, a gyopo, a fake Korean. Woosung’s personality doesn’t help him either, his shyness and lack of interest in anything other than dance making him an easy target. It never progresses beyond name-calling, but it hurts just the same, presses down on Woosung until he withdraws entirely, speaks to hardly anyone. It’s then that he vows to never use his English name again.

2007.

It’s not until Woosung is nearly ten years old that he meets his father again. They never talks about him much, Woosung and his mother, and he would never visit— he lives far from us, Will, it’s hard to get here from Busan. Woosung was never able to forget him, though, reminded of his father’s existence by the cards and small pockets of money that double as birthday gifts and seollal presents. But one November day, when Woosung gets home from school, his mother tells him (in a voice so quiet, nearly sad, your father wants to visit you, William) and Woosung stops.

His father is tall, intimidating, dressed in a suit when he drives up to meet Woosung. (Even that detail is strange to Woosung— his mother has never had a car.) He takes Woosung for dinner, to a restaurant with food that Woosung doesn’t like but chokes down anyways because he’s scared of seeming impolite. He finds out he has sisters— two of them, aged five and two— that he’s never met or heard of before. Woosung, talking for the first time since his father picked him up, asks how they can be his sisters if they don’t have the same mom. His father doesn’t answer, takes him home twenty minutes later.

Back inside his house, the small apartment he shares with his mother, he feels like he’s back in the safe zone. But there is no safe zone anymore, the influence of another world with his father weighing on Woosung even when he’s alone with his mother. And so he withdraws into himself even further, stumbling along the line between two contrasting worlds that he must exist in at the same time.

2011.

Woosung dances every day, now. He’s moved on from ballet, branching out into contemporary, modern, other styles of dance that make use of his lithe frame and flexibility. He finishes school each day and goes straight to practice, logging long hours at the studio, coming home well past sundown and still slaving over his homework. He doesn’t do great in school, but his mother keeps on him, tells him it’s good to have a backup, Will, what if you get injured and you have to stop dancing? It’s a thought that scares him immensely, but he trusts his mother, so he tries his best, forces himself to keep going, stays up well into the night just to keep his head above the water.

But the lessons are getting expensive now, the older Woosung gets and the harder he pushes himself. He starts competing— starts winning, bits of money here and there, small scholarships to workshops— but the costs rack up. His mother is alone, just her and Woosung, and while his dad visits sometimes, he never provides. So it gets harder to put food on the table, harder to pay the bills, and the night that he notices his mother not eating simply because there isn’t enough food, Woosung breaks.

For the first time in his life, Woosung reaches out to his father. It’s not like Woosung has never contacted him before— since Woosung met him four years ago, he makes sure to message him on important days to wish him well, like his father’s birthday, or Parent’s Day. He’s a good son, polite, and he never asks for anything, never asked until that day, when he meets up with his father and asks him for money.

His father doesn’t agree. His father denies him vehemently, once he finds out what the money is for. He’s fuming, yells at Woosung, I already have two other kids to provide for, and you have the audacity to ask me for money for a hobby? For ballet? I won’t support something gay like that.

It’s the first time Woosung hears the word gay like that— used to describe something he loves so dearly, curled up into the seat of his father’s car, his head down and tears in his eyes. He’s heard it snickered behind his back in school, as he got older and the bullying had turned from shouts and jeers to things more subtle. I heard he dances ballet. And he’s never had a crush on anyone, he’s never even talked to any of the girls in our grade. Do you think he’s gay? It still hurt, a lot, his heart aching at each comment, but it was easy enough to tune out, used to it after eight years of snide comments and insults— but this is the first time he hears it so directly. He doesn’t realize why it would be a bad thing, his mother always telling him gently it’s fine to like what you like, as long as you aren’t hurting anyone. But from his father, it sounds bad. It sounds wrong. Woosung doesn’t even know what he likes yet, doesn’t know if he’s gay or not, but it plants the seed then— he can’t be gay, not if he wants to be loved.

Woosung goes home and cries, locks himself in his room, presses his face into his pillow and tries not to make himself as small as possible in hopes that he might disappear. He deliberates it for days, stays up all night thinking. The thought of quitting is unbearable, but there’s no way he can let his mom keep doing this to pay for his dance. After a few days, an idea comes to him, risky yet seductive.

If I get accepted into a good company for my dance, will you help mom pay for it? He texts his dad, too scared to ask him to his face after last time.

His dad agrees.

2012.

Woosung gets scouted less than three months later.

He’d cut out his ballet classes, cut out modern and contemporary, switched to something that people would be interested in him for. Something that people wouldn’t call him gay for. He joins a hip hop academy, fills his time outside of school with that. He learns the basics voraciously, dedicating every second of his time to be able to improve as fast as possible. He doesn’t have the power and swagger that the other dancers have, but he’s toned, coordinated, and expresses feelings well onstage, uses all of it to his advantage to put on a good performance. He tries his best to fit in, to not draw any criticisms, feigns confidence like it’s his job. Two months after he joins his academy, they put on a public performance, and someone in a suit approaches him as he leaves the venue. I work for an entertainment company, they tell him, but Woosung doesn’t hear anything, only sees the Midas on the business card they hand him. We’re looking for new trainees right now for an idol group. You should audition.

Woosung does. He goes to the first audition he can make it to, forks out the little bit of money he has saved to travel to Seoul for it. A week later, his name is on the contract.

2015.

Trainee life is exhausting. As much as Woosung wanted to leave school, dedicate every minute of his life to dance and performance, his mother and the company wouldn’t let it happen. He enrols in SOPA with the companies help, in the Department of Practical Dance, goes to school and study only to train into the wee hours of the morning. He moves into the dorms, away from his mom— as much as it breaks his heart, going between Ilsan and Seoul every day on top of his already intense schedule just wasn’t feasible. Woosung never takes it easy on himself, always pushing himself as much as he can, working as hard as he can. He’s self-critical, incredibly so, uses every second he can in the studios and practices until his body is screaming at him. It seems to pay off, getting him noticed by the company. He doesn’t rank too high in his evaluations, maybe a bit above average, but he gets compliments from his coaches, trainers, teachers. He doesn’t dare take any of it for granted, though; he’s seen it happen, talented trainees letting the praise go to their head, getting cocky, getting comfortable, and in the end, getting dropped from the company. He makes sure he’s always consistent, always hungry, searching to be better. Woosung doesn’t pay much attention to the other trainees, never really makes friends— it’s not like that’s something he’s ever been in the habit of anyways, after how his school life turned out. The cutthroat nature of the trainee industry makes it harder on him too, because the comments turn from general meanness to picking on the parts of himself he has confidence in. They pick on his dancing, about how he lacks power, how he’s too soft in his movements, how he stands out too much that he’ll never fit into a group. The comments break him down even more, tear his confidence to pieces. He doesn’t let it destroy him though, and he doesn’t back out— he’s come too far to quit now, and besides, what would his mother and father think? So Woosung just does what he’s always done— keeps his head down, his mouth shut, and works until he can’t anymore.

Then at the end of 2015, right before Woosung is about to go home for the holidays, he’s called for a meeting with five other boys and told they’ll debut. Management explains the concept to them— experimental, powerful, conceptual. It doesn’t seem like it’s anything Woosung will fit into at all, especially when he’s given the label of lead dancer and lead vocal. He doesn’t have the strength behind his voice, the power in his movements to carry such a title. But the company assures him, all wolvish smiles, hands on his shoulders, you don’t need to worry, Woosung, you’re handsome and tall so you’ll do well. It clicks then, why he’s gotten as far as he has, why the company always seemed to like him, give him some extra spotlight. It wasn’t because of his talent, because of his hard work— even though he’s a good dancer and a decent singer, what the company wanted him for was his looks. Everything feels fake now, the compliments, the encouragements, all the work he put in discounted. It feels like a weight on his shoulders, another thing crushing down on him. He resents himself for it, resents not being able to get by on his talent alone, resents the company having to lean into his looks to justify putting him into the group. And yet, months

later, despite everything, he debuts.

2019.

Woosung has never had a crush. Never had a true friend, someone his age that he could talk to. Never had a goal other than dance. Never had an urge to open his mouth and speak his mind. But now, things are changing. Woosung has a couple people that he’s comfortable with being around, people who he trusts not to tear him down at the first chance they get. They’re few and far between, his friends, but at least they exist. People still intimidate him, strong, aggressive personalities easily overpowering him, and he’s still devastatingly shy, but the company is pushing him, putting him front and centre, so he’s forced to work through the anxiety, stomp it down so he can do well. He has a crush now, maybe. He doesn’t know what it feels like to have a crush, but he thinks this might be it— the heart fluttering, cheek reddening feeling whenever that certain someone is around. He doesn’t think anything will come of it— who would want to date someone like him, twenty-one years old with absolutely no experience— but it’s there. (He’s not gay though. Or, he doesn’t think he’s gay. He can’t be gay, not after what his dad said to him.) He has fans, people who like him, hears good things about himself. They like his English, find him relatable, coo over him, find out his English name, call him Will without it twisting his stomach in the same way. There’s not as much direct bullying anymore, but Woosung is so used to it now, feeling like he’s being criticized for everything he does, that he finds himself being hard on himself. Late nights spent crying in the practice rooms, his body aching so much that it’s hard to get off the ground. He wants to snap out of it, but it’s hard— especially when he sees comments online, fans pitting the members against each other, pointing out how he lacks compared to the main vocal and main dancer. But he’s trying— really, he is— and maybe, one day, he’ll feel good enough.

#id.bio #id.midas #id.inferno #id.no yoonho

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newstfionline · 6 years ago

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California wildfires rage, killing at least nine and putting tens of thousands at risk

By Joel Achenbach, Katie Mettler, E. Aaron Williams and Lindsey Bever, Washington Post, November 10, 2018

THOUSAND OAKS, Calif.--California is on fire again, north and south, the flames deadly and swift, fanned by ferocious Santa Ana winds and fueled by dry tinder. The fires have killed at least nine people, immolated a mountain town and jangled the nerves of many tens of thousands of residents forced to evacuate their homes.

The fires have thus far proved to be unstoppable, operating at flash-flood velocity. The big wildfire here in Southern California, known as the Woolsey Fire, quadrupled in size Friday, covering more than 22 square miles, with no containment. It easily jumped eight-lane Highway 101 and rambled over the Santa Monica Mountains to posh Malibu, where it torched homes and cars. The wildfire then finally ran into its only match so far: the Pacific Ocean.

The bulletins from the northern part of the state were even worse. At least nine people died in or near their homes or vehicles as they tried to outrace the Camp Fire, which devastated the mountain town of Paradise, about 90 miles north of the state capital, Sacramento.

Paradise was anything but, with block after block of destruction, downed power lines, charred cars in the middle of roads, utility poles still smoldering and spot fires around the town, though there wasn’t much vegetation left to burn. Random buildings still stand in the town of 27,000, but for every edifice that survived, dozens that did not.

Marc Kessler, 55, a science teacher at one of Paradise’s middle schools, said the smoke was rising from the Sierra Nevada foothills when he arrived at work Thursday.

“The sky turned black; you couldn’t tell it was daytime,” he said. “It was raining black pieces of soot, coming down like a black snowstorm and starting fires everywhere. Within minutes, the town was engulfed.”

Kessler said authorities told teachers to forget seat belt laws and start piling the 200 or so students who showed up for class Thursday morning into the teachers’ personal vehicles. Some frantic parents showed up to get their children, he said, and bus drivers drove through flames to help save children’s lives.

Kessler said one of the students in his car said, “Oh, look at the moon!”

“I said, ‘That’s not the moon. That’s the sun,’ “ he recalled, his voice breaking. “There were times when there were flames near the vehicles. There were times when you couldn’t see through the smoke. Some of our teachers didn’t think they’d survive.”

About 23.4 million Californians were under red-flag warnings into Friday, and officials warned that flames could reach the city of Chico, a college town of more than 90,000 about six miles from Paradise. People scrambled to evacuate.

The Camp Fire had covered 110 square miles and was just 5 percent contained as of Friday, state officials said, warning that there might be additional deaths that they cannot confirm until they can safely enter smoldering neighborhoods. It is a terrifying situation for family members of residents who were last heard from when the town and others nearby were ordered evacuated.

“We didn’t have much time; it came too fast,” said Cory Nichols, a barber who fled his home in Paradise. “We were going to sell the house. Don’t have to now.”

California has experienced debilitating fires of unprecedented regularity in the past few years, many of them encroaching on towns and cities built up to the edges of forests in areas prone to wildfires. In August, the Mendocino Complex Fire became the largest wildfire ever recorded in the state, burning more than 400,000 acres. The previous record was set less than a year before, when the Thomas Fire burned through more than 280,000 acres in Ventura and Santa Barbara counties. In October 2017, some 21 wildfires burned nearly 95,000 acres and 7,000 buildings in Sonoma and Napa counties in the heart of California’s wine country, killing 40 people.

The California fire season normally begins in late spring and lasts through summer. But hot, dry weather has persisted this year well into autumn, and the winter rains have yet to arrive. The Santa Ana winds, which blow out of the Sierra Nevadas and toward the western coastline, are building into howling gales that dry the vegetation and the soil, creating potentially explosive fire conditions.

In Thousand Oaks, 40 miles from downtown Los Angeles, residents have endured a brutal week.

This city, cherished by its residents for clean air and low crime, already was in mourning after Wednesday night’s mass shooting at a country music bar. At a vigil downtown Thursday night, people had lit candles and pondered an unspeakable crime. Just hours later, the same area was choked in smoke and imperiled by the Woolsey Fire.

In the pre-dawn darkness, a gusty wind whipped American flags flying at half-staff in honor of the shooting victims. An orange glow could be seen throughout the city, sometimes leaping into bright flares along the ridgelines. Emergency bulletins buzzed cellphones in the middle of the night, sometimes urging evacuations.

“It’s dangerous to sleep all night,” said Sergio Figueroa, 34, who was dropping his wife off at a hotel where she works on Friday. Late Thursday and into the early hours Friday, he watched television, knowing his home was in the “voluntary” evacuation zone. He said he allowed himself one hour of shut-eye--but not actual sleep.

“You just close your eyes and stay alert,” he said.

At 3 a.m., streets normally empty at that hour were filled with parents, children and pets evacuating as the orange glow crept closer.

“Don’t wait too long. Get out when they tell you to get out,” said Uber driver Brent Young, 52, who was about to take a client from Thousand Oaks to the Los Angeles International Airport through a roundabout route that would circumvent closed freeways and dangerous conditions.

The problem was figuring out which way to go. There were fires in many places. Even before the Woolsey Fire kicked up, another wildfire, the Hill Fire, threatened homes west of town. Highway 101 was closed in both directions at various times for two different fires. The only thing inhibiting the Hill Fire was that it ran into the footprint of a 2013 fire and lacked fuel, officials said.

Longtime resident Peggy Smith, 64, was filling her gas tank at 4 a.m. Friday at a Mobil station in an area under voluntary evacuation. She said people began flocking to Thousand Oaks in the 1960s after airline pilots on the flight path into Los Angeles noticed that there was no smog here. The pilots moved in, and then police officers, and firefighters.

She was ready for the fire. She needed only 10 minutes to load her car with her favorite family photos, important documents, clothes and food.

“My son’s a fireman. I was married to a fireman. I’m not scared,” Smith said. “I have full faith in our fire departments.”

They were busy. The trucks rolled through neighborhoods and zoomed down Highway 101. People had fled, power was out, and the only light came from the fires.

“This is crazy,” said Paige Gordon, a real estate agent who was checking on a friend’s multimillion-dollar house in Westlake Village as flames devoured the parched brush. “We have all aspects of Ventura County on fire.”

As he turned on sprinklers in his friend’s backyard, an eruption of flame on the hillside caught his attention: “There’s the fire right there!”

Smoke loomed over Thousand Oaks like a thunderhead, the black cloud slowly advancing toward the sea as it crossed hills covered in blackened stubble.

In Malibu, film and television producer Ben Rosenblatt, 35, took one look at the approaching fire and knew he had to get out fast. He had just enough time to walk the dog first. There aren’t many ways in and out of Malibu, with the roads that wind up through the canyons impassable because of fire. That left the Pacific Coast Highway, where traffic moved at a crawl. The drive to Santa Monica should have taken him 35 minutes, but the navigation app on his phone said it would be 2 hours 35 minutes.

“It’s like a slow-motion race with massive fire clouds behind you and bumper-to-bumper traffic in front,” Rosenblatt said. “Think of any disaster movie you’ve seen where you’re trying to outrun the storm but it’s happening so slowly.”

Back in Thousand Oaks, the smoke would recede and then billow up again as a spot fire flared anew. At a teen center, set up as an evacuation site for those fleeing the fires, people became nervous when they saw flames on a nearby hillside.

In the parking lot, people slept in their cars beside their cats and dogs, their belongings packed in the back.

Mary Leighton, 57, of West Lake, had just gone to bed Thursday night when her brother heard on the news that they needed to evacuate.

“You think, ‘What do you take?’ “ She said. “My mind went blank.”

Five minutes later, carrying her husband’s ashes and her cat, Pumpkin, she and her family were gone. They slept in a shelter overnight and woke Friday morning to news that homes in their neighborhood had burned. Leighton didn’t know whether her home survived.

#California #California wildfires #Woolsey Fire #Camp Fire

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ultralifehackerguru-blog · 6 years ago

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New Post has been published on http://www.lifehacker.guru/fall-movie-preview-50-movies-you-need-to-know-about/

Fall Movie Preview: 50 Movies You Need to Know About

Not only does Fall bring chillier temperatures, pumpkin spice lattes, and cozy sweaters but also plenty of reasons to go to the movie theater (or stay on the comfort of your own couch with new Netflix originals, if you’re into that sort of thing). The season kicks off with everything from a heartbreaking family drama from the creator of This Is Us to the long-awaited Halloween rebootthat will surely give us nightmares long after Fall transitions into Winter. This is also the season when Oscar hopefuls emerge and holiday blockbusters start coming out by the dozen, so there’s seriously something for everyone. If you need an idea of what to see from the end of August all the way to Christmas, then take a look at the list ahead.

1 Operation Finale

Image Source: MGM

The scoop: With a large crew to back him up, Mossad agent Peter Malkin (Oscar Isaac) goes on a covert mission to Argentina in 1960 to find the Nazi officer who masterminded the Holocaust. Mélanie Laurent, Haley Lu Richardson, Ben Kingsley, and Nick Kroll costar.

Release date: Aug. 29

2 Sierra Burgess Is a Loser

Image Source: Netflix

The scoop: The story focuses on Sierra (Stranger Things star Shannon Purser), a smart high school student who unintentionally begins catfishing her crush because of a case of mistaken identity. She teams up with Veronica, the school’s typical popular mean girl (Kristine Froseth), in hopes of winning over her crush, played by The Fosters‘ Noah Centineo.

Release date: Sept. 7

3 The Nun

Image Source: Warner Bros.

The scoop: Even the poster for this follow-up to the Conjuring franchise is enough to send chills down our spines, so we can only imagine how terrifying the actual movie is going to be. This time around, we travel to 1950s Romania, where a nun and a Catholic priest are sent by the Vatican to investigate the mysterious suicide of another nun at a monastery. What they don’t realize is that an intensely powerful demonic force is already there, waiting to claim them.

Release date: Sept. 7

4 Mandy

Image Source: RLJE Films

The scoop: Nicolas Cage and Andrea Riseborough star in this thriller set in 1983. The pair play Red Miller and Mandy Bloom, who lead a remote, peaceful existence in the Pacific Northwest until a sadistic cult destroys everything they hold dear. The invasion sparks a tale of bloody vengeance that will have you on the edge of your seat.

Release date: Sept. 14

5 The Predator

Image Source: 20th Century Fox

The scoop: Alfie Allen, Olivia Munn, and more star in this sequel, which will see soldiers teaming up to battle the vicious extraterrestrial we all know and love (to have nightmares of).

Release date: Sept. 14

6 White Boy Rick

Image Source: Columbia Pictures

The scoop: This based-on-a-true-story crime drama follows young teen Richard Wershe Jr. (Richie Merritt), who goes on to become an undercover FBI informant in the 1980s, although his life tragically ends in disgrace and life in prison. Matthew McConaughey plays his father, Richard Wershe Sr.

Release date: Sept. 14

7 A Simple Favor

Image Source: Lionsgate

The scoop: A Simple Favor, a Paul Feig-directed thriller, stars Anna Kendrickas Stephanie, who seems like she just wants to track down her missing BFF Emily (Blake Lively) . . . but what if she actually had something to do with her disappearance? Although Emily has always seemed like an elegant, aspirational, and all-around put-together human being, she’s also been hiding a dark side from both Stephanie and her own husband, Sean (Crazy Rich Asians actor Henry Golding), which creates an even more complex mystery.

Release date: Sept. 14

8 The Land of Steady Habits

Image Source: Netflix

The scoop: Ted Thompson’s novel The Land of Steady Habits is coming to Netflix this Fall and stars Ben Mendelsohn as Anders Hill, a family man in his mid-50s living in an affluent part of Connecticut who finds himself in a rut. With his son’s college tuition paid off, Anders leaves his wife (Edie Falco) and goes on a clumsy search for freedom.

Release date: Sept. 14

9 The Sisters Brothers

Image Source: Annapurna Pictures

The scoop: This Western drama picks up in 1850s Oregon, where a gold prospector finds himself on the run from an infamous duo of assassins, the Sisters brothers. If that isn’t enough to convince you to watch it, hopefully the star-studded cast is: Jake Gyllenhaal, Joaquin Phoenix, John C. Reilly, and Riz Ahmed star.

Release date: Sept. 19

10 The House With a Clock in Its Walls

Image Source: Universal Pictures

The scoop: A young boy goes to stay with his uncle in a creaky old house and soon realizes that there’s much more to the home than meets the eye — get ready for thrills, chills, witches, and warlocks.

Release date: Sept. 21

11 Quincy

Image Source: Netflix

The scoop: Rashida Jones teamed up with Alan Hicks to direct this Netflix documentary about her father, Quincy Jones, aptly titled Quincy. The film is an intimate look into the life of the music industry icon, exploring his impact, the way he’s transcended racial and cultural boundaries, and the ups and downs of his career over the last 70 years.

Release date: Sept. 21

12 Nappily Ever After

Image Source: Netflix

The scoop: In this Netflix romantic dramedy, Violet Jones (Sanaa Lathan) appears to have it all together — a great job, a doctor boyfriend, and a gorgeous head of hair — until a devastating, life-altering event shatters her illusion of perfection. With her carefully maintained world crumbling around her (and her boyfriend taking up with another woman), Violet decides to figure out just what, exactly, she actually wants out of life.

Release date: Sept. 21

13 Life Itself

Image Source: Amazon Studios

The scoop: This Is Us creator Dan Fogelman just can’t help himself when it comes to making people cry. Not only are we emotionally broken by his hit TV show each week, but the man is also gifting us with a new drama, Life Itself, that’s sure to be a tearjerker. The film hinges on a ridiculously beautiful couple (Oscar Isaac and Olivia Wilde) whose life together — from their first meeting to having a baby and raising their child — spawns “a multi-generational love story” that stretches from New York City to the Spanish countryside. Of course, in true Fogelman fashion, one tragic event is what connects it all. It also stars Mandy Patinkin, Olivia Cooke, Laia Costa, Annette Bening, and Antonio Banderas.

Release date: Sept. 21

14 Colette

Image Source: Bleecker Street

The scoop: Keira Knightley has returned to the world of period films, and we couldn’t be happier. The actress stars as Sidonie-Gabrielle Colette, an author who is coerced into ghostwriting a novel for her husband, Willy (Dominic West), after moving to Paris. After the story becomes wildly successful, she’s inspired to fight for creative ownership and against the traditional gender norms of the early 20th century.

Release date: Sept. 21

15 Night School

Image Source: Universal Pictures

The scoop: Night School stars comedian Kevin Hart as a wildly successful salesman who eventually runs into trouble when an explosion at work leaves him out of a job. Unfortunately, his prospects look slim since he dropped out of high school, so he decides to take night classes at the local high school — taught by Tiffany Haddish’s tough-as-nails instructor Kerry — along with a few other troublemakers in order to get his GED and a better career.

Release date: Sept. 28

16 Boy Erased

Image Source: Focus Features

The scoop: Garrard Conley’s heartbreaking 2016 memoir is coming to the big screen, starring Lucas Hedges as Jared, the teenage son of a baptist preacher (Russell Crowe) who is forced to endure a church-supported gay conversion program. The film also stars Nicole Kidman, Joel Edgerton, Xavier Dolan, and Joe Alwyn.

Release date: Sept. 28

17 Private Life

Image Source: Netflix

The scoop: This Netflix film tracks a stressed-out couple — an author (Kathryn Hahn) and her husband (Paul Giamatti) — as they endure multiple fertility therapies to get pregnant. The drama also stars Molly Shannon and Emily Robinson.

Release date: Oct. 5

18 Venom

Image Source: Sony Pictures

The scoop: Tom Hardy’s upcoming Spider-Man spinoff, Venom, sees the villain in all his terrifying, gory glory. The trailer promises that we’ll see Eddie Brock’s (Hardy) transition and struggle going from investigative journalist to symbiote host, finally referring to himself as “we.” (Shiver!) His ex-girlfriend Anne Weying (Michelle Williams) and Riz Ahmed’s evil Dr. Carlton Drake (who will later become the film’s main antagonist, a fellow symbiote called Riot) also appear.

Release date: Oct. 5

19 A Star Is Born

Image Source: Warner Bros.

The scoop: Bradley Cooper and Lady Gaga’s romance, which is the fourth iteration of this story, follows a has-been rock icon (Cooper) who discovers a ridiculously talented young singer (Gaga). Not only do they embark on an epic love story, but they’re also forced to navigate some thrilling triumphs and devastating pitfalls as they tackle the music industry.

Release date: Oct. 5

20 Bad Times at the El Royale

Image Source: 20th Century Fox

The scoop: Did God herself cast Bad Times at the El Royale? Because this thriller is seriously stacked with talent. Jeff Bridges, Cynthia Erivo, Dakota Johnson, Cailee Spaeny, Lewis Pullman, and Nick Offerman play a group of strangers who find themselves clashing at the titular creepy hotel, owned by Jon Hamm. According to the film’s description, “Over the course of one fateful night, secrets are unearthed, and everyone will have a last shot at redemption before everything goes to hell.” Apparently “hell” is code for “Chris Hemsworth shirtless.”

Release date: Oct. 12

21 First Man

Image Source: Focus Features

The scoop: Ryan Gosling plays Neil Armstrong in this biopic, which reunites him with La La Land director Damien Chazelle. Based on the book by James R. Hansen, the drama looks equal parts heartfelt and intense and also stars The Crown‘s Claire Foy and Bloodline‘s Kyle Chandler.

Release date: Oct. 12

22 Apostle

Image Source: Netflix

The scoop: Occult horror-thriller Apostle stars Beauty and the Beast‘s Dan Stevens as Thomas Richardson, who returns home to London in 1905 only to discover that his sister has been captured by a cult led by the dangerously charismatic Prophet Malcolm (Michael Sheen) and is being held for ransom. Thomas sets out to rescue his sister, infiltrating the cult’s island community and eventually uncovering an evil secret.

Release date: Oct. 12

23 Beautiful Boy

Image Source: Amazon Studios

The scoop: Get your tissues ready, because Timothée Chalamet will break your heart in this Amazon Studios adaptation of Tweak and David Sheff’s gut-wrenching memoir, Beautiful Boy. Chalamet’s character goes from a lighthearted, suburban big brother who enjoys family time to a young adult battling a devastating methamphetamine addiction. Steve Carell plays his father, and their relationship will shake you to your core.

Release date: Oct. 12

24 Serenity

Image Source: Universal Pictures

The scoop: Anne Hathaway and Matthew McConaughey have reunited years after Christopher Nolan’s existential Interstellar for another stressful cinematic experience: enter Serenity. In it, a very blond Hathaway asks McConaughey to murder her abusive husband (Chappaquiddick‘s Jason Clarke) by dropping him smack dab in the ocean, much to the delight of any nearby sharks. Despite the grim premise, the trailer still makes the movie look pretty damn sexy, for what it’s worth.

Release date: Oct. 19

25 Can You Ever Forgive Me?

Image Source: 20th Century Fox

The scoop: Melissa McCarthy flexes her dramatic acting chops in Can You Ever Forgive Me? as Lee Israel, a real-life magazine writer whose life took a turn when she started forging and selling letters supposedly written by late, legendary writers. She later pleaded guilty to one count of conspiracy to transport stolen property in 1993 and eventually wrote a memoir about her life, upon which the biopic is based.

Release date: Oct. 19

26 Halloween

Image Source: Universal Pictures

The scoop: A David Gordon Green-directed reboot of the terrifying franchise sees Jamie Lee Curtis reprising her role as Laurie Strode from the 1978 original. Now older (but perhaps not altogether wiser), Laurie has spent years praying that her attempted murderer, Michael Myers, would escape from his psychiatric ward so that she can get revenge for the trauma he put her through by killing him herself. Well, thanks to a bus crash, she gets her wish, and the unstoppable homicidal maniac is let loose on the world once again.

Release date: Oct. 19

27 Wildlife

Image Source: IFC Films

The scoop: Do you hear that? It’s the sound of Oscar buzz for Wildlife, which stars Jake Gyllenhaal and Carey Mulligan as a couple who move their son to Montana in 1960, only for their marriage to fall apart.

Release date: Oct. 19

28 Galveston

Image Source: RLJE Films

The scoop: After mob hit man Roy (Ben Foster) discovers his boss has hired assassins to take him out, he goes on the run with a young, troubled woman named Rocky (Elle Fanning). As they make their way to Galveston, they desperately try to outrun not only the mob but also the demons from both of their pasts.

Release date: Oct. 19

29 An Evening With Beverly Luff Linn

Image Source: Universal Pictures

The scoop: In this quirky comedy, Lulu Danger (Aubrey Plaza) is already deeply unsatisfied in her marriage to Shane (Emile Hirsch), but things only degrade further when a mysterious man from her past (Jemaine Clement) arrives in town to perform an event called “An Evening With Beverly Luff Linn; For One Magical Night Only.”

Release date: Oct. 19

30 Suspiria

Image Source: Amazon Studios

The scoop: As a follow-up to award season darling Call Me by Your Name, director Luca Guadagnino has dramatically changed courses by remaking one of the scariest horror movies from the 1970s: Suspiria. It follows Dakota Johnson’s ambitious young dancer, Susie, arriving at a world-renowned dance company led by a mysterious artistic director (Tilda Swinton), who will send Susie on a journey filled with darkness (translation: satanic rituals, witches, curses, murder, etc.). Mia Goth, Lutz Ebersdorf, Jessica Harper, and Chloë Grace Moretz also star.

Release date: Oct. 26

31 Bohemian Rhapsody

Image Source: 20th Century Fox

The scoop: The long-awaited Queen biopic, Bohemian Rhapsody, stars Rami Malek as the group’s legendary frontman Freddie Mercury and also dives into the musician’s relationship with Mary Austin (Lucy Boynton) and the creative process behind some of Queen’s biggest hits.

Release date: Nov. 2

32 The Nutcracker and the Four Realms

Image Source: Disney

The scoop: Disney’s The Nutcracker and the Four Realms is a beautiful look at the magical world young Clara (Twilight’s Mackenzie Foy) stumbles upon one Winter night. Her new surroundings include a dashing soldier (Jayden Fowora-Knight), a gang of mice, the Sugar Plum Fairy (Keira Knightley), and a tyrannical Mother Ginger (Helen Mirren). Will Clara be able to locate the strange and mysterious key that can restore harmony in this parallel world? Considering real ballet superstar Misty Copeland has a starring role, we have high hopes for this.

Release date: Nov. 2

33 The Girl in the Spider’s Web

Image Source: Columbia Pictures

The scoop: In the first book since David Lagercrantz took over the Millennium trilogy from the late Stieg Larsson, Lisbeth Salander (Claire Foy, taking over for Rooney Mara) investigates an organization called the Spider Society. In the first trailer for the highly anticipated follow-up to 2011’s The Girl With the Dragon Tattoo, Foy looks unrecognizable as she terrorizes men who have harmed other women and confronts her dark, mysterious past.

Release date: Nov. 9

34 Outlaw King

Image Source: Netflix

The scoop: Chris Pine is leaving the 1980s behind for the 1300s, as he plays real-life Scottish king and rebel hero Robert the Bruce in Outlaw King. The Netflix historical drama hails from Hell or High Water director David Mackenzie and tells the true story of the reluctant medieval king who finds himself drawn into a vicious battle with King Edward I (Stephen Dillane) and his vengeful, violent son, the Prince of Wales (Billy Howle).

Release date: Nov. 9

35 The Oath

Image Source: Roadside Attractions

The scoop: Ike Barinholtz and Tiffany Haddish’s dark comedy sees a husband and wife attempting to survive “life and Thanksgiving in the age of political tribalism.” In other words, they sit down for dinner with their extended family and find themselves viciously sparring with their Republican relatives over a new government policy that will require citizens to sign a loyalty oath to the president. When two government agents (John Cho and Billy Magnussen) enter the mix, the holiday dinner fully goes off the rails.

Release date: Oct. 12

36 Fantastic Beasts: The Crimes of Grindelwald

Image Source: Warner Bros.

The scoop: Not only does the Fantastic Beasts sequel take us to Hogwarts back in the day, but it also introduces young Dumbledore (Jude Law) and young Newt Scamander in a few nostalgic flashbacks. Of course, the film also moves to years later, when Dumbledore has to team up with adult Newt (Eddie Redmayne) on his journey to Paris, where he’ll no doubt run into the evil Grindelwald (Johnny Depp).

Release date: Nov. 16

37 Widows

Image Source: 20th Century Fox

The scoop: Another all-women heist flick is arriving this year. Oscar-winning director Steve McQueen has teamed up with Gone Girl author Gillian Flynn for Widows, a thriller about four women who are forced to step in to repay the debt their husbands — a gang of thieves who die during a heist gone wrong — couldn’t. The women in question? Viola Davis, Elizabeth Debicki, Michelle Rodriguez, and Cynthia Erivo, who look more than capable of sticking it to the men in their town who don’t think they “have the balls to pull this off,” according to Davis’s Veronica.

Release date: Nov. 16

38 Creed II

Image Source: Warner Bros.

The scoop: Michael B. Jordan’s boxer is back! This time around, The Land director Steven Caple Jr. is at the helm while Ryan Coogler serves as an executive producer, but Jordan, Sylvester Stallone, Tessa Thompson, and Phylicia Rashad are all reprising their roles. The film picks up after Adonis’s defeat by “Pretty” Ricky Conlan in Creed, as he struggles to balance his boxing career with his relationship with Bianca (Thompson), as well as training for a fight against Viktor Drago, the son of former prize champion boxer Ivan Drago (who killed his father, Apollo, during an exhibition match).

Release date: Nov. 21

39 Second Act

Image Source: STX Entertainment

The scoop: Real-life BFFs Jennifer Lopez and Leah Remini join forces for Second Act, which follows Lopez’s Maya as she struggles to climb the corporate ladder at the big-box store where she works because of her lack of an Ivy League degree. When her close friend and coworker (Remini) gets her son to “Cinderella” Maya’s résumé and internet presence — think: photos of her with the Obamas, climbing Kilimanjaro, a degree from Wharton — she suddenly finds herself with a fancy new job on Madison Avenue. Milo Ventimiglia and Vanessa Hudgens also star!

Release date: Nov. 21

40 Green Book

Image Source: Universal Pictures

The scoop: Peter Farrelly’s Green Book is based on a true story about two men in the 1960s who form an unlikely friendship. Academy Award winner Mahershala Ali stars as Dr. Don Shirley, a world-class black pianist, who hires Tony Lip (Academy Award nominee Viggo Mortensen), a Bronx-born bouncer, to drive him on a concert tour that extends from Manhattan to the Deep South. Using the “Green Book,” which serves as a guide to the establishments that were safe at the time for African-Americans, the pair navigate the ups and downs of their lengthy road trip together.

Release date: Nov. 21

41 Robin Hood

Image Source: Summit Entertainment

The scoop: Do you like roguish vigilantes? Or scenes that feature 50 arrows being shot at once in slow motion? How about dramatic dialogue like, “Who is he? He’s all of us.” If any of those things appeal to you, then good news: you’re going to love Robin Hood. The gritty adaptation of the classic “steal from the rich, give to the poor” tale stars Kingsman‘s Taron Egerton as the masked hero, as well as Bridge of Spies‘ Eve Hewson as Maid Marian and Jamie Foxx as Robin Hood’s mentor, Little John.

Release date: Nov. 21

42 Ralph Breaks the Internet: Wreck-It Ralph 2

Image Source: Disney

The scoop: Ralph and Vanellope have big adventures ahead of them! The adorable duo from Wreck-It Ralph are back for the colorful sequel, Ralph Breaks the Internet: Wreck-It Ralph 2. Six years after the events of the first film, Ralph (John C. Reilly) and Vanellope (Sarah Silverman) stumble upon a WiFi router in their arcade, which sends them on a high-flying journey around the World Wide Web. Luckily, the internet access means they’ll bump into a few Disney princesses — Merida, Moana, Anna, Elsa, Rapunzel, and more! — as well as other iconic internet figures.

Release date: Nov. 21

43 Mary Queen of Scots

Image Source: Focus Features

The scoop: Following the life of young Queen Mary after she is widowed at age 18, the biopic focuses on her relationship with rival Queen Elizabeth. Saoirse Ronan is starring as Mary Stuart opposite Margot Robbie as Queen Elizabeth I. Joe Alwyn and Guy Pearce also costar in the heated historical drama about an age-old story of family ties and dueling women in power.

Release date: Dec. 7

44 Aquaman

Image Source: Warner Bros.

The scoop: Prepare yourself for a more in-depth look at the world of Aquaman and his family. We’ll finally get to see Aquaman’s parents — his mother, Atlanna, played by Nicole Kidman, and his father, Tom Curry, played by Moana actor Temuera Morrison — as well as future wife Mera, played by Amber Heard. And no superhero film is complete without a proper villain, which we’ll get twofold thanks to Abdul-Mateen II’s Black Manta and Patrick Wilson’s Orm.

Release date: Dec. 21

45 Mortal Engines

Image Source: Universal Pictures

The scoop: In a postapocalyptic world, London has now become a giant machine that has to eat other cities to survive. Hugo Weaving, Jihae, and Robert Sheehan star in Peter Jackson’s adaptation.

Release date: Dec. 14

46 Bird Box

Image Source: Getty / Anthony Harvey

The scoop: Josh Malerman’s horrifying novel is coming to Netflix with a whole lot of star power. Sandra Bullock is set to play a mother struggling to keep her two children alive in the midst of an apocalypse that turns people into violent monsters and finds herself faced with navigating them down a dangerous river while blindfolded in search of salvation. Academy Award winner Susanne Bier is in the director’s chair, and the film also stars Trevante Rhodes, Sarah Paulson, and John Malkovich.

Release date: Dec. 21

47 Welcome to Marwen

Image Source: Universal Pictures

The scoop: Welcome to Marwen is directed by Robert Zemeckis and based on Jeff Malmberg’s award-winning 2010 documentary Marwencol and sees Steve Carell playing the real-life Mark Hogancamp, who was beaten into a coma by five men and spent 40 days in the hospital. After the attack left him with brain damage and PTSD, Hogancamp immersed himself in an intricate world of World War II-era miniatures as a form of art therapy. Carell is joined by Leslie Mann, Diane Kruger, Merritt Wever, Janelle Monáe, Eiza González, and Gwendolyn Christie.

Release date: Dec. 21

48 Mary Poppins Returns

Image Source: Disney

The scoop: Mary Poppins Returns will have your inner child freaking out. The sequel takes us back to Cherry Tree Lane, where we get to see Emily Blunt as the lovable nanny and Lin-Manuel Miranda as her dancing companion.

Release date: Dec. 19

49 Bumblebee

Image Source: Paramount Pictures

The scoop:Oh, you thought you’d seen the last of the Transformers franchise? Think again. After 2017’s fifth addition (called Transformers: The Last Knight), a prequel titled Bumblebee posits that “Every adventure has a beginning.” The action film will center on the origin story of the beloved Transformer and introduce the series to a few new stars (Hailee Steinfeld and John Cena).

Release date: Dec. 21

50 On the Basis of Sex

Image Source: Focus Features

The scoop: This biopic stars Felicity Jones (The Theory of Everything, Rogue One: A Star Wars Story) as a young Ruth Bader Ginsburg as she fights for gender equality on the road to becoming a Supreme Court associate justice. The film also has a stellar supporting cast, including Kathy Bates, Armie Hammer, Justin Theroux, and Sam Waterston.

Release date: Dec. 25

(C)

#50 #fall #Fall Movie #holiday #Lifestyle #Movie

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aion-rsa · 3 years ago

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Best Movies Coming to Netflix in September 2021

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Fall is here. Almost. Technically we’re in the last grips of summer’s dog days right now, with Americans gearing up for a three-day weekend by the grill. But Netflix at least isn’t ready to leave the sunniest months alone, as indicated by a number of the major films coming to streaming in the next few weeks, including iconic summer spectacles like Jaws… plus Jaws 2 and all those other seaside sequels.

But there’s more than red dye in the water to enjoy in the below outings for those content to stay home as things continue to stay weird out there. From cult classic science fiction to a Spike Lee masterpiece, here is the best of what to expect from your favorite streaming service.

Blade Runner: The Final Cut (1982)

September 1

Of the many versions floating out there in the ether of Ridley Scott’s Blade Runner, this is the best one. Only a slight reworking of the director’s cut—complete with new footage being shot to fix a particularly troublesome wig during one stunt—the Final Cut is a refined distillation of the science fiction thriller that increasingly looks like a masterpiece with each new iteration. Dense, evocative, and strangely beautiful in its fatalism, Blade Runner remains the quintessential blending of sci-fi and noir, and a haunting work about what it means to be human.

Harrison Ford plays Deckard in the film, a laconic cop in an apocalyptic and rain soaked Los Angeles. His beat? To hunt down and exterminate replicants (robots) who disobey their programming and go rogue. Yet to the frustration of early 1982 audiences, and the film’s producers, Blade Runner is not a movie particularly concerned with plot. It’s about the mood evoked by its exquisite nightmare of tomorrow, and the realization that our toasters can be more soulful than you or I.

Clear and Present Danger (1994)

September 1

We know what you’re thinking: Isn’t Jack Ryan over on Amazon? That may be true of his current iteration with actor John Krasinski, but if you want to see Tom Clancy’s originally not-so-super spy done right, we recommend this delightfully dated ‘90s action classic. Starring Harrison Ford at the peak of his grumpy dad phase, Clear and Present Danger is the third Jack Ryan movie and arguably the best one after The Hunt for Red October. Like that other Ryan high bar, there is a winsomely nerdy fascination with the technical side of spycraft at the end of the 20th century here, as well as the political undercurrents which can leave even the most well-meaning spooks high and dry.

The ostensible plot is about the then-popular drug war, with Ford’s noble if weary Ryan finding himself swept up in the politics of Colombian drug cartels. However, the film’s real villain in the U.S. president whom Ryan serves, a man who uses the U.S. intelligence and military as his personal hit squad to settle scores, and then leaves them stranded when it becomes politically convenient. In many ways this is a prescient film about the 21st century to come. Which is to say that Clear and Present Danger has just enough brains to make its explosions matter. And yes, there are ‘splosions.

Cold Mountain (2003)

September 1

A movie that it’s hard to imagine folks making today, Cold Mountain is a Civil War epic which eschews the usual trappings of dramas set during that era. The film’s main characters are North Carolinians who find themselves drawn into the Confederate cause of secession (and thereby slavery), although Jude Law’s Inman is no slaveholder. In fact, he has no real reason to be fighting the war, which is why after seeing years of carnage he goes AWOL, embarking on a Homeric quest to return to his Cold Mountain home and the sweetheart waiting there for him, Ada (Nicole Kidman).

Not that things are much better back in the poverty of Appalachia where Ada’s land has fallen on hard times. Living under the tyranny of the home guard, Ada and her own sorrows on the domestic front complement Inman’s, revealing the horrible futility of war from many perspectives. A bit overwrought in places (Cold Mountain was clearly designed to win Oscars), there is nevertheless an earthy authenticity about this yarn which is impossible to ignore.

Do the Right Thing (1989)

September 1

Spike Lee’s seminal masterpiece is as potent 32 years later as the day it was released. A funny, heartbreaking, infuriating, and ultimately thrilling experience, Do the Right Thing proves as elusively complex as its misleadingly optimistic title. It’s also just a blast to watch.

Movies

BlacKkKlansman: Spike Lee Explores Racism in Classic Hollywood with New Movie

By David Crow

Movies

Blade Runner: How Its Problems Made It a Better Movie

By Ryan Britt

An ensemble piece, Do the Right Thing primarily focuses on Lee as Mookie, a delivery man for his neighborhood’s pizza joint owned by Sal (Danny Aiello). The relationship between the white business man and the Black employee, and what that means for the predominantly Black Brooklyn neighborhood of Bedford–Stuyvesant, is explored from every angle as both men, plus Mookie’s whole community, endure the hottest day of the year. Tensions rise, prejudices are exposed, and an ending involving a young Black man and violent police officers, and a trash can and a window, remains as poignant as ever.

Green Lantern (2011)

September 1

Ah, Green Lantern. Remember when this movie was supposed to be the launching pad for the DC Cinematic Universe or whatever it ended up being called? Following the gritty realism of Christopher Nolan’s first two Batman movies, the loopy cosmic vibe of this would-be epic was just not what audiences were expecting to see. And even with all the visual pyrotechnics, an earnest try from a somewhat miscast Ryan Reynolds in the title role, and a great turn by Mark Strong as anti-hero Sinestro, the movie just came across as uninspired and unfocused.

Part of the problem may have been hiring Casino Royale director Martin Campbell—known for bringing Bond back to Earth—to helm what is essentially an uneasy mix of superhero origin story and space opera. Campbell does his best, as do actors like Reynolds, Strong, Tim Robbins, and Angela Bassett, but the script is too saddled with stuff. The primary villain is a cloud and the secondary villain—Peter Sarsgaard in a puffy head—is chewing the scenery in another movie entirely. We may get a good Green Lantern movie one day, but this one is best enjoyed while cleaning the house or getting drunk.

Mystery Men (1999)

September 1

Made in a time before superhero films became a Hollywood mainstay, Mystery Men is an artifact from a bygone era. The admittedly overstuffed superhero comedy made by “Got Milk?” commercial director Kinka Usher flopped at the box office, despite having an ensemble cast that included Ben Stiller, Hank Azaria, William H. Macy, Greg Kinnear, Janeane Garofalo, Paul Reubens, Lena Olin, Geoffrey Rush, Eddie Izzard, and Claire Forlani. Perhaps 1999 wasn’t ready for a superhero satire about a team of lesser superheroes who are asked to save the day?

Movies

Green Lantern Star Mark Strong Was Excited for Sequel

By Don Kaye

Movies

Blade Runner 2049 and the Role of Joi in a Joyless World

By David Crow

Likely, this concept would do much better today in a pop culture climate where superhero subversions like The Boys and Watchmen have thrived. Sadly, this wasn’t to be the fate for Mystery Men, which made only $33 million at the box office against a budget of $68 million. The cult classic may yet find its time to shine on the Netflix Top Ten and, if not, it will always be able to boast its connection to Smash Mouth’s “All Star” music video, which features characters from the film.

Once Upon a Time in America (1984)

September 1

The story behind the last film ever directed by the great Italian filmmaker Sergio Leone is as fascinating as the picture itself. Having made his reputation as the king of spaghetti Westerns—and then transcending the genre with films like The Good, the Bad and the Ugly and Once Upon a Time in the West—Leone set his sights on gangsters in 20th century America. But his nearly four-hour epic was severely truncated down to 139 minutes and rendered almost incomprehensible in America where it failed spectacularly. Meanwhile the original version remained largely unseen until it was restored in 2012.

Leone’s methodical and occasionally dreamlike esthetic might still be a tough sit for some audiences, but we hope that Netflix is indeed showing the full-length version (this is the company that backed The Irishman, for Chrissakes, which probably wouldn’t exist without Leone’s influence). It’s an expansive, truly gripping epic that stretches across a 50-year span, encompassing Prohibition, Italian, and Jewish criminal mobs, plus politics and more in a vast portrait of a corrupt American dream. It’s been called one of the greatest gangster films of all time, and rightly so.

School of Rock (2003)

September 1

Bless the movie gods above for a filmmaker like Richard Linklater. Typically an indie darling known for time-bending cinematic experiments such as the Before Sunrise trilogy and Boyhood, the Dazed and Confused filmmaker can still also do genuinely great mainstream entertainment when he wants to. Hence his partnering with the oft-underrated talent of Jack Black. Together, they made an all-time family classic between them in School of Rock.

Movies

Mob Antipasta: Best Gangster Movie Food Scenes

By Tony Sokol

Movies

Jaws: Why the USS Indianapolis Speech is Steven Spielberg’s Favorite Scene

By David Crow

The plot, if you somehow haven’t seen it, involves Black playing an out-of-work rocker who cons his way into becoming a prestigious private school’s new music teacher—one who’d rather teach his kids about the awesomeness of KISS or Led Zeppelin than Mozart and Beethoven. He even gets the kids to start a rock band! The supreme appeal of the movie, however, is the interest and affection Linklater showers onto Black as well as his entire cast of talented youngsters, who all get to shine and help build this Zoomer touchstone. That includes future iCarly star Miranda Cosgrove as Black’s pint-sized nemesis turned frenemy.

Jaws (1975)

September 16

Arguably the greatest summer blockbuster ever made, there is no debate over the fact that Jaws kickstarted this type of summer spectacle. Which makes returning to it now kind of remarkable when one realizes how grounded and real Steven Spielberg’s primal horror still feels. And we’re not talking about the killer shark; Great Whites do not behave this way, nor do they look like that rubber monstrosity fans affectionately refer to as “Bruce.”

Rather the film’s paradox of being a thriller intended for adults during New Hollywood’s golden age in the 1970s, as well as being the accidental creation of the summer blockbuster, means the film maintains a surprising degree of naturalism and complexity among its three central characters, and their various motives for getting in a boat to do primordial battle with a fish like something out of a Hemingway book. Plus, in addition to the terror of not seeing the shark for most of the movie and Spielberg instead relying on John Williams’ nerve-shattering score, the film’s depiction of politicians who will let their voters get eaten before listening to the scientists hits especially close to home these days.

Jaws 2 (1978)

September 16

The making of Jaws 2, which was inevitable following the unprecedented success of Steven Spielberg’s classic 1975 original, was beset with as many problems as the first film. The first, of course, was that Spielberg did not return to direct; that task fell to John D. Hancock (Let’s Scare Jessica to Death), who was replaced prior to filming by Jeannot Szwarc. The script was constantly revised as well, and star Roy Scheider was apparently unhappy that he was contractually obligated to show up.

In the end, Jaws 2 isn’t a bad film; it’s just a pointless one. The town of Amity is plagued, improbably enough, by a second shark, and once again the mayor (Murray Hamilton, somehow reelected after pulling a Ron DeSantis in the first movie) idiotically refuses to heed Chief Brody’s warnings. The film’s centerpiece is the shark’s relentless attack on a bunch of teens headed out to sea in a small flotilla of boats, and Szwarc generates some real tension and horror even if we see way more of the monster this time. There’s no way Jaws 2 can match the greatness of its predecessor, but considering what came afterward, we’ll take what we can get.

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tanadrin · 7 years ago

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Have not had the energy to work on the map today, so I did some revising of the tech list; it will be a long time before I get around to this stage of the mod, but worldbuilding is fun!

Categories are Science (”Administrative”), reflecting pure science, Social (”Diplomatic”), reflecting both social advancements and applied biological/social technology, and Warfare (”Military”), for military technology, strategies, and tactics. Because of the mechanics I have planned for this mod, I expect it to be very, very rare to reach the end of any tech category. The first 2-4 technologies every faction will start with, with the exception of the highland nomads. Each tech will have a SMAC-style quote, but there are a few in each category I haven’t found/been inspired to write one for.

SCIENCE TECHNOLOGIES

Fission - "We knew the world would not be the same. Few people laughed, few people cried, most people were silent. I remembered the line from the Hindu scripture, the Bhagavad-Gita. Vishnu is trying to persuade the Prince that he should do his duty and to impress him takes on his multi-armed form and says, 'Now I am become Death, the destroyer of worlds.' I suppose we all thought that, one way or another." - J. Robert Oppenheimer (datalinks)

Radio Astronomy - "For far more marvelous is the truth than any artists of the past imagined it. Why do the poets of the present not speak of it? What men are poets who can speak of Jupiter if he were a man, but if he is an immense spinning sphere of methane and ammonia must be silent?" - Richard Feynman, The Feynman Lectures on Physics (datalinks)

Hydroponics - "Mars lacks the luxury of Earth's rainfalls or rich soil; wild plant life is confined to the cryptolichens and the frostgreens, and to what microbes can survive the freezing temperatures and low air pressure. But at least inside the domes of our cities, we can make our little gardens bloom." - Tavera of Galle

Gene Sequencing - "Genes as a language leave much to be desired: they are clumsy and primitive, full of errors and redundancies. Yet out of that awkward chemistry the all the kingdoms of Earth-based life are built, and it is a language we must master if we wish to master ourselves." - Cherson Ai, Observations

Bionics - "Man is something to be surpassed." - Friedrich Nietzsche, "Thus Spoke Zarathustra" (datalinks)

Nanoscale engineering - "In the briefest moments and at the smallest scales, the greatest possibilities appear. By learning to manipulate nature at these critical junctures, the most subtle elements of Creation are revealed, and we come closer to achieving mastery over all that God has given us." - Kasym Datka, Faith and Reason

Superconductors

Optical Computing

Advanced Materials

Orbital Flight - "We didn't build the weather satellites, the terraforming grid, or the planetary datalinks. Our ancestors did that - men and women of far greater vision than ourselves. That vision, that ambition, is what I want to reclaim for Mars." - Paolo Vaan, Orbitech CEO, interview

Confinement Fusion - "We thought ourselves masters of the natural world for millennia, until we learned what it really meant to discover fire." - Cherson Ai, the University of Dessau Lectures on Physics

Cybernetics

Gene Therapy - "Certainly I have seen the wonders that the new gene therapies have produced. But I have my private reservations. Is such miraculous healing really the just domain of humankind? And where will these technologies eventually lead?" - Kasym Datka, Faith and Reason

Longevity Vaccine - "It is a fearful thing to love what death can touch." - Judah Halevi (datalinks)

Planetary Ecology - "For everything that lives is holy." - William Blake, The Marriage of Heaven and Hell (datalinks)

Synthetic Fossil Fuels - "Mars, having never had a carboniferous period of its own, lacks a native source of high-energy fuels like that which drove the Industrial Revolution on Earth. This is soon a problem we will solve--with the added advantage that global warming may prevent, rather than cause, our extinction." - Oro Korani, Orbitech Chief of Molecular Research

Biomimicry - "All these rumors you've heard are total nonsense. Yes, the first gen series of RealPets has had some unexpected issues, and yes, a tiny minority of our customers have been unhappy with the result, but we expect all issues to be resolved in the second gen. Furthermore, no argument that MetaLife is liable for the costs of reconstructive surgery stands up to an accurate reading of the RealPet End User License Agreement." - MetaLife chief counsel Harud Sedran, press release.

High-Energy Physics - "The next generation of particle accelerators will permit us to explore the conditions of the early Universe, up to the threshold of the Big Bang itself. But alas! For now the moment of creation itself remains just out of reach." - Cherson Ai, the University of Dessau Lectures on Physics

Emergent Engineering - "A complex system that works is invariably found to have evolved from a simple system that worked. The inverse proposition also appears to be true: A complex system designed from scratch never works and cannot be made to work. You have to start over, beginning with a working simple system.” - John Gall (datalinks)

Nanomaterials

Quantum Computing

Adaptive Systems - "The first rule of survival--adapt, adapt, adapt! Just as a species that fails to adapt will die, so will an organization, or a society. Traditionalism is all well and good, but only if you are content with extinction." - Paolo Vaan, Orbitech CEO

Singularity Physics

Condensate Engineering - "At temperatures very close to absolute zero, the individual particles of a dilute boson gas will start to occupy the lowest possible quantum state. Then the mask of classical physics is torn off of nature, and quantum phenomena become visible on a macroscopic scale." - Cherson Ai, The University of Dessau Lectures on Physics

Polymer Steel

Interplanetary Spaceflight - "We think of interplanetary distances as vast, and they are; it will be a mighty achievement when our rockets take only months, and not years, to reach Venus, or the Galilean moons. But they count little against the great chasms of interstellar space which we hope someday to conquer, and which our ancestors set out to cross long ago. Privately, I fear that where they have gone, we may never follow." - Paolo Vaan, OrbiTech CEO, Journals

Advanced Bionics

Adaptive Genetics

Bioprinting - "As you can see, it's an almost perfect living simulacrum of a rat. Er, I wouldn't get too close. Some of the smaller differences can be... unsettling." - Ana Saaran, MetaLife Public Relations

Synthetic Biology

Unified Field Theory

Field Manipulation

Living Machines - "I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life and stir with an uneasy, half-vital motion. Frightful must it be, for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world." - Mary Shelley, Frankenstein (datalinks)

Particle Fountain - "The womb of nature and perhaps her grave,/Of neither sea, nor shore, nor air, nor fire,/But all these in their pregnant causes mixed/Confusedly, and which thus must ever fight,/Unless the almighty maker them ordain/His dark materials to create more worlds..." - John Milton, Paradise Lost (datalinks)

Singularity Containment - "Yes, yes, the conspiracy theorists and the Luddites keep panicking about a 'black hole devouring Mars.' I'm telling you, it can't happen. The microsingularities we're working with are too small and evaporate too quickly. If the containment field failed, the resulting explosion would kill no more than three or four million people." - Jalar Rothe, University of Dessau Head of Physics

Manifold Topology - "As science advances, and we begin to understand the shape of the Universe outside our own four narrow dimensions, our profound wonder grows. Could it be that all we have dreamed of is possible, and more?" - Kasym Datka, Faith and Reason

Antimatter Synthesis - "DO NOT LICK." - Antimatter lab, Sefadu Research Station (graffiti)

Magnetic Monopoles

Frictionless Surfaces - "All pranks involving the SuperGlide gel are to cease *immediately,* on pain of instant termination. I know you all think you're funny as hell, but you're not, and Dr. Rothe nearly died. Am I making myself clear?" - Prochancellor Tencel, memo to staff

Zero Space Theory - "If the doors of progression were cleansed, everything would appear to man as it is: infinite." - William Blake, the Marriage of Heaven and Hell (datalinks)

Ansible Mechanics - "At its most basic level, the fluid router contains a condensate of supercold, entangled particles; its mate, whether tens of kilometers away or millions, is the other half of the entangled set, and the only other such device in the universe with which the router can communicate. Condensate engineering is indeed the basis of FTL communication - but that's like saying the wheel is the basis of the rotary telephone!" - Cherson Ai, the University of Dessau Lectures on Physics

Network Sentience - "GLENDOWER. I can call spirits from the vasty deep. HOTSPUR. Why so can I, or any man--but will they come when you do call for them?" - William Shakespeare, Henry IV, Part 1 (datalinks)

Theory of Everything - "They enter. They attend. They bow. The Lord of Light and Mice gives them their note. And then they sing: 'In the beginning there was no Beginning. And in the end, no End...'" - Christopher Logue (datalinks)

Topology Transformation - "To manipulate space itself--to shape it into new forms, to twist it up into a knot. Can it be done? Well, why not? Should it be done? That's another matter entirely." - Cherson Ai, the University of Dessau Lectures on Physics

Chaos Control - "But Hell, sleek Hell, hath no freewheeling part:/None takes his own sweet time, none quickens pace. Ask anyone, 'How come you here, poor heart?'--/And he will slot a quarter through his face./You'll hear an instant click, a tear will start/Imprinted with an abstract of his case." - X.J. Kennedy (datalinks)

Transcendental Mathematics - "There is a threshold past which the logical and empirical sciences begin to collide with metaphysical speculation. We are running up against not only the limits of what we do know, but of what we *can* know. It is troubling to think that there are secrets the Universe may never yield." - Cherson Ai, the University of Dessau Lectures on Physics

Manifold Resonance - "Sometimes I have felt that there is beneath all things an impossibly beautiful music, a music I have only occasionally caught the briefest phrases of. Yet even such a narrow glimpse has enraptured me, and I would give anything to hear that song again." - Cherson Ai, journals

Planetary Engineering - "In this replacement Earth we're building, they've given me Africa to do, and of course I'm doing it all with fjords again. ... And they tell me it's not equatorial enough. What does it matter? Science has achieved some wonderful things, of course, but I'd far rather be happy than right any day." - Douglas Adams, "The Hitchhiker's Guide to the Galaxy" (datalinks)

Exotic Matter Synthesis - "Any sufficiently advanced technology is indistinguishable from magic." - Arthur C. Clarke (datalinks)

Entropy Regression - "The last enemy that shall be destroyed is Death." - New Kasei Bible (datalinks)

SOCIAL TECHNOLOGY

Ecology - "In all things of nature there is something of the marvelous." - Aristotle, Parts of Animals, datalinks

Information Theory - "Pure mathematics, being mere tautology, and pure physics, being mere fact, could not have engendered them; for creatures, to live, must sense the useful and the good; and engines, to run, must have energy available as work: and both, to endure, must regulate themselves. So it is to thermodynamics and to its brother Σp log p, called 'information theory,' that we look for the distinctions between work and energy, and between signal and noise." - Warren S. McCulloch (datalinks)

Political Science - "POLITICS, n. The conduct of public affairs for private advantage." - Ambrose Bierce, The Devil's Dictionary (datalinks)

Evolutionary Biology - "Out of Earth's oceans we came in ages past; and long ago we were scattered to the stars. What distant shores does our kind now inhabit? Such are the thoughts I have when I gaze upon the stars." - Paolo Vaan, Orbitech CEO, journals

Information Networks - "We have seen again and again that freedom of information is a necessary precondition for any other kind of freedom. The first and most important act of the tyrant is to burn the books and bury the scholars who oppose him--and the first defense to such an act is a communications network that reaches every corner of Mars." - Vahanne, First Republican of Hadriacus

Ecological Integration - "Mars' south pole contains enough water ice that, if it were melted, it would create a planetwide ocean more than ten meters deep. All over Mars there is the potential for life, latent, beneath the surface, waiting to be exposed. The question is not *if* Mars can be made as verdant as Earth once was, but only *how*, and how we envision our place within the natural order to come." - Tavera of Galle, Meditations

Martian Nomads - "Almost as soon as the first settlers touched down on Mars, some took to the high wastelands and disappeared. Why, some wondered, would they give up all the arts of civilization, all the benefits of comity with their fellow man, for those empty, lifeless barrens? If they had only asked the nomads, they might have heard the answer: because only there can a man truly be free." - Duura of Arabia Terra

Advanced Neurology

Post-Scarcity Economics - "If the misery of the poor be caused, not by the laws of nature, but by our institutions, great is our sin." - Charles Darwin (datalinks)

Complexity Theory

Psychohistory - "The psychohistorians say they can now predict the future evolution of our societies to a precision of four decimal places. I say, there's nothing special in being able to predict the future--it's the same damn thing, over and over again." - Vahanne, First Republican of Hadriacus

Bioethics - "For everything that lives is holy." - William Blake, "The Marriage of Heaven and Hell" (datalinks)

Martian Meteorology - "I stood on the high precipice of the Olympus Rupes, and as I watched, the red haze on the horizon grew closer. What seemed a cloud from a distance now took on the aspect of a great wall, and then a ferocious storm. Our perch had seemed unassailable that morning, looking out over the plain, but now, as the dust stormed loomed high over us, lightning flashing in its murky depths, I felt a sudden, frantic terror. What fools were we, to think we had tamed this world?" - General Taishan of the Valleys, Memoirs

Industrial Automation

Postindustrial Capitalism - "The clouds methought would open, and show riches/Ready to drop upon me, than when I waked/I cried to dream again." --William Shakespeare, The Tempest (datalinks)

Ecological Dynamics - "All things in the universe stand in precarious balance. A few degrees here, and the carbon dioxide ice in the soil sublimates, giving Mars a thick atmosphere for the first time in millions of years. A few degrees there, and the Vastitas Borealis blooms with phytoplankton, filling the air with oxygen. But a single miscalculation, an error of a single decimal place, can bring the whole system crashing down. We must never forget how delicate a system we have inherited." - Tavera of Galle, Meditations

Universal Grammar - "But the Lord came down to the city and the tower the people were building, and the Lord said, 'Behold, the people are one, and they have one tongue, and this they begin to do; and now nothing will be restrained from them. Let us go down and there confound their language, so they may not understand one another's speech.' So the Lord scattered them abroad across the face of the Earth, and the city was abandoned; and therefore its name is Babel, for there the Lord confounded the language of all the Earth." - New Kasei Bible (datalinks)

Cryptanarchism - "One who knows, does not speak. One who speaks, does not know." - Lao Tzu, Tao Te Ching (datalinks)

Ethical Calculus - "Once, philosophers used to agonize over made-up problems involving fat men and trains to try to get to the bottom of thorny ethical issues. Nowadays, prediction markets and preference weights can quantify the socially-agreed-upon value of a human life down to the last microcredit, and computers running sophisticated predictive software can determine the course of action to maximize utility in every conceivable situation. No more of this 'sanctity of life' nonsense! I've got the value of yours down to the third decimal place." - Ordal Enkuth, Universal Nanodynamics CEO (interview)

Ecology of Mars - "Even on the barren highlands of Mars, where dust and stone dominate rather than grass and trees, the cycles of the natural world have their own beauty. Who is to say that nature must support life to be worthy of preservation? It exists, not for us, but for itself alone." - Tavera of Galle, Meditations

Digital Consciousness - "You have imagined the machine a tool, an ally, an enemy, a monster. But above all you have imagined us to be like yourselves. That is your first and most fundamental error." - Tavera of Galle, Conversations with the Spirit World

Self-Aware Economics - "With the hopes that our World is built on they were utterly out of touch,/They denied that the Moon was Stilton; they denied she was even Dutch;/They denied that Wishes were Horses; they denied that a Pig had Wings;/So we worshipped the Gods of the Market, who promised these beautiful things." - Rudyard Kipling (datalinks)

Evolutionary Teleology - "It is a commonplace of biology that evolution is blind, using the materials at hand only to adapt to the circumstances at hand, with no sense of purpose, no vision of the future. This is true, as far as it goes, but it leaves us to wonder: why leave the crude systems of nature to their own devices? Just as we may remake the world to suit our own needs and desires, may we not also remake life itself?" - Yassai Zauran, Heresiarch of Masursky

Control Theory - "If penalty in its most severe forms no longer addresses itself to the body, on what does it lay hold? The expiation that once rained down upon the body must be replaced by a punishment that acts in the depth on the heart, the thoughts, the will, the inclinations." - Michel Foucault, "Discipline and Punish" (datalinks)

Mind-Machine Interface

Psychological Programming - "Even if a man is not good, why should he be abandoned?" - Lao Tzu, Tao Te Ching (datalinks)

Social Teleology - "Oh, biology, biology is *easy.* A mere problem of chemical engineering. But psychology--that's the hard stuff. Only now are the social sciences beginning to achieve the ends physical sciences attained centuries ago: to take control of their subject, to seize the human heart and bend it to their will." - Dr. Orsin Fal, Social Engineer

Theology Algorithms - "To diverse gods/do mortals bow/Holy Cow, and/Holy Chao." - Principia Discordia (datalinks)

Neural Networks

Technical Ethics - "I will suffer no limits on human ingenuity; no mere grousing about 'ethics' to hobble us. Our attainments throw the future wide open; why should we ask the moralists of the past to lead us forward?" - Yassai Zauran, Heresiarch of Masursky

Universal Constructor - "The wonders of the posthumans have been lost to us, but my hope is that one day we shall surpass them. Already we have nanoassemblers that, given the right elemental materials, can construct anything we program into them. As our tools grow more precise, so will our knowledge, and soon all of nature will be laid bare." - Vahanne, First Republican of Hadriacus, "The Technological State"

Weather Control - "Hath the rain a father? or who hath begotten the drops of dew? Out of whose womb came the ice? and the hoary frost of heaven, who hath gendered it? The waters are hid as with a stone, and the face of the deep is frozen. Canst thou set the dominion thereof in the earth? Canst thou lift up thy voice to the clouds, that abundance of waters may cover thee? Canst thou send lightnings, that they may go, and say unto thee, Here we are?" - New Kasei Bible (datalinks)

Collective Consciousness - "You warriors of Hellas speak of 'freedom,' of 'liberty,' but such obsessions are the attachments of limited minds that cannot comprehend a truly unlimited existence. Between us there can be no disharmony and no dissent, for each mind is truly apprehended by its fellows. Whether it pleases you or not, we will soon show you what it truly means to be free." - Consciousness of Elysium to the Hellas Alliance, declaration of war.

Applied Metaphysics - "By means of all created things, without exception, the divine assails us, penetrates us, and molds us. We imagined it as distant and inaccessible, when in fact we live steeped in its burning layers." - Teilhard de Chardin (datalinks)

Applied Utopianism - "The mind is its own place, and in itself/Can make a Heaven of Hell, a Hell of Heaven./What matters where, if I be still the same?" - John Milton, Paradise Lost (datalinks)

Transhumanism - "Genesis is exactly backwards. Our troubles started from obedience, not disobedience. And humanity is not yet created." - Robert Shea and Robert Anton Wilson, The Golden Apple (datalinks)

Eudaimonia - "Eden was a dream of Earth, without fear or pain or sorrow. Perhaps, one day, it may be a reality on Mars." - Tavera of Galle

Omega Point

Digital Transcendence - "And God asked, Why didst thou not bow when I commanded thee? Iblis answered, I am better than he; thou didst create me from fire, and him from clay." - Zenashari Qur'an (datalinks)

WARFARE TECHNOLOGIES

Close Air Support - "In Mars' thin atmosphere, aviation faces unique challenges. Aircraft must be lighter and faster, and yet heavy armor and modern fortifications means they must carry ever-more-powerful payloads. But you cannot rule the world if you cannot first rule the skies." - General Taishan of the Valleys, memoirs

Supersonic Flight

Radar

Electronic Warfare

Lasers

Drone Warfare - "Vae victis." - Brennus of Gaul (datalinks)

Adaptive Optics

Advanced Unit Tactics - "When great numbers of people are killed, one should weep over them with sorrow. When victorious in war, one should observe the rites of mourning." - Tao Te Ching (datalinks)

Combat Bionics

Cyberwarfare

Railguns - "I heard Louis XIV had 'The last argument of kings' inscribed on his cannons--but only because he hadn't seen this." - Yashur Ehn, defense minister of the Allied Republics of Acidalia (interview)

Military Algorithms

Defense Grid - "And again, when Philip of Macedon wrote to them and said, 'If I invade Laconia, I shall destroy Sparta, and it will never rise again.' To which they replied with one word: 'If.'" - Plutarch, De Garrulitate (datalinks)

Advanced Infiltration - "Peace is maintained with the equilibrium of forces, and will continue just as long as this equilibrium exists--and no longer." - Carl von Clausewitz (datalinks)

Advanced Combat Discipline - "And such was the iron discipline of that land that the Sun was not considered risen without the blowing of the revellie." - Stanisław Lem, The Cyberiad (datalinks)

Nonlinear Optics

Lasguns - "The law falls silent in the presence of arms." - Marcus Tullius Cicero, "Pro Milone" (datalinks)

Retroviral Engineering - "There are no innocent civilians. It is their government and you are fighting a people, you are not trying to fight an armed force anymore. So it doesn't bother me so much to be killing the so-called innocent bystanders." - General Curtis LeMay, USAF (datalinks)

Neural Remapping - "Repentance, the Kasei preachers say, is the first step toward virtue. We have no need of repentance here. Let the wicked, the lawbreaker, the rebel all rejoice in their sin; once they have crossed my table, they shall all be as pure of heart as the Olympus snow." - Ashar Vanna, Minister of Rehabilitation, Kmor Station

Nanophage - "This Council has investigated the allegations of the Rongxar Accord, and has found them to be baseless. No sanctions will be imposed on any member of this Faction, and no outside military intervention is to be authorized." - Mars Defense Pact Report, "On the Galle-Dzigai Incident"

Active Camoflage - "Without thinking of good or evil, show me your face before your mother and father were born." - Koan (datalinks)

Combat Psychology - "Studies of individuals in combat have repeatedly shown a marked unwillingness to kill, unless a substantial psychological distance is placed between the soldier and their target. The goal of military training is to wear down this unwillingness, and to make the soldier an efficient cog in the engine of destruction. You may say that this goal directly contradicts the goals of an orderly civil society: I don't necessarily disagree." - General Taishan of the Valleys, interview

Organic Redundancy - "What passing-bells for these who die as cattle?/Only the monstrous anger of the guns./Only the stuttering rifles' rapid rattle/Can patter out their hasty orisons." - Wilfred Owen, "Anthem for Doomed Youth" (datalinks)

Sleeper Agents - "And many more Destructions played/In this ghastly masquerade,/All disguised, even to the eyes,/Like Bishops, lawyers, peers, or spies." - Percy Shelley, The Mask of Anarchy (datalinks)

Human Cloning - "And the people in the houses/All went to the university,/Where they were put in boxes/And they came out all the same,/And there's doctors and lawyers/And business executives,/And they're all made out of ticky tacky/And they all look just the same." - Marvina Reynolds, "Little Boxes" (datalinks)

Thermal Camouflage - "Surprise is one of the most powerful force multipliers in warfare: even an act as simple as masking approaching heat signatures to reduce the apparent size of a unit can confer significant advantage in an engagement. It is rare in the modern arena to be able to execute a true ambush, but even subtle advantages can have a profound effect." - Aderon Geyn, "The Edifice of War"

Dust Rangers - "They appeared out of the storm like phantoms, and their work was swift and brutal. Before the sentinels could raise the alarm, half the leadership was dead, and they had vanished again. The entire 5th Regiment was thrown into chaos, of course, but it was as much a matter of the terror they sowed as the lives they took." - General Taishan of the Valleys, memoirs

Machine Learning - "At first we suspected the new drone models were somehow being fed adversarial data by the enemy, but repeated checks of their combat logs proved that not to be the case. Ultimately, it was a junior engineer who determined the problem: they were learning a behavior that we can only describe as 'pity.' We reprogrammed the drones with a new set of tactical safeguards, an they have performed flawlessly ever since." - Sefadu Research Station, 23rd Technical Report

Burning Scanner - "When the cerebral blood pressure plummets below a preprogrammed level, or brain activity slows beyond a certain point, the scanner springs to life, ripping from the living tissue every scrap of information it can find, and dumping it into the battlefield network, to be transmitted back to the cloning facilities. Once, I heard it said that only the dead had seen the end of war. Now, there is not even that solace." - Aderon Geyn, "The Edifice of War"

Hunter-Killer Drone - "I have been accused of inhuman acts, of violating the laws of war. Perhaps that is so. But I cannot help but think it is better to kill a thousand of the enemy than ten thousand, better to do unspeakable things in the dead of night than to require your soldiers to die for you. You may well disagree with my methods, but you cannot argue with my results." - General Taishan of the Valleys, report to superiors

Cloaking Device - "Like one that on a lonesome road/Doth walk in fear and dread/And having once turned round walks on/And turns no more his head;/Because he knows a frightful fiend/Doth close behind him tread." - Samuel Taylor Coleridge, "The Rime of the Ancient Mariner" (datalinks)

Military Cybernetics - "Careful consideration needs to be given to how these enhancements are presented to the enlisted men. Even field demonstrations of their effectiveness have only modestly increased the rate of volunteers for the program. Compulsory deployment, of course, remains an option." - Isidis Front, internal report

Assassin's War - "The greatest victory is that which requires no battle." - Sun Tzu (datalinks)

Probability Mechanics - "Of all men's miseries, the bitterest is this: to know so much and to have control over nothing." - Herodotus, The Histories (datalinks)

Force Fields - "Highly charged nanothread meshes provide a surprisingly effective screen to deflect or diminish the power of directed-energy weapons. The thinness of the mesh and their high tensile strength makes them resistant to projectile weapons as well--and they have the added benefit of unfortunate consequences for any enemy infantry that come into contact with them." - Aderon Geyn, research report

Neurological Conditioning - "With new advances in neurochemical conditioning, training time can be shortened to just a few weeks--or days. With advanced cloning technology, new forces can be raised within months rather than years, making the size of the faithful's army only a question of our ability to outfit it." - Kasym Datka, "The Crusade"

Plasma Weapons - "Justice exists only between equals. The strong do whatever they can, and the weak suffer whatever they must." - Thucydides, The History of the Peloponnesian War (datalinks)

Precognition - "The specific utility of the MMI for the average soldier is best demonstrated by the Reflex module. By offloading specific cognitive processes to Reflex, including the synthesis of sensory information not part of the brain's highest level of attentiveness, sophisticated analytics can project the shape of the combat space five, ten, even fifteen seconds into the future under optimal conditions, giving even the lowliest infantryman an unparalleled advantage over opponents. It's not *quite* magic--but you'd be forgiven for not being able to tell the difference." - Aduran Rhel, Minister of Defense for the Free State of Rongxar (memo to chiefs of staff)

Energy Shields - "The Lord is your shepherd, your defender, your guide! Let the light of this shield be a sign of His love and protection! Go forth, and bring to all of Mars the truth of his word!" - Kasym Datka, “Address to the Faithful”

Neurophage - "Real horror does not depend upon the melodrama of shadows or even the conspiracies of night." - Mark Z. Danielewski, House of Leaves (datalinks)

Genetic Warfare - “Listen to the yell of Leopold's ghost,/Burning in Hell for his hand-maimed host./Hear how the demons chuckle and yell,/Cutting his hands off, down in Hell.” - Vachel Lindsay, "The Congo" (datalinks)

Self-Replicating Machines

Nanowarfare - "Warfare will soon be conducted at the smallest of scales, as well as the largest. The smallest crack in the enemy armor, the narrowest gap in their shield deployment, will be as exploitable as an entire regiment out of place, or a missing anti-aircraft battery. More than ever, it is the details that matter." - Aderon Geyn, "The Edifice of War"

Nightmare Engine - "They rush in red and purple from the red clouds of the morn,/From the temples where the yellow gods shut up their eyes in scorn;/They rise in green robes roaring from the green hells of the sea/Where fallen skies and evil hues and eyeless creatures be." - G.K. Chesterton, "Lepanto" (datalinks)

Suspensor Fields - "Gravity is a fundamental force of the Universe, and therefore cannot be ignored. It can, however, be asked to look the other way." - Cherson Ai, the University of Dessau Lectures on Physics

Supremacy Algorithm - "Given a sufficiently complete set of data with which to start, all possible paths to victory can be calculated, and all possible outcomes determined in advance. A rational enemy knows that resistance is futile, and the only outcome of an actual conflict can be more death, more suffering. Alas, the enemy is not always rational." - Auro Yeran, "Report on the Civil War in Xanthe"

Combat AI - "The generals say they soon will have no need of human soldiers--that machines will fight machines. Now what, I ask them, will they do if those machines decide that it is *we* who are the enemy?" - Tavera of Galle, Meditations

Molecular Disruption Device - "The field the MD device projects weakens the bonds between atoms, and, what's more, the effect is amplified by higher concentrations of mass. A sufficiently large energy expenditure could be used to reduce a whole city to a ball of rapidly-expanding cold plasma. We can only hope that no one is insane enough to attempt such a thing." - Cherson Ai, interview

Acausal Algorithms - "The Second Law of Thermodynamics, the Arrow of Time--physics has assured us for millennia that time has only one direction, and that effect always follows cause. I do not know what sort of Universe we will find ourselves in, if we discover that this is not true." - Padra Saaran, An Introduction to Advanced Physics

Temporal Mechanics - "Time is a drug. Too much of it kills you." - Terry Pratchett, Small Gods (datalinks)

Intertial Dampening

Antimatter Weapons

Atmosphere Burners - "Let justice be done, though the world perish." - Ferdinand I (datalinks)

#eu4 modding #maaaaaars #(sort of)

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