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t100ficrecsblog · 4 years ago

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an interview with @changingthefairy-tale

What are you working on right now? Right now, I’m focused on BellarkeFic-for-BLM (I just got an amazing canon prompt I’m really excited to finish). I’ve also been participating in this round of the Chopped Challenge, which has been fun and challenging. In between prompts, I’ve got two WIPs that I’m slowly cranking through. Shoutout to every single reader who’s been incredibly patient while I’ve been so slow on those updates — though, reminder that you can donate to a BLM organization (even a $3 donation works) and request an update to get those higher on my prio list while I’m focused on that initiative.

What’s something you’d like to write one day? My absolute dream job and the ultimate goal is to become a showrunner for a prime time TV show. I love TV shows — I love the way actors and directors and crew take a script and breath life into it, I love how you take a general idea for a story and mold it into something amazing as you go, I love how a series gives a story more time to be fleshed out and explored, I love the concept of a writers room and collaborating on a story. It’s a different ballgame from fic writing (which I do for fun) and travel writing (which I do for a living), but I’m determined to make it happen. JRoth, I’m coming for your job, babe. 😉

What is the fanwork you’re most proud of? I’m still really new to fic writing, especially compared to some of the powerhouse writers in this fandom. And I’m sure one of my WIPs (when finished) will probably supersede this. BUT, my one-shot about Madi calling Bellamy on The Ring (She called you for 2,199 days) is something I’m really proud of. I’m a long-winded writer, so one-shots have never come naturally to me. This one just…clicked. It’s got some good lines in there that I’m proud of, and based on the feedback I’ve gotten, it really made readers feel something and connect to the story. It’s not my longest story or my most thought-out. But it shows my growth as a writer these past few months, and I’m proud of that.

Why did you first start writing fic? I started writing fic as a creative outlet for my writing. My day job is writing about travel and credit cards. And while I enjoy that, it’s just not as creative. My dream is to write for a TV show though, and I was craving a way to flex my creative writing muscles in a low-stress way. I started watching The 100 when it first came out, but I didn’t really get into the fandom until I came back to the show during the S5/6 hiatus. That’s when I started reading fics and reblogging stuff about the show on Tumblr. During the S6/7 hiatus, I had this idea for a Greys Anatomy AU, and my sister (who is also a major fan of the show) was like, “You literally write things for a living. If you want to write a Grey’s AU for t100, there is absolutely nothing stopping you.” I published my first chapter on that The Choices We Make in Dec. 2019, and the rest is history.

What frustrates you most about fic writing? For me, I think that the most frustrating thing isn’t even about fic writing itself; it’s the fact that it’s a side-hobby and not something I can dedicate my full attention to. When you write all day for your day job, then do some for your freelance gig, and then turn around and try to write for a few hours every night for fic… that gets hard sometimes — especially since starting quarantine where I’m not traveling, going out with friends, getting a break from it, etc. Fic writing is a creative release for me, and I absolutely love crafting and writing these stories that involve some of my favorite fictional characters. And I love interacting with other writers and fic readers, I love talking about ideas and exchanging headcanons and fangirling over my favorite writers’ works. But (because there’s always a but), sometimes I just don’t have the mental energy or capacity to write at the end of the day when I’ve turned in 3 deadlines for work. I’ve got all these ideas floating in my head, but only so much time and mental energy I can dedicate to it.

What are your top five songs right now? Oh boy. So I live alone, which means I’ve got either music or Netflix on in the background 24/7 because ya girl doesn’t like silence. I have a different playlist for different moods. I’ll share my fav song from each of those playlists. Lol Fvck Somebody by The Wrecks (On my “Summer state of mind” playlist for when I wanna dance it out in my kitchen like an idiot)

Don Quixote by Drapht (On @talistheintrovert’s “My Good Bitch Murphy” playlist for when I’m feeling *edgy*)

that way by Tate McRae (On my “Pandemic Jams” playlist bc I like angsty music and this song is a Bellarke MOOD)

Washington on Your Side from Hamilton (On my “Feeding my Broadway Obsession” playlist for when I wanna sing show tunes and plot overthrowing the government)

Tea by Noah Davis (Shameless plug for Noah bc it’s a bop and I literally dated Noah’s older brother in junior high — so proud of this kid for making his dreams a reality)

What are your inspirations (books, songs, other fic, really good cake)? All of the above, except I like pie more than cake. lol But really, I kind of use everything around me for inspiration. “The Choices We Make” is inspired by my love of Grey’s Anatomy. “Intertwining your soul (with somebody else)” is inspired my the first draft of my YA novel (though the setting was adapted to a grounder canonverse AU). “The Day He Shut That Rocket Door” and “She called you for 2,199 days” were inspired by @historyofbellarke‘s headcanons that were brought up in S7 speccing conversations (shoutout to her for enabling my angsty ass). My most recent WIP “There are some things written in the stars” that I started as part of Chopped (but will continue because I’m obsessed with the idea) is inspired by my love of Timeless. And I have an entire Notion database filled with fic ideas — some one-shots and some multi-chapter fics — that are inspired by quotes, songs, conversations with friends, books I love, shows I adore, random HCs that pop into my head while I watch, my own life experiences, etc. I take inspiration in any form it decides to come in. 💕

What first attracted you to Bellarke? What attracts you now? I’m a ho for enemies to lovers — the idea that you can put your worst foot forward and show someone all the ugly parts of you… and that they’ll see that and somehow look past it to see the good stuff too, falling in love with your whole self instead of just the pretty parts. Yeah, it’s my favorite romance trope. And that tension is what originally drew me to Bellarke. Now, it’s a combination of things. I love each of these characters in their own right. I relate to Clarke in a lot of ways, and I aspire to be her level of badass. I straight adore Bellamy Blake (flaws, stupid decisions, and all) and would marry him in a heartbeat if he were real — I’m not even kidding. lol But I also love their dynamic. They are partners, best friends, perfect compliments to the other. They see each other in a way no one else does, and they are the one person the other constantly risks everything for. They are both so driven by their responsibilities to their people, yet that all typically goes out the window the moment the other is at risk. I don’t believe in soulmates in real life, but it’s nice to get to believe in this fictional world that they are just made for each other.

BESIDES Bellarke, what character or pairing do you like best on t100? My favorite character besides Bellarke is John Murphy. His arc has been BY FAR the best on this show, going from that little shit in S1 to this “asshole we love” in the middle to now a true hero in this final season. And through it all Richard Harmon has been amazing to watch on screen.

My favorite pairing besides Bellarke is Linctavia. Yes, that ship is problematic in a lot of ways, but I still loved their dynamic. Lincoln helped Octavia navigate this new world that she was so desperate to be apart of while being mindful of her safety. And I thought they were a good match — he helped tame her fire without putting it out, and she helped challenge the way he was raised. Given time, I think they could have become one of the most stable and loving relationships on t100. Of course, that couldn’t happen because Jason needed Bell’s actions in 3A to have heartbreaking consequences, O to spiral for her own character journey, and whatever mess happened off-screen between Ricky and him. But they still remain my favorite ship aside from Bellarke.

Why did you decide to start writing for bellarkefic-for-blm? The second I saw that Sam was planning on doing this, I reached out to ask how I could help/write/be involved. The BLM movement is so important, and this is an amazing way for me to contribute while pursuing my passions. It’s a way for the fandom to get involved and do something good. And ultimately, this helps organizations that need donations. Shameless plug for everyone to please go check out the Bellarke Fic for BLM page — check out the many amazing writers and artists we have participating, and send in prompts. Most of us are allowing WIP chapter update requests, and there are a number of us (myself included) who are matching donations made! No donation is too small, and you’ll be supporting a movement that is a necessity in the U.S. and beyond.

What’s your writing process like? My mind is literal chaos, so I plan and outline like hell in order to make sense of everything. When I get an idea for a fic, it goes on my Notion database. Within Notion, I write down my inspiration for the idea, and a pretty in-depth summary of where I want the fic to go — dialogue ideas, any feelings/emotions I want to invoke, literally just a brain dump of all my ideas. From there, I’ll arrange that brain dumb into an outline. If it’s a one-shot, I’ll generally write the whole thing in the Notion doc. But multi-chapter fics will get a checklist within Notion for me to keep track of progress, and I’ll actually write the fic in Google Docs. I generally start writing from the beginning of a story, but if I get stuck or have an idea for a later scene, the fact that I’ve outlined heavily allows me to jump around as ideas come to me. I’ll read each one-shot or chapter after I’m done to make sure it flows before publishing. I post chapters for my WIPs as I write them, which I should really stop doing. lol For my readers’ sakes, I should work ahead and publish on a schedule rather than making them wait for my slow ass to finish chapter to chapter. But right now, that’s my process!

What are some things you’d like to recommend? Oh goodness, too many fics to possibly name. Instead, I’ll link to my AO3 rec bookmarks (which isn’t all-inclusive of the amazing fics I’ve read in this fandom, but it’s got some good favs in there) and shout out all of our awesome Bellarke Fic for BLM writers. Y’all should check out their work (and send in prompts)!

Where’s the best place to find you (twitter? tumblr?) I’m @changingthefairy-tale on Tumblr and @changingthefairy_tale on AO3! My ask box is always open for anyone who wants to scream about the show, ask about specs, talk about my fics, etc. Come say hey!

#bellarkefic for blm #bellamy blake #clarke griffin #john murphy #bellarke #bellarkefic for blm interviews

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thewayofthetrashcompactor · 5 years ago

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November 2019 Empire Magazine The Rise of Skywalker Article Transcription

IT ALL STARTED with a Jane Campion retrospective. The Lincoln Center in New York was entering night two of an in-depth celebration of the Kiwi filmmaker’s work when, during a sold-out screening of The Piano, one member of the audience received a text message. He then received another. And another. Hunched down in his seat towards the middle of the auditorium, screenwriter Chris Terrio glanced furtively at his mobile as yet another text pinged to life on his screen. It was from J.J. Abrams. Just like the last. And the dozen or so before that.

It was 10 September 2017, and several hours earlier Terrio had received the first in what would become a torrent of communication. “I’ve just signed on to Episode IX,” it read. “We’re gonna write a new script. Would you consider writing it with me?”

“He didn’t even say the words ‘Star’ and ‘Wars’,” recalls Terrio, with a laugh. “He didn’t have to. I’d been about to go off and direct a small movie, but when you hear Star Wars, everything else goes away.”

Terrio agreed on the spot, planning to join Abrams in California as soon as his schedule would allow. But the texts kept coming. Throughout the afternoon, thoughts, ideas and questions popped up one after the other; Abrams’ frantic thumbs tapping out the first seeds of story and flinging them across the country to his newfound partner. And so, with Michael Nyman’s haunting score swelling around him and a still-buzzing handset in his grasp, Terrio stood up, shuffled apologetically along a row of seats, and walked out of the cinema, leaving Campion’s Oscar darling behind.

[Above image caption: “Director J.J. Abrams, cast and crew confront Klaud, the Resistance’s newest addition, at Pinewood studios”]

“J.J. is constantly brimming with ideas and, in the very best way, he’s very impatient about them! So we just started getting into it then and there. I got on a plane to LA the next day.”

Less than a week earlier, however, Episode IX’s future hadn’t looked nearly as certain. In development for the past two years under the auspices of Jurassic World director Colin Trevorrow, the film had abruptly flown off the rails on 5 September, when it was announced that Trevorrow was off the project. Rumours of script disagreements circled, but regardless of the reason, Lucasfilm had a serious problem: arguably the most important film in Star Wars’ history suddenly had no director, no story and a release date drawing nearer by the day. So Lucasfilm President Kathleen Kennedy sent up a flare to the one man she knew without any doubt could safely take Star Wars over the finish line.

“Getting involved in IX came as a bit of a shock,” recalls J.J. Abrams. “I had completed VII, Rian [Johnson] was doing VIII, and I was not meant to do IX at all. But the opportunity to not just finish the trilogy, but to finish the story that George began -- this trilogy of trilogies -- was too compelling and too tempting to reject.”

After delivering The Force Awakens, then the third-biggest movie in history, Abrams had taken a bow and walked away, returning to Bad Robot and a pair of TV pilots he’d been meaning to write. It was here, in his self-imposed exile, that Kennedy sought him out. Sure, it was an office just over a mile from Santa Monica pier rather than the grassy bluffs of Ahch-To, and Kennedy hadn’t so much climbed 500 hand-carved steps as punched ten digits into her phone but, like a vision of Episode VII’s final moments, there she was. Unexpected. Holding out something Abrams had thought lost and daring him to take it back.

“It’s exponentially the most daunting thing I’ve ever been involved with,” Abrams admits, eyebrows raised as if he still can’t quite believe the magnitude of the task. “But it was more exciting than it was anything.”

The director sits across from us in his suite at Beverly Hills’ Montage hotel, not far from where we last met, six years previously, when he’d just started work on a treatment for what would eventually become The Force Awakens. Abrams’ return as Star Wars’ Supreme Commander was announced just one day after Trevorrow’s departure, allaying the fears of both fans and shareholders alike: voices just a day before crying out in terror, now suddenly silenced. But with only two years to end a saga that had been four decades in the telling it was clear from the outset he was going to need some help. And so he composed a text (then several more) and sent them flying towards a movie theatre 3,000 miles away, where the Oscar-winning screenwriter of Argo was attempting to watch a film.

“I’ve admired Chris Terrio’s writing for a long time. I called on him because I knew it would be a challenge. But I didn’t know it would be quite as challenging as it was.”

[Above image caption: “Top: Martial art experts put Daisy Ridley through her paces. Above: Abrams with Oscar Isaac in Jordan”]

In a time when vast, interconnected stories have become commonplace, and breadcrumbs to the payoffs in Avengers: Endgame can be traced back ten or even 20 films, it’s hard to believe that the Star Wars sequel trilogy didn’t have its course firmly locked in before Episode VII ever left the spaceport. But, just as Abrams himself left neither chart nor compass for Rian Johnson to navigate with, so he began work on The Rise of Skywalker with nothing to guide him but his wits. It is, by Abrams’ own admission, his preferred method of working. An instinctive storyteller by nature, his impulse is to do what feels right in the moment, rather than slavishly adhere to some pre-ordained master plan. Very appropriately for a franchise so rooted in this exact philosophy, Abrams’ inclination has always been, as Alec Guinness once safely advised, to stretch out with his feelings.

“You can’t plan everything in advance -- which my ‘Revenge Of The Jedi’ poster proves,” he says. “You have a better idea and then you implement it. When I was working on VII, I’d be lying if I said I knew everything that was gonna happen in VIII and IX. I had some ideas, but we had a release date the required us to work on VII!”

So Abrams and Terrio started from scratch. They spitballed ideas during the day, swapped rapid-fire texts at night and, piece-by-piece, set about exploring the fundamental questions this movie had to address. Not least of all the aftermath of The Last Jedi, in which Rian Johnson, continuing Abrams’ story, had made some rather significant changes.

[Death Star section break]

[Above image caption: “Really big space dog just out of shot”]

THERE’S A WELL-WORN dramatic principle most commonly ascribed to Anton Chekhov that insists if you see a gun in the first act of a play, it must go off by act three or you’re simply wasting the audience’s time. The same, it appears, is true of dark side degenerates as, despite being sidelined in The Last Jedi, Chekhov’s Knights Of Ren will finally go off in The Rise Of Skywalker.

The Knights -- from which Kylo draws the latter part of his name -- are a nightmarish squad of enforcers who do the bidding of the former Ben Solo. A rag-tag band of thugs and killers decked in black just like their leader, though far more battleworn. Armoured in disparate styles -- one sports a cowl, one an angry welders mask, another a checkered draughtboard faceplate -- they pack a similarly eclectic arsenal, from multi-barrelled assault cannon to oversized, anime-style sword, poleaxe and a wicked-looking mace.

Referenced so portentously in The Force Awakens and glimpsed so very briefly during Rey’s vision on Takodana, the Knights and their role in Kylo’s fall from grace were set up as a major piece of the Star Wars puzzle. That is until Johnson, who clearly didn’t share Abrams’ interest, dropped the idea, sweeping them briskly under the rug next to the mystery of Rey’s parentage and the bisected corpse of Supreme Leader Snoke. “Let the past die,” instructed Kylo Ren in The Last Jedi. “Kill it, if you have to.” A sentiment, one could argue, that cut to the very heart of Johnson’s film.

“We thought about that line a lot,” says Terrio. “Rian did something that any good second act will do, which is create the antithesis. In The Force Awakens Luke Skywalker is a myth Rey’s obsessed with and there’s a warm embrace of the past. What Rian suggested is the past is a mixed bag and you can’t rely upon it to tell you where to go in the future. What we’re doing with Episode IX is trying to create a synthesis between those two points of view.”

And so, just as the investigation into Rey’s lineage looks set to be reopened, so too are the Knights back with a vengeance (not to mention Abrams talisman Greg Grunberg as pilot Snap Wexley). With Johnson’s tenure over, we’re playing in Abrams’ yard once more, although our suggestion that he might somehow be trying to course-correct is given short shrift.

“I never found myself trying to repair anything,” Abrams interjects. “If I had done VIII, I would have done things differently, just as Rian would have done things differently if he had done VII. But having worked on television series, I was accustomed to creating stories and characters that then were run by other people. If you’re willing to walk away from the thing that you created an you believe it’s in trustworthy hands, you have to accept that some of the decisions being made are not gonna be the same that you would make. And if you come back into it, you have to honour what’s been done.”

And what has been done is significant. Luke Skywalker is dead, passing on his knowledge and the mantle of last Jedi to Rey; The Resistance has been all but wiped out; Snoke is gone; and Kylo Ren -- now Supreme Leader Ren -- is more broken than ever, riven by conflict through the unlikely bond he forged with Rey. Bold and decisive, Johnson’s directions changed the board entirely, his sharp turns and gear shifts delighting some while earning the ire of others.

“Any time you are telling a story that people deeply care about, there is bound to be discussion and debate,” says Kathleen Kennedy. “That is something that has always been fundamental to the fabric of Star Wars.”

For Abrams and Terrio, meanwhile, the new landscape also brought with it new possibilities.

“Some of the most interesting scenes in The Last Jedi are the conversations between Rey and Ren,” says Terrio. “We’ve tried to pick up that complicated relationship that really has been present ever since the interrogation in Episode VII. When Ren takes off his mask, there’s a nakedness about him with Rey that he doesn’t express to anyone else. Rian developed that in fascinating ways and we’ve been able to develop it even further.”

Ren, left pointedly bare-faced by Johnson throughout VIII, now hides his face once more. It’s a development that, while not a rebuke to The Last Jedi, demonstrates the different touchstones that resonate with each director. Although, Abrams expands, reuniting Kylo with his mask is about more than just sinister aesthetics.

“Having him be masked, but also fractured, is a very intentional thing. Like that classic Japanese process of taking ceramics and repairing them, and how the breaks in a way define the beauty of the piece as much as the original itself. As fractured as Ren is, the mask becomes a visual representation of that. There’s something about this that tells his history. His mask doesn’t ultimately hide him, and his behaviour is revealed.”

Ren’s temptation by the light, like Rey’s temptation by the dark, forms the spine of a moral ambiguity that Johnson build on in VIII and very much carries over to IX, bringing with is a sense that George Lucas’ more clearly defined duality might be a relic of a simpler time. Neither light nor dark, The Rise of Skywalker and its characters exist more within what could be considered the grey side of the Force -- something underscored by the tantalising footage of ‘Darth Rey’ (complete with cowl, hangover pallor and double-bladed red lightsaber) that closed Abrams’ D23 Expo footage presentation in Anaheim in August.

“I’d rather let that one lie,” he deflects, when pressed on the subject. “But I will say that the movie has a number of things that you wouldn’t expect to have happen and you wouldn’t expect certain characters to do. There are surprises along the way.” He smiles, mischievously. “And that’s one of them.”

[Death Star section break]

[Image captions: “Top to bottom: Rey (Ridley), Finn (John Boyega), Chewbacca (Joonas Suotamo), and BB-8 listen intently to C-3PO (Anthony Daniels); Billy Dee Williams returns as Lando Calrissian; Joonas Suotamo, in Chewbacca’s threads, plays with his son on set.”]

THE VALLEY OF The Moon in Southern Jordan has seen its share of action. Cut into the red sandstone cliffs near Aqaba, the striking lowlands known in Arabic as Wadi Rum have been visited by both real and fictional Lawrences of Arabia, stood in for the face of Mars, been the birth place of the Alien in Prometheus, and will next year double as the eponymous desert planet in Denis Villeneuve’s Dune. It’s no stranger to stormtroopers, either, having played host to the ill-fated Jedha outpost in Gareth Edwards’ Rogue One. Today, though, Wadi Rum is a different part of the galaxy entirely, standing in for Pasaana: a new locale in the canon, and home to the bedouin-like Aki-Aki: a nomadic race of walrus-lie aliens with twin tentacles dangling from their maws in place of tusks.

Pasaana, along with the nippier climes of snow planet Kijimi, is one of several new worlds visited by The Rise of Skywalker. But most importantly, it’s a place where the heroes we’ve become acquainted with over the past two films will come together at last.

“The heart of Star Wars for me is the group of unlikely bedfellows on a breakneck adventure,” says Abrams. “And in Rise Of Skywalker it’s the biggest and most dastardly threat the galaxy has seen. The opportunity here was to have this group that has now become a surrogate family have to deal with this massive horror: the war to end all wars. Not just on the outside, but one the inside, which is to say it’s meant to be as much of a challenge personally as it is physically.”

Abrams’ war of wars has been well equipped: The First Order is stacked with new brass in the form of Richard E. Grant’s Allegiant General Pryde, neo-fascist ranks swollen by triangular-winged TIE Daggers and blood-red garrisons of newly commissioned Sith troopers, their angular crimson armour giving a fresh twist on the faceless squaddies -- much to Hasbro’s delight. The Resistance, too, will see its share of reinforcements, including Billy Dee Williams’ Lando Calrissian -- reprising the role after 36 years. Even General Leia Organa will return: the late Carrie Fisher making an appearance thanks to the discovery of unused footage that somehow fit the narrative perfectly.

The action itself has been teased in the barest glimpses: Rey and Kylo duelling on the wreckage of a Death Star; Rebel X-Wings and blockade runners fleeing destruction; a sky bristling with Imperial Star Destroyers, their numbers great enough to block out the star.

The presence of Old Empire firepower, easily overlooked, points to The Rise Of Skywalker’s biggest curveball to date. Back in April, when Abrams showed the first trailer at Star Wars Celebration in Chicago, the reveal of the film’s title was almost eclipsed by the familiar cackle of the original Emperor echoing over those final frames. When Ian McDiarmid himself walked out to demand, in full Palpatine rasp, that the projector “roll it again”, all present lost their shit in unison. How could this be? Is he a clone? A Force projection? Did he survive that fateful plummet down the Death Star shaft” Could Palpatine have been telling Anakin the truth when he spoke of Darth Plagueis The Wise’s cure for death? Irrespective of the fine print, Star Wars’ biggest of bads is officially back in business.

“Some people feel like we shouldn’t revisit the idea of Palpatine, and I completely understand that,” Abrams concedes. “But if you’re looking at these nine films as one story, I don’t know many books where the last few chapters have nothing to do with those that have come before. If you look at the first eight films, all the set-ups of what we’re doing in IX are there in plain view.”

The sheet scale of the task he’s undertaken cannot be overstated. Star Wars has been, by far, the most enduring and influential story of the modern era. Having to put the capstone on a saga that has shaped both childhoods and adult lives for several generations is something neither Abrams, nor producer Kathleen Kennedy, looking ahead to what the future holds for Star Wars, take at all lightly.

[Above image description: “Is it time for now Supreme Leader Ren (Adam Driver) to fulfill his destiny?”]

“We don’t have a crystal ball,” says Kennedy. “We tried to look at Solo and see if we could do two movies a year, and we found, ‘Hmm, that’s not going to work.’ So we backed off of that a little. But that doesn’t mean we don’t think about lots of different stories. That's the exciting thing about this universe.

“It’s been an honor to inherit and continue this iconic saga that has touched audiences for so many years, and we feel the weight of that every time we set out to tell these stories.”

The wider universe will, of course, live on. Whether through The Mandalorian on TV, or all-new movie sagas currently in development by Johnson and Game of Thrones’ David Benioff and D.B. Weiss. But for the core story, what for so many people is Star Wars, the final destination is now in sight.

“I’ve always loved the start of something,” says Abrams, “because of what it promises. Endings are hard. A great ending not only needs to honour everything that’s come before but, whether it’s a novel, a series or a film, you want to have it feel like it could end no other way.”

And so it comes back to feeling. In a world of meticulously planned franchises and strategic, multi-phased rollouts, Star Wars, as its core, has always trusted in The Force. Abrams had not expected to be here, had not expected to finish this tale. But now, as he places the final pieces of the puzzle, he feels like it was always meant to be. There’s a symmetry to him being the one to deliver The Rise Of Skywalker, just as there is in the fact that, faced with this near insurmountable challenge, his impulse was not to assemble story groups or worry about the top-down view, but to switch off his targeting computer, let go his conscious self and act on instinct.

“This story is alive, and you have to listen to it,” he says. “When you land on something that gives you the chills, that’s the only way you know if it feels right. You can deconstruct it all you want and try and make sense of how you found it, but somehow it finds you.”

He pauses, reflecting for a moment. “I don’t know how to explain it. Just the way I can’t quite explain how we had this footage of Carrie that we’re using. You can say, ‘Oh well, it’s just luck, it just happened to be,’ but it feels like something else. And I neither can nor want to explain any of it.”

Just as every saga has a beginning, so too will this one find its end. Abrams and Terrio have taken Lucas’ vision to its conclusion, and the story that began on 25 May 1977 will end on 19 December 2019.

“It’s been a pretty crazy ride,” reflect Terrio. “When I was a kid watching Return Of The Jedi on loop, I felt like I was the only person Yoda was speaking to. And then there I was all these years later, sitting in a tent in Jordan doing this film. You have this highly personal relationship to Star Wars, and then, suddenly, you find yourself right in the middle of it. That feeling is sort of indescribable.”

It’s one that, at the very least, is almost certainly worth having a movie interrupted for.

STAR WARS: THE RISE OF SKYWALKER IS IN CINEMAS FROM 19 DECEMBER

((Thank you to users @arlath_ma and @chinchingin on twitter for their photos of the article))

Article images can be found here: https://twitter.com/arlath_ma/status/1178648719325093888?s=19

#star wars #the rise of skywalker #episode ix #star wars spoilers #kylo ren #jj abrams #chris terrio #kathleen kennedy

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uomo-accattivante · 5 years ago

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The upcoming (November) online issue is still sold out, so below is a transcription of the Empire Star Wars article:

(NOVEMBER 2019)

IT ALL STARTED with a Jane Campion retrospective. The Lincoln Center in New York was entering night two of an in-depth celebration of the Kiwi filmmaker’s work when, during a sold-out screening of The Piano, one member of the audience received a text message. He then received another. And another. Hunched down in his seat towards the middle of the auditorium, screenwriter Chris Terri glanced furtively at his mobile as yet another text pinged to life on his screen. It was from J.J. Abrams. Just like the last. And the dozen or so before that.

It was 10 September 2017, and several hours earlier Terrio had received the first in what would become a torrent of communication: “I’ve just signed on to Episode IX,” it read. “We’re gonna write a new script. Would you consider writing it with me?”

“He didn’t even say the words ‘Star’ and ‘Wars,’” recalls Terrio with a laugh. “He didn’t have to. I’d been about to go off and direct a small movie, but when you hear Star Wars, everything else goes away.

Terrio agreed on the spot, planning to join Abrams in California as soon his schedule would allow. But the texts kept coming. Throughout the afternoon, thoughts, ideas and questions popped up one after the other; Abrams’ frantic thumbs tapping out the first seeds of story and flinging them across the country to his newfound partner. As so, with Michael Nyman’s haunting score swelling around him and a still-buzzing handset in his grasp, Terrio stood up, shuffled apologetically along a row of seats, and walked out of the cinema, leaving Campion’s Oscar darling behind.

“J.J. is constantly brimming with ideas and, in the very best way, he’s very impatient about them! So we just started getting into it then and there. I got on a plane to LA the next day.”

Less than a week earlier, however, Episode IX’s future hadn’t looked nearly as certain. In development fo the past two years under the auspices of Jurassic World director Colin Trevorrow, the film had abruptly flown off the rails on 5 September, when it was announced that Trevorrow was off the project. Rumours of script disagreements circled, but regardless of the reason, Lucasfilm had a serious problem: arguably the most important film in Star Wars’ history suddenly had no director, no story and a release date drawing nearer by the day. So Lucasfilm President Kathleen Kennedy sent up a flare to the one man she knew without any doubt could safely take Star Wars over the finish line.

“Getting involved in IX came as a bit of a shock,” recalls J.J. Abrams. “I had completed VII, Rian [Johnson] was doing VIII, and I was not meant to do IX at all. But the opportunity to not just finish the trilogy, but to finish the story that George began - this trilogy of trilogies - was too compelling and too tempting to reject.”

After delivering The Force Awakens, then the third-biggest movie in history, Abrams had taken a bow and walked away, returning to Bad Robot and a pair of TV pilots he’d been meaning to write. It was here, in his self-imposed exile, that Kennedy sought him out. Sure, it was an office just over a mile from Santa Monica pier rather than the grassy bluffs of Ahch-To, and Kennedy hadn’t so much climbed 500 hand-carved steps as punched ten digits into her phone, but like a vision of Episode VII’s final moments, there she was. Unexpected. Holding out something Abrams had thought lost and daring him to take it back.

“It’s exponentially the most daunting thing I’ve ever been involved with,” Abrams admits, eyebrows raised as if he still can’t quite believer the magnitude of the task. “But it was more exciting than it was anything.”

The director sits across from us in his suite at Beverly Hills’ Montage hotel, not far from where we last met, six years previously, when he’d just started work on a treatment for what would eventually become The Force Awakens. Abrams’ return as Star Wars’ Supreme Commander was announced just one day after Trevorrow’s departure, allaying the fears of both fans and shareholders alike: voices just a day before crying out in terror, now suddenly silenced. But with only two years to end a saga that had been four decades in the telling, it was clear from the outset he was going to need some help. And so he composed a text (then several more) and sent them flying towards a movie theatre 3,000 miles away, where the Oscar-winning screenwriter of Argo was attempting to watch a film.

“I’ve admired Chris Terrio’s writing for a long time. I called on him because I knew it would be a challenge. But I didn’t know it would be quite as challenging as it was.”

In a time when vast, interconnected stories have become commonplace, and breadcrumbs to the payoffs in Avenger’s Endgame can be traced back ten or even 20 films, it’s hard to believe that the Star Wars sequel trilogy didn’t have its course firmly locked in before Episode VII ever left the spaceport. But, just as Abrams himself left neither chart nor compass for Rian Johnson to navigate with, so he began work on The Rise Of Skywalker with nothing to guide him but his wits. It is, by Abrams’ own admission, his preferred method of working. An instinctive storyteller by nature, his impulse is to do what feels right in the moment, rather than slavishly adhere to some pre-ordained master plan. Very appropriately for a franchise so rooted in this exact philosophy, Abrams’ inclination has always been, as Alec Guinness once sagely advised, to stretch out with his feelings.

“You can’t plan everything in advance - which my ‘Revenge of the Jedi’ poster proves,” he says. “You have a better idea and then you implement it. When I was working on VII, I’d be lying if I said I knew everything that was gonna happen in VIII and IX. I had some ideas, but we had a release date that required us to work on VII!”

So Abrams and Terrio started from scratch. They spitballed ideas during the day, swapped rapid-fire-texts at night and, piece-by-piece set about exploring the fundamental questions this final movie had to address. Not least of all the aftermath of The Last Jedi, in which Rian Johnson, continuing Abrams’ story, had made some rather significant changes.

THERE’S A WELL-WORN dramatic principle most commonly ascribed to Anton Chekhov that insists if you see a gun in the first act of the play, it must go off by act three or you’re simply wasting the audience’s time. The same, it appears, is true of dark side degenerates as, despite being sidelined in The Last Jedi, Chekhov’s Knights Of Ren will finally go off in The Rise Of Skywalker.

The Knights - from which Kylo draws the latter part of his name - are a nightmarish squad of enforcers who do the bidding of the former Ben Solo. A rag-tag band of thugs and killers decked in black just like their leader, though far more battleworn. Armoured in disparate styles - one sports a cowl, one an angry welder’s mask, another a checkered draughtboard faceplate - they pack a similarly eclectic arsenal, from multi-barrelled assault cannon to oversized, anime-style sword poleaxe and a wicked-looking mace.

Referenced portentously in The Force Awakens and glimpsed so very briefly during Rey’s vision on Takodana, the Knights and their role in Kylo’s fall from grace were set up as a major piece of the Star Wars puzzle. That is until Johnson, who clearly didn’t share Abrams’ interest, dropped the idea, sweeping them briskly under the rug next to the mystery of Rey’s parentage and the bisected corpse of Supreme Leader Snoke. “Let the past die,” instructed Kylo Ren in The Last Jedi. “Kill it, if you have to.” A sentiment, one could argue, that cut to the very heart of Johnson’s film.

“We thought about that line a lot,” says Terrio. “Rian did something that any good second act would do, which is create the antithesis. In The Force Awakens Luke Skywalker is a myth Rey’s obsessed with and there’s a warm embrace of the past. What Rian suggested is the past is a mixed bag and you can’t rely upon it to tell you where to go in the future. What we’re doing with Episode IX is trying to create a synthesis between those two points of view.”

“I never found myself trying to repair anything,” Abrams interjects. “If I had done VIII, I would have done things differently, just as Rian would have done things differently if he had done VII. But having worked on television series, I was accustomed to creating stories and characters that then were run by other people. If you’re willing to walk away from the thing that you created and you believe it’s in trustworthy hands, you have to accept that some of the decisions being made are not gonna be the same that you would make. And if you come back into it, you have to honour what’s been done.”

And what has been done is significant. Luke Skywalker is dead, passing on his knowledge and the mantle of last Jedi to Rey; The Resistance has been all but wiped out; Snoke is gone; and Kylo Ren - now Supreme Leader Ren - is more broken than ever, riven by conflict through the unlikely bond he forged with Rey. Bold and decisive, Johnson’s decisions changed the board entirely, his sharp turns and gear shifts delighting some while earning the ire of others.

For Abrams and Terrio, meanwhile, the new landscape also brought with it new possibilities.

Ren, left pointedly bare-faced by Johnson throughout VIII, now hides his face once more. It’s a development that, while not a rebuke to The Last Jedi, demonstrates the difference touchstones that resonate with each director. Although, Abrams expands, reuniting Kylo with his mask is about more than just sinister aesthetics.

Ren’s temptation by the light, like Rey’s temptation by the dark, forms the spine of a moral ambiguity that Johnson built on in VIII and very much carries over to IX, bringing with it a sense that George Lucas’ more clearly defined duality might be a relic of a simpler time. Neither light nor dark, The Rise Of Skywalker and its characters exist more within what could be considered the grey side of the Force - something underscored by the tantalizing footage of ‘Darth Rey’ (complete with cowl, hangover pallor and double-bladed red lightsaber) that closed Abrams’ D23 Expo footage presentation in Anaheim in August.

“I’d rather let that one lie,” he deflects, when pressed on the subject. “But I will say that the movie has a number of things that you wouldn’t expect to have happen and that you wouldn’t expect certain characters to do. There are surprises along the way.” He smiles, mischievously. “And that’s one of them.”

THE VALLEY OF The Moon in Southern Jordan has seen its share of action. Cut into the red sandstone cliffs near Aqaba, the striking lowlands known in Arabic as Wadi Rum have been visited by both real and fictional Lawrences of Arabia, stood in for the face of Mars, been the birth place of the Alien in Prometheus, and will next year double as the eponymous desert planet in Denis Villeneuve’s Dune. It’s no stranger to stormtroopers, either, having played host to the ill-fated Jedha outpost in Gareth Edwards’ Rogue One. Today, though, Wadi Rum is a different part of the galaxy entirely, standing in for Pasaana: a new locale in the canon, and home to the bedouin-like Aki-Aki: a nomadic race of walrus-like aliens with twin tentacles dangling from their maws in place of tusks.

Pasaana, along with the nippier climes of snow planet Kijimi, is one of several new worlds visited by The Rise Of Skywalker. But most importantly, it’s a place where the heroes we’ve become acquainted with over the past two films will come together at last.

“The heart of Star Wars for me is the group of unlikely bedfellows on a breakneck adventure,” says Abrams. “And in Rise Of Skywalker it’s the biggest and most dastardly threat the galaxy has seen. The opportunity here was to have this group that has now become a surrogate family have to deal with this massive horror: the war to end all wars. Not just on the outside, but on the inside, which is to say it’s meant to be as much of a challenge personally as it is physically.”

Abrams’ war of wars has been well equipped: “The First Order is stacked with new brass in the form of Richard E. Grant’s Allegiant General Pryde, neo-fascist ranks swollen by triangular-winged TIE Daggers and blood-red garrisons of newly commissioned Sith troopers, their angular crimson armor giving a fresh twist on the faceless squaddies - much to Hasbro’s delight. The Resistance, too, will see its share of reinforcements, including Billy Dee Williams’ Lando Calrissian - reprising the role after 36 years. Even General Leia Organa will return: the late Carrie Fisher making an appearance thanks to the discovery of unused footage that somehow fit the narrative perfectly.

The action itself has been teased in the barest of glimpses: Rey and Kylo duelling on the wreckage of a Death Star; Rebel X-Wings and blockade runners fleeing destruction; a sky bristling with Imperial Star Destroyers, their numbers great enough to block out the stars.

The presence of Old Empire firepower, easily overlooked, points to The Rise Of Skywalker’s biggest curveball to date. Back in April, when Abrams showed the first trailer at Star Wars Celebration in Chicago the real of the film’s title was almost eclipsed by the familiar cackle of the original Emperor echoing over those final frames. The Ian McDiarmid himself walked out to demand, in full Palpatine rasp, that the projector “roll it again”, all present lost their shit in unison. How could this be? Is he a clone? A Force projection? Did he survive that fateful plummet down the Death Star shaft? Could Palpatine have been telling Anakin the truth when he spoke of Darth Plagueis The Wise’s cure for death? Irrespective of the fine print, Star Wars’ biggest of bad is officially back in business.

The sheer scale of the task he’s undertaken cannot be overstated. Star Wars has been, by far, the most enduring and influential story of the modern era. Having to put the capstone on a saga that has shaped both childhoods and adult lives for several generations is something neither Abrams, nor producer Kathleen Kennedy, looking ahead to what the future holds for Star Wars, take at all lightly.

“We don’t have a crystal ball” says Kennedy. “We tried to look at Solo and see if we could do two movies a year, and we found, ‘Hmm, that’s not going to work.’ So we backed off of that a little. But that doesn’t mean we don’t think about lots of different stories. That’s the exciting thing about this universe.

“It’s been an honour to inherit and continue this iconic saga that has touched audiences for so many years, and we feel the weight of that every time we set out to tell these stories.”

The wider universe will, of course, live on. Whether through The Mandalorian on TV, or all-new movie sagas currently in development by Johnson and Game Of Thrones’ David Benioff and D.B. Weiss. But for the core story, what for so many people is Star Wars, the final destination is now in sight.

And so it comes back to feeling. In a world of meticulously planned franchises and strategic, multi-phased rollouts, Star Wars, at its core, has always trusted in The Force. Abrams had not expected to be here, had not expected to finish this tale. But now, as he places the final pieces of the puzzle, he feels like it was always meant to be. There’s a symmetry to him being the one to deliver The Rise Of Skywalker, just as there is in the fact that, faced with this near insurmountable challenge, his impulse was not to assemble story groups or worry about the top-down view, but to switch off his targeting computer, let go his conscious self and act on instinct.

“This story is alive, and you have to listen to it,” he says. “When you land on something that give you the chills, that’s the only way you know if it feels right. You can deconstruct it all you want and try and make sense of how you found it, but somehow it finds you.”

He pauses, reflecting for a moment. “I don’t know how to explain it. Just the way I can’t quite explain how we had this footage of Carrie that we’re using. You can say, ‘Oh well, it’s just luck, it just happened to be,’ but i feels like something else. And I neither can nor want to explain any of it.”

“It’s been a pretty crazy ride,” reflects Terrio. “When I was a kid watching Return Of The Jedi on loop, I felt like I was the only person Yoda was speaking to. And then there I was all these years later, sitting in a tent in Jordan doing this film. You have this highly personal relationship to Star Wars, and then, suddenly, you find yourself right in the middle of it. That feeling is sort of indescribable.”

It’s one that, at the very least, is almost certainly worth having a movie interrupted for.

STAR WARS: THE RISE OF SKYWALKER IS IN CINEMAS FROM DECEMBER

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Il materiale di origine: Empire Magazine via Imgur

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enginerumors · 6 years ago

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2019 Lincoln Navigator Concept, Reserve, Release Date, Price

2019 Lincoln Navigator Concept, Reserve, Release Date, Price– The 2019 Lincoln Navigator is set for a redesign, the Lincoln Navigator 2019 judged when many of the categorized suburban aspects of United States, although the current variation is made for the buzz of your commencing just before rugged competitors of Cadillac, Infiniti, but additionally not taken care of as Mercedes. This will…

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2018fordranger-blog · 7 years ago

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2019 Lincoln Navigator Redesigned, Changes

The 2007 Lincoln Navigator has been getting minor changes and upgrades over the last few years. Nothing major or mind-blowing has happened in terms of the cars overall look and performance. However, the new 2019 Lincoln Navigator is a basketful of changes and new design changes. The interior of the car has come to age with a number of improvements in terms of technology and general look, it has a…

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#2019 Lincoln Navigator Price #2019 Lincoln Navigator Release date

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orbemnews · 4 years ago

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Markets Rise on Phrase of a Huge Spending Plan From Biden: Reside Enterprise Updates Right here’s what you should know: A coronavirus vaccination web site in Napa, Calif., on Wednesday. President-elect Biden is predicted to suggest a spending plan that can embody cash to speed up the rollout of the vaccine.Credit score…Max Whittaker for The New York Occasions Wall Road is poised to rise when buying and selling begins later Thursday morning, as phrase is spreading that President-elect Joseph R. Biden Jr. will introduce a multitrillion-dollar spending plan to counter the coronavirus’s influence on the U.S. economic system. Mr. Biden’s plan is predicted to have an preliminary concentrate on increasing the nation’s vaccination program and virus testing capability, Jim Tankersley experiences. Mr. Biden is to offer particulars in a speech Thursday night in Delaware. Later within the morning, economists will analyze the most recent tally of U.S. unemployment insurance coverage claims. Fairly other than the boisterous monetary markets, hiring stays dreadful within the U.S. economic system, with employers recording a internet lack of 140,000 jobs in December. Final spring, because the pandemic arrived in america, 22 million jobs disappeared. Almost 10 million stay misplaced. European markets had been gaining, with the benchmark Stoxx Europe 600 up 0.5 % in late-morning buying and selling. The CAC 40 in France was 0.3 % increased and the DAX in Germany gained 0.5 %. The beneficial properties had been regardless of experiences that Italy’s authorities was on the breaking point. Asian indexes ended the session largely increased, with the Nikkei in Japan up 0.9 %, however the Shanghai Composite in China fell 0.9 %. The most recent information from China exhibits a buzzing economic system. Exports rose 18 % in December from a 12 months earlier, reflecting world demand for work-from-home units. Imports additionally elevated, 6.5 % from a 12 months earlier, an indication of a strengthening shopper economic system contained in the nation. Over all, China will most likely be the one main economic system to develop in 2020. Germany’s economic system, often thought to be Europe’s strongest, reported a 5 % contraction in 2020. Bond yields rose following phrase of Mr. Biden’s spending plan. Elsewhere, oil costs meandered, with each Brent crude and West Texas Intermediate fluctuating between beneficial properties and losses. A closed restaurant in Santa Barbara, Calif. Economists are bracing for a contemporary wave of claims for advantages, because the virus continues to batter the service trade.Credit score…Bryan Denton for The New York Occasions The Labor Division is predicted to offer additional proof of the pandemic’s financial harm when it points its weekly report on unemployment claims on Thursday morning. Economists are bracing for a contemporary wave of claims because the coronavirus surge batters the service trade. The federal government reported final week that the economic system shed 140,000 jobs in December, the primary month-to-month drop in employment since final spring, with eating places, bars and inns recording steep losses. Forecasters anticipate a sluggish labor marketplace for the quick future. “We all know that the pandemic is worsening, and with the roles report final Friday, we will see that we’re in a deep financial gap and digging within the incorrect path,” mentioned Daniel Zhao, senior economist with the profession web site Glassdoor. “I anticipate to see that in Thursday’s declare figures as properly.” The Labor Division’s report, for the week ending Jan. 9, will present a glimpse of the primary full week of the brand new 12 months and will present a spike in preliminary claims for state unemployment advantages if the vacations depressed filings in earlier weeks. Pandemic Unemployment Help, a federal initiative for freelancers, part-time employees and others usually ineligible for state jobless advantages, may register a pointy enhance in claims as this system ramps up beneath the $900 billion stimulus bundle that President Trump signed into regulation final month. The labor market has rebounded considerably because the preliminary coronavirus wave within the spring. However of the 22 million jobs that disappeared, practically 10 million stay misplaced. “In comparison with then, we’re doing higher,” mentioned AnnElizabeth Konkel, an economist on the profession web site Certainly, referring to the spring. “However in comparison with the pre-Covid period, we nonetheless have to date to go.” Nonetheless, economists and analysts see higher occasions forward. As extra individuals are vaccinated, Covid-19 instances will fall, which is able to ease restrictions on companies and will result in a resurgence in shopper exercise, serving to to revive the service trade. Maybe extra instantly, President-elect Joseph R. Biden Jr. has pledged to push a stimulus bundle by way of Congress that would supply aid to people, small companies, college students, faculties and native governments. Most candidates for Paycheck Safety Program loans can borrow as much as 2.5 occasions their month-to-month payroll. Some lodging and meals companies companies can borrow 3.5 occasions their payroll.Credit score…Mohamed Sadek for The New York Occasions After giving small lenders a head begin, the Paycheck Safety Program will open for all candidates on Tuesday, the Treasury Division mentioned on Wednesday. The stimulus bundle handed final month included $284 billion in funding to restart the small-business aid effort, which made $523 billion in loans final 12 months to five.2 million recipients. The brand new funding shall be obtainable each to first-time candidates and to some returning debtors. Debtors looking for a second mortgage might want to display a 25 % drop in gross receipts between comparable quarters in 2019 and 2020. Second loans may even be restricted to corporations with 300 or fewer employees, and the quantities shall be capped at $2 million. First- and second-time candidates can borrow as much as 2.5 occasions their month-to-month payroll. (These within the lodging and meals service enterprise who’re looking for a second mortgage can borrow 3.5 occasions their payroll, a concession to the devastation these industries have confronted.) The loans — that are made by banks however backed by the federal authorities — may be forgiven if debtors spend least 60 % of the cash paying employees and use the remaining on different allowable bills. Beginning Tuesday, loans shall be obtainable from hundreds of lenders, together with nationwide banks like Financial institution of America, JPMorgan Chase and Wells Fargo; most regional banks; and monetary expertise corporations like PayPal. Some smaller lenders have already gotten began. Group Growth Monetary Establishments, Minority Depository Establishments and Licensed Growth Firms — specifically designated lenders that target underserved populations, together with Black- and minority-owned companies — had been allowed to start out taking mortgage functions this week. And on Friday, lenders with $1 billion or much less in property shall be allowed to start out submitting functions. The Small Enterprise Administration, which manages this system, has not mentioned what number of functions it has already obtained. Not like the primary spherical, when the company accredited loans instantaneously, approvals will now take a minimum of a day due to new fraud safeguards the company has adopted. “It’s a unhappy byproduct of the present political local weather that some now resort to utilizing questionable ways and deceptive claims to assault corporations like ours,” Charles Schwab mentioned in a press release on Wednesday.Credit score…Steve Dykes/Getty Photographs Charles Schwab mentioned on Wednesday that it was shutting down its political motion committee, maybe probably the most important announcement of its form since firms started rethinking their political donations after final week’s violence within the Capitol. Schwab mentioned it had made its resolution “in gentle of a divided political local weather and a rise in assaults on these collaborating within the political course of.” “We consider a transparent and apolitical place is in the most effective curiosity of our purchasers, staff, stockholders and the communities by which we function,” the corporate mentioned. The corporate’s PAC will not take contributions from staff or make monetary contributions to lawmakers. It’ll donate the leftover funds to Boys & Women Golf equipment of America and to traditionally Black faculties and universities, organizations that Charles Schwab has supported up to now. The corporate mentioned it stood by its earlier political donations, noting that it had “lengthy believed in advocating for an acceptable regulatory panorama for particular person traders and those that serve them.” But it surely mentioned it discovered the present “hyperpartisan” setting too complicated to navigate with out danger of distraction. The Lincoln Venture, a gaggle of anti-Trump conservatives, had featured Charles Schwab in a marketing campaign highlighting corporations that donated to President Trump or to Republicans in Congress who voted in opposition to certifying President-elect Joseph R. Biden Jr.’s victory. Charles Schwab made obvious reference to the marketing campaign in explaining the reasoning behind the shutdown. “It’s a unhappy byproduct of the present political local weather that some now resort to utilizing questionable ways and deceptive claims to assault corporations like ours,” the assertion mentioned. “We additionally consider it’s unfair to knowingly blur the strains between the actions of a publicly held company and people of people who work or have labored for the corporate.” After the riot on the Capitol, quite a few corporations, together with Goldman Sachs and JPMorgan Chase, paused company giving. Others, comparable to Walmart and Marriott, have mentioned they’ll halt donations solely to the 147 Republicans in Congress who objected to certifying the presidential election end result. Charles Schwab mentioned in its assertion that it was assured its “voice will nonetheless be heard in Washington” even and not using a PAC, noting that it’s a “main employer in a dozen metropolitan facilities.” Different corporations that wouldn’t have a PAC, like IBM, have mentioned they don’t assume a scarcity of 1 places them at a political drawback. Brian Brooks, who warned that requiring clients to put on masks through the pandemic might result in extra financial institution robberies, is stepping down because the nation’s prime financial institution regulator, in response to an announcement on Wednesday. Mr. Brooks has served as performing comptroller of the foreign money since late Might. As of Thursday evening, Blake Paulson, a profession worker of the Workplace of the Comptroller of the Forex, will take over. “It has been an honor to serve america as performing comptroller,” Mr. Brooks mentioned in a press release. “I’m extraordinarily pleased with what we’ve got achieved.” Within the months after he took over the company following the departure of Joseph Otting, Mr. Brooks rushed to enact quite a few modifications, together with one that might prohibit banks from reducing off credit score to the fossil gas trade and one other establishing pointers for a way banks might measure their actions in low-income and minority neighborhoods as required beneath an anti-redlining regulation. Till lately, Mr. Brooks was in line for his job to be made everlasting. Regardless of having already misplaced the 2020 election, President Trump mentioned on Nov. 17 that he meant to appoint Mr. Brooks to turn out to be the comptroller for a five-year time period. However the possibilities for Mr. Brooks to be confirmed through the lame-duck interval of Mr. Trump’s presidency had been low, and the Georgia runoff elections have given Democrats management of each chambers of Congress. Advisers to President-elect Joseph R. Biden Jr. had already begun vetting candidates to switch him after Mr. Biden takes over subsequent week. Supply hyperlink #Biden #Big #Business #Live #Markets #Plan #Rise #Spending #Updates #word

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savetopnow · 7 years ago

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2018-03-31 02 CAR now

CAR

Auto Spies

#NYIAS: Lexus Shows Off Structural Blue High Tech Shade - Is It Cool Enough For You?

BMW Tries To Catch Mercedes By Putting M Badges On Almost Everything

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#NYIAS: BEST Real-life Pictures Of Volkswagen's Atlas Cross Sport — What's YOUR First Impression?

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componentplanet · 5 years ago

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Chevrolet Brings Tech to Its New 2021 Suburban and Tahoe SUVs

2021 Chevrolet Suburban Tahoe rollout Dec19

DETROIT – America’s oldest vehicle nameplate, the Chevrolet Suburban, advanced to its twelfth generation Tuesday night with significant changes. Switching to an independent rear suspension (IRS – no, not the tax people) lowers the rear floor for more cargo and legroom. More driver/safety assists were added, technology was enhanced, and the cockpit gets up to five big displays. As Chevy adds more sensors that create more data, GM upped compute power so the vehicle is capable of processing 4.5 terabytes of sensor and infotainment data per hour, a 5X improvement. For those who want an improvement in mpg, a diesel will be offered along with two gasoline V8s.

Chevy also rolled out the Suburban’s regular-large-size sibling, the Chevrolet Tahoe that is the better seller. The Tahoe is now 211 inches long where the extra-large Suburban is 226 inches. The same features set applies to Tahoe. These are 2021 models that ship mid-year 2020. Expect to see the same changes applied to the GMC variants, the Yukon and Yukon XL, in the near future.

2021 Chevrolet Tahoe is the normal length for a full-size SUV at 204 inches, or 17 feet, exactly. The Suburban is 224 inches with a big cargo bay but can be awkward to drive in tight spaces.

30 Safety Features on Tap

Chevrolet cites 30 safety and driver convenience features standard or available. It cites a restraint system with driver inboard seat-mounted side-impact airbag, an HD rear vision camera, automatic emergency braking, automatic emergency braking, forward collision alert, following distance indicator, front pedestrian braking, rear parking sonar, automatic headlamp control, and hitch guidance for trailering. Optional are an HD surround camera system, rear pedestrian alert, lane change alert with slide blind zone alert (including trailer), lane departure warning/lane keep assist, and a head-up display (HUD) with a huge 15-inch perceived size.

The safety features spill over to convenience features for trailering enthusiasts: nine camera views, stored trailer towing profiles for a big trailer/small boat trailer/work trailer, trailer tire pressure monitoring, and blind-spot detection that includes the trailer’s length. Chevrolet did not mention a cool camera feature in the General Motors stable of technologies, the transparent trailer rear camera view, which mounts a rear camera on the back of the trailer, then stitches the view inside the vehicle’s rear camera and puts it the center stack display as if the vehicle camera had X-ray vision.

The cabins of the Suburban and Tahoe define the term “spacious.”

Six Trim Lines: Choices, Choices

Center stack display is now 10 inches.

The Suburban and Tahoe allow the buyer to have a near-infinite set of model variants (trim lines), engines, paint colors, and options. The lineup runs, from around $50K to $70K, plus options and packages, this way: LS, LT, RST, Z71 (off-roading), Premier, and High Country. The Premier focuses on safety and technology, Chevy says:

Premier adds features such as Magnetic Ride Control, navigation, an eight-inch-diagonal reconfigurable instrument cluster, premium Bose 10-speaker audio system, 12-way power vented and perforated front bucket seats, power releases for both rows of rear seats, heated steering wheel, Safety Alert Seat (vibrating seat warnings from the vehicle sensors), Lane Change Alert with Side Blind Zone Alert, Rear Cross Traffic Alert, Lane Keep Assist with Lane Departure Warning, Front and Rear Park Assist and 20-inch wheels.

Some of the safety features are offered on lower trim lines. It will be interesting to see if Chevy makes more of them standard to keep up with higher levels of standard driver assists on less costly vehicles not in the Suburban/Tahoe competitive set. For example, the 2020 Hyundai Sonata sedan – the polar opposite of the Suburban – makes every imaginable driver assist feature standard on all but the entry trim line, which lacks only blind spot detection. On the flip side, the near-universal presence of onboard telematics and mayday calling (OnStar) on GM cars for two decades may have convinced makers such as Hyundai to do the same.

Upscale models can have magnetic ride shock absorbers and air springs. On a comparison ride at GM’s Milford, Michigan test track, prototype Suburbans felt more composed on bumps and expansion strips than its nearest competitor, the Ford Expedition with its uplevel suspension, which didn’t have air springs.

Rear-sear occupants can get 12-inch infotainment displays. Placed on the backs of the front seats, they can be seen from rows two and three.

Five Big Displays Including Rear Infotainment

Big SUVs are meant for long-distance cruising, and passengers want to be entertained along the way. The Suburban/Tahoe can have up to five big displays. The standard 10-inch center stack display “is the largest in its segment,” Chevy notes, although on a car this roomy, a 12-incher will be needed to match the competition shortly. An 8-inch instrument cluster LCD (multi-information display) is optional. So, too, are optional dual 12.6-inch rear-seat infotainment displays that have HDMI connectors to accept or cast media. Rear seat passengers can use the infotainment system to look up destinations and send them to the navigation system.

The fifth display is the big HUD that is truly useful for providing lots of information – lane departure, following distance, speed, speed limit – without getting in the driver’s sight. The 15-inch diagonal refers to the perceived size of the display as if it were a physical display at the end of the hood.

The Tahoe and Suburban accounted for 42 percent of full-size-SUV sales last year. The midsize, unibody Ford Explorer, 5 inches shorter than Tahoe, is a better seller, while the Tahoe and Silverado are more profitable per vehicle sold.

Chevy, GM Own the Big SUV Business

Shifter is now buttons next to the center stack display.

The market for big SUVs was about 400,000 units last year, 2.3 percent of the 17.3 million vehicles sold. It would be higher but for the price. A lot of people would love something that roomy inside, were it not for the price that can push $80,000, or even more for the Cadillac Escalade or Lincoln Navigator.

The stretched Suburban (15 inches longer than Tahoe) is the one to get if you plan to haul the luggage a family of up to eight would want to stow on long trips. Although Chevrolet notes that the independent rear suspension is a big deal for cabin comfort. The seats in the third row no longer sit just a few inches off the floor, and there’s more luggage room as well. It’s just that 226 inches is a lot to get into a perpendicular or parallel parking spot or fit into a garage.

In conjunction with a slightly longer wheelbase (116 to 121 inches on the Tahoe) and length (204 to 211 inches on Tahoe), rear legroom jumps from 39 to 42 inches (a lot), third-row legroom increases from 25 to 35 inches, and cargo room behind the third row goes from 15 to 26 cubic feet. On the Suburban, wheelbase climbs from 130 to 134 inches, length from 224 to 226 inches, legroom increases 39 to 42 and 35 to 37 inches, and cargo capacity goes from 39 to 41 cubic feet or, with all seats folded, from 122 to 145 cubic feet. That’s also a lot.

The Suburban/Tahoe duo are both based on the Chevrolet Silverado pickup truck introduced in summer 2018. The Silverado sold 586,000 vehicles last year, second only to Ford F-Series among the 280 vehicle models on the market last year. The full-size pickups and SUVs are Chevy’s most profitable vehicles, so a lot of attention goes into keeping them up to date.

Now read:

2020 Ford Expedition Review: For Big Trips, Big Families, Big Budgets

2019 GMC Sierra Review: Innovative Tailgate, Great Head-Up Display

Best Cars of the 2019 LA Auto Show

from ExtremeTechExtremeTech https://www.extremetech.com/extreme/303244-chevrolet-brings-tech-to-its-new-2021-suburban-and-tahoe-suvs from Blogger http://componentplanet.blogspot.com/2019/12/chevrolet-brings-tech-to-its-new-2021.html

#Chevrolet Brings Tech to Its New 2021 Suburban and Tahoe SUVs

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diegoqdmaleagp31insurance-blog · 5 years ago

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illinois insurance department

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illinois insurance department

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bloghe4rtshapedbox · 5 years ago

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2021 Lincoln Aviator Price, Specs and Release Date

2021 Lincoln Aviator Price, Specs and Release Date.The new 2021 Lincoln Aviator has introduced at the LA car show. This luxury SUV will go on sale later in 2019 as a 2021 model. The 2021 Lincoln Aviator slots between the Nautilus and Navigator models. Knowing that Aviator will look to rival BMW X5 and Volvo XC90. Just as the previous model, Lincoln will try to mimic and bring aeronautical…

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joshjailbait · 6 years ago

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2020 Lincoln Aviator Price, Specs and Release Date

The coming 2020 Lincoln Aviator is really actually just a fullsize SUV which accompanies fantastic power, superior exterior style, and also efficient hybrid drive train. The inside has been inspired by the plan of this aviators and possibly even aeronautics styling cues are all observable.The 2020 Lincoln Aviator will play with between your two and Navigator models also it has been presented in…

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crarsports · 6 years ago

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bat2018autoreview-blog · 6 years ago

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2019 Lincoln MKC Redesign, Price

2019 Lincoln MKC Release Date

2019 Lincoln MKC

2019 Lincoln MKC Review – After a redesign of the Continental, Navigator and MKZ models, the Lincoln manufacturer has decided to make some improvements to its entry-level crossover known as the Lincoln MKC. This is a compact crossover SUV that will soon join the market as Lincoln MKC 2019. It was presented at the LA Auto Show in 2017 and is expected to enter the showrooms later this year.

The Lincoln MKC is an attractive and well-equipped luxury crossover. It offers a quality and modern cabin, although the rear seats are a bit tight, at least for the larger passengers. The 2019 model year has undergone a mid-cycle update, which means that the MKC will now bring many interesting changes. The most noticeable improvement will be visible on the front panel, including a new grill. Security will finally be enhanced with more standard features and Android Auto and Apple CarPlay will finally be available. The new MKC will be available in four trim levels. These will include the Premiere Base, Select, Reserve, and Black Range-topping levels. Its main competitors in the market will be the Mercedes-Benz GLC Class, the BMW X3, the Lexus RX, the Infiniti QX50 and the Acura RDX.

SPECSDIMENSIONFUEL ECONOMYPERFORMANCESAFETY

Gas Mileage 20 mpg City/27 mpg Hwy Engine Intercooled Turbo Premium Unleaded I-4, 2.0 L EPA Class Small Sport Utility Vehicles 2WD Style Name FWD Drivetrain Front Wheel Drive Passenger Capacity 5 Passenger Doors 4 Body Style Sport Utility Transmission Transmission: 6-Speed Automatic w/SelectShift -inc: paddle shifters

Vehicle EPA Classification Small Sport Utility Vehicles 2WD Weight Information Base Curb Weight (lbs) 3823 Interior Dimensions Front Shoulder Room (in) 56 Second Hip Room (in) 52.8 Front Head Room (in) 39.6 Second Leg Room (in) 36.8 Passenger Capacity 5 Front Hip Room (in) 54.4 Front Leg Room (in) 42.8 Second Shoulder Room (in) 55.3 Passenger Volume (ft³) 97.9 Second Head Room (in) 38.7 Exterior Dimensions Track Width, Front (in) 62.4 Width, Max w/o mirrors (in) 73.4 Wheelbase (in) 105.9 Track Width, Rear (in) 62.5 Height, Overall (in) 65.2 Length, Overall (in) 179.2 Cargo Area Dimensions Cargo Volume to Seat 3 (ft³) 25.2 Cargo Volume to Seat 1 (ft³) 53.1 Cargo Volume to Seat 2 (ft³) 25.2

Fuel Tank Fuel Tank Capacity, Approx (gal) 15.7 Mileage EPA Fuel Economy Est – Hwy (MPG) 27 Fuel Economy Est-Combined (MPG) 23 EPA Fuel Economy Est – City (MPG) 20

Engine SAE Net Horsepower @ RPM 245 @ 5500 Displacement 2.0 L/122 Engine Order Code 999 SAE Net Torque @ RPM 275 @ 3000 Fuel System Gasoline Direct Injection Engine Type Intercooled Turbo Premium Unleaded I-4 Transmission Trans Description Cont. Again NA Fifth Gear Ratio (:1) 1.00 Trans Type 6 Third Gear Ratio (:1) 1.91 Final Drive Axle Ratio (:1) 3.36 Drivetrain Front Wheel Drive First Gear Ratio (:1) 4.58 Sixth Gear Ratio (:1) 0.74 Trans Description Cont. Automatic w/OD Fourth Gear Ratio (:1) 1.44 Trans Order Code NA Second Gear Ratio (:1) 2.96 Reverse Ratio (:1) 2.94 Brakes Rear Brake Rotor Diam x Thickness (in) 12.4 Disc – Rear (Yes or ) Yes Brake ABS System 4-Wheel Drum – Rear (Yes or ) NA Front Brake Rotor Diam x Thickness (in) 13.2 Disc – Front (Yes or ) Yes Rear Drum Diam x Width (in) NA Steering Steering Type Rack-Pinion Turning Diameter – Curb to Curb (ft) 38 Tires Rear Tire Size P235/50HR18 Spare Tire Order Code NA Front Tire Order Code NA Spare Tire Size Compact Front Tire Size P235/50HR18 Rear Tire Order Code NA Wheels Rear Wheel Material Aluminum Spare Wheel Size (in) Compact Front Wheel Size (in) 18 X 8 Spare Wheel Material Steel Front Wheel Material Aluminum Rear Wheel Size (in) 18 X 8 Suspension Suspension Type – Front (Cont.) Strut Suspension Type – Front Strut Suspension Type – Rear (Cont.) Multi-Link Suspension Type – Rear Multi-Link

Safety Air Bag-Frontal-Driver Yes Air Bag-Frontal-Passenger Yes Air Bag-Passenger Switch (On/Off) No Air Bag-Side Body-Front Yes Air Bag-Side Body-Rear No Air Bag-Side Head-Front Yes Air Bag-Side Head-Rear Yes Brakes-ABS Yes Child Safety Rear Door Locks Yes Daytime Running Lights Yes Traction Control Yes Night Vision No Rollover Protection Bars No Fog Lamps No Parking Aid Yes Tire Pressure Monitor Yes Back-Up Camera Yes Stability Control Yes Other Features Advancetrac w/RSC Electronic Stability Control (ESC) And Roll… ABS And Driveline Traction Control Side Impact Beams Dual Stage Driver And Passenger Seat-Mounted Side Airbags Rear Park Assist Rear Parking Sensors Tire Specific Low Tire Pressure Warning Dual Stage Driver And Passenger Front Airbags Safety Canopy System Curtain 1st And 2nd Row Airbags Airbag Occupancy Sensor Driver Knee Airbag Mykey System-inc: Top Speed Limiter, Audio Volume Limiter, Rear Child Safety Locks Outboard Front Lap And Shoulder Safety Belts -inc: Rear Center Back-Up Camera

2019 Lincoln MKC Design

The biggest change of the new 2019 Lincoln MKC will be its exterior design. The front and rear fairings will be updated. The most notable improvement is a new rectangular chrome grille that was introduced in the Lincoln Navigator. The headlights will also be slightly revised. The rear will also feature a small adjustment and there will be more chrome details and redesigned taillights.

2019 Lincoln MKC Interior

Speaking of the interior of the 2019 Lincoln MKC, the automaker has not done great jobs. He will continue to be calm, comfortable and well equipped. However, there will be changes given the technology. The board will have the same 8.0-inch touchscreen with Sync3, but this time it will have the standard Android Auto and Apple CarPlay connectivity.

Other standard features include an electric tailgate, dual zone climate control, rear view camera, 9-speaker stereo system, keyless ignition and heated seats. In regards to security, MKC will now receive more standard systems. These will include automatic emergency braking, frontal collision warning, airbags, etc. In addition, neutral monitors, lane change warning and active parking assistance will be optional.

2019 Lincoln MKC Engines and performance

In the engine department, this time there will be no changes. The 2019 Lincoln MKC will acquire the equal engines because of the modern model. The base is a turbocharged 2.0-liter 4-cylinder engine that will produce 245 horsepower and 275 lb-ft of torque. The second option is a 2.3-liter turbocharged engine with 4 cylinders. This unit will be able to develop 285 horsepower and 305 lb-ft of torque. Both engines will be paired with a 6-speed automatic transmission. In addition, there will be a choice between a front-wheel drive and an AWD configuration. Its towing capacity will reach up to 3,000 pounds.

2019 Lincoln MKC Release date and price

The 2019 Lincoln MKC is expected to enter the showrooms by mid-2018. The price has not yet been announced.

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#Cars Review #Price #Specs #Release Date

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