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kylesvariouslistsandstuff · 6 months ago

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Take with a grain of salt.

It's been over a year since DreamWorks rather unceremoniously rolled out a little movie called RUBY GILLMAN, TEENAGE KRAKEN. A movie that unusually was kept under wraps until... 3 1/2 months before release date. Official announcement from the studio, title, synopsis, trailer... All on the same March day, just months before its end of June release...

Now, the movie was briefly talked about unofficially by scooper sites in around 2021/22, and some DreamWorks employees had a MEET THE GILLMANS on their resumes, otherwise... Nada. Usually an animated movie is announced a year or so before its eventual release.

But, it being intended for streaming first and then hastily being bumped up to theatrical release (which has happened to movies from other companies, such as BARBARIAN and SMILE) could explain why DreamWorks just dumped this one. It did get decent reviews and could've been a small success in its own right, had it not been released in such a crowded summer...

It does feel kinda "streaming movie", though. A lowkey little effort, but I think it's cool that Universal and DreamWorks gave it a theatrical release if it was indeed intended to be some Peacock tuck-away. ORION AND THE DARK was a straight-to-Netflix affair, despite being co-written by Charlie Kauffman. I'm sure you'll see more of those every couple of years from DreamWorks. Something that's actually neat, and you wonder... "Why didn't that go to theaters?"

But it begs a question...

Around 2022, it was reported by the Fine Tooning podcast that DreamWorks' game plan going forward was "a sequel and a non-sequel" every calendar year. 2022 was BAD GUYS and LAST WISH, 2024 had KUNG FU PANDA 4 already and we have THE WILD ROBOT around the corner. DOG MAN and BAD GUYS 2 mark 2025, in addition to a TV series adaptation GABBY'S DOLLHOUSE. 2026 only houses SHREK 5 so far, it is unknown what the non-sequel opening that year is. (I've kinda given up on RONAN BOYLE happening. Maybe it's... I dunno... An original movie from LAST WISH/CROODS 2 director Joel Crawford?)

What would've accompanied TROLLS 3 in 2023 if RUBY GILLMAN remained a streaming title? Was THE WILD ROBOT at one point eyeing a spring/summer 2023 debut? 2023 would've been pretty quick for that movie, as director Chris Sanders presumably finished up his CALL OF THE WILD movie for 20th Century Studios in mid-2019. That was supposed to be a Christmas 2019 release, but after Disney completed their acquisition of 21st Century Fox film & TV assets in early 2019, CALL OF THE WILD moved to February 2020. Blue Sky's SPIES IN DISGUISE took its spot.

Could be!

If you remember... At one point, whatever that DreamWorks movie was going to be... RUBY GILLMAN, WILD ROBOT, something else... Would've opened in the fall of 2022... Well before that summer rush.

At one time, DreamWorks' slate had THE BAD GUYS opening in September 2021. That would've been followed by a spring 2022 release of PUSS IN BOOTS 2, and then fall 2022 would've housed an original/non-sequel. Which possibly puts a hole in the "test screening" claims. Maybe another picture was in the works, and then got cancelled.

If I remember correctly, COVID-19 altered that plan, with 2021 only being the year of BOSS BABY 2 and SPIRIT UNTAMED. BAD GUYS moved to April 2022, and booted PUSS IN BOOTS 2 to September 2022. This was when parent distributor Universal was planning to roll out the MARIO movie in Christmas 2022...

... Until they wanted the release of that movie to coincide with the Nintendo theme park opening, so... April 2023, boots the DreamWorks movie set for late March 2023 to June 2023... Which boots Illumination's MIGRATION to Christmas 2023. Dominoes.

And RUBY GILLMAN ended up being the June 2023 Universal animation release... And that was right after a Disney remake of a certain redhead mermaid movie... RUBY GILLMAN, which had been in some form of development since 2016 and probably entered full production by 2021, was kind of a victim of coincidence here. A benign cartoon plot about mermaids being the enemy of krakens (usually, we associate krakens with big scary monsters, while mermaids are often portrayed as non-threatening, simple subversion), used as some sort of anti-LITTLE MERMAID movie. A new weapon in a particular group of dingus' dumbass "culture war". And then you had a weird subset of LITTLE MERMAID remake fans who interpreted the movie - minus some weird rightwing crap - as some sort of jab at Halle Bailey's take on Ariel... The internet is full of embarrassment, isn't it? All that, over a silly movie that just so happened to open close to LITTLE MERMAID.

So yeah, RUBY GILLMAN initially being a streaming movie would definitely fill in the blanks regarding its very weird rollout last summer. DreamWorks/Universal have since announced other movies well before release.

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songmingisthighs · 1 year ago

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atinytwt is so stupid and toxic oh my god i just saw someone "shading" kq for jongho ???? like okay let me put down my points

a. we don't actually know how they decide to let or allow jongho to only receive injections and medication. jongho's condition was explained by an indonesian orthopedic surgeon who said that NORMALLY injection and medication COULD aid and alleviate the pain but considering jongho's occupation and activity (i.e. dancing), recurrence is expected and it needed a more permanent solution. also, jongho is a grown ass adult, let's not baby him too much (despite me wanna go goochie goochie goo and tuck him into bed with warm milk and cookies) and think that jongho is incapable of making a huge decision for his own health no matter the consequence

b. "kq put them in crazy schedules" it's literally the pitfalls of being idols my ghawd do you want them to not tour and expand their reach and just sit pretty with one comeback a year ??? sure, they could do that but they'll need money to get better production quality like you buying one album per comeback or one album per version is not enough to even cover the shoe budget, do you think those things are cheap ??? considering album sales are not pure as it's separated as distributor and company and from the company's cuts, it's further broken down and ateez will only get a sliver if any, they have to depend on miscelaneous schedules like radio, tv shows, joint concerts, festivals, etc. And no it's not unfair because there are calculations put in place and no matter what you do, the cuts will never be enough but at least from what we see, ateez is living rather well

c. compared to the big 4 (ion even wanna get into TS, cube, mld, mbk, etc. bc yuck) kq is a far better situation for ateez and xikers. like we haven't heard much from xikers, but we know that ateez praises kq. hongjoong even said that kq's ceo goes everywhere with them on tour (hj said this on the singapore concert) except for the show in manila bc he had a prior engagement. and dude, the gifts the ceo gave ateez and the fact that kq didn't put ateez on diets they don't want and how the staff interacts with ateez and ateez with the staff. idk, i've only been seeing green flags so far. ofc no one is perfect but again, compared to jyp who made momo eat only ice cubes to achieve her target weight so she can debut, or shoving all of seventeen in one tiny ass dorm that didn't seem like there were any blankets around during pre-debut, or putting the members on a leash and treating them like dogs like infinite, i actually love kq. I've liked kpop for over a decade now, since i was like in 5th grade and i've truly never seen a happier group than ateez.

is there a way to not read stupid ass posts on twt or x or wtv and just save pictures from there ??? really i have low tolerance in stupidity bc i have to deal with my own on a daily basis

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dalt20 · 11 months ago

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Tooning In 12. Greg Bailey part 3 of 10

DL:So it says on your IMDb that you directed 52 episodes of a cartoon from CiNAR called We Are the Dogs in 1985. What was that?

GB:I have no idea! I started working at Cinar in Feb. 1992. I never heard of that dog show.

DL:Oh ok. Somebody musta vandalized your account. Moving on, Starcom the U.S. Space Force for DiC and Coca Cola

GB:I remember Space Force at DIC but never heard of Coca Cola

DL:They were the syndicator of the show.

GB:I didn't know that!

DL:They had a television department called Coca Cola Telecommunications. They had a relationship with DiC during The Real Ghostbusters until the film Ishmel flopped at the box office. Causing DiC to leave the partnership.

GB:Was DIC working on Ishmel? I don't know anything about that. I am not really aware of the property. Why did they leave the work relationship over the film or did Coca Cola close up their department? Sorry I guess I have more questions than useful answers.

DL:No, DiC wasn’t working on Ishmel but yes they left their work relationship over the film.And also I'm glad you ask for answers on my knowledge.

GB:Do you know why they left over the film? It was a live action film wasn't it. I was in Japan in those years so there are a lot of things that I seem to have a lack of knowledge about what was happening on this side of the world in those years. Especially in entertainment. It took me years to see films like Robocop after hearing everyone in the US talk about them all the time.

DL:It was because their deal was soured because Coca Cola was losing money from the film, a big loss. And they sold the film distributor Columbia Pictures to current owner Sony. Plus it was thought that DiC was eying a merger with Coca Cola.

GB:OK, I sort of understand now. I will have to ask around about it to see if anyone knows about it other than the executives. I believe this flop happened around 1987 if I see it correctly on Google in my quick look. DIC really went through a big upheaval at that time so it may be related. Jean Charlopin split up with Andy Heyward about that time. DIC Tokyo went with Charlopin and part of the split said that some work would be sent to DIC Tokyo for a season or 2 before DIC LA went off and did their work elsewhere. There was a lot of activity at the executive level and that ended my gig in Tokyo as well. The whole art department in LA also broke up and people went their own ways.

DL:Yep, that is correct.The ALF cartoons for Alien productions and NBC?

GB:I don't think I saw any Alf shows after they left DIC or did they end at DIC. Also Saban was part of the 3 way ownership at DIC. He bought out the music rights that DIC had and moved his company back to France. DIC really had no library to fall back on and soon had no more shows. Heyward had a lot of debt. 80 million seems to stick in my head right now and it doesn't sound like much now but with no library did it really have any value. Heyward promoted his golfing buddy Mike Moliani from director to an executive position. Mike over the years that I was there directed some pretty bad shows that were also very disorganized and had a lazy kind of pre production work done in LA. That's what I was saying last time that I would jump to do shows by Raynis because his shows were so great even if they were more challenging. The Mike Moliani directed shows were not interesting to work on as an artist and animator. It was ironic, jumping ahead 20 years later, the company I worked at Cookie Jar Toronto also bought out DIC and spent a lot of money for a company that still had no library. But I get ahead of myself.

DL:yeah. Saban bought the foreign rights to the shows only to sell them to C&D, the company of Jean Chalopin. Some jackass move.

GB:I don't know that it is a bad thing to have the rights. That's how animation companies make money. It was just questionable what Andy Heyward had after buying DiC without any rights to the music or any of the shows they made. Anyway, I am not the expert on all the executive dealings at DIC and I'm sure a lot of people have more insight than I do about that. So if Saban bought and sold the film distribution rights just to hold onto the music rights it sounds like he might have made a good financial deal pretty quickly. Sort of like flipping some real estate in a hot market.That must be how Charlopin had the rights to Gadget when they made the live action movie a decade ago.

DL:Yeah. And DiC brought Saban to court fighting with them about selling them to their former shareholder where they duke it out until it was settled in 1991 with Saban owning the rights to the pre 1990 DiC library.Revoking it from Jean Chalopin.

GB:That's funny. I believe Charlopin and Saban were old business partners at DIC France pre-LA days. I never heard that there was any bad blood between them. So I guess Saban just licensed the rights to Charlopin to make the live-action Gadget. I think they made a new animated series as well about that time. I didn't see the movie. One day I was listening to a culture critic talking about movie sequels. He said the worst movies are live-action movies based on animated tv shows. He said the Gadget movie was the worst one of those. So I guess he didn't like the movie much. I remember Bruno Bianchi's and Charlopin's names on the poster. Maybe Saban's name was there too but I didn't pay attention. I never met Saban but I had met Charlopin a few times in Tokyo just to be introduced basically.

DL:Actually they were as Saban would compose the soundtrack to Ulysses 31 and Mysterious Cities of Gold.Saban was not a producer on the film, but Chalopin and Heyward were.So how was the founder of DiC?

GB:What do you mean? "How was the founder"?

DL:Jean Chalopin,like how he was.

GB:Like I say I was only introduced to him briefly. He was kind of a nice-looking and amiable person from my brief meeting. He looked like someone very comfortable in his skin and well-suited to the jet-set lifestyle he was living. He was still quite young then. I would guess in his late 30's/ maybe 40 so he was an early boomer. I saw him last around the time the company was breaking up and he had come to Tokyo I guess to meet with Katayama and Bruno and discuss what the plan was.

DL:C.O.P.S. for Hasbro?How was working on that show?

GB:I think everyone in DIC must have worked on that series. It was another syndicated series of 65 shows so as usual they went through the studio at breakneck speed and the quality of syndicated shows was much lower than network Saturday morning shows. I didn't love the show much because it was kind of macho adolescent stuff with not much story value and no humor. I guess if you like that kind of thing it was fine but I never really liked the natural human-looking animated characters. It just looks like bad life drawing or something and makes me remember my early days animating at Hanna Barbera. I just read a byline when I searched on Google to refresh my memory. "Cops in 2020". So I guess it was a future cop show inspired by Robocop. Part of the pre-production work was done in Canada. In Ottawa I believe, because DIC had started doing some pre-prod work in Canada by that point.

DL:Yes, it was inspired by Robocop.As Andy would try to copy trends at the time.

GB:There was some kind of immoral feeling working on shows that were glorified commercials for toys. It did weigh on you and destroyed your belief that animation should be a good thing for kids, not just something to exploit them or make them bug their parents for more terrible cheap toys.A salesman always proposes a show that was a success last year by someone else. It is counter to shows created in a more creative environment where copying something already done would be at the bottom of your list of what to do. Does that make sense? In later years working in development I would see a lot of ideas or suggestions from the sales team about making a show just like Spongebob, or just like whatever was a success last year. It is really anti-creative. But syndication was just selling toys that Hasbro was making. I guess I helped to sell a lot of toys at DIC.

DL:So how did you feel when you left DiC Entertainment in 1988?

GB:I thought my career would end because it would be hard to replace the job with something as high-paced and rewarding. It was also a matter of leaving a very financially rewarding position because we got paid well. I was going to have to leave Tokyo, which I liked a lot. Although in another way it was time for me to leave because I had put my family through 4 years of living out of a suitcase. It was time for things like school for my daughter and living somewhere that my wife could work and get on with her career. Living in Tokyo was definitely making that impossible. I didn't think I would find another job as interesting as DIC but I had learned a lot of useful skills and information about how to control a production and get more input into the show in a professional manner. A lot of skills that were not known in Canada at the time.

DL:So you worked on The Raccoons,your first Canadian production you worked on.

GB:Yes, the first after coming back from Tokyo. I was living in Ottawa for the first time and Hinton Studios was doing Raccoons. I never became much of an expert on it because my time there was short-lived before I went to Cinegroupe in Montreal. I did some Raccoons and I just started on Ren and Stimpy for a week or 2. I also did part of a storyboard on Where's Waldo in that period I believe. I don't remember how I found that job though.

DL:So at Hinton Studios, were they drawing dirty pictures of the Raccoons characters according to rumors?

GB:What?! Animators never do that.

DL:Well TV tropes said so and i just want to know to clear up rumors,that's all.

GB:I always thought those noses on the bad guys Cedric and Cyril looked kind of obscene all the time. It would be difficult to make them do anything too dirty with those flaccid noses. Come to think of it they all had droopy noses even the Raccoon characters except the females. Must have been from all those dirty scenes they were involved in that never made it onto TV that left their noses limp.

DL:Ah. so you work on the Ren and Stimpy pilot, Big House Blues. Were you working with Bob Jacques?

GB:I think I was supposed to but I only did about 2 weeks and then had to leave.

DL:How was the experience and did you like the program?

GB:Too brief to get much out of it. I was pretty excited about the design and method they were using to work. I loved the show of course and often wished I had had more time on it. The model sheets were really great and the show felt really fresh at the time.

DL:So when did you get to go to Cinegroupe in Montreal?

GB:I left to go there right after I did Ren and Stimpy for a few weeks. I was probably working the next week in Montreal and commuting back and forth to Ottawa on weekends. I had worked at Cinergroupe before going to Tokyo for a few months on Ovid and the Gang as an animator. Anyway, when I left Hinton Studios for Cinegroupe it must have been 1988 or 1989.

DL:So what was Ovide and the Gang?

GB:Ovid was a co-production with Belgium. It was an original series based on a comic book style of characters. I can't even remember what the point of the series was or the relationships between the characters. They were very cute-looking characters though and the studio was animating the whole series with about 5 animators and 5 assistants. When I went there after Hinton they were doing a few series. L'Aventure de L'ecriture a show about French grammar and a series Little Flying Bears which is just exactly as the name implies. Everything was little something or other in those years. The bears had dragonfly wings. These flying bears were saving the environment. But I guess they didn't succeed because it's still a mess. But saving the environment was big in animation in those days.

DL:So by the way, did you have cable in the late 90s early 90s? Because these shows were broadcast on The Family Channel.

GB:I do remember them on TV but don't know if it was Family Channel or CBC. I probably only had basic cable at home. I'm not sure when the series finished. Oddly it was a co-production with Yugoslavia. Unfortunately, a few years into production the Yugoslavian war began and that turned into a bloodbath. I remember before the war everyone was talking about what a fantastic place it was over there with all those people living in harmony. The breakup of the country and the massacres just went on for what seemed like more than a decade. Anyway, the show kept getting held up because the co-producing company was telling us about the tanks sitting out in front of the company and it just got impossible eventually. It's weird how all this bad stuff is going on behind the scenes in these innocent cartoons on TV.

DL:Oh yeah. Well can’t believe that the Yugoslavian war was tied to the production trouble of Little Flying Bears.Also before I go, one more question. How was it when you went to work for CiNAR and Young Robin Hood for Hanna Barbera and France Animation.

GB:I heard once that the producer over there wanted to have Cinegroupe's production money payment sent to him in a location in a neighboring country. But that didn't sit well with Cinegroupe. I don't know if they suspected he would run for it with the money and get the heck out of the way of that approaching war. It seemed like the country was unfolding in slo mo at that point. This was before the war in Kosovo and Serbia. The co-producer was in Zagreb. It was a pretty city that held the international animation festival every second year alternating with Ottawa.

DL:Interesting.

GB:Robin Hood was fine. The first job there was on White Fang. I was an animation posing supervisor. Then I did timing direction on Robin Hood. Robin Hood went by pretty smoothly and it was nice working in a familiar US production method. I was able to bring in some of those timing skills from Tokyo into the job.And then I directed a few specials on Munch. Murmel Murmel and Boy in the drawer.I think that is the correct order of work at Cinar. It was called Crayon Animation in those days but it was owned by Cinar.

DL:Wait CiNAR was called Crayon animation?Also before then CiNAR was a dubbing studio before it started to produce its own productions in 1988.

GB:Yes, the animation part of the company was called Crayon Animation. Cinar existed at a different location downtown. They did the post-prod mixing and sound work and recording at Cinar. And the executive offices of Ron and Micheline were downtown at Cinar. The animation studio Crayon was in an old industrial warehouse space in St Henri in the mid-19th century industrial part of Montreal. If you've seen the movie or read the book The Tin Flute that is where it was. Lots of rail yards and on the old Lachine canal.Yes they did the dubbing and all sound work at Cinar headquarters downtown. They owned the building there, which was originally an old convent. Later on we moved out of the Crayon building and moved to a new office tower around the corner from the Cinar headquarters and sound studio.Ron Weinberg would often talk about how he started Cinar by driving around the US with a trunk full of videotapes of the movie Wicker Man and he would sell this tape everywhere. I don't know how he did that but that was the story. I don't know if I ever saw Wicker Man but at Burning they used to burn wicker furniture in memory of that movie.

#animation #animation interview #tooning in.#dic #dic entertainment #starcom #C.O.P.S.#haim saban #saban entertainment #80s cartoons #greg bailey #the raccoons #ren and stimpy #cinegroupe #Cinar #young Robin Hood #yugoslav wars #hanna barbera

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rabbitcruiser · 6 months ago

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National State Fair Food Day

This year, Food Service Direct will be celebrating the first-ever National State Fair Food Day on July 11. There is much to love about state fairs — the rides, competitions, stalls, and the best part, food! While nothing beats attending a state fair, sometimes we just want to enjoy all the great food without waiting in lines with crowds of people. Instead, you can order state fair food from Food Service Direct, prepare simple recipes, and enjoy fried and delicious food straight out of the oven.

Check out the State Fair Food section at Food Service Direct and bring the fairgrounds to your backyard this summer with easy-to-follow recipes of classic state fair foods. Whatever your food needs are, wherever you are, Food Service Direct has you covered — build your unique menu today.

History of National State Fair Food Day

State fairs are a summer staple. Taking place once a year, people flock to the fairgrounds to enjoy the stalls, livestock, rides, and gifts. But let’s be honest, it’s all about the fried and delicious food, on sticks, and otherwise. The food is memorable and we look forward to enjoying it again all year long. Some of the best state foods include corn dogs, cotton candy, funnel cakes, deep-fried cookies, cheese on a stick, and chicken wings.

The first U.S. state fair was held in Syracuse, New York in 1841, and has been running successfully every year since. The second state fair was in Detroit, Michigan, which ran annually from 1849 to 2009.

Originally, state fairs were a display and celebration of the country’s agriculture; the produce, crops, and the growers who worked dedicatedly to cultivate a successful harvest. It highlighted the agricultural pride of each state, its local vendors, and regional foodways. As the structure of the country gradually shifted from agrarian to industrial, state fairs evolved to include music, amusement rides, games, and more industrial products.

But why wait for the state fair every year when you can enjoy the mouthwatering state fair food at home? Food Service Direct has you covered with everything you’ll need — from supplies to ingredients, for recreating foods-on-a-stick, cultural dishes, over-the-top desserts, and more. It’s the choice marketplace for local distributors and large manufacturers, offering a vast variety of food and related products for creating tasty meals.

National State Fair Food Day timeline

15,000 B.C.

The Beginning of the Hospitality Industry

The ancient Lascaux caves in France are used to provide accommodation for other tribes.

19th Century

The Beginning of State Fairs

State fairs are organized to display and promote state agriculture, livestock, and farm products.

20th Century

A Shift Occurs

As societies shift from agrarian to industrial, modern state fairs expand with the addition of amusement rides, exhibitions of industrial products, entertainment, and more.

July 11, 2022

The First Celebration

Initiated by Food Service Direct, the first-ever National State Fair Food Day is celebrated.

2022 State Fair Food Index Key Stats

Methodology

Food Service Direct, the first food-focused online marketplace, executed a survey in July 2022 with 2,051 adults from all 50 U.S States. To discover how U.S. consumers love state fair food the most, what are their favorite state fair food items, and how it impacts their enjoyment and quality of life.

*Fairgoer is somebody who has gone to a state fair at least twice.

State Fair Food Favorites

#1 Fries

75% of the fairgoers in Maine always get fries at the State Fair, followed by 70% of the fairgoers in Pennsylvania.

#2 Corn Dogs

50% of the fairgoers in Arkansas and Texas always get Corn Dogs at the State Fair, followed by 45% of the fairgoers in Idaho.

#3 Roast Corn

43% of the fairgoers in Florida always get Roast Corn at the State Fair, followed by 40% of the fairgoers in New Mexico and Wisconsin.

Desserts

#1 Funnel Cake

83% of the fairgoers in Mississippi and Arkansas always get Funnel Cake at the State Fair, followed by 80% of fairgoers in Oklahoma.

#2 Cotton Candy

43% of the fairgoers in Vermont always get Cotton Candy at the State Fair, followed by 60% of the fairgoers in Mississippi.

#3 Snowcone

45% of the fairgoers in Mississippi always get Snow cones at the State Fair, followed by 40% of the fairgoers in Florida, Missouri, and South Carolina.

National State Fair Food Day FAQs

What is the most popular state fair food?

Some of the most popular state fair foods are deep-fried Oreos, fried chicken in a waffle cone, deep-fried Snickers bars, pizza cones, and cotton candy.

What is a state fair?

A state fair is an annual display of the best of a state’s local produce and products, as well as a recreational gathering for people in the U.S.

What is the most popular state fair?

The State Fair of Texas attracts a staggering 2.25 million visitors every year, making it the largest state fair in the country.

How To Celebrate National State Fair Food Day

Order your favorite state fair foodsHead over to Food Service Direct’s website. Browse and order from their large variety of state fair foods.

Try new recipesRecreate state fair foods by following different recipes. You won’t miss out on anything!

Host a state fair partyInvite your friends and family to a backyard state fair gathering. Include your favorite state fair food on the menu, and include games and other activities.

5 State Fair Foods You Can Easily Make At Home

Corn dogsCorn dogs on a stick can easily be made at home, and our pro-tip is to dunk the dogs in a tall jar full of batter for an even coating.

No-fry fried ice creamEnjoy the great taste with a crispy cinnamon coating, minus the oily mess.

Deep-fried cookiesA true indulgence that is a hit with kids especially.

Turkey legsThe best marinade for turkey legs or any other state fair meat dish is available at Food Service Direct.

State fair lemonadeSip on this thirst-quenching beverage, close your eyes, and imagine you’re at the state fair.

Why We Love National State Fair Food Day

For the love of foodWe at National Today love food holidays best. And if it is a day that celebrates countless well-loved dishes? We just can’t contain our excitement.

Bringing state fair food to your kitchenWhy not enjoy great state fair food in the comfort of your home without having to stand in sweltering temperatures and long queues. We are all for it.

Services making life easierFood Service Direct is dedicated to making the distribution of food easier for home cooks, chefs, food vendors, manufacturers, and event planners. With everything you could possibly need for creating culinary delights under one roof, what’s not to love?

Source

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dorothydalmati1 · 1 year ago

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Obscure Animation Subject #71: All Dogs Go to Heaven

Originally posted on Twitter on May 21, 2023.

Happy birthday to me! Since its my birthday today, why not talk about a feature film for a change?

It is directed by Don Bluth with a screenplay by David N. Weiss from a story by various people in the industry business.

The film is a collaboration between Goldcrest Films and Sullivan Bluth Studios Ireland Ltd., a co-production between the United Kingdom, Ireland and the United States, it was distributed by United Artists in the US and Rank Film Distributors in the UK and Ireland.

Released on November 17, 1989 in the US, February 8, 1990 in the UK and April 6, 1990 in Ireland, it follows a shepherd named Charlie B. Barkin, whose murdered by his former friend, Carface Carruthers. Charlie escapes from Heaven to return to Earth where his best friend, Itchy Itchiford.

Charlie still lives, in order to take revenge on Carface. Instead, he ends up befriending a young orphan girl named Anne-Marie (voiced by Judith Barsi in her final film role). In the process, Charlie learns an important lesson about kindness, friendship and love.

On its US release, it competed directly with Walt Disney's The Little Mermaid, released on the same day. While it did not repeat the box-office success of Sullivan Bluth's previous features, it was successful on home video, becoming one of the biggest-selling VHS releases ever.

And, its a very bizarre piece of animation I will say. Critics were polarized on the film and I was confused when watching, being a serious film about death that the gabling Shepherd is facing, then shifts to a cutesy tone when the girl comes in then, dark as hell?

Yeah, this is the most bizarre film from Bluth. It didn’t do very well at the box-office when competing with the superior Little Mermaid, but when it was released on home media, it became a sleeper hit and has been on top of the VHS sales, forming a cult following.

It was so successful that a theatrical sequel, a television show and direct-to-video holiday film were produced. Afterwards though, nothing from the franchise came since. However, it still has its fandom and like The Little Mermaid, it may get its live-action remake, who knows…

It may not be the best from Bluth, but I highly recommend it if your curious. It’s such an interesting film to discuss about, although it went through more hell than heaven. Kinda a shame it did because the sequel sucked, the TV show is meh and the Christmas film also sucked.

#All Dogs Go to Heaven #obscure animation #don bluth

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fearsmagazine · 9 months ago

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ABIGAIL - Review

DISTRIBUTOR: Universal Pictures

SYNOPSIS: A group of low-level criminals are brought together to pull off a caper - kidnap and babysit overnight the 12-year-old ballerina daughter of a powerful underworld figure, the pay-off is a $50 million ransom. The hideout is an old isolated mansion. They try to settle in for the night but the rules go by the wayside as, one by one, the gangsters grisly and mysteriously meet their demise. The gloves come off and when they confront their prisoner, to their mounting horror, they discover that they’re the prisoners and are locked inside the mansion with no normal little girl.

REVIEW: Occasionally, screenwriters attempt to breathe new life into the vampire mythos by blending genres into their screenplays. While many of these scripts start off with a great promise, the final product often falls short of expectations. However, there are a few notable exceptions that have managed to capture the essence of the vampire genre. Examples include "The Lost Boys," "Innocent Blood," "Abraham Lincoln: Vampire Hunter," and "Vampires," the last two based on novels.

In Stephen Shields and Guy Busick's screenplay for ABIGAIL, elements of O. Henry's classic short story "The Ransom of Red Chief" and the 1990's film "Home Alone" converge, driven by the urban legend of Abigail's gangster father and tales inclusion of vampire mythology. The screenwriters incorporate subtle nods to Agatha Christie, creating humorous moments in the film. They skillfully weave in references to numerous films and TV shows, including "Reservoir Dogs," "Innocent Blood," and Kevin Durand's involvement in the vampire series "The Strain." The narrative is multi-layered, as the writers creatively rework the vampire myth to suit their story. What truly captivates the audience is Abigail's character arc and the motivations behind her actions. At its core, the story delves into a child's yearning for parental attention or the lack thereof, intertwined with the guilt experienced by parents. This complex exploration of parenting, children, and vampires sets ABIGAIL apart as a refreshing take on these themes since "The Lost Boys."

Directors Matt Bettinelli-Olpin and Tyler Gillett masterfully orchestrate a symphony of tension, action, and shocks that ebbs and flows like an adrenaline-fueled thrill ride. Their ability to consistently surprise and engage the viewer stems from their skillful framing and editing of sequences, coupled with the captivating performance of actress Alisha Weir, who portrayed Matilda in the 2022 adaptation of the musical. Her portrayal is simply outstanding here.

The mansion in which the characters are hiding serves as an integral character in the film. The production design is remarkable, creating a subtle yet tangible atmosphere. While there were a few scenes in the third act that raised questions about potential escape routes, my engrossment in the film at that point prevented me from giving them much thought.

The combination of practical and digital effects in the movie created some truly impressive "wow" moments, especially in the fight sequences. The dental design and contact lenses used for the vampire look were particularly well done. My favorite scenes were the visual sequences showing the destruction of the vampires—a real treat for die-hard horror fans.

The film's musical foundation is a harmonious blend of classical melodies and a gripping score composed by Brian Tyler. Tyler, a renowned composer with a rich portfolio of screen and television scores, has masterfully created musical movements that seamlessly intertwine with the classical selections, escalating the film's action and horror. In other moments, his score complements the actors' performances and heightens the suspense and tension of the scenes, leaving a lasting impression on the audience.

The film features a talented cast with extensive horror experience. Melissa Barrera, Dan Stevens, Kevin Durand, Kathryn Newton, and William Catlett have each starred in multiple horror films, bringing their expertise to the project. The cast also includes Matthew Goode and Giancarlo Esposito, who add their unique talents to their characters, enhancing the film's energy. This exceptional ensemble cast delivers a thrilling viewing experience, creating captivating characters that engage and entertain the audience.

ABIGAIL offers a "fangtastic" combination of a caper story and a vampire tale. It's one of the best horror-thrill rides I've experienced in theaters this year. In fact, I haven't had this much fun with a horror movie since "The Lost Boys" or "Evil Dead 2: Dead by Dawn." Not since Macaulay Culkin faced off against bumbling heist men has a kid's involvement in an action film been so entertaining. Yes, it's a bloody film, but families with tweens should venture to their local cinema for a killer good time.

CAST: Melissa Barrera, Dan Stevens, Alisha Weir, Kathryn Newton, William Catlett, Kevin Durand, Angus Cloud and Giancarlo Esposito. CREW: Directors - Matt Bettinelli-Olpin & Tyler Gillett; Screenplay - Stephen Shields & Guy Busick; Producers - William Sherak, Paul Neinstein, James Vanderbilt, Tripp Vinson, and Chad Villella; Cinematographer - Aaron Morton; Score - Brian Tyler; Editor - Michael P. Shawver; Production Designer - Susie Cullen; Costume Designer - Gwen Jeffares Hourie; Prosthetics Designer - Matthew Smith; Dental Prosthetics - Dominic Mombrun; Visual Effects Supervisor - Andre Bustanoby; Visual Effects Companies - NEXODUS, Crafty Apes, & DNEG. OFFICIAL: www.abigailmovie.com FACEBOOK: www.facebook.com/AbigailMovie/ TWITTER (X): www.twitter.com/UniversalHorror TRAILER: https://youtu.be/cOHf2qUZYBs?si=Kd0YefSxfpfRGpHd RELEASE DATE: In theaters April 19th, 2024

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

#film review #movie review #abigail #abigailmovie #Matt Bettinelli-Olpin #Tyler Gillett #Stephen Shields #guy busick #melissa barrera #dan stevens #Alisha Weir #kathryn newton #kevin durand #giancarlo esposito #horror #vampire #gangster #joseph b mauceri #joseph mauceri

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spectaculardistractions · 2 years ago

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To Robert Hughes Mexico City, 1959 Questionnaire for the yearly publication Film: Book 1 (The Audience and the Filmmaker) Q1. What specific difficulties have you experienced which have been caused by interpretations of the ‘audience’ by producers, distributors, censors, etc? A1. Except during my first three films, all made before 1932, and produced with absolute independence – An Andalusian Dog, The Golden Age and Land Without Bread – I have always felt the pressure more or less heavily exerted by the producer. But one might deduce from your questions that the producers and distributors are to blame by their special interpretation of public taste for the limitations imposed on the filmmaker. In my opinion, the real responsibility for the spiritual stagnation of cinema lies with the amorphous mass, routinary and conformist, that makes up the audience. The producer limits himself merely to throwing to the beasts the food they demand of him. A businessman neither better nor worse than the others of his time, the producer has no scruples. He is capable of leaping from one ideological plane to another, even if the systems are morally and artistically antagonistic, so long as he is guaranteed prestige and economic success. For the moment it is impossible to foresee any moral elevation of human society. For this reason, there does not appear even a glimmer of the spiritual improvement of the audience. One might even predict the contrary. Filmmakers will continue dragging the heavy chains of servility put upon them by the industry and the producers, who, as faithful representatives of the public, will continue their tyrannical repression of the artists’ freedom. Q2. What do you consider one of the most encouraging developments in film in recent years? Q3. What do you consider one of the most discouraging developments? A2 & 3. To my way of thinking there is not one indication in the film production of recent years, either ‘capitalist’ or ‘communist’ that encourages any hope of the spiritual improvement of cinema – unless it be in its technical aspect, where the progress of both is unquestionable. Q4. What film or films would you make if you were free from the non-artistic limitations of sponsorship, censorship, etc.? A4. If it were possible for me, I would make films which, apart from entertaining the audience, would convey to them the absolute certainty that they DO NOT LIVE IN THE BEST OF ALL POSSIBLE WORLDS. And in doing this I believe that my intentions would be highly constructive. Movies today, including the so-called neo-realist, are dedicated to a task contrary to this. How is it possible to hope for an improvement in the audience – and consequently in the producers – when every day we are told in these films, even in the most insipid comedies, that our social institutions, our concepts of Country, Religion, Love, etc., etc., are, while perhaps imperfect, UNIQUE AND NECESSARY? The true ‘opium of the audience’ is conformity; and the entire, gigantic film world is dedicated to the propagation of this comfortable feeling, wrapped though it is at times in the insidious disguise of art.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

#jo evans #breixo viejo #luis bunuel: a life in letters #luis bunuel #robert hughes

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atlanta-ga-personal-injury · 17 days ago

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Negligence in Personal Injury Claims in Atlanta, GA: What You Need to Know

Negligence is a fundamental concept in personal injury law, playing a critical role in determining who is at fault for an accident and what compensation an injured party is entitled to receive. In Atlanta, GA, personal injury claims often center around negligence, as victims seek justice for harm caused by the careless or reckless actions of others. This article will explain what constitutes negligence, common examples in personal injury cases, and how negligence affects personal injury claims in Atlanta.

What is Negligence?

Negligence occurs when an individual or entity fails to exercise the level of care that a reasonable person would in similar circumstances, resulting in harm or injury to another person. In legal terms, negligence refers to a breach of the duty of care owed to others, which directly causes damage or injury. To establish a negligence claim, the injured party (plaintiff) must prove four key elements:

Duty of Care: The defendant (the person being sued) had a legal obligation to act in a way that would prevent harm to others. For example, drivers have a duty to obey traffic laws to keep other road users safe.

Breach of Duty: The defendant failed to meet the standard of care expected in the situation. This might involve driving recklessly, ignoring safety regulations, or failing to maintain safe premises.

Causation: The defendant's actions or inactions directly caused the plaintiff’s injury. The plaintiff must show that their injury would not have occurred had the defendant not been negligent.

Damages: The plaintiff must have suffered actual harm or loss, such as physical injuries, emotional distress, or financial loss, as a result of the defendant’s negligence.

Common Examples of Negligence in Atlanta Personal Injury Cases

Negligence can occur in many different contexts, leading to personal injury claims. Some common examples of negligence in Atlanta include:

Car Accidents: Negligence is a frequent cause of car accidents, such as speeding, distracted driving (e.g., texting while driving), driving under the influence of alcohol or drugs, and failing to yield the right of way. Drivers who engage in these behaviors may be held liable for injuries they cause in accidents.

Slip and Fall Accidents: Property owners or businesses have a duty to maintain safe premises. When they fail to fix hazards like wet floors, uneven sidewalks, or inadequate lighting, they can be considered negligent. Victims of slip and fall accidents may be entitled to compensation for their injuries.

Medical Malpractice: Healthcare providers are expected to follow accepted standards of care when treating patients. If a doctor, nurse, or other medical professional fails to diagnose a condition correctly, provides incorrect treatment, or makes other errors, their negligence may result in harm to the patient.

Workplace Accidents: Employers have a responsibility to provide a safe working environment. Negligence may involve failing to maintain equipment, overlooking safety protocols, or not providing proper training. Injuries resulting from such negligence may lead to a personal injury claim.

Defective Products: Manufacturers, distributors, and retailers have a duty to ensure their products are safe for use. If a product is defectively designed or manufactured, it can cause harm. Product defects leading to injury may result in a negligence claim against the responsible parties.

Dog Bites: Pet owners have a responsibility to control their pets and ensure they do not pose a threat to others. If a dog attacks someone due to the owner's failure to control the animal, the owner may be liable for the victim’s injuries.

Proving Negligence in Personal Injury Cases

To succeed in a negligence-based personal injury claim, the plaintiff must prove each of the four elements outlined above. This process often involves gathering evidence such as:

Accident reports (police reports, incident reports)

Witness testimony

Medical records and expert testimony

Photographs of the scene or injuries

Surveillance footage (if available)

Having an experienced personal injury attorney in Atlanta can be crucial in building a strong case. A lawyer will gather evidence, consult with experts, negotiate with insurance companies, and, if necessary, represent the client in court.

Comparative Negligence in Georgia

Georgia follows a modified comparative negligence rule, which means that even if the injured party was partially responsible for the accident, they may still be entitled to compensation, as long as their degree of fault is less than 50%. In cases of comparative negligence, the amount of compensation awarded will be reduced by the percentage of fault attributed to the plaintiff. For example, if the plaintiff is found to be 20% responsible for the accident, their damages will be reduced by 20%.

Compensation for Negligence-Based Personal Injury Claims

In a personal injury case based on negligence, the victim may be entitled to various types of compensation, including:

Medical Expenses: Compensation for medical treatments, surgeries, medications, rehabilitation, and any future medical care required due to the injury.

Lost Wages: Compensation for income lost due to the inability to work during recovery, as well as future earnings if the injury leads to permanent disability.

Pain and Suffering: Compensation for physical pain, emotional distress, and loss of enjoyment of life.

Punitive Damages: In some cases, punitive damages may be awarded to punish the defendant for particularly egregious or reckless behavior.

Conclusion

Negligence is a critical element in many personal injury cases in Atlanta, GA. If you or a loved one has been injured due to another party’s negligent actions, it’s important to understand your rights and legal options. Working with an experienced personal injury attorney can help you navigate the complexities of proving negligence, gather necessary evidence, and pursue fair compensation for your injuries. While no amount of money can undo the harm caused by an accident, a successful personal injury claim can help ease the financial burden and aid in your recovery.

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ausetkmt · 1 month ago

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But this wasn’t the only message she saw. Unbeknownst to John, his wife had bugged his smart phone. She was spying on John, eavesdropping on all of his texts and multimedia messages, and tracking his every move through the device’s GPS.

She was also stealing all of John’s photos. In one slightly blurred picture, John, a police officer in a small town in the southwestern United States, is knelt over a suspect, who is face down on the curb. In another photograph, John is taking a selfie wearing a dress shirt and a black tie. A third picture shows an email exchange with Facebook’s law enforcement help team, revealing that John was requesting data on a target of an investigation.

These messages and pictures, including some of the couple’s more intimate moments, were taken directly from John’s cellphone by his wife, using a piece of consumer surveillance software made by American company Retina-X. In an ironic twist, the software is called PhoneSheriff.

John is just one of tens of thousands of individuals around the world who are unwitting targets of powerful, relatively cheap spyware that anyone can buy. Ordinary people—lawyers, teachers, construction workers, parents, jealous lovers—have bought malware to monitor mobile phones or computers, according to a large cache of hacked files from Retina-X and FlexiSpy, another spyware company.

Read more: I Tracked Myself With $170 Smartphone Spyware that Anyone Can Buy

The breaches highlight how consumer surveillance technology, which shares some of the same capabilities and sometimes even the same code as spy software used by governments, has established itself with the everyday consumer. And it would appear no small number of people are willing to use this technology on their partners, spouses, or children.

In other words, surveillance starts at home.

Morgan Marquis-Boire is a security researcher who has spent months digging into the consumer spyware industry, and has seen it used in domestic violence cases first hand. He has also spent years researching spyware used by governments. For him, the former kind of surveillance, which can be also called stalkerware or spouseware, deserves more attention because it’s more common and widespread than many may think, and “the victims are everyday people,” he said.

Sophisticated government malware or cyberattacks on individuals are like “a rare bloodborne pathogen,” whereas consumer spyware is more like “the common cold” or flu. It’s not as exotic, but “it does kill a lot of people every year,” Marquis-Boire told Motherboard.

Listen to pluspluspodcast’s episode about the ‘Stalkerware‘ market.

Around 130,000 people have had an account with Retina-X or FlexiSpy, according to data provided to Motherboard by two hackers, in part via the leaking platform SecureDrop. However, the overall number of customers could be higher as the data may not be fully representative of the two companies.

The FlexiSpy account holders include a fifth grade teacher at a school in Washington, DC; a man who breeds dogs professionally in Georgia; and the president of a sunglasses distributor in New York.

“I used the service to confirm that my ex gf [girlfriend] was cheating on me. It allowed me to get a remote audio recording of her…in the act.”

Depending on whether someone installs FlexiSpy or Retina X’s software on a cellphone they have physical access to, users may be able to intercept calls; remotely switch on the device’s microphone; monitor Facebook, WhatsApp, and iMessage chats; read text messages; track the phone’s GPS location, and record the user’s internet browsing history.

And Retina-X account holders include the vice-president of a commercial bank in Los Angeles, the founder of a recruiting firm in Chicago, and, of course, John’s wife. On top of PhoneSheriff, Retina-X also makes SniperSpy and TeenShield.

Depending on the product, FlexiSpy and Retina-X customers may have paid only around $50 to $200 for a monthly or annual spyware subscription.

Motherboard identified account holders by using email addresses and names included in the data, and finding the individuals’ respective social media profiles, websites or other details online. (In some cases it was possible to verify an address was linked to a spyware account by attempting to create a new user on the respective site, or by requesting a password reset.) Some customers of both FlexiSpy and Retina-X included in the data confirmed to Motherboard they had purchased the companies’ malware.

“I bought it to see if my bf [boyfriend] was cheating,” one FlexiSpy user included in the data told Motherboard in an email.

“I used the service to confirm that my ex gf [girlfriend] was cheating on me. It allowed me to get a remote audio recording of her… in the act. Best money I ever spent,” another FlexiSpy customer said.

“It’s normal,” a third FlexiSpy customer told Motherboard.

These spyware account holders, and their victims, aren’t limited to the US. The Retina-X data contains several large files of alleged GPS coordinates of infected phones across the globe. France, Spain, Israel, Brazil, Colombia, Mozambique, Nigeria, India, Vietnam, Indonesia, Australia, and many more countries are all included. The GPS logs obtained by Motherboard stretch from 2014 to late 2016, but the hacker says he only provided a sample.

A map of alleged GPS locations of surveillance victims captured using Retina-X software. Motherboard has deliberately obfuscated the GPS locations to protect individuals’ privacy.

The data also includes evidence of government and law enforcement customers for FlexiSpy. FlexiSpy does have connections to the law enforcement malware market, but it is not clear whether the malware was purchased for official or personal use in each of these cases.

A summary of the types of data the two hackers stole from FlexiSpy and Retina-X.

However, the vast majority of Retina-X and FlexiSpy accounts appear to be linked to personal email accounts, rather than domains for businesses, institutions, or government agencies. And FlexiSpy has also explicitly marketed its products to jealous lovers wanting to spy on their spouses.

“Many spouses cheat,” FlexiSpy’s website has read. “They all use cell phones. Their cell phone will tell you what they won’t.”

Over the past two decades, consumer spyware has been used in cases of domestic violence, and in a recent call with Motherboard, one company admitted its software could be used to monitor a spouse without their permission. A 2014 NPR investigation found that 75 percent of 70 surveyed domestic violence shelters in the US had encountered victims whose abusers had used eavesdropping apps.

Elle Armageddon, an activist and operational security expert, said that while it’s hard to tell exactly how many women in an abusive relationship get targeted with spyware, its use could prevent women—or men—from escaping the relationship as abusers might find out about their partners’ plans to get away.

“Those peddling spouseware are willing to trade the agency of others for profit, considering some loss of life to be an acceptable cost of doing business,” Armageddon told Motherboard in an email. “Spyware is spyware, and is a violation of the privacy rights of those targeted by it, regardless of whether they’re dissidents being targeted by a state actor, or women being targeted by their abusive partners.”

Jessica* was a victim of domestic violence. Her then-husband used spyware to keep tabs on her while the couple was separated. Initially he used a keystroke logger on her laptop, and then malware for her cellphone.

“Oh shit, he knows exactly what I was texting all day long,” Jessica previously told Motherboard. “If I was going somewhere and I wasn’t where I said I was going to be, he would text me: ‘I see you.’ It was sort of this creepy chilling feeling; like he always knew what I was doing and where I was going.”

“If I was going somewhere and I wasn’t where I said I was going to be, he would text me: ‘I see you.’”

This business of spying on spouses is part of the reason the two hackers decided to target FlexiSpy and Retina-X. But the tens of thousands of accounts the pair provided to Motherboard only represent a slice of the consumer spyware market. A slew of other, similar companies exist, offering malware to anyone for a relatively cheap price. One of the largest, called mSpy, allegedly has around two million users. (Hackers reportedly targeted mSpy back in 2015.)

“Unfortunately most domestic violence victims never know which surreptitious ‘stalkerware’ product is being used by their abuser to monitor their every move,” Cindy Southworth, executive vice president of the National Network to End Domestic Violence, told Motherboard in an email.

Explaining their motivation, the Retina-X hacker also pointed to parents who might use this sort of software to monitor their children.

“99% of the people being spied on with these things don’t deserve to have their lives invaded so much,” the hacker who broke into Retina-X, who didn’t provide any name to identify themselves, told Motherboard in an online chat.

The hacker criticized this use not just because of ethical reasons, but because by using this software on their kids, the parents aren’t the only ones getting access to their data. The companies providing the service do as well. And if the spyware companies don’t take care of that highly sensitive data, a third party may be able to get hold of it.

“It’s impossible to know that you’re the only one looking,” the hacker added. “I want parents to think twice about unleashing this kind of stuff on their kids […] I wanted to damage those spying mechanisms because I think it’s almost entirely a bad category of software.”

“I think they’re a bunch of unethical assholes who prey on insecure people in order to line their own pockets.”

The hacker behind the FlexiSpy breach went by the handle Leopard Boy, a reference to the 1995 cult film Hackers. Leopard Boy said that what FlexiSpy allows people to do is “fucking seedy and skin-crawlingly revolting.”

“I think they’re a bunch of unethical assholes who prey on insecure people in order to line their own pockets,” the hacker said. The goal of hacking FlexiSpy, Leopard Boy said, was to send a warning to this sort of industry as a whole.

“As good old Phineas once said, leaking isn’t an end in itself; it’s all about the message,” Leopard Boy added, referring to hacker Phineas Fisher. (Phineas has become a sort of folk hero in the hacking community for breaking into the servers of FinFisher and Hacking Team, two companies that sell spyware exclusively to governments.)

Both hackers claimed that each consumer spyware companies’ systems were not particularly difficult to breach.

An error message displayed on PhoneSheriff’s login portal after the hacker allegedly wiped the company’s servers, removing all data from them, and causing a days-long outage.

“I wouldn’t want other people finding those selfies on [cloud storage provider] Rackspace, and if I can interrupt those parents etc from spying, that also seems like a good thing,” he wrote.

Leopard Boy said he and another hacker did something similar to FlexiSpy on Monday.

“Goodbye, Flexispy,” Leopard Boy told Motherboard. “Hello, Flexidie.” The pair took over one of FlexiSpy’s related Twitter accounts on April 18, and taunted the company.

“Do you… feel secure?” one of the tweets reads. The pair also tweaked the website of FlexiSpy’s parent company to automatically redirect to UK-based activist group Privacy International, and wiped a number of servers.

“Goodbye, Flexispy. Hello, Flexidie.”

Motherboard attempted to contact FlexiSpy’s founder Atir Raihan. When reached by phone, a person on the other end identified as Raihan, but then claimed they were someone else when asked about FlexiSpy. No one replied to emails sent to FlexiSpy’s press address. Apparent customers have noticed the disruption, however, and in reply to one comment on FlexiSpy’s Facebook group, the company wrote on Tuesday, “FlexiSPY is currently experiencing a temporary technical issue, which means that you will not be able to login to access your portal. We expect this issue to be resolved within 48 hours.”

Retina-X did not immediately respond to a request for comment.

These data breaches may not stop people from spying on their children or partners. But perhaps it will shine a light on just how common, and powerful, consumer spyware has become. Even in small-town southwestern United States.

John’s wife monitored his phone communications for around three months, according to the hacked data. And the SMS logs of their text messages play out in a way that suggests John didn’t know his spouse was spying on him. To that I love you text he’d sent her in early 2016, his wife sent a reassuring response.

“I love you too,” it read.

*Some names have been changed to protect the person’s privacy.

If you are concerned that consumer spyware may have been installed on your phone, here is some basic advice on what to do next.

#Inside the ‘Stalkerware’ Surveillance Market #Where Ordinary People Tap Each Other’s Phones #hacked #software #privacy #personal devices #privacy invasion #hacking #cracking

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panoramic-sourcing1 · 2 months ago

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Best Pet Urn Manufacturers in India

At Panoramic Sourcing, we understand the emotional significance of honoring beloved pets. Our commitment to quality ensures that every pet urn we manufacture is a dignified and unique tribute. Specializing in pet urn manufacturing, we cater to wholesale buyers, distributors, and businesses looking for beautifully crafted, custom pet urns that resonate with heartfelt remembrance.

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#urn #sourcing #cremation urns #urns for ashes #Pet urns #Manufacturer

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kylesvariouslistsandstuff · 1 year ago

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Animation Face-Offs

I find it amusing that the first real major animated movie box office show-off is occurring some 35 years after the one that arguably started it all...

November 18, 1988... Walt Disney Feature Animation's celebrity-loaded modern musical OLIVER & COMPANY from first-time director George Scribner, and Universal's release of the Steven Spielberg/George Lucas-produced ex-Disney director Don Bluth adventure THE LAND BEFORE TIME...

This wasn't the first time two animated pictures opened next to each other.

In fall 1982, Hanna-Barbera's HEIDI'S SONG opened opposite a Looney Tunes clipshow anthology movie called 1001 RABBIT TALES. Combined, they made $5m at the domestic box office... Not great times to open an animated feature that wasn't Disney, and not that their distributors probably even cared at the time anyways.

Sometimes, there are around two animated features a month. It's not uncommon for two studios to share. Off the top of my head, you had - in November 2010 - MEGAMIND at the beginning of the month, and TANGLED before Thanksgiving. In the early summer of 2013, MONSTERS UNIVERSITY only opened about a few weeks before DESPICABLE ME 2. TROLLS and MOANA shared November 2016. Again, just random examples off the top of my head.

But usually, they're spaced out... TROLLS BAND TOGETHER and WISH are five days apart...

TROLLS 3 is projected to take in around $20-25m this weekend, which is significantly less than what TROLLS took in back in 2016, but still alright for this kind of movie. WISH is set to out-open it, with over $50m for the 5-day Thanksgiving weekend stretch. For a $200m-costing movie, it's going to need all the legs in the world to get by. TROLLS 3 will need to pull some good weight too to more than double its much more modest $95m budget. (Wild to think that $95m seems *low*... There was a time when a DreamWorks/PDI movie cost $75m... And for a good while, roughly $135m!)

I'm curious to see how each film affects one another. Families aren't made of money, and there's gotta be a kind of adult pull to really make big bucks, and I'm not sure if either of these films have that. Plus you have stuff like WONKA right around the corner... Thankfully no Marvel, Star Wars, or Avatar movie to counter with. Although, PUSS IN BOOTS Dos last year, woooooow. That cat held his own against the blue cat aliens.

But yeah, if you think about it... This is a rare head-to-head race.

One could argue we saw this in late winter of 2021 when Warner Bros. released their live-action TOM & JERRY, and then Disney Animation had RAYA AND THE LAST DRAGON out a week later. But that was before vaccines got out for all age groups (they were distributed to the elderly first, I - who was 28 at the time - couldn't get my first shot until April.), and the films had simultaneous streaming debuts, so I don't really count that. Plus, Cinemark theaters refused to show RAYA over a disagreement on who got most of the earnings. (That would've been my return trip to the movies after a year-long hiatus, my return ended up being A QUIET PLACE: PART II two months later.)

It's funny how TROLLS 3 is Universal and WISH is Disney... Just like how LAND BEFORE TIME was Universal, and OLIVER was Disney.

The Disney-Universal race was successful for both. OLIVER took home $53m domestically (the $71m figure you often see comes from the film's 1996 re-release), LAND BEFORE TIME took home $48m. Worldwide is up the air, because Disney never released OLIVER's numbers, Universal reported that LAND made around $84m. Winner is unknown, but it was always assumed to be LAND. Maybe because dinosaurs are more Universal than a modern-day New York comedy? Who knows!

Perhaps greatly inspired by that double-whammy of animated hits, MGM/United Artists wanted to try that for themselves. Don Bluth split with Spielberg and Lucas due to creative disagreements during production of both LAND BEFORE TIME and his other Spielberg collab AN AMERICAN TAIL, and set up ALL DOGS GO TO HEAVEN with the lion. MGM/UA released ALL DOGS the same day as THE LITTLE MERMAID...

Bluth's movie got left to sink by the Ron Clements and John Musker-directed musical sleeper hit... It wasn't even close. $27m domestic vs. $84m domestic, and in addition that, MERMAID's worldwide figures put it at roughly $183m. (Again, in 1989-90, without the 1997 re-release counted.) ALL DOG's worldwide total is unknown.

This didn't entirely scare distributors away from trying again.

The fall of 1990 was originally set to see another Bluth vs. Disney face-off. If plans had held, MGM-Pathe would've released Bluth's ROCK-A-DOODLE on the same day as Disney's sequel THE RESCUERS DOWN UNDER. MGM-Pathe ran into financial and legal problems, putting Bluth's film in limbo for a bit...

Instead, Warner Bros. went toe to toe with Disney, releasing an animated feature that wasn't a Looney Tunes clipshow: THE NUTCRACKER PRINCE... Suffice to say, it barely scrounged up $1m domestically, and Disney's sequel had troubles of its own, stalling at $29m domestically, $47m worldwide.

Two films fled from the autumn of 1991, as BEAUTY AND THE BEAST looked to not be a repeat of RESCUERS DOWN UNDER, but a repeat of LITTLE MERMAID and OLIVER's successes... 20th Century Fox - who had FERNGULLY: THE LAST RAINFOREST - and The Samuel Goldwyn Company - who picked up ROCK-A-DOODLE - chickened, literally in the latter's case...

Only Universal had the guts to take on the beast... By releasing AN AMERICAN TAIL: FIEVEL GOES WEST the same day. The Don Bluth-less sequel made only $22m domestically, while BEAUTY AND THE BEAST made... $145m in North America alone, and blew up with $331m around the world...

After FERNGULLY and ROCK-A-DOODLE wisely fled from BEAUTY AND THE BEAST, they duked it out in April 1992. DOODLE opened the first weekend of the month, with FERNGULLY following. FERNGULLY won with $24m domestically, DOODLE struggled with $11m. (It's worth noting that DOODLE first came out in the UK in August of 1991.)

Universal initially thought they'd have WE'RE BACK! A DINOSAUR'S STORY ready to compete with ALADDIN, but they likely realized that that was not a great idea... WE'RE BACK! opened over a full year after ALADDIN and still flopped hard. It opened nearby BATMAN: MASK OF THE PHANTASM, which also made a paltry amount.

From there on out, things were typically spaced out. Sometimes the smaller efforts opened close to each other.

And now here we are, Thanksgiving week of 2023... We have trolls vs. wishing stars. Universal vs. Disney. It'll be fun to watch, but I hope the two film crews of both get to put food on their tables once more.

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legalserviceprovider · 2 months ago

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How does FSSAI Reduce Food Waste through Its Regulatory Rules?

Food waste is one of the significant concerns in the third world, where people remain unfed or starve because of the lack of food. They do not have enough money to buy food or they are physically or mentally challenged. A lot of non-governmental organizations carry on their projects of helping people depending on the donations of the people. If extra food from any hotel or restaurant is supplied to the poor of NGOs, they will be beneficial. Some organizations also feed the street dogs as well. So, a level of food can also be supplied to them to feed these street animals. Once you obtain an FSSAI license or registration, you will automatically go under the rules.

This article aims to explain how FSSAI terms and conditions reduce food waste in multiple layers, including the preservation to preparation level.

Food Waste and Impacts

Food wastage refers to wasting or discarding fresh food at different stages of the food supply chain. Food or food ingredients may go under different levels like storage, production, distribution, processing, and consumption.

Storage area monitoring (before preparation)

If you go deep into the facts, you will notice that food is prepared with some raw materials and vegetables. Taking care of preservation in the storage or the area of storage can reduce raw material wastage. At the same time, good raw material helps prepare good and hygienic food.

Production management

The regulation of FSSAI will surely guide the food production or instant food preparation authority so that wastage is reduced during production. It not only helps the company, shop, restaurant, or hotel but also helps the overall wastage of raw materials and increases the extra consumption of raw food products, fruits, and vegetables.

Safe Distribution management

Safe distribution reduces the waste of food. It might be the loss of the food manufacturing companies. However, once a company faces the wastage of prepared food, the demand for raw materials will increase. Hence, the prevention of any wastage after preparation will increase the profit as well as reduce the pressure on the production of raw materials.

Wastage during Processing

Wastage may also happen during the processing and after processing. Food companies must use proper preservatives so that they become healthy and hygienic. Besides, it will increase the shelf life. Burring wastage will increase profit and manage mass health.

Consumption wastage management

People go to hotels and restaurants to consume food as they like. There are a lot of customers who do not utilize food as they cannot consume the entire food items. A hotel or restaurant can reduce waste by using an extra bowl with the entire food, which will not be wasted by the users. They may use another way to prevent wastage of food during consumption. The saved food may reach the NGOs that supply them to the poor and needy people or to the street dogs that remain starving for days.

Impact of food waste

Food wastage has some severe consequences in terms of food security, environmental, social, and economic. Without adding any value to anybody, the food source will be spoiled and damage the toils behind its chain of production and manufacturing or processing. So, it hampers a vast economy by increasing production costs and negatively affecting livelihood by emitting foul smells, area health deterioration, and so on.

The active role of FSSAI license in reducing food waste

The Food Safety and Standard Authority of India (FSSAI) is created under the Ministry of Health and Family Welfare, the Government of India. The authority is built to ensure the quality of food, which would be consumable and scientifically safe to consume. They also regulate the manufacturer, distributors, storage, import, and export quality justification for consumption of safe food.

How does FSSAI work in reducing food waste?

Standards of FSSAI registration/license:

FSSAI sets food standards, which is safe for consumption. The quality, preservation, and storage or transportation may deteriorate the quality of food. FSSAI regulates it. Their purpose is to standardize the benchmark of food that would be scientifically approved and safe for consumption.

FSSAI registration and license

FSSAI registration or license is mandatory for food businesses of all types. So, the FSSAI department ensures food business operators to supply great food always by maintaining safety standards.

Consume awareness

FSSAI makes food consumers aware of the safety consumption, health guidelines, veg or non-veg marking, and all related factors so that consumers can consume food confidently.

How does FSSAI reduce food waste?

Reduction of storage facilities

Storage facilities must be well equipped so that the storage becomes safe, sanitary, and healthy. It must be kept in optimum condition, where spoilage and wastage become minimal.

Transport regulation

FSSAI-registered or FSSAI-licensed companies have to transport food items by following the transport guidelines of the FSSAI department. It ensures the freshness and quality of food transported from one place to another place.

Implementing the Good Manufacturing Practices (GMP)

GMP guidelines

FSSAI has regulations for food businesses that they have to pursue Good Manufacturing Practices (GMP) to ensure that the food will be prepared and processed under hygienic conditions. Implementing GMP minimizes food contamination, wastage of ingredients, and the safety of production. So, food will not be wasted due to food safety concerns.

Quality Control and Standardization

FSSAI license ensures that the FBOs will follow GMP guidelines. So, they will prepare uniformity of food products. So, the consumers will get almost 99% similar products every time they purchase from the company. So, the rejection from the customers will not happen due to inconsistent quality.

Food donation and redistribution

FSSAI has regulations for food donation and redistribution. They have to hand over the surplus food safely to the specific NGOs or similar authorities. This practice encourages food businesses to redistribute and stand out with the poor and destitute require food and reduce the wastage of food.

Food fortification and donation

FSSAI promotes food fortification so that the food becomes more nutritious reducing the wastage of nutrient food. Additionally, FSSAI supports food donation to others, which also reduces the wastage of food and redirects food to the less fortunate people.

Regulations of expiry dates

FSSAI mandates mentioning the manufacturing and expiry dates of all food products. Ensuring the information where the shelf life of the food product must be mentioned. Hence, the seller will try to sell it before the date and the consumer will be aware of consuming it before the date. It will surely prevent the wastage of food.

Labeling the nutritional value

All packaged food or preserved food must have a shelf life and nutritional value mentioned on the package. This helps people to make an informed decision and avoid unnecessary purchases that they do not need or purchase the product that they require.

Training and Education

FSSAI conducts training programs and awareness campaigns for all users, handlers, and businesses. This program educates FBOs with FSSAI registration or FSSAI license to handle and deliver food with maximum hygiene, and users can also consume hygienically. Complying with safety norms results in reducing food waste due to contamination or manhandling of food items.

Collaboration with NGOs/COs

FSSAI has collaboration with NGOs, voluntary organizations, charitable organizations, and similar other organizations. When the food business operators feel that their food will remain in excess after the demands of the hotel or restaurant for the day, they will be bound to call the NGOs or charitable organizations to collect it and to serve the less fortunate people. Thus they reduce food wastage while addressing food scarcity.

In this way, FSSAI registration or FSSAI license owners can reduce food wastage by complying with the FSSAI rules. So, FSSAI is always seeking ways to improve the quality of food and reduce its waste. If you want to register or license your food business under FoSCoS FSSAI, you can contact Online Legal India. Contact them now.

#fssai #fssaifoodlicense #fssairegistration

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rabbitcruiser · 1 year ago

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National State Fair Food Day

History of National State Fair Food Day

National State Fair Food Day timeline

15,000 B.C.

The Beginning of the Hospitality Industry

The ancient Lascaux caves in France are used to provide accommodation for other tribes.

19th Century

The Beginning of State Fairs

State fairs are organized to display and promote state agriculture, livestock, and farm products.

20th Century

A Shift Occurs

As societies shift from agrarian to industrial, modern state fairs expand with the addition of amusement rides, exhibitions of industrial products, entertainment, and more.

July 11, 2022

The First Celebration

Initiated by Food Service Direct, the first-ever National State Fair Food Day is celebrated.

2022 State Fair Food Index Key Stats

Methodology

*Fairgoer is somebody who has gone to a state fair at least twice.

State Fair Food Favorites

#1 Fries

75% of the fairgoers in Maine always get fries at the State Fair, followed by 70% of the fairgoers in Pennsylvania.

#2 Corn Dogs

50% of the fairgoers in Arkansas and Texas always get Corn Dogs at the State Fair, followed by 45% of the fairgoers in Idaho.

#3 Roast Corn

43% of the fairgoers in Florida always get Roast Corn at the State Fair, followed by 40% of the fairgoers in New Mexico and Wisconsin.

Desserts

#1 Funnel Cake

83% of the fairgoers in Mississippi and Arkansas always get Funnel Cake at the State Fair, followed by 80% of fairgoers in Oklahoma.

#2 Cotton Candy

43% of the fairgoers in Vermont always get Cotton Candy at the State Fair, followed by 60% of the fairgoers in Mississippi.

#3 Snowcone

45% of the fairgoers in Mississippi always get Snow cones at the State Fair, followed by 40% of the fairgoers in Florida, Missouri, and South Carolina.

National State Fair Food Day FAQs

What is the most popular state fair food?

Some of the most popular state fair foods are deep-fried Oreos, fried chicken in a waffle cone, deep-fried Snickers bars, pizza cones, and cotton candy.

What is a state fair?

A state fair is an annual display of the best of a state’s local produce and products, as well as a recreational gathering for people in the U.S.

What is the most popular state fair?

The State Fair of Texas attracts a staggering 2.25 million visitors every year, making it the largest state fair in the country.

How To Celebrate National State Fair Food Day

Order your favorite state fair foodsHead over to Food Service Direct’s website. Browse and order from their large variety of state fair foods.

Try new recipesRecreate state fair foods by following different recipes. You won’t miss out on anything!

Host a state fair partyInvite your friends and family to a backyard state fair gathering. Include your favorite state fair food on the menu, and include games and other activities.

5 State Fair Foods You Can Easily Make At Home

Corn dogsCorn dogs on a stick can easily be made at home, and our pro-tip is to dunk the dogs in a tall jar full of batter for an even coating.

No-fry fried ice creamEnjoy the great taste with a crispy cinnamon coating, minus the oily mess.

Deep-fried cookiesA true indulgence that is a hit with kids especially.

Turkey legsThe best marinade for turkey legs or any other state fair meat dish is available at Food Service Direct.

State fair lemonadeSip on this thirst-quenching beverage, close your eyes, and imagine you’re at the state fair.

Why We Love National State Fair Food Day

For the love of foodWe at National Today love food holidays best. And if it is a day that celebrates countless well-loved dishes? We just can’t contain our excitement.

Bringing state fair food to your kitchenWhy not enjoy great state fair food in the comfort of your home without having to stand in sweltering temperatures and long queues. We are all for it.

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fearsmagazine · 2 years ago

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THE WRATH OF BECKY - Review

DISTRIBUTOR: QUIVER Distribution

SYNOPSIS: Two years after she escaped a violent attack on her family, Becky attempts to rebuild her life in the care of an older woman - a kindred spirit named Elena. But when a group known as the “Noble Men” break into their home, attack them, and take her beloved dog, Diego, Becky must return to her old ways to protect herself and her loved ones.

REVIEW: Lulu Wilson is back, reprising her role of Becky from the 2020 film “Becky,” directed by Jonathan Milott and Cary Murnion. At the helm this time are directors Matt Angel and Suzanne Coote as they ratchet things up placing Beck on par with Charles Bronson, Jason Statham or Keanu Reeves on an independent budget.

The screenplay takes no prisoners as it quickly brings the viewer up to speed and gets right down to the action. Just as Becky has achieved a bit of normalcy to her life she draws the attention of another fascist group trying to bring down the political system. The plot brings in a few elements from the initial film and works them. We get a few more details about one, but the mystery grows. The story gives way to action and Becky feels like what if Kevin McCallister (“Home Alone”) grew up to be John McClane (“Die-Hard”). No spoilers - the end seems a bit far fetched, but given what goes on in the rest of the film it should be hard to believe. For an independent film in this genre, it is extremely well written and I’d be curious to read the description of many of these action scenes. The story hits many beats the first film did. Some of those are character driven, others feel like the writers doing it for the fans of the first film.

The production values are solid. Given the technology has come a long way, Jonathan Milott and Cary Murnion demonstrate they have the chops of any of the great action directors that came out of the late 80’s and 90’s. The film has an excellent pacing, capturing engaging performances, and effect sequences that play out like a hybrid of video game play and a slasher film gore. I’m a sucker for a good score and composer Nima Fakhrara’s work here adds so much to the tone and feel of the film.

THE WRATH OF BECKY has a great cast. In the previous film, actor Kevin James anchored the film as the main villain. This time out, veteran actor Seann William Scott, also known for his comedic work, takes on the central villain and creates a memorable character. He creates a grounded, intelligent character that gets caught up in the madness of the story. I love the way his performance has his character in denial, that he is in a different film and needs to come to grips with the unstoppable force of Becky. The film is absolutely adult in terms of some themes and the violence, but the three henchmen feel like they are modeled after the “Home Alone” series. Then there is actress Lulu Wilson. She is fantastic. She is able to present this sense of innocence and youthfulness, but then she is able to present this look and intensity where you believe she is lethal. She is such a chameleon and a delight to watch work.

2020’s “Becky” was a memorable film, a well made independent film, featuring a great cast. The film had a serious tone and had much more jeopardy and peril to the tale. THE WRATH OF BECKY plays it a bit more tongue and cheek and amps up the violence and gore. The film asks us to believe that Becky is now 16. Okay, she’s been through a lot in the previous film so I’ll give the filmmakers that, but there are scenes in the film where she does look older, at least 18, which she is. Regardless, I loved the ride. The film ends taking the story in a new direction and there could easily be another film in the series. I loved Lulu Wilson’s work here and would be interested in taking in her continuing deadly exploits.

CAST: Lulu Wilson, Seann William Scott, Denise Burse, Jill Larson, Courtney Gains, Michael Sirow, Aaron Dalla Villa, Matt Angel, and Kate Siegel. THE WRATH OF BECKY CREW: Directors - Matt Angel and Suzanne Coote; Screenplay - Matt Angel; Producers - Jordan Beckerman, Chadd Harbold, Jordan Yale Levine, J.D. Lifshitz, Raphael Margules, Russ Posternak, & Tracy Rosenblum; Cinematographer - Julia Swain; Score - Nima Fakhrara; Editor - Stephen Boyer; Production Designer - Allie Leone; Costume Designer - Elena Lark; Visual Effects Artists - Joshua Petrino & Piotr Smorawski; Prosthetic Makeup Artist - Brian Spears. OFFICIAL: N.A. FACEBOOK: www.facebook.com/TheWrathofBecky/ TWITTER: N.A. TRAILER: https://youtu.be/4OSLsmFgi2g RELEASE DATE: In Theaters May 26th, 2023

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

#film review #movie review #the wrath of becky #QUIVER Distribution #Lulu Wilson #seann william scott #action #horror #matt angel #suzanne coote #joseph mauceri #joseph b mauceri

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