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newstoday-1 · 8 months

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The Premier League Odyssey: From Classic Showdowns to Evolving Rivalries

The Premier Alliance stands as a amphitheater of footballing titans, area clashes echo through time, creating constant marks on the admirable game's history. At the beginning of this adventure are the arresting duels amid Manchester City and Liverpool, two behemoths that accept scripted some of the best blood-tingling capacity in contempo football memory.

1. The Ballsy Battles: Manchester City vs Liverpool

The animation surrounding clashes amid Manchester City and Liverpool is unparalleled. The angle becomes a canvas area footballing ability unfolds, with anniversary touch, pass, and ambition carving its abode in the aggregate anamnesis of fans. From the appropriate masterstrokes of managers to the alone accuracy of players like Vincent Kompany, Yaya Toure, and the absorbing Luis Diaz, these matchups transcend the boundaries of a bald antagonism and become admirable spectacles.

2. Vincent Kompany: The Arresting Maestro

No altercation about Manchester City's acceleration to bulge can discount the aerial attendance of Vincent Kompany. A arresting stalwart, a leader, and a attribute of resilience, Kompany's bequest at the Etihad Stadium charcoal untarnished. His access continued above the pitch, abstraction City's character during a transformative period.

3. Embracing Change: The Luis Diaz Era

As the old bouncer makes way for new talents, the accession of Luis Diaz symbolizes Manchester City's charge to evolving and blockage advanced in the ever-competitive Premier Alliance landscape. His flair, skill, and goal-scoring accomplishment actualize the club's advanced ethos.

4. Liverpool's Arresting Wall: Jamie Carragher's Constant Impact

In the branch of Liverpool, the name Jamie Carragher resonates as a arresting athletic who larboard an constant mark on the club. From his arena canicule to his accepted role as a pundit, Carragher's charge to Liverpool and his insights into the bold add abyss to the anecdotal of the Premier League.

5. Above the Mainstage: Manchester City's Varied Rivalries

While the clashes with Liverpool abduct the spotlight, Manchester City's encounters with added top clubs, including Manchester United, and Chelsea, and the celebrated battles adjoin teams like Nottingham Forest and Bayern Munich, advertise the league's abyss and the assorted arrangement of narratives it weaves.

6. Women's Football: The Acceleration of Manchester United and Manchester City

Beyond the male-dominated narrative, the women's teams of Manchester United and Manchester City accept emerged as armament to be reckoned with. Their contributions not alone enhance the league's all-embracing address but additionally accentuate the accelerating change of women's football on the admirable stage.

7. The Emergence of New Contenders: Brentford, RB Leipzig, Brighton, and More

Recent seasons accept witnessed the ascendance of clubs like Brentford, RB Leipzig, and Brighton, injecting a beginning dosage of alternation into the league. Their performances adjoin accustomed giants add an added band of excitement, reinforcing the Premier League's acceptability as the best activating and aggressive football alliance globally.

8. The Aspect of Rivalries: Liverpool vs Everton

The Merseyside Derby encapsulates the belly attributes of footballing rivalries. Above the appropriate battles on the field, the affray amid Liverpool and Everton carries the weight of history, bounded pride, and the adamant affection of the fanbases.

9. European Sojourns: RB Leipzig, Bayern Munich, and the Continental Challenge

The Premier League's attraction extends above calm borders. Encounters adjoin European powerhouses like RB Leipzig and Bayern Munich serve as litmus tests, showcasing the league's continuing on the continental date and influencing the all-around acumen of English football.

10. Then Upredictable: Brentford's Celebration Over Manchester City

In a alliance area the abrupt is the norm, Brentford's celebration over Manchester City becomes emblematic of the underdog spirit that keeps admirers on the bend of their seats. Such moments add layers to the narrative, proving that in the Premier League, every bout is a affiliate cat-and-mouse to be written.

Conclusion: A Footballing Adventure Unfolds

As we bisect the mural of the Premier League, from iconic matchups and allegorical players to arising talents and abrupt twists, the adorableness of the admirable bold reveals itself. The Premier Alliance isn't alone a competition; it's an advancing odyssey, a account of triumphs, trials, and the constant spirit of football that captivates hearts worldwide. As we attending ahead, the abutting affiliate promises alike added drama, added spectacle, and the assiduity of a adventure that has become an basic allotment of the all-around footballing tapestry.

#the Premier League #premier league #today news

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justused · 2 years

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Tv pilot scripts wanted

#Tv pilot scripts wanted pro#

#Tv pilot scripts wanted free#

Strangely, both are based on similar premises: something indestructible and unstoppable coming to kill you for no good reason. Another film to leave a huge impression early on was Steven Spielberg’s directorial debut, Duel. I think I saw it when I was five or six we were passing around an illicit VHS tape at school. The first film that really blew me away was The Terminator. What films and screenplays have inspired you? Three-and-a-half years later, Miss Sloane and I had been optioned by FilmNation, John Madden was attached to direct, Jessica Chastain to star, and I had reached a point where I needed to quit my job to work as a screenwriter full-time.

#Tv pilot scripts wanted free#

I taught English in China and South Korea, using my free time to educate myself in the basics of screenwriting, and develop a script of my own. I’d never even read a screenplay, but I decided I wanted to write movies for a living.

#Tv pilot scripts wanted pro#

I love movies, and I’m better at writing than anything else ( Pro Evo and Champ Manager exempt). I think all of the connections were sucked into the language centres of my brain.Īttempting to reconcile Lists A and B, I considered some form of journalism, but ruled it out: it lacks the strong creative element that I knew I would enjoy from my school days. I was (and remain) hopelessly innumerate. Creative writing assignments were always my favourite at school. I would never let anyone see them I just did it for fun. When I was bored as a kid, I would write short stories or fake scouting reports for promising young footballers. Seriously, I had some awareness that I was good with language from an early age. I recall some teachers at parents’ evening telling my mum that I had a way with words. LIST B: What are you good at? (Considerably shorter list)Īha! Writing. LIST A: What are you interested in? (Long list!) In truth, I only began to toy with the idea of screenwriting in the two months prior to my exit, when I was forced to confront the question that had been tormenting me for more than a decade: what do you want to do with your life? Colleagues either thought I was out of my mind, or that I had a killer start-up idea. Once the debts were cleared, I handed in my notice and quit the legal industry. I never wanted to be a lawyer, but it’s one of the better-paid graduate jobs, and I had uni debts to pay. I belonged there about as much as a vegan at a Brazilian rodízio. I was bored out of my mind and utterly miserable at a big corporate law firm. I had no intention of being a writer until I was in my late 20s (I’m 34 now). What was your earliest memory of wanting to be a writer? And how long was the gap between that initial inclination to actually screenwriting with intent? In this special Q&A for the Writers’ Guild, the Malaysian-based, British writer talks to WGGB Film Committee member James Hughes about his incredible journey, which has seen him become an inspiration to screenwriters around the world. Jonathan Perera (pictured above) was honoured at the WGGB Awards for Miss Sloane, the first screenplay the former lawyer and teacher had ever written.

#Tv pilot scripts wanted

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tiefighters · 5 years

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20 Facts About the Making of Star Wars: The Phantom Menace

Twenty years ago, Star Wars: The Phantom Menace graced movie theaters with an excitement level that’s still talked about today. But it wasn’t an easy path to get there. From developing film techniques & technology that seem common now, to a massive storm wiping out most of the Mos Espa set in Tunisia, there’s more to the story of making of Episode I than you probably know.

The Making of Episode I: The Phantom Menace, written by Laurent Bouzereau and Jody Duncan, was also released in 1999 and features candid tales of the production direct from writer and director George Lucas, the cast, and the crew of one of the most anticipated films in history. In addition, Lucasfilm produced a number of behind-the-scenes features that explored the making of the movie.

Check below for 20 behind-the-scenes facts and anecdotes straight from the people who were there.

1. George Lucas wrote the Episode I script by hand with just pencil and notebook paper. In fact, he writes all of his scripts this way.

2. One of the biggest influences on the making of The Phantom Menace was The Young Indiana Jones Chronicles. Not only did a significant number of the television series’ crew and production team later work on The Phantom Menace, some of the techniques they perfected while filming the series were then used on Episode I. Rick McCallum, producer of the prequel trilogy, called the show a “testing bed to learn a new way of making films.”

3. Jar Jar Binks was originally designed with green skin. The design team later realized that most aquatic creatures on our own planet don’t sport green hues, so they changed his skin tone to orange instead.

4. Yaddle is actually an early “young Yoda” design. Concept artist Iain McCaig began designing the Jedi Master’s younger look as an eight-year-old version of the character. “That concept eventually became another Jedi in the film, Yaddle,” he revealed.

5. The moving mechanism inside Threepio’s head is a missile gyroscope. Chief Model Maker Lorne Peterson had found it and let the effects team borrow it, he said in the making-of featurette “Discoveries from Inside: Models & Miniatures.”

6. The design of the heavy troop transport in The Phantom Menace, the MTT, was inspired by elephants. In the featurette “Conversations: Doug Chiang Looks Back,” the concept artist talked about using familiar shapes to help the audience understand a design on a basic level. “If you look at the front of the MTT, the tiny little slits represent the elephant’s eyes and his forehead,” said Chiang. “And the trunk, I turned into the door, and the tusks actually become the two guns on the sides. “

7. Costume colors are specific to the planets of the galaxy far, far away. Iain McCaig and costume designer Trisha Biggar worked together to create the palettes: gray, brown, and black for Coruscant, green and gold for Naboo, and sun-bleached sandy colors for Tatooine.

8. Ewan McGregor had dialogue coaching to prepare for his role. He worked hard to capture the calming tones and inflections of Sir Alec Guinness to best play the character, which he called “quite tricky.”

9. Samuel L. Jackson got the role of Mace Windu in part through an appearance on the British talk show TFI Friday to promote a different movie. The casting director for The Phantom Menace, Robin Gurland, heard that Jackson made his wish to be in the new Star Wars known while chatting on the talk show, and the rest is history.

10. Ahmed Best was discovered through his performance in the theater show Stomp. Gurland happened to catch the show and spotted Best in the cast. His energy and performance made her realize, “He’s Jar Jar!”

11. Greg Proops and Scott Capurro recorded their podracing commentary in prosthetics and makeup. The footage would later be used as reference for their digital characters, Fode and Beed.

12. Plo Koon was named after the son of creature effects supervisor Nick Dudman. “I decided to call one of the Jedi Plonkoon, because we called my son that during his first year of life,” he said. “I wrote down Plonkoon, George crossed out the n and Plo Koon was born!”

13. The three Wookiees in the Galactic Senate all wore the same Chewbacca costume from the Lucasfilm archive. The actor in the old suit was filmed three different times with slight adjustments made to the hair. “When the shots were put together, we ended up with three different Wookiees out of one suit,” said Dudman.

14. The very first scene of The Phantom Menace that was filmed featured Darth Sidious and Darth Maul. Their balcony chat on Coruscant marked the beginning of production in 1997.

15. After a monstrous storm destroyed almost everything on the Mos Espa set, the Tunisian army helped rebuild it. Thanks to the fact that one set was luckily left in one piece — the landing ramp of the Naboo Royal Starship — plus the efforts of the entire crew and local helpers, production continued without delay.

16. The Jedi and Sith went through three hundred aluminum lightsaber blades while filming The Phantom Menace. Stunt coordinator Nick Gillard helped build the new lightsabers for the physically and mentally intensive duels.

17. Watto only has one full tusk so the audience can see his mouth move accurately when he speaks. The Toydarian was originally designed with two large tusks on either side of his trunk-like nose, but they would have prevented his lips from fully shaping words with an m or a b. One tusk was broken off and his lopsided smile was born.

18. Watto was also the first CG character that the effects team went to work on. Through his design and motions, the team quickly learned how to achieve what they wanted on featured digital characters. Even just the cord on his tool belt had to have its own computer program written to simulate its movement properly. (The same program would later be used for Jar Jar’s flapping ears.)

19. Some of the audience members at the Boonta Eve Classic podrace crowd are colorful cotton swabs. Sometimes practical effects work best to achieve just the right three-dimensional look for faraway shots, and a model maker had the creative idea to use the swabs in the arena models.

20. Some of the cheers and jeers emanating from the audience at the podrace are from a San Francisco 49ers game. Sound designer Ben Burtt recorded crowd reactions at the football game himself.

#star wars #the phantom menace #star wars: the phantom menace #facts

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agoddamn · 5 years

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Cleganebowl was the least unsatisfying part of 805, faint praise fully intended.

Like, hm. The writers were aware that the whole CLEGANEBOWL HYPE thing was like...a joke, right...? People getting hyped up like a football game for a series they know doesn't deliver stereotypical fantasy narratives and straightforward epic duels?

See, it's funny because there's enough setup to make a duel between the two plausible but this just isn't the kind of series that sets up flashy Hollywood duels. This is the kind of series that has Jaime eternally blueballed from a good fight with Ned on account of his leg getting fucked up. This is the kind of series that opened with a graduate of fancy lad fencing school getting fricasseed. This is the kind of series that set up one character as an unparalleled swordsman and then chopped his hand off before he had a good onscreen fight.

And we knew all that! That's why we like this series! It scratches an itch we didn't know we had, to see characters have to struggle with suddenly needing to find a third option or redefine their identity around something items than fighting.

So, er. Did people not tell the writers that? How awkward.

I call Cleganebowl "least unsatisfying" because it kinda makes sense if you squint and wasn't contraindicated literally an episode ago, Jaime, but it's not exactly an elegant conclusion. It's a completely straightforward firey Hollywood slugfest as the conclusion to an arc for a character who...had growing dissatisfaction with the 'knightly' life and has been looking for something to protect since he came back from the dead. Er, wait, what?

My issue isn't even with Sandor's life ending, it's with the dramatic declaration that he only lives to kill the Mountain and has nothing else. Was there supposed to be some kind of tragic backslide here that appears to have been left out of the script, like Jaime? Because Sandor hasn't actually talked about Gregor much in a while and we've seen him being quite happy with pastoral life (by his standards) and even developing a respect for religion. If anything, Sandor has seemed like he's looking for absolution, something greater to dedicate his life to so it can all feel worth it.

So what's with "actually I only live for selfish vengeance"? Since when? Season 1 was a long time ago. Where was his backslide, his degeneration? Where did he lose all hope? Where was the giving up and deciding he had nothing but revenge? Because it wasn't on the screen.

It gets the "not as bad as it could have been" stamp because at least Sandor hating the Mountain didn't come directly on the heels of an episode where he sent Gregor flowers and a birthday card, but it's a baffling conclusion that doesn't match the character we saw on-screen and instead plays toward wholly unironic, indulgent fanservice and spectacle.

#game of thrones #sandor clegane

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insanityclause · 6 years

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“I’m a meat and two veg kinda fella,” says Kenneth Branagh. “I love my fish and chips, and my English breakfast, and I like my football and horse racing – my dad loved the horses.” His tastes, he admits, such as his signature dessert recipe for melted Mars bar over vanilla ice cream, were formed in his working-class childhood.

For the past four decades, this son of a joiner from Belfast has been living cheek by jowl with that other great scion of the lower classes – William Shakespeare. Ever since Branagh became a stage and film star playing Henry V in the Eighties, he’s been directing Shakespeare’s works, adapting them, playing many of his great characters. Now, at 58, he is assuming the bald pate, sharp nose and very pointed beard of the playwright himself, in the self-directed All Is True.

It’s an unexpectedly moving portrait. Branagh’s Will is entering his 50s, and retiring from London to Stratford-upon-Avon, where he had long owned a house, and where at 18, he had married Anne Hathaway, a 26-year-old already pregnant with their child. It’s 1613, the Globe Theatre has burned down, and the playwright is still grieving the death of his only son, Hamnet, many years earlier.

“For me, it was a sort of time travel,” says Branagh, whose enduring boyishness hides the fact that he is eight years older than the Shakespeare we meet in the film. (The playwright died in 1616, at the age of 52.) Branagh’s Shakespeare is stiff of bearing; Branagh isn’t. He’s playful while having his photograph taken in the London hotel where we meet, and his comfortable clothes – knitwear – mirror a softness in his tone and manner. It masks a seriousness that shows itself often when he speaks.

After all these years exploring Shakespeare’s work, does the think he has a feel for the man? “I have a sense of preoccupations that repeat themselves,” he says. “They came together when I played Leontes in The Winter’s Tale a couple of years ago, because it did feel like a play from a man at the end of his professional life, maybe in the evening of his life – there was such a longing in it for this lost child, such an ache for the reunification of a family, that it seemed to add up with all sorts of longings in the plays, even in the comedies.”

The grief for Hamnet in All Is True is so acute that, set against the way Will yearns for a male heir, and his complicated relationship with his daughters, Susanna and Judith (Hamnet’s twin), it makes you wonder whether Branagh has been contemplating his own mortality. Does he wish that he had had children?

“Didn’t happen,” he shrugs. “It doesn’t seem to me to be valuable to be wishing and hoping for things that don’t appear to have been on your dance card. I go with what we have. I start with, are you healthy, do you have some family, do you have some friends? Anything north of that’s terrific.”

Since 2003, Branagh has been married to art director Lindsay Brunnock. Before that, of course, he was married to Emma Thompson – a celebrity coupling that was so ubiquitous between 1989 and 1994 that they were referred to simply as “Ken and Em”. They acted in a series of Branagh’s films together, such as the history-repeats-itself thriller Dead Again (1991), the rather precious paean to privilege, Peter’s Friends (1992), and a very winning Much Ado About Nothing (1993), before the partnership ended with Branagh’s affair with Helena Bonham Carter. Does he think he and Thompson will ever work together again? “I don’t know,” he says. Would he like to? “She’s a terrific talent, so who knows?”

Branagh is clearly not keen to talk about his personal life, however much of it is already in the public arena. Yet so little is known of Shakespeare’s life that All Is True must make a series of guesses to fill the void. (The script is written by Ben Elton, who has already treated the subject as comedy in Upstart Crow.) But the element most likely to raise eyebrows is the casting of Judi Dench as Hathaway. Dench is 84. It’s very unusual to cast a woman 26 years older than her leading man, isn’t it? “Is she 26 years [older]?” says Branagh, surprised. “Really?” I nod – does he think audiences will balk at that?

“I don’t think so. I was aware that for the past 100 years of cinema that age gap has usually been the other way round. If it felt it was going to kill the story, I would have been terrified; for some maybe it will, but for me, not at all. She’s unique and to have that chance with one of the greatest living actors, the age thing didn’t come into it.”

Is it an example of “age-blind casting”? “Yeah, I guess so. She was the right person for the role.” The film seems to suggest that Hathaway and Shakespeare reunite sexually, too. I wonder if, as a director, he considered having a physical scene between them? “No, it didn’t seem appropriate for this. I wouldn’t have balked at it if it had seemed right, very much not.”

He also shares a seven-minute scene with Ian McKellen, who plays the Earl of Southampton, to whom Shakespeare famously dedicated two poems. It evolves into a duel between heavyweight Shakespeareans when both recite Sonnet 29 (“When, in disgrace with fortune and men’s eyes”). “I practised for that scene as I’ve never practised before,” Branagh admits, explaining that he went to see McKellen perform as Lear last year, and rehearsed with him backstage. “I found that pretty intimidating… You’ve got to be up pretty early in the morning to keep up with Dench, but with him…”

It’s one of the pivotal moments of the film, which clearly suggests that the Bard was in love with a man. Is that an unavoidable conclusion from the Sonnets, four-fifths of which are addressed to a “fair youth”? “I think it’s certainly unavoidable not to consider it very strongly,” Branagh says. Is there room for doubt that Shakespeare preferred men? He laughs. He’s weighing his words carefully. “I think it’s a strong possibility.”

Branagh does this a lot, studiedly avoiding sound-bites. Asked if he believes Shakespeare was indeed the author of the plays, he decides: “The other theories are brilliant speculations, but there has been no winning piece of evidence. In the current state of knowledge, I would follow the man from Stratford.”

Branagh’s family moved from Belfast to Reading to escape the Troubles when he was nine. As a boy from the sticks, who arrived at Rada in the late Seventies, then went on to act, direct and try his hand as a playwright, had he wanted to actually be Shakespeare?

It’s impossible to imagine it, he says. He just felt “so at home and happy telling stories in the theatre to a live audience, the itinerant nature of it. Those that were ahead of me – whether it was Shakespeare or actors of the past or directors – I was inspired by them.”

Branagh’s career began in a blaze of glory. But while his stage reputation continued to grow, in film at least there was a mid-period lull. His Mary Shelley’s Frankenstein (1995) was panned; his run of big-screen Shakespeare adaptations stuttered with the widely derided song-and-dance version of Love’s Labour’s Lost (2000), and even when he returned with a striking As You Like It (2006) set in 19th-century Japan, around the same time as The Magic Flute (2006) and Sleuth (2007), all three “received a pretty rough time”, he says. Yet he’s sanguine about criticism. “Sometimes people don’t like ’em. It’s as simple as that. I put the same feeling into all of them.”

He has always had a phenomenal approach to work that seems to border on mania. Since he was 29, he has been using meditation to ensure that he doesn’t yo-yo between frantic activity – “I wouldn’t characterise it as manic, but I would say, yes, extremely hectic at times” – and its corresponding depressive state.

“I knew I had to work quite hard at all those things that would try to allow you some peace amid the noise and haste. I like to read about spiritual matters and I’ve developed the meditation since then to try to find the way to turn down the noise. When the engine’s revving really high, I think you have to be careful.”

A decade ago, Branagh made the decision to leave the West End production of Hamlet he had been about to direct, starring Jude Law, to take up the reins of Thor (2011) for Marvel. It was a change of direction that opened the door to a new phase in his career, as a director of blockbuster movies. He won’t accept the charge that comic-book films have killed grown-up cinema – “Well I’ve just made a grown-up film, I’d say” – and mounts a strong defence.

“In the best hands you get stories that involve spectacle and, in some cases, depth or wit or creative imagination that allows for a really cinematic experience, they provide stories that make you want to go to the pictures. They ain’t killing grown-up movies.”

His hit 2015 Cinderella, starring Lily James and Richard Madden, will be followed this summer by a lavish Disney adaptation of Artemis Fowl, Eoin Colfer’s 2001 novel about a boy genius who discovers the fairy world beneath our feet. Blockbusters bring their own set of pressures. Does he fear that if Artemis Fowl bombs, that avenue closes? “No, it doesn’t feel that way, although perhaps it is that way,” Branagh says. “I think if it felt like that it would be quite hard to do the work, but I’ve certainly been in situations where if a movie doesn’t work you’re really aware of the cold winds that blow around you for a while. It’s a commercial business and these are big investments.”

What would he do if an invitation to take on the Bond franchise came his way? “I have absolutely no idea,” he says. “I have Artemis Fowl to finish and I hope we get to make Death on the Nile [the second of his Agatha Christie adaptations, after Murder on the Orient Express, in which he stars as Poirot] towards the end of the year. Ask me the Bond question a picture or so from now.” He leans back.

“I should be so lucky.”

There will be a preview screening of 'All is True' followed by a Q&A with Kenneth Branagh at VUE cinema in Leicester Square on Wednesday 6th February, from 6.30pm.

Tickets are £20 for non-subscribers and £10 for subscribers.

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newsfact · 3 years

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Packers vs. Cardinals Fantasy Football Start ‘Em Sit ‘Em for Week 8 ‘Thursday Night Football’

Fantasy football every week now starts with “Thursday Night Football.” You want to make sure you kick off the action with a good first game of production, whether it’s playing the right players that give you a nice early lead or keeping some disappointing performers on the bench. Week 8 brings a better boon for fantasy than usual with the Packers and Cardinals, two of the league’s best offenses playing each other in Arizona with no worries about the weather. However, the start ’em, sit ’em decisions are still tough, as wide receivers Davante Adams and Allen Lazard (COVID-19) won’t be suiting up, taking away at least one “must-start” and adding several potential sleepers to the mix. Fortunately, DeAndre Hopkins (hamstring) is expected to play through another injury as usual for Arizona, though the past suggests he might be limited.

With Aaron Rodgers and Kyler Murray, there’s still a chance for pleasing high-scoring duel with two QB1s, given the over/under is set at 50.5 points. Don’t forget about the talented running backs in the game vs. weak run defenses, too. Here’s breaking down the start/sit advice for season-long and DFS for the latest Thursday night matchup:

WEEK 8 FANTASY: Sleepers | Busts | Start ’em, sit ’em

Packers: Who to start or sit in fantasy football on Thursday night

Start: QB Aaron Rodgers

Rodgers is only QB10 on the season, but he’s been very consistent since that disastrous, useless Week 1 against the Saints. After throwing no TDs and two INTs in that game, he’s had multiple-TD games in the past six with only one more INT. He should require more volume than usual against the favored Cardinals, which will help and somewhat make up for no Davante Adams and Allen Lazard (both on the COVID list). When he’s been without Adams the past six times, he’s averaged 311 passing yards and 2.8 passing TDs.

MORE TNF: FD lineup | DK lineup | MVS update | Hopkins update

Start: RB Aaron Jones

Jones was shut down by Washington’s defense last week, as Rodgers needed to put up the ball more often. The Cardinals’ run defense is rather giving and he should also get extra work in the passing game to compensate for the wide receiver issues.

Sit: RB A.J. Dillon

Dillon has looked good complementing Jones with more receiving to go with his power work. The problem is you can’t trust his touches, especially in a game that’s likely to either have a negative or even game script.

Start: WR Randall Cobb

Rodgers likes to have full trust in someone when he’s treating them like a busy top target. By default, with Adams and Lazard not playing, he will go to his old friend in the slot (and outside). Cobb has nice WR3 appeal given the situation because although the Cardinals’ pass defense is good, Rodgers can neutralize it by finding the right matchups.

WEEK 8 DFS LINEUPS: FanDuel | DraftKings | Yahoo

Sit: Other Packers wide receivers

It’s impossible to know how the rest of the pecking order will play out as most of the evidence has led to Adams being super busy and Lazard the one stepping up most of late. There’s a chance Marquez Valdes-Scantling (hamstring) returns, but he’s boom or bust and you can’t really feel it with Equanimeous St.-Brown or rookie Amari Rodgers. Stop forcing something here when there are better options. Rodgers won’t force it either.

MORE WEEK 8 DFS: Best stacks | Best values | Lineup Builder

Start: TE Robert Tonyan

The Cardinals have been good against the tight end by the numbers, but as Rodgers should trust Cobb, he should also trust his man down the seam. Look for Tonyan to get chances to stretch the field and receive increased red-zone focus. Tonyan has been disappointing as a TE1, but after scoring last week, this could easily add to the midseason turnaround.

Sit: Packers DST

They’re simply not that good, and they’re undermanned in bend-but-don’t-break mode. The Cardinals aren’t the offense to test them against.

Start: K Mason Crosby

Crosby has been a solid, lower-tier starting kicker all season, and he should get his chances, as the Packers will leave a few good drives unfinished.

Cardinals: Who to start or sit in fantasy football on Thursday night

Start: QB Kyler Murray

Murray has had only one bad game and has put up some massive performances despite limited running. In fact, he hasn’t scored on the ground since Week 3. He has thrown for 17 TDs and is averaging 286 passing yards per game. He should be good for two scores and 280 yards as his floor.

Start: RB Chase Edmonds

Edmonds has been a back-end RB2 this year, averaging 14 touches (just under six catches) and 81.2 scrimmage yards/game. Unfortunately, he doesn’t have any touchdowns, but at least the touches will be there in this favorable matchup.

Start: RB James Conner

Conner has been a stronger RB2 than Edmonds on the strength of six TDs to go with an average of 13 touches and 53 yards/game. He’s Arizona’s red-zone option of choice when Murray isn’t putting the ball up, which is helped by Murray not running.

Start: WR DeAndre Hopkins

‘Nuk (hamstring) tends to play through everything, but that doesn’t mean he operates at 100 percent. The Cardinals will be careful with their No. 1, given they have plenty of other options and he can heal up well for the second half with a mini-bye ahead. What’s interesting is that Hopkins has yet to put up 90 or more receiving yards in any game this season. He’s averaging just under five catches and exactly 60 yards/game, but his fantasy stock has been boosted by his six TDs. You might be more scoring dependent than usual with Hopkins looking more like a borderline WR2/WR3 this week.

Start: WRs A.J. Green and Christian Kirk

The Packers will be down top cornerback Jaire Alexander (shoulder), and No. 2 corner Kevin King (shoulder/back) has been hurting, too. With Hopkins hobbled, Green and Kirk should continue to be key factors against a weak secondary.

Sit: WR Rondale Moore

We love the concept and talent of Moore; we wish he would get consistent touches and know when he’s getting them. That’s thrown off by Edmonds, Conner, Hopkins, Green, and Kirk and the new guy below.

Start: TE Zach Ertz

Ertz scored in his first game as a Cardinal. In a bye week for Darren Waller and Mark Andrews, you might need a streamer. The Packers are weak enough in coverage to think about Ertz, who also dented the end zone in his last TNF appeal.

Start: K Matt Prater

Prater has been money with his big leg and a lot of scoring opportunities tied to the Cardinals offense. It helps he’s back kicking indoors, too.

Sit: Cardinals DST

It might be tempting with their playmakers vs. the shorthanded Packers, but Aaron Rodgers isn’t turning over the ball, so it’s not worth it for a couple of sacks.

Packers vs. Cardinals: FanDuel single-game lineup

MVP (1.5X): QB Aaron Rodgers $15,000

AnyFLEX: QB Kyler Murray $17,000

AnyFLEX: RB Aaron Jones $12,500

AnyFLEX: TE Robert Tonyan $8,000

AnyFLEX: WR Randall Cobb $7,000

Let’s double up SuperFlex style on the quarterbacks, shall we? We’ll also take the biggest workhorse back of the game, too. Tonyan and Cobb made sense to round things out at their affordable price points.

Packers vs. Cardinals: DraftKings Showdown lineup

Captain (1.5x): RB Aaron Jones $13,500

FLEX: QB Aaron Rodgers $11,400

FLEX: QB Kyler Murray $12,000

FLEX: TE Robert Tonyan $4,600

FLEX: WR Randall Cobb $3,600

FLEX: WR Rondale Moore $4,800

Look familiar? Everything is the same here except we crowned Jones and added Moore.

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moscigarclubus · 3 years

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Lamar Jackson rushed for 107 yards and threw for 239 in a duel of former M.V.P. Award winners.

#IFTTT #NYT #men #men's interest #cigar #cigars #events #guy's interest #events cigar catering

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techcrunchappcom · 4 years

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New Post has been published on https://techcrunchapp.com/rivers-ready-for-another-big-showdown-with-jackson-ravens/

Rivers ready for another big showdown with Jackson, Ravens

INDIANAPOLIS (AP) — Philip Rivers could write a book about his personal matchups against some of the NFL’s best players.

There was the time in 2007 when Brett Favre rallied Green Bay past his San Diego Chargers. There were memorable twice-a-season duels with Peyton Manning as AFC West rivals when Manning left Indianapolis for Denver. And he still hasn’t forgotten — or perhaps forgiven — Andrew Luck for throwing that 63-yard TD pass with 77 seconds left to beat the Chargers in 2016.

On Sunday, he could create another memorable chapter when he leads the Indianapolis Colts against reigning MVP Lamar Jackson and the Baltimore Ravens, in a matchup that airs live on News 3 at 1 p.m.

“He can play the style I play. His other style I can’t do,” Rivers said, drawing laughter. “He certainly is an awesome player. He’s been great for our league. He and a lot of other young quarterbacks, they can throw it and run it, extend plays and make unbelievable runs. It’s been great for the league.”

Rivers has seen Jackson’s act one other time, in 2018 when he threw for 204 yards and one TD while rushing for 39 yards in a 22-14 victory.

This matchup between two playoff contenders sporting 5-2 records will be quite different.

Jackson is now an established star, while Rivers is on the cusp of moving past Hall of Famer Dan Marino for fifth in league history in yards passing. Rivers needs 231 yards.

And in this topsy-turvy season, injuries and one positive COVID-19 test have put the Ravens in scramble mode.

2019 All-Pro cornerback Marlon Humphrey has been out since Monday while seven other defensive players missed practice after being deemed close contacts. If they continue to test negative, all seven could be cleared Saturday.

Baltimore also will be without 2019 All-Pro left tackle Ronnie Stanley (ankle), who suffered a season-ending injury last week. Pro Bowl right tackle Orlando Brown Jr. will replace Stanley and veteran D.J. Fluker is expected to step in for Brown.

Jackson also hopes to rewrite the narrative after playing one of his poorer games in last week’s loss to Pittsburgh. He fumbled three times, lost two, had two interceptions and was sacked four times. It won’t get any easier against another stingy defense.

“Darius Leonard, he’s a great linebacker,” Jackson said. “He’s one of the best in the game right now. Their defensive line is great. I feel like our guys will do a pretty good job. We just have to go out there, have fun and play football, play great Ravens football.”

Either way, Rivers is hoping to celebrate another storybook moment.

“It’s fun to watch these guys and what they can do,” Rivers said. “It’s unbelievable what they can do.”

MIDSEASON FORM

At age 38, Rivers is rounding into midseason form. He started his first season with Indy by throwing five interceptions and four touchdown passes in his first five games. The last two weeks, victories over Cincinnati and Detroit, Rivers has completed 52 of 77 with 633 yards, six TDs and one interception. Coach Frank Reich believes there’s a good reason for the improvement.

“I think Philip played exceptionally well (Sunday), in numbers and every other thing,” Reich said. “When it’s not there — we had a play on the goal line that didn’t come up quite how we wanted — and he said, ‘Let’s just dirt it and let’s just move on and have confidence in the next play call.’ But Philip is a great decision maker.”

RIVAL WEEKENED

Rookie running backs Jonathan Taylor and J.K. Dobbins will renew their personal rivalry at Lucas Oil Stadium.

Dobbins and Ohio State beat Taylor and Wisconsin here twice in Big Ten championship games, and both workhorse running backs returned last winter for the NFL’s scouting combine.

Each started the season behind incumbent starters and now they could both be starting again this weekend.

Dobbins is coming off his best game as a pro, running 15 times for 113 yards in place of the injured Mark Ingram. With Ingram still dealing with a high ankle sprain, Dobbins could get another hefty workload.

“He’s explosive. He’s a shifty guy,” Jackson said. “He’s what you need in a back, and that’s what we have.”

Taylor also is expected to start despite having only one second-half carry last week at Detroit. Reich said Taylor suffered an ankle injury during the game, though he did practice this week.

STREAKING

Baltimore has won won nine straight road games, the league’s longest active streak, while the defense has forced a turnover in 20 straight games.

The Ravens also have scored 20 or more points in 30 successive games, tied for the longest streak in NFL history with Denver (2012-14). And the Ravens also have rushed for 100 yards in 30 straight games.

___

AP Sports Writer David Ginsburg also contributed to this report.

___

More AP NFL: https://apnews.com/NFL and https://twitter.com/AP_NFL

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#another #jackson #ravens #ready #rivers #showdown #Sports

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scripthome · 10 months

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Revolutionize Your Gaming Experience with These Two Incredible Scripts

Introduction:

In the dynamic world of gaming, enthusiasts are constantly seeking ways to enhance their experience and explore new dimensions within virtual realms. Thanks to the vibrant community of script developers, gamers can now elevate their gameplay with innovative and exciting scripts. In this article, we'll explore two remarkable scripts that promise to revolutionize your gaming adventures.

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tveckling · 7 years

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Okay, so done. Time to put down thoughts and observations. They made a break after the duel, which is? kinda odd? Just till begin with.

- The scene was pretty minimalistic, which I enjoy very much. The costumes some strange modern-clown mix? Sometimes too normal, sometimes too weird. They only had around 10 actors, so some of them spoke the lines of characters not present. The prince(ess) was like 12 tops, Paris was like 50, Julia was SO SHORT while Romeo was SO TALL. There were no Lord or Lady Montague so Lord Capulet defended Romeo after the duel xD Some of the cast were POC, most notably Julia and Tybalt.

- The language was swedish and a mix of modern slang and informal and older words. Which was super jarring, I admit, and imo a lot of the beauty of the original play was lost. Otoh there were a lot of high school students forced to attend by school pffft so it was good for them I guess. And there was this white woman with dreads who’s narrating by rap which also made me do frowny face. It’s just. It felt sloppy, the language mix, and I did not approve in the least.

- They had two jars on the stage, containing white powder of some kind, and when characters died they dipped her hand in it and threw it in the air+rubbed it across their face. Then they stood quiet and with blank faces the rest of the scene. Mercutio and Tybalt shows up to loom in the background whenever there’s talk about dying, and they were the ones to slather the powder on Paris and Romeo, and Romeo rubbed Julia’s face when she died.

- Mercutio (or Merco) was pretty good. Dressed in tight leopard (?) printed pants, a suit jacket, and this weird blue ruffle-thing around his neck - and nothing else. He removed the jacket a lot. He was somewhat effeminate and was all over Benvolio (or Benny) and except for when he mocked the Nurse he was so very gay. Like. So gay. But he had this super weird thing where he did like horse movements? Or you know, when you pretend to ride a horse and like you’re holding the reins and makes horse noises and stomp your feet like a horse - he did that stuff all the time. It was weird. Very weird. Otoh he had a good long kiss with Benvolio just before he died pffft.

- And Queen Mab ;___; they did this in oldish language, but with some comments from the others modern slang, and it was just. No. And Romeo goes ‘shut up shut up SHUT UP’ which, rude. Don’t interrupt Queen Mab :(. They cut several of the lines from the speech, which they did with so many others. It’s. I’m. Hm.

- Tybalt (or Tyball) was actually kind of adorable in his looks. He was dressed like he was always on his way to or from football training, with black wife beater and tights and shorts on top of them, as well as sneakers. Sometimes he wore a coat too. He was one of the shortest in the group, which made him feel tiny but angry, you know? And damn he was angry. Very angry. There wasn’t really any characterization to him except for hatred for the Montague, and when he’s told off at the party he goes 'fuck his words about peace, I’m going to be the devil’s tool’ or something along those lines.

- Romeo was a wet blanket. Like. That was basically all of him. He’s not that easy to make an interesting or engaging character out of, but it felt like this production didn’t even try.

- Julia was tiny and cute. Like, I think she was 150 cm, tops 155. Pretty certain she’s Jewish, and at one point during the ball she sang for the others in what I think was Hebrew. Sounded like it at least. I liked that they did keep in a lot of her clever dialogue and monologue and all. ALSO, NO BALCONY. IT WAS JUST A WINDOW.

- Benvolio (Benny) was okay I guess. Typically not really giving an impression. Mostly I remember how he tried to stop the fighting once in the beginning, and then joined in on the fighting every possibility after (otoh they didn’t have many actors and there could basically only be one trying to stop the fighting at a time, and this was Friar Lawrence 'Lorre’). And then how he acted halfway between disgusted and exasperated every time Mercutio was jumping on him. Except for the last kiss which he I think he might have reported, since it went on for some time? But mostly he just stood there dumbly so idk. He also joined Romeo in pulling Mercutio away from Tybalt, leading to Tybalt killing him, so that was new. He’s the one bringing the news of Julia’s 'death’ to Romeo, and then ultimately convinced to leave Romeo alone and 'live for me’ or something.

- I have a lot of thoughts about this Paris. As in, I don’t like what they did with him. They chose to make him very old and a clown, basically. He was the comic relief. And I feel bad for his pedophiliac ass pffft when Romeo just mercilessly kills him. When he meets Julia before she visits Lawrence in the second half he prepares to kiss her before they part, but then breaks character and goes 'yeah despite what the script says I’m not okay with it. This guy’s is old, right, but I know that’s he’s supposed to be a young man! But he’s old, and he falls in love with a thirteen year old girl?’ and stuff - which was in the script, because they broke character a handful times in this manner during the play.

- Which brings me to one of the things I thought fun at first but then eyerolling and then annoying af. They broke characters a couple times in the first half, had some fun arguments and such, but in the second half it got so much more preachy? Like when Lord Capulet berates and swears at Juliet and threatens to disown her and all - here they made him slap her several times, then kick her when she fell down, then when he was about to use his walking staff to hit her they broke out of character to discuss whether or not to portray this, and this was the situation in many homes, but the audience shouldn’t need to see this, but they should show reality, and on and on.

Otoh, when Lawrence and the Nurse talks about where Romeo can flee Lawrence goes 'you can go to cousin Hamnet in Helsingör’ which made me laugh pretty hard lbr. The Nurse went 'wrong play’ and he went 'oh right, I meant you can go to Mantua!’

- For final opinion I’m mainly disappointed. There were parts I enjoyed, but mostly it felt like a preachy try to appeal to today’s kids and be 'hip’, or something, and the characters were given so much less character depth than they deserved. So I’d give it a 2/5.

#me #romeo and juliet #i'm sad #i had hoped it would be better than it was

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gadgetsrevv · 5 years

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CONCACAF Nations League revamp: All you need to know

The first edition of the CONCACAF Nations League began in September 2019. Here’s a guide for all you need to know about the competition.

What is the CONCACAF Nations League?

It is a competition between the 41 member nations of CONCACAF, the regional governing body of North America, Central America and the Caribbean. It was created to mirror the idea of the UEFA Nations League, aiming to provide more meaningful, competitive fixtures when international friendlies would usually be played.

It was also noted that some minor nations were playing fewer than 10 games in a four-year period, and this gives them the chance of regular competitive football.

So this means there are no more international friendlies?

CONCACAF nations will still play some international friendlies. Major countries in League A will have two spare dates in September to November 2019, as well as the March international dates. World Cup qualifying will then begin in September 2020.

Does every CONCACAF nation take part?

There was an initial qualifying phase, from September 2018 to March 2019, between the 34 lowest-ranked nations in CONCACAF. Each team played four matches, creating an overall ranking from 1 to 34.

The top six teams qualified for CONCACAF Nations League A, 7-22 for League B, and 23-34 for League C.

Costa Rica, Honduras, Mexico, Panama, Trinidad & Tobago and United States progressed direct to the final group stage in League A as participants of the 2018 World Cup qualifying Hexagonal.

Guatemala did not take part in qualifying as it was suspended by FIFA at the time of the draw, meaning it must start in League C despite being a stronger-ranked nation.

What is the format?

The 40 nations that take part in the CONCACAF Nations League proper are split into three”Leagues.” The strongest nations are in League A, and the weakest in League C.

League A: 12 teams, into four groups of three

League B: 16 teams, into four groups of four

League D: 13 teams, one group of four and three of three

Teams within each group will play each other home and away.

What dates are CONCACAF Nations League games?

Matchday 1: Sept. 5-7, 2019 Matchday 2: Sept. 8-10, 2019 Matchday 3: Oct. 10-12, 2019 Matchday 4: Oct. 13-15, 2019 Matchday 5: Nov. 14-16, 2019 Matchday 6: Nov, 17-19, 2019

What are the CONCACAF Nations League groups?

LEAGUE A

Group A: USA, Canada, Cuba Group B: Mexico, Panama, Bermuda Group C: Honduras, Trinidad and Tobago, Martinique Group D: Costa Rica, Haiti, Curacao

LEAGUE B

Group A: French Guiana, St. Kitts & Nevis, Belize, Grenada Group B: El Salvador, Dominican Republic, St. Lucia, Montserrat Group C: Jamaica, Guyana, Antigua and Barbuda, Aruba Group D: Nicaragua, Suriname, St. Vincent and the Grenadines, Dominica

LEAGUE C

Group A: Barbados, Cayman Islands, Saint Martin, U.S. Virgin Islands Group B: Bonaire, Bahamas, British Virgin Islands Group C: Guatemala, Puerto Rico, Anguilla Group D: Guadeloupe, Turks & Caicos Islands, Sint Maarten

When do United States and Mexico play?

United States: Oct. 11: Cuba, Audi Field, Washington, D.C. Oct. 15: Canada, BMO Field, Toronto Nov. 15: Canada, Exploria Stadium, Orlando Nov. 19: Cuba, Truman Bodden Sports Complex, George Town (Cayman Islands)

Mexico: Oct. 11: Bermuda, Bermuda National Stadium, Hamilton Oct. 15: Panama, Estadio Azteca, Mexico City Nov. 15: Panama, TBC, in Panama Nov. 19: Bermuda, TBC, in Mexico

Will there actually be CONCACAF Nations League champions?

Yes. The four group winners from League A will playoff in knockout format (semifinals, third-place match and final) in June 2020. The host nation has yet to be chosen.

Is there promotion and relegation?

Yes, like in the UEFA Nations League the teams which finish bottom of the groups in Leagues A and B will be relegated. The teams that win their groups in Leagues B and C will be promoted.

Does the CONCACAF Nations League affect the Gold Cup?

Yes. Qualifying for the 2019 CONCACAF Nations League served as duel qualification for the 2019 CONCACAF Gold Cup, with the top 10 ranked teams taking part in the finals.

Also, the 2019 CONCACAF Nations League final tournament is qualifying for the 2021 CONCACAF Gold Cup.

Automatic qualifying for the 2021 CONCACAF Gold Cup goes to:

League A: The top two teams from each group League B: The winner of each group

However, there will be a playoff path to decide the final four qualifiers. The four third-place nations in League A, four second-place finishers in League B, and four group winners from League C take part.

Round 1: A two-legged playoff when a nation from Leagues B will play one from League C, scheduled for March 2020 Round 2: The winners from Round 1 will be drawn against a team from League A, to be played in June 2020, for a place in the finals.

When is the next edition of the CONCACAF Nations League?

It has not yet been confirmed, but with World Cup qualifying taking place through to October 2021, intercontinental playoffs in March 2022, and the World Cup itself in November 2022, it will not happen until after the 2023 CONCACAF Gold Cup.

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#Uncategorized #Mexico #united states CONCACAF Nations League revamp: All you need to know

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thepanicoffice · 5 years

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The Life & Exhaustive Works of Richard O. Jones

[...]

As promised/threatened, in order to mark THIRTY (30) vainglorious years of the life of Richard Owen Jones, I am providing a preview of the biography that I have written in my own blood (figuratively) and bile (literally). It is due to be published shortly with the University of Tungsten Press, and with Limpet, Fecund & Sproles in North America as part of their ‘Lives of the Utterly Vacuous’ series. As this whole week is dedicated to his manifest failings and sparse achievements, this represents only the first of two installments. Consider that your first and final warning.

The Exhaustive Life And Works of Richard Owen Jones: A Compilation of Calumny A Testament of Tyranny A Litany of Larceny A Chronicle of Crimes Most Odious

____________________________

Author’s note:

I am unfortunate enough to have, at various times in my beleaguered life, held the acquaintance of Rich Jones, noted raconteur, wit, and five-time winner of the WBBO welterweight boxing championship. His acquaintance has also held me. Forcefully.

As a consequence, much of the material contained in this biography is culled from personal reminiscences, decaying memories, and the vivid fantasies that dance among them in my syphilis-riddled mind. Syphilis, I would hasten to add, that Jones himself gave me ‘as a joke’ for my 22nd birthday. He said that for my 23rd he would cure me. We laughed. He still has not made good that promise.

As such, the more lucid passages in this book may be interspersed with fevered ramblings and paranoid delusions. But I’ve never been one for self-editing (it seems like writing twice what you’ve only been paid to do once) so I’ve not bothered to look back through it to weed out the madder stuff.

References to Jones’ numerous works, his poems, plays, articles, photographs, and correspondence, have all been harvested from the Richard Jones Archive, held at the University of Tungsten.[1]

This scholarly work is intended, above all, to serve as a warning to posterity that to turn a blind eye to a tyrant is to leave your back exposed. And then the knife plunges in.

Take heed, O complacent world!

R.M. May 2019 ---------

[1] The contents of the archive were donated by myself, made up of the scraps I had managed to steal on previous visits to Jones’ house. The archive collection also contains a fine selection of nose rings, nail clippings and one used pair of boxers. Rumour has it that this latter item will soon be auctioned and the proceeds used to pay for a new Geography faculty building.

_________________________________________________

Introduction

Where, I ask, can one begin to describe a life such as that of Richard Owen Jones? How do we delineate something as prosaic and limited as the ‘beginning’ and ‘end’ of a life?

How does one describe the life cycle of a star? Does it begin with the collection of carbon that gathers around a mote of dust as it waxes across the face of the infinite void? Or does it begin with its collapse, its supernova, as it scatters the hot, bright matter with which it succours a universe yet to come?

The answer is obvious: we’ll start with his birth. The star talk was a rhetorical red herring. Let us begin.

_________________________________________________

Chapter I: The Birth of a Titan

The weather report contained in the Evening Standard for X May 1989 noted with mild horror that the River Thames had turned to a tide of roiling blood, surging as through a dilated artery, and that its banks were choked with the bodies of the dead. An inauspicious, if not entirely coincidental, sign that the man who would come to be known – by me, at least[1] – as the Black Messiah had arrived to Earth.

Richard Owen Jones was delivered of a jackal, on a comfortable private healthcare plan, at an hour in which God had averted his gaze: three thirty-seven AM. This much can be certainly ascertained by the fact that the clocks in the hospital (West Festering DGH, near Bermondsey) had stopped, presumably in their unwillingness to acknowledge any subsequent seconds in which the Beast still breathed.

His father, Tony Jones, declared in a letter to an associate that he remembered being “wholly unnerved” by the appearance of his singular progeny but acknowledged that he soon overcame his “overwhelming desire to dispatch the creature with a rock hammer”. Their relationship went from strength to strength, with Tony choosing to secrete the infant in his beard, like a sort of coarse, bristly papoose. This, in many ways, is likely to have been the crucial psychosexual event that caused Jones’ lifelong adoration and erotic longing for facial hair. If there is a moment of space-time around which all future achievements (including the Brighton ‘Beard of the Year’ award 2011) were pinioned, it would be this one.

I have done some cursory research to provide some colour and context for the first year of Jones’ life. Geopolitically, the world was a crucible of change. Khomeini had declared fatwah upon Salman Rushdie; tanks struggled to find the reverse gear in Tiananmen Square; the Berlin Wall was fitted with several viewing holes; the Notre Dame Fightin’ Irish beat the West Virginia Mountaineers for the college football championship. These were dark days. An appropriately stark and eerily lit stage on which our anti-hero could take his first tentative steps, and deliver unto the world his first squalling monologue.

_________________________________________________ Chapter II: The Blighted Childhood

This is, first and foremost, intended as an artistic biography; one which seeks to analyse (and, where possible, brutally criticise) Jones’ creative output. So here were must review his ‘juvenilia’, such as it is. After haunting the corridors of his former primary school (not like a paedophile – more like a ghost) and forcing the door of a barely locked store cupboard, I have located some of his archival papers. These we might describe as his earliest ‘works’.

To begin with, we find a story written in year 3, which, with hindsight, provides a chilling commentary on his mental state and a grim foreboding of his life yet to come. The story is entitled “Ode to Summers Green” and is written in a childish scrawl, like the death-flailings of a drunken spider, on scraps of yellow sugar paper. Despite its pastoral title, the work is remarkably dark, seeming at times to be an inversion of the classic tale of Faust. In it, the principle character, Benwort Kleinson (clearly a feebly veiled figuration of the author himself), seeks to trick various classmates out of their possessions, culminating in a set-piece in which he tricks the naïve James Garner to part with his immortal soul. The piece is fairly rudimentary and simplistic, with casual allusions to only one or two key pieces of Continental philosophy. It is therefore unsurprising that his teacher, Miss Fallopia, gave the piece a ‘Well done!’ and smiley-face sticker, rather than the 2:1 he would have hoped for as a bare minimum.

But what of the boy beyond these infantile scribblings? Reports from those who knew him, including the parents of his school chums, described him as “possessing a penetrating gaze, that appeared to touch upon the very tissues of the soul” and “a bit weird”. It can scarcely be a shock, then, to discover that he transferred schools a total of seventeen times in his young life, leaving behind him a trail of mysterious disappearances and swelling psychiatric reports. _________________________________________________

Chapter III: Adolescence

Puberty hit Jones with much the same force that a cannonball might hit, say, a hummingbird (i.e. with devastating force). One moment he was minding his own business, constructing a thesis on the Greek scholar Rectilineus, the next he became a seething mass of lustful membranes, engorging and subsiding at random intervals. One can scarcely imagine the terror that this struck into the ill-educated, superstitious, and slightly backward inhabitants of Stoke-on-Trent.

It was at this time that he began his love-affair with the theatre. He called her Gertrude. He was banned from visiting after he was found behind the stage curtain making love to a rostra block. Despite the injunction placed upon him by the courts, he knew that his place was on the stage. He joined a group of travelling players, putting on performances of Shakespeare, Marlowe, Jonson and some of Jones’ self-penned pieces. The annotated playscript of one such work – ‘The Passage of Love’, a grotesque and innuendo-laden piece, designed purely to infuriate censors – still survives. From the jottings which adorn the margins like some aggressive yeast infection, it becomes clear that Jones gradually fired all the other actors, one by one, until the play became a single-hander. Given that that the script calls for twenty-three separate speaking roles, we can only imagine that the performance was a unique spectacle. The Pembrokeshire Gazette has a two-star review, describing it as “exhausting and frenetic” and “a herculean feat that was as unrewarding as it was mentally taxing” before kindly requesting that Jones “never darken the boards again”. Jones took this review to heart and burned down the office of the Pembrokeshire Gazette. Then he gave up acting. Then he burned down the home of the Editor, Deputy Editor, Arts Editor, and Theatre Correspondent of the Pembrokeshire Gazette. The Pembrokeshire Herald dubbed it ‘The Night of the Thousand Fires’.

_________________________________________________ Chapter IV: The University Years

After turning his back on the theatre for the next ten years, Jones turned his hand to poetry; a skill he would come to hone in the brutal killing fields of the University of Sussex Poetical Society. The members of this surprisingly esoteric society would meet in a circle drawn in purified salt and, in the form of a duel, recite each other into submission. Jones’ fighting record concluded in 2013 at 37 wins, 2 draws and no losses, highlighted by one evening when, propelled by a stimulating decoction of cocaine and soy sauce[2], he took on any and all comers in a remorseless poetry maelstrom. By the end of the evening, seven men lay dead.

It was at these events that I first met Jones, watching in breathless wonderment as he dispatched his rival, the upstart Argentine poet Cedric Espadrille, with an audacious piece which would come to be recognised as one of his early poetical masterpieces, Chorus of the Bowels.

O garrulous gastrointestinal tract Bespeak your bizarre Faustian pact With my humble meal of cheese and bread You confabulate and leave nought unsaid O moaning, grizzled, groaning bowels Through which long-winded warning prowls. My meals dictate its daily speech An egg, hard-boiled, extends its reach To friends, Romans and countrymen Visceral rhetoric much the better when A spicy plate’s for me prepared It utters truths no others dared. Without this fuel its words are failure - Wet suck of human penetralia - But with stew and sausage laced with sage Turns guts to greatest speaker of this age When a shard of fart is lodged in me And culminates in flatulent oratory.

Indeed, as would become a theme with his more mature works, this poem takes the form of an ode or exhortation to his increasingly unruly bowels. This remarkable poem, delivered with his trademark aggression and an unusual poise for a man so thoroughly stupefied by the Chairman’s Indulgence, caused Espadrille to take early retirement, at the age of 19, and move to a tree-worshipping commune in Dundee. Jones passed out, and awoke as a legend in the world of poetry.

During his time at the University of Sussex he also turned his hand to the study a sociology. Here he was hopelessly influenced by a sordid cabal of cultural Marxists, allowing their mild, tweedy dissidence to stir his blood with filthy socialist ideals. This political reorientation was, thankfully, short-lived and he soon returned to his usual habits of subjecting the University’s poorer students to blackmail, extortion and bullying them into indentured servitude.

-------

[1] And indeed at most.

[2] A mixture he developed himself, called ‘The Chairman’s Indulgence’ in honour of Mao’s revolution. [END OF PART ONE]

#Maslin #Editor #Richard Jones #Deputy Vice Editor #Calumny #Biography

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tipsoctopus · 5 years

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"Absolutely diabolical", "Needs to be sold" - Lots of Man Utd fans hammer their "waste of space"

Manchester United soared into the fifth round of the FA Cup with a rampant victory over League One side Tranmere Rovers on Sunday afternoon, and later tonight they will learn their prize.

The Red Devils smashed six goals past their lower league opposition at Prenton Park, but not all of the subsequent reaction was of a positive nature.

It appears that some sections of the travelling support haven’t taken too kindly to the performance of midfielder Andreas Pereira with the 24-year-old coming in for severe criticism on social media.

Here’s what they’ve been saying…

Pereira is absolutely diabolical. Any coaching staff that continue with him deserve what they get. #MUFC

— Jamie (@Hendomob) January 26, 2020

Andreas dropping a 1/10 against Tranmere in a 0-6 drubbing. #MUFC

— James Groom (@Jimgroom92) January 26, 2020

Pereira just summed up his season of mediocrity there with that 40 yard pass into the stands. Man if you can't look good against these #mufc #TRAMAN

— Morpheus1234 (@Morpheus12341) January 26, 2020

Can we leave Pereira in League 2 company. Doesn’t even stand out against Tranmere. Shocking. #MUFC

— Colum Harkin (@Huff_uk) January 26, 2020

Sorry, but Pereira is STILL the worst player on the pitch… 🤦🏽‍♂️ #MUFC

— Ryan Kenealy (@ryan_kenealy) January 26, 2020

‘Worst player on the pitch’ and ‘absolutely diabolical’ were two phrases used to describe the Pereira’s display while one fan rated it a 1/10.

The attacking midfielder has only directly contributed to eight goals in 66 appearances for the senior side since making his debut in 2015.

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Some supporters went on to suggest that the Brazilian wouldn’t even cut it in Tranmere’s team…

Andreas Pereira should never play for Manchester United again. Scrap that. He shouldn’t even play for Tranmere. Awful footballer. #MUFC #TRAMUN

— Callum Stone (@_callumstone) January 26, 2020

Pereira with a pass into no mans land again. Atrocious. He’d struggle to be on the Tranmere team but somehow plays every week. #mufc

— Martin Moen Wulffeld (@wulffeld) January 26, 2020

Andreas Pereira won't even make the Tranmere first team. Has no future at United.#TRAMUN #FACup #MUFC

— Pulkit 🔰 (@OleTrain) January 26, 2020

‘Atrocious’ and ‘awful’ were two accompanying words when claiming that Pereira wouldn’t even get into the League One outfit’s starting line up as well as suggesting that he should never play for United ever again.

It also led to some asking the club to get rid or even worse, sell up as he was brandished a ‘waste of space.’

Pereira needs to go #MUFC

— Phil! 🤘 (@rockonnicely) January 26, 2020

Andreas Pereira needs to be sold or given away. He's done nothing even against Tranmere. Waste of space. #MUFC #OleOut

— Archibald (@ArchibaldMisery) January 26, 2020

According to SofaScore statistics, Pereira lost possession 14 times, conceded two fouls and won just four of 12 ground duels, which is quite the poor return considering the two-tier difference between the teams.

Quickfire Quiz: How much do you know about Man Utd’s history in the January transfer window?

While in other news, fans have been discussing this transfer update from David Ornstein…

from FootballFanCast.com https://ift.tt/36xKxgS via IFTTT from Blogger https://ift.tt/36pFL52 via IFTTT

#FootballFanCast.com

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haroldgross · 5 years

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New Post has been published on Harold Gross: The 5a.m. Critic

New Post has been published on http://literaryends.com/hgblog/oscar-nominees-2020/

Oscar Nominees 2020

Well, here we are again. I didn’t try to write up my guesses for the nominees this year, though they’re pretty much aligned with what came in, because they were too early.

This year, even more than last, is going to be one heck of a battle (lack of diversity aside because that’s an entirely different discussion). Not just because of all the great productions and performances, but because this is likely going to be the inflection point for streamers vs. establishment in Hollywood. Either the final votes will snub the streamers and risk becoming irrelevant and pissing off a number of creatives, or they’ll accept the new normal and change the landscape forever. Given that Netflix leads the pack of studios with 24 nominations total, it isn’t out of the question that platform, as a decision maker, may actually have faded since the Roma controversy of last year.

The other two surprises for me were the complete snubbing of The Farewell and Joker garnering the most noms of the season. Farewell not getting a shot at anything is near criminal. It was one of the best films of the past year. But so was Joker, and I honestly thought the Academy voters would eschew it in large part. So, I was wildly wrong on both counts… which just intrigues me more.

So with a few awards already out there, I’m going to risk my early predictions before making a final call the night before the awards early next month. I imagine my insight(?) will shift as more awards are announced and sentiment clarifies over the next few weeks, but it’s never stopped me before…

Actress in a Leading Role

Cynthia Erivo (Harriet) Scarlett Johansson (Marriage Story) Siorse Ronan (Little Women) Charlize Theron (Bombshell) Renee Zellwegger (Judy)

This is a great list, and every one of these women deserve recognition. But Zellwegger really stands out in her transformation and subtlety of performance. And, let’s face it, Judy Garland is beloved by the industry, which gives her a leg up.

Actor in a Leading Role

Antonio Banderas (Pain and Glory) Leonardo DiCaprio (Once Upon a Time… in Hollywood) Adam Driver (Marriage Story) Joaquin Phoenix (Joker) Jonathan Pryce (The Two Popes)

There are a number of great performances here as well, but I think Joaquin Phoenix really out-classed all these other men. His performance is the most complex and, ultimately, the most affecting.

Actress in a Supporting Role

Kathy Bates (Richard Jewell) Laura Dern (Marriage Story) Scarlett Johannson (Jojo Rabbit) Florence Pugh (Little Women) Margot Robbie (Bombshell)

This is a really tough field to choose from. Each performance in the list is strong for a different reason. Given Dern’s previous wins for the role, she probably has the edge. Johannson is going to have her votes split and Pugh and Robbie each have great moments, but aren’t quite as impactful as Dern in their roles.

Actor in a Supporting Role

Tom Hanks (A Beautiful Day in the Neighborhood) Anthony Hopkins (The Two Popes) Al Pacino (The Irishman) Joe Pesci (The Irishman) Brad Pitt (Once Upon a Time… in Hollywood)

A similarly difficult field to choose from. I think Hanks, as good as he was, is simply going to get overlooked, and the dueling Irishmen will cancel eachother out, allowing Pitt to float to the top. In this field, were I to choose, however, I’d give it to Pesci for his quiet and subtle performance that overshadows the entire movie.

Adapted Screenplay

The Irishman Jojo Rabbit Joker Little Women The Two Popes

The selection of a winner here will depend heavily on what the voters are looking for in a script. The most creative is, hands-down, Jojo Rabbit. But Joker is an unexpectedly powerful tale of mental illness and a society gone wrong. Irishman is a quiet epic that is really just a small tale of family in the most beautiful of ways. And Little Women and Two Popes took source material and broadened it into a more encompassing philosophy and message.

But since only one can win, I’m thinking Irishman or Joker, with odds on Irishman.

Original Screenplay

Knives Out Marriage Story 1917 Once Upon a Time… in Hollywood Parasite

Man, I just want to scream “stop making me pick!” The only one that doesn’t belong here is Once Upon a Time… in Hollywood, which was a lousy script. I’m sorry, I know I’m in the minority, but I hated the script. In any event, it doesn really hold a candle to the rest of these.

Honestly, on merits, I think it’s between Marriage Story and Parasite. And since Marriage Story is unlikely to get more than Best Supporting, I’m thinking it will pick up the statuette here…also because it manages to do the seemingly impossible: making divorce feel positive.

Directing

Martin Scorsese (The Irishman) Todd Phillips (Joker) Sam Mendes (1917) Quentin Tarantino (Once Upon a Time… in Hollywood) Bong Joon-ho (Parasite)

Unsurprisingly, these are all part of the Best Picture pool as well, and with many of the same challenges. For sheer, unexpected craft, my choice would be Joker or Parasite. For audacity of vision and production, 1917. For journeymanship and career best: The Irishman.

But as to who will win? I’m going to go out on a limb and take a lesson from Gravity’s win a few years back and call it for 1917, simply for the incredible delivery of an audacious vision.

Best Picture

Ford V Ferrari The Irishman Jojo Rabbit Joker Little Women Marriage Story 1917 Once Upon a Time… in Hollywood Parasite

With the exception of front-runner Once Upon a Time… in Hollywood and the snubbing of The Farewell, this is a legit list for the year. Given these selections, I’m hard-pressed to pick just one (and expect that much vote-splitting is going to really randomize the winner).

For now, I expect Once Upon a Time to win. It is such insider-baseball and has a groundswell, where many of the others are more divisive and likely to siphon votes from one another.

If it were solely up to me, I’d probably go with The Irishman. It is such a subtle epic and beautifully crafted all around. But honestly, so was Joker. I just don’t see Joker taking this top prize with this voting block. The real question is whether the Academy can get past Netflix-hate to award this top prize to a streamer?

International Feature

Corpus Christi Honeyland Les Miserables Pain And Glory Parasite

Gotta be Parasite, despite all the other excellent entries.

Original Song

“I Can’t Let You Throw Yourself Away” – Toy Story 4 “(I’m Gonna) Love Me Again” – Rocketman “I’m Standing With You” – Breakthrough “Into the Uknown” – Frozen 2 “Stand Up” – Harriet

I’ve always found this category somewhat pointless. It is rarely about more than popularity. And while that may be something worth rewarding, many songs are simply in the credits or as incidental music…there isn’t much consistency in how they interact with the film. This year, none of the songs really broke out in any particular way (again, let me express joy at not being subjected to Let it Go v2). Being forced to select, I’m going to go with Harriet, if for no other reasons than the lack of diversity elsewhere and Eviro’s cred.

Original Score

Joker (Hildur Guonadottir) Little Women (Alexandre Desplat) Marriage Story (Randy Newman) 1917 (Thomas Newman) Star Wars: The Rise of Skywalker (John Williams)

Going with Joker for this one. My experience was best enhanced by the score for that movie. It wouldn’t surprise me if Star Wars takes it since it set a record 52nd nomination for John Williams. He’s only won 5 of those and only Walt Disney (the man) has ever had more at 59. Though, also props for the dual Newman brothers noms… going to make the next holiday meal entertaining, I’m sure…

Documentary Feature

American Factory The Cave The Edge of Democracy For Sama Honeyland

While Honeyland is a good contender, American Factory with the Obamas behind it may ride a political wave to the front of the race. But I haven’t seen any of these yet to make an educated guess.

Documentary Short Subject

In The Absence Learning To Skateboard Life Overtakes Me St Louis Superman Walk, Run, Cha-Cha

Still waiting to see these.

Live Action Short Film

Brotherhood Nefta Football Club The Neighbors’ Window Saria A Sister

Still waiting to see these.

Animated Feature Film

How To Train Your Dragon I Lost My Body Klaus Missing Link Toy Story 4

For the sheer hubris of the story, I’d love to see I Lost My Body win, but it’s gonna be Toy Story 4. That series really went out on a high and the craft of it is solid. Missing Link just didn’t really work well for me, as much as I’ve loved the previous Laika offerings, and How To Train Your Dragon was sweet and pretty, but not exactly brilliant. Klaus, well, whatever.

Animated Short Film

Dcera (Daughter) Hair Love Kitbull Memorable Sister

Cinematography

The Irishman Joker The Lighthouse 1917 Once Upon a Time… in Hollywood

Until recently, I would have selected differently, but 1917 is a Cinematographer’s dream/nightmare, and its successful delivery sets a new bar for movies. All the nominees have things going for them, but none were as challenged.

Film Editing

Ford V Ferrari The Irishman Jojo Rabbit Joker Parasite

How 1917 was subbed here, I don’t know. But, given it isn’t in attendance, my best guess is going to be Ford v Ferrari due to the Le Mans scenes.

Production Design

The Irishman Jojo Rabbit 1917 Once Upon a Time… in Hollywood Parasite

Such a hodgepodge of eras and approaches makes this a grab-bag. Irishman and 1917 are both perfect incarnations of their eras, making the production design invisible. Sorta true for Once Upon a Time as well, but I just don’t think it has the same creativity. Jojo and Parasite each have a sense of whimsy and reality that mixes in unexpected ways. Because of the latter two’s impact on the story itself, rather than just facilitating the tales, I think it goes to one of them, and if I had to guess (which I do), I’m going with Jojo Rabbit.

Costume Design

The Irishman Jojo Rabbit Joker Little Women Once Upon a Time… in Hollywood

Almost always this goes to a period piece, despite any of the other relative values of the productions. Since 1917 isn’t in the mix, I’m betting on Little Women.

Visual Effects

Avengers: Endgame The Irishman The Lion King 1917 Star Wars: The Rise of Skywalker

This is another tough one. Tougher than usual as several of these films are in it for pushing the envelope in different ways. I’m ignoring Avengers and Star Wars as possibilities as they are big and flashy, but not really new. Lion King found a new way to film that is astounding (however weak the film itself was). Irishman did magic with aging and de-aging. 1917 recreated and presented WWI in a way never achieved before. I think for the invisibleness of it, The Irishman may take this one.

Makeup and Hairstyling

Bombshell Joker Judy Maleficent: Mistress of Evil 1917

Thinking Bombshell or Judy for this. I’m leaning Bombshell because of the transformations the makeup provided. Zellweger already looked like Judy, but Theron was subtly metamorphosed into her character with invisible prosthetics and makeup.

Sound Mixing

Ad Astra Ford V Ferrari Joker 1917 Once Upon a Time… in Hollywood

I think both this and Sound Editing are up for grabs between Ford v Ferrari and 1917. If the latter gets a groundswell, it may well sweep the two.

Sound Editing

Ford V Ferrari Joker 1917 Once Upon a Time… in Hollywood Star Wars: The Rise of Skywalker

I think both this and Sound Mixing are up for grabs between Ford v Ferrari and 1917. If the latter gets a groundswell, it may well sweep the two.

NOMINATIONS BY FILM

Provided just for reference, but certainly interesting to consider when considering who has the attention of the voters.

Joker (Warner Bros.) – 11 The Irishman (Netflix) – 10 1917 (Universal/Amblin Partners) – 10 Once Upon a Time… in Hollywood (Sony Pictures Releasing) – 10 Jojo Rabbit (Fox Searchlight) – 6 Little Women (Sony Pictures Releasing) – 6 Marriage Story (Netflix) – 6 Parasite (Neon) – 6 Ford v Ferrari (Disney) – 4 Bombshell (Lionsgate) – 3 Star Wars: The Rise of Skywalker (Disney) – 3 The Two Popes (Netflix) – 3 Harriet (Focus Features) – 2 Honeyland (Neon) 2 Judy (LD Entertainment and Roadside Attractions) – 2 Pain and Glory (Sony Pictures Classics) – 2 Toy Story 4 (Disney) – 2

#craft #General #Movie Review

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flauntpage · 6 years

Text

Double Doink! – Ten Takeaways from Eagles 16, Bears 15

Nick Foles left the field with the lead..

and…..

…this time he won.

Holy mackerel! Holy cow! Holy cannoli! Pick whatever animal or dessert you want; you just can’t write a crazier script than that. I thought for sure we were watching a replay of the 2014 Saints game, a walk-off field goal to knock the Eagles out of the playoffs. The Foles era and the Super Bowl title defense would come to an end at the foot of Cody Parkey, who instead hit the upright AND the crossbar on the final play of the evening. It was a double doink, like that one time the WWF brought out two clowns at the same time to beat the crap out of Crush at Wrestlemania IX.

Seriously though, what a game. The Eagles blew opportunities and made mistakes, namely the pair of interceptions and a couple of dropped picks to go along with a bobbled third-down hand-off and some killer, drive-extending defensive penalties. I thought it was over when Chicago started picking on Avonte Maddox on their fourth-quarter touchdown drive, but “not so fast my friend,” as the great Lee Corso once said. Foles got it done, Doug Pederson just barely out-dueled Matt Nagy, and the Birds got some luck to go their way, which really hasn’t happened too often this season.

It sets up another crack at the Saints in the Superdome, this time with Foles leading the charge. If you like the “underdog” storyline, then this is your type of game. The Birds get their revenge shot and really have nothing at all to lose heading into the divisional round against asshole Sean Payton, who ran up the score in the regular season meeting.

On the flip side, the only thing we’re going to hear about this week is the “Nick Foles vs. Carson Wentz” argument, which I think will continue throughout the summer and into eternity, or as long as 94 WIP and 97.5 the Fanatic are broadcasting.

But for now let’s enjoy the win, beginning with:

1) The final drive

12 plays, 60 yards, 3:52 off the clock.

They started on their own 40 yard line with 4:48 remaining and methodically moved the ball down the field. Foles was 6-9 on the drive with a two-yard touchdown on a pseudo-sprint out that targeted Golden Tate on the goal line.

I wasn’t sure about Doug’s decision to run Darren Sproles twice in the red zone, but some of the other play calls were superb. He and Nagy really started going deep into the playbook in the fourth quarter, and Pederson rolled with this:

play action, deep seam to Alshon Jeffery

pre-snap motion, play action, Foles pressured and incomplete

trips left, fake screen left, fake screen right, RELEASE THE TIGHT END up the right seam (Goedert breaks two tackles)

play action, shallow out to Nelson Agholor, broken tackle, nice pickup

12 personnel, more pre snap motion, Zach Ertz in the middle, difficult catch

Wendell Smallwood left guard for about a yard

empty set, clear out for Agholor, incomplete

jumbo/pistol, motion Jeffery, hit him on seam for first down

Sproles run

Jeffery pre-snap to weakside, incomplete quick out

Foles dash right, Tate touchdown on quick out

A couple of those plays in there just featured huge individual efforts – the Goedert YAC, the Agholor YAC, and that tough catch from Ertz in traffic, the pass thrown almost over his head. Foles hit four different receivers on the drive and two different backs carried the ball. They showed some 12 personnel and some 11 personnel.

My favorite play call was #8, where they lined up Alshon in some sort of pistol/jumbo hybrid look, then motioned him down and threw it to him for about a ten yard gain. I couldn’t rip a clean video of this, because there was a hitch in the stream, so I’ll show you the diagram instead:

Wild stuff. Alshon in the pistol? Two tailbacks running flares? Two tight-ends also running routes? Really cool stuff.

I also swear I saw a Chicago three man rush in there somewhere, which was ridiculous. It could have been on the drive before this one, but still, who rushes three, ever? It should be illegal for Vic Fangio to rush three with the personnel he has.

2) Tipped!

Cody Parkey’s field goal was actually tipped by defensive tackle Treyvon Hester, which nobody realized until something like 45 minutes or an hour after the game.

This was the first clip to make the rounds:

Here’s a frame-by-frame look that clearly shows the Parkey kick was tipped by Treyvon Hester (Hester confirmed to @Bo_Wulf he tipped it). pic.twitter.com/6dOXui7Yyp

— Scott Gustin (@ScottGustin) January 7, 2019

Here’s another good angle, and if you pause it right at eight seconds, the ball does indeed appear to be slightly misdirected to the left:

Watch this video in slow-mo…Treyvon Hester comes up with a huge block off the tip of the fingers forcing the change of trajectory in the kick…wow. #CodyParkey #FLyEaglesFly pic.twitter.com/e3jBT3VazL

— Z (@KingZouric) January 7, 2019

I kind of felt bad for Parkey after the game, getting booed off the field and whatnot. But I’m sure most football fans don’t give a shit, since he’s still a millionaire.

3) Offensive success

Some 11 personnel, some 12 personnel, some timely deep shots and penalty flags, plus a few wrinkles here or there. All of that was good enough to win the game.

The Bears came into the postseason allowing 299 yards and 17.7 points per game and the Eagles finished with 300 and 18, so this matchup really played out the way a lot of people thought it would. Philly couldn’t really run the ball but stayed committed to the tune of 23 attempts for 42 yards, which is a 1.8 average. 17 of the Eagles’ 21 first downs took place through the air, two were from penalties, and the other two came on the ground.

Doug’s squad converted six of 13 third down attempts, good for 46.1%, which is 14 percentage points better than what Chicago was allowing on the season. That’s pretty significant. The Bears had only been allowing a 32% success rate on opponent third downs, but the Eagles got some key pickups to move the chains and balance the time of possession.

41 to 22 was the pass/run split, so that’s 65% to 35%, right on the money, which I think is probably where we expected it be. I would not have been surprised to see that number move into the 70% range, considering that they threw it that frequently in the Houston win.

Chicago finished with six tackles for loss and five quarterback hits, but Nick did a great job of taking those hits while getting rid of the ball and he was sacked just once on the evening. The offensive line did a nice job pass protecting against Khalil Mack, Akiem Hicks, and the rest of the excellent dudes on that line.

Sheil had a good stat about the line:

Eagles have faced Aaron Donald, J.J. Watt and Khalil Mack during their four-game winning streak.

Those three players have combined for a TOTAL of zero sacks and three QB hits against them.

Big credit to the offensive line and coaches for game-planning.

— Sheil Kapadia (@SheilKapadia) January 7, 2019

Bravo, offensive line.

4) Defensive success

They did what they needed to do, which was put the game on Mitch Trubisky’s shoulders.

“Tru” finished 26/43 for 303 yards, a touchdown, and zero interceptions (should have been at least one), so I guess you could probably make an argument that he did enough to win them the game. He made some really nice fourth quarter throws to pick up chunk yardage and get Chicago down the field.

Four things I think the Eagles did well:

showed good discipline with Nagy’s gadgety/bullshit type of plays (which he didn’t seem to rely on as much last night as he did in the regular season)

tackled well (not a lot of whiffs)

limited Trubisky in the scramble and running game

essentially shut down Tarik Cohen until the late kick return

In addition to that, Jordan Howard only carried the ball ten times for 35 yards, so he wasn’t much of a factor. Cohen carried the ball once for zero yards, but the Eagles also limited him to just 3 catches for 27 yards and didn’t allow him to do much in space.

Trubisky took two sacks for 12 yards and ended up with nine ground yards on three carries. Nigel Bradham did a superb job spying him and moving laterally all game long, stuffing a bunch of the east/west stuff Chicago threw at the Eagles.

The only true disappointments you could point to were Maddox (who played well for three quarters) biting on those late double moves, plus the interceptions that were dropped. Allen Robinson was the only guy who did any kind of consistent damage, and the defense kept this game close when the Eagles were having trouble scoring early. Chicago averaged 23.3 points per game in the regular season and the Birds held them to 15 in their own building last night.

5) Drive positioning

In the regular season, the Eagles began their drives, on average, at their own 28 yard line.

For a while last night, the Bears were on top of the Birds with expert field-flipping, and the game finished with the Eagles starting their drives from these points:

own 25

own 1

own 7

own 25

own 32

own 17

own 26

own 14

own 40

Don’t underestimate the defensive series leading up to the game-winning drive. The Birds forced a three and out, pushed Chicago back two yards, and then got the benefit of a weak, 36 yard punt from Pat O’Donnell. That set up the Eagles with their best field position of the entire night, if you can believe it.

Prior to that drive, the Eagles only started past their season average once. If you add it all up, the Eagles started at their 20 yard line on average last night, which is eight yards deeper than their typical starting point. They really were pinned down a couple of times and did a good job of digging out. The only real nail-biting moment was Smallwood’s escape from what could have been a safety on the second drive.

6) “hey ref, you’re blowing the game”

Officiating items of note:

The Sproles 3rd down run on the third drive: He was stopped about a half-yard short of the marker and was given the first down anyway.

Michael Bennett roughing the passer: obviously he can’t punch the guy in the face, but Kyle Long is grabbing him by the shoulder pads up around the neck area well away from the play, which was corny.

The Avonte Maddox non-interception: pretty straightforward; his elbow touched down out of bounds. Avonte bobbled the first clean look, then ran out of real estate at the sideline.

The helmet to helmet hit on Zach Ertz: obvious contact with helmet, easy call.

The pass interference against Jordan Matthews: correct, Amukamara had him hooked and Matthews couldn’t free up his arm

Golden Tate: felt like he was interfered with on that no-call in the fourth quarter; the linebacker didn’t even turn his head around at all before making contact

The Smallwood two-point conversion: man, that was close.. I’d love to see goal line technology, the kind they use in some soccer leagues, though with all of the bodies in there I’m not sure how accurate the video would be

And then you have the “no clear recovery” ridiculousness before halftime, which still has me scratching my head.

Here is the explanation from the NATIONAL FOOTBALL LEAGUE:

Instant Replay Casebook, Page 11: pic.twitter.com/2YhK2qT310

— NFL Officiating (@NFLOfficiating) January 6, 2019

I guess the lesson is this: jump on any loose ball you can find, anywhere on the field, even if the whistle was already blown dead.

7) Auxiliary wins and losses

Here they are:

won time of possession, 30:48 minutes to 29:12 minutes

-2 turnover margin

6-13 on third down (46%)

1-1 on fourth down (game winning score)

allowed Bears to go 5-16 on third down (31%)

lost 8 yards on 1 sack

2-3 success rate in the red zone

3 penalties for 25 yards

They were -2 in turnover margin and found a way to win. I think that was primarily due to the great first-half defense and the way they limited Chicago on third downs. After that string of defensive penalties it was pretty much clean football down the stretch, so they really just executed well in other areas to wipe away the pair of interceptions. This was one of those games similar to a Sixers’ performance, where the turnovers don’t matter because they do well in offensive rebounding, three-point shooting, or a different auxiliary category.

The TOP is a big win as well. Plus-48 seconds doesn’t seem like much of an advantage at all, but Philly and Chicago were both top-three time of possession teams this season on the strength of their run defenses, and the Eagles went on the road and were able to do what they normally do in a difficult environment.

8) Doug’s best call?

I liked his play calls on the final drive and opening drive, particular the way he mixed and matched formations and personnel groupings and varied his under center and shotgun looks to keep Chicago off balance. Maybe he did run the ball too much, but he at least committed to the ground game, which did not allow the Bears to simply tee off in what would have been obvious passing situations. I think that probably helped the offensive line a bit.

One that I didn’t mention earlier was the Smallwood screen on that first drive, the big 22 yard gain that sort of set the tone and allowed them to continue down the field for three points. I honestly thought we might see more of Sproles in the screen game, since that’s something that stood out to me as a Bears’ weakness when I watched the film, just like Mike Mayock.

I also liked the wildcat look on the failed two-point conversion. Nice wrinkle, just about an inch away from success.

9) Doug’s worst call?

I liked the first Smallwood screen, but the one near the goal line was really iffy. I also didn’t really get the delayed handoff to Sproles on that one third down, the bobbled snap. Sometimes you can catch teams off guard with those third down runs, since they think it’s an obvious passing situation, but the Eagles weren’t running the ball for much of anything last night, so that felt risky to me.

The only other thing I disliked was obviously running Sproles twice in the red zone on the final drive. Imagine if the Eagles had lost this game; people would be outraged with those two calls and calling for Doug’s head.

10) The broadcast

Listen, I’m alright with Cris Collinsworth because it at least seems like he gives a shit about his job and shows some natural emotion throughout the course of a game. He seemed pretty dialed-in last night and identified some good X’s and O’s type of things. He did a nice job with the “color” part of color commentary.

Al Michaels was Al Michaels – kind of sleepy and only sort of there, though he did perk up at times. He blessed us with a Chase “Daniels” reference and I also appreciated how he tried make “LeBlanc” sound as French as possible every time he said Cre’Von’s last name. Michaels also had a weird sentence after the LeBlanc pass break-up/non fumble where he jumbled something like five words together. Did you hear that? It sounded like he just mushed an entire sentence into three syllables.

I also appreciate Michaels taking shots at the NFL rulebook and NFL officiating. He’s right, you know. It is easier to understand the Dead Sea Scrolls than whatever is written in that 400 page PDF file.

The only true gripe I had with the broadcast was that there were too many shots of Carson Wentz on the sidelines. Yes, he was the starting quarterback. No, he’s not playing in this current game. We are going to be subjected to 40 million hours of “Foles vs. Wentz” takes in the next five weeks, so I don’t need to see it or hear about it during the national game broadcast. Foles is in the game, so show Nick Foles.

Here’s the thing:

We are only blessed with 20-23 days per year that we can actually watch the Eagles. On the other 341 to 344 days, we just talk about the same shit over and over again, so let’s please keep it to on-field storylines when the game is actually taking place.

Thank you.

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