#Jeremy Halpern

[ptbf2002]

My Top 10 Favorite Direct-To-Video Movies

#10 Teen Titans GO! Vs. Teen Titans

#9 Mickey's Once Upon A Christmas

#8 Casper A Spirited Beginning

#7 Casper's Haunted Christmas

#6 Casper Meets Wendy

#5 Batman Vs. Teenage Mutant Ninja Turtles

#4 Looney Tunes: Rabbits Run

#3 We Bare Bears The Movie

#2 Tom And Jerry: Blast Off To Mars

And #1 Teen Titans: Trouble In Tokyo

Honorable Mentions: The Powerpuff Girls: 'Twas the Fight Before Christmas, Scooby-Doo! The Mystery Begins, Straight Outta Nowhere: Scooby-Doo! Meets Courage the Cowardly Dog, Craig Before the Creek, Rugrats Tales from the Crib: Three Jacks and a Beanstalk, Rocko's Modern Life: Static Cling, Invader Zim: Enter the Florpus, Rugrats Tales from the Crib: Snow White, As Told by Ginger: The Wedding Frame, The Loud House Movie, No Time to Spy: A Loud House Movie, Rise of the Teenage Mutant Ninja Turtles: The Movie

Original Template: https://www.deviantart.com/cobymaverick/art/My-Top-10-Favorite-Direct-to-Video-Films-Blank-1047492161

Teen Titans Go! Vs. Teen Titans Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, Aaron Horvath, Michael Jelenic, Marly Halpern-Graser, Jeremy Adams, Snipple Animation Studios Inc. DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Mickey's Once Upon A Christmas Belongs to Walt Disney, Ub Iwerks, Dick Lundy, Art Babbitt, Frank Webb, Charlie Cohen, Thomas Hart, Scott Gorden, Tom Nance, Carter Crocker, Richard Cray, Temple Mathews, Eddie Guzelian, Studio Basara, Disney Animation Canada, Inc. Disney Animation (Japan) Inc. Disney Television Animation, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises Inc. And The Walt Disney Company

Casper: A Spirited Beginning Belongs To Seymour Reit, Joe Oriolo, Jymn Magon, Thomas Hart, Thomas McCluskey, Rob Kerchner, Brookwell McNamara Entertainment, Inc. Harvey Comics, Harvey Comics Entertainment, Harvey Films, Harvey Entertainment, The Harvey Entertainment Company, Classic Media, LLC, Entertainment Rights PLC, DreamWorks Classics, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Saban Entertainment, Inc. BVS Entertainment, Inc. ABC Family Worldwide, FOX Family Worldwide Inc. FOX International Channels, FOX Networks Group, FOX Entertainment Group, FOX Entertainment, FOX Corporation, Disney General Entertainment Content, FOX Family Films, FOX Animation Studios, 20th Century Animation, Inc. 20th Century Studios, Inc. 20th Century Fox Home Entertainment, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, And The Walt Disney Company

Casper's Haunted Christmas Belongs to Seymour Reit, Joe Oriolo, Ian Boothby, Roger Fredericks, Mainframe Entertainment, Rainmaker Entertainment, Rainmaker Studios, Mainframe Studios, WOW! Unlimited Media Inc. Kartoon Studios, Inc. Harvey Comics, Harvey Comics Entertainment, Harvey Films, Harvey Entertainment, The Harvey Entertainment Company, Classic Media, LLC, Entertainment Rights PLC, DreamWorks Classics, DreamWorks Animation LLC, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Casper Meets Wendy Belongs To Seymour Reit, Joe Oriolo, Steve Mufatti, Jymn Magon, Brookwell McNamara Entertainment, Inc. Harvey Comics, Harvey Comics Entertainment, Harvey Films, Harvey Entertainment, The Harvey Entertainment Company, Classic Media, LLC, Entertainment Rights PLC, DreamWorks Classics, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Saban Entertainment, Inc. BVS Entertainment, Inc. ABC Family Worldwide, FOX Family Worldwide Inc. FOX International Channels, FOX Networks Group, FOX Entertainment Group, FOX Entertainment, FOX Corporation, Disney General Entertainment Content, 20th Century Fox Home Entertainment, 20th Century Studios, Inc. Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, And The Walt Disney Company

Batman vs. Teenage Mutant Ninja Turtles Belongs To Bob Kane, Bill Finger, Kevin Eastman, Peter Laird, James Tynion IV, Freddie Williams II, Marly Halpern-Graser, DR Movie Co., Ltd. IDW Publishing, Idea and Design Works, LLC, IDW Media Holdings, Inc. Mirage Studios, Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Global, DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Looney Tunes: Rabbits Run Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Hugh Davidson, Larry Dorf, Rachel Ramras, Rough Draft Korea Co., Ltd. Warner Bros. Animation Inc. Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

We Bare Bears The Movie Belongs To Daniel Chong, Christina Chang, Alex Chiu, Manny Hernandez, Yvonne Hsuan Ho, Quinne Larsen, Sang Yup Lee, Sooyeon Lee, Charlie Parisi, Lauren Sassen, Sarah Sobole, Louie Zong, Mikey Heller, Kris Mukai, Rough Draft Korea Co. Ltd. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry: Blast Off to Mars Belongs To William Hanna, Joseph Barbera, Bill Kopp, Toon City Animation Inc. Turner Entertainment Company, Warner Bros. Animation Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Teen Titans: Trouble in Tokyo Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, DongWoo Animation Co. Ltd. Kadokawa Shoten Publishing, DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Family Entertainment, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

[motorsportverso]

W2RC RALLY SONORA -DIA 1-PROLOGO

Resultado

Carros

1-202-Yazeed Al Rajhi(Sau)Michael Orr(GBR), Over Drive Toyota,

Toyota GR Hylux T1+, ,T1+ 5Min 18s

2-201 Nasser All Attyah(QAT)\Matheu Baumel(FRA),Toyota GR, Toyota GR Hylux T1+, T1+, 5 Min19s

3-202-Guerlain Chicheret\Alex Winoqc, Prodrive, Prodrive Hunter T1+,T1+ ,5 Min 22s

4-200-Sebastein Loeb\Fabian Lurquin, BRX, Prodrive Hunter T1+, T1+,

5 Min 28s

5-Sebastiam Halpern\Bernardo Graue , X-Raid Mini, Mini Cooper T1+,

5 Min 35s

UTVS T3

1-302-Mitchell Guthrie \ Kellon Walch, MCE 5 T3M, Red Bull Off Road Junior Team, 5 Min 45s

2-305-João Ferrerira\Filipe Palmero, Yamaha YXZ1000R , Yamaha X-Raid , 5 Min 45s

3-308-Matias Ekstrom\Emil Bergwist, Can-am Maverick X3, South Racing-Can-am , 5 min 45s

4-300-Seth Quintero\Dennis Zenz-Red Bull Off Road Junior Team,Can-am Maverick X3 , 5 min 50s

5-303-Francisco Lopez\Juan Pablo Latrach , Red Bull Can-am Factory Team , Can-am Maverick X3 , 5 min 56s

UTVS T4

1-400-Rokas Baciuska \ Olivier Mena, Can-am Maverick X3, Red Bull Can-am Factory Team , 6min00s

2-401-Shuinka Umeda\Facundo Jato, Polaris RZR Pro R, Extreme Plus Polaris Factory Team , 7 min 18s

3-402-Rebecca Busi\Sebastien Delauday , Can-am Maverick X3 XRS, FN Speed Team , 7 min 20s

Nat UTV\CARS

1-605-Sara Price\Jeremy Gray ,Can-am Maverick X3 , UTV Mod, 5 min 40s

**2-612-Carlos Castro Neto\Cadu Sachs, UTV Turbo, 6 min 16s

3-604-Daniel Reina, UTV , Polaris ,UTV Mod , 6 min 35s

4-601-Erik Pucilek\Mike Shirley, Predador X18, 2WD, 6 min 46s

5-608-Jim Price\Sienna Price, Textron Wilcat XX , UTV Open,

6 min50s

***os Brasileiros:

Nos Carros :

6º Marcos Baugard\Kleber Cinea (Prodrive)

11º Cristian Baugard\Beco Andreotti (Prodrive),

Nos UTVS T3

7º Austin Jones\Gustavo Gugelmin(BRA))(Can-am)

UTV Nat:

2º Castro Neto\Cadu Sachs

[thejourneyofjay]

The Anatomy Of A Scene

Max Richter's "On the Nature of Daylight" plays over the opening shots of Arrival, giving the audience a foreshadowing of what is to come. This particular track is used in numerous films (I've seen it in at least six or seven, including Shutter Island and The Innocents), and is the saddest song in the world, in my opinion. Amy Adams has a major role in Arrival. In the last hour of "Twilight," a gloomy feeling rapidly permeates the whole movie. As the tale opens, we learn that Dr. Louise Banks (Amy Adams) has suffered a devastating loss: Massive pod-shaped vehicles suddenly drop from the sky and hover over 12 distinct locations on Earth.

No one can explain why. Nothing happens, in fact. Colonel Weber (Forest Whitaker), a member of military intelligence, visits Dr. Banks to ask for her assistance in investigating and communicating with whichever intelligence is behind the landing as governments around the world try to figure out what it means and as people in those countries react by looting, joining cults, and even committing mass suicide. She travels to the mission location with the renowned quantum scientist Ian Donnelly (Jeremy Renner). With the help of a cynical Agent Halpern (Michael Stuhlbarg), they suit up and board the ship in an attempt to make contact. Avoid giving too much away about the plot, other than the fact that it will make your day to see it unfold.

While it's Denis Villeneuve's (Prisoners, Sicario) and Eric Heisserer's (Lights Out) most inventive film to date, the pace is slower than one would anticipate from an alien invasion movie. For a film dealing with so many complex ideas, it doesn't waste any more time on explanation than is really necessary. Like a Rubik's puzzle in the hands of a virtuoso, nothing in Arrival makes complete sense until the last moments when everything clicks into place. I literally said, "Wow!" and was leaned forward in my chair. The movie was just too good.

Throughout BlacKkKlansman, there's a more fascinating idea floating about that, if addressed, might have resulted in a far more dramatic and terrifying film. At one point, Patrice and Stallworth argue over the positive or negative effects that movies about black people have on the black community. Lee sometimes leans on this connection between black filmmaking of the 1970s and his own depiction of black people in this film by using stills from his prior films as examples. Later in the video, Harry Belafonte addresses the BSU and discusses the lynching of Jesse Washington in Waco in 1916 and the impact that the publication of D.W. Griffith's The Birth of a Nation had on national attitudes toward black people, the revival of the KKK, and the ensuing horrific mutilations and murders. The President of the United States, Woodrow Wilson, saw the video at the White House, he informs the BSU students, and called it "history written with lightning."

We transition to scenes of Duke and his KKK chapter watching The Birth of a Nation, where they cheer and pump their fists like they're at a sporting event. Yet Wilson's words are the ones that stay with you. Hollywood has had a significant impact on how Americans see race, helping to cement stereotypes that persist even after the film has ended and find their way into policy debates, political campaigns, and the voting booth. It's hardly a stretch to say that the film accurately portrays the impact of The Birth of a Nation. When coupled with the topic of blaxploitation films and black heroes, the effect is dramatic.

BlacKkKlansman had a tremendous chance to disturb both cinema buffs and casual audiences, since it is more approachable than many of Lee's more recent efforts, by reminding people that it's not only overtly racist films with overtly racist intentions that are to blame. Pictures are captivating for a number of reasons, but when we partake in them blindly, they may do actual damage to actual people. The audience's own complicity in perpetuating stereotypes may be shown via a film's examination of that topic. The film settles for satire of Trump and the Klan, two targets that only a moron would overlook in 2018. It's not totally off base. The fact that its implications are so easy to deduce reflects just how transparent the situation is.

The release of BlacKkKlansman just serves to deepen our disappointment. And the fact that we are able to see through these tragic illusions brings us great joy.

[dccomicsnews]

Teen Titans Go! vs Teen Titans Trailer Official Released

The wait is over! The first full trailer for the long-awaited Teen Titans Go! vs. Teen Titans crossover movie is finally here, and it looks awesome!

First teased in the post credit scene of Teen Titans Go! To The Movies and then again on the DVD/Blu-ray release, this movie has been something fans of the original 2003 series and fans of TTG alike have been looking forward to seeing.

Check out the

[animesuperhero0]

Via IGN’s press release: In ‘Teen Titans Go! Vs. Teen Titans,’ the two teams are pitted against each other when villains from each of their worlds join forces. The two very different Titan teams will need to set aside their differences and work together to combat Trigon, Hexagon, Santa Claus (yes, Santa Claus) and time…

New Trailer for Teen Titans Go! Vs. Teen Titans was originally published on Anime Superhero News

[thekidwholaughslikeapsychopath]

Arrival (2016)

Cinematographer: Bradford Young

Cast: Amy Adams (Louise Banks), Jeremy Renner (Ian Donnelly), Forest Whitaker (Colonel G. T. Weber), Michael Stuhlbarg (Agent Halpern), Mark O’Brien (Captain Marks), Tzi Ma (General Shang)

Director: Denis Villenueve

I’m back. Here’s a cinematography post. Feel free to save some as a wallpaper.

[awardseason]

2020 BAFTA Awards - Winners

Best Film 1917 — WINNER The Irishman Joker Once Upon A Time… In Hollywood Parasite

Outstanding British Film 1917 — WINNER Bait For Sama Rocketman Sorry We Missed You The Two Popes

Director 1917, Sam Mendes — WINNER The Irishman, Martin Scorsese Joker, Todd Phillips Once Upon A Time… In Hollywood, Quentin Tarantino Parasite, Bong Joon-Ho

Leading Actress Jessie Buckley, Wild Rose Scarlett Johansson, Marriage Story Saoirse Ronan, Little Women Charlize Theron, Bombshell Renée Zellweger, Judy — WINNER Leading Actor Leonardo Dicaprio, Once Upon A Time… In Hollywood Adam Driver, Marriage Story Taron Egerton, Rocketman Joaquin Phoenix, Joker — WINNER Jonathan Pryce, The Two Popes Supporting Actress Laura Dern, Marriage Story — WINNER Scarlett Johansson, Jojo Rabbit Florence Pugh, Little Women Margot Robbie, Bombshell Margot Robbie, Once Upon A Time… In Hollywood Supporting Actor 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 — WINNER

Outstanding Debut By A British Writer, Director Or Producer Bait, Mark Jenkin (Writer/Director), Kate Byers, Linn Waite (Producers) — WINNER For Sama, Waad Al-Kateab (Director/Producer), Edward Watts (Director) Maiden, Alex Holmes (Director) Only You, Harry Wootliff (Writer/Director) Retablo, Álvaro Delgado-Aparicio (Writer/Director) Film Not In The English Language The Farewell For Sama Pain And Glory Parasite — WINNER Portrait Of A Lady On Fire Documentary American Factory Apollo 11 Diego Maradona For Sama — WINNER The Great Hack Animated Film Frozen 2 Klaus — WINNER A Shaun The Sheep Movie: Farmageddon Toy Story 4 Original Screenplay Booksmart, Susanna Fogel, Emily Halpern, Sarah Haskins, Katie Silberman Knives Out, Rian Johnson Marriage Story, Noah Baumbach Once Upon A Time… In Hollywood, Quentin Tarantino Parasite, Han Jin Won, Bong Joon-Ho — WINNER Adapted Screenplay The Irishman, Steven Zaillian Jojo Rabbit, Taika Waititi — WINNER Joker, Todd Phillips, Scott Silver Little Women, Greta Gerwig The Two Popes, Anthony Mccarten

Original Score 1917, Thomas Newman Jojo Rabbit, Michael Giacchino Joker, Hildur Guđnadóttir — WINNER Little Women, Alexandre Desplat Star Wars: The Rise Of Skywalker, John Williams Casting Joker, Shayna Markowitz — WINNER Marriage Story, Douglas Aibel, Francine Maisler Once Upon A Time… In Hollywood, Victoria Thomas The Personal History Of David Copperfield, Sarah Crowe The Two Popes, Nina Gold Cinematography 1917, Roger Deakins — WINNER The Irishman, Rodrigo Prieto Joker, Lawrence Sher Le Mans ’66, Phedon Papamichael The Lighthouse, Jarin Blaschke Editing The Irishman, Thelma Schoonmaker Jojo Rabbit, Tom Eagles Joker, Jeff Groth Le Mans ’66 (Ford v Ferrari), Andrew Buckland, Michael Mccusker — WINNER Once Upon A Time… In Hollywood, Fred Raskin Production Design 1917, Dennis Gassner, Lee Sandales — WINNER The Irishman, Bob Shaw, Regina Graves Jojo Rabbit, Ra Vincent, Nora Sopková Joker, Mark Friedberg, Kris Moran Once Upon A Time… In Hollywood Barbara Ling, Nancy Haigh Costume Design The Irishman, Christopher Peterson, Sandy Powell Jojo, Rabbit Mayes C. Rubeo Judy, Jany Temime Little Women, Jacqueline Durran — WINNER Once Upon A Time… In Hollywood, Arianne Phillips Make Up & Hair 1917, Naomi Donne Bombshell, Vivian Baker, Kazu Hiro, Anne Morgan — WINNER Joker, Kay Georgiou, Nicki Ledermann Judy, Jeremy Woodhead Rocketman, Lizzie Yianni Georgiou Sound 1917, Scott Millan, Oliver Tarney, Rachael Tate, Mark Taylor, Stuart Wilson — WINNER Joker, Tod Maitland, Alan Robert Murray, Tom Ozanich, Dean Zupancic Le Mans ’66, David Giammarco, Paul Massey, Steven A. Morrow, Donald Sylvester Rocketman, Matthew Collinge, John Hayes, Mike Prestwood Smith, Danny Sheehan Star Wars: The Rise Of Skywalker, David Acord, Andy Nelson, Christopher Scarabosio, Stuart Wilson, Matthew Wood Special Visual Effects 1917, Greg Butler, Guillaume Rocheron, Dominic Tuohy — WINNER Avengers: Endgame, Dan Deleeuw, Dan Sudick The Irishman, Leandro Estebecorena, Stephane Grabli, Pablo Helman The Lion King, Andrew R. Jones, Robert Legato, Elliot Newman, Adam Valdez Star Wars: The Rise Of Skywalker, Roger Guyett, Paul Kavanagh, Neal Scanlan, Dominic Tuohy British Short Animation Grandad Was A Romantic, Maryam Mohajer — WINNER In Her Boots, Kathrin Steinbacher The Magic Boat, Naaman Azhari, Lilia Laurel British Short Film Azaar, Myriam Raja, Nathanael Baring Goldfish, Hector Dockrill, Harri Kamalanathan, Benedict Turnbull, Laura Dockrill Kamali, Sasha Rainbow, Rosalind Croad Learning To Skateboard In A Warzone (If You’re A Girl), Carol Dysinger, Elena Andreicheva — WINNER The Trap, Lena Headey, Anthony Fitzgerald Rising Star Award Awkwafina Jack Lowden Kaitlyn Dever Kelvin Harrison Jr. Micheal Ward — WINNER

Outstanding Contribution to Cinema Andy Serkis

[carocinematv]

BAFTA 2020

British Academy of Film and Television Arts, anche conosciuti come gli oscar britannici, premiano annualmente le migliori produzioni cinematografiche al Royal Albert Hall di Londra. Quest’anno la cerimonia si svolta il 2 febbraio 2020 ed è stata presentata dal celebre conduttore tv e comico irlandese Graham Norton. Sul red carpet gran parte dello star system e del jet-set UK e non solo, accanto a star internazionali ed i duchi di Cambridge, Kate e William, presenti al primo evento mondano all’indomani dell’addio alla casa reale del Principe Harry e della definitiva rottura con l’Unione Europea.

Tutto sommato è stato un inizio 2020 piuttosto caldo per la politica britannica, una serata glamour ed ampi sorrisi non può certo stonare. I premi assegnati sono stati tantissimi, tanto per cominciare il premio per il contributo al cinema britannico, un riconoscimento alla carriera si può ben dire, è andato ad Andy Serkis, il primo seduto a sinistra nella foto di gruppo dei vincitori. Alcuni film si sono confermati un successo internazionale, ottenendo il secondo riconoscimento, dopo i Golden Globe di appena un mese fa.

Tra questi, a trionfare sicuramente 1917, di Sam Mendes, che si è aggiudicato ben 7 statuette, accostando ai premi già vinti ai Golden Globe, la maschera dei BAFTA 2020 per miglior regia e miglior film. La giuria britannica non si è limitata a considerarlo come il miglior film (dell’anno) ma ha scelto di ampliare il parterre di elogio premiandolo come miglior film britannico, per la fotografia, gli effetti speciali, il sonoro e la scenografia. Insomma, se non l’avete ancora visto, correte!

Il film evento del 2019, made in Corea, Parasite nonostante la candidatura come miglior regia e miglior film (dell’anno), si conferma anche a Londra come miglior film straniero ed aggiunge sulla mensola il premio per la migliore sceneggiatura originale.

E’ l’anno di Joker interpretato da Joaquin Phoenix come miglior attore, che nei suoi ringraziamenti ha fatto notare l’assenza di meritevoli colleghi di colore nella schiera dei nominati. Il villain della DC Comics aveva ottenuto 4 candidature ai Golden Globe vincendone 2 (miglior attore e miglior colonna sonora), gli stessi ottenuti anche a Londra, seppure le nominations fossero ben 10.

Altra conferma da Los Angeles per la miglior attrice: confermata Renée Zellweger anche dai cugini britannici. La sua interpretazione in Judy completerebbe la tripletta dei premi più prestigiosi al mondo con l’Oscar del 9 febbraio! Idem anche Laura Dern in Storia di un matrimonio e Brad Pitt in C’era una volta a… Hollywood per i ruoli da non protagonisti.

C’è delusione per l’ultimo film di Quentin Tarantino,  C’era una volta a… Hollywood, a Londra. Stessa sorte anche per Martin Scorsese che, nonostante le 10 nominations per The Irishman, torna a casa a mani vuote.

Torno a gioire per Klaus, il film d’animazione nuovamente vincitore! La produzione Netflix ha saputo dosare l’arte dell’animazione e la magia del Natale in un prodotto eccellente e meritevole di tanto prestigio. La conferma del successo anche al BAFTA 2020 è una riprova della crescita che il cinema spagnolo sta vivendo, grazie – e soprattutto #imho – alla presenza del colosso mondiale dello streaming.

La mia personale delusione è per Piccole Donne, l’adattamento e la regia di Greta Gerwig avrebbe certamente meritato molto più del solo premio al miglior costume. La concorrenza è spietata sul fronte interpretativo (nominations per: miglior attrice protagonista per Saoirse Ronan, non protagonista per Florence Pugh) ma continuo a pensare che Piccole Donne non abbia rivali per colonna sonora di Alexander Desplat, BAFTA 2020 invece vinto da Hildur Guðnadóttir per Joker e sceneggiatura non originale della Gerwig, vinto da Taika Waititi per Jojo Rabbit.

Nell’attesa dell’ultima e più importante tornata di premi Oscar di domenica 9 Febbraio, lascio la lista completa di nominati e vincitori dei BAFTA 2020 per futura memoria:

MIGLIOR FILM

1917 THE IRISHMAN JOKER C’ERA UNA VOLTA…A HOLLYWOOD PARASITE

MIGLIORI FILM BRITANNICI 

1917 BAIT – L’ESCA FOR SAMA ROCKETMAN SORRY WE MISSED YOU I DUE PAPI

MIGLIOR DEBUTTO PER UNO SCENEGGIATORE, REGISTA O PRODUTTORE BRITANNICO 

BAIT Mark Jenkin (Writer/Director), Kate Byers, Linn Waite (Producers) FOR SAMA Waad al-Kateab (Director/Producer), Edward Watts (Director) MAIDEN Alex Holmes (Director) ONLY YOU Harry Wootliff (Writer/Director) RETABLO Álvaro Delgado-Aparicio (Writer/Director)

MIGLIOR FILM NON IN LINGUA INGLESE

PARASITE Bong Joon-ho THE FAREWELL Lulu Wang, Daniele Melia FOR SAMA Waad al-Kateab, Edward Watts PAIN AND GLORY Pedro Almodóvar, Agustín Almodóvar PORTRAIT OF A LADY ON FIRE Céline Sciamma, Bénédicte Couvreur

MIGLIOR DOCUMENTARIO

FOR SAMA Waad al-Kateab, Edward Watts AMERICAN FACTORY Steven Bognar, Julia Reichert APOLLO 11 Todd Douglas Miller DIEGO MARADONA Asif Kapadia THE GREAT HACK Karim Amer, Jehane Noujaime

MIGLIOR FILM D’ANIMAZIONE

KLAUS Sergio Pablos, Jinko Gotoh FROZEN 2 Chris Buck, Jennifer Lee, Peter Del Vecho A SHAUN THE SHEEP MOVIE: FARMAGEDDON Will Becher, Richard Phelan, Paul Kewley TOY STORY 4 Josh Cooley, Mark Nielsen

MIGLIOR REGISTA

1917 Sam Mendes THE IRISHMAN Martin Scorsese JOKER Todd Phillips C’ERA UNA VOLTA…A HOLLYWOOD Quentin Tarantino PARASITE Bong Joon-ho

MIGLIOR SCENEGGIATURA ORIGINALE

PARASITE Han Jin Won, Bong Joon-ho BOOKSMART Susanna Fogel, Emily Halpern, Sarah Haskins, Katie Silberman KNIVES OUT Rian Johnson STORIA DI UN MATRIMONIO Noah Baumbach C’ERA UNA VOLTA…A HOLLYWOOD Quentin Tarantino

MIGLIOR SCENEGGIATURA NON ORIGINALE

JOJO RABBIT Taika Waititi THE IRISHMAN Steven Zaillian JOKER Todd Phillips, Scott Silver PICCOLE DONNE Greta Gerwig THE TWO POPES Anthony McCarten

MIGLIOR ATTRICE PROTAGONISTA

RENÉE ZELLWEGER Judy JESSIE BUCKLEY Wild Rose SCARLETT JOHANSSON Storia di un Matrimonio SAOIRSE RONAN Piccole Donne CHARLIZE THERON Bombshell

MIGLIOR ATTORE PROTAGONISTA

JOAQUIN PHOENIX Joker LEONARDO DICAPRIO Once Upon a Time… In Hollywood ADAM DRIVER Storia di un Matrimonio TARON EGERTON Rocketman JONATHAN PRYCE I due Papi

MIGLIOR ATTRICE NON PROTAGONISTA

LAURA DERN Storia di un matrimonio SCARLETT JOHANSSON Jojo Rabbit FLORENCE PUGH Piccole Donne MARGOT ROBBIE Bombshell MARGOT ROBBIE Once Upon a Time… in Hollywood

MIGLIORE ATTORE NON PROTAGONISTA

BRAD PITT Once Upon a Time… in Hollywood TOM HANKS Un Amico Straordinario ANTHONY HOPKINS I due Papi AL PACINO The Irishman JOE PESCI The Irishman

MIGLIORI MUSICHE ORIGINALI

JOKER Hildur Guđnadóttir 1917 Thomas Newman JOJO RABBIT Michael Giacchino PICCOLE DONNE Alexandre Desplat STAR WARS: L’ASCESA DI SKYWALKER John Williams

CASTING

JOKER Shayna Markowitz STORIA DI UN MATRIMONIO Douglas Aibel, Francine Maisler C’ERA UNA VOLTA…A HOLLYWOOD Victoria Thomas THE PERSONAL HISTORY OF DAVID COPPERFIELD Sarah Crowe I DUE PAPI Nina Gold

MIGLIOR FOTOGRAFIA

1917 Roger Deakins THE IRISHMAN Rodrigo Prieto JOKER Lawrence Sher LE MANS ’66 Phedon Papamichael THE LIGHTHOUSE Jarin Blaschke

MIGLIOR MONTAGGIO

LE MANS ’66 Andrew Buckland, Michael McCusker THE IRISHMAN Thelma Schoonmaker JOJO RABBIT Tom Eagles JOKER Jeff Groth ONCE UPON A TIME… IN HOLLYWOOD Fred Raskin

PRODUCTION DESIGN

1917 Dennis Gassner, Lee Sandales THE IRISHMAN Bob Shaw, Regina Graves JOJO RABBIT Ra Vincent, Nora Sopková JOKER Mark Friedberg, Kris Moran C’ERA UNA VOLTA…A HOLLYWOOD Barbara Ling, Nancy Haigh

COSTUME DESIGN

PICCOLE DONNE Jacqueline Durran THE IRISHMAN Christopher Peterson, Sandy Powell JOJO RABBIT Mayes C. Rubeo JUDY Jany Temime C’ERA UNA VOLTA…A HOLLYWOOD Arianne Phillips

MIGLIOR TRUCCO E PARRUCCO

BOMBSHELL Vivian Baker, Kazu Hiro, Anne Morgan 1917 Naomi Donne JOKER Kay Georgiou, Nicki Ledermann JUDY Jeremy Woodhead ROCKETMAN Lizzie Yianni Georgiou

MIGLIORI EFFETTI SONORI

1917 Scott Millan, Oliver Tarney, Rachael Tate, Mark Taylor, Stuart Wilson JOKER Tod Maitland, Alan Robert Murray, Tom Ozanich, Dean Zupancic LE MANS ’66 David Giammarco, Paul Massey, Steven A. Morrow, Donald Sylvester ROCKETMAN Matthew Collinge, John Hayes, Mike Prestwood Smith, Danny Sheehan STAR WARS: L’ASCESA DI SKYWALKER David Acord, Andy Nelson, Christopher Scarabosio, Stuart Wilson, Matthew Wood

MIGLIORI EFFETTI SPECIALI

1917 Greg Butler, Guillaume Rocheron, Dominic Tuohy AVENGERS: ENDGAME Dan Deleeuw, Dan Sudick THE IRISHMAN Leandro Estebecorena, Stephane Grabli, Pablo Helman IL RE LEONE Andrew R. Jones, Robert Legato, Elliot Newman, Adam Valdez STAR WARS: L’ASCESA DI SKYWALKER Roger Guyett, Paul Kavanagh, Neal Scanlan, Dominic Tuohy

MIGLIORI CORTI D’ANIMAZIONE BRITANNICI

GRANDAD WAS A ROMANTIC. Maryam Mohajer IN HER BOOTS Kathrin Steinbacher THE MAGIC BOAT Naaman Azhari, Lilia Laurel

MIGLIORI CORTOMETRAGGI

LEARNING TO SKATEBOARD IN A WARZONE (IF YOU’RE A GIRL) Carol Dysinger, Elena Andreicheva AZAAR Myriam Raja, Nathanael Baring GOLDFISH Hector Dockrill, Harri Kamalanathan, Benedict Turnbull, Laura Dockrill KAMALI Sasha Rainbow, Rosalind Croad THE TRAP Lena Headey, Anthony Fitzgerald

EE RISING STAR AWARD

Si tratta del premio per stelle nascenti in ambito artistico, assegnato con voto del pubblico

MICHEAL WARD AWKWAFINA JACK LOWDEN KAITLYN DEVER KELVIN HARRISON JR.

[fly-pow-bye]

ThunderCats Roar - “Mumm-Ra The Ever Living”

Co-Executive Producer: Victor Courtright

Supervising Producer: Nate Cash

Producer: Marly Halpern-Graser

Story by: Joan Ford

Teleplay by: Lesley Tsina

Directed by: Jeremy Polgar

Yup, that’s the name of the villain, alright.

Our adventure begins with a look at the daily life of Mumm-Ra, who manages to find various magical artifacts that give him his full strength. Every time he does this, the ThunderCats barge in, destroy it, turn Mumm-Ra The Ever Living back into his skeleton form, and finish him off by mocking him. One day, it's an evil orb. Another day, it's an evil stick. Another day, it's a evil Burger King crown. Okay, maybe it's just a regular crown, but that's the first thing to come to my mind.

This builds up to one day, where he just wants to relax and listen to his tape player, and, all because he was in his giant form, the ThunderCats come in and just smash everything in the room, including said tape player, until they find the jar that was making him big. One may almost feel kind of sorry for Mumm-Ra, even if he is a known jerk. As Mumm-Ra vows to take revenge from the ThunderCats inaccurate portrayals of him in their mocking tones, he finds a plug that wasn't connected to anything.

That was the plug for the Ancient Spirits of Evil, making this episode the first time these statues actually did anything except make his lair look cool. They celebrate finally being plugged in after "like, a million years" is to mock Mumm-Ra for not being able to defeat the ThunderCats. How would they know who the ThunderCats are if they weren't plugged in? It could be argued that these statues could be all-knowing, but this episode will disprove that.

The Ancient Spirits do have something else that could actually help Mumm-Ra and not just remind him of his constant failure: they can also give him the power to become Mumm-Ra the Ever Living, as long as they know the incantation. Thankfully for Mumm-Ra, they just write it out in his cauldron so he can recite it.

Getting powered up this way gives him a couple more bonus powers along with his strength and transformation abilities: the ability to control people's dreams, the ability to capture souls, and mind control. He doesn't seem to do the last two in this episode, but he does think of another ability he has that could counter the non-Tygra ThunderCats' great ability to mock him, as he laughs evilly.

In a masterful transition, Mumm-Ra's laughter fades right into the ThunderCats laughing at even more wacky impressions of that evil oafish goof. Both times, Tygra tries to butt in with his own not-so-impressive impression, much to the derision of his teammates. One may almost feel sorry for him if he wasn't...poor Tygra.

As they go to sleep, the night becomes a dark and stormy one, and the ThunderCats each receive their very own nightmare, courtesy of the master of impressions.

I'm not going to lie, this does lead to some interesting scenes. He could have just kidnapped them while they were asleep, but Mumm-Ra decides to use his newfound ability to alter dreams to give us some really cool scenes. Panthro has to experience his Thundertank turning into a giant mechanical cat monster, and Cheetara has to race through an endless corridor. With each of these scenes, Mumm-Ra, who usually turns himself into an imitation has his own witty counter-comebacks to fit in with the episode's theme of impressions.

However, the creativity isn't consistent, as Lion-O just gets covered with burritoes and Wilykit and Wilykat end up getting trapped in their Game and Watches, and those scenes last as long as Mumm-Ra's funny impressions of them. Tygra's is a little bit better, as they do reference the running gag of him not doing well with impressions with Mumm-Ra's impression not being very good either. He just puts him in a bag, and Snarf just walks in. I guess they couldn't think of a Snarf nightmare scene.

They end up getting locked in small cages, and Lion-O does a monologue about how Mumm-Ra "cheated." No, not because he used ancient spirits, but because impressions are supposed to be just for fun, not to be evil. He may as well just say, "Mumm-Ra's impressions are wrong because he's a bad guy and we're the good guys." Cheetara demonstrates this "fun" Lion-O is talking about by doing another "funny" Mumm-Ra impression, which is just her saying "I'm Mumm-Ra the ever living" in a mocking voice. One may notice I haven't quoted any of those supposedly witty impressions, and that's because that's pretty much most of them. At least Mumm-Ra's impressions from earlier at least reference some insecurity with each of them.

Confusing the mocking for the genuine article, the Ancient Spirits of Evil suddenly start talking. There is one snag: they can't know what incantation they have to say to turn themselves into Mumm-Ra The Ever Living. Thankfully, the spirits just tell them exactly what to say, because they buy Wilykat's excuse that he has "mummy-brain". They only had 3 more minutes left, I can't blame them.

Thanks to them saying the incantation that was spoon-fed to them, the Spirits gives them the power of the Ever Living, turning them giant and, in the case of Wilykit, Wilykat, and Cheetara, muscular. Except for Tygra, who, despite all of his training in thespian arts, can't seem to say the incantation in any voice that doesn't sound like a Berbil. To add insult to Tygra's near constant injuries in this episode and throughout this whole series, even Snarf was able to convince them to make him grow big, even though Snarf can't even talk.

With their new abilities, we get a fight scene showing their now equal strength and word-play. Lion-O, at one point, makes him eat dirt. Yes, because imitations are supposed to be fun and not evil, and nothing is less evil than shoving dirt in people's mouths. Again, he is an evil guy who locks people in cages, so his role as the punching bag is still justified.

Don't feel too sad for the other punching bag of the episode, though, as, even with just his relatively tiny body, he's able to deal the last blow with his bola whip. He still wishes anyone would be impressed by his impressions, though.

In the end, we do get some closure on the Tygra running gag, and the other ThunderCats celebrate by using their Ever Living abilities, which, outside of the strength, they really only used in this ending scene, to fly back home, leaving Tygra behind. I am still not convinced that this whole series is going to be Tygra's villain origin. We can also only make the assumption that the powers eventually wear off, as this episode just suddenly ends with a "The End" title card...

...complete with a fart sound. Because of course.

How does it stack up?

The nightmare scenes are pretty creative, but other than that, it's pretty adequate.

Next, pirates.

← Study Time 🐈 Berserkers →

[batmannotes]

In Teen Titans Go! Vs. Teen Titans, the comedic modern-day quintet takes on their 2003 counterparts when villains from each of their worlds join forces to pit the two Titan teams against each other. They’ll need to set aside their differences and work together to combat Trigon, Hexagon, Santa Claus (that’s right, Santa!) and time itself in order to save the universe.

Teen Titans Go! Vs. Teen Titans features the beloved multi-series cast of the past 17 years: Greg Cipes (The Middle, Teenage Mutant Ninja Turtles) as Beast Boy, Scott Menville (LEGO DC: Batman – Family Matters) as Robin, Khary Payton (The Walking Dead) as Cyborg, Tara Strong (Batman: The Animated Series, My Little Pony, Unikitty!) as Raven, and Hynden Walch (Adventure Time, Groundhog Day) as Starfire. The cast also spotlights Kevin Michael Richardson (The Simpsons, Family Guy, American Dad!) as Trigon/Hexagon, Robert Morse (Mad Men, How To Succeed in Business Without Really Trying) as Santa Claus, Grey Griffin (Scooby-Doo franchise, DC Super Hero Girls, The Fairly OddParents) as Mrs. Claus, Rhys Darby (Flight of the Conchords, Voltron: Legendary Defender) as Master of Games, Sean Maher (Firefly, Serenity) as Nightwing, and four-time Grammy Award winner “Weird Al” Yankovic (Milo Murphy’s Law) as Gentleman Ghost and Darkseid.

Teen Titans Go! Vs. Teen Titans is produced and directed by Jeff Mednikow (Be Cool, Scooby-Doo!, Teen Titans Go!) from a script by Marly Halpern-Graser (Batman vs. Teenage Mutant Ninja Turtles) and Jeremy Adams (LEGO DC: Batman – Family Matters). Sam Register is executive producer. Executive Producers are Aaron Horvath (Teen Titans Go!, Unikitty!) and Michael Jelenic (Teen Titans Go!, Batman: The Brave and the Bold).

“Teen Titans Go! Vs. Teen Titans is the ultimate film for Titans fans, offering an action-packed mash-up of the classic 2003 Teen Titans’ serious, dedicated approach to crime-fighting alongside the beloved current-day Teen Titans’ comedic style,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing. “This film truly has something for every Titans fan.”

Teen Titans Go! Vs. Teen Titans Enhanced Content

Blu-ray Combo Pack, DVD and Digital

Teen Titans Go! "Legendary Sandwich" - Raven sends the Titans on a quest to find ingredients for a magical sandwich.

Teen Titans Go! "Mr. Butt" - Blackfire pays a surprise visit to her sister Starfire. The other Titans think Blackfire is playing another trick, but Starfire is certain this time Blackfire is serious about reviving their sisterly love.

Teen Titans Go! "Cat's Fancy" - Robin decides to become a cat so that Starfire will finally love him.

Teen Titans Go! "Shrimps and Prime Rib” - The Titans try to remember how to be superheroes and stop The Brain.

Teen Titans Go! "The Scoop" - When Starfire becomes obsessed with an ice cream scoop, the others try to teach her that inanimate objects can't replace people.

Teen Titans Go! "Chicken in the Cradle" - In the Season Five premiere, Beast Boy neglects his responsibilities leaving the other Titans to raise his baby chick.

Teen Titans, "Final Exam" - Slade hires the newest graduates of the H.I.V.E. to take on the Teen Titans.

Teen Titans, "How Long is Forever" - Starfire is accidentally sucked into a wormhole that sends her 20 years into the future.

Teen Titans, "Deception" - When the Titans find out Brother Blood has an academy for young super villains, Cyborg goes undercover to find out more about the operation.

Teen Titans Go! Top of the Titans: The Raddest Songs ( Feature ) - A Teen Titans Go! special mini-series hosted by Birdarang, who counts down the top 12 "raddest" songs from the show.

Teen Titans Go! Top of the Titans: Titans Dance Party ( Feature ) - A Teen Titans Go! special mini-series hosted by Birdarang, who counts down the top 13 best dance songs or moments from the show.

Teen Titans Go! Top of the Titans: Best Rivals ( Feature ) - A Teen Titans Go! special mini-series hosted by Robin, leader of the Titans, who counts down the top 15 best rivals from the show.

Sing-along ( Feature ) - Join in and sing-along with "We are Teen Titans" and the "Worlogog" tunes featuring Cyborg, never before on video!

Teen Titans Go! Vs. Teen Titans will also be available on Movies Anywhere. Using the free Movies Anywhere app and website, consumers can access all their eligible movies by connecting their Movies Anywhere account with their participating digital retailer accounts.

Preorder at Amazon.

[theotherjourney7]

“Why didn't we lockdown earlier?

This is a subject about which theories are put forward endlessly....

Two key areas emerged. The idea of lockdown fatigue and where we were on the epidemic cycle.

Lockdown fatigue first:

It seems hard to recall now but one of the main reasons given as to why Britain wasn't locking down as other countries were was the idea of behavioural fatigue.

The idea that this was a bullet which could be fired once and after a period we'd tire of it.

When you rewatch the govt briefings it's surprising how prominent it is.

Eg Whitty 9th March:

"It is important on this - it’s not just a matter of what you do, it is also a matter of when you do it. Once we’ve started these things, you’ll have to continue them through the peak and that is for a period of time and there is a risk that if we go too early, people will understandably get fatigued and it’ll be difficult to sustain this over time."

One of the leading modellers who sits on SPI-M (effectively govt modelling service for the pandemic) Professor Mike Tildsely, told us this assumption was a key part of their modelling. He told us their assumption was lockdown could last for four to five weeks.

But he couldn't tell me where the evidence for that assumption came from. It was just, kind of there.

You might think that if it came from anywhere, it would be from SPI-B, the govt's expert group which advises on behavioural science and psychology

But it didn’t.

In fact, one of its leading members, Robert West, told us there was no evidence for behavioural fatigue at all.

“It certainly didn’t come from Spi-B. And it is not a behavioural sci term. If you look in the literature you won't find it because it doesn’t exist.”

The fact it isn't in the science is really odd because Whitty spoke as if it were.

12th March: " An important part of the science on this is actually the behavioural science, and what that shows is probably common sense to everybody in this audience which is that people start off with the best of intentions but enthusiasm at a certain point starts to flag."

We now know that was wrong- the public were willing to tolerate lockdown for far longer than experts assumed.

But it isn't just hindsight- there were sceptics at the time

On 12th March Jeremy Hunt told Kirsty Wark that he was sceptical about it and he'd like to see the modelling and thinking behind the assumption

If he'd got his wish, what would he have seen?

Spi B Minutes from 4th March say:

"Empirical evidence for the behavioural and social impact of, and adherence to, each of the strategies is limited. We are not aware of any evidence on their interaction."

No joy there

SAGE minutes from 13th March -

"There is no strong evidence for public compliance rates changing during a major emergency."

So where did it come from?

Off the record, scientists and officials have pointed us to the influence of the Behavioural Insights Team (Nudge Unit)

In an unbroadcast interview w/ Mark Easton from 10th March, David Halpern (head of Nudge) talks about the idea of fatigue: "You don't want to cry wolf - you want to start asking people to do these things which are potentially quite a big ask when they're likely to be effective”

The BIT has told us they were categorically not responsible for advice on fatigue.

But it is striking that the CMO was talking about "the science" of this, for something with no science to its name

This is important. If ministers hadn’t been told about fatigue, it's is at least possible that they’d have been more likely to lockdown earlier and (as many experts say) lives could have been spared.

The other main driver of lockdown timing we focussed on was another assumption (or calculation) which turned out to be wrong: where we were on the epidemic curve.

On 12th March Vallance said the govt thought we were 10-12 weeks away from the peak

It was more like 4-5

On 16th March Vallance accepted we weren't 4 weeks behind Italy but more like three. That was later revised again.

When asked why we weren't locking down, ministers and officials repeatedly said that we were behind the curve of other countries

It was a fateful miscalculation

As Professor Paul Hunter of UEA told us: "Everything we were looking at was 2-3 weeks out of date about what the infection was doing in the community. That was a big error and, I think, that has undoubtedly led to the large numbers of deaths and the duration of the lockdown."

Ie the central assumption around trying to time precisely time lockdown was foolhardy because in so doing (and on basis of bad data) you just lead to a longer lockdown:" If you start the lockdown sooner, it goes away quicker cos you’ve got fewer cases to get back down again."

In many ways, these questions address one which has been striking for months- why it is that Britain, with all its scientific capacity could perform so much worse than countries with very little

The natural answer is the politicians but that's not the whole picture

Instead can make an argument that politicians

1) waited for the science too long to make judgments

2) didn't consult a wide enough body of science (too many modellers not enough from public health, a common complaint from those we interviewed )

Ie why did certain countries with less scientific capacity do better than us? They didn't think they could finely calibrate a response, model it and reap the benefits. They used the precautionary principle, that this was a virus about which we knew little and should act as such.

Greg Clark, Conservative chair of the Science committee told us: “if you commit to taking scientific advice - there’s something in nature of a scientific body that is going to proceeding on a scientific basis....”

Takes time for evidence to come in, be analysed and conclusions to be drawn. It maybe that other countries that didn't make such a big and public commitment to following the science were free to make judgements that anticipated the evidence.”

BIT (Nudge Unit) told us: "BIT categorically never proposed or suggested ‘behavioural fatigue’ with respect to covid-19, and in particular never proposed fatigue as grounds to delay or shorten social distancing or any other measures aimed at covid-19....

"However the phrase entered the public or policy discourse, it was not from us. We have given advice and undertaken extensive testing in the UK and elsewhere on some messaging around certain behaviour changes that help in the fight against covid-19. For example, effective handwashing. As with all our work, this has always been rooted in the most up to date research from across academia and the results of our own trials and analysis."

The government declined to be interviewed for the piece or for last night's programme. However, they did tell us: "“This is a new virus and an unprecedented global pandemic, and our strategy to protect the NHS and save lives was clear from the outset. At every stage, we have been guided by the advice of experts from SAGE and its sub-committees and our response ensured the NHS was not overwhelmed, even at the virus’ peak, so that everyone was always able to get the best possible care.”-Lewis Goodall

[psychodollyuniverse]

Arrival is a stunning science fiction movie with deep implications for today 

Science fiction is never really about the future; it’s always about us. And Arrival, set in the barely distant future, feels like a movie tailor-made for 2016, dropping into theaters mere days after the most explosive election in most of the American electorate’s memory.

But the story Arrival is based on — the award-winning novella Story of Your Life by Ted Chiang — was published in 1998, almost two decades ago, which indicates its central themes were brewing long before this year. Arrival is much more concerned with deep truths about language, imagination, and human relationships than any one political moment.

Not only that, but Arrival is one of the best movies of the year, a moving, gripping film with startling twists and imagery. It deserves serious treatment as a work of art.

The strains of Max Richter’s "On the Nature of Daylight" play over the opening shots of Arrival, which is the first clue for what’s about to unfold: that particular track is ubiquitous in the movies (I can count at least six or seven films that use it, including Shutter Island and this year’s The Innocents) and is, by my reckoning, the saddest song in the world.

The bittersweet feeling instantly settles over the whole film, like the last hour of twilight. Quickly we learn that Dr. Louise Banks (Amy Adams) has suffered an unthinkable loss, and that functions as a prelude to the story: One day, a series of enormous pod-shaped crafts land all over earth, hovering just above the ground in 12 locations around the world. Nobody knows why. And nothing happens.

As world governments struggle to sort out what this means — and as the people of those countries react by looting, joining cults, even conducting mass suicides — Dr. Banks gets a visit from military intelligence, in the form of Colonel Weber (Forest Whitaker), requesting her assistance as an expert linguist in investigating and attempting to communicate with whatever intelligence is behind the landing. She arrives at the site with Ian Donnelly (Jeremy Renner), a leading quantum physicist, to start the mission. With help from a cynical Agent Halpern (Michael Stuhlbarg), they suit up and enter the craft to see if they can make contact.

It’s best not to say much more about the plot, except that it is pure pleasure to feel it unfold. The most visionary film yet from director Denis Villeneuve (Prisoners, Sicario) and scripted by horror screenwriter Eric Heisserer (Lights Out), its pacing is slower than you’d expect from an alien-invasion film, almost sparse. For a movie with so many complicated ideas, it doesn’t waste any more time on exposition than is absolutely necessary. Arrival is serious and smartly crafted, shifting around like a Rubik’s cube in the hand of a savant, nothing quite making sense until all the pieces suddenly come together. I heard gasps in the theater.

The film’s premise hinges on the idea, shared by many linguists and philosophers of language, that we do not all experience the same reality. The pieces of it are the same — we live on the same planet, breathe the same air — but our perceptions of those pieces shift and change based on the words and grammar we use to describe them to ourselves and each other.

For instance, there is substantial evidence that a person doesn’t really see (or perhaps "perceive") a color until their vocabulary contains a word, attached to meaning, that distinguishes it from other colors. All yellows are not alike, but without the need to distinguish between yellows and the linguistic tools to do so, people just see yellow. A color specialist at a paint manufacturer, however, can distinguish between virtually hundreds of colors of white. (Go check out the paint chip aisle at Home Depot if you’re skeptical.)

Or consider the phenomenon of words in other languages that describe universal feelings, but can only be articulated precisely in some culture. We might intuitively "feel" the emotion, but without the word to describe it we’re inclined to lump the emotion in with another under the same heading. Once we develop the linguistic term for it, though, we can describe it and feel it as distinct from other shades of adjacent emotions.

These are simple examples, and I don’t mean to suggest that the world itself is different for people from different cultures. But I do mean to suggest that reality — what we perceive as comprising the facts of existence — takes on a different shape depending on the linguistic tools we use to describe it.

Adopting this framework doesn’t necessarily mean any of us are more correct than others about the nature of reality (though that certainly may be true). Instead, we are doing our best to describe reality as we see it, as we imagine it to be. This is the challenge of translation, and why literal translations that Google can perform don’t go beyond basic sentences. Learning a new language at first is just about collecting a new vocabulary and an alternate grammar — here is the word for chair, here is the word for love, here’s how to make a sentence — but eventually, as any bilingual person can attest, it becomes about imagining and perceiving the world differently.

This is the basic insight of Arrival: That if we were to encounter a culture so radically different from our own that simple matters we take for granted as part of the world as it is were radically shifted, we could not simply gather data, sort out grammar, and make conclusions. We’d have to either absorb a different way of seeing, despite our fear, or risk everything.

To underline the point, Dr. Banks and the entire operation are constantly experiencing breakdowns in communication within the team and with teams in other parts of the world, who aren’t sure whether the information they glean from their own visits to pods should be kept proprietary or shared.

It’s not hard to see where this is going, I imagine — something about how if we want to empathize with each other we need to talk to one another, and that’s the way the human race will survive.

And, sure.

But Arrival also layers in some important secondary notes that add nuance to that easy takeaway. Because it’s not just deciphering the words that someone else is saying that’s important: It’s the whole framework that determines how those words are being pinned to meaning. We can technically speak the same language, but functionally be miles apart.

n the film, one character notes that if we were to communicate in the language of chess — which operates in the framework of battles and wars — rather than, say, the language of English, which is bent toward the expression of emotions and ideas, then what we actually say and do would shift significantly. That is, the prevailing metaphor for how beings interact with each other and the world is different. (Some philosophers speak of this as "language games.")

This matters for the film’s plot, but more broadly — since this is sci-fi, and therefore actually about us — it has implications. Language isn’t just about understanding how to say things to someone and ascribe meaning to what comes back. Language has consequences. Embedded in words and grammar is action, because the metaphors that we use as we try to make sense of the world tell us what to do next. They act like little roadmaps.

You have empathized with someone not when you hear the words they’re saying, but when you begin to ascertain what metaphors make them tick, and where that conflicts or agrees with your own. I found myself thinking a lot about this reading Arlie Russell Hochschild’s Strangers In Their Own Land, which is up for a National Book Award this year and describes the overarching metaphors (Hochschild calls them "deep stories") that discrete groups of Americans — in this case, West Coast urban liberals and Louisiana rural Tea Partiers — use to make sense of the world. She isn’t trying to explain anything away. She’s trying to figure out what causes people to walk in such drastically different directions and hold views that befuddle their fellow citizens.

Part of the challenge of pluralism is that we’re not just walking around with different ideas in our heads, but with entirely different maps for getting from point A to Z, with different roadblocks on them and different recommendations for which road is the best one. Our A's and Z's don’t even match. We don’t even realize that our own maps are missing pieces that others have.

Presumably one of these maps is better than the others, but we haven’t agreed how we would decide. So we just keep smacking into one another going in opposite directions down the same highway.

Arrival takes off from this insight in an undeniably sci-fi direction that is a little brain-bending, improbable in the best way. But it makes a strong case that communication, not battle or combat, is the only way to avoid destroying ourselves. Communication means not just wrapping our heads around terms we use but the actual framework through which we perceive reality.

And that is really hard. I don’t know how to fix it.

In the meantime, though, good movies are somewhere to start. Luckily Arrival is a tremendously well-designed film, with complicated and unpredictable visuals that embody the main point. Nothing flashy or explosive; in some ways, I found myself thinking of 1970s science-fiction films, or the best parts of Danny Boyle’s 2007 Sunshine, which grounded its humanist story in deep quiet.

The movie concludes on a different note from the linguistic one — one much more related to loss and a wistful question about life and risk. This may be Arrival’s biggest weakness; the emotional punch of the ending is lessened a bit because it feels a little rushed.

But even that conclusion loops back to the possibilities of the reshaped human imagination. And this week, especially, you don’t need to talk to an alien to see why that’s something we need.

from: https://www.vox.com/culture/2016/11/11

.

[jimrmoore]

Coffeehouse Chronicles #151: Ethyl Eichelberger @LaMama

Coffeehouse Chronicles #151: Ethyl Eichelberger @LaMama

Celebrating the life and work of Ethyl Eichelberger with panelists, live performances and archival materials! Moderated by Miss Joan Marie Moossy  Panelists: Brian Belovitch, Joe E Jeffreys, John Kelly, Lori E Seid, Black Eyed Susan and Mark Russell Performances by: Jennifer Miller with Heather Green | Jeremy Halpern with Auntie Belle.

Coffeehouse Chronicles’ Michal Gamily introduces the event.

[cindavis]

Either It’s There or It’s Not: Legion, “Chapter 4”

[whatsnewcartoons]

What’s New In 2019: The Cartoons.

PART 1:

Separated by network. All premiere dates are estimated until confirmed. Timings are in EST.

NICKELODEON:

- Los Casagrandes (2nd Quarter 2019): Los Casagrandes features Ronnie Anne and her brother Bobby Santiago as they adjust to their new life in Great Lakes City, where they now live with their big, loving and chaotic multi-generational family, the Casagrandes. In the series, Ronnie Anne makes new friends, build stronger bonds with her relatives and explores the endless possibilities of city life. Bobby helps Grandpa Hector run the family’s corner store, and becomes familiar with the neighborhood’s quirky characters.The Casagrande family was first introduced in the The Loud House special, The Loudest Mission: Relative Chaos. The special was just nominated for an Imagen Award, which recognizes positive portrayals of Latinos in entertainment media.

The Loud House is co-executive produced by Mike Rubiner (KaBlam!), who will also serve as co-executive producer on Los Casagrandes. Award-winning cartoonist Lalo Alcaraz (Coco) will serve as a cultural consultant and consulting producer for the five-episode arc of The Loud House featuring the Casagrandes. 

The first six episodes will premiere during the airing of Season 4 of its sister series The Loud House.

- Pony (4th Quarter 2019): Pony, an original 2D-animated buddy comedy that follows the life of an average girl, Annie, her (almost) average family and what happens when an excitable, unpredictable, loveable and talking pony comes to live with them in their city apartment. Pony is the first animated comedy series to be greenlit for the U.S. from Nickelodeon International. Created by Ant Blades, Pony is based off a short of the same name from Nickelodeon’s 2015 International Animated Shorts Program.Pony follows Annie’s everyday life as a 9-year-old, from working at her parent’s city farm, located on their apartment balcony, homework, school friends and, most importantly, her friendship with Pony. Pony is Annie’s biggest cheerleader and best friend, although sometimes his optimism and enthusiasm lands the pair in unusual situations.

The series will be starting with a 20-episode order and is set to premiere in the fourth quarter of 2019.

- Glitch Techs (TBA):  Glitch Techs (working title) is an adventure-comedy following two newly recruited kids as they battle video game monsters that come to life in the real world. The series comes from Eric Robles (Fanboy & Chum Chum, The X's, Ni Hao, Kai-Lan) and Dan Milano (Greg the Bunny, Warren the Ape), both hailing from Nickelodeon's Artist Collective, an internal artist-led development program, and is being produced at the Nickelodeon Animation Studio in Burbank, Calif. Nickelodeon has picked-up Glitch Techs for an initial 20-episode first season.

The series was announced to be in production since 2016 and was originally intended to premiere on Nickelodeon in 2018.

- Invader ZIm: Enter the Florpus (TBA): In Invader Zim: Enter The Florpus, Zim discovers his almighty leaders have no intention of coming to Earth, and he loses confidence in his own amazingness for the first time in his amazing life, which is the big break his human nemesis Dib has been waiting for. At some point, GIR rides a tiny donkey, and that’s all anyone should really care about. The 2D-animated TV movie is produced by Nickelodeon in Burbank.

The voice cast also features returning Zim alums Andy Berman as Dib Membrane and Melissa Fahn as Gaz Membrane. Additional voice actors reprising their original series roles include: Rodger Bumpass as Professor Membrane, Dib and Gaz’s father; Olivia d’Abo as Tak, Zim’s Irken nemesis; and Paul Greenberg as Poonchy, one of Zim and Dib’s human classmates.

CARTOON NETWORK:

- Infinity Train (TBA): Infinity Train tells the story of Tulip (originally voiced by Ashley Johnson), an analytical teenager with a fondness for order and solving complex puzzles. While it’s never exactly explained how she got there in the short, Infinity Train follows as Tulip makes her way through the titular locomotive and its seemingly infinite cars, each of which contains entire worlds that, for some reason, are in desperate need of her help.

Despite being joined by her sophisticated, bifurcated robot friend One-One (voiced by Jeremy Crutchley and Owen Dennis), the only information Tulip has about her predicament comes in the form of an ever-changing, glowing number etched into her hand that’s trying to give her directions she doesn’t understand.

The official premiere date of the series has yet to be announced.

- Victor and Valentino (TBA):  Created by Diego Molano, this supernatural adventure comedy follows two half-brothers who spend a summer with their grandma in Monte Macabre, a small and mysterious town, where the myths and legends of Latin American folklore come to life.

The series first appeared on Cartoon Network in October 2016 with its pilot episode and is set to premiere early 2019.

- ThunderCats Roar (TBA): Staying true to the premise of the original series, Lion-O and the ThunderCats -- Tygra, Panthro, Cheetara, Wilykat and Wilykit -- barely escape the sudden destruction of their home world, Thundera, only to crash land on the mysterious and exotic planet of Third Earth. Lion-O, the newly appointed Lord of the ThunderCats, attempts to lead the team as they make this planet their new home. A bizarre host of creatures and villains stand in their way, including the evil Mumm-Ra, Third Earth’s wicked ruler who will let nothing, including the ThunderCats, stop his tyrannical reign over the planet.

ThunderCats Roar features a talented voice cast with Max Mittelman (Justice League Action) as Lion-O and Wilykat, Erica Lindbeck (DC Super Hero Girls) as Cheetara and Wilykit, Patrick Seitz (Justice League Action) as Tygra and Mumm-Ra, and Chris Jai Alex (Star Wars: Battlefront II) as Panthro. Victor Courtright (Pickle and Peanut) and Marly Halpern-Graser (Right Now Kapow) serve as producers, with Sam Register (Teen Titans Go!) as executive producer.

The series is set to be released late 2019.

- DC Super Hero Girls (1st quarter 2019):  The DC Super Hero Girls universe is expanding on Cartoon Network and into more graphic novels. From executive producer Lauren Faust (My Little Pony: Friendship is Magic), the new DC Super Hero Girls cartoon will feature fresh redesigns of popular characters like Wonder Woman, Batgirl and Supergirl as they navigate high school and superhero life.

The series has been previewed with online shorts since 2015 and a short clip of an episode titled “The Late Batsby” was shown at San Diego Comic Con in Summer 2018.

For the upcoming shows from Disney and Netflix, go check out Part 2.

[class-wom]

What if the story of FX's Legion, created and scripted by TV writer (Fargo) and novelist (Before the Fall) Noah Hawley, is less about the story arc of the series itself and more the story about how and why it got made in the first place? Hawley had improbably turned the brilliant Coen Brothers movie, Fargo, into the acclaimed, separately realized vision of a TV series. So what if Legion was a lark from a prestige cable channel rewarding a very smart writer, and the extended generosity ends up being that Hawley, no fan of superheroes, wants to make a Marvel superhero story about mental illness rather than superpowers? And he also wants to mess with the notion that the hero in question has to be heroic at all.

I mean, if you're FX, with a long history of taking chances on exceptional talents, you probably say, "OK, sure, let's see what you come up with." Which is exactly the answer you want if you love television as a creative exploration rather than predictable, formulaic movement from episode to episode, season to season.

It would certainly explain the triptastic, visually stunning first season of Legion, which was basically a more coherent exploration of weirdness than Twin Peaks. And then the perception-changing second season (Jon Hamm as a narrator that didn't exist before!), which seemed intent on taking a Marvel vehicle (that will unlikely be tampered with again) and giving it a kind of Breaking Bad halo, disconcertingly telling its audience that the person at the center of the story, the hero they were rooting for, was in fact pretty awful.

How else to explain the fact that, by the end of that second season, anyone tuning in for a typical Marvel series was probably tuning out. Legion was seemingly moving from oddball project for Hawley into an experiment that wouldn't likely hold, given how busy he was and the inherent limitations of Marvel-centric superhero stories inside the mind of someone not particularly interested in those limitations or the expectations for that genre.

Translation: You probably wouldn't be too far off assuming, at the end of Legion season two, that Hawley's mindset was: "OK, that was a cool experiment but I'm over it." Of course, that assumption could be way off, and the third and final season of Legion was planned as the end all along (that's certainly the narrative) and all that's left is a pro forma wrap-up where the main character, David (Dan Stephens), course-corrects his Walter White excursion and the series closes with everybody doing the moral and ethical thing and putting the world right.

Sure, maybe, I don't know. I'd probably watch that.

But instead, what looks to be happening after last season's experimentation is that Hawley is once again having a blast reimagining a Marvel superhero show. He is tripling down on the visual gymnastics and mind-altering aspects, but with the kind of narrative focus that will culminate in a three-years-is-ideal big picture analysis, lovingly concluding that he got it all right, or at least right enough to be riveting.

I hope that's true, but without the full season to examine at length (eight total; I've seen four), who knows what will happen. But I'm loving the direction the third and final season of Legion is going in because the journey has been less about Marvel and more about Hawley and, given the television track record of each, I'll take the latter every time.

There's an unmistakable creative energy about each episode of the third season, as if Hawley, his writing staff and collection of directors all gathered around and said, "Let's go out on fire." I'd argue that the second season, which simultaneously seemed to annoy fans of the comic and fall short of satisfying some critics, did its job of upending the narrative built in season one. But it also perhaps had to come to terms with the fact that its weirdness was vast, like its stable of excellent actors, and if the third season was really going to be the end, some snipping would have to be done. It wasn't perfect but it was unfailingly creative, funny and risky, which is often more than enough to overcome quibbles.

Look, Legion was doing most things remarkably well — notably giving people like Aubrey Plaza, Navid Negahban, Bill Irwin and Jemaine Clement, to name a handful of random examples, room to explore and crush the acute weirdness of their characters in a way that few series ever do. (There are 10-minute scenes in every episode of Legion where I'd take just that and only that over a full episode of something else.) And while the work of Stevens' David and Rachel Keller's Syd is the no-doors, no-safety-belt rollercoaster car that fuels the Legion story, at least half the fun of the show is watching other actors run around the theme park with their hair on fire.

Which is to say, sure, if you really want to focus on the plotting, that can be your hill to die on. But all this other vigorous exploration of the mind's infinite possibilities (especially for a mutant) is pretty damned intriguing on its own.

I'm assuming but neither hoping nor demanding that Legion will end with a plot arc that feels satisfying. Season three could end with former hero David dying as the villain at the hands of new hero Syd, who saves the world. It could be David coming back from the depth of madness and harnessing his powers (whatever those really are) and there being some kind of interior peace for him. It could (and likely will) end... differently.

Viewers often come to the realization, after several seasons of a drama, that it's not the thing they'd hoped it would be. This is especially true for genre series like fantasy and sci-fi and superheroes. It seems as if more people should know when they sign up that their results may vary (spoiler: most don't know and thus are disappointed). But with Hawley's Legion, if you were expecting something predictable or literal, well, you weren't paying attention from the very first frame.

The journey is the joy here, and if you want yet another confirmation of that, watch the first episode of season three and look what director Andrew Stanton (all things Pixar) does with the material that Hawley and co-writer Nathaniel Halpern give him.

Season three adds David's real father, Charles Xavier (aka Professor X, leader of the X-Men), in the form of Harry Lloyd (Counterpart, Game of Thrones), and his mother Gabrielle in the form of Stephanie Corneliussen (Mr. Robot), who sheds some light on "The World's Angriest Boy In the World," plus an essential new character, Switch (Lauren Tsai), who is a time-traveler.

If the Professor X revelation pulls back in fans of the comic book or X-Men, it probably won't end well for them. Hawley doesn't seem to have particular interest in the franchise or superheroes in general, and was at least partially attracted to the idea so that he could portray mental illness in a different way — while also having a hell of a time with mind-bending visuals, tricky editing and now, in the final season, hallucinatory drugs adding to the fugue state effect.

Maybe, as someone not particularly interested (fine, not at all interested) in X-Men stuff, I fall into that weird subset where Legion is the perfect series. I just go with what's on the screen, revel in the conceptual ideas and applaud the acting turns, willingly negligent about Marvel-universe connections and never expecting — as others seem to be demanding — that this show, of all shows, be more concise, more linear, more understandable.

Cast: Dan Stevens, Rachel Keller, Aubrey Plaza, Jean Smart, Jeremie Harris, Bill Irwin, Amber Midthunder, Jemaine Clement, Hamish Linklater, Navid Negahban, Lauren Tsai, Harry Lloyd, Stephanie Corneliussen Created and written by: Noah Hawley First episode directed by: Andrew Stanton Premieres June 24, 10 p.m. FX

If I had to pick one single sentence from this review to summarize my current admittedly tortured state of mind regarding this show, it’s this:  “Viewers often come to the realization, after several seasons of a drama, that it's not the thing they'd hoped it would be. “  But there are those who already knew this about Yours Truly, whether they needed to or not!  😏  (Also love the unwritten “I’m looking at you, fans of Game of Thrones!”-implications here, lol)