#hom developed film

[blu27nature]

In her own little universe FED-2 Industar-61 53mm f/2.8 Fuji Superia 400 (expired 2019) Rodinal 1:50 (10 mins) notes: colour film processed in black and white chemistry; 27 exposures roll salvaged from a Fujifilm QuickSnap disposable camera; very little agitation during development to avoid excessive grain; camera scanning, converted with Negative Lab Pro. Tumblr - Instagram

[vasilek-ymep]

my lorax au once-ler (Drug-Ler/Junk-Ler/Weed-Ler/Addict-Ler or just Torchalkins)

translation of the interview 1997:

Jane: We haven't been able to contact You for a long time. Are You always so busy, or is there some other reason?

Once-ler: Yes, I work all the time. The corporation isn't standing still. I'm directly involved in the development of new and more advanced 'drugs' .

Jane: Is 'Dr.' Moore after all?

Once-ler: (laughs) You could say that.

Jane: The our article title is 'Sweet 16x2'. How do You feel at 32?

Once-ler: I feel great. I can't believe it's been so long! This age was always seemed unattainable and very far away to me. Especially at the 16.

Jane: The article should have been called 'Sweet 16'!

Once-ler: (laughs) maybe!

Jane: You haven't changed much. What's the secret?

Once-ler: There are no secrets. I just don't drink or get drugs.

Jane: That's good. Now many people are addicted. Especially teenagers.

Once-ler: It scares me.

Jane: Is Your company RSGS MED CORP aimed at combating teenage alcoholism and drug addiction?

Once-ler: Yes, that's right. It needs to be eradicated.

Jane: I like Your attitude!

Once-ler: Likewise, Jane.

Jane: It's great that You took the time for a little interview. You haven't appeared on TV since the 1990s. What is the reason?

Once-ler: I try to exclude TV from my life. It spoils the nerves. There are no promising shows for me at the moment where I would like to appear.

Jane: Mr. Moore, You have become a sex symbol of the 80s. It's already the 97th year, and You still remain the idol for teens. Tell us about Your views on life.

Once-ler: I think everyone should appreciate the time that God has given us. Every second should be spent usefully. Communication gives us a lot. You need to strive to get to know new people in order to gain experience from them. Of course, the most important thing in life is mental balance, career and family.

Jane: (laughs) arranged in decreasing order of importance for You?

Once-ler: (laughs) Almost.

Jane: My newspaper has received a lot of questions from fans about what You're listening to. Tell us about Your favorite musicians.

Once-ler: I really like Prince!

Jane: Exactly, how could I forget. You have his guitar?

Once-ler: Yes, yes!

Jane: A gift?

Once-ler: Yes, we contacted.

Jane: Which his song do You like the most?

Once-ler: 'Soft and Wet'.

Jane: (laughs) Exotic and sexy!

Jane: In '89 You released Your album under the label 'Crystal', and in '91 You starred in the musical 'Go Billy Gox3'. What was the reason to stop trying to enter a musical career?

Once-ler: Perhaps a criticism. You know, I've always loved funk and rhythm-and-blues more, but my voice is too low to compete with Sly & the Family Stone or Talking Heads.

Jane: I think You'll find Your genre!

Once-ler: (laughs) No, no, I'm not into music.

Jane: You've been in three films. Are You planning to shoot more?

Once-ler: I would like to. So far, there are no scripts that I like.

Jane: Really?!

Once-ler: Alas!

Jane: Tell us about Your favorite actors and films.

Once-ler: Audrey and Ted Wiggins definitely!

Jane: Such a quick response. What kind of paintings do you like with them?

Once-ler: 'Sweet Blood'. All the parts.

Jane: Wow!

Once-ler: I like the theme of inquisitions and steampunk... and vampires, of course! (laughs)

Jane: What do You think about the progressive-anarchic views of life of young people?

Once-ler: I think this is maximalism.

Jane: Were you like that?

Once-ler: Perhaps! It's just that my environment is enviably full of aggressive fanatics. I know you're going to read this, American!

Jane: (laughs) Is there a problem with your cousin?

Once-ler: Conflicts of worldviews.

Jane: You have a direct influence on American politics. Why haven't You been running for president yet?

Once-ler: I'm a pharmacist. I doubt that I can make America strong if I become president.

Jane: Are You a patriot?

Once-ler: True. I protect my homeland from people like me. (laughs)

Jane: Tell readers Your favorite books.

Once-ler: Read McDonagh.

Jane: The Scotsman?

Once-ler: The Irishman. But it seems to me that these are familiar problems for our country.

Jane: You've written two books about finding yourself. Is this an important issue for You?

Once-ler: Very much. As I said before, balance in the soul is a balance in life.

Jane: It's inspiring!

Jane: Are You still single? Or have You got a partner?

Once-ler: I haven't found the right person for me yet.

Jane: In the future, can I leave you my number? (laughs)

Once-ler: I'm yours! (laughs)

Jane: We don't know much about Your personal life outside of the media amplua. Why is that?

Once-ler: I prefer to be in the circle of friends and family without prying eyes.

Jane: Do You like being alone?

Once-ler: Perhaps…

Jane: Thank You, Mr. Moore!

Once-ler: It was a pleasure to answer Your questions!

Jane: You're very sweet. You seem so serious on TV!

Once-ler: Really?! How embarrassing…

Jane: It's even entertaining!

[laurelindebear]

Finally saw the Mummy 25th anniverary release in the cinema yesterday and AAAAAAAAHHHHH IT'S SO GOOD ON THE BIG SCREEN. I know it's not all accurate (either to the various parts of ancient Egypt or 1920s Egypt/North Africa) but it's just gorgeous, from the opening shot of 'Thebes' to the golden desert panoramas to giant 15-foot-tall Ardeth on a huge screen aaaaaaaaaaah I'm dead.

I had cuddly baby Horus and his handmade tagelmust with me the whole time, I wore my Key of Hamunaptra earrings, I wore my Medjai necklace, I wore my Ardeth t-shirt. I've never been to the movies alone but I loved every second.

I can't remember if I've even been to the cinema since Covid and I think I missed it more than I realised. I'm not a huge film buff, and we've got a big tv (my partner is an avid tv viewer). But when it comes to some shots, the panoramas, the detail in the close-ups, the shots that are there for unabashed visual aesthetic - like maybe my favorite shot of all time, Wall-E reaching out to touch the swirl of ice/rocks as he clings to the Axiom - the cinema screen gives an immersiveness the tv can't match.

I'd seen it last week again as well, with a friend who'd never seen it, and between the two I noticed some things I hadn't before, or had forgotten. So this is gonna be long and rambly and full of questions and observations.

The brownface and imperialism is bad. Some of it I guess is period-accurate, and partly to indicate that certain characters aren't great people/are earning their grisly deaths (Chamberlain and the Americans). But a lot of it is inexcusable. Omid Djalili's performance is pretty over-the-top (and he is afaik Iranian and not Arab), a lot of 'Egyptian' characters clearly aren't (even beyond the main cast, all of Imhotep's priests look like White guys in gold paint to me. Some of the Medjai eg the one with the hook are also in brownface.)

A lot of local diggers and Medjai are killed in the Medjai raids and the plagues and it's not really acknowledged much. You'd think Ardeth would still have some hard feelings about Rick/Evy/Jon having killed people he's known all his life but maybe you have to develop a different view of violence and death when your whole life is centred on stopping the end of the world.

When the heroes are fleeing from the museum, they crash the car and run a short distance away. Rick, Ardeth and Jonathan escape via a manhole to get to Winston at the airfield. When they arrive at the airfield, they seem to be in the same car. How?

Why does Evy seem to be waking up on the slab? When we last saw her she was wide awake and chastising Beni. Feels like something was cut here.

The Medjai with the hook also has the following tattoos on his cheek: Gardiner's sign U6 or U7 (mr) and 2x H6 or (I think) M17 (y or j). What is ymr or mry? 'Beloved'? Is Anck's name in there too? What do they all mean? I must know! Would it be weird if I tried to write to the designers and artists from the film about it?

Some of the Medjai (or other workers) performing the Hom Dai have no tattoos on their arms. Most of the Medjai have tattoos which include one of the eye symbols (Eye or Horus or Eye of Ra) on their shoulders. Sidenote, I think Ardeth should have worn the old-timey Medjai outfit just once, for science. (Good thing we have the amazing @minilev to imagine it for us.)

The Hamunaptra cat is really totally out of the bag by the end of it. Not only is there treasure and archaeological finds (sadly not the Book of Amun-Ra, dammit Jonathan 😜) but Cairo had about 5 simultaneous (super)natural disasters. Ain't no covering that up. They're gonna need to recruit a lot more Medjai. (I volunteer! It will not go well for me though. I would be the worst Medjai of all time.)

Did Patricia Velasquez play the mummified version of Anck as well?

Who was Imhotep going to sacrifice the first time? One of his priests?

Was already thinking about this before I rewatched it but...the law is distinctly that no other man may touch Anck-su-namun. Has anyone written an AU where Anck and Nefertiri fall in love and escape Seti together? 👀 (I know he treats Nefertiri ok but Anck is clearly not a happy and willing participant in their relationship.) I would read that. (No, me, you already have half a dozen stories you'll never finish. Don't even think about it.)

Where are the camels at the end from? Didn't they all get ridden back after the first time they left Hamunaptra? And I thought there were more horses than camels, anyway.

Ardeth really was supposed to die, it was so clear. He was fist-fighting mummies and then had dynamite thrown at him. I'm not even slightly sad he survived (it's my favorite plot hole of all time!) but...how. Thank you Stephen Sommers for your vision. 🙌

Jonathan's face-journey for his 'Iiiiimhooooteeeeep' line is even more amazing on the big screen. I remember why my sister and I loved it so much. John Hannah and Jonathan are very underrated IMO.

Kevin J O'Connor also underrated. Beni is a weasel through and through...but Kevin plays him so, so well.

What does Beni say in ?Hungarian when Rick confronts him in the egyptologist's office? And how does he understand Imhotep - magic? I can buy he'd learn protective prayers in 10 different languages, but translating Middle Egyptian is another thing entirely.

Evy and Rick doing the 'I love you' 'I know' thing with just their eyes when Evy goes with Imhotep to try to save them. SO GOOD.

Has Brendan Fraser ever been hotter than when Rick first catches sight of Evy after her Bedouin makeover? (Which, coincidentally, has been living rent-free in my head ever since...it's almost an anti-niqab since the sheerness and beading on the veil arguably draw more attention to her and her eyes but...damn girl. 😍

Evy's delight at getting to Hamunaptra on her camel and finally getting to do field work is delightful, it's infectious, it's a pure joy to watch. As a female lead who could so easily have been an ineffectual trophy, she holds her own and carries the film as an equal protagonist to Rick in her own right. And I love her for it.

Evy and Jon are one of the better portrayals of siblings I can think of offhand. They have just the right mix of ride-or-die familial bond and squabbling.

Ardeth Bay's cheekbones cut more deadly than his sword tbqfh. (oops. but it's true.)

I should stop talking because this is so long. But if anyone wants to talk about anything Mummy-related, my inbox is very open!

[beanyboobee]

Do you mind if I ask your top 10 favorite characters (can be male or female) from all of the media that you loved (can be anime/manga, books, movies or tv series)? And why do you love them? Sorry if you've answered this question before.....Thanks...

Oh! I love these types of questions of course! Well my favorite character tends to change every once awhile, so I'll just sort of throw out a few. I don't know if I have 10 because it's been awhile since I've watched anything properly! But here we go! In no particular order-

1. Noe Archivisite: Noe is my favorite character in media at the moment. Specifically Noe in the Manga as opposed to his Anime counterpart. There's just something so interesting abiut him. How he is written to sort of be the eyes on the world. Also his excitement for making new friends and his ability to get lost even under the simplest of circumstances [I can relate to way to much]. But mostly I adore him because his character development is subtle but real, he is flawed but that doesn't make him a bad person. And how he veiws those around him is facinating to read. Honestly I could write an entire analysis of his character . But we would be here all day.

2 . Daisy Buccanan from The Great Gatsby.[book] Though we don't see much of her perspective, what we do see is facinating. She's almost caged in this mystery. We learn enough about her but not everything to the point of understanding her. She's an enigma on writing that cannot be tied down by any accurate term but if I were to try and pair a word to who she is. The first word that comes to mind is. Melancholy. She's a very Melancholic character. Complex in a way that can be read as she is on paper or looked into and explored more deeply.

3. Viktor Frankenstein [from the book] it is no secret to my friends that ti hold a very big place in my mind for deep diving into Frankenstein and the character that is Viktor Frankenstein. Having read the novel 5 times. Each time I find myself with a new outlook on the character. I've grown tired of this narrative that Victor's the villian and honestly I never understood it. Similar to Noe I could make an entire analysis of his character but I doubt very many would be interested. But as a quick run down, I veiw his character as a young boy who is grieving and doesn't know what to do with that grief. A boy who didn't give himself time to greive proper and so threw himself into an old forgotten passion and created something horrifying in the making. A regret he cannot take back that leads to tragedy after tragedy. A character that realised the error of his ways too late and even when he is old. Is not too proud to not admit his wrong doings and even saves another from losing themselves to passions. He is a complex character who I deeply admire and am saddened to see often watered down when it comes to films.

4. 4. Wei Wuxian [The grand Master of Demonic Cultivation] another one everyone probualy saw coming, but I adore the complexities of his character, mainly I adore the entire story but specifically how they push Wei Wuxian as a character that has motivation behind every action. A person who I at least veiwed- As the one good person in a way full of those looking for someone to blame. He isn't all good of course not innocent in the slightest. There's blood on his hands but as the book unravels and we see each life event of his you cannot help but admire him. For what a bright and cheerful person he remained to be even after coming back from the dead. After everything he never once wishes ill upon those who wish it on hom. Insted always bringing it back to how he deserves their erie. He is a facinating character with way to much to say about him that kne simple post can take.

5. Deirdre of the Sorrows [A legend from my country] A tale about a girl that was apperantly cursed before she was born. A prophecy made that everyone took incorrectly that resulted in the death of not only Deirdres lover and brothers in law but herself too. Kicking off one of the biggest wars in Irish Mythology. The Character of Deirdre slowly eroded with time as did many women in irish myths but what remains is still enough to say she was a smart woman who's broken heart and beauty was enough to spark a war. There's many differnat variations of this tale. Some where she lives others where she dies.

But the one in which the scream that was heard from her mother's stomach before she was born. Is the same scream she let's out before dying of a broken heart is my favorite characterisation of her a tragic heroine, who loved so deeply she couldn't live without it.

6. Cinderella [from Disney cinderella] I wrote a whole essay on her for a college paper of which I will not go back into. But basically her character inspired little me to become a better person and for that she is always one of my favorites.

There's definetly more I just can't think of them at the moment

My brain has now gone blank and it's 1 am so I'm afraid this is all I got-

[finlayheartongraduateblog]

Adeline - Research Dossier Questions:

Part of the marking criteria for LMD10101 2024-5 TR1 001 - Final Year Project Research is the research dossier! For which we have to submit some answers to some question, of which, you may find mine below for convenience...

What research did you do, and how does it relate to your specific role(s)? How did this research help you address aesthetic or practical challenges (LO1)?

Approaching my graduate film Adeline I found myself in the unique position of both writing, and producing. Luckily, my research process for both crossed over in a few key ways. Working on a project with such a focus on it’s characters, I wanted to make sure that they felt grounded and real, as so the connection between the two would feel authentic. I approached this situation by organising interviews with not only my own family, but also friend and those individuals working in organisations such as The Dolphin Arts Project as to ensure that the film was based in real experience. In regard to producing I ensured that the information from these interviews were passed on to the HoDs, as so they could take these experiences into their own work.

As a writer I wanted to ensure that the script was as good as it could be, and as such, I attended a screenwriting course taught by Caio Guerra over the summer. Discussing the project in the early stages with him allowed me guidance with he formation of the idea alongside Alfie (co-writer). Similarly, once I had a draft, we took it to Caio for one on one feedback sessions. This, alongside the class with Ita, allowed us to raise and overcome the practical challenges that the script offered.

This was all of course alongside extensive research through the internet, fairytales/myths, and similar films.

What technical skills did you develop or experiment with, and how did these skills enhance the quality and coherence of your project? Are there any skills you still need to develop further (LO2)?

Coming into the term I had tried my hands at numerous screenwriting seminars, classes, and courses. However, I had little experience in practically taking a project from my conception to a fully formed idea. This term I’ve felt my writing skills have particularly developed, especially in regard to working with a full crew all giving practical feedback with respect to their role. This communication between HoD and Writer has been a new experience for myself, and a skill I hope to continue to develop In order to ensure the quality and coherence of the project.

With regard to producing, budgeting and social media has been areas in which I’ve felt improvement. I had little experience with either coming into the term but having the experience of planning for a crowdfunding campaign, and planning a project on the scale such as a graduate film. The experience of being able to put together a social media campaign and crowdfunder, with the support of Laura, has been a massive help in regard to my skills development as a producer. 

What key film references from your research have helped shape your current role and approach to the project (LO3)?

In regards to writing, there have been a number of film references which have shaped my approach to the project. The initial idea was born out of the connection between characters, and that relationship between a carer and the person they look after. In this regard, films such as The Father (2020) formed the initial focus of the project. The combination between the experimental elements of the film were informed by folk horror, the documentary Woodlands Dark and Days Bewitched: A History of Folk Horror (2021) became a common reference due to its coverage of a huge quantity of folk horror content.

This inspiration was not just limited to features but shorts as well. The films Tarot (2014) and Salthouse Marshes (2015) became a early inspiration due to their visual style and experimental nature. However, as the project proceeded, and the focus shifted more to the home as a familiar setting, films such as The Wolf House (2018), Grim (1985), I’m Thinking of Ending Things (2020, and Home (2013,) grew further and further into references. The way the set shifted and changed alongside the characters, demonstrating their mental states acted as a excellent reference both in regard to writing and to production.

How effectively are your references, research and skills development informing the project’s direction? How successful do you feel you are achieving both your creative intentions and those of the team? (LO4)?

Adeline has shifted a lot since it’s initial conceptual stages. Originally an experiential film about the effects of Dementia, the film has obviously shifted since then. The initial interviews with organisations led us to the conclusion that ten minutes likely was not enough to cover such a topic with the care it required. This research did however lead into the relationship between carer and daughter, and the references to folk horror lead to the idea for some of the more experimental moments in the film. The focus on locations in references such as The Wolf House and Home led to the idea to set the film entirely within the home of Adeline and Louise, grounding the relationship in the familiar. Finally, the performance elements within the initial versions of the script were inspired by musicals such as Cabaret (1993), and the elements of this can still be seem within certain scenes of the script.

Summarise how well the team have communicated. How have you collaborated effectively and professionally, handled creative challenges, and shown independence and initiative (LO5)?

Personally, my favourite aspect of working on Adelinehas been how well we’ve maintained professional, effective, and friendly communication throughout. Jack, Cara, Robbie, Gus, and Alfie have proven to be incredibly easy and eager to work with, and have made the experience of producing the film a joy. We have often, frequent, and long meetings, normally working besides each other on our respective roles or discussing the project over dinner. This allows for our respective creative ideas to be born in tandem, allowing every department to be fully aware each other. As a producer I’ve been in constant communication with each department, keeping everyone within the information loop and frequently updating the Milanote with information. The same of true as a writer, where Alfie and I have kept each HoD fully in the loop with each draft, allowing them to be fully aware of the demands of the final, and test shoot script. With the short turnaround for the test shoot, I had to work effectively with Cara and Alfie in order to find locations, crew, and secondary crew which would for the proof of concept. I was able to show initiative through finding the flat we eventually filmed in, alongside picking out a shortlist of actors, and contacting and arranging the crew needed for the shoot, including an external photographer for the crowdfunder.

What other projects have you contributed to and in what roles?

Beyond Adeline I’ve attempted to contribute to as many projects as effectively as I could. One benefit so far of this term has been frequent meetings with the other producers through the term. This has allowed constant communication between projects which has aided with scheduling, booking equipment, and cast. Additionally, Gutting Quines and Adeline decided to share equipment due to our shared crew members. This allowed both groups to aid with equipment pick up and drop off, and working closely with Alana in regard to both was an excellent experience.

Similarly, I attempted to use my contacts to help out other groups as I could. Through discussions within classes I passed on actors and locations in class to both Memory Box and Bless You. Furthermore, with Wuthered I was able to read over the latest draft and offer script feedback for Hayley in preparation of the summative pitch, and she was kindly able to do the same for me. And finally, all the projects being in constant communication has allowed us to share experiences and help out where we can, such as BNN News where I was able to offer help with documentation such as the casting call.

[joethetoonfanandoutcast]

Crazy Crack Pairing: Marahute and Wilbur

Now, this is not something I'm supporting or fighting to make come true in any way like other pairings, but this is just a one-shot crazy "What if" idea I'm just posting for craps and laughs.

This is because of the ending where Marahute's eggs hatched with her babies finding Wilbur there instead of their mother. The idea of him being their new stepdaddy, him meeting Marahute and developing new feelings for her is impossible in the Rescuers canon universe, but I think such a silly idea could work in a different Toontown/HoM/WFRR world where the Rescuers films are just films and animals who are silent could talk off the set. In said universe, Wilbur and a talking Marahute (who is a single mother just like she is in the film) would meet off the set, get to know each other and all that.

Once again, you will not see me continuing to post stuff for this crack-pairing. I will not attempt to do a whole fanfiction towards it, maybe a one-scene bit in a fanfiction but not a whole story focused on them. This is merely a one-shot for laughs. Please don't take this one seriously.

[nosastrra]

GET TO KNOW THE MUN   ✨

𝟎𝟏. 𝐀𝐋𝐈𝐀𝐒 / 𝐍𝐀𝐌𝐄  :  K. 

𝟎𝟐. 𝐁𝐈𝐑𝐓𝐇𝐃𝐀𝐘  :  January 2nd 

𝟎𝟑. 𝐙𝐎𝐃𝐈𝐀𝐂  𝐒𝐈𝐆𝐍  : Capricorn

𝟎𝟒. 𝐇𝐄𝐈𝐆𝐇𝐓  : 5′6″ (171 cm) [ optional!! you don’t have to include this!! ]

𝟎𝟓. 𝐇𝐎𝐁𝐁𝐈𝐄𝐒  :  writing [ creative and roleplay ], i wanna say reading but the last book i read was almost a year ago, messing around on photoshop, making playlists, hyperfixating on the latest show/movie/game, and playing rpg games specifically

𝟎𝟔. 𝐅𝐀𝐕𝐎𝐑𝐈𝐓𝐄 𝐂𝐎𝐋𝐎𝐔𝐑  : lately -- lilac/lavender

𝟎𝟕. 𝐅𝐀𝐕𝐎𝐑𝐈𝐓𝐄 𝐁𝐎𝐎𝐊 : song of achilles by madeline miller and veronika decides to die by paulo coelho [ please send me book recommendations my brain is disintegrating ] 

𝟎8. 𝐅𝐀𝐕𝐎𝐑𝐈𝐓𝐄 𝐅𝐎𝐎𝐃 : pasta. all and every form of pasta. and breakfast food.

𝟎𝟗. 𝐋𝐀𝐒𝐓 𝐅𝐈𝐋𝐌 / 𝐒𝐇𝐎𝐖 : last film: love actually and i did not finish it lmao, last show: the resident 

𝟏𝟎. 𝐈𝐍𝐒𝐏𝐈𝐑𝐀𝐓𝐈𝐎𝐍  : oh boy, so aurora, my main OC, honestly came to me when I was listening to Murder Song by AURORA, six years ago. but, as I wrote her more, I’ve come to realize that aurora is just an amalgamation of various OC’s I’ve had over the years when it comes to personality and psyche profile, and the more and more i wrote her the more she became her own self, separate from anyone i’ve ever written. I reflect a lot of my emotions in writing her and i get a little too extra poetic with her too, and also seeing the aurora is on my bucket list, so she’s just an extension of my soul in a way? also, her faceclaim is lucy hale, and idk this might seem creepy but i feel like she and i could have been friends in another life. i grew up watching her, and in a way a lot of me has been shaped by her (but not in the creepy, celeb worship kind of thing). 

nova is the funny one, bc when i made my first shepard ever, i had no idea what type of game mass effect was. i truly had no idea what the plot would be like, and as it progressed i became so attached to a present version of her as i played that i realized i had no idea who she was. so this is why she comes into writing, and she’s inspired a little by anastasia because it’s my favorite animated movie and there’s something to the character’s blind hope and sense of belonging and i’m v emo about nova. also, humanizing shepard is definitely one of the most fun things i ever got to write. 

kaidan?? oh, i fell in love with his character the moment he started teasing joker. there's just something so...?? about him. about how good a character he is, written and played out in the time he was created in. i love him so much, and i couldn't decided if i wanted to write him or write with him, so i decided that both is good, and here we are. and from my fascination with kaidan, came my absolute intrigue with rahna. there is so little information about her even in the comics but she was so pivotal in kaidan's character, that i decided she deserved just as much love and personality as he did.

finally, bex. i had no plans for another oc on this mumu but bex came to me in a whirlwind. i was fascinated by the colonist/war hero profiles for shepard and i decided i wanted to incorporate into writing somehow, and that’s how bex came to be. she’s also another character who developed a lot in writing more than plotting. 

𝟏𝟏. 𝐒𝐓𝐎𝐑𝐘 𝐁𝐄𝐇𝐈𝐍𝐃 𝐔𝐑𝐋  :  my current url is an abridged take on the phrase ‘we look to the stars’ in latin, which is much longer [ also it’s the capital city of illium which worked out great for me!! ] and my previous url was surfingstardust. what i was going for, essentially, is a theme of wandering. all my characters are joined by a simple thread. they’re looking for home, anchor, belonging, in every sense. whether it’s physical, emotional, existential. they’re wandering. kaidan finds his home in his sense of duty and altruism, nova finds it in the belonging to the alliance and subsequently, her found family on the normandy, bex is still looking for it, as her home used to be her family and eden prime. rahna and aurora are founded purely in finding a home or a sense of identity and allowing that to be there home. so they looked to the stars. and here we are.

tagged by: @echoedhope tagging: @turianrebel, @tzorah, @spacemechanics, @praeceptr, @gaiawept, @deperditus, @epitomine, @aleadamia, @kenasakis, @cerberusofficer, @afraidofchange, @paragonchose, @bloodiedbiotic, @gunsway, @everwar, @biosurvive​ and anyone i’ve bugged in tumblr im’s or on discord lmao

[scarlet--wiccan]

the scarlet witch is an xman? i keep hearing that shell bring the xmen to the mcu and that shes an xman bc her dad and brother are also xmen but then shes on the avengers and im confused. it also seems that she appears a lot on the cartoons where shes also a princess and her dad is magneto.

The Maximoffs have always occupied a weird space in between both groups, but, to my knowledge, Wanda's never been on an X-Men, or otherwise mutant-focused, team-- at least, not in the primary Marvel comics continuity. As you know, there are parallel continuities and alternate universes in the Marvel canon, and while there are examples of alternate-Wandas in X-Men comics, they're few and far between.

Wanda and Pietro were originally written as X-Men villains, first appearing as teen members of Magneto's Brotherhood. They were mainly loyal to Erik because he'd rescued them from anti-mutant violence in their home country, but they eventually defected from the Brotherhood and emigrated to the United State. They were offered a place with the X-Men, but chose to join the Avengers instead, and, for better or for worse, Wanda has been an Avengers character ever since. Pietro has had more mobility-- although he is mainly an Avenger, he was also a fixture in multiple X-Factor series. Due to their status as mutants and close ties to important X-characters, they do have walk-on appearances in numerous X-Men books-- similarly, Erik, and other mutant characters, will occasionally show up in Avengers books because of the twins.

The Maximoffs are at the heart of multiple X-Men/Avengers crossover books, namely House of M and its follow-up, Son of M; Children's Crusade; and AvX. These stories mark major turning points in mutant history, and so, in spite of their distance from any actual mutant organization, the Maximoffs have long been considered important figures in the X-Men world. That status was disrupted by a poorly-received retcon circa 2015 which dictated that Magneto is not, in fact, their father, and that they were never true x-gene mutants in the first place.

Recent X-Men comics have addressed Wanda and Pietro's relationship with the mutant community, mainly through inaccurate and unsympathetic revisions of House of M, but it's hard for me to say what their present standing as mutants is, or what their future might hold. What I can say is that, ever since the events of HoM, the majority of mutant characters have been shown to hold strong negative opinions about Wanda. The X-Men have been generally hostile to the twins, in spite of their numerous attempts to make reparations for the damages they inadvertently caused. Unfortunately, this direction mainly comes from a shallow, misogynistic, and frankly ableist reading of HoM, which is still being perpetuated by Hickman, et al in the current X-Men books.

This means that Wanda really doesn't have any friends among the X-Men, but if we look at past comics, as well as alternate continuities, there are stories about Wanda forming a close friendship with Jean, and a romantic relationship with Kurt. In the main continuity, she and Rigue worked out some of their differences as teammates in Uncanny Avengers, although I wouldn’t describe them as friends. She also associates with magically-inclined mutants such as Pixie and Magik, although this typically happens outside of X-Men books— for example, she and Ilyana are recurring characters in Strange Academy.

Wanda and Pietro's appearances in X-Men cartoons, such as Evolution and Wolverine and the X-Men, are typically inspired by their early time with the Brotherhood, or later crossovers like House of M. These adapted characters are very different from their source material, as their backstories and affiliations revolve entirely around their relationship with Erik, omitting elements such as their adoptive parents and ties to other superhero groups. Wanda's romance with Kurt was even featured in WaTXM.

I hope that was informative! TL;DR: Wanda, in the main continuity, is not and has never been an X-Man, but she and her brother have always been in the X-Men's orbit as prominent mutants and have played major roles in defining moments of mutant history. They frequently appear in screen adaptations, where they are exclusively characterized as Magneto's children, but even then they're usually villains or tertiary characters, and not X-Men proper.

I really can't speak to how, if, or when the X-Men will be incorporated into the MCU. I doubt it will have anything to do with WandaVision, but it seems likely that the series will develop Wanda's magical and/or "reality-warping" powers. If that's the case, she could be used down the line as a catalyst for a soft-reboot, of sorts. I believe that's the running theory as to how the X-Men will arrive the film continuity, but, personally, I think that's a really stupid idea, and that if they were gonna do a reboot, it woul more likely happen in Multiverse of Madness. To be honest, I don't care for the majority of Marvel films and have generally lost interest in movie adaptations of cape comics. I shouldn't have to continue repeating this, but Olsen's Wanda is not recognizable as a version of the character I love, and is only really relevant to this blog as an example of Romani erasure. I don't care what she does in this or any future MCU title.

[cosmik-homo]

Pride (2014) should have become a fucking genre. I want two Coming-Of-Union / hom-com (relationship developments of gay liberation communities, instead of romance) films a year please

[my-yuujin]

Ryusoulger Solo Interview from Mynavi: Kishida Tatsuya

Ryusoulger has been running for four months since the start of its broadcast in March 2019. How you are feeling about it?

When the Sixth Ranger Kanaro (Hyoudou Katsumi) finally appeared in episode 14, I thought, “Ah, we have come this far. Time sure flies.” Even so, the feeling that I’ve played my role as well as grasped that distance we’ve gotten through between every episode up until now, is still very strong.

- Banba used to have a harsh view such as “In order to save many human beings, (Minusaur’s host) one’s sacrifice is unavoidable.” But he met Kou and the others, and little by little was exposed to their kindness. So, there are a lot of episodes dedicated to this process. Surely for Kishida-san,  those episodes’ impressions are strong, aren’t they?

I’m now sticking to the part that “Banba’s atmosphere is different from everyone else”. At this stage, he doesn’t have any intention to become friends with Kou, so I’m always aware of the subtle sense of distance, such as standing alone even though everyone else is gathering.

-From now on, surely, we’re expecting that Banba will fully communicate with Kou and become friends.

I once had the opportunity to talk with the screenwriter Yamaoka (Junpei) and the producers, and at that time he said “Banba is the closest when it comes to human emotion.” You see, when humans have aged long enough, they won’t change easily in a year. That’s how I think about it. “Yesterday,he was gentle, but today, he is back to being grumpy again?” We discussed whether or not it was a good thing to have such character like that.

-In episode 8 “ Singing Voice of Miracle”, Ryusoulger successfully fools the enemy. After Kou and Towa happily do a high-five to each other, Banba only bumps fists with Kou, while his face facing the other side. Such a wonderful “Tsundere”. He’s not planning to get along, but he lets himself join their rhythm. That’s what makes Banba stand out. Am I right?

Actually, we were being let to do ad-libs at that time. I never thought it would be used (laughs). After the episode was broadcasted, I was surprised to hear a lot of feedback about that on Twitter. It was a casual scene and I played it without much thought. Because of the slow motion, I was shown moving in various ways, even though it was a quick filming. At first, I thought I didn’t have to do anything, but Kou and the others were so eager to do high-five with Banba. So in the end, I just did it without seeing his eyes.

-Even for the children who watches the TV series, Banba is strong but a little “scary”. That is the impression they may get from him.

I also think so. Like I said earlier, “Banba will not change”, but by meeting Kou and others, a slight change is unavoidable. At first, he called Kou “Omae” (T/N: means “You” but harsh), but he started to call him by his name. Although he consciously can’t forgive it, there is still a part in his heart where the intention to be friends is growing.

-It may be rude for me to say this but, Banba is unexpectedly quite popular among children. Kishida-san, is there any experience, like when you finally realized the popularity of Banba?

The thing that I feel grateful about is, I get talked to more often than usual when I walk outside. Originally, I thought Banba was intended to give appeal to the mothers and older Tokusatsu fans, but unexpectedly, I heard some young children said “I like Banba”. I was really happy about that. Not to mention that Banba also has some fans among girls. I once looked at Instagram, and found a kid wearing Banba’s costume that their mother likely has made by herself, and I thought, “Oh, it ’s pretty cool” (laughs).

- Banba dan Ryusoul Black’s costumes are based on the color black, thus giving very cool atmosphere. I can understand those children’s feeling who want to cosplay as him.

Wearing this outfit, you may feel a little restrained around your waist and look slim. On the other hand, as soon as you get a little fat, it would be very much noticeable, so I always pay attention to maintaining my body shape.

-Then, if there is a scene where Banba has to eat something delicious, it would be difficult, wouldn’t it?

The food that appeared in the show up until now, in the end, they were all eaten by everyone. Asuna (Osaki Ichika) is always shown eating something, after all (laughs). Banba is never shown to eat anything in the show, but the staffs always prepare delicious-looking food and make the studio filled with yummy smell. That’s why, even though I don’t want to, I always find myself want to eat. When the filming is over, I end up eating up a lot too (laughs).

- Who do you think has grown up the most, comparing to when you first met them?

That’s definitely Obara-kun. He is 17 years old now and it is his moments of growing up as a person. When I look at him by my side, I think ���He’s doing amazing!” I’m impressed by how refined his expression now. We sometimes make pacts among ourselves, such as to arrive 10 minutes before meetings, and Obara-kun is the best when it comes to follow the rules. We have been together for a long time as brothers, and I would be very happy if Obara-kun could feel various things from me, and myself also could give him some good influence.

-Kishida-san, you seem to have so much fun being an elder brother who is proud of his little brother. I begin to think that you two are really like real brothers.

Well, aren’t we real brothers, though?(laughs) Looking closely at Obara-kun’s growth, makes me think I can’t lose to him. So, it feels like I’m being encouraged too.

Looking at Kishida-san’s Twitter, we can find two-shot photos with some actors who have appeared in the “Kamen Rider” and “Super Sentai”. Surely, these photos show us wonderful friendship between heroes, aren’t they?

Isomura Hayato and I have once appeared in “Kyou kara ore wa!”, but at that time I didn’t know that he also appeared in “Kamen Rider Ghost” (Kamen Rider Necrom/ Alan). When I was decided to appear in “Ryusoulger”, I looked up to various things about the past “Super Sentai”, and found out that I was acquainted with such amazing Kamen Rider and Tokusatsu heroes. “I should take pictures when I meet them next time,” so I thought (laughs). I get along with Inaba Yuu-kun (Kamen Rider Mach/Shijima Gou from “Kamen Rider Drive” ) , Tozuka Junki-kun (Nara Shunpei from “Kamen Rider Wizard”), and Suda Masaki-kun (Philip from “Kamen Rider W”). I took photos with them, hoping that it could make Tokusatsu fans happy.

-But now, you have joined those heroes whom the children look up to. What kind of feeling do you have when you strike your “transformation” pose that is unique to you as a hero?

It’s exciting, really. I myself used to be a child who played and imitated those heroes’ transformation poses, up to their details. I feel excited to think that there would be some children who imitate my transformation pose this time.

-Who is Tokusatsu hero Kishida-san admired as a child?

“Choriki Sentai Ohranger” (1995) and “Gekisou Sentai Carranger” (1996) were the oldest heroes in my memory. But the one that I felt most addicted was “Seijuu Sentai Gingaman” (1998). In fact, the memories of playing with Gingaman’s toys still remain vivid. Among the five warriors, red and blue rangers have different ways of transforming, and I was a child who cared for those trivial things like that. Therefore, as Banba, I’m strongly aware of things like, the movements that only Banba would do. Even in the ending Que Bom Dance, the dance actually shows the individuality of each Ryusoulger.

-Action scenes are also frequently shown, especially in the episodes when director Sakamoto Koichi was in charge, like in episode 7, 8 and 15, 16. Some scenes, such as doing Ryusoul Change while fighting against Drunn soldiers were really outstanding.

I originally love action, and Director Sakamoto is the person in charge who has spent time in various action scenes, so I feel we are very compatible. Episode 15 and 16 are more challenging than episode 7 and 8. I want to challenge more actions in the future.

-Even at press conferences and photo sessions, Kishida-san’s “commitment”, such as not showing “smile” at all as Banba, is very wonderful, in my opinion.

I always think that images are important for heroes, so I want to do my role firmly. However, it is troubling me when people greet me as Banba. Banba’s personality makes me seem to be a very cold person. Of course, I myself am different from Banba, so when I naturally tried to act gentle, the mothers reacted like “Huh? Is Banba actually such a person?” It made me rethink that he really is such difficult role! (Laughs) However, they also pointed out those as the “unexpected” sides of Banba, so it still settles me much or less when creating a solid image of Banba. I myself like children, so I want to give them a gentle approach, but about how I should do it … I just can’t find the answer. I think I have to ask those who are already seniors at being heroes.

–Banba had never smiled until now, but at the end of the episode “The Prisoned Mosa”, he cracked a little smile, and it had positive reception on Twitter. I guess, it’s enough to make more children come to Banba deliberately now.

Until now, the children never come to me by themselves. Therefore, I myself try to go closer when I have eye contacts with children.

-In the 13th episode “The Prime Minister is Ryusoul tribe!?”, the existence of Banba and Towa’s master was implied. But Kishida-san and Obara-san, were you two actually aware of such story development and the mysteries behind it?

-To be honest, until we get our new script, we’ve been acting without knowing what will happen next. There were times when I acted while thinking “So, it was actually this kind of story!?” It is my first experience to act under such condition, so it’s very difficult (laughs). As an actor, playing without knowing the future is anxious, but fun. However, I don’t want to regret, saying such things like “I should have done it like this” when looking back at the past after I find out about the mysterious part. For now, acting while deciding what is the best to do in various subtle situations, becomes a great lesson for me as an actor.

-Ryusoulger cast give a very good impression as a team. Do you think that good relationship with them as friends affects your acting as Banba?

Looking at these recent scene photos, it seems Banba’s expressions are somewhat gentler than at the start of filming. This also happens to everyone else, and I guess it is because of the length of time we’ve spent together. I want to be an actor who rather than becomes the source, I prefer to be “the receiver” of those plays from various people. And I think my expressions get mellowed due to having received those feelings. It is now a completely different atmosphere compared to the beginning. If I was let to say one thing, it would end up divided into 5 or 6, as we actually share the same feelings among ourselves.

-Kishida-san, as the oldest member, you also have longer experience as an actor, to the extent that everyone else admires you as their “big brother”.

-Whenever there is something they don’t understand, it’s nice to hear them calling me out “Tatsu-nii! Tatsu-nii!”. I feel to be in a position that has to warn them if they do something sloppy. But rather than saying it directly, it’d be better if I act in advance and put myself as an example. They are all honest and nice guys, and the new member Hyoudou (Katsumi)-kun is also very polite when playing baseball. He’s such a pleasant man to be involved with.

-As we know, the long-awaited movie “Kishiryu Sentai Ryusoulger THE MOVIE Time Slip! Dinosaur Panic!!” has been released on July 26. Is there any experience that particularly impressed you when shooting this movie?

I still remember, after shooting all day long, there was a time when I couldn’t do (acting) at all. After episode 17, Banba’s attitude to his friends has much or less changed, but according to the script, the episode has not happened yet in the movie. So I had to enter the movie setting while being aware of that. Up until now, the change of Banba’s emotion has accumulated according to the order of TV episodes. I had to act while throwing away some parts of those changes that shouldn’t have happened in the movie. It’s quite difficult.

There was also things like when I was troubled during the shooting, it suddenly went raining. I’d heard that weather in the location might change easily…, but because of raining, I became impatient to fix and catch up … Things that I thought world be worked out…, the confidence just immediately flew away from my head. That’s why, I would be happy if you can check on the theater, those changes in Banba’s expressions that have troubled me so much.

-In episode 1 and 2, Banba and Towa have not yet appeared, so Kishida-san and Obara-san met Director Kamihoriuchi for the first time in the movie version. Kamihoriuchi-san once said in an interview that he always acted strictly towards all the actors, but how exactly does Kishida-san see Kamihoriuchi-san as a person?

When a scene isn’t played well, he will immediately go “Cut!”, and make us repeat it until it is good enough to be used. Rather than strictness, I think that it is more like Kamihoriuchi-san’s “kindness”. Because in order to meet the expectations of the directors, we indeed must continue to improve ourselves as actors.

-Please tell us about the highlights of Banba that are unique to this movie.

In this movie, because Kou has to move alone, there are many scenes where Melto, Asuna, Towa and Banba are working together. Melto and Asuna whom Kou usually works together with, are trying their best until Kou returns. Their growth and how they build their bond are presented intriguingly in this movie. I myself dedicatedly played Banba as the one who supports and watches over them. Though, Banba only gets a little chance to act between intervals (laughs). I realized the hard feeling when my role is not supposed to stand out, instead of being at front and doing something. Sentai usually consists 5 warriors. With Kanaro, we become 6 members. Naturally, it’s not good to make only one person speak lines while the others are only watching from behind. Even though I still don’t know how, I want to make everyone comment on a silent scene, that “It should be Banba who speaks there.” From now on too, I always look forward to your support for Banba and Ryusoulger!

Source: https://news.mynavi.jp/article/20190729-ryusoul/

[eretzyisrael]

(Please continue to the  site to see two films clips, one of the intercept and one of a map)

BY ANNA AHRONHEIM

 JULY 24, 2018 14:22

A Sukhoi Su-24 fighter jet takes off from the Hmeymim air base near Latakia, Syria, in this handout photograph released by Russia's Defence Ministry on October 22, 2015. . (photo credit: MINISTRY OF DEFENCE/HANDOUT VIA REUTERS)

Israel’s military downed a Syrian fighter jet that entered the northern part of the country on Tuesday afternoon. The Syrian Sukhoi fighter jet was intercepted by two Patriot missiles launched from Safed after the jet penetrated 2 kilometers into Israeli airspace.

The Jerusalem Post learned the pilot was Colonel Umran Mare of Tartous. He was flying a two-seater Suhkoi 22 jet. The second pilot is believed to have bailed out of the aircraft and is still missing.Play VideoIDF used Patriot missile to strike a Syrian drone that entered Israeli airspace, July 11, 2018 (IDF Spokesperson's Unit)

According to the IDF Spokesperson Brig.-Gen. Ronen Manelis the plane took off from Syria’s T4 Airbase in Homs and flew “very quickly” towards Israel before being shot down and falling in the southern part of Syria’s Golan Heights.

Manelis said that Israel had monitored the plane and that warnings were given in a number of languages and several different channels against infiltrating into Israel before it was shot down.

Israel has no interest in getting involved in the Syrian civil war, he continued stressing nonetheless that “we are prepared for any developments.”

The IDF “will not tolerate violations of the 1974 separation of forces agreement between Israel and Syria,” he said adding that Israel holds the Syrian regime accountable for the actions carried out in its territory.

Syria has confirmed that the plane, which was partaking in an offensive against Islamic State group fighters in the Yarmouk basin, was downed by Israel but denied that it crossed into Israeli airspace.

“The Israeli enemy confirms its support for the armed terrorist groups and targets one of our warplanes, which was striking their groups in the area of Saida on the edge of the Yarmouk Valley in Syrian airspace,” a Syrian military official was quoted as saying by the state news agency SANA.

Sky News Arabic reported that the plane fell in the area of the Yarmuk basin, a triangular border area between Syria, Israel and Jordan where there is intense fighting against the Islamic State group.

Incoming rocket alert sirens blared throughout northern Israel around 1.30PM in the Golan Regional Council, Jordan Valley and in the city of Katzrin.

"The air defense system was activated in our region, [but] there are no new guidelines," read a statement from the Safed Municipality spokesperson.

The last time Israel shot down a Syrian jet by a Patriot missile was in 2014 after it penetrated 800 meters (2,600 feet) into Israeli air space. The crew managed to bail out of the plane that landed in Syrian territory.

It was the second-such incident of interceptors being fired in two days opposite Syrian areas where Damascus's forces have been routing rebels.

According to Syria’s SANA news agency 21 villages and towns in the countryside of Daraa and Quneitra have been retaken by the regime.

In recent weeks Syrian government forces, backed by Russian air-power, have been retaking large swathes of territory on the Syrian Golan Heights from rebel groups along the Israeli border. Iranian forces and affiliated Shiite militias are also said to be playing a minor role in the offensive.

On Monday the Israel used it’s David Sling interceptor system for the first time, launching two missiles against two SS-21 Tochka tactical ballistic missiles launched from Syria. When the system determined that neither would hit Israeli territory, one of the interceptor missiles was ordered to self-destruct over Israel’s southern Golan Heights. The second David Sling interceptor missile meanwhile fell inside Syria without intercepting the second SS-21.

[waywardmakerinfluencer]

cool gadgets: Our pick of the best new tech for 2021

There's nothing very like the energy of purchasing a pristine device. Opening the case, hauling it out, gradually stripping off the defensive stickers… it's consistently an exciting second for any tech fan.

In case you're feeling the loss of that inclination, look no farther than this rundown of the coolest contraptions for 2021. Searching for something explicit? We have purchaser's advisers for assist you with picking the best nursery devices, best soundbars or best brilliant speakers.

Return consistently – we'll keep this page refreshed with the most recent cool contraptions for your perusing delight.

TrinoXO Tee

A scent battling T-shirt made of reused crab. Indeed, you read that right. This unassuming T-shirt is made of chitosan, a material acquired from the exoskeletons of shellfish.

It's perhaps the most bountiful fixings on earth, so its makers, Allbirds, chose to utilize it to make a portion of its garments line. As indicated by Allbirds, this extraordinary mix likewise has scent battling properties (it apparently has a surface that is difficult for rancid microscopic organisms to colonize), which ideally implies you need to wash it less, and it'll last more.

DJI FPV drone

Extravagant yourself as a robot pilot? DJI's new robot radiates the view from its camera directly to a headset back on firm ground. You see what the robot sees.

It's an easy to use form of what drone-dashing pilots use in rivalries. The actual robot can move at a maximum speed of 140km/h (87mph) and can arrive at 0-60mph in only two seconds. It has a maximum scope of 10km (6 miles), however you'll require a spotter who can look out for individuals or obstacles beneath while you fly.

The tech is pretty force hungry, so you'll get a limit of 25 minutes out of a flight, yet it will be one helluva ride.

Simba Hybrid Luxe Mattress

A decent night's rest is perhaps the main things you can accomplish for your wellbeing and prosperity.

Adaptable padding sleeping pads are chic, yet their supple hug isn't for everybody. Simba's protected crossover arrangement sets springs and adaptable padding to make a bedding that is firm, guarantees two individuals dozing in a bed will not feel each other move around, and is cooler than adaptable padding.

The organization's most recent overhaul, the Hybrid Luxe, adds a second arrangement of springs to offer additional help and eliminate any opportunity of sore joints for side sleepers. Furthermore, Simba has added a breathable bamboo fleece layer just underneath the top layer, to help control your temperature and battle off a sweat-soaked night's rest.

PS5 VR regulator

Subtleties are dainty on the ground about computer generated simulation on cutting edge reassures, yet Sony has uncovered what its movement regulators (which will make an interpretation of your hand developments into the virtual world) will resemble.

Specifically noteworthy is the finger-contact recognition that detects where your digits are put on the far off. This will empower you to get and control objects in the virtual world in common manner.

Beosound Emerge savvy speaker.

This may very well be the most amazing looking brilliant speaker available. Underneath the adademic mask, the Beosound Emerge is furnished with Google Assistant so it can handle any viable associated home tech.

The sound is fueled by a different tweeter, mid-range driver and subwoofer so it will make room-filling, definite sound, in spite of its size. Furthermore, in the event that you some way or another have sufficient extra money to purchase two, you can combine it with a subsequent speaker to make sound system sound.

Dyson Purifier Hot+Cool Formaldehyde.

While a large number of us know air contamination hurts our wellbeing, we may have ignored what's going on inside our homes. Incidentally, cooking and cleaning are filling our homes with poisons at higher focuses than those outside. Indeed, even our furniture is off-gassing formaldehyde – a compound utilized in its creation.

So how would you be able to respond? Indeed, you could simply dismiss society and retreat to the forested areas (we've thought of it as a couple of times this year), however on the off chance that that is impossible, you might need to think about an air purifier.

The most recent rendition of Dyson's Purifier Hot+Cool is kitted out with channels to handle the particles attacking our home's air, including formaldehyde. It likewise has heaps of sensors to give understanding into what's creating the most contamination (cooking, for our situation, made the air quality 'extreme'), and it serves as a viable fan or warmer.

Sony FX3 .

Sony's FX3 is the littlest, least expensive film camera the organization has at any point made. It's worked for producers, as opposed to picture takers, so it can deal with recording ultra HD video at 120fps for significant stretches.

It comes packaged with a handle that is ideal for shooting from low points and it adds additional attachments for connecting distinctive sound sources of info. There's likewise in-self-perception adjustment for when you're "running and gunning".

The camera will likewise get along with Sony's yet-to-be-delivered Airpeak drone. At 715g, it's all in all too massive to fit in your pocket, however it's light enough and little enough to take any place you go. Look out for it in the possession of your #1 YouTuber soon.

Gouthwaite Backpack 23L .

The brand behind this move top sack is called Bear and its originators have a mission: to get more individuals outside to discuss their psychological wellness. Deals from each pack will finance free outside workshops from fly fishing to rummaging to go 4x4 romping cycling. Customers simply need to join to their mailing rundown to discover when courses start.

Meanwhile, while we're completely stuck for the most part inside, Bear will give 10% of deals to The Outward Bound Trust. What's more, the organization is carbon negative, depending on recyclable, non-renewable energy source free materials where conceivable and carbon-counterbalancing the rest.

The real sacks are quite savvy as well. There's a speedy delivery clasp holding the top together, which is a similar one utilized by the salvage administrations, and the waxed material is made in Scotland without the utilization of PFCs (the synthetic substances commonly utilized in waterproof coatings) which can wash off materials and end up in streams.

Xbox remote headset.

The new authority gaming headset for the Xbox Series X and S packs in a great deal of highlights without costing a little fortune, and for once, it will not make you seem as though an extra in a Tron film.

The jars are kitted out with the most recent encompass sound (Windows Sonic, Dolby Atmos and DTS) so you can sincerely hear those strides crawling up behind you. There's a savvy, retractable mouthpiece inside, which can separate your discourse and tune down foundation commotion.

Besides, It offers an auto-quiet alternative, which turns off the mic when you're finished talking: not any more inadvertent weighty breathing over comms. We'll need to save full judgment until we can get a couple on our ears, however it would seem that this could be the savvy approach to get vivid sound on your Xbox....

[mulanxiaojie]

The Walt Disney Studios has announced its pick for lead actress in the live action adaptation of its Mulan animated film, and the choice is already stirring up controversy in China.

Chinese actress Liu Yifei, who also goes by the name Crystal Liu, will play the title role of Mulan in the new film, which has been in on-again, off-again, on-again development for years. Western moviegoers may remember Liu for her small role as the character Golden Sparrow in the Jackie Chan and Jet L -starring 2006 martial arts hit The Forbidden Kingdom.

Chinese moviegoers, who have had far more exposure to the actress via the dozens of movies in which she has appeared, are mixed in their reactions.

“Oh, Disney you fail!,” says a social media commenter who goes by the handle Olive Skywalker on the boxofficetheory.com website. “She is the most famous box office poison in China and sucks in acting.”

Another commenter, who goes by the tag TigerPaw, added his opinion that Liu is the “2nd worst choice. The worst will be Jing Tian (the wooden female lead in Legendary’s The Great Wall) – she can't act and [has to] use her backing to get roles. Liu Yi Fei is bad, but it could have been worse.”

Not everyone is so opposed to the choice. A commenter by the name of UserHN wrote: “I just remembered watching her in Love of the Condor Heroes. She seems fine. And she's so beautiful.”

Another, Barnack, noted that “I’m not so sure it is wise to take the words of people on the Internet over a corporation like Disney that bought serious world marketing expert studies, they would have not hired box office poison, especially if she cannot act, that make little sense.”

In fairness to Liu, her box office track record in China hasn't been terrible, but it has been mixed. She has appeared in leading roles in such hit films as the action franchise The Four and Once Upon a Time, and also in some box office duds like Outcast (2014) opposite Hayden Christensen and Nicholas Cage, and Love in Disguise (演员, 2010) with Lee-Hom Wang.

I reached out to representatives for the film and received a solidly positive argument for the choice from a source who is close to the production. This individual, who asked that I refrain from mentioning their name, told me, “The studio and the filmmakers have bent over backwards trying to find someone who checks everyone’s boxes, which, as you know, is impossible. The Chinese partners supported her and ultimately the decision was made based on the quality of the performance. I hope that people are able to step back and judge the movie as a whole when it is finished.”

The source added, “That’s too bad [about the comments from China]. There has been an overwhelmingly positive response from the rest of the world, especially in the U.S. Bill Kong (producer of megahits Monster Hunt and Crouching Tiger, Hidden Dragon) thought she was a good choice and most importantly she gave an excellent audition and is very committed to the extensive amount of training we are requiring. [The producers] watched hundreds of tapes and at the end of the day she won this role by working hard and delivering a great audition.”

Of course, Disney is looking to appeal not just to audiences in China, but around the world too. China now commands 20% of the global box office pie, an enormous increase from the 1.7 percent share it had just a decade ago.

Chinese fans are already speculating about who will play the lead male role opposite Crystal Liu, with such names as Kris Wu, Jing Boran and Wu Yifan being bandied about to both cheers and jeers from those familiar with their prior work.

Mulan is the latest in a succession of Disney's live-action reboots of its classic animated films, which have included Maleficent, The Jungle Book, and this year's blockbuster hit Beauty and the Beast, the highest-grossing Hollywood movie of 2017. The picture is being directed by Niki Caro (Whale Rider, The Zookeeper's Wife) and produced by Chris Bender, Jason Reed and Jake Weiner. Disney plans to release the film in theaters on an as yet unspecified date in 2019.

[infantisimo]

Cinema of the Unspoken: Documentary Shorts of Yasmine Kabir

by Tazeen Ahmed

Yasmine Kabir is a Bangladeshi independent filmmaker who has been exploring the documentary field since 1990s. Before this blog delves into her films, it is important to explain her place in contemporary Bangladeshi cinema. The documentary form is quite widely practiced in Bangladesh. Being a developing nation, Bangladesh is the hub of prolific development work with innumerable Non Governmental Organizations (NGO), schemes and policies in place. Along with policies and interventions comes development communication where documentary filmmaking plays an important role. Thus, to find a documentary in Bangladesh regarding marginal societies may not be a hard feat. Kabir’s work also encompasses unspoken stories of various marginal communities. At first glance, her films might come across as just another tale of development narrative. Yes, it is part of the narrative. Yet, her work somehow exceeds the ‘status quo’ narrative of the development documentary and rather throws the audience into her subjects’ pain in a much more direct manner. There is a do-it-yourself (DIY) flavour to her films which I think really sets her apart in the documentary filmmaker’s realm in Bangladesh.

Like her subjects, Kabir’s films seem to belong to the unspoken territory in the written world of film criticism. With a filmmaking career going back to the 1990s and with many of her films having been screened at various international festivals or film societies including Yamagata International Documentary Film Festival and International Documentary Film Festival Amsterdam (where it received the Jan Vrijman Fund), it is rather surprising that almost no written work exists about her films. However, she is highly revered among the independent filmmaking community of the country. It is a growing time for independent film in Bangladesh. Due to participation of several films in many prestigious international festivals and film markets in recent years, Bangladeshi films are garnering a spotlight as part of South Asian cinema, which used to mainly refer to films from India. I believe it is about time to talk about the films of Yasmine Kabir who has inspired filmmakers in Bangladesh for quite a while now.

Yasmine Kabir’s films span from the topic of migrant workers to war victims. Her films are extremely powerful, yet minimalistic in their language; no complicated filming techniques are applied. Rather, she delves directly into her subject and makes the audience experience them up close throughout a 16-30 minutes runtime. She is solely interested in capturing the faces and voices of her subjects, like a portrait painting. But her work is diverse. Her films can also be completely devoid of voices and dialogues.

My Migrant Soul

Let us begin with Kabir’s most renowned film, titled My Migrant Soul (2000). It is the story of a migrant worker Shahjahan Babu, who went to work in Malaysia in the 1990s, only to fall into the usual traps of a manpower scam, ending up perishing away in a detention camp. The images in the film are made by juxtaposing interviews of his family members – long after he passed away – and images of streets and locations in Malaysia with the voice of Babu who used to send cassette tape recordings back to his mother as correspondence. My Migrant Soul opens with workers being inspected and selected at a ‘manpower export’ organization. We see close-up shots of the workers’ faces and their bodies with their hands while working. The shots of the faces have no sound. The opening soundscape thus ends up provoking a kind of anxiety by placing loud thuds, hammering, machine sounds in opposition to complete silence.

After the black-and-white opening of the film, the rest of the film intermingles home-video styled images of Malaysia with the smoother images ‘at home’ which create an interesting contrast in texture; images are blurrier abroad, clearer at home. Yet, it is almost as if Babu had recorded those images of Malaysia along with his voice-recordings and ended up provoking a haunting feeling in the viewer. The deceased protagonist of the film exists in memories; in his voice recordings, a few photographs and in the coffin that his sister still carefully keeps in the house while Malaysia only exists in the imagination of her family members. The film is able to create a powerful diegesis in the viewer’s mind, made up of images that are not shown. A secret reel of Babu’s life in Malaysia plays inside the viewer’s mind while watching the film. None of it is present on screen; it is not possible to present it on screen. But that does not stop Kabir from telling the story. I always remember a scene from the film where Babu is working at night, in a construction building with welding sparks flying about. Yet, when watching the film for this essay after many years, to my surprise, I found no such image exists.

The Last Rites

Her next film The Last Rites (2008) is the only one out of the five shorts discussed here that contains an opening with a long shot. However, that is probably due to the film’s topic of workers in a Chittagong yard engaged in the gruelling job of ship-breaking. In 2019, the ship-breaking industry of Bangladesh topped the world market by dismantling 42.2% of the world’s vessels (Hussain, 2019). But one of the reasons behind this success is cheap labour and no standard regulations. Most of the scrapping is done manually, without the use of heavy machinery.

The film throws us into a morning at a yard. By repeatedly showing images of men pulling ropes tied to heavy pieces, close ups of their bodily strain, the film shifts from light to dark, from morning to night. But the work never stops and the weights on the workers’ shoulders are never lifted. After the opening, shots become tighter and the subjects seem overwhelmed in their surrounding of water and metal. The handycam tries to zoom in as close as possible. As soon as Kabir gets a chance, with workers reaching the shore, we are back to close-ups and extreme close-ups again; of hands pulling ropes, nets, garbage. The film ends with a combination of silence and haunting music on stills of ship parts and scraps which, by then, scream of death, blood and sweat.

A Certain Liberation

A Certain Liberation (2013) follows a Liberation War victim Gurudasi Mondol, who roams the streets of her small town in Southern Bangladesh and is known as a mad woman who takes money from passersby at will. Some people give her money out of pity, but most tolerate her to avoid some kind of attention-drawing incident. Mondol has garnered an authority in usually male-dominated spaces by physically touching men passing by or beating them with a stick she carries around or simply by uttering swear words that a woman is not supposed to – she defies all definition of being ‘lady-like’. But the people of her community have gotten used to her eccentricities as well. The children of her community love her and find her to be a queen while she calls herself ‘the mother of Bengal’ as many of the children grew up with her around.

The circumstance of her life is rooted in the atrocities of the Liberation War of Bangladesh. Her family was killed in front of her eyes by the ‘Rajakar Bahini’, the anti-Bangladeshi paramilitary created by the Pakistani army. Although it is never explicitly mentioned in the film, but we can assume that Gurudasi Mondol was most likely raped as she was captured and imprisoned in the ‘Rajakar’ camp for days. The war took everything from her, and she found her own way of liberation and survival. By being obscene, she is liberated and free to do whatever she wants. But it is difficult to say which is more obscene, her madness or her circumstances.

Tazreen and Rope

Yasmine Kabir’s next two films are even looser in structure than the ones mentioned so far. Tazreen (2014) is probably the most DIY in style out of the five films discussed in this article. The film simply interviews the worker victims of a garments building fire, year after its occurrence. From beginning to end, the film records whatever the victims have to say in close-ups. Rope (2016), her last film is made up of close-up images of a child labourer working at a rope factory, manually turning jute thread into ropes.

All of Yasmine Kabir’s films have extremely short exposition, which almost never uses long shots to establish location. Instead, the camera is up-close and personal from the very beginning of the film, creating an effect of throwing the audience into focusing on the subjects’ faces. Just like in a portrait, we can take our time to observe the shapes and colours of the face closely and because of the moving images, also the subtlest changes in expression or shifts in the eyes. We are forced to ‘look at’ her subjects that are usually people who are overlooked in society. A Certain Liberation has a brilliantly minimalistic exposition by which the context of the film is set. Kabir uses footage of the victory of the Liberation War followed by chronological footages of all the leaders of Bangladesh and ends up expressing the country’s history in a handful of shots. Her style of using close-ups usually includes other parts of the body such as hands and feet. As many of her films want to signify physical labour of the working class, it becomes a very effective device to express strenuous labour. Both Rope and The Last Rite portray visual imagery of physical strain and force by using these devices and show how much the human body endures in the age of modern slavery.

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It is important to understand some of the context of Yasmine Kabir’s films. The 1990s saw an explosion of NGO documentary filmmaking and a lot of funding was available in that sector. However, unlike today, the topic of migrant workers was not in much fashion back then. My Migrant Soul is an early account of the perils of migrant workers of Bangladesh and is a film that was way ahead of its time in its thinking. On the other hand, Tazreen might seem like an almost amateurish news-report type account of victims. However, it is important to mention that the film was shot after a year of the original Tazreen garment fires of 2012. It was made in 2013, when another tragedy hit with the collapse of the Rana Plaza garment in Bangladesh that garnered international attention. By bringing the victims of the Tazreen fire on screen, at a time when all lenses were focused on Rana Plaza, Kabir is able to make the bold statement of how quickly we forget these incidents and how they just keep on happening, no matter how much we cover them in the media. As for A Certain Liberation, a great number of women were victims of genocidal rape and went through the horrors of a bloody war. However, the representation of these women on screen usually remains as that of victims, broken, or as helpers of the liberation army (Mukti Bahini). Kabir takes the war victim, embraces her madness and gives her power and authority in her film. We see the strength of the rape victims not in their sacrifice (as sacrificing is deemed as woman’s virtue), but in their resilience and endurance.

Within the development narrative, Kabir’s films, by delving into the micro-level, looking at a single person (My Migrant Soul, A Certain Liberation), forces the audience to remember a singular migrant worker, a singular liberation war victim which in our story-loving minds become much more effective than a broader macro-level narrative. On the other hand, Rope and The Last Rite give us an ensemble of close encounters of the hands, feet, shoulders of working boys and men in blips and glimpses. But again, by repeating and continuously focusing on just the characters, not the backdrop, we are forced to remember, maybe not a single person, but what every ship breaker and rope worker goes through every day. Tazreen, as I have mentioned before is an anomaly. The power of Tazreen portrays Kabir’s sense of urgency, sense of timing for making her films. This completely plain looking video recording of a crowd expressing their pain was a necessary film. It is this urgency, a sense of ‘this must be recorded’ that gives power to Yasmine Kabir’s films. Her intent shines through in this urgency; the intent to directly show the audience whatever is available even if it means that aesthetics of film needs to be sacrificed.

The films of Kabir are usually self-produced, with help from friends. The filmmaker leads a rather secluded lifestyle, often refusing public appearances. Her films have been exhibited in prestigious international film festivals. But that has not stopped her from taking ‘a step down’ and screening her films at as many small film societies as possible. Unlike many filmmakers, she is not very particular about where or how her film is being shown, as long as there is an audience. Her last film Rope was screened in a small rural community and after Gurudasi Mondol’s passing, A Certain Liberation was screened at her community in Kopilmoni. These screenings did not garner much media coverage either.

Yasmine Kabir’s films are not interested in the beauty of an image, per se. They do not contain the perfect shot. She is interested in showing but not showing-off. She is interested in maybe in the absence of aesthetics. That does not mean that her films are devoid of beauty. The beauty lies in compassion and empathy for her characters. It is very difficult to un-watch her films, to forget her images. Most of all, it is very difficult to forget the truth that is portrayed in Yasmine Kabir’s films. 

YASMINE KABIR // FILMS

1. A Certain Liberation

Gurudasi Mondol gave herself up to madness in 1971, during the Liberation War of Bangladesh, as she watched her entire family being killed by the Razakars, collaborators of the Pakistan occupying forces.

Thirty years later, Gurudasi continues to roam the streets of Kopilmoni, a small-town in rural Bangladesh, in quest of all she has lost; snatching at will from strangers and breaking into spaces normally reserved for men. In her madness, she has found a strategy for survival.

In Kopilmoni, Gurudasi has attained near legendary status. Through her indomitable presence, she kept alive the spirit of Liberation.

2. My Migrant Soul

“If I live, I'll write the history of my travels in Malaysia…. I'll write a poem about it." — Migrant worker, Shahjahan Babu

My Migrant Soul, is about Shahjahan Babu, a migrant worker, who left Bangladesh in search of work. Having sold his only piece of property and virtually mortgaging his life, the young man arrives in Malaysia, only to experience disillusionment, misery and frustration.The film highlights the plight of the migrant worker in these times.

Prior to his death, Babu sent home audiotapes to his family, in which he recounted his bitter experiences in Malaysia. These tapes are used as a running narrative throughout the film. Songs, sung by Babu, are woven into the film, lending a poignant structure to the tragedy of Babu’s life. The camera is the medium through which Babu tells us his story posthumously.

"In a marketplace, like fish and vegetables, humans are being bought and sold", said Shahjahan Babu.

My Migrant Soul is about dreams that crumble into despair.

3. Rope

Continuing a tradition that goes back centuries, children are employed as rope-makers in old town, Dhaka, making ropes by hand from jute fibres. They twist, tie, knot and weave from early morning till nightfall.

4. The Last Rites

'The Last Rites’, a silent film, depicts the shipbreaking yards of Chittagong.

Every year, hundreds of ships are sent from all over the world to yards in Bangladesh. And every year, thousands of people, many of them migrant farmers, come to these yards in search of jobs. Risking their lives to save themselves from hunger, they breathe in asbestos dust and toxic waste.

The elemental struggle between man and metal figures throughout the film, as men carry the weight of steel ropes over their shoulders, pull huge parts of the vessels inland, and bear great metal plates.

'The Last Rites’ is a portrayal of the agony of hard labor.

5. Tazreen

'Tazreen' documents the aftermath of one of the deadliest industrial fires to have occurred in the history of the garments industry in Bangladesh.

At Tazreen Fashions, Dhaka, Bangladesh on November 24th, 2012, the fire, started on the ground floor, quickly spreading to the floors above, trapping countless workers. Many were burnt, others leapt to their deaths below, and scores were left severely wounded. The fire blazed for over 17 hours. It was estimated to have killed 117 workers.

The film captures the grief, trauma and helplessness suffered by the survivors as well as of those who lost their loved ones.

[vampiremochi]

Taiwan is another place that’s long been in my travel bucket list…probably even before I knew what a bucket list meant. This all stems from my days of fangirling over Taiwanese celebs and dramas most popular of which was F4 and Meteor Garden. (I am also a huge fan of Taiwanese singers Jay Chou and Lee Hom and have been lucky enough to have seen them live separately on concerts in Singapore.) Although my F4 days have long been over, that’s no reason to scrap this country (territory?) off my must-visit list, especially since it’s such a close neighbor of the Philippines, and now that Filipinos can visit Taiwan Visa-free. (Although at the time of our visit, this rule was not yet implemented and we had to get a tourist pass online, which was a relatively hassle-free process and no fees were required.)

In front of the Taipei 101

We arrived at the Taoyoun Airport in Taiwan via Cebu Pacific past 1am in the morning. It had been raining in Manila when we left and it was no different when we arrived in Taiwan. As the booth for the SIM Card we had purchased via Klook opens at 6am, we decided to spend the night at the airport and wait for the morning bus trip to Taipei.

The first of 3 consecutive rainy mornings in Taipei

We had booked our accommodations at Holo Hostel which was sooooo conveniently located right in front of the Taipei Main Station, the transportation hub of Taipei where the city subway, provincial trains and buses all converge. The elevator leading to the subway was literally a 30-second walk from the entrance of our hostel’s building. Since check in was still at 3pm, we decided to leave our bags at Holo first, freshen up and have breakfast before touring the city.

The Taipei Main Station seen from the window of our hostel. 

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Playing with the “lively” pandas at Holo.

It was raining really hard by mid-morning so we pretty much had to scrap our original itinerary and settle for indoor sites instead…which was basically composed of the National Palace Museum, Taipei Astronomical Museum, ATT 4 Fun, Taipei 101, Jay Chou’s restaurant, and more malls. We did go to the Houtong Cat Village and was supposed to head to Jiufen after but due to the rains (and the fact that it was so damn cold and we were dressed in summer clothes), we decided against it. Oh well, that’s one reason to go back to Taiwan then…plus the Meteor Garden tour as well :p

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Taiwan has a very modern, systematic and efficient transport system. From the buses and trains taking tourists to and from the airport, to the humongous Taipei Main Station, and the scenic railroads that lead you to provincial destinations. We may be so near Taiwan geographically but in terms of urban development, we sadly are lagging behind.

Train going to Houtong

The platform leading to Houtong

Updated schedules flashed onscreen

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At the National Palace Museum with its beautiful sprawling gardens.

The highlight of the trip for me was the Houtong Cat Village because hello? A VILLAGE FULL OF CATS. HOW CAN I NOT BE HAPPY WITH THAT?! The rains did dampen that a bit because the cats, understandably, preferred to stay in their little nooks and crannies, hidden from the rain, and visitors as well 😦 Again, another reason to go back to Taiwan 🙂

Warning: Pic spam becuz of teh cute kittehs!

Cats everywhere even int he CR!

Cats everywhere even int he CR!

Cats everywhere even int he CR!

Cat lanterns at the overpass

Cat lanterns at the overpass

Cat lanterns at the overpass

  Welcome to Houtong!

That’s actually a dog beside the huge cat

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Cat in a box

Tried really hard to befriend this kitteh

Tried really hard to befriend this kitteh

Tried really hard to befriend this kitteh

Tried really hard to befriend this kitteh

It was really cold at Houtong due to the rains so we decided not to head to Jiufen anymore

At Houtong, we ate at this quaint little noodle shop near the row of shop houses and eateries at the town’s entrance. It was quite a funny incident which demonstrated how friendly local Taiwanese people are unlike other nearby Chinese territories which I shall not name *coughHKcough* The old lady manning the shop, who also happens to be the cook, didn’t speak a word of English and we, on the other hand, didn’t know a lick of Taiwanese. We simply couldn’t just point to the food that we wanted because you’re supposed to choose the elements that will go to your noodle (type of noodle, protein, side dishes, etc.) So the lady asks these two local tourists to explain to us the menu and from there we finally got to order. Much like a lot of the food in Taiwan, the noodles were very cheap and delicious and the servings were quite huge that we didn’t get to finish it. So if you ever find yourself in Houtong, I suggest you try this little noodle shop 🙂

Authentic Taiwanese noodles

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Go look for the noodle shop with vandalism on the walls

And when in Taiwan, you gotta do something Taiwanese-pop related. And for us, it’s a visit to Mr. J’s Restaurant, owned by Taiwanese superstar Jay Chou.

You’ll get to see a lot of Jay Chou memorabilia at the restaurant, most significantly is the piano used in the movie Secret, plus posters of his albums and his concerts. There’s also a white screen playing concerts of Jay and during our visit there’s actually a woman fangirling with every song. The food is quite reasonably priced, tastes quite good although nothing really spectacular about it. The main reason why you’ll go here anyway is because it’s owned by Jay Chou and you want to take pictures with all the memorabilia.

The piano from the movie The Secret

The piano from the movie The Secret

The piano from the movie The Secret

Another indoor spot that we were “forced” to go (since we had no choice but to go to indoor spots because of the rain) to but nonetheless enjoyed was the Taipei Astronomical Center. Think of it as the Planetarium in Manila with it’s hands-on exhibits and 3D film showings about the galaxy.

Beam me up Scotty

I think this is some kind of pod

Jeojang! #OnlyPD101FansWillKnow

On the way to Taipei 101, we also explored the ATT4Fun Mall, where Donguri Republic is located. Donguri Republic is a concept store inspired by the works of Hayao Miyazaki so we had our fill of Totoro and all the other characters created by the brilliant Mr. Miyazaki.

with Totoro

And of course, you gotta ride (or pose beside) the giant cat bus.

The mall also features a themed dining area that features elements from Alice in Wonderland and other objects of whimsy.

A giant cuppa tea

With Marie Antoinette and her cat

And of course, what’s a visit to Taipei without posing in front of the the Taipei 101 tower. We had initially planned to visit the Starbucks inside the tower which supposedly offers a panoramic view of the city. However, we were unable to make a reservation for a table.

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As expected, the food in Taiwan did not disappoint me. Aside from the ubiquitous milk tea (which goes for as cheap as  Php40), we also enjoyed all the other selections available at Taipei Station, the night markets (which sadly we did not get to enjoy due to the rains), roadside restaurants and even 711 which sells such prettily packaged milk tea. We also discovered this delicious Chinese pizza stall of snack at the train station. It’s basically flaky bread which you can feel with any filling of your choice.

More rain

Despite the rains, I still enjoyed my visit to Taiwan…but it is also because of the rains that I still wanna return to Taiwan. With a couple more spots to my bucket list such as Jiufen and those MG shooting locations, plus Houtong with more cats, another trip to this island is most definitely needed.

Taiwan has long been in my travel bucket list even before I knew what a bucket list meant. Taiwan is another place that's long been in my travel bucket list...probably even before I knew what a bucket list meant.

[vrheadsets]

Asad & Assad AR Documentary Seeks Funding on Kickstarter

Last week saw several Kickstarter projects emerge and succeed with various forms of success, such as Pimax and its 8K head-mounted display (HMD) or ZephVR’s fan accessory. Another to launch wasn’t for hardware, instead 1RIC the studio of augmented reality (AR) artist Asad J. Malik has launched a funding campaign for an AR documentary Asad & Assad.

The film looks at the diversity of socio-political experiences of Muslims in the US, interviewing students as they recall stories of their childhood, family, work, faith, lack of faith, war, privilege, sex, drugs, youth, love, and a life far from home.

Currently Malik has captured interviews with three millennial students attending college in the US using spatial sound and 3D volumetric captured in partnership with Brooklyn-based startup Depthkit; Roua Sibai from Homs in Syria; Zubair Siddiqui from Karachi, in Pakistan; and Huma Javeed, an “Ismaili Muslim” from Chitral. Two further interviews are planned to round out the documentary.

The team are looking to raise $20,000 USD through Kickstarter although they acknowledge that will only form a small part of the investment needed to complete the project. To help buy further development equipment, travel to interview locations and pay the team of creators dedicating their time to the project 1RIC will need to raise a total of $120,000.

Those who want to see the project to succeed can pledge anywhere from $5 up to $10,000 on the various reward tiers, or simply make a pledge of any denomination they like above $10 without a reward. Rewards include an exclusive Q&A with Asad, iOS Early App access and web access to all the Asad & Assad interviews, all the way up to getting your own hologram made.

In terms of distribution, 1RIC initially plans on showcasing the documentary via Microsoft HoloLens in an exhibition format at festivals like Tribeca and SXSW. “We would also be hoping to bring the same experience to museums like LACMA and SFMOMA, Malik notes on the funding page. “Eventually the project would be available for over 500 million users to experience through an iPhone app that utilizes the newly released ARKit.”

The campaign has currently raised just over $12,000 with 26 days to go. As further updates are released, VRFocus will keep you updated.

from VRFocus http://ift.tt/2lVRyGi