#is the opposite of an audio series a silent film?

[not-5-rats]

Oh no it's Escaped Audio's evil twin!!!!

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Captured Film D:

(Please ignore this, I think my brain's abandoned me)

[downthegenderriver]

Tvtropes uses the term "missing episode" not lost media (and actually argues that missing and lost are not synonymous). It gives this definition "An episode of a regular series which, for some reason, is not included when the series is shown in syndication (or is sometimes pulled when the series is first run and then shown in syndication or is never shown in syndication at all — and, in some cases, not included when the show is put on home video, DVD or online streaming websites). A missing episode is (almost always) an episode that plans to air, but something later comes up to prevent it."

This probably explains the discrepancy OP is discussing, as tvtropes is talking about official availability from the original source, not "is it possible to find" (though all lost media are missing episodes). It is talking about a different but overlapping thing.

However, I think the debate about what "counts" as lost media is interesting, because I have seen several peices of media that have been described as lost, and I have strongly disagreed

Wikipedia defines lost media as "any media that is believed to no longer exist in any format, or for which any copies cannot be located."

The Lost media wiki doesn't strictly give a definition but notably says "This wiki is a community passion project where we detail and attempt to track down (at least, in most cases) pieces of lost or hard-to-find media; whether it be video, audio or otherwise (of either a fictional or non-fictional nature), if it's completely lost or simply inaccessible to the general public, it belongs here."

So the wikipedia definition includes basically everything everyone agrees are lost media (the doctor who missing episodes, lost ancient greek plays/epics, silent films that ended up in a vault fire, etc).

But the lost media wiki includes "hard to find" media, which is interesting because anything is hard to find if you are bad at looking for things.

There are plenty of Categories that are debatably "lost" in the colloqial sense.

Unreleased/cancelled media: media that was never available the public to begin with (e.g. the unreleased batgirl movie)

Vaulted media: media with a known copy, but the general public can't access (e.g. the day the clown cried, which also counts as unreleased)

Unidentified media: media that people remember having viewed , but cannot be identified to a known work (e.g. Clockman before it was found)

Lost Original Source: we have a peice of media but no idea where it comes from. (e.g. the backrooms image) This is almost the opposite of lost media in some respects.

I'd argue that because the lost media wiki includes these things, it's more of an "inaccessable" media. But it does raise the question...define accessible.

The general vibe is that if you can find it on youtube, it's not lost (by LMW standards), but if you don't have internet access, then it's just as unavailable as anything the bbc wiped.

And sure maybe there is a copy on ebay, but can you afford it?

If you're wondering about my opinion I'm quite strict, if there is a known copy in a known location, no matter how hard it is to access, it's not lost media. That's not to say there isn't merit in the LMW's definition.

I really hate that so many people can't tell a difference between "lost media" and "commercially unavailable media".

Like there's a TV tropes article that calls the SNES Lion King game "lost media".

No? We have ROMs and there's carts on ebay?

But it's no available in the Nintendo Switch store, so it's "lost media".

Like, don't get me wrong, the fact that there's so many games (especially Nintendo console games!) that you cannot legally purchase right now is definitely a problem, but it's a mostly separate problem from lost media, which is where there's no archived versions anywhere, and it's potentially completely lost.

[beccasissy69]

My next session (which again, was the weekend before the one just gone 😖) was a combination of femdom forced bi clips and an audio hypno file. I was using my squirting dildo and it was allowed to give me only two loads. I’m not sure if it’s a good sign or not, but I remember almost nothing about the hypno 😂 because I was paying attention to the videos and the dildo and a girl only has so much bandwidth.

Then I had some chastity videos to work through. As Goddess said, they can be hit or miss but each of them had some plus points, even if it was just a moment or two when the domme turned cold or mean.

It’s hard to get the effect over but Goddess has been pretty mean and belittling when we’ve talked this month which has tied into the things I’ve doing and helps put me in exactly the right place for what my training has bought on that night. Which really became clear when I had a very dangerous session. I had a similar one last month but I was uncaged and stimulating myself.

First up, I put pink lipstick on my clit (I loved the idea of having pink sissy drips) and then I was watching one guy have sex with multiple woman while I was uncaged and grinding on my large plug. Halfway through, I was to cage and then suck a dildo.

Goddess had told me that my clit doesn’t do what a c*ck does and she was proved completely correct. I was dripping like crazy all the way through (by the end, the lipstick I’d applied was gone) and I was so hot but I didn’t even get “erect” which was quite the trip.

Then I had one that didn’t quite work properly. I was watching VR BJs while gagged but the usual places I get videos like this from have changed or disappeared (and the porn videos sites mostly have VR behind paywalls now). It was quite frustrating because after an hour I’d only watched about 20 minutes of video and some of it wasn’t quite right (and one that I was looking forward too was completely silent which kind of spoiled it 😾). 

Thursday was almost the complete opposite (obscenely successful), I started by watching two hypno style videos about gloryholes and cum eating before I switched to glory hole videos and working through all of my dildos one by one.

The videos at the start set me up perfectly and then I spent almost an hour working through each of my six dildos and watching videos. I tried to zero in and notice the change when I switched c*cks, so I was sucking off a different guy whenever I switched. I’ve never really noticed that most of them do have a different mouth feel (besides their sizes) and I ended on my squirting one which was filled with hot water for a happy ending.

On Friday I was plugged and denied any sexual content as Goddess had me watching a chick flick. It was ok at the start but once the bad boy male lead was introduced I was captivated and I felt it. The heat and the desire for him, it was quite a shock. It’s been there the last few times I’ve watched similar films but this time it was overwhelming. The film I picked was part of a series and I kind of don’t want to finish it because I know he’s going to do something to split them up for the next film and I’m not sure I’m ready for that.

Finally, my weekend task was watching videos of cucks eating c*m from alpha condoms. While I applied lipstick and made out with a dildo. The first couple of videos didn’t quite vibe with me but I realized it was because I was sitting, so I switched to kneeling in front of my screen for the next one and that was much more appropriate. 

The more I watched the more it struck me that, as Goddess had said, this was a treat for me. Not just the used condom but that the woman in question had thought of me to the extent of keeping it and bringing it back for me (some were super dommey and overt and others were a little more...not quite loving but pitying) and I really liked the range of ways of dealing with it. It was super super hot too! 

[thirdeye6thsense]

The Cabinet of Dr. Calligari

Reconstructed by- Bundesarchiv- Filmarchiv of Germany 

Written by Carl Mayer and Hans Janowitz

Art direction by - Hermann Warn, Walter Reman, Walter Rohrig

Cast- Werner Krauss, Conrad Veidt, Friedrich Fehér, Lil Dagover, Hans Heinz and Rudolph Vetting

Photographed by- Willy Hameister

Divided in 6 acts 

The audio takes momentum, encapsulates what the audience will face in the coming few shots 

The background music is such that it captures your attention, makes you aware of your hearing sense, its like a bell that never stops reverberating, creating a deep sense of horror, mystery and discovery. If violence was a tune, this would be it. 

When the opening credits roll for the cast, art direction and writers, the entire video is shaky, already creating an extremely disruptive, disturbing and wobbly visual experience for the audience.

Even the font used during the entire opening credit scene is dissembled, distorted and unstructured, just like the root of German Expressionism (not falling into the monotony of an ‘ideal cinema’ and creating something unusual which might not be perfect.) No considerations was given to the style of font as well, as if the producers don’t care if the information is supplied or acknowledged by the audience. No attempt to make it aesthetically appealing either. Just absurd. 

As the first scene opens with a reverse dissolve, the first 3 characters, that we just catch a glimpse of disappear in a second, long enough to create a longing to know who they are without giving anything away. The 2nd shot throws us off with the quote 

“There are spirits

They are all around us

They have driven me

From hearth and home

From wife and child- -”

The quote doesn’t have any commas or fullstops, showing the urgency of the sentence and downright betrayal towards grammar. The drum bangs in the shadow of the quote, translating to timid harrowing that might lead to something devastating.

As soon as the fiancée is introduced, a sense of derailment captures the audience. The no eye-contact or acknowledgement by the fiancée of the primary characters, constantly looking up towards the sky, throws off people. The quote that follows sets tone for what is to come, something strange and outworldly. 

What follows right after “The little town where I was born” looks like an unstructured castle, and if looked upon deeply, the numerous houses might reflect numerous faces, ones that are not inviting. Not 5 minutes in, the illusion of a separate world is broken by the acknowledgement of the camera, as a piercing look by the handicapped man occurs. 

I have hardly seen a film where no character is seen in the frame for a few seconds, this could easily be my first. Or maybe, because this was a silent movie and my eyesight as a sensory organ was triggered more. It could be the reason why many cinema enthusiasts have perpetually ridiculed the advent of dubbing and disrupting the universal language created by cinema via its visuals. Charachters/ protagonists are meant to be showcased and captured in every shot, as proposed by different kinds of cinema, but not here. Hell, some actors are hired only for their face value and what they bring in numbers. Not here, again. 

A fair is supposed to reflect freedom, wilfulness and spontaneity. The fair here looks like an orchestrated piece of visual in the universe of Carl Mayer and Hans Janowitz, almost alien-like, as if the Germans promised themselves: what other cinema houses do, we will do just the opposite, even if it something out of the ordinary. 

Dr Calligiri, one of the central characters to the star is introduced. He has gothic eye makeup on with the nerves on his hands painted on as well. His expression is one dimensional: upset to the extent of aggression, seen only through is face, but yet again, looks can be deceiving. His face is dirty, appearance is condescending giving him a spooky edge.

— As the second act begins, a series of mysterious crimes take place. Cezare, another central character to the film is introduced- even the spelling of his name is different from how we are accustomed to write the name Caesar. Whereas for Calligari’s personal somnambulist Cezare, his eye makeup, dark clothing and white face paint also push the envelope on German expressionism styles.

The use of the phrase: ’step right in’- 3 times might suggest a trap the author of the movie has set up. It is asking you to either devote yourself to that world or step into a web of lies and manipulations, by entering the tent. The entire Cezare sequence of inquiring the future and reminiscing the past was more theatrical in its portrayal than mimicking. Theatrical, not in the over the top exaggerated manner, but shown with aggression and tameness at the same time.

“Whomever she chooses, we will remain friends”. Although friends was followed by a full stop, we have to stop and question whether is that how it would turn out? Or has love over taken friendship? The movie does a good job of leaving the audience wondering after the end of every act.

—

Known to be the first horror film ever, it introduced the art of shadow play which so many follow up horror movies will enact later on(such as Nosferatu). Its in the scene where Cezare kills a person, shown through his shadow, not directly. Everything that is bad happens at night. Something horror movies still follow religiously.

The third act opened with a piano’s tune, equally upsetting and mysterious, terrifying at the same time, to show how death looks like and how death feels like. The 2nd act proposed  a few questions whereas act 3 answered them, such as whether the prophecy of Mr. Alan’s death will come true or not. As Mr Franzis didn’t believe in the whole idea of a fortune teller, the death of Mr. Alan served as a full circle moment. It left both the audience and Mr Franzis wondering whether Cezare actually can tell people the future. The orchestra plays in parallel with the emotions of the sequence, as the tune is peppy. Use of close ups has been executed to portray secrecy and urgency throughout the movie. 

When Dr Calligari feeds the somnambulist, it suggests he’s human, but not enough to feed himself. This yet again leave the watchers in a state of inquiry. 

  The slide in which Holstenwall mystery is announced - that the two time murderer was caught in his third attempt, was the first verbal exchange subtitle that was written perfectly- with structure, without ambiguity and a straightforward font. This might be suggestive that the story might get straightened out soon or will it? This movie sets the perfect example for- if you think you know what’s going to happen, you are absolutely wrong. The director and writer have many times tried to redirect the mind and assumptions of the audience into a very one dimensional point of view and follow ups, one that we mostly see in movies not from the expressionist movement. For instance, when Mr Franzis arrives at the asylum and enters the room of the director, which turns out to be Dr Calligari, it doesn’t take us long to assume that he will be forcefully locked in and kept in the mental asylum, not only did that not happen but the story proceeds in an altogether different direction, one that cannot be ascertained, presumed or guessed. 

When Cezare, the somnambulist is brought to Dr Caligari, the background score swings just like him, notorious and evil, creating a more alarming scene all together. This begs the question how Caligari, just in search of an answer has crossed all limits of right and wrong, and simultaneously draws the conclusion whether it should be him, locked inside the asylum instead oh his patients.

An idea that turns into an obsession and an obsession that leads to deception. 

I feel, this movie also suggests how due to his obsession with experimenting on somnambulists, the character of Dr Caligari himself became the puppet of the original Dr Caligari, whose teachings he implied and then inevitably became the ‘puppet or somnambulist’ himself. 

We also witness spacial discontinuity in the movie- when the fiancée was called from the right, she turned left during the close up at the very end of the movie. At last, when at the asylum, Dr Caligari puts Mr Francez under supervision and locks him up, his hands no more have lines, in place of nerves. Francez becomes obsessed with Calligari, Jane thought of herself as a queen whereas Calligari decided to cure Franzes. What is straight and what is crooked is still a big question mark. Why did Dr Caligari have the lines in the first place, why were they removed in the end, how did he convince the staff that Mr Francez was deluded or was the staff in on it with him, are all the characters patients, was what we saw all part of the patients’ breakdown are some questions left unanswered, which describes the beauty of the movie as well.

As a film student of the 21st century, hardly having seen silent films, it created an extreme amount of instability, shaken gut feeling and a bizarre restlessness. The scenery is odd and jagged and the camera angles used also accentuate the angled set design even more. The movie played with the audience more psychologically than entertainingly. It depicted the world however the makers wanted to, not on the societal norms set by the industry or the right way. It was always ‘their way’.    Apart from obsession, madness is also a central theme in the story.  At last, I would conclude that the title of the movie is accurate- A cabinet is full of secrets and mystery. What exactly will pop out of it is another mystery. 

[hypeathon]

RWBY & Cinematography, Part 1 - Establishing Techniques

Animation has for a long time now struggled to crawl out of the stigma of appealing only to a younger audience. Combine that with internet animation in particular being very young compared to other film-making mediums, and you have projects within the platform that need to go through much trouble to make a name for themselves. RWBY is no exception to this, as from the beginning it has faced a lot of harsh ridicule by critics who are fans of anime, the very medium the web-series takes direct inspiration from. And despite having a growing fanbase and the production having come a long way in just five years, there are some aspects of the show that even much of its fans have neglected to refer to. If there’s one growing part of RWBY’s presentation that especially deserves mention. it would be the cinematography.

As stated previously, RWBY has always been inspired by and even aimed to emulate anime. As a cultural medium of entertainment, anime has been the pigeon-holed for its various tropes. The tsundere archetype, beach and hot spring scenes, shonen training arcs, transfer student character introductions, etc. And while the dismissal of seeing some the same tropes in many titles every season, every year is understandable, anime as a visual-storytelling medium has been cultivating itself for the past 60 years. With that much time, many names who have taken the positions of directors and storyboard artists in their careers alone have developed recognizable cinematic techniques. One example is Osamu Dezaki. Most may not have even heard of him due to his passing in 2011 or his works due to how old they are. But one may faintly recognize his techniques he pioneered that are casually sprinkled in many anime. Take the “postcard memories” technique for instance, a way of freeze-framing a shot into a hyper-detailed, sketchy still. It’s something meant to make the subject of such shots feel especially tense, mesmerizing or impactful and it can be seen in various works that some fans today have been exposed to like Sailor Moon, Kill la Kill, & One Piece.

And Dezaki is just one name that uses certain techniques to create a vision in anime titles. There are many others who have gone to either provide storyboards for or direct some shows and films well-known within anime fandom to this day. With Takuya Igarashi, the director of Ouran High School Host Club, Soul Eater, Star Driver, Captain Earth and Bungo Stray Dogs, his works commonly have vivid colors and lighting through windows and characters on symmetrically-opposed sides to convey the contextual mood. Then there’s Shigeru Yamauchi, the director of Casshern Sins, Dream Eater Merry, A Town Where You Live, the 8th, 10th, & 12th Dragon Ball Z films, Digimon: The Golden Digimentals, and a storyboard artist of episodes of many, many anime. Yamauchi is especially known for having whole scenes depict close-up shots of a character’s face or showing half of their bodies and having settings be done in a specific, sometimes monochromatic color schemes that feels like something out of a painting. There’s also Naoko Yamada, a name from studio Kyoto Animation who has developed a resume of directing shows and films like K-ON, Tamako Market & A Silent Voice that, despite them mostly having a moe vibe through the character designs, are deceptively-enriched in scenes shifting from bright, pastel colors to more dull colors to provide atmospheric moods and having characters express themselves not through their faces but other ways such as their legs.

There are far too many names to point to, but even ones who have yet to direct a whole anime, manage to apply their cinematic ideas into episodes of anime. Even something like Dragon Ball Super, a recent installment of a popular shonen franchise that’s often dismissed for having characters mindlessly flying and throwing beam blasts and fists, can be known for having episodes with competent stage direction depending on who is working on it.    

With all of that said, it’s worth bearing in mind that RWBY, like the many anime it takes inspiration from, could also be credible for having and applying cinematic techniques. But this wasn’t always the case. Back in volumes 1 & 2, the process for storyboards would be led by Patrick Rodriguez, who is known for designing various characters in the show like Ironwood, Amber, & Tyrian, with the rest of the team consisting on Miles Luna & Kerry Shawcross, the writer and director of the show respectively and the animators. The problem however was that even with the storyboard team set up this way, scheduling was very tight, to the point where there was either little time or no time to make the boards for the show. Although the first two volumes were not entirely void of enticing shots, this led to needing to resort to basic camera shots and on few occasions, incomprehensible ones. By volume 3 however, this process changed. Among the many changes in the production pipeline, one of them was the overhaul of the storyboard team to be led by Joe MacDonald, an animator during volume 2 who had nearly 30 years of experience in the creative entertainment industry, with a newly established team consisting specifically of storyboard artist. The second was introducing a complimentary camera & layout team, also led by Joe MacDonald with some of the storyboard artists overlapping. Finally, the third was creating a camera bible. To quote from one of the storyboard and layout artist, Rachel Doda, in the volume 3 audio commentary:

“It was mentioned earlier too in some other commentary, but we originally created like a camera bible or at least tried to create like, stage direction in terms of just… hey! Ya know, If it’s a shot of Ozpin, it has to be kind of stagnant because he’s the most level-headed. And if it’s a shot of Ironwood, usually, they just, ya know, it has to be like he’s in power. So the camera has to be low to the ground. Then, ya know, just like all the characters themselves. Qrow has a little hitch to stuff.”  

Since volume 3, the camera served as was a big way to help express the position or mindset of various characters. Take the character, James Ironwood as referred to earlier. Compare most of his shots in volume 2 to his shots in volume 3 & 4, and the differences in his scenes will feel more apparent. Camera manages to communicate when he feels it’s important to be authoritative and when to be more reasonably submissive. And that’s the key word: “communicate.” If Rachel Doda’s words as quoted are of any indication, then multiple elements in cinematography such as lighting, color, transitions, framing, staging, & character posture could be at play to sell and help deeply interpret meaning behind character’s thoughts and intentions.

In the case of volume 3 where this major shift in the show’s direction began, there are several scenes that became very striking to this day. One of the biggest examples is this shot of Pyrrha witnessing the Fall Maiden, Amber in a comatose state in chapter 6. When watching it the first time, one may think that match-cutting from Pyrrha turning away to showing Cinder at the stadium is simply meant to indicate that Cinder is Amber’s assailant. But there’s also a matter of Pyrrha feeling bound to take a risk of having her destiny be Amber’s and not hers compared to Cinder who wants nothing more than to become the very thing the former hesitates to be. Pyrrha feels she can’t avoid any of this and is thus overwhelmed as shown in chapter 8 when she can no longer even attain peace of mind from a simple leaf falling towards her in a burning sunset, all of which from that point on referred to the Fall Maiden in her mind.  

Though as much as volume 3 had its strong sense of visual direction, RWBY’s fourth volume arguably pushed the direction further through a variety of ways. While it has been criticized for spreading its story too thin by jumping between multiple plot points, some scenes in plot points tied to certain characters can contain some strong cinematography. Take for instance Cinder’s training scene in chapter 11, which by itself doesn’t seem to say much. But think about the Grimm she fought. They were a bunch of Beowulves and a Beringel, which are the same creatures of Grimm that Ruby Rose fought in the character short. Although Ruby takes longer to defeat her foes than Cinder, the former is shot to end her fight triumphantly while the latter is shown exhausted and has to catch her breath after her bout. All of this can be interpreted as an inadvertent way of presenting how even more salt is poured to Cinder’s wounds.

Another example in volume 4 are scenes of Weiss in the Schnee mansion in chapters 2 & 11. When comparing side-by-side, the shots themselves are practically the same but with three key differences. The first is the lighting, the second is Weiss’s facial expressions and body language, and the third is the fact Klein is accompanying her in the same shots in chapter 11. These shots show very effectively-opposite meanings with Weiss’s character who is first seen feeling lonely and submissive despite being in a fancy, spacious, brightly-lit home only to be feeling more defiant and at-ease when she has Klein to help her escape the home we learn she hates.

It’s this use to linking shots in different episodes that also sheds light to the context of the song “Mirror, Mirror”, which frankly never made much contextual sense up until this point. How can someone who carries pride in her family name be the loneliest of them all as the lyrics go? Well, this visual direction sums up why. Her father and his business-oriented ambitions created a growing rift in her family and she needs someone she can trust to be empathetic towards what she’s feeling. This is also why she felt hurt when she found out Whitley never really intended to look out for her. Combine these moments with shots of her witnessing the Atlas ships passing by her window in chapters 1 & 7, only to finally manage to leave in one by chapter 12, and you have a phase of Weiss’s character story packed with meaning.

There’s also quite a few cinematic techniques regarding Qrow in volume 4. One of the biggest cases is the use of a low light by his side with whoever he talks to about Salem. In times where connection to other Kingdoms in the World of Remnant are cut-off, Qrow welcomes or advises cooperation with other characters out of necessity. Warm lights such as lamps and campfires help illustrate this. With Qrow and Raven in chapter 4, the lamp on the table is closer to the former than the latter who only wants specific information and will otherwise walk away (or make a portal in her case) towards the darker side of the Tavern. And then there’s chapter 8, where Qrow informs team RNJR with as much information about everything to do with Salem and the fall of Beacon as possible, leading to well-presented shots of Jaune stepping briefly outside of the campfire due to his anger and wavering trust. Even this shot where he bluntly referred to Qrow’s motives as using his teammates as bait is framed to show his stance on who he was looking out for and who he wasn’t. Most interestingly though, is this shot here of Qrow framed to be surrounded by the campfire as he describes his semblance. While the cinematic techniques in some scenes can be admittedly up for debate, this shot was actually confirmed by Kerry Shawcross in the volume 4 director’s audio commentary to have been drawn by Rachel Doda and was highly approved after going through every department in the production.

“We uh, the shot inside the fire, was definitely one of the shots that we had uh, Rachel had the idea to do while we were boarding, Rachel Doda. And uh, I told her, “absolutely draw that! I make no promises that’s going to make it all the way through. But every next department after that I explained the shot and it was like, “no, we should do that!” Um, so yeah, it was one of those things where it was like, it was just such a beautiful shot that everyone wanted to make it happen and everyone went out of their way to make it happen.”

One of strongest cases of visual techniques applied though was in the forest scene in chapter 2. Here, we see Jaune, an often talkative character in previous volumes, be unusually silent and uttering only shouts and out-of-breath exhales as he trains through Pyrrha’s recording. He is mostly alone in the dark forest with shades of dark blue and green and bright, blueish lights illuminating his armor. Most fans who see this scene are struck by the music and Pyrrha’s words and Jaune’s determined, yet saddened facial expressions. Alone, those aspects are effective at the scene being a tearjerker. But there’s one other element, a visual one that can add a whole level of meaning: the fireflies.

In Japan, fireflies are theoretically that of Hitodama or “human souls” drifting in the night when away from their bodies. If we were to apply this motion to the forest scene in chapter 2, then the fireflies could be visually representative of the lives lost in Shion village. Thus what Jaune could’ve felt was not sadness for not being able to stop Pyrrha, but for being unable to do anything about tragedy of the villagers. Now to some, such an interpretation may be considered reading a little too much. While that response is fair, bear in mind that the villages seen in volume 4, Shion, Higanbana, Oniyuri and Kuroyuri are all named after flowers with specific meanings in Japanese, the matter of fireflies being that of human souls may not be that unlikely.

“I’m just tired of losing everything.” - Jaune Arc

If there’s any set of scenes that are arguably as striking in visual direction as in chapter 2, if not more-so, it would be in scenes of Ren and Nora in chapters 10 & 12. There’s the matter of how the reveal of Ren’s semblance after cutting from the shot of the lotus flower is representative of how a real lotus flower can bloom after being submerged in mud. There’s also the shots of Nora desperately holding on to Ren’s hand, one of which is out of fear of being left alone when they were kids while the other is to prevent Ren from risking being killed due to anger and reckless abandon. But probably the most powerful moment of stage direction is of this moment here.

That there concisely explains what Nora means to Ren. Bear in mind, Ren is a very quiet, calm & collected character. He’s the opposite of Nora in that regard, who wears her enthusiasm on her sleeve and openly express how much she enjoys Ren’s company. But up until this point, we hardly seen Ren’s perspective about Nora other than the occasional subtle smile at her antics. It’s not until the scene underneath the house in chapter 12 that we see what Ren sees when Nora is deeply saddened to the point of being in tears, something viewers have never seen her current express before. In his mind, Ren briefly sees the same frightened girl who he first met and swore that they would keep each other safe. He is all Nora has and if he realizes that if he gets himself recklessly killed, then she’ll be alone all over again. And that’s the last thing Ren wants to happen.  

Even after all of this is said and done, there’s still more examples of scenes with visual direction to be unpacked and interpreted in volume 4 alone. But those can be talked more depth another time as they help compliment scenes in the focus of the next subject to be talked about in part 2.

[aion-rsa]

Doctor Who: the Weird Anomaly of the 1965 ‘Christmas Special’

https://ift.tt/39sUkKn

To be abundantly clear: the first Doctor Who Christmas Special was ‘The Christmas Invasion‘ in 2005. However, the first time the show was broadcast on Christmas Day was in 1965, the seventh episode of ‘The Dalek Master Plan’. The previous two years also had also seen Dalek stories at Christmas, with the first ever Dalek story starting broadcast in December 1963 and the final episode of ‘The Dalek Invasion of Earth’ arriving on Boxing Day 1964, because Christmas wouldn’t be Christmas without a volcanic eruption by the Home Counties.

‘The Dalek Invasion of Earth’ capitalised on the initial success of the first Dalek story, and boosted the show’s ratings. The plan for the following series was to capitalise on that and so another six-parter was scheduled for the same time of year. As Season 2’s ‘Planet of the Giants‘ had been edited down to three episodes from four the BBC gave the production team an extra episode for Season 3, and it was decided that this would act as a prelude to the new Dalek story to build anticipation. While this might give you the impression that producer Verity Lambert and her team were thoroughly capitalising on Dalekmania, the BBC decided they should go further. The Controller of Programmes and Head of Television both asked for the Daleks appearances to be maximised, and the number of episodes in the new story increased.

The problem with this was that Dalek writer Terry Nation had a script-editing job on The Baron for ITV, and so to write the now agreed twelve episodes would require Nation to write an outline with outgoing Doctor Who Script Editor Dennis Spooner completing scripts based on these outlines (the two had worked together, and would continue to do so, on The Baron). Everyone was happy, apart from the new Doctor Who production team, who were so annoyed to find an extra six Dalek episodes imposed on them that Producer John Wiles considered quitting immediately. In the end he waited until after making the episodes before deciding to leave.

Unlike the Christmas Day episodes of 2005 – 2017, ‘The Feast of Steven’ (individual episodes of Doctor Who within stories had names until ‘The Savages’ in 1966) was designed specifically with the assumption that fewer people would watch it than usual. Rather than being any sort of centrepiece or prestige television that would be available for re-watch, there was no concept of this episode ever being repeated. As a result, rather than containing important plot information relating to the ongoing story, it was a throwaway comedy episode based on the assumption that audiences would be less likely to watch television on Christmas Day (and viewing figures went from 9.1 million for the preceding episode to 7.9 million for this one). So while ‘The Dalek Master Plan’ as a whole is a good example of Doctor Who as Event Television in the Sixties, its Christmas episode was actually designed as the opposite.

Terry Nation would write the episode, although Dennis Spooner suggested basing it around the contemporary police drama Z Cars (the Z Cars production team declined to be involved, even to the extent of refusing to lend Doctor Who their set). The episode ended up set in a Liverpool police station on Christmas Day, and then on a film set in the Silent Era, before the Doctor remembers it was Christmas Day at the police station and breaks the Fourth Wall, looking to camera and saying ‘Incidentally, a Happy Christmas to all of you at home!’

This is, as described, a necessary detour from the main story. The first episode was appropriately named ‘The Nightmare Begins’, and a torrid production ensued. Due to William Hartnell’s behaviour, the dressers went on strike, and scripts came in underlength (Spooner said he had to rewrite significant portions of Nation’s scripts, including removing a section where the Doctor invented the Custard Pie in the Face gag, but while documentation suggests there were some problems Spooner was also exaggerating). The new companion, Katarina, was killed off in Episode 4 as it was decided the character didn’t work, and the new production team decided her replacement in the story wasn’t what they wanted going forward, so that character was killed off too. The Chief Designer at the BBC sent a memo to John Wiles describing the shoot as a disaster, with the director Douglas Camfield being too busy to meet with the design team for more than five minutes.

The plot concerns the Daleks’ attempt to deploy a superweapon, the Time Destructor, leading the Doctor and his friends to go on the run from the Daleks and their allies with the main component of the Destructor. The first companion death ensued, and Katarina’s replacement was Sara Kingdom, a Space Security Agent who killed her own brother (played by future Brigadier actor Nicholas Courtney) before also dying at the end of the story. ‘The Dalek Master Plan’ is overlong but has some great scenes, genuine pathos, and from the existing footage Camfield clearly directed the hell out of it.

Read more

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Thus, as with ‘The Chase’, the comedic elements of the middle episode can seem incredibly incongruous when you’re not aware of the Christmas Day context. Also, bluntly, despite the fact that Terry Nation’s background was as a comedy writer and Dennis Spooner delivered some hilarious episodes of Stingray, it isn’t the best example of comic Doctor Who the Sixties produced (which is, of course the story directly before this one, ‘The Myth Makers’).

Presumably the production team thought Terry Nation’s comedy episodes were amusing enough, because this is the second one he writes, and his first during ‘The Chase‘ has a sequence where the Daleks turn up on the Marie Celeste and everyone on board flees into the sea in terror to drown, including a woman holding a baby. This makes the first episode of Cucumber seems like an exercise in tonal restraint by comparison.

For a modern viewer attempting to experience this curio their goal is complicated by the fact that the video of ‘The Feast of Steven’ is not in the BBC Archives, and telesnaps (photos taken as a record of transmission) were not taken for this story so fewer images exist of it than other stories. While three episodes of ‘The Dalek Master Plan’ exist in full, this is not one of them. The BBC junked episodes of Doctor Who for a variety of reasons and of the three episodes we have of ‘The Dalek Master Plan’, one was returned by a BBC engineer and the other twowere found in a Mormon church basement. ‘The Feast of Steven’ is unlikely ever to be found, as ‘The Dalek Master Plan’ was sold overseas without its seventh episode, and the story was one of the earliest to be junked by the BBC.

The audio (with linking narration) of the whole story is available to buy as part of a CD boxset or download (fans recorded audio from their televisions on original broadcast, enabling Sixties stories with missing pictures to be released in multiple formats), and the Target novelisations (due to its length it was novelised across two books) have also been recorded as audiobooks. There are also fan reconstructions available online, many of which are fully animated. Usually fan reconstructions take existing images of the story and use simple camera movements and animations to provide a sense of movement (rather than simply looking at static images). These are widely available online using whatever Search Engine you so desire, so you may give Dalek Master Plan Recon a cheeky Bing in your own time.

So that’s the first ever Doctor Who Christmas Day episode. Its Audience Appreciation was 17% lower than the previous episode, Z Cars refused to be associated with it, and the production team later disowned the Doctor’s ‘Merry Christmas!’ bit. It’s part of a story which made said production team quit, killed two companions, and most of it was deliberately destroyed by the BBC.

Still. Happy Christmas to all of you at home.

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The post Doctor Who: the Weird Anomaly of the 1965 ‘Christmas Special’ appeared first on Den of Geek.

from Den of Geek https://ift.tt/3g4IhEf

[fassanda]

Riks Eindejaarslijstje

Naam: Rik Kroef, Kroef, Kruvee, uwe roodheid.

Leeftijd: 22

Beroep: Artiestenmanagement & Productie

Beste gerecht in 2019 (waar, wat, wie?): De allergekste Fish & Chips gegeten in Wales, Penmaenmawr. Ander niveau snackbarchaps.

Meest memorabel moment van euforie onder invloed in 2019?: 3 dagen Splash! festival met Able Close n Lion Kojo in het speciaal. 2 dagen de Appelsap x Highsnobiety stage leeggedraaid met Appelsap Selects, maar onwaarschijnlijk veel Jäger gedronken. Met mijn ouders zijn op Lowlands. Legendarisch.

Nuchter, 1000% Opposites opkomst op Appelsap. Honorable mention naar silent disco set van Ruud op Solar. KANAAL BLAUW.

Meest aangename verrassing in 2019?: FASSANDA BACK!!!1!!

Ik heb voor het eerst ....... In 2019?: Last minute nog even een niersteen gehad. En door mijn rug gegaan. Ik ben eigenlijk 56 jaar. Met The Opposites & Willem gewerkt sinds mijn 5 jaar bij Bespoke. Nine Inch Nails geluisterd. Echt lekker gekookt.

Beste reis(spot) in 2019?: een berghuisje in Toscane zonder bereik met vriendin met veel rode wijn zonder plannen. Alle plekken die ik heb gezien door touren met Naaz komen op een noemenswaardige tweede plek!

Beste collabo(s) in 2019?: Rik & Koos Boadu & Stengs. Knie van Masvidal ft. Gezicht Askren

Willem x Rijksmuseum

Rik & Gezonder leven

Beste aankoop in 2019?: Tijdig een ventilator gekocht pre-hittegolf!

B-Boy Connections Cassette gekocht via iemand op internet. Mocht iemand deze hebben liggen, holla. Verder niet veel. Meer nagedacht voor ik domme dingen wou kopen.

Meest hinderlijke social mediapersonality in 2019?: Deze guy. Nee ik ken hem verder niet. Maar buiten dat, uberhaupt minder sensatiezoekers in 2020 man. Rot op.

Top social mediapersonality in 2019?:  Sandor Dayala. Tommy Wright III is ook suuuper hard zowel online als in het echt. Een mega s/o voor @simonthegarcon op twitter.

Beste televisie/YouTube programma uit 2019?: MMA on Point, Fok ook met gekke Engelse youtubers die series maken of docus over lokale voetbalclubs.

Sowieso even een shoutout naar het feit dat alle wedstrijden via Ziggo en Fox kapot snel op youtube staan. Joardy, Copa90 Stories, Hiphop/Rap Samples (nosbo2007). Ook oprecht een paar keer hard gelachen om Dumpertreeten.

Beste influencercampagne uit 2019?: Willem x Levi’s. Echt vet dat hij eindelijk een influencer is.

Domste influencercampagne uit 2019?: ALLE INFLUENCERCAMPAGNES. KAPPEN.

Domste Vice artikel uit 2019?: meh.

Beste klantenservice in 2019?: Niet echt een klantenservice, maar ANWB. Echt altijd on point. Pieter Smit. Klantenservice bij Bureau Punt ook top. Kreeg gewoon al mijn geld terug!

Nepste klantenservice in 2019?: Eurotunnel UK voor mij, Lion & Sandor 5 uur laten wachten en verder ALLE KLANTENSERVICES MET KUTWACHTMUZIEK.

Beste podcast uit 2019?: Wilde Haren, Pompcast (RIP), Alles Kan Kapotcast, Everything Is Recorded show op NTS (!), JRE Experience.

Beste meme uit 2019?: Epstein didn’t kill himself,  alles waar @patrickvandiggelen aan heeft gezeten, Parragnost, @kinderdepressie, @faalangst, @fuckadvertisements,

Beste Instagram(profiel, post) uit 2019?: Terugkerende bday post waar ik voor de rest van mijn leven aan herinnerd word. 

Accounts hierboven. Idk. De instastories van Mike Skinner.

Gemiste kans in 2019?: MAAK HET DOEL GROTER DAN MIS JE NOOIT EEN KANS.

Beste artikel in 2019?: weetikffniet

Het meest hoopvolle in 2019?: AZ dat (vol respect richting het feit dat Ajax gewoon kampioen hoort te worden) tering lekker zijn begonnen aan het seizoen.

Meer mensen die erachter komen dat korte termijnvisie niet werkt in de muziek. Dat jonge mensen ideeën doorzetten en dingen doen uit echte liefde voor iets.

Griselda.

Persoonlijke overwinning in 2019?:  Gestopt met roken, meer sporten, nog altijd going strong met mijn wifey! Een gouden plaat gekregen voor het werk met Idaly. Toch een momentje.

Gezelligste feestje in 2019?: Bijna alle keren bij RadioRadio en huisfeestje NYE. Appelsap ADE was ook weer classic.

Gezelligste festival in 2019?: APPELSAP

Beste #hashtag?: #KOZP als ik er een moet kiezen.

Nepste #hashtag?: #ad

Beste concert in 2019?: THE OPPOSITES @ SEXYLAND LOWLANDS

Tofste clips uit 2019?:

PNL – Au DD

James Blake – Can’t Believe The Way We Flow

Modeselektor ft. Tommy Cash - Who

Meest belabberde clip(s) in 2019?: Kan niet perse 1 noemen, maar stop met zomaar clips maken. Drop dan gewoon alleen de audio.

Wellicht moeten mensen ook wat meer aandacht aan artwork geven.

Beste film(s) uit 2019?: Prooi van Dick Maas. Ik heb denk ik nog nooit zo hard gelachen.

Beste documentaire uit 2019?:

Best een vette Beatles docu op Netflix gezien. Puck & Hans, FYRE, alle youtube docu’s over voetbalclubs in europa. Een stukje uit een Ramses Shaffy docu. Moet de docu zelf nog altijd zien.

Beste boek uit 2019?: Bla bla veel te weinig gelezen bla bla moet ik volgend jaar meer doen bla bla

Dingen Die Je Ziet Als Je Er De Tijd Voor Neemt is een boek waar ik af en toe nog steeds wel in lees.

Muzikale hoogtepunten uit 2019?: James Blake album way up there, Hef, Idaly, Meetsysteem, het feit dat Mafia Music van Rick Ross al 5 jaar in mijn meest beluisterde tracks op Spotify opduikt, slowthai, Loyle Carner, Fontaines D.C., Dave, Skepta, veel in oude rave shit van XL recordings gedoken (zeer aan te raden), Bon Iver, Lana Del Rey plaat ook wel, JAY-Z TERUG OP SPOTIFY, Willem moet absoluut genoemd worden,  etc etc etc. UK over US dit jaar wel. 2020 wordt weer van NL. Er is weer veel ruimte voor vernieuwing! Pak het!

Muzikale dieptepunten uit 2019?: Nederlandse popmuziek, nieuwe goede Nederlandse DJ’s en het tekort daaraan, 6ix9ine, alle oude tracks die opgepoetst worden en als popproductie gerecycled worden.

Nepste bitch in 2019?: Steen in mijn nier, mensen die op de dag van Appelsap zelf gastenlijst vragen.

Beste vrouw in 2019?: mijnes

Doelstellingen voor 2020?: Marathon rennen. Verhuizen. Minder praten, meer luisteren.

Uitkijken voor ....... in 2020?: Stress. Vogelpoep. Van Moof fietsen die geluid maken. Dat je niet zomaar boos moet worden. Mensen die op hun telefoon zitten terwijl je met ze praat. Boerenprotesten. De terugkeer van Appelsap Selects onder een andere naam. Abel Kloos in zijn algemeenheid. Energiezuigers.

[flightsseries-blog]

FLIGHTS #1 POETRY, PERFORMANCE & BOOKS [be]FOR[e] INTERNATIONAL WOMEN'S DAY TUESDAY 7 MARCH 2017 7-9.30pm, doors & book tables from 6.30pm AIMÉE LÊ ALISON GIBB GHAZAL MOSADEQ MENDOZA MMMMM (LUNA MONTENEGRO & ADRIAN FISHER) SANDRA KEATING SOPHIE MAYER PRUE CHAMBERLAIN JENNIE COLE ELEY WILLIAMS THE HORSE HOSPITAL, COLONNADE, BLOOMSBURY, LONDON WC1N 1JD £5 waged, free entry unwaged. All welcome. RSVP via Eventbrite Flights is an occasional event series of poetry and performance, emphasising the work of female-identified poets, performers, and artists. The series programming is guided by the principle of inclusivity. Flights #1 will take place on 7 March 2017 at the Horse Hospital in Bloomsbury, London, on the evening before International Women’s Day.

Featuring:

ALISON GIBB

Alison Gibb is a poet-artist and researcher, investigating language and creating poetic outcomes through experimental explorations into the processes, methods and critical spaces of visual art, poetry and performance.

Alison’s publications a.vase - 2017, Silent Diagrams –2013, Parallel To Red In Chorus -2011 are published by Knives, Forks and Spoons press. Her sound collage CD, Pomegranates In The Oak, was produced by zimZalla in 2012, and her bookwork I am knot . . .a. poster in pieces of POWER was published by ambergris press in 2015.

alisongibb.com

SANDRA KEATING

Sandra Keating is an experimental multidisciplinary artist working with visual narratives, social commentary, the psychology of art and conceptual art as therapy. Her process-based practice involves automatism, catharsis and flow. As part of this she has a series of artist books she blacks-out as a process of "concealing in order to reveal” in terms of finding new narratives and observing inner psychological outcomes. This Black-out poetry has always been practised solo but recently, her newest versions are made as group works. 

With a renewed interest in participatory practice and environmental art, in 2015 she has also started to develop Project Wonderlands, an interdisciplinary body of work based on ecopsychology and nature reconnection which involves research, visual observations, theory-based works, socially engaged art projects, group work and experiential workshops. Her current book for this work is a First Edition of J.G Ballard’s “Concrete Island,” and she has invited the public and other various artists to participate in the Black-out process.

sandrakeating.com

AIMÉE LÊ

Aimée Lê (b. 1990, Ann Arbor, MI) is a Vietnamese American writer. With Fiona Chamness, she is the author of Feral Citizens (Red Beard Press, 2011). Recent projects include an EP of (mis)translated Greek pop songs, Aliki in Saigon (interview), presented at the Sound Acts festival in conjunction with AMOQA/Athens Museum of Queer Arts, publications in Muzzle, Litmus Press editions, and The Journal of British and Irish Innovative Poetry. Her main interests include materialism, Marxist theory, performance, narrative and the novel. Some past forms of communal living have included organising a full-time tent occupation of Dartmouth College in solidarity with Occupy Wall St. and a live-work collective, West Side School for the Desperate. She currently lives in London in a tent in an ecological commune in opposition to airport expansion, and is pursuing a PhD in Practice-based Poetics at Royal Holloway, University of London, on “’The National Question’ in American Literature 1913—present”; in general trying to be about it.

SOPHIE MAYER

Sophie Mayer’s most recent poetry books are (O), published by Arc, and kaolin, or How Did a Girl Like You Get to Be a Girl Like You, published by Lark Books, both in 2015. She was the co-editor of the activist poetry projects Catechism: Poems for Pussy Riot; Binders Full of Women; and Glitter is a Gender, and founder of the website I Don’t Call Myself a Poet.

She is also a feminist film activist and critic – author of Political Animals: The New Feminist Cinema (2015), curator with Club des Femmes, and a regular contributor to Sight & Sound, the F-Word and Literal. She has reviewed poetry for Shearsman Magazine and Poetry Review, among others, and was part of the experimental collaborative poetry project A Thing Like You and Me, edited by Sarah Crewe for aglimpseof. Her current project is Disturbing Words, a subscription email newsletter about the language of where we are now.

sophiemayer.net

MENDOZA

mendoza is a Northumbrian poet and researcher investigating disembodiment, liminal space and marginal entities through poetic practice. Their work evolves through a series of creative processes: performance, making and unmaking, appropriation and assimilation, exploring the interaction between sound, image and text as a means of de-constructing / (re)constructing the ‘self’. The emphasis is on both the materiality of the text and the creation of (single or multiple) textual identities. mendoza, a.k.a. Linus Slug: Insect Librarian, is the founder of ninerrors poetry series, editor of FREAKLUNG poetry zine and co-editor/event organizer at Stinky Bear Press. Recent publications include: “the science of poetry • the poetry of science” Linus Slug / Peter Manson broadside 2015, and “Type Specimen: An Observant Guide To Linus Slug”, Contraband, 2014.

MMMMM (LUNA MONTENEGRO & ADRIAN FISHER)

Adrian Fisher and Luna Montenegro are artists and poets based in London. They work collaboratively under the name mmmmm, creating text, performance, film, installation and sound. They are interested in ideas of ritual, presence and the collective and have shown their work in Europe and Latin America. Their practice develops in a variety of contexts including museums, art galleries, site-specific spaces, residencies, poetry forums, magazines, radio, pubs and public spaces. They have been members of the London Biennale, The Writers Forum in the UK and Chile and were two of the founders of the infamous bobs cabaret, a weekly all-night art warehouse in London. They have made over 10 films together with Gines Olivares under the collective mmmmmfilms. They run a small press 'One Night Stanza' and are part of the experimental sound band 'the yet'.

mmmmm.org.uk

GHAZAL MOSADEQ

Ghazal Mosadeq is a poet and writer and a doctoral researcher at Birkbeck College, University of London. Her research focuses on models of autobiography and how Sūfi traditions of writing inform and disturb such models. She writes in Persian and English and also translates from these two languages. Her first poetry book, Dar Jam-i Ma, published in 2010, was short listed for the Kor-sheed award (women’s poetry award in Iran). She won the Bay-Haqi Prize for fiction in 2013. Her books have been published internationally by Heermand Press (Iran), Morvarid Publishing House (Iran), Red Ceiling Press (UK), Susak Press (UK) and in magazines such as Karnameh, Bukara (Iran), Poetry Wales (UK), Writer’s Hub (UK), Words Without Borders (USA), and Serie Alpha (Brazil). She is the Co-founder of “Zeer Pelleh”, an avant-garde poetry and performance group in Tehran. She is also the founder and editor of a new publishing project, Pāmenār Press.

Organisers: PRUE CHAMBERLAIN

Prudence Chamberlain is a lecturer at Royal Holloway, University of London, and previously Poet in Residence at Surrey University. Her co-written House of Mouse was released by Knives, Forks and Spoons Press in 2016, while Dirt Talk is forthcoming with Pyramid Editions in March 2017. girlasavendingmachine.wordpress.com

JENNIE COLE

Jennie Cole is a poet and artist, currently undertaking practice-based doctoral research with the Poetics Research Centre at Royal Holloway, University of London (RHUL). Her research investigates uses of citation in art and poetry, drawing from Walter Benjamin's uses and theories of citation. In her practice, Jennie works across film and video, audio, performance, artist's books, and other printed matter, with enthusiasm for unruly formats, the crossing of discourses, and varied approaches to the means of finding language. Her works have been exhibited, published and performed internationally, appearing in things and places including POLYply, Caesura Gallery, Otoliths, MCBA Book Arts Biennial, E.ratio, Small Po[r]tions, Performance Research, The Poetry Library (Southbank Centre), European Media Art Festival, OOMK Future Library, and Athens Digital Arts Festival. Jennie's poetic sequence GARGANTUA is available from BlazeVOX. jenniecole.org

ELEY WILLIAMS Eley Williams is co-editor of fiction at 3:AM magazine. Her collection Attrib. & Other Stories (Influx 2017) was chosen by Ali Smith amongst 'the best of debut fiction' for this year's Cambridge Literary Festival. Eley has a small book of poetry, Frit, forthcoming from Sad Press in 2017.

eleywilliams.com

flightsseries.tumblr.com

With thanks to all members of the RHUL Poetics Research Centre for their ongoing support, to Simon and Ira at LCBA, and The Horse Hospital.

FLIGHTS #1         7-9.30pm         Tuesday 7 March 2017 at The Horse Hospital, Colonnade, London WC1N 1JD

RHUL POETICS RESEARCH CENTRE

[kingoftabor-blog]

laser tag for adults

teambuilding laser Laser beam label can be a bet on skill and accuracy and precision. In laser tag, the aim is always to success yet another person's goals (tactically added to themselves) together with your laser (infrared light). Generally, firearms are utilized to snap at someone's vest. When photo in certain places, the shooter will get factors. Sometimes (in large games), you can find groups. Each and every team will have a 'base'. When participants of opposite teams hit the basic using their laser beam, that crew is turn off for a period of time. As soon as the vest is hit, it disables the weapon from snapping shots for a period of time, permitting one to still be picture. Historical past America army was the first one to use a series of laserlight combat instruction pistols. These guns job exactly like typical laser tag guns. It absolutely was termed as the 'MILES' system, and allowed intense education capabilities within the army. Some battle coaching is still utilized today. A person by the name of Carter created the very first world-sort laserlight activity. He remarkably considered the idea after observing the film 'Star Wars'. In 1986, Laser beam label was disclosed for an in the home video game. Laserlight label playthings had been becoming bought greater than any other game or gadget during the time. The toys and games are ongoing being manufactured, and much loved by young children around the globe. Market online games are well-liked by grownups, in addition to young children, and so are played for adventure. Equipment And Arenas You will find the two inside, and backyard gear for laser beam label. When played interior in an market, the laser beam is visible by using fog. A series of vests, and firearms are assigned to all the players to be able to go through the entirety of the game perform. In order for an indoor arena to correctly work, you must comprehend the necessary supplies. A huge region is needed with lots of things to hide behind. A cigarette smoke unit, and black lighting is also required. Scoring tools are also essential to be in the market. On the flip side, an outdoors arena demands greater operated laserlight firearms and aimed towards devices. One of several newest Laser tag solutions may be the 'Lawn Combat: Light-weight Strike'. These weapons are for sale to buy in a few different types; the add more-on extras, and personalized functions make this an extremely desired pistol. This weapon is generally useful for individual use in the home. The proper setup is needed for indoor and outdoor places. Black lamps, as well as smoke models are certainly not necessary for exterior game enjoy. Basic guns, and vests are required for any type of online game engage in. You can find spots of business exclusively for your journey of laser game perform. Numerous paintball fields have laser light tag for the young athletes that are unable to paintball. To get a tiny charge, athletes may engage in inside an upbeat atmosphere. The most up-to-date era of laser beam label guns is the Light-weight Hit sequence from Wowwee. Light Affect firearms have many additional features that normal laser light tag is not going to. Each of the 6 diverse weapons have 4-6 various ammo types built in dependant upon if it's a pistol or gun. Every single firearm includes a overall health meter integrated that shows your wellbeing and as soon as your health finishes you have to "respawn" by demanding two control keys all at once. Every single ammo variety carries a unique fire audio, reload sound and blaze/reload time. There is a shield switch that may last for just a few seconds and decreases inbound shots by 50% problems which is often utilized as soon as each 2-3 a few minutes. Each and every Light Affect pistol includes a amount key and headphone jack letting athletes to get sneaky because when the headphones are plugged in the outside lecturer on the pistol moves silent.

Every single gun can be in one of 4 probable crews and is determined by the hue choice on the weapon. Also, there exists fireplace setting option that allows for one shot or 3 rounded broken method. A Special target enables special game varieties like seize the flag and a lot more. Laser beam tag can be a unique experience full of enjoyment, technique, and suspense. Particular expertise is obtained upon the steady activity play, and new guns are always arriving at the laser tag planet.

[dcstincd-blog]

The Newest Generation of Laser Tag

laser tag Laser tag is a game of talent and precision. In laser tag, the aim is to strike yet another person's targets (strategically positioned on their physique) with your laser (infrared mild). Most frequently, guns are applied to shoot at someone's vest. When shot in certain locations, the shooter will gain factors. At times (in massive game titles), there are groups. Just about every crew will have a 'base'. When players of opposite teams strike the base with their laser, that crew is shut down for a period of time of time. When the vest is hit, it disables the gun from taking pictures for a time period of time, making it possible for 1 to nonetheless be shot. Heritage The US military was the initially to use a series of laser combat coaching guns. These guns operate the very same as usual laser tag guns. It was referred to as the 'MILES' method, and authorized extreme education skills in the military. Some combat education is nevertheless used right now. A guy by the identify of Carter invented the initial arena-variety laser recreation. He amazingly assumed of the notion immediately after observing the film 'Star Wars'. In 1986, Laser tag was unveiled as an at home sport. Laser tag toys were becoming bought a lot more than any other video game or toy at the time. The toys are continued to be created, and beloved by kids all over the entire world. Arena online games are popular amid grown ups, as well as young children, and are played for recreation. Devices And Arenas There are both equally indoor, and outside devices for laser tag. When performed indoor at an arena, the laser is visible by the use of fog. A sequence of vests, and guns are assigned to all of the players in buy to practical experience the entirety of the recreation perform. In get for an indoor arena to properly work, just one should recognize the important elements. A huge location is essential with many things to disguise behind. A smoke equipment, and black lights are also important. Scoring units are also required to be in the arena. On the other hand, an outside arena demands increased driven laser guns and targeting gadgets. Just one of the most recent Laser tag devices is the 'Lawn Warfare: Gentle Strike'. These guns are available for purchase in a few unique kinds the incorporate-on extras, and customizable features make this a hugely sought after gun. This gun is primarily employed for personalized use at residence. The correct established up is needed for equally indoor and out of doors locations. Black lights, as nicely as smoke devices are not necessary for out of doors sport perform. Basic guns, and vests are needed for any type of video game perform. There are spots of company solely for the adventure of laser recreation participate in. Quite a few paintball fields also have laser tag for the young gamers that are not able to paintball. For a little charge, players are authorized to enjoy in an upbeat natural environment. The latest technology of laser tag guns is the Gentle Strike collection from Wowwee. The Light-weight Strike guns have a lot of new functions that common laser tag does not. Every single of the 6 different guns have four-6 diverse ammo sorts developed in dependent on if it is a pistol or rifle. Every single gun has a wellness meter built in that displays your wellbeing and the moment your well being operates out you have to "respawn" by pressing two buttons at the same time. Every ammo variety has a exclusive fireplace audio, reload audio and hearth/reload time. There is a protect button that lasts for 15 seconds and lessens incoming shots by 50% damage which can be employed after each 2-three minutes. Every single Light-weight Strike gun has a quantity button and headphone jack allowing gamers to get sneaky mainly because when the headphones are plugged in the external speaker on the gun goes silent. Each and every gun can be on 1 of four feasible groups and is decided by the shade selection on the gun. Also, there is fire manner button that allows for one shot or three spherical burst method. A Particular goal permits for distinctive video game sorts like seize the flag and more. Laser tag is a exceptional practical experience filled with thrills, tactic, and suspense. Specified skill is acquired on the continual video game perform, and new guns are always coming to the laser tag entire world.

[willpollock]

We haven’t had Tangerine Satan president even a week before the wheels have come off the American wagon.

Trump has so many conflicts of interest, so many defiantly ignorant and wrong ideas of procedure and tradition, that gaining focus to resist is not an easy task. Today we’ll take two: his cabinet net worth and treatment of the press.

Remember when Trump said he was “for the little guy?” Yeah about that… The combined net worth of Trump’s cabinet choices and other “important presidential appointments” so far exceed $20 billion. If you isolate just his closest circle (from the WaPo):

The net worth of the Cabinet Trump had selected as of Monday was at least $13.1 billion, based on available estimates, or more than the annual gross domestic product of about 70 small countries.

So when all the focus was on Hillary Clinton being beholden to Wall Street and too cozy with monied donors, he was projecting.

By comparison, by the end of his presidency George W. Bush’s team was worth “about $390 million collectively,” says the Washington Post.

Trump is in fact so corrupt, so full of daily lies, that the resistance to him could splinter since there are so many strands on the sweater to pull.

The one that is currently frying my rice? The reaction of D.C. poh poh to the constitutionally protected action of protesting—and covering those protests. Granted, some of the protestors became violent and caused damage. But that doesn’t justify rounding up whole swaths of people and throwing them in jail—some of them without charges.

I also learned a new word that you need to know: “Kettling.” Think of it as the opposite of law-enforcement restraint. In a nutshell, when police set up a perimeter around a group of protestors, all of the people within that circle are subject to arrest and detention. Here’s the problem: innocent protestors, marchers and, yes, journalists can get ensnared in a situation that could involve confiscation of cell phones and lack of access to communication, food and water, and bathroom services.

D.C. police ignored decades of precedent and “kettled” a large group, including approximately six journalists. All of them are subject to a felony sentence of 10 years in priz or a hefty fine. Sound outlandish? That’s because it is (ThinkProgress):

It’s a tactic known as overcharging, where prosecutors use the threat of long jail terms to induce guilty pleas. Even if Phillips ultimately drops some of these 200-plus felony cases after reviewing evidence more carefully, Hopkins-Maxwell said, he’s already sent a clear and ugly signal.

I don’t see our union can survive this. Setting aside egregious civil liberties violations of the peaceful protestors, our media and legal observers cannot and should not be intimidated into silence. We won’t be silent, either.

  We can thank producer Sheila Nevins for Bright Lights (HBO)—the greatest unintentional farewell gift imaginable. After Nevins had seen Fisher’s show Wishful Drinking (based on the book of the same name, which is great—highly recommended), she thought it would be perfect to adapt it for television.

What was uncovered in that process was the bond these two women shared, and Fisher’s desire to film her mother’s continuing performing verve. “In my heart of hearts, I think Carrie wanted to memorialize Debbie,” Nevins told The Hollywood Reporter.

Bright Lights would have been poignant and sad in its own right without the deaths of Carrie Fisher and Debbie Reynolds a day apart. The doc’s producers moved up the release date from March after they sadly passed away.

Many scenes in this brilliant documentary (which, by the by, will win an Emmy) spoke to me, but most of all, the moment in the antique shop where Carrie was filled with enthusiasm as a collector. “I’m having a crisis of joy” she quipped wistfully. To me this encapsulated her as a person, surviving manic depression and addiction, only to come out on the other side shopping with gusto.

I had the privilege to be at Barack Obama’s inauguration in 2009, and I attended one of the black-tie parties with some pals. Carrie Fisher was there, sitting quietly by the side of the stage, watching Cyndi Lauper sing with Rufus Rainwright. I didn’t know it at the time, but I captured a rare moment of Carrie enjoying the show, seated to the side of the stage—much like I imagine she did when her mother was performing.

I was so happy to dig this series out of the vault so I can share it with you.

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One final postscript: director Fisher Stevens played a bit part in Friends as Phoebe’s annoying psychologist boyfriend who analyzed the bunch, much to their chagrin. Stevens’ interview with Access Hollywood is actually quite good and gives some background on how the two women reacted to the film.

  Last week (CrankyYank Vol. 47) we had esteemed guest blogger and great pal Rob “Reenage” O’Connor review the first episode of Homeland (Showtime) Season 6. He wrote that this new season episodes have “some exciting possibilities in them already, and offer the taste of some real meat as they begin to intertwine.”

I offer a quick counterpoint to Rob’s review, which was largely positive. For me, the first episode landed like the thud of yellowpage books on your front porch. The writing and directing were spotty and vague—certainly not in keeping with past episodes that were built around suspenseful plot arcs and gripping sequences in foreign lands.

As I mention in my sidebar bio, I’m obsessed with the mechanics of filmmaking. In this case, there were many stumbles in the plot and directing that gave me pause. Why did Quinn have to visit the drug den? Why did that intruder come in and decide, “nah, I’ll wait” and pause on his robbery and get serviced by a hooker first. Huh?

I especially loathe when filmmakers do too many takes and try to overlap them to make sense in post-production editing. With a show so heavily reliant on storytelling, tell the fucking story in a single shot, rather that stunt the emotional impact by cutting to different angles. Single long shots ask more of the actors but, in the end, produce a way more convincing product.

Todd VanDerWerff over at Vox has the best take on the series in my view:

Most seasons of Homeland start slowly. Showrunner Alex Gansa and his writers want nothing more than to emulate great spy novels, which take time to build up steam.

  But even by those standards, the early episodes of season six are a patience-testing slow burn. The Quinn stuff is unnecessary, and every other storyline feels like it’s taking place on a different show. It’s not clear why Carrie, Saul, and the president-elect are all in the same series, except for the fact that they have been before. And even when Homeland tries to knit them together, the result feels slightly forced.

The show—even with a surprising course-correction from frantic thriller to build-as-you-go drama—is still one of the best on TV. I’m putting my trust in writers, directors and producers to take us on a ride that both mirrors and exposes political life as we know it.

  My friend Eddie Duke here in Atlanta gave me a heads-up about meditation audio on YouTube that can help you center yourself and encourage you to breathe. Do a search and find one that suits you, but this 3-Hour Reiki Music video above has a great selection of healing, meditative “soundtrack-y” instrumental music that will cure your crankies in no time flat.

  That’s a wrap guys. We’ll see you right back here next Thursday afternoon at 2 p.m.

Will Pollock is an Atlanta-based freelance multimedia journalist focusing on pop-culture, politics, journalism & media, retail, real estate, travel, politics, and human interest. 

He is the author of two books (Pizza for Good & Leaving Triscuit), with more on the way. Sign up for the mailing list, follow on Twitter, Facebook and Instagram—and check out the book links below.

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  CrankyYank Vol. 48: Felony Journalism | ‘Homeland’: The Quieting | Carrie Fisher’s ‘Crisis of Joy’ & More We haven't had Tangerine Satan president even a week before the wheels have come off the American wagon.