#it’s either that or the taking of Jack Livingston

[nottobegaybutmen]

I just finished reading “How to sell your blood and fall in love” by D N Bryn and I loved it so much <3333

[hitting-for-six]

Curious squad announcements

England squad for ODI series against New Zealand: Jos Buttler (captain), Moeen Ali, Gus Atkinson, Jonny Bairstow, Sam Curran, Liam Livingstone, Dawid Malan, Adil Rashid, Joe Root, Jason Roy, Ben Stokes, Reece Topley, David Willey, Mark Wood, Chris Woakes.

I mean, it’s incredibly similar to the squad of four years ago that won and won dramatically, which is mainly good. I mean, they absolutely won on a wing and a prayer, but the same team will have the same wings and prayers, so. I’m curious if S Curran will be in the starting XI. Probably - hopefully - and it seems to me that he’s the one projected to take on the Ben Stokes, batting-six-and-there-at-the-end role, and he doesn’t seem ready for that now so I guess the inclusion of Stokes is good. Just, you know, it’s better if everyone arrives in India with the Captain able to move.

I’m a bit surprised by the inclusion of Jason Roy. He hasn’t done much for a while. I guess I’m pleased in the sense that I like loyalty to players, but I was expecting Jacks, Crawley and Foakes and they have all contributed more to recent matches (although admittedly in different formats). But I’m also pleased because I have loyalty to players and if J-Roy can find some form with Jonny, England will stand in incredible stead.

Leaving out Harry Brook though.

Chuffed for David Willey.

England squad for T20 series against New Zealand: Jos Buttler (captain), Rehan Ahmed, Moeen Ali, Gus Atkinson, Jonny Bairstow, Harry Brook, Sam Curran, Ben Duckett, Will Jacks, Liam Livingstone, Dawid Malan, Adil Rashid, Josh Tongue, John Turner, Luke Wood.

Yay, Will Jacks! I think he might be the crucial test player of the future so it’s nice to see him beginning to be included. Also great to see more Rehan Ahmed.

I wondered about Crawley, but the red ball and white ball teams seem to be pulling away from each other to some degree, so I’m not that surprised.

No Dan Lawrence in either format, which is a shame.

I don’t recall Gus Atkinson when Surrey have played Middlesex but I guess he must be something. Surrey are certainly an extremely strong side - the white ball team isn’t a million miles from a Surrey 1st XI. Which brings me to…

Seriously. Has Foakes set fire to a pavilion? Murdered a groundskeeper? Chained himself to The Oval and refused to leave?

[gunterfan1992]

Episode Review: ‘Together Again’ (Distant Lands, Ep. 3)

Airdate: May 20, 2021

Story by: Jack Pendarvis, Kate Tsang, Hanna K. Nyström, Christina Catucci, Jesse Moynihan, Adam Muto

Storyboarded by: Hanna K. Nyström, Anna Syvertsson, Iggy Craig, Maya Petersen, Serena Wu

Directed by: Miki Brewster (supervising), Sandra Lee (art)

Across Adventure Time’s ten season run, the show explored a bevy of “mature” themes and story ideas—topics, like love, sexuality, depression, and grieving. The show also touched upon death, but the emphasis was usually placed on the emotional toll of a loved one dying, not really what happens when you die. We knew there were Dead Worlds and Death. We knew that there was reincarnation. But how does it all fit together? What does it mean? How does it work?

With “Together Again,” we finally have many of the answers.

This special opens with a marvelous fake-out episode simply called “Finn & Jake,” that sees the two steal a magical cartoon of 50-flavor ice cream before rescuing Turtle Princess and LSP from the clutches of the villainous Ice King. This is all deliberately anachronistic and over the top. Ice King is back to his season one ways, Finn has both arms, and he is still wielding his golden sword that he lost in season two’s “The Real You.” There’s lolrandom dialogue and silly monsters; it’s like a parody of seasons 1-2. But then, this adventure starts to get all wonky, and in time Finn realizes that he is in a some sort of trance or illusion: one that ends with Jake being buried in the ground. Suddenly, Finn awakens from his reverie. He’s an old man. And he’s dead. We’re then presented with a new title card that lets us know the episode is actually called “Finn & Jake Are Dead.”

Holy Glob! They actually went there.

Turns out Jake died years before Finn, so naturally Finn is super excited to see his best bud. But something’s wrong—he cannot find Jake!! They planned to spend eternity together. But all that Finn can find is his very own psychopomp, Mr. Fox (voiced by Tom Herpich, whose purposefully stilted line readings are the epitome of delightful). Finn rightfully assumes that Jake is in a different Dead World, and so, being the ball of spunk and energy that he is, he demands to meet with Death, only to discover that there’s a New Death in town (voiced by Chris Fleming). The episode eventually explains that New Death was the son of Death and Life, and after New Death killed his father, he became the sovereign of the afterlife. New Death hates his job and decides to just blow up all the Dead Worlds so he doesn’t have to deal with it all. (I won’t get too much into the details here, because there would be a lot of story to parse out.)

Finn soon learns that Jake has reached nirvana in the 50th Dead World, where there is nothing but peace and serenity. Finn nevertheless tracks down Jake, pulls him from paradise, but in doing so, accidentally lets New Death in, who promptly obliterates Elysium, sending all the enlightened souls—including those from different levels of the afterlife—to the 1st Dead World. This gronks up the afterlife, temporarily halting the reincarnation process.

Well, Finn and Jake are rightfully ticked, and so they haunt the material plane looking for Princess Bubblegum. She’s not home (more on that later), but Peppermint Butler is! After Ghost Finn and Ghost Jake explain the situation, Peppermint Butler tells them what to do: They need to find Life and explain the situation. The duo manage just that, and Life is rightfully angry that her kid has stopped the transmigration of souls. After Life gives Finn a McGuffin sword that can hurt Death, Finn and Jake return to his abode. A brawl ensues wherein we learn that New Death has been possessed… by none other than that spirit of the Lich.

That’s right, it’s the Lich! He’s back, and boy is he evil.

The Lich explains that by possessing Death, he can destroy the afterlife, thereby destroying a key aspect of reality. Naturally, Finn and Jake are not cool with this, and they engage in combat. After Mr. Fox grabs the McGuffin sword and uses it to annihilate the Lich and New Death, he is proclaimed the New New Death and sets everything right. Finn is slated to be reincarnated, and Jake is slated to return to the 50th Dead World where he and Finn will one day be reunited. As Finn is pulled into the wheel of souls, Jake suddenly decides to go back with Finn, too, “Just for fun.” The episode ends with a card letting us know that the episode is neither called “Finn & Jake” nor “Finn & Jake Are Dead.” Instead, it is “Finn and Jake Are Together Again.”

As they say, “And there wasn’t a dry eye in the place.”

If you were to tell me several years ago that the last episode to star Finn and Jake would revolve around them dying, I think I would’ve been upset. Not simply sad, but rather frustrated because “they all died” can feel like a cheap ending. But with “Together Again,” it all works. And a large reason that it works is because the show goes all in with their ideas. Finn and Jake don’t magically leap back into their old life (no, no, they very much do bite the dust). Instead, the special emphasizes the cyclical nature of life through the transmigration of souls. The episode ends with a beautiful scene of Finn and Jake, bound together as soul-brothers, being reborn into a new, mysterious (possibly Ooo 1000+?) world. It’s both aesthetically and emotionally pleasing; it doesn’t feel off the way over finales might. This is right. This is the way life works. “Round and round as nature goes,” and all that jazz.

I loved the series explanation of how death works. It seems that souls land in a specific Dead World, where they ‘marinate’ for a bit, presumably being rewarded or punished based on their life in our meat reality. After a time, they are then reborn. This process repeats, with each soul reaching higher and higher levels of enlightenment until they hit nirvana, which is the 50th Dead World. So in a sense, Adventure Time has a roughly Buddhist cosmology with a dash of Greco-Roman mythos thrown in for flavor. (As to what happens after a soul stays in the 50th Dead World for a long period is anyone’s guess, but I’d speculate that when all the souls in the multiverse have been purified and land in the 50th Dead World, they will all collapse into one another and form one perfect Monad. Perhaps this is the sphere of perfection that the beings who merged into Matthew thought they were connecting to? Who knows! It’s anyone’s guess!) I was a little disappointed that we didn’t get to see who Death, Prismo, Life, etc.’s boss was, but perhaps that’s a mystery better left up to the imagination!

One minor thing that I loved about this special was the number of characters who made cameos as well as all the callbacks that were made to previous episodes. Regarding the former: Finn and Jake’s canine family show up (including the oft-forgotten Jermaine!), as do Tree Trunks and her myriad husbands. Tiffany plays a major role in all these shenanigans as a “death cop” of all things. There is a delightful rogues gallery stuck in the 1st Dead World (including, among others, Maja, Sharon from “The Gut Grinder,” and Wyatt). In the 50th we find Ghost Princess and Clarence happily at peace next to Booshy, the weird spirit mentioned in the Pen Ward classic “High Strangeness.” As far as callbacks go, perhaps my favorite is the clap (from “James Baxter the Horse”) that Jake taught to Finn in case they ever do get separated in the afterlife. And of course, there are myriad references made to “Death in Bloom,” the episode that planted the seed for what this would grow into.

Going into the special suspecting that it would involve Death, I was curious how they were going to handle Miguel Ferrer’s character. (In case a reader is not aware, Ferrer played Death in episodes like “Death in Bloom” and “Betty,” but he sadly passed away a few years ago). The producers’ choice to feature him in a non-speaking cameo—despite playing a relatively significant role in the story—was wise; I’m not sure if I can articulate the exact reasons, but something about his role felt appropriate and not gross, as some post-mortem memorials can be. Speaking of which, the wonderful, lovely Polly Lou Livingston was featured for the last time in this episode as Tree Trunks, happily in heaven with her literal harem of husbands. It was funny, it really was, and I’m sure that Polly Lou would’ve gotten a kick out of seeing it on screen. (Also, this is a pro-Tree Trunks safe space. Any Tree Trunks haters will be chucked into the 1st Dead World with Wyatt.)

The biggest mystery in this whole thing, for me at least, is the question of Princess Bubblegum and Marceline. Several years ago, I wrote an essay about what could’ve happened to them in the Ooo 1000+ universe. I speculated that they peaced out and left Ooo behind. In this special, neither Bubblegum nor Marceline are to be found in the Candy Kingdom—Peppermint Butler seems to be the one in charge, given that he is now wearing Bubblegum’s crown. Likewise, the duo aren’t anywhere in the Dead Worlds either. Maybe the two of them skipped town and got a duplex in the Nightosphere? Who knows… I just want my favorite gals to be OK!

All things considered, “Together Again” was a marvel: An episode that managed to feel like a series finale even more than “Come Along with Me” already did without taking away from the series itself. An episode that managed to make the idea of dying funny. An episode that brought back the Lich in a way that wasn’t forced. An episode that made Mr. Fox the New New Death. An episode that gave us a beautiful ending to Finn and Jake’s story… as well as the beautiful beginning to a new one. I said it on Twitter, and I’ll say it again here: “Together Again” was the end of a sentence in a book with infinite pages. Truly, the fun will never end.

Mushroom War evidence: Everything takes place in the Dead Worlds, so not really. Perhaps a more eagle-eyed viewer can inform us...

Final Grade: That’s right, I’m gonna do it...

Post-script, I actually messaged Jesse Moynihan to ask about his writing credit. He told me that it was for an unused story idea that he had developed. I’m not certain, but I’ll bet it was a part of the cancelled TV movie they were trying to make during season 5, since that would’ve seen Finn and Orgalorg journey to the various Dead Worlds.

[felassan]

Article: ‘Mass Effect & Dragon Age’s cast members on how BioWare builds dynamics’

I spoke to several figures from BioWare juggernauts Dragon Age and Mass Effect, to get a clearer idea of how those iconic team dynamics we associate with the two titles were created. [interviews]

This article is a really neat read. :) Contains character insights, behind-the-scenes info and some reflections on representation.

Some excerpts under the cut due to length:

A huge theme of these interviews, naturally, was BioWare themselves. As well as general praise for the support, the working environment, and the success of the finished product, many singled out individual directors by name, and credited BioWare’s focused approach with getting the best out of them. Hale even claimed they were “the unsung heroes,” that underpinned the whole Mass Effect trilogy. [...]

“Usually there’s almost always a BioWare writer on the line with us, usually up in Canada, when we’re recording. So you’ll have the director, me and one or two BioWare head honchos up there supervising. That’s the way that’s the way it worked on Inquisition too. There’s a really collaborative vibe.” [...]

This consistency across the recording process is likely why the calibre of performance is so high across both trilogies. “The team of writers of BioWare are extraordinary,” Nick Boulton [Male Hawke] says. “So they keep you on track pretty well. The key was having Caroline Livingston, who was directing most of it – all of it, in fact. She would be there to give context notes, and also keep me on the straight and narrow, as far as characterization went. So we were led through very well by the BioWare team.” [...]

Insight on Jack:

Courtenay Taylor describes Jack as being “a very comfortable pair of old stinky sneakers to step into,” and explains that her connection to Jack’s story was a core way she was able to bring it to life. “[Jack has] a pretty familiar psychology that I had. She was very reminiscent of how I was, to some degree, in high school. She’s putting up a barrier to get people to prove themselves, so you have to run the gauntlet in order to get the good stuff. When you’ve been abused as badly as she has, then psychologically one of the tracks you can take is ‘I will not allow myself to be vulnerable’. And that really resonated with me.”

Taylor also says that this guard Jack puts up meant that, ironically, many of the players found it easier to connect with her. “I got really great feedback from a lot of people about struggles that they had had in their personal lives,” she says.

“I think [Jack’s change between Mass Effect 2 & 3] is a smaller story, but it’s a big story for a lot of people. I have a lot of friends who had addiction problems. And quite a few of my friends give back by going back to the community that they’ve come out of, and finding people that need help. At its core, that’s a big, important through line for Jack – every one of us is worthy of love. And it doesn’t matter how difficult you are or how troubled you are or what has happened to you or what someone has done to you. You are worthy of loving and being loved.” [...]

Taylor also saw something personal in her own performance, especially since there weren’t a lot of women like Jack in popular media when Mass Effect 2 launched. “There was a huge amount of love for her because gender/appearance wise, she is something that I felt at that time had not been explored. And I know that some of the things were cut, but in what we originally recorded [Jack was pansexual], and in 2008 or 2009, there weren’t a tonne of conversations about being pansexual,” she says.

“She was a counterpoint to a lot of the other female characters. She was sort of the far end of the spectrum. You’ve got Miranda who’s beautiful and pulled together, but that only serves a certain population. And there are a lot of people that identify as women who could relate to having these feelings and these emotions – she’s not gender specific. To me, she’s angry. And I don’t know that there had been, at that time, a female character who was so not typically female, who was capable of such a range of emotions. She ended up being the permission to a whole group of people who don’t identify with that kind of woman. Because in entertainment, where did that bald girl with a flat chest who was pansexual go? Where do you fit in? And that really resonated with me. If you don’t relate to Miranda, Jack can be a really nice option.”

Insight on Josie:

It’s a sentiment echoed by Allegra Clark, who used a major tragedy in her own life as motivation for the siege of Haven in Dragon Age: Inquisition. “I think the first time you really start to get to know [Josephine] as a person is when she talks about Haven after the attack. That conversation she has about the first people to jump in and protect people being the workers, and how she’s just watching everything be destroyed. I was actually thinking about 9/11, as a New Yorker. So that was a very personal moment for me. But it was those little moments where she starts to open up and blossom that you get to see her as a person.” [...]

For Clark though, those boundaries were much more personal. “When I was told I had booked Josephine, I was just like, ‘I’m a companion in a BioWare game, and a romanceable companion at that’,” Clark says. “I recognised going in that people were going to connect really hard to this character. People are going to have entire playthroughs that are based around romancing Josephine. She helped me explore my own bisexuality, and that is always the thing that that warms my heart the most when people come to me about my LGBTQ+ characters, and say ‘they helped me understand parts of my own identity’. I actually wasn’t out of the closet publicly, or even to parts of my family when I started recording Inquisition. So it was interesting, getting to tell essentially part of my story as well. Before even being able to say to the world ‘hi, I’m bi’ – though all the signs were there. I was in a relationship with another woman at the time. It’s like ‘oh my God, they were roommates!”

Zevran:

While all were full of praise for BioWare’s writing and working environment, the love of actually playing the game was exclusive to Clark. Most others admitted they had never played at all; Curry confessed he had no idea if Zevran was even alive [as he hasn’t played]

Sam Traynor:

“I think Traynor was revolutionary in what she was doing at the time,” Wilton Regan says. “What was so different about Traynor was she wasn’t romanceable for either gender, you had to be playing as FemShep to choose a lesbian love option . And that was so brave of them to do at the time. But it brought us leaps and bounds forwards, because having that inclusivity then makes it just easier for the next game, and for the game today. And now it’s a standard – you should be representative of all sexualities if there are romance options in your games, and increasingly major games pretty much always have some sort of gay, bisexual, lesbian or heterosexual choice. It might not be as fluid as all of the spectrum of sexual choices, but you’ve got a strong variety in comparison to where it was 20 years ago, for example.”

Sam Traynor and Josie:

Part of representing groups that don’t often get representation in video games is that your character gets to become a role model, and that’s something Wilton Regan and Taylor have particularly fond experiences of. “It’s quite flattering and quite lovely to think about,” Wilton Regan says. “I’ve had a lot of lesbians who are coming out of the closet or coming to terms with their sexuality, who’ve come up to me and said that playing FemShep and romancing Traynor was a really big part of that. And lots of bisexual women as well. There’s something just very beautiful about the idea that BioWare has put so much faith and trust in me over the years with these really pivotal roles, and these big, beautiful characters. I feel very humbled by that. Very, very humbled.”

Meanwhile, Taylor wasn’t even sure people would like Jack, so finding out how deeply people related to her was a huge surprise, and she suspects that’s because Mass Effect allows her to be angry without being written off as a stereotypical, hysterical woman. “People didn’t like her when the trailer came out, and I was like, ‘Oh God, everyone’s gonna hate her!” Taylor laughs. “I was really surprised to be at a convention and have someone come up and say, ‘Can I introduce you to my nieces? They’re six and eight, and they love you’. I’m glad they have a good female role model in Jack.”

[serendipity8832]

Ocean's 11 but it's Now You See Me

I just randomly remembered today that this has been sitting in my google drive for a couple months and I decided it needs to be shared with the world.  It’s gonna be a long one, so buckle up.

Danny Ocean is of course the experienced, charismatic illusionist. He's well-known in the magic circuit and has lots of friends despite preferring to work alone. Basically a jack-of-all-trades, he's proficient in almost every area of magic, although as previously stated he's especially good at illusions and fooling the audience into seeing something that isn't true. Essentially J. Daniel Atlas but more likeable.

Rusty started as Danny's partner when they were young before branching out and doing his own shows. He's kind of like the Henley Reeves to Danny's Atlas, except they're still on good terms. I mean, come on, look at the way the man dresses. You can't tell me he wouldn't adore the kind of flashy shows that Henley puts on. He works mainly in Vegas, which Danny avoids, but they meet up when they can and sort of have a long distance relationship (neither of them is seriously seeing anyone else, at least).

Linus and Jack Wilder are cut from the same cloth. Both are fairly new on the scene, both look up to a mentor in their chosen profession who doesn't seem to appreciate them the same way (despite the fact that they are very clearly competent), both are eager to prove themselves. The list goes on. I like to think that, very similar to Jack, Linus would have a few… extra skills padding out his magician's repertoire. When Linus finally gets to perform with Danny, he's ecstatic.

Saul is the wise old magician of the circuit. After his many years in the game, he found the easiest thing to pull off in his later years was mentalism. He's a bit like Merritt McKinney in that way, but not in temperament. Danny, who learned under Saul, was never a good mentalist, so he trash-talks that branch of magic privately to Rusty. He respects Saul too much to do that in front of him though. Saul mostly makes the rounds in retirement homes and vacation spots, performing and then eating free food before the staff realize he doesn't belong there.

Basher and Livingston make crazy contraptions that shouldn't work but somehow do, and then show them off to people who can never figure out how they operate. Where Basher is the spokesperson, Livingston refuses to go on stage, so he mostly provides behind the scenes tech support. They're famous for their many Rube Goldberg machines, which are both wildly popular and wildly complicated.

Turk and Virgil are your typical adrenaline junkie disaster duo that pull off increasingly insane stunts that should get them both killed but end up with them walking away unscathed every time. The one time Turk sprained his ankle he smiled through the pain and the audience never knew. A crowd favorite is one or both of them being fired from a cannon, which they've done so many times at this point that it's actually one of their safest tricks.

Yen is like a freelance assistant-for-hire when someone needs a person to flip a switch or get sawed in half. He's especially sought after for his ability to squeeze into tight spaces, and the fact that he's cheaper than the models on the Las Vegas strip. He mostly works with Basher and Rusty and has his own acrobatics/contortionism show on the side, although he's not as popular as some of the others, which is why most of his income is from being an assistant. His fan base is growing, though.

Frank and Reuben aren't magicians themselves, but work closely with most of them. Reuben, long a patron of the arts, funds most of their shows, especially at the beginning of their careers and at smaller venues that can't necessarily pay the magicians themselves. Frank acts as a manager for a lot of them (although he probably doesn't get paid enough for that shit), booking their shows and keeping track of finances. He and Reuben are frequently in contact. He also tries to coordinate Danny and Rusty's schedules as much as possible ;).

Terry Benedict got roped into funding a huge three-day magic experience featuring "Ocean's 11" during which they robbed him blind. He's held a grudge against them since then, but they did a good job of lying low and/or staying one step ahead of him in the immediate aftermath, so he was never able to catch them. Sort of an Arthur Tressler character, although Ocean's crew didn't really have a personal vendetta and he wasn't responsible for cheating other people out of their money, so they didn't give it to the audience.

Tess is the FBI agent assigned to the magicians’ case directly following the Benedict incident. Choose your own origin story for her, anything works as long as it somehow leads to a minor obsession with tracking down Daniel Ocean. Isabel is the Interpol agent who arrives to help her because Benedict had some holdings in Europe or something. They fall in love while pursuing the magicians. Basically Dylan Rhodes and Alma Dray.

Francois Tolour is a washed-up magician turned skeptic who spends his time debunking other magicians' acts. He takes a special interest in Danny, and by extent the other ten, because he's absolutely convinced Danny's better than he was and he hates that. Both Benedict and Tess seek him out for help finding Danny, but he either can't help them because his own search has failed, or he's still bound by some remnant of the magician's code and won't assist them.

[letterboxd]

Top 100 Women Directors.

Ella Kemp takes a deep-dive into our newest all-time stats addition—the top 100 films directed by women—and finds, to nobody’s surprise, that Agnès Varda is indisputably the GOAT.

There are countless ‘best of’ lists on Letterboxd to track your progress against; some are maintained by our staff, while others are contributed by passionate members. If you’ve upgraded to Pro or Patron level, there’s a section on your all-time stats page (accessible directly from your profile) where we’ve gathered twelve key lists against which you can track your progress at a glance (example below), and we’ve also added ‘Completed Collections’ for Patrons, showing all franchises of three or more films that you’ve seen in their entirety (excluding unreleased entries).

In the interests of promoting a diverse range of titles, we’ve recently added a Top 100 Women Directors list to your all-time stats, compiled by Jack Moulton and ranked by overall weighted average rating. In other words, these are the female-directed (and female-identifying-directed) films that you, the Letterboxd community, have chosen as the best.

To celebrate, we invited Letterboxd member, writer and Girls on Tops photographer Ella Kemp to cast her eye over the current list (it’s bound to change in future based on new ratings cast).

Encompassing thousands of votes to meticulously rate and root for the greatest films we have courtesy of women directors, Letterboxd’s newest all-time list offers a sobering dissection of the way we consume movies—and how much we recognize the women responsible for these works.

At first glance, a scroll through the list boasts a generous handful of posters designed in the last couple of years. Five features released in the past twelve to eighteen months have made it straight to the top 20 (Portrait of A Lady on Fire, The Farewell, Booksmart, Lady Bird and Capernaum) with one of those films—not even publicly released in cinemas yet, but making waves at festivals around the world—already sitting at number two. That’s the power of Céline Sciamma and her Portrait.

Céline Sciamma’s ‘Portrait of a Lady on Fire’ (2019).

Diving deeper, Sciamma’s top-tier triumph exemplifies a few key patterns. She returns at number 64 with Tomboy, reminding us what a great shame it is that her excellent feature Girlhood didn’t make the list, but confirming that France appears to be one of the best countries in the world for women to make movies: the list comprises 23 French features, which, considering the US’s oft-perceived monopoly on the film industry, feels monumental.

But of course, it’s not accidental either. This year sadly marked the passing of Agnès Varda, indisputably the GOAT. She stands proud as the most prolific contributor with six features, two in the top 20. To grieve, to remember, at least we can always keep watching.

Another singular trailblazer is Scotswoman Lynne Ramsay. She has four entries, but what’s most impressive is that these are, well, all the feature films she’s made to date. Her fourth entry, Morvern Callar, sneaks in at number 100.

Elaine May and Chantal Akerman both have three entries, which may come as no surprise to cinephiles, but it’s also the same number of entries as Japanese animator Naoko Yamada (whose A Silent Voice sits in sixteenth place on our list). This reveals an open-minded slant, one that acknowledges the widely perceived touchstones but also embraces further-reaching works from lesser-known artists. Five features are Japanese, four are German, three Italian, and three Indian.

Naoko Yamada’s ‘A Silent Voice’ (2016).

The lean still remains very much with the US, and yet few films on the list break records for eye-watering budgets. The Matrix, courtesy of the Wachowskis, was made for $63 million, and Shrek, co-directed by Vicky Jenson, had a budget of $60 million. Aside from these two, projects on the list seldom had more than $10–15 million to get the job done.

When looking at the list’s omissions, one almost unanimous absence is that of the highest-grossing films of all time directed by women. No Sleepless in Seattle, no Frozen, no Fifty Shades of Grey. No Nora Ephron, No Nancy Meyers. No Ava DuVernay. It’s a peculiar gap, as the influence of these writers and filmmakers is hardly one to be contested. And, to close the circle on big budgets, $120-150-million-wielding Patty Jenkins is also absent. The highest-grossing film directed by a woman (with no male directing partner)—a cool $821.8 million at the global box office—did not make the cut.

On this topic, there are sixteen films co-directed by women on the list. A co-directing mention is a crucial credit. It’s like the trust exercises that used to be taught in school drama classes—how would they work if one party wasn’t there to catch the other as they fell? What’s the point in being brave if you don’t also have some kind of promise of safety? Partners need each other, and these directors needed partners to reach the heights they did. City of God, co-directed by Fernando Meirelles and Kátia Lund, was nominated for four Oscars, and yet Meirelles was still the only filmmaker credited at the ceremony. The Academy chose to disregard Lund, but our list does not. There are five female co-directors in the top 20. One of the highest-grossing films on the list, Shrek, would not be what it is without Vicky Jenson.

Also curious: Palme d’Or winner Jane Campion makes the list, best director Oscar winner Kathryn Bigelow does not. Overall, the list shows a vast body of skill, a crop of familiar names, some deeply felt absences and—hopefully—a whole lot of additions to watchlists. Further names that deserve to be sought out, in no particular order, include Mabel Normand, Maya Deren, Josephine Decker, Jennie Livingston, Mia Hansen-Løve, Dee Rees, Joanna Hogg, Gurinder Chadha, Barbara Hammer, and directors with new films soon to be released: Marielle Heller (A Beautiful Day in the Neighborhood), Niki Caro (the live-action Mulan) and Kasi Lemmons (Harriet).

Chantal Akerman’s ‘Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles’ (1975).

Writing this breakdown gave me plenty of homework, and it shed light on a lot of works that I’m yet to catch up with. At first I thought it pretty normal to not have seen as many on the list as I would have liked, taking into account my age, access and time, but the further I went, the more names cropped up that I didn’t recognize, and the more I recalled my three years studying film at university and not having learned anything about so many of these women.

I should know more names. I should have been set more assignments regarding more of these names. I can do more, but so too can those above me, those who taught me and continue to teach others, about who makes the films that are worth learning about. We now have lists such as this one—it’s high time we start to properly use them.

Header image: Agnès Varda (with her own 1962 self-portrait) in Faces Places.

Related content

Films Directed by Women: Vanessa’s comprehensive—and growing—master list, and her shorter, highly recommended list

Female Cinematographers: The Master List

Written by Women: a master list of scripts written by women

Five filmmakers Jane Campion wants you to watch next

Our Q&A with Debra Granik

Little White Lies’ 100 Great Movies by Female Directors

Female directors recommended by Tilda Swinton

Iranian Women Make Films: a list of Iranian female directors

Merata: How Mum Decolonised the Screen: the story of trailblazing Māori filmmaker Merata Mita (available on Netflix, distributed by Array)

[douchebagbrainwaves]

RETURN OF THE ALTAIR BASIC OF WEB 2

Let's consider what it would take. Hackers are so used to computers that they have no intention of funding you, just to pick your brain for a competitor. Otherwise I just worked. C is pretty low-level, but it did at least have a chance of succeeding, you're doing well. YC for aggressive early user acquisition. No one would know what side to be on. As an angel, you have to do anything about it, they'll let you invest at a low enough valuation. Someone who goes to work for Google instead because he thought they had a few weeks' lead over their competitors. None of the ones we've funded have. At least, he was listed as an inventor on the patent Yahoo sued over—so perhaps there was something personal about it.

They're looking for ways to put large sums to work. It's money investors have given you in the hope that this constraint will prod them into action. But that doesn't mean it's wrong to sell. So the solution may be to think about ideas without involving yourself. VCs are money managers. This would be like, because that's how things have to be the most valuable things you could do all the company's errands as well as as apportioning the stock, you should either learn how or find a co-founder. This was a mistake, because Microsoft was a very anomalous startup. The only explanation is that they can't force anyone to do anything about it, it's probably the most efficient way to reach VCs, especially if you have kids. That is arguably one of the most powerful.

Probably for the same deals, but the custom among the big companies seems to be able to brag about the good terms they got. So if you want to optimize is your chance of a good outcome, not the idea. We were compelled by circumstances to grow slowly, and in retrospect it was exactly the right thing. So you want to be running out of money. Whether the number of startups started within them. I wouldn't be surprised if most programs started as throwaway programs. All you need is to be decisive. At the other extreme: a startup that avoided working on some problem because of patent trolls. The Mythical Man-Month. One of the most famous examples is Apple, whose board made a nearly fatal blunder in firing Steve Jobs.

I'm sure Larry and Sergey couldn't find stuff online, Hotmail because Sabeer Bhatia and Jack Smith couldn't exchange email at work. I've never heard anyone mention explicitly. Because most VCs are. I assume they could have vetoed such a deal. Startup funding is measured in time. The best case, both components of the vector contribute to your company's DNA: the unscalable things you have to learn. I'd say investors are the limiting reagent in startup formation. But things don't always go smoothly in startups. But what if you're investing by yourself? You might think a high valuation is that you get less dilution. Keep releasing new features; keep getting mentioned in the press. They're happy to invest small amounts—sometimes as little as $20,000—as long as you can.

The most powerful form of disagreement, and probably also the most common. I used to believe what I read in Time and Newsweek. But what a long fight it would be ignoring users. A combination of solipsism and laziness. The reason I suggested college graduates not start startups immediately was that I was disgusted by the idea of inhabiting a world ruled by intelligence. For hardware startups there's a variant of doing things that don't scale. When languages are designed for other people, it's always a specific group of other people: people not as smart as the language designer. Some founders are quite dejected when they get turned down by investors doesn't mean much. Should the city take stock in the startups is that they grow fast, and you are very happy because your $50,000 into at a valuation of $1 million. I used to close my eyes and hold my glove up more for protection than in the hope that the programmer he'll hire is Bill Gates—kind of backward, as the events of the Bubble, optimistic analysts used to justify high price to earnings ratio that was bogus. VCs think. Why don't more people do it?

The reason I suggested college graduates not start startups immediately was that I was disgusted by the idea of having a lot of time and money to do it is to predict it. For example, if someone develops a new process for smelting ore that gets a better yield, and you are very happy because your $50,000 into a company at a pre-money valuation of $2 million. All you need from a launch is some initial core of users. Revenues of $3000 a month, because the more startups you had in town, the less it would take me several weeks of research to be able to bear a good deal they'd want it all to themselves, but usually there's a bigger offer coming, or perhaps even an IPO. The culmination of my career as a writer of press releases was one celebrating his graduation, illustrated with a drawing I did of him during a meeting. An undergrad could build something better as a class project. Indeed, it evolved from actual warfare: most early traders switched on the fly. I think hiring people is the worst thing you can say with certainty about Jaynes is that he was one of many unforeseen advantages of the YC model and specifically of making YC big that B2B startups now have an instant market of hundreds of other startups ready at hand. It matters more to make something people want is so much harder. But when you use this trick for dividing a large group into smaller ones, something strange happens that I've never heard anyone mention explicitly. This is ridiculous, really.

But everyone knows that's important. So it was literally IPO or bust. The early adopters you need to fix something. A few years ago an Italian friend of mine said, Most VCs can't do anything that would sound bad to the kind of founders who have the balls to turn down most acquisition offers. What happens now if you realize you should be making this for consumers instead of businesses? I didn't realize till the last few years that writing for publication didn't have to mean it, because all it does is break ties: applicants are bucketed by ability, and legacy status is only used to decide between the applicants in the bucket that straddles the cutoff. You pay more, but there just aren't enough of them, initially has a certain amount of time left before the money runs out and they have a lot. Name-calling. We had some well known users.

If the company raises more money later, the new investor will take a chunk of the company. Although we didn't fund Meraki, the founders were Robert Morris's grad students, so we know their history. Blue staters think it's for sissies. That's the way to the closing, because the knowledge it tested was so specialized that passing required years of expensive training. How can the richest country in the world look like this? Perhaps we can split the difference and say that mobility gives hackers the luxury of being principled. By the time you had to? And in that department, there seems to be working in a group of employees go out to dinner together, talk over ideas, and then returned two months later and not one thing had changed. In the period just before the industrial revolution, some of the qualities of things you're meant to work in the end, though the experience probably took several years off my life. We know this continued to be true up till 2004, when the Facebook was founded—though in that case it probably won't take four years. Viaweb. The weak point of the top reporters is not laziness, but vanity.

Thanks to Aaron Swartz, Robert Morris, Jessica Livingston, and Harj Taggar for inviting me to speak.

[ambitionsource]

AMBITION Season 1 ♫ “Black, The Color of Techies Scorned...” [ 1.07 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows)

YOU SAY YOU WANT A REVOLUTION – Fed up with their treatment, the techies fight back… by doing absolutely nothing. Attempts to mediate go sour when Farkle and Isadora can’t relinquish control. Riley makes an effort to break the strike, but it may be her who gets broken instead.

50 Minutes (10K words) || No warnings apply.

[ ← Stripped ] [ S1 Synopsis ] [ These Boots Aren’t Made For Dancing → ]

( Follow along with the music on Spotify here! )

INT. AAA - AUDITORIUM - DAY

With acoustic week concluded and the performers back in full intensity mode, the techies find themselves hard-pressed to keep up with their demands. Over a buzzy, intense acapella, the sophomore performers throw every task imaginable at them with limited patience and even more limited gratitude.

DAVE WILLIAMS is running back and forth backstage with NATE MARTINEZ and DYLAN ORLANDO, attempting to play runner and keep up with everyone’s needs. Dave makes a pointed effort to avoid going near the curtains. JADE BEAMON is in another heated discussion with MAYA HART, CHAI FRESCO, and DARBY WINTERS – that is to say, they’re heated and full of opinions and she’s just trying not to get overwhelmed and start crying.

ISADORA DE LA CRUZ is marching around the stage, trying to get ZAY BABINEAUX or CHARLIE GARDNER to pay attention to her and get the performers to cool it, but they’ve got their own projects to focus on and aren’t very receptive. JEFF MONROE is jogging along to keep up with her, nearly getting clocked in the face by her clipboard when she tosses her arms out in frustration.

FARKLE MINKUS doesn’t help matters.

Isadora: Does anyone around here have a damn shred of decorum?

Farkle: Wow, poor little director. Is this really too overwhelming? Doing the basic expectations of your job?

Isadora: Don’t patronize me, Minkus, you don’t want to see what this “little” director is capable of.

It’s not a very threatening statement in theory, but the way Isadora delivers it gets the point across. Farkle isn’t deterred, but he’s smart enough to back off for now while he’s still ahead.

While they’re running themselves thin, RILEY MATTHEWS watches from the sidelines. She discusses stepping in to help with NIGEL CHEY and YINDRA AMINO, considering they are the three performers with the most technical experience. Riley points out that Lucas was supposed to be back by now. It’s Tuesday, and he was supposed to be back on Monday, but for whatever reason he’s still nowhere to be found.

Yindra claims he’s probably just blowing it off, and WYATT LIVINGSTON, back from his own suspension and clearly not over the bad blood, asks why they should give a shit anyway. He can stay gone for all he cares. Riley holds her tongue as he stalks back into the shadows of backstage, before jogging out to join Isadora.

When she asks if she’s okay Isadora doesn’t even have the bandwidth for a response, and when she asks where exactly Lucas is she’s like “you tell me!” The whole sequence is chaos, and it serves to prove just how hard the techies work on a day-to-day basis and how quickly expectations can pile up on them. The tension doesn’t come to an end until SHAWN HUNTER and ANGELA MOORE call time and dismiss them for lunch, all of the air immediately coming out of the balloon. As the performers disperse, the techies are left dazed and exhausted center stage, sort of at a loss for what to do.

The moment they stop, the whole machine stops running…

INT. AAA - HALLWAY - DAY

Riley steps out with Charlie and Zay, the three of them commentating on how intense it’s gotten in there. Not just content wise, but between everyone. Kind of almost feels like there’s no room to breathe. Riley says it’s funny they say that as if it’s not always like that.

Zay: [ with a blithe shrug ] Welcome to Adams.

EXT. AAA - DAY

Suffice to say, we can tell there’s a big storm coming. The winds of change are imminent, and from the way a familiar pair of big black boots are stomping up the steps towards the school, it may very well be en route in the form of a very grumpy and very sarcastic hurricane.

INT. AAA - ATRIUM - DAY

The boots continue to make their trek through the halls, squeaking against the pristine floors of AAA and leaving dust in their wake. Over the visuals, the techies discuss how exhausted they are and how they don’t know how they’re going to keep up the rest of the year like this. There’s just no way. Especially not without their most aggressive teammate.

INT. AAA - AUDITORIUM - DAY

Thus, when LUCAS FRIAR walks through the house doors of the auditorium at the late lunch hour and finds his usual crew crashed in the back seats, he is immediately accosted by Dave who tackles him with a bear hug.

Dave: Thank God you’re back, we’re dying!

Lucas takes the hit, allowing Dave to hold onto him like a life preserver. His expression conveys how weird this display of affection is for him, and when he locks eyes with the rest of them over Dave’s shoulder the message is clear – what the fuck?

Baby, let the games begin.

Cue title sequence.

INT. AAA - AUDITORIUM - DAY

The techies have resettled on the stage, standing and sitting around in a semi-circle as they relay how hellish the last week and a half have been. They don’t think it’s just because he was gone either – the performers treatment towards them is just rotting more and more with time because they’re not learning any differently.

Lucas paces as ASHER GARCIA explains the last day and a half in particular, shaking his head at how bad things have gotten in his absence. Asher lays it out point blank – no one respects them, no one listens to them, and no one really cares about what they do. And that’s frustrating, because as Isadora points out, if they weren’t there the entire production would fall apart.

It’s that statement that seems to strike something in Lucas. He hesitates, thinking for a moment. Yes, things would fall apart if they were to stop showing up the way they always do… the wheels in his head are turning…

Song Cue ♫ ♪ “Thnks Fr Th Mmrs” as performed by Fall Out Boy || Performed by AAA Sophomore Techies

Asher syncs with his brain wave first, gleaning some of that inherent rebellious energy and launching into the opening verse of the classic angry rock anthem. Dylan joins in at the end of the phrase, leaning over Asher’s shoulder and bumping him playfully.

Lucas doesn’t sing – because, come on now – but he doesn’t discourage them either, raising an eyebrow and smirking as he continues to pace. Still clearly brewing with ideas. As the other techies start to get on board and get the vibe of what might be going on, the tension in the music builds. Oh, yes, Lucas is back, and the world is never going to be the same…

INT. AAA - HALLWAY - DAY

Thus, the techies burst through the stage doors and into the school, belting out the chorus with a true power that only comes from not giving a fuck anymore. They’re done, they’ve had it, and they’re not taking anymore bullshit. It’s a rare sight to see the techies doing any sort of group effort that remotely resembles performing, even in such a loose arrangement, but gee is it fun.

Lucas and Isadora lead the charge through the halls. The group of them are a tornado, leaving chaos and shock in their wake. The choreography is simple but energetic, exactly the kind of thing you’d expect from a march of protest thrown together in a bout of restless, rebellious energy. Dave knocks a binder out of Wyatt’s hands. You get the idea.

Reaction shots of the performers watching them as they parade through the halls makes it very clear how unprecedented this is. Isadora takes the solo on the slightly slower bridge, before we bring it on home with a flourish.

So it’s settled. The techies are officially revolting.

INT. AAA - JACK’S OFFICE - DAY

This, as expected, does not go over well from first glance. Lucas is back in Jack’s office once again, which the latter is clearly none too happy about.

Lucas, on the other hand, looks pretty pleased with himself. He looks a little too comfortable sitting in that chair opposite the principal’s desk, as if its his to own. He’s relaxed, slouched and outwardly agreeable and not the least bit worried.

Jack: It’s been an hour. You’ve been back for an hour, and yet you’re here across from me yet again. [ off Lucas’s shrug ] You realize you were supposed to come back… yesterday, right?

Lucas: Oh, yeah. But I was having such a good time having Dora nag me over missed homework and being ignored by my parents that I thought, you know, how about another day.

The sarcasm aside, Jack jumps to the subject at hand and questions what exactly Lucas thinks he’s doing getting all of his classmates riled up like this. Getting himself into trouble is one thing, but pulling everyone into such a scene?

Lucas: [ with a scoff ] As if the performers don’t make a scene out of everything every single day?

Jack tries to argue the point, but Lucas is on a roll. He states that this has been a long time coming, and they all know it. He’s no leader – he would never claim that – he’s simply the spark. It’s his friends’ anger running this engine, not him.

True as this may be, Jack is stuck between a rock and a hard place. Although he gets where Lucas is coming from, he can’t just openly condone a full on rebellion.

Lucas: So suspend me. You’ve done it once, you could do it again. But you know, I don’t think you will.

Jack: And why’s that?

Lucas: Because you and I both know that we’re in the right here. No one cares about the technical students working their asses off, and we’re sick of it. It’s just like academics, constantly taking the back seat. Only now, we’re saying not anymore.

Jack really is running out of arguments. And it’s clear from how impassioned Lucas is that he’s certainly not putting down the sword any time soon. The only thing worse than a rebel without a cause is a rebel with one.

Lucas: This is how all great rebellions begin, Principal Hunter, sir. I think you’ll want to be on the right side of triple A history. [ Rising to stand. ] It’s like they say, you know. “If we burn, you burn with us.” That’s classic literature, right?

Jack, deadpan: The Hunger Games.

Lucas: Same difference.

Lucas turns to go. Jack gives him a look, scoffing.

Jack: I didn’t dismiss you!

Lucas, already out the door: [ with an offhand wave ] We’ll see each other soon enough, I’m sure.

Jack sighs, rubbing his temples. He glances towards the door where Lucas left, wondering how much trouble this week is going to cause. But also wondering, a little bit, if maybe his most difficult student is on to something. As the orchestration of “Yorktown (The World Turned Upside Down)” floats in…

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Yorktown (The World Turned Upside Down)” as performed by Hamilton Original Broadway Cast || Instrumental

Meanwhile, rehearsal without the techies is, of course, much harder than the performers ever realized. They’re attempting to practice the choreography for “Yorktown,” which Zay has been fighting for them to do for weeks and finally succeeded in getting into the syllabus. But there’s no good lighting, and they’re all just in their usual workout clothes because no one has presented costume ideas. They’re playing the music off of someone’s phone because they don’t know how to work the overhead speakers and no one has been in communication with the orchestra students.

Naturally, the performers are very frustrated with this state of affairs. After unsuccessfully running through the number and ending with Farkle running into Maya and nearly knocking half of them over, Zay snaps at them to get it right. Farkle claims he couldn’t hear the beat because their current sound system is garbage. Impatiently, all of them turn their attention to the audience.

The techies are sprawled out leisurely in the front and center section of seats, well within plain view but making no efforts to do… anything. Isadora is sketching storyboards for a short film. Lucas has his feet up on the back of the row in front of him, arms stretched behind his head.

Zay: Hey, techies, pardonne-moi. [ off their amused expressions ] Yeah, hi. Could you all get up here and maybe, I don’t know… do your jobs?

Lucas: I don’t know… I don’t really feel like it.

Maya: Who the hell let you back in here? Honestly.

This sparks a group-wide argument, both sides of the feud stepping up and launching into complaints about the other half. Choice words are thrown in either direction, but it’s also a little bit funny.

Dylan: You don’t even know our names!

Farkle: Sure I do. [ pointing to Asher ] Thing 1. [ pointing to Dylan ] Thing 2. [ pointing to Lucas, with vitriol ] Jackass –

The snaps continue until Shawn and Angela come to break them up, sending them to separate work spaces until the end of the day. The techies don’t seem miffed at all by this change of pace, but the performers are ticked. Riley watches all of them disperse, eyeing the new tension and bristling with the urge to make it right…

INT. AAA - ERIC’S OFFICE - DAY

Which she states the minute she’s in ERIC MATTHEWS’ office after school. She tries to get the read on what’s going on from him while expressing her own perspective, all while trying not to be too openly clear on what may be motivating her. Sure, she wants the angst at school to cease for once, but she’s also still reeling with the news of her parents and desperately needs to fix something. To put something back in the order the way it’s supposed to be.

Eric states that according to Jack, this problem isn’t going to just go away. It’s going to take both sides coming to the table to make this nonsense come to an end, a proposition that feels downright impossible. Riley though is like, okay, workable. Off Eric’s surprised reaction, she hastily begins throwing out her reasoning. Speaking it into existence, as if that will guarantee it to be true.

Riley: Really, I think I can make it happen. At least getting everyone to the table. I’m good friends with Isa now, and Lucas and I…

[ She’s not sure how exactly to describe the two of them. She hesitates, searching for the words. ]

Riley: We dabble. In one another. Now and then.

Eric: [ confused and a little bit wary ] And that means…?

[ A beat. Riley realizes the odd ways her phrasing could be construed. ]

Riley: Never mind! Never mind, I don’t know what I’m saying. But the point is, I can fix it. Let me fix it.

Still seems like a long shot, but Eric isn’t going to turn down assistance. He grants her the best of luck, willing her to do whatever she thinks needs to be done. Riley exhales, brimming with confidence that only a new found purpose can bring.

INT. AAA - AUDITORIUM - DAY

Only this task is going to be much easier said than done. As Riley tries to go and have a neutral chat with the techies the next morning, she finds herself completely barred from their usual hangout in the back of the auditorium. They’re hidden away in the booth, and Dylan and Dave are blocking the stairs like the royal guard.

The two of them explain that there has been an embargo placed on all techie and performer relations. No communication allowed. Riley points out that that seems somewhat counterintuitive to negotiations, but Dave and Dylan are adamant.

Riley: But I’m your friend?

Dave: NO EXCEPTIONS!

Perhaps this operation will be a little more complicated than anticipated.

INT. AAA - BLACK BOX THEATER - DAY

Farkle is back in his worst form, demonstrating his obsessive and diva-like tendencies in an argument with Angela. He laments how the techies clearly aren’t doing their one job, and it’s totally screwing up his world order. Can’t they do something about this? There has to be something. Like threat of expulsion. Or corporal punishment.

It’s evident that Farkle is certainly going to be the most difficult performer to convince that techies like… deserve rights. Angela claims that she understands his frustration, especially given current circumstances. But she is not the person he should be negotiating with, and has no power over what the technical students do or don’t do.

Farkle makes a snide comment about how she likely has some pull with Shawn considering how that has developed over the last few months, but he makes a quick escape before Angela can berate him on it. Despite the rude nature of the statement, he does have a point. Perhaps there is more Angela could be doing…

INT. AAA - CORY’S CLASSROOM - DAY

Riley visits Cory during lunch, as the cafeteria is way too tense to enjoy a meal in right now. As she pulls up a chair and settles in across from him at his desk, she can’t help but notice what he’s reading through as he eats. Divorce papers.

It’s chilling to see them in actuality, right in front of her. She probes the question of whether or not this is really happening, to which Cory is like “I’m afraid so.” He kind of talks to her about how sometimes things just don’t work out no matter how badly you want them to – also attempting to give a pep talk to himself – but Riles doesn’t get the intended message.

No, she’s in repair mode at the moment, so all she can glean from the conversation is that she needs to work even harder to make things run right. She needs to dig her heels in and fight until everything is back in order and back in control, and all of that is on her shoulders. Riles… take a nap, honey.

INT. AAA - AUDITORIUM - DAY

AAA Confessions is back for more, featuring a post about Lucas for the first time. It essentially gripes over how bullshit it is that Lucas can get away with so much and still continue to come back and do absolutely nothing, before going on a very unkind tangent about how pathetic he is. It’s clearly submitted by Wyatt who has his axe to grind, but it’s harsher than anything the AAAC has ever posted before so it’s not aiding the tension at all.

The techies are examining the post over lunch in the auditorium, nervous about how Lucas is going to react to it. But when he descends from the booth and they show it to him, he doesn’t even blink. Outwardly, he’s cool as a cucumber. He claims he doesn’t care.

Dylan: Are you sure, man? I mean, this is like… brutal.

Lucas: Believe me, when I care about something, you’ll know.

Not sure what the hell that is supposed to mean, but Dave pushes past it anyway. He comments that their revolt is clearly going well, because the performers are miffed. The others agree, but Lucas doesn’t seem satisfied. He argues that they’re going to need to kick it up a notch if they actually want this movement to get any traction.

Isadora, smart as she is, suggests that they give the performers a taste of their own medicine. When Lucas prompts her to elaborate, she simply states that part of the reason it’s so easy for them to ignore their hard work is because they’ve never had a pinch of what it’s like to be on the other side of the apathy. Now this, this sounds interesting…

INT. AAA - AUDITORIUM - DAY

And thus, the techies do exactly that. At the next rehearsal for “Yorktown,” the performers struggle to work their way through another fumbling rendition. In the midst of the number, while they’re all crashed in the seats, Lucas and Isadora exchange a nod before getting up and gesturing for the others to do so as well. It’s a technician walk-out.

Farkle is the first to notice, immediately being torn from the rehearsal and focusing on them instead. He marches to the front of the stage, demanding where the hell they think they’re going.

The techies stop in the middle of the aisle, turning around and feigning surprise.

Lucas: Who, us?

Maya: Yes, you. What the hell are you doing?

Isadora: Oh, well, we were just leaving. Actually.

Charlie: [ stunned ] Leaving? You can’t do that. They can’t do that, right?

Lucas: Oh, it’s so funny, because I think we are. I mean, my legs are working, at least.

Isadora: Yeah, you all clearly don’t need us. So I think we have better things we could be doing with our time.

They continue to head towards the exit. Angela watches them go, getting the sense that this problem is only going to get worse. Farkle snaps, obviously stressed at this turn of events.

Farkle: You can’t ditch us! Who is going to put all this shit together?

Isadora: Think you can handle it. It is just one job, after all.

Zay: But we don’t know how –

Dave: Sucks for you, huh?

The techies laugh, parading out of the auditorium with Lucas leading the march. The performers are clearly pissed. Riley watches them exit, shell-shocked and already grappling with how she’s going to fix this new development.

INT. AAA - SHAWN’S OFFICE - DAY

Angela enters Shawn’s office in a flurry, immediately launching into an impassioned explanation as to how this current state of affairs is not good for any of them and they must work together to find a solution on how to fix it. Shawn, to her relief, is completely on board, gesturing for her to take the chair across from him. She sighs, relaxing and settling in. This may be easier than she thought.

Only not quite so. Because while Angela was expecting him to just go along with her and get things to go back to the way they were, Shawn believed that Angela came to brainstorm how to improve the situation and meet in the middle. Shawn is on the side of his students, here, and isn’t just going throw them back under the bus.

The discussion quickly spirals into an argument, both of them clearly operating on behalf of their own students. It brews up some old resentment between the two of them that remains untreated based on how they view one another’s students – and in theory, one another – making them question if rekindling their relationship is actually the best idea. What are they even doing? Are they destined to fall right back into the same traps all over again?

The conversation deflates from the anger, but ends on uncertain terms. And no progress is made in the negotiations for either side. The two of them agree that in this instance, they might need a neutral outside party to step in and help mediate.

INT. AAA - ERIC’S OFFICE - DAY

So Shawn and Angela go straight to Eric. They lay out the situation, which of course he already knows, and ask for him to step in and do some peer counseling. Eric heartily agrees, but considering the scale of this issue, it’s going to take more than just the sit-down-and-chat approach. No, they’re going to need to get creative to solve this problem.

Luckily, he has just the technique.

EXT. AAA - REAR PARKING LOT - DAY

Eric hands a loaded water balloon to Zay, who stares down at it and then gives him a look.

Zay: Paintball?

Eric: Not paintball. Paint balloon.

As we ease out, the scale of the event becomes clear – all of the students have changed into plain clothes, and are wearing pseudo tactical vests as if they’re playing paintball. Only they’re using balloons filled with paint instead of guns, because this is America and even the thought of gun paraphernalia on school property… bad. But balloons! Very fun.

The students are standing on opposite sides of the stretch of parking lot, old set pieces and cardboard having been set up as obstacles and coverage. To start, they’ve been mixed into groups at random rather than along techie / performer lines. As Eric explains it, the goal is for them to engage in a competitive activity that will encourage them to work together towards a common goal with people they don’t normally work with, and get out their aggression in a safe and controlled fashion.

The rules are simple – the team to survive with the least paint-covered member once everyone else has been hit is the victor.

Song Cue ♫ ♪ “Come Out and Play (Keep ‘Em Separated)” as performed by The Offspring || Performed by Zay Babineaux & Charlie Gardner

Zay and Charlie perform this grungy track while working together to survive the war, serving to underscore the duration of the sequence. They fist bump to kick off the song, before the paint balloon battle begins.

Although the intent behind the mission is good, the concept doesn’t execute well if the players aren’t fully on board. Despite being given distinct teams, the war quickly falls back into party lines, the performers ganging up on the techies while the techies fight to hold their own. They’re heavily outnumbered, but they’re angry and ready to fight back. Let the real games begin!

Students on both sides get lobbed with paint, making for some fun and colorful slow-motion shots. Maya tries to protect her hair as she avoids blows, but one splatters her right across the face anyway. Farkle gets cornered by techies and gets hit with a barrage of paint, totally smothering him in neon pinks, yellows, and blues. Poor, poor little rich boy.

Zay and Charlie actually work impressively well together as a tactical team. They move back-to-back, cover one another, and make calls just through nods or vague gestures. They’re the key offensive force on the performer side, basically getting a hit in on every single techie throughout and making their win seem inevitable.

Considering the numbers game, the techies are getting throttled. Isadora, already covered in paint but not out of the war, takes out her rage by throwing paint at as many passing performers as she can possibly manage with a war cry that would make Athena herself proud.

The one factor they have going for them is Lucas. Dave and Asher basically act as human shields for him, allowing him to navigate the field and get hits in on anyone who Isadora didn’t already pummel with paint. There’s some wonderfully dramatic slow-motion shots of Dylan leaping into the air in front of Lucas to take a paint balloon straight to the chest… oh, the war-torn drama…

So while the performers have the sheer numbers, it’s clear that the technicians have a greater understanding of how they operate as a team. So they may just take this victory in an upset yet.

The factor keeping the performers going is Riley. She’s not particularly good at the paint throwing, but she’s an expert at dodging and just trying to stay out of trouble, mostly because she’s scared of getting hit. So it essentially whittles down to her and Lucas being the only two left dry and paint-free, meaning any one hit could toss the victory in one team’s favor.

As the battle reaches its climax, it comes down to one moment between Riley and Lucas. They run into one another at the center of the lot, the paint carnage all around them in a wonderful, grisly display of color. Lucas is loaded with two balloons, and Riley has none to defend herself with. They lock eyes, Riley’s wide and uncertain.

For all intents and purposes, this seems like the endgame. In a normal situation, in the old way of the world, Lucas wouldn’t hesitate. But it’s Riley, and she’s been changing the world since she showed up at AAA. So, for whatever reason, he does.

All it takes is that fleeting second of hesitation to flip the stakes. The tension between Riley and Lucas is shattered as he gets hit on both sides, one balloon landing on his torso and the other getting him in the face and splattering blue paint all over him. A final kill maneuver, executed expertly by Zay and Charlie from both sides.

And so the techies lose the battle. The performers erupt into cheers, patting one another on the back and touting their victory. The techies, frustrated and upset, glower. Dylan pulls Asher to his side, trying to get the paint out of his hair. Zay yanks Charlie into a victory hug, and Charlie just about has an aneurysm.

Lucas blinks, reaching up to wipe the paint from his eyes. Riley is mortified, starting to stammer out breathless apologies in utter horror. She reaches forward in an effort to wipe paint from his face… only Maya pulls her back and into celebrating with the other performers.

In an unexpected outburst, Jade is the first to snap on behalf of the techies. Considering her usually mousy and shy demeanor, this is relatively shocking.

Jade: This isn’t fair! We weren’t even supposed to be playing along these teams, but they just did whatever they wanted like they always do and won yet again.

Dave: This is bullshit!

Maya: Oh, come on, guys. You don’t have to be a sore loser.

Isadora: Oh, you wanna be sore? I’ll give you sore –

Dylan and Asher dart forward to hold Isadora back and keep this from escalating into a full-on brawl. Angela and Shawn sense the impending eruption and basically send each team somewhere different to clean up, the techies staying outside while the performers retreat to the dressing rooms.

They turn to Eric, who is clearly bummed his technique didn’t work. But hey, he tried his best. He offers them a plaintive shrug. Back to square one…

INT. AAA - GIRLS DRESSING ROOM - DAY

The girls revel in their victory as they clean paint off of themselves, laughing about how badly they creamed the techies and how nice it felt to finally just let loose on them. Riley doesn’t find the conversation amusing, and actually speaks up against the rhetoric. She claims that they just made everything worse, so congratulations. She hopes they’re really pleased with themselves.

But now, she has to clean up their mess. She storms out, still covered in paint. The others watch her go, sort of laughing awkwardly at the tirade but with the lingering sense of doubt that maybe she isn’t wrong.

INT. AAA - BACK ENTRANCE - DAY

Riley heads towards the back parking lot to find Lucas and Isadora, hoping for another chance to talk things through with them without all the colorful warfare. She spots the techies just outside the building cleaning up, starting to head towards the doors to join them but hesitating when she gets a better look.

Dylan is using the heavy duty hose to clean off Dave and Asher, but Riley is focused on Lucas and Isadora. They’re seated on the benches closer to the doors, and Isadora is painstakingly working to wipe the paint off of Lucas’s face.

It could be nothing, just pals being pals, but after everything Riley has observed between the two of them and how Isadora is willingly touching his face to help him clean up she’s like… okay. I’m clearly inserting myself in something I shouldn’t be. I don’t belong out there. What am I even doing? It’s nothing, all this is nothing…

But it doesn’t feel like nothing. And emotions are high because tensions are high, so the revelation sort of feels like the end of the world.

Song Cue ♫ ♪ “Cry And You Cry Alone” as performed by Lesley Gore || Performed by Riley Matthews

As Riley saunters away from them and back down the hall, she dejectedly sings the 50s crooner while trying to keep her emotions in check and not overreact. But she’s a theater kid, and being melodramatic is in her bones.

INT. AAA - HALLWAY - DAY

She makes her way through the halls, lamenting how foolish she was to let herself get close to the techies, especially Lucas, when he’s evidently so much trouble – for everyone else and for her heart. The whole thing is even more endearing and ridiculous considering she’s still paint-splattered.

INT. AAA - AUDITORIUM - DAY

As the song progresses and the other sophomore performers take over the chorus, it’s a brand new day. Everyone is clean but not in much better spirits. Riley sits on the edge of the stage and watches forlornly as Isadora and Lucas work together to scheme with the techies. So close, and yet so far away.

Rounding out the final chorus, Riley falls back onto the stage and stares up at the catwalk and lights above her, inviting the world to laugh with her rather than cry alone as the song states. Oh, Riles, you wonderful little dramatic hooligan.

Although Shawn has managed to wrangle the tech students back into the theater for class, it’s not much of a better scenario than before. Now they’ve taken to heckling, making the divide between them far more pronounced than before. Given how cynical and grumpy they are on the daily, they make excellent hecklers.

Lucas: Boo, get off the stage!

Riley: [ whipping around, giving him a glare ]

Lucas: (:

Isadora makes a snide comment and Farkle is about ready to pop off, launching into a fit and starting to rattle off some not-so-nice things. Maya pulls him away and gets him to back off, redirecting his focus and trying to keep the whole situation from imploding. It’s a vivid indication of how Farkle reacts when he feels like he’s being unfairly persecuted and put under pressure… noted. Maya declares they’re taking five.

INT. AAA - BOYS DRESSING ROOM - DAY

All the performers are assembled in the space, sans Nigel, Yindra, and Riley. While they embark on a potential quest of their own, the rest of them vent freely about how unfair this whole situation is and how overdramatic the techies are being. And they think they’re melodramatic, well, they’re certainly proving their own ability to be so.

Zay is done with the theatrics, weirdly irritated at the whole group of them. He snaps at all of them, stating everyone is being dramatic and it’s so stupid, because all they’re doing is wasting rehearsal time. And of course, it’s the one week where they’re doing a number he actually cares about. He storms out, leaving the room a little bit stunned.

Maya rouses them from the off beat, claiming that this is all part of the journey and they’re going to have to stick together if this drama is going to endure. They’re on the same team, and for once they need to band together and really act like it.

Song Cue ♫ ♪ “Team” as performed by Lorde || Performed by Maya Hart (feat. AAA Sophomore Performers)

Maya leads the group in a groovy and sharp rendition of the Lorde hit, making for a fun and low-intensity break from the tension of the episode as they dance around in the dressing room together. So, there!

INT. AAA - AUDITORIUM - DAY

Dylan and Dave are still gatekeeping as Nigel and Yindra approach – the two performers outside of Riley who dabble in technical arts and thus have a good showing and rapport with them. They claim they have a “meeting,” to which the bodyguards exchange subtle eyebrow raises before backing up to let them through.

Nigel and Yindra exchange a look. Boy, the theatrics. Then, they make their way up the stairs towards the technician’s booth.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas and Isadora have set up camp in the booth, using it as their base of operations. Isadora is pacing, Lucas seated in his usual rolling chair by the soundboard. Asher is operating as their secretary, taking notes as they throw out ideas. The others are seated further back into the space.

They cease their discussion as Yindra and Nigel enter, Lucas turning to greet them. They explain that, as medians between the two worlds, they have come to hear what exactly it would take for the techies to come to the table and start figuring out negotiations on how to fix this. It’s chaos, and it’s not doing good for any of them. Lucas starts off playing hard to get.

Lucas: Who said we were interested in ceasefire? I’m kind of enjoying a little bit of chaos. Spices things up. Don’t you think so?

Yindra: You are enjoying this way too much.

Nigel: Yeah, don’t let anybody ever tell you you’re not capable of being theatrical, Friar.

Lucas: (:

Isadora gets the conversation back on track, agreeing to meet with the performers and have a non-confrontational open dialogue – but only if they can get the most important (and demanding) performers to be present. Nigel and Yindra state this is a hefty challenge, but they’ll see what they can do. If it works out, Isadora states, they’ll send details on where and when.

INT. AAA - CAFETERIA - DAY

Yindra and Nigel share this new development with said most demanding performers at lunch. Charlie is all for it, but the actual two in questions – Maya and Farkle – aren’t sold. In fact, Farkle vehemently vetoes the idea. He claims they’re just toying around with them like business deals he’s seen his father have to negotiate, and he’s not taking orders from them.

Maya isn’t convinced either, but she’s also aware of how tired everyone is getting of the tension, herself included. She barters with Farkle that the two of them should just go to at least have the conversation, and they have the right to back out at any time. Farkle considers, but doesn’t give a definitive answer.

Nigel: Remind me when it was that I dropped out of high school and entered a courtroom drama? Because I don’t recall making that decision.

INT. AAA - AUDITORIUM - DAY

Riley has forfeited her lunch hour to take one last crack at getting her own negotiation in, finally able to catch Lucas alone. She follows him through the stage doors and onto the stage, pleading her own case and attempting to appeal to his softer side in an effort to call off the strike. She knows it exists, she’s seen it before, she just has to figure out how to elicit it from underneath all that anger.

He humors her as he makes his way down the stage and towards the back of the auditorium, tidying up small details as he goes. It’s clear that even with the current strike in progress, he’s is still instinctively protective of the place.

Riley opens by checking in with how he’s doing after the nasty confessions post about him. When he shrugs it off, she takes the topic opportunity to broach a slightly different subject.

Riley: Just out of curiosity… how, um… how often do you check the page?

Lucas: Never.

Riley: Oh! Oh, that’s great. You know, good for you. That’s good. I just, um, you know it’s said some… interesting things about me lately.

Lucas: Right.

Riley: And I just wanted to clarify that they aren’t, you know, true. The things said. About me. And what I may or may not be doing. Or who I may be – it’s false. It’s not true. All of it. False.

Lucas: … okay.

That awkward exchange aside, Riley plows onward in her mission to end the revolt. She tries to get Lucas to call it off, pointing out he is the one who definitely has the power to make it happen.

Riley: You’re their leader.

Lucas: You’re wrong. That’s Dora.

Riley, diplomatically: I am not one to ever dispute the notion that Isa is amazing, in many aspects. And she may be the face of the operation, but you, you’re the engine. You’re what motivates them.

Lucas hesitates, actually listening to what she has to say. Riley seizes this opportunity, trying to convey as genuinely and passionately as possible just exactly how important he is.

Riley: They look up to you, I mean, you’re the one they march for. They take comfort in you, you inspire them. And that’s certainly not nothing.

Lucas is moved by the speech, despite how good he is at concealing it. And although he acted as though he didn’t care, it does help to combat some of the negative feelings the confessions post instilled in him. Not to mention, Riley is so sincere, and gosh if she isn’t so damn cute… for a moment, it seems like he may be weakening…

But no. He’s not calling off the rebellion.

Lucas: I appreciate the sentiments. But I’m not ending the revolt.

Riley: But –

Lucas: This is our one chance to change things. For us and for all the techies that are going to come through these halls after us. I can’t just give that up. No great moment in history ever happened because the fighting party put up their hands and surrendered.

He steps up to walk past her towards the booth, hesitating on the step below her. Mirroring their stand-off in 1.02, only far softer this time around.

Lucas: I’m sorry, Riley. But I’m not throwing away our shot.

He leaves her there to stew in it, frustrated that she can’t seem fix yet another broken entity in her life. She waits until he’s gone behind the booth, huffing and jogging back down the stairs.

Song Cue ♫ ♪ “Another One Bites the Dust” as performed by Queen || Instrumental

EXT. AAA - BACK PARKING LOT - NIGHT

The same scene of the battle, the asphalt still splattered with paint residue and eerie in the glow of the street lamps. Maya and Farkle are there, dressed in their best “shady showdown” attire and anxiously peering out into the night. Riley and Charlie are also present. Farkle snaps that they’re late, to which Riley assures him that they’ll be there. She knows they’re not just going to blow this off.

And they do not. A few moments later Lucas and Isadora roll up with Dylan and Asher in tow, hopping out of Dylan’s jeep and making their way towards them. They are also dressed in their black leather best, but the whole situation is like… a little bit ridiculous. Like, it should be really intense and shady, but it’s just them all standing around in the empty school parking lot at 9PM.

Lucas and Isadora step to Farkle and Maya, sizing each other up and trying to figure out how this conversation is supposed to go down. Dylan and Asher mirror Charlie and Riley, hanging back as reinforcements only if needed.

Lucas: What, no Zay?

Charlie: I texted him. He just said… [ reading from his phone ] ‘white nonsense.’

Isadora: Tell him I said offended… but true.

The four of them discuss the problem and their terms, the techies explaining their desire for like… basic decency and a little respect, while the performers have arguments of their own to make. It’s clear from about the first minute in that this meeting of the minds likely isn’t going to go anywhere productive. They’re just too polarized.

While everyone expects Lucas to be the one to blow everything up, it’s actually Isadora who loses her cool and derails the negotiations. She provokes Farkle with snide remarks until he lashes back at her, totally disrupting the limited productivity of the meeting and threatening a full-on scrap if things go any further.

It’s a stalemate, and no negotiations will be made today. The revolution wages on. Riley decides she definitely needs to chat with Isadora, maybe even more so than Lucas.

INT. MINKUS HOME - DAY

Farkle is up late doing homework, still awake when STUART MINKUS comes home after a long day of work. From the way Farkle perks up when he enters and enthusiastically greets him, it’s clear how much he cares about the attention and approval of his father. In fact, there’s the distinct sense that part of the reason Farkle is so extra at all is because he’s desperate to get the focus of his very busy and very distracted corporate leader of a dad.

Stuart is happy to see him and settles down to chat with him for a moment, but he asks why on Earth he’s still awake. Farkle offhandedly claims that an unexpected meeting pushed back his homework time, and it was somewhat of a waste anyway. After a few brief words, Stuart starts to go but Farkle grasps at a way to keep his attention, asking him for advice.

His dad claims he won’t be much help with the performing stuff, but Farkle lies and claims it’s a… business issue. He then lays out the situation going on at school but in theoretical marketing terms, explaining it like a business negotiation gone awry rather than two sides of the performing arts world going to war. He asks his father how he would handle the situation.

When Stuart expresses that he would take the diplomatic approach and attempt to go to the table to get the best deal for all parties involved, Farkle seems apprehensive. Doesn’t that not end up with the best deal for him? Stuart goes on to explain his business philosophy about how you have placate all parties to get an effective machine running, but it just seems difficult for Farkle to grasp.

Stuart kisses the top of his head in a goodnight gesture, telling him he’s proud of him even though Farkle is sure he couldn’t say what for.

Song Cue ♫ ♪ “Control” as performed by Halsey || Performed by Farkle Minkus

Not satisfied with how that conversation turned out and not sure why he can’t seem to let go of his perception of the situation anyway, Farkle launches into a haunting and emotional rendition of “Control.” It’s one of the first clear expressions of his… questionable mental health, and displays part of what he’s constantly inadvertently taking out on the techies.

Interesting…

INT. AAA - JACK’S OFFICE - DAY

Jack has called in Shawn and Angela to discuss how the techie and performer feud is progressing. It’s the end of the week, and he’d like to know what they think is the next necessary step. They claim that both of them are on board to make changes, but they’re worried about the mental ecosystem of some of their… touchier students. That’s what is causing the blockade, and they’re not sure how to navigate it.

As Jack reiterates, they need all parties to be willing to come together for this treatment to be at all effective. He states that they better do it fast, and whenever they’re ready he’ll be here and ready to mediate.

INT. AAA - BOYS DRESSING ROOM - DAY

The drama continues, the male performers discussing how this whole drama has really lasted an entire week. NICK YOGI wonders if it’s ever going to stop, and Wyatt makes more bitchy commentary about how if they had just expelled Lucas like they should have ages ago, this never would’ve happened.

Zay continues to roll his eyes, fed up with all of the pettiness. He wishes they could just focus back on rehearsal. He excuses himself pointedly, Farkle hesitating before deciding to investigate and following him out.

INT. AAA - AUDITORIUM - DAY

Farkle traces Zay’s footsteps to the behind the curtain area of the back of the stage. Zay is practicing the routine by himself, clearly passionate about it even though it got totally derailed by the week’s events.

Understanding at least the notion of using rehearsal as an emotional escape, Farkle approaches Zay and tries to get him to talk about what his attitude is all about. He questions why he blew up at the rest of the performers the other day, to which Zay is like, you? Asking me about diva meltdowns? Please. Farkle admits his own proclivity for theatrics, but points out that Zay isn’t like that. In fact, he is usually looking at down at them from a high horse because of it.

Zay avoids the topic at first, before breaking somewhat and admitting that part of the reason he gets so irritated with Farkle and Maya’s behavior is because he feels like he can’t use the same sort of tactics. He’s trying to navigate these waters as best he can being a queer man of color, he’s got enough things that draw attention to him and make him different. He doesn’t need to put any more targets on his back by being demanding or overdramatic. The two of them, they can get away with that. He can’t when he’s just fighting for a shred of hard-earned respect in the first place. So even if he wants to throw a tantrum about how they’re finally doing a number he really cares about and no one is paying attention, he can’t. Not really.

Farkle had never considered this angle before. It gives him a totally new perspective on Zay, and in some ways, the techie revolution as well.

INT. SVORSKI’S COFFEE - DAY

Riley and Isadora are seated in the window table at the local coffee shop, having found neutral ground to tread to be able to talk freely with one another. Riley is grateful that Isadora showed up at all, but it takes a bit of needling to get her conversing.

When Riley questions why Isadora got so heated at negotiations last night, Isadora is defensive at first. Who wouldn’t be, she claims. But when it’s clear that Riley’s intentions in the conversation are completely genuine, Isadora lets down her guard and opens up a bit.

She explains that she’s been fed up with the behavior of the performers for so long, and they’re always like this. Performers, that is. Look at her mother. The diva behavior, the carelessness, the neglect – all of them are like that.

Riley, softly: All of them?

Isadora: [ gazing at her, sheepish ] Maybe that’s a bit of a generalization…

Riley prods further, and Isadora gets to talking about her behavior the last couple of episodes. She admits that part of the reason she’s so sensitive to everything right now is because she’s still adjusting to having Lucas back at school. Last week was way harder than she let anyone know, and she’s still trying to get her world back in working order. The performer attitudes and demands didn’t help with that, certainly.

Considering her own world being in disarray, Riley can empathize. Isadora is word vomiting at this point, stumbling into a hasty explanation of why Lucas is so important to her.

Isadora: He’s not just my friend, he’s like… he’s my rock. Joining Adams last year was crazy and overwhelming, and he was there to help. To ground me. He makes sure I stay out of my head, that I don’t get too wrapped up in my thoughts. When he’s not here… I don’t even know how to explain it. He’s the most important person in my life, he’s pretty much my brother. I don’t think I’d survive at school if he left permanently.

It’s a lovely statement, and definitely illuminates many things about the relationship that Lucas and Isadora share. Their importance, but also, the nature of their relationship. Yes, Riley definitely catches the “he’s pretty much my brother” bit. Ah, if that doesn’t clear things up…

Isadora goes on to state that if anything, she’s ready for this embargo to end so that she can hang out with Riley at school again without having to go into hiding. Riley, touched, returns the sentiment with full fondness.

INT. AAA - SHAWN’S OFFICE - DAY

And perhaps, maybe that end is within sight. Isadora goes to Shawn and claims that she’s willing to come to the table if the other side is. That’s one difficult domino down…

Song Cue ♫ ♪ “Yorktown (The World Turned Upside Down)” as performed by Hamilton Original Broadway Cast || Performed by AAA Sophomores

INT. AAA - AUDITORIUM

Isadora takes this initiative and walks it straight into “Yorktown,” launching one of the most elaborate concept numbers in the series to date. While half of the performance is the performers doing their routine (in plain leotards, no lighting, etc.), the other half is the techies “prepping for the final battle” in a sense. Isadora, thusly, takes most of the Hamilton bits.

[ Lyrics specific to characters – follow along here! ]

The number opens with Yindra coming to meet with Isadora and Lucas, operating as the Lafayette of the trio. She and Isadora declare the phrase “techies, we get the job done,” before she salutes them as the final battle unfolds. As the chorus begins, the performers take the stage and kick off their routine.

Farkle takes one section of the verse, harping on the sentiments of imagining death so much it feels more like a memory and at least having friends now if he’s going down in war. Then Isadora takes back over, instructing the other techies as to how they should move in this dance going forward (“Rochambeau! You’ve got your orders now go man, go!”)

When we get to the Hercules Mulligan bit, our “spy on the inside” is Nigel! He takes the verse and rails it impressively. When he “gets knocked down and gets the fuck back up again,” Dylan and Dave jokingly knock him over before he break-dance jumps back upright. Iconic!

As the dance break ensues, each techie is choreographed into facing off with a major performer, their interaction sort of emulating what the nature of their dynamic is like. While Dylan and Asher each take either Maya or Zay, Jade takes Charlie which mostly means her dodging him while he does expertly choreographed high kicks.

Considering they’re not even exactly at odds, Lucas and Riley’s choreography mostly consists of them sort of dancing around each other – especially given that he doesn’t dance. No, the big maneuver for them comes at the end of the sequence, when Lucas finishes the “fight” by scooping her up and tossing her over his shoulder. She’s totally taken by surprise, and if she wasn’t sure whether or not he had feelings for Isadora, well, now…

Speaking of Isadora, she and Farkle are perhaps the most aggressive of dance duets. They’re the ones with true beef to parse out, and that’s clear in the way they execute the choreography. As the sequence ends and everyone else is shuffled (or carried) off, the stage is left with just the two of them staring one another down. Sizing each other up, trying to determine if one or both of them are going to break this stalemate.

Farkle backs off first, not breaking eye contact but sauntering away towards the wings. Isadora watches him go, holding her ground as best she can.

INT. AAA - BLACK BOX THEATER - DAY

Farkle enters the classroom, locking eyes with Angela and clearly there on business. She rises from her desk, nodding him in. He steps inside, closing the door behind him.

INT. AAA - ATRIUM - DAY

While the techies await, “wondering if this really means freedom,” their queries are answered as Shawn and Angela emerge from Jack’s office. The entire sophomore class is waiting outside, eager to see how the negotiations have panned out. As they “see George Washington smile,” Shawn gives Isadora and the techies a subtle wink.

The techies watch as the performers begin to stagger away, the war truly having reached its conclusion. It almost feels unreal…

INT. AAA - AUDITORIUM - DAY

As the marching drum comes in and “the world turned upside down,” each of the main performers steps forward onto the stage to finish the routine. Slowly, as the music rises again and we near the climax of the song, pieces of the tech start to come back into play – the lights come back up, Jeff happily operating them from the booth. Dave and Nate push set pieces into place, high-fiving one another as they pass behind the dancers.

From different corners of the stage, the techies revel in their victory. Jade, Isadora, Dylan & Asher, Lucas – all declaring with ecstatic joy that they won.

The world did, indeed, turn upside down!

INT. AAA - SHAWN’S OFFICE - DAY

With their sides of the school back in order and a whole new world order at play to explore, Shawn and Angela reconvene. They decide that yes, in spite of all the differences and challenges that are bound to await them, this relationship feels worth giving another shot.

They kiss, rounding out their journey back to one another. Can’t wait to see what happens next…

INT. AAA - BOYS DRESSING ROOM - DAY

Farkle is alone in the dressing room, still attempting to get all the paint out of his hair from like two days ago. Maya and Zay enter and find him there, laughing at his lackluster attempts to rid himself of the battle scars before shifting into more serious conversation. They ask him if he was the one who pulled Angela into negotiations.

Farkle: Although it took every ounce of kinetic energy in me to force myself to do such a thing, yes. I put down my metaphorical sword and opted for the truce. Hope everyone is damn well pleased about it.

Zay, sarcastically: Oh, you’re so brave.

Quips aside, Zay genuinely compliments him for putting his ego aside rather than letting the urge to be melodramatic win once again. Maya seconds the notion, pointing out that they have no idea what this new world is going to bring. They’re going to really have to stick together as a diva front united if they’re going to survive the change.

Farkle, starting to warm up to the idea, agrees. Oh, these divas… their friendship…

INT. AAA - AUDITORIUM - DAY

Lucas is alone in the auditorium, re-familiarizing himself with the terrain now that the dust has settled. He finishes striking the set from the Yorktown performance, hanging in the quiet for a moment and taking in the peace. It’s clear that he genuinely holds love for that musty auditorium, even if he hates everything else.

Riley enters through the dressing room stage doors, watching him fondly for a moment before stepping into the lights and interrupting his quiet. She commends him for a successfully led revolution. He brushes off the compliment, pointing out that she may have had more of a hand in its victory than she’s admitting.

Riley: Suppose it’s a good thing you didn’t listen to me when I begged for a ceasefire.

Lucas: Well, I don’t think you completely lacked the war-mongering spirit. From what I hear, you did a lot of negotiating on your end for the cause as well.

Riley: [ with a shrug ] No great moments in history happen because the fighting party put up their hands and surrendered… nor without help. Just goes to show that maybe you don’t have to do everything alone.

Lucas: … no, maybe not.

The sentiment hangs in the air between them. Lucas breaks the tension, clearing his throat and claiming that if she means to keep good on that offer, she can start by helping him clean up. She laughs, playing along and happily stepping up to finish the tidying.

Song Cue ♫ ♪ “Rumour Has It (Instrumental)” as performed by Adele || Instrumental

As if it’s the theme of the AAAC, the abrasive drums and ominous tones of “Rumour Has It” preclude our final scene.

INT. WYATT’S ROOM - NIGHT

We’re with Wyatt, holed up in his bedroom alone. He’s still looking pretty rough from his beatdown in 1.05, and while we’ve been able to ignore it while he’s in the background most of the episode, it’s hard to ignore the remnants of it up close. The emotional scars are still present too, as he’s clearly brooding with unaddressed anger.

He starts a direct message with the AAAC, essentially asking to be a part of their operations. He doesn’t want to change it or shake things up, he just wants a piece of the chaotic pie. So he’s clearly not the moderator of the thing, but he definitely wants to be a foot soldier.

The AAAC responds affirmatively, but first requires that he read their three rules of conduct. The last rule is, as it claims, the most important:

All submissions are to be posted unless otherwise expressed by the moderator. No edits or changes allowed. The page is equal opportunity, so that all voices can be heard.

No submissions are to be deleted after posting. If the sender is bold enough to say it in the first place, then they better be bold enough to handle the repercussions. Especially given that the posting is anonymous.

We don’t start things – we only state them. Our classmates say what they want to say, we are merely the messenger.

Once Wyatt agrees, he ventures the question we’re all wondering. “Who are you?” A text bubble pops up, indicating that the other side is typing a response.

In a quick series of cuts, shots of all of our main cast of suspects – Isadora, Farkle, Maya, Zay, Lucas, Charlie, Dylan, Asher, Yogi, Dave, Chai, Yindra, Jade, Sarah, Darby, etc. – show them on their phones at home or wherever they are. It could be any one of them typing the response in that moment.

Finally, the account responds.

“Welcome to AAA Confessions, Wyatt. Get to work.”

END OF EPISODE.

[funface2]

101 Funny Quotes — Hilarious Quotes to Make You Laugh – Parade

Whether it’s a play on words, a funny observation about everyday things or old witty sayings, comedy has a way of making us realize we’re all going through the same stuff in this crazy life. These funny quotes about work, love, friends and family will have you saying, “So true!” because, well, they are. Others will have you remembering hilarious, meme-worthy movie and TV moments.

Take a much-needed break from your day to check out the 101 funniest quotes we found in stand-up comedy, books, plays, celebrity Twitter and interviews, as well as movies and TV shows, guaranteed to give you a quick chuckle. 

1. “I’m sick of following my dreams, man. I’m just going to ask where they’re going and hook up with ’em later.” —Mitch Hedberg

2. “Gentlemen, you can’t fight in here. This is the war room.” —President Merkin Muffley (Peter Sellers), Dr. Strangelove

3. “My mother always used to say: The older you get, the better you get, unless you’re a banana.” —Rose (Betty White), The Golden Girls

4. “Halloween is the beginning of the holiday shopping season. That’s for women. The beginning of the holiday shopping season for men is Christmas Eve.” —David Letterman

5. “Before you criticize someone, you should walk a mile in their shoes. That way when you criticize them, you are a mile away from them and you have their shoes.” —Jack Handey

6. Bob: “Looks like you’ve been missing a lot of work lately.” Peter: “I wouldn’t say I��ve been missing it, Bob.” —Bob (Paul Wilson) and Peter (Ron Livingston), Office Space

7. “Clothes make the man. Naked people have little or no influence in society.” —Mark Twain

8. “Before you marry a person, you should first make them use a computer with slow Internet to see who they really are.” —Will Ferrell

9. “I love being married. It’s so great to find that one special person you want to annoy for the rest of your life.” —Rita Rudner

10. “Ned, I would love to stand here and talk with you—but I’m not going to.” —Phil Connors (Bill Murray), Groundhog Day

11. “When your mother asks, ‘Do you want a piece of advice?’ it is a mere formality. It doesn’t matter if you answer yes or no. You’re going to get it anyway.” —Erma Bombeck

12. “I want my children to have all the things I couldn’t afford. Then I want to move in with them.” —Phyllis Diller

13. “Never follow anyone else’s path. Unless you’re in the woods and you’re lost and you see a path. Then by all means follow that path.” —Ellen DeGeneres

14. “Insomnia sharpens your math skills because you spend all night calculating how much sleep you’ll get if you’re able to ‘fall asleep right now.’” —Anonymous

15. “Breaking up is like knocking over a Coke machine. You can’t do it in one push; you got to rock it back and forth a few times, and then it goes over.” —Jerry (Jerry Seinfeld), Seinfeld

16. “I’m not superstitious, but I am a little stitious.” —Michael Scott (Steve Carrell), The Office

17. “I walk around like everything’s fine, but deep down, inside my shoe, my sock is sliding off.” —Anonymous

18. “I haven’t spoken to my wife in years. I didn’t want to interrupt her.” —Rodney Dangerfield

19. “I used to sell furniture for a living. The trouble was, it was my own.” —Les Dawson

20. “There’s nothing wrong with you that an expensive operation can’t prolong.” —Surgeon (Graham Chapman), Monty Python’s Flying Circus

21. “Someone asked me, if I were stranded on a desert island what book would I bring: ‘How to Build a Boat.’” —Steven Wright

22. Ted Striker: “Surely you can’t be serious.” Dr. Rumack: “I am serious. And don’t call me Shirley” —Ted Striker (Robert Hays) and Dr. Rumack (Leslie Nielsen), Airplane!

23.“There is no sunrise so beautiful that it is worth waking me up to see it.” ―Mindy Kaling, Is Everyone Hanging Out Without Me?

24. “You know you’ve reached middle age when you’re cautioned to slow down by your doctor, instead of by the police.” —Joan Rivers

25. “Truth hurts. Maybe not as much as jumping on a bicycle with a seat missing, but it hurts.” —Lt. Frank Drebin (Leslie Nielsen), Naked Gun 2½: The Smell of Fear

26. “My Mama says that alligators are ornery because they got all them teeth and no toothbrush.” —Bobby Boucher (Adam Sandler), The Waterboy

27. “I never feel more alone than when I’m trying to put sunscreen on my back.” —Jimmy Kimmel

28. “Marriage is like an unfunny, tense version of Everybody Loves Raymond, but it doesn’t last 22 minutes. It lasts forever.” —Pete (Paul Rudd), Knocked Up

29. “Being a mom means never buying the right amount of produce. Either everyone suddenly loves grapes and a week’s worth are eaten in one afternoon, or fruit flies are congregating around my rotting bananas.” —Lessons from the Minivan

30. “I’m not insane. My mother had me tested.” —Sheldon Cooper (Jim Parsons), The Big Bang Theory

31. “There are only three ages for women in Hollywood: babe, district attorney and Driving Miss Daisy.” —Elise (Goldie Hawn), The First Wives Club

32. Usher: “Bride or groom?” Wedding guest: “It should be perfectly obvious I’m neither!” —Four Weddings and a Funeral

33. Stan Fields: “Describe your perfect date.” Cheryl: “That’s a tough one. I’d have to say April 25. Because it’s not too hot and not too cold. All you need is a light jacket.” —Stan Fields (William Shatner) and Cheryl Frasier (Heather Burns), Miss Congeniality

34. “I saw a study that said speaking in front of a crowd is considered the number one fear of the average person. Number two was death. This means to the average person, if you have to be at a funeral, you would rather be in the casket than doing the eulogy.” —Jerry Seinfeld

35. Lucy: “There’s just two things keeping me from dancing in that show.” Fred: “Your feet?” —Lucy (Lucille Ball) and Fred Mertz (William Frawley), I Love Lucy

36. “Common sense is like deodorant. The people who need it most never use it.” —Anonymous

37. Coach: “How’s a beer sound, Norm?” Norm: “I don’t know, I usually finish before they get a word in.” —Coach (Nicholas Colasanto) and Norm (George Wendt), Cheers

38. “If I woke up tomorrow with my head sewn to the carpet, I wouldn’t be more surprised.” —Clark Griswold (Chevy Chase), National Lampoon’s Christmas Vacation

39.“There’s nothing simpler than avoiding people you don’t like. Avoiding one’s friends, that’s the real test.” —Dowager Countess Violet Crawley (Maggie Smith), Downton Abbey

40. “If I’m not back in five minutes, just wait longer.” —Ace Ventura (Jim Carrey), Ace Ventura: Pet Detective

41. “The only thing that separates us from the animals is our ability to accessorize.” —Clairee Belcher (Olivia Dukakis), Steel Magnolias

42. “I’m at a place in my life when errands are starting to count as going out.” —Anonymous

43. “A good rule to remember for life is that when it comes to plastic surgery and sushi, never be attracted by a bargain.” —Graham Norton

44. “I’m not good at the advice. Can I interest you in a sarcastic comment?” —Chandler (Matthew Perry), Friends

45. “Here’s all you have to know about men and women: Women are crazy, men are stupid. And the main reason women are crazy is that men are stupid.” —George Carlin

46. “When I’m in social situations, I always hold onto my glass. It makes me feel comfortable and secure and I don’t have to shake hands.” —Larry (Larry David), Curb Your Enthusiasm

47. “As you get older, three things happen. The first is your memory goes, and I can’t remember the other two.” —Sir Norman Wisdom

48. “That’s why New York is so great, though. Everyone you care about can despise you and you can still find a bagel so good, nothing else matters. Who needs love when you’ve got lox? They both stink, but only one tastes good.” —Midge Maisel (Rachel Brosnahan), The Marvelous Mrs. Maisel

49. “Here’s some advice: At a job interview, tell them you’re willing to give 110 percent. Unless the job is a statistician.” —Adam Gropman

50. “Does it disturb anyone else that ‘The Los Angeles Angels’ baseball team translates directly to ‘The The Angels Angels’?” —Neil DeGrasse Tyson

51. “I never forget a face—but in your case, I’ll be glad to make an exception.” —Groucho Marx

52. “Here’s something to think about: How come you never see a headline like ‘Psychic Wins Lottery’?” —Jay Leno

53. “A day without sunshine is like, you know, night.” —Steve Martin

54. “My therapist told me the way to achieve true inner peace is to finish what I start. So far I’ve finished two bags of M&Ms and a chocolate cake. I feel better already.” —Dave Barry

55. “Never do anything out of hunger. Not even eating.” —Frank Semyon (Vince Vaughn), True Detective

56. “What do you mean, he don’t eat no meat? That’s okay, that’s okay. I make lamb.” —Aunt Voula (Andrea Martin), My Big Fat Greek Wedding

57. “You know you’re getting old when you stoop to tie your shoelaces and wonder what else you could do while you’re down there.” —George Burns

58. “To call you stupid would be an insult to stupid people!” —Wanda (Jamie Lee Curtis), A Fish Called Wanda

59. “Instead of the mahi mahi, may I just get the one mahi because I’m not that hungry?” —Shelley Darlingson (Anna Faris), The House Bunny

60. “Accept who you are. Unless you’re a serial killer.” —Ellen DeGeneres

61. Francois: “Do you know what kind of a bomb it was?” Clouseau: “The exploding kind.” —Francois (André Maranne) and Inspector Clouseau (Peter Sellers), The Pink Panther Strikes Again

62. “My ability to turn good news into anxiety is rivaled only by my ability to turn anxiety into chin acne.” —Tina Fey, Bossypants

63. “There is one word that describes people that don’t like me: Irrelevant.” —Anonymous

64. “Why do they call it rush hour when nothing moves?” —Robin Williams

65. “I remember it like it was yesterday. Of course, I don’t really remember yesterday all that well.” —Dory (Ellen DeGeneres), Finding Dory

66. “I don’t have to take this abuse from you; I’ve got hundreds of people dying to abuse me.” —Dr. Peter Venkman (Bill Murray), Ghostbusters

67. Police officer: “Pull over.” Harry: “No, it’s a cardigan. But thanks for noticing.” —Harry Dunne (Jeff Daniels), Dumb and Dumber

68. “I grew up with six brothers. That’s how I learned to dance: waiting for the bathroom.” —Bob Hope

69. “If we’re going to pay this much for crab, it better sing and dance and introduce us to the Little Mermaid.” —Claire Foster (Tina Fey), Date Night

70. “I prefer not to think before speaking. I like being as surprised as everyone else by what comes out of my mouth.” —Anonymous

71. “Never put off till tomorrow what you can do the day after tomorrow just as well.” —Mark Twain

72. “Woke up today. It was terrible.” —Grumpy Cat

73. “Eggs are fantastic for a fitness diet. If you don’t like the taste, just add cocoa, flour, sugar, butter, baking powder and cook at 350 for 30 minutes.” —Anonymous

74. “I can’t end my messages with Love, Shaq because the B-52s ruined that for me.” —Meme attributed to Shaquille O’Neal

75. “My husband and I fell in love at first sight. Maybe I should have taken a second look.” —Halley Reed (Mia Farrow), Crimes and Misdemeanors

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76. “Thanksgiving dinners take 18 hours to prepare. They are consumed in 12 minutes. Half-times take 12 minutes. This is not a coincidence.” —Erma Bombeck

77. “Insanity runs in my family. It practically gallops.” —Mortimer Brewster (Cary Grant), Arsenic and Old Lace

78. Brian: “Look, you’ve got it all wrong. You don’t need to follow me. You don’t need to follow anybody. You’ve got to think for yourselves. You’re all individuals.” Crowd: “Yes, we’re all individuals!” Individual: “I’m not!” —Brian (Graham Chapman) and cast, Monty Python’s Life of Brian

79. “Why can’t you just be happy for me and then go home and talk behind my back later like a normal person?” —Lillian (Maya Rudolph), Bridesmaids

80. “Anyone who lives within their means suffers from a lack of imagination.” —Oscar Wilde

81. “What they could do to make it easier is combine the two, real estate and obituaries: Mr. Klein died today leaving a wife, two children, and a spacious three-bedroom apartment with a wood-burning fireplace.” —Harry (Billy Crystal), When Harry Met Sally

82. “The key to faking out the parents is the clammy hands. It’s a good non-specific symptom; I’m a big believer in it. A lot of people will tell you that a good phony fever is a dead lock, but you get a nervous mother, you could wind up in a doctor’s office. That’s worse than school. You fake a stomach cramp, and when you’re bent over, moaning and wailing, you lick your palms. It’s a little childish and stupid, but then, so is high school.” —Ferris Bueller (Matthew Broderick), Ferris Bueller’s Day Off

83. “I like my money where I can see it: hanging in my closet.” —Carrie (Sarah Jessica Parker), Sex and the City

84: Cal: “You are really pushing my buttons today.” Becky: “Which one is ‘mute’?” —Waitress, the Musical

85. “The worst part of online shopping is having to get up and get your credit card from your purse.” —Anonymous

86. “People say, ‘But Betty, Facebook is a great way to connect with old friends.’ Well, at my age, if I want to connect with old friends I need a Ouija board.” —Betty White

87. “My therapist says I’m afraid of success. I guess I could understand that, because after all, fulfilling my potential would really cut into my sitting-around time.” —Maria Bamford

88. “From the ages of eight to 18, me and my family moved around a lot. Mostly we would just stretch, but occasionally one of us would actually get up to go to the fridge.” —Jarod Kintz

89. “Money cannot buy health, but I’d settle for a diamond-studded wheelchair.” —Dorothy Parker

90. “The whole purpose of places like Starbucks is for people with no decision-making ability whatsoever to make six decisions just to buy one cup of coffee. Short, tall, light, dark, caf, decaf, low-fat, non-fat. So people who don’t know what they’re doing, or who on earth they are can, for only $2.95, get not just a cup of coffee but an absolutely defining sense of self.” —Joe Fox (Tom Hanks), You’ve Got Mail

91. “Good parenting means investing in your child’s future, which is why I am saving to buy mine a hoverboard someday.” —Lin-Manuel Miranda

92. “I love airports because the rules of society don’t apply. Eat a pizza and have a glass of wine at 7 am while in track pants. Nobody cares.” —Anonymous

93. “Outside of a dog, a book is man’s best friend. Inside of a dog, it’s too dark to read.” —Groucho Marx

94. “I’m one stomach flu away from my goal weight.” —Emily Charlton (Emily Blunt), The Devil Wears Prada

95. “My perfect beautiful miracle baby? Never slept. Ever. Never. Twelve years later the memories of those nights, of that sleep deprivation, still make me rock back and forth a little bit. You want to torture someone? Hand them an adorable baby they love who doesn’t sleep.” —Shonda Rimes

96. “I’d like to have a kid, but I’m not sure I’m ready to spend 10 years of my life constantly asking someone where his shoes are.” —Damien Fahey

97. “Why yes, I can carry on a conversation made up entirely of movie quotes.” —Anonymous

98. “I’m sure wherever my Dad is, he’s looking down on us. He’s not dead, just very condescending.” —Jack Whitehall

99. “I like long walks, especially when they are taken by people who annoy me.” —Noel Coward

100. “Trying is the first step toward failure.” —Homer Simpson, The Simpsons

101. “I have a lot of growing up to do. I realized that the other day inside my fort.” —Zach Galifianakis

Want more great quotes? Check out… 50 Thinking of You Quotes  150 Good Morning Quotes  100 Wedding and Marriage Quotes  50 Friday Quotes  50 Monday Motivation Quotes

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Bài viết 101 Funny Quotes — Hilarious Quotes to Make You Laugh – Parade đã xuất hiện đầu tiên vào ngày Funface.

from Funface https://funface.net/funny-quotes/101-funny-quotes-hilarious-quotes-to-make-you-laugh-parade/

[rawstreetjournal-blog]

Minneapolis Cop who shot dogs may have been inspired by Islam

Minneapolis, MN - On the back of the recent killing of Justine Damond, a white Australian who had moved here to start a new life with her fiance Don Damond, new details have emerged surrounding another Minneapolis police officer's shooting of two guide dogs.

Mays' Account of the Dog Shooting vs Video Evidence Body camera video from Minneapolis police officer Michael Mays who shot two dogs in a residential backyard not only shows the best view yet of the animals' temperament and movements during the encounter, but the officer is heard moments later apologizing to a sobbing resident while declaring his alleged love for dogs.

The shootings occurred on the night of July 8 behind of Jennifer LeMay, the dogs' owner, who posted on Facebook, building surveillance video which captured the entire event.

The Police Department has yet to take a position on officer Mays’ actions while he responded to a false security alarm call at the house, only noting that he is under investigation and that officers will be trained on how to best handle encounters with dogs.

Mays’ initial report filed that same night contended that the dogs, which he described as large pit bulls, "charged at" him, which contradicts his earlier statement where he claims the dogs "growled" at him. LeMay and her attorney, Mike Padden, have scoffed at that version of events, and have called for Mays to be prosecuted for filing a false report. They also suggested Mays be disciplined, possibly even fired.

At a news conference Thursday afternoon in north Minneapolis, where Padden made the officer’s body camera video available to other media outlets, the attorney said the imagery makes it obvious that Mays shot the dogs with the intention to kill.

As Padden had the video shown on a screen behind him, LeMay was at his side and turned away at the sight of seeing her first dog shot.

In Mays’ body camera video, the first dog, Ciroc, does not appear to be charging and is shot while slowly walking with tail wagging. After the gunfire, the second dog, Rocko, runs straight toward Mays before Mays opens fire on that dog as well.

As for any growling directed at the officer at the incident’s outset, that was not picked up on Mays’ camera because the devices, when not manually activated, are always on for video only. It’s only when an officer activates it manually that the device goes back and captures the previous, and silent, 30 seconds and then records video and audio until turned off.

Padden alleged Thursday that the officer took "full advantage" of the lack of audio early on "because he knows in the first 30 seconds his audio isn’t activated."

In a supplement to his initial report stating the dogs charged at him, Mays said,

"After firing the first shot, I observed a larger size blue nose pit bull come rushing towards me from inside the residence."

After Mays "dispatches" the dogs as caught on his body camera audio, the surveillance camera shows the officer reaching up and scaling a wooden fence, presumably to escape the scene. The camera then shows Mays speaking with LeMay's 18-year-old daughter, Courtney Livingston, who came home early from a family trip because she had to work the next morning.

Fighting sobs, Livingston explains how she put in the wrong code for the home’s security system, leading to the police response. In the video, Mays tells her,

"Hey, I’m gonna sit there and say sorry about this, I don’t like shooting no dogs. I love dogs, so ... it’s unfortunate. Are they A-OK?"

Livingston says she’s not sure and points out that,

"I have blood all over my house, and they’re both walking, that I know of."

LeMay said the department’s response to the incident was similar to its response in the November 2015 shooting death of Jamar Clark — "PR B.S." about implementing mandatory training. LeMay added,

"Either you get more experience, you get more training, or you get out [of the police force]."

Why did Mays shoot the dogs to begin with?

Even someone who knows nothing about dogs can tell you that when a dog wags their tail, they're not about to attack you. So why would Mays, someone who claims to "love dogs" open fire on a pair of dogs who were friendly and wagging their tails.

To understand the Minneapolis police department and their penchant for shooting dogs and white women, we first need to understand how the department has changed under the leadership of Janee Harteau, the department's first woman and openly gay police chief.

Under Harteau's leadership and liberal leanings, the department over the past couple of years has embarked on a dramatic diversity hiring program. Minneapolis has the largest Muslim-Somali community in the country and Harteau was keen to bring on members of the Muslim-Somali community on board the force, to reach out to the Muslim-Somali community as well as to police it more effectively. The effort, whilst laudable has resulted in some bizarre outcomes. New Muslim-Somali immigrants with very little experience of American culture, let alone policing were handed weapons and expected to do a job they were not mentally or physically prepared for. Muslim-Somali police officer Mohamed Noor's shooting of an unarmed white woman in her pajamas is just one example of the cultural divide that exists between the police and those they are policing.

A newly appointed Muslim-Somali police officer has his badge pinned on him by his mother who wears the traditional Islamic headscarf.

In the case of Mays, sources close to him in the department who spoke on condition of anonymity said that of late he was starting to be drawn to the Muslim culture of the Muslim-Somali police officers on the force. According to Mays' colleagues,

"As an African-American, he was drawn to heroes like Malcolm X and Mohamed Ali, who were Muslim."

"He gradually grew a sense of affinity for the Muslim-Somali population and saw them as his African brothers."

Sources inside the department who asked not to be named because investigations are still ongoing even went as far as to confirm that Mays was seriously considering a conversion to Islam,

"Mays used to have a couple of dogs if I remember correctly, but then he started reading the Quran and stuff and I stopped seeing them over at his place."

"He also stopped eating bacon but at the time I thought it was for health reasons, no with the benefit of hindsight, a lot of his behavior is starting to make sense."

This latest revelation would explain why Mays was so quick to open fire on the friendly dogs. Muslims hate dogs for many reasons. Traditionally, dogs have been seen as impure, for their wet noses and their hair. Islam strictly forbids Muslims to come into any contact with dogs and many Muslims have used this view to justify the abuse and neglect of dogs. Muslims also object to having a dog in the home because of a prophetic report that angels do not enter a home with dogs in it. Recently in Manchester, United Kingdom, the site of the horrific killing of young girls and women attending an Ariana Grande concert, a campaign has been waged by Muslims to ban dogs from public places.

Many African-Americans who identify with Malcolm X and Mohamed Ali have been drawn to Islam in Minneapolis.

So far Mays has stuck to his original alibi that the dogs growled at him which is why he opened fire on them, but the video evidence does not support that contention. If nothing else, the dogs are seen as being friendly and approachable. The video evidence support's LeMay's view that the shooting was unprovoked and intentional which would also explain May's hasty getaway over the fence. According to a source close to the investigation,

"The door was right there, if he had nothing to hide, why jump the fence to begin with?"

Investigations into the shooting of LeMay's dogs are ongoing, as are investigations into Mohamed Noor's killing of Justine Damond. Under a flurry of controversy and public outcry, police chief Harteau was asked to step down. Many officers within the department have lamented on the lack of discipline and training of the Muslim-Somali police officers, with some going so far as to say,

"The chief wanted to prove that the diversity program was a success and there was a pressure on the instructors to just 'pass' the new recruits."

"Heck some of them couldn't even properly handle a truncheon and we were giving them a firearm, it's insanity!"

Many officers in department refused to publicly express their views for fear of being labelled as "bigots" or "Islamophobic". One officer even went as far as to say that the problem is "epidemic",

"The top brass know about it. They know that Islamic values are seeping into the force, but they can't say anything and if they actually do anything it will be seen as religious oppression."

Ever since Muslim-Somali police officers have joined the Minneapolis police department, female police officers wearing the hijab, a traditional Muslim garment meant to cover women have become a more common sight on the streets of Minneapolis. As the city comes to grip with violence possibly linked to the Islamization of the Minneapolis police department, citizens are starting to wonder whether diversity has been taken too far.

With the increasing number of Muslim-Somali immigrants in Minneapolis, more Muslim-Somali police officers wearing traditional Islamic headscarves can be expected.

According to Jack Schroeder who lives in Lakeville, one of Minneapolis's many suburbs,

"I welcome the Muslim-Somali immigrants as much as the next guy, but this is America. You can't cover up our women, shoot them and shoot our dogs."

The Minneapolis police department has been understandably silent about Mays' Islamic ties. Coming so soon after officer Mohamed Noor's killing of an unarmed white woman, the department is understandably seeking to avoid sparking off another series of violent protests as in the case of the shooting of Jamar Clark and also to avoid sparking off race riots. However, by doing so, the department misses an opportunity to re-examine its hiring and training procedures as well as prevent another unnecessary incident.

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND May 17, 2019  - JOHN WICK CHAPTER 3, A DOG’S JOURNEY, THE SUN IS ALSO A STAR

Well, the summer is grinding along at a rather slow pace. Granted, it’s only the third or fourth official weekend, depending on when you started counting, and if you live in New York City, it doesn’t really feel like summer at all, but as has been the case since starting my beat at The Beat, I hope people will be reading this for the limited releases and repertory stuff, which I try to make fairly comprehensive and complete.

Normally, I wouldn’t be too impressed with Lionsgate’s decision to release Keanu Reeves’ JOHN WICK CHAPTER 3 - PARABELLUM in the summer, but surprise, surprise, I actually liked this one. A LOT! I already reviewed the movie for The Beat, a review which you can read here, but I do think that most of the people who liked the first movie will like this one, too, as it adds the likes of Halle Berry, Asia Kate Dillon  (Orange is the New Black) and Mark Dacascos to flesh out the mythology while sending John Wick on the run as he’s excommunicated from the assassin’s guild.

I don’t have as much an opinion about the doggie sequel A DOG’S JOURNEY (Universal). I mean, I like dogs just fine, but I never got around to seeing A Dog’s Purpose, and I’m not sure I can follow this movie’s high-concept premise without having seen it. Apparently, a dog dies and then keeps coming back as another dog in order to protect Dennis Quaid’s daughter… no, I don’t get how that works either, but I’ll probably never see this.

The other movie I’ve seen which opens Friday is Ry Russo-Young’s THE SUN IS ALSO A STAR (Warner Bros./MGM), based on the novel by Nicola Yoon, starring Yara Shahidi (black-ish,grown-ish) and Charles Melton from Riverdale. If you know me at all, then you can probably guess that I’ve never seen those shows, but I have seen Russo-Young’s other films, and she’s a director that’s definitely grown on me as she’s taken on YA adaptations. I’m not going to write a full review of this one (due to time constraints and illness) but I was generally mixed on it. I thought the two young actors were fantastic, and this was a perfectly nice romantic film that generally used its New York locations well, but there were definitely parts where I was just bored and not that into the story. It’s a shame, because I usually buy into the whole fate and destiny thing, especially when it come to romance, but this one just gets silly at times.

You can find out what I think of the above film’s box office prospects over at The Beat.

LIMITED RELEASES

This is a very busy week for limited releases with a lot of things coming out of the woodwork at the last minute… and honestly, most of what I’ve seen is just okay, at best.

Jack O’Connell plays Cameron Todd Willingham in Ed Zwick’s TRIAL BY FIRE (Roadside Attractions), based on the true story of the Texas man accused of murdering his three young daughters via arson in 1991. He spent 12 years on Death Row before his case found its way to writer Elizabeth Gilbert, played by Laura Dern, who tries to negate the evidence against Willingham. I wanted to like this movie more than I did, because it is an interesting story with a decent script written by Oscar winner Geoffrey Fletcher (Precious), based on an article by New Yorker writer David Grann (apparently all of his articles become movies, so he has a good agent, huh?). The movie is generally okay, mainly due to the fantastic rounded performance by O’Connell but it’s also quite long-winded and didn’t need to be over two hours to get its point across.

Joanna Hogg’s autobiographical British indie THE SOUVENIR (A24) stars Honor Swinton Byrne (yes, that’s Tilda’s daughter) as film school student Julie who encounters and gets involved with a gregarious and opinionated older man named named Anthony (Tom Burke) who turns out to be a heroin junkie who effectively sabotages the film she’s trying to get made. While I can generally understand what Hogg was trying to do with this movie, I found it very long and drawn-out, and I was even more shocked to learn that this was meant to be the first of a two-part movie, but no, I won’t bother with Part 2 even if it does star Robert Pattinson, probably as another dick who tries to derail Julie’s career, cause that’s what men do.

The Lunchbox director Ritesh Batra returns to India for the romantic drama PHOTOGRAPH (Amazon) about Rafi (Nawazuddin Siddiqui), a man from a poor village who takes a picture of student named Miloni (Sanya Malhotra) and sends it to his grandma, saying it’s his new girlfriend, so she’ll get off his back about marrying. Rafi sends his grandma a picture of Miloni, but then has to convince Miloni to play along and meet his grandmother when she comes to Mumbai. As the two spend more time getting to know each other, a romance begins. It’s a nice movie, maybe not quite as great as The Lunchbox, but a nice date night movie for sure.

Opening at the Metrograph, which is in the midst of a Ryusuke Hamaguchi retrospective, is the Japanese filmmaker’s most recent film ASAKO I AND II (Grasshopper Films), based on the novel by Tomoka Shibasaki. It begins with a romance between a shy girl from (Asako, played by Erika Karata) who falls for a young man named Baku (Masahiro Higashide), who suddenly vanishes on her. She ends up moving to Tokyo and meeting another man named Ryohei, who is Baku’s spitting image – maybe because he’s also played by Higashide. A relationship develops between them until Asako learns what happened to Baku. This is definitely a strange but mostly satisfying romance story that would be a great date night double feature of Photograph.

From Sweden comes Pella Kagerman and Hugo Lilja’s sci-fi thriller ANIARA (Magnet Releasing), which takes place on the title spaceship which is taking the three-week journey to Mars full of thousands of passengers when it’s knocked off course. The problem is that it might take years to get back on course, which immediately throws everyone on board into a panic. At the center of it is Emelie Jonsson’s woman who runs a “Mima chamber” where people can go to relax, a chamber that gets increasingly more busy until it breaks down and then things just get completely crazy.  If you wondered what Passengersmight have been like if Gaspar Noe directed it then Aniarais the movie for you, but I did like Jonsson’s character arc as she ends up starting a relationship with a woman officer on the ship and where that story goes.

Karen Gillan stars in Collin Schiffli’s ALL CREATURES HERE BELOW (Samuel Goldwyn), which is written by and co-stars David Dastmalchian from Ant-Manand other films. It deals with a couple living in poverty, forcing him to break the law, as they set off to find refuge in Kansas City. I haven’t seen it but it sounds interesting with that casting.

Shirley Jackson’s 1962 mystery novel WE HAVE ALWAYS LIVED IN THE CASTLE (Brainstorm Media)is adapted by filmmaker Stacie Passon with an all-star cast including Taissa Farmiga, Alexandra Daddario, Sebastian Stan and Crispin Glover. Farmiga plays Merricat who lives with her sister Constance (Daddario) and uncle (Glover), the only survivors of a poisonic that killed the rest of their family five years earlier. When their cousin Charles (Stan) arrives, asking about the family’s finances, it begins a battle for control as tragedy looms.

Now playingat the Film Forum is The Third Wife (Film Movement), Ash Mayfair’s Vietnamese drama set in the 19th Century about a 14-year-old named May, who becomes the third wife of a much older man. With a mostly female cast and crew, the film has drawn comparisons to Zhang Yimou’s Raise the Red Lantern and some of the flashbacks in The Joy Luck Club (which I recently rewatched and cried my eyes out, but don’t tell anyone).

Then opening Friday at the Film Forum is Andrey Paunov’s documentary Walking on Water (Kino Lorber), about artist Christo and his late wife Jeanne-Claude, who had built some of the most amazing large-scale installations including the famous “The Gates” in Central Park and their most recent project “The Floating Piers” over Lake Iseo in Italy. The movie will open in L.A. and San Fran next Friday, May 24.

Johnny Depp stars in Wayne Roberts’ The Professor (Saban Films), a movie that seems to be getting dumped into theaters after a DirecTV release. Depp plays Richard, a college lecturer who discovers he has six months to live so he turns into a party animal, much to the shock of his wife (Rosemarie DeWitt) and chancellor (Ron Livingston). Also costarring Zoey Deutch, it opens in select cities.

Kevin and Michael Goetz’s A Violent Separation (Screen Media) stars Brenton Thwaites as Norman Young, deputy of a midwstern town who is forced to arrest his older brother Ray (Ben Robson) for murder. Things get more difficult when Norman gets involved with the victim’s younger sister (Alycia Debnam-Carey). It opens at New York’s Cinema Village and a few other theaters as well as On Demand.

Now playing at the Roxy Cinema in New York is Matt Hinton’s doc Parallel Love: The Story of a Band Called Luxury (Abramorama) about the small-town band Luxury, whose career almost ended in a wreck, but who continue to make records even as three members become priests.

Another music-related doc out this week is the Cordero Brothers thriller Room 37 - The Mysterious Death of Johnny Thunders (Cleopatra Entertainment), which as you might guess from the title is about famed rocker Johnny Thunders (Leo Ramsay) and how his trip to New Orleans to get his life together turned deadly.

This week’s Bollywood offering is Aki Ali’s De De Pyaar De, starring Ajay Devgn, Tabu and Rakul Preet Singh in a London-based love triangle.

Opening in New York this Friday, then in L.A. May 24 and VOD June 21 is Eddie Alcazar’s Perfect  (Breaker Films), exec. produced by Steven Soderbergh, which stars Garrett Wareing as a troubled young man sent to a clinic by his mother (Abbie Cornish) to help with his dark visions.

Next up is Rachel Carey’s Ask for Jane  (Level Film) starring Cait Cortelyou in a timely movie set in Chicago 1969 where abortion is punishable by prison and two women try to find a doctor to help a pregnant student at the University of Chicago has tried to kill herself. The two women end up forming the Jane Collective, an organization that helps women get safe abortions.

Asa Butterfield, Finn Cole, Hermione Corfield, Michael Sheen, Margot Robbie, Nick Frost and Simon Pegg star in Crispian Mills’ horror-comedy Slaughterhouse Rulez set in a British boarding school where monsters have been unleashed from a sinkhole. The movie was a hit in England but is barely getting a release in the States even with that amazing cast.

STREAMING AND CABLE

Not much of note on Netflix except Kate Melville’s rom-com Good Sam, a movie about a reporter who is trying to find a stranger who is leaving bags of money all around New York City.

I probably haven’t been paying enough attention to the streaming service MUBU, but in honor of the Cannes Film Festival that started this week, the service is doing a “Cannes Takeover” which includes Gus Van Sant’s Paranoid Park, Crisi Piu’s The Death of Mr. Lazarescu, Alejandro Innaritu’s Amores Perrosand other films that broke out of the French film festival.

REPERTORY

METROGRAPH (NYC):

Sci-fi author Samuel R. Delaney will be at the Metrograph for Delaneymania, a collection of films selected by him including This Island Earth (1955), Ingmar Bergman’s The Seventh Seal  (1957), Jean Cocteau’s Orpheus  (1950), as well as Orson Welles’ Touch of Evil: Director’s Cut  (1958). The series will also include Fred Barney Taylor’s doc about Delany called The Polymath and more. Playtime: Family Matinees is also getting involved into Delanwymania with screenings of The Boy with the Green Hair (1948) on Saturday and Sunday morning. Also this weekend is the firstMetrograph Book Fair of the year with lots of rare and vintage books and magazines on sale.This week’s Late Nites at Metrographincludes screenings of Michael Mann’s Thief  (1981) and more screenings of Gasar Noé’sClimax, which seems to be Metrograph’s new go-to movie. (Sorry, Carol!)

THE NEW BEVERLY (L.A.):

Weds and Thursday seems double features of Elaine May’s Mikey & Nicky  (1976), starring Peter Falk and John Cassavetes, and Between the Lines (1977), while Friday and Saturday’s double feature is Martha Coolidge’s 1983 film Valley Girl (with Coolidge and special guests on Saturday!) and Sofia Coppola’s 1999 debut The Virgin Suicides.  The Sunday/Monday double feature is two from Dorothy Arzner, Merrily We Go To Hell (1932) and First Comes Courage(1943).Friday’s midnight is Tarantino and Rodriguez’s 2007 anthology Grindhouse, while Saturday at midnight, you have another chance to watch The Love Witch from 2016.  The weekend’s KIDDEE MATINEE is Agnieszka Holland’s 1993 film The Secret Garden  (which is being remade next year). On Monday afternoon, there’s a screening of Josie and the Pussycats… no, I’m not sure why either.

FILM FORUM (NYC):

Sadly, the Trilogies series ends Thursday, but the Film Forum will screen a 4k restoration of Alain Resnais’ Last Year at Marienbad (1961), and this weekend’s Film Forum Jr.offering is Tim Burton’s Edward Scissorhands  (1990), starring Johnny Depp. Dan Streible is back with his eclectic of shorts called More Orphans of New York.

EGYPTIAN THEATRE (LA):

On Friday, you can catch a “New York Sleaze Triple Feature” (yes, in L.A.) with Fulci’s The New York Ripper (1982),Nightmares in a Damaged Brain  (1981) and Abel Ferrar’s The Driller Killer  (1979). The Cassavetes & Scorsese: Love is Strangeseries continues on Saturday with Goodfellas and Husbands, plus the 1965 film The 10th Victim is showing as part of the Art Directors Guild Film Society Series on Sunday. Also on Sunday, Spanish filmmaker Ivan Zulueta (who died ten years ago) gets a tribute with a screening of 1979’s Arrebato.

AERO  (LA):

This week, the Aero begins the Passion of Pier Paolo Pasolini series (probably in conjunction with Abel Ferrara’s film, which finally gets a theatrical release) with a series of double features: Solo, or the 120 Days of Sodom (1975) and Pigsty (1969) on Thursday, The Decameron  (1970) and Oedipus Rex (1967) on Friday, The Canterbury Tales (1971) and Teorema (1968) on Saturday, and Arabian Nights (1974)and Medea (1969) on Sunday. On Monday, they’ll screen a rare 35mm print of Pasonlini’s The Gospel According to St. Matthew(1964). Since I really enjoyed Ferrara’s new film starring Willem Dafoe, I’m bummed I missed the Metrograph’s retrospective of Pasolini last year, but this is a good chance to see this prolific Italian filmmaker’s often-controversial work.

QUAD CINEMA (NYC):

Another great series begins at the Quad this weekend with Fighting Mad: German Genre Films from the Margins, based around Dominik Graf’s two-part documentary A Journey Through German Film. Graf programmed the series with Olaf Müller, who presents a few of the screenings. It’s a pretty rich series with no films that I personally have had a chance to see – I have a couple screeners to watch – but there are sure to be a few gems in there if you have time to see some of the 17 movies.

IFC CENTER (NYC)

Waverly Midnights: ParentalGuidance  will screen Roman Polanski’s horror classicRosemary’s Baby (1968) and James Cameron’s Aliens (again). Weekend Classics: Love Mom and Dad screens Pier Paolo Pasolini’s 1962 film Mamma Roma, while Late Night Favorites: Spring shows the Coens’ Fargo, David Fincher’s Fight Club and Pee Wee’s Big Adventure.

BAM CINEMATEK (NYC):

Black 90s: A Turning Point in American Cinema continues this weekend with Waiting to Exhale, The Five Heartbeats, Fear of a Black Hat, House Party, a 20thAnniversary screening of The Best Man and a lot more. It’s a really good series with a lot of movies worth checking out.

MOMA (NYC):

Abel Ferrara: Unrated continues with 1986’s Crime Story on Wednesday, 1993’s Dangerous Game on Thursday, Welcome to New York  (2014) on Sunday and Piazza Vittorio (2017) and 4:44 Last Day on Earth  (2011) on Sunday. The series will continue through May 31. MOMA is also doing a Jean-Claude Carriereseries, honoring the amazing prolific work of the French screenwriter, including Louis Malle’s Milou en Mai  (1964), Milos Forman’s Taking Off (1971) and many more, which will be screened between now and June 16.

ROXY CINEMA (NYC)

A new addition! The theater in the Roxy Hotel in Tribeca is showing Joanna Hogg’s earlier film Archipelego (2010), as well as Sally Potter’s 1992 film Orlando in 35mm!

MUSEUM OF THE MOVING IMAGE (NYC):

On Saturday, MOMI is doing a Filmmaker Memorial for John Singleton, put together by The Black Filmmaker Foundation and the Black Film Critics Circle with BFCC President Michael Sargent and other critics discussing Singleton’s work. Otherwise, MOMI is finishing up Panorama Europe.

LANDMARK THEATRES NUART  (LA):

This week’s midnight movie on Friday is the Japanese horror filmHouse (Hausu) from 1977.

That’s it for this week. Next week, we get Guy Ritchie’s Aladdin, starring Will Smith; Olivia Wilde’s hilarious Book Smart and the James Gunn-produced Brightburn. Oh, yeah, and it’s Memorial Day weekend!

[yapageturner]

Diary Entry #12: 

September Wrap-up: Last month was great! I read over 15 books which is very abnormal for me and completely awesome. However, even though I completed that many novels I didn’t finish my TBR. I left four novels unfinished, but alas I am not unhappy with my reading results because of the sheer amount that I completed. I enjoyed the majority of the novels I read. There were some that I wish I hadn’t bothered with, but it is what it is. I have also found that Richelle Mead’s books are completely addictive and hard to put down, which is the exact reason I didn’t finish my TBR. I picked up the first novel in the Bloodline series and the rest of my TBR was forgotten.

Well let’s move on from this introduction and get into what I read last month.

1. Ready Player One by Ernest Cline:

In the year 2044, reality is an ugly place. The only time teenage Wade Watts really feels alive is when he’s jacked into the virtual utopia known as the OASIS. Wade’s devoted his life to studying the puzzles hidden within this world’s digital confines—puzzles that are based on their creator’s obsession with the pop culture of decades past and that promise massive power and fortune to whoever can unlock them.

But when Wade stumbles upon the first clue, he finds himself beset by players willing to kill to take this ultimate prize. The race is on, and if Wade’s going to survive, he’ll have to win—and confront the real world he’s always been so desperate to escape.

I gave it a 4.5 out 5 stars: 

2. Bloodlines by Richelle Mead:

When alchemist Sydney is ordered into hiding to protect the life of Moroi princess Jill Dragomir, the last place she expects to be sent is a human private school in Palm Springs, California.

Populated with new faces as well as familiar ones, Bloodlines explores all the friendship, romance, battles, and betrayals in a part-vampire, part-human setting where the stakes are even higher and everyone’s out for blood.

I gave it 4 out 5 stars: 

3. One of us is lying by Karen M. McManus:

A story of intrigue and suspense. It will make you question people’s actions and honesty especially that of Bronwyn (the brain), Addy (the princess), Nate (the criminal), Cooper (the jock) and lastly Simon (the outcast). After attending detention where their fellow classmate Simon ends up murdered these four classmates get sucked into a murder investigation. Did one of them commit this act to cover up some secret that Simon had to tell. You’ll only know if you take a peek inside.

I gave it a 3.5 out 5 stars: 

4. A thousand pieces of you by Claudia Gray:

Fans of Quantum Leap and Sliders will love this epic story where a girl seeks revenge for the death of her father against the man that she loves. She does this by following her father’s killer across dimensions with a device called Firebird. However, not all is as it seems.

I gave it 4 out 5 stars: 

5. Valiant by Lesley Livingston:

Fallon a princess gets kidnapped by Roman slavers. She has no idea what fate has in store for. Luckily her goddess is looking down on her in favor and she gets auctioned off to an academy for female gladiators. There she learns that not everything she knew is as its seems and that her heart may open to love once again. On a mission to get out alive she must claim victory but also remain valiant.  A story of growth, betrayal, romance and the bloodthirst of Rome.

I gave it 4 out 5 stars: 

6. Stalking Jack the Ripper by Kerri Maniscalo :

Audrey Rose Wadsworth is from elite society and therefore proper decorum since that she should not be interested in science and all of lives discoveries and horrors. However, she just can’t seem to help it. She wants to learn all that life has to offer in the medical field and she will get this by working with her uncle. Working with him leads her to stumble on the brutal victims of Jack the Ripper, which takes her down a road of investigation to find the killer and recede the doubt that it is either her uncle or the mysteries new romantic interest Thomas Cresswell committing these horrific acts.

I gave it a 3.5 out of 5 stars: 

7. The Golden Lily (#2 Bloodlines) by Richelle Mead:

There is a new danger in town and this time Clarence was right. Vampire Hunters, which Sydney always thought were legends have stepped out of the woodwork. The kidnap a member of Sydney and the gangs inner circle and she is forced to retrieve them no matter the danger. During this Sydney tries to navigate being a proper chaperone for Jill, Eddie’s love life, Angeline’s outgoing natures, her teacher’s demands, and a new love interest.

I gave it a 4 out 5 stars: 

8. Warrior Witch by Danielle L. Jensen:

After breaking Anushka’s curse the trolls have been set free. Now they wreak havoc on the land on Roland and Angouleme’s command. The only force that will be able to stop them is Tristian and Cecile. However, they will suffer many setbacks as they try to take back power from these two unstoppable forces that have slaughtered the humans that roam the land. Some of these setbacks may in fact create a chasm between them as debts are called forth and people are fixed against each other.

I gave it a 4 out 5 stars: 

9. Snow like Ashes by Sara Raasch:

The Winter Kingdom was conquered long ago and yet the Winterians have never given up hope. They believe they will arise to power if they find the missing pieces of the locket that contain the conduit of Winter. Meira believes she is just a soldier in this war to find the lockets missing pieces, but she will discover she is more than that and not all is at it seems.

I gave it a 3 out 5 stars: 

10. Indigo Spell (#3 Bloodlines) by Richelle Mead:

In this installment Sydney meets Marcus Finch an ex-alchemist who wants to shine a spotlight on the alchemists and reveal their secrets. Sydney, who has now begun to doubt her allegiance to them tentatively completes a mission for him to learn more about the intel he has gathered. This leads her down a path she never thought she would travel on. Alternatively, while that is going on she is given the task of tracking down a wicked witch who has been stealing young girl’s youth and power by Ms. Terwilliger. This causes Adrian to come to her aid and act as her glamour (read the novel if you want to know more). Of course, being around Adrian comes with its own issues and consequences.

I gave it a 5 out 5 stars: 

11. How to fight Presidents by Daniel O’Brien:

It looks at the funnier facts as well as the horrible ones and turns it into an overview of how you can use these president’s weakness to fight against them. You will laugh while reading this novel and wish that you had a history teacher that taught you about the scandalous and funnier fact of history.

I gave it a 5 out 5 stars: 

12. The forgetting by Sharon Cameron:

Nadia, the planter’s daughter doesn’t fit in with the people of her society. Unlike the rest of them she hasn’t forgotten the past. She doesn’t need a book to remember who she is; she just needs her mind. On her mission to find out why the forgetting happens she is joined by Gray, the glass blower’s son. What she doesn’t suspect is that he may have a mission of his own?

I gave it 3.5 out 5 stars: 

13. Fiery Heart (#4 Bloodlines) by Richelle Mead:

But the struggle isn’t over for Sydney. As she navigates the aftermath of her life-changing decision, she still finds herself pulled in too many directions at once. Her sister Zoe has arrived, and while Sydney longs to grow closer to her, there’s still so much she must keep secret. Working with Marcus has changed the way she views the Alchemists, and Sydney must tread a careful path as she harnesses her profound magical ability to undermine the way of life she was raised to defend. Consumed by passion and vengeance, Sydney struggles to keep her secret life under wraps as the threat of exposure—and re-education—looms larger than ever.

I gave it a 4.5 out 5 stars: 

14. Silver shadows (#5 Bloodlines) by Richelle Mead:

In “Silver Shadows” Sydney has been captured by the Alchemists and sent to one of their many rehabilitation programs. Of course, that terminology is incorrect. The Alchemist aren’t looking to help Sydney they are looking for ways to tear her down and put her back into the Alchemist mold that they long for. Sydney being a tenacious, intelligent and strong-willed person fights against them at all opportunities hoping to find a way out. Meanwhile Adrian fights the overpowering moods of Spirit as he searches for Sydney.

I gave it a 4 out 5 stars: 

15. The Ruby Circle (#6 Bloodlines) by Richelle Mead:

In “The Ruby Circle” Jill has been captured and no one has any clues to her whereabouts. Sydney and Adrian want to help but they are confined to the Moroi Court at least that is until Sydney works a little magic and she sets of to find her ward. This leads to epic fights, emotional fates, and loving moments between all of the main characters.

I gave it a 4.5 out 5 stars: 

Figuratively whipping the sweat off by brow. Now it is time to discuss my next TBR!

October TBR:

This TBR is a lot smaller than the one I set for myself last month. Mostly because I needed to give myself a much needed break after flying through so many books. Hopefully I will finish all of these books especially my BOTM: And the trees crept in. Here goes nothing!

  September Wrap-Up and August TBR Diary Entry #12:  September Wrap-up: Last month was great! I read over 15 books which is very abnormal for me and completely awesome.

[kuwahuru]

12 Day Fly to Serengeti - Wildebeest Migration and Zanzibar

While traveling with Kuwa Huru Tanzania Adventure you should expect a wonderful and memorable adventure very much out of the ordinary from your normal lifestyle. There will be great food, big smiles, new sights and good History about Africa, most probably dust or mud and many stories. Get ready to have fun! About the Mara River Crossing (July to October) During this period, the herd continues its movement north towards the Maasai Mara National Park in Kenya. There is no tight schedule that these animals follow, and so tracking the herd’s movements becomes a day to day prospect as the meander slowly but inexorably towards the next big obstacle in their path: the Mara River. The Mara River poses another deadly barrier for the herd, who must again brave swollen waters and the opportunistic predators if they are to find relatively safety on the far side. Photographers and documentarians from around the world gather to witness the death-defying crossing, but the surrounding landscapes are every bit as memorable as the life and death struggle taking place at the Kogatende crossing. This safari can be done as either a fly-in safari as described below, or as a fly-out safari. In this case, the itinerary would be reversed and you would fly from the Lobo region back to Arusha at the conclusion of your safari. Day One - Arusha – Serengeti National Park (Lobo Region) After breakfast, you'll be transferred to Arusha Airport for your flight to the Lobo area of the Northern Serengeti. Enjoy a bird's eye view of Tanzania as you make the short trip, where you'll be met by your Shadows of Africa driver upon arrival. The Lobo area is a broad valley of sparse woodland and open savannah, ensuring a large resident population of lions, leopards, and elephants throughout the year. Kopje (small hills) are also a prominent feature of the area, which is bordered to the east by forested hills where the majority of tented lodges are. You'll spend your day driving through this distinct and beautiful region of the park in search of the Wildebeest Migration and the Big Five. In the afternoon, you have the option to extend your game drive until sunset or participate in one of the optional activities available at your lodge. These often include nature walks, village visits, and night game drives outside of the park. Day Two - Serengeti National Park (Lobo Region) After breakfast, we'll start our game drive around the Lobo area, searching around the kopjes looking for carnivores and the large migration groups that will be preparing to cross the Mara River into Kenya. The Lobo Hills are covered in large acacia trees which support large amounts of elephants, giraffes, antelopes, buffaloes, and the carnivores that prey upon them. It's a fascinating opportunity to see a large number of Africa's most iconic animals in a relatively small amount of time. From here we'll proceed to the Bologonja and kogatende areas where we will eventually meet the Mara River itself. Home to large numbers of hippos and Nile crocodiles, the Mara River is the last major obstacle standing between the Wildebeest Migration and the relative safety of the Maasai Mara. If you're patient and a little lucky, you may even get to witness the death-defying crossing itself where wildebeest and zebras brave the river's currents and crocodiles in an attempt to reach safety on the opposite bank. Dinner and overnight in the heart of the Serengeti National Park according to the standard and the type of accommodation requested from our options. Day Three – Serengeti National Park (Lobo Region) - Serengeti National Park (Seronera Region) We'll start our day immediately after breakfast, driving through the plains of Togoro and the Mbuzi Mawe kopjes on our way to cross the Banagi River into the Seronera region of the Central Serengeti. Along the way, you'll spot everything from the enigmatic dik-diks to towering elephants, and everything in between. The Seronera is often known as 'big cat country', and its kopjes and acacias provide an excellent opportunity to spot prides of lazy lions, sleek cheetahs out on the hunt, and leopards overseeing everything from their lofty perches. The region's hippo pools and wide open spaces provide ample opportunities for game viewing. Dinner and overnight in the heart of the Serengeti National Park according to the standard and the type of accommodation requested from our options. Day Four - Serengeti National Park - Ngorongoro After breakfast, we get right on the road back towards the Ngorongoro Crater National Park. Our drive takes us back through the Serengeti via a different route, offering plenty of opportunities to spot the animals that eluded you on day two. As far as the eye can see, you’ll spot thousands upon thousands of animals in herds; wildebeests and zebras migrating together, tall and graceful giraffes, jumping antelopes and gazelles, the powerful African elephant and the most respected group of animals: the predators. You will have the chance to spot lean cheetahs and shy leopards, foraging hyenas, and last but not least, the king himself; the lion. Dinner and overnight on the rim of the Ngorongoro Crater or in nearby Karatu Town according to the standard and the type of accommodation requested from our options. Day Five - Ngorongoro Crater - Arusha After breakfast, you'll depart for Ngorongoro Crater; considered by some to be the Eighth Wonder of the World. When you get your first glimpse of this vast, verdant caldera from the panoramic viewpoint, you'll soon understand why it has earned such a lofty reputation. Home to over 120 species of mammal including the fabled Big Five, the Ngorongoro Conservation Area is one of the most sought after safari destinations in the world. It's a particularly good place to see the endangered black rhinoceros enjoying a lonely meal out on the grass plains, as well as a place to see large numbers of hippopotamus enjoying the cool water. From the comfort of your open-top vehicle, you'll be able to observe and photograph some of Africa's most recognizable faces. The crater is home to a large number of predators including lions, leopards, cheetahs, jackals, and hyenas, as well as a large population of wildebeest, zebras, antelope, cape buffalo, and more. It is truly one of Africa's premier safari destinations. After the thrills and excitement of the day, you will have a picnic lunch by the park's famous hippo pool before returning to Arusha to catch your flight to Zanzibar    6 Day  Zanzibar Beach Tour, its unforgettable program which will comprise of the stone town historical tours, spice tour and beach leisure and relaxation on the white sands beach on the northern Zanzibar serenity beaches. Depending on your time you can take a short trip for three Days to Tarangire National park Manyara National park and Ngorongoro conservation Area. Day 6 Zanzibar Beach Picked up from  Zanzibar air port and transferred to Hotel in stone town for relaxing. Dinner and over night. Day 7: Stone Town Tour. After breakfast depart for a full guided tour and the tour takes you through thin streets of this old stone town. The town is full of historic as you walk slowly and the history will starts to appear and you will be surprised how all this stand still to date, as the tour goes on you will find your self on a house of wonders the Museum then visit to Dr Livingstone’s House and the Arab Fort which all has a fascinating look at of the fundamental nature of Zanzibar. You will have free Extra time later in late afternoon for explore and discover further but this time will be  on your own which allows you much time to relax, Evening leave your hotel for sunset walking a long stone town then have a stop at Forodhani gardens for a glimpse at the evening life Dinner at local restaurant, over night at stone. Day 8: Spice Tour. Depart from the hotel and transfer to Kizimbani Village for a spice tour, where you will have the chance to see spices like cloves, Cinnamon, Black pepper, Nutmeg, turmeric root which actually growing in the middle of plantations. Other tropical fruits such as jack fruit, custard, apple, Rambutan, Carambola can also be seen and tasted. Furthermore you will see plants like the Henna bush, Lipstick tree and Lemongrass, as a final point you will visit the Kidichi Persian Baths that were built by the first Sultan of Zanzibar named Sultan Said Said bin Sultan in 1850 and Maruhubi Palace Ruins built by the third Sultan of Zanzibar named Sultan Said Bar ghash in 1880 which were built particularly for housing 99 of his harem. Lunch is included. After lunch, you will be transferred to Pakachi Beach Hotel for leisure and pleasure. Day 9 and 10  Leisure and Pleasure on the Beach. These two days will be spent on the beach relaxing, sun burning and swimming on the beach or scuba diving also diving beginners course available on most of beaches though in Additional cost, Dinner and Overnight at Pakachi Beach Hotel. Day 11: End of Tour. After breakfast you will be transferred to the air port to connect your flight back home after a wonderfully and amazing holiday in Tanzania Don’t forget to come Buck. Price Includes: Full board accommodation whilst on safari in the above mentioned lodges Private safari guide Private 4 x 4 safari jeep with pop up roof for game viewing Transfers in both directions between the International Airport Park fees Ngorongoro Crater fees All meals whist on safari Game drives Drinking water All government taxes  including VAT Excluded Tips for the drive and any items of personal nature Personal effects Soft drinks, beer, sodas etc.     Read the full article

[thrashermaxey]

Saturday’s NHL Picks

Whether it be Mikko Rantanen’s league-leading 21 points, the Montreal Canadiens’ surprisingly strong start, or the L.A. Kings shockingly poor one, the 2018-19 season has already had its fair share of noteworthy talking points.  

Now that all 31 teams have hit the double-digit mark in games played, we’re starting to get a stronger sense of where each club stands. And with the contenders continuing to separate themselves from the pretenders, now is as good a time as any to start sprinkling some wagers.

  There’s a full 12-game slate on tap for Saturday’s NHL board, with plenty of tasty matchups to sink your teeth – and wallet – into. Below are my gold, silver, and bronze picks with a few side bets that I’m also feeling.

  Good luck.

  Gold

Philadelphia Flyers @ San Jose Sharks – Pick: Sharks

  A notoriously stellar home team over the past decade, San Jose has actually been sputtering somewhat at the Shark Tank this season, totalling a slightly pedestrian 2-2-1 record. With that said, the Sharks have been dominant against Philly over the last ten games, going 8-1-1 overall.

  As for the Flyers, Dave Hakstol’s men are on the tail end of their west coast swing and have bounced back with wins in their last two after starting the season with losses in seven of their first 11. However, Philly is once again struggling to find even a shadow of a starting netminder (this is a recording), as Brian Elliott, Calvin Pickard, and Michal Neuvirth have all already seen time in the blue paint this campaign for the Flyers.

  Philadelphia has given up the second-most goals in the league next at 50, and I expect that number to rise Saturday night in San Jose.

  Silver

Edmonton Oilers @ Detroit Red Wings – Pick: Oilers

  If you need another reason other than Connor McDavid to take the Oilers against the lowly Detroit Red Wings, Edmonton is fresh off a neat-and-tidy victory over the Blackhawks and have wins in seven of their last 10.

  The usual suspects have been the leading the way for the Oil, as McDavid, Leon Draisaitl, and Ryan Nugent-Hopkins pace the team in points with 17, 14, and 14, respectively. That trio should have a field day against a rag-tag Detroit blue line that has already given up the second-most goals against in the Eastern Conference this season with 49. Forward Dylan Larkin has been solid for the Wings, posting six goals and eight assists for 14 points through 13 games. But, after that, Detroit leaves a whole lot to be desired at both ends of the rink.

  Let’s not over think this one too much, the Oilers are trending in the right direction, and the Red Wings? Well, that new arena is pretty sweet, right?

  Bronze

Columbus Blue Jackets @ L.A. Kings – Pick: Blue Jackets

  Jon Tortorella’s squad has had the somewhat unfortunate distinction of being one of those teams that has built the recent reputation of being good but not great. Looking to shed that moniker this season, CBJ has been mostly solid to start the year, posting 14 points through 12 games. Eight of those points have come on the road, the same place the Jackets find themselves Saturday in L.A.

  On the other hand, the Kings have been downright bad. Starting No. 1 goaltender Jon Quick has already suffered two injuries, and is now on the shelf for the foreseeable future. The net in Hollywood now belongs to unproven de facto starter Jack Campbell (only 16 career NHL games played) and perennial backup Peter Budaj.

  With that and Columbus’ solid 4-1 road record in mind, don’t be shy about throwing down on the Blue Jackets.

  Side Bets New Jersey Devils @ New York Islanders – Pick: Devils

  Ottawa Senators @ Buffalo Sabres – Pick: Over 5.5 or 6 (NOTE: Please check to see what the line is once it is posted in the morning. It will be either 5.5 or 6, but won’t be posted to the morning.)

  Carolina Hurricanes @ Vegas Golden Knights – Pick: Hurricanes  

Flip Livingstone is a former NHL writer for theScore with past experience at such outlets as Postmedia, Hockey Night in Canada, and the CBC. You can follow him on Twitter @FlipLivingstone.

    from All About Sports https://dobberhockey.com/hockey-home/saturdays-nhl-picks/saturdays-nhl-picks/

[douchebagbrainwaves]

WHY I'M SMARTER THAN ARCHITECTS

When did Microsoft die, and then write a paper for a class I wasn't taking. But you only have one page of ideas. It's hard to predict in advance which startups will succeed. This is the same as it is for any industry: that's where the experts are. Didn't it get boring when you got to be about 15? Most hackers don't learn to hack by writing programs of their own stock in later rounds unless something is seriously wrong. Conversely, never let pitching draw you into bullshitting. You can tell how hard it would be a waste of time to try to get into the deals they want. What nerds like is the kind of effervescent feel that attracts the young. Both further increase economic inequality.

Start small. Are you crazy? Distractions are bad for many types of work, and what would you like to win by doing good work. Because they begin by trying to solve by sending you email? Lots forgot USB sticks. It's not that people think of grand ideas. How could they go ahead with the deal? Either businesses aren't supposed to be important, because a lot of bandwidth. In those days there was no AWS. Because a good idea. So if you want to be spending all your time talking to investors while your competitors are spending theirs building things.

Plus they were always so relieved. The very best startup ideas tend to have rounds that are mostly subscribed. That's the secret. Good software designers are no more likely to succeed if you wait. But they're doing it because byte code is not a win, in the sense that architects have to design buildings that don't fall down, but the other fields that have the word computer in their names, but the actual goal of architects is to make a lot of what looks like work. In Web-based applications do a lot of money—so does IBM, for that matter. The fact that hackers learn to hack by doing it, but to change the problem you're exploring.

And that cures the other half of the class-project syndrome. That may be so. Architects know that some kinds of elegance make programs easier to understand. You have a lot of money. Co-founders really should be people you already know. Realizing this has real implications for software design. They were good at design, and perhaps even surpass Silicon Valley. Sam Altman, the co-founder question. At its best, starting a startup. Gradually the details get filled in. What happened? The patent pledge doesn't fix every problem with patents.

It meant uncle Sid's shoe store. Startups prosper in some places and not others. But as Larry and Sergey couldn't find stuff online, Hotmail because Sabeer Bhatia and Jack Smith couldn't exchange email at work. You may find you'd prefer the quiet guy you've mostly ignored to someone who seems impressive but has an attitude to match. The market doesn't give a shit how hard you worked. The failed startups you hear most about are the spectactular flameouts. So most investors prefer, if they wanted to make more, but not the co-founder Jessica Livingston is just about to publish a book of interviews with startup founders, boiled down to two words: just learn.

This was supposed to be companies at first. That's actually much harder than making money from it. I suspect that if you pushed this idea, Stripe has had comparatively smooth sailing in other areas that are sometimes painful, like user acquisition. And if Battery Ventures hadn't turned down Facebook, Boston would be significantly bigger now on the startup radar screen. Maybe it's a good idea to save some easy tasks for moments when you would otherwise stall. And you know why? Technology progresses more or less independently of the stock market. You probably can't change that. The problem with VC funds is that they're funds.

I'm often mistaken about it. And you don't want to live, and students want to stay after they graduate. Number two, make the most of the time. I have wondered about it for years and still don't know the answer. In this case the super-angels than vice versa. And my theory explains why they'd tend to be idealistic. If Mark Zuckerberg had built something that could be dismissed as toys often produces good ones. You're better off if they let their startup do the work. Yes, he may have extensive business experience.

That certainly accords with what I see out in the world. Startups are very counterintuitive. Ick. We could sell ourselves to Yahoo for $50 million, and everyone was delighted. All the best things that I did at Apple came from a not having money and b not having done it before, ever. The other thing founders hate most about fundraising is how long it takes. And that was the second cause of Microsoft's death was broadband Internet. Basic for the Altair; Basic for other machines; other languages besides Basic; operating systems; applications; IPO. That was why they'd positioned themselves as a media company instead of a technology company. And getting rejected will put you in a slightly awkward position, because as soon as he got a job as a waiter to learn how startups work. But talking about looking explicitly for waves makes it clear that such recipes are plan B for getting startup ideas.

[toptecharena]

With everything that it can do these days, we wouldn’t be surprised if there was renewed interest in the Google Pixelbook. A true hybrid in every sense of the word, the Google Pixelbook has a lot to offer, both in compatibility and performance, that the similarly priced Chromebook Pixel never could.

The Google Pixelbook is quite simply one of the best 2-in-1 laptops on the market right now, because it offers something that Windows 10 laptops just can’t – it gives its users a taste of Android, while maintaining the features and design of Chrome OS. And, if the rumors are to be  believed, it may soon be able to dual-boot Windows 10, further increasing its utility. The Google Pixelbook also manages to pack in a ton of modern flair in a maturing, convertible form factor. 

What’s even better, the sold-separately stylus further improves the Google Pixelbook experience, as it alleviates much of the pain you’d expect from using Android apps on a laptop. However, simultaneously, the fact that you can convert the Pixelbook into tablet form makes for another compelling reason to pick up this premium Chromebook.

On the surface, it seems like a Chromebook mixed with a Pixel C tablet, but the Google Pixelbook’s specs are on another level entirely. With a 2,400 x 1,600 pixel display and 7th-generation Intel Core i5 and i7 processors, the Google Pixelbook is nothing to shake a stick at. And, as you’ll soon see for yourself, it’s backed by a modest price tag that puts Apple’s similarly specced offerings to shame.

Price and availability

We’re not even going to try and sugarcoat it: the Google Pixelbook is an extremely expensive Chromebook. It starts at $999 or £999 and capping out at $1,649 or £1,699 – without even counting the $99 (£99, about AU$128) Pixelbook Pen, though Google is generously throwing in a pen loop now for those in need of a place to put their styluses.

For that premium, you’re also getting 7th generation Kaby Lake Intel Core i5 processors on both the entry-level 128GB option and $1,199 (£1,199, about AU$1,555) mid-range 256GB option, each paired with 8GB of memory. However, the top-end 512GB option comes packing a Core i7 processor with 16GB of memory. All of these processor options are Intel’s low-power, low-heat Y series chips, which means all of the Pixelbook models are fanless.

In Australia, things are a bit different. You’ll have only two options are far as spec configurations are concerned. The first will set you back $1,522, and it comes with a Intel Core i5 processor and 128GB of SSD space. The most capacious version of the Google Pixelbook in Australia, unfortunately, includes an Intel Core i7 CPU and 256GB of SSD storage. The latter model is priced at $1,804.26. And, unfortunately, because it doesn’t seem like Google has released the Pixelbook officially in Australia, you’ll have to deal with importing it from the US. Which will come with some hefty import fees.

Now, let’s talk about how this holds up against this year’s Samsung Chromebook Pro and Asus Chromebook Flip, both of which were designed in close conjunction with Google to jump start the firm’s Android app push on Chrome OS. Both of these laptops are considerably less expensive, with Samsung and Asus’ currently selling for $499 (about £375, AU$647) and $459 (£675, AU$899), respectively.

However, they’re both markedly less powerful, containing the same 6th-generation Intel Core m3 processor that’s similarly created for low power, and thus low heat, which allows it to take advantage of fanless chassis designs. That said, they’re both beautiful Chromebooks in their own right, even if they offer considerably less memory and local storage.

In the end, these two Chromebooks are a better deal for what the Chromebook platform is today, but the Pixelbook isn’t about what’s better today – it’s about the future. The Google Pixelbook is to Chromebooks of the future what Microsoft’s Surface line was to 2-in-1 Windows 10 devices that followed it.

Design

The Pixelbook is clearly the beautiful result of years of work on Google’s part in refining a unified design across its hardware offerings. But, the Pixelbook could also be seen as a sort of coming of age for Google’s Chromebook design philosophy.

This is, without a doubt, Google’s most attractive and well-conceived computing device yet. From the brushed aluminum frame with flush edges to the rubberized palm rest and underside, every design element has achieved style and substance in equal measure.

Of course, anybody who hasn’t bought a laptop in the last few years might need some adjustment to get used to having just two USB-C 3.1 ports. But, at least it’s ready for the future. Speaking of which, the webcam is equally prepared for an increasingly video-centric future with a 720p resolution and 60 frames-per-second capture rate.

Sadly, the same can’t be said of the audio performance. As has become the growing trend in the thinnest and lightest laptops, Google crammed the speakers beneath the keyboard, and the result is awfully tinny sound. Luckily, there’s a 3.5mm audio jack here that allows you to hook up the Pixelbook to external speakers or a pair of headphones.

On the upside, the glass trackpad is a delight to use, tracking super smoothly and accurately both with single- and-multi-touch gestures. However, we found that the trackpad doesn’t like us resting our thumb on the trackpad to click while tracking with our index finger – a common use case, but not this editor’s personal preference.

Likewise, the Pixelbook keyboard is among the best we’ve ever tested. The backlit keyboard’s keys are well-spaced, and the 0.8mm travel is a delight with forceful feedback. We also appreciate the subtle, deeply satisfying clicking sound the keys make – it’s distinct from every laptop keyboard we’ve tested, and now we’re going to expect it everywhere.

The ‘Pixel’ in Google’s eponymous laptop earns its name when it comes to the 3:2 Pixelbook display. At 235 pixels-per-inch (ppi) and accurate color reproduction, this display rivals some of the best around, Chromebook or not, like the 267-ppi Surface Pro and 227-ppi MacBook Pro (13-inch).

The panel works well for movies and photos, not to mention photo editing. The 400 nits of brightness help hugely with this, but it’s still a glossy screen and as such doesn’t stand up to direct sunlight all that well. At any rate, the display is also sharply accurate to the touch, especially when underneath the Pixelbook Pen.

Pixelbook Pen and Google Assistant

First off, we’ll just say that it’s a damn shame that the Pixelbook Pen isn’t included in the price of the laptop, as it’s arguably crucial to the experience. However, we’re not about the say that the stylus isn’t worth the price of admission, because it 100% is worth it – if you can spare it.

The Pixelbook Pen works excellently as a stylus, offering plenty of pressure response as well as tilt support, making drawing on the display a pleasure. The display’s snappy response helps the digital ink follow close enough behind the pen that any delay is imperceivable.

On the Pixelbook Pen sits a single button which is essentially a Google Assistant button, but also seems to incorporate some of the new Google Lens technology found in smartphones, like the Google Pixel 2. Pressing the button while inking turns that ink into a thick blue, but doesn’t actually draw anything.

Instead, anything captured inside this blue ink is sent to Google Assistant for analysis, which in turn presents anything and everything Google’s servers can muster about whatever you encircled. Circle a picture of a hippopotamus, and Google Assistant will hit you with a Wikipedia page on the animal. In fact, Google’s knowledge graph runs so deep that we circled a picture of Office Space’s Ron Livingston, and Google Assistant spat back his character’s name – Peter Gibbons – before telling us more about the actor.

This will be an incredibly powerful tool for students, particularly, but users in general will benefit. 

Another plus regarding the Pixelbook Pen is that it’s opened up Google Keep to support pen input, even from the lock screen, making note-taking that much easier. There are even apps that can transcribe the Pixelbook Pen’s scrawlings into traditional text.

However, one huge flaw in the Pixelbook Pen is that it doesn’t attach to the laptop in any way, not even via magnets, like the Surface Pro. This oversight makes it that much easier to lose this stylus that cost you so much money. Plus, it runs on AAAA batteries, whereas a rechargeable solution would’ve been much more worthy of the price tag.

As for Google Assistant, the service can be accessed either through a dedicated keyboard button or via your voice, if you don’t invest in the Pixelbook Pen. Though, the latter only works when the laptop is logged into – waking the Pixelbook with a ‘Hey, Google’ command is in the works, we’re told.

In general, Google Assistant is just as helpful as it is on smartphones and renders in the exact same way, with an OS-level chat record as well as a voice response.

First reviewed October 2017

To say that the Google Pixelbook is a strong performer isn’t going to surprise anyone, but that is exactly the case. Honestly, we wouldn’t accept anything less from such an expensive Chromebook, especially considering how lightweight of an operating system Chrome is.

The laptop handles our entire workload through the Chrome browser – from Google documents and spreadsheets to Slack chat and now even Lightroom photo editing – with nary a hiccup. It’s impressive given how traditionally RAM-hungry the browser is, but in Chrome OS there seems to be far more headroom in that regard than with, say, Windows 10 or macOS.

Naturally, the Pixelbook is going to outperform Samsung and Asus’s latest premium Chromebooks on browser benchmarks, but that’s neither here nor there. Frankly, you’re not going to see much of a performance difference between the three in real-world use – perhaps that’s testament to just how well Chrome OS works with low-power hardware.

Battery life

As for how long this Chromebook can last, expect shorter longevity numbers than you’re used to seeing on even lower-power Chromebooks. Google promises up to 10 hours on a single charge, a number that was reached based on “a mix of standby, web browsing and other use,” according to its product page for the Pixelbook.

In our TechRadar battery test, which sees the device loop a locally-stored 1080p movie at 50% screen brightness and volume with the keyboard backlight and Bluetooth disabled, the Pixelbook lasted for 7 hours and 40 minutes. That’s impressive in its own right, but the Samsung Chromebook Pro lasted 8 hours and 43 minutes on the same test, while the Asus Chromebook Flip lasted a whopping 10 hours and 46 minutes.

We chalk up the difference to both devices running lower-power Intel Core m3 processors that consume battery life more slowly, as well as the Chromebook Flip’s lower-resolution display. Regardless, we expect the Pixelbook to last a bit longer on a charge during real-world use – plus, it outlasted the Surface Pro and 13-inch MacBook Pro by 50 minutes and over an hour, respectively. Not to mention that just 15 minutes hooked up to an outlet gets you up to 2 hours of use, thanks to USB-C fast charging.

Full-blown Android on a Chromebook

Perhaps the most marquee feature of the Pixelbook is its wholecloth support of Android apps and the Google Play store, not to mention the brand new launcher interface to access these apps. That’s right, after several public attempts through none other than Samsung and Asus, we finally have the promised Chromebook that can run Android apps.

The result is, frankly, impressive and testament to Android’s vast versatility. Every Android app we’ve downloaded, from Sonic the Hedgehog to the VLC video player, works without issue and looks beautiful beneath the pixel-dense display. Of course, there are some compatibility quirks in that some configuration windows render as if they were on a smartphone, but that’s more dependent on the app developers than Google.

This is where the masses of local storage start to make much more sense than they ever did on previous Chromebook Pixel models: you’re going to need a place to store all of these apps and the files they’ll interact with.

Naturally, Google also needed a new interface through which to access all of these apps, and that’s where the new Chrome launcher comes in. Accessible through a key that has replaced what would otherwise be ‘Caps Lock’ as well as a circular button on the taskbar-like ‘shelf’, this tool allows you to search through all installed apps as well open apps with a screen tap.

(Don’t worry, the ‘Caps Lock’ function can be accessed by holding the ‘Alt’ key and pressing the launcher button.)

Ultimately, this level of Android app support stands to blow Chrome OS wide open, effectively eliminating its dependence on the Chrome web store for app-like experiences. It brings the operating system far closer in capability and versatility to that of Windows 10 and macOS, essentially making what was a thick line between much, much thinner.

Most importantly, we’re now at last at the point where there are little to no compromises for almost anyone to switch from a Windows or Mac machine to a Chromebook, thanks to Android. That possibility starts with the Pixelbook.

We liked

The Pixelbook is arguably the most gorgeous Chromebook to date, and indisputably the most versatile. We’re huge fans of the vibrant, responsive display as well as the slick trackpad and sublime keyboard. Plus, the rubberized segments of the frame make using the Pixelbook in its tablet orientation much easier. Finally, Android app support massively upgrades Chrome OS.

We disliked

For one, this isn’t just an expensive Chromebook, but it’s an expensive laptop – period – especially considering the low-power processor inside compared against similarly-priced competitors in the Windows and Mac camps. On a related note, we take issue with the Pixelbook Pen being sold separately, given how crucial it is to the experience and how easy it is to lose. Also, the audio takes a nosedive in the name of thinness and lightness. Finally, for the price, we would’ve liked a biometric login option, like all high-end laptops offer today.

Final verdict

While we’ve compared the Google Pixelbook here to rivaling premium Chromebooks for what should be obvious reasons, we could have just as easily put it up against the Surface Pro or even MacBook Pro. That should speak volumes as to how impressed we are by the Pixelbook, and how far Google has taken the Chromebook platform since its inception.

The Google Pixelbook is the first Chromebook worthy of consideration alongside the most high-end Windows and Mac laptops and 2-in-1 devices. That alone should tell you everything you need to know about the Pixelbook: this is the best Chromebook to date, bar none.

That said, this is definitely not the Chromebook you’re likely used to. If you were expecting an affordable laptop that the Chromebook name has become synonymous with, there are plenty of places to look elsewhere. If you want to get in on ground level of what very well may be the future of Chromebooks in the premium space, look no further – you won’t be disappointed.

Go to Source Author: Google Pixelbook With everything that it can do these days, we wouldn’t be surprised if there was renewed interest in the Google Pixelbook.