#which is relatable canne lie

[knuckles-bloody-for-me]

So I finished seven husbands of Evelyn Hugo.....

[centrally-unplanned]

While I was looking for that original art of the "Guide to Taking Care of Your VHS Tapes" a bit ago, I noticed that the issue of Animage (May 1993) also surprisingly had a roundtable between Hideaki Anno, Junichi Sato, and Kunihiko Ikuhara!

I hadn't ever read it, and googling around did not reveal any discussion of it, so I was curious if it had anything interesting. And while I just skimmed it, it doesn't really lol, probably why it isn't covered. But still, this roundtable was right after the release of Season 1 of Sailor Moon for Sato & Ikuhara; and after Nadia was done but before Eva was entering production for Ano - a nice "middle period", which is always interesting to me. Random little notes:

A bunch of back and forth on the "anime is becoming involuted, we should be aiming for Cannes not otaku" stuff. At one point Anno says something like: "Nowadays, anime is becoming increasingly niche, especially in the OVA space, with more and more works catering to fans' tastes. It feels like the industry is closing in on itself." Which, yeah this is the Eva theme right here, it is fully realized in industry-critique form in 1993. Take note you true believers in the Eva "mid-production pivot" ^_^

At one point look at the magazine's Waifu Rankings and Ikuhara & Anno both lament that Rei/Sailor Mars - Ikuhara's fav - is placed so low. Sato judges them both, and laments "adults" calling an anime character their "ideal woman" - wrong crowd buddy!

Related, Anno thinks Rei is the hottest but Makoto would make the best wife. Pretty based take tbh.

Anno repeatedly tells them to never try to cater to the audience, which leads to this exchange (to paraphrase): Ikuhara - "So, the concept for Anno's next project would be 'Don't let the masses watch it,' right?" Anno - "That's right. At least, my next work won't be for fools." I think he nailed that one!

Lots of discussion of short skirted girls, and they are drinking during this whole roundtable. Ah, the 90's!

Anyway, there is this little note in the corner of one page:

And I won't lie, the scan quality is pretty rough so I am banking hard on the OCR tech for some of that kanji, but I think it says that Anno actually animated the special effects for this shot? It is from the first episode of the finale arc:

We knew he worked on Sailor Moon S - specifically the Uranus & Neptune transformation sequences & a few other moments here and there. But I had never seen this credit before for Season 1 (maybe it is somewhere ofc). Throw his name on the staff list MyAnimeList, give his 2 seconds its due! Unless I am misreading, which is fair.

So there you go, some cute sakuga trivia for y'all - Anno was an 'effects' shot specialist after all, you don't bring him in for character motion, so this makes sense as a role for him.

[ggulmul]

Tkkrs are once again twisting people's words and emotions to fit their newfound narrative.

Ever since Taennie were caught walking hand in hand in Paris we've seen Tkkrs trying to convince people that it was just cosplayers trying to set up Taehyung; even though we've seen HD proof that these were actually Taehyung and Jennie from fan videos taken up close and pictures of their managers walking with them.

But now, the media has caught on to what is making buzz among internet users, which is Taennie dating 'rumors'. So the media started writing articles at large, cause c'mon, a BTS member dating is huge news. I would be surprised if every media outlet wasn't talking about it.

But back to the point, K-Media wrote articles, Korean TV news channels reported on the subject, ELLE US and Harper's Bazaar Singapore wrote articles, some French journalist(?) speculated that Taennie will be attending Cannes together, and now Vogue wrote Jennie's name instead of Lisa on a picture taken with Taehyung at the Celine event.

Some Armys saw that the media is acting weird (understandably) and Tkkrs are now preying on the vulnerable minds of Armys who are rightfully questioning WHY the media is acting like it is.

I'll happily answer that question; Taehyung is one of the biggest pop stars in the world and is part of the biggest group in the world, BTS. He is one of the most influential figures in the world and has a LOT of fans who engage with anything related to him online and offline. The moment news came out about his dating life the media jumped on board to report on it and speculate anything Taennie related. This doesn't mean that it's "a large-scale calculated set-up" like Tkkrs are trying to convince everyone.

Tkkrs are master manipulators and they always somehow manage to twist narratives into ones that aligns with their delusional views, and they are preying on the vulnerable confused minds who have no idea what the fuck is going on (as i said, it's not everyday that news about a BTS member dating comes out. We're all experiencing this for the first time so we're still adjusting to the media and public reactions) and are force-feeding them their new narrative.

First of all, HYBE didn't deny the rumors like they usually do with dating rumors wayyy smaller than this. Even YG didn't comment on it because "it's the artists’ private life" but for some reason people don't trust YG and think they can simply lie in the face of law and get away with it.

If this was a different BTS member, say, Jin or RM, reactions wouldn't be this crazy, and we all know why. Jin and Namjoon are not members with a crazy cult behind them that absolutely believes that they're dating another BTS member. So any news that would come out about either of them being in a relationship would be heavily reported by the media as well but will be accepted quickly by the fans and without anyone throwing a fuss. ARMY will say "respect their private lives and their partners" and leave it at that. No one would be making lengthy debunk threads to prove it isn't them or accuse them of doing PR.

But unfortunately for us, the first member to be caught in a relationship is one who is already in one—as decided by a huge cult that "supports" them—with another BTS member. And that cult is thriving on the confusion caused by the widespread media reactions and clout chasing to convince everyone that there's something "fishy" about all of this and we need to trust Tkkrs because they know better.

In conclusion, there is nothing "fishy" or weird about all of this. Taehyung was revealed to be in a relationship, period. As he is one of the most popular members, media coverage is large, and some of it is fishing for engagement by riling fans up. Making speculations and "messing up" names of BP members next to Taehyung is a low move, but it's just fishing for reactions and hopefully article clicks (which yall are falling for). Don't fall for Taekookers’ ploy. They're trying to manipulate everyone and it's frustrating to see.

Anon, thank you for your detailed account of this matter! I have very little to add. I agree that there’s nothing suspicious about the amount of media coverage Taennie has received. Tkkrs also think the Taennie outing seemed staged, which to them proves its inauthenticity. Staged or not, I disagree with that conclusion. Of course, I can’t say for sure whether Taennie purposefully set out to be seen and recorded. But if so, it’s a way to ease people into the idea of them being a couple, essentially cushioning the blow. We might be getting more ‘trickles of truth’ before an official confirmation is released —it’s a clever strategy to cultivate a more favourable fan response.

Naturally, even a formal statement will do little to convince the Tkkrs who are still steadfast in their beliefs. Their methods are effective, no matter how misguided; anything they don’t like is simply fake… So Tkkrs’ vehement refusal to accept reality isn’t surprising. But it’s still aggravating, especially when their bad influence continues to pervade the fandom.

Nevertheless, I feel pretty positive; changing attitudes can be a slow process, but I really do think we’ll see significant improvement with time.

[steelbluehome]

"Sebastian Stan and Jeremy Strong are enjoyably compelling as a match made in capitalist hell"

Ioncinema

REVIEWS

The Apprentice | 2024 Cannes Film Festival Review (click for article)

By Nicholas Bell

Published on May 20, 2024

3 1/2 out of 5 stars

The Devil and Donald Trump: Abbasi Reconstructs the Rise of a Crony Capitalist

We meet a thirtysomething Donald Trump (Stan) on the outskirts of the economic enclave he desires to infiltrate in 1970s New York. His father Fred (Martin Donovan) has been accused of violating the Fair Housing Act and is being sued by the NAACP for discriminating against Black renters by charging them more than their white counterparts. It’s the first major hurdle obstructing Donald’s dream of purchasing a defunct hotel, The Commodore, and turning it into a luxury hotel which will revitalize Midtown Manhattan and jumpstart tourism in a city which is experiencing a major crime wave. A chance meeting at a private club (of which Mr. Trump gloats about being the youngest member), he meets Roy Cohn (Strong), an infamous lawyer who’s survived three indictments, is a friend of Nixon, put the Rosenbergs in the electric chair, and was a key player in McCarthy’s reign of terror. Cohn takes a liking to Trump, a young-ish man on the verge of going to seed, many of whom liken to Robert Redford. But what he really sees is potential, and he squashes the lawsuit against the Trump clan through blackmailing a key member of the DOJ who is a closeted homosexual (since, as we should all remember, known homosexuals weren’t allowed to be federal employees until 1975).

Among the many wise observations written by nineteenth century Englishman Lord Acton, he noted “Great men are almost always bad men…” But what if they were just plain bad to begin with? And what exactly constitutes greatness? With his fourth film, The Apprentice, filmmaker Ali Abbasi reconstructs the economic rise of Donald Trump through the 1970s and 1980s thanks to his relationship with infamous lawyer Roy Cohn, two men who fall considerably short of anything resembling greatness (at least, if humanity, integrity, and honesty are factors used to determine such a distinction), putting a surprisingly thoughtful spin on both men as logical products of environments and systems which fostered ruthlessness and abject greed. Sebastian Stan and Jeremy Strong are enjoyably compelling as a match made in capitalist hell, and while Gabriel Sherman’s script doesn’t exactly aim to redeem or empathize with either of them, it’s a blunt portrait of how their actions and behaviors were condoned and rewarded.

Doors suddenly seem to open for Trump, who is allowed a tax abatement with the help of Mayor Beame (who owes Cohn a favor) to construct the Grand Hyatt. Several years later, Mayor Ed Koch, however, doesn’t wish to extend the same grace for the Trump Tower. By this time, Trump has adopted the strategies of his mentor, who teaches him his three rules of success, the most important being never accepting defeat and never admitting the truth, which is akin to an episode of Seinfeld where George Costanza proclaims ‘it’s not a lie if you believe it.’ Sandwiched in this rise to prominence is Trump’s aggressive courtship and then dismissal of his first wife Ivana (Maria Bakalova) and the death of his older brother, Freddy (Charlie Carrick), an alcoholic who died at the age of forty-two from a heart attack (and who was also the black sheep of the family for pursuing a career as a pilot, seemingly too working class for his family’s elitist tastes). Eventually, as we all know, death comes calling for Cohn, the homophobic homosexual who would be abandoned by his minion and die of AIDS related complications in 1986.

What’s perhaps most interesting about The Apprentice, a nod to Trump’s hit reality television show which ran for fifteen seasons and which he served as host for all but one of them, is how Abbasi avoids presenting Trump as monstrous or villainous. Rather, he’s an ignorant, ambitious scion of privilege who is taught the ways of exploiting systems and resources for his own official gain. “Truth is malleable,” Cohn confirms. “Create your own reality.”

Stan migrates from playing Trump as an obsequious ingenue who transitions by leaning into speech patterns and mannerisms of the obnoxiously out-of-touch persona we’ve all become accustomed to, corrupted by power and eventually phasing out any who are no longer of use to him. As Cohn, Strong is quite captivating as the self-loathing, ruthless closet case whose truths weren’t quite as obscured as he would have liked at the time of his death. It’s odd watching a depiction of the AIDS crisis wherein Cohn and the white gay men who benefitted from his affections are relayed with a bluntness void of catharsis.

Considering Abbasi’s past work, an Iranian born director who resides in Copenhagen and has heretofore worked in genre with his past three features (most notable being 2018’s Border), this is a surprisingly sobering portrait on the making of a man who believes he is omnipotent. Choice soundtrack selections abound, including Spanish disco duo Bacarra and New Order, while DP Kasper Tuxen (The Word Person in the World, 2021) makes the film look as if we pulled out a VHS from the dustbin. Trump, it seems, believes a requisite skill is required to be a billionaire, something inherent in one’s genetics. The Apprentice clearly is not making a case for this, and his obliviousness to his surroundings suggests there’s not much different about him than any others similarly warped and corrupted by power. Maybe he’s born with it. Maybe it’s make-believe.

Reviewed on May 20th at the 2024 Cannes Film Festival – Competition. 120 Mins.

★★★½/☆☆☆☆☆

[dannyreviews]

Lost Boundaries (1949)

On my MUBI account, I’ve accumulated 6,000+ ratings of all types of films and almost 4,000 on my watch-list. Like a hand going into a hat of scribbled pieces of papers, I scrolled the list to find that random film in the depths of 10 years worth of bookmarks and came across the subject of today’s post. Alfred L. Werker’s “Lost Boundaries”, made at the tail end of Hollywood’s Golden Age, can be viewed as a harbinger in the discussion of racism in explicit terms.

In the early 1920s, married couple Scott and Marcia Carter (Mel Ferrer and Beatrice Pearson), two light-skinned African Americans, make the move to Georgia after Scott’s graduation from medical school. Scott has trouble finding an internship because of his skin color, which he eventually finds. It is while treating a patient, that an opportunity to take over a medical practice is presented to Scott. The Carters move to a small town in New Hampshire and Scott becomes a pillar of the community, raising two children, Howie (Richard Hylton) and Shelley (Susan Douglas (Rubes)), but living a lie about their true race. When Scott and Howie decide to enlist in the Navy, their long held secret is threatened.

“Lost Boundaries” may seem like a paint by numbers drama on the outside, and you would be half right. Dramatically, the film features no stand out performances and just focuses squarely on the story. Director Werker creatively turned this film into a quasi-documentary at times to demonstrate Dr. Carter’s standing in the community, incorporated Greek Chorus scenes randomly and even inserted a musical segment just for the hell of it. Those motifs helped make the film unique and not so much a mediocre retelling.

The racist topics behind “Lost Boundaries” tend to be very tame by today’s standards, but nonetheless dealt with seriously and without kid gloves. The evolution of the Carters from down on their luck to success stories all revolve around skin color and the bumps in the road sting like salt on an open wound. It also transpires into the film’s present time when the family are exposed. Each member copes differently with the change, from reserved to identity conflicted. It’s the film’s climatic scene, that puts the perspective of both identities together, and it’s beautifully crafted.

Mel Ferrer makes an impressive debut as Dr. Carter, playing a character steeped in dignity and class, something lacking in a lot of today’s film protagonists. Also in his debut was Richard Hylton’s Howie Carter, which was also well acted. The two were able to pass off as light skinned African Americans which made their characters believable. The same could not be said for Beatrice Pearson and Susan Douglas, who were casualties of outdated color blind casting decisions. While both gave decent performances, I could not take both seriously in the roles played. That was especially the case with Douglas, an Austrian born Jew of Czech ancestry. That knocked things down a peg with me, without marring the overall appearance of the film. Finally, there was the use of the “Gee whiz” teenage figure in Carleton Carpenter and the cliche best friend in William Greaves, which were both reminders of the era of filmmaking.

Appropriately enough, it would be the screenplay and direction that got “Lost Boundaries” attention with awards. The Cannes Film Festival awarded it Best Screenplay over competing classics “The Third Man” and “The Hidden Room” which shows just how much the story stood out. The Writer and Director Guilds also nominated the film in its respective fields, but surprisingly got shut out of the Academy Awards. 1949 was also the year of “Pinky” another film about a black person passing themselves off as white, where Jeanne Crain got nominated for playing the title character. I definitely could have seen nominations for Screenplay, Director, and acting for Ferrer and Hylton.

“Lost Boundaries” should be more of a hit with today’s audiences because of its gentle, yet firm grip on race relations. 

7.5/10

[koreanfilminsight]

Kim Ki-duk (김기덕) 20 December 1960 - 11 December 2020

(A work in progress but I want to take some time and share some thoughts about Kim Ki-duk)

Today I found out that film South Korean film director, Kim Ki-duk has died while being treated in hospital. The cause of death was apparently COVID-19 related.

As I sit here contemplating his achievements and controversies, I feel regret and sadness of his passing, proud of his accomplishments and disappointed by any actions that may be true regarding sexual assult allegations, which have regrettably tarnished his life's work.

Even after all the accusations and controversies, and even after losing his way later on in his career, I still find myself admiring and respecting him. After all, it was his film ' The Isle' that piqued my interest in Korean cinema in the first place. I remember how I felt the first time I watched 'The Isle' and It was the first time a movie has effected me so powerfully, so emotionally, and so deeply. It's the film that started my Korean cinema journey, and the film that made me fall in love with Korea.

It is no exaggeration when I say that Watching 'The Isle' was arguably the single most important event that has ever happened in my life.

I think it is no understatement to acknowledge that he is, in part, responsible for the success of Korean cinema on the international stage. He was a regular guest at Venice, Berlin and Cannes film festivals (to name but a few), even though back home there was much less interest in his work.

In some ways I find it strange that he didn't attain the same level of standing at home like he did overseas, after all, he was raising an awareness in his country (in the west) just like k-dramas were grabbing people's attention in South East Asia.

At the same time, Kim Ki-duk's film are violent, dark, and often uncomfortable to watch.

Another problem is, his films don't particularly paint Korea in a positive light, many of them have had problems getting releases abroad due to his portrayal of the abusive nature of man and the suffering that he causes. (he definitely wasn't promoting "Korea sparkling.") This didn't bother me though, if anything his raw and unfiltered approach intrigued me. I mean, what would you prefer, a beautiful lie, or an ugly truth?

[reveriereviews]

Shoplifters (2018)

Hirokazu Kore-eda’s 2018 film, Shoplifters, pushes the boundaries of modern day storytelling with it’s impeccably dynamic portrait of a tender hearted family. Kore-eda’s film is nothing short of a masterpiece, undoubtedly deserving of Cannes��� Palme d’Or. Shoplifters went on to win an abundance of prominent awards as well as earning an Academy Award and Golden Globe nomination for Best Foreign Language Film. It is a genuine must-see for every cinephile or anyone looking to experience a cosmic, unique wave of emotions. 

After a day of shoplifting, Osamu (Lily Franky) and his son Shota (Jyo Kairi) return to their home in the impoverished outskirts of Tokyo. Enroute, they discover a young girl cowering in the cold, hiding from her arguing parents. The pair welcome her to their home where she meets his wife Nobuyo (Sakura Ando), Aki (Mayu Matsuoka), and the elderly Hatsue (Kirin Kiki). Although fully intending to return her home in the morning, the family becomes hesitant when they uncover evidence of physical and emotional abuse. Despite barely being able to make ends meet, the family decides to house and protect her, justifying that they’re doing it to keep her safe. As she becomes a true part of the family, they teach her how to shoplift and promise she’ll never return to her threatening past life. Throughout the film, the family endures a series of momentous, questionable decisions which uncover life’s fickle grey area and the true meaning of family. 

Shoplifters is a deeply poignant tale that reaches deep into the soul of humanity, demanding it be felt and understood. Nearly every characteristic of the family points towards the typical antihero trope due to their immoral and dishonorable actions they make in order to survive. They lie, steal, and participate in different acts of deviant behavior. Despite their unprincipled actions, the audience finds themselves still supporting each character and hoping for their success due to their warranted validation. They steal to survive, they house young Yuri (Miyu Sasaki) to protect her, they fabricate their backgrounds in order to create a hopeful future.

Each of the family members’ identities are composed of carefully hidden secrets. In fact, they are not blood related at all which raises the question: what truly makes a family? While Osamu and Nobuyo are married, Shota is not their biological son. Years prior, the pair found him suffering in a hot locked car and decided to rescue him. Hatsue, the elderly widower who lovingly houses the group, solely receives money from her dead husband’s pension. In addition, she collects money from a man who is revealed to be her husband’s son from an illicit affair. The daughter of this man is Aki, whom he believes lives happily in Australia, not as a performer at a local hostess club. The final member of this family is Yuri. Refusing to return to her neglectful household, she takes on the new identity of Lin, embracing her new self with a haircut and burning her old clothing.

Their house acts as a safespace constructed of smoke and mirrors. Each character under this roof comes from a series of secrets and lies, but do what’s necessary to keep those they love safe. They consider each other family. “We’re connected by our hearts,” says Osamu. Without each other, they're vulnerable, lonely, and seemingly unloved. Together, they’re family- the once disregarded penniless rejects of society have found endearing devotion in each other. 

As the film enters the third act, Nobuyo asks an interrogator “Giving birth automatically makes you a mother?” ultimately challenging the preconceived attributes of a good mother. Each character escaped their broken past for the sake of a brighter future. They’ve constructed a makeshift family composed of individuals who genuinely cherish each other, conveying the notion that chosen family can be stronger than a blood related lineage. 

This review only scratches the surface of the heartbreaking complexities of Shoplifters, while also excluding any major spoilers. The film’s extraordinary narrative and raw emotion should be felt firsthand from the heart of the viewer. Kore-eda presents a masterclass in character development, touching visuals, and moving dialogue that scars a permanent imprint in both the sentiments of the viewer and pinnacle of cinema.

5 / 5 stars

Shoplifters is available for free screening on Hulu

(I implore you to watch the trailer without getting chills)

[imagitory]

D-Views: The Hunchback of Notre Dame

Bonjour, mes amies! Welcome, bienvenue, to another installment of D-Views, my written review series for films produced or inspired by the Walt Disney company! For more reviews for films like Enchanted, Star Wars Episode III, and Snow White and the Seven Dwarfs, feel free to consult my “Disney reviews” tag, and please, if you enjoy this review or any of the others, please consider liking and reblogging! I look forward to writing more of these in the future for films like Wreck-It Ralph and Halloweentown, as well as Non-Disney films like Charlotte’s Web.

I recently put out a poll suggesting three Disney Renaissance films for possible review subjects, and although The Little Mermaid won that poll, this film ended up not far behind. (Thank you, @schifty-al and @mygeekcorner for your votes!) It’s one of my personal favorite Disney films of all time...The Hunchback of Notre Dame!

Victor Hugo’s classic novel Notre Dame du Paris, called The Hunchback of Notre Dame in English, seems like a very odd inspiration for a Disney animated family film, and that’s because...yeah, it is! When the Disney animators first brought Hunchback to the table, they were less inspired by the original Hugo novel glamorizing the architecture of Notre Dame cathedral, and more inspired by a graphic novel adaptation of the story, which was likewise much more influenced by the 1939 Hollywood film adaptation. Because of the historical context that 1939 adaptation was made in (premiering at Cannes during the rise of the Third Reich), themes of social justice were added to a story that originally was about how the “edifice” can outlast the flaws and sins of mankind. The “social justice” element is something that Hugo interestingly put more in his follow-up to Notre Dame du Paris, the epic brick book Les Miserables, but has since been similarly tied in the public consciousness to The Hunchback of Notre Dame, despite not existing in the original book.

The project was already an odd choice for Disney to take on thanks to the darkness of the book, but the political themes also were unique for a Disney picture as well. It clearly was a more “adult” endeavor, even though thanks to the success of previous projects like Aladdin and The Lion King, there were studio mandates demanding more comic relief, and even the marketing team was reluctant to advertise Hunchback as anything other than a family film. Rather than showing the artistry and darker scenes, the marketing almost entirely focused on the Feast of Fools and the gargoyles, highlighting the “Ugly Duckling” aspect added to the story and downplaying the more adult themes. In the end, it’s likely thanks to those poor marketing choices and the inconsistent tone of the picture that this movie failed to find its audience on first run. It only earned $21 million worldwide, compared to Pocahontas’s $29 million and The Little Mermaid’s $84 million, with mixed critical and audience reaction. Although it was nominated for an Academy Award for its music and won several others, it was noticeably less successful than other installments in the Disney Renaissance, and even now, Disney often doesn’t give Hunchback that much attention. Like Quasimodo, the film has been sort of locked up in its own tower...but now, today, I aim to bring The Hunchback of Notre Dame out of the shadows and give it the appreciation it deserves.

Our film begins in complete darkness, accompanied by resounding church bells and the amazing vocalizations of the English Opera Company, and from the very beginning, I’m just enveloped by the embrace of Alan Menken and Stephen Schwartz’s unbelievable score. Choral music in general has always been something special in my family. My mum and dad were in choirs a lot of their lives: they even first met when they joined the San Diego Master Chorale in the 80′s. Choral music remains one of my mother’s greatest loves and passions, and when I saw Hunchback, it made the choral music my parents loved so much, which focused around a faith I hadn’t been raised with and didn’t believe in, that bit more accessible to me as a child. Mum, who studied Latin in college, went on to teach me about all of the chants and phrases Menken and Schwartz added to each song so that I could more appropriately sing along. It remains one of those Disney soundtracks that cemented our close bond, and I’ll always treasure being able to see the La Jolla Playhouse production of The Hunchback of Notre Dame with my mum and getting to hear the amazing choir and instruments live.

The Bells of Notre Dame, as an opening number, cannot be matched in how it introduces us all to the story, characters, themes, and tone of the piece. In just a few minutes, the music and lyrics perfectly showcases our setting, the theme of what makes a man, the atmosphere of fear and injustice, our villain, and our hero. Menken and Schwartz previously worked together on Pocahontas, but Hunchback in my opinion easily outstrips their previous collaboration. The use of church bells of all sizes to convey the solemnity, mystery, and grandeur of the cathedral at the center of the proceedings, and the clever use of Latin phrases -- it’s just unbelievable! As one example, in the sequence where Frollo (a judge in this version, as opposed to the Archdeacon) chases Quasimodo’s mother up to the stairs of Notre Dame and she pounds on the door, crying for help, the choir sings “Quantus tremor est futurus quando Judex est venturus,” which means, “What trembling is to be when the Judge comes.” And sure enough, the line comes to a horrible, horrified halt when Judge Frollo snatches the woman’s child away and throws her to the ground.

After one of the most epic musical introductions in a Disney film, we meet our sweet, gentle hero, Quasimodo, voiced by Tom Hulce, who is just such a ray of sunshine. Although I loved hearing Michael Arden as Quasimodo on stage, Tom Hulce will always be my Quasimodo. When I was a teenager, I went through a horrible “hating the world” phase where I only ever saw pain and suffering and felt not only powerless to make anything better, but worthless as well. During that time, I turned my back on a lot of the things that had brought me joy, feeling almost unable to enjoy them anymore. One of the very few exceptions, however, was this movie and especially the character of Quasimodo. When I was at my darkest points, Quasimodo never failed to bring me some light, not because he was particularly funny, but because for all of the misery in his circumstances, he never faltered in being gentle, creative, and kind. Looking back on how I’d been, I wish I’d had just a shred of Quasimodo’s grace back then. I wish I hadn’t allowed myself to fall into despair and resentment. Since I can’t go back, however, I keep Quasimodo in my mind sometimes whenever I’m going through something difficult. He’s kind of become a guardian angel of sorts to me, reminding me that my life is a precious gift and I shouldn’t take anything for granted. And really, I couldn’t do that if not for Tom Hulce and Quasimodo’s supervising animator, James Baxter. I truly am grateful to both of them for giving me a character that even now can be a symbol of everything I wish I could be.

Unfortunately along with Quasimodo, we also meet the gargoyles, Hugo, Victor, and Laverne. As a kid, I actually liked the gargoyles all right, but as an adult...yeah, they really break the mood. Badly. The worst offender is easily Hugo, which is a shame because I like Jason Alexander as a performer, but he just goes way too over-the-top-obnoxious. It would admittedly not be as bad if it were clear that the gargoyles were all in Quasimodo’s head, but Djali sees Hugo come to life at one point and they later help Quasimodo fight off the guards. I greatly prefer the way the gargoyles are handled in the stage production, where all of the saintly statues have their own voices that nonetheless reflect what Quasimodo is thinking and when Quasimodo hits his lowest point before Esmeralda’s execution, he forcefully banishes them out of his head.

Even though the comic relief is handled poorly, I certainly cannot say the same for the villain. Judge Claude Frollo is easily one of the most evil villains in Disney history. Tony Jay’s vocal performance is just chillingly resonant, commanding your attention and making you subconsciously shrink in on yourself whenever he speaks. It makes for a despicable, cold, cruel man -- the antithesis of a father, the true embodiment of a monster. Frollo is often compared to Mother Gothel from Tangled in how they both lie to, control, and emotionally abuse their charges (Quasimodo and Rapunzel, respectively), but I personally find Frollo so much worse than Gothel, because he not only cuts Quasimodo off from everyone, but he indoctrinates a gentle, kind soul like Quasimodo in his racism and intolerance against those different from him -- including Quasimodo’s own people, the Romani. Mother Gothel hoards Rapunzel away like a dragon hoarding treasure -- Frollo treats Quasimodo like a burden, beating into him that no one else would want him and that Frollo was such a “good man” to take him in. It’s just vile.

And now we come to my single favorite Disney song of all time -- Quasimodo’s aria, Out There. From the time I was little, this song spoke to me like few others did. Growing up, I was an only child with a huge imagination surrounded almost entirely by adults and who had a lot of difficulty relating to kids my age. I often liked being on my own, but it didn’t change how I often felt different and detached from the people around me, and as I got older, that feeling only increased. I moved a lot in my childhood, making it difficult for me to plant roots, and I rarely followed trends or popular norms, so I constantly stayed in the fringes of the crowd, enviously looking on at those who could fit in more easily than I could. I always tried to hide my insecurities, but they were still there, and when those insecurities took hold, I would often imagine the world being a place where I could be myself, just like Quasi does. Quasimodo’s longing to be “part of them” and lamentation of people being “heedless of the gift it is to be them” has always resonated with me, and even though it’s hard for me to sing Out There without shifting octaves, my heart swells every time I hear it.

The Captain of the Guard, Phoebus, is easily the biggest liberty that Hunchback adaptations have made with the original novel. The book version of Phoebus was more like Gaston from Beauty and the Beast than how he’s portrayed here, but I frankly have no complaints. Kevin Kline is wonderfully dry and witty in the role -- he’s more than a match for Esmeralda, being brave, noble, and sarcastic with seemingly no prejudice for those different from him. And then yeah, as for Esmeralda herself...as Phoebus says later, “what a woman!” Esmeralda was one of my very favorite Disney heroines as a kid, and she still is. The character of Esmeralda is often rather saint-like in her incarnations, but here we see both the “angelic” and “demonic” sides of her -- she’s fiery, but kind; rebellious, yet noble; anti-authority, but patient; distrustful, yet loyal. In the musical adaptation, when Esmeralda is first revealed, we hear Frollo, Phoebus, and Quasimodo sing this about her --

Frollo: She dances like the Devil!

Phoebus: She dances like an angel --

Quasimodo: An angel!

Phoebus: -- but with such fire!

Frollo: Such fire!

All Three: Who is she?

This is Esmeralda’s characterization and her relationship to the three male main characters in a nutshell. Quasimodo only sees the best of Esmeralda; Frollo only sees the worst of her; and Phoebus sees her for everything she is...as a person. And this is why she ultimately chooses Phoebus, unlike in the book where she solely chooses Phoebus because of his looks.

When we reach the Palace of Justice, I’m reminded that I have yet to accent how absolutely stunning every single background is in this movie. Yes, the animation overall is wonderful, whether in the character animation or otherwise, but there are few Disney films that have more atmospheric and beautiful backgrounds than this. It serves to give the movie such a wonderful depth and makes the setting feel that much richer and deeper. Admittedly one weaker aspect of the animation is the now-slightly-outdated CG background characters. They were made by taking a handful of templates and then mixing up their clothes and colors, so as to multiply them ad infinitum and make the crowds of Paris look bigger and more colorful. Even with that, though, you do sort of have to look carefully at the background crowds to notice, as there are lots of hand-drawn characters sprinkled in in front of those CG models that help obscure their repetition and awkwardness. Those CG crowds also make the city of Paris look appropriately overcrowded and huge, so I’m glad that they used the technology even if it was still so in-progress at the time.

Even though Topsy Turvy starts off so fun and festive, however, it soon devolves into a terrible riot where Quasimodo is bound and tormented by the crowd. I admit, the transition is a little abrupt, but it still works for me, as people can be so easily swept away by mob mentality and those in power -- namely, Frollo’s guards -- sometimes flaunt their authority by putting down others. Fortunately Esmeralda is there to save Quasimodo and give Frollo a much-deserved verbal smackdown. The following scene, though, is another example of the mismatched tone, stretching out Esmeralda’s escape with a lot of comic “hijinks” that don’t really add anything to the film and kind of serve as a big time waster, especially after it abruptly cuts off and turns much more solemn and sad as Frollo silently confronts Quasimodo and Quasi returns to Notre Dame in shame.

Hunchback’s focus on religion is, in my opinion, one of the things that made producing an adaptation of Hugo’s novel such a bold decision. I’m not a religious person at all (Agnostic and proud), but it was still really meaningful to me to see both the good and bad associated with religion, represented by the Archdeacon and Frollo respectively. Frollo, along with Pharaoh Seti from The Prince of Egypt, taught me as a kid that evil is not always self-aware and, more importantly, how much more dangerous evil is when it garbs itself in godliness and righteousness. That’s a valuable lesson, regardless of your religious faith. God Help the Outcasts may invoke God’s name, but it could just as easily be a prayer to the world, or even just to you as an individual. The Christian faith preaches that we are made in God’s image...so when Esmeralda asks God to help her people, maybe she’s in truth asking you to try to be the loving God they need.

Something unique about Hunchback is the wonderful friendship that develops between Esmeralda and Quasimodo. From the time I was very little, I made friends with both boys and girls, so it was so wonderfully refreshing to see a story where a girl and a boy became such close friends and supported each other so much. Yes, admittedly, Quasimodo is romantically interested in Esmeralda, but when he sees how much she loves Phoebus, he both accepts their relationship and treasures Esmeralda’s friendship all the same. He doesn’t wallow in bitterness upon Esmeralda not choosing him; he loves her all the same as the first real friend he’s ever had. Esmeralda truly loves Quasimodo and treasures their friendship too -- her choosing Phoebus romantically is never framed as her teasing Quasimodo or leading him on; she simply loves Phoebus and Quasimodo in different ways. And that I find so unbelievably cool. I also like that in Esmeralda’s and Quasimodo’s conversation on the roof, there are some strains of the deleted song Someday in the instrumental accompanying the scene -- you can hear a R&B variation of Someday in the film’s credits, but originally it was meant to replace the more religious God Help the Outcasts, only for God Help the Outcasts to be chosen over it. I agree with the filmmakers’ decision, but I still like Someday too. Quasimodo’s helping Esmeralda and Djali escape Notre Dame by climbing down the towers also beautifully foreshadows Quasimodo’s dexterity in climbing down to save Esmeralda at the end of the film.

Quasimodo and Frollo are both enthralled with Esmeralda, but as mentioned previously, they each only see the angelic and demonic sides of her, which is best encapsulated by the dual numbers Heaven’s Light and Hellfire. Heaven’s Light is appropriately sweet and pure, but I can’t beat around the bush here: Hellfire steals the show, not just from Heaven’s Light but from all other villain songs in Disney history. The song starts with a choral chant praying for forgiveness, which then segways into Frollo’s demented, mad raving about his lust, fear, and hatred for Esmeralda. The words are almost terrifying in their level of conviction and paranoia, which then devolves into vindictive, destructive mania, framed by the mournful echoes for “mercy” from the choir.

Right after Hellfire, we get one of my favorite instrumentals on the soundtrack called Paris Burning. The choir’s bustling, dramatic cries trimmed by the tense strings and horns of the orchestra just evokes fear and horror as Frollo terrorizes Paris. Then Phoebus finally takes a stand, refusing to set fire to the miller’s house and then, after Frollo does it himself, leaping in to save the family from the flames. In the musical, this whole sequence is accompanied by the amazing musical number Esmeralda (which honestly, every fan of this movie should listen to, it’s really worth it), but the film handles it unbelievably well with only a short scene and an instrumental that sears the final “Kyrie Eleison” into the audience’s ears like a fire brand.

Sadly, after this amazing, epic sequence, we once again are subjected to tonal whiplash when we return to the bell tower and the gargoyles decide to sing Quasimodo a song to cheer him up. Although I maintain Hunchback has one of the best soundtracks ever recorded, what stops it from being flawless is this song. A Guy Like You is not an inherently bad song on its own, but when combined with the rest of the soundtrack, its melody, tone, and out-of-place pop cultural references are just ridiculously jarring. It’s like we’ve been transported into a completely different movie, one less inspired by a classic French novel and a critically acclaimed film about social justice and one more inspired by Disney hits of the day like Aladdin and later projects like Hercules. As sad as it is, it’s kind of a relief when it’s over and we’re brought back down to earth by Esmeralda carrying a close-to-death Phoebus into Quasimodo’s tower.

Frollo’s arrival after Quasimodo agrees to hide Phoebus is excellent in its suspense. We can sense Frollo’s suspicion, and all the while, we’re so worried for Phoebus hiding under the very table he and Quasimodo are sitting at. Then Frollo, who we’ve only ever seen as cold, conniving, and controlled, bursts into a rage the kind of which we’ve never seen before, and for a second, he’s a demon himself. After his rage is spent, he sets his cruelest, most terrible trap yet: using Quasimodo’s feelings for Esmeralda so that he can capture her and the rest of the Romani. And at first, Quasimodo almost doesn’t take the bait, thanks to a short-lived pang of self-pity. At first he’s bitter about his heart being broken and considers not helping Esmeralda, as there’d seemingly be no “reward” in him doing so...but the feeling is quelled in seconds by the memory of Esmeralda and how much her friendship means to him. Quasimodo’s selflessness and goodness wins out in its struggle with his more selfish instincts...and this, in the end, is what makes Quasimodo a hero in my eyes.

All right, I guess with our entrance into the Court of Miracles, I should address the elephant in the room. I’ve called Esmeralda’s people “the Romani” in this review, but throughout the entire film, the term is substituted for the admittedly-period-appropriate slur “Gypsy.” I knew nothing about the Romani culture when I first saw this film and I profess no intimate knowledge of it now, but even with that, I have to acknowledge that this movie doesn’t always showcase the Romani in the best light. Although Quasimodo’s parents, Esmeralda, and (to a degree) Clopin are given relative sympathy, the sequence in the Court of Miracles doesn’t do much to endear them to the audience. These victims of persecution are not really given the focus they deserve: we never learn much about their culture or about why they’re persecuted, and we don’t really get to see how they live their lives as ordinary people. To someone who doesn’t know anything about the Romani, I don’t think this film would be the best introduction to their culture and heritage.

Our climax is accompanied by the best instrumental track in the film, Sanctuary! Whenever I hear this piece, I have to stay completely silent, drinking in every single line and note, so as to properly absorb its brilliance. The track has accompanied a lot of my writing in the past: it’s always helped me when I was writing a powerful, emotional climax, whether through the emotion it wrought from me or just from wanting to write a new scene to the music. This entire sequence, from a musical, writing, animation, and character point of view, is I think what made Disney decide to make this film in the first place. The pacing -- the character animation of Quasimodo tearing down the pillars -- the drawn backgrounds of Notre Dame -- the camera whirling over the never-ending crowd’s heads and up onto the cathedral as Quasimodo hoists Esmeralda over his head -- this is the heart of why the movie was made and what the entire film was building up to. This resistance against injustice and the protection of our sacred, historical institutions from hatred and cruelty is what Hunchback is and should be all about. Occasionally this battle scene is inter-spliced with comic bits that once again aren’t really necessary and kind of stick out (Laverne’s Wizard of Oz reference and Hugo’s impression of a fighter plane in particular are out of place), but it doesn’t ruin anything for me. Fortunately as the climax grows darker with the arrival of Frollo and the transition from Sanctuary! into And He Shall Smite the Wicked, the gargoyles take a backseat, and we get focus where we should’ve always had it: on Quasimodo, Esmeralda, and Frollo. Thanks to his love for his friend Esmeralda and the realization of his own self-worth, Quasimodo finally stands up to Frollo and breaks free of his poisonous influence once and for all. This line of Quasi’s has always stuck with me --

“All my life you’ve taught me the world is a dark, cruel place...but now I see the only thing dark and cruel about it is people like you!”

Even now this line is just so powerful. There was a point where all I saw of the world was its cruelties and injustices...but like Quasimodo, I’ve come to see that those cruelties are not inherent to the world or even to mankind as a whole. Humans are capable of both great evil and great good, but as long as the evil people of the world are allowed to seize control and exert their toxic influence over everyone else, the world and mankind overall will never become better. Like Quasimodo, we must stand against those who’ve embraced cruelty and hatred over acceptance and love. We must protect the brighter parts of the world that evil so wishes to snuff out. It’s a moral I think has only become more relevant and important over time.

Unlike in the book and musical, Esmeralda survives, and as much as I’ve heard people try to argue Esmeralda living is not true to the spirit of the original novel, I think it really suits the story being told and really feels just for both characters. Quasimodo deserved happiness; Esmeralda deserved happiness; and most importantly, this all the more highlights how different Quasimodo is from Frollo. Frollo says to Esmeralda, “Choose me or the fire” -- basically, if he can’t have her, he doesn’t want anyone else to...but Quasimodo doesn’t think that way. He cherishes Esmeralda and her friendship without any caveats or conditions: therefore him losing Esmeralda, whether to Phoebus or to death, doesn’t prompt him to commit suicide like he did in the novel. It’s not only a more uplifting ending, but I think a lesson in the selflessness of love, even if it’s just platonic love. And because Esmeralda loves Quasimodo just as much as a friend, she leads him out into the sun, where he finds even more of the love he deserves from the city he wished so much to belong in. Quasimodo doesn’t get the girl, but that was never what he wanted in the first place: it was merely to be accepted as he was.

The Hunchback of Notre Dame was one of the most formative films of my childhood, right up there with Beauty and the Beast, The Prince of Egypt, and Anastasia, and it remains my second favorite Disney animated film of all time. With time, I’ve seen more and more of its flaws, but those flaws don’t ruin what in the end is one of the most daring, revolutionary projects Disney Animation has ever tackled. Its artistry, from the backgrounds to the character animation, is exceptional; all of its major human characters are multi-faceted, complex, and real; its themes are eternally relevant and powerful; and its score and nearly all of its songs are just through the stratosphere in their quality. Hunchback, along with Beauty and the Beast, made me fall in love with France from afar as a child, a love affair that has only become more and more intense through the years, and Quasimodo and Esmeralda even now are so close to my heart. I wish so much to be as kind and gentle as Quasimodo and as brave and noble as Esmeralda, and I can only hope that at some point, if I ever visit Disneyland Paris, I might finally meet them. The Hunchback of Notre Dame may not have gotten the appreciation it deserved when it first came to theaters, but I’ll always be happy to hear Disney fans remembering it as fondly as I do. Who knows? Maybe someday, the world will be wiser and will give this film its time in the sun at long last.

[secretsocietiesdiary]

“Smoggy”

May 16, 2015

"WTF, WTF happened to me, WTF... Okay Eva, keep cool and try to get your shit together girl, try to remember what happened."  Eva spoke to herself as she sat on the border of the white marbled bath tube.  Some flashbacks from last night appeared to her eted, the inside of her mind was so foggy, unable to recollect anything.  She took a deep breath trying to put some relaxation as she was way too stressed.   "Maybe a black coffee will help me though." She spoke to herself as she stood up and made her way to the dining room table to find croissant, orange juice, black coffee and a variety of fruits.  A handly written note was placed there as well that Eva instantly knew who was the author.  

"I went out to buy you your favorite croissant and ordered you drinks, drink coffee first, orange juice and lot of water... you might have no memories about last night, we'll talk about that later.  Colin came to see you early in the morning but you were still sleeping soundly, and Tom sent you a bouquet of beautiful black and red roses, lucky bitch.  I got you Gabriel's number via his agent, send him a text saying you okay!! I'm at Jake's yatch and he's expecting your presence by this evening, see you baby xoxo dakota!"

Eva read every words written down on the paper later without no knowledge of what was being mentioned. She starred at the paper with some weird grimace. "What the fuck is that" she murmured to herself as she read once more the note. "Colin came while I was sleeping okay I got this one, coffee, orange juice and croissant, got it too, Tom's bouquet the hell is that and having to thank Gabriel the hell more was that." She spoke to her own mind.

Eva seized the card attached to the bouquet of red roses and read the few words. "Sadly we couldn't chat at last night's party, I hope we can meet up some day, I'll call you later, have a nice day Eva - TH"

As she read the note, fragmented flashbacks came back to her mind, she clearly remembered she was on a yatch for a party which included VIPs and Rihanna was there. Eva sat on a chair with closed eyes trying to make her brain digging deeper to find other significant details that would brung up helpful details.

"And who the heck is that guy Gabriel... Gabriel ... Angel Gabriel..." She shrugged her shoulders as she took hold of her iPhone.  The thing that mattered the most to her was to get in touch with Colin, she felt t he urge to have a conversation with him.  Her phone into her hands she composed his number that she knew by heart.

"Eva, good to hear of you, feeling any better?" Colin asked with a concerned voice, he always was concerning about Eva.  Despite of the fact they weren't in a relation anymore, they had kept a strong bond.

"Yes, thankfully I'm getting back to myself, ehm Colin listen, I'm really sorry over last night, I couldn't kept my promise." Eva shyly said.

"I came to see you this morning and you were sleeping so peacefully sleeping and your famous snoring...." Colin laughed at loud.

"What, no, that's an enormous lie, I don't snore... but you, yes you do snore ..." Eva joked back.

"Hahahaha if you want we can keep talking about it all day long but you'll never admit it!"

"Yeah whatever...did you receive the message  I sent you last night?" Eva asked biting her nails.

"Yesss, I read it this morning, my phone battery died as I totally forgot to put it on charge, really sorry about that."

"Kay, just thought you were angry at me."

"How can I be mad at someone who got sick, baby come on, I'm not that horrible though."

"Hmmm yes... As I couldn't shown up with you, let me invite you for lunch at this nice French Restaurant we used to go.. what you think?"

"Yeah, why not, sure, when, today?"

"No, not today, I think I'll stay in bed and have some sleep, you know how this Festival can be exhausting, late movies premiere, parties, after parties and so on, is it okay for you on tomorrow?"

"Yes, I know right, parties, parties and parties everywhere, and yes, tomorrow is my last day here, I'm heading back to LA to see the boys I miss them."

"Oh really, what time is your flight?" Eva asked with a tint of disappointment deep inside her bones.

"I won't travel on commercial flight, it's too disturbing and tiring, I want to go back home as soon as possible, I must check in airport at around nine."

"Aww, I understand, they are so lucky to have you as their dad, you know that, and yeah it's totally fine, as long as we having a lunch it'll suits me fine."

"Great then, I'll see you by tomorrow then, rest and drink lots of water, bye sweetie."

"Yeah, have a great day you too Colin, see you."  She said as she pressed the end call red button.

As she was about to put herself into bed her phone rang again, Dakota calling her.  Eva couldn't avoid her, she knew that.

"Yeah..." Eva said

"How are you my sweetheart?" Dakota asked.

"I was about to get to bed, to get a bit more of sleep."

"Yeah, you better cause tonight is gonna  be LIT as fuck hun... get your butt prepared up."

"I don't know if I'll come, I'm not really into the Party mood.. I think I'll take this day off from any Cannes duty."

"What, are you fucking kidding me, tonight's hottest party is organized by fuckng Diddy and Cassie you can't miss it!!!"

"No, whoever is organizing the best party I won't show up, I really need rest, please."  Eva begged..

"But your name has already been added to the list."

"Dakota, just tell them we'll catch up at another party then, I'm sure we'll get to see each other at any similar party, please please..."

"Shit, you're going to miss a lot, I swear.."

"I'll pass my turn, I'm sure there will be others superb VIP parties..."

"Yeah, it better...so I'm going to have no fun because you are not going to be next to me, that sucks...anyway, your sleep better be worthy or you'll get into troubles.. hey did you sent Gabriel a message to thank him?"

"Gabriel, yes... you've mentioned his name so many times as if he was a kind of superhero, what is the deal with that.?"

"Eva, on last night, you got drugged, don't you remember?"

"It's all blurry in my brain, I have no recalling, not joking.."

"Gabriel Macht hun, still forgot?"

[wherestoriescomefrom]

I am happily reading all your Molliarty prompts but you haven't gotten a Sherlolly? If it pleases the court: "I hate you." "Why? I'm lovely" Thank you.

I did this first because I was feeling me a little Sherlolly. The court is SO PLEASED THANK U. 

ALL MISTAKES ARE MINE. 

“I hate you.”

That was the first thing six year old Sherlock Holmes had said to Molly Hooper, the first thing that had come out of his mouth in school which was not, “I’m bored.”

“Why?” asked Molly, her eyes wide, a little surprised. “I’m lovely.”

“Who told you that?” asked Sherlock. “Parents, I’m sure. My parents tried to feed me lies, as well.”

“My parents don’t lie to me!” said Molly crossly. “Why would you hate me?”

“You were the one who got me in trouble.”

“I did not!” Molly declared.

“Who told the teachers that the frogs were out of their cages early?” demanded Sherlock.

“But – but – what if – if – someone had stepped on them?” Molly asked, baffled.

“Then we’d have had a lesson free!” said Sherlock angrily. “The plan was perfect. I had worked every probability into my calculations!”

“But don’t you want to cut up frogs?” asked Molly innocently.

“I have better things to do,” he sniffed.

****

She was trying her best to avoid the punch.

Holmes, of all people had warned her that it was spiked. She hadn’t expected it to come from him, but lately he had been considerate of her – particularly after Mendoza’s party. Molly was sure she had never seen Sherlock looking quite that angry, but it might just be her own interpretation of Sherlock. After all, she had been rather drunk – not to mention, slightly drugged.

Her heart was hurting.

She wasn’t supposed to like Holmes. She wasn’t supposed to feel like her mind would go numb if he didn’t kiss her. She wasn’t supposed to want to run her fingers through his hair, to feel her heart race every time he did an experiment with her. She wasn’t supposed to feel anything for Sherlock Holmes – she wasn’t, she was not – she would not.

They were rivals.

Oh, the school benefited from rivalry, as schools do. Awards and accolades were easy to gather when a woman was on the warpath, and Molly wasn’t on a woman. She was everyone’s tiny, cherry jumpered nightmare – a preteen girl who was determined to prove a young boy wrong.

Derision and anger were easy to find in the frustrated minds of men who were willing to always prove that they were right. Sherlock was everyone’s nightmare – a preteen adolescent of raging hormones, determined to prove a woman wrong. Molly’s pigtails hadn’t been pulled, which she found rather relieving when she had been seven. Her mother had promised her that boys who pulled her pigtails liked you, and she never fancied Holmes liking her.

When she was seven.

Besides… Holmes hadn’t pulled her pigtails, but he’d messed up her cut frogs, denounced her questions in class – he’d even tried to mess up her science projects.

She wanted to smash her head into the wall.

Her insipid crush on Sherlock Holmes was not needed. Not required. It could leave tonight, if necessary.

It hadn’t happened – not until – not until they had made that tacit agreement to solve the murder of Carl Powers. No one knew that Sherlock suspected – and Molly was the only student with unlimited lab access. And then – and then – there had been evenings, when they had – talked.

About things which weren’t related to mutual dislike. About her father. About his brother. About James Moriarty. About food – about TV, even. About shared scientific interest.

Molly couldn’t breathe. She left the party, her mind blank.

The garden was lit with fairy lights. In the yellow blur of a lost moment, stood the Byronic hero himself: Sherlock Holmes.

“Aren’t you cold?” she asked.

He puffed on his cigarette, raising his eyebrows at her.

“Right,” she muttered. Molly tightly curled up inside herself, winding her sweater around herself.

Before she could say anything, Sherlock had dropped his coat on her shoulders.

“Thanks,” she said.

“You’re thinking again,” he said.

“I cannot very well stop,” said Molly.

“Good,” he said. “You can. I wouldn’t say the same for most of these dunderheads.”

Molly narrowed her eyes at him. He was not normally so… candid. “Is everything okay?” she asked gently.

Sherlock Holmes stubbed his cigarette on the railing of the garden, flicking it away. He was wearing a plain black shirt with jeans, his curly hair on his forehead.

“You tell me,” he said.

He crowded her then – Molly backed into the railing, bending backwards to avoid being too close to him. It helped no one, and nothing – his smell invaded her nostrils, his unbelievable reality – she couldn’t breathe.

“What are you doing?” she asked.

“An experiment,” he said. His hand – on her back, carefully bringing her closer. His lips touched hers – with a kind of finesse that Molly had never experienced before. She was sure Bobby Ringwald had not managed to do whatever Sherlock’s lips were doing – pressing into her, between her top lip and bottom lip – nearly stealing something of her.

Everything about the moment was surreal.

Once Sherlock backed away, Molly’s eyes searched him.

“I hate you,” she said.

She swore he smiled. “Why? I’m lovely.”

[sassy-secret-potato-blog]

History of Carpets

In culture and figurative expressions

There are many stories about magic carpets, legendary flying carpets that can be used to transport people who are on it instantaneously or quickly to their destination. Disney's Aladdin depicts a magic carpet found by Aladdin and Abu in the Cave of Wonders while trying to find Genie's lamp. Aladdin and Jasmine ride on him to go on a ride around the world. The term "magic carpet” was first attested at 1816.

From the 16th century to the 19th century, the term "carpet" was used "...as an adjective often with a tinge of contempt, when used of men (as in carpet-knight, 1570s)", which meant a man who was associated with "...luxury, ladies' boudoirs, and drawing rooms". Rolling out the red carpet is an expression which means to welcome a guest lavishly and handsomely. In some cases, an actual red carpet is used for VIPs and celebrities to walk on, such as at the Cannes Film Festival and when foreign dignitaries are welcomed to a country. In 1820s British servant slang, to "carpet" someone means to call them for a reprimand. To be called on the carpet means to be summoned for a serious reason, typically a scolding reprimand; this usage dates from 1900. A stronger variant of this expression, to be "hauled on the carpet", implies an even sterner reprimand. Carpet bombing is a type of bombing from airplanes which developed in the 20th century in which an entire city is bombed (rather than precise strikes on military targets).

The slang expression "laugh at the carpet" means to vomit on the floor (especially a carpeted floor). The expression "on the carpet" refers to a matter which is under discussion or consideration. The term "carpet muncher" is a derogatory slang term for a lesbian; this expression is first attested in 1992. The term carpet bag, which literally refers to a suitcase made from a piece of carpet, is used in several figurative contexts. The term gained a popular usage after the American Civil War to refer to carpetbaggers, Northerners who moved to the South after the war, especially during the Reconstruction era (1865–1877).

Carpetbaggers allegedly politically manipulated and controlled former Confederate states for financial and power gains. In modern usage in the U.S., the term is sometimes used derisively to refer to a politician who runs for public office in an area where he or she does not have deep community ties, or has lived only for a short time.

In the United Kingdom, the term was adopted to refer informally to those who join a mutual organization, such as a building society, in order to force it to demutualize, that is, to convert into a joint stock company, solely for personal financial gain. Cutting the rug is a slang term for dancing which originated in 1942. The use of the term "rug" as an informal term for a "toupee" (man's wig) is theater slang from 1940. The term "sweep [something] under the rug" or "sweep [something] under the carpet" figuratively refers to situations where a person or organization is hiding something embarrassing or negative; this use was first recorded in 1953. The figurative expression "pull the rug out from under (someone)", meaning to "suddenly deprive of important support" is first attested to in 1936, in American English. A related figurative expression used centuries earlier was "cut the grass under (one's) feet", which is attested to in the 1580s. A "rugrat" or "rug-rat" is a slang term for a baby or child, first attested in 1968. The expression "snug as a bug in a rug" means "wrapped up tight, warm, and comfortable"   To "lie like a rug" means "to tell lies shamelessly". The expression "pull the rug out (from under someone)" means "to make someone or someone's plans fall through" or "to upset someone's plans".

soucre - wikipedia.org

[bongjoonhot]

The Popularity of Bong Joon Ho

Background

Bong Joon Ho is one of South Korea’s most famous directors, and has been named by Ilgan Sports as one of the five “Power People” in the Korean entertainment industry [1]. He directed films such as Memories of Murder (2003), The Host (2006), Mother (2009), Snowpiercer (2013), Okja (2017) and Parasite (2019). By analysing these six films, I will assess Bong’s popularity as a film director in both South Korean and international markets, and the possible reasons for his success.

Popularity in South Korea

Memories of Murder was a box office hit in South Korea, and was the most watched Korean film in the country in 2003 [2]. This is unsurprising, as the movie was based on South Korea’s first serial murders, which undoubtedly left deep scars in the South Korean psyche. It is possible that the film’s popularity can be attributed to the desire to archive this event in history (Jeon, 2011), as the case went unsolved for more than 30 years. However, on 18th September 2019, the Korean police identified a suspect in the murders. Thus, some buzz about the movie was generated again:

A theme that was strongly represented in both Memories of Murder and Mother is the unreliability and brutality of police forces. In Memories of Murder, Detective Cho is seen kicking the suspects and abusing his power as a police officer. He later receives symbolic retribution when his leg has to be amputated. In both films, there is a scene wherein a mentally disabled person is forced to reenact the crime. This is a common practice in South Korea, but it has been criticised for creating unfair prejudice against the defendant (Hennes, 1993).

A video of a suspect reenacting a crime in South Korea.

Mentally disabled people are made the scapegoats in the crimes due to their inability to defend themselves – in Mother, Do-joon is released, only for the police to accuse another mentally disabled person without hard evidence.

The brutality and unreliability of police forces could have resonated with the South Korean people due to events such as the Gwangju Massacre, during which troops killed hundreds of civilians. Parallels can be drawn, as in both cases, authority figures abused the people they are meant to protect.

The Host was the highest grossing film in South Korea in 2006. The film’s success can be attributed in part to its political satire, as it was based on an incident where a Korean mortician working for US forces in Korea was ordered to dispose of copious amounts of formaldehyde down the drain – an incident which understandably caused some antagonism towards the United States. The film was released when news of the incident was in the press.

Bong was embroiled in a controversy this year, when an article was released alleging that he had ordered Won Bin to touch Kim Hye Ja’s breasts during the filming of Mother without her knowledge. This article was released in June, when the #MeToo movement had gained significant traction due to the large-scale investigation of male K-pop idols, who were accused of circulating spycam porn, amongst other illicit activities. Netizens also scrutinized a past interview in which Bong made explicit comments regarding sexual imagery in his films [3].

The top voted comment on the original Korean article, titled “Director Bong Joon Ho sparks controversy for allegedly ordering actor to touch an actress’s breast during filming”. The comment received 4,572 upvotes.

Kim Hye Ja later clarified her comment, saying there was no sexual assault and apologizing to Bong and Won Bin. Netizens expressed their anger at the situation and the media, as this news marred the announcement that Parasite had clinched the Palme D’Or at the Cannes Film Festival.

Netizen’s reaction to the article that announced Kim Hye Ja’s clarification.

Thus, while netizens are unwilling to condone seemingly immoral actions by the director, they are angered by the marring of Bong’s reputation when it comes to light that the issue is a misunderstanding. After all, he is a well-respected director who has done much to place South Korea on the global stage.

International Popularity

Snowpiercer and Okja were very well-received internationally, with Snowpiercer doing well in the US, Korean and Chinese markets, and Okja receiving a four minute-long standing ovation after its screening at the Cannes Film Festival. While it can be argued that having top stars like Chris Evans, Jake Gyllenhaal and Tilda Swinton act in the above films, definitely helped to put Bong on the map in terms of a mainstream international audience, Bong’s prowess as a director is clearly exemplified in the success of Parasite, which showcased a fully Korean cast and won the Palme D’Or at this year’s Cannes Film Festival.

It can also be argued that Snowpiercer and Okja being mostly in English helped with the accessibility of both films, which is true. However, Parasite was shot entirely in Korean and was incredibly successful in the global box office, which attests to Bong’s popularity as a director in his own right.

Comments on the official trailer of Parasite on Youtube

Okja also had to overcome the bias of the audience at Cannes, some of whom boo-ed when the Netflix title card appeared on screen, as some believe that the releasing of movies primarily on streaming platforms delegitimizes their standing as cinematic works.

I believe that the success of Bong’s films in international markets may be in part due to his strongly relatable themes, such as animal rights and the ethical production of meat in Okja. In a world where plant-based substitutes for meat are becoming increasingly readily available, and the mass production of meat is taking a toll on the environment, Bong’s messaging appeals to the emotions of the audience to encourage them to make more responsible food choices.

Another theme Bong explores is class differences and social hierarchy in Snowpiercer and Parasite. In Snowpiercer, the social hierarchy is shown in the literal separation of the train cars, and how the rights of those in the tail end of the train are negligible while those at the front of the train live in luxury. Very few of the occupants of the tail end make it to the front of the train car, creating an obvious metaphor for the hardship of upward social mobility.

This juxtaposition is also apparent in the differences of the living conditions of the Kim and Park families in Parasite, and the reactions of the Park family, who literally turn their noses up in revulsion at the smell of the Kims, to show the class gap between the families.

These aren’t Korea-centric themes, and these problems are present in every society to varying degrees, which makes them understandable and appealing to an international audience.

Conclusion

In my opinion, the magic of Bong Joon Ho’s films lie in that they are understandable and relatable to a large audience. I also feel that Bong’s fame was propelled by the fact that many of his themes are topics on which people tend to have very strong opinions.

I believe that, while Bong may not have the same reach as a Hollywood director for now, he is a force to be reckoned with and has the potential to bring even more international attention to the Korean film industry. The recent award at Cannes also played a big part in placing Korean cinema on the map, and I’m sure that many people will be anticipating Bong’s next project.

  [1] Bong shared first place with Cho Yong-pil. The survey was conducted among 100 industry insiders.

[2] Memories of Murder was eventually beat by Silmido, which was released near the end of 2003. However, most of Silmido’s audience watched the movie in 2004. Source: http://www.koreanfilm.org/kfilm03.html

[3] Said Bong: “I really like narrow and long images. So when I thought about filming Snowpiercer, I was so aroused. I was going crazy over the sexual arousal. From the outside, the train is the male’s genitals and from the inside, it is the female’s genitals. The tunnel is the vagina and the train becomes the penis and when it is inside, the inside of the train then becomes the vagina. It speeds through inside the train and so I was so aroused by it.”

 References:

https://n.news.naver.com/entertain/article/241/0002960973?

http://www.koreanfilm.org/kfilm03.html

Jeon, J. J. (2011). Memories of Memories: Historicity, Nostalgia, and Archive in Bong Joon-ho's" Memories of Murder". Cinema Journal, 75-95.

http://world.kbs.co.kr/service/news_view.htm?lang=e&Seq_Code=148119

Hennes, D. B. (1993). Manufacturing evidence for trial: The prejudicial implications of videotaped crime scene reenactments. U. Pa. L. Rev., 142, 2125.

https://www.scmp.com/news/asia/east-asia/article/2172098/gwanju-apology-south-korea-sorry-rape-and-torture-committed

http://www.koreanfilm.or.kr/eng/news/boxOffice_Yearly.jsp?mode=BOXOFFICE_YEAR&selectDt=2006&category=ALL&country=ALL

http://english.chosun.com/site/data/html_dir/2006/08/11/2006081161014.html

https://news.nate.com/view/20190605n07044

https://www.koreaboo.com/news/director-bong-joon-ho-controversy-actress-breast-touch-actor-mother/

https://www.soompi.com/article/1330119wpp/kim-hye-ja-clarifies-comments-about-director-bong-joon-ho-after-controversy-says-there-was-no-sexual-assault

https://www.boxofficemojo.com/movies/?id=snowpiercer.htm

http://www.koreanfilm.or.kr/eng/news/reports.jsp?pageIndex=2&blbdComCd=601008&seq=257&mode=VIEW

https://www.boxofficemojo.com/movies/?page=intl&id=snowpiercer.htm

https://www.hollywoodreporter.com/heat-vision/okja-netflixs-cannes-premiere-gets-four-minute-standing-ovation-press-screening-snafu-1005530

https://www.screendaily.com/news/will-parasite-deliver-the-biggest-box-office-ever-of-any-palme-dor-winner-/5140228.article

https://www.theverge.com/2017/5/19/15662542/netflix-cannes-film-festival-booed-okja-premiere

https://akajustmerry.tumblr.com/post/162394406757/vegans-out-here-claiming-that-okja-is-a-pro-vegan

https://www.engadget.com/2019/09/25/impossible-burger-is-now-available-at-east-coast-grocery-stores/

https://www.israel21c.org/18-israeli-startups-that-can-improve-our-diet-and-help-save-the-planet/

https://www.koreatimes.co.kr/www/art/2019/06/689_269700.html

[supervillainproject]

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[agentsuggestion]

In culture and figurative expressions about magic carpets

There are many stories about magic carpets, legendary flying carpets that can be used to transport people who are on it instantaneously or quickly to their destination. Disney's Aladdin depicts a magic carpet found by Aladdin and Abu in the Cave of Wonders while trying to find Genie's lamp. Aladdin and Jasmine ride on him to go on a ride around the world. The term "[m]agic carpet [is] first attested [in] 1816. From the 16th century to the 19th century, the term "carpet" was used "...as an adjective often with a tinge of contempt, when used of men (as in carpet-knight, 1570s)", which meant a man who was associated with "...luxury, ladies' boudoirs, and drawing rooms". Rolling out the red carpet is an expression which means to welcome a guest lavishly and handsomely. In some cases, an actual red carpet is used for VIPs and celebrities to walk on, such as at the Cannes Film Festival and when foreign dignitaries are welcomed to a country. In 1820s British servant slang, to "carpet" someone means to call them for a reprimand.[4] To be called on the carpet means to be summoned for a serious reason, typically a scolding reprimand; this usage dates from 1900. A stronger variant of this expression, to be "hauled on the carpet", implies an even sterner reprimand. Carpet bombing is a type of bombing from airplanes which developed in the 20th century in which an entire city is bombed (rather than precise strikes on military targets). The slang expression "laugh at the carpet" means to vomit on the floor (especially a carpeted floor). The expression "on the carpet" refers to a matter which is under discussion or consideration. The term "carpet muncher" is a derogatory slang term for a lesbian; this expression is first attested in 1992. The term carpet bag, which literally refers to a suitcase made from a piece of carpet, is used in several figurative contexts. The term gained a popular usage after the American Civil War to refer to carpetbaggers, Northerners who moved to the South after the war, especially during the Reconstruction era (1865–1877). Carpetbaggers allegedly politically manipulated and controlled former Confederate states for financial and power gains. In modern usage in the U.S., the term is sometimes used derisively to refer to a politician who runs for public office in an area where he or she does not have deep community ties, or has lived only for a short time. In the United Kingdom, the term was adopted to refer informally to those who join a mutual organization, such as a building society, in order to force it to demutualize, that is, to convert into a joint stock company, solely for personal financial gain. Cutting the rug is a slang term for dancing which originated in 1942. The use of the term "rug" as an informal term for a "toupee" (man's wig) is theater slang from 1940. The term "sweep [something] under the rug" or "sweep [something] under the carpet" figuratively refers to situations where a person or organization is hiding something embarrassing or negative; this use was first recorded in 1953. The figurative expression "pull the rug out from under (someone)", meaning to "suddenly deprive of important support" is first attested to in 1936, in American English. A related figurative expression used centuries earlier was "cut the grass under (one's) feet", which is attested to in the 1580s. A "rugrat" or "rug-rat" is a slang term for a baby or child, first attested in 1968. The expression "snug as a bug in a rug" means "wrapped up tight, warm, and comfortable"   To "lie like a rug" means "to tell lies shamelessly". The expression "pull the rug out (from under someone)" means "to make someone or someone's plans fall through" or "to upset someone's plans".

soucre - wikipedia.org

[itswallstreetpr]

Who’s Stands to Win from the New Marijuana Bill? (CGC, ACB, SGMD, CURLF, TLRY)

The House Judiciary Committee approved a Bill on Wednesday that would decriminalize marijuana at the federal level. The Marijuana Opportunity Reinvestment and Expungement Act of 2019 (the “MORE Act”) passed by a wide margin, 24-10, with bipartisan support. The impact of this bill could be extraordinary for companies operating in the space.   But, for investors, it’s hard to see through the veil of hype and understand where the most important opportunities truly lie. Here’s our list of the top 4 names to have on your radar asap: Canopy Growth Corp (NYSE:CGC), Aurora Cannabis Inc (NYSE:ACB), Sugarmade, Inc. (OTCQB:SGMD), Curaleaf Holdings Inc (OTCMKTS:CURLF), and Tilray Inc (NASDAQ:TLRY).       Canopy Growth Corp (NYSE:CGC) engages in growing, possession, and sale of medical cannabis in Canada. Its products include dried flowers, oils and concentrates, softgel capsules, and hemps. It’s perhaps the biggest overall name in the space when it comes to a combination of producing and investing in the space, so it has to be near the top of any measure as far as benefitting from a shift whereby full-scale legalization in the US market is concerned. The company managed to rope in revenues totaling $90.5M in overall sales during the company's most recently reported quarterly financial data -- a figure that represents a rate of top line growth of 249.1%, as compared to year-ago data in comparable terms. In addition, the company has a strong balance sheet, with cash levels far exceeding current liabilities ($3.2B against $372.8M). According to its own materials, the company offers its products under the Tweed, Black Label, Spectrum Cannabis, DNA Genetics, Leafs By Snoop, Bedrocan Canada, CraftGrow, and Foria brand names. It also offers its products through Tweed Main Street, a single online platform that enables registered patients to purchase medicinal cannabis from various producers across various brands. In the company’s words, “Canopy Growth is a world-leading diversified cannabis and hemp company, offering distinct brands and curated cannabis varieties in dried, oil and Softgel capsule forms. From product and process innovation to market execution, Canopy Growth is driven by a passion for leadership and a commitment to building a world-class cannabis company one product, site and country at a time.” This is also one of the most geographically diversified players in the cannabis space, with operations in 12 countries across five continents. And there has been plenty of PR work here. The Company is proudly dedicated to educating healthcare practitioners, conducting robust clinical research, and furthering the public’s understanding of cannabis, and through its partly owned subsidiary, Canopy Health Innovations, has devoted millions of dollars toward cutting edge, commercializable research and IP development. Through partly owned subsidiary Canopy Rivers Corporation, the Company is providing resources and investment to new market entrants and building a portfolio of stable investments in the sector. One of its most important divestitures and strategic interests is Canopy Rivers Inc., a unique investment and operating platform structured to pursue investment opportunities in the emerging global cannabis sector. The company works collaboratively with Canopy Growth to identify strategic counterparties seeking financial and/or operating support. The company has developed an investment ecosystem of complementary cannabis operating companies that represent various segments of the value chain across the emerging cannabis sector. As the portfolio continues to develop, constituents will be provided with opportunities to work with Canopy Growth and collaborate among themselves, which the company believes will maximize value for its shareholders and foster an environment of innovation, synergy and value creation for the entire ecosystem. Canopy Growth Corp (NYSE:CGC) has suffered a bit of late, with shares of CGC taking a hit in recent action, down about -5% over the past week. But a move toward opening up the US market even further should have an obvious impact on the stock’s value.     Aurora Cannabis Inc (NYSE:ACB) is one of the most widely diversified players in the cannabis space due to its powerful strategic investments, and it clearly also deserves to be at or near the top of this list. In addition, the company has demonstrated rapid organic growth and strong execution on strategic M&A, which to date includes 15 companies – MedReleaf, CanvasRX, Peloton Pharmaceutical,  Aurora Deutschland (formerly Pedanios), H2 Biopharma, Urban Cultivator, BC Northern Lights, Larssen Greenhouses, CanniMed Therapeutics, Anandia Labs, HotHouse Consulting, Agropro, Borela, and the pending acquisition of ICC Labs. We would also note that the company has invested in and established strategic partnerships with a range of leading innovators, including: The Green Organic Dutchman Holdings Ltd. (TSX: TGOD), Radient Technologies Inc. (TSXV: RTI), Hempco Food and Fiber Inc. (TSXV: HEMP), Cann Group Ltd. (ASX: CAN), Micron Waste Technologies Inc. (CSE: MWM), Choom Holdings Inc. (CSE: CHOO), Namaste Technologies Inc. (TSXV: N), Evio Beauty Group (private), Wagner Dimas (private), CTT Pharmaceuticals (OTCC: CTTH), and Alcanna Inc. (TSX: CLIQ). However, just drilling down into its core cannabis production operations, Aurora Cannabis Enterprises Inc, trumpets itself as “one of the world’s largest and leading cannabis companies” and a licensed producer of medical cannabis pursuant to ACMPR. We would expect expansion on the way given the inflow of investment capital. But, at present, the Company operates a 55,200 square foot, state-of-the-art production facility in Mountain View County, Alberta, known as Aurora Mountain, is currently constructing a second 800,000 square foot production facility, known as “Aurora Sky”, at the Edmonton International Airport, and has acquired, and is undertaking completion of a third 40,000 square foot production facility in Pointe-Claire, Quebec, on Montreal’s West Island. The stock has suffered a bit of late, with shares of ACB taking a hit in recent action, down about -26% over the past week. Over the past month, shares of the stock have suffered from clear selling pressure, dropping by roughly -28%. Aurora Cannabis Inc (NYSE:ACB) pulled in sales of $98.9M in its last reported quarterly financials, representing top line growth of 416.7%. In addition, the company is battling some balance sheet hurdles, with cash levels struggling to keep up with current liabilities ($362M against $436.4M, respectively).     Sugarmade Inc (OTCMKTS:SGMD) is perhaps the most interesting name on this list because the company isn’t as subject to the whims of the cannabis market to the extent that cannabis is a commodity. The company engages in the supply of hydroponic and cultivation products. It expands margins for producers looking for an edge. The company recently acquired BZRTH, a leading ecommerce name in the hydroponics space. That move alone sets the company up to drive forward sales over the $37 million mark. The company just put out a shareholder letter in which it stated: “We are committed to a process that will leave Sugarmade as the single dominant publicly traded player in the hydroponics space. That process is well underway, and it involves strategic M&A activity and operational execution. A perfect example of this process is our recently closed acquisition of BZRTH. That move delivers us an ecommerce footprint and infrastructure that can’t be matched in the industry right now, including a best-in-class logistics platform and a 55k square foot fulfillment center. We are in the process of another landmark acquisition that will feed into this process with a great deal of synergy. This is a simple act of combinatorial mathematics. The big point is that we know the long-term reality: gaining dominance in hydroponics now will pay off massively down the line. That’s the axiomatic idea. And we are taking steps to realize that vision every day.” The company supplies hydroponic and indoor/outdoor cultivation products to the agricultural market sectors, including the legal cannabis cultivation, processing, and distribution sectors. The company also produces and wholesales custom printed and generic supplies, such as double poly paper cups for cold beverage; and disposable, clear, and plastic cold cups, and paper coffee cups, yogurt cups, ice cream cups, cup lids, cup sleeves, edible packaging, food containers, soup containers, plastic spoons, and other related products. After acquiring BZRTH, the Company expects the new combined entity to drive EBITDA profitability, net-positive cash flows, and top-line sales of $37 million on a forward basis. “As of today, Sugarmade is one of the largest publicly traded hydroponics companies in the world,” remarked Jimmy Chan, CEO of Sugarmade. “The most important idea we want to convey to our committed shareholders right now is that this move was not a one-off deal. It’s part of a multi-step roll-up strategy designed to create the dominant force in this market as we look ahead to a world where hydroponics becomes the difference between success and failure for producers in the rapidly growing market for hemp and hemp-related crops in North America.”   Curaleaf Holdings Inc (OTCMKTS:CURLF) is a vertically integrated cannabis player that has started to move into the hemp-based CBD space in an aggressive fashion. The stock has been outperforming the broader hemp-cannabis-cbd complex in recent action, which is notable. The company just announced that it has opened its 27th dispensary in Florida at 3631 NW Federal Highway in Jensen Beach on Friday, November 15th. According to the release, “Curaleaf has the largest cannabis dispensary footprint in the US with 50 dispensaries across the country and continues to execute on its strategy of rapid expansion in Florida. The new 4,500 square foot location is accessible to patients from the Jensen Beach area, including the communities of Jupiter, Port St. Lucie, Stuart, Port Salerno and Palm City, and will offer a full range of premium quality medical cannabis products and private consultations by meticulously trained staff.” Curaleaf Holdings Inc (OTCMKTS:CURLF) operates a large number of dispensaries, 12 cultivation sites and 9 processing sites with a focus on highly populated, limited license states, including Florida, Massachusetts, New Jersey and New York. Curaleaf, Inc. leverages its extensive research and development capabilities to distribute cannabis products in multiple formats with the highest standard for safety, effectiveness, consistent quality and customer care. Curaleaf is committed to being the industry's leading resource in education and advancement through research and advocacy. Curaleaf Inc.'s Florida operations were the first in the cannabis industry to receive the Safe Quality Food certification under the Global Food Safety Initiative, setting a new standard of excellence. It cultivates, processes, markets, and/or dispenses a range of cannabis products in various operating markets, including flower, pre-rolls and flower pods, dry-herb vaporizer cartridges, concentrates for vaporizing, concentrates for dabbing, tinctures, lozenges, capsules, and edibles. And the stock has been acting well over recent days, up something like 11% in that time. "We have been hearing from patients about the need for a full-service medical cannabis center along the Martin County and St. Lucie County coast," said Joe Lusardi, Curaleaf CEO. "Curaleaf is proud to be the first dispensary in Jensen Beach, and we look forward to serving this community." Curaleaf Holdings Inc (OTCMKTS:CURLF) managed to rope in revenues totaling $64.9M in overall sales during the company's most recently reported quarterly financial data -- a figure that represents a rate of top line growth of 0%, as compared to year-ago data in comparable terms. In addition, the company has a strong balance sheet, with cash levels far exceeding current liabilities ($140.3M against $64.1M).     Tilray Inc (NASDAQ:TLRY) engages in the research, cultivation, processing, and distribution of medical cannabis. The company offers its products in Argentina, Australia, Canada, Chile, Croatia, Cyprus, the Czech Republic, Germany, New Zealand, and South Africa. Tilray, Inc. was incorporated in 2018 and is headquartered in Nanaimo, Canada. According to the company’s IPO announcement, “Tilray, Inc., a vertically-integrated and federally-licensed cannabis cultivator, processor and distributor, today announced the pricing of its initial public offering of 9,000,000 shares of Class 2 common stock. 6,524,000 shares of Class 2 common stock will be offered in the United States and certain other countries except Canada at a price to the public of US$17.00 per share for a total offering size of US$110,908,000 and 2,476,000 shares of Class 2 common stock, which we refer to as Subordinate Voting Shares, will be offered in Canada and certain other countries except the United States at a price to the public of CAD$22.451 per share for a total offering size of CAD$55,586,200. Based on current exchange rate1, the total combined offering size is approximately US$153,000,000.00.” One of its key subsidiaries is High Park, which was launched to produce and distribute world-class cannabis brands and products for the Canadian market. Based in Toronto and led by a team with deep experience in cannabis and global consumer brands, High Park has secured the exclusive rights to produce and distribute a broad-based portfolio of cannabis brands and products in Canada, subject to applicable laws and regulations. In addition, High Park has developed new brands and products for the Canadian market. Upon the coming into force of federal legalization of cannabis for adult-use and corresponding provincial legislation, High Park anticipates fulfilling adult-use supply agreements and purchase orders in Quebec, Ontario, British Columbia, Manitoba, Nova Scotia, Prince Edward Island, Northwest Territories and Yukon on October 17, 2018. Even in light of this news, TLRY hasn't really done much of anything over the past week, with shares logging no net movement over that period. Over the past month, shares of the stock have suffered from clear selling pressure, dropping by roughly -8%. Tilray Inc (NASDAQ:TLRY) pulled in sales of $51.1M in its last reported quarterly financials, representing top line growth of 408.6%. In addition, the company is battling some balance sheet hurdles, with cash levels struggling to keep up with current liabilities ($122.4M against $130.2M, respectively). Read the full article

[silviajburke]

The G20 Beyond the Public Agenda

This post The G20 Beyond the Public Agenda appeared first on Daily Reckoning.

[Ed. Note: Jim Rickards’ latest New York Times bestseller, The Road to Ruin: The Global Elites’ Secret Plan for the Next Financial Crisis, is out now. Learn how to get your free copy – HERE. This vital book transcends rhetoric from the G20 Summit to prepare you for what you should be watching now.]

Since its beginning in 1999, the G20 had been a mere finance ministers’ meeting. But when the Panic of 2008 hit, President George W. Bush and President Nicolas Sarkozy of France were instrumental in changing the G20 to the leaders’ meeting it is today.

The Panic of 2008 was one of the greatest financial catastrophes in history. In the aftermath of the Lehman Brothers collapse in September 2008, attention turned to a previously scheduled G20 meeting of finance ministers in November.

At the time, the G7 was the leading forum for economic coordination, but China was not in the G7 and its help would be needed to bail out the global economy.

Once China was included, the door was open to other large emerging markets economies, such as India and Brazil. The guest list was expanded and the G20 leaders’ summit was born.

Leaders at the November 2008 G20 meeting in Washington DC agreed that China was in the best position to pull the world out of the financial crisis, if the Chinese consumer could be mobilized to increase global aggregate demand.

China’s GDP composition was in some ways the mirror image of the United States. Consumption was only 38 percent of the Chinese economy, compared to the towering 70 percent level of the United States.

However, this rebalancing would come entirely at China’s expense. China would have to make all of the adjustments with regard to their currency, their social safety net and twenty-five hundred years of Confucian culture, while the United States would do nothing and reap the benefits of increased net exports to a fast-growing internal Chinese market.

This was the beginning of a globalist outlook for the G20, because the group wanted the U.S. economy to rebound.

The next G20 summit was in London in April 2009. The first two G20 summits, in Washington and London, were devoted to an immediate response to the Panic of 2008 and the need to create new liquidity sources through the IMF.

Those summits were also preoccupied with plans to rein in the banks and their greed-based compensation structures, which provided grotesque rewards for short-term gains but caused the long-term destruction of trillions of dollars of global wealth.

The third G20 summit was held in Pittsburgh in September 2009. By then leaders felt that while vulnerabilities remained, enough global financial stability had returned that they could look past the immediate crisis and begin to think about ways to get the global economy moving again.

That’s when the idea for increased U.S. exports and the associated revaluation of the yuan came the fore. The Pittsburgh G20 leaders’ summit produced a breakthrough plan for the kind of rebalancing of growth that the U.S. wanted.

The International Monetary Fund, or IMF, was deputized by the G20 to act as a kind of “cop on the beat” to ensure that G20 members lived up to any related obligations.

The G20’s use of the IMF as an outsourced secretariat, research department, statistical agency and policy referee suited both organizations extremely well. It gave the G20 access to enormous expertise without its having to create and build an expert staff on its own.

For the IMF, it was like a reprieve. As late as 2006, many international monetary experts seriously questioned the purpose and continued existence of the IMF.

With the elimination of gold, the rise of floating exchange rates, and the piling up of huge surpluses by developing countries, the IMF entered the twenty-first century with no discernable mission.

Suddenly the G20 breathed new life into the IMF by positioning it as a kind of Bank of the G20 or world central bank.

The IMF did conduct extensive reviews of the practices of each country under the heading “mutual assessment,” and continued allegiance to the framework was paid in the G20 communiqués, but the ambitious goals of rebalancing were essentially ignored, especially by China.

Inside the G20 structure, China and the United States were engaged in a global game of chicken. China was sticking to its export model and the United States was trying to inflate away China’s export cost advantage.

The G20 was supposed to provide a forum to coordinate global economic policies, but it was starting to look more like a playground with two bullies daring everyone else to choose sides.

In February 2011, the G20 ministers and governors met in Paris and agreed in principle on what factors might be included as “indicators,” but they did not yet agree on exactly what level of each indicator might be tolerated, or not, within the indicative guidelines.

That quantification process was left for a subsequent meeting in April and the entire process was left up to the final approval of the G20 leaders themselves at the annual meeting, in Cannes in November 2011.

Meanwhile, the empowerment of the IMF as the watchdog of the G20 continued. In a March 2011 conference in Nanjing, China, attended by experts and economists, G20 president Nicolas Sarkozy said, with regard to balance of payments, “Greater supervision by the IMF appears indispensable.”

The IMF was capable of good technical analysis and was useful as a referee of whatever policies the G20 could agree on. But IMF governance was heavily weighted to the old trilateral model of North America, Japan and Western Europe.

Its influence was resented in the emerging markets powerhouses such as China, India, Brazil and Indonesia. The IMF was useful, but needed to conform to new global realities.

In late 2008 and early 2009, the G20 was able to coordinate policy effectively because the members were united by fear. The collapse of capital markets, world trade, industrial output and employment had been so catastrophic as to force a consensus on bailouts, stimulus and new forms of regulation on banks.

By 2011, it appeared the storm had passed and the G20 members were back to their individual agendas — continued large surpluses for China and Germany and continued efforts by the United States to undermine the dollar to reverse those surpluses and help U.S. exports.

The G20 summit meetings are a blend of a common agenda discussed by all the member nations, and a series of private bilateral and multilateral meetings on the sidelines.

The private agendas are more interesting and ultimately more important than the common agenda. In effect, leaders consider G20 meetings a rare opportunity to do business on a face-to-face basis with multiple peers without the hype and expectations that come with pre-planned bilateral summits.

The IMF at G20

The IMF Managing Director, Christine Lagarde, is a prominent attendee at G20 summits. Her role is delicate. On the one hand, the U.S. is still the largest contributor to IMF resources and has the largest voting percentage of any member.

On the other hand, the IMF increasingly relies on China for new financing and last year added the Chinese yuan to the special drawing rights, or SDR.

Lagarde will try to adopt a friendly posture toward all of the G20 members, but there is little doubt that her sympathies lie with Europe and China rather than Russia or the U.S.

This is because Europe and China are still firmly committed to the globalist agenda of free trade and the Paris climate change agreement, whereas Russia and the U.S. are pursuing more nationalist agendas and the U.S. has recently withdrawn from the Paris agreement.

Lagarde will signal to Macron and Merkel that the IMF will continue to make financial rescue assistance available to Ukraine and Greece subject to conditionality (which in the case of Ukraine is quite loose). Lagarde will also signal to the Chinese that the IMF will be patient with China’s capital account restrictions at least for the time being.

The IMF may be based in Washington DC, but is increasingly an organization that looks to the G20 as a whole, and Europe and China in particular, for its guidance on policy and priorities.

Working Groups, and the Final Communiqué

The G20 is not passive between summits. In fact, scores of technical working groups are kept busy all year on specific tasks established by the G20 leaders. The summit meetings are a chance for these working groups to report on their progress and take instructions on new projects and priorities.

G20 projects include world taxation, elimination of cash, stricter bank regulation, climate change, anti-money laundering, and preparation for freezing the global financial system under the banner of “macroprudential policies.”

Many of these tasks are carried out by organizations that are important multilateral institutions in their own right, including the IMF, World Bank, Organization for Economic Cooperation and Development, and the Financial Action Task Force.

Some of these G20 projects have profound impacts on investors even though their technical implementation is barely understood. It was at the Brisbane, Australia G20 Summit in November 2014 that the global bank “bail-in” plan was agreed.

Prior to Brisbane, the imminent failure of a systemically important bank was understood to require a bail-out using taxpayer money to recapitalize the bank and prop up creditors, stockholders and depositors.

After Brisbane, the new rules require that bank equity be wiped out and that depositors and bondholders take “haircuts” (reduced principal on their claims) before any taxpayer money could be used to rescue the bank. In effect, stakeholders would be bailed-in and their investments wiped out before taxpayer money would be used to prop up the failing bank.

These bail-in rules from 2014 were contained in a technical report, which was listed as a hyperlink in an appendix to the G20 final communiqué. That communiqué, issued on behalf of the entire G20, tends to be a bland list of worthy goals expressed in precatory language.

The real substance of the G20’s work is contained in the appendices and technical reports where efforts at world government and world financial control are spelled out in detail.

Reading the final communiqué and examining the most important ancillary documents included in the appendix could offer a hidden G20 agenda that could affect investors and the safety of portfolios.

With bail-in rules now in place, expect to see the priorities shift toward world taxation. Even though the summits last only two days, their economic implications for investors last for years.

This summit in Hamburg will be less harmonious than prior meetings. Trump’s refusal to go along with the global elites on climate change and immigration, and Putin’s continued isolation because of Ukraine make it difficult for the G20 to issue unified policy pronouncements that carry the support of the entire group.

The dialogue from the Trump-Putin meeting at this G20 will be the most important diplomatic event of 2017.

Regards, Jim Rickards for The Daily Reckoning

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