text:
I decided to see it a second time, though, to give it a chance and to try to experience it fresh, without the shock of the various twists influencing me. Honestly, the second time, I found myself completely distracted by the gratuitous amount of destruction in the movie. The assaults on Smallville and Metropolis are so relentless (and lengthy), they make the demise of the entire planet of Krypton appear pretty tame (and short) in comparison. I left wondering if the destruction of every office building in Metropolis was really necessary to drive the story forward.
I happened to see Man of Steel a third time by accident. I had passes, so I went for it, thinking maybe another viewing would help. And believe it or not…it did. For some reason, the third time around, the movie played out as a pretty strong gay parable for me, hitting subtle, but profound notes on bullies (both childhood and adult), unexpected allies, family acceptance and pride in who you are and the tough choices we often make when our identity is in conflict with the world around us. Early in the film, Jonathan warns young Clark, "People are afraid of what they don't understand." Clark is distraught. He knows he's different, and he knows other people can sense that difference. His father hopes that by concealing his true nature, Clark will avoid the bigotry and hysteria of the world until some uncertain time, in the distant future, when he will find a more accepting audience to whom he can reveal himself.
Superman is a gay icon, perhaps more so than any other superhero (sorry, Wonder Woman). Throughout his 75-year history, he and his creators have popularized the secret identity trope and explored the isolation and danger of being "other." So many of Superman's powers are wish fulfillment fantasies for anyone who may feel weak or threatened, but for a gay kid, his strength and commitment to others are beacons of hope. I grew up in a rural community, so much smaller than Smallville, and the idea that being different could be an asset, one that could take you far away from your suffocating surroundings, was very empowering.
Jonathan's sacrifice also touched me this time around, and I forgave him, much the same way I forgave my own father upon realizing he never asked for a geeky, gay son in rural Oklahoma. He did his best (for my protection and his own), even if he didn't have all the information or insight to make the best decisions. I was also moved by Lara's and Martha's quiet dignity and strength, and even picked up on the Rowlingesque protective spell that mothers unconsciously seem to cast on their sons, even when they appear to be indestructible.
When Clark returns home, Martha tells him she used to worry about him when he was a baby. Clark says, "You worried the truth would come out," and Martha is almost offended by the idea. "No. The truth about you? You were beautiful. We saw that the moment we laid eyes on you. We knew that, one day, the whole world would see that." Unfortunately, not every gay kid can take his parent's love for granted, so when a mother declares her unconditional love to a child challenged with hiding his true identity, on the verge of "coming out," it's a powerful moment of affirmation. (I admit getting a little teary-eyed behind my 3D glasses.)
I also caught something Martha says after her house is destroyed. She rescues the family photo albums (remember photo albums?) and reassures Clark that the rest is just stuff and can be replaced. Later, when Kal and Zod are leveling Metropolis and Zod has made it clear what the stakes are, I was finally able to rationalize all the destruction. Maybe it was because it was my third viewing, but when the fate of the human race is at stake, the rest is just stuff. It can all be replaced. (Though I imagine the destruction of those Lexcorp tanker trucks is going to cause some problems in future sequels.)
Admittedly, it probably shouldn't take three viewings to come to terms with a movie, but I'm not going to apologize for being cinematically cautious. In interviews, Snyder has explained the choice to have Superman kill Zod as the "why of him not killing ever again." Even though he's 33, this is newborn Superman we're seeing. He hasn't yet figured out his superheroic code of conduct. Zod's death will haunt him, dictating the choices he makes with other villains in the future. I still hate that it happened, but maybe that's the point. Kal hates it as much as I do. Probably more.
]]>My boyfriend doesn't watch Doctor Who. He's aware that it exists, and he's been in the same room when I've watched it, but he couldn't pick a Dalek out of a lineup or tell you the name of the actor who played the 4th Doctor (or any Doctor). After watching the long-awaited finale of Series 7, "The Name of the Doctor," I wistfully informed my boyfriend that he and I had a lot in common with the Doctor and River Song.
"Which one am I?" He asked. "You're the Doctor," I said. "I'm River, because I have the curly hair."
I improvised the response, but it isn't the real reason I've drawn parallels between the ancient Time Lord and his erstwhile wife and my complicated, long-distance relationship with my boyfriend. You see, like River, I am an echo.
There is a time to live and a time to sleep. You are an echo, River, like Clara, like all of us in the end. My fault, I know. But you should have faded by now. –The Doctor
This cruel but accurate description has been a long time coming. The concept of the electronic echo (or ghosting) was introduced in River's first episode, "Silence in the Library," way back in Series 4 with David Tennant's Doctor, who describes the echo effect as "a footprint on the beach, and the tide's coming in." Throughout her tenure on the show, River has always been something of a ghost, caught out of time and place, the impossible astronaut, the child of the TARDIS. Then, in "The Name of the Doctor," she suffers perhaps the greatest of relationship indignities: the new companion knows nothing about her; the Doctor has mentioned her only in passing, nothing more. Right then, we're alerted that something has changed in her relationship dynamic with the Doctor, so far removed from that first (and final) meeting in the Library.
River, of course, didn't ask to be an echo, living on eternally in the memory banks of a super computer on an abandoned planet populated by books and carnivorous dust. If I'm an echo, though, it's because all the choices I made in the past few years have led directly to that designation. I made myself an echo, though I certainly didn't know it at the time. That was my decision. And that's when our timelines diverged.
I live for the days when I see him, but I know that every time I do he'll be one step further away. The day's coming when I'll look into that man's eyes, my Doctor, and he won't have the faintest idea who I am. And I think it's going to kill me. – River Song
When Amy explains to Rory in "The Impossible Astronaut" that the Doctor and River "never meet in the right order," it's easy to project my own feelings and experiences onto their complicated relationship. I've been thinking a lot lately about where I am in my life and my place in the lives of others. I think we all want to feel we're needed, valued, loved. But I also think we all know what it feels like when we or people we love…just…slip away, either due to time or circumstance or electronic ghosting via occasional texts and wall posts. We all know what it feels like when you're the most important person in the whole universe to someone, and then—as Robert Frost puts it—"little, less, nothing." An echo.
I don't often criticize Doctor Who, not openly, at least. I usually keep my reservations about the "timey-wimey" leaps in logic and the reliance on re-set button resolutions to myself. Despite these misgivings, however, I've always found the series to be emotionally authentic, and the frequent and shameless pulling of heartstrings and jerking of tears are hard for me to criticize, because it's all worked extremely well on me as a viewer. I have found Series 7 to be somewhat unsatisfying, though. The hiatus between the first and second parts didn't help, of course, but more than that, the illogical exit of the Ponds, the clumsy re-introductions of Clara and the abrupt and dismissive handling of River's legacy with the Doctor all felt rushed and unfulfilling to me.
I assumed, perhaps indulging in my own wishful thinking, that River and the Doctor would find some way to be together. When we were introduced to the concept of "gangers" in Series 6, I spent a lot of time speculating on how the gangers could be used to resurrect River in the physical world. It seemed perfectly logical that she could be downloaded to the goo. Why even introduce the goo if not to use it to bring River back? And if not the goo, then I just assumed the Doctor would find some way to rewrite time, defy the odds, make their long-distance, out-of-order relationship into something closer, something that works. He couldn't just destroy an entire family, shrug, then pick up yet another young companion and forget all about the Ponds and River could he?
River: How are you even doing that? I'm not really here.
Doctor: You're always here to me. I always listen. And I can always see you.
When does an echo go from being comforting and welcome to being a nuisance, a memory that grows too painful to acknowledge? A ghost who finally wears out his welcome and has to be exorcised? Ultimately, the Doctor forces River to exorcise herself. She tells him "It's hard to leave when you haven't said goodbye." Then he makes her script what she wants him to say and direct her own ending. Or maybe he was giving her the best possible parting gift: control. When you're an echo that "should have faded by now," you don't really you have a lot of control over the people you're haunting. What can a footprint on the beach really do anymore, except wait for the tide to come?
River: It's hard to leave when you haven't said goodbye.
The Doctor: Then tell me, because I don't know – how do I say it?
River: There's only one way I'd accept. If you ever loved me, say it like you're going to come back.
The Doctor: Well then. See you around, Professor River Song.
River: Till the next time, Doctor.
The Doctor: Don't wait up.
For an audio recording of this article, click the link below.
]]>Terrorism, the movie suggests, is just so much theatre. It's a show. A violent, deadly show, to be sure. Responding to terrorism is also theatre. Colonel Rhodes dons the Iron Patriot armor, and it's supposed to evoke, not just an image of patriotic might, but a narrative. We can't ban assault weapons, we're told, because criminals bent on hurting people will get guns, anyway. So, ushers check and re-check doors, to present the illusion that we've found the better solution. If the door is closed, criminals, no matter how determined, can't get in. And the circle of theatre plays on.
This sort of Barnum-esque theatrical quagmire is a somewhat nihilistic view for a Marvel superhero movie, which usually forgoes the grim hopelessness of the likes of Batman for a snarkier approach. Of course, when it comes to snark, Robert Downey, Jr.'s Tony Stark is the master, and even while he succumbs to paranoia and pressure, he still manages to do it with wit and style. One of the great recurring themes in superhero mythology, though, is the struggle with identity. Who am I, really? Am I Peter Parker or am I Spider-Man? Am I Bruce Banner or am I the Hulk? In the first Iron Man movie, Stark proudly proclaims, "I am Iron Man." Now, he's not so sure. It's as if he's still trying to answer Steve Rogers' question: "Big man in a suit of armour. Take that off, what are you?"
Instead of sleep, he spends his nights in his work room, building an army of Iron Man suits. But for a movie called Iron Man, he doesn't spend much time in the actual iron. When he invites the Mandarin (Ben Kingsley) to do his worst, and the Mandarin complies, Tony is suddenly left without his usual devices, and must face his worst fears and anxieties as Tony Stark, not Iron Man.
In Iron Man 3, Shane Black (Kiss Kiss Bang Bang) takes over the directing role from Jon Favreau, who still appears as Stark's former bodyguard Happy Hogan. Black brings all his action-adventure experience to the task. He wrote Lethal Weapon and The Long Kiss Goodnight, after all, and shares writing credit here. The action is relentless, but not exhausting, and the quieter moments feel earned and appropriate, not just filler until the next explosion comes along. Speaking of explosions, the effects are near-seamless. You should know, however, that there are bombings, and people get hurt. It's not graphic, per se, but the emotional resonance, at least for me, was probably higher than it would have been before April 15.
Joining Downey, Jr. are returning allies Pepper Potts (played again with grace and intelligence by Gwyneth Paltrow) and bromance buddy Colonel James Rhodes (Don Cheadle). Ty Simpkins (Insidious) plays new ally Harley Keener, who comes to Tony's aid and shares some of the best dialogue (and attitude) in the movie with Downey, Jr.
New to the franchise for this outing is Guy Pearce as Aldrich Killian, co-inventor of Extremis, an injectable compound that can build a better body and regenerate tissue, but can also cause 3,000-degree spontaneous combustions, if not monitored properly. Pearce is a suitably malevolent mad scientist, and his brief origin story will be heartbreaking to any nerd who's ever been the butt of a joke by the popular kids. If anything, I wanted a little more origin story for him, more background about his journey from nerd to menace. His mad scientist machinations are more theatrics to feed a narrative, yes, but more details on how he got there would have crafted a more compelling character.
A superhero movie about the evils of the US government and the theatrics of politics, patriotism and terrorism may seem like an odd start to the summer blockbuster season. But when you're surrounded by theatre, from the subtle to the extreme, the most powerful thing you can do is strive to be your most authentic self. It's a compelling and relevant goal, and Downey, Jr.'s performance proves once again that Marvel's stable of flawed superheroes can still pack an emotional and psychological punch.
]]>Syfy's Being Human did something extremely risky for its third season: it went back to basics. It wisely abandoned the kind of epic "vampire government wants to rule the world" storyline that made the UK series increasingly uncomfortable to watch. (Note: If you have a small budget; just keep the stories small.) Wisely, Being Human (US) made this season all about the relationships between the characters we care about. The threats were less global, but were more personal, thus making them all the more threatening.
Conversely, the masked monster-of-the-week familiarity on Mystery, Incorporated was blown out of the water, as the series bravely scaled up the stakes to take on an evil inter-dimensional demonic force promising to "bathe the world in fire." Yes, this is Scooby-Doo we're talking about here. After three years and two splintered seasons, the Big Bad of Crystal Cove was finally unleashed in the series finale, "Come Undone." If you weren't expecting a half German parrot/half Cthulhu monstrosity, maybe you should re-read H.P. Hatecraft's Char Gar Gothakon: The Beast That Hath No Name. The Scooby Gang comes to grips with the knowledge that their whole lives have been manipulated to serve the ridiculously circuitous plans of the Entity. Would they have even been friends without the supernatural influence forcing them together?
On Being Human, Josh, Aidan and Sally face the same sort of quandary. Initially friends by circumstance, how far are they willing to go to protect one another? As Nora rails against Aidan's violent nature (um, hello, she-wolf!), Josh pleads with her to understand his bond with the vampire bad boy. As Aidan is tortured by alpha jerk Liam, he makes false confessions and faces death to protect Josh and Nora. Then, just as Sally is faced with a solitary fight for her soul with the wickedest witch of them all, Aidan and Josh leave the corporeal world to fight by her side. What are friends for, after all?
Just as Sally's goodness makes the badness go away, so too does the Scooby gang's love for one another destroy the Entity and its hold on Crystal Cove. Things are wrapped up a little less neatly with the Boston Scooby Gang in their season ender (with the Scooby-inspired title "Ruh, Roh"), as Aidan, Josh, Sally and Nora realize that even when they try to do the right thing, it just blows up in their faces. You know what they're missing? A talking dog. Though I guess that's what the werewolves are for.
Aidan's noble (but selfish) gesture in turning sickly Kenny into a vamp backfires, as the side effects of the vamp virus/wolf cure wreak hybrid havoc on the siring process. Poor Kenny looks worlds away from the teen model hybrids on Vampire Diaries, yet Aidan's familial flashbacks prevent him from offing the kid once and for all. Surely that won't come back to haunt him later.
Fred, Velma, Daphne, Shaggy and Scooby survive their battle with the Entity and return to a brighter, sunnier Crystal Cove…and a new timeline! Seems they've restarted the universe and the creepy side effects that made the Cove the "most hauntedest" place on Earth have all been erased. Will Fred go by "Fred Chiles" now? Or will he always be Fred Jones, Jr.? The gang soon realizes they've created a town without mystery, which is an alternative lifestyle they just can't tolerate. Luckily, they receive an invitation from Harlan Ellison to join him at Miskatonic University (Go, Pods!) for all the mysteries they could ever want or need.
After Josh and Nora tie the knot (while Sally's corpse moulders upstairs and Kenny's corpse transforms in the basement), Alpha Liam tracks them down and attempts to educate them on the hybrid problem. He warns them about protecting their family, and while he means just the two of them, they, of course, think of Aidan, proving once and for all that some families are born and some are made.
The Scooby Gang agrees. Even though their own families have been returned and/or restored from the Entity's grip, the only future they see is with each other. Fred leaves behind the parents he never knew. Daphne gives up her parents' sudden acceptance of her relationship with Fred. Shaggy forgoes his parents' newfound pride and joy in his many accomplishments. Even Velma steps away from new love interest Marcy. As they ride off into the sunset, the iconic gang's commitment to their own little family of misfits is clear.
When faced with another attack from an outsider, Josh, Nora, Aidan and Sally do what they do best: protect each other. Even Kenny is ultimately revealed to be a risk the Being Human family just can't afford. But just like in the world of Scooby-Doo, there's always a new mystery around the corner, and the third season of Being Human ends with a couple of quick, shocking mysteries to keep viewers guessing.
Luckily, Syfy is bringing Being Human back for a fourth season. Sadly, Cartoon Network has completed its clumsy and negligent handling of Mystery, Incorporated, unwittingly sealing its fate as a cult classic for generations to come. (Hey, Syfy! Take some of that Defiance cash and pick up Mystery, Inc!) I guess that just leaves the witches, alphas and other ne'er-do-wells of Being Human to shake their fists at the sky and proclaim they could have gotten away with it, too, if it hadn't been for those meddling…monsters.
Catch up on episodes of Being Human on Hulu and Syfy and Scooby-Doo: Mystery, Incorporated on Netflix.
]]>Artists contributing works to Dream Weaver include Abby Denson (Power Puff Girls), Philip Bonneau, Chad Sell (Manta-Man), Rogan Josh, Zach Weiner (Saturday Morning Breakfast Cereal), Tim Goldman, Spencer James Salberg, Alison Kolarik (Comic Book Afterlife), Andrew Heath, Jesse Lonergan (Joe and Azat), Bill Roundy (Bar Scrawl), David Cowles and many more.
For more information and to see select pieces of Sigourney-inspired art, visit dreamweavernyc.com.
]]>Man of Steel opens June 14. Check out the emotionally evocative trailer below.
The film-accurate figure is lovingly crafted in the image of Chris Hemsworth, highlighting a newly developed head sculpt, highly detailed costume, accessories and Thor's weapon of choice, the mighty Mjolnir. Approximately 12" (32cm) tall and with over 30 points of articulation, Thor comes with not one, not two, but THREE pairs of interchangeable hands. You always want a nice selection of hands for daily casual, formal wear or for beating the life out of your evil brother. Thor's cape is detachable, so if your Iron Man figure makes fun of him, he can ditch it before going into battle.
At $199.99, it also goes against the resolution to live within my means, but after this singular purchase, I can easily go back to all the resolutions that prohibit this sort of purchase.
This limited edition figure is available for pre-order at Sideshow Collectibles and will ship in February.
Even if DC had announced he'd be writing a Joker or Lex Luthor title, I think the reaction would have been the same, if only because Card is so vocal and active in his bigotry. (He is a board member of the National Organization of Marriage, after all. I mean, there are bigots who sit on their couches and complain about Spongebob Squarepants, and then there are bigots who go to meetings, organize potlucks and write essays from hell.) Still, there's something particularly sinister about DC putting the Man of Steel in the hands of such a rabid homophobe. Namely, Superman is better than that and deserves better than that.
Superman represents our potential for good. He is selfless, noble and just. He does the right thing, even if he must stand alone. Superman doesn't discriminate. He doesn't ask about sexual orientation before he saves someone. I've never seen him bust up a gay wedding, and I've never seen him campaign to deny equal rights to anyone. Simply put, Superman is not a bigot and should not be written by one.
It gets complicated, though, doesn't it? If Card had kept his anti-gay views to himself, we wouldn't be having this conversation. He'd be just another comic book writer. In September of 2012, a CBS News/New York Times poll revealed 51% of Americans supported marriage equality; 41% opposed; and the rest were undecided. Those 41% aren't all on an island somewhere, plotting against the LGBTQ community from afar. They're everywhere; they walk among us. They're our neighbors, classmates, coworkers. They're business owners, service providers and creators. They're actors, doctors, teachers and writers.
Is Card the first homophobe to write for Superman? Probably not. Is he the only homophobe employed by DC Comics or in the comics industry in general? Oh ho, definitely not. As time goes on, the haters will do what sexists, racists and bigots of all kinds have always done when they are left behind by the progression of society: retreat quietly and look for more subversive ways to undermine equality. For now, they're waving their signs, holding their press conferences and getting a lot of attention on cable news shows. For every bigot with a platform, though, there are more and more opposing voices. That is hopeful.
Some good might come out of this, too. Other companies may weigh their decisions to hire anti-gay activists a little more carefully in the future. Plus, with the heightened attention on this book, DC's editors will hopefully keep any potential anti-gay rhetoric or subtext in check.
Finally, I have a suggestion for a little freedom of expression of our own. Instead of just boycotting Card's Superman book, why not buy a book featuring a gay character, instead? When the book is released, take your $2.99 and pick up Earth 2, Batwoman, Teen Titans, or take your money outside DC and get X-Factor, Avengers Academy, Astonishing X-Men or Archie's Kevin Keller. Then, don't stop there. Keep buying those titles and recommend them to your friends and tell them why.
DC's decision to stand by their bigot is an insult to the LGBTQ community and everyone who supports equality for all. In time, though, I'm sure DC will take a page from their own comics and retcon their corporate bio to erase this particularly shameful moment. A relaunch of their own belief system can't come soon enough.
Click here to sign the petition to let DC know where you stand. You can also contact DC via their website and let them know (in a polite and respectful manner) that bigotry of any kind is not okay.
#6 Michael gives Windmark a nosebleed. Combine the nasty Observer's arrogant look of surprise with Michael's "bitch, please" nonchalance, and it's a delicious moment showcasing the first cracks in Windmark's stony facade.
#5 "What if I lose you, too?" When Olivia suggests she go universe-hopping in order to rescue Michael, Peter wears his heart on his sleeve and asks her the plaintive question that drew the first tears of the night. Peter's love for Olivia is on full display, but so is her legendary resolve.
#4 Fauxlivia and Lincoln Prime save the day. Season four did such a great job of making us care about the alt universe cast that it was a genuine treat to get to see them again. In addition to rocking a sassy gray streak, Fauxlivia drops everything to help out her young, desperate doppleganger. Olivia is kind of a wreck at this point, so the trust Fauxlivia and Lincoln place in her is isnpiring.
#3 Walter tells Peter about the plan. "I want to give you your life back. As a father, how could I not do that for you?" I'm not a father, but I hope that if the issue ever came up, I'd be willing and able to transport a little bald kid into the future to stop an invasion of well-dressed, but not well-meaning overlords from taking over the world. Of course, the all-male society is intriguing, and September is kind of hot (especially with eyebrows), but a father's love (and willingness to sacrifice) gave Walter and Peter a fitting resulution to their troubled relationship.
#2 The name game. Astrid has been Walter's primary care-giver for years now, and while he's shown sincere interest in her well-being before, it was nice to get a final moment for the two to appreciate each other. Astrid shares her discovery of ambered Gene with Walter, and the two reminisce for a moment, before Astrid assures Walter, as usual, that everything is going to be okay. Instead of ruining the moment, Walter realizes it might be his last chance to express himself. "It's a beautiful name," he says. "What is?" She asks. "Astrid." Not a dry eye in the house!
#1 How Olivia got her groove back. Cortexiphan me once, shame on you. Cortexiphan me four times in quick succession in the back of the neck, well, fasten your seatbelts. Windmark decides it's a good idea to put Olivia under physical and emotional distress, while threatening little Michael and shutting down any hope of her getting her own child back. Oh, Windmark, you're not as smart as you think you are. Olivia blacks out a few city blocks with a surge of power, then squashes Windmark like a bug. The crowd goes wild! If the show had a little more money, I would have liked to have seen her glow and float in the air, before using Palpatine-like lightning powers to blow Windmark into smithereens. But I'll take the squashing. Still think Michael missed an opportunity to snap his fingers in approval or utter his first words, "You go, girl."
Did you have a favorite moment in the finale, season or series? Feel free to share in the comments section below.
If you doubt the genius of Jessica, just watch the final episode of the first season. (Warning: Spoilers ahead!) Her monologue, a rarity on television to begin with, gives Constance the last word in the series, adding another layer of frailty and resolve to a character who's already developed so many different, splintered personas to manipulate and control the world (and supernatural forces) around her. When she finishes, you can't help but hit the pause button and say, "What did I just watch?"
This season wisely moved Jessica to the forefront. She's no longer the kooky neighbor commenting on events and pulling strings; she's front and center and running the show, which, in this series, is the Briarcliff Asylum, home to a diverse assortment of the mentally challenged, from innocent to guilty to simply misunderstood. In 1964, it was still common practice to put people away for all manner of eccentric or unusual behavior. Jessica's Sister Jude runs the institution with an iron fist (and an impressive assortment of paddles, canes and torture devices). If anyone from the outside comes snooping around or tries to question her authority, she'll just produce some commitment papers, lock them up and add them to her miserable menagerie.
Of course, you can't have Jessica Lange in a mental institution without letting her have a mad scene or two of her own. This is the woman who played both Frances Farmer and Blanche DuBois, after all. So, when the tables are turned on the dear Sister, and she gets a healthy dose of shock therapy herself, and since this is a Ryan (Glee) Murphy production, better clear the common room, because a musical number is inevitable.
Ordinarily, if something like this happens in a show, I'd be looking over my shoulder to see if we cleared the shark or not, but this is AHS, and Adam Levine got disemboweled before the opening credits of the first episode, so I'm inclined to accept it as it is. In fact, it's the rare musical number that works so well, establishing a time, place and state of mind, while also advancing the inner world of the character (if not the plot), that I'm actually very impressed.
But with only three episodes left, do the Briarcliff inmates have what it takes to make it to regionals?
]]>Be sure to check back every day between now and December 23 to see all the swag we've chosen for this year's guide! Happy Geekmas!
FBOTU's 12 Days of Geekmas 2011 Holiday Gift Guide is available here.
Sixty years before the events in the original Lord Of The Rings trilogy, the hobbit Bilbo Baggins (Martin Freeman) is living a quiet, secure life in Bag End until he is visited by the wizard Gandalf the Grey (Ian McKellen) and a company of 13 dwarves led by Thorin Oakenshield (Richard Armitage). Against his wishes, Biblo is recruited as the party's "burglar" in their quest to return to their mountain home of Erebor, which was invaded and claimed by the dragon Smaug. As the party travels through Middle-Earth, Bilbo proves valuable in helping the dwarves in encounters against trolls, orcs, goblins and elves. Bilbo is on his own, however, when he encounters Gollum (Andy Serkis), a deformed creature with a "precious" ring that will one day change the fate of the world.
Peter Jackson's Lord of the Rings films became the fantasy film genre's equivalents of the original Star Wars trilogy when they were released, enjoying massive worldwide box office success and overwhelmingly positive reviews. The final film in the trilogy, Return of the King, remains the only fantasy film to ever win the Oscar for Best Picture. Naturally, speculation immediately began on when the prequel (sort of) to LotR would be released. When Guillermo Del Toro bowed out of directing, Peter Jackson took up the helm, returning to the palette that created some of the most epic films of all time. With such massive expectations, anything other than a perfect hit would be disappointing, and sadly, The Hobbit: An Unexpected Journey is no perfect hit.
Taking a near-perfect hit.
By all logic, it should have been a simple, effortless win. Jackson retained the same writing team as LotR of Fran Walsh and Philippa Boyens, with the script also having input from Del Toro. Many of the same people behind the camera reprised their roles, as did many actors in front of the camera, including some who weren't even mentioned in J. R. R. Tolkein's original work. Howard Shore contributes another excellent score. Yet, the magic and wonder is not there. How could a thing like this happen?
The first mistake was made before the film was even released. Originally, BIlbo's story was to be split up into two films, but Jackson decided later to make it three. Despite any protestations from Jackson's camp, it seemed like a total cash grab since The Hobbit lacks the grandiose breadth and length of LotR and is more of a children's adventure story than epic high fantasy. The book could easily be done in less than 3 hours without sacrificing any loyalty to the source material. However, Jackson has taken copious amounts of material from other sources, such as the appendices in the LotR books and Tolkein's own writing notes to liberally pad out the running time.
And padding is all that it could be called. Radagast the Brown (Sylvester McCoy) barely gets mentioned in the book, but here he has approximately 10 minutes of screen time. The film's momentum is destroyed half-way through by an extended council meeting with Gandalf, the elf nobles Elrond (Hugo Weaving) and Galadriel (Cate Blanchette) and the wizard Saruman (Christopher Lee). Simple events are stretched to beyond their breaking point, with some scenes becoming dangerously close to tiresome before they are abruptly ended. The film seems to take forever to get off the ground, mostly due to a long, mostly unnecessary prologue narrated by an elderly Bilbo (Ian Holm) as he writes about his adventures.
Bilbo reads the latest round of script revisions.
The second mistake was filming in 48 frames per second (fps) instead of the usual 24, making it the first theatrical film to be filmed and showed (in select theaters) at 48 fps. The decision caused massive controversy at the film's preview screening, and with good reason. Jackson claims that the 48 fps, when combined with the requisite 3D, would make the audience feel a part of the action and give the film a sense of tactile realism. Unfortunately, it only makes everything look entirely false. Characters seem to move too quickly and too fluidly, and the screen is often filled with more detail than can be reasonably processed at once.
Most glaringly, the 48 fps makes the film feel cheap and small instead of grand and epic. At times it resembles a public television miniseries, other times a moderately high-end video game from 2006. The increased frame rate makes all the special effects trickery apparent and obvious, sometimes even to the point of inviting comparison to a SyFy original movie. Weapons look unquestionably plastic, as do the digital stand-ins for the characters during the action sequences. By trying to make the film look more true to life, it actually becomes the first live-action film to fall completely into the Uncanny Valley, annexing property from Final Fantasy: The Spirits Within. Most distressing, though, is the fact that awe-inspiring vistas like Rivendell and Erebor seem like little more than matte paintings.
Above: totally not a matte painting.
The biggest mistake, though, is the erratic tone and uneven pace. The film swings madly back and forth between juvenile, scatological humor and grim, violent darkness. Radagast investigates the shadowy, spectre-haunted abode of a being called the Necromancer while looking like half of his face is covered in bird droppings thanks to the nest of birds living under his hat. Later, he speeds away on a chariot led by rabbits while being chased by murderous orcs, the advanced frame rate making it seem less like a heroic distraction and more like a forgotten Benny Hill sketch. Thanks to the additional source material added to the film, it also lacks the smooth, quick flow of the book, stopping far too often to engage in superfluous side plots.
The trolls re-enact the famous campfire scene from Blazing Saddles.
For all its faults, though, The Hobbit does get a few things right. While the cast is not as perfectly formed as the LotR films, there are a number of outstanding performances, most notably Martin Freeman as Bilbo. Jackson apparently structured the entire shoot around Freeman's schedule, because he was the only one he wanted cast as Bilbo. His faith was well placed. Freeman's Bilbo comes across as a kind of everyman character, a simple man thrust into decidedly complex situations. Freeman handles Biblo's evolution from homebound busybody to hero-in-training well in carefully measured, organic steps. Richard Armitage is just as dynamic as Thorin, having an almost polar opposite road of development than Bilbo. Thorin begins the film as bitter and cynical but comes to soften as he sees Bilbo risk his life to save his company. If played directly as written, Thorin might be nothing more than an unsympathetic jackass, but Armitage gives him tremendous depth and even a unique brand of warmth.
Thorin stands his ground against a prog rock album cover.
The returning cast is all in fine form, as well, especially Ian McKellen, who clearly enjoys being able to play Gandalf again. His eyes twinkle with mischief even while they speak of a quiet but unmistakable power. McKellen gets to play up Gandalf's sarcastic, but loving humor much more here, and it helps buoy the film even when its flaws seem to drag it down. He has a great rapport with Freeman, and they play off each other very well. Cate Blanchett makes the most of her cameo, her effortless grace and charisma always a welcome presence. Andy Serkis is still great as Gollum, but his split personality is often played for laughs instead of pathos, which comes off as jarring knowing what we do of Gollum from the other films. However, the scene with Gollum and Bilbo is probably the film's biggest highlight, even if we all know how it's going to turn out.
Gollum is well-known for his cutthroat contract negotiations.
The film is entertaining enough on its own, but it's completely undone by its technical "innovation" and Jackson's seemingly mad desire to pack as much information into the films as possible, whether it's a good idea or not. While it's nice to have Jackson at the helm to give the film a distinct connection to the LotR trilogy, it also seems like nobody thought to give Jackson an editor with a titanium spine. Like another prequel trilogy that many found completely disappointing, Jackson seems to operate under the assumption that more is better, and biggest is best. What could have been a breezy, thrilling stand-alone film is instead a long, sometimes tedious, excursion. Granted, this is only the first film, and there's a good possibility that the next two films will have the energy and verve that this one lacks. As a fan of the original LotR, I have faith that Jackson can deliver the goods in the end. We just may have to wait a while. A good, long while.
But I'll take waiting a good, long while over the animated Rankin-Bass monstrosity any day. It's hard to root for a hero voiced by Orson Bean, after all.
Rating: 6 out of 10 / B-
JOHNNY M, a frequent FBOTU contributor, is alive and well and living in Mirkwood. ]]>
(NOTE: This is a review of the 2D version of the film.)
For the past 300 years, the carefree and playful Jack Frost (Chris Pine) has traveled the world using his gifts to bring fun to children via snow days and sled rides. He suddenly finds responsibility thrust upon him when he is recruited by the Guardians—North (Alec Baldwin), Tooth (Isla Fisher), Bunnymund (Hugh Jackman) and Sandy—to help them combat Pitch Black (Jude Law), who is seeking to cover the world with fear and darkness. Still seeking to find his reason for being, Jack reluctantly decides to help the Guardians protect the innocence of children everywhere. By force, if necessary.
Based on The Guardians of Childhood series by William Joyce without being an adaptation of any of them, Rise seeks to turn the typical holiday movie on its head. In case it's not clear, the Guardians are better known to us here in the real world as Santa Claus, the Tooth Fairy, the Easter Bunny and the Sandman, while Pitch Black is the Bogeyman. The result is something like an animated, fairy tale-informed version of The Avengers, where five superheroes who also happen to be cultural icons band together to fight a villain's scheme for world domination. It's not nearly as coherent, but it's just about as much fun.
In the offices of the C.L.A.U.S. Organization.
Visually, Rise is likely the most impressive thing to come out of Dreamworks' animated history. Besides its amazing fluidity and depth, it has a remarkable tactility and exaggerated realism. Nobody would ever mistake any of these characters for a live actor, but there is a distinct, constructed reality around the setting that makes the characters seem real in the context of the film. Director Peter Ramsey has also filled the frame with a remarkable level of detail, from the moisture in Jack Frost's eyes to every nook and cranny of North's base of operations. Oddly enough, though, this detail and flow can sometimes act against the film. There are a number of times when the action sequences feel chaotic despite the expert choreography of the steps. It's kind of like a sugar rush from a gourmet piece of candy. The film was clearly designed to take full advantage of 3D, and this is one of the very few times where 3D seems like a necessity.
The visual aspects of the film often show a distinct influence from Japanese animation, especially the films of Hayao Miyazaki and even those of Satoshi Kon. When Sandy gets to work, his sand flows in graceful tendrils around the heads of sleeping children, their dreams taking shape from the sand, and when a troupe of dream dinosaurs slowly and silently walk through town, it's highly reminiscent of the phantasmagoric climax of Kon's Paprika. Bunnymund's warrens are a pastel Miayazaki homage, guarded by egg-shaped golems with shifting faces resembling Aboriginal masks and populated with kodama-like eggs on tiny legs. Then, of course, there's Jack Frost himself, who has what can only be described as Square Enix hair and owes a great deal of his design to the standard anime teenager.
Jack unlocks his Ultimate Weapon.
With such a strong focus on the visuals, it's kind of disappointing that the story isn't as dynamic. While it's certainly not a bad script, it also rarely rises above standard kid movie fare. It does make good with that material, it just doesn't break any new ground. David Lindsay-Abaire's script revolves around the quest for identity, the power of memory and believing in both your own abilities and in things bigger than yourself. One of the main plot points is Jack's search for who he is, why he was chosen to be Jack Frost and what his purpose is in the world. It's a common trope to be sure, but that may be simply because it's something almost everybody can relate to, from young children to grown adults. The dialogue and the intentions are good, but the structure could use some work.
The story rarely has time to breathe during the film's breakneck pace. The action scenes are so thrilling that when the film takes a quick break to inject some story into the film, it seems at times almost unwelcome. Despite Pitch's global reach, the conflict at the center of the film simply doesn't seem as important as it thinks it is. To its credit, the film is nearly devoid of the pop culture references that can clutter up and weigh down most modern children's films (pick any moment from the Shrek series), content to let the characters' personalities speak for themselves.
The eternal struggle between Winter and Easter.
The cast is usually able to hide the film's flaws, however, through some excellent voice work that rivals some of animation's best. Chris Pine does a good job with Jack Frost, although it's a little odd at first to hear what is clearly not the voice of a teenage boy coming out of Jack's willowy frame. It's also kind of odd how Jack is as dreamy as Pine himself, his cocky attitude coming off as charming instead of annoying. Alec Baldwin is completely unrecognizable as North. North is a big, Russian, gainer bear of a daddy, his forearms tattooed with "Naughty" and "Nice." Baldwin gives him the right balance of personality and personability, intimidating but approachable. Side note: as a music geek, I appreciate his habit of using Russian composer's names as exclamations ("Shostakovich!" "Rimsy-Korsakov!"). Isla Fisher's Tooth is hyper but controlled, a perfect match to the character's hummingbird-like design. Sandy is sometimes the most expressive Guardian even though he communicates solely through sand pictures above his head and never speaks.
Don't mess with Saint Nick. Ever.
The best performances, however, come from Hugh Jackman and Jude Law. Law's Pitch Black is an amalgamation of a number of classic villains. He looks like a combination of Voldemort and Hades from Disney's Hercules, travels as a shadow like Nosferatu and has the sinister charm of none other than Lucifer himself. Law seems like he's really enjoying himself in a tasteful, restrained way. He never chews up the scenery, but he's clearly having fun. His Pitch is menacing and vicious but also oddly sympathetic in his misplaced anger at being ignored by the world. Hugh Jackman steals the show, however, as Bunnymund, who could probably best be described as the Wolverine of the Guardians. Jackman uses his natural Australian accent for the character, and while it may seem like an obvious joke to make the Easter Bunny a gruff, no-nonsense jackaroo with Hugh Jackman's voice, it's a great joke all the same. Like Law, Jackman sounds like he's having the most fun he's had in years with this role, and Bunnymund easily comes off as the most entertaining of the Guardians.
Ain't I a stinker, mate?
The film's most striking aspect may be its darkest parts. Pitch is clearly evil. To paraphrase Joss Whedon describing Angelus, he's not just angry or cranky, he's simply downright evil. In some ways, he has the same energy as Disney's finest villain, the unrepentantly wicked Malificient. He's willing to kill and seems nearly unescapable as he travels through shadows and darkness. All the characters, perhaps with the exception of Tooth, are armed to the teeth, each with a signature weapon like in a video game. North has a pair of huge sabers, Bunnymund a boomerang and easter-egg bombs, Sandman a pair of dream-sand whips, Jack has his staff and Pitch has a scythe made of shadow that has the reach of a city block. Even the cutesiest part of the film—one of Tooth's young helpers called Babytooth that attaches herself to Jack—easily manages to avoid being cloying or pandering. The film was clearly put together with a more mature mindset than most, which helps make its deficiencies forgivable if not forgettable.
In the hall of the Nightmare King.
While Rise isn't destined to be a new holiday classic, and its ability as a franchise-launcher is questionable, it's a mostly well-crafted film with an excellent cast and a dizzying array of visual treats. It's a welcome change of pace from the typical animated holiday fare, and it's never less than highly enjoyable. Now if only they could make a spin off entitled Bunnymund Beyond Thunderdome, everything would be right with the world.
Rating: 7 out of 10 / B
JOHNNY M is a frequent FBOTU contributor and brings you peace, love and big swords. ]]>
But that's not all! Contestants will be sashay-ing and shante-ing their costumed hearts out to win the fabulous Costume Catwalk grand prize: a brand new iPad mini!
Everything you love about the iPad—the beautiful screen, fast and fluid performance, FaceTime and iSight cameras, thousands of amazing apps, 10-hour battery life—is everything you'll love about the iPad mini, too. And you can hold it in one hand. It's the perfect holiday gift for yourself or a loved one. And all you've got to do to win one is put on a costume, serve your fiercest cosplay realness and wow our fabulous judges. Of course, just taking part will be rewarding enough, but a little bling at the end of the runway just adds to the fun.
About Our Judges:
Ted Abenheim has been a dedicated and influential architect in the rise and success of Prism Comics for many years. He is currently the President and Events Chair at Prism, which is a non-profit organization that promotes and encourages LGBTQ comic book artists and fans. Ted is also a major cosplay fan, and you've probably seen him as any number of DC superheroes at San Diego Comic-Con, Dragon*Con and Hard Hero social events.
Terry Blas is a Portland-based artist who has been featured in Tokyopop's Return to Labyrinth and The Power of The Dark Crystal. He's contributed illustrations to Compete Magazine, helping to promote The Ben Cohen StandUp Foundation. His clients include Ongina and Jujubee of RuPaul's Drag Race. He is the creator and artist behind the webcomic, Briar Hollow and is the host of The Gnerd Podcast.
Award-winning photographer and blogger Jeremy Lucido spends his days photographing the antics of the men of Randy Blue. He also creates and publishes the popular Starf**ker Magazine. Jeremy can also be found on the Los Angeles club scene, promoting and photographing events around the city.
Jon Macy is the author of the groundbreaking graphic novel Teleny and Camille, an adaptation of the anonymous Victorian novel of gay love attributed to Oscar Wilde and his circle of friends. Teleny and Camille won the prestigious Lambda Literary Award for gay erotica. His most recent work, Fearful Hunter, is the recipient of the 2010 Prism Comics Queer Press Grant.
Writer and musician Johnny M is best known and revered for his insightful film analysis at FanboysoftheUniverse.com, where he's gained a devoted following of movie fans and aficionados who tune in to get Johnny's opinion before buying their tickets. Johnny is also a celebrated burlesque performer and knows a thing or two about costumes, tassels and working an audience.
Our thanks to Ted, Terry, Jeremy, Jon and Johnny M for their enthusiasm and participation. FBOTU's Costume Catwalk at BENT-CON is going to be a blast!
Costume Catwalk Rules and FAQ
FBOTU's Costume Catwalk is at 5:30PM on Saturday, December 1 in the Main Room at Bent-Con. There are three main costume categories:
Cosplay Prime
Dress as your favorite comics, TV, movie or pop culture-inspired characters.
Gender-bend your favorite characters or dress as an opposite sex character. This is Bent-Con, after all. We encourage that sort of thing.
Anything Goes
Unveil your own original creation or design! Share the inner workings of your creative genius with the world.
Contestants will be judged on originality, creativity, effort and presentation. But mostly we just want you to have a good time and strut your stuff on the Catwalk!
The Costume Catwalk begins promptly at 5:30PM. To register, just visit the Fanboys of the Universe booth at the show or the ticket/information kiosk anytime before 5:00PM on Saturday, and we'll sign you up and give you all the details.
Frequently Asked Questions
Q: Is there a fee to enter the contest?
A: No. Entry is absolutely free.
Q: Can I wear the costume I'm planning to wear at the convention that day? Or does it have to be different?
A: You do not have to present a separate or different costume at the Costume Catwalk. You may wear what you've worn during the day; that's fine.
Q: How much skin can I show?
A: See the costume guidelines on the Bent-Con website. Basically, you can only show as much skin as you would on a public beach. (A public beach in Burbank.)
Q: Do I have to do a skit?
A: No! No skits. The runway is your opportunity to BE your character, show off your costume and interact with the audience and judges.
Q: Can I enter as a couple or group costume?
A: Yes, groups may present and walk the runway together. However, each member of the group will still be judged individually, and only one winner will be awarded the grand prize.
Q: Can I bring my own music?
A: No, we'll have a DJ pumping some sick tunes.
Q: I'm shy. Can I just show my costume and not do the runway?
A: Don't be intimidated by the runway. Everyone in the crowd and on the judge's panel are there to support and celebrate you. If you don't feel comfortable "working it" as your character, that's fine. Walk, do a turn, let the judges and audience see your duds, then shante away. It'll be easy, I promise.
For more information or questions, please email firstname.lastname@example.com. For more on Bent-Con, please visit bent-con.org or facebook.com/bentcon.
Bent-Con is being presented at the Burbank Marriott Hotel in Burbank, California, November 30 - December 2, 2012. Ticket pricing and convention hours are available at bent-con.org.


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subset: commoncrawl


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KYD Book Club at the Digital Writers' Festival – Luke Carman's An Elegant Young Man
by Veronica Sullivan , February 4, 2014 • Comments Off
For our February book club, Kill Your Darlings is partnering with the first Digital Writers' Festival to present a special live online event. We'll be interviewing author Luke Carman and discussing his book An Elegant Young Man (Giramondo).
The book club will be streamed live via video on the Digital Writers' Festival website, and subsequently archived on YouTube.
For a long time Western Sydney has been the political flash-point of the nation, but it has been absent from Australian literature. Luke Carman's first book of fiction is about to change all that: a collection of monologues and stories which tells it how it is on Australia's cultural frontier.
WIN: To win one of 5 copies of An Elegant Young Man thanks to Giramondo, simply register your interest via the DWF event page by Tuesday 11 February. Winners will be notified via email.
Featuring: Author Luke Carman in conversation with KYD's Online Editor Emily Laidlaw and Social Media Coordinator Veronica Sullivan.
When: Monday 24 February, 4pm-5pm.
Where: Online at http://digitalwritersfestival.com. Join the book club conversation and tweet your questions for Luke Carman with the hashtag #dwf14.


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By Tim Brown CIP Senior Analyst
The Texas Comptroller of Public Accounts released the Annual Property Tax Report for Tax Year 2009 earlier this week. The report is a bit more bare bones than in past years but includes some important information for county officials.
In 2009, local governments collected $40.0 billion in property taxes, which is 47.80 percent of all taxes collected in Texas (not counting federal taxes such as the income tax). Local sales taxes accounted for another $5.9 billion or 7.5 percent of the pot. In addition, $37.8 billion were collected in state taxes. This combination of the state sales tax and other state taxes accounted for 45.16 percent of the taxes collected in Texas.
Of course, property taxes do not tell the whole story. While property taxes are typically the most important revenue source for counties, taxes are far less important to the state. As an example of other state revenue sources, in 2009 Texas had revenue of $126.3 billion from interest and other investment income for the Economic Stabilization Fund according to the state's Annual Financial Report for the Year Ended August 31, 2009.
To a limited extent, the Annual Property Tax Report also addresses who is collecting the property taxes. As the chart shows, counties collected 16.3 percent of the total statewide property tax levy, slightly less than the 16.5 percent collected by cities. School districts continue to be the primary source of property taxes – in 2009 they collected $21.8 billion or 54.4 percent of the levy.
What the chart does not show is the year over year growth in property taxes. From 2008 to 2009, the total statewide property tax levy grew 2.7 percent. The growth in county property taxes was slightly higher at 2.9 percent. This increase was less than increases in previous years. As the Comptroller points out, the annual compound growth rate in total statewide property taxes was 6.58 percent from 1990 to 2009.
The state's population growth continued to hover around 2 percent as it has in recent years. From 2008 to 2009 there was a 1.97 percent population increase according to U. S. Census Bureau estimates.
Over the same period, inflation was held in check as prices actually declined 0.4 percent according to the U.S. Bureau of Labor Statistics' Consumer Price Index (CPI). This decrease differed greatly from previous years; annual percentage changes had ranged from an increase of 2.8 to 3.8 percent during 2005 to 2008.
If you have any comments or questions about this article, please contact Tim Brown at or call (800) 456-5974.


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I have two rooms in my home that, if the lights are left on in error, you have no way to know they're on without re-entering the rooms or by examining the wall switch position. The switches are outside the rooms. They're a walk-in safe, and the furnace room. Because they're entered so seldom, if a light is left on by mistake, it could remain on for weeks, even months.
I know there are lighted switches but they're intended to help you find the switch in the dark. I'm looking for a switch that's lighted only when it's in the on position. The light would need to be bright enough to be seen in daylight conditions. Does such a switch exit, and if so, where could I find one? I've looked on the internet and found nothing. I have neutral and ground wires in each of the switch boxes. If necessary, I could mount an additional switch box next to the light switch, and install a light in it, but I'd rather not do so as the walls are all paneled (stiles & rails) and the panels would have to be chopped up. If there's not a switch that will do, is there a light I could mount in this extra switch box? Of course, I need a solution that would comply with electrical codes. Any help would be appreciated. Thanks, Rod Betts |
Follow-Up Postings:
You want a switch with a pilot light, something like this: - http://tinyurl.com/4vav9u5 or in Decora, my personal favourite: - http://tinyurl.com/4hja2em or even better, industrial grade! - http://tinyurl.com/4e4mmd9 and yes, they all require neutrals. |
I just installed the 3-way version of the last one you linked to. It looks great and the pilot light is plenty bright. The only negative is that there is a lot of light leakage around the pilot so that when it is on, much of the top part of the paddle glows. I just converted the light in the garage to a 3-way and put the piloted switch inside so I can see if it was left on. The switches are basically back-to-back on the same wall. |
So you got the Leviton 5638? Where did you order it? I'm kind of surprised to hear that light leaks around the narrow lens; usually those heavier-duty devices are better. Does it have wire leads as in this picture? http://tinyurl.com/4aqwjxt |
Yep. Leviton 5638-2W. I ordered it through a local supply house. They were within a few dollars of the best price I could get online, but I always try to give the local guy the business if possible. The leads are as pictured in that link. Power comes into the "inside" box over 14/2. Hot to the light is pigtailed to the hot terminal on the Leviton switch and the black pilot lead. White from the light and the switch lead are connected to the neutral feed. Ground per code. |
Power returns from the garage box over the travelers in the 14/3, which connect to the 5638. I'm trying to imagine how that would work. Even after drawing the schematic, I don't see how you can feed the pilot light inside without a 4th wire in the cable to the outside 3-way switch. Maybe you could draw me a diagram. |
The garage switch is just a normal 3-way switch (no pilot). I figured since you are standing in the room with the light, a pilot would be superflouous. Since the feed to the garage light comes from the inside switch box and that box has the switch with the pilot, I am able to do all the pilot wiring without needing additional wiring. |
Since the feed to the garage light comes from the inside switch box and that box has the switch with the pilot, I am able to do all the pilot wiring without needing additional wiring. I'm sorry, but that makes no sense to me. A 3-way switch is a single pole double throw switch. Depending on the position of the garage switch, either traveler may be hot when the light is on. So, to reliably indicate the status of the garage light, you would have to bring back a conductor in parallel with the light (or the common terminal of the switch in the garage). How did you manage that with xx-3 cable? |
It makes perfect sense... if the switched feed to the light is in the same box as the power, the pilot light is simply placed in parallel with the switched hot. |
normel's got it. Here's a quick sketch. Treat "yellow" as "white" and assume the white in the 14/3 is marked appropriately. Grounds are omitted. |
Ah, I see. I assumed that you fed the garage light from the box in the garage. Guess I usually think of garages as detached by default. Now that I re-read your OP, I see "The switches are basically back-to-back on the same wall." |
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Results 1 to 5 of 9
Thread: Boy names ending in a?
Threaded View
April 21st, 2013 10:15 AM #1
Boy names ending in a?
So I noticed I like a lot of names that end in -a (Luna, Flora, Euphemia, Ezra) But the only boy names I know that end in a are Ezra and Luka (not a huge fan of Luka). Are there anymore? (Trying to expand my list)
I like "uncommon" names, I don't want to say "unique" since I would like for the name to have been heard of.
Thanks!Our Cats:
Calcifer & Mittzy
Our Dog:
Favorite Names
♥ Elsa ~ Flora ~ Luna ~ Euphemia ~ Caroline ~ Artemis
♥ Ezra ~ Severus ~ Llewellyn ~ Rory ~ Liam ~ Preston
Author Site | Tumblr | Blog | Free Printables


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Important note: Thunderbird version 3 offers many improvements over previous versions. If Thunderbird was downloaded or installed on your computer prior to December 10, 2009, please make sure to download and install version 3 before beginning setup. You can download a copy of Thunderbird for free from www.mozillamessaging.com
If you just downloaded and installed Thunderbird, the program should launch automatically once setup is complete. Otherwise, find Mozilla Thunderbird in your programs list and open it to begin.
The setup wizard will automatically start when you launch Thunderbird for the first time. If it does not, or if you want to set up a second account, in Thunderbird go to the File menu -> New -> Mail Account.
Fill in your information with your full name, your full e-mail address, and enter your password. Uncheck the Remember password box and click Continue.
Thunderbird will automatically talk to the UMD server and do the configuration for you. On the next screen, click Create Account and you're in business! Click on your Inbox to see your messages and begin sending and receiving e-mail.
If you are migrating from an older version of Thunderbird, you may see some tabs with information on what's new open up after setup is complete. Feel free to close these tabs and click on the inbox tab to view your messages.
If you don't automatically see all of your e-mail folders listed on the left-hand side, you may need to do one more thing.
Your folders should all appear in the left-hand pane in Thunderbird. You may have to click on and expand some folders to view their contents.
To learn how to customize Thunderbird, including popular requests such as adding a signature, automatically filling in the @d.umn.edu, and placing your reply at the top of a message, please visit our Thunderbird Tips, Tricks, and Features page.
If you would like assistance with Thunderbird, please contact the ITSS Help Desk at x8847, or stop by the Tech Center in Kirby Plaza 165.


text: The aim of our Science and Engineering Week (NSEW) activities is to provide pupils with opportunities to investigate the scientific and engineering principles behind a variety of science applications that have been discovered by accident. We also plan to combine this week with our popular and successful 'Dad's Day' that we have run for the last three years. The aim of these days is to encourage more men to become involved in school life. The children at our school will be applying science and engineering principles through practical activities during selected days of the NSEW. These are based on the British Science Association activity pack 'Accidental discoveries'. The project work will develop the children's creativity in investigating and applying scientific knowledge to design and make exciting models. In class pupils will study and research the science and technology behind the models then work in small teams to make them before testing them scientifically. Whilst working on the practical activities children will be organised into small teams. Each team will be mixed ability and be very inclusive. Pupils in our school enjoy working together and supporting each other.


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In June 2013, the next GEXcel research will be starting, this time dealing with issues concerning postcolonial bodies, feminist disidentifications and decolonisations. In connection to the theme, the next international Somatechnics conference will be arranged, June 17 - 19, 2013.
GEXcel news
Postcolonial bodies, Feminist Disidentifications and Decolonisations
January 07 | 0 comments
GEXcel Work in Progress reports, 2012
September 28 | 0 comments
Several new GEXcel Work in Progress reports have been published during 2012. They are all available for download from the GEXcel website:
The Swedish Research Council's investment in gender research
October 26 | 0 comments
A comment to evalatuion of the three Swedish Centres of Gender Excellence
International Conference: Gender Paradoxes in Academic and Scientific Organisation(s) – Change, Excellence and Interventions
September 07 | 0 comments
20-21 October 2011 at Örebro University, Forum House, Bio.
GEXcel evaluated
September 15 | 0 comments
September 09 | 0 comments
Conference call: Gender Paradoxes of Changing Academic and Scientific Organisation(s)
June 17 | 0 comments
GEXcel Theme 11-12, Gender Paradoxes of Changing Academic and Scientific Organisation(s), invites scholars, at all career stages, to apply for a workshop conference in October 20-21, 2011 at Örebro University, Sweden.
Subscription options
(What's this?)Affiliated Swedish and International Network on Sex Education and Critical Sexuality Studies
By Katherine Harrison on 30 Jun | 0 comments
Network "Teaching Sex. Network for critical sexuality reserch with special reference to sex education, knowledge production and knowledge dissemination", funded by the Swedish Research Council for Working Life (FAS) (2009-2011), affiliated with GEXcel Theme 4-5.
Prof. Nina Lykke (Network Director)
Swedish "Teaching Sex"-members:
Dr. Anna Adeniji, Linköping University
PhD student Alp Biricik, Linköping University
Dr. Eva Bolander, Linköping University
Dr. Anna Bredström, Linköping University
Dr. Janne Bromseth, Stockholm University
Dr. Ulrika Dahl, Södertörn University College
PhD student Eva Elmerstig, Linköping University
MD Maria Engman, Linköping University
Dr. Stina Ericsson, Växjö University
Dr. Fataneh Farahani, Stockholm University
Dr. Malena Gustavson. Lund University
Dr. Hanna Hallgren, Linköping University
PhD student Katherine Harrison, Linköping University
Prof. Jeff Hearn, Linköping University
Dr. Victoria Kalonaityte, Lund University
Dr. Pia Laskar, Stockholm University
Dr. Lena Lennerhed, Södertörn University College
Dr. Anne-Li Lindgren, Linköping University
Dr. Anna Lundberg, Linköping University
Dr. Björn Pernrud, Linköping University
Dr. Eva Reimers, Linköping University
Prof. Tiina Rosenberg, Lund University
Dr. Jens Rydström, Lund University
Dr. Helle Rydstrøm, Lund University
Prof. Bengt Sandin, Linköping University
Dr. Kerstin Sandell, Lund University
Dr. Irina Schmitt, Lund University
Dr. Katarina Swahnberg, Linköping University
Prof. Barbro Wijma, Linköping University
International "Teaching Sex"-members:
Prof. Gloria Wekker, University of Utrecht, The Netherlands
Prof. Antje Hoornscheidt, Humboldt University, Berlin, Germany
Dr. Bente Rosenbeck, University of Copenhagen, Denmark
Dr. Christa Binswanger, University of Basel, Switzerland
Dr. Kirsi Saarikangas, University of Helsinki, Finland
Dr. Anna Temkina, European University of St. Petersburg
Prof. Andrea Mayhofer, University of Basel, Switzerland
Dr. Ann Pellegrini, New York University, USA
Prof. Janice Irvine, University of Amherst, Massachussets, USA
Dr. Pinar Ilkkaracan, Bosporus University, Turkey
Prof. Lisa Downing, University of Exeter, UK
Dr. Paula Mayock, Trinity College, Dublin, Ireland


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Magnum York Property Management Ltd. has been providing quality commercial and residential condominium and rental pool management services within Calgary, Edmonton, Fort McMurray and Red Deer for over 15 years. Our experienced team of experts understand the property management and rental pool industries and use their knowledge and skills to ensure that your property is effectively and professionally managed.
With our head office in Calgary, and with first-hand experience in all of the communities in which we operate, Magnum York is able to meet your needs in a timely and efficient manner.
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Unused / unissued material -
Monza, Italy. Material centred around the death of Italian motor racing driver Alberto Ascari.
CU Alberto Ascari interviewed by Incom. Aerial view, Monza race track. Start of race. Race in progress. CU Ascari in car. Aerial view of race. Ascari winning. Ascari drinking after victory.
The damaged car at spot of crash. Flowers hide Ascari's blood. Technicians examining skid marks. Skid marks show where car overturned. VS of people examining smashed car.
(Dupe.Neg. & F.G.) Old record suggests material dates from 31/05/1955.
N.B. The Cataloguers believe that the camera operator seen in this item is the father of former Pathe employee Julian Del Guidice.


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Clear Channel Radio Expands Total Traffic Network Data Service
Detroit - Jun 8, 2010 - Clear Channel Radio's Total Traffic Network (CCTTN) and Inrix has created a traffic broadcast to include predictive traffic information called Total Traffic HD Plus, which uses HD Radio data service to deliver data.
Clear Channel says the service delivers traffic information 10 times faster than other broadcast and satellite systems. The Inrix traffic information and services includes Real-Time Traffic Flow to show real-time speeds and congestion, Predictive Traffic Flow to provide traffic forecasts and travel times based on the current traffic conditions with analysis of how conditions are expected to change over time, Traffic-influenced Key Route Travel Times to provide a snapshot of current and forecasted traffic conditions, and Fuel Prices from more than 110,000 gas stations.
JVC is the first to adopt Total Traffic HD Plus. Current Total Traffic customers include BMW, TomTom, Aston Martin, Mazda, Volvo, Garmin and Clarion. Nearly 1 million consumers use the Clear Channel Radio RDS-TMC broadcast network.
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The least likely celebrity to enter this year's Christmas sweepstakes is Faith Evans, the former Mrs. Notorious B.I.G. A Faithful Christmas (Capitol) starts with "Happy Holidays," a strong original, and although she phones in much of the subsequent material, her voice is strong enough to make the call worth taking. The same is true of Brian Wilson's What I Really Want for Christmas (Arista), but only just. Wilson first tackled the likes of "The Man With All the Toys" decades ago, and while his new arrangements are enjoyable, they seldom depart radically from previous versions. However, anyone who doesn't own any Beach Boys compilations could certainly do worse -- which brings us to Michael McDonald's Through the Many Winters (Hallmark). With a handful of exceptions, the tunes here move like Tyra Banks in a fat suit. More slow-slow-slow than ho-ho-ho.
Then again, I'd rather hear the McDonald disc on a continuous loop for the next two weeks than be subjected again to Kenny G's The Greatest Holiday Classics (Arista), a disheartening blend of timeworn ditties and new brain-killers. G, I wish people would stop buying this swill. Even The Regis Philbin Christmas Album (Hollywood), by talk-show oddball Regis Philbin, is more tolerable. The disc generally feels like the setup for a joke that never comes, but there's one significant exception: a "Rudolph the Red-Nosed Reindeer" that finds guest egomaniac Donald Trump hiring Rudy and firing Blitzen. Betcha the men of Smash Mouth understand such downsizing. A few short years away from major-label hitmaker status, they're selling their Christmas CD, The Gift of Rock, on various online sites and their own Internet base, SmashMouth.com. On the short, lively disc, they turn "Don't Believe in Christmas" and others into effective bar-band blowouts.
Diana Krall's Christmas Songs (Verve) prefers sophistication over raucousness. In lieu of Elvis (Costello) sightings, Krall tenders sumptuously jazzy renderings of numbers such as "Christmas Time Is Here" with the assistance of the Clayton/Hamilton Jazz Orchestra. Jane Monheit, a sometime Krall cohort, takes a similar approach on This Season (Epic), to lesser effect. "Sleighride" swings, but too many tracks slog. A lighter touch is demonstrated on Koch Records' re-release of guitarist Charlie Byrd's 1966 Christmas Carols for Solo Guitar. Under the supervision of ace producer Teo Macero, Byrd performs "Do You Hear What I Hear?" and more with beguiling gentleness. Nevertheless, the real jazz-reissue prize is Jimmy Smith's Christmas '64 (Verve). Smith's unparalleled Hammond B3 mastery transforms "God Rest Ye Merry Gentlemen" and additional chestnuts into soul-jazz bonanzas. Christmas has seldom been cooler.
In contrast, Kate and Anna McGarrigle's The McGarrigle Christmas Hour (Nonesuch) feels like a rootsy family sing starring an uncommonly talented clan. Rufus and Martha Wainwright (Kate's kids) and Emmylou Harris are chorus members, and their energetic renderings of traditionals and left-field selections such as "Rebel Jesus" are supplemented by liner notes that tell a sentimental Christmas tale. A Skaggs Family Christmas (Skaggs Family Records), a Ricky Skaggs-led project, is a more by-the-numbers variation on this concept, yet "Love Come Gently," et al., give off a pleasant home-and-hearth glow.
Martin Sexton's Camp Holiday (Kitchen Table), a fundraiser for a camp serving terminally ill kids, is equally relaxed, if less memorable -- a just-for-fans affair. The plucky New Grange: A Christmas Heritage (Compass) has broader appeal, thanks to the teaming of acoustic pros such as Alison Brown and former Denverite Tim O'Brien, whereas Gonna Let It Shine (M.C. Records) proves that folk icon Odetta's bottomless voice and gospel fervor is just as striking as it was back when the young Bob Dylan first name-checked her. As for Robin & Linda Williams's The First Christmas Gift (Red House), it's a welcome package that intersperses well-chosen covers with folk-friendly new material epitomized by "Shotgun Shells on a Christmas Tree." Fire when ready.
Il Divo, a pop-operatic quartet assembled by American Idol spoilsport Simon Cowell, would make an excellent target. The Christmas Collection (Columbia) waters down classical music to the point of drowning, which is made clear when the platter's compared to O Holy Night (Decca), an expanded edition of Luciano Pavarotti's holiday habit that remains ideal for rattling the rafters. Pavarotti also figures in A Christmas Nativity (Deutsche Grammophon); so do Leontyne Price, Joan Sutherland and other prominent warblers and ensembles. Nativity is perfectly listenable, as are Essential Carols: The Very Best of King's College Choir, Cambridge (Decca), a two-CD salvo, and The Baroque Christmas Album (Deutsche Grammophon), which doesn't need fixing. Even so, the season's classical classic is Original Masters -- Merry Christmas (Deutsche Grammophon), a double disc's worth of majestic fare dating from the '50s and '60s. The opening blast of Bach's "Magnificat" (stoked by conductor Karl Richter) is capable of frightening your own magnifi-cat right out of its fur.


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The Barr Fellowship is a recognition of extraordinary nonprofit leaders working in Boston. It is also an investment in their learning and connection with each other – often through travel together outside the city. In January, 2012, a group of twelve Barr Fellows, including representatives from each class, took part in one such trip to Haiti. I had the opportunity to join them and to help document the trip through images, video, and now this post.
As with trips in years past to New Orleans, Louisiana, or Chiapas, Mexico, this one was designed to give Fellows opportunities to immerse themselves in contexts of scarce resources and great challenges, where they could meet and connect with leaders of local and international groups working in various ways to bring positive change. Over a week that included the two-year anniversary of the 2010 earthquake, our itinerary exposed us to the full spectrum of life as it is now lived in Haiti..
...from the Karibe Hotel in the lovely Pétionville neighborhood of Port au Prince, which stood across a valley from tents and concrete blocks of homes clinging to steep, rubble-strewn hills...through Port au Prince proper, past the devastated Presidential Palace, and the tented camps – still home to over half a million people...to the United Nations compound for a conversation with Heiner Rosendal, the UN's Head of Civil Affairs.
...to Hotel Villa Ban-Yen, a mountain-top eco-lodge, where the peasant association, Association des Paysans de Vallue, is improving lives through education, health care, and micro-enterprise.
…to the bustling charcoal market in Archaie, which is a central hub of a trade that has reduced Haiti's forest cover to a paltry, and ecologically unsustainable 2% - a trade whose participants are literally robbing from their own future to eke out a meager living; and the reason why satellite images of the single island of Hispaniola show a lush, green Dominican Republic on one side, and a barren, brown, denuded Haiti on the other.
…to the idyllic Moulin Sur Mer, a Haitian family owned beach resort on the grounds of what was once a sugar plantation - a past preserved and on display in its museum.
…to the small village of Corail, where the flag of an independent Haiti was first raised, and a small nonprofit called Hope on a String is working to foster community and economic development through music in a town without electricity, running water, or paved roads.
…to much more than I can do justice to here.
Yet, thankfully, two Fellows have published their reflections (and more images) from the week.
Valora Washington, President and Founder of the CAYL Institute and Class of 2009 Fellow, shared her thoughts and pictures in CAYL's January newsletter.
Linda Nathan, Headmaster of the Boston Arts Academy and member of the 2007 Class, posted this piece on her school and personal blog.


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I seem to have an undying love for black and white photography and the Monika Sawicka for Tush #26 editorial spread reaffirms why I love that form of photography so much.
The shoot, called 'Upper Wildside,' is edgy, seductive, dark and sexy. It's undeniable that Polish model Monika Sawicka looks absolutely unbelievable in the spread and the photos, shot by photographer Txema Yeste, are hard to look away from.
Wearing pieces from some of the top designers in the fashion industry, such as Betsey Johnson, J. Mendel, Valentino, Jeremy Scott, Yves Saint Laurent, Burberry, and 3.1 Philip Lim, the Monika Sawicka for Tush #26 editorial shoot is a fashion lover's dream come true.
Check out the photos and you might just be inspired to add some black lipstick into your beauty routine.


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Arthur "AJ" Roux, Jr.
Arthur "AJ" Roux, Jr. of Warwick, age 55, died on September 7, 2013 from a massive, heart attack.
Born in Warwick, Rhode Island, he was the son of the late Arthur Roux, Sr. and Regina (Boss) Roux.
He is survived by his loving wife, Kathryn; his three daughters: Melissa, Joanna and Heather: his seven grandchildren: and two sisters, Marianne Kulka of Texas and Joanna Roux of Cranston, RI.
He will be remembered lovingly by a host of other family members and friends.
At AJ's request, his services will be private.


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Results 1 to 5 of 5
Hi Folks.
Recenlty I purchased Acer Aspire 3002 notebook with AMD Sempron 2800+ Processor . I have installed FC3 & XP Professional (Dual Boot) on that, now everything works fine ...
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- 04-28-2005 #1
- Join Date
- Apr 2004
- Location
- India
- Posts
- 14
FC3 & Acer Aspire 3002
Recenlty I purchased Acer Aspire 3002 notebook with AMD Sempron 2800+ Processor . I have installed FC3 & XP Professional (Dual Boot) on that, now everything works fine under Win XP. But when I switch to FC3, I can not connect to my network(LAN).
Following is my eth0 setting.
I can ping successfully to eth0, that is 192.168.1.150, but when I try to ping my gateway ip address, I get "Destination Host Unreachable" from 192.168.1.150. I am not able to understand why this is happening, initially I suspected the cable, but the same cable working fine on XP. I also tried to connect one other PC directly with my notebook using "ethernet cross cable" back-2-back, but still no success.I checked everything whatever I can, but not able to get any clue for not working.
Please help !.
- 05-05-2005 #2
Try putting this into the terminal............
- 05-22-2005 #3
- Join Date
- May 2005
- Posts
- 1
problem in fc3 and aspire 3002
hi all,
even i have acer aspire 3002 laptop. and me too finding the same problem. i tried everything but im not able to ping to any other hosts or to the gate way only in fc3. but it works fine in fc2 and winxp.
will anyone please help me in this matter.
- 05-29-2005 #4
- Join Date
- May 2005
- Posts
- 1
i will be buying the acer aspire 3002 shortly so i want to know if win xp home will autodetect all the hardware and drivers (the windows xp is licenced)
- 04-18-2006 #5
- Join Date
- Apr 2006
- Posts
- 1
From my own experience with suse 10.0 on an aspire 3002:
concerning the network interface card problem, this is probably due to the buggy acpi problem.
One solution is to simply turn off acpi in your bootoptions:
Off course, the tradeoff is that you can't use acpi.
A better, more complicated solution is to recompile the acpi.


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The Motherboard
Getting into the board, you can see we've got this really dark color scheme that we've been seeing out of ASRock lately with a very black on black setup and some silver accents sitting in a few key areas. You get a good idea of what's going on with everything, but let's move in a bit closer and work our way around the board.
Moving in closer, we can see what's going on in the expansion slot side of things with two older PCI Legacy slots, two PCIe 1x slots and three PCIe x16 slots that run x16 / x16 in a dual card setup and x16 / x8 / x8 if you opt for a three card one. I would've preferred to have seen the second card sit a little further down the board in a two card setup, but if you're using dual slot cards you will still have a single slot between the two which is better than them touching each other.
Moving across the bottom of the board, we can see all our connecters which include HD Audio, Com1, 1394 FireWire, two USB 2.0, LED Debug reader, front panel connector along with a power and reset button to round the bottom off.
Turning the corner, you can see we've got a CPU fan connector on each end with eight SATA connector ports in between them. We've got four SATA II ports that run off the Intel X79 chip which are black along with two SATA III ones that run off the same chip. The furthest two on the left are also SATA III and they run off the ASMedia ASM1042 controller.


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Nick Baughan on how data is propelling Maxus' journey
Managing growth in an agency is a nice problem to have, says Nick Baughan, managing director of WPP's Maxus, who finds surprising salvation in data.
Challenging: a means of bringing business colleagues together
Anybody in a similar position knows the challenge – how do you grow a business but retain whatever it was that got you to growth in the first place? How do you maintain a sense of cohesion?
Last September we all got on a plane and went to Portugal for a couple of days. Jamie Venerus who leads our Fiat business and has a military background dropped us all in various spots in the mountains outside Lisbon in 90-degree heat and 16 kms later we all found ourselves a bit closer together.
That's one end of the spectrum. An intervention if you like, something designed to keep us together and remind us what it is we want to be like as a business (sweaty and tired…).
Data brings us closer
At the other end is something more gradual and less tangible, but perhaps more important in keeping us close together as a business. Poor "data" has been sound-bitten to death, but most of it misses the creeping internal benefits of data as a huge cultural positive in a media agency and a real force for cohesion.
Ten years ago, when the internet was moving into the mainstream commercial space, agencies were structured on reasonably similar lines. A traditional hub and spoke based on a centralised account management and planning function and the specialisms round the sides.
It would be down to the people in the middle to make sense of what the specialists produced and provide the glue. It worked but clearly the model doesn't allow for the spokes to talk and you ended up with counter-cultural agency tribes (these are scary).
The shift from the media owner model operating in a single channel to multi-platform offerings, the exponential increase in measurability and most of all, the ensuing torrent of data, has given us an opportunity to improve. For our clients we can improve the quality of our planning, the effectiveness and efficiency of our investment decisions and our accountability.
Activation working as one
We're all on a journey, but over here in Lacon House we've made a good start by putting all our activation teams together so we have search people sat next to AV people sat next to affiliate people. This gives us an automatic advantage in output with initiatives like the leveraging of SEO opportunities in paid-for deals, the bringing together of social and TV and a real handle on content partnerships.
These aren't unique benefits to Maxus and the industry has expounded on data integration ad nauseam, but there are some lovely cultural benefits too that can get overlooked.
Think a search algorithm that picks a team Christmas lunch or a multi-discipline team that has to pile round to someone's flat on a Saturday evening to relay a twitter feed back to a creative agency to get a campaign live. Think of an agency talent competition where the entries are submitted on Vine or a tech enabled European Championship sweepstake.
And it's not just internal; some media owners are brilliant at using their own data and tech to engage. The Twitter Christmas riddle competition is now an annual fixture that creates a quite unfathomable amount of excitement here.
Of course we know the practical aim is to make all our people as "T-shaped" as possible through exposing everyone to the benefits of data and technology. The work improves, becomes more effective and more efficient. We want T-shaped people, we want data geeks, we want the new model planner, but in the meantime, it's nice that we can use data to make us Maxus people too.
Nick Baughan is managing director of WPP's Maxus
This article was first published on mediaweek.co.uk
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07SEPT – 50 Freestyle – Bronze Medal
Tucker had a great day by breaking the American Record both in the prelims as well as in the finals with a time of 24.36 claiming the bronze medal. This was a great Paralympic Games with 125+ world records broken. Great Britian were excellent hosts and did an amazing job on all levels. Tucker will be participating in the Closing Ceremonies on Sunday wearing his silver and two bronze medals. Thanks for all your support and encouragement on this journey.
1 Comment
By Dale Carter, 09/09/2012 @ 7:50 pm
Oustanding job, Tucker! Back home at RSA you have been a great inspiration to my daughter, Olivia, as well as many other swimmers and parents.
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