text:
12 Monkeys
The 100
Agent Carter
Agents of SHIELD
Babylon 5
Battlestar Galactica
Dark Matter
Doctor Who
The Expanse
Fear the Walking Dead
The Flash
Game of Thrones
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The Librarians
Jessica Jones
Once Upon A Time
Orphan Black
The Shannara Chronicles
Sleepy Hollow
Star Trek: TOS
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Star Trek: DS9
Star Trek: Voyager
Star Trek: Enterprise
The Walking Dead
Having been hired after the series moved to the SCI FI Channel, former producer/writer
Damian Kindler
is the man behind some of
Stargate SG-1
's most key episodes. It is only natural that on this year, the tenth anniversary of the series, the Web site that helped him in his research takes some time to recognize his contributions.
Damian takes us back to where it all began, in the early
Season Two
an episode which he helped bring to life. He discusses, in detail, some of his favorite and least favorite shows, bringing the character of
to life, and the final episode of
But most importantly, Damian sheds light on the up-and-coming enigma of his brainchild,
, and speaks passionately about what he hopes it will accomplish for casual viewers, dedicated
fans, and the future of online entertainment.
Beware of spoilers for
GateWorld's interview with Damian is available in MP3 audio format for easy listening, and runs a whopping 51 minutes. It is also transcribed below. You can also download the interview to your MP3 player and take GateWorld with you!
For GateWorld.net, I'm David Read, and I'm talking with Mr. Damian Kindler, writer and producer for
Stargate SG-1
and consultant for
. Damian, welcome, and thank you for being with us.
Damian Kindler:
It's a total pleasure.
Some folks don't realize you were involved all the way back in Season Two of the series. Tell us how your relationship with
first came about.
That's such an old story. My relationship with
began actually before that. I am a Toronto guy and worked on a sci fi show that's long since gone away called
Sci Factor: Chronicles of the Paranormal
. I worked on that in Season One. I worked on it basically for all four seasons, in some capacity or another, as a writer and producer. In Season One it was quite a heavy-workload of a show. At a certain point the other staff writer and I threw up our hands, pulled our hair out and said "We really need some help here." One of the writers that was on a list of writers that we liked -- at the top of that list -- was a young, promising writer named Robert Cooper.
I really liked Rob. We had met at a very early meeting when the show was being conceived. He had done some writing on shows and I had done some writing shows. It was nice to meet a guy my age with interesting sensibilities and we really got along well. This was back in 1995 or 6. I think 96. I remember calling him and begging him and saying, "We have a list of one person that we really need to come help!" So he came in for the second half of Season One [of]
Sci Factor
as a staff writer and really saved our bacon. I knew right away he was a very special talent. He wrote features and had an amazing work ethic, even back in his mid-twenties.
Damian Kindler, not long after joining the writing staff of
Sci Factor
ended his agent had arranged for him to fly out to Vancouver to pitch on this new show called
Stargate SG-1,
which was being done by the
Outer Limits
guys and it was based on the movie, and he had a neat pitch. So he went out there and literally, a few months later, he and his girlfriend-to-be-wife one day, Hillary, went out and never came back. But we stayed in touch since then. We'd become good friends.
I was working on
Sci Factor
for the next four years, had written
Earth: Final Conflict
and written
Code Name: Eternity
. I wrote all these shows.
Relic Hunter
. I was very involved in the Toronto scene. But I remember in the second season of the show Rob and I chatting. I always really loved
. I thought "This is one of the top, if not the top show in Canada." It was that, and
Outer Limits
, [which] were the one-two punch at how huge and awesome Canadian shows could be and hit the global market.
So I remember pitching ideas to Rob in Season Two. None of them quite fit with what they were doing, and that was fine. It wasn't the end of the world. I had a lot of other things on the go but it was really nice that Rob was always keen to take my pitches and present them for me. I never actually had flown out there to discuss anything with Brad or Jonathan [Glassner, co-creator of
] or any of those guys. I was just throwing them to Rob, going "What do you think about this?" "What do you think about that?"
And then to my shock and pleasant surprise he called up one day and said "By the way, we're going to give you story credit on this one" because there's a pitch that had to do with Daniel and the effects of going through the gate, and addiction, and things like that that really tied in well with another idea, "so you're going to get a story credit on it." It was the episode "Need." I was very happy about that and thrilled that my name was in some way associated with a really cool show.
Many years passed since then. Rob, being amazing at what he does, rose up through the ranks. And, might I say, very tough ranks. Brad Wright is a very, very strong taskmaster at demanding quality and discipline and great ideas. He holds everyone to the same standard he holds himself to and he's a pretty gigantic talent in his own right. So watching Rob flourish there wasn't surprising, but it was gratifying. He was a Toronto guy making it in the big. I loved watching his career from afar. We kept in contact, and if I was ever in Vancouver we'd hang out and see each other in Toronto when we could. So on and so forth.
And it all dovetailed into 2001 when I actually ended up being available to come in and pitch some ideas. I had been coming and going from L.A. to Vancouver and doing lots of work on different shows, and ended up coming in to pitch some ideas to
just at the start of Season Six when it moved from Showtime to SCI FI. [I] pitched a lot of ideas. [I] pitched four ideas, one of which was "The Other Guys" which went very well. Two of the four pitches that they really liked -- one was "The Other Guys," which was the one they commissioned me to write, and the second one, once I ended up on staff, ended up being "Cure."
It was really wonderful because I actually used GateWorld constantly in my research. Rob said "Go to GateWorld.net, they have everything." I was able to digest five seasons worth of shows and material. Of course the more I went through the synopses and the reviews that your site has, I was like, "Oh my God, every good story ever conceived by culture has been used by the show. How am I ever going to come up with something for them to use?" So when in doubt I always fall back on humor. I pitched
"The Other Guys"
which was my favorite pitch. They loved it and asked me to write it.
Damian received writing credit for "Need" when his ideas helped bring the overall concept to fruition
I came in and worked on the story with them and wrote the script. At the time I was just very happy to have gotten the call to write a script and really enjoyed the characters and process. And the day I delivered the script Rob called and offered me a Producer job, which was one of the nicer moments in my career. And that became the next five years of my life. It's just been an absolute joy, and an honor, to be part of that team. To watch it expand, to be part of the birthing of
and watching how things are done at the top level by some of the top talents of the business.
Now you had not watched
religiously before coming aboard?
No. Not at all. It's interesting. I had seen it, of course, now and then and thought it was cool. I'd been pretty open when I thought Season one was a bit stiff. Season two got better. Because I was basing a lot of my opinions of Season One I didn't really get into it. I went in there and Rob said "Here's twenty episodes to watch."
I started going through them. And halfway through I started emailing him and going "This is not the show that I remember coming out to work on. This is funny and clever; and it's got twists; and I don't know what's going to happen next; and it's smart; and Rick is funny; and Amanda's a great actor; and Chris is poignant; and who is this Michael Shanks guy; and holy cow are those effects hot." And he's writing back going "Yeah, see, it's getting better! And we've got more budget and it's a big hit." I was really going, "Wow, why was I missing the boat on watching this?"
It's pretty wild and cool. I found it a little bit more of a cool factor than --
Outer Limits
was fun and catchy and interesting. But if you didn't tweak to the story right away that was it. But at least the consistent world and mythology that was blooming in
I found pretty appealing. Once I started getting into it and investing my time and attention to it I realized why the show was a giant hit and was probably going to be around for a while.
Now, of course when I started on
Season Six
I remember Rob saying "Well welcome aboard. A lot of people have had that office that you're in." "Oh, that's nice!" The other thing he said is "This is probably, likely the last year of the show. But we're hoping to do a spin-off and so if all goes well maybe you'll get a chance to do some work on that." I said, "Look, man, I'm just glad to be sitting in this chair and typing away. This is great. This is perfect. I love it. Here we are, and I'm working with you. This is wonderful." I never, in my wildest dreams, could have said "Well, I'll just be doing this for five years."
Right. You took nothing for granted.
Nothing for granted. And I don't think anybody did. I was definitely the one in the room in the fall. We'd sit around, Joe and Paul and Rob. I was always the one going, "I don't know. I don't see why they'd cancel. I think they'll keep going." And people would go "Nah, there's no way! We can't do an eighth season!" Sure enough we'd get the call and SCI FI wanted to keep going.
They want to run them concurrently!
Yeah! Then there was the
thing. It was quite the run to see. I had front row seats for the whole thing.
There must've been "Oh, we can't do this! Forty shows?!"
David, it's interesting: there was never that. Rob and Brad were always very-much like "We can do this, and here's how." That's one of the reasons why they're so good at their jobs. They said "We're going to do this. We're going to do that."
One of Kindler's earliest pitches was the Jaffa "Cure."
I remember Brad saying to me once, "Well, one thing doing
means is I'm going to have to become 'fast' again." When you're a young writer and have got young kids at home and got to pay those bills you really bang out the scripts fast. When you're show running and there's a support system you have the luxury of saying "Well, I can deliver the script when I need to deliver it. Play with the schedule" and you can really take the time to fine-tune it.
Yeah, throttle back.
Yeah. Exactly. But Brad did. He was just writing and rewriting scripts with incredible speed. He was like a young man again. He definitely enjoyed his golf trips as a chance to recharge, and needed them desperately once the seasons end. But never was there a "Oh my God, this is impossible." It was always "Yep, bring it on." You know?
Wow. So you guys carried that on for eight, nine Three years. Forty scripts a year.
Well that's right. I was involved as a producer for four seasons and then I was a consultant and writer on both shows for
Season Ten
. So last year was my first year not as a producer. I was involved in the show in a little bit more of a marginal way. I literally was leaving to pursue other things. Mainly
Right. So you've been working on that for a year?
Well, yeah. It takes a year to build a company to its proper place. To gear up to production. I'd say I wasn't working on it for a solid year. I'd say it's been a year, maybe fourteen months since the initial idea was discussed with the people who'd become partners in the venture.
It's been a very wonderful year. And I'll be honest. It's a year that probably couldn't have happened if I hadn't still been part of the
family. I've always been very, very grateful for the opportunity to remain part of the
world. Even though, at the end of
Season Nine
it was mutually agreed upon that I was probably going to be moving on, because there was a lot of people on staff and there were other things I was very interested in doing. And they knew that.
But Rob and Brad were very magnanimous and said, "We'd really like you to remain involved in the show -- as a writer on both shows. We like your ideas, and we don't want you to just --" it was like "Not so fast! You're not shaking hands and leaving right now." I was very flattered by that and very grateful. It was nice to remain part of all that through the tenth season, which was a really huge landmark. I know the guys should feel nothing but huge pride over that.
Totally. Before we move on to
I'd like to discuss
just a little bit further with you. Of all the stories that you wrote for them, which do you feel is the most realized?
Well, it's a good question. First of all, on
, because people are so good at their jobs and there's actually a very healthy budget, a lot of what you write gets realized in a very, very nice way. They don't cheap out. They're going to do a space battle, they're going to do it right. You're going to do a fight, you're going to do it right. They're going to do a scene in some amazing location, they'll find it. Or they'll build it. So that's always really nice. I remember the very first one, "The Other Guys" that Martin Wood directed, just coming together brilliantly and going "Wow." This is my first
experience at that level. Just going "Wow." I've never had a script that was produced at a feature-film-level of quality.
When in doubt, Kindler says, shoot for humor.
I did a lot of space stuff. A lot of
stuff that I thought came together really well. A lot of effects-heavy stuff. I really like the way shows like
"Space Race"
"Prometheus Unbound,"
the first one with Claudia, came about. We had two cargo ships and the Prometheus. Then we had also Prometheus in a cloud and we had an alien ship which we only saw once ever and then it disappeared. And stuff like that. I really liked that stuff. I thought stuff like
came together brilliantly. Really, when we built -- the one that Peter DeLuise and I wrote that was a two-parter about Daniel being kidnapped in South America.
That was "Evolution."
That was "Evolution." Yeah. When they build a little Bolivian town.
in Season Nine, which although I fully admit was a somewhat flawed story from my perspective. It could've used a little bit more in it. They built an incredible village for the Sodan. That stuff is just great. And the fights were great. Were there ones that I thought were a little less fully realized? Sure. There was a couple. But "The Other Guys." The big two-parters. What about
My God. That was just coming off the screen like fireworks, some of those scenes. Cutting to Anubis's lair and seeing what was going on on Dakara. Just establishing shots of
Replicator ships
landing on
. The stuff was just huge and I loved it.
Very fulfilling.
Very fulfilling. Sometimes you just hear the music and just go "My God, Joel Goldsmith is just a genius." I can't single out one. I loved the effects in "Space Race" and the world we created. I loved what we did with
. I loved the way we did
"Poisoning the Well"
I loved the look of the Hoffans. Even though they don't exist anymore. And I loved what we did with
The effects in "Trinity" are spectacular. Hats off to Brad Wright for demanding all that be done properly. That's fortunately just an embarrassment of riches -- how well stuff gets produced on the show.
[Laughter] Done by the right people.
Totally. Totally.
You mentioned "Prometheus Unbound." For such a big character that she is now, we can't get by without talking about Vala.
You're the father of Vala, essentially!
One of them. I will not at all, publicly or privately, claim to wholly have created Vala. I definitely wrote the show and definitely wrote the draft introducing her. But that level of spunk and cheekiness and chutzpah, definitely, you have to tip your hat to Rob Cooper. He was the one that said "Come on, let's take this further." And I was going "Really? You want the
Super Soldier
to make a suggestive comment to Daniel?"
He's like,"Yeah, yeah come on! She's hot!" Really, I definitely gave her her name. But Rob, I would say, definitely took the ball and spiked it in the end zone as far as her character. I appreciate people saying "Oh yeah, you introduced Vala." But Rob, like so many elements of
, really got in there and gave it the spice that makes people really like it. I don't at all claim responsibility 100 percent responsibility for Vala. If you like her or hate her I still have the same answer.
[Laughter] I enjoy her! I will admit that when the season began and they were talking about adding her to the mix -- long before I knew that she was going to be the mother of
, et cetera, et cetera -- a little bit of trepidation there because Vala does not exactly equal
in her behavior. But now I think she's really come into her own as a character and adds a level-headed comedy but also she's very endearing because she's so brittle in so many ways.
Well the interesting thing is "Prometheus Unbound" was one of those scripts where Rob came to me and said -- it was later in the season -- he said "Look, we need a show, and we need a show set on the Prometheus. You can have some effects but we can't go on locations too much. We've got to do a small show. You, get in my room." He and I just sat down and talked about it. We beat out a story and I wrote it up real quick. He said "Great." I wrote the story really, really quickly. It needed to be written in seven, eight days and it was done.
"Bounty" will show off a down-home side of Vala, without losing her edge.
He called me on the weekend and he said "Hey, it's in good shape. I really like what you've done. I want to take it and do a pass on it because I think we can boost the character of Vala a bit, but I really like where it's at. It was one of those things that came together really quickly and had we had more lead time, it would have been nice to get some notes to do a fun pass on Vala, if I had been given permission -- or time permitting -- to do it myself. Look, Rob did a killer job with it. I could never complain. I know that it was fun when I wrote "Bounty." I don't know if "Bounty" has aired in the U.S. yet.
No, it has not. Though I have seen it.
Yeah. It's a really fun Vala episode. It's a fun episode in general. I did a draft and delivered it and the guys said "This is great, but I think what we want to do is put Vala at Mitchell's reunion." Which was an idea that had been bandied around before when I was talking about the script initially. It didn't gel at that point but it gelled once the script came in. So I said "You know what? That's great!" Never had such a big note been delivered to me and had been accepted by me so happily. It was like "Yeah, no, I don't mind doing it! I'll totally make that work."
Once the second pass came in everyone was very happy with it because that was a wonderful dynamic. That's perfect. Let's put Vala in small-town Kansas with aliens after them. And it's great! So her character, when used properly, is just absolutely wonderful grist for the mill on
. So I really loved what she brought to the show.
I loved that episode. It was really well done. I really loved the angst between Vala and -- oh, Peter DeLuise's wife.
Yes, Ann-Marie. Who was playing a character referenced all the way back in "Ripple Effect." I can't think of her name!
Amy --
-- Vandenburg -- that's right. What a duo. That was so much fun.
Yeah. Well they're both such wonderful women. It's fun to see them actually go out there and have fun doing these characters.
Exactly. You've heard how I feel about Vala in Season Ten. What do you think about Vala in Season Ten?
Well, to be honest I think her character really came into its own in the sense that the way she was forced to grow and confront certain issues. She became more than the petty thief person who may or may not stab you in the back. Having her daughter be who she was, and having Vala be put in the situation she was put in, and having her loyalties tested, was interesting. I liked it. I always have the fear -- I don't ever want her to become too earnest. Her character is such a fun character that when it stops being fun Just because a character's fun doesn't mean they can't deal with dark issues.
It's just that I want her to have her dark section of her experience and then move past it into something even funnier. I always saw Vala ending up being a Lando Calrissian. A former swindler who's gone legit and using her knowledge of how people achieve to run a good business. Or something like that. Run a mining operation or a colony or something.
I never saw her, personally, as the type of character who should be on the show for five, six, seven years. But definitely the sort of character who could come in for a couple seasons, spice things up and then move on and come back and forth. Or even have her own show in a way! She's so different. Listen, the
thing was a great way to use Vala. And one of my favorite moments from Season Nine is her standing there pregnant in the window of a ship. That stuff is just great. I love Claudia. I think she's very talented. I think she really worked hard to find her groove on a very, very entrenched, and very, very established, ensemble cast. So good for her.
Damian admits Season Six's "Sight Unseen" is one of the few shows he struggled with.
So you think if we de-clawed Vala and made her Miss Goodie Two-shoes she would cease to be interesting on a lot of levels?
She'd suck as a character! [Laughter] I think Claudia or Rob or Brad or anyone would agree with that! "Don't do that. If anything give her
more claws
Alright. Great. Now you were sometimes tasked with executing stories others had conceived. Now that's a teleplay, I believe.
In your honest opinion what were a couple of the most grueling to fulfill?
Yeah. For whatever reason. It just didn't click for you personally. It may have turned out great in the end but you just weren't getting it at first.
Well I know the one that stands out for me is just the one I felt I could never get a hand on and have all sorts of regret over.
"Sight Unseen"
Season Six
. I don't know if I did justice to that at all. I know I worked very, very hard to try to make "Poisoing the Well" work. My first
. And I think it came together pretty well.
That was actually a story that was lying there in the dead pile that Brad was going "I wish we could figure out how to make this work. I like the story, but the woman who wrote it, I don't think she can do it quick enough." And Rob had said "Damian's available." And Brad goes "Really? Well what do you think?" And I sad "I think there's a story there. Why don't you let me try to find a door in?" It was a lot of work. And not just a lot of work to find the story and plot. I did a lot of medical research. If Carson is going to come up with an actual, working drug, it can't be phony baloney. We have to understand how DNA, genomes, and how these drugs are synthesized.
I was able to talk to Rob about it. He's very knowledgeable about medical research. But I did a lot of my own research. You'll work for a whole afternoon to come up with one line. It's that inefficient when you're stuck in the medical stuff. "Sight Unseen," that's a little bit of a regret. I didn't do that many teleplays. I can't remember what other ones I did that were not entirely me as far as story.
I shared teleplay on both parts of "Evolution." Part One with Michael Shanks, but that was where he contributed all sorts of neat stuff about the telchak device water. And Peter DeLuise and I mapped out his draft as well. That was no problem at all.
OK. I remember with "Poisoning the Well." I was a little bit scared when I first heard the idea about it. We're five episodes in and already we've got a surefire way to kill a Wraith biologically. It was really smartly done because we also got rid of the civilization who came up with it.
It's the dark side of "Reset to zero." Just like you know all of your heroes will be around at the end of the episode. Eventually. It's the same with the bad guys. You don't de-fang the bad guys that early in a show. No way. I remember writing
where we came up with what would be
. I always seem to write these ones where we introduce the drug that we keep coming back to. So the Wraith drug was another one.
But one of the things that was so interesting about that show. At some point, I don't know if it was Joe Mallozzi or Paul Mullie who was breaking down the story, said "This is a very dark episode. This is the Atlantis team coming across a final solution, Masada-type culture who are willing to die by the millions in order to defeat their enemy." Two questions were posed. One was "Do we want to go this dark with this show? Can this show go this dark?" My hand shot up and went "Absolutely." And I know Brad's was too. Brad loves dark sci fi. The joke with Brad is always "And the world blows up, and the credits role." That's his favorite.
Outer Limits
Would "Red Sky" have been a better episode had the K'tau perished?
Outer Limits
! Exactly. It's his favorite. "The bombs are flying. The missiles can't be recalled. And we fade out." Brad loves that stuff. He and I were both of the same mind on that that the show could go that dark. The second was at this point Carson Beckett -- we didn't even know his name was Carson. I remember running into Brad's office carrying the drafts going "Brad, what's Beckett's first name?" "Uhh, Carson?" "Fine. If you say so." I couldn't remember from the pilot. The question was "Could Beckett carry an episode?" Beckett wasn't part of the team yet. He was a recurring guy. I think McGillion is great. And everybody was liking him. And sure enough, he knocked it out of the park. So once we got comfortable with what we were going to do, it was bombs away.
I think that any good show, be it
or anything, should be prepared to go ... if you can do "The Other Guys" you should be able to do "Poisoning the Well." And still be the same show. No one should go "Wow, that derailed," or "Boy did they jump the shark." You go "No, that's still the show. It can be fun and a romp and it can also be very dark and kind of a downer ending."
That's one of the things that I remember about
"Red Sky."
I love the episode as it is, but I think it would've been so much more fascinating if the
people had died.
Yeah. No, I hear what you're saying and that's an interesting point.
Something that we caused. A mistake that we made terminates a society.
I think you would've had to have some sort of glimmer, shard of hope, that at the end of the day you have to only take a handful of people somewhere else. You cross a line between dark endings for the sake of dark endings, and dark endings that really undermine the heroism. And unless it's something you're willing to bake into the series. "We're going to be tortured by this for the rest of the season, until the end of the season when we actually do something to make up for it,
that's different." Something that jarring can really alienate people and you have to be careful. I know that I agree with you personally, but I think these choices have to be made with the big picture in mind.
Right. I think that's a good point. That's definitely a good point about that. What's your ongoing relationship with
going to be?
To be honest nothing right now. My relationship with
pretty-much ended with
. I was a guy that did some writing and consulting for
, but I was always an
writer and producer. With
ending it was a good end of the cycle for me. As far as my relationship with the guys it's great. I play hockey with Paul Mullie every week. But for me it's moving on to
Right. Well
has not aired yet. And working at [Stargate] Worlds I have read it. And it's bold. It is a bold ending. What do you think about it?
Yeah. I agree. I am loathe to comment on
much because I want people to draw their own conclusions. I have my own opinions. To me it always comes down to "Should we have cancelled the show? Should we have kept going?" I guess because I know that
is going to live on in some way. You're going to do these movies and you could be doing movies for five years! And then there could be a feature and [then] could be a whole other show.
I think there's so many ways for the show to live on beyond just a weekly series. So yeah, I would never shut the door. Rob's instincts are always bang-on. You don't ever shut the door. I'm sure if Rob said "Well, this is it. There is absolutely nothing left to or say or think or feel about these characters in this setting," he would have nailed the coffin and done it because it was the right thing to do. I think everyone, him most of all, agrees that that would have been ridiculous.
Alright. Now you're an executive producer on the upcoming Internet series
. Amanda Tapping, Chris Heyerdahl. What do you want to tell us about this series?
Watch it!
[Laughter] Yes!
It's going to be unlike anything, I think, that sci fi has attempted before in a regular series. We're talking about a sci fi series that -- it's a first. It has so many "firsts" behind it. It begins to sound by rote. It's the first sci fi series in high definition that's being made at the highest level. This is written and produced by me, directed and produced by myself, Martin Wood, Amanda Tapping, John Smith. This is not a little pet project. The look and effects and caliber of what you're seeing can compete with any sci fi program that's on the air right now. Network, cable, I don't care. There's no point in making something small, and "We did this in my father's garage." It has to be very high-level.
We are directly aiming at our online fans. The birth of the idea was the sci fi fans,
and otherwise, they live for six days and 22 hours a week online. And then for two hours they are forced by the virtue of television to go over to another place, and watch it, and then in the commercials or afterwards dive back on their computers. In a way, you step back and go "That's ridiculous when we can actually stream hi-def into your living room through your computer and you can have complete access to these files, do with them what you want, watch them when you want, how you want, on any media you want. Why are we forcing you to show up for an appointment" ... There should not be such a thing as appointment television anymore.
Yeah. I think TiVo is shouting out at that, too.
But TiVo has to be there for you. You should be able to get what you want, when you want, how you want it, and watch it on your computer, on your iPod, on your DVD in your home theater. There's no rhyme or reason why you should be a slave to programming and commercials anymore. Not when a billion people can watch stuff over the internet. When [over 40 million] people have broadband streaming in the U.S. alone. We know that the sci fi community are among the best, most loyal and most intelligent early adopters of new technology and entertainment in the world.
So basically myself and a man named Mark Aubanel, who is one of the senior VPs at Electronic Arts, formed a company to create a new type of product that's made like television but has the best of the Web and gaming technology baked into it to create a whole new experience, a very immersive experience as you watch it. You can watch it passively as a viewer, or you can get right into the world of it. And we're really thrilled with how it's coming along. We can't wait to see what the reaction is when it goes live in a few months.
Oh, so when you're watching
you won't necessarily have to play the games in order to get to the next scene.
Oh, God no. No, no. You are able to be as immersed in this as you want. You can literally just fire it up and watch it, or you can burn it and throw it on your home theater and watch it as a show. But if you want to get into it there's a whole gaming and social networking aspect to it. And there's a lot of the stuff I can't discuss in huge detail because there's a lot of patents pending, as they say.
Martin Wood directs an episode of
The idea is to not just make TV and throw in the Internet. Yes, that's better than just making TV and then recycling it on the Internet. It's better to make something
the Internet. But if you're going to do that you have to be better than the big networks. You have to offer something that makes your product unique. We're designing a lot of very, very original software applications and Web design features that have never been sutured from the get-go into big content. And plus, the fact that our content is 95 percent green screen. So it's got a really original look.
We're able to show places that don't exist and create elements that you really want to explore in 3D HTML environments. You're working on your MMO for
. We're, in a way, creating not an MMO -- because that's just gigantic amounts of work and time and energy. That on a smaller scale. But that could grow into whatever the community wants it to. We're not going to protect our product against user involvement. People are going to be able to take assets, effects, avatars, green screen moments, and do mash-ups, and they're going to be able to express themselves through the world of the show.
Great. Wow. So you're not going to be an
of the on-line people!
Well not at all! We want to be their champion. We want to build the town square and then we want them to build the rest of the town. And this isn't to say that
won't exist as television or boxed set DVDs. It will. But it's a paradigm shift. Instead of making TV and DVDs first and then saying "We'll throw it up on YouTube or on the Internet in low-grade, little windows." We're going to go out there and say "Look, HD DVD and blu-ray will become obsolete mainly because hi-def streaming is the future." We're just going there first. You already have the machine that allows you to stream HD, and if you just remove the digital rights management, you can do whatever you want with those files.
The Internet allows people with the wherewithal to be their own studio and network. Their own broadcaster. We found [a] healthy investment of people who realize that it's all going to the net.
will likely be distributed around the world on TV and DVD after the fact. But everybody around the world is going to get a version of
right away. You're not going to wait for your TV network to decide when you get a chance to see it. It all goes live globally which is, I think, another way. We've have to tear down the walls of where entertainment goes. And when you can access a global market, that levels the playing field. That flattens the world a bit.
Right. How long will each episode run?
The pilot was shot well over two hours. It actually translates to about three television hours. It's 130-plus minutes of footage. Right now it's going to be 8 webisodes. Each one is roughly 15 minutes long. There might be an 18-minute webisode and then a 13-minute one. But they all roughly even out to about 15 minutes per. And once we get into full-on production I think we will probably get into three 15-minute webisodes per story, because it will be a 44-minute TV hour. But the ones that are going to start coming out in May will be 15 minutes, and the full 8 webisodes will be probably released through May and June, into the beginning of July.
OK. So we plan on launching in May.
In May, yes.
OK. It must be a breath of fresh air that you don't have to delete anything.
Yeah! Exactly. We don't have to take the air out of scenes. The thing moves at a pretty brisk pace anyway. It's not like there's long, ponderous scenes. There's a lot of action, a lot of fighting, a lot of effects, and a lot of really great creature design by Todd Masters. It's astounding what he's cooked up. This is a show about monsters, essentially, so you don't cheap out on the monster part.
Amanda Tapping plays Helen Magnus in the upcoming Internet series
It is nice to be able to create the show answering only to the creative people behind it, and not have to dial in people who don't make TV in the trenches. That's not to say that all studio executives are evil. That's not what I'm saying. I'm simply saying the process is expedited. You're able to do it very quickly. "We're going to cast this person and there's no other approvals we need. It's done that day," and so on and so forth. So that's nice.
What can you tell us about the story? For those of us who haven't seen Urban Rush.
[Laughter] And had it all spelled out?
Amanda came to me and said "I think I said too much!" I'm like, "You know what? It's fine." I don't need to protect the story. I'd rather people be interested. The basic pitch would say that it's almost "The League of Extraordinary Gentleman" meets
. It's a show set in an undefined, somewhat Gotham City world with a foot in historical Victorian-era London.
It's a very original hero in the form of Dr. Helen Magnus who, yes, is well over 150 years old, but looking not a day over 35. And her ongoing quest to find, help, protect, [and] stop these creatures that walk the earth. Some she needs to lock up to protect the public at large, and some she needs to find to protect them
the public. It's all in the name of research, and it's very dangerous, tricky work, but she's one of these people who's been doing it for so long. God knows how many protégés she's gone through.
At the beginning of the pilot she finds her next protégé in the form of a young psychiatric resident named Will Zimmerman, played by a wonderful actor, you're all going to love, named Robin Dunne. He'll give you a quirky, young Michael Shanks feel. He's really a great guy. He does humor well. The chemistry between him and Amanda is just tremendous. He's a real find. And it's about being sucked into this world of monsters and good and evil, and basically having everything he thought was real undermined by this woman and what she does.
Wow. OK. So this "Helen Magnus." "Helen," right?
OK. Is she an immortal or is she just blessed with really long life?
Her line at the end of the first hour, I don't like to give spoilers, maybe put a little thing saying spoilers! ... Her rationale is that when you treat creatures with incredible powers, sometimes the gifts are unexpected. That's
she says, and it's all we're going to tell you now. Obviously there's going to be a "How Magnus got old" episode somewhere in the future. I just don't believe in spelling it all out in the pilot. There should be a lot of unanswered questions that should keep people wanting to come back to have those questions answered.
She's not immortal, but I don't think she's going to die any time soon. And actually in the second hour we do address that issue. I'll put it this way: She's not happy about her condition -- at all. It's not like she lords it over people or even enjoys being the age. I think at a certain point she realizes "Who wants to outlive their children? I've outlived so many friends." For her, finding the cure to her longevity is an ongoing issue.
OK. And David Hewlett guest stars!
David Hewlett plays a very, very quirky, interesting character named Larry Tolson, a very unbalanced young man. Former patient of Will Zimmerman's. He does a lovely cameo appearance in the first hour. We fully intend to bring him back at some point, availability pending. He's just fantastic. And Paul McGillion's in it as a wonderful character named Wexford. He's not fully human, I'll tell you that. And he's a character that we'll be seeing again.
Martin Wood and John Smith and I are very, very thrilled at the amount of interest that people have in
. But we don't want to take advantage of our connections too much. We didn't create
to poach
. We want people to come to us because we're interested in doing it, and we make sure everything is cool. We're not overusing the characters or abusing our access to all this amazing talent, or overreaching our boundaries. We try to be sensitive and we recognize that it's a very, very powerful, established show and we're not interested in trying to take that for granted.
Good. Good. Very good. So
will be revolutionary in its delivery of entertainment. Is there anything else you want to tell us about it before we let you go?
Well did I mention the fact it's shot on green screen? It's also the first tapeless, fully digital production. Everything's shot on digital media right on to hard drives. We use very, very advanced computer imaging systems when we shoot so that we can actually see pre-visual effects on a computer of the space we're working in and have the actors walk into it and look at themselves standing in the space that only exists in a computer. But they can see it in real-time while they shoot, which is really new.
It's going to be something that I think a lot of people suspected was coming, which is the first hybrid show. The first show that works on TV, that works on the Internet, that works as something that's streamed right to your device. It's going to be the first multi-platform hybrid show of it's kind.
The new series will include many
veterans, such as Chris Heyerdahl.
What I've noticed with a lot of people who do a lot of things like "lonelygirl15" and all that. This is like an Internet-only project.
is a multi-platform, fully flexible project series that will appeal to people on many levels. You're going to want it on DVD. You're going to want to watch it on TV. You're going to want to throw it on DVD off the net and watch it wherever. You're going to want to collect it and share it and you're going to want to experience it, probably, in a lot of different ways. It'll push to each other media.
You're going to say "Well you can watch the TV-cut version because that's a little different and you're going to watch the full version online and get immersed in all the other elements of the online world. You can get it on DVD and they'll be java-scripted stuff on blu-ray or HD-DVD that allows you to access other web aspects of it. And maybe you'll want to see some special features that will be exclusive to DVD.
It's one of the first, I think -- as I understand -- the first of its kind that's a fully flexible hybrid series that offers something for people no matter what media they want to experience it on. And that, I think, is what makes it the thing of the future. It's conceived with all those things in mind.
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text:
About the Book
Intimate view of my puzzling world adds a new dimension to the visualization of the author's artistic experiences. However, renowned artist/jurist Vee Corralo says it best with these thoughtful words, "The sophisticated eye of photographer Yves Gabriel speaks to us in this jewel of a book. The rhythmic elements of photography and placement engage the viewer to a visual journey that delights the soul".
Features & Details
- Category Arts & Photography
Small Square, 7×7 in, 18×18 cm
102 Pages
- Publish Date Aug 02, 2008
- Tags Arts & Photography, digital art, visual art, best of art, coffee table art book, contemporary art, meaningful art, cutting edge art, beautiful art, inspring art., photography
About the Creator
Events in our daily life, whether staged or circumstantial, help shape our purpose on this beautiful planet. As a contemporary visual artist, I use my skills to reproduce some of these experiences, which provide an intimate view of this puzzling and enigmatic world. Organic sculpture sparked my desire to become an artist over 7 years ago. My fascination with this art form helped me uncover the intricate and subtle beauty that stemmed from decayed roots and branches. This experience along with a degree in Graphic Design and Fine Art led to my transition to digitized art, using photographic, organic and non-organic materials to help bring to life the emotions that derive from personal, social and political issues, or simply mundane objects. It also provided me with the opportunity to evolve as a painter, an abstract expressionist. To conclude, abstraction affords me the ability to address a core issue through a representation from which the subject matter is not altered or compromised
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subset: commoncrawl


text:
Tired of having to remember your login passwords? The latest version of Sticky Password 6 can help
The ever-present need for security means that every account that you have online, and probably on your computer as well, needs to be protected with a username and password. If you have taken the wise step of ensuring that all of your passwords are different this will undoubtedly mean that you have an incredible number of passwords to remember. Sticky Password is a free tool that can store all of your passwords in a secure database and save you having to remember them by automatically filling in login information for you. Sticky Password 6.0 has just been released and there's a lot to look forward.
To start with, there is a completely overhauled interface and added protection against malware extracting passwords from the clipboard. When you need to come up with a new password for an account you are creating, rather than relying on your own collection of letters, numbers and symbols, you can instead turn to the built in password generator which has now been enhanced with a history option. It is always a good idea to change your passwords from time to time and there is a reminder option built into the app to encourage you to do so.
Sticky Password will highlight potential security problems by pointing out accounts that have weak passwords. To make it easier to store information in the program's database, it will automatically save usernames and password you use to create new accounts and it is possible to define a different default web browser that should be used with different accounts – great if you use different browser for specific tasks. Not all of the accounts you use require you to use a password and there is now support for accounts that enable you to log in with just a username or email address. There have been plenty of other changes and additions to the latest version of the app including highlighting of login fields, and a new context menu in Internet Explorer that provides access to autofill actions.
The free version of the app does have some limitations to entice you into upgrading to the paid-for Pro version, but they are minor enough that the free version is still well worth taking a look at. The free version only allows you to create a single user account and there is support for up to 15 online and program accounts. You can install the software as a normal program, but there is also the option of using it as a portable app so you can take it from machine to machine on your USB drive.
You can find out more and download a free copy of the app by paying a visit to the Sticky Password 6.0 review page.


text:
A little over a year ago I was in the middle of an exciting auction (the first I conducted as an agent) for a book by Julie Hadden, the 1st runner up on Season 4 of "The Biggest Loser." I'm excited that the book, Fat Chance, released this week.
I wanted to give you a little background on how I became involved with this book. Each project has its own journey, and with this one, there was a lot of synchronicity involved, or should I say serendipity? Others will call it a "God thing." Here's how it happened.
In late 2007, I was looking for a good TV show I could watch with my kids. We enjoy shows like Amazing Race and American Idol, where we can watch people overcome challenges, and root for our favorites week by week. I decided on The Biggest Loser. I'd never watched it before, but my girls and I immediately got hooked. We watched the whole season together, and found ourselves inspired and motivated along the way. There was a woman on it named Julie. She was sweet, she was a mom, and she was such a hard worker. She was our favorite, and we rooted for her all the way to the final episode where she came in second place.
Fast forward seven months. In July of 2008, my query box held an email with a familiar name attached – Julie Hadden. Her query letter was beautifully written, just the right length (430 words) with the right pitch to pique my interest. She told me how her mind, spirit and body were transformed through her incredible experience on The Biggest Loser. She felt she had learned so many things that could help other people who were struggling with doubt, self-image and weight issues. She was already on the speaking circuit, inspiring hundreds of women at a time, and now she wanted to share her story in a book. Needless to say, she had the platform. Now all she needed was an agent and a publisher.
Well, to put it bluntly, I flipped. I couldn't believe it was really Julie, my favorite contestant from the only season of The Biggest Loser I'd ever watched. I got in touch with her that same day. She had queried several agents, and I was the first to respond. Julie and I chatted a number of times and connected on numerous levels. I understood her vision for the book, and had a lot of ideas to add. I articulated for her what my plan of action would be if she signed with me. It helped that I already knew Julie's story since I'd watched it unfold on national television and I felt a personal connection with her. (I don't think any other agents she queried had that edge.)
It was only two weeks later that she signed on as a WordServe client and we went to work on the proposal and sample chapters. Two months later in October it was finally ready for submission and I began phoning a handful of editors and sending it out; in November we had our auction which involved four publishers (two NY houses and two CBA houses) and was won by Guideposts Publishing. In January 2009 we finally had signed contracts.
It's been an incredibly busy year for Julie, with writing the book, caring for her two children, working hard to maintain her weight loss (she's 80 pounds lighter than when she began The Biggest Loser!) and the considerable ongoing demands of publicity. Finally having a book on the shelves is the culmination of a dream, and being able to inspire and encourage people is what keeps her going.
See the book on Amazon HERE.
Julie is a strong and brave person who has been on an amazing journey, and whose heart is to serve others. I count it as a privilege to know her. You can visit her website here. Congratulations, Julie![ Next Post → ] [ ← Previous Post ]
>I LOVE how God brought you two together. How awesome!!!!
>How fun for you Rachelle to get her query. It is a small world after all!
>What a neat story of God bringing you two together. Julie's story will be inspirational to read. Thanks for sharing!
~ Bethany L.
>Congradulations to both of you!
16 months to birthing a book is pretty darn quick is it not?
>Congratulations on your first auction and Julie for her amazing accomplishments. You're both blessed.
I've noted the book on my blog.
>I'M IN! I'll blog about it. I'd love to be a part of this book.
>Elaine 3:35, you have to send an email. Thanks.
Folks, I still have copies left!
>That story is amazing! Congrats to both of you, and best wishes for a successful launch!
>Yes, I'll be happy to blog about Julie's book. My name is Elaine A. Schulte. My address is 5929 Pine Vista St SE, Grand Rapids MI 49548-6885. My blog can be found at the following location: http://elaineselectronicepistle.blogspot.com/
Thanks for considering me.
>What a thrill, Rachelle, to represent the very woman you and your daughters rooted for. I love how God worked that out for you.
Congrats to you and to Julie. I pray her book is wildly successful!
>How exciting! I'll bet your girls were just as excited…or don't they get that excited about your job? I look forward to reading Julie's success story.
>I totally remember Julie–she was our favorite too. Thanks for posting this. Emailing you now!
>That's so exciting that you got to work with her when you were already a fan of her journey! 😀
I love The Biggest Loser, and am always inspired by it. Thanks for this post!
>That is awesome, Rachelle. My wife and I watch that show all the time. Although I've never had weight difficulties, my wife has struggled with her weight for years. We both find inspiration and warm feelings in the show, watching as the competitors achieve goals they never before thought possible. Congratulations and I hope this book does really well. So many people can benefit from something like this.
Eric Stallsworth
>Good morning, Rachelle;
Wow! I love these God-at-work stories. He orchestrates everything down to the smallest detail. Thank you for allowing us to share in the adventure.
Congratulations to you both.
Be blessed,
>I can't wait to read this book and try some of Julie's weight-loss tips. I loved the personal touch your story adds to the book, Rachelle. And like all great stories, yours has a wonderful twist–the agent getting excited at the name in her inbox! LOL rose
>That's pretty cool for each of you! I really enjoy the "Biggest Loser", but didn't start watching until last season. Way to go, Julie–and Rachelle!
>Congratulations! What a great story!
>I loooove reading about stories like this. What a neat situation.
>I loooove reading about stories like this. What a neat situation.
>Wonderful and inspiring post. What a gorgeous cover as well. I'm glad you were able to land a project you were so eager to pursue,that in itself is a blessing too.
>Congrats to you both! It must have been fate that you received her query! Your girls must be so excited as well since they followed her journey.
>OH MY GOSH!!! I am addicted to the Biggest Loser, and I, too, loved Julie. What a sweet relationship for the Lord to forge between the two of you! I am always inspired by BL, even though my self-sabotaging behaviors look different. I would love to blog about her new book (I blogged earlier last year about BL anyway, and can link it to a more recent post). I'm so excited for you to get to work with such an interesting person and–I'm sure–book.
>WOW! How exciting is that!
>A wonderful and inspiring story. Thank you for sharing Julie's story with us. Congratulations to you both on the publication.
Happy Wednesday,
>Congratulations to you both!
>Wow! What an amazing experience! Thanks for sharing with us!
>I love it when those God moments happen. That in itself is a story, for sure. Congrats to both of you!
>Love, love, LOVE this story!! Congratulations to you both!!
>Great story, great client. And a fabulous Web site!
>Serendipity is my favorite word! Congrats to you and Julie for putting yourselves in the place to make it happen! So thrilled for both of you….
>oh it looks fabulous! I sent you an email.. I'd love at a chance at Fat Chance!
Cheers 🙂
>That's so inspiring! Congrats to her and to you. 🙂
>That is so awesome! By coincidence, that's the only season of The Biggest Loser that my husband and I watched!
>I remember Julie from BL too… although I'm a fan of the show and watch it *most* seasons. Such an inspiration… thank you and congrats!
>What a fantastic story! Very inspiring. Congratulations to Julie and to you, Rachelle.
>It's hard to say which is more exciting and inspiring, the weight loss or writing the book. I'm impressed on both counts, and wish Julie all the best. Congratulations to you both on the auction!
>Hi Rachelle,
That's an interesting story, and proof that watching television can be great for your career 🙂
Well done to Julie, I look forward to hearings lots more about her!
>Wow! What a cool story! And 16 months? That's insanely fast. Congrats to Julie!
I think something is up with blogger. For whatever reason, this post didn't show up in my dashboard. Hmmm…


text:
£6.00 (inc. EU VAT)
This is an adaptor that allows the belt clip of the Digislider Add-On to remain at the correct height when using the Glidetrack® HD Hybrid Carriage. Not necessary for our Roller Carriage.
It fastens through the centre of the carriage and the spacer fits in between the carriage and the belt clip.
GLIDETRACK and GT GLIDETRACK are the registered trade marks of Glidetrack (Scotland) Ltd. For the avoidance of doubt, Digislider is in no way affiliated, sponsored, endorsed or connected to or by Glidetrack (Scotland) Ltd and the products on this site are those of Digislider and not Glidetrack (Scotland) Ltd.
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Summary Contents Sturdy and solid Easily screw into rail or Add-On in seconds Aluminium and Steel parts Easily attaches to the bottom of the... View full product details
Summary Provides quicker motor change-over Release the motor in seconds Aluminium and steel parts provide a robust and sturdy mount Comes with one motor... View full product details


text:
R5 won't open mail file saved to CD
This Article Covers
Lotus Notes 5
I archived a Notes R4.5 mail file to a CD and am now receiving a read-only message when trying to open the file from an R5 client. I can still open the file from CD when using a 4.65 client, however not 5.0.
Download: IT certifications that stand out
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Any suggestions?
It is trying to convert the views to R5 format, which cannot be done on a CD. You would need to copy the file to a drive and remove the read only attribute. You could then open it with a R5 client.
Dig Deeper on Lotus Notes 5
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Learn how to easily keep track of the numbers of incoming and outgoing Lotus Notes email messages to and from your Domino server each day.continue reading
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text:
DaVita HealthCare Partners
Last up on our list of big-name trades is DaVita HealthCare Partners (DVA), a name that's been consolidating sideways after staging a 21% move higher over the last six months. That sideways churn is setting the stage for a big leg up in May.
DaVita is forming a rectangle pattern, a price setup that's formed by a pair of horizontal resistance and support levels that basically "box in" shares between $70 and $67. Rectangles are "if/then patterns." Put a different way, if DVA breaks out through resistance at $70, then traders have a buy signal. Otherwise, if the stock violates support at $67, then the high-probability trade is a sell. Since DaVita's price action leading up to the rectangle was an uptrend, it favors a move to the upside through $70.
Why all of that significance at $70? It all comes down to buyers and sellers. Price patterns are a good quick way to identify what's going on in the price action, but they're not the actual reason a stock is tradable. Instead, the "why" comes down to basic supply and demand for DaVita's stock.
The $70 resistance level is a price where there has been an excess of supply of shares; in other words, it's a spot where sellers have previously been more eager to step in and take gains than buyers have been to buy. That's what makes a breakout above $70 so significant -- the move means that buyers are finally strong enough to absorb all of the excess supply above that price level. Wait for shares to catch a bid above resistance before you buy it.
To see this week's trades in action, check out the Must-See Charts portfolio on Stockpickr.
-- Written by Jonas Elmerraji in Baltimore.


text:
About the Book
This is a photo yearbook of the 2009 BUB Motorcycle Land Speed Trials sponsored by Denis Manning and BUB Enterprises. There are 288 images at speed on the Bonneville Salt Flats, in the pits and the banquet. There is also a full listing of the AMA records that were set during the event. (AMA and FIM records had not been certified at time of publication)
You will see several covers made for ridres and sponsors that made volume purchases but the insides of each book are all the same so you can take your pick on covers.
If you would like your picture on the cover just go to www.ScooterShoots.com and pick an image from the 2009 BUB Gallerys and send me an email with your pick.
It is my intent to make this book an annual offering so that we have a pictorial record of each event along with a listing of the records set during the event.
Features & Details
- Category Sports & Adventure
Standard Landscape, 10×8 in, 25×20 cm
160 Pages
- Publish Date Nov 19, 2009
- Tags Alan Cathcart, scooter grubb, scooter shoots, bonneville salt flats, salt flats, motorcycle racing, land speed racing, scooter, motorcycle, harley, hayabusa, triumph
About the Creator
Scooter has been riding motorcyles for 40 years and has also been a camera junkie for a little longer than that. He has had the great good fortune to be able to meld the two passions into a avocation that allows him to ride his bike and record his lifestyle through pictures. You can see his work in a number of major two-wheeled publications like Hot Bike, Rider, Street Chopper, American Iron, and Iron Works as well as european motorcycle magazines. You can also get his book on the "70th Anniversary of Sturgis" on Amazon. Scooter, annually, shoots the "BUB Motorcycle Speed Trials" on the Bonneville Salt Flats, the only international land speed event for motorcycles only, and creates a photo essay of the event. You can see more of Scooter's work at his website, www.ScooterShoots.com and you can contact him at email@example.com Enjoy !!!
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text:
Soup T-Shirts are an Idakoos specialtiy! Idakoos has many things to offer. Whether you want to get a Soup T-Shirt for a special occasion, give a Printed Soup T-Shirt as a present or need to represent with a funny Soup Tee during Holidays or Family and Friends get-togethers, Idakoos is sure to have the right Soup T-Shirt for you! Even if it turns out you can't find the right Soup Tshirt with the perfect design for your mother, father or children; Idakoos offers all of its men's women's and children's Soup Tshirts as Custom Soup T-Shirts. Personalize any Soup T-Shirt the way you want to ensure the perfect gift.
Showing 1 - 24 of 48 T-Shirt


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Laurel Highlands board OK raises to handful of administrative employees
The Laurel Highlands School Board granted pay raises Thursday night to the superintendent's secretary, business manager and two employees in the district's technology department despite opposition.
Kim Pegg, who had been working as a confidential secretary in the district's administrative office and is now serving as the secretary for Superintendent Jesse Wallace, will receive a 5 percent pay raise with an additional $2,500 stipend this year. Pegg will also see her salary increase 5 percent the second year and 3 percent each during the third and fourth years.
School board member Jamie Miller-D'Andrea said she believes Pegg does an excellent job, but she does not support the school board increasing employees' salaries when the board recently voted to increase property taxes for homeowners.
Wallace said Pegg has actually been performing two secretarial positions in the district because the confidential secretarial position has been eliminated in an effort to save money.
"The school district is actually compensating Pegg for performing two jobs," Wallace said.
The board also voted to approve wage hikes for its business manager Greg Hensh, who is currently earning $78,000 a year.
"Our business manager isn't earning what he should under the industry standards," Wallace said. "Business managers in similar school districts across the state usually earn 85 percent of the superintendent's salary."
Wallace said his salary is $112,000, which means Hensh should be earning between $95,000 and $97,000 a year.
The board approved wage hikes for Hensh of $5,000 this year and next year and 3 percent for the following two years. After the four-year period, Hensh will see his salary jump from $78,000 to about $91,000 to $92,000, which Wallace said still falls below industry standards.
Miller-D'Andrea also voted against the pay hikes.
"Mr. Hensh does an excellent job as our business manager, but I'm voting against his pay increase for the same reason," she said.
Leonard Niell and Brice Yuras, two employees in the district's technology department, will each receive $3,000 raises for the next three years. The employees currently earn $41,000, and their salaries will jump to $50,000, Wallace said.
"This is going to cost the school district an additional $18,000 over the next three years," Miller-D'Andrea said. "They both do an excellent job, but the school district and the taxpayers can't afford this right now."
In other business, the school board entered into a four-year contract with its secretaries and aides, effective July 1 this year to June 30, 2012.
Under the terms of the agreement, Wallace said the district's 19 secretaries will have their salaries frozen this year. The wages will increase 3 percent the second year, 2.5 percent the third year and 2.75 percent the fourth year.
The salaries of the district's 50 aides will also be frozen this year. The aides will then receive 55-cent-an-hour pay hikes each year during the next three years.
Cindy Ekas is a contributing writer.


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Address: Fortuneswell, Portland Looking for: Retail, factory or office work Gary is taking a year out from an illustration degree at Southampton Solent University.
He has been working for a temping agency in Southampton working in kitchens, factories and waiting tables. Gary recently worked in Ikea, Southampton as a general assistant around the store loading and unloading stock.


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New Delhi/Mumbai: The empowered group of ministers (eGoM) that finalized the rules for the 2010 3G spectrum auction and the coming one for 2G frequencies, will now do so for the third phase of FM radio auctions.
"In addition to its existing terms of reference, (the eGoM) will also consider the matter of relating to e-auction of FM radio broadcasting services," according to an internal, 18 September, cabinet secretariat note reviewed by Mint.
The additional terms of reference for the eGoM include reconsidering of the total number of channels to be auctioned after the recommendation of the Telecom Regulatory Authority of India (Trai) on 19 April to reduce the gap between channels to 400Kkz from the existing 800Khz. The eGoM will also be responsible for the request for proposals to select an e-auctioneer as well as to decide on the fee (if chargeable) for migration of phase two FM licencees to phase three.
The eGoM headed by finance minister P. Chidambaram, also includes defence minister A.K. Antony, information and broadcasting minister Ambika Soni, communications minister Kapil Sibal, law minister Salman Khurshid, Planning Commission deputy chairman Montek Singh Ahluwalia and V. Narayanasamy, minister of state in the Prime Minister's Office.
The decision to auction FM radio broadcasting services has received mixed reactions.
"We welcome the move and look forward to a fair and transparent e-auction process that will result in greater value for our stakeholders," said Tarun Katial, CEO, Reliance Broadcast Network Ltd, the largest radio operator in the country with 45 stations under the Big FM brand. "We have a strategic plan to further expand reach for 92.7 BIG FM while maximizing value."
Harshad Jain, business head at Fever 104 FM, which is owned by Mint's publisher HT Media Ltd, said: "An e-auction is not the right thing to do as... there is a high probability of the licence fee being inflated. It could also lead to non-serious players participating in the auction."
Unlike phase two in which licences were issued for a 10-year-period in 2006, phase three licences will expire after 15 years.
One key concern of the industry is that the base price for some cities may be too high, given one policy change for the phase three auction. The base price for new channels in existing FM phase two cities will be the highest bid amount received for that city in the last auction. In the case of cities being newly bid, the reserve price will be the highest bid price received during phase two for that category of cities in the region.
"We are not for the e-auction as it restricts variety in programming. An operator cannot improvise in its content offering since all frequencies are then at the same price level," said Prashant Panday, chief executive officer, Radio Mirchi, promoted by Entertainment Network India Ltd, which operates 32 stations. "One of the conditions set under the e-auction regarding the base price makes the radio business economically unviable and a costly medium as the licensing suddenly becomes expensive. We prefer the e-tender, which was adopted during the phase two."
According to a 2012 media and entertainment industry report by Federation of Indian Chambers of Commerce and Industry and KPMG, the radio industry grew 15% in 2011 to Rs.1,150 crore in revenue from Rs.1,000 crore in 2010. The radio broadcasting sector is expected to grow at a compounded annual growth rate of 16% till the phase three stations begin operations by mid-2013. After the phase three stations start, the industry is expected to grow by 22% CAGR. The radio industry's media ad spends too are estimated to increase to 5% in 2016 from around 4% currently.
According to the Ficci-KPMG report, the government will earn an estimated Rs.1,500-1,700 crore from the third phase. Phase three is expected to cover 227 new cities, in addition to the current 86. In the four metros, only Kolkata will not get a new FM channel. Mumbai will get two while Delhi and Chennai will get one each.
Under the current phase two, 245 FM channels are operational in 86 cities, with a population of over 300,000 or more each.


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After Keynes, after Sraffa: "Heterodox" Approaches and the Italian Economy
Italian economic thought, from Francesco Ferrara on, has always been noteworthy for the wide range of its perspectives. This characteristic became even more marked in the second half of the twentieth century, thanks also to the Cambridge- school post-Keynesian strand, while the wider world saw the triumph, or at least the hegemony, of the marginalist approach, the neoclassical synthesis, and neoliberal ideology. The essay reviews the analyses and policy proposals produced by the post- Keynesian and, more generally, heterodox schools of thought in response to the crucial developments in the Italian economy since 1950. They represent an important contribution, significant even when Italy's policy-makers failed to follow it up with concrete policy measures.
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Volume (Year): (2009)
Issue (Month): 4 (December)
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- O. Lange, 1935. "Marxian Economics and Modern Economic Theory," Review of Economic Studies, Oxford University Press, vol. 2(3), pages 189-201.
- Pierluigi Ciocca, 1982. "Disproportionalities, Allocative Mechanisms, and Stagflation," Journal of Post Keynesian Economics, M.E. Sharpe, Inc., vol. 4(2), pages 231-239, January.
- Michael Bruno & Jeffrey D. Sachs, 1985. "Economics of Worldwide Stagflation," NBER Books, National Bureau of Economic Research, Inc, number brun85-1, June.
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About Unilever Numerical Reasoning Tests
Unilever use numerical reasoning tests as part of their recruitment process to help them select the best candidates for a particular role.
Numerical reasoning tests are a fair and objective way for Unilever to assess a wide range of applicants, each having different experiences and different qualifications. By analysing the results of a standardised numerical reasoning test, Unilever are able to quickly see which candidates are suitable for the role and which are not. This sort of information about candidates' skills is difficult to glean from interviews and qualifications alone.
Often Unilever will ask applicants to take a numerical test online, which you can take from home. When the numerical test is used early-on in the application process like this you will have to achieve a minimum score before you progress to the next round (typically a score in the top 50% of applicants is required). Further along in the selection process you might be asked to attend an assessment centre or interview where you will be asked to take a numerical test. This is so that the company can verify the person scoring highly in the test is indeed the person applying for the job.
So as a graduate or senior candidate applying for a job at Unilever you might feel like the numerical reasoning test is an unnecessary hoop to jump through. But you should bear in mind that Unilever are asking you to complete the numerical test as much for your own benefit; if you are not suitable for the role, a psychometric test will usually identify this. Research has shown that psychometric tests such as those used by Unilever are a better predictor of job performance than traditional selection metrics such as level of degree achieved.


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New York City, BlueDolphin-Magazines.com was the fastest moving retail Web site for the week ending July 2, according to Hitwise, a Web intelligence and consulting firm. The online magazine retailer jumped 26,747 positions to reach the rank of 1,535th. The site increased its market share of US visits by 1,649%. Also on the top 25 list of fast moving retail web sites was online AmericaŌĆÖs Best Barbecue (americasbestbbq.com),which increased marketshare 76%, in advance of the cookout-intensive Fourth of July weekend.
For the full list of the 25 fastest moving retail Web sites, click on ŌĆ£Industry Data.ŌĆØ


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Nickname for a classy professional drinker at a party who can handle his alcohol, bartend, ect. somehow keeping it all together when normal people should have passed out hours ago.
by lets start drinking January 26, 2008
The Urban Dictionary Mug
One side has the word, one side has the definition. Microwave and dishwasher safe. Lotsa space for your liquids.Buy the mug


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TheatreWorks Names Giovanna Sardelli as Director of New Works
TheatreWorks, the nationally acclaimed theatre of Silicon Valley, has announced the appointment of Giovanna Sardelli to the position of Director of New Works. Sardelli brings stellar national directing credits and close ties with many of today's hottest rising playwrights to the company, which has established itself as a leader in cultivating and producing new works. No stranger to TheatreWorks, Sardelli helmed the company's 2013 production of Somewhere by rising star Matthew Lopez, as well as the TheatreWorks' 2011World Premiere of Pulitzer Prize-nominee Rajiv Joseph's The North Pool, named by the San Francisco Chronicle as one of that year's ten best productions in the Bay Area.
"We are delighted to have acclaimed director Giovanna Sardelli leading our New Works Initiative," said TheatreWorks Artistic Director Robert Kelley. "Nationally known as a director and developer of new works, she has already brought us two brilliant main stage productions, with more to come. Under her leadership, I predict an even greater commitment to new works here at TheatreWorks." Says Sardelli, "I am beyond thrilled to become part of the Theatreworks team. To be in a position where I can take my passion for play development and storytelling, and connect artists I respect with a theater company I so deeply admire, is one of the things that excites me the most."
Sardelli will join the company this summer, as playwrights and composers from across the nation arrive for TheatreWorks' 13th Annual New Works Festival (August 9 - 17), a two-week event in which audiences view readings and showcases of new plays and musicals, providing written feedback and interacting with writers in panels, as the company helps to shape five extraordinary new works for future productions. Next season, Sardelli will direct TheatreWorks' West Coast Premiere of Rajiv Joseph's latest work, The Lake Effect. This arresting new play, which received the Joseph Jefferson Award for Best New Play at its Chicago world premiere, is on the company's roster for March 2015.
Besides Sardelli's well-received productions with TheatreWorks, she has directed and developed plays around the country, including ten off-Broadway productions in ten years. Her directing credits include Rajiv Joseph's first professional production, Huck & Holden (Cherry Lane), as well as the World Premieres for his All This Intimacy (Second Stage), and The Leopard and the Fox (Alterego Productions), The North Pool (TheatreWorks), and Animals Out of Paper (Second Stage), for which she was awarded the Joe A. Callaway Award for Best Direction. She recently directed a highly-acclaimed production of Joe Gifford's Finks at off-Broadway's Ensemble Studio Theatre. Sardelli directed the World Premiere of Theresa Rebeck's Dead Accounts (Cincinnati Playhouse in the Park). She has also worked on numerous productions of award-winning actress/playwright Adriana Sevan's one-woman show, Taking Flight, directing her performances for Sundance Theatre Lab, Center Theater Group's Kirk Douglas Theatre, San Diego Repertory Theatre, and Goodman Theatre. Her West Coast Premiere of Mathew Lopez' The Whipping Man for The Globe Theatre won her an NAACP nomination for Best Director. Sardelli holds an MFA in Acting from New York University's Tisch School of the Arts and taught in NYU's Graduate Acting Program as well as its Dance Department. Before being invited to train at NYU's prestigious Director's Lab program, Sardelli worked as a professional actress for a decade in television and theater, solidifying her well-rounded knowledge of the industry.
With some 100,000 patrons per year, TheatreWorks has captured a national reputation for artistic innovation and integrity, often presenting Bay Area theatregoers with their first look at acclaimed musicals, comedies, and dramas, directed by award-winning local and guest directors, and performed by professional actors cast locally and from across the country. A home for artists developing new works, it was at TheatreWorks that Memphis, the 2010 Tony Award-winning musical that played on Broadway for three years before embarking on a 19 month national tour, was first workshopped and received its World Premiere. The company also hosts a Writer's Retreat, as part of its continued commitment to developing New Works. One of the nation's leaders in cultivating and producing new musicals, each year TheatreWorks welcomes collaborating teams of established, as well as up-and-coming composers and playwrights for a week of New Works development. After a week of creative collaboration and experimentation, Writers Retreat 2014 participants gathered May 4 for an invitation-only presentation featuring selections from each work. This year's retreat participants ranged from established and emerging playwrights, to a songwriter known for his PIXAR credits, and a legendary folk hero.
Participants in this and past years have included Paul Gordon, Marsha Norman, Henry Krieger, Stephen Schwartz, Duncan Sheik, Joe DiPietro, Andrew Lippa, Beth Henley, Lauren Gunderson, and Lynne Kaufman, among many others.
For information on TheatreWorks and its New Works Initiative programs, visit TheatreWorks.org.
Photo by Amanda Embry


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Author: Jennifer Forman Orth
Invading your brain since 2002.
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The Orlando Sentinel has this report about the introduction of the South American sucker fish (Hypostomus plecostomus sp.) into Florida rivers. Plecos are popular aquarium fish, "employed" to scour the glass and gravel and keep it clear of algae. Enough have been intentionally or accidentally released that they are being netting by the thousands out of swimming areas, and have even been observed "cleaning" manatees.
Having been an aquarist in my youth ... I can remember reading a report from Brazil that they taste like lobster. Is that a partial solution? ;-)BTW, I hope "feeding off" means "cleaning algae from"
By Anonymous, at
Yikes! I reworded the post so people don't think they're picking manatee carcasses clean. :-)I would be willing to eat pleco but it seems like it would not be worth the effort unless the fish were really large.
By Jenn, at
Many years ago, one of my father's fish tanks was badly infected with ick and all the resident fish died....or so we thought. We kept real plants in the aquarium and, an experiment born of laziness, we let the tank sit, unfiltered and untended, for about a year after the ick struck.Finally, I set to clean out the tank and prepare it for new fish. Shockingly, inside the aquarium was an 11-inch long pleco, alive and well. The "sucker" had not been infected by ick and, after the passing of the other fish and the algae bloom which followed, he lived quite well and had grown quite large. Though I imagine the pleco would be too bony to generate any real excitement at the dinner table, they can get big enough to warrant eating.
By Hungry Hyaena, at
Where are there articles or information on eating these guys? i saw the lobster comment, im hooked! i want to eat mine now!haha no seriously, are they edible?
By Anonymous, at
Cannot find any detailed info with recipes or anything :-). That's possibly because they are not fun to catch - they tear up nets.
By Jennifer Forman Orth, at
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Selbst in front after day 1 of WSOP $5k PLO
Thus far at the 2011 World Series of Poker the first-time events have drawn sizable fields, with the $25k Heads-Up Championship setting a prize-pool record, and the 10-Game Mix tournament attracting a solid field. Yesterday another new format was introduced as the $5k buy-in 6-Handed PLO tournament got underway, and once again the poker world responded with 507 players registering for the event –Last year this event was played 9-handed and attracted a field of 460 players.
With a steep $5k buy-in to go along with the non-Holdem format the field was full of top poker pros, and the Top 10 chip counts at the end of the day were a reflection of that:
1. Vanessa Selbst — 250,300
2. Erick Lindgren — 208,700
3. Shaun Deeb — 195,000
4. Mike McDonald — 181,800
5. Jamie Rosen — 157,000
6. Jesper Hogaard — 142,800
7. Chris DeMaci — 137,700
8. Peter Jetten — 134,000
9. David Ulliott — 125,000
10. Joseph Cheong — 120,700
110 players will be heading into Day 2 of the tournament with their eyes fixed on the WSOP bracelet and the $619,575 in first=place prize-money that will go to the winner. In addition to the players listed above, other survivors from Day 1 include Brian Rast, Jason Senti, Layne Flack, William Reynolds, Tom Swan, David Chui, Hac "trex313" Dang, Jared "Harrington25" Bleznick, Jason Mercier, Sorel Mizzi, Mike "SirWatts" Watson, Joe Hachem, Mike Mizrachi, David Benefield, Josh Arieh, Chris Moorman, Matt Affleck, Emil "WhiteLime" Patel, David Baker, Jeff Lisandro, Praz Bansi, and Dan Shak.
Results courtesy of wsop.com
Tags: Chris Moorman, Dan Shak, David Benefield, David Chui, Erick Lindgren, Heads-Up Championship, Jamie Rosen, Jeff Lisandro, Joe Hachem, Josh Arieh, Layne Flack, Mike McDonald, Mike Mizrachi, Poker Pros, Pool Record, Shaun Deeb, Sorel Mizzi, Tom Swan, Vanessa Selbst, World Series of Poker
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Tool Manager: Brian Bowman
Location: Duffield 201
Imaging ellipsometry is a powerful tool for measuring thin films of almost any material adsorbed/deposited on a substrate. Materials that can be analyzed are for example: thin metal films, oxides, organic coatings, biological molecule layers (DNA/protein), semiconductor films, SAM's etc.
Accurion EP3
- Resolution: 1-2micron in x/y, ~1 Angstrom in z
- Ellipsometric precision: Delta/Psi precision 0.002 deg Absolute accuracy 0.1 deg
- Can provide delta, psi, n, k, or thickness maps across a full field of view.
- ROI array creator allows simultaneous measurement of DNA/protein arrays or other spatially structured samples.
- Liquid cell enables measurement of hydrated samples.
- Surface plasmon resonance fluid cell for imaging surface plasmon resonance and fluid measurments in an inverted setup.
- Kinetics add-on software allows measurements in real time.
- Thermal stage with ramping capability (0.5-6o C/min) and a range of ~20-110o C
- Stand-alone modeling/analysis software (Thinfilm companion from Semiconsoft).
- Two light source options: Internal solid state 532nm laser, or Xenon Arc lamp with filter wheel. Forty eight wavelengths between 380 – 900nm available.
Useful Links
Instrument protocols in the "downloads" menu to the right.
Ellipsometer manufacturer's website
FAQ from data analysis software manufacturer's website


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Hello all!
I have a problem with jquery, I have this function
$(document).ready( function() {
var button = $('#edit_race');
button.on('click', function() {
If I run it here
It works but when I run it on my machine it doesn't, it gives me an error: button.on is not a function, Jquery is loaded as I am using it also for other things in the page and everything else works fine except this, I am running this in Joomla could it be a problem with Mootools interfering?
I was using the wrong version of jQuery!


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Transfer pricing, which always ranks among the most pressing concerns for multinationals' tax departments, has become even more critical this year. As cash-famished tax authorities worldwide step up their enforcement efforts, many businesses are reviewing their intercompany pricing policies to make sure they're up to snuff.
While they're at it, companies should take a good look at new OECD proposals for revisions to its basic transfer pricing guidelines, which may start to impact U.S.-based multinationals as early as next year.
A useful summary of the proposed changes, which were released in September, is available here, or go here for the full 80-page OECD document.
I asked Adam Katz, partner in PricewaterhouseCoopers' transfer pricing practice and one of the firm's liaisons to the OECD, how the proposed changes would affect corporate tax departments. He sees two important themes.
First, the revised guidelines "provide a lot more detail, particularly behind the economic analysis and functional analysis that would be required to comply with the arm's-length standard," he notes. To that extent, they're similar to the detailed U.S. regulations under Section 482. But that won't necessarily help U.S. companies with the compliance task. "I think what you have, overall, is an increase in the compliance burden," says Katz. "Multinationals are trying to set their policies under the arm's-length principle, as likely to be applied in each of the countries in which they do business. This is going to require a more robust comparability analysis and economic analysis to be able to get to that point and to have a well-documented and defensible position that the member-country tax authorities will, obviously, be scrutinizing them under."
Second, the proposals would eliminate the hierarchy of pricing methods, which gives preference to traditional transaction methods based on comparable uncontrolled prices — basically, what one party would charge another independent party. By removing that preference, the new guidelines "strongly hint at greater use of profit-based methods," says Katz. "There seems to be a shift toward looking at the overall profitability of the taxpayer, including the two related parties, more than in the previous set of guidelines."
Take the case of a foreign subsidiary treated as a simple service provider or distributor. "Because of the way the new guidelines are written, the analysis that would be needed to defend a relatively constant rate of return by a service provider or distributor is now going to be greater," says Katz. "And it's going to push the ability of some of the foreign tax authorities to argue for more income, possibly by virtue of examining the profits of the enterprise beyond those of the local subsidiary."
The wheels of the OECD grind slowly, and the proposals will likely undergo a couple of rounds of consultations and redrafts. But Katz believes the organization would like to see the revised guidelines take effect by the end of 2010. ###