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Find the perfect place from the worlds best selection of vacation rentals on VRBO.
Our 2019 property listings offer a large selection of 502 vacation rentals near Calistoga. From 256 Houses to 52 Cabins, find a unique house rental for you to enjoy a memorable stay with your family and friends. The best places to stay near Calistoga for a holiday or a weekend are on VRBO.
VRBO offers a large selection of vacation rentals near lovely places in Calistoga. From VRBO travelers, the top most popular points of interest to stay for a holiday trip or just for a weekend are:
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Situated at the top of Napa Valley, this historic town is all about great wines, hot springs, and low-key charm. None of the state's infamous freeways lead to Calistoga, making it only reachable by scenic two-lane roads, and easy to forget you're in California. Fast-food chains are banned, preserving the hamlet's mom-and-pop vibe. Whether your days are spent wandering through town, soaking in the hot springs, or tasting along the famous wine route, one thing is true: The best way to cap your day is with a bottle of California cabernet in your Calistoga vacation rental.
Calistoga's activity options border on endless. Take in the sights of Napa Valley from a hot-air balloon, or make your own way along the wine route, stopping for tastings, pairings, and cooking classes revolving around the region's renowned "new world" wines. An annual food and wine festival comes to town each spring, while the harvest is the perfect time of year to learn how the wines truly come to fruition. A visit to the hot springs is a must, as is a peek in some of the town's historic museums, art galleries, and locally owned boutiques.
If you're heading to Napa Valley, it's likely that wine tasting and vineyard hopping are on the itinerary. But if wine isn't your thing, don't let that deter you. Wine country may not be synonymous with kid-friendly, but even families can find plenty to do. Check out the local children's museum, visit the Old Faithful Geyser, or explore the local Bothe-Napa State Park. Downtown Calistoga has plenty of restaurants, boutiques, and cafes, as well as the Sharpsteen Museum, detailing the region's history. Spa lovers will also find plenty of options to relax, thanks to the nearby hot springs.
Compared to San Francisco, Calistoga is a literal breath of fresh air. Here, the majority of days are sunny, and the lack of smog feels like a true escape for any city dweller who comes for a visit. Technically Napa Valley has 4 seasons, but winters are crisp and mild, while summers are warm and temperate. Opt for a terrace or patio with your Calistoga vacation rental, and be sure to pack a light sweater, as temps drop a bit at night no matter the time of year.
There's much to love about the geography of Calistoga. We have its temperate climate and fertile soil to thank for some seriously delicious wines, and an abundance of mineral pools to thank for a place to sit back and drink said wines. There are also plenty of parks and forests dotting the valley, perfect for travelers interested in getting off the wine trail and onto a hiking trail. Opt for a Calistoga vacation rental nestled in the valley, bonus points if it overlooks a vineyard.


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Phyllo-Wrapped Brie with Caramelized Onions
Apricot-flavored spreadable fruit adds sweetness to this creamy-filled phyllo appetizer.
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Phyllo-Wrapped Brie with Caramelized Onions
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- Melt the 1 tablespoon margarine or butter in a large saucepan. Add onion. Cover and cook over medium-low heat about 15 minutes or until onion is tender and golden, stirring occasionally. Sprinkle sugar over onion. Cook, covered, for 10 to 15 minutes more or until browned, stirring occasionally. Stir in hazelnuts or walnuts. Cool.
- Work with one sheet of phyllo at a time, keeping remaining sheets covered with plastic wrap until needed. Lightly brush one sheet of phyllo dough with some of the 1/4 cup melted margarine or butter. Place another sheet of phyllo dough on top of the first sheet, and brush with margarine or butter. Repeat with two more sheets of phyllo, brushing with margarine or butter. Cut a 12-inch circle from the stack; discard trimmings.
- Slice one round of Brie or camembert in half horizontally. Place bottom half in center of phyllo stack. Spread with 1 tablespoon of the apricot spreadable fruit; top with one-fourth of the caramelized onion-hazelnut mixture. Top with other half of Brie, 1 tablespoon spreadable fruit, and another one-fourth of onion-hazelnut mixture. Wrap phyllo up and over filling, pleating phyllo as needed to cover and slightly twisting phyllo on top. Brush phyllo with margarine or butter. Repeat with remaining phyllo, margarine, Brie, spreadable fruit, and onion-hazelnut mixture.
- Place one wrapped Brie round in an 8x8x2-inch baking pan or two rounds in a 13x9x2-inch baking pan. Cover and chill up to 24 hours. Bake in a 400 degree F oven about 20 minutes or until golden. Let stand 5 to 10 minutes. Serve with bread, fruit wedges, or crackers. Makes 12 servings.
Nutrition Facts (Phyllo-Wrapped Brie with Caramelized Onions)
- Per serving:
- 195 kcal ,
- 13 g fat
- (5 g sat. fat ,
- 21 mg chol. ,
- 250 mg sodium ,
- 14 g carb. ,
- 1 g fiber ,
- 6 g pro.

subset: commoncrawl


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Due to my degree, my posts wont be very regular anymore, however they will pick up again when I have a trip to talk about, or am planning something like my study year abroad!
Travel plans that I already have:
A weekend in York with Rachael Mole
A possible weekend in London with Klaudia and Lee and whoever else turns up from International Camp
Christmas plans:
Bedfordshire to see Abigail and co'
Welwyn Garden City to see Hedvika and co'
Sandhurst to see Jean/Nana with dad
Mudeford to see Ali, Spike and Ellie with dad
Christmas in Amsterdam with mum, dad and Oli
Hopefully meeting up with Steph Van Balsfoort in Amsterdam
New Years Eve in Carlow with Colm, Glenn, Niall, Conor and anyone else there
(I'm hoping this eventually turns into a tradition as we were there last year too, but the German girls can't make it this year -sad face- )
Long term plans:
This Easter , I will be doing Hitch 2014 to Morocco with my team member Will Duckworth, or Ducky. We are doing this to raise money for a charity called 'Link: Community Development' who improve education in Ethiopia, Ghana, Malawi, South Africa and Uganda. We have already started fundraising, so please donate generously and help us to beat our target of £600. For more information, and to donate, please follow this link: www.virginmoneygiving.com/team/lucyandducky
Summer 2014, I have a few plans that are slowly coming together but I'll talk about those on a later date!
My next ambition, is to study abroad for a year. I have already started to research this, even though I am intending to go in my 3rd year (September 2015 to Summer 2016). I will probably make a separate blog post about how this is organised and about where I intend to go.
For now, that is all,
Lucy from the World xxo


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Submitted by CdMScott on
The sequel to Superman has an interesting history, involving multiple directors, actors who dropped out, different stories, different composers, and a whole lot of behind-the-scenes hugger mugger. For years, the theatrical version that was released was the only version available, but the recent reconstruction and release of a version that approximates the version Richard Donner envisioned for his sequel allows us to make a detailed comparison between both films.
Richard Donner was hired to shoot the first two films simultaneously, the first film ending with a "To be continued…" that would lead directly into the sequel. Donner had shot approximately 75% of his Superman II when he was told to stop and work on assembling the first Superman for release. Part of that involved taking what was intended to be the climax of the second film—Superman's turning back the Earth and reversing time—and making it the climax to the first.
A number of things happened that resulted in the decision to replace Donner as director on the second film. First, Marlon Brando sued producers Alexander and Ilya Salkind over profits he felt were being denied him, causing them to decide to remove him entirely from the second film. This rankled Donner, who had developed his own grievances with the Salkind's. Donner wanted to keep the tone of the films more serious and mythic, while the Salkind's were pressuring him to add more "campy" humor. Donner wanted more creative control, which the Salkind's were loath to concede, and more control over who worked on the production. It all came to a head, and eventually Donner was fired, and UK director Richard Lester [A Hard Day's Night] was brought in to replace him.
Now, due to director's guild rules, Lester must have shot 51% of the released film in order for him to take credit for it. This would mean a great deal of re-shooting of scenes already shot by Donner, as well as the addition of new scenes. Gene Hackman, writer Tom Mankiewicz, editor Stuart Baird and composer John Williams all declined to come back without Donner, and many of the actors who stayed were very vocally upset about the replacement.
Lester's task was to finish the film as cheaply and quickly as possible. The absence of Brando necessitated bringing back Susannah York as Superman's mother, suddenly playing a much more important role, and filming the remainder of Hackman's scenes with a stand-in facing away from the camera. Several scenes were re-written and rearranged, and the campy and slapstick sense of humor was reinserted. The film was a critical and commercial hit, although many fans of Superman and the first film regretted the change toward a sillier tone, and saw this as the first step toward the ultimate cheapening of the series in Supermans III and IV.
But the fans never forgot Donner's version, and held out hope that his version would ultimately be constructed and released. They wrote several articles and assembled the varying television and international versions of the film into unofficial reconstructions, and continually wrote Warner Brothers asking that the Donner version be reassembled and released. There was a lot of legal wrangling in getting the rights to Marlon Brando's Jor-El performance for use in Bryan Singer's Superman Returns, and upon winning those rights back, Warner decided to hire Michael Thau to reassemble the film for a DVD release. Thau was able to secure the participation of Donner, and in late 2006 Superman II: The Richard Donner Cut was released. Now let's delve into the differences between the two films.
The Lester version begins with more space blobs like we saw in the first film, then quickly arrives back on Krypton, where some white-suited guard stands in front of a bank of crystals. The three villains step in and knock the guard out, pull out a red crystal, and break it! We'll never find out what that red crystal meant, but apparently breaking it is bad enough to get the three of them excommunicated from the planet. What follows is a reprise of the trial scene from the first film, now noticeably Brando-less, with their judges' voice simply being heard from off-screen. They are packed off into their little album cover [okay, the Phantom Zone] and banished into space. We then have a reprise of the events of the first film, but now with Susannah York alone loading baby Superman into his spangle-tastic spaceship. The footage from the first film continues, extensively [i.e. EXTENSIVELY] detailing the major plot points, alternating with the credits, showing a number of moments that will not be in any way related to the plot of this film. The credits are now a somewhat cheapened version of the "flying words" from the first film, now accomplished with repeated exposures of the words, giving them a strobe-like effect. While this is going on we hear the new score by Ken Thorne, using themes from the original John Williams music, which sound somewhat more speeded-up and bombastic.
The Lester version opens after the credits with Clark walking into the office of the Daily Planet, being ignored by several people he says hello to and, in the first sign of the "slapstick" sense of humor that infuses this version, tosses his hat directly onto a rack behind him without looking. He walks into Perry White's office to face an avalanche of exposition, informing him that "terrorists" have seized the Eiffel tower with a hydrogen bomb, and that Lois is there trying to get the story. When asked "Where he's been" that he hasn't heard the news, Clark says "home"—and already the Superman image takes a hit. What, Superman just tunes out and hauls off to the Fortress of Solitude every now and again, leaving the world to its own devices? Clark apparently takes the elevator down and finds an empty alley. In this film, Clark starts to run and just magically transforms into Superman, right on camera, his business suit apparently melting away or phasing into another dimension or… well, we may never know.
We join Lois in Paris getting out of a taxi. Our supposedly Pulitzer Prize-level journalist is such a hick she pronounces "Merci" as "Mercy." She learns that the "terrorists" [I don't think we ever find out what their goal is] have a hydrogen bomb, and helpfully informs the audience that this could destroy the entire city. Despite another display of her offensive ignorance of the French language, Lois manages to elude the one (1) guard that is posted at the base of the tower and begins to climb up. She climbs onto the bottom of the elevator holding the terrorists and the bomb, and is raised to the top of the tower. Meanwhile, the French are providing reams and reams of exposition about the activities of the terrorists and the French's efforts to stop them, finally severing the line that holds the elevator, sending Lois and the bomb—now armed and set to explode in 60 seconds—plunging toward Earth. Of course Superman shows up just in time, lets Lois off, and sends the elevator with the bomb off into space. The shockwaves from the explosion shatter the Phantom Zone, setting the three Kryptonian criminals free. They head directly to the moon.
We next join Lois and Clark in Lois' office at the daily planet. You will notice that in the Lester version, Lois has an office, which is easier and cheaper to shoot than having her at a desk in the middle of a busy newsroom. Clark makes moony eyes at her while she advises him to be more aggressive with the ladies. Clark then crushes his own thumb in Lois' juicer—hoo boy, is that funny! Margot Kidder was said to have enjoyed a good relationship with Donner and did not enjoy working with Lester. One can only speculate as to what that might have to do with the fact that her eyes are bloodshot and she is verging on slurring her words during this scene.
The Donner version begins on Krypton with the trial of the criminals [no nasty red crystal snapping], and immediately announces its kinship with the first film by the presence of Marlon Brando. This version contains a line from General Zod [Terence Stamp] that sets up the rest of the film: That Jor-El will bow to Zod, and one day, so will his children. This line is in the Lester cut, but somewhat unintelligibly shouted as they float away in their album cover. Krypton explodes, and this time we see Kal-El's little spiky spaceship fly past the criminals as he heads toward Earth. Then we see Kal-El land on Earth, and proceed directly to the end of the first film, when the two nuclear missiles are launched. We see Superman launch the first into space, only now we follow it as it continues its path past the moon, toward the three criminals. It explodes, breaking the Phantom Zone [we now get to enjoy a neat effect as the three criminals tumble through space among shards of the shattered Phantom Zone]. Zod shouts "Free!"—and we go into the credits!
The music goes down almost to silence, and the familiar whooshing, continuous [as opposed to strobed] flying credits begin coming at the camera. As this happens the music slowly builds up until it bursts into the familiar Superman theme by the time the red 'S' appears on screen. And this announces a huge difference with Lester's version—the Donner cut still has a John Williams soundtrack! Which will make an enormous difference as the film goes on.
The first episode of the Donner version is quite different from the entire Paris escapade of the Lester version. Lois, still seated in the center of a busy newsroom, looks at Clark and suddenly realizes that he's Superman. The girlishly excited expression Margot Kidder gets on her face at this moment is priceless. A few minutes later she tests her theory by jumping out the window, knowing Superman wouldn't let her fall. He runs downstairs and uses his breath to slow her fall. He extends a canopy for her to bounce off of and she lands—HARD—on a fruit cart. She sees Clark standing in a window upstairs before she passes out.
Already the tone is entirely different. The Donner version is an extension of the tone of the first film—it is more somber, and approaches the material seriously. The Lester version is faster, with faster music, credits that don't match, and that big action bonanza opening sequence. Oh, and a culturally ignorant Lois. The Donner opening sequence is relatively quiet, plays on what we know about these characters, and the more serious tone—including how very hard Lois hits that cart—echoes with far greater emotional resonance, since Kal-El knows that Lois is in love with Superman, but still, he cannot reveal himself to her. By contrast, the Eiffel Tower opening of the Lester version is a somewhat generic "big action moment" that gives us Superman doing his thing within the first ten minutes, but seems to be aimed at the largest possible audience—people who want to see action up front, not fans of the first film who want to see the characters they know.
There's also something in the more somber tone of the Donner version that draws greater ironic resonance from the fact that it is Superman himself who sets the Kryptonian villains free. Of course, he does it in the Lester cut as well, but there it comes off as an accident, whereas in the Donner film, perhaps because it arises from the greater context of events from the first film, it maintains an air if tragic inevitability.
We next join Gene Hackman as Lex Luthor and Ned Beatty as Otis as they toil in jail. Recall that Hackman refused to return to shoot with Lester, so anytime you see him in the Lester version, you are seeing footage shot by Donner. What this, and the next few scenes provide, however, is an excellent opportunity to notice how the exact same scene plays out with slightly different editing and, most importantly, a wholly different soundtrack. The Donner version continues to take the material more seriously, even his humorous material with Lex and Otis having a more genteel air than Lester's, and the following scene, in which the Kryptonians menace astronauts on the moon, having an air of genuine menace, whereas it is much more lighthearted in Lester's version. Scenes—including Luthor's escape from prison—are largely the same between both versions until Clark and Lois reach Niagra falls.
There, Clark and Lois are shown around their tacky honeymoon suite by an unctuous bellhop, who introduces such elements as their fireplace, heart-shaped tub, lava-lamp pillars, and vibrating bed. It is mortifying, and it is eliminated entirely from the Donner version. The Lois and Clark hot dog talk by the Falls and the rescue of the small boy is, unfortunately, just as bad in both versions, so it's a relief to find out that this is footage shot by Lester, but had to be inserted into the Donner cut, as he hadn't shot it. Lois cleans Clark's glasses for him and she sees him briefly without them, giving rise to further suspicion. Soon after, in the Lester cut, Lois jumps into the water to force Superman to save her; remember, in the Lester version, she did not jump out the window at the beginning. This time he runs along the side of the river, eventually using his heat-vision to burn off a log that she can hold onto.
Later that night, in the Lester version, Lois is relaxing by the circular, middle-of-the-room fireplace when Clark trips over the head of the pink bearskin rug [tacky], accidentally landing with his hand in the fire. Lois confronts him directly about being Superman, and he admits it, saying "We gotta talk!" When she tells him that she loves him, he says "Well then we really gotta talk!" I would love to put this scene down, but it does showcase Reeve doing a very sweet, moony-in-love routine, which is very good and effective. The scene in which Clark changes into Superman merely by Reeve changing his posture and attitude that gets so much attention in the Donner version, but another version is also represented here, and is handled fairly well. The scene ends with Superman telling Lois that he wants to take her somewhere special, which we know will be the Fortress of Solitude. Ultimately I prefer the Donner version of this scene, but I have to admit that the childish glee at being free of secrecy that Reeve shows here is quite compelling and endearing.
The replacement version of this scene in the Donner version is actually an early screen test between Reeve and Kidder, filmed before they shot even the first film. It is, however, the only version of this scene ever shot, and so they had to include it here. The most noticeable difference is that Clark has markedly different glasses, and Kidder's hair hasn't been dyed black. Many viewers find it jarring to have a screen test right in the middle of a movie, but I actually rather liked it—you get an opportunity to see how these two actors approached their characters before they had really had a chance to hone them or become comfortable with each other—and it's impressive to see how close to their final characterizations they had come at this time, and also how their chemistry was also locked firmly in place.
In this scene Clark enters a normal hotel room—not the crazy sex lodge of the Lester version—and flirts with Lois while she applies makeup. He says with all this acting like a newlywed, he's beginning to feel like a newlywed. When she mentions Superman he gets irritated, saying it's impossible for him to measure up in her eyes. She tells him he should dress better and be more forward [these elements were retained for the orange juice scene in the Lester version], but soon comes clean and tells him she's convinced he's Superman. She says she'll prove it, and points a gun at him, and shoots. Reeve's transition here is excellent, as he's all stammering like Clark until the shot goes off, the shock sending his shoulders back and head up, into the stance of Superman. The first thing he then does is upbraid her for playing so callously with the life of Clark, but she reveals that she fired blanks. Superman is chagrined, but his expression tells us that her cleverness in this deception is precisely what he loves about her. The next time we see them, they're flying to the Fortress of Solitude, minus the silly line about him wanting to show her his "special place."
Meanwhile, Lex has escaped from prison in a hot air balloon with the assistance of Miss Teschmacher, heading North to discover the Fortress of Solitude. The Donner cut makes their journey through the arctic seem slightly longer, but in both cases they seemingly turn a corner and—poof!—Fortress of Solitude! Once they get inside, big differences soon become apparent.
Lex starts toying with crystals and in front of them, a large crystal comes up with some new people imparting lessons—apparently Kryptonian elders, although we've never seen them before, and soon the image of Susannah York as Superman's mom appears. She lays down some Kryptonian history, then specifically gets to the three criminals and how they simply could not be turned away from their dastardly, red-crystal-snapping ways. She says they're safely tucked away in the Phantom Zone but the zone "Might—just might—be cracked by a nuclear explosion in space." Well golly, WHAT were the chances? The ONLY thing that could free the criminals just HAPPENS to be the very event that just transpired! The world sure is a funny place.
Since the Hackman footage was shot in front of a blue screen, they could use the same footage and just replace Brando in front of it for the Donner version. Again, the presence of Brando creates a much greater continuity with the first film, and generally keeps the tone serious—helped greatly by him not mentioning the coinkidink with the nuclear bomb. In both versions, Luthor decides he will act as agent to the three villains and bring Superman to them.
But what of our villains? They have landed in the rural US. Ursa vaporizes a snake that bites her, then is amazed by her own powers. In the Lester version, the hulking Non picks up the snake and "comically" practices his own heat vision, which is not quite up to snuff yet. A few minutes later he is practicing again, on a truck. They terrorize the town, then fly to the White House, seeking to find the most powerful man in the country. On the way, they use their heat vision [rendered with a special effect that couldn't have run over $3] to change the faces on Mount Rushmore to their own faces. This is what today's top scholars refer to as "appallingly dumb." The Donner version wisely omits Non's heat ray practice antics, and cuts effectively from the villains leaving the small town to the Washington Monument crumbling to the ground.
The Donner version does include several new effects, but done in a more primitive way so they fit seamlessly in with the rest of the 1980 effects. Even these provide an excellent example of the differences in the mindsets behind his film. For example, at one point the police fire a flamethrower at Zod, and he uses his breath to blow the flames away, toward another building. As a short, take-at-home quiz, look at the photos of the same scene below. Identify which effect is unbelievably moronic, then guess which version of this film it comes from.
So, as the President's assistant wonders: Where is Superman? Well, in the Lester version, he has flown Lois to the Fortress of Solitude, where Superman shows her his glowy green crystal and she marvels at it, then carelessly leaves it under her purse. They make small talk until she mentions that she's hungry, whereupon Superman flies around the world gathering the choicest ingredients, which he can use to create a sumptuous meal. We see him land on a tropical mountainside and select some particularly morsel—Juan Valdez is just out of frame—then he and Lois are eating at this elegantly appointed table in the Fortress of Solitude. I KNOW the footage of Superman using his powers to super-mince some vegetable must have been inadvertently destroyed, otherwise it surely would be here.
Lois presumably conducts a self-guided tour while Superman [in his Superman suit] calls up mom again and inquires what might happen if he wanted to, well, you know, and she informs him that he must surrender his powers forever, with no chance of getting them back. Up pops this plastic chamber, seemingly borrowed from the local mall, and Superman steps in. Red light appears in the chamber and there is a short vision of Superman in flames, then the skin and flesh systematically being stripped from his skull. Clark soon appears double-exposed, as Superman, and as Clark, in a white shirt and black slacks. Clark walks away and Superman fades out. He has now been de-powered, complete with de-powered wardrobe. Clark then leads Lois to the super-bed, which I believe is in a chamber covered with long white shag carpeting. Personally, just my preference, but I do not want to see the Super-Shag, and I DEFINITELY do not want to see the Super-Bed. EVER.
So Clark [we'll call the de-powered Superman Clark] and Lois get back from the Fortress of Solitude [HOW exactly they do this is cleanly elided over in both versions], and stop into a diner, where Clark gets beaten up. At one point, while Clark is laying on the ground, Lois says "I want the man I fell in love with," and Clark ruefully says "I wish he were here." They then see the three villains at the White House, taunting Superman, and the whole crush of what has happened and what a pickle he's in comes in on Clark. He realizes he has to go back, and sets off. We see him try to hitch-hike as he trudges along a snowy interstate, which I suppose is necessary, but does kind of imply that the Fortress of Solitude is just off route 9 just behind the old Jenson place—and if you see the Dairy Barn, you've gone too far. Once inside, Clark has a VERY brief "I failed" speech, and then the green crystal that Lois carelessly dropped wherever she felt like it starts to glow, and the next time we see him, Clark is Superman again. Oh, so I guess all that stuff about "once you give up your powers you can never get them back" was just so much hot air? Losing your super-powers: no big deal.
The de-powering and re-powering scenes are the crux of the Donner version, and are given all the momentousness the material deserves. First of all, it occurs AFTER Superman and Lois have done the Super-deed. So I guess that resolves all those questions about whether she'd be killed when… he… well, you know. Apparently she's not [internal bleeding perhaps? Not mentioned]. The film cuts directly from the President's aide asking "Where is Superman?" to Lois and Superman asleep in bed [no long shot of the Super-bed, thank you, I appreciate it], upping the dramatic effect of him being asleep, happy, and blissfully unaware as the world is crumbling, and upping the drama even more as he is ABOUT to de-power, and if he only knew what is going on down South…
So Lois comes out wearing Superman's shirt [cute] and sees him talking to Jor-El. He has already changed into the white shirt and slacks. Jor-El expected that this day might come, but he obviously hoped that Kal-El would get over it, and he is NOT happy. He upbraids Kal-El: "They give you their undying gratitude and THIS is how you repay them?" He calls Superman selfish, and Superman freaks: "Selfish?!" He says he's given them all he's got, and when is it ever enough? And doesn't he deserve to be happy? Kal-El says that he can't deny that he has felt joy in serving mankind, and Superman has to admit that he has, but now it's time for him to be happy with Lois. Jor-El then tells him if he's sure, he can go to a chamber [thankfully not the cheesy plastic chamber of the Lester version] and lose his powers, telling him he can never regain his powers and urging him several times to reconsider. But Kal-El won't. He is de-powered, and once this is over—in a moment I LOVE—Jor-El turns and gives Lois the stink-eye, as if to say "So, my Son gave up all his powers and duty for YOU?"
The diner sequence is the same, but now it has added weight, as Kal-El was warned and implored and asked and asked again to reconsider, but his feeling and arrogance made him blind to his father's advice. It also seems that poor Kal-El only gets a few hours to live as a human, and it seems that most of them were spent driving in snow. Anyway, back to the Fortress of Solitude he goes. There he has a much-expanded speech about his own foolishness and guilt, saying "I failed you. I failed myself. And all humanity." It's unfortunate that Christopher Reeve's most intense and dramatic speech in the series was cut for all these years. Again, the green crystal glows, but that's not it: Kal-El puts it in, and Jor-El appears again. He says he anticipated this very thing happening, in fact it was meant to happen. Superman can get his powers back, via Jor-El infusing him: meaning that once he is re-powered, he will never see his father again. This also makes Kal-El feel terribly guilty, but of course he must go through with it.
The difference here from the Lester version is astonishing. To take the events in order, Superman's sleeping with Lois before de-powering removes the sense that sex was a factor in his de-powering, and places the emphasis more on their relationship. Kal-El's rebellion is now greater than just his love for Lois, but is about him living his own life, finding his own happiness, and no longer having to be at the beck and call of humanity. There's also a much greater air of simply being sick of having to do everything his father says. So it's a typical adolescent rebellion and as such, it's something that many more people in the audience can relate to; for while few can empathize with having to give up one's super-powers for the love of a woman, everyone can relate to being sick of having to do things for others and getting frustrated with having to do what one's father says. Lastly, in the Donner version, Superman has to make a huge sacrifice to get his powers back, which is both a final step into adulthood, and further punishment for his mistake. Regardless, it's all given a rather heavy and mythic significance, as opposed to the Lester "Oh, I gave my powers up and got them all back without a problem, so what's for dinner?" approach.
You can imagine how much better the Bryan Singer hand-wringing and psychological trauma approach to Superman would have gone down, had the Donner cut been the second entry in the series.
So now on to the big battle. It proceeds much the same, except for a few "comic" details that Lester included in his version. First of all, as Lois watches the fight from her window at the Daily Planet, she is accompanied throughout by another woman who makes silly faces and comments at her. Then there are details such as Ursa accidentally whacking Zod with a flagpole, and a bystander saying "Woah! Home run!" Then, during the high wind the villains create with their breath, they blow an ice cream cone out of one man's hand and on to another man's face. A man is talking in a phone booth and keeps talking after the entire booth has been fallen over and is being blown down the street. A man is blown backwards on roller skates as he yells "woahoahoahoahoah!" Then a woman's wig and a man's toupee are blown off their heads, causing the woman to say "Oh, my hair!" and the man to reply "YOUR hair?! What about mine?" Before watching this scene in the Lester version, please be sure to remove any nearby objects with which you may be tempted to use to blind yourself.
The Donner version simply removes all of those idiotic touches, and a result, the fight comes off as much more serious and awe-inspiring. The villains blowing down the street is very intense and actually sort of frightening. There's no silly woman next to Lois in the window, but Perry and Jimmy Olsen. One other observation—note how effective and realistic the man thrown straight through the skyscraper is here, with its primitive effects, and compare this to how crappy Spider-man getting thrown through a skyscraper looked in Spider-Man 3, even with all its fancy modern digital hoo-ha.
After the fight, Superman takes off for the Fortress of Solitude, leaving the public feeling as though he has deserted them, although we know he is actually drawing the villains away from where they can injure the public.
In the Lester version, you'll start to notice long shots of Hackman, captured from the back… these were shot with a stand-in to fill in gaps missing from the Donner Hackman footage. Soon Superman comes out with a line about how he expects better manners in his house. As Non approaches him, he throws out a very, VERY poorly animated "S" that becomes a sort of cellophane net-thing that briefly confounds Non before melting away. Apparently this cellophane "S" is THE most-reviled element of the Lester version by fans. The three villains then direct some sort of white beam at Superman [never seen before or since in the movie] which he is able to deflect and push back at them. Why Superman is abruptly more powerful than the three villains is left unexplained. After the villains are dispatched with, we have a short scene back at the Daily Planet. Lois gives a heartfelt speech about how she knows she can never have Superman and is "Jealous of the whole world." Clark gives her the kiss of forgetting, and she forgets the whole thing. Convenient, that. He goes back to beat up the bully at the diner, there's a last bit of Superman placing the flag back atop the White House, and he's off.
The Donner version just feels fuller and less silly. You see Hackman brought into the Fortress of Solitide. There's no cellophane "S" and no mysterious white beam. And the transformation chamber is just not as silly as in the Lester version. The main differences happen after the villains have been dispatched.
For one, Superman flies Lois a ways from the Fortress of Solitude, where they say their goodbyes. She says "No regrets. I got the man I love to love me, didn't I?" and he replies "Oh yeah." Of course, in this version, since they had sex before he gave up his powers, you have to wonder what the problem facing them is. Anyway, then Superman somewhat inexplicably destroys the Fortress of Solitude. Maybe because it is exclusively a training ground, and now that Jor-El is no more? He drops Lois back home—and then reverses time, just like at the end of the first movie! Here's what happened. The first movie was originally going to end as a sort of cliff-hanger, with Zod being released from the Phantom Zone and shouting "Free!" Ultimately they decided that the first movie needed a stronger finish, and they moved the reversing-time sequence—planned from the start as the climax of Superman II—to the first film, planning to just think of a new climax when it came time to complete Superman II. This was a great idea, as the reversing-time idea was an excellent thematic closing to the first film [if it does stretch credulity beyond the breaking point]. So upon reconstructing the Donner version of the film, they had a choice of using the Lester version with the kiss of forgetting, or leave the original ending with the time reversal, making it seem as though Superman did it twice. They went with the time-reversal, using the logic that Clark would never kiss Lois, only Superman kisses Lois.
As seen in the Donner cut, the time-reversal comes off as an interesting epilogue, a little grace note after the movie proper has finished. In the first Superman, when reversing time, he was highly emotional after the death or Lois and the destruction of the West Coast, as well as the fact that he was disobeying his father's direct orders not to interfere with the course of human events. So you got the sense that Superman was on the verge of losing control and maybe wasn't making the right decision. Here everything is pretty much resolved, so the reversal has much less urgency, and in fact seems more a matter of preference than anything. What's interesting is the way it's done… at first we don't know that Superman is doing anything, we just see the strange effect of time going backwards as seen on earth, and later it is revealed that Superman is behind it all. Lois forgets who Clark is, the Washington monument and Statue of Liberty are repaired, and the criminals are back in the Phantom Zone. They do make the strange decision to include him going back to beat up the bully at the diner, which, if Superman reversed time, never would have happened in this version. Ah well, it's only a movie.
The two versions of Superman II offer an interesting comparison of the little decisions that can change the tone of a film, such as the inclusion of silly humor or a replacement of a musical soundtrack. For me the Donner version is vastly superior, including the seriousness of tone, key actors, and soundtrack that makes it of a piece with the first film. I recall seeing the Lester Superman II in theaters, and leaving disappointed that it was so silly and such a degradation from the first film. For lovers of the first film who were disappointed with the Lester version in theaters, the new Donner cut is a bit like being able to go back in time, to revist a disappointing experience of one's youth, and experiencing the relief of having it turn out right this time.
THE THEMES OF SUPERMAN picks apart the thematic elements that masterfully tie together the vastly different sectionsof the first film.


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Print Sale - Tools!
Up for offer is a complete set (a dozen individual photos + one composite photo) of 13"x19" photographs of each tool which I used to complete the basement renovation. Some tools I used include a hammer, vise, combination square, nails, and pliers, etc. etc.
What you are getting is a signed, one-time only, ultra-ultra-limited numbered edition (in this 13"x19" size) of one of two (2) editions. One set will be mine, one will be yours, should you purchase it. All the photos in the series can be seen on my flick.com Tool set. Pictured below is the photo composite of the dozen tools in this series. This comp print is also in a limited and numbered edition of ten (10) in the 13"x19" size.
N.B. Just to be clear, the actual tools are *not* for sale -- just the photos of the tools... I can take cash, personal cheque, electronic bank transfer, or paypal.com. Easy!
To sum up: If you wish to purchase the whole limited edition of 12 individual photos plus one comp photo, the total cost (including shipping) will be a low $500.00 CDN. The limited edition of 10 numbered photos are priced at $100.00 CDN each. Please get in touch with me to make and confirm your purchase. john (@) johnwmacdonald.com FIRST COME, FIRST SERVED! The 13"x19" is the size of the paper, and not neccessarily the size of the image on the print itself. Prints are done on 5 Star Ultra Premium Presentation Paper - Matte. No frames, nor mats are included in this price. Just the prints.
Should you wish to aquire an individual print in an alternate size, please see my FAQ for pricing info. Questions, comments? Let me know. Thanks for your support!


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TEA PARTY AT THE CAPITOL:"Bury ObamaCare with Kennedy"
One of the people I spent the most time discussing in my book on the history of the American political debate, The Progressive Revolution: How the Best in America Came To Be, was a man named John C. Calhoun. I went so far as to call him the founder of modern conservatism, and the events of this year, including Joe Wilson's offensive outburst on the floor of Congress, Wednesday night, have added strong evidence to my argument.
Although discussions about the relative power of the states and the federal government had been around since the days of the Articles of Confederation in the 1780s, Calhoun was the South Carolina politician who fused a particularly extreme view of states' rights with a patriarchal and violent conservatism. Calhoun argued that states could come and go into and out of the Union, whenever they wanted to; that they could secede from the Union at any time and for any reason; and that even if they stayed in the Union they could nullify any law they wanted, again at any time and for any reason.
He was also violently opposed to the idea of democracy itself, say that they growing population of the North had no power whatsoever over slavery or any other thing the southern states chose to do, and in fact believed that the Bill or Rights only applied to what the federal government couldn't do--that the states were free to eliminate freedom of speech and religion and other civil liberties. (In fact, most southern states had done exactly that by the time of the Civil War.)
Calhoun was ready to start a Civil War in 1832, when he and Andrew Jackson disagreed over a policy that would hurt Calhoun's beloved plantation economy. He resigned as Jackson's vice president, and encouraged the state to secede and raise an army right then and there. It was a protégé of Calhoun who beat abolitionist Charles Sumner almost to death with a cane on the floor of the Senate in 1856, and protégés of Calhoun who led South Carolina to be the first state to secede from the Union in 1861 after Lincoln's election, and be the first state to fire on Union soldiers at Ft. Sumter.
Calhoun's states' rights theories were used to justify Jim Crow in the South and oppose integration after the Civil War all the way into the 1960s. Today, we are seeing Calhoun Conservatism spreading throughout the Republican party and the right wing movement. Joe Wilson's thuggishness on Wednesday night and the conservative movement's embrace of his action yesterday are just the latest examples. Some highlights from the last year:


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When you kno a guy likes u (like, 100% sure) what do u do? (Girls)
A boy at school likes me and i kno it and i dont know what to do and how to act around him. I dont like him. I usually act normal around him. But wat should i really do? Should i keep it up? Plz help ppl!
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Answers (10)
vote up or down the answers
Well, if you acted like yourself from the start, he likes you for you so don't change anything about your personality. Maybe if you do like him, do your hair a bit nicer in the morning, ect. other than that at the end of the day he likes you for you - not for who you pretend to be!
on February 27, 2012
act like normal (I agree with quizheart123)
on June 25, 2012
thx quizheart123!
on April 12, 2012
also, the boy doesnt kno i kno he likes me
on February 18, 2012
i agrreed quiz heart
on July 30, 2012
im a guy myself, so this may help. a guy that likes you for you doesn't really want you to change, your perfect in his eyes. smile and little flirts never hurt. if you're happy, he's happy, unless its about a relationship with other guys. talk about yourself, let him get to know you, ask him how his day was. smile and wave to him in the hallway (be sure to introduce this alllittle by little, or he will think 1 of 2 things: either you like him back, or you know and he'll feel foolish)
on November 24, 2013
I agree with quzheart123
on January 22, 2013
ask him to spit it out and admit but not using that phrase of course!
on January 03, 2013
Just be yourself and tell him how u feel
on June 19, 2014


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Two bloggers traveled together to create a beautiful whimsical Thai photoshoot.
The stunning shots capture Margaret's flexibility and dancing talent and Zanita's photography skills. The pictures were snapped in Phuket, Thailand, and exhibit the natural beauty of the country. Margaret's acrobatic poses are impressive set against a beach scene. The styling is also phenomenal. Margaret is wearing flowing frocks in every shot that have great movement and extenuate her graceful moves. For an editorial on a whim these girls prove that individual talents can be showcased successfully with enjoyment. The photographs are light, airy and striking.
Taking two talents together for a Thai photo shoot was a great idea and hopefully these two blogger beauties will reunite again.
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Bloggers Collaborate for This Majestic Thai Photoshoot
- By: Katie PagnottaDec 3, 2012
References: shinebythree & honestlywtf
References: shinebythree & honestlywtf


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EU statistics depict poverty in a particular way, which goes beyond the income issues. At risk-of-poverty-or-social-exclusion indicator is an ample example of it. To understand why, one should know what is the rationale behind it and how important is, that in the EU, poverty and social exclusion go hand in hand.


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The rather stark message from the Pensions Institute Discussion Paper The Greatest Good for the Greatest Number published in December 2015 is that up to 1,000 private sector defined benefit ("DB") occupational pension schemes are "stressed" and unlikely to pay members pensions in full.
The paper sets out proposals for further discussion and legislative and regulatory change to address the challenges that this presents.
The paper defines a DB scheme as "stressed" where it is significantly underfunded relative to the value of the employer's business, with a weak employer covenant. Of the 1,000 DB schemes that the paper concludes are stressed being [X]% of all DB schemes, it estimates that 400 DB schemes have sponsoring employers with viable businesses, but will not survive if the pension deficit remains on the corporate balance sheet. The remaining 600 will never ever pay full benefits and the question becomes ones of when, not if, the DB scheme will enter the Pension Protection Fund ("PPF").
The paper suggests that earlier intervention with stressed schemes might lead to a more positive outcome either by:
- the DB scheme providing better benefits than PPF compensation (which in particular benefits younger members as the compensation from the PPF is less for members under normal pension age)
- the DB scheme might still enter the PPF, but with greater assets than would otherwise be the case
Unlike previous Pensions Institute papers, it sets out proposals, not recommendations, due to the lack of detailed data of weak sponsoring employers and to the conflicting views amongst the expert opinions sought during the research. These proposals are aimed at sparking debate as to how best deal with stressed DB schemes:
- Change the Pension Regulator's ("tPR") remit for trustees of stressed DB schemes from 'protection of member benefits' to 'protection of member interests';
- Make non-statutory pension increases contingent on the DB scheme's funding level;
- Introduce a PPF 'pre-assessment' period to facilitate early intervention;
- Change the PPF's cliff edge compensation rules for pre- and post-NRA to a phased approach, based on age and/or length of service;
- Provide specific guidance for trustees of stressed DB schemes on the appointment criteria for specialist advice, and provide a rapid fee-check calculator to reassure trustees that they will not contravene the tPR's guidance on proportionality;
- Introduce a requirement for tPR to alert trustees and sponsors when it identifies that a sponsor's covenant is 'weak' (its lowest ranking), or is on a rapid downward trajectory towards this ranking; and
- As part of each funding review, employers should be required to provide an annual statement to the trustees about the prognosis for the business over the next three to five years, including any plans for corporate actions. This would align the regulation and governance of sponsoring employers with the concerns of trustees.
The Supplementary Materials to the Paper also contained a summary of the UK private sector DB universe: there are around 6,000 DB schemes, covering around 11 million members. As at September 2005, it is estimated that the trustees of these schemes are, in aggregate, responsible for assets valued at about GBP 1.2 trillion, which compares with combined liabilities estimated at about GBP 2 trillion.
This is an important paper highlighting a difficult area for trustees and one where they face the prospect of criticism if the DB scheme ends up in the PPF when an opportunity to secure better benefits as been missed. Amongst the paper's findings is that lay trustees are unlikely to have the necessary experience of the issues that arise with a stressed employer and find themselves in a position of "informed bewilderment". Coming on the back of the Pensions Regulator's updated guidance on assessing and monitoring the employer covenant it emphasises the need to obtain expert advice
This is also not just an issue for smaller DB schemes and employers. The paper concludes 25 of the largest DB schemes, each with liabilities in excess of GBP 1 billion, are stressed.
Nor is this a debate which can be ignored by stronger scheme and sponsoring employers. If the aim is to ensure that more DB schemes can either avoid the PPF or enter the PPF with greater assets, then there should be a benefit for all schemes in the future levies to the PPF being smaller than might otherwise have been the case.
We await the developing debate with interest


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ICD-10 Diagnosis Code R87.616
Satisfactory cervical smear but lacking transformation zone
Diagnosis Code R87.616
Short Description: Satisfactory cervical smear but lacking transformation zone
Long Description: Satisfactory cervical smear but lacking transformation zone
This is the 2019 version of the ICD-10-CM diagnosis code R87.616
Valid for Submission
The code R87.616 is valid for submission for HIPAA-covered transactions.
Code Classification
Information for Medical Professionals
Code Edits
The following edits are applicable to this code:
Diagnoses for females only - Diagnoses for females only.
Diagnostic Related Groups
The diagnosis code R87.616 is grouped in the following Diagnostic Related Group(s) (MS-DRG V35.0)
Convert to ICD-9
- 795.07 - Sat cerv smr-no trnsfrm
- Satisfactory for evaluation but limited by absence of an endocervical/transformation zone component from a patient with a cervix
Information for Patients
Cervical Cancer Screening
The cervix is the lower part of the uterus, the place where a baby grows during pregnancy. Cancer screening is looking for cancer before you have any symptoms. Cancer found early may be easier to treat.
Cervical cancer screening is usually part of a woman's health checkup. There are two types of tests: the Pap test and the HPV test. For both, the doctor or nurse collects cells from the surface of the cervix. With the Pap test, the lab checks the sample for cancer cells or abnormal cells that could become cancer later. With the HPV test, the lab checks for HPV infection. HPV is a virus that spreads through sexual contact. It can sometimes lead to cancer. If your screening tests are abnormal, your doctor may do more tests, such as a biopsy.
Cervical cancer screening has risks. The results can sometimes be wrong, and you may have unnecessary follow-up tests. There are also benefits. Screening has been shown to decrease the number of deaths from cervical cancer. You and your doctor should discuss your risk for cervical cancer, the pros and cons of the screening tests, at what age to start being screened, and how often to be screened.
- Cervical cancer -- screening and prevention (Medical Encyclopedia)
- HPV DNA test (Medical Encyclopedia)
- Pap and HPV Testing - NIH (National Cancer Institute)
- Pap smear (Medical Encyclopedia)
[Read More]
ICD-10 Footnotes
General Equivalence Map Definitions
The ICD-10 and ICD-9 GEMs are used to facilitate linking between the diagnosis codes in ICD-9-CM and the new ICD-10-CM code set. The GEMs are the raw material from which providers, health information vendors and payers can derive specific applied mappings to meet their needs.
- Approximate Flag - The approximate flag is on, indicating that the relationship between the code in the source system and the code in the target system is an approximate equivalent.
- No Map Flag - The no map flag indicates that a code in the source system is not linked to any code in the target system.
- Combination Flag - The combination flag indicates that more than one code in the target system is required to satisfy the full equivalent meaning of a code in the source system.
Present on Admission
The Present on Admission (POA) indicator is used for diagnosis codes included in claims involving inpatient admissions to general acute care hospitals. POA indicators must be reported to CMS on each claim to facilitate the grouping of diagnoses codes into the proper Diagnostic Related Groups (DRG). CMS publishes a listing of specific diagnosis codes that are exempt from the POA reporting requirement.


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--Previous Message-- Link: http://www.youtube.com/results?search_query=ultraviolet+klaus+badelt&search=Search
: Go to you tube and type in ultraviolet klaus
: badelt. Someone made a video with the music,
: But they put the music with the movie
: sharkboy and lavagirl. Ignore the images and
: listen to the music from ultraviolet. It
: goes with daughters of the dragon. Again, In
: the ultraviolet movie this music is playing
: with comic pics, So we are going to do the
: same.
: --Previous Message--
: We have found the openning music for the
: movie. How many of you saw the movie
: ultraviolet? If you saw it then you know the
: openning theme music for it when it is
: showing the comic pages. Well we are jacking
: that music and using it in our movie. We
: will have that same music playing when the
: title screen is rolling. We are even going
: to show comic pages of DOD while the names
: and the music is playing on the screen. A
: type of cologe if you will. Pics from samuri
: bullets, heroes for hire and some old power
: man iron fist. Any comic that had the
: daughters in it will be shown during the
: credits. If you havent heard the music check
: it out. I don't know where to find it, Maybe
: you tube or something, or if you buy the
: movie. I will get back to you soon!!!
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« Back to index
--Previous Message--
Link: http://www.youtube.com/results?search_query=ultraviolet+klaus+badelt&search=Search
This website, its operator, and any content contained on this site relating to Heroes for Hire, Power man and Iron Fist are not authorized by Marvel Comics. This site is not sponsored, approved or authorized by Marvel Comics. The opinions of this site are not necessarily those of Marvel Comics and this site is not an authoratative voice of the views of Heroes for Hire and Powerman And Iron Fist, and characters and situations as written by Marvel comics. This site serves as a non-profit scholarly work which reviews, promotes, and documents the elements of Heroes For Hire in comic books and other media during the 21st century and beyond. All ideas in this site are expressed as a continuation of thought covering the pop culture associated with Heroes For Hire .These thoughts are not necessarily the ideas of Marvel Comics. Some illustrations and words are the creation of others that may or may not have appeared in other publications or websites. Their inclusion in this site is not intended as an infringement of their copyright in any way, but rather is done in the interest of documenting and reviewing pieces of pop culture "comic book" history. Heroes For Hire Message Boardand other related properties and images are © by Marvel Comics.
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Storyline: Months after John's divorce, Ted and Tami-Lynn's marriage seems on the same road. To patch things up, Ted and Tami-Lynn plan to have a child with John's help, but their failed efforts backfire disastrously. Namely, Ted is declared property by the government and he loses all his civil rights. Now, Ted must fight a seemingly hopeless legal battle with an inexperienced young lawyer to regain his rightful legal status. Unfortunately, between Ted's drunken idiocies and sinister forces interested in this situation to exploit him, Ted's quest has all the odds against him.
Movie Title: Ted 2 (2015) Director: Seth MacFarlane Stars: Mark Wahlberg, Seth MacFarlane, Amanda Seyfried, Jessica Barth Release Date: 26 Jun 2015 Genres: Comedy Format: MatRoska (Mkv) File Size: 950MB Resolution: 1280x532 Runtime: 02:05:46 Language: English Subtitles: English [Softcoded] - Muxed Encoder: MkvCage (MC) Team Source: 720p.WEB-DL.DD5.1.H.264-PLAYNOW
One Comment
can you uploud the 1080p bluray or 720p


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SOMETHING ROTTEN! is "Broadway's big, fat hit!" (New York Post). Set in 1595, this hilarious smash tells the story of Nick and Nigel Bottom, two brothers who are desperate to write a hit play.
When a local soothsayer foretells that the future of theatre involves singing, dancing and acting at the same time, Nick and Nigel set out to write the world's very first MUSICAL! With its heart on its ruffled sleeve and sequins in its soul, SOMETHING ROTTEN! is "The Producers + Spamalot + The Book of Mormon. Squared!" (New York Magazine).
Dear Group Sales Clients, Groups Get Great Benefits! Group Tickets start at $28!
The 2017-2018 Broadway at the Marcus Center Season promises a truly exceptional lineup of new shows and familiar Broadway favorites.
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We can't wait for your group to take part in the exciting Broadway shows coming to Milwaukee. We look forward to serving you this coming season.
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Contact Info
Reach out to our Group Sales Team by phone or contact form.
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PLEASE NOTE: Prices include applicable group discounts, facility fees, handling fees, and sales tax. Prices, shows, artists, dates and times are subject to change without notice.