Leave it to Queen Helena (Elizabeth Hurley) to shake things up.
In this clip from Sunday’s The Royals, the queen helps prepare a new engagement story for Willow (Genevieve Gaunt) to…
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Teens with a sense of purpose do better in school, are more resilient and healthier. They are also a minority.
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Barnwell: Making sense of wild, wide-open NFC playoff field
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Repurposing LA Noire as a $ 30 VR game (called LA Noire: The VR Case Files, exclusively for the HTC Vive for now) is as fun as I’d hoped it would be. And on the Nintendo Switch (priced at $ 50, including all of the DLC ever released), it runs and feels like it belongs, even if it’s Switch-exclusive features – like motion controls and touchscreen functionality – don’t add a lot to the experience. I played both ahead of their imminent launches – November 14 for Switch and December for VR Case files, though remember that the 4K Remastered release is also out on November 14 for Xbox One X and PS4 Pro.
LA Noire looks nice and clean on Nintendo’s newest console when running at 1080p in docked mode. It’s got every piece of content ever released for the detective thriller, and it’s (mostly) slower pace make it a great fit for an on-the-go game in handheld mode. It’s aged reasonably well; the motion-captured facial animations that LA Noire hung its hat on in 2011 have held up best. The rest of the game world shows some last-gen cracks, but nothing I’d knock it for. The most obvious issue was the object pop-in on the horizon when you’re speeding down the streets during driving sections.
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Why the Kyrie Irving trade makes sense for Boston
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The globetrotting DJ and producer on bringing eclectic influences together.
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Twin Peaks star Kyle Maclachlan has promised fans “it will all make sense in the end”, if audiences persevere.
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Floyd Mayweather and Conor McGregor will reach into the pockets of millions this summer. How long until those people realize they were swindled?
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Johansen: Kesler’s play ‘doesn’t make sense’
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Governing is hard. Predicting what the, ahem, disjointed members of Congress are going to do on any given day is even harder. So why not give your noggin a little rest and let artificial intelligence do it for you? SEE ALSO: Microsoft CEO says artificial intelligence is the 'ultimate breakthrough' Enter PredictGov, a website that uses machine learning to try and determine the future of congressional bills. Will they pass? Won't they? Now you can spend your time only freaking out about, say, the erosion of your privacy thanks to Congress, instead of all the additional garbage that may or may not get signed into law. Pretty neat, huh? (As an added bonus, all that extra cognitive space will come in handy as you prep for the inevitable eco-apocalypse). The brainchild of Vanderbilt University law Professor J.B. Ruhl and computer scientist and doctoral candidate John Nay, PredictGov is more than just some rando-pundit dude's attempt to sound smart on cable TV. There's
data in them thar hills. "It pulls from decades of congressional data plus hundreds of variables, including the bill’s sponsor, amendments, economic trends and political shifts," reads a press release. "Each bill’s score updates every 24 hours, accounting for amendments that jump on or off." But what, other than the aforementioned aid in disaster prep, is this service good for? Well, potentially a lot. "Based on our deep learning A.I. system, we provide updated predictions for the bills currently under consideration, assigning each a chance of being enacted," the website explains. "This freely available resource allows you to focus on legislation that is likely to matter and offers a glimpse into the power of our more advanced subscription-based tools." In other words, it could save you from lobbying against the latest congressional monstrosity that has little-to-no chance of passing and allow you to focus on one that does. As to the accuracy of PredictGov's predictions? It may be too early to say for sure, but either way it lets you outsource one more cognitive task. And that, in these confounding times, is a big ole plus. WATCH: This inventor built a real-life 'Iron Man' suit and it's awesome
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FOX’s popular drama “Prison Break” ended its run in 2009. But seven years later, given the industry’s fascination with reboots, the series is back with the original cast. Show creator Paul Scheuring returns as well, working with executive producers Vaun Wilmott and Michael Horowitz to craft the nine-hour story. The cast and creatives appeared at… Read more »
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Why the Cowboys’ new Tony Romo deadline doesn’t make sense
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Giving big dollars to older pitchers doesn’t make sense
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One day after the 2017 Oscars, late night hosts tried to make sense of the Best Picture flub.
Initially, Faye Dunaway and Warren Beatty announced La La Land had been named the winner of…
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Seattle Seahawks quarterback Russell Wilson may be spilling the beans on whom he thinks will triumph in Sunday’s Super Bowl LI (spoiler alert: the New England Patriots), but when it comes to his baby on the way, his lips are sealed.
“She’s doing great … it’s a blessing obviously, very excited about that,” Wilson, 28, told Extra‘s Mario Lopez of pregnant wife Ciara, adding that the couple know their baby’s due date, sex and name but are choosing not to reveal them.
“I can’t say exactly — we haven’t told really too many people at all,” adds the football star, whose team clinched their first Super Bowl win in 2014, of how far along his wife is in her pregnancy. “But it’s getting close. We’re getting there.”
Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and more in the PEOPLE Babies newsletter.
“You want to make it special,” Wilson tells Lopez of keeping the baby’s sex and name under wraps, adding of the moniker they’ve chosen, “We do have a name picked out. It will be a good one.”
Lopez asks whether Wilson or his wife, who also has a 2½-year-old son named Future Zahir, was the mastermind behind the name choice.
“A little bit of both,” Wilson says. “I think we both have some creative sense about us, so it’s gonna be cool.”
RELATED VIDEO: Baby on the Way for Ciara and Russell Wilson!
Though the Seahawks didn’t advance to the big game this season, they did get close, falling to the Atlanta Falcons in the NFC Divisional Playoffs in mid-January.
“I will forever win bc I get to come home to you every night. The love of my life. I love you,” Wilson wrote. “This past year has been full of so much joy & happiness.”
“From getting Married to having little one on the way, to your constant endless love. I couldn’t be more grateful to have you in my life Mrs. Wilson. You make everyday a perfect day. #ForeverGrateful.”
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For the directionally challenged, traveling can be a frustrating, time-wasting ordeal. But there are steps you can take to improve your sense of direction.
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Bengals’ Jones on arrest: Doesn’t make sense
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A simple “sniff test” could help doctors diagnose dementia before symptoms appear, a new study suggests.
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Modern, sleek, electric pepper mill with a chrome base and taupe-colored top Easy to use – grind with one hand. Adjustable grind so you can choose the size of grind that best fits your cooking creation 7.87 inches/ 20 cm tall 2 Stage channeling and grinding process Lifetime warranty on internal grinding mechanism Batteries (AAA) included Salt included in grinder Made in France Freshly ground salt brings out more flavor in most foods. The Zephir battery operated salt mill makes it easy to grind sea salts such as Hawaiian, black or gray. Many chefs like the added flavors of the trace minerals found in sea salts, such as Fleur de Sel from Brittany, France Because sea salts have large grains they need to be ground for the best flavor absorption and to avoid crunching on a salt grain when eating Salts and other spices will remain fresh longer in their pre-ground state, another reason to consider a Peugeot Zeli salt mill Lifetime warranty from Peugeot on the grinding mechanism
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Jaden Smith has become better known for his eye-catching style than his movies as of late–and he’s OK with that.
Will Smith’s son, now the face of Louis Vuitton, has been…
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Sports are more important than ever socially, economically and culturally. As well as embodying cherished values and ideals, sports now reflect many of the worries of wider society. Drugs, racism, corruption and violence are all now major concerns and our experience of sport is increasingly subject to a gigantic industry made up of owners, players, sports goods manufacturers, television networks and corporate sponsors. In this newly expanded edition of Making Sense of Sports, Cashmore addresses all these issues as well as the more basic questions about the history of sports, its social context and possible future development. Among the new editions other themes are:* the body, how it works and why it is more cultural than natural* why women continue to be devalued and depreciated by sports* Nike, globalization and the sports industry* art and how it reflects changing conceptions of sports.
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Not too long ago and for reasons not entirely altruistic, Broadway and off-Broadway veteran Sherie René Scott (Dirty Rotten Scoundrels, Everyday Rapture) taught a 12-week prison course named–not by her–“Theatricalizing the Personal Narrative.”
For someone who likes putting her life on stage (for instance, the above-mentioned Everyday Rapture, co-written with Dick Scanlan), the assignment gives the impression of being ideal for yet again theatricalizing her own personal narrative. While she doesn’t appear to have had that in mind when she began working with this inmate group, she nevertheless has done so touchingly and enlighteningly with Whorl Inside a Loop, again co-authoring with Scanlan, in a Second Stage production.
Directed by Michael Mayer and Scanlan in a manner alternating between gritty and grinning, Scott and Scanlan have adapted her story and included her interplay with prisoners — all of these found guilty of murder, one of them innocent of the crime. The playwrights also devote time to Scott’s dealings with members of the prison staff and exchanges with family, friends (notably a doubting husband called Noah) and a potential producer.
While there are times when it feels as if Scott and Scanlan may have tweaked what really happened — not necessarily to protect, say, the guilty — most of the 100 intermissionless minutes have the clarion ring of verisimilitude. In particular, a spectator might expect that among the convicted killers with whom Scott comes into contact over the 12 visits, at least one would pose some degree of menace. When that never happens, it initially seems as if Scott has to be glossing over the truth of her experience.
Okay, when one of the men — all of them African-American — reenacts his murder, there is a tense moment, but it’s quickly defused. Still, in the long run the lack of anything disturbing comes across as hewing closer to the truth than inserting volatility simply because it’s expected might be. Incidentally, as benign as the men are within the walls — which for this purpose have been stripped by designers Christine Jones and Brett Banakis to Second Stage architect Rem Koolhaas’s bared look — there is one, remaining identified, who, the men agree, must never be allowed out.
That over time Scott becomes friendlier and more at ease with the six men in the class as they deliver the narratives they’ve prepared appears to be quite natural. She’s both surprised and gratified that the men are so forthcoming and articulate when describing either incidents that put them where they are or when detailing other chapters in their lives.
There is one narrative that at its finish earned applause during the press preview I attended. Jeffrey (Chris Meyers), who didn’t commit the crime for which he took the fall, talks about himself with such pathos that only the hardest heart would stay unmoved. His — confession is the wrong word — his explanation is so irrefutably convincing that Scott asks the obvious question: If everyone knows he shouldn’t be behind bars, why is he? She gets her answer, and it’s not a consoling one.
The other prisoners, who boast names like Sunnyside, Flex, Bey, Source and Rick are played with great vigor by, respectively, Derrick Baskin, Daniel J. Watts, Donald Webber Jr., Ryan Quinn and Nicholas Christopher. They all double as prison staffers — one is the man assigned to check Scott for any metal she might be carrying. She is: the wire in her bra, and it causes him consternation.
In addition to Noah, among those impersonated are Scott’s producer Tammy and her gay hairdresser. One of his clients is Hillary Rodham Clinton, who one day has an appointment immediately following Scott’s — an appointment leading to developments potentially meaningful for the inmates. (There’s no speculation here whether the current Presidential candidate’s chances will rise or fall on her agreeing to attend a performance the inmates give in the prison gym, but she does want to drop by with the intent of considering prison reform.)
In case anyone deciding whether to see Whirl Inside a Loop (the title refers to fingerprints, of course) is wondering about Scott’s exploiting the prisoners’ histories, the issue is raised and has apparently been resolved satisfactorily. The program credits “additional material” to, alphabetically, Andre Kelley, Marvin Lewis, Felix Machado, Richard Norat and Jeffrey Rivera. Farther back in the program, the title of each man’s narrative is listed.
During Scott’s three-month course, one of the men has applied a fourth time for parole. As the Whorl Inside a Loop ending approaches, he receives his letter. What it discloses won’t be, er, disclosed here, but it’s a beauty of a blackout.
It’s March 31, 1999 in Ken Urban’s Sense of an Ending, and Charles (Joshua David Robinson), a New York Times reporter in trouble for plagiarism, is hoping to clear his name by getting to the bottom of a breaking Rwandan story. Sister Justina (Heather Alicia Simms) and Sister Alice (Dana Marie Ingraham) have been charged with contributing to a Tutsi massacre in a local cathedral and are about to be transported to Berlin for trial.
Charles is being looked after by soldier Paul (Hubert Pont-Du Jour), whose motives regarding the nuns’ innocence or guilt is unclear. Nevertheless, Charles persists at getting Sister Justina and Sister Alice to tell their histories and by the interviews, even when the nuns are cagey around each other, reiterate their innocence. That’s the report Charles knows his NYT editor, Kendra, wants and expects. He’s also hoping to interview Dusabi (Danyon Davis), a Tutsi who, with his now deceased wife Elizabeth, survived the slaying and is the only witness to the murder and burning of the several hundred men, women and children who’d sought shelter in the church.
Sense of an Ending, compactly directed by Adam Fitzgerald and compellingly acted, at 59E59, is a look back at fading headlines concerning the Hutus revenge on the Tutsis once the long repressed Hutus were in the position to dominate their former suppressers. It’s a potent view of man’s and woman’s inhumanity to man and woman.
In the small space where Sense of an Ending is unfolding the dominant piece set designer David L. Arsenault provides is the cathedral’s large double door, each door featuring a relatively small cut-out of a cross. Behind the doors is supposedly what remains of the carnage. The door opens only at the denouement. What’s revealed is stunning, but, needless to say, will not be described here.
Sarah (Miriam Silverman) and Sam (Matt Dellapina) — newly in love and smooching when not mooting the benefits of suffering as a prescription for self-understanding — are interrupted by an insistent knock on the door to the comfortable Manhattan living room Reid Thompson has designed for her to call home.
Not expecting more company, Sarah reluctantly goes to see who’s there. In bursts Nate (Nick Westrate), Sarah’s best friend from when they grew up in the same building. His arrival is a Big Uh-oh, and occurs only after the three characters have had a few fourth-wall-breaking words with the audience. Their addressing the patrons continues throughout A Delicate Ship, Anna Ziegler’s long-at-80-minutes play, directed by Margot Bordelon for The Playwrights Realm, at Playwright’s Horizons.
The difficulty with the piece is that — as played and directed but maybe not as written — Nate’s high-energy, even menacing, presence signals just about everything that will dismayingly affect the incipient Sarah-Sam romance. No surprise mitigates the predictable plotting as Nate begins assailing Sam and increasingly declares himself the man who’s loved Sarah from second grade, just as, he maintains, she loves him.
Anyone aware of Edward Albee’s Who’s Afraid of Virginia Woolf? or maybe even 1965’s on-screen Darling knows that introducing a party game is trouble, and that’s just what Nate does here. It also doesn’t help that Ziegler has indulged herself in much questionable poetic writing. “Our lives are love songs to our parents,” Sarah proclaims at one point, and if the line strikes you as delectable, then maybe A Delicate Ship is for you.
Actors Silverman and Dellapina, who plays guitar and sings nicely along the way, perform well together, and Westrate has some effective stretches. If on arrival he were to play Nate as less immediately psychotic, Ziegler’s script might have a more insinuating dramatic arc.
So there you have it: another play where an intruder hangs around longer than anyone would be allowed to linger in real life.
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Set aside time for awesome experiences and ultimately, studies show, it could help you live a happier life.
Gazing up at a powerful waterfall, losing yourself in the majesty of a sunset, and feeling the icy magnitude of a glacier all have the ability to make us feel small and more generous toward others. Those moments also remind us to step outside ourselves and connect with the great unknown.
According to studies, awe – that strong combination of fear, respect and wonder — may make people more empathetic, generous and trusting. The emotion can also expand our perception of time, alter decision-making and enhance well-being.
So consider the seven natural wonders below and then book a ticket immediately.
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Special News Bulletin-http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.-American Consultants Rx -Pharmacy Discount Network News
Cutting edge, trendsetter fashion? Yes!But in Boston? Don’t make me laugh! C’est impossible, right? Wrong.
When I moved back here three years ago from Washington, DC (not exactly the epicenter of fashion either but several measuring tapes ahead of Bean Town), I bemoaned the lack of intentional fashion, as opposed to the accidental or incidental that is Boston’s paradigm. Determined to uncover any latent possibilities, I set out on a style quest that has turned up a few gems.
Most recently, Massachusetts College of Art and Design (MassArt)’s formidable fashion design curriculum and senior collections made me a believer. On May 9, 2015, the art school that parallels New York City’s Fashion Institute of Technology and Parsons fashion design programs showcased its 108th student fashion show, entitled “Vision.” (A previous commitment kept me from the show itself, but I viewed several of the collections beforehand.) Anna Wintour and Tim Gunn surely would have coveted my first peek at these boutique-ready garments.
MassArt professor James Mason, himself a 2006 alum who worked in retail as well as designed his own collections before returning to teach, curated this year’s show. He, along with other department instructors, help hone the skills and dreams of the young, talented designers. The program doesn’t force themes (à la Project Runway) upon students, but rather allows them “to do what they do best,” says Mason, adding, “I love what I do.”
While a student entering the Fashion Design program need not have sewing skills, s/he must possess a passion for fashion. Senior Megan Reynolds, whose collection, “Pangaea Apocalypse,” I found to be one of the most moving, said her inspiration was “the apocalypse… with survivors picking up and creating their own personal style.” She employed silhouettes that juxtaposed a half skirt shape with trousers and colors (some hand-dyed with curry and turmeric) that mixed winter with fall. It is a remarkably emotional collection for someone of Megan’s youth because of the maturity of fabric and color selection and the courage of its interchangeable gender notes and androgyny. It was no surprise she cited recent CFDA awardee Hood by Air as one of her designer inspirations.
MassArt seniors work on their final collection for the entire year. They are given carte blanche in terms of self-expression. Over the course of four years, students study pattern drafting, illustration, computer creation, draping, women’s and men’s wear, tailoring, made-to-measure, bridal, fashion history and more. They also spend time working in teams. By sophomore year, they have finished three full garments; by junior year, seven and senior year, 10. According to Megan, MassArt gives students “time to create… and think things through,” along with training in “craftsmanship.”
Although I was only able to view a portion of the featured fashion lines, I was duly impressed. In addition to Megan Reynolds, the following designers offered unique and highly polished collections:
Emelie Bergh’s “Second Shift” collection showcased soft, transparent and hand-dyed fabrics crafted with painstaking detail.
Victoria Braga’s “Sweet” was inspired by homemade desserts, hence the peach, white and gray palette, silk screened fabrics and smoothly interchangeable pieces.
Kim Nowers showed her “Theresa Elizabeth” collection, aptly titled because it felt quite erudite with its burgundy palette, hand-applied rosettes, exquisite fit and Charles James worthy draping.
Lindsay Hills titled her collection “Distress” meant quite literally. Items often featured unfinished hems or torn edges on soft fabrics and dark palettes mixed with harsh elements such as belts and suspenders.
Photo by: Allysa Duncan
Margaret Galvin’s “Inferno”, based on Dante’s Inferno, explored lavishly clad characters in looks like mashed red velvet suiting, burnished leather or soft, pure white folds.
Rachel Krafton’s “Framework” played creatively with new shapes, a mixture of textures including non-traditional fabrics constructed to display metaphors such as the wearers being “the same women though all not going to the same place.”
And finally, the narrative in Carly Hempel’s “You Need Me” reflected on “women’s bodies and insecurities.” The models appeared confident, though, highlighting clothing that hugged the body via soft knits and impeccable construction lines.
As I listened to student designers discuss their work with faculty panelists, I was struck by their varied methodologies as well as the diversity of the designs themselves. Some had complex stories and descriptives while others eschewed any deep meaning or explanation.
My only regret is that I did not see all of the collections as I’m certain there were many more showstoppers. With each senior class show, MassArt continues to establish its firm fashion footing well beyond Boston while concomitantly securing Boston’s often elusive style presence.
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such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact,
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<title> What Sense ? Or, Economic Nutrition<author> Horace Fletcher<publisher> H. S. Stone & company, 1898<subjects> Health & Fitness; Diets; Diet; Health & Fitness / Diets; Health & Fitness / Nutrition; Medical / Nutrition
With so many things going on in the “Avengers” movies, it’s surprising Ultron just didn’t short-circuit from trying to keep up with the plot. Now, for fans who love the movies — but have no idea what’s going on — the Bad Lip Reading YouTube channel is here to save the day.
In the new video, “Redneck Avengers: Tulsa Nights,” Bad Lip Reading imagines what the Avengers would be like in a country-themed reality show. No, it doesn’t make sense, but quotes about spicy nachos and fancy pajamas sure are a lot easier to keep up with than what the heck is happening with the Tesseract, the Chitauri aliens or just about anything with Thor.
Also, thanks to the first “Avengers” movie, there are a lot of theories about what Loki was really after. This video, however, explains the guy just wants Skittles, cigarettes and some Big League Chew — which actually sounds like a pretty fantastic time.
It’s official: George Clooney is just as besotted with wife Amal’s style as the rest of us, calling it “amazing” in a recent interview. “Since the day I met her, she’s always had this insanely…it’s eccentric, but it’s fun, [her] sense of fashion,” he told Entertainment Tonight. “She was teaching at Columbia, and she’s still like, ‘I want to wear that dress.’ It’s crazy. It has been sort of fascinating to watch, because she has such great taste.”
Of the traditional robes Amal wears to court, George has mixed feelings. “I’m always very proud of her when I see her speaking with her robe on. It’s very impressive,” he said. “It’s a nice-looking robe, [but] they could spice it up a little bit.” In the interview, Clooney goes on to share some of the many reasons he fell in love with the human-rights lawyer. “She’s an amazing human being,” he told ET‘s Nancy O’Dell. “And she’s caring. And she also happens to be one of the smartest people I’ve ever met. And she’s got a great sense of humor. There’s a number of reasons why.”
The book itself is a diagram of clarification, containing hundreds of examples of work by those who favor the communication of information over style and academic postulation-and those who don’t. Many blurbs such as this are written without a thorough reading of the book. Not so in this case. I read it and love it. I suggest you do the same.” -Richard Saul Wurman” “This handsome, clearly organized book is itself a prime example of the effective presentation of complex visual information.” -eg magazine “It is a dream book, we were waiting for. on the field of information. On top of the incredible amount of presented knowledge this is also a beautifully designed piece, very easy to follow.” -Krzysztof Lenk, author of “Mapping Websites: Digital Media Design” “Making complicated information understandable is becoming the crucial task facing designers in the 21st century. With “Designing Information,” Joel Katz has created what will surely be an indispensable textbook on the subject.”-Michael Bierut “Having had the pleasure of a sneak preview, I can only say that this is a magnificent achievement: a combination of intelligent text, fascinating insights and – oh yes – graphics. Congratulations to Joel.”-Judith Harris, author of “Pompeii Awakened: A Story of Rediscovery”Designing Information” shows designers in all fields – from user-interface design to architecture and engineering – how to design complex data and information for meaning, relevance, and clarity. Written by a worldwide authority on the visualization of complex information, this full-color, heavily illustrated guide provides real-life problems and examples as well as hypothetical and historical examples, demonstrating the conceptual and pragmatic aspects of human factors-driven information design. Both successful and failed design examples are included to help readers understand the principles under discussion.
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“Daily Show” host Jon Stewart appears to have a new hobby: tearing apart Mike Huckabee’s hypocrisy.
When the former Arkansas governor and possible 2016 presidential candidate was on the show last month, Stewart went after him for attacking Beyonce’s music but performing with Ted Nugent.
Now Stewart’s tearing apart Huckabee for the bizarre explanation he gave for opposing gay marriage. On Sunday, Huckabee said he can’t evolve on the issue because it’s a biblical matter.
“I can’t just ‘change’ with the ‘times’ if it means deviating from ‘biblical law,'” Stewart said (complete with the air quotes) in summing up Huckabee’s opposition to same-sex marriage. Then he pointed out a few other pieces of “biblical law,” at least two of which might not be as important to Huckabee.
“It’s why Huckabee never mixes fabric in his clothes or trims his beard or sleeps with another man’s slave,” Stewart said. “It would be wrong.”
Huckabee also declared that asking him to accept gay marriage would be like “asking somebody who’s Jewish to start serving bacon-wrapped shrimp in their deli.”
Stewart said that analogy “makes no fucking sense.”
“No one is forcing you to get metaphorically married to the biblical abomination that is this bacon-wrapped shrimp,” Stewart said.
And that led to one of the most unforgettable “Daily Show” interviews yet.
Count Bill Nye among those who aren’t buying the scientific explanations Bill Belichick is cooking.
“The Science Guy” told “Good Morning America” on Sunday that the New England Patriots coach’s recent explanation for why the team’s footballs were under-inflated during the AFC Championship Game “didnt make any sense.”
“I’m not too worried about coach Belichick competing with me,” Nye said, referring to the Internet dubbing Belichick “the science guy” after the coach’s complicated Saturday press conference. “What he said didn’t make any sense.”
Belichick said during the press conference that after carefully studying the issue, he had concluded that his team acted in accordance with NFL guidelines.
Belichick blamed the deflation of the team’s footballs on factors including “atmospheric conditions” and the team’s process of rubbing footballs before the game to wear them in, per the preference of the team’s quarterbacks.
But Nye, for one, wasn’t buying the idea that a little rubbing can deflate the football in any significant way.
“Rubbing the football — I don’t think you can change the pressure,” Nye said. “To really change the pressure, you need one of these, the inflation needle.”
But there’s one thing you should know about Nye: It appears he’s a Seahawks fan. “I cannot help but say, ‘Go Seahawks!”’ he admitted to “GMA.”
ESPN reported last week that the NFL had found 11 of the Patriot’s 12 footballs were significantly under-inflated during the AFC Championship Game against the Indianapolis Colts. None of the footballs provided by the Colts were under-inflated.
Even those who love Paul Thomas Anderson’s “Inherent Vice” have discussed how they want to see it a second time. Anderson’s films often have that effect on moviegoers, an initial opacity giving way to understanding and embrace.
“I think it started happening on ‘The Master’ a lot. People said that they wanted to see it again. And not necessarily in a good way, but maybe in a way that they kind of afforded the film some goodwill even if they didn’t really like it,” Anderson said during a recent phone interview. The impulse for a second viewing of “Inherent Vice,” the first screen adaptation of a Thomas Pynchon novel, is compounded by its narrative, a shaggy dog detective story that twists and turns in ways that recall “The Big Sleep” and “The Long Goodbye.”
“There’s so much information packed into this book and therefore the movie, that it is a good thing [to see it twice],” Anderson added, before digressing in a way befitting of his latest feature film. “Oh, fuck, I don’t know. It was certainly not by design! You would never go into something saying, ‘Hey, you really have to see this twice!’ That’s just sort of so horseshit that a director would feel that he could fucking say that. That’s the last thing you’re allowed to say.”
He continued: “But I totally see it … [seeing a movie is] a different experience every time. I’m saying something obvious, but it really can make a difference. How many movies have you absolutely adored when you saw it, because you were in the right frame of mind or because of what you ate for lunch that afternoon, and then six months later you say, ‘What the fuck was I thinking?'”
Based on Pynchon’s 2009 novel, “Inherent Vice” follows the misadventures of Larry “Doc” Sportello (Joaquin Phoenix), a private detective initially hired by his ex-girlfriend (breakout star Katherine Waterston) to investigate the disappearance of a real-estate mogul (Eric Roberts). Then all hell breaks loose: Nazis, a presumed dead saxophone player named Coy Harlingen (Owen Wilson), a drug-addled dentist (Martin Short), an assistant district attorney (Reese Witherspoon) and a tough cop named Bigfoot Bjornsen (Josh Brolin), whom the film’s narrator (Joanna Newsom) describes as having “a twinkle in his eye that says civil-rights violation,” all factor into the story. Set in California in 1970, “Inherent Vice” has a lot more on its mind than the plot: It’s a story about the battle between liberals and conservatives and a look back at a time, before Watergate, when the government hoped to crack down on any subversive elements left over from the free-love ’60s.
As with Anderson’s six previous films — “Hard Eight,” “Boogie Nights,” “Magnolia,” “Punch-Drunk Love,” “There Will Be Blood” and “The Master” — “Inherent Vice” is an blessed with great performances, music and visual beauty. Working with his longtime cinematographer, Robert Elswit, Anderson shot “Inherent Vice” on 35mm film, giving it a worn-in look that suits the time period. Long takes, another Anderson signature, are ever present was well, including a striking sequence late in the film between Phoenix and Waterston, where the actress is completely naked for what feels like an eternity. (“It has to present itself naturally,” Anderson said of his predilection toward filming scenes in one take.) During what many have called a down year for filmmaking, “Inherent Vice” stands out as enjoyably challenging; it’s the type of movie people will discuss long after the year’s flashier awards contenders have faded into history.
Ahead of its limited release, Anderson spoke to HuffPost Entertainment about adapting Pynchon’s novel, the evolution of his career and what he learned about movies from his father.
Owen Wilson and Joaquin Phoenix in “Inherent Vice”
You’ve talked before about how the plot is almost secondary to the action, but having seen “Inherent Vice” twice now, it does make sense.
It does! It’s not necessarily a cop out with us saying plot doesn’t matter. It does connect, I assure you. But that’s the joy of Pynchon. All of his stuff, which is seemingly so rambling and wild, is carefully structured and really meticulously thought out. There is a point to everything and everything is connected. Every cause has an effect. When you’re sending this character off to investigate what happened to his generation, the points in the dots are connecting — he’s piecing it together. It’s all pretty damn accurate. It’s not just wild stuff that Pynchon is making up out of thin air. He’s looking back with proof in his hands: look at what these Republicans in power did to the country at that time.
There’s a scene at the end of “Inherent Vice” between Doc and Bigfoot that recalls a similar moment at the end of “The Master”: two men in opposition coming to an understanding that they must remain opposed. It’s emotional but in a way that isn’t obvious. What are you trying to say in those sequence?
It was just an effort to make sure that made it in the translation from the book to the movie. That’s where it starts. They’re trying to apologize to each other for how they treated each other the night before, and Doc and Bigfoot begin to talk at the same time. It struck me so sweetly in the book. It was like Tom and Jerry stopping to apologize to each other about their behavior. What I really like about that scene, and what ended up happening when we got there, is that for as emotional as Doc is throughout the movie, you never see him break down and cry. But in truth, the most emotional he gets is bawling his eyes out while watching Bigfoot have this meltdown in front of him. Doc says that beautiful line, which is from the book: “Are you okay brother?” Bigfoot rejects it: “I’m not your brother.” Doc says: “But you sure could use a keeper. Doc has become unglued along with Bigfoot. It’s just stuff in the book that I shuffled around and made into one scene.
There’s a lot of that sweet sentimentality running through this. I found the relationship between Coy and his wife to be some of the most heartfelt stuff you’ve ever done.
You’re never supposed to admit that your own material makes you laugh. When you’re writing it and laughing out loud, you have to think there’s got to be something wrong. Similarly, you’re never supposed to admit that you get a lump in your throat. But I remember a few times feeling proud and kind of emotional at the family’s reunion. With the music playing and the thought of their baby asleep in that crib; the daddy coming home. It’s all directly from the book, and it made me feel so emotional in the book. The job was how to get my camera going and not fuck up how I felt while reading the book, which was really touched and sweet and hopeful for this family to have a new beginning. Sentimental is a great word for it. That has become a misused, overused word. It’s sometimes bad to be sentimental. But that’s what is going on in this book. It was a time when it was okay to be sentimental. There’s actually a line in the book that didn’t make the movie and I regret it. Bigfoot is saying something to Doc, and Doc says, “Don’t get sentimental on me, man. It fucks up your head.”
Sam Cooke’s “(What A) Wonderful World” plays during a key part of the film, but it almost feels anachronistic based on the rest of the songs, by among others Can and Neil Young. Why did you pick it?
I got clues from the book about a wide array of music, and then kept it exclusive to just 1970 hits. It makes it feel a little more well-rounded in terms of the period. But truthfully there’s a kind of Pynchon nerd thing that I’ve done here with “Wonderful World.” Sam Cooke is referenced in Vineland. There is a character who is very similar to Doc in Vineland, and in moments of weakness he throws on Sam Cooke. I think I remembered that intuitively. “Wonderful World” was so skillfully used in “Animal House” that I had to wrestle whether or not to use it again. Because you can’t beat how it’s used in “Animal House.” But I thought the statute of limitations was up and that we could use it. But if you’re going to use a song that good, you have to really feel like you’ve earned it. Because it could be really easily cheating to throw that song on. It’s contagious.
Do you think you’ve changed as a filmmaker over the last 15 years?
Yeah! I mean I sure hope so, otherwise I’d be making the same movie over and over again. Look, my brain has gotten slightly bigger having been with Thomas Pynchon’s work over the past four years. The mental work that it took to go through all of this material was a work out. I definitely don’t think I could have done this when I was starting out 15 years ago. It was only through some little bit of experience and nerve that I was able to try it now.
You don’t want to make the same film over and over again, but there are certainly fans who want you to replicate the feeling of “Boogie Nights.” How do you balance the audience expectations with your own artistic desire?
You’re always thinking about an audience watching your film, to the extent that you’re wondering: Does this make sense? Is this funny? Is this clear? Am I shooting this properly? But we’re not really making films that are casting a super-wide net toward audience participation. We’re not making blockbusters, so we don’t have a price tag over our heads to deal with. But you’re making a movie. You want it to communicate. You want it to entertain. The last thing we want to do is have someone come in and have it feel like homework. No one wants to go to the movies for that.
One thing you use to entertain is filmmaking technique, especially long takes. How has your usage of them evolved since you started making films?
It’s always in my mind that if you can naturally create a scene that can play in one take, you should do it. But that can also work the other way too. Sometimes if you’re just doing it for an effect or if you’re doing it as an artificial construct, then it becomes an art project. Then it’s no good. We did that a few times on this, where you’re trying to do something for all the wrong reasons. The other option is covering it, where he says his lines and he says his lines and you cut it together. There’s a lot of fun taken away when you do it like that. It actually becomes more difficult and not in a fun and challenging way — just a pain in the ass. If you have a location and a set and a scene where it can fit and work, you take advantage of it and do it.
My dad used to always watch movies with me. I wouldn’t notice edits when I was a kid, but he would say, “Look at that. No cuts.” Or he would say, if something was being cut, he would snap his fingers and go, “Good cut. Good cut.” It’s so funny: The other morning, my daughter and I were at my mom’s house. Turner Classic Movies was on and they were playing “That’s Entertainment.” There was a long shot, and my mom just said, “No cuts!” My daughter realized, in that moment, that we sound exactly the same. I’ve watched things with my daughter, and I’m like, “Look at that, no cuts.” It’s like a fucking disease in our family. I don’t know what it is or where we got this from, but it’s like, what the fuck? What a weird family. We sit around and talk about “no cuts.”
Wait until you see “Birdman” together.
Yeah, exactly. No cuts! No cuts!
After “There Will Be Blood,” I remember hearing about both “The Master” and “Inherent Vice.” Now seven years later, they both exist. So do you have stuff you want to make now?
I do. There’s a catalog of material that I have. Most of it is pretty thin. Some of it is okay, some of it is sort of dying to be looked at. But I don’t have anything concrete at all to work on at the moment, which is a really exciting place to be after four years of working pretty hard on these last two things. It’s a wide-open road. Which I’m really enjoying. It’s funny because it can be weeks or days or an hour before the itch starts to happen again that you have to scratch. But I’m always writing. Some of it’s good, some of it’s not. I consider it writing even if you’re just sitting at your desk and not typing something out. As long as you’re sitting there, you’re working. Because you’re thinking about it or at least showing up to your job. You have to convince your spouse that you’re actually working if they open the door and they catch you doing what you’re doing. Which is twiddling your thumbs. You’re like, “No, I’m working!” Suddenly it turns into “The Shining” very fast.
Is there a genre you want to dabble in?
Yeah, but that’s a crazy question because the answer is all of them. The irony is, if you asked me if I wanted to do a detective movie, I would have said no. But here I am. It’s some combination of intuition and material and how these things line up. It’s still sort of a mystery to me. I would check all of the above. Make a horror movie or a musical or an action film? Yeah, of course, all of them!
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Taste, perhaps the most intimate of the five senses, has traditionally been considered beneath the concern of philosophy, too bound to the body, too personal and idiosyncratic. Yet, in addition to providing physical pleasure, eating and drinking bear symbolic and aesthetic value in human experience, and they continually inspire writers and artists. In Making Sense of Taste, Carolyn Korsmeyer explains how taste came to occupy so low a place in the hierarchy of senses and why it is deserving of greater philosophical respect and attention. Korsmeyer begins with the Greek thinkers who classified taste as an inferior, bodily sense; she then traces the parallels between notions of aesthetic and gustatory taste that were explored in the formation of modern aesthetic theories. She presents scientific views of how taste actually works and identifies multiple components of taste experiences. Turning to taste’s objects-food and drink-she looks at the different meanings they convey in art and literature as well as in ordinary human life and proposes an approach to the aesthetic value of taste that recognizes the representational and expressive roles of food. Korsmeyer’s consideration of art encompasses works that employ food in contexts sacred and profane, that seek to whet the appetite and to keep it at bay; her selection of literary vignettes ranges from narratives of macabre devouring to stories of communities forged by shared eating.
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You might want to sit down for this one.
Just what is Hello Kitty, you’re asking?
Hello Kitty is a human girl (and a British one at that), Christine R. Yano, the author of “Pink Globalization: Hello Kitty’s Trek Across the Pacific,” told The Los Angeles Times.
“Hello Kitty is not a cat. She’s a cartoon character. She is a little girl. She is a friend. But she is not a cat. She’s never depicted on all fours. She walks and sits like a two-legged creature,” Yano explained to the Times.
And if you are ready for your mind to be just a little more blown, the character we all know as Hello Kitty is actually Kitty White — a Scorpio who loves apple pie, and is the daughter of George and Mary White.
“She has a twin sister. She’s a perpetual third-grader. She lives outside of London. I could go on. A lot of people don’t know the story and a lot don’t care,” Yano told the paper.
For more on Hello Kitty, head over to the Los Angeles Times.
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