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Posted by Teddy Blass

interstellar-posters

Christopher Nolan’s Interstellar has been announced for release on Blu-ray and Digital HD this March. The Blu-ray will come in a Standard Edition with just the feature film, as well as a Combo Pack which will come with an Authentic IMAX Film Cell, and will include a series of bonus features. The film will be released in Digital HD two weeks earlier on March 17th, with the Blu-ray (and DVD) release coming later on March 31st. Bonus features on the Combo Pack Blu-ray will include:

  • The Science of Interstellar—Extended cut of the broadcast special.
  • Plotting an Interstellar Journey—Discusses the film’s origins, influences and narrative designs.
  • Life on Cooper’s Farm—Bringing Americana and the grounded nature of a farm to a sci-fi space movie.
  • The Dust—Learn how cast and crew avoided sand blindness, and see how to create, and clean up after, a catastrophic dust storm.
  • TARS and CASE—Designing and building these unique characters and how they were brought to life on set and in the film.
  • Cosmic Sounds—The concepts, process, and recording of Hans Zimmer’s unforgettable score.
  • The Space Suits—A look at the design and build of the suits and helmets, and what it was like to wear them.
  • The Endurance—Explore this massive set with a guided tour by production designer Nathan Crowley.
  • Shooting in Iceland: Miller’s Planet/Mann’s Planet—Travel with the cast and crew to Iceland and see the challenges they faced in creating two vastly different worlds in one country.
  • The Ranger and the Lander—A look at the other two spaceships in the film.
  • Miniatures in Space—Marvel at the large-scale models used in the explosive docking sequence.
  • The Simulation of Zero-G—Discover the various methods that the filmmakers used to create a zero gravity environment.
  • Celestial Landmarks—Explore how the filmmakers used practical special effects informed by real scientific equations to give the illusion of real space travel for both the actors and the audience.
  • Across All Dimensions and Time—A look at the concept and design of the Tesseract, which incorporated a practical set rather than a green screen.
  • Final Thoughts—The cast and crew reflect back on their Interstellar experience.
  • Theatrical Trailers

interstellar-blu-cover

Pre-order the Blu-ray

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Posted by Vlada Gelman

On Thursday night’s Elementary, Kitty took her final (vengeful) bow, leaving Sherlock and Watson in “tricky, dangerous times,” executive producer Rob Doherty warns. Although Kitty didn’t kill her tormentor Del Gruner (guest star Stuart Townsend) after capturing him, she did leave him badly scarred. Captain Gregson made it clear that he would have to track […]
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Posted by Annalee Newitz

Beautiful New Photo of the Mouth of the Beast Nebula

The European Southern Observatory has published a new Very Large Telescope photo of the cometary globule CG4 or, as they call it, The Mouth of the Beast.

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Posted by Jonathan Appleton

Jonathan Appleton is a writer at Kasterborous Doctor Who News and Reviews - All the latest Doctor Who news and reviews with our weekly podKast, features and interviews, and a long-running forum.

Coming soon from Fantom Films, The Man Behind The Master will be the first full-length biography of Anthony Ainley, who played the Doctor’s nemesis from 1981-89.

Karen Louise Hollis’s book , due to be released in May, will explore Ainley’s career both as the Master and prior to that in the many roles he played on film and television. Unsurprisingly he was often cast as the villain and his face regularly appeared throughout the 1970s in a number of popular dramas including Upstairs Downstairs, Nicholas Nickleby, and Elizabeth R. It was his role as Rev Emilius in The Pallisers that made John Nathan-Turner, a production manager at the time, think of him when it came to re-casting the Master. Anyone who has been stuck in front of the TV on a wet bank holiday has surely caught his performance as a villainous Nazi in The Land That Time Forgot.

The book certainly promises to be an intriguing read, as trailed by the publisher:

“But the dramas in Anthony’s real life were far more fascinating than any of the many parts he played on screen. Born the illegitimate son of actor Henry Ainley, and taken into care at the Actors’ Orphanage at the age of four, Fantom presents the hidden story behind one of Doctor Who’s most enigmatic characters.

‘This is the first time all aspects of his life have been drawn together’ says Karen Louise Hollis, ‘I have had the pleasure of interviewing a number of friends and colleagues from every aspect of Anthony’s life, and examined the archives to bring together the most complete and fascinating story.'”

A key figure in Doctor Who for the last decade of its original run, Ainley was a private person who, by some accounts, didn’t exactly go out of his way to make himself popular with colleagues. But he certainly enjoyed the notoriety that went with playing one of television’s most familiar villains and was happy to meet the show’s fans at several convention appearances. Anthony Ainley died in 2004 – check out our appreciation.

The last few years have seen some great Doctor Who biographies published and it looks like this one will need adding to the list of must-reads.

Visit Fantom Films for full details.

The post Learn About Anthony Ainley with The Man Behind The Master appeared first on Kasterborous Doctor Who News and Reviews.

When will I learned?

Jan. 30th, 2015 01:59 am
moetushie: Fingon the Valiant vs. Balrogs (fingon the valiant)
[personal profile] moetushie
Not to get into internet fights about Elwing, that is? Before, I wouldn't have even put Elwing as one of my top ten favorite Silmarillion characters, but now I get all protective of her. People who slag her off but leave Earendil alone are totally my favorites though. No, go on, tell me what a terrible mother she was. Go oooon.


Here's the FFA thread in question.


I should probably be sleeping anyway.

Review: Amira & Sam

Jan. 30th, 2015 01:59 am
[syndicated profile] jobloemporium_feed
PLOT: An Army Veteran struggles to find his way as a civilian again, which is further complicated when he becomes involved with an Iraqi immigrant who is faced with the possibility of deportation.

REVIEW: With all the controversy over AMERICAN SNIPER, there’s a lighter display of the returning Veteran story saddled in the indie romcom AMIRA & SAM, which isn’t anywhere near as intense or...
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Posted by Grant Raycroft

It’s come to my attention as of late that I tend to write mostly negative reviews. Despite the general consensus, I don’t find much in writing bad things about comics. I’d prefer to read good books over bad ones any day.  It’s just that I read more things from DC Comics than other publishing companies and that’s come back to bit me. Usually there’s at least one book in the New 52 that I think keeps the entire line not deserving of complete condemnation, but now that Earth 2 has been turned into drek, that’s changed. Pretty much nothing from DC interests me anymore, save for Jeff Parker’s run on Aquaman for being one of the few books that has a sense of fun to it.  But right now, I want to take a break from bad mouthing comics. I honestly want to like titles. It’s just most of them are either coming out at later points, or I’m unable to read them right now. And since it’s only a month into the 2015, meaning there’s at least a broad sense of what’s to come for the next year. I’m going to list my top ten anticipated titles of 2015. These can range from books that have been out for a while, to ones with only a few issues, to series which haven’t even hit the shelves yet. The important thing is that I’m excited to see where they’ll go this year.

 

Nameless10. Nameless (Image)

Grant Morrison is one of those few talents who always manage to keep me interested. Even his weaker stuff is chucked full of so much weirdness and his excessive use of metafiction that it never feels like a drag. Most of his recent work is so loaded with genuine optimism, that it’s impossible not to be swept up in his special brand of the bizarre. Now he and longtime collaborator Chris Burnham are coming back together for a six issue miniseries that’s his first delve into full blown horror. Morrison is known for going to some dark places, but most of that is only in his earlier work back when he was doing Vertigo titles. Now, with the restraints off, Morrison is set to go nuts with his upcoming mind-bending outer space nightmare fueled title coming out this February. I have to say I am on board.

 

WicDiv9. The Wicked + the Divine (Image)

One of the things that I’ve been waiting for a long time now is for The Wicked + the Divine to click with me. Kieron Gillen and Jamie McKelvie team up to bring a tale of gods living amongst humans as self-imposed rock stars. It’s a fantastic premise and has been used adequately. Gillen uses the book as a means to fully bridge the obvious parallels between religious fanaticism and fandoms. Add in a little of Neil Gaiman’s American Gods, and there is very little reason not to pick this series up. However I don’t think it has fully resonated with me yet. Most of the book’s first and second arc have served to set up its world and characters and I’m waiting it to get into the mind bending insanity that Gillen and McKelvie delivered with their run on Young Avengers. I want to like this book, and I think I will once we get explanations for why the gods have decided to reincarnate every 90 years but for now I’m still waiting for a spark.

 

Heaven8. Heaven (Image)

I thought it would only be fair to rank the as to be released titles a bit lower on the list, hence why James Robinson and Philip Tan’s Heaven is currently at number eight. Robinson has been getting the stick as of late. He’s a very good writer, but works best when he’s allowed time to slowly pace his stories out over the course of several arcs. His work on Earth 2 and All-New Invaders has been admirable but with DC ticking off their writing crew and Marvel too terrified to have any book without “Spider-Man,” “Avengers,” or “X-Men” in the title exceed twenty issues, it’s no surprise he hasn’t found a staying presence yet. Now with a creator-owned series, he might just be able to recapture his magic. Heaven is a book set in the far future where in an alliance of humans and aliens go to full scale war with God and his army of angels. Alright, that sounds cool enough. Throw in a Warhammer 40K aesthetic and you’ve got me interested. I don’t really know what to expect for this series, but you can bet when Image announces issue one’s release date, I’m going to be a happy, happy camper.

 

MLP7. My Little Pony: Friendship is Magic (IDW)

Yeah, this gets to be on the list. Why? Because despite “Brony” fandom becoming one of the most disgusting and shameful parts of the Internet, My Little Pony is one of the funniest comics coming out right now. Katie Cook is given free reign with this title and she’s been making it into one of the weirdest and most enjoyable kids’ books that I care to read. She’s can make a two-parter about finding a box of nails interesting and given full range of such a rich cast of characters that My Little Pony has, it’s clear she deserves more work. Not to mention there’s plenty meta-fun to be had at all how Hasbro allows one of their properties to get away with all sorts of references to things like Invasion of the Body Snatchers, It, Indiana Jones and the Temple of Doom, and Blazing Saddles. Of course, this book is nothing without the amazing talent of one Andy Price. This book currently rotates between creative teams every four issues or so and if it’s to give Price a break from painstakingly turning out some of the most energetic artwork in the business, it’s more than justified. Price is one of those few creators who really uses the layouts of panels to his advantage and he packs jokes upon jokes into the background of his pages. If there is anything that can justify the creepy misogynistic trend of “Bronies,” this book is it.

 

Multiversity6.  The Multiversity (DC)

Remember all that stuff I said about Grant Morrison being one of the most standout and off beat writers of his generation, this “series” is a good example of it. While Multiversity has been mostly reserved for a series of one-shots highlighting various Earths across the DC multiverse, each issue is so full of story and character it’s impossible not to love it. Morrison loves juggling weird, meta takes on DC’s heroes and this series is like giving him all the toys he could want. Each issue so far has teamed him up with an excellent artist and it seems there’s no stopping it. Every one shot has been set up as a launch pad for its own series and DC really should make use of the ground work Morrison has laid out. Granted, what has made this experiment so much fun is its separation from the derivative New 52 universe, but should DC get its head on straight, this is the series they should try to expand upon.
 

Lumberjanes5. Lumberjanes (BOOM!)                                    

Noelle Stevenson and Grace Ellis’ mystical camping adventure book was easily one of the funnest books of last year. While I feel conflicted on Stevenson’s earlier web series Nimona, it’s clear collaboration with Ellis has negated her weakened her lesser qualifies and heightened her better ones. The Lumberjanes crew is bursting with rich characters who work expertly off each other. The official coming out of Mal and Molly on screen was one of the highlights of my year.  Intended as an eight issue limited series, Lumberjanes has been turned into a long running series and I for one am excited to see what direction they’ll take the series. And speaking of break out gay characters…

 

The Question4. Convergence: The Question (DC)

It’s a very sad sign when the most promising DC has been in the last three years is when they’re releasing a slew of two-part miniseries simply to fill space while moving headquarters. That being said, the good news is that for nine weeks, no one has to read the generic and dull New 52 titles. Instead there’s a bunch of stories told by many creative teams that show much more promise than the mainstream DC universe. The one that I’m the most excited for is Greg Rucka’s long awaited return to Renee Montoya as the Question. Renee’s been the one character who even now has been denied a place in DC Comics. Her short but sweet return will have hear teaming up with Two-Face and given her history with him from the excellent Gotham Central, that’s going to be interesting. I really want this miniseries to get DC to turn its thick neck and finally bring back Renee Monotya proper.

 

Ms. Marvel3. Ms. Marvel (Marvel)

Ms. Marvel could have easily been a cynical cash grab by Marvel to launch a series featuring a new Muslim hero only to cancel it in six issues and use it as an example for how diverse books are somehow non-profitable. Instead, Ms. Marvel has taken the teen superhero story akin to John Rogers’ criminally underrated Blue Beetle run. G. Willow Wilson has handled the budding Kamala Khan expertly as she slowly integrates into the greater Marvel Universe. Heck, even her team up with Wolverine, which should read as the most by the numbers move imaginable works thematically with Kamala’s story as she discovers her own identity as a superhero. Wilson captures the voice young people perfectly, something many comic book writers often fail to do. As the series has evolved, Ms. Marvel has gone from a strong-hearted teenage story into taking a stand and speaking out against older generations speaking down to Millennials. Hopefully as this book moves into 2015, it will keep that in mind.

 

Superior Iron Man2. Superior Iron Man (Marvel)

And here is Marvel’s other shockingly political superhero title. Let me put it this way, I hate Tony Stark. I am the last person to let his snarky demeanor cloud over his cynical and selfish endeavors. So why does this book make the number two spot? Easy. Because Superior Iron Man takes everything I dislike about Tony Stark, prints it out on paper, and say, “yep, totally agree.” It seems Tom Taylor’s amazing talent as a writer is taking ideas that should by no reason work and turning them into must-read books. Let’s face it, the plot to the Injustice: God’s Among Us video game is a weak imitation of a story from the Justice League cartoon. Yet somehow Taylor took that and not only launched one of DC’s most successful digital comics, but is the only reason they’re still making it. Barely anyone could have picked up James Robinson’s Earth 2 series, but Taylor’s takeover made it one of the greatest Superman stories of the decade. Now with Superior Iron Man, not only is Tom Taylor making me care about Iron Man, he’s making it a politically charged takedown on police monitoring, corporate data mining, drone warfare, and every other evil that’s a result of the Information Age. Taylor is just getting started with this series and I am excited beyond belief for what he has in store next.

 

Tooth&Claw1.  The Autumnlands: Tooth & Claw (Image)

Yeah, not really surprised that this is here on the top of my list. Tooth & Claw is one of those few books that comes around which reminds me what it’s like to be a new comic reader. For the first time in too long, waiting for the next issue to come out is painful. If there was any way to somehow increase the passage of time, I would do it. The fact that my laptop wallpaper is just the first three issues covers on a loop should say how much I like this series. Tooth & Claw is an amazing new high fantasy story form industry legend Kurt Busiek filled with a populace of anthropomorphic animal people. Rich in detail and realness, The Autumnlands reminds one of the type of fantasy that used to exist before everyone started using Middle Earth as the Mad Libs version of world building. It harkens back to when the genre was blooming with Conan and John Carter of Mars in more ways than one. The world isn’t just laid out before you, but is explored slowly through the story. Trust me when I say I am usually scared when I sign on so full heartedly to a series. I take it as a sign that I’m overlooking something or letting my lesser judgment cloud my thinking. All of that goes out the window with Tooth & Claw. The characters are all solid, in particular the conniving coyote Goodfoot and hero Steven. Benjamin Dewey has been knocking it out of the park with his creature designs as furs, tails, feathers, and scales all look amazing. He deserves  an award for the fantastic work on display. Where this series will go, I have no idea, but consider me pumped up.

 

The post My Top Ten Most Anticipated Comics of 2015 appeared first on Sound On Sight.

Still very good revolver shot

Jan. 30th, 2015 02:00 am
sovay: (Default)
[personal profile] sovay
I had never heard of Kyril Bonfiglioli before Monday, when I read two articles about the Charlie Mortdecai novels (which I had never heard of, either). I'm not surprised that the movie is being met with a mixed reception; they sound unadaptable. I will probably look for them in a local library to see whether their idea of pitch-black comedy matches mine. The New Yorker mentioned Bonfiglioli's editorship of "a couple of small science-fiction magazines." [livejournal.com profile] nineweaving asked which ones. I had no idea; it wasn't mentioned.

Two nights ago, I picked up Judith Merrill's England Swings SF: Stories of Speculative Fiction (1968), one of the paperback anthologies from my parents' library that came home with me in the spring. Not only does it appear to be one of the seminal collections of New Wave science fiction, it includes—in a table of contents featuring Josephine Saxton, J.G. Ballard, Daphne Castell, Thomas M. Disch, Keith Roberts, Charles Platt, Christopher Priest, Barrington J. Bayley, Pamela Zoline, Michael Moorcock, Brian Aldiss, and other people who are probably also very talented—Kyril Bonfiglioli's "Blastoff" and a short bio written interleavingly by the author and Merrill. He edited Science Fantasy, later Impulse. The list of contributors overlaps notably with Merrill's anthology and the general New Wave. Thomas Burnett Swann's The Day of the Minotaur (1966) and Harry Harrison's Make Room! Make Room! (1966) were both serialized under Bonfiglioli, as was most of Keith Robert's Pavane (1968). He published Christopher Priest's first short story, which means I have him in some roundabout way to thank for The Prestige (2006). And then he seems to have moved away from science fiction and into his own outrageous deconstructions of genre, which look like they were cult items until someone made them into a big-budget comedy which I don't plan to see.

But it did bring the author to my attention, for which I guess I should thank its existence. In the meantime, I am enjoying England Swings SF and devouring Ali Smith's How to Be Both (2014), which has a fifteenth-century non-binary trans protagonist (I am informed by the jacket copy that it's a dual narrative and the co-protagonist is contemporary, but so far Francescho's story alone is worth it. If you like richly imagistic writing, genderqueerness, and Quattrocento painting, pick this book up immediately). Smith is the author of one of my favorite classical retellings; I was curious when I saw she had a new book out and within thirty pages I was taking it home. If it all falls apart in the second half, I suppose I will very sadly let people know. I don't expect it to.

(I am not writing about nearly as much of anything as I would like, right now. It's not that I've stopped thinking: I don't see how to find the time. Everything is exhausting. Everything takes too long. I saw Freaks (1932) with [livejournal.com profile] rushthatspeaks last Saturday and that deserved a post; didn't happen. I still haven't written about any of the pre-Code films I saw in December. At least I had an antidote to The Franchise Affair. At least we made French toast on a snow day. At least I'm still alive.)

Roundup

Jan. 30th, 2015 06:29 am
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Posted by Je Suis Granddad

Are there any Gawker Media writers you love/hate? What about the Gawker Media comment section?

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2015: the year Netflix got serious

Jan. 29th, 2015 11:03 am
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Posted by louisamellor

James Peckham Feature Jan 30, 2015

Between Marvel, sitcoms, and returning favourites, Netflix is producing more and more original content, here's what we can expect in 2015...

Custom lock icon no longer showing

Jan. 30th, 2015 07:46 am
prettygoodyear: (Default)
[personal profile] prettygoodyear posting in [community profile] style_system
 I have used this code in my CSS for a few years now, which always worked to replace the standard lock icon on entries with a custom made one:

img[src*="http://www.dreamwidth.org/img/silk/entry/locked.png"]  {
width:0;
height: 0;
background-repeat: no-repeat;
background-image: url(http://i148.photobucket.com/albums/s37/twinklewitch/lock1.gif) !important;
padding: 11px 13px 0 0 !important;
text-decoration: none;
}
 
img[src*="http://www.dreamwidth.org/img/silk/entry/private.png"]  {
width:0;
height: 0;
background-repeat: no-repeat;
background-image: url(http://i148.photobucket.com/albums/s37/twinklewitch/stop.gif);
padding: 11px 13px 0 0 !important;
text-decoration: none;
}

For some reason this doesn't work anymore, since my journal now shows the standard locked icon on all entries. Anyone knows how to fix this?
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Posted by Kelsey Campbell-Dollaghan

The Forgotten 13th Avenue That New York City Built and Then Destroyed

Yesterday we looked at the great "fattening" of New York and all the parts that are built on what basically amounts to trash. But it turns out that parts of the city have also disappeared—and for a few decades, New York even had 13 grand north-south avenues, not 12.

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MacGyver - The Countdown #118

Jan. 30th, 2015 12:39 am
highlander_ii: from the pilot episode, MacGyver reflecting a laser with a mirror ([MacGyver] reflect the laser)
[personal profile] highlander_ii
#118 - Easy Target

Season: 4


Plot: Four mooks decide they want their political leader back and plan to use an EMP to shut down a city in order to get him. Mac and Pete have to figure out the plan and stop it.

Trope(s):
[Frequently used Tropes are listed in the first post.]

http://tvtropes.org/pmwiki/pmwiki.php/Main/AHandfulForAnEye - Mac gets the baddie at the end on the sand
http://tvtropes.org/pmwiki/pmwiki.php/Main/EMP - though it's really a bit closer to http://tvtropes.org/pmwiki/pmwiki.php/Main/ArtisticLicensePhysics - I'm not even going to attempt to explain any of the science b/c I will probably get it all more wrong than the show writers



Thoughts:

- Mac and Pete are arguing about a botched ski trip, then they run out of gas b/c Pete forgot to fill up the Jeep.

- The bad guys are out to steal an EMP generator.

- Not sure why the woman pulls out an Uzi and fires off a dozen shots to kill two guys. She put a considerable number of holes in the wall/windows for no reason.

- I don't understand why they use the EMP to stop Mac's Jeep. Are they just testing to see if it'll work? It's a lot of effort and energy just for taking out 1 car. Though, I suppose it's less messy than shooting out the tires. But how did it not take out anything else? Was the charge that controlled?

- Dear bad guys - your plan is kinda silly. You want your political leader person released in exchange for not turning on this EMP - sure. But you kind of have ZERO margin for error. If your EMP plan doesn't work, you're kind of sunk and have no other cards.

- These four mooks think that Mac and Pete would have any interest at all in telling their story.

- Mac and Pete - sorry guys, but if Mac hadn't fit that pin in, ya'll'd be dead dead dead right now.

- It's nice that Mac saved the day and all, but he did it by destroying a pretty expensive piece of machinery. And now he and Pete are planning to spill the military's beans about this EMP? I'm not sure the gov't works that way - though it's sort of hard to cover up something that's probably already been in the news, I guess.

These are the notes I jotted down as I was rewatching this one. It's another episode that sort of plods along in the plot department. It's not really exciting, though maybe it was moreso before we had a zillion other terrorist plots come our way. Now it sort of seems old hat.
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Here’s what’s up in the world of TV for Friday, January 30, and Saturday, January 31. All times are Eastern.

Top pick

Key & Peele Super Bowl Special (Comedy Central, 10 p.m., Friday): Great news for laugh-deprived Key & Peele fans, with the funniest sketch comedy series since Mr. Show returning for this hour-long football-centric special episode. Dennis Perkins will be on hand to see how many laughs the guys can wring from a bloated, self-serious sports event where the biggest story this year revolves around the word “balls.” He’s guessing a lot. And because Key & Peele are kind and just, they’ve already given us a taste of what to expect with the return of an old favorite (and some new pals):

Also noted

Constantine (NBC, 8 p.m., Friday): When a group of college students accidentally bring a serial killer from another dimension ...

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The first sign of trouble is the music, a maudlin tinkle that never lets up, brass and keys filling every available pocket of sonic space. It’s the work of Terence Blanchard, the famous jazz trumpeter and film composer, best known in cinema circles for his collaborations with Spike Lee. Blanchard’s scores can be vibrant and beautiful, but they can also be oppressive, drowning out small moments with a big racket. In Mike Binder’s Black Or White, every moment is big, even the small ones, and Blanchard seems to have been brought in to assure that only the severely hard of hearing will miss how damn emotional this all is. Maybe, on the other hand, his involvement is meant to create some power by association: A race drama fashioned out of a family feud, Black Or White at least sounds like a Spike Lee joint, though it rarely ...

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Each week, Big Issues focuses on newly released comic books of significance. This week, they are Sex #19, written by Joe Casey with art by Piotr Kowalski, Ian MacEwan, and colorist Brad Simpson, and Sex Criminals #10, written by Matt Fraction with art by Chip Zdarsky. These titles have eroticism as a central part of their concepts, but they offer far more than just sexual thrills. (Note: This review reveals major plot points.)

The works of Joe Casey and Matt Fraction have never shied away from sexuality—Casey’s run on Uncanny X-Men added mutant prostitute Stacy X to the team and one of Fraction’s most popular characters is named Casanova—but they’ve delivered two of the strongest comics of their careers by fully embracing the erotic as a storytelling foundation. Casey’s Sex is a fascinating superhero title that takes the erotic subtext of the genre and ...

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Welcome to our weekly open thread for the discussion of gaming plans, nagging questions, and whatever else we feel like talking about. No matter what the topic, we invite everyone in the comments to tell us: What Are You Playing This Weekend?

Far Cry 4 is my destination this weekend, which is pretty funny considering how much I hate its peers. Lord knows, I’ve tried to love the open world. I’ve sunk hours and hours into multiple games in the Assassin’s Creed, Grand Theft Auto, and Infamous series, dutifully punching randos across Batman: Arkham City and trying desperately to milk any feeling at all out of playing Far Cry 3. It just doesn’t work for me.

The open world as a game structure, with rare exceptions, is devoid of the crucial arc I need. Flatness rules the day; with a giant map of glowing doodads to ...

[syndicated profile] avclubdaily_feed

In 2002, Box Car Racer released its first single, “I Feel So.” The lack of direct object in the title is instructive. Tom DeLonge, the Blink-182 singer who had ditched bandmate Mark Hoppus to form the new, darker side project, felt lots of things, according to the song: mad, angry, callous, used, cheap. But the title’s unwillingness to commit—to instead just feel hard—is the song’s signature element, a three-word summary of the mindset of the millennial teenager. DeLonge was 26 when he released it.

Now 39, DeLonge apologized for Blink-182’s “immaturity” earlier this week. The vanguards of bratty ’90s skatepunk have unexpectedly been thrust into the limelight again, as Hoppus and drummer Travis Barker released a statement saying DeLonge had left the band. DeLonge responded with a lengthy Facebook post, the gist of which was, “I didn’t leave the band, but I need space ...

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Mel Brooks doesn’t know how to waste time. He dives into his one-man show the second he has quieted the preemptive standing ovation (“At the end, if I’m good, we can do this part”) to launch into jokes about growing up in New York’s Borscht Belt. The story is corny and sincere, which those familiar with Brooks’ work will recognize as his preferred combination for jokes.

Live At The Geffen stays unfailingly true to this standard throughout the hour. As the mind behind comedy classics like The Producers, Blazing Saddles, and Young Frankenstein, Brooks’ storytelling maintains the congenial and self-deprecating humor that marks those films. He has a warmth that makes the show feel like an intimate gathering, even as he stands onstage in a formal tuxedo, his voice echoing in the large Geffen theater as a pianist sits patiently behind him. Brooks says with a beaming ...

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Welcome back to AVQ&A, where we throw out a question for discussion among the staff and readers. Consider this a prompt to compare notes on your interface with pop culture, to reveal your embarrassing tastes and experiences, and to ponder how our diverse lives all led us to convene here together. Got a question you’d like us and the readers to answer? Email us at avcqa@theonion.com.

This one’s from reader David Riffkin:

I spent my Christmas binging on seasons two through four of Game Of Thrones. While I spent tens of seconds afterwards pondering the dangers of intractable familial love and the ephemerality of power, mostly I daydreamed about how cool it would be to own a direwolf. What work-specific pop-culture pet would you most like to own?

Katie Rife

Gizmo from Gremlins. He’s adorable, a friend to both man and animal, and he likes ...

[syndicated profile] avclubdaily_feed

Life is really nothing more than a series of moments strung together in a random order. When you’re in the midst of those moments, they just feel like your life; it’s only at the very end, when you look back, that you can see your legacy. The beauty of Jason Katims shows like Parenthood and Friday Night Lights—and specifically their finales—is that they understand this delicate balance between life and legacy, and manage to honor the legacy while still celebrating the individual life moments that come in between. Season six of Parenthood had its bumpy moments, but it sticks the landing—then jumps up and down and stomps on it a few times just to make sure. It’s a beautiful thing.

The final season of Parenthood has featured moments for the whole family, but it’s really been Zeek’s story all along. As the ...

[syndicated profile] avclubdaily_feed

This week’s returning episode of How To Get Away With Murder attempts to use a lot of fancy editing to obscure the fact that it’s mostly just an hour-long recap. Most serialized shows require an info-dump episode from time to time, but this isn’t even so much of an info dump as it is an info recycler. The episode spends a lot of time in the police interviews of Annalise, Wes, Bonnie, Laurel, Michaela, Asher, and Connor, who all tell a combination of truths and lies to the cops about the events leading up to Sam’s death. Their statements are interspersed with quick jumps back to what actually happened—most of which we’ve already seen. It’s some sleek editing, but beyond the spectacle, there isn’t much there, which continues to be the show’s greatest problem. Sure, the show has been on its ...

Meet Cecil

Jan. 30th, 2015 06:35 am
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Posted by @AsherPowell

I normally don't do non-scifi/science/fantasy posts, but I have to show this guy off. He's fluffy, he's grey, he may eventually become a radio host in a desert town where angels don't exist.

Read more...

Malwarebytes Anti-Exploit

Jan. 30th, 2015 06:13 am
[syndicated profile] wilderssecurityforum_feed

Posted by ZeroVulnLabs

Just released. Notes and changelog at
https://forums.malwarebytes.org/index.php?showtopic=134888

If you've had problems with the previous version please re-test with this one as it includes some bug fixes, specifically with IE10 and Chrome.

Also you'll find "Exploit-Test" with this version, a kinda eicar but for exploits.


Is this thread title OK now? ~ TAS
ahh, only the name on this post changed, not the Thread Title, sorry.
[syndicated profile] soundonsightmain_feed

Posted by Greg Cwik

fortitude 1

Fortitude, season 1, episode 1, “Episode One”
Written by Simon David
Directed by Sam Miller

Fortitude, season 1, episode 2, “Episode Two”
Written by Simon David
Directed by Sam Miller
Airs Thursdays at 10 p.m. ET on Pivot

Fortitude flaunts its lofty ambitions before the title even adorns the screen: we’re immediately thrown into a forlorn icy tundra, with splashes of black staining the ubiquitous white landscape. The sun, a burning, bulbous orb, hangs in a haze in the sky. A man, clad in arctic gear, carrying a rifle and a camera outfitted with a telescopic lens, traverses the scene. Before any words are spoken, a shrill scream carves through the wind, and the man, obviously no novice, pulls off his mask and draws his rifle. Played by Michael Gambon, he does not look well. Through the scope he sees a polar bear mauling a man. The man’s face is mottled in blood, his leg several feet from the rest of him. Gambon aims, and he puts one through the victim’s head. The first splash of color we see is red. Not more than five seconds later a car door slams—where did the car come from?— and a Sheriff with a beard the color of smoldering embers casually approaches. “Get out of here,” he tells Gambon. “Just go home.”

Cue the credits.

If one had synesthesia and likened television programs to colors or shapes, Fortitude might appear as a gray fog, or perhaps something resembling a gleaming shard of ice. The show plays with patterns, with colors, but it’s far from knavish. We see children wearing red hats against a pallid backdrop, and inadvertently the color recalls blood seeping from the man’s mauled face. Houses replete with windows allow voyeurs to gaze inside, but every house, every person, holds deep, dark secrets. Simon Donald, progenitor of Low Winter Sun (the pretty-great, two-part British mini-series, not the AMC show), brings the same sense of humor to Fortitude that he brought to Beautiful Creatures, The Deep, and Low Winter Sun, which is to say: none. Utterly devoid of fun, Fortitude doesn’t pretend to peddle in light-hearted escapism. This is a heavy show of unflinching vision, with tar-black blood pumping through a cold heart.

Director Sam Miller doesn’t simply point his camera at some pretty scenery. His visual motifs—endless panes of gleaming glass, lonely machinery enveloped by white, colors rupturing and spilling in the frame like open sores—reward keen eyes. The magnanimous presence of snow will likely draw false comparisons to Fargo, FX’s stellar translation of the Coen Brothers’ classic film. But Fortitude is a brazen, baleful-hearted jaunt into an ineffable nowhere, with The Killing’s penchant for brooding and the placid, all-pervading melancholy of the devastating Broadchurch. A mystery that probes the mental as well as the environmental, the show draws its name from an intimate community in the archipelago of Svalbard. Fortitude harbors people from various countries. We hear a medley of languages, but there’s no cultural clash here, because everyone seems to meld. It’s the kind of place where they don’t have any crime, and yet bodies keep piling up like firewood. Bears outnumber people, and these aren’t your friendly Paddington Bear-type bears; polar bears, we’re told, will maul you and start to eat you alive. Those brave enough— or perhaps stupid enough— to wander the sinuous, snowy outskirts are required to carry a rifle for protection. A handgun will only piss the bear off.

fortitude 2

The cast is a venerable nerdgasm of television icons and character actors. The motley coterie of characters includes the aforementioned Gambon—known most recently for his role as Dumbledore in the Harry Potter films, and also as one of England’s finest living actors—as Henry Tyson, a photojournalist dying of liver failure; Sofie Gråbøl as the governor, who’s keen on having a luxury hotel hewn into the side of the vast glacier; Nicholas Pinnock and Jessica Raine as Frank and Jules Sutter, respectively, parents whose son has purportedly contracted polio; Richard Dormer as Sheriff Dan Anderssen; and Christopher Eccleston as Professor Stoddart, who was asked by the governor to investigate the glacier and deem it safe so they can begin constructing their hotel.

Eccleston is second-to-none at displaying internalized pain. As with his gravely underappreciated Ninth Doctor, Eccleston feels like a man who knows too much and holds too many secrets. Appearing weary and weathered, his scientist seems like one of the few people in Fortitude you can trust, which of course means he may not be around for long.

Also of note is Dormer, who quickly establishes himself as a remarkable on-screen presence. As the duplicitous Norwegian sheriff, he can slip a sense of uneasy deceit into the most banal of intonations. He emits an air of knowingness, and in a show that deals almost exclusively in ambiguities, that makes him dangerous. We’re told that, due to the sheer lack of crime, the citizens don’t know whether Anderssen is a “good sheriff or a bad sheriff,” but either way, Dormer gives a great turn.

The purported main character, Stanley Tucci’s DCI Morton, doesn’t make his entrance until an hour and eight minutes into the two-hour pilot. And that’s fine, since Donald’s creation takes its time setting a mood, placing clues, then usurping those clues. He needs to provide a corpse before he can call in a detective. Trying to describe the plot of Fortitude is akin to trying to describe the color blue to a blind person. Ethereal and enigmatic, the show rebukes immediate gratitude and makes us work for our rewards. When most prestige shows try to project an air of faux-erudition by spitting out sophomoric philosophy or guising thematic ineptitude with lavish camerawork, Fortitude’s patient atmosphere and deliberate pacing are most welcome.

Like the vodka the characters throw back, Fortitude might be off-putting at first, maybe makes you feel a bit uneasy; but after a while, after some gestating, it becomes intoxicating, venomous, and knocks you on your ass.

The post Fortitude, Ep. 1.01 and 1.02: An intoxicating start to the series appeared first on Sound On Sight.

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