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Review: Apple TV's See Feels Startlingly Uncommitted to Its Bonkers Concept
The series struggles to sensibly lay out the particulars of its post-apocalyptic feudalism.1
Apple TV's post-apocalyptic drama See will undoubtedly be sold on the credentials of those involved, from director Francis Lawrence to star Jason Momoa to writer-creator Steven Knight. Knight is best known for TV dramas like Peaky Blinders and Taboo, but his most relevant credit is one that will certainly go unmentioned in trailers and other marketing materials for the series: the stupefying, bonkers Matthew McConaughey fishing-centered noir Serenity, as See suffers from a similarly bizarre, overreaching concept.
In See's vision of the future, only a couple million people are still alive, almost all of them blind. Society has, for some reason, gone feudal, with everyone decked out in furs and living in huts and broken up into different tribes. They call the sun the "god flame," and, at the behest of tyrannical Queen Kane (Sylvia Hoeks), they burn heretics who espouse the mostly forgotten idea of vision. The three-months pregnant Maghra (Hera Hilmar) is taken in by a remote community headed by Baba Voss (Momoa), who marries her. When she gives birth, it's to twins who can see just fine. This, of course, being heresy, Baba Voss and the rest of the village flee from Kane's witchfinders, building a new home in a remote location to keep the children safe.
The show's opening credits display wispy yellow shadows of things like horses and spiders to suggest recognition even through blindness. Beyond that, though, See feels startlingly uncommitted to its gimmick of a blind world. The series is filmed in bog-standard fantasy style, all wide vistas, expansive greenery, and ominous smoke in the distance with seemingly no concession for how its characters' perception of the world might differ from the audience's. There's a near-total absence of subjective camera work here, a sense of how the characters might have to rely on touch, sound, or smell to navigate. Barring a person's occasional stumble to find their footing or moving a hand along a guiding rope tied across the top of the village, everything unfolds so expectedly that it's easy to forget the show's concept entirely.
Even with interminable amounts of exposition in the three episodes provided to press ahead of the show's premiere, Knight struggles to sensibly lay out the particulars of this post-apocalyptic feudalism in terms of government, social hierarchies, and basic navigation between settlements. Everyone is incongruously well-groomed and color-coordinated, even going so far as to wear hoods when burning people at the stake despite no one being able to see their faces. Gory battle scenes include someone like Voss groping around for a handhold only to swing his blade to perfectly meet an enemy's throat the very next moment.
See is at its most engaging when it allows itself to get truly silly and weird: A naked woman in white paint follows people unnoticed because she's said to purge herself of thought, and Queen Kane prays via masturbation, concluding each invocation in the throes of orgasm. But the majority of Knight's series is a self-serious dirge, where sight-based wordplay like "So they just walk around with their eyes closed?" is delivered with a straight face. In the end, See's myriad absurdities somehow add up only to a run-of-the-mill dystopia, where the children are the "chosen ones" and the tyrant must be overthrown.
Cast: Jason Momoa, Sylvia Hoeks, Hera Hilmar, Alfre Woodard, Christian Camargo, Archie Madekwe, Nesta Cooper, Yadira Guevara-Prip, Josh Blacker, Christian Sloan Network: Apple TV+
Review: The New Pope Depicts the Church with a Graceful Cynicism
Despite the sordid, festering material that the series explores, what ultimately emerges is sheer beauty.3
Having collapsed at the end of The Young Pope, Lenny Belardo (Jude Law), also known as Pope Pius XIII, is in a coma at the start of The New Pope. He's being looked over by a nun and illuminated by a bright, neon cross straight out of David Fincher's Seven. His involuntary sighs and twitches are fraught with meaning; at one point, a usually pragmatic man (Mark Ivanir) claims that the pope killed someone with the quiver of a finger. Idolatrous followers stand vigil in the square outside his chambers, donning sweatshirts with his face on them. The pope's wild charisma survives the apparent death of his consciousness.
Seeing no improvement in Belardo's condition after nine months, the cardinals decide to elect a successor, whose fleeting, radical papacy briefly opens the Vatican to refugees and risks bankrupting it. The cardinals then opt for a more moderate replacement: Sir John Brannox (John Malkovich), an oft-depressed priest who wears eyeliner and lives on his family's sprawling English estate. With Belardo on a respirator and Brannox headed to Rome, the series imagines a world with two popes—setting up a compelling conflict over legitimacy, poised to erupt if Belardo wakes up, of the kind unseen since the Western Schism ended 600 years ago.
Brannox is less charismatic than seductive. Fond of poetry, he speaks haltingly, as if waiting for words to come to and flow through him. He's haunted by an evident pain, communicated in flashbacks of the twin brother he lost long ago and across lonely nights spent struggling to fall asleep. Malkovich, his eyes at times hollow, at others alight with a furtive spark, imbues the character with profound vulnerability and depth.
Beyond the issue of what to do with the pope on life support, the Holy See faces numerous challenges: ongoing sexual abuse scandals; the so-called "caliph," who issues anti-Christian threats in videotaped messages; the cataclysmic prospect that Italy will begin retroactively taxing the Vatican; nuns who go on strike to demand equal rights; and more. If anyone is capable of restoring order, it's Angelo Voiello (Silvio Orlando), the Vatican's alternatingly ruthless, patronizing, and surprisingly tender—and regularly hilarious—cardinal secretary of state, who's a singular presence throughout the series.
Most of the cardinals wrestle with personal demons and try to lead virtuous lives, like Voiello—whose harshness is a function of his office—and the supremely empathetic Gutierrez (Javier Cámara). Others, though, are unapologetically vile: They have sex with minors and snort cocaine and blackmail and blaspheme. The irreverence with which the series portrays the church results in not only bleak cynicism, but also unexpected images of feverish, dreamy splendidness. The first episode's opening credits depict relatively scantily clad nuns dancing to a song by electronic duo Sofi Tukker in a dark room while a cross-turned-strobe light pulses, a slow zoom-in building momentum that culminates in an explosive bass drop.
The nuns play a not-insignificant role in The New Pope, but its treatment of them and other female characters is shallow at best. The series often dehumanizes women in scenes that lean on needless nudity—of which there's no shortage here—or with imagery that prioritizes symbolism over personality. At times, The New Pope manages to incorporate both nakedness and perfunctory iconography in the same shot: In one instance, a bare woman is juxtaposed with a statue of the Madonna. Even key figures who carry over from The Young Pope suffer from halfhearted characterization, including savvy marketer Sofia (Cécile de France) and Esther (Ludivine Sagnier), the woman whose pregnancy may have been the result of a miracle performed by Belardo. (The New Pope also leaves the caliph's antagonism underdeveloped, causing terrorism and nudity to resemble one another: stimuli deployed to elicit cheap reactions.)
Despite these failings, and despite the sordid, festering material that the series explores, what ultimately emerges from The New Pope is sheer beauty. It's an understated grace, one that director Paolo Sorrentino and cinematographer Luca Bigazzi effect with an eye to intimacy. In a late scene, the camera cuts between tight profiles of Brannox, dressed in white, and Belardo, dressed in black, as they face each other in front of a painting whose background is a black-and-white swirl. The dichromatic canvas envelops Brannox and Belardo, seemingly transporting the pair to an abyss, or the cosmos, or some other otherworldly space. Perhaps it's easier to find God there, away from the Earth, the Vatican, and the depravity plaguing them. The sequence is an obliterating burst of pathos that pierces and lingers.
Cast: Jude Law, John Malkovich, Silvio Orlando, Javier Cámara, Cécile de France, Ludivine Sagnier, Mark Ivanir, Maurizio Lombardi, Antonio Petrocelli, Jessica Piccolo Valerani, Kiruna Stamell, Ulrich Thomsen, Yulia Snigir Network: HBO
The 50 Best TV Shows of the 2010s
The decade proved that the future of TV lies in its ability to democractize via technological expansion.
We will likely look back at the 2010s as a simpler time, when sea levels remained relatively stable, Disney hadn't decimated the last remaining movie houses, and there were only three networks: Netflix, Amazon, and Hulu. Two thousand and nineteen was a watershed year for the expansion of streaming, so it seems like a fitting moment to reflect on the events that led to the Great War.
If the aughts represented a new golden age of television, then the following decade proved that the future of the medium lies in its ability to democractize via technological growth. Event television has replaced appointment television, as the sheer volume of content continues to balloon and more viewers shift to on-demand viewing. Our expectations, too, have evolved as the format bends and morphs to adapt to its new environment, with years-long gaps between ever-shorter seasons and shows once thought dead resurrected like zombies from our salad days.
And yet, humans crave familiarity: Game of Thrones reinvented the viewing party; networks rebooted or revived well-known properties, albeit to varying degrees of success; and we've replaced our old cable bill with an à la carte menu of streaming options that add up to more or less the same price. More importantly, as we venture out into the proverbial Wild West, and as the boundaries between TV and film continue to vanish, one thing remains constant: our desire for stories that reflect who we are, what we fear, what we treasure, and what we find side-splittingly funny. But then, even those lines have begun to blur. Sal Cinquemani
50. Portlandia
The array of archetypes portrayed by Carrie Brownstein and Fred Armisen on Portlandia aren't impressive in their scope so much as their narrow specificity, each one delicately carving Portland's milieu into a well-observed sub-niche. Armisen plays multiple variations of the emasculated goof while Brownstein portrays a bevy of self-righteous killjoys with great aplomb. Yet Portlandia is so much greater than the sum of its caricatures. That the show's humor is entirely derived from its two co-creators gives it a winning constancy, while the improvisational aspect adds an almost surreal element to much of the dialogue. In fact, the bizarre obsession with food (a mixologist crafts a cocktail with rotten banana and eggshells, 911 dispatchers are inundated with calls from beet-eaters) suggests the fever dream of a very hungry hipster. Peter Goldberg
49. House of Cards
House of Cards allowed David Fincher's seductive aesthetic sway to carry on well beyond the inaugural diptych he helmed, despite TV's well-noted preference for story over artistic signature, but that's almost besides the point. The scheming exploits of Kevin Spacey's silver-tongued congressman-devil provide a galvanic shock of political satire and thrillingly modern melodrama, but the real hook is Robin Wright's stirring performance as the politician's better half—and worse half in the show's botched final season. In the thick of it, this addictive series convincingly depicts a shifting political landscape, wherein an ascending class of strong and brilliant women retools man's ruthless personal and professional strategies to better advance a contentious, testosterone-weary nation. Chris Cabin
48. Marvel's Jessica Jones
Marvel's Jessica Jones breaks so many molds, and with such brio, that it feels almost super-heroic. In immediately denying us Jessica's (Krysten Ritter) origin story, it keeps her at arm's length—a masterstroke because the series understands that it's a story Jessica isn't ready to give yet, freely and under her own terms. If the violence on Marvel's Daredevil, no matter how kinetic and operatic in its brushstrokes, is primed to excite, the violence on Jessica Jones seeks to disarm our pleasure centers. And if this violence is so discomforting, it's because of how hauntingly, stubbornly, necessarily it's rooted in the traumas that connect the victims of the ominous Kilgrave (David Tennant). The aesthete in me wishes the series exhibited a more uncommon visual style. At the same time, maybe the show's portrait of abuse, of heroes and villains whose shows of strength and mind control are so recognizably human, wouldn't exert half the chill that it does it didn't approach us so unassumingly. Ed Gonzalez
47. Killing Eve
With Killing Eve—which Phoebe Waller-Bridge adapted from author Luke Jennings's Villanelle series—she uses the whip-smart voice she employed in Fleabag to explore women whose bad behavior extends beyond the limits of rapacious sexuality and crass humor: specifically, to murderous psychopaths. The series suggests a delightfully demented, considerably more violent spin on Broad City, Insecure, and Fleabag. Those shows are wryly comical and sexually frank, with complex female relationships at their center, and Killing Eve brings us all those attributes in the guise of a crackerjack mystery. The series combines a dry comedy's affection for the mundane with the slick look and tone of a psychosexual thriller, and the result is something wholly original, suspenseful, and caustically funny. Julia Selinger
46. Sherlock
Sherlock has always shown a keen but loving disregard for its source material. Despite serving up a bevy of classical crime-solving tropes, its fluid aesthetic and modern-day realism eschew the stuffy reverence of countless other re-toolings of Arthur Conan Doyle's celebrated series. Instead, co-creators Mark Gatiss and Steven Moffat have allowed Benedict Cumberbatch to chart his own course as a character who's become a landmark of fiction. The actor effortlessly owns the role with his ice-cold stares and burly voice, and yet what makes the series such a distinct interpretation is how it envisions the complicated relationship between Sherlock Holmes and his partner, John Watson (Martin Freeman), whose everyman humanity serves as a spiritual contrast to the impenetrable title character's isolated genius. Ted Pigeon
45. Ramy
It's the tension between Ramy's (Ramy Youssef) secular and spiritual leanings that serves as the thrust of the Hulu series that bears his name, as he considers what kind of person—what kind of Muslim, son, and man—he wants to be. Intensely critical of himself, Ramy recognizes that he's done much self-mythologizing, mostly in regard to his religious observance, and acutely feels his lapses in judgment, and Ramy derives its soulfulness from the ruins of the myths that Ramy and his family and friends tell themselves and those around them. There's profound pain to be found amid the rubble. And, maybe, peace. Niv M. Sultan
44. Treme
David Simon and Eric Overmeyer's abbreviated fade-out on post-Katrina New Orleans is tattered yet hopeful, perfect in its soulful imperfections. Decisions in the Big Easy are slowed down by good booze and better boogie, and by the time the Big Chief (Clark Peters) bows out, very little about this intoxicating menagerie of musicians and other truth-seekers has been convincingly settled on. Life's not tidy in the Treme and the show's creators let all the bad omens hang out, including the impending birth of Delmond's (Rob Brown) first child and Janette's (Kim Dickens) third restaurant opening. Of course, all the trouble made the music sound all the sweeter, as careers begin to congeal and legacies found (temporary) footing amid the city's riotous buzz. The fat lady is singing for Treme, and she's belting it out loud, if not for long. Cabin
43. The Handmaid's Tale
Few television shows can match the commitment of The Handmaid's Tale to withholding catharsis from audiences. The series, which maintains a visual lyricism that both clashes with and magnifies the brutality on screen, is most heartbreaking during moments of doubt, when Elisabeth Moss's June appears resigned to her fate. Yet it consistently obscures her true motivation, mining mystery from her submissiveness: Is it genuine, or another tactic? When she's able to seize, however briefly, the upper hand from her tormentors, the series offers tantalizing glimpses of their chagrin. For a moment, we're prompted to envision that chagrin morphing into sorrow, shame, maybe even fear. That would spell some kind of catharsis, but until it actually arrives, The Handmaid's Tale remains intellectually nourishing, easy to admire, and difficult to endure. It's a beautiful test of stamina, offering only small reprieves from June's suffering. It embeds us alongside her, and remains dedicated to illustrating how exactly the villains can win. Michael Haigis
42. High Maintenance
High Maintenance more than made good on its transition from the Internet to HBO. Its intimacy has been retained, and yet the narrative strands have grown more thoughtfully variable and distinct in their reflection of the adult rituals, wild yearning, and long-overdue release that power the denizens of New York City's boroughs, revealing their neuroses, deep-seated fears, self-delusions, and artful exercises. More than ever, the show's tapestry of unexpected connections and backstories reach deeper into the quotidian experiences of city life. Cabin
41. Genndy Tartakovsky's Primal
Genndy Tartakovsky's work as an animator is most striking for its embrace of silence. Even in the cacophonous realm of children's cartoons, the Samurai Jack creator favors wordless moments that lean on the flapping of cloth in the wind or the exaggerated sounds of a clenching fist. Adult Swim's Primal, then, feels like something Tartakovsky has been building to for much of his career, a dialogue-free miniseries following a caveman and his T. rex partner fighting to survive in a violent, unforgiving world. The show's violence is a reflection of its characters' existence, a cycle from which there's no escape. Children are swallowed whole, prey is devoured on the spot, eyeballs are smashed in by rocks, and dino jaws are smeared in vivid red blood. The story of the caveman and T. rex's survival, in Tartakovsky's hands, is totally enthralling, as terrible as it is beautiful. Steven Scaife
Review: HBO's The Outsider Conjures Mysterious Tableaux of Dread
The series preserves Stephen King novel's ingenious plot while entirely altering its tone.3
HBO's The Outsider represents a merging of two singular writers: Richard Price, the lively and profoundly detailed and precise crime novelist and screenwriter, and Stephen King, the one-man pop-culture industry who specializes in horror novels. Price adapted the series from King's 2018 novel and wrote five of the six episodes that were screened for press. Immediately one feels the sense of freedom that separates this from many other King adaptations. A colossus in his own right, Price doesn't feel the need to court King's approval in the tradition of the many young filmmakers who've grown up on the author's novels, dreaming of an opportunity to take a crack at his work. As a showrunner, Price makes bold moves, preserving King's ingenious plot while entirely altering the novel's tone.
The Outsider is a mystery with a crackerjack hook: Terry Maitland (Jason Bateman) is accused of raping and murdering a young boy, and he appears to have been at two places at once, with each location abounding in concrete proof of his presence. Maitland is a pillar of Flint City, Oklahoma, an English teacher and little league coach who's arrested in a ballfield in the middle of a game by detective Ralph Anderson (Ben Mendolsohn). Price and Bateman, who directed the first two episodes, alternate between the arrest and Anderson's discovery of the little boy and the gathering of evidence. Multiple witnesses saw Terry speaking with the boy and driving a van that would later be found drenched in the child's blood.
This opening displays the novel's surgical attention detail, as in Anderson's pointed order that Terry be arrested in public and handcuffed with his hands in front of his body. Sure that he's got his man, Ralph launches a brutal character assassination, which Bateman stages in long, foreboding takes that capture the weight of a community curdling on an individual.
As in many crime shows, especially Law & Order, the first arrest is fraudulent. Aided by his attorney, Howie Gold (Bill Camp), Terry springs a startling alibi while in prison: that he was attending a literary conference out of town on the day of the boy's murder. Besides video proof supporting his alibi, there's dozens of witnesses and a fingerprint he left on a book in a hotel lobby. Ralph's certainty, cemented by his grief over his own son's death a year earlier, begins to crack, and then something terrible happens that convinces him to look further into the Maitland case. Unexpectedly working with Howie and a private investigator, Alec Pelley (Jeremy Bobb), who in turn hires another private investigator, Holly Gibney (Cynthia Erivo), Ralph and his team uncover a chain of child murders across the country that are characterized simultaneously by iron-clad proof of guilt and innocence. Gibney, a socially awkward eccentric genius, eventually comes to believe that they're dealing with a shapeshifter who feeds on grief.
This narrative business comes from King's novel and is quite redolent of his 1986 opus It, but Price alters the story's mood and speed. King's signature sensibility—his interest in the quotidian of small-town average people facing otherworldly nightmares—has been pruned away, and not always for the better. In the series, many of the characters are smoldering, movie-ready badasses reminiscent of the protagonists of countless prestige crime dramas, and who utter clipped, chicly tortured dialogue in the key of the characters in Price's own film scripts. This tendency is especially evident in Price's conception of Holly. In the novel, she's a thin, young white woman on the spectrum who's poignantly possessed of no confidence except when piecing together evidence; for Price, however, Holly is a sexy woman of color fending off the advances of men, whose anti-sociality is offered up, a la Hugh Laurie's character in House, as yet another element of her supreme agency. Collectively, such character changes make the narrative feel less eccentric and personal than that of King's novel.
On the other hand, Price also throws out King's bad habits—gimmicky character shtick, embarrassingly contrived dialogue, certain routine plotting—fashioning a mood piece that gradually becomes less about the investigation of the murders than the paralysis of grief. The Outsider's title has multiple meanings. The notion of grief and trauma divorcing people from society, turning them into outsiders, is in King's book, but Price and the show's directors—Bateman, Andrew Bernstein, and Karyn Kusama—bring that theme to fuller bloom. Certain characters feel functional at first but gain a surprising pathos, such as Ralph's wife, Jeannie, whom Mare Winningham invests with a hauntingly inquisitive ruefulness. Holly also grows in stature, as Erivo transcends an initial stock type, imbuing her character with a tremulous unease, a fragility that becomes more and more moving as the series progresses.
The Outsider also features wonderful tableaux of dread. Bateman sets the stage early on, utilizing the various planes of the widescreen image for unmooring flourishes, such as when a woman jogs toward the camera as a man attempting suicide crashes through the window of a house in the middle ground of the frame. Subsequent episodes physicalize grief by emphasizing the emptiness of farmhouses, the undersides of bridges, and the condemned homes of the damned, suggesting a hellish netherworld that exists just out of plain sight. The cinematography, heavily indebted to the work of David Fincher, is awash in eerie grays and blues, as well as negative space that might potentially obscure the shapeshifter.
Given the wildness of the story, The Outsider sometimes feels ludicrously tony, but it's undeniably gripping—a beach read rendered by real artists. The series is so clever that it might take you a while to realize that it's essentially Dracula, what with all the Renfield types and secret nesting sites, only dressed up as a police procedural. Or, perhaps even more fitting, The Outsider suggests a merging of Kolchak with Price's The Night Of.
Cast: Ben Mendelsohn, Cynthia Erivo, Bill Camp, Jason Bateman, Mare Winningham, Paddy Considine, Julianne Nicholson, Yul Vazquez, Jeremy Bobb, Marc Menchaca, Frank Deal, Hettienne Park, Derek Cecil, Summer Fontana
Review: BBC and Netflix's Dracula Is a Gory but Banal Adaptation of a Classic
The series feels tiresome in its relentless pleading with us to be impressed.1.5
The first episode of BBC One and Netflix's Dracula finds sickly Jonathan Harker (John Hefferman) interred at a convent. Gesturing toward the pile of pages in front of her, the chipper, irreverent Sister Agatha (Dolly Wells) says that Jonathan's account of his imprisonment in Dracula's (Claes Bang) castle may have left out some relevant information. Then she asks him if he had sex with the vampire. With this, Sherlock creators Mark Gatiss and Steven Moffat announce their intent to push the expected boundaries of Bram Stoker's oft-adapted novel by bringing a lot of the subtext to the forefront. But the bizarrely passionless scenes that ultimately follow in no way match those performative declarations.
It's not that Bang's hammy Dracula fails to do suggestive things throughout the entirety of the 90-minute episode made available to press. It's that when he hovers over Jonathan and tries to get him to write a letter with a pen that they're both holding, there's no palpable sexual tension. The actors' rigid body language seems fundamentally at odds with the proceedings, though that impression may stem from the cinematography. Indeed, the characters are constantly framed from unflattering angles or cut off from one another altogether, and despite being far more vocal about the subtext of Stoker's novel than almost any adaptation before it, the series isn't half as provocative as something like Bryan Fuller's Hannibal.
Whether he's sharing space with Jonathan or even Sister Agatha, Bang's handsome, domineering Dracula radiates no lust or desire. When the vampire calls his guest things like "Johnny" or his "bride," the pronounced eroticism feels forced and artificial. In one scene, Dracula stands naked before Agatha and licks a bloody knife, but the camera conceals everything below his neck and cuts to a more obscure angle from the moment he touches his tongue to the blade, effectively dialing back the moment's camp factor.
Some of Dracula's images might sound gross on the page—a fly crawling across an eyeball, a mangled body shoved into a box, a peeled fingernail—but these moments pass by so quickly and with such visible fuss, courtesy of the jittering camera and clanging soundtrack, that they're robbed of any horror. Dracula's groan-inducing wordplay ("You look drained") only further saps the gothic atmosphere of any dread. The series is as ostentatious with its apparent sexual overtones as its horror, displaying a showiness that comes off more like a substitute for real depravity, a cry for help in the notable absence of any writer or director capable of teasing out the material's sensuality.
All that's left of Dracula is its declaration of cleverness, as it bobs and weaves through expectations as Sister Agatha does the whole fast-talking genius shtick. Did you think crucifixes repel vampires? Well, the series makes sure to tell us they don't. And then, suddenly, they do, with Dracula all but goading viewers into guessing why. In multiple scenes, characters drag out their introduction of a problem and then badger others for input and theories like an irritatingly persistent street performer. Whether it's introducing farcical, overwritten solutions to things like navigating Dracula's mazelike castle or miniature plot twists that are easy to guess, the series simply feels tiresome in its relentless pleading with us to be impressed.
Cast: Claes Bang, Dolly Wells, John Heffernan, Corrina Wilson, Matthew Beard, Morfydd Clark, Lyndsey Marshal Network: Netflix
Review: The Witcher Favors Fierce Fight Scenes Over World-Building
The series taps into violence like a lifespring, finding its footing with energetic fight sequences.2.5
Henry Cavill's character in The Witcher, Netflix's adaptation of the series of fantasy novels and short stories by Polish author Andrzej Sapkowski, could scan as a spin on the actor's most notable prior role. Monster hunter Geralt of Rivia resembles a reclusive medieval Superman—all principle, brawn, and jawline—clad in a white wig and cat-like contact lenses. But rather than reheating the Man of Steel, Cavill quickly melts into Geralt, capturing his aloof yet winsome confidence with sardonic one-liners and baritone grunts.
Geralt roams a land known as the Continent, sniffing out fantastical happenings and dealing with the responsible entities like a sword-swinging private eye. It's how he makes a living as a witcher: a rare, highly trained beast slayer both blessed with and cursed by enigmatic mutations. These mutations afford witchers preternatural strength and litheness, night vision, and a host of other powers—as well as the scorn of countless villagers who've heard vile tales of witchers' supposed inhumanity. The series uses the hate directed toward Geralt to offer intriguing, if inconsistently fleshed-out, reflections on discrimination.
The Witcher's two female principal characters also face oppressive difficulties. Sorceress Yennefer of Vengerberg (Anya Chalotra), who undergoes a vicious education in the art of magic, navigates the challenges of dysmorphism and her part-Elven heritage in a sexist and racist society, and young princess Ciri (Freya Allan) turns runaway after her home gets razed by the mysterious Nilfgaardian Empire. While the empire—the Continent's strongest political and military force—is eager to track down Ciri, its aims beyond territorial growth are shadowy.
Geralt, Yen, and Ciri spend most of the season isolated from each other. When Geralt and Yen finally meet, they share a warm, sexually charged bath, in a nod to a similar moment in the 2015 video game adaptation The Witcher 3: Wild Hunt. But bath time offers more than cheap fan service here, as the scene also delivers the lighthearted charm that The Witcher's various manifestations insist upon amid their overall bleakness. Geralt and Yen's banter moves briskly, propelled by Yen's playful aggression and Geralt's wry half-smiles.
The three protagonists' narratives momentously and giddily merge near the end of the season, but what comes before sometimes feels like a stretched-out primer. Many conversations proceed lifelessly, purely to provide exposition, doing a disservice to the show's thoughtful exploration of gender, free will, and classism. The laziness accompanies another storytelling flaw: The series is often too slow to elucidate the logic at play in its world. This first season pays welcome attention to Yen's history and psyche but chooses not to concretely explain what it means to be a witcher, granting the audience little insight into Geralt's origins, the reasons for his itinerance, or the nature of his otherness.
In contrast to its halfhearted approach to exposition, The Witcher finds its footing in the graphic depiction of violence. The show's energetic battle scenes, set to a stirring score by composers Sonya Belousova and Giona Ostinelli, create the impression that the burly, snow-caked background actors of Game of Thrones were moving at three-quarters speed. An early duel between Geralt and a rogue princess (Emma Appleton)—there are many princesses—escalates with breakneck cuts and tight shots of the warriors. Later, as the ghastly spawn of a cursed woman stalks a victim, the creature's still-attached umbilical cord flashes at the edge of the frame, smartly giving shape to the specter of loss and grief.
However enthralling it is to watch him in action, Geralt is central to relatively few fight sequences throughout the season. He generally refrains from involving himself in the conflicts of others, less out of a commitment to neutrality than out of what appears to be an overwhelming indifference. And by avoiding excessive bloodshed early on, The Witcher demarcates the stakes necessary for Geralt to unsheathe his blade—gradually revealing his motivations and making the scattered moments of butchery all the more alluring.
Cast: Henry Cavill, Anya Chalotra, Freya Allan, Jodhi May, Björn Hlynur Haraldsson, Adam Levy, MyAnna Buring, Emma Appleton, Joey Batey, Anna Shaffer, Mimi Ndiweni, Royce Pierreson, Wilson Radjou-Pujalte, Eamon Farren Network: Netflix
Review: Work in Progress Confronts Mental Illness with Heart and Barbs
The series never loses sight of its premise, though it remains bleak without beating you over the head.3
Abby (Abby McEnany) is planning to kill herself. She's 45, a devoted journaler, and quite miserable. Her first line of dialogue in Showtime's Work in Progress is a comically extended shout of "Wazzup!," and she buys her nephew a megaphone for his birthday, but being loud and fun masks her inner turmoil. She feels totally unaccomplished as a self-described "fat, queer dyke" with OCD. And though she has yet to decide on a suicide method, 180 almonds are key. They're a "gift" from an insipid co-worker as a commentary on her weight, and Abby decides to use them to mark time: Throw out one almond per day until there are none left, and if things haven't gotten better, then it's time to pack it all in.
McEnany is an improv comic and the series, created with director Tim Mason and produced by co-showrunner Lilly Wachowski, is semi-autobiographical. Scenes are often broken up by title cards that list everything from the day of the week to the almond count to a public bathroom's capacity, with frequent detours into flashbacks of past relationships and confrontations. These situations are heightened, laced with humor that's both frank and self-deprecating. In one sequence, Abby insists on having sex in total darkness despite multiple resulting injuries, and we see her cycle through various slings and bandages over various body parts.
Work in Progress never loses sight of its premise, though it remains bleak without beating you over the head. After all, Abby copes through humor and, often, by yelling at people. She has boxes upon boxes of journals packed in a barricaded closet, expressing her feelings almost in spite of herself, and to the point where she speaks to a cellphone wallpaper pic of her dead therapist. McEnany is such an immediately gripping comedic presence because she's unwilling to back down even when confrontations spiral out of control or she initially faints from the stress. Her suicide scheme, for example, is meant to continue for months while building slowly to a direct, hilariously petty response to her almond-purveying co-worker: "In my note, I'm gonna tell that woman that the almonds were what pushed me over the edge."
Things do seem to get better for Abby. She finds unexpected romance with Chris (Theo Germaine), a trans man half her age. He pushes her into situations where she isn't totally comfortable, like going to a nightclub or confronting SNL alum Julia Sweeney (playing herself), whose most famous character on that show, the androgynous Pat, became a reference point for bullying gender non-conforming people like Abby. The first few episodes of the season don't yet characterize Chris beyond some catalyst for Abby's change, but the two have such a charming chemistry that their connection feels believable.
More than the considerable pain at the center of Work in Progress, you can feel the joy of new love, of potentially moving past the baggage of the past. But all the while, the almonds loom in the background, at first spread out on a table and later consigned to a jar but never truly gone. It's a sobering, subtle way to tackle mental illness because Abby doesn't throw out her whole plan upon meeting Chris; the possibility of death is still there like a backup, due to her uncertainty. Things may be better, but how long will they last? Like the flashbacks and all those journals stored away in Abby's closet, the baggage is never totally gone.
Cast: Abby McEnany, Karin Anglin, Celeste Pechous, Julia Sweeney, Theo Germaine, Armand Fields Network: Showtime
The 25 Best TV Shows of 2019
Our favorite shows of 2019 resist easy categorization, and they attest to a medium in transformation.
Our favorite television shows of 2019 resist easy categorization, and they attest to a medium in transformation. On our list, the old and new sit side by side, as do the challenging and the inspirational, the urgent and the offbeat. These 25 shows speak to the medium's consistently stimulating sense of variety, and to the fact that as one golden age of television yields to the demands of an era of endless content, resonant voices and bold ideas can still find their audience. While these shows are diverse in subject matter and style, the best offerings of the year were characterized by clear, well-honed perspectives, often engaging the big questions of our present-day human existence.
The year's best TV programming gave voice to a breadth of ideas and experiences, even those which might not reasonably be considered "issue-driven." Consider the Netflix sketch show I Think You Should Leave with Tim Robinson, which couched a canny indictment of male egoism and fragile masculinity in fart jokes and absurdist cringe humor. Or Pamela Adlon's Better Things, which launched an incisive and frank portrayal of menopause in its third season. HBO's Succession, perhaps the only series on the list that might be classified as a reaction to Trumpism, supplanted Game of Thrones as the network's crown dramatic jewel by offering viewers the repugnant, terrifyingly cut-throat palace intrigue that the latter series long-ago turned its back to.
The immersive Russian Doll operated as an Escher painting turned dramedy, slowly and thoughtfully eroding the affected abrasiveness of its main character. And while that series was just one of the year's many surprising breakthroughs, 2019 also found well-established shows in peak form, from BoJack Horseman, newly alive with a deep sense of hope for its eponymous character, to Bob's Burgers, richer and funnier in what it has to tell us about family life. Whether tackling existential issues or providing a reprieve from them, the year's best shows comprise a multitude of voices, which flowed forth from the most prestigious platforms to the smallest, strangest niches of the medium—all of them demanding, in one way or another, to be heard. Michael Haigis
25. City on a Hill
When City on a Hill isn't immersed in pulpy shenanigans, which find Kevin Bacon's casually racist F.B.I. agent Jackie Rohr doing things like brandishing a fish at an angry old woman who calls him a "white devil," it aspires to be a Bostonian spin on The Wire. The series, set in the early '90s and based on an original idea by creator Chuck MacLean and executive producer Ben Affleck, constantly keeps one eye on the systems that contribute to the city's rot as it moves through a fictionalized account of the "Boston Miracle" police operation that statistically reduced violence in the city. The series excels in the level of detail it brings to its characters, and proves itself as effective at small, interlocking details as it is at purely hammy thrills. Steven Scaife
24. Years and Years
Perhaps the most significant aspect of Years and Years is the compassion with which it considers its characters. It would be easy for a series filled with so many cataclysms, both global and personal—nuclear weapon launches, deaths, infidelities—to err on the side of sadism in its depiction of that turmoil. But it takes no pleasure in the pain of its central family. Instead, Years and Years recognizes that pain is edifying as well as transient, and it accordingly gives the pain that it inflicts space to evolve: to form, to torment, and to pass, like each year that comes and goes, taking more and more away with it. Niv M. Sultan
23. On Becoming a God in Central Florida
Florida water park employee Krystal Stubbs (Kirsten Dunst) earns the nickname "the alligator widow" after her husband, Travis (Alexander Skarsgård), works himself into bleary-eyed exhaustion and, then, gator-inhabited waters. Travis fell victim to a pyramid scheme whose promises of wealth and prosperity prompted him to dump the family's life savings into the organization's coffers, leaving Krystal holding both the bag and their baby. As conceived by On Becoming a God in Central Florida, this vision of 1992 America is a morass of hucksters and hollow promises, and the series explores that world with both a sharp eye and a peculiar sense of humor. It keenly captures our dubious relationship with the prospect of wealth; its myriad absurdities are resonant reminders of how tough it is to "get ahead," and how easy it is to get lost in the labyrinth of capitalism. Scaife
22. Big Mouth
Netflix's Big Mouth is continued evidence against the dubious argument that P.C. culture has made it impossible for comedians to be edgy. As a subject for an animated sitcom, the sex lives of 13-year-olds constitutes an ethical, political, and cultural minefield—one that the graphic and logorrheic Big Mouth gives the impression of approaching blindfolded and in a headlong rush. But there's a method to its mania: Even while firing an entire volley of cum jokes at viewers every few seconds, the new season covers topics like female masturbation, slut shaming, incel masculinity, biphobia, social media addiction, and the gay teen experience with a heartening frankness that belies its apparent irreverence. Pat Brown
21. Euphoria
Sam Levinson's Euphoria depicts teenage hedonism in frank, explicit terms: a high school world awash in pills, sex, and nude photos thrown to the winds of social media. The series finds its character-driven groove by turning an empathetic eye toward the inner lives of its principal teens, observing their listlessness and small moments of solace as much as their outward pain. It tempers some of its heavier material with an often laidback atmosphere, a world of deep shadows drenched in multi-colored hues and dreamy hip-hop beats that belie the darkness in its corners. If the universe is falling apart around the characters' ears, the result is that Euphoria's characters see little reason to consider what encroaching adulthood will mean, to ruminate on what will come next when there might as well be no "next." There's only the all-encompassing "now." Scaife
Review: Truth Be Told Is Uninterested in the Malleable Nature of Truth
The series attempts to derive excitement solely from its overly calibrated performances.1.5
As Octavia Spencer's journalist turned podcaster Poppy Parnell leads her listeners through the shadowy histories of gruesome criminal cases in Truth Be Told, the actress perfectly mimics the warmly grave vocal delivery that's a hallmark of the true-crime podcast genre. Yet, while the Apple TV+ series understands this genre's allure, it fails to replicate the enduring insights of podcasts like Serial—insights which pertain to the opacity of fact and the idea that the truth can be shaped by the whims of institutions, such as jury selection and the preservation of crime-scene evidence. Truth Be Told eschews the fixations of the nonfiction works that it apes, focusing on lurid gossip and incredulous plot twists and, as a result, proving uninterested in the malleable nature of truth itself.
Truth Be Told follows Poppy as she reassesses a grisly suburban murder from 20 years ago—one she mined for professional success at the time, penning a series of columns which helped turn the public tide against Warren Cave (Aaron Paul), the teenager who was convicted of the crime. A nagging flaw in Truth Be Told emerges early on, as the series fails to elucidate exactly why Poppy is convinced of Cave's innocence. Reference is made to a key witness who may have been coached, but that inconclusive new development seemingly confirms Poppy's long-harbored suspicions, which exist for reasons that are never made clear.
The show's contrived central mystery, then, pertains to who really killed Chuck Buhrman (Nic Bishop). It's a question that's far less complex than that of many high-profile true-crime mysteries, and Truth Be Told attempts to derive excitement solely from its overly calibrated performances. Indeed, the direction given to a majority of the actors seems to have been to glower more, act shiftier, or seem more agitated. The series suggests Buhrman's killer could have been any of the figures Poppy encounters, but because they're all so obviously creepy, a pervasive sense emerges, unintentionally, that they're all engaged in some kind of conspiracy.
Paul bizarrely plays Cave as a feral presence, growling and tilting his head during his character's interviews with Poppy. Incarceration, the series unsubtly suggests, has made him an animal. Likewise, Buhrman's daughters, Josie and Lanie (both played by Lizzie Caplan), are a pair of incessant liars who're still grappling with the trauma of their father's death. Other characters seem to simply be evil, none more so than Cave's father, who's the show's plainly obvious red herring. All of these figures are suspects, yet the persistent suggestion that that we might also empathize with many of them results in Truth Be Told vacillating between conflicting viewpoints: one that sees these characters' flaws are the resultant damage of Buhrman's murder, and one that sees their flaws as inherent and may have led them to kill. But the series lacks the tact or nuance to investigate the idea of inherent evil, and what's left is a rather muddled whodunit in which the answer ceases to be very interesting.
While the show's reliance on easy misdirection and incredulous plot dynamics are an understandable hallmark of its genre, Truth Be Told similarly fails to distinguish itself in cinematic or thematic terms. Shot in an exceedingly workmanlike fashion, the series is designed to offer boatloads of information and little else. Every conversation unfolds in rote over-the-shoulders shots, and exteriors are plagued by the copious drone shots that have become a kind of shorthand for high production value in prestige television. Even the rare bursts of action unfold mechanically, with twists telegraphed by the show's performances and scenes either being marred by slow motion or shaky-cam obfuscation.
Coherent cinematic flourishes would have been a welcome addition, because much of what's being captured here seldom exceeds matters of exposition. For instance, every discussion between Poppy and her private investigator, Markus (Mekhi Phifer), includes clumsy references to their past romantic history, as if we might forget. Seemingly every conversation that Poppy has with anyone includes a statement of their current emotional dynamic. While Spencer's warmth and wit hint at Poppy's skill as an investigator, the actress is too often left delivering dialogue that merely states what's happening around her or in her head.
Throughout Truth Be Told, Poppy constantly explicates her guilt, yet the series doesn't seem sure what exactly is prompting those feelings. The show flattens its performers' unique personalities, utilizing them simply in service of engendering suspicion. Ostensibly about the nature of fact and the spiraling effects of dishonesty, Truth Be Told is actually much less thought-provoking than all that, and simply erects a byzantine rumor mill around one man's death and then mining those rumors for cheap thrills.
Cast: Octavia Spencer, Aaron Paul, Lizzie Caplan, Elizabeth Perkins, Michael Beach, Mekhi Phifer, Tracie Thoms, Ron Cephas Jones, Nic Bishop Network: Apple TV+
Review: Joe Pera Talks with You Digs Into the Truth About Our Preoccupations
Season two of the series explores how our preoccupations bring us comfort when we might need it most.3.5
As a comedian, Joe Pera is a bit of an enigma. With a hunched-over, ambling gait and a slow, soothing voice, he may be the youngest old man on TV. How much of this is an Andy Kaufman-esque stunt is an open question; Pera is certainly committed to not totally breaking character even outside his TV series Joe Pera Talks with You, as he sustains his grandfatherly persona through stand-up routines, promotional interviews, and appearances on the local news. His website provides a form for fans to guess his age. He's almost painfully polite and modest, brimming with a shy, nervous energy, using pauses and stumbling over words to disarm viewers right before he jams in some unexpected joke.
In other words, how much of Joe Pera the man is in Joe Pera the performance art character, and which parts are specifically turned up for comedic value? Watching Joe Pera Talks with You is to simultaneously ponder this question and be so taken with his sweet, earnest persona that the answer seems not to matter. The show's 11-minute episodes are ostensibly structured around the middle-school choir teacher's interest in mundane objects and activities: speaking directly into the camera, he discusses beans, hiking, shopping at the grocery store, and other things around his home in Marquette, Michigan.
Other topics and concerns inevitably creep into each episode, whether because Pera is easily distracted by things like the effect of jack-o'-lanterns on one's soul or because other forces—a boisterous co-worker, an awareness of consumerism, or a disagreement with band teacher Sarah (Jo Firestone)—briefly throw him off course. Following from the previous season, he and Sarah are newly dating, though their viewpoints sometimes differ as Pera's apparent frivolity clashes with Sarah's status as a committed end-of-the-world prepper with a fortified basement and a handgun; in one episode, she asks him if he's willing to kill to defend his garden.
In another type of series, Pera might be some wacky side character or otherwise relegated to the butt of a joke to contrast a more cynical protagonist, but the brilliance of Joe Pera Talks with You is how he instead provides the dominant perspective. No matter how seemingly insignificant, Pera and his interests are presented with complete sincerity through gentle music and loving close-ups of objects and processes, creating an atmosphere of reserved but infectious passion through his dedication and attention to detail. With a mix of serene images, oddly well-researched facts, and understated visual comedy, episodes play like a mix of Mister Rogers' Neighborhood, ASMR videos, and Guy Maddin's My Winnipeg.
An extreme self-awareness fuels the show's comedy, from the subtle tics and timing of Pera's speaking style to the use of subtitles and careful compositions that do such things as gradually reveal that he's wearing shorts. He walks silently in one episode, and as soon as that silence begins to feel awkwardly too long, he begins his monologue about hiking to reveal, simply through impeccable timing, that the silence stems from a weird, adorable belief that before he can discuss hiking, he must first demonstrate what it is. He's thorough, this guy. And he makes sure to inform you that he's just kidding when he says cold beer is nutritious.
Joe Pera Talks with You never feels like it's making fun of Pera's demeanor. Though the character is almost childlike in his perpetual wonderment, the parts of him that initially come off as absurd also feel truthful and even aspirational, in how this man has thought long and hard about things like the societal value of beans. He's a master of conveying miniature stories in just a few words, like how he has "been devastated in the past" by experimenting in his garden or how classifying Easter as "the third most romantic day of the year" suggests a considered ranking of dates by such values.
Many of Pera's observations ring true for their cutting, hilarious simplicity, though much of the comedy comes from how he's not some inaccessible guru or unsung sage of Michigan's Upper Peninsula. Some of the show's funniest lines are when Pera brings up something his outward naiveté suggests he might be ignorant of, like American interventionism. He has his own worries; they're just often about whether his beans will grow properly around the wire arch in his garden. He focuses on the beauty in the mundane, the things that bring him quiet joy. Employing warm cinematography, gentle narration, and its lightly absurd portrayal of everyday life, Joe Pera Talks with You digs at a larger existential truth about our own preoccupations and how they bring us comfort when we might need it most.
Cast: Joe Pera, Jo Firestone, Conner O'Malley, Pat Harris, Jo Scott Network: Adult Swim
Review: Servant Is an Unrelentingly Strange Examination of Grief and Denial
The show's control of tone and atmosphere soon becomes even more engrossing than the story's mystery itself.3
On paper, the premise of Apple TV+'s Servant sounds simple enough: New parents Dorothy (Lauren Ambrose) and Sean (Toby Kebbell) hire a nanny, Leanne (Nell Tiger Free), to take care of their infant son in their Philadelphia home. It's a ritzy place, with a fully stocked wine cellar and a spacious kitchen for chef Sean to test out his elaborate recipes. When coupled with the show's musical score of discordant, jittery strings and atmosphere of uneasy stillness created by long takes and peculiar camera angles, however, everything simply feels off, even before it's revealed that the child, Jericho, is dead.
What lays motionless in the crib is actually just a silent, unblinking doll meant to placate Dorothy, who suffered a psychotic break following Jericho's sudden death. Beyond a handful of instances throughout the season where she stares listlessly into the distance as if on the cusp of some revelation, she treats the Jericho doll as though it's alive and well. The bitter, curmudgeonly Sean plays along, but when he's alone, he's content to drop the thing on the floor or knock its head against the crib. Hiring Leanne is just one more part of the charade, until one night Sean finds a living, breathing, crying infant in the doll's place.
Much of the series follows Sean as he tries to figure out what's going on, and with the help of Dorothy's high-strung, perpetually wine-drunk brother, Julian (Rupert Grint). They investigate where the baby could have possibly come from and dig into the background of the prim, devoutly religious Leanne, whose presence coincides not only with the return of the new Jericho, but with Sean getting splinters from nearly every surface he touches. Dorothy resumes her work as a newscaster none the wiser, but her bright, outgoing demeanor—an extreme contrast with the sullen, dickish Sean—keeps putting their newly living baby at risk of discovery when she invites people over or insists on bringing him to work.
It's a supremely weird setup for a series made only weirder by the way it builds atmosphere through the use of jarring sounds and an austere visual language. Though most of the season's episodes noticeably lack the ambitious directorial hand of M. Night Shyamalan—who's an executive producer on the show and helmed two episodes—cinematographer Michael Gioulakis maintains an unnerving mood through close observation of seemingly mundane actions. By holding so long on faces and often employing overhead angles, the camera lends a sort of voyeuristic, almost alien-like tinge to the proceedings.
And the close-ups are uncomfortably close, particularly with the constant focus on Sean's cooking that finds him meticulously pulling apart the flesh of eels, lobsters, and squids. At other times, he's seen tugging splinters out from his neck or inside his mouth. Whether something actually does happen when the camera lingers on Sean shoving something into the garbage disposal, the potential for disaster always seems to loom large. In such moments, it's as though grief, denial, and pain coalesce into one suffocating presence.
Servant's mystery unfurls at a satisfying clip, since it's broken up into brisk half-hour chunks that always present some new complication. Episodes rarely leave Dorothy and Sean's home, locking us inside to watch everyone seethe and fall apart. In the absence of traditionally horrific imagery, the show emphasizes an unrelenting strangeness not only through Sean's increasingly odd recipes, but through things like a man vigorously dabbing sauce from his slice of chicken before, for no apparent reason, wrapping it in napkins and then squeezing the food between his fingers. The season ends, perhaps expectedly, with more questions than any particularly satisfying answers, but in similar fashion to shows like Twin Peaks, its control of tone and atmosphere soon becomes even more engrossing than the mystery itself.
Cast: Lauren Ambrose, Toby Kebbell, Nell Tiger Free, Rupert Grint, Phillip James Brannon Network: AppleTV+


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Posts tagged "the olsen twinns"
Olsen Twinns and Phantom Vibration @ 7th St. Entry
Phantom Vibration
Olsen Twinns with Phantom Vibration @ 7th St. Entry
July 23, 2012
Local band Phantom Vibration rocked the 7th street entry on Monday for their EP release of Aged, opening up for the local talent of the Olsen Twinns. The house was packed with friends and local music lovers, all enthralled by the haunting voice of Daniel Clinton-McCausland, and the awesome pairing of Henry on guitar and Gunnar pounding on the drums. They played some tunes from their first two EPs, Kids and Growing, and finished off their set by playing some awesome new stuff, including a top-notch tune entitled "Sapience", one of my favorite new songs. As an avid follower of this group, I can say from personal experience that not only is their music flourishing with this new EP, but so is their stage presence. 6 months after the release of Growing and opening for Nurses in the same venue, their sound has delved into new turf and is even more exciting and complex than before. If you haven't heard them, check out their awesome in-studio on Radio K.org.
Following Phantom Vibration was another local act, Olsen Twinns. Despite the name, two blonde-haired babes are not behind these electronic beats, but in fact is 21-year-old Mickey Davis. He played a very filling set, which he introduced to the audience, "Some songs are for dancing, and some are not - you decide which ones are which." And the crowd definitely followed through with that suggestion. Throughout the night there was quite a bit of swayin' and groovin', but also slower moments to cool down (actually quite literally-in the heavily air conditioned Entry).
The entire night not only did I get a great dose of dance-able beats to get me out of Minneapolis' 80% humidity, but I was able to witness and be a part of the local music community and support behind it, was absolutely great. Hugs and handshakes were constantly being given to the musicians after and before their performances. It's no secret that the Twin Cities has some great talent out there, and this show was proof.
Written by Nailah Taman and Amanda Reeder, Radio K volunteers
Tags: olsen twinns the olsen twinns phantom vibration 7th st entry review


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Discovering Mathews County's lost history
Five 17th century archaeological sites have been discovered in Mathews County by the Middle Peninsula Chapter of the Archaeological Society of Virginia. The organization will display its findings from 9 a.m. to 4 p.m. Saturday during the Gwynn's Island Festival.
The sites aren't being identified by the ASV-MP to protect them from relic hunters, said members Forrest Morgan and Tom Karow in an interview Monday, but they did say that two sites are located along the East River and one is on the Piankatank River.
Workers, under the direction of archaeologist and chapter president Thane Harpole, turned up over 1,200 fragments of such 17th century items as a Bartmann jug, English delftware, and German westerwald stoneware. There were also pieces of gravel tempered earthenware, a wine bottle, Case bottle necks, and English and Virginia pipestems, all dating to the mid-to-late 1600s. One site yielded a number of belt buckles that might be as old as the late 1500s, said Morgan, since Virginia colonists often received shipments of old, outdated supplies from the English government.
No one really knows much about what happened in Mathews County during the 17th century because county records being kept in Richmond were destroyed by fire during the Civil War.
When historians have no official land records or wills to refer to, they typically have to rely on family records such as letters and diaries to reconstruct events, but not many of those have turned up in Mathews County. Therefore, said Morgan, "we only know about these sites through archaeology."
Mathews County might seem a bit out of the way in today's land-based society, said Morgan, but during the 17th century it was part of a water-based transportation system, and it was located in Gloucester, Virginia's largest and most populated county. Kingston Parish, which was located in the area that became modern-day Mathews, was supposedly the wealthiest parish in Virginia.
"Mathews would've been the place to be in the 1600s," said Morgan, "which tells us there are sites all over the place."
He and Karow suspect that Mathews County is rich in potential archaeological finds, both post-European colonization and pre-historical. The site that ASV-MP has spent the most time on was once a tobacco farm. Called the Bailey Site simply as a way to identify it, the dig has been determined to be of national significance and will be under consideration for inclusion on the National Register of Historic Places, said Morgan.
Pre-historic sites also abound in Mathews, said Karow. While many people have found arrowheads that indicate Native American villages or campsites, there are other pre-historic items that are not so readily identifiable. Tools, tool-making equipment, and fire-cracked rocks have been found at 35 sites along Mathews shorelines, indicating the presence of Native Americans.
Morgan and Karow said they'd like more information on artifacts in Mathews County, and hope they'll hear from people who've found such items. They promised they wouldn't divulge the source if the owners so desire. Any information would be filed in a database accessible only to archaeologists and technicians.
Morgan and Karow are participating in a two-year program to become certified archaeological technicians under the auspices of Harpole and archaeologist Dave Brown, founders of the Fairfield Foundation in Gloucester. They hope that others will become interested in the archaeological history of Mathews and join their efforts. "As we add more people, we'll do more projects," said Karow.
Both men were excited about their ongoing efforts.
"We're rediscovering the lost history of Mathews County," said Morgan. "It's all still out there; it's just a matter of finding it."
Anyone who has discovered possible archaeological artifacts or who is interested in the work of ASV-MP may call the Fairfield Foundation at 804-694-4775.
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|Home >> Course Descriptions >> College of Arts and Sciences
|Forensic Psychology
|Three semester hours. (SS)
Examines the behavior, motivations, testing and rehabilitation of criminal offenders from a psychological perspective. Presents an overview of the field of forensic psychology, addressing clinical issues as well as leading research in forensic psychology. The psychology of various offender groups ranging from domestic violence perpetrators to rapists to serial murderers will be covered.
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Johnson, Harvick, Patrick Among Drivers Taking Part in Food City Race Night at BMS March 16
Food City Race Night, one of NASCAR's largest and most popular fan events, features a number of racing's biggest stars in the free event Friday, March 16 at Bristol Motor Speedway.
Among the heavy hitters taking part in Food City Race Night is five-time Sprint Cup champion Jimmie Johnson, along with Kevin Harvick, Danica Patrick, Matt Kenseth, Jeff Burton and Clint Bowyer.
Johnson takes to the stage in the BMS hospitality area to play his video game Jimmie Johnson's Anything With an Engine, along with some lucky fans selected from the audience that evening.
Harvick and wife Delana, who recently announced they are expecting their first child, will play Baby 101, a game designed to test their knowledge and skills of newborns. This portion of the event promises to be one of the night's highlights.
Greg Biffle, Burton, Patrick and Kenseth kick off the night's activities with question and answer sessions while crowd favorite Wii Boxing also returns with three-time and defending champion Elliott Sadler leading the charge. Sadler's brother Hermie joins Clint Bowyer, Ricky Stenhouse, Justin Allgaier and Austin Dillon on the fight card as they attempt to dethrone the champ.
More than 20,000 fans attended last year's Food City Race Night.
The free event opens at 4 p.m. and includes show cars, simulators, souvenir trailers and a number of drivers on hand to sign autographs. Live entertainment will be featured, as well as free food sampling while supplies last.
A March race weekend package, which includes the March 18 Food City 500 and the Ford EcoBoost 300/K&N East Series 125 events (March 17), is available starting at $99. A package in the Wallace Tower for both Sprint Cup races also is now available for $99, while packages for fans 15 and younger are available for the March races at half price. Lower row seating for the Food City 500 is available, with tickets starting at $65.
Tickets for the Ford EcoBoost 300/K&N East Series 125 doubleheader are available, with prices starting at $45.
BMS season tickets, which include the Food City 500 and IRWIN Tools Night Race (Aug. 25) Sprint Cup races, as well as both the Ford EcoBoost 300, the Food City 250 and the K&N race, also are on sale. Pricing for all four races begins at just $175 in the Wallace Tower.
For more information or to purchase tickets, fans may call toll free at 1-866-415-4158 or 423-BRISTOL or online at www.bristoltix.com.


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Take Action: Speak Out Against Coal Exports
Next week -- Sept. 17, to be exact -- starts off a series of public hearings about proposed coal export terminals in Washington State:
Longview: Sept. 17
Spokane: Sept. 25
Pasco: Oct. 1
Vancouver: Oct. 9
Tacoma: Oct. 17
Coal companies want to export 44 million tons of coal each year out of Longview, Washington, alone! Longview is one of three coal export terminals being proposed in the Northwest. If all of them were to be built, every year more than 100 million tons of coal would pass through communities from Montana all the way to the coast.
King Coal has its sights set on exporting coal strip-mined from the beautiful Powder River Basin in Montana and Wyoming. This means shipping coal on a huge number of trains through communities in the Pacific Northwest every day, and then processing it at massive coal export facilities. When burned overseas, the coal hurts local communities, but, the pollution also blows back to our shores.
Thanks to tremendous activism from thousands of residents in Oregon, Washington, Idaho, and Montana, the news is rapidly spreading that this shipment of up to 100 million metric tons of coal every year would risk public health via air and water pollution -- not to mention the massive contribution to climate disruption that burning this coal abroad would cause.
More than 10,000 people have attended public hearings so far, on top of the more than 120,000 comments submitted calling for extensive environmental review of these projects.
We've seen a diverse coalition of environmental groups, faith communities, public officials, ranchers, health professionals, businesses, Native Americans, and more come together to fight these proposals.
One powerful community standing up to Big Coal is the Lummi Nation. While people are gathering in Longview, Washington, others will be gathering in the Powder River Basin where the coal would be mined to say NO to coal exports. Starting September 18, leaders from the Lummi Nation will begin a journey to draw attention to the effects of the coal export proposals and the importance of upholding their treaty rights. These members of the Lummi Nation will travel 1,200 miles from the coal strip-mine sites in the Powder River Basin to the proposed coal terminal site at Cherry Point in Washington. They will be showing how connected the communities are along the route and conducting ceremonies and discussions, some public, some private.
The Lummi Nation has already made several strong statements against the plans:
"No deals, thank you," said Fran James, 88, a revered tribal elder called as a witness to the ceremony. "All of our elders have always told us: 'Take care of this place.'"
In a recent letter opposing the coal export terminals, the tribe stated that the terminals "would significantly degrade an already fragile and vulnerable crab, herring and salmon fishery, dealing a devastating blow to the economy of the fisher community."
The threats that come with exporting coal show how connected each of our communities are. Coal anywhere harms communities everywhere. We can stand together against Big Coal. Will you join us and thousands of others to say NO to coal exports? Please attend the coal export public hearing nearest you, submit a public comment, and help spread the word!


text: Primary Health Services Center The DeSiard Street Clinic provides core primary medical services, behavioral health services, including substance abuse counseling and short term therapy, access to dental services, and referrals of chronically mentally ill patients to the local community behavioral health network of mental health providers. Services Primary medical services include preventive, episodic, chronic disease and follow-up, basic diagnostic laboratory services, limited pharmacy services, case management for public insurance and assistance, translation services, health education, childhood immunizations on site, Ryan White AIDS program services, breast and cervical cancer screening, behavioral health screening and assessment, and mental health and substance abuse treatment. The site provides limited laboratory services with referral to a regional lab for complex laboratory work. The site also provides referrals to radiology services within the service areas of the charity care hospital network, where low income patients can qualify for charity care support as needed and all forms of payment are accepted. The clinic has extended hours as needed. The facility and program are incorporated into the Primary Health Services Center quality improvement program as well. 24 hour emergency on-call, Asthma, Basic Needs, Behavioral Health Care Services, Blood Pressure Monitoring, Cancer Screening, Case Management/Social Services, Child Development Services, Chronic Bronchitis/Emphysema, Contraceptives (issued w/counseling), Dental Care, Diabetes Testing/Care, Domestic Violence Shelter/Services, Electronic Medical Records, Family Planning, Flu Vaccinations, Gynecology, Health/Nutritional Education, Hepatitis C screening/treatment, HIV/AIDS screening/education, Immunizations, Labs, Medications/Prescription, Mental Health Counseling, Mental Health Services for Youth, Mobile Van/Transportation, Multidisciplinary Health Teams, Obstetrics, On-the-job training, Outreach, Pediatrics, Physical Exams, Pneumococcal vaccine, Primary Health Care, Referrals for Specialty Care, Services in Supportive Housing, Sexual Abuse Support Services, Smoking Cessation, Specialty Care, TB screening/education, Treatment of Acute Illness, Well Child Check-ups Linkages Linkages include, but are not limited to: Wellspring (formerly YWCA), Our House, Monroe Housing Authority, Office of Public Health-Region 8, Office of Mental Health-Region 8, Saint Francis Medical Center, Monroe Transit System, Salvation Army, American Red Cross, 211 Call Center, Northeast Louisiana Food Bank, Bridges of Ouachita, Harmony House, Fairhaven, University of Louisiana at Monroe-Marriage and Family Therapy, University of Louisiana at Monroe-School of Dentistry, United Way, and Medicine Shoppe. Statistics Estimated homeless population: 7,000+ Patients served: 1,127 Subcontractors LSU Health Sciences Center Department of OB/GYN 4864 Jackson Street, P.O. Box 1881 Monroe, LA 71210 Contact: Rodney Wise Phone: (318) 330-7652 Fax: (318) 330-7652 Email: email@example.com ULM- Marriage and Family Therapy 700 University Avenue Monroe, LA 71203 Phone: (318) 362-3003 Wellspring (formerly YWCA) 1511 Jackson Street Monroe, LA 71202 Phone: (318) 651-9314 General Info Director Catherine M. Tonore HCH Coordinator Glenda Starr UDS Number 068480 Contact Info Phone Number (318) 388-1250 Fax Number (318) 388-0948 Email firstname.lastname@example.com Address Physical Address 2913 Betin Avenue Monroe, LA 71201 Mailing Address PO Box 7495 Monroe, LA 71211-7495 Blank - Please do not delete Alabama Birmingham Alabama Regional Medical Services (ARMS) Aletheia House, Inc Mobile Franklin Primary Health Center Tuscaloosa Whatley Health Services Alaska Alaska Island Community Services Anchorage Neighborhood Health Center Arizona Circle the City El Rio Santa Cruz Neighborhood Health Center DBA El Rio Health Arkansas Jefferson Comprehensive Care System, Inc. – Open Hands California Alameda County Health Care for the Homeless Program Bartz-Altadonna Community Health Center Care Link - Community Medical Centers, Inc. Center for the Vulnerable Child, Children's Hosptial & Research Center Oakland Clinica de Salud del Valle de Salinas Clinica Sierra Vista Clinicas de Salud del Pueblo Community Health Alliance of Pasadena Community Health Centers of the Central Coast Contra Costa Health Services Department County of Sacramento DHHS/Primary Health Services Elica Health Centers Family Health Centers of San Diego Gardner Family Health Network, Inc. Golden Valley Health Centers Hurtt Family Health Clinic JWCH Institute La Maestra Family Clinic Los Angeles Christian Health Center Marin City Health & Wellness Center Mendocino Community Health Clinic, Inc. Northeast Valley Health Corporation Open Door Community Health Centers Operation Samahan Ritter Center SAC Health System San Fernando Community Health Center San Francisco Community Clinic Consortium San Francisco Community Health Center San Mateo Medical Center Santa Barbara County Public Health Department - Health Care for the Homeless Santa Clara Valley Health and Hospital System Santa Cruz Community Health Centers Santa Cruz County Homeless Persons Health Project Santa Rosa Community Health Share Our Selves Shasta Community Health Center Solano County Health and Social Services Department St. John's Well Child & Family Center St. Vincent de Paul Village Family Health Center Venice Family Clinic Ventura County Health Care Agency WellSpace Health West County Health Centers, Inc. Colorado Colorado Coalition for the Homeless - Stout Street Clinic Metro Community Provider Network Homeless Project Peak Vista Community Health Centers Pueblo Community Health Center Southwest Colorado Mental Health Center dba Axix Health System Connecticut Charter Oak Health Center, Inc. Community Health Center, Inc. - Wherever You Are - Health Clare for the Homeless Cornell Scott-Hill Health Center Generations Family Health Center, Inc. Norwalk Community Health Center, Inc. Optimus Health Care, Inc. Southwest Community Health Center - McKinney Health Care for the Homeless StayWell Health Center Blank - Please do not delete Delaware La Red Health Center, Inc. Southbridge Medical Advisory Council, Inc. District of Columbia Unity Health Care, Inc. Florida Brevard Health Alliance Broward Health C.L. Brumback Primary Care Clinics Camillus Health Concern, Inc. Citrus Health Network, Inc. Community Health of South Florida, Inc. Escambia Community Clinics Family Health Centers of Southwest Florida, Inc. Genesis Community Health, Inc. Health Care Center for the Homeless, Inc. I.M. Sulzbacher Health Care for the Homeless Langley Health Services Neighborhood Medical Center Pinellas County Health Care for the Homeless Program Rural Health Network of Monroe County Florida, Inc. Tampa Family Health Centers, Inc. Georgia First Choice Primary Care Four Corners Primary Care Center Mercy Care Recovery Consultants of Atlanta, Inc. The J.C. Lewis Health Care Center, Inc. of Union Mission, Inc. Hawaii Waikiki Health Center Idaho Dirne Health Centers, dba Heritage Health Terry Reilly Health Services Illinois Aunt Martha's Health and Outreach Center Central Counties Health Centers, Inc. Crusaders Community Health Heartland Health Outreach Lawndale Christian Health Center Pillars Community Health Southern Illinois Healthcare Foundation VNA Health Care Indiana ECHO Community Health Care, Inc. HeatlhNet, Inc. Indiana Health Centers, Inc. - Project Homecoming LifeSpring Health Systems Marram Health Center Regional Health Clinic Iowa Community Health Care, Inc. Eastern Iowa Health Center People's Community Health Clinic, Inc. Primary Health Care, Inc. Kansas GraceMed Health Clinic Health Partnership Clinic, Inc. Hunter Health Clinic, Inc. Blank - Please do not delete Kentucky Audubon Area Community Care Clinic Eastern Kentucky University Bluegrass Community Health Center Family Health Centers, Inc. HealthFirst Bluegrass Kentucky Mountain Health Alliance, Inc. Kentucky River Foothills Development Council, Inc. Mountain Comprehensive Care Center, HomePlace Clinic Louisiana Baton Rouge Primary Care Collaborative, Inc. Health Care for the Homeless Odyssey House Louisiana Primary Health Services Center Southwest Louisiana Primary Health Care Center Start Corporation Maine Greater Portland Health Nasson Health Care, York County Community Action Corporation Maryland Frederick Community Action Agency, City of Frederick Health Care for the Homeless, Inc. Massachusetts Boston Health Care for the Homeless Program City of Springfield Department of Health & Human Services Community Health Connections, Inc. Community Healthlink, Inc. Duffy Health Center Greater Lawrence Family Helath Center, Inc. Greater New Bedford Community Health Center, Inc. Michigan Central City Integrated Health Cherry Health Covenant Community Care, Inc. Covered Bridge Healthcare of St. Joseph County Detroit Healthcare for the Homeless dba Advantage Health Centers Downriver Community Services, Inc. Family Health Center, Inc. Health Care for the Homeless Genessee Community Health Center Grace Health Hamilton Community Health Network, Inc. Ingham County Health Department Mercy Health Saing Mary's Heartside Health Center Oakland Integrated Healthcare Network Packard Health Minnesota Hennepin County Health Care for the Homeless West Side Community Health Services Mississippi Central MS Civic Improvement Associations, Inc. dba Jackson-Hinds Comprehensive Health Center Coastal Family Health Center Blank - Please do not delete Missouri Affina Healthcare Northwest Health Services Swope Health Services Montana Partnership Health Center, Missoula City-County Health Department PureView Health Center RiverStone Health Southwest Montana Community Health Center Nebraska Charles Drew Health Center - Homeless Nevada Community Health Alliance Nevada Health Centers, Inc. - Health Care for the Homeless Northern Nevada HOPES Silver State Health Services New Hampshire Families First of the Greater Seacoast Harbor Homes, Inc. Health Care for the Homeless Program, City of Manchester New Jersey Atlanticare Health System: Mission Health Care City of Newark, Department of Child & Family Well-Being Henry J. Austin Health Center at Ewing Street Jewish Renaissance Foundation , Inc. Metropolitan Family Health Network, Inc. Project H.O.P.E. Zufall Health Center New Mexico Albuquerque Health Care for the Homeless, Inc. Amador Health Center El Centro Family Health First Nations Community HealthSource La Familia Medical Center's Health Care for the Homeless Presbyterian Medical Services/Farmington Community Health Center New York Callen-Lorde Community Health Center Care for the Homeless Community Health Center of Buffalo Cornerstone Family Healthcare Covenant House New York - Under 21, Inc. Damian Family Care Centers East New York Health Center - Housing Works, Inc. Hudson River HealthCare, Inc. ICL Healthcare Choices, Inc. La Casa de Salud, Inc. Mt. Vernon Neighborhood Health Center Neighborhood Health Center North Country Children's Clinic NYU Lutheran Family Health Centers Community Medicine Program Project Renewal The Children's Hospital/Mopntefiore Medical Center The Floating House Unity Hospital of Rochester Health Readh Health Care for the Homeless Program (HCHP) Upper Room AIDS Ministry (URAM)/Harlem United William F. Ryan Community Health Center North Carolina Advance Community Health Appalachian Mountain Community Health Centers Charlotte Community Health Clinic Goshen Medical Center - Eastpointe Lincoln Community Health Center, Inc. New Hanover Community Health Center, Inc. dba MedNorth Health Center Opportunities Industrialization Center, Inc. Piedmont Health Services, Inc. Triad Adult and Pediatric Medicine Western Northern Carolina Community Health Services Blank - Please do not delete North Dakota Homeless Health Services Ohio Care Alliance Health Center Cincinnati Health Network, Inc. Columbus Neighborhood Health Center, dba PrimaryOne Health Ironton-Lawrence County CAO Lutheran Social Services of Central Ohio Neighborhood Health Association - Mildred Bayer Clinic Samaritan Homeless Center Southeast, Inc. Oklahoma Community Health Centers, Inc. Morton Comprehensive Health Services, Inc. Oregon Adapt, dba SouthRiver Community Health Center Central City Concern Coast Community Health Center Community Health Centers of Lane County La Clinica Multnomah County Health Department Native American Rehabilitaion Association of the Northwest, Inc. Northwest Human Services - Clinic Outside In Rogue Community Health The Wallace Medical Concern White Bird Clinic Pennsylvania Community Health Net North Side Christian Health Center Primary Care Health Services, Inc - Health Care for the Homeless Project HOME Public Health Management Corporation (PHMC) Rural Health Corporation of Northeaster Pennsylvania, McKinney Clinic Puerto Rico Corporacion SANOS Med Centro: Consejo de Salud de Puerto Rico, Inc. Migrant Health Center, Western Region, Inc. Municipality of San Juan, San Juan Health Care for the Homeless Program Servicios De Salud Primarios De Barcelonta, Inc. Rhode Island Providence Community Health Centers Thundermist Health Center of Woonsocket South Carolina Eau Claire Cooperative Health Center Fetter Health Care Network Little River Medical Center, Inc. New Horizon Family Health Services, Inc. South Dakota Community Health Center of the Black Hills Outreach Program Falls Community Health Tennessee Chattanooga Hamilton County Health Department Cherokee Health Systems Christ Community Health Services, Inc. East Tennessee State University College of Nursing Memphis Health Center, Inc. - Health Care for the Homeless Neighborhood Health Tri-State Community Health Center Texas Avenue 360 Health & Wellness Bee Busy Wellness Center Centro San Vincente Homeless Clinic Community Health Center of Lubbock, Inc. CommUnity Care Dallas County Hospital District - Homless Outreach Medical Services (HOMES) El Centro del Barrio d/b/a Centromed Harris Health System - Health Care for the Homeless Program Healthcare for the Homeless - Houston Heart of Texas Community Health Center, Inc. Project Vida Health Center Regence Health Network, Inc. - Tyler Street Resource Center Utah Fourth Street Clinic, Wasatch Homeless Health Care Midtown "Hope" Community Health Center Mountainlands Community Health Center, Inc. Vermont Community Health Centers of Burlington, Safe Harbor Homeless Healthcare Program Blank - Please do not delete Virginia 48th Street Physicians Greater Prince William Community Health Center The Daily Planet Washington Community Health Association of Spokane Community Health Center of Snohomish County Cowlitz Family Health Center Health Care for the Homeless Network of King County Metropolitan Development Council Sea-Mar Community Health Centers The NATIVE Project Yakima Neighborhood Health Services West Virginia Valley Health Systems, Inc. Wisconsin N.E.W. Community Clinic Outreach Community Health Centers Partnership Community Health Center Wyoming Community Action of Laramie County Community Action Partnership of Natrona County - 12th Street Clinic Join the Council Make A Donation Contact Us Our Networks Respite Care Providers' Network National Consumer Advisory Board HCH Clinicians' Network Get Involved Join Our Organization Donate to Our Cause Sitemap: Find Everything Contact Form Subscribe to Receive our latest eNewsletter Success! Email Sign Up Now This project is supported by the Health Resources and Services Administration (HRSA) of the U.S. Department of Health and Human Services (HHS) under grant number U30CS09746, a National Training and Technical Assistance Cooperative Agreement for $1,625,741, with 0% match from nongovernmental sources. This information or content and conclusions are those of the authors and should not be construed as the official position or policy of, nor should any endorsements be inferred by HRSA, HHS or the U.S. Government. Copyright © 2019 National Health Care for the Homeless Council, Inc. PO Box 60427 | Nashville, TN 37206 | (615) 226-2292 Disclaimers and Payment Policies FollowFollowFollow


text:
Courtesy of Prof. Neal Katyal via AP
Salim Ahmed Hamdan is seen in an undated photo
Updated at 11:58 a.m. ET: WASHINGTON -- The U.S. Court of Appeals on Tuesday tossed out the conviction of Osama bin Laden's former driver for supporting terrorism, saying the law under which he was tried did not apply to his crime.
Salim Ahmed Hamdan was convicted in 2008 by a panel of six U.S. military officers of providing material support to al-Qaida. He was sentenced to five-and-a-half years and released shortly thereafter because he had already spent six years in custody at the Guantanamo Bay Naval Base detention camp in Cuba.
He was the first Guatanamo detainee to be convicted of war crimes.
The Court of Appeals for the District of Columbia vacated Hamdan's conviction even though he has already served his sentence.
Read the U.S. Court of Appeals ruling (PDF)
The court noted that Hamdan's crime occurred from 1996 to 2001 and said the 2006 Military Commissions Act -- which specifically lists material support for terrorism as a war crime triable by military commission -- cannot be applied retroactively to cover it.
Previous story:
Pentagon releases video of US troops interrogating bin Laden's driver
The court also said that while military commissions may try violations of the international "law of war," when Hamdan committed the conduct in question the law did not proscribe material support for terrorism as a war crime.
"Because we read the Military Commissions Act not to retroactively punish new crimes, and because material support for terrorism was not a pre-existing war crime under 10 U.S.C. § 821, Hamdan's conviction for material support for terrorism cannot stand," the appeals court ruled.
Hamdan was captured in Afghanistan in November 2001 – about two months after the Sept. 11 terror attacks against the U.S. The car he was driving contained two anti-aircraft missiles.
Pentagon video shows the interrogation of Osama bin Laden's driver, Salim Hamdan, in Afghanistan shortly after 9/11.
Hamdan's captors handed him over to U.S. authorities, who transferred him to Guantanamo.
Hamdan was held at Guantanamo as an enemy combatant and was eventually charged with one count of conspiracy. He raised legal objections to the prosecution, and the case made its way up to the U.S. Supreme Court.
The high court ruled in 2006 that military commissions set up by the Bush administration to try detainees at Guantanamo were invalid because their structure and procedures violated both the Uniform Code of Military Justice and the Geneva Convention.
The ruling prompted Congress to enact a new military commission statute – the 2006 Military Commissions Act.
Hamdan was charged anew under that law with conspiracy and material support for terrorism.
At his military commission trial, prosecutors argued that Hamdan was close to al-Qaida's inner circle, while his lawyers asserted that he was simply a driver and mechanic in the motor pool who needed the $200 monthly salary.
Hamdan was acquitted of conspiracy but convicted of material support for terrorism. In August 2008 he was sentenced to 66 months' confinement and credited for having already served most of that time.
After his release in January 2009 in his home country of Yemen, Hamdan continued to appeal his conviction.
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text:
Finally, after hundreds of graphite tutorials I am moving on to charcoal! I consider this starting from scratch since I have never drawn a purely charcoal drawing using a set technique. Hopefully with a bit of practice I will be able to make my charcoal tuts equal to my graphite ones. For now here's a lesson on how to draw a sunflower using charcoal.
DragoArt members upload artwork and drawing tutorials! They are also allowed to leave comments on tutorials, profiles, etc. Many more features, as well; it's way better than just being a boring guest! Register Now!


text:
Search the Volter database
Boolean operators must be written in capital letters (AND/OR/NOT).
Truncate with an asterisk (*). The search results wil be shown in four tabs:
You can also use advanced search.
MOT Dictionaries include tools for everyday communication: dictionaries, proofreading and translation software.
The electronic resources are available in the network of the University of Turku or through remote access for students and staff members. In remote access, resources automatically ask you to enter UTU user ID and password, if needed.


text:
Kennett Square, PACare for horses & livestock/farm animals
Philadelphia, PACare for cats, dogs & other domestic/companion animals
The Agricultural Systems and Microbial Genomics Laboratory (ASMG Laboratory) was established to support Dr. Dou and Dr. Pitta in their research endeavors.
Dr. Pitta is the ruminant nutrition and microbiologist at the Center for Animal Health and Productivity (CAHP), New Bolton Center, University of Pennsylvania.
Research in the Microbial Genomics section of the ASMG lab focuses primarily on the gut microbial composition of ruminants, utilizing both culture-based and advanced molecular methodologies. The alimentary tract of a ruminant is colonized by millions of microbes living in a symbiotic relationship with the host. Therefore, knowledge of the microbial composition of the entire gut can provide insights into improving the overall health and productivity of the animal.
The recent advent of next generation sequencers has greatly enhanced the ability to explore community microbial populations. The ASMG lab has the capabilities to perform metagenomic studies including sample preparation, genomic DNA extraction and generating 16S amplicon libraries for sequencing on next generation platforms. The sequenced data is analyzed at the ASMG laboratory utilizing the appropriate bioinformatics tools for data interpretation. The lab is in the process of streamlining the protocols for generating 18S libraries for protozoa and fungal communities.
Dr. Dipti Pitta, MVSc, PhD
Ruminant Nutrition and Microbiologist
Center for Animal Health and Productivity
School of Veterinary Medicine
University of Pennsylvania
Phone: 610-925-6165
Email: email@example.com
Contact Information


text:
Invisible Hurts
You could hear a cracking sound last week, as if the world's largest tree had just been split down the middle by lightning. The sound of collective heartbreak.
There are far smarter and more knowledgeable people than I talking about gun control and mental health care issues right now. I think it's obvious where I stand on both. Yes. Yes, gun control. Yes, health care. Yes. Please.
My two favorite parenting-related posts on the tragedy are Kristen Howerton's Five Things to Consider Before Talking to Your Kids About Today's Tragedy and Claire Bidwell Smith's Holding Them To My Bones.
I do feel compelled to comment in greater depth on the issue of trauma. How do we respond to trauma and the resultant fear, both as individuals and as a collective? Do we build a higher fence around our homes and our hearts? Do we vow to be the one with the biggest stick next time, so that no one will ever make us feel this afraid again?
This is a literal question in terms of gun control, but it is also a spiritual dilemma that I believe is becoming more and more urgent for us as a society. Every day our soldiers return from war, PTSD sending shock waves through their lives and relationships. Children flood the social service system, manifesting the emotional scars of abuse and neglect. And, as is on all of our minds, the children who survived that Sandy Hook bloodbath will have to eventually learn how to wake up again in the morning and live- hopefully lives in which they can love and trust and feel safe. We are faced with the frustrating and elusive task of healing wounds you can't see.
I have had many people look at me skeptically when I discuss the impact of early childhood trauma or the devastating effects of PTSD. I think people have a hard time considering a slippery, invisible emotional problem, with very few black and white answers. It is hard to sit with the pain of others. It is hard to be a witness to the suffering of our fellow humans, especially children, and not know how to address it. But denying the existence of the wounds won't make them go away, won't absolve us of the responsibility to heal them.
Trauma treatment is a more complicated subject than I can get into in this internet-attention-span-friendly post, but I can tell you that none of the treatments, none, involve arming people with a bigger stick. Trauma victims are deeply afraid in places to which the conscious mind doesn't even have access. You can't treat fear with more fear. You have to go at it with love. With conscious, patient, and fearless love.
If you're interested in healing modalities for early childhood trauma, Heather T. Forbes and Bryan Post are two of my touchstones. And for my money, Christine Moers at Welcome to My Brain is the sanest, coolest trauma mama around. I also love Pets for Vets.
I wish healing for all your invisible hurts. I wish light for you, in these dark winter days.
One thought on "Invisible Hurts"
lovely–light and hope and love. i agree. thank you


text:
We have teamed up with V12 Retail Finance Limited. V12 is a specialist UK provider of Retail Point of Sale Credit, they have been offering finance options for more than 20 years through there industry leading paperless processing system for online retailers. This will enable a more affordable and flexible way to purchase high value items, by allowing you to spread the cost over a longer period of time and within your own budget.
If you apply for finance and your application is successful, you will enter into a Credit Agreement with Secure Trust Bank Plc (V12's parent company) which will be administered by V12. V12 is authorised and regulated by the Financial Conduct Authority. Secure Trust Bank Plc is authorised by the Prudential Regulation Authority and regulated by the Financial Conduct Authority and the Prudential Regulation Authority under registration number 204550.
0% or classic APR Finance plans are available on products / orders over £275.00, the finance plans available for each product varies depending on the items value and how much the item is discounted. A 10% minimum deposit will be required, for full details please read our Finance Information page.