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Dr Who: The Visitation - Special Edition (UK - DVD R2)
The Wilson Bros make an examination of The Visitation's revisitation...
Season 19 of Doctor Who had reached the mid-point and Peter Davison had settled into the role of The Doctor, dispelling the "Wet Vet" criticism that some had launched. After having one or two futuristic adventures in outer-space, the TARDIS would venture into Earth's past for an adventure that would yet again see The Doctor directly involved with a key event in history...
In the skies of seventeen century Earth there are lights in the sky and soon after, the occupants of a Squire's house are massacred; with plague sweeping across the land, The Doctor, Adric (Matthew Waterhouse), Nyssa (Sarah Sutton) and Tegan (Janet Fielding) materialise in the middle of things and discover that the Grim Reaper walks abroad and there is an alien presence that seeks to destroy the entire human population to suit their own selfish means...
Written by Eric Saward, The Visitation is a Doctor Who story that squarely falls into the pseudo-historical category, meaning that whilst it has a period setting, there are science-fiction elements that dominate the story. Situating the story in the middle of two moments of English history that were of great importance and managing to marry the two elements into the story is not only very smart, but also manages to go towards fulfilling the original remit of the show, in that it should educate and entertain in equal measure.
Saward throws in the odd dry quip, even allowing Adric to score an amusing reply about what to say when knocking on a stranger's door ( "hello?" is his reply); when Tegan is quizzed as to where The Doctor is from, her reply is "Guilford" and along with other little asides, it keeps a fairly grim storyline from getting TOO morose.
Speaking of all things grim, having the fabled Grim Reaper inhabiting a period story is a without doubt a great idea, as having an android turning up dressed as Death itself in front of a bunch of deeply-religious people during a particularly deadly period of English history would be enough to scare pretty much anyone into doing anything. The fact that the plague just also happens to be ravaging the country only adds to the sense of panic and chaos that would have undoubtedly terrified the general population. Control by creating phoney terror - the old ways never have gone out of style, have they?
Davison is still finding his feet with the characterisation (this was the second Fifth Doctor story to be shot) and employs his occasional mimicry of Hartnell and Troughton, especially the former, as Davison's voice goes all high when he gets defensive under questioning by his companions. It's a welcome nod to past Doctors - certainly the former Mr Moffat has been the only actor to consciously do this - but a little more subtlety would have made it less self-conscious.
Nyssa always was a tricky character to incorporate into a story; she spent a long period of time stuck in the TARDIS in Earthshock, she was almost entirely absent from Kinda and having two other companions, both of which were loud and/or annoying, to compete with, Nyssa frequently seemed to get lost in the shuffle. When Sarah Sutton IS allowed to shine, she's great and the scientific intellect that her character possesses makes for a great pairing with her and The Doctor, but sadly, she had to compete with an precocious wee shite and a mouth-on-legs.
Speaking of whom, Janet Fielding doesn't get much of a look-in during this story - she just interjects sarcastically now and again and gets angry, weepy and slightly hysterical at the start of the first episode - as all three companions really take a back-seat to Peter Davison and a certain guest star...
There's no question that the stand-out performer in this story is Michael Robbins, who instils the perfect balance of bravado, bluff and outright cowardice in Richard Mace. Robbins was a solid, dependable actor who had been trapped in sitcom hell for several years and was probably more than eager to show what he could do on a programme as widely seen and as loved as Doctor Who - there's not a hint of his Arthur character from On The Buses (which is pretty much the lowest sort of Music Hall-style sitcom - if you haven't seen it for a long time and want to revisit this "classic", you'll discover that it really WAS bollocks), and the vulnerability that Robbins displays makes you ultimately root for him when he finally is able to summon up a degree of courage. Robbins' comedic stock-in-trade is firmly on display here, as he weaves in many wry utterances into his decidedly "lusty" performance and he plays off Davison in a wonderful way, as Mace's thin veneer of Thespian bravado rapidly peels away in the glare of The Doctor's 900 years of accumulated knowledge.
Adric is Adric and Matthew Waterhouse is still very much Matthew Waterhouse, but at least he does get to essentially kick Death up the arse during a brief scuffle. In an amusing - and probably conscious on the part of Eric Saward - twist, Adric does his ankle in during the first episode; this gender-reversal of the classic Susan-doing-her-ankle-in... sorry, we meant female-companion-doing-her-ankle-in could be looked upon as fairly progressive for the time, as it was one thing for women in Doctor Who to wave the feminist flag now and again (Janet Fielding was in the cast at this time, for Christ's sake!), but it was another to have male companions fall victim to the same sort of trivial plot contrivances that usually happened to the female ones. There are those out there who will doubtlessly cheer when Adric comes a cropper, but not quite as loudly as they would if watching the end of Earthshock, of course...
The villains of the piece, the Terileptils, are good in concept and writing, but are let down a little in execution, with the harsh lighting that was favoured during this period of Doctor Who not doing them any favours. There are times when they are seen in shadow, and the look much better, but seeing them in daylight or the aforementioned harsh lighting, it robs them of any menace, as they look like men in suits. The Terileptils are impressive as far as the writing and performances, as they have a sense of purpose and almost clinical sense of cunning that is undercut by their anger and burning desire to achieve their ultimate objective and it's a shame that they weren't used again... with better lighting.
Once again, when it comes to period detail, you can't fault the BBC, as the location filming is nothing short of gorgeous and the costumes lend the whole thing an added layer of realism. The location filming is most impressive, with a very earthy feel weaving its way through the proceedings, the verdant greens firmly rooting the story in a period setting; the location filming takes up a considerable amount of the running time and adds a certain cinematic dimension to the story that could not have been achieved if shot on Outside Broadcast videotape (which sadly hamstrung several stories toward the end of the eighties).
Director Peter Moffatt injects a level of cinematic inventiveness during the location filming, and seeing as roughly half of this story was shot on film, there is a film-like quality to this particular tale and makes one wish that the whole thing could have been shot on film. The only downside of this would have been that the effects would have been more expensive to achieve and some of the sets would have looked even cheaper than they were.
One of the most significant moments in this story involves the destruction of The Doctor's sonic screwdriver, which was included upon the order of producer John Nathan-Turner, as he felt that it was an easy get-out-of-jail-free card for writers when having The Doctor in a tricky situation. JN-T stuck to his guns and the sonic screwdriver wasn't seen again until the Paul McGann film, a decade and a half later. If only the writers of New-Who could do the same thing as Matt Smith seems to whip out the fucking thing at every opportunity and accomplish some ridiculous feat of lazy writing.
The cliffhanger for episode one, which sees our band of heroes being essentially locked in a cellar, is one of the weaker ones from the period - it's certainly no "destroy them! Destroy them AT ONCE!" and would have worked much better if the story was presented in omnibus form. At the start of episode two, there is a good effect showing Davison sticking halfway out of a holographic projection of a door, which goes some way for making up for the decidedly lacklustre moments that preceded it - there are some who would argue that this is a great example of how Doctor Who plays better without cliffhangers; we would disagree entirely, but you can appreciate what they are trying to say.
A fiery climax is something that always goes down well in film and television and the ending of The Visitation contains one that brings to mind the combustible finale of William Hartnell's enjoyable romp, The Romans, which saw The Doctor have a hand in the fire that destroyed much of Nero's domain. The climax of The Visitation is well-realised on a budget that could not have showed the level of destruction that the writer and director would have wanted, but enough was shown and indicated through dialogue that it's ultimately a satisfactory depiction of one of England's darkest double-disasters.
This particular story had a significant amount of footage shot on location and the Restoration Team had access to the original elements - the results are nothing short of stunning, with rich colours (check out the red trim on Davison's jacket, it' so vibrant that it practically glows!) and a level of detail that impresses a great deal.
The studio sequences all look about as good as they can, with no noticeable problems - the strip-lighting method seemingly favoured by the producers at this time eradicates any graininess that might have crept in during many sequences, though the moody scenes set in the cellars of the country house still look rather nice.
There's nothing wrong at all with the audio here; we might say it every time, but the dialogue is perfectly discernible and the clean-up of the soundtrack allows a level of depth and punch to Paddy Kingsland's familiar music score that many would have not previously appreciated.
Audio Commentary: As with the commentary to be found on the Special Edition of The Aztecs, this is one from the original release, included herein for the sake of completion, but this is an entirely different experience when compared to that which has earned the title of "worst Doctor Who commentary track of all time". To use BBC terminology, it's "another chance" to listen to this one, but giving this particular effort another go is 100 minutes of your life well-spent, as Peter Davison, Janet Fielding, Sarah Sutton, Matthew Waterhouse and director Peter Moffatt are a riot as they give the story a re- Visitation.
With the explosive nature of certain folk sitting in the recording booth, naturally, the less-than-even-tempered Fielding is never one to hold a grudge or seize an opportunity, and when Davison cuts off in the middle of snapping at Tegan in the final episode, she immediately launches into defensive-mode with the retort: "…That'll teach you to be nasty about my trance-acting!". Part of the many areas of fun found here is the constant jibes at each other, with varying degrees of snide and sincerity, but all's fare in love and Doctor Who, with each zinger just adding to the enjoyment.
It comes as a surprise that the normally very sharp Fielding is somewhat hazy about things when in front of the camera, prompting her to explain: "…I remember rehearsing these things, I don't remember recording them" when confronted with a particular piece of the memory escapes her. It's the exuberance of Fielding which might account for Sutton being comparatively quite, as she has to compete with the ol' Mouth-with-Legs, but can get in an amusing jab when she wants to. When Nyssa is going through the very long process of constructing the device in the TARDIS, Moffatt asks if she knew what she was doing, with her response a very honest: "No. No idea, no idea… trying to look intelligent".
With Michael Robbins being such a forceful presence in the story, it is no surprise that attentions are turned to him during the commentary, and not all of it reverent. Waterhouse notes that although he was "…a very, very nice man, did a lot of stuff for charity", and the good he did for the Water Rats was great, "…he would never stop talking about it! When he wasn't complaining about how bad it was being in Doctor Who, he would always be going on about [it]." Davison chips in with a little jab at Robbins' line of "I was once a noted thespian…" with the quick retort of "…But still I went into On The Buses…"
Talk inevitably rolls around to Fielding's rather "interesting" hairdo, one that reduced her sex-appeal to a sub-zero value, and there are few with kind things to say about it. After the woman herself asks just what exactly has died on her head, and Sutton postulates that it might be a badger, Fielding reveals that "John Nathan-Turner honestly thought he was going to…launch a new hairstyle!" Murmurs of disbelief are quelled when Ms Fielding goes on to explain that it was a copy of a Regency style for men, but transposed to the female of the species. Given that Tegan is quite boyish, in light of certain literary allegations, you might be forgiven for thinking just why the maligned producer was so keen to have it in the show.
Just when you think that Moffatt is going to be rather benign and continue to be a step behind the rest of the bunch, he displays the ability to say something which really throws a bomb into the proceedings, and the biggest of which comes during the closing credits of episode two. The cast a talking way happily, including Waterhouse calling out his name and screen-credit in a wish-my-career-had-gone-further kind of way, when Moffatt bluntly states: "…I don't like Mr Kingsland's music at all… in this one. It's all [those] turgid chords". Surprisingly, Fielding comes to the defence with quite a bit of passion, pleading that the times it was made in and the pressure to maintain pace were the culprits.
This a real little gem, and as there aren't many of the stories with the larger cast which had them all crammed into a recording both together, it is to be savoured. You can tell that that they all have clear affection for each other, and cherish the show with direct disproportion to how successful their career has been thereafter. We defy anyone not o have a blast with this primo example of how a commentary track should be when decided to go for the good times, rather than a dry list of the mechanics of getting it made. We are a little disappointed that absolutely nothing was said by anyone in the commentary room at Robbins' line of "…Shouldn't we use the tradesman's entrance" given that there were a couple of wry smart-arses in their midst. Crack open a Fiery Ginger Beer and enjoy!
Production Subtitles: We always make a bee-line for the ol' production subtitles, and with damned good reason. It's as though the production offices of Doctor Who are thrown open for us fans, allowing unparalleled access to every little bit of trivia and much more pertinent material which those involved took for granted. This is no mere slop-bucket for unwanted info, but another in the terrifically-authored, lovingly-researched look at the world fans grew up with, and what a cracker it is, in both quality and quantity.
We remember the commercial with Alan "Fluff" Freeman advertising KFCs' Popcorn Chicken from 20 years ago, where Fluff told us all that "one bite leads to another…and another…and another" and this same principle is to be found here. One fact will lead directly onto another, then another - you get the gist. A good example is where John Nathan-Turner ordered one of the fight sequences to be re-shot, due to Davison accidentally standing on his opponents' chest, inadvertently looking too violent. We are then told that Davison utilised this opportunity to cover over a cock-up caused by him forgetting to have the stick of celery on his costume the previous day, then being told to keep an eye out for the thespian making an obvious point of sticking it back onto his coat.
Let's face it, we have all come to expect that a Doctor Who Info-Track will be an achingly-researched document of all changes during the various stages of writing, and tweaks which occurred on its way to the editing room, and the one for The Visitation has no intention of bucking the trend. From Davison's improvisational tetchiness to the movement of the line about Vintaric Crystals being used for lighting to the Terileptile ship because director Peter Moffatt preferred that the ominous wine-cellar be lit my traditional candlelight. With all things scriptural in mind, we are even privy to notes from the script which help explain a few things, and make the experience even richer, such as more detail as to exactly the effect which the Tinclavic mines have on Terileptiles.
Add to all this where to spot the battery-pack powering Janet Fielding's control bracelets, how Adric could possibly know where the mill is located - or even exist, and just which varieties of trees give away that they were not filming anywhere near the time the story is set, everything you wanted to know about The Visitation is packed in here, along with more than a few nuggets you never even thought you would ever know. Wrapped up in the assured knowledge only an authority on the subjects could muster, the usual wry humour and engaging turn-of phrase is reassuringly present, taking the edge off of what might be merely described as "trivia" by the proles. It's testament that one piece where the track notes how Davison reads a mistake in the script getting the number of henchmen he encountered earlier wrong is delivered in a way which is forthright rather than nit-picking, and in the hands of others would have brought even the most lively of party to a screeching halt.
They say that comedy is all in the timing, and there are plenty of examples to be found here, with our favourite probably being a brief history of one of the shows' most enduring stunt-guys. "Besides his many walk-on roles in Doctor Who," the track starts, setting up for the punch-line, "Stuart Fell acted as a stunt-double for several of the regular cast. He stood in for Katy Manning in The Sea Devils and Louise Jameson in The Talons of Weng Chiang, and in just a moment, he is going to don a wig and some yellow pyjamas to double for Mathew Waterhouse. Here he comes now…". Cut to: a huge, burly guy a good head taller and twenty years older than Adric suddenly being much more aggressive and athletic than usual. It's hardly flawless, and the track playfully acknowledges this.
This is another worthwhile way of increasing your knowledge of Doctor Who whilst having fun at the same time, and should be something which is switched on the very first time it is put into your DVD player. The efforts of Mr Nicholas Pegg at bringing them all the facts and notes together are to be applauded once again, as the average person charged with such a monumental task would surely have to have an external hard-drive wet-wired to their brain in order to cope with the sheer volume of information. Required reading!
Film Trims: Just as it suggests, this is a collection of 16mm clippings which didn't make it into the final edit, featuring either deleted scenes or extensions of existing ones. You'll find pieces properly edited alongside alternate takes, complete with clapperboard at the head, and a selection of footage which was recorded silently, which includes Matthew Waterhouse mincing along through the forest, doing nothing to dispel certain things said about Adric on forums and at conventions. All presented in pretty good shape, this is a fun look at the choices made during and after filming, with a good chunk of the material devoted to the goings of Michael Robbins' performance and a master class in just how to stamp out a fire whilst wearing expensive shoes.
Directing Who - Peter Moffatt: Taking a look at a director that turned up fairly late in the game, this documentary shows how keeping things nice and light can be your passport to creating steady, workmanlike stories on Doctor Who, even when it comes to some of more prickly of actors. The suitably upbeat Moffatt maintains that he always kept a happy atmosphere on the set, where a mess-up by anyone merely resulted in them taking another crack at it, to the point where he recalls getting letters from those working on the show thanking him for the warm environment he created for it. It might well be this fact that leaves Offutt's Doctor Who stories somewhat lacking in pace and urgency, the mellow ethos in the studio rubbing off on the whole production.
He speaks of how he was very upfront with Tom Baker, sitting him down and gently breaking it to him that the director was in charge, and that actors stay in front of the camera - and the persuasive charm of Moffatt was enough to not only keep his job, but actually get Baker to agree to it, and the two of them got along famously. Sharing a similar real-name with Peter Davison and working with him for ages on All Creatures Great and Small meant that the repartee was instant when he directed the 5th incarnation, and got on well with the other Baker when he took over, both working to overcome through characterisation what they were hamstrung with through costume. Working on both The Five Doctors and The Two Doctors allowed him to make his lead-actor collection almost complete, and Moffatt is only too pleased to say how good the rest of the guys were to work with, although an improvising Pat Troughton and the weather in Seville probably did a lot to grease the skates of opinion.
Whilst there are few out there with particularly glowing things to say about his output - one screening of The Twin Dilemma is enough to have guns cocking in unison, and we say that as twins ourselves - but when the dreaded nightly BBC studio deadline is looming, it helps not to be a total bastard, so maybe Moffatt was onto something. The man himself comes across as a nice guy with real people skills, and seems rather positive and upbeat about his time on the show, and the people he got to work with. With so many ready to put down working on Doctor Who, his lack of bitterness is refreshing, and it rubs off on the viewer as effectively as it did on Tom Baker! Would it surprise you if we said that this is lovely slice of upbeat nostalgia? Share and enjoy!
Writing a Final Visitation: Prolific Doctor Who writer Eric Saward sits down in front of the camera to spill the beans on The Visitation, how he was recruited to the team and a few of the more incongruous elements to the script, including just why the Terileptil's robot is covered in sequins…
Things start out in a rather clinical fashion, with Saward explaining the "cheap" technique used to hook the audience from the outset, namely the explosive usage of a technological anachronism, but things settle down as he details his intents and feelings about the execution of his screenplay. Saward has always come across as rather pompous, but there's less snide than you usually expect from him, sticking to straight information without using the opportunity to put the boot in about anything which he doesn't agree with. He covers things like choosing the period setting for the story, his like for the performance of Michael Melia - in spite of the arm-raising limits of the Terileptil costume - and his amazement that John Savident was on board for the show.
Obviously, mention is made of destroying the Sonic Screwdriver, and Seward almost relished the opportunity to get rid of it, saying that it was "…used rather badly…to get out of all sorts of situations". Whilst there was hope of resurrection from other writers later on, JNT saw to it that it was never to return on his watch. In our opinion, it was always used correctly on the original show, as a way to solve trifling little problems which would aid the flow of the story rather than solve it. The last year or so of Nu-Who was seen the ol' Sonic whipped out to take care of just about everything, becoming a one-stop multi-tool for saving the universe, even employed to take care of major story points with virtually no imaginat…oops…effort. OK, rant over.
This is an interesting piece, and nice to see Saward in a more mellow mood than he often is. He even says that the crew did an OK job of transposing his story to film/tape, which must be praise indeed. With writers from the original show fast becoming an endangered species, the opportunity to get them on film in a reflective, even nostalgic mood is a welcome one, just as this is.
Scoring The Visitation: The musical contributions of Mr Paddy Kingsland have always been a welcome one, and instantly recognisable to generations of fans of the show, providing a reassuring air of quality and stability within the world of Doctor Who. Here Kingsland sits down for a chat with his successor, Mark Ayres, for an informative yet informal chat about bringing the world of The Visitation to life through the use of electronic music.
Launching straight in, Ayres ingeniously likens the opening prologue to a James Bond film, setting up events as though not connected at all, but a twist makes the events relevant to the story. Kingsland agrees, and is in praise of Moffatt for taking time to set things up at the beginning, rather than the "wham-bam" method of having the TARDIS land in the middle of dire events just after the credits. Following the differing method sonically, Kingsland was pleased to come up with the musical motif when the opening scene is followed by Tegan applying lippy for her trip back home. Giving him a chance to do something very different, Kingsland rather backhandedly notes that "…It sounded a little bit more sophisticated than the usual stuff".
Kingsland admits that he often did "too much" when composing for Doctor Who, using material needlessly complicated when just minimal underpinning would have been more than enough. To prove his point, he switches on his Roland synthesiser and cranks out the two-note cycle he wished he had employed at the time, quickly realising that his preferred choice has been done before, "That's Jaws…" he chuckles. Both participants agree that there is more to proving music to a show than just underscoring the onscreen action, the most ingenious and under-appreciated being the way they are able to knit together various locations by using a theme as an aural cement between the cracks.
Adding to Moffatt's assertion that he liked to maintain a happy environment in which to work, Kingsland confesses that Moffatt was his favourite director to work for, and that a confident director happy with his own work is one which puts less onto the composer in order to rescue the story in post production. It's just a pity that Moffatt savages Kingsland's work in The Visitation during the audio commentary - see review of it above for full, glorious quotes.
The pairing of Kingsland and Ayres works wonderfully, as the two clearly have a good deal of respect for each other, allowing questions to be relevant and incisive rather than from a blundering journalist with no real insight into music. We really enjoyed this featurette, and strongly advise anyone with even the remotest interest in the show to watch it - you wouldn't be here otherwise, would you?
Isolated Music: Also known as "why buy the CD" in some circles, we get to listen to Paddy Kingsland's score for The Visitation without the inconvenience of a bunch of actors talking all over it. Be it a series of "turgid chords" as described by Moffatt or "too much" in Mr Kingsland's own opinion, you can't deny that there is something deeply relaxing about selection this particular option, routing the sound through your amp, switching off the screen and sipping on a Jameson's as you soak up the sounds of synthesisers. The score perfectly matches the mood of getting steadily plastered, with the explosion of music hitting just right when you are about to fall off your perch. Always recommended, and this is no exception.
Picture Gallery: The first chunk are of the TARDIS gang standing around on location in the forest, and most are of them chatting to each other whilst having a bit of a giggle. With a lot of stuff shot outside, much was made by the stills team to capture verdant images of the production, and we remember a good few of them within the pages of the Doctor Who Monthly, particularly ones with Michael Robbins standing against the greenery. Naturally, the Terileptils get a quite a bit of coverage, and the "action" which keeps Nyssa trapped in the TARDIS for a good deal of the story gets an appropriate amount of photos, and while there is a lot here to love, our favourite for sheer camp value has to be the one of Peter Davison posing like mad, with his knee raised, hand on hip and other arm stretched skywards, as though doing a crack-fuelled version of "I'm a Little Teapot". The bulge in the front of his trousers must be his cricket-balls…
Grim Tales: Now THIS his how you pay tribute to Doctor Who during it's 50th anniversary years, as this documentary is 45 minutes of sheer joy, as Peter Davison, Janet Fielding, Sarah Sutton are shepherded by none other than Turlough himself, Mark Strickson, around the locations used for The Visitation. Appropriately arriving in the TARDIS, our jovial foursome clown around for the camera and all of them even recreate Adric's twisted ankle and cheekily express their disappointment that Matthew Waterhouse wasn't with them.
There are pre-filmed contributions from people on the other side of the camera, including writer Eric Saward and also an appearance from chief Terileptil (and future Eastenders regular) himself, Michael Melia, who rattles off one or two amusing anecdotes about his cumbersome costume.
After romping around the locations, the terribly nice Mr Strickson sits everyone down for a chat and the chance to sample a wonderfully elaborate Doctor Who cake, which is ornately decorated with The Doctor, all three companions and even a Terileptil. What is abundantly clear during this documentary, is that everyone involved is having a ball and that they are all relaxed and happy to be in each other's company; they are all old friends who have a shared experience that few others can claim to have had and their reminiscences are both fascinating and genuine. Even the normally very vocal Janet Fielding is pretty laid back, providing many funny stories, but without the thickly laid-on feminism that we're all used to. The decision to have Mark Strickson effectively be the host of this documentary was an inspired one, as it provides both familiarity and a sense of detachment, seeing as Turlough was not in The Visitation and Mr S' dry sense of humour compliments the tone of the piece.
In our humble opinion, Grim Tales makes for a wonderful way of kicking-off the 50th anniversary celebrations - regardless of whatever Steven Moffat has cooked up for the anniversary special, Grim Tales assembles key members of the Doctor Who cast for a hugely entertaining romp that was probably as much fun to make as it is to watch. As we mentioned earlier, this is a celebration, there IS cake involved and all that's missing are streamers and someone throwing up into a potted plant. Our sincere thanks goes out to everyone involved with making this thing - it's one of the most enjoyable documentaries ever produced for the Doctor Who DVD range.
The Television Centre of the Universe - Part One: The Concrete Doughnut is explored by members of the Doctor Who cast in this affectionate look at the building that was the home of Classic Who. Peter Davison, Janet Fielding and Mark Strickson are joined by former Blue Peter presenter (and self-confessed nymphomaniac) Yvette Fielding. This is both an amusing, yet sombre affair, as the quartet make their way through the building, starting in the car-park and into reception, before being startled by just how swanky some of the dressing rooms had become since they ended regularly working at Television Centre (Strickson's anecdote about his foggy encounter with chain-pipe-smoking Valentine Dyall in a windowless dressing room is priceless). Janet Fielding gets to trot out her story about accidentally popping out of her boob-tube for another airing (though we suspect that it won't be the last), but Fielding seems to tone down the usual feminist angle she continually pushes, probably because the other Fielding with her balances out the male/female ratio and she doesn't quite feel the need to keep competing.
There are surprise appearances from people who worked at Television Centre, including one of the Commissionaires, who spins an amusing tale about an encounter with Jon Pertwee in a lift. One of the make-up girls tells of a problem with one of the supporting cast who played a Silurian and had to have a specially-made jock-strap, as he was allergic to the material that all the others had to wear under their costumes. The graphics used in this affectionate documentary are awfully similar to the ones seen on that certain documentary about Television Centre that aired last year before the Saville scandal broke and will almost certainly never be broadcast again, but there are added Daleks and all add to nostalgic kick that many will get out of this. Just like all good Doctor Who stories, this finishes on a cliffhanger, as our fearless quartet venture into one of the studios, where a certainly old foe of The Doctor seems to be waiting to meet them...
This really is great stuff - it's amusing, informative, genial and is one hell of a nostalgia trip, not just for the on-screen participants, but for all fans of Classic Who; it's clear that those in front of the camera are all having fun and it's quite possible that this will be the last time that such a group will be assembled for anything like this, so there is a slightly melancholic air that hangs over the thing - but maybe it's just us being a tad maudlin?
Dr Who Forever! The Apocalypse Element: This second instalment of this series looks at the dark times after the cancellation of the show at the hands of Grade, with the story of Big Finish being the main focus of this edition.
Beginning with how Big Finish were about to start writing Doctor Who stories, there was a meeting that saw every established and would-be Doctor Who writer crammed into a small flat - what IS the collective noun for a group of Doctor Who writers? Non-offensive answers only, please! It's worth noting that one writer was displeased that the audio adventures were using classic Doctors and not a continuation with Paul McGann; this writer supposedly flounced off in a huff - his name? Steven Moffat - make of that what you will...
One amusing moment comes when someone at the BBC suddenly decided (after Big Finish's stories had been very successful), that they should produce some themselves "like Paradise of Death and Ghosts of N-Space", one such corporation man mused - uh, yeah, just like those most excellent examples of Doctor Who audio. It's a pretty safe bet that both Big Finish and BBC Audio used those two Pertwee audio tales as prime examples of just how NOT to do them.
An interesting revelation is that when Nu-Who started up, it ended up costing them a quarter of sales, as a large number of Doctor Who fans ditched audio in favour of something more visual. We have regarded Big Finish Doctor Who to be more adult in tone than Nu-Who and have tended to find them more satisfying. Another eyebrow-raising fact unearthed during this documentary is that Russell T Davies prevented Big Finish from having their licence taken from them when Nu-Who was starting up; RTD's Doctor Who legacy as an Executive Producer polarises opinions, but you have to give the main credit for preventing Big Finish going the way of the New Adventures books.
The subject of the piracy of Big Finish stories rears its ugly head and there are a couple of varying reactions, with Colin Baker politely pleading for fans to buy them legitimately to ensure future stories, and Rob Shearman wishing he had the courage to punch such freeloaders in the face. Go Rob!
With Paul McGann fabulously reprising his role in a plethora of audio stories and even recently having the mercurial Tom Baker under the Big Finish banner, Doctor Who audio adventures have an air of credibility to them - and a sense of maturity that neither the Classic series nor Nu-Who really have - and this is a fitting examination of how they came into being and demonstrates that there is a rich universe out there to be explored aurally.
Coming Soon Trailer: Yes, it's Inferno - it might take a couple of episodes to get started, but it's a great one and this cool trailer really gets you in the mood to see it again.
Regular readers of our Doctor Who reviews will know that we aren't the biggest fans of the Davison era, but The Visitation marks a high-point, as an intriguing story is told, there are engaging performances (including one guest actor who is so flamboyantly OTT that it works perfectly!) and the period detail can't be faulted at all.
What makes this release a REAL treat are the new extras that have been included, with Grim Tales honestly feeling as though it is part of the 50th anniversary celebrations. Great story, great audio/visual presentation and it's stuffed to the brim with wonderful extras - you can't ask for more than that! Highly recommended.
Review by Wilson Bros
Joe Siegler Member Join Date: February 2004 Location: United States Posts: 30
That picture of "now" isn't the same Tardis crew. That's Turlough, not Adric.
Chris_R Member Join Date: May 2012 Location: United Kingdom Posts: 2
Great review guys. Really looking forward to this improved bit of 80s Doctor Who.
Matt Stilwell Banned Join Date: October 2004 Location: United States Posts: 517
What's the worst commentary ?
Wilson Bros Reviewer Join Date: August 2004 Location: United Kingdom Posts: 1,183
Joe - indeed, it's not the crew from The Visitation; there are some who would argue that the substitution of Matthew Waterhouse with Mark Strickson is a positive advantage!
Chris - thanks for the kind words; this story looks great, as about half of it was shot on film.
Matt - the worst commentary we have heard is almost certainly the one for The Aztecs, as it's as boring as hell.
Kevin & Nick W
Chris - thanks for the kind words; this story looks great, as about half of it was shot on film.
Matt - the worst commentary we have heard is almost certainly the one for The Aztecs, as it's as boring as hell.
Kevin & Nick W
Faltskogian Member Join Date: February 2006 Location: United Kingdom Posts: 26
Typical! the first Dr Who Dvd i own just happens to have the worst commentary this side of...
Great review as always, slowly turning this "nah i don't like mr who" into a "yeah he ain't bad" punter, so thanks for that.
Great review as always, slowly turning this "nah i don't like mr who" into a "yeah he ain't bad" punter, so thanks for that.
Wilson Bros Reviewer Join Date: August 2004 Location: United Kingdom Posts: 1,183
Our pleasure, Faltskogian...
General viewing, but some scenes may be unsuitable for young children
Disc Details
Release Date: 6th May 2013
Discs: 2
Disc Type: Single side, dual layer
RCE: No
Video: PAL
Aspect: 1.33:1
Anamorphic: No
Colour: Yes
Audio: Dolby Digital 2.0 English
Subtitles: English
Extras: Audio Commentary, Directing Who, Writing a Final Visitation, Scoring The Visitation, Production Subtitles, Isolated Music Score, Photo Gallery, PDF Materials, Coming Soon Trailer, Grim Tales, The Television Centre of the Universe: Part One, Doctor Forever: The Apocalypse Element
Easter Egg: No
Feature Details
Director: Peter Moffat
Cast: Peter Davison, Janet Fielding, Sarah Sutton, Matthew Waterhouse, Arthur from On The Buses
Genre: Sci-Fi
Length: 98 minutes
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Ford Mondeo 2.0 Tdci 210 St-Line X 5Dr Powershift Diesel Estate
£21,900 SAVE: £500 Now, after Saving or Cash Back: £21,400
17/67 Reg | 9,690 miles | Diesel | Silver | Automatic
03300 96 64 50
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Insurance groups range from 1 to 50 and dictates the cost of the vehicles insurance. The higher the group, the higher the insurance will be for the vehicle.
Insurance Group
BHP rates the engine performance of vehicles and stands for the brake horsepower.
Performance (BHP)
CO2 is the amount of carbon dioxide emitted by the vehicle in grams per kilometre travelled, the lower the CO2 emissions the cleaner the vehicle is for the environment.
CO2 (g/km)
The total number of seats in the vehicle.
Number Of Seats
Road Tax is based upon the CO2 emissions of the vehicle and is split into 13 bands from A to M. The higher the letter the greater the cost of tax paid to drive the vehicle on public roads. In addition to the road tax detailed below, any vehicle that had a manufacturers retail price in excess of �40,000 when first sold, attracts a road tax supplement of an additional �310 per year. This is charged until the vehicle is 6 years old.
Road Tax
"Stunning Mondeo Estate with All wheel drive technology, ideal family and packed with fantastic interior and exterior features including rear camera, rear parking sensors, climate control, cruise control, half leather trim with red detailed stitching and so much more. This vehicle has been fully inspected by the RAC and comes with a 2 year unlimited mileage warranty and 2 years roadside assistance backed by Ford direct. All of our vehicles at Bristol Street Motors come fully prepared with our peace of mind Main Dealer guarantee. Every vehicle is fully prepared both mechanically and cosmetically up to the highest standard, every vehicle also comes with a full HPI vehicle check assuring you that your new vehicle will have no registered accident claims reported, or any outstanding finance, it also shows the vehicle has not been imported . In addition to this we also do a full Government VOSA report check to verify the mileage on all cars over 3 years old. This service comes free of charge to all our customers unlike other main dealers who charge you an admin fee for this service. We also offer Nationwide delivery on all our vehicles, so call today to arrange a viewing / test drive and let one of our professional sales executives give you the Bristol Street experience."
Claire Richardson, General Manager
Ford Morpeth
- Climate Control
- Metallic Paint
- Cruise Control
- Satellite Navigation
- Alloy Wheels
- Leather Seats
- Parking Sensors
|Body Glass
|Electric front windows
|Rear wiper
|'Quickclear' heated windscreen/heated washer jets
|Electric rear windows with global closing
|ESP + traction control
|Electronic parking brake
|Hill start assist
|Sports suspension
|Bluetooth connectivity with voice control
|Driver Aids
|Front and rear parking sensors
|Lane keep assist with traffic sign recognition, auto dimming interior mirror, automatic headlights and wipers
|Driver Convenience
|Keyless entry and start
|'Ford Power' starter button
|Easy fuel capless refuelling system
|Driver Information
|Trip computer
|Service indicator
|SYNC Emergency Assistance
|Ford SYNC 3 with 8" colour touch screen
|Driving Mirrors
|Electric folding door mirrors
|Electric adjustable door mirrors
|Diesel particulate filter
|USB socket
|Exterior Body Features
|Rear spoiler
|Body coloured bumpers
|Chrome roof rails
|Bright front scuff plates with ST logo script
|Chrome window surround
|Body colour rocker mouldings
|Exterior Lights
|LED daytime running lights
|LED tail lights
|Front fog lights with chrome surrounds
|Dual zone automatic climate control
|Interior Features
|Tonneau cover
|Rear armrest
|Centre console with armrest
|Perforated leather steering wheel
|Cloth/Partial leather trim
|ST sport leather gear knob
|Ski hatch
|Aluminium foot pedals
|Bodystyling pack - Mondeo
|Driver/front passenger airbag
|Curtain airbags
|Tyre pressure monitoring system
|Intelligent Protection System (IPS)
|Drivers knee airbag
|3x3 point rear seatbelts
|Heated front seats
|Sports seats
|Front headrests
|Rear headrests
|Driver's lumbar support
|Isofix on 2nd row rear seats
|Folding rear seats
|10 way electric power adjustable drivers seat
|Height adjustable passenger seat with lumbar support
|Thatcham Cat.1 alarm
|Remote central double locking
The specification listed for this vehicle was standard when purchased new. The actual specification may vary, for confirmation, please contact our sales department.
Ten Second Review
The ideal estate car is one that offers excellent utility but doesn't penalise you for it with poor refinement and soggy handling. Ford were mindful of this when developing the MK4 model Mondeo estate, a car which not only drives well but also looks a good deal sleeker than most boxy estate contenders.
Estate car buyers tend to be a very sane bunch, unswayed by the latest fads. Rather, they value practicality and, more often than not, their choice of car is meticulously researched. 'Function first' is a motto that tends to reward smart engineering and sound design and it's the reason why Ford's Mondeo estate has always been a strong seller. With the fourth generation Mondeo line-up, this station wagon variant is expected to at least match its hatchback stablemate in terms of overall sales. It isn't hard to see why. Take a tape measure to the Mondeo estate and you'll realise that this is one of the biggest vehicles Ford imports to the UK - certainly up there with the large S-MAX and Galaxy seven-seat people carriers. That means plenty of space in the back for the sort of gear your family needs. Even if your requirements don't involve kids but a gear-intensive hobby, the Mondeo estate could be exactly what you're looking for.
Driving Experience
If Ford could make this estate version drive much like the five-door hatch, it would have a winner on its hands. Guess what? It does. There's a reassuringly polished feel here that's usually the preserve of far more expensive cars - and the same excellent refinement at speed. Low profile roof rails help cut the wind roar that many estate cars suffer from and the cabin is well insulated from road noise with no booming apparent from the big box at the back. Handling is safe and assured, but the Mondeo estate never completely disguises its size and you might need to pass up some smaller parking spaces. On the plus side, rear visibility is notably better than that of the high-rumped five-door hatch. The choice of engines is vast - with an interesting insertion at the bttom of the range. The base petrol version gets the brand's 125PS 1.0-litre EcoBoost engine: yes, the same one you get in a Fiesta. Here, it's been tuned for a Mondeo Estate's greater weight but it'll still struggle a little if you habitually fully load your car. Further up the petrol range, there's a 160PS 1.5-litre EcoBoost unit - or a 240PS 2.0-litre EcoBoost powerplant. If you're a typical Mondeo Estate buyer though, you'll be wanting a diesel. Most will choose the much improved 2.0 TDCi base version, which now boasts 150PS. There's also a 180PS version of this unit - or even a 210PS version. AWD will be a welcome option for towers. Whatever engine you select, you should find the dynamic responses of this car a cut above those of most rivals. Though it's not quite as sharp as it used to be, the trade-off is better ride and long distance composure.
Design and Build
There aren't too many estate cars that look remotely sexy but if you choose your specification wisely, the latest Mondeo estate does a better impression than most. Decent alloys are key, as is the right metallic paint finish. Out back, you'll notice that the huge - and very heavy - tailgate bisects the light pods, giving a really broad loading bay. It comes right down to bumper level too, so it's relatively easy to get heavy items in and out. Total capacity, as ever, depends upon whether you want a full-sized spare wheel or the potential roadside hassle of a mini-spare or, even worse, one of those tyre-inflatory 'instant mobility systems'. Do without a wheel and as much as 525-litres is on offer. Once everything's flat, there's up to 1,650-litres of total fresh air on offer. If you want the peace of mind of a full-sized fifth wheel, you'll need to subtract around 100-litres from each of those figures. Whatever variant you end up preferring, you'll want to make the most of the space available, utilising floor hooks that keep awkward loads in place and perhaps ticking the box for options like luggage retention nets and dog guards.
Market and Model
The estate versions of the Mondeo command a premium of around £1,200 over their hatchback counterparts, which means that you'll need around £21,000 for the 125PS 1.0 EcoBoost petrol-engined entry-level model. It's probably wise to step up to a diesel if you're planning on loading the car heavily and for this you'll need around £23,000. There are plenty of engines available, starting with a 115bhp diesel and topping out with a 240bhp petrol, Ford really offering something for all. The most powerful diesel and petrol engines are only offered with the most expensive trim levels, though, which is a bit of a shame. Trim levels now start with 'Zetec Edition', then buyers have the choice of something sportier ('ST-Line' or 'ST-Line Edtion') or plusher ('Titanium Edition'). For something truly luxurious, you'll need the flagship 'Vignale' variant. As standard, all models have navigation, a DAB tuner, front and rear parking sensors and cruise control with a speed limiter. 'ST-Line' series variants introduce extras including a body styling kit, lowered sports suspension, a Ford Power start button and a darkened headliner. Privacy glass and 19-inch 'rock metallic' alloy wheels are added on the 'ST-Line Edition' variants. Safety technology is a strongpoint. All derivatves get 'Active City Stop' autonomous braking to mitigate or avoid low-speed collisions at under 31mph. Plus there's Pedestrian Detection, which identifies people and reduces the severity of collisions at speeds of up to 50mph.
Cost of Ownership
Considerable design effort has been expended into making this car 25% lighter than its predecessor, an improvement possible thanks to things like a magnesium inner tailgate structure that's 40% lighter than before. So, what impact has all of this made on this car's balance sheet returns? Well, the popular 2.0 TDCi 150 ECOnetic diesel variant we tried will return a combined fuel economy figure of 67.3 mpg and emissions of 109g/km in estate form - which is about the same as you'd get from a comparable 2.0 TDI Volkswagen Passat Estate but much better than you could expect from a rival Vauxhall Insignia 2.0 CDTi 170PS Sports Tourer. Opt for this Ford's 2.0 TDCi unit in pokier 180PS guise and the figures drop only slightly to 62.8mpg and 117g/km. Of course, it's easy to improve on that if you'd be happy with one of the smaller-capacity models. Go for the 1.5-litre TDCi ECOnetic engine developed to replace the previous 1.6-litre unit this car was originally launched with and official figures suggest that around 80mpg is possible on the combined cycle. If you're happy with petrol power, then the 125PS 1.0-litre EcoBoost engine puts out only 119g/km of CO2. These are class-leading stats.
Electric front windows, ESP + traction control, Sports suspension, Bluetooth connectivity with voice control, PAS, Keyless entry and start, Trip computer, Electric folding door mirrors, Diesel particulate filter...
|0 to 60 mph (secs)
|0 to 62 mph (secs)
|Engine Power - BHP
|Engine Power - KW
|Engine Power - PS
|Engine Power - RPM
|Engine Torque - LBS.FT
|Engine Torque - MKG
|Engine Torque - NM
|Engine Torque - RPM
|Top Speed
|Emissions - ICE
|CO2 (g/km)
|134 (g/km)
|Standard Euro Emissions
|Fuel Consumption - ICE
|EC Combined (mpg)
|EC Directive 1999/100/EC Applies
|EC Extra Urban (mpg)
|EC Urban (mpg)
Cash Price
The Cash Price is the �On the road price� that the Dealership offers the vehicle at the point of sale. This is derived from any Manufacturer or Dealer savings from the Recommended Retail Price listed by the Manufacturer.
With thousands of models available we can offer you a competitive cash price quotation against any of our vehicles.
Our deals and offers change on a daily basis so please contact us for most up to date cash price.
PCP (Personal Contract Purchase) a simple cost effective way to buy your new or nearly new
You choose the car, the deposit, how long you want the contract to run for and the mileage you intend to do. You will then receive a quote for fixed cost motoring for the length of the contract. At the end of the contract you have a choice to either buy the car outright for an agreed lump sum (the GFV or final balloon payment), or hand the vehicle back to the lender.
Hire Purchase allows you to take ownership of a car once all payments are made.
This is one of the most popular methods to buy a new vehicle. You pay an initial deposit, then pay off the balance in monthly payments over an agreed period of time, when the payments are complete the car is yours.
One of the main benefits with Hire Purchase is the ability to buy a high value vehicle on
monthly payments.
Hire Purchase allows you to tailor your finance package as deposit, length of time and monthly payments are all flexible.
Personal contract hire is very similar to normal contract hire, but is exclusively for
private individuals. This
is one of the most common form of leasing.
With a personal contract hire agreement you take control of a car for a contractual period � usually referred to as the �lease period�. You will make fixed monthly payments for the duration of the contract � when the contract expires you will simply return the car and take out a new personal contract hire lease. PCH means you never have to worry about resale values of your car.
Need Car Finance? We Can Help!
Our sister company Car Credit Assured is a completely free of charge service offering support and advice to anyone looking for car finance. In partnership with a panel of over 20 lenders we can offer car loans at extremely competitive prices. We are not a broker, as a motor retailer we simply want to ensure you have the correct support when purchasing your vehicle. Whatever your credit profile we can help you find a vehicle with the correct finance product based on your individual circumstances.
Visit our dedicated website Car Credit Assured to apply or for further information.
Opening times: 8.45am-9pm Monday to Friday, 9am-5pm Saturday & 10am-5pm Sunday
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subset: commoncrawl


text:
Global Viewpoint, a weekly commentary and feature interview service produced for the Los Angeles Times Syndicate/Tribune Media by NPQ, is the largest editorial network of its kind globally. Often referred to as "the CNN of the print media" Global Viewpoint appears before 35 million readers in 15 languages through the pages of newspapers ranging from the International Herald Tribune to Corriere della Sera to El Pais to Asharq Al Awsat, from O Estado de Sao Paulo to Die Welt to Yomiuri Shimbun, Japan's largest daily.
NPQ also produces three other editorial services for Los Angeles Times Syndicate/Tribune Media (European Viewpoint, Nobel 21 and Global Economic Viewpoint) as well as individual columns by Shimon Peres, Alvin Toffler and Carlos Fuentes.


text:
A U.S. Senate leader asked the new Securities and Exchange Commission chairman to give more authoritative guidance to companies on disclosing cyber attacks, saying reporting so far is "insufficient."
"While the staff guidance has had a positive impact on the information available to investors on these matters, the disclosures are generally still insufficient for investors to discern the true costs and benefits of companies' cybersecurity practices," Senate Commerce Committee Chairman Jay Rockefeller said in a letter today to agency Chairman Mary Jo White.
"The SEC should elevate this guidance and issue it at the Commission level as well," Rockefeller wrote to White, who was confirmed April 8. Rockefeller, a West Virginia Democrat, convinced the SEC to issue staff-level guidance to companies on cybersecurity in October 2011.
The SEC declined to comment before White responds to Rockefeller, John Nester, an agency spokesman, said in an e-mail.
The 27 largest U.S. companies disclosing cyber attacks to the SEC this year all said they sustained no major financial losses, according to a Bloomberg review of company filings. The reports contrasted with statements from U.S. government officials who say billions of dollars in corporate secrets are being stolen.
"Investors deserve to know whether companies are effectively addressing their cybersecurity risks -- just as investors should know whether companies are managing their financial and operational risks," Rockefeller said in the letter to White. "Formal guidance from the SEC on this issue will be a strong signal to the market that companies need to take their cybersecurity efforts seriously."
'Malicious Actors'
Rockefeller in May 2011 wrote to then-SEC Chairman Mary Schapiro pointing out the growing risk posed to U.S. companies by "malicious actors" who "attack and disrupt computer networks to steal valuable trade secrets, intellectual property, and financial and confidential information."
He asked the SEC to develop and publish guidance to clarify disclosure requirements pertaining to "information security risk, including material information security breaches involving intellectual property or trade secrets."
The SEC then advised publicly traded companies to disclose to investors the threat and potential impact of cyber attacks that pose a "specific and material" risk.
Rockefeller has since pushed legislation to make the SEC issue stronger guidelines for disclosing risks of cyber attacks, urging that it be included in cybersecurity legislation in 2012. That measure died in the Senate.
In 2012 annual reports filed with the SEC, companies including MetLife Inc., Coca-Cola Co., and Honeywell International Inc. were among the 100 largest U.S. companies by revenue to disclose online attacks. Citigroup Inc. reported "limited losses" while the others said there was no material impact.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


text:
The Boston Celtics Team Up With Comcast Business Services for Multi-Site Ethernet and Voice Solution
Comcast Business Ethernet and Comcast Business PRI Trunks Deliver Seamless Communications Between Facilities to Help Improve Team Operations
Philadelphia, PA – December 11, 2012 – Comcast Corporation, one of the nation's leading providers of information and communications products and services, today announced that the Boston Celtics, one of professional basketball's most storied franchises, has selected Comcast Business Ethernet and Comcast Business PRI Trunks for its data and voice communications needs. Comcast is able to deliver these services due to decades of investment in making its advanced fiber network broadly available to meet the high-speed, high-capacity needs of business customers.
The Comcast Ethernet service will be used to download and transfer bandwidth-intensive video files and images, and to integrate communications between the organization's administrative office in Boston and its practice facility in Waltham, Massachusetts. The Comcast data and voice services will support coaches, scouts and trainers, enabling them to create scouting reports and analyze game film, as well as business, legal and communications professionals that need to be in constant contact to facilitate public appearances, media interviews and other events in real-time.
The Celtics have a long and proud history, having won 17 league championships with many winning seasons and several hall-of-fame players and coaches. Though the team plays its games at the TD Garden, where Comcast provides television and Internet service, its administrative headquarters are located elsewhere in Boston and its practice facility is located west of the city in the suburb of Waltham.
Since the team's most recent championship in 2008, the organization has added more employees to keep up with increased interest from both fans and the media.
Previously, the organization had separate phone systems at each site and used a T3 line from another provider. Having separate voice systems made inter-office calling difficult, and those systems lacked many modern calling features such as caller ID, 4-digit dialing and conference calling. In addition, employees had to log on to a Virtual Private Network (VPN) each time they wanted to connect between sites to access files or schedules. As part of a recent renovation project in its Boston office, the organization's IT staff wanted to standardize all sites on one voice and data provider and to unify the separate IT environments at its different locations.
"Thanks to Comcast, we have integrated our phone systems, as well as our networks. We need to quickly process a great deal of game video on a daily basis, sometimes from as many as fourteen different games from the prior evening, which requires a significant amount of bandwidth," said Jay Wessel, Vice President of Technology, Boston Celtics. "With up to 100 Megabit per second downloads between our two facilities, video files can move quickly between our sites, as well as other player-, game- or event-related information that needs to be handled in real-time."
The new Comcast Business Ethernet Private Line (EPL) provides 100 Mbps of bandwidth between the Boston and Waltham locations, providing high-performance file transfer and data access for all employees on a continual basis, regardless of what office they are located in at any given time. In addition, the Celtics use a Comcast Ethernet Dedicated Internet (EDI) connection to provide 50 Mbps of bandwidth at the Celtics' practice facility to enable fast video download – a critical task during the playing season. Comcast is able to deliver these speeds due to decades of investment in building infrastructure to make its advanced network broadly available to meet the high-speed, high-capacity needs of business customers.
Additionally, Comcast Business PRI Trunks is utilized over the same high-speed connection to enable unified voice services across the organization. The increased communication speed and integrated phone system also benefits the Celtics' public relations and marketing staff, who need to access the network to respond quickly to media inquiries, and to upload information, images and videos to the Celtics.com website to provide a timely stream of team news and rich media content to fans.
"The Celtics are one of the preeminent teams in basketball, and one of the most successful franchises in all professional sports," said Bill Stemper, President of Comcast Business Services. "To match the team's tradition of excellence, the organization needed an integrated, high-performance voice and data service that allows staff to communicate in real-time and rapidly process all of their video content and information. By standardizing on Comcast Business thernet for their data needs and Business PRI trunks for their voice communication, Celtics employees can collaborate faster, allowing them to focus on serving their fans and the media."
About Comcast Business Services:
Comcast Business Services, a unit of Comcast Cable, provides advanced communication solutions to help organizations of all sizes meet their business objectives. Through a modern, advanced network that is backed by 24/7 technical support, Comcast delivers Business Internet, TV and Voice services for cost-effective, simplified communications management.
Launched in 2011, the Comcast Business Ethernet suite offers high-performance point-to-point and multi-point Metro Ethernet services with the capacity to deliver cloud computing, software-as-a-service, business continuity/disaster recovery and other bandwidth-intensive applications. Recently awarded the 2012 North American Competitive Strategy Leadership Award for MSO Ethernet Services from Frost & Sullivan, Comcast Metro Ethernet services are significantly faster than standard T1 lines and other legacy technologies, providing scalable bandwidth from 1 Mbps to up to 10 Gigabits-per-second (Gbps) in more than 20 major US cities.
For more information, call 866-429-3085.
About Comcast Cable:
Comcast Corporation (Nasdaq: CMCSA, CMCSK) (www.comcast.com) is one of the nation's leading providers of entertainment, information and communications products and services. Comcast is principally involved in the operation of cable systems through Comcast Cable and in the development, production and distribution of entertainment, news, sports and other content for global audiences through NBCUniversal. Comcast Cable is one of the nation's largest video, high-speed Internet and phone providers to residential and business customers. Comcast is the majority owner and manager of NBCUniversal, which owns and operates entertainment and news cable networks, the NBC and Telemundo broadcast networks, local television station groups, television production operations, a major motion picture company and theme parks.
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text:
Morning Five: 05.29.13 EditionPosted by rtmsf on May 29th, 2013
- If you threw a dart at a map of the United States and it landed somewhere in the hills of Eastern Kentucky or Southwestern Virginia, then drew a circle around that location with a radius of roughly 500 miles in distance, you'd pretty much have nailed down the 'fertile crescent' of college basketball. With powerful and tradition-rich programs like North Carolina, Duke, NC State, Kentucky, Louisville, Indiana, Cincinnati, and Ohio State, along with other well-supported programs like Tennessee, Xavier, Dayton and Wake Forest all within that circle, it shouldn't come as any surprise that nine of ESPN's top 10 rated television markets for college basketball fall within its boundaries. The top 10: Louisville, Greensboro, Raleigh/Durham, Indianapolis, Kansas City, Cincinnati, Columbus, Charlotte, Knoxville and Nashville. KC, with Kansas, Missouri, Kansas State, Creighton and Wichita State all somewhat nearby is the only outlier among this group.
- You know it's gotten out of hand if politicians are getting involved, and that appears to now be the case at Rutgers in the latest scandal enveloping the school's athletic department. Or not getting involved. Or getting involved to say that they're not getting involved. Whatever. New Jersey governor Chris Christie told listeners on his "Ask the Governor" radio show Tuesday night that he has no plans to intervene in the hiring of new athletic director Julie Hermann. While it's no doubt true that Christie has much bigger fish to fry than micromanaging every hiring decision at the state university, it's worth asking whether any senior athletic department staff is paying attention at all (certainly Christie's political opponents are doing so). The Mike Rice situation followed by the flub with Eddie Jordan's resume and now this debacle is highly suggestive of an environment where leadership can't see what they don't want to see. It's incumbent on university president Bob Barchi to get this problem fixed, and soon.
- The SEC Tournament may seek to reproduce the success that its football and baseball championships have had at permanent sites — Atlanta and Hoover, Alabama, respectively — by moving to Nashville's Bridgestone Arena for good following the 2014 event in Atlanta's Georgia Dome. Commissioner Mike Slive was careful to avoid saying the word "permanent," opting instead to call Music City the "primary" site, but the point is that SEC puppet-masters feel that the relatively central geographic location and easy access for large traveling basketball fan bases such as Kentucky, Missouri, Tennessee and home team Vanderbilt would merit this (as yet unofficial) decision. Can't say we disagree. The best conference tournaments are generally in a city that really embraces the event every year, and Nashville seems to enjoy its status as a big-time basketball stronghold during the few times it has gotten to hold the event there.
- It's not often we dig into Division II basketball on this site, but it's also not common for there to be a formal indictment by a grand jury against a player for murder either. San Francisco State wing Decensae White — formerly of Texas Tech and Santa Clara in 2006-09 — was indicted in Georgia on Tuesday for his alleged role in gunning down a rapper named Lil Phat (nee' Melvin Vernell III) as he sat outside a hospital where his girlfriend underwent labor in Atlanta. White gained some degree of national notoriety for hitting a half-court game winner against Cal Poly back in February of this season, as the clip was featured on ESPN's Sportscenter. White and four other men are due for presentment on these charges later this week.
- There was one notable bit of transfer news from Tuesday, as Oregon State's Ahmad Starks has announced that he will spend the last year of his career at Illinois. He will apply for a family illness waiver to play immediately, as his grandmother is reported to be sick in Chicago. This is a good pickup for John Groce's squad, as the Illini could use some experienced talent — Starks averaged 10.4 PPG and hit 62 threes last season for the Beavers — to pair in the backcourt with returnees Tracy Abrams and Joseph Bertrand as part of a three-guard set. It may not be a group as talented as last year's Paul/Richardson/Abrams trio, but it should work well within Groce's trey-happy system.


text:
Grab yourself some FREE Crayola Crayons (24 ct.) at Walmart after cash back when you shop through ShopAtHome.com! Choose "ship to store" for FREE shipping and pick them up on your next grocery trip. Here's how to get yours today:
- Register or Login at ShopAtHome.com.
- Click the blue "Buy it Now" button to be transferred to Walmart's page.
- Click "Add to Cart" (only 1 cash back offer per customer).
- "Go to Cart and Checkout" and choose "store pickup" for FREE shipping.
- Complete checkout and enjoy your FREE crayons after cash back!


text:
Please limit the posts in this section to buying and selling fishing related gear. Unless your post is asking questions about an item for sale, do not post here.
All non-fishing related items will be removed.
When your item sells, please either delete or change the Subject line of your original post reflect the Status.
For example:
[FOR SALE] Sage fly rod
[SOLD] Sage fly rod
All posts with no activity will be automatically removed after 30 days of inactivity.
Classified Ad posting policy
Fishing gear for sale
Post Reply
3 posts • Page 1 of 1
- Posts: 4
- Joined: Sat Nov 08, 2003 10:43 am
- Location: Spring, TX
How to put pictures on forum.
I am wanting to list some things on the for sale section of the forum. I would like to know how to list pictures of my item? Please help me out.
Post Reply
3 posts • Page 1 of 1


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Fido & Me — Guardian Angel
"Fido, what's wrong?"
"I have never been so worn out in all my life!"
"But it was just an overnight!" I said. "Piece of cake, old man."
"Yeah, well, so you say."
Fido walked to his dog bed and more or less dived into it, like a locomotive that has jumped the tracks. Nose first, cloud of dust, then silence. In no time, he was snoring.
As for me, I was a little tired after our first overnight in the mountains, but nothing out of the ordinary.
For Fido, though, his first overnight backpacking adventure was more of a strain than I'd figured.
It had started easily enough, on the Duck Lake trail.
"Who made these steps?" Fido marveled at the climb above Barney Lake. "Boy, whoever made these steps for the Forest Service did a nice job!" He bounded ahead, exploring this, sniffing that, marking his way up the trail. "This," he declared, "is the best time EVER! Could I bother you, perhaps, for a biscuit?"
"Gosh, Fido, 45 minutes into the hike and you're thinking about biscuits?"
"I think about biscuits the way you think about … never mind."
I broke one in half and gave it to him. He forded the stream easily enough. We were going up toward Duck Lake because there's plenty of water along the way. He also found plenty of shade.
"Wow it's hot!" he said at one point, and lay in the shade on a bed of pine needles. Suddenly he leapt to his feet. "What's THAT?"
"What's what?
"Something's out there, and I fear it is not a biped."
"Fido, you have quite an imagination."
Up and up we went, until lunchtime. After that, a little further and we'd found a nice spot for a camp. Near the lake but not so much where there were swarms of mosquitoes. Fido had a fine time. So did I. Soon the sun began to sink, and so did we.
Fido lay by the screen zip, with his snout just barely sticking out. I also lay toward the screen, the better to see the stars. Soon I was asleep. But not for long.
"What's THAT?" Fido yelped, then lay down again. "Whoa!" he said at another point in the night. And so on.
At daybreak, he was wide-awake, although he had his eyes closed. He's like that. I might think he's asleep, but he's on guard, not really sleeping at all. When Fido actually sleeps, he's on familiar ground, not a worry in the world. He's like that when I have to leave him in the car, too. He may seem like a big, red, passive lump, but he's not. He's always aware.
When we arrived home, as noted earlier, he was in bed and truly asleep as fast as I've ever seen him. Later that evening, after he awoke, I quizzed him about his behavior.
"SOMEone has to watch out for you, you know," he said.
I patted him on the head.
"Thank you Fido, for watching over me."


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Jennifer Lawrence doesn't rate her talent
- Bang Showbiz
- 19 January 2014
Jennifer Lawrence doesn't think she's a good actress and is always amazed by her rave reviews
Jennifer Lawrence doesn't think she's a good actress.
Despite winning a string of awards for her work, the 'American Hustle' star always thinks she has "got away with it" when she gets a good review for her performances.
She said: "I always feel like I'm pulling the wool over everyone's eyes about my acting. When I get good reviews I think 'Alright - got away with another one.'
"I watch my performance and I think, 'Yeah, it's sort of alright' but then when I read the reviews I don't quite get what the big deal is, I really don't."
After a busy 2013, the 23-year-old beauty - who is believed to have reconciled with on/off boyfriend Nicholas Hoult is hoping this year is much quieter.
She told Britain's HELLO! magazine: "2013 was kind of a blur for me. So much happened that was extremely good and extremely great.
"In 2014 I'd like a bit of a rest. I'd like to slow down. I'm hoping it will be a peaceful time."


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n. The ability to stay with a project and see it through to completion.
When it comes to building sand castles, Gordon shows incredible sticktoitiveness!
by G.W. November 20, 2005
Firmness of purpose; resolution.
If you want to get your science project done on time, you'll have to show some stick-to-it-iveness
by Ryan Dawson April 19, 2006
Bogus word probably made up by and certainly overused by basketball announcers. It basically means persistance.
by Valley Dogg February 04, 2010
The ability and determination to continue doing something despite difficulties. Attributed to either Thomas Edison or Albert McGeachy.
In a remarkable feat of sticktoitiveness, I finally managed to lose my virginity.
by *Sunshine* May 30, 2005
glue-like substance that adheres to whatever it touches.
When Ron Jeremy ejaculates, its because of his sticktoitiveness.
by doctor ruth January 01, 2006
The ability to withstand the test of time, even to the point of coming back from apparent extinction.
Some words refuse to be relegated to linguistic history books -- like the Ivory Billed Woodpecker, they seem to ressurect after years of disuse, showing remarkable sticktoitiveness.
by Michele McT January 01, 2006


text:
If you will not be in the Chicagoland area during Spring 2013 and are planning to participate in the Commencement ceremony, please email email@example.com to arrange for tickets, cap and gown, and other graduation information as soon as possible.
Please visit the Commencement Portal for other details about your Commencement ceremony.
The Chicago-Kent tradition of Alumni Legacy Hooding allows a graduate to be hooded by an alumni relative during the ceremony. If you are an immediate relative of a Chicago-Kent alumnus/a and would like him/her to hood you at the ceremony, please email firstname.lastname@example.com for additional details.
Please note that this person must be both an alumnus of Chicago-Kent College of Law and an immediate relative of yours. Unfortunately there are no exceptions to this rule.
All Alumni Legacy Hooders will participate in the graduation processional and recessional and therefore will be sitting on the stage throughout the ceremony. Legacy Hooders do NOT need a graduation ticket. Legacy Hooders will wear caps and gowns and will pick up their regalia in the Faculty Robing Room on graduation day.
The Class of 2013 is raising money to purchase two televisions for a student lounge area that will be created on the southeast side of the 2nd floor Spaketeria. The existing space, which includes tables and chairs, will be converted to an informal student lounge with comfortable seating, group gathering space, and partitions to separate the lounge from the remaining area of the Spak.
The Class of 2013 Class Gift will purchase two flat-screen televisions to be mounted on the walls within this space, with a continuous CNN or other news feed for students to enjoy while meeting, studying, or relaxing in the updated space.
The Class of 2013 has set a goal of $4,000 to purchase two televisions for this space. Help them reach their goal by making your gift today! Visit www.alumni.kentlaw.edu/classgift to see illustrations of the new space design.
Current committee members include:
Katerina Alexopoulos
Dunstan Barnes
Amy Chesshir
Kylin Fisher
Alex Grace
Amy Harvey
Peter Henry
Judy Li
Ryan Thoma
Daniel Zapata
Rising 3L's: Would you like to help the Class of 2013 leave a lasting legacy at Chicago-Kent? The Class of 2013 Class Gift Committee is currently in formation. Email Kayla Portillo at firstname.lastname@example.com if you are interested in joining this committee, or join us for our first meeting:
In an effort to help you connect with a strong network of Chicago-Kent alumni, the Alumni Association and Office of Career Services offer the Alumni Career Advisor Network. Alumni from around the world are available to discuss issues such as practice trends, legal markets in specific geographic areas, and other career-related topics. This is an excellent opportunity to start building your personal network with Chicago-Kent alumni!
To search for an Alumni Career Advisor, all you have to do is log-in to the Chicago-Kent Alumni Association website.
First Time Login Instructions:
During your first time login you will create a username and password. Afterwards, you may log in directly at www.alumni.kentlaw.edu/advisorsearch using the username and password you created. If you need assistance with your first time login, please contact the Office of Career Services at firstname.lastname@example.com or visit Suite 360.
Are you involved in leadership of a student organization and would like to:
Invite alumni to your events?
Find alumni speakers or panelists?
Partner with the Alumni Association on events?
Contact the Alumni Association at firstname.lastname@example.com for more information on how the Alumni Association can help connect you with the Chicago-Kent alumni community.
Main Chicago-Kent event
Academic calendar
CLE calendar
Alumni event calendar
Admissions calendar


text:
Featured News - Current News - Archived News - News Categories
Assemblyman John Ceretto, R-I-Lewiston, has helped finalize a third consecutive on-time state budget. Ceretto remarked the fiscally responsible state spending plan includes the lowest middle-class tax rates in 60 years, as well as additional tax relief for middle-class families. It also includes funding that will benefit students, seniors and businesses in Western New York.
"By investing nearly $1 billion in additional state education funding, this year's budget will help to provide a world-class education to our students while helping to hold down local property taxes," Ceretto said. "Supporting the education of our children is essential to ensuring that New York is prepared for the future and is critical to making a prosperous New York a reality."
Ceretto noted that, under the finalized state budget, Western New York schools have received significant increases in state school aid funding, with every school in his Assembly district receiving an increase. Grand Island received a 7.48 percent increase, Lewiston Porter received a 4.32 percent increase, Niagara Wheatfield received a 4.86 percent increase, Niagara Falls received a 4.01 percent increase, North Tonawanda received a 4.1 percent increase, and Starpoint received a 5.91 percent increase.
In addition to this enhanced school aid, there was also increased funding for teacher centers, $4.5 million in new funding for private schools for safety equipment, and added support for community colleges to provide the necessary training to secure good, well-paying jobs.
Ceretto noted the budget also provides additional support to senior citizens. Under the finalized budget, the Elderly Pharmaceutical Insurance Coverage, or EPIC, program, which provides prescription drug coverage for New York's senior citizens, has received an additional $1.2 million in funding.
"Many seniors live on fixed incomes and are forced to chose between putting food on the table and the medications that can save their lives," Ceretto said. "To help provide seniors with financial relief and to make certain that they have access to the medications they need, this year's budget provided an additional $1.2 million to the EPIC program to enhance prescription drug coverage for senior citizens."
As the ranking minority member of the state's tourism committee, Ceretto supported several initiatives in this year's budget to help promote tourism and the wine and grape industry in Western New York. This year's budget provides $7 million in funding for the Market-NY program to promote regional tourism industries and New York products. The budget also provides $1 million for the Wine and Grape Foundation to help accelerate the growth and expansion of this key industry in Western New York.
"Wine production is the fastest growing agricultural industry in the state, creating hundreds of good-paying jobs and attracting thousands of visitors to Western New York every year," Ceretto said. "The budget will help grow our region's wineries, which in turn will help strengthen the local economy and bolster tourism throughout Western New York."
Also notable in this budget is the $75 million increase in CHIPS funding that brings the total funding to $438 million. This program provides money to improve state highways and infrastructure, helping to keep the economy moving.
"This sorely needed funding will help make needed improvements to our local roads, highways, and bridges," Ceretto said. "Better roads are not only safer, they are also an important part of the local economy. This greatly enhanced highway funding will help make the region a more attractive place for businesses, as well as enhance the quality of life for area residents."


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Skip to comments.616 [No Asterisk Required] (slightly modified title)
Posted on 05/28/2006 2:42:41 PM PDT by MikefromOhio
Heads turned. The ball bid the park adieu. With a single, violent swing of his bat, Barry Bonds made baseball history Saturday in Oakland, climbing one home run closer to the immortal Willie Mays. Six hundred sixteen home runs. It's a mind-numbing number, a body of work to rival Tupac's posthumous releases. Congratulations are in order.
Wait. Hold up.
You say Bonds actually has 714 career home runs?
Er, no. Good one. But no. Sure, if you want to get all technical, there's no arguing that Bonds has forcefully redirected 714 pitches into home run territory over his 21 major-league seasons. Yet according to the ziggurat of evidence compiled in the book "Game of Shadows," Bonds also ingested a Mexican farmacia's worth of performance-enhancing drugs during his peak slugging period, making some of those dingers less authentic than country crooner Kenny Rogers' reconstructed face.
Question is, how many? How many of Bonds' home runs are honest? And how many came courtesy of his reported juicing?
Start with a caveat: There's no way to know. At least not for sure. The homers themselves can't be replicated in a lab, let alone studied. The variables involved in each at-bat are too numerous and complex to tease out completely. The specific physical effects of taking bovine bulk builders and female sex hormones -- Bonds reportedly took both; did he end up lactating buttermilk? -- are poorly understood.
Truth be told, we can only manage a crude approximation. An educated guess, but a guess nonetheless.
(Excerpt) Read more at sports.espn.go.com ...
Have at it.
For your pinglists gentlemen....
Here is something for you all, it's about Barroid....
Have at it :)
"Without steroids, Bonds was a damn good player. With steroids, he's a good player damned."
Good conclusion.
pretty much.....
He is the ONLY 500 Home Run and 500 Stolen Bases guy EVER.
And he accomplished that without the help of the Roids.
It's quite amazing to me, that a player like Bonds, who has everything, feels the need to cheat to be that much better.
At the memorial service of one Dr. Silverthorne, many years ago, Jonathan Winters, said:
"A man who has friends, good friends, has everything. A man who has no friends, has nothing."
Bonds has no friends and to me, the man has nothing.
I think he was missing something, and mistakenly thought it was from his play on the field.
He was wrong, and is still missing that something.
everything in terms of baseball qualities, well minus the limp noodle of an arm he's always had, but the man was a 4+ tool player.
You nailed it.
Is that for real? I will buy one if they are for sale.
I do not fault him for his skills, but for his lack of character
I was only talking about his skills...
AS for his character, I think baseball has had worse, but he is BY FAR the most prominent player at this time.
Because of the 'roids, the man IS nothing.
He did not have everything when he went the high-tech PED route. He didn't have the fame and adulation that Sosa and McGwire had, and that pissed him off-- because he knew or suspected that both of them were on PEDs.
Bonds is a hell of a player. At a minimum, he would have hit 40 a year every year he was on PED. That's tremendous, given the other tools he had as a player.
For the record, though, I think that Rose should be in the HOF, too.
I meant baseball skill-wise.
Not like you took it. Sorry I wasn't as clear as I should've been.
Undetectable, the cream, the clear
Some injectable, right in my rear
Like a shot of stuff for human growth
Do one cheek, then go and do 'em both
Never before
Have steroids been more
Undetectable in every way
Unconnectible, that's how I'll stay
Look at me, see the incredible
Bulk I've gained but not by edible
Means I gained it from some spreadable goo
Unregrettable, well worth the risk
Record-settable, no asterisk
Chasing Aaron, catching up to Ruth
Couldn't care less if I tell the truth
What matters more
Is home runs galore
Undetectable each time I pee
Random-testable, you won't catch me
As for me, it's incontestable
What this does is so incredible:
Swells my head and shrinks my testicles too
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


text:
Updates to Dell Endpoint Security Suite Enterprise or Dell Threat Defense may cause changes in how threats are evaluated
Affected Products:
Dell Endpoint Security Suite Enterprise
Dell Threat Defense
Affected Versions:
1371; 1391; 1.0.1; 1.2; 1.2.1392; 2.0.1451; 2.0.1452
Dell Data Protection's Advanced Threat Protection products; Dell Threat Defense, and Dell Endpoint Security Suite Enterprise may have occasional updates that change how threats are evaluated. These updates are commonly referred to as "model" updates, as they are updates to the threat model.
This model receives periodic updates to improve detection rates. To help users know how a new model might affect their organization, there are two columns on the Protection page in the Console. You can use the "Production Status" and "New Status" comparison to see which files on your devices might be impacted by the model change.
Users should test the new models before a full production roll-out. This should minimize any unintended outages cause by model changes.
New Protection Columns
The two columns are: "Production Status" and "New Status":
Only files found on device in your organization and that have a change in its Threat Score are displayed. Some files might have a Score change but still remain within its current Status.
The Threat Score for a file goes from 10 to 20, the file status would remain Abnormal and the file will appear in the updated model list (if this file exists on devices in your organization).
To view the Current Model and New Model columns:
You can now review differences between the two Threat Models.
The two scenarios you should be aware of are:
In the above scenarios, the recommendation is to Safelist the files you want to allow in your organization.
Identify Classifications
To identify classifications that could impact your organization, we recommend the following approach:
Recommended Production Roll-out
This section outlines strategies to help users upgrade to a newer predictive model. It is highly recommended to assign Agents to a Policy with Auto-Quarantine enabled for Unsafe and Abnormal files.
Auto-Updates with Auto-Quarantine
If Agents are set to Auto-Update, you should disable auto-updates for agents when new predictive models are released. If it is not possible to disable Auto-Quarantine or test the new Agent, alert you're Dell Data Protection Administrators. They may Safelist items that are misclassified to unblock users.
Manual Updates with Auto-Quarantine
If you manually update Agents, then Auto-Update is not a concern. It is recommended that you use the following instructions before updating your Agents.
For support, US-based customers may contact Dell Data Security ProSupport at 877.459.7304, Option 1, Ext. 4310039, or via the Chat Portal. To contact support outside the US, reference ProSupport's International Contact Numbers. For additional insights and resources, visit the Dell Security Community Forum.
Article ID: SLN303737
Last Date Modified: 06/27/2018 12:00 PM
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