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'Castle' Recap: Castle Meets His Father
Monday, February 25, 2013
Morgan Glennon
Contributing Writer, BuddyTV
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This week
picks up right at the heart-pounding moment
where we last left off
with Alexis still kidnapped in Paris and Castle no closer to rescuing her. But things take some pretty big detours as the hour moves along, until we finally meet an important missing link in the Castle family tree: Castle's father.
The show has danced around the issue of Castle's father for ages. Castle's mother Martha is a big part of the show (and
one of our favorite TV grandmas
!) but his father was very infrequently mentioned. Now we know it's because Castle's father is in fact a real life spy. If Alexis wasn't in life or death peril, Castle would likely have been giddy with excitement over this revelation.
Instead this hour almost entirely leaves behind New York, our favorite detectives, and even Beckett to hone in on Castle's journey to save his daughter. Along the way, Castle goes more or less full Neeson in his quest to find Alexis.
Once again, Fillion gets a prime opportunity to show his range and doesn't fail to deliver. Whether it's watching as Sara is saved but Alexis remains kidnapped or meeting his father for the first time, Fillion is a master of showing Castle's anguish and confusion without overplaying the emotions. Getting to see the usual happy-go-lucky Castle more serious and even more dangerous was a nice side-effect of an episode packed to the brim with action and intensity.
As Castle's super spy father, James Brolin was great and the two hit all the right emotional notes. Even though there was scant screentime available for bonding in such a packed episode, the two formed an immediate connection. Castle's father saying he was proud could touch even the hardest of hearts.
But with an episode so packed full of twists, turns, action, and ridiculous Paris green screens the emotional beats needed to play quickly and powerfully. Hopefully we'll see James Brolin's "Jackson Hunt" come back for another mission soon.
Beckett Goes Bad Cop
Beckett didn't have much to do this episode, which is par for the course in episodes where one of the duo is highlighted. Many of the big, emotional Beckett episodes have certainly been Castle-light. Beckett worked mostly as Castle's support system here, although she never stopped investigating the case.
When Castle decides to go full Neeson and runs off to Paris after Alexis, Beckett doesn't give into the temptation to run after him. "He's acting like a father and I have to act like a cop," she tells Espo and Ryan. Beckett's pragmatism has always been one of the qualities that make her a great detective. She doesn't let her emotions get in the way, even when she has to
protect the man instrumental in her mother's death
So Beckett gets down to business investigating the murder of the man they found tortured, but this doesn't mean the emotional strain isn't wearing on her. She gets downright
with the man's girlfriend, becoming the literal definition of bad cop with no good cop to even her out. It's not hard to see why she freaks out though. They certainly don't have much to go on except a few sketches, which we later find out show Castle's father hot on the trail of the kidnappers.
This is how she and the team discover that Alexis was the real target after all, which explains why Sara was easily let go but Alexis remained chained up in a cage like a ginger tiger in the city of lights.
Castle Goes Full Neeson
Castle might not have the "particular set of skills" Liam Neeson's character possess in the hit movie
, but he does his best to track down his daughter anyway. First he goes to see an old contact in Paris, who directs him to a sketchy gun-for-hire who always works off-the-books.
On the way to the meet, Castle wanders through Paris and it is some truly questionable green screen work. Obviously,
didn't have the time or the budget to really film in Paris and some of the interiors they found were great.
Honestly, the long exterior shots were pretty impressive. But every time the camera got close to Fillion's face, it became painfully obvious he wasn't in the city of lights but superimposed on a background of Paris. Haven't we come farther than this with green screens yet?
Henri the gun-for-hire takes Castle down into the underground taverns of Paris because that's where all the best super spies hang out. Hey, if it's good enough for Batman right? Down there it's like a Neil Gaiman fever dream with kooky sound guys who can pinpoint restaurant sounds. That's a pretty specific skill.
This episode's use of sound, light, and music was very impressive. The way the musical cues overwhelm the dialogue to show Castle's exhaustion was clever and evocative. The use of light and shadow, especially when Castle finally reunites with Alexis, certainly made this a very pretty episode to look at.
Castle, I Am Your Father
When Henri double crosses Castle, it looks pretty dire for our favorite author. (Curse your sudden but inevitable betrayal!) Thankfully, it's dear old dad to the rescue.
The episode gets a few of its rare comedic moments when the mysterious stranger totally goes parental on Castle. "If you talk on your phone when I tell you not to I will shoot it! Don't whine! And don't forget to pick up your three million dollars! I hate when you leave giant cases of money lying around." "Daaaaadddd!"
Back at Jackson Hunt's place, we find out pretty quickly that he's Castle father. It turns out he had spent a night with Martha on leave and thought he was out of the game, but he got another assignment and had to go MIA for a year.
When he came back, he found out he had a son, but because of his line of work he couldn't communicate with Martha and Castle. Still, it didn't stop him from giving a ten-year-old Castle a copy of
Casino Royale
or helping him get CIA access for his book research. Aww!
In the Russian cliche palace of KGB grudges, Volkov (who is not the villain from
) has Alexis in a cage in the middle of the room. This whole thing was so ridiculous it kind of took the dramatic impact of danger out of the situation.
I knew I should be afraid for Alexis, but I expected to see her petting a miniature giraffe like in those DirecTV "
opulence, I has it
" commercials. On the scale of Russians I would be afraid of from Natasha and Boris to Keri Russell in
The Americans
, this guy fell more on the
side of the spectrum.
Castle and Daddy Castle trick Volkov and blow him up with the walkie talkie, while Castle uses some spy work to get Alexis out the back entrance. In a flashback to their planning, Castle says he needs more time to get to know his father. But his dad needs to disappear once more, and they won't even know if he made it out alive.
But this is the Castle family, where not playing by the rules is basically in the DNA. So after a smooch with Beckett and a family hug, Castle finds a copy of
Casino Royale
came in the mail for him. Thanks for the life saving and the book dad!
What did you think of the #SaveAlexis conclusion? Were you excited to meet Castle's dad? Were you shocked? Sound off in the comments!
Don't miss the next episode of
by adding it to your very own watch-list! Download the
BuddyTV Guide app for free
for your phone.
(Image courtesy of ABC)
'Castle' Episode 5.16 Photos: Castle Searches for Alexis in 'Hunt'
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Prestressed Concrete Design
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Archive > Survivor 6: The Amazon
(1/2) > >>
'Survivor: Amazon': Jenna Bares It All
When Jenna Morasca took off her shirt on "Survivor: The Amazon," she was censored on network television. Not anymore. The 21-year-old swimsuit model who walked away with the $1 million prize is taking it all off for Playboy magazine's August issue, along with fellow contestant and physical education teacher Heidi Strobel, 24, reports The New York Post.
Do you hate Jenna? At 21, she's the youngest "Survivor" winner ever! Take our poll and check out her photo.
CBS did show the two ladies shirtless in the Amazon, but thanks to video scrambling their modesty was kept intact. "To my mind that was a classic moment of primetime television," Playboy editorial director James Kaminsky told The Post, adding that getting the $1 million winner to pose is a first for the men's mag. (Usually, it's only a runner-up who agrees to shed her clothes.)
The Post speculates that Jenna could earn another million bucks--and maybe more--for the Playboy photo shoot that was done in Brooklyn the day after she was announced the winner on live television. She sure didn't waste anytime exploiting her 15 minutes of fame. "Jenna actually went from her appearance on the Letterman show directly to our studio," Kaminsky dished to The Post. CBS did have to approve the Playboy appearance, as per the contract each contestant signs with "Survivor." But what's good for Jenna could also be good for the granddaddy of all reality TV franchises.
Not that I am complaining, but I thought Jenna said she was too good to do something like that? I remember someone asking her if she would ever do that and she said NO! Humm. What a girl!!!! ::)
Did not take long....and we knew Heidi would do this. Wasn't Jenna the one saying she would go topless if it got her farther? Well This could help her get more modeling jobs! ::)
Is she getting greedy?? Wasn't the first million dollars enough?
--- Quote from: Bathfizzy on June 16, 2003, 01:39:53 AM ---Is she getting greedy?? Wasn't the first million dollars enough?
--- End quote ---
Well, since the S6 crowd's 15 minutes will be up as soon as the S7 cast gets announced, you gotta make the $$$$ before your time is up... and that is coming up soon... LOL ;)
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text:
Author's Note: Haven't updated for a while… All review (including those who find my humour lame) is appreciated. Thankyou thankyou thankyou. Now keep readin' y' scurvy dogs!
Disclaimer: By now you should know I don't own the Last Samurai. I wish oh I really, really do wish I did owned Captain Jack Sparrow…But I don't sob
Yo ho Yo ho off to Japan we go!
On a ship to Tokyo.
Captain Algren found himself waking up in the boat, only regretting it after the hangover plus the sea-sickness came.
It seems that the fed-up Colonel threw him on board while he was unconscious. It took a while for him to figure where he was, until one of the annoyed sailors finally politely explained his situation, getting sick of his nagging. Algren sincerely expressed his gratitude by getting sick all over him.
Algren: (a voice over while he stares out to the horizon)
Dear Diary.
I'm on a boat in the middle of the sea, and it looks as thought that ignorant colonel is illegally importing me to a different country to do his dirty work. He's sooooo mean. I'm gonna get him someday. You'll see. Mwahaha. (Pauses)
I never thought it was possible, but I kinda miss being in America already… (Sigh) how long will it be before I can embrace another Budweiser in my hand? And I miss my horsey. I wonder if they have horses in Japan. They probably can only fit ponies...
This boat trip is just soooooo boring! I mean the scenery hasn't changed for ages! It's just ocean, sky, ocean, sky, ocean, sky, hey a seagull! Oh, it's just a cloud…
Sudden cannon blasts startle him as he jumps up to see what was going on.
Two pirates jump on board.
Will Turner: Avast!
A group of screaming girls come out of nowhere and charge towards him.
Fan girls: WE LOVE YOU ORLI!
Will Tuner: Damn not them again! And this time they have limited edition Legolas figures!
He runs away in an elfish haste and his passionate fans desperately chase after him. The other guy drunkly advances upon the confused Algren but stops to pick up one of the figurines left by the girls.
Captain Jack Sparrow: … (Mumbles to him self) not as cute as the real thing…
Algren: Um?
Captain Sparrow: Ahoy there! Me name's the famous Captain Jack Sparrow. Now give us your booty y' scurvy dog or its off the plank for yee. Arghhh (growl for effect)
Algren: Err… Sprechen Sie Englisch?
Captain Sparrow: Eh? Dammit we must've hit a Spaniard ship! Erm… me pirate! You give gold! Me swordy… (Drastic gestures with sword and points to sea) You die! Savvy? Si? Comprehende?
Algren: Sea?
Captain Sparrow: Now that's a good lad. Now off to the cabin and show us y' gold!
Algren: Um (wild gestues) No gold! Um… Yes grog!
Captain Sparrow: (Looks interested) Grog? Y' mean y' have rum?
Algren: (Quickly takes out a bottle) See?
Captain Sparrow: Now that's what I'm talkin' about!
Few hours later Captain Algren and Captain Sparrow indulge in America's finest alcohol and unite in horribly singing their favourite song.
Algren & Sparrow: …and really bad eggs. Drink up me hearties yo ho! Yo-ho Yo-ho A Pirates for me! Arggghhh!
Sparrow: So mate, where y off to?
Algren: Argghhh…off to the land of rice wine!
Sparrow: Out of rice? Must be the French…
Will Turner: (who was still being frantically chased by his fan-girls) Parley! Mercy! Please just go away!
Author: That's all for now but the second last samurai will return bigger and better and funnier!


text:
Beyond Market Research: Building Intuition [Video]
In a recent meeting, the head of Client Services here at Communispace, Siobhan Dullea proposed an exciting vision for companies who are building-in long term engagement with their customers".
"There is a real opportunity for companies who have successfully developed that on-going, deep and trusted relationship," Siobhan said. "to take that relationship beyond the day to day market research activity and to start building intuition into their organization."
What does it mean for companies to 'build intuition'? What are the key benefits? and is this an imperative for brands today? I sat down with Siobhan to learn more.


text:
Choosing The Play
( Originally Published 1921 )
AFTER an organization for the presentation of plays has been perfected, the first question of importance which arises is, " What plays shall it produce? " The first limits to this question may be set forth by the provisions of your constitution or your public announcements. Let me' quote a few such passages taken at random. I shall omit the names of the organizations.
This group " has been organized to encourage and foster the dramatic instinct in young people, to become familiar with the best dramatic literature through study and presentation, also with all the details of the art of stagecraft, to the end that the members may develop an enhanced sense of life's values and the realization of that culture which is characterized by cultivated imagination and sympathy, as well as information and knowledge."
" The object shall be to encourage the presentation of plays by amateurs, to secure unity of purpose and procedure in the giving of plays, to provide a systematic and diversified program of plays, to conserve available talent and material through their largest possible use, and to establish a Community Theater."
" The aim is to add something to the joy of life by the presentation of good music and worth while plays."
" Our aims are not hard to understand; to give drama with a literary quality, acted and staged with sincerity and artistic simplicity-in short, to study the community that its theater may express its ideals; to make of the theater a place where good drama, wholesome amusements, and intelligent recreation may be enjoyed; a place where may be seen those plays seldom seen on the commercial stage-and finally to encourage the creative spirit of our own people."
" This is a permanent little theater organization whose policy is to produce new plays by unknown writers with the works of standard authors."
" The aim of the Club has been to present to University audiences plays of literary worth by contemporary European and American dramatists, especially such plays as could hardly hope for presentation on the commercial stage, and to provide for undergraduates interested in the direction, staging, acting, designing, and writing of plays, some opportunity to develop their abilities."
" This is a traveling group of actors organized to put on the best plays of the little theater and the new theater movements before clubs and other private audiences which otherwise might not have an opportunity to witness performances of these."
" The purpose of this club shall be to study and rehearse significant plays, and to develop the dramatic expression of its members."
" Our aim is not to present great plays by great writers, but sincere plays by beginners. We do not seek to uplift the drama, but to bring out the best there is in dramatic writing."
" The workshop is an experimental theater where ideas may be worked out in actual stage practice. It will give plays by writers of this city and nothing but first productions."
No matter how definitely some purpose has been stated in the constitution of the society, there arises continually the necessity of deciding which plays to select. The purpose may be so simple as " to provide entertainments of a dramatic character." It may assert that only " plays exemplifying the new movement in the theater are to be acted." It may intend to give plays by its own members only. Whatever its avowed purpose, decisions must be made among possible choices, so that the actual work of production may begin.
At just this point you had better—unless you are already acquainted with its terms and operation—investigate the copyright law of the United States. The item of royalty was mentioned in the previous chapter in the list of expenses. It seems strange that persons who would not think of taking and using a tack which does not belong to them will attempt to take and use what is infinitely more valuable, the product of an author's brain, and then feel badly used when they are made to pay for their pleasure. No acting group, I venture to say, would deliberately take electric bulbs from a dealer without arranging for payment, yet scores of them in this country have used plays for which they have never paid a dollar. In fact, some persons resent the demand of royalty, even when the published play states clearly the terms of production. Mr. Shaw told a certain American amateur director exactly what he thought of her insistence that he allow her to produce one of his works. Authors and publishers are more careful about this matter than they used to be. The fact may startle the uninitiated, but authors are not always anxious to have their plays performed by every one who thinks he can do justice to the material. You may be refused permission because some producer in your neighborhood has already arranged for the use of the same play. One author told me she had re-fused to allow one of her plays-a delicate, subtle handling —to be performed by a small agricultural college. She may have been mistaken, but her feeling induced her refusal. Many a dramatist who has sat through productions of his work has wished that he had refused.
Notices included in volumes of published plays should be quite clear in their intent. If you desire to make your-self entirely conversant with all the details of copyright you should apply for Copyright Bulletin, Number 14, issued by the Register of Copyrights, Library of Congress, Washington.
Bear in mind, also, that a play in manuscript or typo script, " not reproduced in copies for sale," as it is described by the Copyright Office, may have been copyrighted, and if it bears the notice, is as much the dramatist's private property—so far as performance is concerned-as though it were published in a solid looking book.
The two following notices, taken from two recent volumes of plays from different firms, seem to be clear enough, yet an officer of the first told me that hundreds of letters come to him asking for exactly the same information so clearly stated by the first notice.
These plays in their printed form are designed for the reading public only. All dramatic rights in them are fully protected by copyright, both in the United States and in Great Britain, and no public or private performance—professional or amateur—may be given without the written permission of the author and the payment of royalty. As the courts have also ruled that the public reading of a play, for pay or where tickets are sold, constitutes a " performance," no such reading may be given except under conditions as above stated. Any one disregarding the author's rights renders himself liable to prosecution. Communications should be sent to the author, care of the publishers.
In its present form this play is dedicated to the reading public only, and no performances of it may be given without the permission of the authors who may be addressed in care of the publisher. Any piracy or infringement will be prosecuted in accordance with the penalties provided by the United States Statutes:
Sec. 4966.—Any person publicly performing or rep-resenting any dramatic or musical composition, for which copyright has been obtained, without the con-sent of the proprietor of the said dramatic or musical composition, or his heirs or assigns, shall be liable for damages in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dollars for every subsequent performance, as to the Court shall appear to be just. If the unlawful performance and representation be wilful, and for profit, such person or persons shall be guilty of a misdemeanor, and upon conviction be imprisoned for a period not exceeding one year.—U. S. Revised Statutes, Title 60. Chap. 3.
It is unfortunate that the threat of prosecution and fine have to be set forth so plainly, but the past—and I regret t0 add it, present—practices of acting groups make it necessary.
The remarkable increase of interest in amateur play-production has had some unfortunate results. Several amateurs, it appears, have shown their lack of experience by putting on copyrighted plays without first securing permission. Doubtless few members of schools or clubs would wilfully infringe upon the rights of the owners of plays, but ignorance of the law excuses no one and carelessness can hardly be urged as a defense against prosecution for piracy.
Such prosecution at least one playwright feels compelled to institute. Mr. Charles Douville Coburn, who owns the rights of production of The Yellow Jacket, by George C. Hazelton and Benrimo, has learned of several instances of illegal use of this play, and in at least three cases must prosecute the offenders in order to conserve his own interests. All possible publicity should be given his experience in order that amateurs throughout the country may be saved from committing like offense.
English Journal, 1915.
There are literally thousands of good plays. One list of recent American one-act plays alone contains some two hundred sixty titles. A selected list of titles of plays suit-able for schools and colleges includes over four hundred entries. How shall the best and most appropriate be chosen?
Four factors enter into all such considerations: I. The tone or quality of your aims. 2. The actors. 3. The stage. 4. The audience.
So far as the first of these is concerned, you can easily declare that you desire to choose only the best plays written. That is the worthiest aim you can have for the quality of your material. If you decide to offer only farce, you should choose the best. If you venture into melodrama, you should try to select the best. If you turn to the classics, you should unfailingly select those which are best as drama.
The actors to whom you entrust the rôles will determine the range of your examination. Plays with large casts may be debarred in advance. Yet they might be exactly suited to schools and colleges, singing societies, church organizations, etc. Others with children's rôles may fall outside your group. A drama may require a certain physical type which your personnel does not include. You had better not attempt it, then, at the risk of miscasting a part. Amateurs and professional directors do make glaring errors in casting dramas, but avoid doing it, if you can. A play may not interest the performers. This is fatal for amateurs. Professionals will work with material when they are not enthusiastic about it. But amateurs, to be successful, must be congenial in their rôles. In amateur organizations casts have unanimously decided to return a play to the director, asking to be excused from performing in it. In other cases, individuals relinquish rôles, so that some thirty persons may attend rehearsals before five rôles are cast. Even at-tempting to impose a fine upon a member who cannot pre-sent a valid excuse for avoiding or relinquishing assignment of a rôle cannot successfully counteract this.
Likewise, the stage you use will eliminate certain plays. This consideration is not so important as it used to be, for modern stagecraft has shown almost unbelievable effects upon small and simple stages.
Last of all, the audience must be considered. There is a tendency among some little theater enthusiasts to pretend that audiences can be totally disregarded. In some cases they may be, but the general practice is to present plays before audiences. Even the most intellectual or novel good plays should attract people who respond to their dramatic effects. A comedy which interests may be more stimulating than a Greek tragedy which bores both performers and audience. It is true that not the entire public of the community need be appealed to or considered, but a theater, to be even artistically successful, must find, attract, and hold its audience. This is generally accomplished by a gradual process of elimination and accretion, based on the inducing of a rapport between the stage and the house.
An amateur group which starts to build up a producing company should attempt at the sanie time to develop an appreciative audience, unless it exists already. Experimental societies will do well to follow the methods of their successful predecessors. Perhaps the best known organization of this kind was the Washington Square Players of New York. Novelties they gave by dozens. Yet the man-aging directors appear to have been careful never to repel their audiences. The bold, the bizarre, the startling, the advanced, was always " carried " by surrounding material, the effect of which could be predicted with certainty. B7 careful study and adjustment, this company was able to move its audience from the Washington Square district to a remote East Side theater on Fifty-Seventh Street, then to the professional Comedy Theater. While the two organizations are not the same, it may be said that the successor to the Washington Square Players is the Theater Guild. This well-conceived body makes no pretense to catering to the large, indiscriminate, transient, theater-patronizing hordes of people in New York. Its hope was not to attract the publie, but a public—a public its sponsors were convinced must exist in a city drawing its theater patrons from some ten million persons. It fortunately did not have to wait long before this interested patronage was consolidated. Not all its plays have followed the same standard, but it has not alienated its regular audiences, nor will it. The future will strengthen its influence for good drama in America.
On the other hand, many failures may be explained by an adherence to a principle the opposite of this. A signal failure and retirement from one city of what had promised to become a permanent and flourishing center of good unusual drama are attributed to a determined effort on the part of the director to force upon the public what it manifestly did not want. He was over-enthusiastic about Greek tragedy. The people he needed in his audience unmistakably indicated that they were satisfied with a small dose of such fare. The audience dwindled. The company disbanded. The director departed.
As a summary of the preceding, it may be stated as a general rule that, taking into consideration the physical limitations of your stage, the dramatic ability of your ac-tors, and the compositions of authors, you should choose only the best plays.
The second question which will arise is, " Shall we produce full-length plays, or one-act plays? "
Full-length plays have certain advantages. They tell fully-developed and rounded-off stories. They have a significance because of their length. They give chances for real character delineation by the performers. They offer opportunities for more different kinds of characters. The actors have more changes of moods, more reactions to portray. As many full-length plays are set in one place, or in two different places, they may be easily and adequately mounted. Makeshift stage decoration—only too evident to the experienced audience—can be avoided by careful planning and arranging. If you have to provide your own scenery you might find the three or four sets for a bill of one-act plays beyond your resources, yet you might be able to pay for the one or two sets of a long play. It would be perfectly possible to give almost an entire season of long plays of which each would require only an easily secured interior.
The greatest advantage of the full-length plays is that this is the form most familiar to audiences. People have become accustomed to follow drama of this length and pat-tern. In offering full-length plays you are not attempting any education of the public. You are not required to over-come active prejudice or dull inertia. Children prefer long plots in connected acts, just as they always like continued or long yarns in the nursery. A most successful producer of plays for children writes me this fact about the capacity audiences of the young who attend his plays. During several seasons he has introduced a few matinées of short plays, always with the confirmation of his experience that they are not as successful in appeal as are the longer versions, The grown-up theatrical audience is not very different from the child audience. It may consider the bill of one-act plays too disconnected. It may prefer one long impression to a series of short, though strong reactions. It describes its feeling as " getting out of the mood of the play." In proof of this one need merely recall the introduction of the short play into America—its difficulty of securing respectful attention as a dignified art form even now.
On the other hand, long plays are sometimes difficult for amateurs to interpret satisfactorily because the acting re-quires more ability than a fifteen-minute incident does. The plot is more complicated. There are more interwoven threads of story. The interrelation of characters is more subtly evolved. More different kinds of situations are built around the central theme. More delicate reactions are demanded. As the large effects are cumulative, the de-tails contributory to them must be more gradually intensified. Events must not move so directly from start to finish. There must be more variety in actions. Characters have to develop, to change, and this variety of delineation becomes an exaction which must be carefully adjusted. In addition to this, inexperienced actors may find it difficult to "stand up " to the requirements of a rôle running through three or four acts. Acting consumes both nervous and physical energy. Amateurs are prone to forget this, yet they feel it later when the excitement vanishes and only the effects of the strain remain. If the cast enters the concluding act of a long play with no vigor, their efforts will likely fall flat just when they should be most stirring. The leading rôles must be particularly well cast to balance these exacting demands made by a long play.
While many amateurs cling to the long play, most progressive groups have turned to the one-act form. The two chief deterrents to its even wider popularity are the expense and labor of setting it properly. Most long plays require the usual surroundings of everyday life. Theaters and halls have such scenery, or can provide it. One-act plays make the most startling demands—a lighthouse interior in The Keepers of the Light, a Paris Grand Guignol success by Autier and Cloquemin, the operating room of a hospital in Laughing Gas by Dreiser, a man's heart in The Theater of the Soul by Evreinov, the outside of an envelope in Mrs. Calhoun by Ben Hecht and Maxwell Bodenheim, a design in black and white in Grotesques by Cloyd Head, a portion of limitless space in eternity in Beyond by Alice Gersten-berg, a mantel-shelf in Manikin and Minikin by Alfred Kreymborg, the Gate of Heaven in The Glittering Gate by Lord Dunsany, the forecastle of a tramp steamer in In the Zone by Eugene O'Neill. As a bill of one-act plays includes three or four, the expense of many different settings may run high. Yet in making such stage decorations lies one of the keenest delights of play producing.
The lighthouse interior was simply made. A small octagonal room showed stone walls. An iron ladder rose from the darkness below through a trap towards the rear and mounted to the ceiling where it disappeared through another opening. A brilliant white glow which flashed at regular intervals through this ceiling opening gave a convincing effect of the revolving light above while wind, rain, and waves yelled outside.
In Laughing Gas a bare room was supplied with real equipment for the reproduction of a hospital operation. Manipulation of lights reinforced the changing waves of emotion during the action.
In The Theater of the Soul faces appeared from deep darkness into light of varying intensities at different levels. The heart was a glowing red space which seemed to pulsate owing to the effect of fluctuating light. Real persons appeared in the full light of the foreground.
White designs cut and applied to black curtains and costumes and figures of only black and white appearing in white light produced the decorative impression of Grotesques.
In Beyond the author states that " the scene suggests limitless space and mist and is played behind a curtain of gauze." Around the entire stage should be hung a curtain of blue, a cyclorama or horizont, stretching high above. The uneven effect below, stipulated by the dramatist, can easily be made by placing boxes, boards, inclined planes, tables, etc., upon the stage, and covering the entire collection with canvas falling in folds. By concentrating light upon the face of the single character, the effect of limitless space could be conveyed to spectators.
The mantel-shelf may sound difficult, because how can the wall between it and the floor be indicated? In one production the mantel was built just above stage level. Be-hind it a flat yellow wall was placed. Just behind the proscenium opening was hung a darker yellow curtain in which a large elliptical opening had been cut. All the light was behind this framing curtain.
The Gate of Heaven should tower high above a few rocks upon the stage itself. Behind this gate a blue drop or horizont should be hung. Stars may be made by piercing small holes in this curtain and throwing a white or yellow light upon it from the rear. The base of the gate should be above the stage level to suggest limitless space below.
A wall sloping down towards one corner of the stage with rude bunks built against it, a low ceiling, making a shallow stage space, would suggest the narrow, cramped forecastle of a tramp steamer required by In the Zone. A translucent white oblong curtain bordered by opaque black formed the envelope in Mrs. Calhoun. The stamp, postmark, and written address were painted upon it. Characters stepped from the end of the envelope into the forepart of the stage and there carried on the action.
Ingenious designing, slow and careful planning, a knowledge of how to produce results with simple means will bridge many a seeming abyss in amateur producing.
The second difficulty in offering one-act plays is the usual attitude of audiences towards them. In spite of the years during which good, bad, and impossible short plays have been offered in vaudeville, and the great vogue of this short form on the European continent, American audiences have to be trained to respond heartily to them. The Princess Theater in New York, which advertised a few years ago that no one under twenty-one would be admitted, could not remain open with one-act bills, even with that spur to curiosity. Other instances of the same kind could be adduced. Although the Theater Guild of New York fell heir to the audiences of the Washington Square Players and several of their performers, it did not pursue the previous policy of bills of one-acts, but has from the very first staged full-length dramas. Yet there are noticeable al-ready some results of the activities of little theater groups. People are being educated to appreciate one-act plays as a worthy form of drama.
Reasons for choosing one-act plays greatly outweigh the reasons against them. In the first place, most of the greatest dramatists have produced remarkable material in this form. Most consistent creators of drama in Europe have at some time conceived and written short plays. Without any effort a general reader can jot down a long list of names:—Andreev, Barrie, Benavente, D'Annunzio, De Musset, Dunsany, Evreinov, France, Giacosa, Gregory, Rankin, Houghton, Jones, Maeterlinck, Masefield, Schnitzler, Shaw, Strindberg, Sudermann, Sutro, Symons, Synge, Tchekoff, Wilde, Yeats. The list of Americans would contain quite as many names, although because of the different status of the short form with us, there would occur not so large a representation of our best known dramatic writers. Such authors as just listed alone would lead to production of their one-act dramas. There are additional inducements. One-act plays are usually easy for the per-formers. They do not require any great changes or developments of character delineation. They make keen appeals, all the more poignant because short. They usually require only small casts, making easy the choice of actors, and the progress of rehearsals. They are amateur material par excellence.
The most alluring feature of short plays is the characteristic already cited as a probable difficulty—the demands of their stage settings. They offer the widest scope for originality, for novelty, for ingenuity, for beauty. They provide the experimental material, in which a falling short is not a heinous crime, but in which a signal success may reform or revolutionize stage production to such a degree that it may reach even the professional stage. Naturally, a beginning organization, acting before a tolerant audience, will have to be careful not to introduce too many startling effects. But every performance can step more and more decidedly along the newer paths to entire originality of theme and treatment. Thus, if the audience is not at the beginning prepared for novel methods, the productions, always keeping in advance but never losing sympathetic contact, can lead on to pantomime, to spoken lines without action, to so-called static drama in which the idea alone progresses, to characters playing in zones of different colored lights, to draped stages, to stylization, to conventionalized sets, to silhouetting the actors, and all the other attractive experimental newer methods.
Of the choice of plays themselves, the guiding principle should be variety. The list of kinds of plays is as long today as it was when Polonius tried to tell to Hamlet the sorts offered by the traveling players. Drama, tragedy, comedy, melodrama, farce, fantasy, classic, poem-mime, legitimate, satire, burlesque, allegory, spectacle, parody, problem, farce-comedy, vaudeville, comedietta, interlude, extravaganza, burletta, harlequinade, tragi-comedy, curtain-raiser, pantomime, proverbe, mumming, masque, mono-drama, juvenile; the enumeration may be extended even further.
Learn to know quickly when you have chosen the wrong kind. Learn—and this is more important—exactly why it is inappropriate. Of the countless factors which enter into the impression made by a performance you should be able to seize at once the operative detractive cause, so that in all future attempts that one may be eliminated. Judge all later possibilities from past experiences.
Never offend the sensibilities of your audience. A professional producer might decide to risk a performance which will stir up antagonism, although I never heard of one who did, but he is offering a thing for public patronage. People need no more attend his theater than they need smoke a certain brand of poor cigarette. If he is an acute commercial manager he will soon change his plan of approaching the public or his theater will cease to be a paying investment, and some one else will be using his stage. But in amateur dramatics there should be—there always is —a different relation between performers and audience. When you have seen your audience display respectful boredom because you are enthusiastically offering a second Greek drama, do not doggedly set your teeth and utter, " Greek tragedy is good for them;—they've got to like it! " Try to appreciate the fact that all kinds of people compose theatrical audiences. Indifference to acted classic drama is not in itself a sign of ignorance. The variety simply does not elicit the wide response of other forms. Of course antique plays can be made beautiful. Some of them present stories of universal significance, yet these are rather few. The most scholarly persons, who know the conditions of original presentation in the great open air under the brilliant sunlight and azure skies of Greece, are just as likely as the non-classicist to resent the restriction of a great old tragedy to a cramped interior stage tinted with electric light. Don't force a long series of Irish one-act plays upon them. While many plays written under the impetus of the Irish Renaissance are worth producing, there are others with no appeal outside the Abbey Theater, and if we may believe some of the interested members of that group itself, with not much appeal to audiences in that building. Intention does not mean achievement in dramatics. A few of the Irish farces and comedies are laugh-able. Some of the dramas are ingenuous rather than ingenious, while not a few of the attempted poetic dramas are misty rather than mysterious. Don't make audiences sit through too many costumed romances. Don't give a long series of situations depicting the down-trodden laboring man. Spare the triangle, whether right-angled or any other kind. Learn to build up a bill or a season as the careful leader of a symphony orchestra arranges either a single program or a series of successive concerts. Intellectual relief does not mean a sinking below the level of your audience and your own ideals. Many a laugh-provoking comedy is as stimulating intellectually as a preaching problem play.
Study the programs of successful organizations, the plans of their seasons. Specimen illustrations of several of these are reproduced and discussed in the next chapter. At times directors attempt plebiscites of their audiences, requesting them at the end of a season to indicate on a blank form their first choices of the best bill, the best single play, the best produced, the best acted. While such schemes are excellent in principle, the returns are disappointingly few in proportion to the size of audiences. The most famous one-act theater in the world, the Grand Guignol of Paris, makes up its bills of six short plays of three trčs leste, as the Parisians say, that is, three " shockers," and three horrors. Reference has already been made to a bill of sure effects to " carry" the bizarre novelty or the startling experiment. As performers and audience grow in accord, the productions should show decided advances in quality of material and originality of treatment. If your audiences become theater trained—for people can be educated in dramatic exactly as they can be in musical appreciation—you may try anything. But never lose sight of the principle of variety and relief. Even when the bill is announced as Plays from the Italian there should be no two closely similar. An evening might include the passionate drama of the Middle Ages, The Dream of an Autumn Sunset by D'Annunzio, the poetic Game of Chess by Giacosa, and the scandalous but laughable Honorable Lover by Bracco. An Irish bill could secure variety by including a symbolic poem by Yeats, a farce-comedy by Synge, a genre study by Lady Gregory, and a satire by G. Bernard Shaw. Even a bill of " lover " plays could be varied, for it could range from the delicate exaggeration of The Constant Lover by St. John Hankin to the realistic bitingness of The Magnanimous Lover by St. John Ervine. A program of plays with " unspoken lines " might be announced. This phrase, perhaps, does not clearly indicate the kind of thing it attempts to describe, but illustration will make this clear. There are some—though not many—interesting novelties in which the lines are not actual speeches delivered by the characters, but their thoughts, their feelings, their hardly conscious sentiments. Tragedy could be found for this in Evreinov's Theater of the Soul which displays the confused feelings and thoughts of a man in the few seconds before he shoots himself. For contrast the next might be the satirical series of impressions by H. L. Mencken entitled The Artist. This shows the thoughts of the usual group at an afternoon, piano recital, including the janitor and the artist himself. More piquancy is added by the necessity of making the audience part of the mise-en-scčne. This is screamingly funny. Other varieties are not so easy to find, but a good balance can be secured by inserting Alice Gerstenberg's Overtones which includes both spoken words by the two women characters—the overtones—and their real natures who deliver their' actual thoughts covered by the speeches of ordinary conversation.
Three plays on the same theme, with entirely different treatments, would constitute a novel arrangement. I am in-formed of one single set made to illustrate the principle here suggested. The author chose the frequently exploited theme of " the woman unjustly suspected," then worked it out in farce, comedy, and tragedy. Up to a certain point all three plays are exactly alike; with the appearance of the motivating force the divergences begin. You could even secure variety by repeating one act from a Shakespeare drama in several different manners—Elizabethan, the usual way, in the modern style, etc. The best method for such an experiment would be for the various directors to agree upon the schemes they would follow. If possible the performers should be kept in ignorance of everything except their own interpretations. Even the scenery should not be displayed until the dress rehearsal, and if practicable, each cast should be rehearsed at a different time to prevent any one from absorbing another's delivery or stage business. One producer could merely ask the local costumer to supply costumes for the scene, accepting anything he sent. A second might reproduce some famous artist's designs, as those of Boutet de Monvel or Byam Shaw. The third might take a hint from the Russian school of art directors, or from such strange models as Granville Barker's colorful and animated Twelfth Night and A Midsummer Night's Dream. In Petrograd, Evreinov gave the first act of The Inspector-General several times in one evening in the different styles of modern stage methods. He imitated the systems of the Moscow Art Theater, of Gordon Craig, etc., parodying the efforts of fanatics who want to make of the theater some-thing new and strange. Such a performance might not at-tract a large general audience, but it should be an instructive and stimulating kind of work for a little theater or amateur acting group.
As you learn more and more about material for amateur acting you will feel the temptation growing stronger and stronger to devote more care and energy to production. This side of amateur production has been developed more than any other. Of course acting has changed and amateurs are reflecting the better methods of the realistic manner. Yet acting is not so easy to transmit by the printed page. No difference in equipment is needed to change acting. A new stage setting is a picture which can be perpetuated in photograph and illustration. It can be seen by the entire world. To judge acting every person must sit through a performance. And to see some of the best acting one some-times has to sit through the worst plays. A case to illustrate this is the American tour of The Lodger, an uninteresting play by Vachell which contained two such finished performers as Beryl Mercer and Lionel Atwell, now fully established among the notables of our professional drama.
Books and magazines have emphasized the artistic, scenic, lighting, costume, phases of plays. During the last ten years, floods of material relating to such topics have nearly swamped the student. Professional dressmakers, reputed artists, famous architects, have been lured into participation, and in many instances, advertisement. Skilful publicity has achieved its usual result with the American populace—it is well acquainted with all the names and descriptions, although it may never have seen the actual thing. So we glibly discuss horizonts, cycloramas, indirect lighting, Fortuny banners, Reinhardt's circus methods, plat-form and revolving stages, without realizing at all the in-superable impracticability of most of them for limited stages and incomes. Some of the mistakes perpetrated under unintelligent enthusiasm have been more costly in effort than in mere money. One well-known book on modern aspects of the theater contains discussions of everything except the acting! It is only just to add that many of the attempts have resulted in significant results and advance. Up to a certain point this striving for decorative or stylistic effect is laudable, for as acting is the most difficult of all the arts, it is in methods of production that amateurs can do most. But remember always as a corrective to this that " the play's the thing." Never kill a good play by over-production. Never slight the first requisite of dramatics—good acting.
In order to choose wisely you must know many plays. The best way to become thoroughly acquainted with a play is to see it acted. For amateur plays this is, in most cases, manifestly impossible. You must read plays. Your fellow actors and even non-acting associates must read plays. Fortunately the best plays—full-length and one-act—are now fairly accessible in print. Read announcements and notices of all things dramatic. Attend as many performances as you can. Above all, keep lists and notes of all plays you consider in the slightest degree possible for production by your organization.
The foregoing may appear a great deal to consider in a matter which may seem to be merely a preliminary, but any director will tell you that when a play has been rightly selected and properly cast, the longest step has been taken towards its successful performance.


text:
Death, lust and loss.
Those are three things in life that everyone experiences. Danny Warbler has seen more than her fair share of death and loss, but until recently she hasn't been feeling much in the lust department. Finally she meets Sebastian Tate, a boy who can change her whole life; for better or worse.
After Danny meets Seb, she gets even more tangled in a web of deceit, gangs and love. She'll end up taking some hard falls, as she tries to run from enemies that she can't remember.
Who says that every story has a happy ending?
- anut
- bess
- cell
- contest
- danny
- food
- gatekeepers
- kidnapped
- rats
- spoiler
big_dreamer Mar 23, 2011
@Tropicall Most definately, she has a pretty awful life, and it will only get worse before it gets better.
Tropicall Mar 22, 2011
That's almost creepy... She'll be a replica of me. She will be my future. O.O I would be afraid if I was Danny
Tropicall Mar 22, 2011
This is actually surprisingly original! I really like it so far!
big_dreamer Mar 21, 2011
@WickedGleek96 Thank-you so much for reading, I'm really glad you enjoyed it. I'm having so much fun writing this story and hope to be in the next rounds of the gatekeeper's contest to keep it going.


text:
NBC Thursdays are back in business Sept. 23. James Spader's Robert California hits The Office. Michael K. Williams and John Goodman up the laughs on Community. Patricia Clarkson has locals running scared on Parks and Recreation. Whitney joins the lineup and, after the laughs, don't forget to get serious with Maria Bello's new cop drama, Prime Suspect.
Here's the scoop on what -- and who! -- is coming to NBC tonight, Thurdsay, Sept. 22, starting at 8pm.
At 8pm, our fave Greendale study group learns whether their old pal Pierce (Chevy Chase) will come back to them after last spring's paintball showdown, but that's not the groups only new drama. When Jeff (Joel McHale) butts heads with their new biology teacher (Michael K. Williams, The Wire) and is kicked out of class, the crew faces a crisis over whether they will all stay together. Meanwhile, wacky Dean Pelton (Jim Rash) returns from "Dean Camp" a new man, only to find a new nemesis as well in Vice Dean Laybourne (John Goodman).
At 8:30, Leslie (Amy Poehler) finally gets her shot at running for office, but has to break-up with Ben (Adam Scott) if she wants to make that happen. Ann (Rashida Jones) is forced to dispense medical advice after making an unexpected diagnosis. Ron (Nick Offerman) prepares for the return of his first ex-wife, Tammy One (Patricia Clarkson) -- even Tammy Two (Megan Mullally) is afraid of her!
When Whitney (Whitney Cummings, Chelsea Lately) and Alex (Chris D'Elia, Glory Daze) attend a friend's wedding, Whitney worries her relationship is going stale. Determined not to let that happen, Whitney consults her girls -- opinionated BFF Lily (Zoe Lister-Jones, The Other Guys) and Roxanne (Rhea Seehorn, The Starter Wife). Snapping into action she tries to seduce Alex in a sexy costume, but someone winds up in the emergency room.
At 9:30, two-time Emmy-winner James Spader checks into The Office as the company's mysterious new CEO, Robert California, while Michael Scott's final replacement for regional manager will be revealed. The new boss will face an Office crisis when his -- or her! -- staff accidentally discovers a list of their names in California's notebook.
At 10, things take a serious turn when NBC introduces Jane (Bello), an outsider who can be willful, rude and downright reckless. In the pilot episode, Jane gets a rough start with her new New York homicide squad when she questions her colleagues' work. After complaining to her lieutenant (Aidan Quinn) about not getting cases, Jane manages to find a unique angle to help solve a crime. Meanwhile, Jane goes to her father (Peter Gerety) for advice.
Images: NBC
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Having problems with your Digital Cameras ?
My wab cam driver cd is not work i want new driver cd
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My wab cam driver cd is not work i want new driver cd
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I have a infared surveillence cam and lost plug. Now I am left as a untrained consumer that really wants this cam to work,so, my question is being there are 2 wires to attach the outlet to the cam and 3 that come out of the cam how are the unions made and what is the purpose of each? My best guess is that there are 2 positive and 1 common ground. Thanks!
Try to find the right connection of the wires like red to red and blue to blue ... Digital Cameras
Samsung s630 Wel It wont work with the memory card but with out it, it does they're 2 brand new and should word together. San disk sd card 2gb. When I put it in the camera turns on ok gets the lens out and then nothing happens the screan stays dark and no butons works. To get it working again I get the card out and the it works but not enough 9 pictures I want to be able to take more. What should I do ? please answer quick I'd like to used it soon ! Thank's Chela
About the memory cards to be used with this camera, those could be: - MMC / SD card (Up to 2GB Guaranteed)- SDHC card (Up to 4GB Guaranteed)\015\012Some cards are not compatible according to the memory cardmanufacturer a ... Samsung Digimax S630 Digital Camera


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NEW YORK METS Picnic Caddy Tote
Style# 2029616
Additional Information
Print this tab
Before the Mets play, what are you bringing to the tailgating party? Don't come empty handed. Instead, take along some food and drink, all while showing off your team pride, in this picnic tote. Featuring the Mets' logo on the exterior, its collapsible design gives you just enough space to get game day off to a strong start.
- Made out polyester
- Exterior features the team logo
- Collapsible design can be carried with two handles
- Easy to store
- Includes an interior zippered pocket
- Measures 22 in. long by 10 in. wide by 12 in. tall
- Official MLB merchandise
- Imported
Print this tab
Miscellaneous Attributes
- Country of Origin: Imported
- Fan Gear: Mets
- Type: Backpacks & Bags
Tech Specs
- Gender: Unisex


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Babylon A.D. [2008] [PG-13] -
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Unlike the MPAA we do not assign one inscrutable rating based on age, but 3 objective ratings for SEX/NUDITY, VIOLENCE/GORE and PROFANITY on a scale of 0 to 10, from lowest to highest, depending on quantity and context.
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� IMDb Listing
It's the near future and a mercenary (Vin Diesel) is hired to transport a young woman (M�lanie Thierry) across the U.S./Canada border. He doesn't know why his client wants her or what they'll do with her when he delivers her, and he does not care -- at least in the beginning. Also with Michelle Yeoh, Lambert Wilson, Gerard Depardieu, Charlotte Rampling, Mark Strong and Joel Kirby. Directed by Mathieu Kassovitz. [1:30]
SEX/NUDITY 4 - A young woman caresses the bare chest of a man (he wears a towel around his waist and she wears a tank top and panties), she moves toward him to kiss him and they are interrupted.
► Three women in skimpy outfits (low-cut tops that reveal cleavage and thong bottoms that reveal bare buttocks and legs) dance seductively around poles -- we see them in two background shots.
VIOLENCE/GORE 7 - A man grabs a young woman and locks her in a cage with him, another man enters the cage, the two men fight with punches and kicks and one man is strangled to death (one man has a bloody mouth). Two men engage in a cage fight while a crowd watches and cheers: we see punches and kicks, we see blood smeared on one glass wall, and we see one fighter break the neck of the other with a twist of his hands (we see blood on the hands and chest of the killer). A man, a woman and a young woman fight many people trying to stop or shoot them (we see twisting limbs, punches and kicks).
► A man shoots another man and blood splatters. A woman is shot in the chest, she slumps to the ground (we see blood on her mouth and her shirt) and she dies. A man holds a gun on three people and another man shoots him (no blood shown) and he falls to the ground dead. A man is shot in the chest and falls to his knees. A man shoots another man in the head and we see the man slumped in a chair in the background (no blood). A man shoots several men, several others shoot back at him, rockets are fired targeting the man, and one explodes near him and he is thrown.
► Many men holding guns blow down a man's door (dust and pieces are thrown through the air), hold guns on a man seated at a table, the man turns around, takes one of the men's guns, holds it to the man's chin, and then shoots (we hear the man fall to the floor, but do not see any blood or matter).
► Two snowmobiles are chased and shot at by planes, they dodge the bullets and rockets and jump over cliffs, and one is struck and the driver is thrown (we see the man lying on the ground with a bloody hole in his back; a piece of bloody shrapnel is removed from the hole).
► A large explosion at a train station where many people are gathered and waiting for trains throws rubble and debris through the air (we see a few bodies lying on the ground).
► Many people charge toward and try to climb into a submarine, people pull each other off and they drop into the frigid water around the ship, others are shot trying to get in, and others are taken into the water when the submarine submerges.
► During a car chase, people in cars shoot at another car, one car flips inside a tunnel and crashes, another car runs into a barricade, and a man climbs from one car to another, punches out the window and drops an explosive inside (it blows up). A man is shot in the leg.
► A young woman holds a gun on a man, he holds a gun on her and another man retrieves the gun from the young woman; she struggles with him and falls to the floor unconscious. A man grabs another man, holds a gun to his face, and pulls the trigger while yelling at him (no bullet discharges); he then pulls money out of the man's pocket, shoves him and leaves.
► A man, a woman and a young woman are chased through crowds by men with guns, they each fight several people and several men take the young woman away. A woman punches a man in the face and he falls to the ground. A woman slaps a young woman hard in the face. A man is strapped into a chair and a device is placed on his head (he thrashes and becomes agitated, and we hear that he is dead).
► We see three dead polar bears with bloody bullet holes. A tiger in a cage snarls and claws (a young woman standing outside is frightened). We see a dead dog hanging by the throat in a marketplace.
► A man throws money into the air and a crowd of people rush to try to get it. We see many people milling around in a refugee camp and guards with guns watching them. A group of boys in a street throws stones at a passing car.
► People walk across the frozen Bering Straits and watch as a submarine pushes up through the ice. A man gets into a car that is lifted into the air by a helicopter using a large magnet and is carried a great distance.
► We hear about cities turning into war zones and we see streets strewn with rubble and abandoned vehicles. A man talks about living by a survivor's code: "Kill or be killed." A man talks about a "viral bomb" being transported into the U.S. We hear that a man was dead for two hours and that he was "rebuilt."
► A man buys a dead rabbit from a woman in a market, carries it wrapped in paper over his shoulder, removes its head and skin (we don't see blood) and saut�s it. A man showers and we see a bloody gash on his shoulder. We see a woman receiving many injections in her face that appear to remove wrinkles instantly.
PROFANITY 5 - 1 F-word, 9 scatological terms, 3 anatomical terms, 5 mild obscenities, name-calling, 1 religious profanity, 1 religious exclamation. [profanity glossary]
SUBSTANCE USE - A man injects something into his own neck. A man, a woman and a young woman drink alcohol from a flask, a man drinks wine with dinner, and a man pours wine into a pan with rabbit meat. Two men smoke cigarettes, a man starts to light a cigarette but is interrupted, and a man holds a cigarette to his mouth (he does not light it).
DISCUSSION TOPICS - Choices, saving the planet, cloning, making a difference, mercenaries, terrorists, trust, peaceful vs. weak, persecution, artificial intelligence, suicide missions, orphanages, religion, faith, greed, miracles, virgin birth, family, chaos.
MESSAGE - Even hardened cynics can end up making emotional decisions.
Special Keywords: S4 - V7 - P5 - MPAAPG-13
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The number of Americans using Twitter has almost doubled in the past six months, according to a recent report from the Pew Research Center.
Overall, the number of adults using the social-networking site is 13 percent, up from 8 percent in November, Bloomberg News reported. The report also shows that over the same time period, 19 percent of adults ages 25 to 34 use the service, up from 9 percent. Plus, usage has increased among people ages 35 to 44 and 55 to 64, by 14 percent and 8 percent respectively.
Despite the jump in usage, Twitter finds its utilization rate among adults lagging far behind Facebook, which is at about 65 percent.


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About Conn IgguldenSee more books from this Author
The writing does, however, make for a pacey if remorseless read, and the book has much to teach about a time and a people long shrouded in legend (much, apparently, deserved). But it contains too few surprises. In short, this is alpha-male fiction, red in tooth and claw.Read Full Review of Khan: Empire of Silver: A Nov... | See more reviews from WSJ online
An aggregated and normalized score based on 239 user ratings from iDreamBooks & iTunes


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> > I am sorry Ardeshir, but the problem with what??
> The problem with a life of destitution, of course.
you make things sound so gloom and doom, like the logical fallacy of the
slippery slope, it will all lead into an eventual ending here... Yet you
sign off with best. Ardeshir, sometimes I wonder why you are part of this
group but have not had the guts to ask because I felt I was being
judgmental. I do believe my judgments are only supposed to serve me in
making my own decisions on how I will interact with others becasue I dont
like being judgmental of others.
I am very curious and almost hesitant to ask why you are here? I ask this
because I see nit picking over details that are subject to subjective
opinion, in each beholders eye. Often I read negative gloom and doom posts.
We all have our opinions. If they dont match yours, great, if they do,
I wouldnt expect my children to have the same views about anything but I
would assume each comes into their own blossoming in their own way. I dont
want to focus on how they got there, especially if it isnt in my agreement
but the bigger picture is that they get there. And it is up to them, just
like it is up to you and me to have an opinion. And the outcome of that
opinion, may not match your gloomed expectation and by the way you ARE
creating your reality when you put a bumper sticker on your car that says
Shit Happens.
I do not see it as destitution or I would have given up a long time ago. I
wouldnt waste my time when I could be doing things that are productive for
me. I began to ask myself, would I rather be right, or would I rather be
happy and I found the answered lied in my desire to be happy and how that
impacted my relationships. Sometimes that need to be right was more
powerful, but the only person hurt by that experience is me ultimately,
since I am not the person who is experiencing happiness, since I chose to be
right instead. I dont always think they are on the same side. You know, we
have that little devil and angel resting on how shoulders all the time.
I wish you happiness. I apologize if I am out of line. But I felt I needed
to speak the words of my own opinion.
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text:
The Rangers roster began to take full shape on Sunday and for the first time since training camp opened that roster included Derek Stepan.
The presumptive first-line center took part in a practice that lasted more than an hour days after signing his two-year $6.15 million deal. He centered a line with Brad Richards on the left — yes that Brad Richards who won a Conn Smythe trophy as a center — and Ryan Callahan on the right — yes that Ryan Callahan who still is recovering from offseason shoulder surgery but had been cleared for contact on Thursday.
"It's been awhile to be back in the swing of things was something I was very happy with" said Stepan whose Rangers will open the season Thursday against the Coyotes in Phoenix part of a season-opening nine-game road trip. "My biggest objective is just to get back and be ready for Thursday."
Stepan returned to a team that is quite different than it was during the latter part of the preseason which finished on Friday night in Las Vegas. For one Richards is playing on the wing for the first time in a long time. Coming off the worst season of his career when he almost had his contract bought out by the team Richards is willing to do anything to gain some traction early.
"Hopefully we can get something going" Richards said. "If it works it means we're staying and if we're staying it means it's working. And vise versa."
Callahan ruled himself out for Game 1 as he still has to wait and see how his shoulder reacts to contact a timetable that new coach Alain Vigneault said could be between seven and 14 days. Taking that wing spot on the top line will be Rick Nash who sat out Sunday's practice to rest after taking a shot in the foot during the team's 4-1 loss to the Kings in Vegas.
So Vigneault has a bit of a stockpile of centers and the result was Richards on the wing — for now.
"With Derek coming back at the end of the day that gives us five NHL centermen" said Vigneault who also has Derick Brassard Brian Boyle and Dominic Moore up the middle. "That's probably something moving forward here that we're going to use one of those guys on the wing. I think Brad is comfortable at any position. He's an experienced player a player that just wants to come in and contribute."
NHL Headlines
The Rangers roster began to take full shape on Sunday and for the first time since training camp opened that roster included Derek Stepan.


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Rotterdam could have looked very different from what it does today if Witteveen's plan had been put into action in 1945 or the plan for a large roundabout in the Old port had been taken up or even if the plan for the champagne glasses at Central Station had become reality.
However, these are all what ifs…
This is what the exhibition's main focus is, 'What if…'.
This is the main focus of the exhibition…
This exhibition shows the visitor what Rotterdam would have looked like if other plans and choices had been made after the Second World War. These choices could have made Rotterdam into a metropolitan city or even the total opposite, into a small urban town.
There are four panorama's show us how the city could have looked from the North, South, East and West. There are three images: the city as it is now, as a metropolitan city and as a small urban town.
Welcome to the city that never was!
Name: Rotterdam Nooit Gebouwd
Location: Rotteram
Date: 2009-2010
Client: Historisch Museum Rotterdam
Thanks to: Paul Groenendijk
Photographs by Maarten Laupman


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King Soopers Weekly Ad - King Soopers is a supermarket brand of Kroger in the Rocky Mountains of the United States; it has its headquarters in Denver, Colorado. King Soopers has a significant presence in the state of Colorado on the eastern slope of the Rocky Mountains. The stores are located along the Front Range from Cheyenne, Wyoming, to Pueblo, Colorado.
There are also a few locations in the foothills west of Denver and Colorado Springs. In 1947, Lloyd J. King opened the first King Soopers store in Arvada, Colorado. His mission was to offer shoppers "friendly service, value, cleanliness and quality", A few years later, King Soopers had grown to nine stores, and it was acquired by the Dillon Companies in 1957. In 1983, Dillons merged into Kroger.
Continue reading about King Soopers Weekly Ad here: King Soopers Weekly Ad.


text:
Artbeat Chicago
Monday, September 18, 2006
News Analysis with Carol Marin
Electric bills are set to soar 22% after a decade-long rate freeze expires. Carol Marin's panel debates the shocking developments. Guests: Anne Pramaggiore, Com Ed; Mary Wisniewski, Chicago Sun-Times; David Kolata, Citizens Utility Board. Click here for information about Com Ed's customer assistance initiative, C.A.R.E..
Bears Alumni Club
The Bears notch a definitive win yesterday against their division rival, the Detroit Lions. We'll chat with former offensive tackle Ted Albrecht in our Bears Alumni Club.
Critic for a Day
We review "The Last Kiss," a new film about 20-somethings taking the plunge into adulthood. Our critic for a day is ABC7 news anchor Karen Jordan.
Chicago Stories
We look back at Cook County's most infamous unsolved murder on its 40th anniversary.
Post-war Chicago as seen by master photographer Harry Callahan. It's the last week for this show at the Art Institute of Chicago.
Viewer Mail


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text:
I don't have an Absa account and I received this email.
Be aware, this cannot be from the bank.
The email address it was sent from is: Absa - <firstname.lastname@example.com>
The email reads:
Dear Client,
Some incorrect attempts to your online access was detectedand for your safety have temporarily deregistered youraccess.
Please respond to this by confirming your identity toshow you are not currently away.Confirm online access
You are advised to comply strictly to this feature to keep your internet banking access from getting closed.
|Report ID:
|Crime Category:
|Free State
|Crime Date/Time:
|8 Jul 2014, 00:07 AM
|Reported By:
|Reported Date:
|25 Jul 2014, 10:07 AM
|Related Link:
So THESE FINANCIAL INSTITUTIONS ARE NOT LEGAL, SO WHY NOTERASE THEM FROM WEBSITES, COS THEY STEALING MONEY FROM PEOPLE WHO NEED HELP SO HOW CAN I FIND OUT IF THIS ACCOUNT IS LEGAL OR ACTIVE FROM APPROVALANDFIRMFINANCE
Good EVENING I WOULD LIKE TO KNOW IF APPROVALFINAMCE IS A LEGAL REGISTERED COMPANY, COS I PAID R3000 FIRST FOR SECURITY FEES, THEN FOR REGISTRATION FEES, NOW THEY WANT FEES FOR CLEARANCE, THAT'S WHEN I BECAME SOMETHING IS NOT RIGHT
I was contacted via email from an email address which looks legitimate (...@absa.co.za), saying: Dear Customer. Kindly see attached for more information. Thank you for your attention. Sincerely Absa Internet Banking The attachment was a link to a Web page so I opened it knowing I would likely be asked for more info. This is what the link said: (note that the header was official Absa Bank logo) Dear Csutmer. Your internet banking account will be locked 18/08/2014. to unblock your account please follow website below. http://ib.absa.co.za/locked_accounts/verify.aspx Thank you for your attention! Sincerely! Absa Internet Banking


text:
there exists a nice database called LiteDB. What I find inconvenient there is an absence of attributes for specifying relation type (value/reference) between collections, but it provides fluent interface for that purpose (details: https://github.com/mbdavid/LiteDB/wiki/DbRef). I am lazy guy and don't want always synchronize this fluent relation description to follow the changes in my data model. So, I decided to realize runtime discovery of the data model entities with properties marked by attribute DbRef (my custom attribute). Unfortunately, I am stuck a little with creating the
BsonMapper.Global.Entity<Order>().DbRef(x => x.Customer, "customers");
Well, you have the entity type
T, property type
K and the property name. To build the
Expression<Func<T, K>> you could simply use
Expression.Property and
Expression.Lambda methods like this:
var parameter = Expression.Parameter(typeof(T), "x");
var body = Expression.Property(parameter, propertyName);
var selector = Expression.Lambda<Func<T, K>>(body, parameter);


text:
Earning money from online surveys is one of the practical ways individuals, stay at home moms, college students, and many people seeking an extra source of income can do just that; make a living on the Internet.
Many people are able to earn money from online surveys for FREE all without any investment on their end; by taking advantage of the vast opportunities the Internet has to offer.
However as with many things on the Internet, you should be cautious where you are expected to spend money to make money, as although the Internet is a fantastic place for information and to obtain some superb deals, it is also full of companies and individuals willing to make money through unscrupulous means. In fact it is a good idea to be wary of any individual or company that requires you to pay them upfront for the chance to earn money from online surveys or indeed any online work where they are acting in the capacity of an employer, because if you are the one paying the company that is supposed to employ you and aide you in making money online, then who is the employer and who is the employee?
The Internet with its vast reach potential has made it possible for many individuals to earn money online for free and without any financial investment on their end, from online surveys and market research.
Companies have realised that they can significantly reduce their advertising expenditure, when compared to the traditional models of advertising in television, radio, newspapers and magazines, and best of all they get direct access to their potential consumer base skipping any middle-men in the process, which helps in narrowing their target to pin-point accuracy on their intended audience, folks like yourselves.
For helping these companies improve their products and services, through the use of carefully selected market research surveys and questionnaires, these companies would like to reward you with cash and much more.
This is a fantastic way for many individuals including students, stay at home mums, and anyone looking to earn money online from surveys to do just that, and is also beneficial for the companies involved as they get to develop amazing products and services that is tailor made for their potential consumers, as a direct result of the surveys and questionnaires their potential consumer base fills out.
The surveys and market research related questionnaires usually lasts a few minutes, and a few details are usually required before proceeding to the main part of the survey; such as your name and email address, and it goes without saying that the longer the survey the more you get paid. All that is required to start to earn money from online surveys is an email address.
So if you would like to earn money from online surveys ensure that your email address is genuine as this is how the companies involved can contact you.
If you were told that your email address was all that was needed for you to earn money from online surveys, it would be a great idea to grab this opportunity with both hands, so don't be left out and let this amazing chance pass away to earn money from online surveys.
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Search Used Classic Cars By Make / Model
Welcome to Classic Cars
Ireland's No.1 website for vintage cars, motoring news and reviews. From classic muscle cars to Model T's, we have them all and you'll find them right here on Classic Cars. Both classic car dealers and Private Sellers offer second hand cars from a wide variety of car manufacturers around Ireland, why not take a look or even place your own car ad now!
Classic Cars also has a magazine presence as part of Car Buyers Guide magazine, Ireland's best place to find a bargain. Why not subscribe to one of our many award-winning publications, you can subscribe quickly and easily online.