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Enemy of the State (UK - BD RB)
Our Scott McKenzie takes a look at this HD version of Tony Scott's blockbuster...
Robert Dean (Will Smith) is a successful New York lawyer, working on a high profile case in the run up to Christmas. If his life wasn't stressful enough with the mob to deal with on a daily basis, he runs into an old college friend who then meets a sticky end under a fire engine just seconds later. Unknown to Dean, he is now the custodian of video footage of the murder of a congressman who refused to go along with the nefarious plans of NSA official Thomas Reynolds (Jon Voight). The NSA then uses all the technology at their disposal to ruin Dean's life and track him down before he realises what he has in his hands.
With Enemy of the State nearing its tenth birthday and having only seen it once before, I was expecting it to show its age. Movies that depend on technology tend to look old very quickly, but aside from the old school mobile phones, I was surprised how modern it still looked. In actual fact it is probably more relevant now than it could have been at any time in the last decade, with the central premise of the US government monitoring its own people mirroring the recent scandal of NSA wiretapping. At the risk of kicking off a raft of comments for and against this practice, I'll move on quickly…
What also surprised me now was the strength of the supporting cast in Enemy of the State. In addition to Will Smith and Jon Voight, Hollywood's go-to guy for old-timer credibility, we're also treated to performances by Gene Hackman, Gabriel Byrne, Tom Sizemore, Jack Black, Jason Lee, Scott Caan, Jake Busey, Seth Green, Jamie Kennedy and Barry Pepper, some of them in uncredited appearances. I know that back in 1998 a lot of them were pretty much unknown, but the relative successes of their careers since then was a little off-putting because I felt so many of them were wasted in their roles, in particular Gabriel Byrne who leaves the screen almost as soon as he arrives.
While there's plenty going on away from Will Smith's character in the early scenes, it takes him a while to get into the action. Once he does, the story moves quickly from one set-piece to another, with the NSA's cutting-edge surveillance technology providing the plot devices that join them together. The only real problem I had with this movie was that the events that link one scene with another are sometimes based on nothing but chance. The most obvious is the way Dean gets involved in the action. Not only does he have to be in the same store that Jason Lee's character bursts into while on the run from the NSA, he also has to know him from college, be carrying bags big enough to drop the video player into and hand him his business card before he leaves the store. See what I mean? If any one of those things didn't happen, the Fresh Prince would have gone home to his wife and kids that night and had a nice quiet Christmas.
As for the way the film looks, we're in classic Tony Scott territory, with fast camera movements, quick edits and diagonal camera angles. He does well to make grey December days in New York look colourful with bright lighting wherever he can. I did get the feeling that he was playing this one by the numbers though; for example, he did the final showdown a lot better in True Romance. Coming between the craziness of Men In Black and Wild Wild West, this is one of Will Smith's more toned-down performances and with some scenes set in similar locations to I Am Legend I found it made a pretty decent companion to his latest movie.
Good news and bad news in the video stakes. The good news is that the movie is presented in 2.35:1 widescreen (1080p). The picture is a lot more detailed than its little DVD brother and the colours are strong, with bright primary colours and satisfactory black level. The bad news is that the print doesn't seem to have gone through any remastering process for this release, or if it has then it still needs some attention. There were obvious scratches and imperfections on the DVD version and I'm sorry to say some of them are still here. I compared both versions and can confirm that some of the same scratches occur in the same places. Most obvious of all is the wobbly Touchstone logo at the beginning of the movie, which set my expectations lower than they should have been from a disc that came in a case with 'maximum hi-def experience' written on the cover.
It's a similar story with the audio quality but to a lesser degree, with DTS and PCM options available in various languages and for some reason the audio description option from the standard DVD isn't included here. Composers Harry Gregson-Williams and Trevor Rabin have both worked with Tony Scott and Jerry Bruckheimer before and since Enemy of the State so you should know exactly what to expect from the soundtrack. The music sounds powerful, with booming bass and the dialogue is clear. There are plenty of explosions and gunshots that sound fine through the surround channels but I wasn't blown away by the action as much as I thought I would be by such a big movie.
Unfortunately, there's more bad news here. Aside from the 'Movie Showcase', which is no more than key scenes edited together for no particular reason, all we get is the same extras that we got on the DVD released in 2001. Four deleted scenes are available but there's no 'play all' option, so watching all of them in one go involves a lot of button pressing for not much return. The 'Making of' featurette clocks in at just under thirty minutes and is genuinely interesting, including interviews with the technology advisors that Tony Scott called on to tighten up the screenplay. 'All Access: The Showdown' goes behind the scenes at the final gunfight, showing Tony Scott advising the actors when they should shoot and get shot. The theatrical trailer rounds out the extras and as is the case with the Blu-ray discs I've reviewed so far, is in standard definition and can be used to compare the quality of regular DVD with high definition.
On the whole, I'd say that Enemy of the State is a decent techno-thriller that works better when you try not to think about why things are happening and just enjoy them when they do. It does suffer from an overly-complicated plot involving the NSA and the mob and it feels like its running time was trimmed down significantly. An extended cut was released on DVD in 2006, which makes me think this is a favourite for an early Blu-ray double-dip. The transfer doesn't seem to have been given too much attention in this upgrade to Blu-ray from regular DVD and without any exclusive HD content, unless you're the biggest Will Smith fan in the world I'd move this down your wish list until it comes down in price or a remastered extended edition is released.
* Note: The images on this page are not representative of the Blu-ray release.
Review by Scott McKenzie
£ukasz D Member Join Date: August 2005 Location: Poland Posts: 859
i realy like the film - good old Hollywood action thriller - bether than a lot of c*** that comes out lattely.
sec127 Member Join Date: January 2008 Location: United States Posts: 192
i have always liked the movie. i think its fun regardless of how over the top and crazy it all seems.
Lincoln6Echo Member Join Date: August 2004 Location: United States Posts: 1,125
Are you comparing this to the original 2001 DVD or the extended 2006 DVD?
If the earlier, it sounds like they used that transfer for this BD version. However I thought the video and sound on the 2006 extended version was outstanding. The sound field was extremely strong for a 1998 film. And I believe the video was remastered for the 2006 version as it was an extended cut after all.
If the earlier, it sounds like they used that transfer for this BD version. However I thought the video and sound on the 2006 extended version was outstanding. The sound field was extremely strong for a 1998 film. And I believe the video was remastered for the 2006 version as it was an extended cut after all.
Wolfmother Member Join Date: November 2003 Location: United States Posts: 159
This is before Jason Lee started doing bulls|hit like Underdog and Alvin & the Chipmunks
scottmck Contributor Join Date: April 2006 Location: United Kingdom Posts: 393
Lincoln6Echo wrote: Are you comparing this to the original 2001 DVD or the extended 2006 DVD?
I was comparing it with the 2001 DVD. The quality is much better in high definition but the same imperfections showed up at the same points in the BD version. I've heard better things about the 2006 extended version and it makes me wonder why that transfer wasn't used to create the Blu-ray disc at the same time.
I was comparing it with the 2001 DVD. The quality is much better in high definition but the same imperfections showed up at the same points in the BD version. I've heard better things about the 2006 extended version and it makes me wonder why that transfer wasn't used to create the Blu-ray disc at the same time.
Sam Spade Member Join Date: January 2007 Location: United States Posts: 2,032
Enemy of The State is on TV all the time.Fantastic movie made even more relavent due to todays politics.It's crazy, but not nearly as crazy as Conspiracy Theory.One of Will Smiths best too.
Larry King: You've got no right to come into my home.
Larry King: You've got no right to come into my home.
Tom Editor Join Date: May 2001 Location: United Kingdom Posts: 2,497
Aye, I really liked the film too. The only film I haven't liked from Tony Scott in the last 10 years or so has been Domino, which was utter tripe!
napalm68 Banned Join Date: May 2006 Location: Australia Posts: 121
Yeah, the quality of the 2006 extended version was way better than the original release. And the extended version has some good Jack Black bits in it
Worst Nightmare Senior Member Join Date: July 2002 Location: Australia Posts: 6,716
No commentary though - shame!
Suitable only for persons of 15 years and over
Disc Details
Release Date: 19th March 2007
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.35:1
Anamorphic: No
Colour: Yes
Audio: Dolby Digital 5.1 English, Dolby Digital PCM 5.1 English, Dolby Digital 5.1 French, Dolby Digital 5.1 Spanish, DTS 5.1 French, DTS 5.1 Spanish
Subtitles: English, French, Spanish, Swedish, Norwegian, Danish, Finnish, Icelandic, Dutch
Extras: Deleted Scenes, Making of, All Access: The Showdown, Trailer, Movie Showcase
Easter Egg: No
Feature Details
Director: Tony Scott
Cast: Will Smith, Gene Hackman, Jon Voight, Lisa Bonet, Jason Lee
Genre: Action, Adventure and Thriller
Length: 127 minutes
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text:
He came in from the rain wearing a scarf, tattered pants, unlaced canvas tennis shoes and a sweater somewhere between the colors of plum and rust. His hair looked like an approaching storm, and he had missed a spot shaving just above the collar. His publicist — he's not crazy about publicists — whispered a friendly warning: "Have you met Stephen before? He can be a bit dry, he has a dry sense of humor. British."
Stephen Frears, the director, walked past the concierge, through a half-lighted, polished lounge at the Four Seasons in Beverly Hills. He spotted a seat on a covered patio. The rain kept falling. He said he felt like Frank Sinatra, trotted out into the limelight for a new song. He was pleasant, if tired, chatting about virtue; religion (he's not devout); artistic independence; the early days of his career; his ambivalence toward Hollywood and those magical details, such as Anjelica Huston's legs or Gary Oldman's sly whimsy, that conspire to frame a scene.
He was in Los Angeles on a recent intemperate morning to promote his new film, "Philomena," based on the true story of a woman's quest to find the out-of-wedlock son the Roman Catholic Church forced her to give up 50 years earlier. Starring Judi Dench and Steve Coogan, the movie is a sensitively calibrated road comedy in the manner of "It Happened One Night" and an indictment against the church in Ireland, which for decades banished unwed, pregnant girls to work in convent laundries while putting their children up for adoption.
OSCAR BUZZMETER 2014: Pundits' picks
"Philomena" has been nominated for a Golden Globe for motion picture, drama and Dench, who plays the title character, a mother of deep faith on a seemingly quixotic adventure with a petulant journalist (Coogan, who also co-wrote the book-adapted screenplay), is up for actress in a drama. The film is a study of forgiveness, sanctity, corruption and, when truths are finally revealed, transcendence. Philomena's simplicity and unadorned determination — she quotes romance novels and is fascinated by hotel TV — are more profound than the centuries-old institution opposing her.
"I can't pretend I'm devout. It's a mystery to me," said Frears, 72. "I'm as prejudiced against Catholics as everybody is. It's not very difficult to attack the Catholic Church. [But] the writers didn't just want to attack the church. They wanted something more complicated. ... There is still a lot of it I don't understand. Maybe it's that a lot of it is about innocence."
The director, who faced the trick of balancing comic banter with the darker edges of Philomena's anguish, said he had never considered making a film dealing so overtly with the ecclesiastical. "But religion is important to a lot of people," he said, "and maybe that's more interesting than I realized."
Unheralded lives caught amid the grains of larger forces shaped Frears' works in the 1980s, including "My Beautiful Laundrette," which brought Daniel Day-Lewis international attention, and "Sammy and Rosie Get Laid." Those stories of poetry and piquant humor, both written by Hanif Kureishi, explored immigration, racism, conflicting ambitions and unrequited desires during the harsh economic rule of former British Prime Minister Margaret Thatcher, who Frears said once quoted the prayer of St. Francis of Assisi only to "systematically destroy" it with her policies.
PHOTOS: Behind the scenes of movies and TV
"There was a time when I made films and they were all about gay people or Pakistanis or women," he said. "Films about women are generally subversive. They were all subversive and then I somehow stopped doing that . But I didn't know at the time that that's what I was doing."
Was there a link between those narratives and other films?
A furrowed brow. A pause. The rain quieted. A cigarette.
"You'd have to ask a psychoanalyst," he said. " I don't brood about it and I'd much rather be unself-conscious. I have no desire to make the same film twice."
Dench's Philomena is the latest of Frears' strong women characters. They are a strikingly eclectic lot, haunting alleys and palaces, forces unto themselves, including Helen Mirren's prim turn as Queen Elizabeth in "The Queen," Glenn Close's corseted, scheming aristocrat in "Dangerous Liaisons" and Huston's platinum-haired con artist in "The Grifters."
"I've really only ever known strong women in my life. I don't know where all these weak women are. You know, they're all tough broads," Frears, who is married to painter Anne Rothenstein, said of Mirren, Dench and others. "You have to be on your toes. If you're an idiot they'll tell you." He said as a director "you try to make a film that's a bird's nest in which they can sit. I can't tell Helen or Judi anything about acting. ... You know what British actors are like. They just do it."
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As a boy and a young man, Frears, who would later work as a director for the BBC, was struck by film images such as Robert Mitchum "smoking a cigarette and walking down the street." One of his first brushes with American movies was "Red River," starring John Wayne and Montgomery Clift as cattle drivers. The innocence epitomized by the western would fade against French New Wave and Italian neo-realism films that reflected society as "cinema became self-conscious."
Another pause. Frears is comfortable in the silence between words. A valet's voice echoed beyond the courtyard wall.
"You know, a lot of the work is very technical," he said. "I know you're not supposed to say that in the age of the auteur. ... I'm rather against the whole notion. I enjoy being collaborative."
Frears has no distinct style; his rhythm and direction conform to the story at hand. His success on independent films landed him his first Hollywood studio movie, "Dangerous Liaisons" (1988), which was nominated for seven Academy Awards, including best picture. But some of his follow-ups were disappointing, including "Mary Reilly" with Julia Roberts, which Kenneth Turan of The Times said was a series of "miscalculations that turned what seemed like a promising project into a grim reaper of a movie."
"The truth is, I came to Hollywood," said Frears, reminiscing over the sting of a past infatuation. "I got asked to make a studio film. 'Oh, I see the price. You win with the best independent film and the price is giving up your independence. ... In an odd sort of way it made me realize how independent I was, much to my surprise. I've always enjoyed American studio films and I worked with these big actors and they were very good. I think I thought I could make films with big stars but it turned out I couldn't. I simply don't understand that world.
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"You make films in a much more public way," he added. "It probably disconcerted me."
Any man who has lived into his 70s has seen technology eclipse what once seemed so tangible. Filmmaking equipment has grown smaller and more nimble from "how creaky the whole thing was," said Frears, who is at work on a biopic about disgraced cyclist Lance Armstrong. "The phenomenal weight of the cameras. ... The whole time you're trying to figure out what the modern world is like and realizing the gap between you and it."
The success of much of his career has been telling smart, resonant stories; the quirks and eccentricities of the desperate and the searching, even the refined souls among them. "You just sort of do it," he said, "and if you're lucky you get it right." He spoke on, his eyes watery from jet lag. A publicist appeared like an aberration. It was time to walk back through the lounge and past the concierge to another room where another publicist stood near a table of juice and coffee.
The publicity of marketing a film "has exploded," he said, noting he was in Calcutta in 1985 when "My Beautiful Laundrette" opened, and only knew of the film's release because of the review in the newspaper. He smiled at that. So ancient, so quaint, it had seemed.
A photographer set up portrait lights. Frears fixed his scarf and took a seat. It was still only morning.
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subset: commoncrawl


text:
Bill...The best backup method I've found is imaging. The best software I've found is Acronis True Image (http://www.acronis.com/). The $50 price tag is peanuts if you place any value on your time at all -- which you'll spend loads of restoring the old way. As noted on Acronis' website, "Acronis
How to back up and restore my PC to the exact same condition it was before
I have read the many articles on backing up your computer, but I have never seen an article that tells me how to do what I would like to do most, and that is to restore my computer to the exact same condition it was in before my hard-drive went belly-up! Well, I should say, to restore it to the state it was in at the last back-up.
I definitely do not want to have to reinstall Windows, download all of the "patches," get all the drivers, etc., etc.. What I really want to do is to keep a back-up of *everything* so I can put *everything* back the way it was. I have tried a "restore" before, but was not successful and had to go through the above tedious procedure.
I will bet you that almost all computer users would like to know how to do this, and the articles I have seen are not too clear on whether you can even do it, and if you can?t, why not?
Yours truly,
--Submitted by: Bill L.
Answer voted most helpful by the CNET community
All Roads Lead to Rome...
There are a LOT of options for doing this these days. Some of them are cheaper than others. Some are better than others.
Either way you look at it, to do a true, full backup in this day and age, you'll probably need a hard drive equal in size to the one that's currently in your computer. Forget tapes, floppies, CDs and DVDs. None of them are a.) fast enough nor b.) large enough to capture all but the smallest fraction of most modern hard drives. Not to mention, using any of these methods are just no longer up to the task.
Ergo, your best bet would be another hard drive. Fortunately, hard drives are dirt cheap. So then, the big $64,000 question here is how it needs to be hooked up. That would depend on your current configuration, what kinds of drives you've got and what ports are available on the motherboard. You'll need to purchase and install the drive in the same way the current one happens to be installed.
Once you've got the spare drive installed, boot into Windows and let Windows recognize the new device. Once that's done we can go about making use of the new drive.
Now then.. How to do the backup/restore? There are a few options that are currently available in this arena. These would be:
1.) a RAID array
2.) Partition cloning software
3.) Traditional backup software
Each has it's strength's and weaknesses. Such as: A RAID array keeps a real time copy of your C: drive but it adds extra overhead. On the down side, a RAID array is slow as the controller has to write the data to two destinations and make sure that both copies are in sync.
Partition cloning software such as Norton Ghost or Paragon Hard Drive Manager allow you to make a duplicate of your existing partition but once you've made the copy, changes aren't automatically added. Copied drives can be plugged into the original's place and with minimal fuss, be brought up to full running condition in short order. Just unplug the old dead drive and plug the new one in it's place, boot and you should be good to go.
Traditional backup software - meaning ANYTHING besides the crap that's rolled up into Windows - such as Veritas - have options to back stuff up securely, but you would have to run the restore option to retrieve the data. You can also create the archive with a password to protect the data. Of course, this does you NO good if you forget said password. The downside to this method is you have to schedule the job, preferably at a time when the computer's not busy - like 3:00am. It's quite useless, however, when it's shut off at the appointed time.
Under "ideal" conditions, your backup drive would need to be pulled out of the machine and stored somewhere else. Namely somewhere that if your computer's location was to be hit by fire, an act of god or some other disaster, the backup wouldn't be in the same location and would be safe, ready to be popped into the new computer, with the data intact. But let's be honest... MOST people I know who say they want to do backups are lazy slugs when it comes to implementing this and never do. I had one client who had a tape in his backup drive but he never bothered checking to see if the backups were ever done, nor did he ever swap the tapes out (I made sure to get him hooked up with a full set of 12 tapes just so he could swap it out each day and swap the set out with a couple of spares). So much for trusting IT chores to non-IT people... But I digress.
My two cents worth on this: I prefer the drive partition cloning software. You install the spare drive, clone it and simply unplug it. this means the drive is in place, ready to go with a simple cable swap. With the drive unplugged, you get three benefits.
1.) You don't run the risk of saving files to the backup drive and
2.) With it not connected to anything, it can't be infected or infested with spyware, crapware, malware or what not. Of course, it would be smart to do a full and complete virus and spyware check BEFORE making the backup to insure it's clean.
3.) Since the drive isn't plugged in, it's not running all the time, nor should it be wearing out. It should be as good as new.
Of course, the one big downside to this method - updates aren't included. Nor would any new software or data files. So you would have to repeat the cloning process say - once a month before you've done your Patch Tuesday updates - just in case an update does something nasty to your system.
Now you might be wondering why I didn't suggest using an external drive. The answer would be simple. Yes, it can be done, but there are a number of negatives.
1.) It's SLOW compared to native IDE/ATA 133 or SATA 150 or 300 speeds. Cloning an 80 GB drive using an internal hard drive takes about 30 minutes from start to finish.
2.) If you were to use the drive in the enclosure, you'd have to take it apart and remove it and then install the drive in the main case.
3.) You would have to swap the bad drive out with a new one and then restore it which can be fairly slow.
An option to speed things up...
Removable drive cages. While they're not the most fashionable bits of technology, they DO simplify connecting and disconnecting the backup drive. If you buy a pair, you can put your primary drive in one while you put the backup drive in the other. Should the primary fail, you can simply shut down the computer, pull the bad drive out and insert the backup into the primary's slot and be on your way.
One last thing...
Windows Home Server (when it becomes available in the coming months) will have some VERY powerful real-time backup software built into it. Whenever a file changes, it gets automatically backed up to the server. If you need to restore a file you accidentally deleted it, it's made easy. If you've got multiple PCs, it keeps track of them all using a very cool space saving system where duplicates of a given file are merely backed up once and only once which makes things more compact.
The downside to this - it's not quite available yet. It will be soon. It also requires a home network, and at least one PC. On the bright side - it doesn't require a keyboard, mouse or monitor. It does require some basic home networking - much of which, you may already have. If memory serves me, it also has the capability to boot with a blank hard drive via a CD so you can restore the partition directly from the server.
It's some VERY cool technology that's on the horizon. From what I've read, the software's been released to manufacturing - and HP and a number of other vendors have already announced they will be making WHS boxes they will be selling this Fall.
--Submitted by member Wolfie2k5
If you have any additional advice for Bill, let's hear them! Click on the "Reply" link to post. Please be detailed as possible in your answer. Thanks!


text:
Comments for individual derby entries are placed in this thread.
Re: Octavius
Thank you to everyone in the pre-derby thread for your suggestions, and for pointing out the places to fix to avoid rejection!
Re: String Theory
Science punnnnn.
This is one color on an olive shirt. Thanks for looking!
Re: Yarn Attack!
When you least expect it... yarn attack!
This is white on a red shirt, please vote if you like this design!
nice! +1
Re: Digitization
Thanks for looking!
Also, for those who are curious, yes I am aware that a/d converters are not created by daisy-chaining a bunch of resistors together and arranging them into a roughly sinusoidal pattern.
Nice one dude. Love the crispness of the lines
Re: I'm alive!
Maybe I'm Crazy But i look at this and see Maine, from the state so perhaps I'm bias.
I came up with this idea and, honestly, I had so much fun doing it!!
I saw a few minutes ago at Facebook that Walmazan had made a design concerning dinosaurs and an electrocardiogram! Ouch! If I had seen it some hours ago I would have gone with something different... Anyway, I hope you like it!
Re: Extinction
I hope you like it!
By the way, its just one single line but on zig zag for the half tone effect, I hope on this way it is not braking any rule
Re: Linear Equation
Brilliant! +1
Re: Deadly Web
Halloween is coming soon! I can't wait!
Re: Line Panda
Cute panda that I used varying width of line for the eyes ears and nose, hope you all like it!
hehe, excellent! +1
Re: Unusual Reading
I guess it means your heart is all aflutter... or the EKG is broken.
This derby is a great drawing exercise. I might make another entry later. Hope y'all like this one!
Re: Ying Yang Battle
When your soul is calm and focus on your inner Ying, managed to see your struggle.
Re: Gamer line
For the love of truth does not need more than one line
Re: Nice Stems...
wow. It's got some nice optical illusion negative space
Re: Can I Keep It?
This boy found a new "pet" at the beach!
Hope You like it!
Re: Spaghettification
In honor of Neil deGrasse Tyson, making physics fun...
Well amazing, uh, idea.
Sweet +1
like the colors
terceralegion wrote:For the love of truth does not need more than one line
Re: Ideas
This is great Naolito, I couldn't expect less from you! ;)
I like!
Retro Rocks! +1
Re: Watch your Back
I love that! Keep in the fog!
Sweet! This is a great idea!
Looks cool on the shirt there, nice!
Mathmatical Genius! +1
Beautiful! +1
Oh you. Always with the clever. :^)
ha ha!
Re: Just formal enough
Fancy yet casual, perfect for hanging out in the matrix...
I like it a lot Wirdou, the heartbeat lines changing with the action is very clever.
But I have a question. What is that at the end?
View All →


text:
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By ,
Published January 13, 2015
Olympic sprint champion Shelly-Ann Fraser-Pryce was upstaged in her first appearance at an indoor meeting, finishing second behind Murielle Ahoure in the 60 meters at the Birmingham Grand Prix on Saturday.
The race was hyped as the resumption of the rivalry between Fraser-Pryce and world 100 champion Carmelita Jeter, but Ahoure powered clear to win in a personal-best time of 6.99 seconds.
"My goal is obviously the world championship outdoors, so we've just been training for the 100 meters," said Ahoure of the Ivory Coast, who finished seventh in the Olympic final last year. "It's so cool to come out here in the middle of training and drop a time like this, it's crazy. It tells me it's going to be a really, really good year."
Fraser-Pryce ran 7.09, with Jeter coming fourth in 7.18 behind her compatriot from the United States, Barbara Pierre.
U.S. sprinter Michael Rodgers ran a season-best time of 6.53 seconds to win the men's 60, holding off Nesta Carter of Jamaica. Antoine Adams of St. Kitts and Nevis was third.
Mo Farah, the Olympic champion at 5,000 and 10,000, gave the home fans something to cheer by pulling clear in the final lap to win the 3,000 in 7 minutes, 42 seconds.
Farah, one of the stars of the track at the London Games, will not compete at the European indoor championships in Goteborg, Sweden, from March 1-3, instead focusing on running in the New Orleans half-marathon on Feb. 24. He said on Saturday he would be stepping up in distance and aiming to run his first full marathon in London next year.
"I think practice will make perfect," Farah said. "The more practice you can do you can get it right."
Genzebe Dibaba of Ethiopia attempted to light up one of the biggest indoor meets of the year by breaking the world record in the women's 1,500 but came up short by 2.5 seconds after a solo run from halfway.


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For the Media
Sohn-Robinson Named Director of Clarkson University Student Health Center
Sunhee Sohn-Robinson has been named director of Clarkson University's Student Health Center.
Most recently, Sohn-Robinson was physician assistant at Canton-Potsdam Hospital's Prime Care Clinic. In her new role at Clarkson, she will remain an employee of the hospital, representing the latest joint effort by the University and Canton-Potsdam Hospital (CPH).
Sohn-Robinson is a graduate of the Albany Medical College/Hudson Valley Physician Assistant Program and also has a bachelor of science degree from Binghamton University. Prior to becoming a physician assistant, she held positions in information systems management for private corporations.
Sohn-Robinson brings to Clarkson comprehensive clinical skills acquired at primary and acute care clinics and in-hospital chemical dependency treatment services and says that she looks forward to working in a community that recognizes the vital link between education and health care.
At the Student Health Center, CPH provides clinical services to students, including basic medical care, preventative care, general physicals for student related activities and limited urgent care. Students also have access to CPH's state-of-the-art lab services.
In addition, the medical staffing expertise and resources of the hospital allow the University to realize increased staffing during peak academic year periods, while CPH can re-allocate staffing within its operating unit during lulls like semester and summer breaks. Most important is the intent for the campus Student Health Center to remain a Clarkson-based service that will be a seamless experience for students.
Canton-Potsdam Hospital, with its main hospital campus in Potsdam, provides comprehensive acute medical-surgical care and emergency care, and has widely recognized programs in chemical dependency treatment, cardiac care, obstetrics, and physical rehabilitation services. The hospital also operates the Warner Cancer Treatment Center. In addition, CPH is an affiliate of the renowned Fletcher Allen Health Care, headquartered in Burlington, Vt.
Clarkson University crosses the boundaries of disciplines, nations and cultures in order for discovery, engineering innovation and enterprise to come together. As a result, faculty and graduates grasp the full impact of their calling, direct their research to the world's pressing issues and lead with confidence and distinction. One in seven alumni is already a CEO or other senior executive. Located in Potsdam, N.Y., just outside the six-million-acre Adirondack Park, Clarkson is home to 3,000 students preparing for rewarding careers through 50 rigorous programs of study in engineering, business, arts, science, and health sciences, as well as unparalleled outdoor recreation and life experiences beyond the classroom.


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Doctor Who: The Black Guardian Trilogy (UK - DVD R2)
The Wilson Bros (one good, one evil) check out this Doctor Who box-set...
Mawdryn Undead
Everyone loves a loosely interconnected series of stories—well, producer John Nathan-Turner certainly did, anyway. Paving the way with the decidedly less-than-stellar E-Space Trilogy, JNT did it again when he suddenly decided that there was going to be three stories based around the return of the Black Guardian, who had not been seen in Doctor Who since the Key To Time season.
As well as having three related stories, JNT also kept the writers on their toes by suddenly announcing that there was going to be another young male companion in the TARDIS—Who fans across the world sighed collectively; the pain of Adric still fresh in their minds. Thus, it was with a ridiculously thinly-sketched character outline that Turlough came into being.
Opening in the year 1983, young public schoolboy Turlough (Mark Strickson) steals the beloved antique car of the maths teacher at the public school where he is being educated. Promptly crashing the car and having his life hanging in the balance, he is visited by the menacing Black Guardian (Valentine Dyall), who makes him a bargain—he will be allowed to live if he kills his mortal enemy…. The Doctor!
Turlough agrees and awakes to find his understandably annoyed maths teacher standing over him—this is no ordinary maths teacher, he just happens to be Alistair Gordon Lethbridge-Stewart, now retired from UNIT and settling into civilian life.
When the TARDIS materialises aboard a vast, ornately-decorated spaceship that is stuck on autopilot in a fixed and endless voyage, the Doctor (Peter Davison) decides to investigate. The Doctor discovers that the signal that drew the TARDIS to the ship is for a transmat capsule that is programmed to materialise on Earth—he decides to get in the capsule and discover where it ends up, leaving Nyssa and Tegan to follow him the TARDIS.
Something goes awry and the Doctor finds himself in the year 1983 at the school where the Brigadier is eking out a living. Tegan and Nyssa find that a badly-burned figure staggers into the TARDIS and they assume that it is the Doctor. The TARDIS materialises in the same location as the Doctor, but in a different time—1977, to be exact and they must convince the Brig to help them.
It becomes clear that the burned figure is not the Doctor, but Mawdryn a member of a race that dabbled in immortality and have been cursed to walk in eternity in a state of living death. They have plans for the Doctor that involve exploiting the fact that he has a certain number of regenerations left…
Nicholas Courtney is the star of the show here, allowing him to breathe more life into the Brig than had previously been allowed. Showing what happened to him after the glory days of being in the United Nations Intelligence Taskforce makes for a slightly depressing experience, seeing him reduced to living in a glorified hut and having to put up with cheek from kids, but it is fairly representative of the struggle than former members of the military have when returning to 'normal' life. Courtney also gets to play what is essentially two roles in this story—the Brig from 1977 and the same person six years later; the differences are subtle (OK, the moustache is not-so subtle), but you can see that the older version of the Brig is more laid-back and a little less regimented in his attitude. The climax of the story involves trying to ensure that both incarnations of the Brig don't meet each other, as it could bring about a cataclysmic event that might end all life in the universe…
Valentine Dyall is on good form as the Black Guardian, even if all he really gets to do is pop up now again and tell Turlough to kill the Doctor. Dyall had a truly unique voice that was gruff and booming, yet almost velvety in a manner than Brian Blessed could only have dreamed of having. Dyall's on-screen form of villainy might be considered almost pantomime, but such an embodiment of absolute evil can afford to be a little theatrical.
Peter Davison is his usual chipper self, but is given a little more chance to stretch as the Doctor is forced to weigh up the pros and cons of granting life to his adversaries by sacrificing his own future incarnations. Also of note in this trilogy are Davison's sideburns, which are more noticeable than ever—Davison's look changed subtly throughout his three years on the show, but probably not as much as Jon Pertwee and his increasingly bouffant hairdo & Baker's alarming aging over seven years.
Sarah Sutton and Janet Fielding provide solid support, as ever, with Fielding being given more interesting things to do than usual by having to contend with a somewhat bewildered Brigadier in 1977. The fact that a very human companion, with all of the wonderful flaws and touches of realism that Fielding and the writers brought to the part, is the one that has to deal with the Brig is lovely in its execution. Both of them know the Doctor, but they are both in need of his help, but he is not currently in their time period.
Mark Strickson is good as Turlough—he is more focused here than in the story that follows, because his character is simply there to try and kill the Doctor, and is relatively free from the moral conflicts the character eventually experiences and also that he is not sidelined or separated to suit the needs of the story.
There have been some cries from hardened Who fans that this story breaks from established Doctor Who continuity because the Doctor's exile on Earth and officially joining UNIT started in 1980 (when it was actually filmed in the early 70s), and having some of this story set in 1977 whilst establishing that all of the events of the Pertwee & early Baker years had already taken place was something of an anachronism. OK, whilst this is certainly true, it's such an entertaining romp and everyone concerned is obviously having such a good time, that one should be prepared to overlook such a detail.
The biggest problem with Mawdryn Undead is that the whole idea that Tegan and Nyssa could mistake the burned Mawdryn as the Doctor is absolutely ridiculous; even Mr Magoo could have been realised that he wasn't everyone's favourite Time Lord. This stretches suspension of disbelief to breaking point and hurts the story, but it's not fatal.
Audio Commentary: This is a fun listen, with an always-on-form Peter Davison being joined by Nicholas Courtney, Mark Strickson and script editor Eric Saward. Davison is his usual semi-serious self, with Strickson complaining about the dye used in his hair and the wire that ran down
Who Wants to Live Forever?: This documentary covers the making of Mawdryn Undead, with contributions from most of the main cast (except Janet Fielding) and members of the cast, including another beyond the grave contribution from late director Peter Moffat. Folella Benjamin takes us through the square roundel as she narrates this bouncy making-of.
Liberty Hall: This is a fun little mockumentary that has retired Brigadier Alistair Gordon Lethbridge-Stewart being interviewed about his life and times at Liberty Hall. This is great fun, as it could be one of the last times that Nick Courtney could play the character—a friend of ours met Nick recently and he was alarmed at how 'tired' he looked, so our advice is to savour every second of this little pseudo-documentary.
Deleted and Extended scenes: Whilst there's nothing particularly new or revelatory here, it's nice to see these included (especially seeing Janet Fielding running around in something skimpy), even if Turlough's whining schoolchum features heavily in the first couple of sequences.
Film Trims: The same as above, really, but it's nice to see glimpses of the production team hard at work, as well as being given a little insight into how members of the cast gear themselves up for a take.
Outtakes: There's some funny stuff here, as our intrepid cast of professionals show that anyone can fluff a line or crack up unexpectedly. Mark Strickson may be a dab hand at trying to kill the Doctor, but he sure as hell has trouble driving the Brig's vintage car and speaking of the Brig, in 30 years of acting, he has probably never encountered a line that was harder to deliver than the one in these outtakes....
CGI Effects: There may not be anything as elaborate as the new effects on the two stories that follow Mawdryn Undead, there are some nice little touches here and there that really give the story a fresher edge. The effects added to the transmat capsule are simple but devilishly effective, making it easier to sell to kids who have been brought up with all of the razzle-dazzle of New-Who.
Continuity: You know the drill here—many of you reading this will get nostalgia pangs when watching this section, as memories of a simpler, gentler time will come flooding back; a time when credits weren't squashed and viewers weren't talked at as though they had the memory spans of the average goldfish.
Set Photo Gallery: This deviates a little from the standard photo gallery, in that it concentrates on the sets constructed for Mawdryn Undead. Running for around a minute-and-a-half, this is shorter than most, but no less welcome.
Isolated Score: This presents you with the option of listening to hear Paddy Kingsland's incidental music without the hindrance of dialogue or sound effects.
Production Subtitles: You know the drill—'more info than you could wish for'… 'someone's really done their homework'… 'indispensable'—all good stuff.
PDF: Radio Times Listings: Slip this baby into your PC and you'll have access to the original listings, along with CGI storyboards and the studio floor plans. There's also a very nice RT feature on Mawdryn Undead, too.
Mawdryn Undead looks pretty spiffy in this remastered edition; the videotaped material looks clean and bright—this would partly be because most Beeb shows were so brightly lit at that time (Davison moans about this constantly…)—and the film sequences have been cleaned up and look great; it's a pretty safe bet that the original film elements survived because of the amount of filmed material included in the extras. In short, this is another sterling effort from the Restoration Team.
Another fine-sounding disc—there really isn't much that we can say about the audio on Doctor Who releases that hasn't been said before. It sounds great and it is obviously a labour of love from the RT guys.
Mawdryn Undead is arguably the best entry in the Black Guardian Trilogy. It's lovely to see Nick Courtney back as the Brig and the production values are most impressive. It's a concept that will make some fans chuckle—elderly beings close to death stuck on a luxury vessel traveling endlessly—they're merely on a cruise! Mawdryn Undead is more than just the first part in a trilogy—it's a Saga!
After leaving the Brigadier behind on Earth, the Doctor, Nyssa Tegan (with Turlough tagging along, still under the influence of the Black Guardian) are forced to make an emergency materialisation after Turlough sabotages the TARDIS. They find themselves onboard a plague colony that treats people with the notorious Lazar's disease.
It is not long before the group are split up, with Nyssa becoming infected with the disease; Turlough and Tegan spend much time crawling through ducts and the Doctor meets up with a couple of space looters who are trying to get rich quick. Eventually, the Doctor realises that one of the two engines on the station is about to explode—the other one detonated back in the mists of time and became the Big Bang that created the universe, so what effect would the second engine have on all known life? As if all this wasn't bad enough, there is another race against time to save Nyssa not only from the deadly disease, but from the mysterious Garm, a hulking creature that is roaming the space-station...
Terminus is a story that tries to put a positive spin on terminal illness. There's not much scope for an exciting romp here, but its heart is in the right place, with an attempt to educate viewers that having a life-threatening condition is not necessarily the end of the line. Lazar's disease is a thinly-veiled leprosy and at the show was produced, there was a massive publicity drive to demystify the illness and change public perception of what was once thought to an incurable condition.
Regardless of the good intentions, there is no way around it— Terminus is a mess. The story is slow-paced and there is a melancholic feeling to the proceedings that isn't all that fun to sit through. Returning scribe Steve Gallagher (the author of E-Space trilogy story Full-Circle) draws from Norse mythology, especially when coming to the concept of the Garm (which was originally conceived as being just a pair of eyes in the darkness—after what appeared on-screen, most would have wanted to have seen that character appear as the author intended…)
If we're going to put the boot in the Garm, then we'll use both feet here. The idea was sounds, but the execution seriously struggles to reach even the lowly description of 'pathetic'. The Garm was played by Canadian actor R J Bell, who would probably hit the peak of his career the same year when he appeared in Superman III as the unfortunate recipient of a free holiday to South America during an unexpected monsoon. Bell was a portly, hulking chap and in Terminus he is merely required to walk around in a very bored fashion and say a few lines of dialogue here and there. The Garm costume was just terrible; a mutant dog that looks like a football mascot—things weren't TOO bad when he was just lurking in the background, but when he was required to be in close-up and had to speak with the most minimal of movement in the lower part of the face, things became laughable.
Terminus was a troubled production, with industrial action taking its toll on the cast & crew; the costumes designed for the Vanir were impractical, as the designer was unaware that they had to be durable because fight scenes were called for in the script (we happen to really like the design of the outfits, especially that hollow plastic clatter they make when the actors move). There were other problems that occurred, but these are not mentioned in the featurettes nor the audio commentary (Janet Fielding's breasts popping out after being grabbing by a background artist is the highlight of the bunch).
The cast do what they can with the material they're given, but they can't lift things out of the mire. Peter Davidson is as engaging as ever, bringing his youthful enthusiasm to the part; Janet Fielding is suitably mouthy and truculent as Tegan; Mark Strickson gets little to do, other than be purposefully kept away from the Doctor to avoid an opportunity to kill him; Sarah Sutton gets to say farewell to her fans in her own unique way by steadily shedding her togs as the story unfolds, but in terms of her performance, she gives it her all as this was to be her final Doctor Who story.
If there was a piece of casting that really serves to bugger up any sense of mood to the story, it's having Liza sodding Goddard as a tough and ruthless space pirate. She literally looks like she has stepped foot off the set of Give Us a Clue and just popped into a space-suit, silly frizzy hairdo intact. This was another perfect example of John Nathan-Turner's stunt-casting, whereby television personalities who weren't really associated with serious acting (or in some case, acting in general) were brought in to simply provide familiar faces to lure in casual viewers. Almost everything about Goddard being in this story just screams 'wrong'—why couldn't she have kept nobbing Alvin Stardust rather than ruining Terminus?
Same thing to report—the Doctor Who Restoration Team have done their job and it looks very nice indeed. Seeing as this whole story was shot on videotape, there are no sudden jumps to film, so there is no jarring drop in quality. Colours are nice and strong, with a very clean look about the thing. Good stuff.
Also very similar—some work has been carried out to present the soundtrack in as good a form as possible and the effort is much appreciated by long-term Doctor Who fans.
Audio Commentary: Peter Davidson, Mark Strickson, Sarah Sutton & writer Steve Gallagher are on hand to talk us through the four-part story. They make for a nicely-balanced bunch, with Gallagher's northern charm really lightening the gloom of the story. All of them put the boot into The Garm, which is not surprising, but Davison also tells of the jealousy he felt back in the day when one of his drama school contemporaries, Martin Potter, was picked to star in a Pasolini movie—this actor happened to turn up in this Doctor Who story, so appearing with Italy's most controversial moviemaker was no guarantee of international stardom. Strickson also mentions his appearance in George C Scott's A Christmas Carol (a movie we watch every Christmas).
Breaking Point: This 22 minute documentary looks at the troubled production of the story, with contributions from Peter Davison, Sarah Sutton & Mark Strickson, amongst others. Enlightenment Director Fiona Cumming also gets to contribute, speaking up for late director Mary Ridge. This is a pretty engaging extra, which spends much time trying to explain why it turned out the way it did. This documentary, like the other main 'making-ofs' in the Black Guardian trilogy, is narrated by the one and only Floella Benjamin.
Origins of the Universe: This six minute documentary is a rather dry look at how the universe could have been created. The seemingly immortal Sir Patrick Moore rattles off his theories at a rate generally indiscernible to the human brain, and other scientific luminaries also speak about the scientific specifics behind the Big Bang theory.
Original Storyboards: A selection of storyboards are presented for your perusal, showing you the way that the shots were originally envisioned before the effects crew carried them out on the budget they were allocated.
Unused Model Shots: Sourced from a timecoded production copy, this presented many of the effects shots in their unedited form, along with numerous shots that were not included in the finished show. This makes for an interesting look at how such shots were achieved before the advent of CGI.
CGI Effects: Terminus, like the other two stories in the Black Guardian Trilogy, gives the viewer the option to watch the story the way it was originally intended, or with all-new CGI enhancement. Terminus benefits greatly from the new effects shots, giving the Terminus station a sense of scale and grandeur that was not present in the original version—some of the new shots would not look out of place in New-Who. The interior of the TARDIS is expanded in a couple of shots that will seriously bring a smile to the lips of many-a long-term Who fan, as it give you a glimpse of how vast and cavernous the inside of the Type 40 time & space capsule.
Continuity: All of the trails and voiceovers that were associated with the original broadcast of Terminus are here for your delectation. Ah, those were the days…
Isolated Score: Roger Limb's incidental music can be heard uninterrupted when you select this handy little option.
Photo Gallery: The Blade-Runner-like incidental music of Roger Limb plays over an extensive series of stills from Terminus.
PDF Radio Times Listing & CGI storyboards: Your PC can access the original Radio Times listings, along with the storyboards for the new computer-generated effects for the story.
Coming Soon: It's the Twin Dilemma. Run for your lives!
Terminus is most certainly the weak section of Black Guardian trilogy—it could be argued that this represents the saggy bit in the middle. There are certainly some good ideas, but some of the production values (The Garm being the best example), coupled with one or two questionable casting choices (Liza Goddard being the best example) serve to weigh the thing down. More than the story on its own terms, Terminus is mainly remembered for Sarah Sutton taking off most of her clothes before being ushered off the show in a very hasty fashion.
Immortality is a curious thing—it was said in The Five Doctors that those who crave immortality the most should not have it. This is the same with any sort of power—like the kid of pub-mentality morons who use the phrase 'if I was Prime Minister, I would soon put the world to rights'. Immortality must be a terribly tedious concept; walking in eternity, with only fleeting relationships with mortals and the endless path of existence stretching into bleak infinity before you.
Enlightenment concerns the efforts of a group of beings who are cursed with immortality, Eternals, to amuse themselves as they go about their never-ending existence in the universe.
After leaving Nyssa on the Terminus space-station, The Doctor, Tegan and the still-homicidal Turlough find themselves aboard the SS Shadow, an Edwardian sailing ship, but investigation reveals that all is not as it appears. The captain of the ship, Striker, and his fellow officers, are Eternals, but their crew are very much mortal (known to the Eternals as Ephemerals) and have been kidnapped from Earth, doing more than just normal duties on the ship, their thoughts, memories and emotions provide fodder for the bored Eternals.
It is revealed that although the ship they are on appears to be sailing at night, it is actually competing in a galactic sailing race, with other Earth sea vessels from different time periods also trying to win the prize of Enlightenment. This is not as straightforward as it seems because the underhanded pirate Captain Wrack is using underhanded tactics to knobble the competition and win the prize for herself.
In the midst of all this, Turlough is still torn between his increasing attachment to the Doctor and his mission to eradicate him for the Black Guardian. Things come to a head and he must ultimately decide where his loyalties lie…
There are sterling performances all round, with Janet Fielding being particularly good, allowing the Mouth-on-Legs to develop a little more. The guest cast are impressive, with Keith Barron delivering an appropriately other-worldly performance as Captain Striker (Barron was a replacement for Peter Sallis, who had to bow out when the story was bumped in the schedule and other commitments clashed). Christopher Brown is great as Marriner, the Eternal who becomes fascinated with Tegan; her emotions provide so much sustenance for him that at times he appears to be almost intoxicated. Linda Baron is incredibly OTT as Captain Wrack (given the phenomenal cleavage she has, she should have been called Captain Rack), but her larger-than-life portrayal, complete with big eyes and grand, theatrical gestures seems to suit the character, in much the same way that Brian Blessed's totally bat-shit crazy performance in the Colin Baker story Mindwarp suited that actor.
The inimitable Valentine Dyall (he truly IS inimitable—just try impersonating him!) returns as the Black Guardian, along with Cyril Luckham as his opposite number, the White Guardian; Luckham hadn't been seen in the role since The Ribos Operation, the opening story in Tom Baker's Key to Time season. Dyall gets to produce what is quite possibly the most theatrical, evil cackle ever heard in television history—it might sound over-the-top, but Dyall's timbre gives it a resonance that brings a joyous smile to the lips.
There is an almost Hitchcockian plot device in Enlightenment, where Tegan unwittingly becomes the instrument of destruction for the crew of the Shadow after becoming mesmerised by Wrack and an explosive device planted in her tiara. The audience is aware of what could happen, but those on-screen are not, heightening the tension and leaving the audience screaming at the screen for the Doctor to realise that things could turn very nasty.
Being the final part of the Black Guardian Trilogy, matters that began in Mawdryn Undead and continued through Terminus are resolved at the end of Enlightenment. Turlough is finally forced to confront the dilemma that has been plaguing him and eventually has to choose between the darkness and the light. Mark Strickson turns in a great performance, with more anguish than in the previous stories as he realises that he has to finally pick a side and stick with it. The interaction between Strickson and Peter Davison begins to flourish here, and they spark off each other rather nicely.
As broadcast, Enlightenment shows the BBC at its very best and very worst; the period costumes really add to the production values of the show, as period detail was always something they did well; the fabulous set design of the interiors of the Shadow and the Buccaneer (well, apart from ONE set on the Buccaneer…) and the wonderful costumes on display during the banquet on Captain Rack's ship are really help to sell the scenes. As well as the period costumes, the design and execution of the space-suits prominently seen in the show are most impressive. Sadly, this is counterbalanced by the fact that the effects were rudimentary to say the least; the effects people did the best they could with money and resources they had, but they were fighting against thunder.
Enlightenment is a story that was too grand and too sweeping for the sort of budgets that Doctor Who was kept alive on at the time. The production did everything it could to bring Barbara Clegg's inventive script to life, but what finally ended up on screen was something that had good performances and made use of the BBC's period costume department, but when it came to the effects for the show, it failed.
For this DVD release, the idea of a special edition of Enlightenment was mooted; director Fiona Cumming saw that the story and the performances were still perfectly good and she set about making revisions to turn the four-part story into a taut movie version with all-new CGI effects. This version of Enlightenment is presented in a 1.78:1 aspect ratio, meaning that each shot has been carefully cropped to present the story in widescreen. A new Dolby Digital 5.1 surround mix has been included, opening the soundstage up to provide the viewer with an enveloping aural experience.
The results are impressive—free from the constraints of having to keep to a rigid four-part structure, Cumming has trimmed the fat from the script and the result is a very lean version of the story that clocks in at a mere 75 minutes. There are times when it genuinely reaches the kind of production levels that New-Who has; some of the new CGI work is most impressive, with the anachronistic sailing vessels being carried through space on solar winds looking almost majestic. Ideas and concepts that simply couldn't be executed back when early eighties Doctor Who budgets were barely capable of covering the catering on a New-Who shoot
The original version looks very nice, with all of the usual clean-up duties undertaken. The image is pretty sharp, as it was still in the time when Doctor Who was being filmed on 2' Quad videotape.
The Special Edition suffers from being cropped, losing some of the fine detail, but once you get used to it, it's perfectly fine. With the cropped, widescreen image, there are times when your brain thinks that you are actually watching a movie—this is mainly when the sequences shot on film are on screen, but it's still pretty cool when these moments happen.
The original version is presented in mono and sounds fine, but the Special Edition has been remixed into Dolby Digital 5.1 and sounds wonderful; the discrete sound-mix really drops you into the middle of this epic race across the galaxy, with spot-effects coming at you from all directions. Your subwoofer will get something of a work-out when the low frequencies of ships exploding in space will have things on shelves rattling.
Extras: Broadcast version
Audio Commentary: Actors Peter Davidson and Mark Strickson are joined by director Fiona Cumming and writer Barbara Clegg; Davison, as he usually does, tends to dominate the track, but director Cumming is very chatty and has a pleasing personality. Strickson wades in now and again to offer some amusing observations, but writer Clegg is somewhat sidelined, possibly due to the two strong personalities who dominate this particularly commentary. Once again, Janet Fielding is not present, but it's a fairly safe bet that she would have whinged about the sequence where Tegan is duped into carrying the explosive device in her tiara. The highlight of this commentary track comes when Strickson recalls an incident that comes perilously close to a 'do you know who I am?' moment—it's really funny…
Winner Takes All: This 23 minute documentary takes a look at the making of Enlightenment. Former Playschool presenter and hardened Tory Floella Benjamin is your cheerful narrator of this account of the epic struggle to bring such an ambitious project to the screen. Many of the cast and crew pop up to share their memories—Imagination star Leee John gives a couple of amusing anecdotes about the very generous Lynda Barron, but it's a pity that Barron herself was not able to contribute to the special features created for this release—surely someone could have persuaded her to Come Inside and get in front of the camera?
Casting Off!: This featurette is essentially looking at the show from the actor's point of view. Casual viewers will be pleased to hear that this does not soar into the lofty pretentiousness of 'luvvy'-speak, where actors talk about their trade as though they were bomb disposal experts. Janet Fielding pops up briefly in this one; though she is outspoken and overly-opinionated on almost any subject, it's always nice to see her in front of the camera.
Single Write Female: Ah, we always love those pun-tastic titles for featurettes! This short takes a look at the career of writer Barbara Clegg; there's nothing particularly revelatory, but it's fascinating to see how a woman was able to get her feet under the table at a time when it was VERY difficult to get into the industry.
The Story of the Guardians: This is wonderful stuff, looking at the actors who played the galactic demigods. Though Cyril Luckham and Valentine Dyall are both sadly long-since gone, they are represented by their children, who talk fondly about their fathers. The highlight of this featurette comes when Dyall's daughter, Sarah Leppard, recalls how her father used to read her bedtime stories and even the most innocuous ones would terrify her because of her father's rich, deep timbre.
Storyboards: This is a nice little addition to the extras, because it makes use of that rarely-used DVD feature, the multi-angle function. Effects supervisor Mike Kelt talks the viewer through the effects process, whilst storyboard images of the shots appear on-screen; the multi-angle function allows the viewer to switch between the storyboard and the final shots.
Isolated score: What more needs to be said? By selecting this option, you can hear Malcolm Clarke's music score without the hindrance of dialogue or effects.
Subtitle Production Notes: As ever, a blizzard of notes about the production are presented when you select this option. We've compiled trivia tracks before and can appreciate the amount of effort that goes into them—our caps are doffed to the guys who do this stuff once again.
Coming Soon: The final story from the Colin Baker era to be released on DVD is previewed here. Our twin dilemma will be whether or nor we can make it through the whole thing without vomiting violently.
Photo Gallery: This presents a series of images taken during the production, many of which are in black & white. There are some nice shots of Janet Fielding in that dress, along with set design photos and pics taken during the filming of the effects.
PDF Radio Times Listings: Pop this disc into your PC and you can see the original listings for each episode of Enlightenment as they appeared in the BBC's listing magazine and you can also access the extensive series of storyboards for the special edition of Enlightenment.
Extras: Special Edition
Re- Enlightenment: This consists of a Trans-Atlantic conference between director Fiona Cumming and some of the people who would be responsible for the production of the special edition of Enlightenment. What is interesting is the balance that can be seen between accommodating what Cumming wanted to include in the new version, and the ideas that the younger people behind the new version wanted to incorporate; Cumming is very gracious and enthusiastic when given suggestions—not every director is as open to advice.
Original Edit Comparisons: This is a quick look at the differences between the original edit of episode three and the version that was transmitted; the differences are minimal, but nice to have them presented here for the sake of comparison.
Film Trims: Much as you would expect, this presented a series of stuff that was lopped off the beginning and end of shots that were captured on film. The shooting of the scenes on the deck of the Shadow really gave them a cinematic look, and in a bizarre way, watching these trims enhances this look.
Finding Mark Strickson: This entertaining featurette has the alter-ego of Turlough talking about his life before, during and after Doctor Who. Strickson is a charming and engaging guy, who speaks fondly of this time in the TARDIS and also talks about his move into wildlife documentary filmmaking.
Finding Sarah Sutton: This companion piece (no pun intended!) to the above featurette has the enthusiastic Sutton talking about her time on Doctor Who. The most interesting part of this interview comes when Sutton regrets not staying on at drama school to hone her craft.
Russell Harty Christmas Party: Oh, how audiences were easily pleased back in 1982—variety was still alive, albeit hooked up to a life-support machine and then-husband-and-wife Peter Davison and Sandra Dickinson perform a song-and-dance routine that's so cheesy that you can actually feel your teeth itch as you watch.
Enlightenment is a story that was full of imagination—this was the only classic Doctor Who story to be written and directed by women, and this shows in the writing, with some very interesting subtle nuances—but the budgetary restrictions prevented it from being properly realised. The Special Edition really makes for a fun experience, transforming the story into a fun, fast-paced romp, but for those curmudgeonly completists out there, you still have the original version to treasure.
Overall: The Black Guardian Trilogy
Certainly the trilogy is an uneven one— Mawdryn Undead is undoubtedly a fun, nostalgic romp, but things take something of a nosedive with Terminus, despite the good intentions of the story, but the final act perks up by the costume design and performances in Enlightenment, with the special edition elevating the story to a level never thought possible.
The Black Guardian trilogy is an enjoyable piece nostalgia, with the special edition of Enlightenment showing you what might have been possible if budgets were no option as far as special effects were concerned. Valentine Dyall may be long gone, but you can almost hear his unique rich, gravely tones commanding you to buy this box-set.
Review by Wilson Bros
David Blackwell Senior Member Join Date: February 2004 Location: United States Posts: 2,826
I still have a fondness for Terminus. I wish the Black Guardian would show up in the new series.
General viewing, but some scenes may be unsuitable for young children
Disc Details
Release Date: 10th August 2009
Discs: 4
Disc Type: Single side, dual layer
RCE: Yes
Video: PAL
Aspect: Various
Anamorphic: Yes
Colour: Yes
Audio: Dolby Digital 2.0 English, Dolby Digital 5.1 English
Subtitles: English
Extras: Featurettes, Audio Commentaries, Deleted & Extended Scenes, Outtakes, Music-Only Option, Production Subtitles, Radio Times Listings, Photo Galleries, Coming Soon
Easter Egg: No
Feature Details
Director: Peter Moffat, Mary Ridge, Fiona Cumming
Cast: Peter Davison, Mark Strickson, Janet Fielding, Sarah Sutton
Genre: Sci-Fi
Length: 295 minutes
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Berenice II and the Golden Age of Ptolemaic Egypt
(Oxford University Press, 2013)
Although what we have from history about Berenice II, daughter of King Magas of Cyrene and wife of Ptolemy III Euergetes, is scattered and uneven, Clayman's interdisciplinary approach presents a woman who was more powerful and fascinating than we had previously imagined. A mother of six, immensely wealthy and ambitious, she was at the center of a group of important poets and intellectuals associated with the Museum and Library, including Callimachus, who wrote "Lock of Berenice" about her. This book offers a portrait of a woman who had access to the cultural riches of both Greece and Egypt and who navigated her way carefully through the possibilities that these assets presented to her, ultimately using them to accrue unprecedented honors that were all but equal to those of the king. Dee L. Clayman (Prof., Brooklyn) serves on the doctoral faculty in classics.
Purchase this book
Submitted on: NOV 5, 2013
Category: Classics | Faculty Books


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|2011-07-18, 12:08
|Link #23261
Zero of the roulette
Join Date: Apr 2010
Location: Finland
Age: 24
If Kinzo's hair was really red and considering the Jessica problem, then brown is probably a fine guess. Well, trusting in anime hair colour heritage...
If the lesser incident is about their relationships directly like that, does it just mean Shannon and Kanon quitting? Leaving the island with Battler in 1985, or marrying George sometime after 1986 conference. Doesn't feel like justifying the expression "strange incident", but an acceptable explanation. Hmm, maybe it leads to exposing her position as the head and owner of the ten tons of gold at some point. And things happen.
The thing about the message bottles being in a diary style is an extremely good point. I did think about how scenes might actually be narrated by Maria rather than Battler, but for some reason I haven't pursued it so far that there actually was no scenes where Maria wasn't present. That removes a lot of clues about Beatrice's identity though, so Tohya must have known it before "adding scenes". According to that, in Rokkenjima Prime, Battler does get to know the truth. Unless all of that were added after EP5 so to say, where he arrived to the truth by his inside knowledge of the promise and such.
In the end of EP3, I'd say that she looks insane isn't necessarily about her being the culprit, but just breaking down after all that's happened. Maybe she had some delusions and thoughts of murdering after she found the gold. And then people started dying around her. Well, this is nothing new, just pointing out.
Last edited by Bluemail; 2011-07-18 at 12:25.
|2011-07-18, 13:14
|Link #23262
Senior Member
Like while reading the first message bottle he remembered that "Ushiromiya Rudolph said to the Battler in his memory that he would probably die that evening" and inserted it at a point before Ushiromiya Rudolph died in the narrative. That's also my plot-related explanation why Beatrice is not yet present in EP1, because the opposition (in form of the magical explanation) had not yet formed within Tôya's head.
Basically all which the diary entries probably do is portray an impossible crime which is pinned to a witch by the narration of the (supposed) Ushiromiya Maria. The blanks between the locked rooms, magical scribbles and possibly very vague descriptions in a diary entry are then probably filled by the idea of "what if it really happened through magic" in Tôya's head.
Another nice example is the meeting with Kinzô in EP1. It was probably only said "And then Aunt Natsuhi went away to meet with Grandpa Kinzô after she received the key from Genji-san." followed by something like "Aunt Natsuhi said that Granpa Kinzô refused to come out". Later she probably wrote somewhere ho "Aunt Natsuhi insists that Granpa Kinzô said she had the One-Winged Eagle engraved in her heart." and all those instances combined in Tôya's head to the depiction that Natsuhi went up to the study earlier and met with Kinzô, which we later learn is actually impossible. It was not directly marked as impossible because he had not yet remembered that Ushiromiya Kinzô is dead at the start of the events on Rokkenjima.
But yes, it can be explained in various ways...which is why I actually thought about posting the Forgery Author Test here that was mentioned in the interview with Ryûkishi I translated some time ago. It's actually a nice way of comparing theories.
|2011-07-18, 14:24
|Link #23264
Senior Member
The 1st twilight was probably Yasu, which explains Genji's gentle death in which he allows himself to be murdered and the general depiction of events (e.g. Virgilia/Kumasawa trying to talk Beatrice/Yasu out of it). Yasu probably faked his death.
2nd twilight was possibly really as depicted, that Yasu killed Maria to spare her any cruelties and Rosa was an accident.
For 4th to 6th twilight we would have to assume that Hideyoshi shot Kyrie and Rudolph and was then shot into the back by Kyrie who survived the stomach wound long enough to do so.
7th and 8th twilight could have been Nanjô who drugged and killed Natsuhi and Krauss because he feared for his own life or suspected them for whatever reason.
George could have been Nanjô who snuck after them and killed him because he thought he was the culprit.
And Nanjô was a victim of Yasu for sure.
The problem I have with Eva out of the picture is:
2nd twilight: What was Yasu protecting Maria from by killing her gently? It could be explained that she learned by what Rosa said that Eva solved the epitaph and it really was still just an accident...her murder roulette was already in motion since it was the 5th already. Though that leaves the question where Eva got the ring and the location of the hidden tunnel from.
4th to 6th twilight: Why would Hideyoshi attack Rudolph and Kyrie in such a reckless manner that would allow him to be shot from behind. And more importantly, what was the scene about him being angry with Eva(-Beatrice) about then?
7th and 8th twilight: How did he get them into the garden and why would he have reason to kill them?
George is not even that unreasonable, apart from the problem how he would have returned in time and (in case Eva did murder Krauss and Natsuhi) how did he get back in unnoticed.
|2011-07-18, 14:51
|Link #23266
Senior Member
Most events with Maria present can be said in a few sentences and it was also said that the writing was extremely small to fit as much as possible on one page. Assuming she wrote even one entry per hour, deducting the time where she is depicted as sleeping, we get maybe 30 entries...it's possible to fit those on maybe less than 10 pages if you write small and use front and back. With some skill you could fit even more into a wine bottle.
|2011-07-18, 15:08
|Link #23267
The True Culprit
The Evatrice thing doesn't mean anything, it's just fantasy.
|2011-07-18, 15:38
|Link #23268
Senior Member
But dismissing the fantasy scenes as just fantasy and nothing beyond that displeases me. Of course this is where we reach the point where we can argue as long as we want if there is no certain comment from the author.
Still I'd like to think that he didn't just insert those scenes just for the heck of it and because they are so misleading, especially not after he ranted in the interview about how he was sad that many people refused to see the magic scenes as hints.
Also, if she actually was planning to continue the murders after Rosa and Maria, why didn't she stake them as well?
Yes, many things don't add up in EP3, but I still think that is on prupose. You can come to many quick solutions, but none is really satisfactory.
|2011-07-18, 15:48
|Link #23269
The True Culprit
As for not staking them, as I already explained, it seems to be a mix between an "oshit" flipout and a mercy-kill. She probably wasn't in the right frame of mind to keep up her illusion, and by the time she calmed down it was too late to do anything about it.
|2011-07-18, 16:15
|Link #23270
Senior Member
Okay, in you're interpretation Eva struggling with Eva-Beatrice is just a red herring and nothing more, for me it's her struggling with her potential to murder. But I think that is something which is open for interpretation.
I think what we have to consider, and what is often forgotten, is that EP3 is not coherent within itself for a reason. If you exclude one important part of the narrative, a central murderer with a plan, then you arrive at a logic error similar to EP6.
You're making assumptions as well when you are saying that we have to ommit whole passages of the narrative and regard them as total bogus when almost everything can be explained as a metaphorical representation of an actual event.
|2011-07-18, 16:40
|Link #23271
The True Culprit
|2011-07-18, 17:01
|Link #23272
Senior Member
Join Date: Feb 2008
Well, you can somewhat explain that last question by saying that even though Shannon wouldn't kill George and that Kanon wouldn't kill Jessica, Beatrice has no problem killing any of them since she's go no relation to them. On the other hand, Maria is Beatrice's friend, that's why you'd think she'd have problems killing here.
As for Eva not meeting Yasu in the room with the gold in EP3, Battler and Erika didn't meet her either when they found the gold in EP5. That, and I'm sure Yasu must have had a way to know if anyone had solved the Epitaph. Otherwise, unless she expected this person to announce it immediately, she'd have fail at keeping up properly with her roulette.
One thing worth mentioning is that in EP3 we didn't see Beatrice do any killings outside of the 1st Twilight. So, the fact we saw Evatrice doing them must have meant something. Evatrice was also the avatar for the "black witch" and this one usually represented adults doing things like being bad parents, or doing criminal things because of greed. So, she could easily represent any of the adults. As for why, there are a bunch of reasons, like plain suspicion. It's also not out of the question someone else got to the gold (or say... followed Eva and/or Rosa) and started killing the rest to keep the gold to himself.
|2011-07-18, 17:26
|Link #23273
Senior Member
Like it is said about Kyrie's speech concerning the probability of Eva becoming a murderer by the narrator during EP7:
Spoiler for citation:
Ushiromiya Eva IS a wrong deduction done by Tôya in the future based on the fact that Ushiromiya Eva survived after all.
Maybe I am missing something, but where does it say that it is a fact that Eva was not in the mansion?
In case you want to dismiss Eva as the culprit, at least think about Rudolph killing them.
|2011-07-18, 17:30
|Link #23274
The True Culprit
Yasu is nothing of not hopelessly naive. It's her defining character flaw.
What this means, really, when you consider what Beatrice IS, is that Eva takes over Yasu's role of martyring herself to protect the illusion. She doesn't deny the allegations put against her for whatever reason, and as long as she doesn't come forward with the truth, she will continue to be the evil witch that killed everyone, even though this isn't the truth. The same goes for EP3.
And Toya is already doing Hollywood Psychology Gymnastics, so this is valid.
See above: Yasu exists, and Toya on some level knows this, else he wouldn't of done the Nanjo murder in the first place.
Even if she was there, She remains dry when she's seen shortly after those Twilights, and the distance between the two buildings is a sizable walk.
To top it off, she...really has no motive to kill Rudolf and Kyrie whatsoever, and they're STAKED, implying that Yasu did it because why the hell would Eva do this?
Eva clearly didn't kill the First Twilight victims, or any of the other staked victims because it's clearly Yasu's modus operandi, which Eva has no reason to adopt especially if she's going insane. She'd never kill George or Hideyoshi, we agree that Yasu probably did the Second Twilight, and she couldn't of done Nanjo.
Basically, the only person Eva could have killed is Battler.
Yasu reflects on how she can't have revived Sakutarou, and now she can't even bring her back to her mother. Well...there is one way.
Maria had seen a gruesome, violent scene that was clearly between two humans. She can't even convince her of further magical excuses, and she can't come up with any in this stressful "ohshit" moment. "Relax, Maria...I'll send you back to your mother. Everything....Everything will be fine..."
Last edited by AuraTwilight; 2011-07-18 at 17:42.
|2011-07-18, 18:10
|Link #23275
Senior Member
Join Date: Sep 2010
Ok, I know it's been well established that the actual text a person would read in R-Prime likely doesnt match, word for word, what WE'VE read for the individual arcs, but :
1.) What does Tohya inserting scenes into Yasu's narrative serve? It's the fact that Battler's wierd heritage was HINTED in EP1 that allowed it to be used as a bullshit theory in EP5.
2.) I won't say "those message bottles were not written from Maria's perspective", but if Yasu really wanted the message bottles to be "solved", that's very difficult from Maria's limited perspective. Also, she dies twice. In EP3, relatively early, too, and EP3 is accepted as a legitimate-sounding forgery to those who read it. In End and Dawn (wonky as they were), she was dead from the get-go.
3.) Again, while I can't deny it, I just don't see his parents bringing Battler back as some kind of inheritance gambit. What makes them think they can even get the inheritance? They think Kinzo is dead, and "Maybe this year, if he's actually alive, he'll have some elaborate test among the children" seems like a jump. Yasu did not go out of her way to get Battler to return. Kyrie and Rudolf think Kinzo is dead. Ange has been consistently portrayed as just a sickly ass child. I'm not seeing where the conspiracy goes. o_o
4.) Yasu pulls the first twilight. Eva accidentally kills Rosa, freaks out and kills Maria. Kyrie/Rudolf and Evayoshi have a shootout in the mansion - only Eva survives. George wanders off to go be stupid, gets shot by Yasu. Meanwhile, Eva kills Kratsuhi because "fuck it" by this point (she probably knows about the bomb, unless her ending up at Kuwadorian was a huge coinky-dink), and it wouldn't even be hard because Kratsuhi was basically running on coffee fumes by then.
Jessica gets injured, Eva+Battler wander off. Yasu kills Nanjo because ... ... ... ... and goes off with blind Jessica to ... not cuddle in a curtain until gold-splosion. Or maybe Yasu killed her, since Eva and Battler can't seem to find Jessica afterwards. Eva kills Battler out of either temporary insanity or genuine suspicion, then hgscrambles to Kuwadorian because it was easier to let the bomb go off than try to explain what the hell had just happened to the police.
Objections? The only real issue I can't resolve are the stakes in Kratsuhi.
|2011-07-18, 18:46
|Link #23276
Dea ex Kakera
Join Date: Jun 2006
Location: Sea of Fragments
|2011-07-18, 19:01
|Link #23277
Senior Member
Join Date: Feb 2008
I wouldn't know about Yasu playing martyr, though, since everything points out she was the main culprit in the fictions and that she did plan all this stuff in reality, even if in the end, the whole thing went out of control.
|2011-07-18, 19:13
|Link #23278
Senior Member
Join Date: Oct 2010
EP3 has a lot of problems, but I really do think that it can be solved with Eva killing some people and Yasu killing the others. The way RK07 kinda flicked off that question in his interview gave the impression that the obvious answer was that Yasu killed George and probably Jessica as well.
|2011-07-18, 20:28
|Link #23279
The True Culprit
The Black Witch, on the other hand, has consistently been portrayed as a personification of people taking their anger out on others. Rosa's abuse of Maria, Eva's abuse of Ange, and so on and so forth. It's not responsible for murder, but it's much more prevalent and harmful than that. It's something everyone does to each other in order to make themselves feel better. It's Bullying Personified.
Eva-Beatrice is not the Black Witch. The Black Witch only took her face.
In the worst case scenario where she is the killer, she's kill putting herself up as the Ultimate Evil, taking the sins of the whole family onto herself so that they don't have be marked down in history as total scumbags like Eva was.
|2011-07-18, 21:09
|Link #23280
Senior Member
Join Date: Feb 2008
As for Yasu taking the sins of the others... well, that didn't really work, considering it seems the theorists are pretty much putting the blame on everyone. We also saw in EP8 what seemed to be Ange's friends taking about the murderers with a high implication they were talking about Rudolph and Kyrie. Not to mention the stories themselves show many facets of the Ushiromiyas, from them being shitty parents and gold-diggers to them showing some virtues as well.
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IT Management Slideshow: 11 Geeky Gift Ideas for 2010
By Don Reisinger | Posted 12-08-2010
As the holiday season approaches, your loved ones are probably asking "What do I get for the CIO who has everything?" At the same time, your enthusiasm for technology is likely leading you to consider which geeky gifts will be most appreciated by your friends and family. You know what the best products on the market are, you know how much they go for, and you know whether or not they would appeal to you or your loved ones. You have an advantage that so many holiday shoppers just don't have. As a person with all the tech answers, you're typically the party to consult with questions about which product to buy, not necessarily the party that people are trying to buy tech goodies for. Here, we've tried to make everyone's job a little easier this holiday season: In the next few slides, we've listed several different geeky products that you will probably want to get your hands on this year, as well as some great techie gift ideas for you to share with others.
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As President Barack Obama prepares for a second term, immigration reform is rumored to be at the top of his agenda. With conservative opinion on the issue shifting, a unique opportunity exists to fix our nation's broken immigration system. Americans are eager to see the president and Congress make progress on this unnecessarily vexing issue.
The record Latino voter turnout in support of President Obama played a key role in his electoral victory, as he won 71 percent of the vote compared with 27 percent for Gov. Mitt Romney.
These results have provided a catalyst for reenergizing the conversation around comprehensive immigration reform and paved the way for unexpected conversations among conservatives. Speaker of the House John Boehner, Sean Hannity, and columnist Charles Krauthammer have all come out publicly in support of immigration reform since the election. Discussions have even led to collaboration from both sides of the aisle as Senator Chuck Schumer (D-N.Y.) and Senator Lindsey Graham (R-S.C.) work together to propose immigration policy that would provide an eventual path to citizenship.
In a changing political environment, my hope is our elected leaders will seize the moment and capitalize on this growing momentum. Americans overwhelmingly support a path to citizenship for undocumented immigrants, according to a newly released ABC/Washington Post survey. The American people have spoken. Washington needs to act.
Ivone Guillen is the immigration fellow at Sojourners.
Photo: Ryan Rodrick Beiler / Shutterstock.com
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Lucy Hale is one of our favorite celebs to get Beauty inspiration from. Whether she's changing up her hair color or chopping off her locks, the girl is pretty fearless when it comes to her looks. The Pretty Little Liars star also never fails to impress us with her covetable makeup.
While at an Entertainment Weekly event celebrating SAG Award nominees, Hale wore one of our favorite beauty trends: a dark lip. The actress paired her lustworthy plum lip color with a rose-gold-and-plum smoky eye and sky-high lashes.
Hale's vampy lip is perfect for a night on the town, so we had to learn the necessary steps to re-create it. Yahoo Beauty asked celebrity makeup artist Neil Scibelli to show us how we can easily achieve Hale's makeup look. Press play above to learn how to Copy That!
Step-by-step instructions
1. Gently press Neutrogena Hydro Boost Water Gel into skin for a hydrating base.
2. Fill in and brush up brows with a defining pencil such as Jouer Brow Definer.
3. Apply a champagne eyeshadow similar to Pink Champagne from the Vasanti Synchronicity Eyeshadow Trio to lids and inner corners.
4. Take the Antique Plum shadow from the same palette and blend into crease.
5. Use that same plum shadow to define the upper and lower lash line.
6. Apply Rose Quartz from the LORAC Mega Pro Palette 3 to inner corners and extend shadow to center of lid.
7. Highlight inner corners with pearl white shadow.
8. Enhance your natural eyelashes with Ardell Studio Effects Wispies.
9. Sweep on a rose blush to apples of cheeks. Scibelli used the Morphe Naturally Blushed Palette.
10. Contour temple, cheeks, bridge of nose, and jawline with Urban Decay Beached Bronzer in Sunkissed to add a warm glow.
11. Swipe on a plum colored lip gloss such as Vasanti Power Oils Lip Gloss in Queen. Pro tip: Use a makeup brush and a little concealer to smooth out and clean up edges of lips.
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Eleven undergraduate members of the University of Rochester's all-female a cappella group Vocal Point have been invited to the White House to perform classic and contemporary holiday songs on the morning of Saturday, Dec. 8.
While the group was told the President and First Lady are not expected to make an appearance during their performance, they are honored and excited to be singing at 1600 Pennsylvania Avenue, says Lindsay Forbes '13, the group's business manager.
"We're hoping our high notes might attract Bo," says Forbes. "It would be fun to at least meet the first dog."
During their two-hour performance, Vocal Point will sing a variety of holiday classics, including traditional Christmas carols and Hanukkah songs. They'll showcase their versatility by performing in both contemporary and choral styles. They'll be situated in the White House and will perform for guests and visitors taking the annual Holiday Tour.
Forbes applied for the opportunity after hearing about it through a recent Rochester graduate who holds an internship in the White House. The application was a three-step process that included sending information about the group's repertoire along with video of them performing. The final step included a formal invitation from the White House.
Members of Vocal Point heading to Washington are: Lindsay Forbes '13, Claire Crowther '13, Amanda Page '13, Bailey Gripshover '13, Corey Robinson '14, Allison Eberhardt '15, Sophie Fishbein '15, Eliza Barnes '15, Elizabeth Prezioso '16, Olivia Krupski '16, and Diana Barlaam '16. Members Jamie Wilson '13 and Isabelle Marcelin '16 are unable to make the trip.