#greer rectifier

[rectifier-vn]

MC with a third eye comes in handy!

[rectifier-vn]

Greer.

[beardyplaysgames]

WIP of Greer from Rectifier: In Bloom. I picked this game up the other day. As I learn to code my own VN (with a silly game with my friend and I in it) I love looking at other people's to see what they've done. I'm nowhere near skilled enough to code like they do or draw like they do, but I do love these stories. Just started Greer's route.

[musicshelfwithmustard]

Cardboard People - "Cardboard People" Review

"Honestly, if you've been sleeping on Cardboard People for the last three years, the release of this album is your opportunity to rectify that mistake." - Gimpleg reviews the debut album from Cardboard People

Review by: Gimpleg Cardboard People is a multi genre indie duo out of the San Francisco Bay area made up of vocalist Yunoka Berry and producer Jim Greer. Together they bring forth the debut album, a collection of the 6 singles they released during the pandemic, together with a few new tracks and a couple remixes. The entire album explores social justice, overcoming adversity, and a world of…

[fishmongeringstudies]

eight: if time can't heal it and love can't save it and hope won't keep you alive anymore

it turns out the ceiling light in my room was kind of busted. for three months i thought light fixtures in america were just Like That but looking at this one, right now, i realize light fixtures are supposed to be Like This, by which i mean bright enough to see your hands under, by which i mean bright enough to illuminate someone's eyes and fifteen gold earrings and teeth. the teeth are important. though if they aren't laughing very much i guess it won't matter.

lately i've been telling myself the same narrative over and over again in a grim attempt to retain my sanity. it goes like this: dear me, i say while punching a wall like a well-muscled thirty-something year old white male starring in a hollywood film in which his wife runs away with another man and he's heartbroken and super hung up over it but mainly disappointed to find that instant noodles don't taste as good without soft-boiled eggs in them. dear me, i repeat for dramatic effect. then i say it thirty more times, really fast, like bloody mary in your bathroom mirror on steroids.

dear bloody, bloody me. are you listening? so i know things aren't going so great right now and i know you struggle to walk down this hallway without thinking about someone's shadow on the wall and i know the last two months have been so awful you sleep in two hour bursts now like batman on a three week stakeout, like someone who can't afford to take their eyes off the door, but one day you're going to have the best fucking story to tell at dinner parties, and everyone's going to be mesmerized because 1) you're really good at telling stories that are so fucked up they're funny and 2) you're really hot and this story is so fucked up it's funny and you're always going to be hot so they're all going to fall in love with you and you're going to break all their hearts in alphabetical order and it's going to be great.

dear me: i know you're miserable.

i know how i've set this up. you're leaning forward in your seat now. we're at the dinner party i talked about in march, april, may. you're in a tux or a dress with a ruffled collar and i'm talking about how my first semester of college in america was a joke, and you look super hot and i look super hot and everyone looks super hot because all my friends are hot and funny and good at telling stories, but right before you can ask me what i mean by a joke (was it a good joke? a bad joke? did anyone get hurt?), i put my glass on the table and wander off into the crowd.

that is to say: it is not the time yet to tell The Story. but we can talk about the aftermath.

this room looks out over the other side of the building. it has a view of the greenhouse, partially obscured by a large tree with green, heart-shaped leaves. the bedframe is situated at such a ridiculous height that i can sit underneath it without hitting my head, and there's blu tack stuck to the walls, the shadow of spring, old signs of life. one of the drawers in the dresser is crooked. there's a table light that doesn't work. there are water rings on the table.

during the last leg of finals week i dragged myself out of my room for dinner because i refused to sit at my desk and be sad on a friday evening, even though the alternative was to sit in one of those white lawn chairs on the grass and be sad under a slate-gray sky, and halfway through the bit where the protagonist accidentally gets locked inside the room where he's being served a three-course meal and the staff tell him to punch a hole in the wall to get out and he's like i can't do that, i can't break this nice-looking wall and then he breaks the nice-looking wall, when the day was getting late enough that the sky was starting to look less slate-gray and more like a black eye, someone came up to me with a rolled-up yoga mat slung over one shoulder and a camera in her hands. 'i need to shoot something for a final project due tomorrow,' she said. 'can i borrow your hands?'

even the cornered mouse has broken someone's nose before. paintings on cave walls were made by people with skin just like ours. when you feel like you've been backed into a corner and you have nothing and will never have anything ever again, remember this: you are part of someone's spring 2021 final project. you with your super fucked up fingers and your book about the guy who, after punching himself out of that wall, went home with half a rewritten manuscript and met his old lover who, instead of getting married, realized he had followed the wrong person home and had thus taken the necessary steps to rectify his mistake. i am describing the final beats of andrew greer's less. but no conclusion is worth much without a beginning.

where does this story begin? was it that snowed-in morning in washington dc when i stepped off the plane feeling like i'd left half of my heart in the seat pocket? was it the long car ride to school, leaving muffin-crumbs all over the upholstery, the cold wind in my face and the radio blaring through the soft, serrated static? was it that first evening in the half-lit hallway?

it's hard to identify the start of a nightmare. fear has a tendency to reach backwards in time with painted nails and skin, and strangle your past selves so as to prevent the re-introduction of light. this part i won't tell at the dinner party, so i can tell you. in my first semester of college in america i made the wrong friend a few times. one of them was really, really wrong.

but it's never too late to call quits. walk off the set. get in your car. go home. and if you need to, if home becomes homicide, ask for help. the world isn't all mouse-traps and misery. some people want you to flourish. i know it's a hard idea to wrap your head around. you're sitting across from me in a mcdonald's with your metal straw sticking out of your mouth and you're frowning at me. you think i'm full of shit.

it's true though. one day i'll drive you to a dinner party and i'll tell you about my personal sleep paralysis demon, circa 2021, and you'll be mesmerized because i'm good at telling fucked up stories in a way that makes people laugh and my voice will be really hot so everyone will be super bothered by 1) how fucked up this guy is and 2) my really hot voice and then the story will end and i'll smile in the half-light and end with my signature line about how first impressions are all wrong and you should never trust a stranger who says they want the best for you and also people who talk to you in bathrooms are not doing okay and you should stay away from them. and then i'll say but this lady was really nice, and my friends stayed mad when i got too tired to be anything but miserable, and i nicknamed him richard the slut after richard from the secret history by donna tartt, which i was rereading at the time, and one time someone said 'i'll never be able to look at him without thinking of 'richard the slut' again' and i laughed so hard i punctured a lung, and have i mentioned i have really funny friends? you'll say no. i'll say it again. i have really funny friends. you're a really funny friend.

today i pour strawberry-lime kool aid into two teacups and we reminisce about the good old days, when we thought everyone had a sense of basic human decency.

maybe i'll sleep with the light on tonight. i mean look at it. it's such a nice light.

05.28.21

[chicagocityofclans]

Good Evening City of Clans,

We will now be making a weekly starter call. These will be posted on Saturday night every week, and will be a collection of all the starters that were posted from Sunday to Saturday. Please do your best to at least reply to every starter you are able to. These will be organized into three categories: open to all, open to specific species or groups and closed starters. Open starters which do not have 3+ characters who have replied to them will stay on the list until they have reached enough activity. If your starter is accidentally skipped, please be sure to notify the Admins so they may rectify the situation.

Open to ALL

Greer

Sadie

Achilles

Jalissa

Owayne

Ebony

Open to Specific Groups

Conrad for Rats

Jo for People she knows

Zack for Clanmates and People he knows

Closed Starters

None

Updated on Sunday, February 28, 2021 @8:30 AM CST.

[tamas-22-blog]

Halloween (David Gordon Green, 2018)

40 years after Michael Myers unleashed his brutal killing spree, the sole survivor of his purge – Laurie Strode – prepares for a final battle with her tormentor.

After several unsuccessful attempts to recapture the original success of the first film in the franchise, Jason Blum of Blumhouse Productions (known for major hits such as Get Out, Split, and Happy Death Day) came to the rescue and assembled the team of director David Gordon Green and Danny McBride. Many in the industry were taken aback by this pairing as the duo had been recently known for their comedies (such as Pineapple Express) and had no previous experience in making horror films (especially not in the resurrection of a classic).

None of the nine previous sequels had come close to the original’s high standard and thus the filmmakers explored many avenues before settling on the perfect combination, which was to ignore all the sequels to the original and make a direct sequel to the first. Thanks in large part to their excellent screenplay, Jamie Lee Curtis (who played the protagonist Laurie Strode in the original) agreed to reprise her role for the final time (that’s what Cher announces every time she embarks on a Farewell Tour so we’ll see if that is the case). Speaking of why she made this decision she revealed: “We make these movies, but we never talk about what happens to anybody. We inflict this sort of intense experience on unsuspecting (often young people) but then we never revisit it, and never know really what happened.”

This film is much more than a slasher film, it has an emotional brain like no other I have seen since the Scream franchise. The main narrative arc of the film centers on trauma and PTSD, and how they collectively affected Laurie Strode in the 40 years after that horrific night in 1978. The film explores with great intelligence and emotional integrity how the horrors of her youth affected her relationships with her adult daughter Karen (a well-cast Judy Greer) and granddaughter Allyson (newcomer Andi Matichak). Throughout the film, we receive glimmers of the trauma Laurie herself inflicted on her daughter Karen, by training her from a young age to shoot guns and defend herself, which in turn resulted in child protective services to remove Karen from Laurie’s care.

It is indicated by Karen that this childhood experience has informed her adult life and has made her anxious, to the point where she actively seeks to ignore and avoid the Halloween festivities. A visual representation of this can be seen in the latter parts of the film where Karen sports a Christmas cardigan, visibly deleting Halloween from her psyche and replacing it with the joyful and happy Christmas holidays. Karen’s daughter, on the other hand, is sympathetic and wants to have a loving relationship with Laurie, whereas Karen is wary of her. This generational trauma depicted in the film is unusual for a slasher film, which seeks thrills and jump scares at the same time. It is more unusual yet that a film manages to authentically capture these emotions and complex subject matters successfully, unlike many of its predecessors within the genre. As Curtis, herself elaborated: “I love that this was a movie that went back 40 years later to explore and expose the realities of trauma on a human being, who is not given any mental health services, help, support etc.”

This film was the biggest box office opening weekend revenue intake with a woman lead in a horror film and second biggest opening with a woman over the age of 55. This proves not only the box office power of nostalgia but the economic viability of films with a woman lead and a cast mainly comprised of women, yet again! The film was low budget (made for $10-15 million) with a relatively small cast, ending up making $255.5 million at the worldwide box office. It is a positive development which, in an ideal world, should mean (and result in) more nuanced films in the horror genre, with a woman in the lead role (without the clichés of the “final girl” trope.

However, the film is lacking when it comes to representation and inclusion. The minor and forgettable character of Sheriff Barker (Omar Dorsey) is scarcely on screen and disappears suddenly without any further mention or appearance, thus making the potential of the character negligible. I must not omit to mention that further whoosh of a scene where a black couple dressed as a doctor and nurse flash across the screen, being gifted the revolutionary one-liner about a car key thought to have been lost, but quickly turns out that it was there with the “doctor” all along. Then as the sinister Michael Myers appears, they are speedily rushed off the screen into the abyss.

It’s disheartening to experience such a great film stumble and fall into the same trope, and present what Robin Wood called “obligatory black content”, with the characters of colour serving as scenery without a purposeful role in the film alongside their white counterparts. Historically, horror/slasher films have not been kind (to say the least) towards people of colour, as they have almost never survived to the end of the film or played a meaningful part in it. Considering this, maybe Sheriff Barker and the nurse/ doctor pair may have been lucky this time around not to be murdered off-screen soon after their introduction. However, it’s comforting to know that directors such as Jordan Peele (Get Out) are rectifying these oversights.

On the other hand, the film is perfectly placed to coincide with the #MeToo era (which was launched as a movement in October 2017) with filming commencing in January 2018 (the same month Time’s Up was founded as a legal defense fund for victims who could not afford their own legal counsel or representation). Interestingly, the film’s screenplay was completed well before these movements were launched and resulted in the reckoning which overthrew predatory producers such as Harvey Weinstein and brought forth the reappraisal of past sexual abuse cases such as those involving Roman Polanski and Woody Allen.

I found this film to be ultimately about the strength and resilience of women, who have found the courage and conviction to stand up for themselves, defend and protect one another, and in the end defeat the monster terrorizing them. The Strode women take on their abuser, just as women across the world have declared that Time’s Up for those who have systematically abused or harassed them.

[effectsdatabase]

Weekly overview (2019, week 03): 6 new brands and 103 new pedals

6 new brands

1981 Inventions

Dut Beardy

Effigy Labs

SBGO Effects

Shnobel Tone

WingMan FX

103 new effects

1981 Inventions DRV

ART (Applied Research and Technology) Cool Switch - A/B-Y Switch

ART (Applied Research and Technology) Cool Switch Pro - A/B-Y Switch with Isolation

ART (Applied Research and Technology) LOOPSwitch

ART (Applied Research and Technology) LSwitch

ART (Applied Research and Technology) PATCH In

Carl Martin Comp/Limiter - Danish High-End Compressor

Dewitte Wired Brut(e)

Donner Alpha Bass - Chorus / Bass Drive /Compressor

Dophix Inferno - Distortion

Dophix Leonardo - Compressor

Dophix Michelangelo - Boost + Drive

Dophix Nettuno - Fuzz

Dophix Paradiso - Booster

Dophix Perseo - Boost

Dophix Purgatorio - Overdrive

Dophix Purgatorio Superbia - Overdrive

Effigy Labs Control Pedal

Electro-Harmonix Bass Mono Synth

Ernie Ball VPJR Tuner

Eventide (by Cioks) PowerMAX

F-Pedals Edstortion+ - Eddie Kramer Signature Distortion Plus

F-Pedals Mars90 - Marshall / Mesa Boogie Rectifier Hybrid with Independent Boost

F-Pedals Sonic Ride

Fender Bubbler Chorus

Fender Downtown Express - Bass Multi Effects

Fender Lost Highway Phaser

Fender MTG Tube Distortion

Free The Tone BV-1V Black Vehicle - Bass Overdrive

Free The Tone FM-1V Fire Mist - British Rock Overdrive

Free The Tone SS-1V String Slinger - American Blues Overdrive

Greer Amps SOMA 63 - Vintage Preamp

Ibanez TS9 Tube Screamer Gold

ISP Technologies Ellefson Beta Bass DSP

Jext Telez Jext Face

Keeley (X series) Comp Plus X

Keeley (X series) Mezzo Drive X

Keeley (X series) OP Fuzz X

Keeley (X series) Roto Sonic X

Keeley (X series) Super Bass X

Keeley (X series) Super Ox X

Keeley (X series) Super Phat X

Keeley (X series) Tape Echo X

Keeley (X series) Tri Mod X

Keeley (X series) Tri Verb X

KHDK Electronics Unicorn Blood - Octave Fuzz

King Tone Guitar The Octaland V2

Kink Guitar Pedals Absolution Fuzz

Kink Guitar Pedals Defender Of The Hate +

Kink Guitar Pedals Femtaur

Kink Guitar Pedals Oath Of The Goat

Kink Guitar Pedals Politically Correct Boost

Kink Guitar Pedals Straya Drive

Kink Guitar Pedals Trem-endous Gain v1

Markbass Raw series MB Octaver

Mastro Valvola Buff-O - Buffer

Mastro Valvola LFO - Optical Tremolo

Mastro Valvola Linear - Boost

Maxon PS5 Guitar Multi Processor

Milkman Sound F-Stop - Reverb & Tremolo

Mooer Audio GE-300 - Amp Modeling & Synth & Multi-Effects

Neunaber Technology Neuron - Gain Intelligence

NEXI Industries Acoustic Chorus

NEXI Industries Acoustic Compressor

NEXI Industries Acoustic Reverb

NEXI Industries Octavius - Ace (Skunk Anansie) signature Octaver

NEXI Industries Skunkdrive - Ace (Skunk Anansie) signature Overdrive

nuX Horseman

nuX JTC Drum & Loop Pro - Dual Switch Looper Pedal with Drum Machine

nuX Mini Studio - IR Cab Simulator

One Control Silver Bee OD

Ovaltone OD-Five 2 eXplosion

Pedaltrain SST Space Saving Tuner

Peterson Tuners StroboStomp HD

Quilter Labs Interblock 45 - Compact 45 Watt Amplifier

Rocket Surgeon Astro Rock-It - Overdrive

Rocket Surgeon Starlifter - Bass Preamp/DI

Shift Line A+ Everest - Reverb + Delay

Shift Line A+ Prism-9 - Filter-Pad

Shift Line Force - Reverb/Freeze

Shift Line Olympic MkIIIs - Tube Bass Preamplifier

Shift Line Twin MkIIIS

Source Audio C4 Synth

Source Audio C4 Synth Elevon - Multi-Voice Pitch Controller

Spiral Electric FX Yellow Spiral Drive

Taurus Guitar Engine Classic Tone - Custom Drive

Taurus Guitar Engine High Gain - Custom Drive

Taurus Guitar Engine Vintage Tone - Custom Drive

Taurus Servo - Guitar Enhancer

Taurus Stomp-Head 1.VT Vintage

Taurus Stomp-Head 3.CL - Classic 60/15Watt Tube Amp

Taurus Stomp-Head 3.HG - High Gain 60/15 Watt Tube Amp

Taurus White Line Abigar Extreme - Bass Drive

TC Electronic Brainwaves - Pitch Shifter

Tech 21 Fly Rig 5 v2

Tech 21 RK5 v2 - Richie Kotzen Fly Rig 5 v2

Tech 21 SansAmp Geddy Lee Signature YYZ Bass Pre-amp

Thermion Black Sun - Rotophaser

Thermion Breakthru - British Blizzard Dual Overdrive

Thermion Outlaw - Davish G. Alvarez signature Boosted Delay

Thermion Uprising - Dual Booster

Vein-Tap DA-XXX Dark Arts - Tap Tempo Phaser

Vertex Tone Secret

1 new article

Last week's top 20 videos (2019, week 02)

Overviews of the previous weeks: http://www.effectsdatabase.com/updates/weekly

Discuss these updates at the forum: http://forum.effectsdatabase.com/viewtopic.php?f=3&t=822

from Effects Database http://bit.ly/2T51uJL

[if-you-fan-a-fire]

“Smart and Young Remanded Again,” Toronto Star. May 12, 1930. Page 1. ---- Counsel Argues Homer L. Gibson Responsible for Short Position --- Following lengthy arguments by Richard H. Greer, K.C., for the defense and A. W. Rogers, for the crown, in the cases of William J. Smart and Maurice E. Young, brokers, charged with theft, fraud, and conspiracy, Magistrate R. J. Browne remanded the pair until Tuesday, May 20, when he will consider whether or not they should be committed for trial.

Mr. Greer went over the firm’s affairs from the time the defendants took over from Homer L. Gibson, who, he claimed, should face charges.

‘Mr. Gibson has gone from Toronto, the court may notice,’ he said. ‘He has gone as far as he can go, and there is no doubt that he has extracted his profits.’

Up to September 6, 1920, he declared, Young and Smart were no more than minority holders in the Gibson organization, he contended, and could not therefore be linked up with its affairs. When Gibson left the books showed ‘short positions’ of $8,000,000, but through their work this was reduced so that by February, 1930, the company was solvent.

Admitting that the men took advantage of the market conditions in the fall to rectify the ‘short position,’ he held up the books to show that there was now a fund of $600,000 with which demands of customers could be met.

Money Available ‘We are in a peculiar place,’ Mr. Greer told the magistrate. ‘The crown officers stepped into our office, took over our books, and from them built these charges. There is not a single person who will come foreward and say that we have tried to hold back any money. If anyone wants delivery of stock we will deliver and if we have sold stock the cash is there for the customer who wants to be paid.

‘It is all a matter of book-keeping and because the crown does not like the methods used these charges have been laid,’ said Mr. Greer.

[rectifier-vn]

Been going back over Greer's route, and gosh this sound is so them. (Also I adore Aristocats. Does this mean Greer has some traces of Abraham de Lacy Giuseppe Casey Thomas O' Malley? MAYBE)

[vintage1981]

Halloween Kills - Final Trailer

In Theaters and Streaming Only on Peacock October 15

In 2018, David Gordon Green’s Halloween, starring icon Jamie Lee Curtis, killed at the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman.

And the Halloween night when Michael Myers returned isn’t over yet.

Minutes after Laurie Strode (Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) left masked monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed to the hospital with life-threatening injuries, believing she finally killed her lifelong tormentor.

But when Michael manages to free himself from Laurie’s trap, his ritual bloodbath resumes. As Laurie fights her pain and prepares to defend herself against him, she inspires all of Haddonfield to rise up against their unstoppable monster.

The Strode women join a group of other survivors of Michael’s first rampage who decide to take matters into their own hands, forming a vigilante mob that sets out to hunt Michael down, once and for all.

Evil dies tonight.

Universal Pictures, Miramax, Blumhouse Productions and Trancas International Films present Halloween Kills, co-starring Will Patton as Officer Frank Hawkins, Thomas Mann (Kong: Skull Island) and Anthony Michael Hall (The Dark Knight).

From the returning filmmaking team responsible for the 2018 global phenomenon, Halloween Kills is written by Scott Teems (SundanceTV’s Rectify) and Danny McBride and David Gordon Green based on characters created by John Carpenter and Debra Hill. The film is directed by David Gordon Green and produced by Malek Akkad, Jason Blum and Bill Block. The executive producers are John Carpenter, Jamie Lee Curtis, Danny McBride, David Gordon Green and Ryan Freimann.

[hollywoodgothique]

Final Trailer: Halloween Kills

Final Trailer: Halloween Kills

Universal Pictures, Miramax, Blumhouse Productions and Trancas International Films present Halloween Kills, starring Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Thomas Mann (Kong: Skull Island) and Anthony Michael Hall (The Dark Knight). Screenplay by Scott Teems (SundanceTV’s Rectify) and Danny McBride and David Gordon Green, based on characters created by John Carpenter and Debra…

[beardedsharkheart]

Watch Michael Meyers’ Return In The ‘Halloween Kills’ Trailer

Michael Meyers returns for one more Halloween night. Minutes after Laurie Strode (Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) left masked monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed to the hospital with life-threatening injuries, believing she finally killed her lifelong tormentor. But when Michael manages to free himself from Laurie’s trap, his ritual bloodbath resumes. As Laurie fights her pain and prepares to defend herself against him, she inspires all of Haddonfield to rise up against their unstoppable monster. The Strode women join a group of other survivors of Michael’s first rampage who decide to take matters into their own hands, forming a vigilante mob that sets out to hunt Michael down, once and for all.

The film is written by Scott Teems (SundanceTV’s Rectify), Danny McBride and David Gordon Green based on characters created by John Carpenter and Debra Hill. The film is directed by David Gordon Green and produced by เครดิตฟรี Malek Akkad, Jason Blum and Bill Block. John Carpenter, Jamie Lee Curtis, Danny McBride, David Gordon Green and Ryan Freimann executive produce.

[theufos51]

The Imperative of Consciousness Steven M. Greer, MD

  When we speak of interacting with ETI (Extraterrestrial Intelligence) , we are, after all, talking about reaching out to advanced conscious intelligent beings, and not the mere observation of some natural phenomenon or biological process.  For this reason, careful consideration must be given to not only our view of ETI's intentions, but more importantly, to our own intentions and attitudes.  The human tendency - well evidenced by both military and civilian reactions to ETS (Extraterrestrial Spacecraft) - for xenophobic, violent and even paranoid reactions to the new and unknown must be addressed and rectified.  The human predisposition to view anything which we do not understand or control as intrinsically hostile and threatening must be overcome.  The blind quest for personal gain, profiteering and an inclination towards viewing ETS/ETI in predominantly 'acquisition' framework needs to be altered.  If we are motivated by a desire to 'out-smart' ETI and acquire their technology and energy source, then our efforts will fail.  If we approach ETI with greed, fear, assumed hostility and suspicion, then we shall expend our efforts in vain. 

    There is no doubt that we are dealing with beings who are capable of reading, by both telepathic and conventional means, our true intentions and motivations, and who can sense the "spirit of our endeavor".  Success requires that the spirit of our endeavor be one of scientific openness, the search for truth, altruism, selflessness, harmlessness and non-covetousness.  A desire for the peaceful furtherance of the ETI- Human relationship is paramount.  For these reason, "purity of motive" on the part of human researchers and investigators is a primary requisite while specific skills, expertise and technology are important but secondary considerations.  The breadth and clarity of our consciousness is imperative and transcends all other considerations.  Our obsession with technology and outward things tends to obscure the Big Picture of the ETI/Human relationship, and all that it entails.  While competence and knowledge cannot be slighted, we must insist on the primary importance of consciousness.  In this regard, it is likely that a novice possessed of noble intentions and equipped with only a flashlight would meet (has met?) with greater success than a governmental agency motivated by lesser intentions, even though it has advanced technology, personnel and billions of dollars at its disposal.  Indeed, an aboriginal with only a bonfire may go further in the establishment of communication and the discovery of truth! 

   Of almost equal importance is the question of how we view ETI intentions and motives.  If the tabloids, sensationalist books and rumor mills are to be believed, ETI are all either guru-like space gods or Darth Vader space conquerors!  Our tendency to polarize on either side of this issue is both premature and unwarranted - and it is dangerous. It is unlikely that they are either perfect gods or evil empire operatives, yet these views of their motives have influenced and will continue to influence our attitudes and actions unless consciously addressed.  A review of the cases to date would indicate that while some actions are enigmatic and even disturbing to some human sensibilities, no evidence of net hostile intentions exists. Here, we must differentiate between our perceptions of actions and actual intentions or motives, since these are two separate considerations.  (For a more thorough treatment of this topic see "The Case of Non-Hostility).  A seemingly disturbing action may occur for a net neutral or even benevolent purpose.  Certainly as an Emergency and Trauma doctor, not a day goes by where a child or impaired adult victim of trauma could view my efforts to help him as painful and therefore motivated by a desire to do harm, even though my motives are just the opposite.  That a frightened child perceives my actions as hurtful or malevolent is a function of the child's level of awareness and knowledge, and in no way reflects my true intentions.  Could not an analogous process be occurring with some ETI events which conventional wisdom has deemed hostile and therefore as evidence of malevolent intentions? 

  Certainly for CE-5 Initiative research it is important to give ETI the benefit of the doubt, and until proven otherwise, assume non-hostility.  An assumption of ETI hostility will poison the atmosphere of future bi-lateral contact and prevent the development of an ETI-Human relationship free of conflict. This is one time in human history where fortitude, trust and self-discipline are essential prerequisites to further progress.  The assumption of non-hostility does not equal either blind naivete or an assumption that ETI are perfect god-like saviors. But it does mean holding an open, non-suspicious and positive attitude towards ET beings.  To do otherwise is to create a reality based in conflict and hostility, a thorny path already well traveled by the human race. 

 Beyond the consciousness of actual researchers or those who have had close encounters is the importance of the background consciousness of humanity as a whole.  The type and quality of any further ETI-Human interactions - and therefore the specific results of any CE-5 Initiative efforts - will be in part dependent on and limited by the level of evolution in human society.  We should not be surprised if an ET civilization prefers to limit the degree of open contact with humans given the present preoccupation with militarism, conflict and violence.  As human society makes the necessary transition to world peace and cooperation, I believe we will see a concomitant increase in ETI openness and bilateral communication.  In this sense, the success of the CE-5 Initiative is directly dependent on the peace and unification of the human race.  World peace and world unity and cooperation then are the important determinants of future ETI-Human events.  The depth and quality of the CE-5 Initiative may prove to be modest, but these will increase as human society evolves towards peace and unity.

[douglassmiith]

Shows to Binge During the Pandemic That Arent Breaking Bad or Fleabag

If you feel like you’ve already seen everything, here are some under-the-radar TV options to tide you over as we weather coronavirus together.

Opinions expressed by Entrepreneur contributors are their own.

Being informed about the spread of COVID-19 and its devastating effects on the global community is critical. But we can all acknowledge that staying attuned to the news every waking hour has only heightened our collective anxiety and sense of foreboding. One of the few salves for those fortunate enough to have reliable WiFi and access to cable and streaming services has been the chance to catch up with TV shows that had previously passed us by and might offer momentary respite from the coronavirus and its attendant confinement. 

But before one more website or well-meaning friend reads you the riot act for having never seen Breaking Bad or The Wire, or parrots the popular thinking that Fleabag is comedy manna (not that it isn’t), we thought we’d recommend a handful of superlative, binge-able series that have been relatively neglected by the culture at large. And while living through fictional characters’ everyday circumstances might seem like a counterintuitive way to cope with a very real period of isolation, the five shows below might actually offer some useful perspective. (Click through each show title for access to it via Netflix, Amazon or Hulu.)

This little-seen, under-marketed Sundance TV gem from creator/writer Ray McKinnon has earned its share of critical praise and some cult appreciation thanks to Netflix but remains inexplicably sidelined from most popular conversation about great modern dramas. The premise — small-town Georgia man Daniel Holden (Aden Young) gets exonerated after years on death row for the murder of his high school girlfriend and attempts to reassimilate into normal life — might sound moribund. But Rectify abounds with soulful insights on guilt, innocence, love and loss. The cast (also including Abigail Spencer, Clayne Crawford and J. Smith-Cameron, etc.) are terrific in service of characters charting a hyper-realistic course toward solace and redemption against extraordinary odds. 

Related: 18 Movies Every Entrepreneur Should Watch

Kudos to Starz for giving creator/writer Mike O’Malley’s groundbreaking dramedy four seasons to spread its wings. Survivor’s Remorse is nominally about pro-basketball star Cam Calloway (Jesse Usher) and his adaptation to life as an A-list celebrity, but it’s ultimately a dysfunctional-family sitcom with the outlaw spirit of Curb Your Enthusiasm and heart of Schitt’s Creek. That it never benefited from the latter’s groundswell of support is a shame, but it’s not too late to make good and — if nothing else — bear witness to Tichina Arnold’s (Martin, Everybody Hates Chris) career-best turn as the take-no-prisoners, wildly profane Calloway matriarch Cassie.

Nothing can prepare you for how weird this comedy/drama/mystery-thriller buddy series gets in a hurry. The broad strokes of Hap and Leonard are that it’s based on a series of novels by Joe R. Lansdale, set in the 1980s, features first-flight actors including Michael Kenneth Williams (speaking of The Wire), James Purefoy and Mad Men‘s Christina Hendricks. Purefoy is Hap, a conscientious Vietnam objector and smart aleck who literally pulls no punches. Leonard is his best friend, still scarred from having fought in the war and dealing with day-to-day life as an openly gay black man in East Texas. Over the course of three seasons, they find themselves in the crosshairs of lovestruck sadists, child killers and politically embedded Klansmen. They’re kind of like the Dukes of Hazzard, just far more tender with one another and up against much graver life-or-death odds. It’s not hard to see how this one was a hard sell, but trust us that it’s worth buying in.

You’d be forgiven for being out of the loop about creepypastas, which are basically internet-user-generated campfire stories that seeped into mainstream consciousness via forums like Reddit. (The infamous Slender Man tale is a frequently cited pillar.) But they also served as a bedrock for the SyFy network’s Channe Zero anthology series. Each of the four installments — from 2016’s initial Candle Cove to ’18’s concluding Dream Door — creates a Twilight Zone of its own somewhere between lucid dreams and waking strange, searching for closure to open wounds. It’s eerie, artful and the closest thing to what Nightmare on Elm Street auteur Wes Craven might have concocted for the 21st-century disaffected set.

Related: Netflix Finally Adds Top 10 Lists for Its Most Popular Content

We know there’s a lot on TV at any one time. Still, how exactly has this Dave Holstein-created weekly half-hour (currently airing on Showtime) that’s executive produced (and often directed) by Eternal Sunshine of the Spotless Mind visionary Michel Gondry and stars his muse, Jim Carrey, not caught fire? Carrey plays Jeff, who also happens to play a Mr. Rogers-like character named Mr. Pickles on public television. He’s good and he’s decent, but he’s also burdened by a personal tragedy, pining for his ex-wife Jill (the terrific Judy Greer) and dealing with his tyrannical father/boss Seb (a never-better Frank Langella), the sum total of which culminates in what could be described as personal awakening by way of total breakdown. Kidding is, as the title teases, very funny, but without the cringy-ness and ironic distance typical of modern cable comedies. Carrey is excellent, but the show is an ensemble feat and has only grown more confident in its, and Mr. Pickles’s, mission of bringing joy and jarring candor to the masses. 

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Shows to Binge During the Pandemic That Aren’t ‘Breaking Bad’ or ‘Fleabag’

If you feel like you’ve already seen everything, here are some under-the-radar TV options to tide you over as we weather coronavirus together.

Opinions expressed by Entrepreneur contributors are their own.

Being informed about the spread of COVID-19 and its devastating effects on the global community is critical. But we can all acknowledge that staying attuned to the news every waking hour has only heightened our collective anxiety and sense of foreboding. One of the few salves for those fortunate enough to have reliable WiFi and access to cable and streaming services has been the chance to catch up with TV shows that had previously passed us by and might offer momentary respite from the coronavirus and its attendant confinement. 

But before one more website or well-meaning friend reads you the riot act for having never seen Breaking Bad or The Wire, or parrots the popular thinking that Fleabag is comedy manna (not that it isn’t), we thought we’d recommend a handful of superlative, binge-able series that have been relatively neglected by the culture at large. And while living through fictional characters’ everyday circumstances might seem like a counterintuitive way to cope with a very real period of isolation, the five shows below might actually offer some useful perspective. (Click through each show title for access to it via Netflix, Amazon or Hulu.)

This little-seen, under-marketed Sundance TV gem from creator/writer Ray McKinnon has earned its share of critical praise and some cult appreciation thanks to Netflix but remains inexplicably sidelined from most popular conversation about great modern dramas. The premise — small-town Georgia man Daniel Holden (Aden Young) gets exonerated after years on death row for the murder of his high school girlfriend and attempts to reassimilate into normal life — might sound moribund. But Rectify abounds with soulful insights on guilt, innocence, love and loss. The cast (also including Abigail Spencer, Clayne Crawford and J. Smith-Cameron, etc.) are terrific in service of characters charting a hyper-realistic course toward solace and redemption against extraordinary odds. 

Related: 18 Movies Every Entrepreneur Should Watch

Kudos to Starz for giving creator/writer Mike O’Malley’s groundbreaking dramedy four seasons to spread its wings. Survivor’s Remorse is nominally about pro-basketball star Cam Calloway (Jesse Usher) and his adaptation to life as an A-list celebrity, but it’s ultimately a dysfunctional-family sitcom with the outlaw spirit of Curb Your Enthusiasm and heart of Schitt’s Creek. That it never benefited from the latter’s groundswell of support is a shame, but it’s not too late to make good and — if nothing else — bear witness to Tichina Arnold’s (Martin, Everybody Hates Chris) career-best turn as the take-no-prisoners, wildly profane Calloway matriarch Cassie.

Nothing can prepare you for how weird this comedy/drama/mystery-thriller buddy series gets in a hurry. The broad strokes of Hap and Leonard are that it’s based on a series of novels by Joe R. Lansdale, set in the 1980s, features first-flight actors including Michael Kenneth Williams (speaking of The Wire), James Purefoy and Mad Men‘s Christina Hendricks. Purefoy is Hap, a conscientious Vietnam objector and smart aleck who literally pulls no punches. Leonard is his best friend, still scarred from having fought in the war and dealing with day-to-day life as an openly gay black man in East Texas. Over the course of three seasons, they find themselves in the crosshairs of lovestruck sadists, child killers and politically embedded Klansmen. They’re kind of like the Dukes of Hazzard, just far more tender with one another and up against much graver life-or-death odds. It’s not hard to see how this one was a hard sell, but trust us that it’s worth buying in.

You’d be forgiven for being out of the loop about creepypastas, which are basically internet-user-generated campfire stories that seeped into mainstream consciousness via forums like Reddit. (The infamous Slender Man tale is a frequently cited pillar.) But they also served as a bedrock for the SyFy network’s Channe Zero anthology series. Each of the four installments — from 2016’s initial Candle Cove to ’18’s concluding Dream Door — creates a Twilight Zone of its own somewhere between lucid dreams and waking strange, searching for closure to open wounds. It’s eerie, artful and the closest thing to what Nightmare on Elm Street auteur Wes Craven might have concocted for the 21st-century disaffected set.

Related: Netflix Finally Adds Top 10 Lists for Its Most Popular Content

We know there’s a lot on TV at any one time. Still, how exactly has this Dave Holstein-created weekly half-hour (currently airing on Showtime) that’s executive produced (and often directed) by Eternal Sunshine of the Spotless Mind visionary Michel Gondry and stars his muse, Jim Carrey, not caught fire? Carrey plays Jeff, who also happens to play a Mr. Rogers-like character named Mr. Pickles on public television. He’s good and he’s decent, but he’s also burdened by a personal tragedy, pining for his ex-wife Jill (the terrific Judy Greer) and dealing with his tyrannical father/boss Seb (a never-better Frank Langella), the sum total of which culminates in what could be described as personal awakening by way of total breakdown. Kidding is, as the title teases, very funny, but without the cringy-ness and ironic distance typical of modern cable comedies. Carrey is excellent, but the show is an ensemble feat and has only grown more confident in its, and Mr. Pickles’s, mission of bringing joy and jarring candor to the masses. 

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