#( all systems online ) // sci-fi verse.

[butane-muses]

VERSE TAGS.

For this blog's use, only. Please don't reblog this.(

[cryoexorcist]

new verse drop:

v. living on the edge of no control (SCI FI. )

chongyun, code name demonbane, is part of a mysterious faceless group known as the exorcists. they are well known in the internet sphere for their hacking skills. demonbane is the most infamous one, also calling himself a 'ghost hunter'. chongyun's exceptional at tracing anything online, and has a knack for finding people/bypassing even the toughest of security systems.

in the real world chongyun poses as an ordinary, sby and awkward young man, but online is ruthless and unafraid to tackle anything and anyone.

this is a catch all verse for like scifi/cyberpunk/spy aus, cause it could all fit for each of them.

[olreid]

just read all existing silt verse transcripts so far i’m so obsessed... do u have any other horror podcast recommendations!

loll yes lemme just tell you what i’ve listened to !

first i would say if you liked the silt verses you should go back and read/listen to i am in eskew, which is by the same creators. it is about living in a city that wants to kill you, and each episode is its own little contained story about one aspect of the city. the writing and horror are excellent and it’s just like. here’s what it’s like to be chronically ill and at the mercy of the healthcare system. here’s what it’s like to work a fucked up job. here’s what it’s like to battle intrusive thoughts. 11/10 transformative media, my all-time favorite podcast. the audio mixing is kinda bad bc it was the first podcast they ever made but imo it’s worth it to power through or just to read the transcripts if you really struggle w the sound.

mabel takes place entirely on messages left on phones and is about lesbians and haunted houses and family legacy and labyrinths and love. it’s more vibes than plot but the concept is cool and the writing and themes are really excellent. the transcripts are online!

archive 81 starts off with a Guy who is hired to digitize an archive and then turns into this wild sci-fi/horror show about storytelling and ritual and transformation and power. each season is super different so if you don’t vibe with one it might be worth skipping around a bit to see how you feel about it! season 1 is very like atmospheric/slow burn mystery horror and isolation, season 2 is cosmic horror/sci fi weirdness, and season 3 is like. body horror and new york and eldritch ritualism. transcripts are kind of lacking but also online!

the magnus archives is. well. WAS a podcast about the employees of an archive dedicated to researching the supernatural who don’t really buy any of it until IT STARTS HAPPENING TO THEM... dun dun dun... anyway this is definitely the longest rec on the list but the transcripts are excellent and the plot and world-building are great and it simply has all my themes. loss of humanity when you gain power, knowledge production as violence, consumption, being gay. u know how it is.

sangfielle is the currently airing seventh season of friends at the table! this one is actual-play so the transcripts take a long time to come out & this might not be for you if you’re wanting to read transcripts rather than listen to audio. HOWEVER, friends at the table, unlike a lot of other ttrpg podcasts, HAS the storytelling and political range and has a big emphasis on worldbuilding, so they created their OWN horror setting and it BOPS. cursed land, mines that eat you, trains that have a will of their own, teeth that bloom when planted, plays that set off ancient rituals, vampires that come back from the dead, people who are actually just a lot of bees in a person suit, and a town haunted by past, present, and future. ALSO the soundtrack to end all soundtracks, which you should listen to even if u don’t go for the podcast!

and this is my list of horror-y stuff to check out: alice isn’t dead, out of place, midnight radio, the white vault, dark dice

hopefully some of that is helpful <3

[greensparty]

Green’s Party Guide to the 2022 Oscar Nominated Short Films

After last year’s Academy Awards telecast being a very low-rated year, they are panicking about how to draw in new viewers and they have apparently decided the best way to have a good telecast is to cut multiple categories from the live broadcast (presenting the award earlier in the evening and showing a clip of the acceptance speech that is). LAME! Especially because among those categories are the Short Films categories for Animated, Live Action and Documentary. I have been a longtime champion of these categories and it is very disheartening to hear the Academy is going to cut them from the live telecast in favor of comedy and music segments. 

This is also the very reason why I am excited to continue my annual tradition of showcasing the Academy Award nominees for Best Animated Short Film, Best Live Action Short Film and Best Documentary Short Film (read my 2017, 2018, 2019, 2020, and 2021 guides). This year’s nominated short films are available from ShortsTV both in theaters and online. I’ve watched all of them and had time to think about them. Here are my thoughts and predictions:

2022 Shorts TV poster

Best Animated Short:

The New Yorker’s Affairs of the Art (Canada / U.K.) was directed by Joanna Quinn (a previous Best Animated Short nominee for Famous Fred). The character of Beryl (voiced by Mena Trussler) and her family continue their obsessions with drawing, taxidermy and more. Beast (Chile) is stop-motion animation with porcelain dolls. It is a NSFW tale of a secret police agent who trains dogs to torture prisoners of war. Anyone who thinks animation is only for kids should (or should not?) watch this! Boxballet (Russia) is an offbeat romance between a ballerina and a boxer. This is practically a silent film! Netflix’s Robin Robin (U.K.) was produced by Aardman Animations (of Wallace and Gromit and Shaun the Sheep fame). This stop-motion musical is about a bird raised by mice and the personal journey of self-discovery. With no Pixar this year, this is considered the frontrunner. At 30 minutes, its also the longest. In The Windshield Wiper (U.S. / Spain), a man sits in a cafe while smoking and ponders the answer to the question “what is love?”. What follows are various scenarios of love in numerous world locations.

Will Win: Robin Robin is the frontrunner thanks to the name recognition of Aardman and the star power of voice actors Gillian Anderson and Richard E. Grant.

Should Win: I really got into The Windshield Wiper. The meandering and abstract approach to its storytelling is not going to be for everyone, but it had something to say about love and the search for love in the modern era and how similar it is all over the world. Director Alberto Mielgo was also a visual consultant on Oscar-winning Best Animated Feature Spider-Man: Into the Spider-Verse.

Best Live Action Short:

At 38 minutes Ala Kachuu - Take and Run (Switzerland / Kyrgyzstan) is the longest of the “short” live action nominees. It is about a young woman in Kyrgyzstan who is kidnapped and forced into marriage. It shows the woman’s desire for freedom and free will in contrast with the culture and societal expectations. The New Yorker’s On My Mind (Denmark) is actually directed by Martin Strange-Hansen, who previously won an Oscar for Best Live Action Short for 2002′s This Charming Man. In this one, a man is at a bar in the morning and he insists on using the karaoke machine to sing “Always on My Mind”. He needs to sing it right now, today...even though no one is in the bar. There is a reveal as to why it is so urgent, but I won’t be spoiling it. In the sci-fi short Please Hold (U.S.), a young man is imprisoned and it shows a not-too-distant-future where everything is automated and you can’t speak to a human, even when it comes to the justice system. In The Dress (Poland), a young woman with dwarfism works in a rural motel as a maid, smokes like a chimney and play slots. But things change when a man passing through shows an interest in her. It shows the sexual awakening she has as a result of this would-be romance and the harsh realities she has to deal with on a daily basis. WePresent’s The Long Goodbye (U.K.) has the star power of lead actor/co-writer Riz Ahmed, an Oscar nominee for lead actor last year for Sound of Metal. This short film accompanied Ahmed’s 2020 album of the same name. It begins with a British-Pakistani family at home and then things take a turn when armed guards show up in the neighborhood. Not going to get into spoilers, but Ahmed gets to show off his rap skills.

Will Win: This is hard to call. As with most years, there are some really dark and super serious films. This year there is a common theme about human suffering. I predict that the Academy is going to go with the name recognition of The Long Goodbye, mainly because Riz Ahmed was robbed of an Oscar last year. IMHO, it feels like an extended music video as opposed to a short film that develops the story and characters in a short amount of time.

Should Win: Again this is hard. Please Hold gets credit for being highly ambitious. But I think there should be a tie between On My Mind and The Dress. On My Mind presents a situation very quickly and the reveal is a big emotional payoff. The Dress is the kind of story you don’t normally see getting the film treatment, especially in such a raw emotional way. 

Best Documentary Short:

Such a wide diversity in this year’s doc short category. In Netflix’s Audible (U.S.), a high school football player from the Maryland School for the Deaf in Frederick, MD tries to defend the team’s winning streak while dealing with the loss of a friend. Netflix’s Lead Me Home (U.S.) looks at people living on the street in several West Coast cities and the homeless crisis in those cities. The New York Times’ The Queen of Basketball (U.S.) was directed by Ben Proudfoot, who directed A Concerto Is a Conversation, which was nominated for Best Documentary Short last year. This year, Proudfoot is profiling Lucy Harris, who was the first woman to officially be drafted into the NBA and scored the first basket in women’s Olympics history. This little-known piece of basketball history was executive produced by Shaquille O’Neal. Netflix’s Three Songs for Benazir (Afghanistan) follows a young Afghan refugee living in a camp for displaced persons in Kabul. HBO Documentary’s When We Were Bullies (U.S.) shows the documentary’s director Jay Rosenblatt looking back at a bullying incident that he was involved with fifty years earlier. It is deeply personal and he confronts his complicity in the incident as he tracks down and re-connects with his old classmates and teachers.

Will Win: This is a hard one to call, but I think its going to be The Queen of Basketball. It presents an engaging subject, archival footage of classic NBA and Olympics footage, a piece of history that most people don’t know about, and the name recognition of Shaq as a producer.

Should Win: Its hard when comparing five subject that are very different in scope and subject, especially with so much serious issues being examined. But of all of these docs, I thought When We Were Bullies was the most innovative in that it connects a number of coincidences, it is a filmmaker examining himself and his own story, and combining animation with the modern-day interviews, along with something to say about learning from things you did that you’re not proud of.

This year’s Oscar Nominated Short Films can be seen online from ShortsTV and in movie theaters, including West Newton Cinema, Landmark Kendall Square Cinema and Coolidge Corner Theatre in the Boston area. For tickets and info: https://tickets.oscar-shorts.com/tickets/

[judesowndaughter]

#JustMarshSistersThings

Some assorted headcanons about Lynn and Emily under the cut because I need a place to put this stuff just so things aren’t so incredibly vague about them. Consider this a quick little reference guide to these two. 

Ages and Birthdays: - Kate’s birthday is the same as in canon: September 12th, 1995. - Emily’s birthday is February 14th, 1999. - Lynn’s birthday is July 22nd, 2003. - The ages for the Marsh sisters during the events of L.IS are as follows: Kate is 18, Emily is 14, and Lynn is 10. Barring some exceptions, most verses will have all three girls as 18, 14, and 10, respectively. - After the Storm verse jumps around in terms of the timeline, but generally I prefer to set it around 2017-ish, where Kate is 22 and Lynn is 14. - Kate’s U.ntil Dawn verse has her at 19 years old, with Emily at 15 and Lynn at 11.  Appearance: - As of the events of L.IS, Emily is the tallest of her siblings at 5′5″. Lynn is only a little shorter than Kate, measuring 5′1″. - All of the girls have long, undyed hair, although this isn’t necessarily by choice; Helen believes short/dyed hair on women looks “ugly” and “lesbian”, and therefore forces her daughters to have hair past their shoulders at the minimum. When Helen dies or is kicked out of the family, Lynn and Emily both cut their hair short. Lynn to a (dyed) bubblegum pink mop that falls just below her jawline, and Emily to...a pixie undercut. - Kate cuts her hair to shoulder-length shortly before leaving her hometown or after she quits drinking. - Of the Marsh sisters, Emily takes after Helen the most. Mother and child share ash blonde hair, a long, oval-shaped face, and a thin, straight nose. Much like Richard, Emily’s eyes are a light hazel, and are frequently mistaken for green. Due to spending so much time outside, Emily has sun spots dotted along the bridge of her nose and cheeks. She habitually smiles with her mouth closed since getting braces at the age of 13. A light scar runs across her right eyebrow (a mark she gained from a soccer-related injury).  - Lynn inherited Helen’s big blue eyes and her maternal grandmother’s heart-shaped face and lopsided grin. Her light blond hair darkens to golden brown in adolescence. Like her oldest sister, Lynn gets freckles easily, and her arms are dotted with little reminders of playing outside in the sun. Lynn’s dimples, nose, and chin bear more than a passing similiarity to Kate’s features. Interests and Hobbies:  - A classical music enthusiast, Emily is a member of the church choir, and a clarinetist in her school’s orchestra (second chair, much to her chagrin). She is a voracious reader and frequents the town library whenever she can which is very convenient when she wants to get out of the house. - Emily’s favorite novels are T.homas Hardy’s J.ude the Obscure, S.hirley Jackson’s H.angsaman, and G.illian Flynn’s G.one Girl. Books centering around domestic strife, the turmoil of womanhood, and the hypocrisy of the church or whitebread c.onservative A.mericana are things she takes comfort in. The aforementioned themes make her feel less alone in her own tumultuous home life. - Lynn is, of course, a horror movie enthusiast. While her access to sci-fi horror and psychological thrillers is carefully monitored by Kate (no blood-spattered gorefests for the ten year old) she’s well-versed in H.itchcock’s filmography, the first two films in the A.lien franchise, kitschy 50s B-movie horror, and early horror films like The C.abinet of Dr. C.aligari. At the age of 10, her favorite horror films are N.ight of the L.iving Dead and The T.hing from Another World. - Beyond horror movies, Lynn also loves astronomy, poring over star charts and online citizen science projects. - While Lynn’s sisters are classical music nerds, she herself finds classical boring, preferring her “nostalgia music” (AKA fa.ll out boy, p!atd, the k.illers, m.argot & the nuclear so and so’s, and mark li.nkous). - Of the three sisters, Emily is the most athletic; an avid soccer player, she is her team’s go-to central midfielder.  - While Lynn is active, she’s not much of a team player, and vehemently opposes joining a sports team. Skateboarding is her passion, and if she can’t do that? Catch her wandering into places where she really shouldn’t be.  Dreams:  - From the time she was in third grade, Lynn wanted to be an astronomer. Whether that pans out for her depends less on her drive and more on her family’s financial situation. She’s especially fascinated by stars and how their gravitational pull affects the orbit of surrounding stars and planets. - Emily aspires to be a juvenile defense attorney, specifically for marginalized children. While Emily is privileged by virtue of being white, cis, and wealthy, she is still at the mercy of her abusive mother and understands that many children have it worse than she. She’s adamant that kids in dire straits be given a fighting chance at freedom when confronted by a biased and punitive court system. Identity and Religion: - Emily identifies as cis female and straight. She was the first person that Kate ever came out to, and she accepted her sister completely (although with some curiosity about “what” being a lesbian entails, i.e.; “so you’re not attracted to boys? like at all?”) After some fumbling, Emily grows into allyship and becomes supportive of Kate, encouraging her older sister to imagine a life outside of the closet.  - Lynn identifies as cis female and bi, developing crushes on both boys and girls around middle school. Thanks to Kate’s coming out and (assuming she is alive) Emily’s supportive attitude, Lynn has little trouble accepting herself.  - Religion is a point where each sister diverges wildly from the other. Emily is an a.theist, and as staunch in her belief as Kate is in her faith in c.hristianity. In contrast, Lynn grapples with her faith for most of her adolescence, having believed as a child that an omniscient evil was real and that there was no all-powerful good to counter it. She bounces between agnosticism and theistic s.atanism (with lucifer as the “big good” to god’s “big evil”).  - Kate still loves and supports her siblings no matter what/who they choose to worship (or don’t). Physical Health: - Lynn and Kate were both born prematurely, Kate at 30 weeks and Lynn at 35 weeks. While Lynn suffered no adverse effects in the long-term, Kate later developed asthma. - Kate is the only one of her sisters to have an allergy (to peanuts) and a.sthma (childhood-onset, and currently in remission). - Emily is near-sighted and requires glasses to see at a distance. At the start of L.IS, she is currently making the case for her father to get her Ortho-k lenses to correct her (moderate) nearsightedness. Any post-L.IS verses set after a certain amount of time will see a glasses-free Emily (she still has to wear her corrective lenses at night, though). - Kate and Emily are both right-handed, whereas Lynn is left-handed. - Only Emily has had any kind of major surgery: an appendectomy in the sixth grade.  Mental Health:  - Lynn has ADHD (inattentive-type) and dyslexia. While Lynn is diagnosed with dyslexia in primary school, it takes several years for her to recieve a diagnosis of ADHD (at the age of 14). - Due to witnessing (and experiencing) physical, emotional, and verbal abuse from her mother, all of the girls develop PTSD. However, Emily differs from her sisters in that she suffers from chronic migraines, some of which are so debilitating that she has to lie down. - Emily also suffers from claustrophobia, a fear stemming from Kate hiding her sister in enclosed spaces when their mother grew physically abusive. She goes out of her way to avoid small spaces, up to and including taking several flights of stairs instead of an elevator. - All of the sisters suffer from depression, although Emily and Lynn both struggle with irritability. - Kate’s s.uicide attempt and (depending on the verse) the trauma of Emily’s death OR the severe beating that Kate sustains leads Lynn to develop a fear of abandonment. Lynn is thus hypersensitive to any perceived threat to herself or to her loved ones, and lashes out at the threat as a defense mechanism.

[intoxicatingimmediacy]

Big Ups: Clipping Pick Their Bandcamp Favorites

“Right from the beginning, we always wanted to make a horror-themed record,” says Jonathan Snipes, a producer in the Los Angeles-based progressive noise-rap trio Clipping, alongside MC Daveed Diggs and fellow beatsmith Bill Hutson. The group’s third project for Sub Pop, There Existed an Addiction to Blood, updates the cult horrorcore hip-hop trend of the mid ‘90s in a thrilling and forward-thinking fashion. It’s a striking and deeply atmospheric record, powered by synth-based sonic experimentalism and grisly concept-focused writing that exudes a sinister and shadowy feel.

There Existed an Addiction to Blood adds to a stellar canon of work that kicked off with Clipping’s introductory midcity mixtape in 2013. “That one was really us learning how to be Clipping, and what we sounded like,” says Hutson, who helped mastermind the project’s metallic, glitch-afflicted beats. On the following year’s debut album, CLPPNG, the crew moved further towards what Hutson calls “dark and noise-tinged instrumentals.” The omission of the letter I in the album title represents the way Diggs avoids rhyming in the first person. Hutson maintains that if much of hip-hop involves MCs rapping about their own lives, Clipping’s music strives to be “a novel, not a memoir.” Case in point: 2016’s Splendor & Misery took shape as an Afrofuturist sci-fi adventure that explored an artificial intelligence world; 2017’s single “The Deep” inspired the author Rivers Solomon to expand the song’s environment into a novella of the same name.

Basing There Existed an Addiction to Blood around horrorcore and gory movies is a natural representation of Clipping’s influences and the way the trio approach writing songs. “Horrorcore is this forgotten and maligned subgenre of hip-hop that we’ve always had a tremendous amount of affection for,” says Hutson. “So much of Clipping is about referencing styles of hip-hop—almost all our songs were conceived as our take on a certain type of rap song—so this horror album was always going to happen.” Snipes adds, “We think of each of these songs as self-contained movie scores of vignettes in a specific genre.”

The original horrorcore movement that inspired Clipping’s latest album was spearheaded by RZA and Prince Paul’s Gravediggaz project, plus artists including Houston’s Ganksta N-I-P, Detroit’s Esham, and New York City’s Flatlinerz. ‘90s horrorcore lyrics were packed with macabre imagery and references to psychological disorders, satanism, and cannibalism; the gruesome verses were often relayed over willfully dank and grimey production. Clipping’s resurrection of the subgenre taps into the same lyrical themes—but this time Digg’s intense verses are backed by marauding waves of monstrous synths, sharp abrasive stabs of discordant noise, and snatches of field recordings that bring a chilling realism to There Existed an Addiction to Blood.

Key song “Run For Your Life” plays out like a frantic short movie. It co-stars Memphis MC La Chat, who used to roll with Three 6 Mafia and the Hypnotize Minds roster back in the ‘90s. “She’s hunting down Daveed and approaching and moving behind him in a car,” says Snipes. “Then in the third verse, we’re fully in the car with her.” To drum up the effect of the protagonist being chased to a bloody demise, Digg’s lyrics are surrounded by constantly shifting ambient noise: The sound of passing cars blasting music and dogs barking literally pulls the listener into the chilling scenario.

The same blend of adventurous production techniques and concept-heavy writing present on Clipping’s latest album also runs through Hutson and Snipes’s Bandcamp recommendations. Blasts of abstract hip-hop lyricism mix with innovative thematic albums and avant-garde film scores, adding up to a smart representation of Clipping’s advanced-level musical DNA.

Bill Hutson

Dax Pierson - Live In Oakland

I first saw Dax Pierson play around 2003, when he was in a group called Subtle that was an Anticon side project with Dose One and Jel. Dax was also the secret weapon of the Themselves project, which was also Dose and Jel, and on tour he’d play keys and finger drum on MPCs. Dax is this compelling, creative performer and composer. This tape came out on Ratskin and it’s from a more recent show—I might have even been at the show! His music is fascinating, almost uncategorizable left-field dance stuff that’s blending all these ideas.

John Wall - Hylic

I was really enamored of improvised music in the early ‘00s, and it’s a lot of what fueled my ravenous collector habit, which came from having to track down these obscure records that came from Japan and Germany and Switzerland and England, where they were only pressing a couple of hundred copies. John Wall is very careful as a computer music composer, and he’d spend years and years cutting up tiny pieces of improvised sounds and turning them into these totally austere and totally alien compositions. I was fascinated by the disparity between how much intention there was behind it and how alien the result sounds. Hylic almost sounds like there’s no human brain making logical choices that would compose this music—it feels like it’s naturally occurring in some way, like you’re listening to the background radiation of the solar system—but there’s also the most extreme version of authorship going into it.

billy woods - Hiding Places

I think billy woods is a fantastic example of this very abstract and angular and strange rapper but with these really strong connections to the history of New York rap. It’s almost like he’s from a different timeline where southern hip-hop didn’t take over the mainstream in the ‘00s and we kept going with Nas and Wu-Tang, and it’s developed into this new form. [Producer] Kenny Segal is a buddy—we’ve toured with him—and he would have been a youngster in the Project Blowed days but came out of the experimental L.A. hip-hop scene that produced Abstract Rude and Freestyle Fellowship and, later with the beatmakers, birthed the whole Low End Theory and Brainfeeder movement. This album is a New York and L.A. collab record that seems to perfectly synthesize two different types of left of center aesthetics, but feels completely natural in a way we wouldn’t have expected maybe 20 years ago.

Kevin Drumm - 09082001 gtr​/​synth ‘solo’

I included this not because anyone needs me to tell them Kevin Drumm is a fuckin’ noise hero, but I wanted to include Drumm because I think what he’s doing is a really unique thing that Bandcamp can provide: A couple of months ago I bought Drumm’s entire discography for like $22, which was like a hundred or so releases! He puts out so much, and it’s all of such high quality. This specific recording is from my favorite period of his work in the early-2000s, but it wasn’t available [back then] until he started bypassing labels and physical copies and started putting everything up himself direct to the fans.

DEBBY FRIDAY - DEATH DRIVE

[The label] Deathbomb Arc put out some of the first Clipping stuff. I think of [founder] Brian Miller as A&Ring my listening habits because he’s out there finding new artists I wouldn’t come across and putting out their records. DEBBY FRIDAY completely blew me away—this release seems both out of nowhere and so fully formed. It’s just brilliant and sort of industrial hip-hop. It’s really like the best Skinny Puppy album we never got but with way better lyrics and content and performance. It’s so smart and dark—she’s a really great lyricist.

Jonathan Snipes

Missincinatti - remove not the ancient landmarks

Missincinatti was Jeremy Drake, Jessica Catron, and Corey Fogel, and they had this band for a short time in L.A. where they played these contemporary arrangements of sea shanties. They’re all incredible musicians, and their arrangements were always so off-kilter and smart. This album is only on Bandcamp, and it’s like a little monument to this band that I loved so much for a short time. One of my favorite things is arrangements of folk music that almost feel like critical theory about folk music and this project feels like it’s in this realm. I wish they were still around playing shows so I could go to them.

François-Eudes Chanfrault - Inside

I discovered François-Eudes Chanfrault when I saw the movie for which this is the score. Then, when I started looking into François’s music, I realized that I’d run across him in online nerdy computer music circles. He became one of my favorite composers, and I became obsessed with tracking his music down. The development of the Inside score is really slow and tasteful, and that’s hard to accomplish when working with film. I also score movies, and film music always feels like if the music’s following a picture. It wants to be fast and have abrupt changes—but François is someone who is somehow able to make these really long elegant cues that actually play against the action of the film in this really striking way. It’s probably the last score I’d expect anybody to write for that movie, and it hits exactly the right tone. His use of electronics and computers and his use of a chamber ensemble are perfectly matched.

Lauren Bousfield - Fire Songs

Lauren’s a really good friend, and this album’s only available on Bandcamp. She’s an incredible musician—an absolute genius. This is the album she released shortly after her house burned down and she lost all her possessions in the fire. It feels very personal. It’s easy to think of electronic and breakcore as just splattered breakbeats that feel mechanical and machine-based. But this one, with the context [of the backstory], feels very emotional, and almost makes me tear up when I hear it.

Bryce Miller - W A S P

Bryce Miller is someone I found through some Bandcamp journalism, which I read regularly. This album, which is based on the Stieg Larsson Millennium books, is elegant and precise. There’s a lot of this retro ’80s synthwave stuff flying around—I’ve made a fair bit of it myself—but somehow this really nailed the tone of feeling very contemporary, but also very ancient. It’s like what I wanted synth records in the ’80s to sound like at the time, but they never quite did. The sense of melody and structure and tension and release is really spot on. Bryce feels like a real composer in that realm.

Max Tundra - With Love To Mummy

I first heard Max Tundra on the double disc compilation Tigerbeat6 Inc. from like 2001. I was really into Aphex Twin and Squarepusher and Kid606 and Matmos, and I was trying to figure out who was doing weird electronic music and that comp came out and it ended up being a huge window into bands I’d never heard of. Max Tundra’s track [“The Bill”] sounded like a general MIDI soundtrack to a spy show that he’d recorded into his answering machine! I’ve been a lifelong fan of his since then, and this collection is, like, his teenage recordings—it’s really interesting to hear his old music. It’s charming and fun to listen to as a fan, and to note where his music took him after that. I suppose other people feel the same way about that Radiohead release.

[ramajmedia]

The Matrix 4: 5 Fan Theories That Are Too Crazy To Work (& 5 That Could Actually Happen)

In the current climate of Hollywood sequels, prequels, remakes, and reboots, one franchise getting dusted off is causing some actual excitement rather than dread. The possibility of a fourth Matrix film was recently announced, with several returning cast members under the guidance of at least one Wachowski sister. When The Matrix premiered in 1999, it was one of the most original and groundbreaking films of all time, changing the genre of science fiction and movie-making forever.

The sequels that followed were not looked upon so favorably, and it remains to be seen just how much of their storylines the fourth film will draw on. For instance, Neo, the main protagonist of the trilogy, sacrificed himself for humanity in the third film, so how he'll return is up for debate. Fan theories have taken hold of the internet, with some seemingly plausible, and others as far-fetched as Mouse getting with the Woman in the Red Dress. Below are the 5 theories that could actually work, and 5 too crazy to be possible.

10 Could Happen: Morpheus Rebuilds Zion

When last we met our cyberpunk heroes, Morpheus (Laurence Fishburne) was the only one that had made it out alive. Trinity, Neo, and many of their comrades were dead. The "machines" were technically wiped out in Zion after Neo was absorbed into the nexus port, but did all of them shut down?

RELATED: 10 Sci-Fi Movies That Predicted The Future

Morpheus, a die hard veteran of the war against the machines, as well as programs in the Matrix, may have to find another Chosen One. Perhaps he was wrong, and in a strange Uui-Gon Jinn/Anakin way, he has to find his next Luke Skywalker.

9 Too Crazy To Work: The Matrix Is Rebooted With The Matrix Films In Existence

One reddit user postulated that the only way a new Matrix film could happen is if the Matrix itself was rebooted, and the people of the real world found a new "point of entry" hacker. Trinity would assume the Morpheus role, and the hierarchies of the previous Matrix would be re-established.

The reboot of the Matrix would take place in the same year the film comes out (2020), in a world where The Matrix trilogy exists. People know about the films, and therefore don't believe anyone from the apocalyptic "real world" because they've already seen a film about it.

8 Could Happen: Humans And Rogue Programs Team Up

When looking at the original Matrix trilogy, one can see that in essence, Neo and the rogue program Agent Smith were both opposites sides of the same coin in many respects. They were both singularities in their respective systems, and for the common goal of survival, may work together. The program Smith rejected assimilation  and failed to return to the source.

One reddit user posited that rogue program and humans have joined forces to overthrow the architect and control The Matrix. He made a copy of Neo's brain in secret and turned it into an anti-virus program. The insurgents use his Neo-Neural mapped program to save the day.

7 Too Crazy To Work: Humans Are Sims

After the global thermonuclear war between humankind and machines that wiped out all habitable areas on Earth and drove people underground, reddit user DJ_Reticuli  explained that perhaps all humans had actually died along with the sun.

Perhaps they simply created humans as artificial life forms to "play" with, like their own versions of Sims. Therefore The Matrix is a simulated environment, and so is Zion. Even the "humans as batteries" backstory was a lie to give them some sort of origins. And the horrible truth is discovered; Neo, Trinity, and all the rest are just one step up from being programs themselves.

6 Could Happen: It's A Prequel

Due to the fact that so many of the original characters from the trilogy are dead, reddit user dontbajerk and other have postulated it could be a prequel, with a chance to use different human characters. Neo and Trinity may appear as future versions of themselves or in flashback.

RELATED: 10 Things That Make No Sense About The Matrix Sequels

A prequel could be set in any number of other versions of The Matrix, as Morpheus explained to Neo. The architect even told Neo that there were more Utopian versions but humankind rejected them. Could it take place in one of those idyllic societies?

5 Too Crazy To Work: Neo Is John Wick

As fun as it would be to marry the two epic movie-verses involving Keanu Reeves, The Matrix and John Wick, this theory is one of the most bizarre on the sheer complexity of its premise. It posits that Neo is really John Wick and vice versa, and he's on the payroll of the machines.

They've tasked him with hunting down all the "awakening" humans for them, so that they can be re-assimilated. It all pertains to a series of regulations similar to what we saw enforced within the secret assassin society in the John Wick movies, only this time for programs.

4 Could Happen: Neo Gets Reinserted Into The Matrix

At the end of the final film in the trilogy, Neo presented himself, savior-style, to the machines. He chose to do this, rather than accepting the eventuality that he must assimilate into the source. The architect made it clear dozens of Neos had done so before him. In this way, he beat the machines.

Some Reddit users argue that given the circuitous events that transpired before, the machines will restart Neo's heart, and simply re-insert him into the Matrix. They'll wipe his memories and he'll re-emerge in a 2020 era Matrix, middle-aged, and probably vaping.

3 Too Crazy To Work: Morpheus Is The Villain And Works With The Machines

In the interest of turning everything we know about The Matrix canon on its head, a theory that's been floating around the internet posits that since Morpheus is the only main character left alive at the end of the third film, he had to strike a bargain with the machines to remain alive.

As a villain now working with the machines, he's sent back into the Matrix to find any new "Neo" that might have been awakened, befriend them, and then turn them over to the machines. This seems incredibly unlikely, and also Morpheus died in the Matrix Online MMORPG, which is considered canon.

2 Could Happen: Agent Smith Is The One And Returns

A long held belief among Matrix fans has been that Neo wasn't the one, but a misled pupil of Morpheus and his misguided beliefs. The One was in fact Agent Smith, who as the Oracle tells us was a "man born inside who had the ability to change whatever he wanted, to remake The Matrix as he saw fit".

Smith did in fact remake the Matrix as he saw fit in Matrix: Revolutions, in which it became a nightmarish, rainy hellscape because of his repugnance for humankind. Smith disobeyed the system and failed to return to the source, causing the glitch.

1 Too Crazy To Work: Humans Form A Truce With Machines

One theory that's been posited is an unlikely truce between the humans and machines, with the machines simply conning the humans in order to put them into a false state of security again. There's a few problems with this directly out of the gate.

For one, exactly which humans are we talking about - the ones in the real world,or the ones in The Matrix? Also, why would there be a truce at all, when the humans know the machines to be soulless and incapable of compassion? In order for this to work, the humans in the real world would also demand the unplugging of their fellows from The Matrix.

NEXT: The Matrix 4: 5 Characters We Want To See Return (& 5 We Don't)

source https://screenrant.com/matrix-4-fan-theories-crazy-possible/

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I’ve been writing about video games, tv and movies for Forbes for over 10 years, and you may have noticed my reviews on Rotten Tomatoes and Metacritic. I cover all manner of console and Pc games, but if it’s about looting or shooting, I’m undoubtedly there. If I’m watching one thing, it’s generally science fiction, horror or superheroic. I’m also a frequent on IGN’s Fireteam Chat podcast and have published five sci-fi novels.

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undefined

GTFUOH!  

It was an artistic choice to not use quantization on this beat.  It’s off and I love it.  I found it one night after a recording session with 5K. I had some more creative juices left so i sifted through the beats I hadn’t completed. When I started freestyling, on the beat it was just a drum loop. I threw the Nano Tech on the vocals and got busy. (Soundcloud) (Youtube)

“You ain’t no pimp!”  

I was thinking this is the perfect beat to troll with since it was so minimalist. The first thing that popped in my head was getting at the doubters on the surface but getting at the haters in the undertone. Lately, I’ve been obsessed with the phrase “GTFOH”.  I wanted to tell those people and the doubters to GTFOH. The people that try to tell us we ain’t shit and the people that ain’t shit can GTFUOH.  

“N*ggas don’t play fare”

My current style of writing or lack there of is just me keeping my rhyme pattern with a more updated flow.  I wanted to say things that a hater and a hipster could repeat.  I also had to make sure I turned the cursing up. Gotta make sure we offend the grown ups.  By the time I got to the first verse, I was in strategy mode.  If I’m going to take my music to the next level, I’m going to have to borrow a page from “Cooning for a Check” and subliminal get my message across.  But as I drank more Bourbon, I lost the continuity of the message and decided to pick it back up again after the second hook.  I wanted to express my frustration with how a recent client treated Selim and how this lady tried to steal her Canada Goose at a fashion event we were at. When I’m creating, I use MMJ and Bourbon. When I get to that nice point in the booth, I start to wrestle with temptation.  The bad angel on my left shoulder loves to antagonize me and talk to me like I’m worthless.  He say’s things like “Thats yo bitch?” I nod back.  Then he replies “I don’t care!” 

“Drip Good Aunt Jemima, Dick Good Injure Momma”

The second verse is a straight troll. I’ve been making music for long enough to understand how the industry works.  It made me to build my own empire because there are many aspects of my life that I will not relinquish control of.  I also can’t stand a “It is what it is” a$$ mf.  There are elements of hip hop culture that aren’t owned by the people who invented it.  Things like the image that we are expected to have in order to be taken seriously in music.  That is why I don’t include rented cars, paid women, prop guns, prop money, and rented jewelry in my videos.  I use the clothes and shoes that I wear.  I have a few fits that I haven’t worn yet.  Even in real life. I don’t want participate in the minstrel show. But it is fun making fun of these mf. I also wanted the lyrics to make people cringe.  I want it to be a guilty pleasure.  I love when I hear a song that gets me either offended or inspired. That means the artist evoked emotion. I added the wobbler to the second verse after I finished the video. 

[The Visual], 

Khadim helped!  The visual was inspired by the Brady Bunch ❌Missy Elliot ❌ Nano Tech Vibe. Space travel, aliens, and crazy glitch animations are starting to become a part of my aesthetic. I needed to make myself into a meme. I’ve fallen in love with artificial zooms and camera pans so that was definitely going to happen in this video for sure. That day we were outside trying to shoot the visual for “Ohhh Baby.”  Well we actually tried to shoot “Ohhh Baby” twice but things just kept going wrong.  So we came inside and started shooting this.  This was a simple black background set up with 4 camera angles.  The song wasn’t sequenced yet so the second verse came a lot later in the original version. That added a little bit more work for me in post. 

I don’t have a drawing tablet.  I just increase the sensitivity of the mouse or trackpad I’m using.  I don’t run into problems drawing what I want in the videos.  I had some other ideas for the write on effect but I didn’t want to spend too much time on this video.  I wanted to put the emphasis on the music.  I started by editing 4 separate sequences for each camera angle.  Then, I made a sequence that combined all 4 camera angles into the corners of the screen.  I made another sequence using a space ship cockpit I found online and some drawings Selim made of planets and asteroids that I turned into a 3D solar system in after effects. I took three of the 4 sequences and placed them on the monitors in within the cockpit.

I got the alien from YT.  I changed the color of his blaster to fit the Nano Tech look and composited him into the hangar from the cover of Nano Tech Vibe Vol. 1. I know it may not be popular amongst ignorant circles, but I’m a sci-fi buff.  When I found the rendering of the Millennium Falcon, it was the icing on the cake. I actually created a few new effects in the process of making this video.  One is my RGB explosion where a silhouette of whatever is on the screen looks like it is coming at you and changing into different colors along the way.  The other is the key-framed lens distortion.  You will be seeing a lot of this effect going forward.  All in all it took me about 12 hours over 5 days to make this video.

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/disneys-fox-merger-will-reunite-superheroes-fan-boys-girls/

How Disney's Fox merger will reunite superheroes for fanboys and fangirls

Disney's deal to take over nearly all of 21 Century Fox for $52.4 billion will be a major change in Hollywood's Big Six studios and fanboys and fangirls could be the biggest winners. The coming union of the Disney and Fox media empires is set to create a new nirvana for fanboys and -girls, one that reunites superheroes and sci-fi characters long separated by an energy barrier of corporate legalism. Take, for instance, the fractured world of Marvel superheroes. For years, the X-Men (Wolverine, Storm, Professor X, and the crew) and the Fantastic Four (Thing, Invisible Woman, et al.) have battled bad dudes from the studios of 20th Century Fox. Meanwhile, Iron Man, Black Widow, and other Avengers vanquished villains in another corner of the galaxy run by Disney. Almost ne’er the twain did meet — though that could soon change. Relatedly, rights to the various “Star Wars” films have been scattered all over a galaxy far, far away; those will soon be unified under a powerful Galactic Emp-- er, well, Magic Kingdom. THE MOUSE THAT ATE THE FOX Disney’s announcement Thursday that it’s buying most of movie goliath Fox for $52.4 billion in stock brings these once disparate franchises together, possibly for as-yet unplanned intergalactic dust-ups. Add the “Avatar” franchise to the blockbuster mix, and the company that launched Mickey Mouse will be an unavoidable presence at the box office and online if the deal goes through. The combined company will account for more than a third of theatrical revenues in the U.S. and Canada, an $11 billion business last year, not to mention a huge chunk of the global theater-going pie, according to Daniel Ives, chief strategy officer at market research firm GBH Insights. That would make the Disney juggernaut a more powerful theatrical force to be reckoned with than ever before. Online, Disney has announced plans to launch its own streaming service in 2019, after pulling titles like “Rogue One: A Star Wars Story” and Disney’s “Moana” from Netflix’s streaming platform to move onto its own. After Fox’s deal to send its movies to HBO ends reportedly in 2022, its films will also move to the Disney streaming platforms. “Creating a direct-to-consumer relationship is vital to the future of our media businesses, and it’s our highest priority,” Disney CEO Bob Iger told investors in a Thursday conference call detailing the Fox deal. ONE BIG HAPPY DEATH STAR Those old enough to remember the blaring 20th Century Fox opening to the original “Star Wars” (Episode IV) may no longer have to search far, far, away to find the other titles. The original was made and distributed by Fox, but it was a quirk of the series. Episodes V, VI, I, II, and III were owned by Lucasfilm (bought by Disney in 2012) and distributed by Fox. You can only stream those first six movies endlessly if you buy them and register them through the not-terribly-popular UltraViolet system backed by several studios. (You can also rent them digitally.) “The Force Awakens” — Episode VII — is available to streaming subscribers, though only if you have Starz. The Force may finally put these titles in one place. Buying Fox will also give Disney a majority stake in streaming platform Hulu. The addition of Fox’s regional sports TV networks and National Geographic video programming in the deal could let the new service bundle hugely popular movie and TV franchises, local sports broadcast rights, and distribution platforms into one live online video empire. That would recreate online what the U.S. Supreme Court broke apart in the 1940s. That’s when the court forced Hollywood studios to divest ownership of theater chains to keep content producers from controlling every step along the way to the consumer. “This moves Disney from an afterthought in streaming to a legitimate contender,” Ives said. SCRAPPY REBELS At the same time, tech companies — particularly Netflix, Amazon, Facebook, Google, and Apple — are making big investments in video streaming. Hollywood-centered entertainment companies have struggled as people drop traditional TV packages, shifting the nexus of power in entertainment from the Hollywood Hills toward Silicon Valley and Seattle. That marketplace dynamic could help pave the way for regulators to clear the deal, aimed to close within the next 12 to 18 months. “These guys are up against Facebook and Google, not Warner Bros. and MGM,” said Mike Kelly, the former Weather Channel CEO who is now CEO of investment and advisory firm Kelly Newman Ventures. “If you look at it that way, I don’t think the government would have that big of an issue with it.” Iger said he anticipates a “significant amount of regulatory scrutiny both in the United States and internationally” because of the deal’s size, but he said authorities should quickly approve it because it makes sense for consumers. He said Disney’s current thinking is to split its streaming services into three different brands, such as a Disney-labeled family service that would fold in NatGeo, Marvel, Pixar and Lucasfilm; an ESPN-led sports service; and an adult-oriented service that would incorporate Hulu and some of Fox’s TV shows. Disney also aims to expand the global audience of its cast of characters as it pulls in Fox’s London-based pay-TV broadcaster Sky, which has a pan-European audience, and Mumbai-based Star India. OH, THAT LONELY WEB-SLINGER But there’s one part of the comic book world that will escape Disney’s sizable web: Spider-Man, whose rights Marvel partially farmed out to Sony. Although Sony and Disney cut a deal to include Spidey in Avengers tales starting with “Captain America: Civil War” last year, Sony continues to develop its own alternate reality with movies like the animated “Spider-Man: Into the Spider-verse” as well as spin-offs “Venom” and “Silver & Black” starting in 2018. Will It Go Through Without A Hitch? Variety reported that to Democrats have voiced concern about this massive merger as they feel it could potentially violate antitrust laws. “I’m concerned about the impact of this transaction on American consumers,” said Senator Amy Klobuchar (D-Minn.), the ranking member of the Senate Judiciary antitrust committee. She also commented that this merger was “another industry-changing merger, which would have major implications in television, film, and media.” Klobuchar has reportedly asked Sen. Mike Lee (R-Utah) and Sen. Chuck Grassley (R-Iowa), who chair the antitrust subcommittee and the Judiciary Committee, respectively, to schedule a hearing on the matter. Representative David Cicilline (D-R.I.) called for his committee, the House Judiciary’s antitrust subcommittee, to take a closer look at the deal as well. “Disney’s proposed purchase of 21st Century Fox threatens to put control of TV, movie, and news content into the hands of a single media giant,” he said. “If it’s approved,” he continued, “this merger could allow Disney to limit what consumers can watch and increase their cable bills. Disney will gain more than 300 channels, 22 regional sports networks, control over Hulu, and a significant portion of Roku.” Since Disney’s acquisition of Lucasfilm in 2012, the company has already emerged as a leading, monolithic force in American entertainment. While that can be exciting—it’s thrilling to see so many compelling characters and worlds rubbing shoulders with each other—it can also be stifling. It’s hard to compete in the genre movie sphere if you’re not the MCU or Star Wars, and if this merger goes through that problem could get much worse.

Movie TV Tech Geeks News

[symbianosgames]

There’s been a bit of to-do about automated content moderation, particularly over whether AI can sniff out online harassment and address it, with accuracy and alacrity that would elude overworked human moderators. Such efforts have had mixed results at best; while the promise of such AI for gargantuan global platforms like Facebook or Twitter is there, we’re a long way away from effectively stamping out their most pestilent cesspools.

But what about for a (relatively) smaller, more socially homogenous space like an MMO?

At GDC this year Spirit AI “de-cloaked,” in the phrase of one of its lead designers. From a sizeable booth positioned next to the IGF pavilion they pitched their “AI for humans” to developers, with the promise of AI that could serve as a game mechanic or a content moderator. 

The former involves natural language interaction similar to what one saw in Event[0]: an NPC that players can talk to in their own words by typing out comments and queries. They demonstrated this at GDC with an app called “Interrogation_” where players questioned a robot accused of murder in a near future sci-fi setting. While there were several unfused joins where the AI seemed to spontaneously wheel from topic to topic unrelated to the player’s input, there were more natural moments as well.

What I was really interested in, however, were the anti-harassment tools Spirit promised, and that was what I questioned Spirit’s developers about at length.

Ally is Spirit’s community moderation AI--if it lives up to its lofty and grand promises (a big ‘if’, to be sure), it would precipitate a revolution in how massively multiplayer games confront toxic behavior. Spirit pledges that Ally will be able to respond in real-time to cases of online abuse; an example I was shown involved a player being harassed by another who kept demanding a group invite. AllyBot popped into the victim’s messages asking if they were okay; the player responded ‘no’ and AllyBot proceeded to put the offending player on /ignore while offering a menu of other customizable moderation options, including filing a report to a human community moderator.

Ally is also supposedly more sophisticated than bots that simply match keywords, as those are easily circumvented or can lead to false-positives. Instead, Ally promises to detect categories of language on the part of both the offender and the target. Refusal, for instance, is one of the most important categories Ally uses to moderate: what is a player saying “no” to and why? Even if the offender is not speaking, or is attempting to circumvent keyword detection, if they are repeatedly told to stop doing something by someone else, Ally will take note of this and intervene.

This is also one of the cornerstones of its predictive analysis. A Spirit dev showed me a tool--which looks like a colorful, tabbed flowchart--that allows community managers to set their own triggers and rules for the AI monitor. For instance, modeling what racist harassment can look like, or how begging someone for gold might flow into outright harassment. But the AI can generate its own rules by looking at what players are refusing, and even if a refusal isn’t tied to a pre-existing category defined by the CMs it may be something that Ally absorbs into its knowledge banks as a behavior to monitor. This, I was told, was what would allow Ally to adapt to the local cultures and distinct toxicities of specific games.

Spirit’s developers told me that they were currently working with three live MMOs as partners, gathering data behind the scenes to beef up the AI’s threat-detection capacities. 

I asked if future MMO developers would be willing to integrate a tool that, in theory, might take months to ramp up to full effectiveness as it learns the patterns of a specific game. There’s no game for which the first month isn’t critical, but MMOs in particular must make a good impression that’ll keep players paying and playing in the game’s persistent world for the foreseeable future; does it help that cause if a centerpiece moderation tool isn’t effective until well after launch? Spirit’s devs insisted that Ally would be a great, well, ally, even at the point of launch; it’s been in development for eighteen months already, and Spirit’s MMO partners have been helping Ally learn for almost nine. 

We’ll just have to see what happens when Ally itself comes out of stealth-mode in these games. For the moment, there’s no bot interacting with players. Ally is simply operating behind the scenes learning about social patterns in MMOs and receiving rule-input from both Spirit’s developers and from the game’s community staff. 

Ideally, once AllyBot is running and interactive it would facilitate the development of granular rules that are customized to the desires and needs of each player--up to and including players who don’t want to ever see or talk to AllyBot at all. But Ally would be constantly monitoring player behavior as a whole: not only how they talk to each other, but where and how they move in the game environment. 

This is the basis for Ally’s other big videogame application: VR moderation. Through tracking movement, it can detect when a player is making sexual gestures at another player and collate that with other physical data, such as the target trying to get away. Without having to track or identify a single word, Ally can, in-theory, recognize that physical harassment is taking place and intervene. 

I was told that Ally would have been able to put a stop to the much-publicized incident in QuiVR where a woman was sexually harassed by a male player who engaged in virtual groping, chasing her through the game world. As intriguing as that is, however, the real test will be whether Spirit’s AI can do more than react to yesterday’s toxicity. It will have to be able to predict and adapt to novel and innovative ways that people engage in targeted harassment.

In the end this has always been the problem with automated moderation: enough people are determined to be hateful that they’ll game the system and exploit its weaknesses. The worst harassers on places like Twitter are often well-versed in where “the line” is and how to skirt around its edges without quite going over. For automated threat-detection on sites like Huffington Post, this led to a culture of nasty users spewing a range of words with characters replaced.

What gives me some measure of optimism about Spirit’s approach is that it’s not selling a set-it-and-forget-it system, but one that relies on human moderators to both set and adjust its parameters, and to continue to exercise judgment about what constitutes a material violation of rules. Ally is capable of escalating an incident to the attention of a human moderator, and without them no action will be taken against a player’s account. In this regard it operates similarly to Twitch's fairly successful AutoMod protocol.

The point of Ally seems to be to make the CM’s job easier, rather than outright replace them. But this also begs the question: what will it do that CMs aren’t capable of? How does it extend their reach or amplify their power? 

The aggregation of data seems to be the key, presenting a kind of global data map that will allow for quick but granular responses to emerging problems. There is also plenty of merit in making the reporting and ignoring process as low-impact as possible for players. Ally might also be able to facilitate the quick silencing of spam bots in high traffic areas, like people advertising the illegal sale of in-game currency--though that might require giving Ally more autonomy to ban players than it seems to have at the moment. Another application might be for gathering research data--as a social scientist who looks at online gaming settings, I can’t begin to describe how valuable such a comprehensive big-picture look at a game’s social dynamics would be.

A good tool doesn’t replace its wielder so much as amplify their capabilities. If Ally can do this for that much beleaguered class of community managers, it’ll be all to the good. But Spirit will need more than a bit of its namesake to confront the many challenges that await this system.

[addieleene-blog]

Android Mobile Pokemon Shuffle Mobile Hack Phone Vs Android Tablet

Android Mobile Phone Vs Android Tablet

The Android is a relatively new operating system which was designed for mobile devices such as cell phones, tablet computers, and netbooks. The term Android fragmentation means the fact that all the mobile devices running on Google's operating system don't use the same version of it. Some will never have their operating system updated, while other will Working Pokemon Shuffle Mobile Hack be running on the updated version. The Android Studio APK analyzer is a great tool to investigate what made the 2015 app so large. Éclair came with exciting added features like Bluetooth 2.1 support, multi-touch support, and revamped UI with various new excellent camera features like flash and digital zoom. Android Spy has become a vital need of today, with the help of which you can easily capture every activity performed by your target Android even using the internet capabilities.

In this article, let us find out how these features can be used to take professional photographs from your Android smartphone cameras. Like the OP3, the roll-out has begun, but it might take some time for it to arrive on your device. Yet, there is a drawback to picking consultants that, you can be hoodwinked into selecting a developer without great Free Pokemon Shuffle Mobile Hack comprehension of Android development. Hiring Android application programmer developer on hourly, weekly and monthly basis is possible, as with this work model the business can get enlightened with the better features. MobiStealth Android spyware can be installed on any Android mobile that has an internet connection. Windows tablet: Office 2016 versions of Word, Excel, PowerPoint, OneNote, Outlook, Publisher, and Access. Showing 1 to 25 of 61 Articles matching 'megapixel ip camera' in related articles.

That's software Google hasn't even announced yet, and there's no guarantee Android 8 will be named after the letter It is, however, a good first sign. While T-Mobile is expected to sell just under 1 million G1's by the end of this year, Apples sales of the Iphone will top out Download Pokemon Shuffle Mobile Hack at over 11 million. That's why we're break down the phones that have Android 7.0 Nougat, Android 7.1 and the Android 7.1.2 beta. One will opt an app that ensures the security, that will not store personal data on your Android phone while accomplishing business.

Android Nougat is now rolling out to the OnePlus 3 After a few months, the beta is finally being replaced by the official version of the software, which is also known as OxygenOS 4.0. Spotify recently introduced Spotify Running for the iPhone and this is not the only app that you cannot find on Android.

Guest Mode: For times when you need to keep your kids entertained or lend a friend your phone, some LG Android devices give you the option to switch into guest mode, which allows you to control what information and apps are available to the user. The author Jeo Nash, of this article has made a detailed analysis of the Low Price Best Android Tablet and inferred Working Pokemon Shuffle Mobile Hack Tool that the best android app deal is found on the internet. Android Nougat 7.0 can be considered as a refined version of Marshmallow, but it has some essential and attractive features to that of the previous version. Android is open source, can be freely extended to integrate new technologies as they appear. If your goal is employment as an Android Developer, this program is exactly what you need to succeed.

For spying any Android cell phone secretly you just need to choose a reliable online resource such as from where you can get Android spy software easily. Windows Mobile 7 - or Windows Phone, as Microsoft has dubbed it - includes an application store that allows users of Microsoft devices to download a host of games and other applications. Always make a point of checking reviews and ratings of the android games and Free Download Pokemon Shuffle Mobile Hack Tool Working apps you are about to download because they can help you unveil technical issues you are likely to encounter. It is estimated that more than 500,000 Android apps are downloaded every day, and in the first quarter of 2011, the number of Android apps downloaded exceeded iOS apps as well. Both iOS 10 and Android 7.0 allows users to perform multitasking, and access multiple apps simultaneously.

Built-in support for Media/Photo Transfer Protocol lets customers immediately sync media files with a USB-connected digital camera or desktop computer without needing to attach a USB mass-storage device. Step 2: Use your file browser (e.g. ASTRO file manager) to locate the APK file and click on it. The installer will now run. An expert android application developer can efficiently incorporate your brand within the application without any difficulties, thus spreading your sphere of influence throughout the world within a few days. As mentioned in the earlier brief, Android L provides greater control over battery life with new enhancements and modes to fine tune battery consumption by various apps. This is the reason why the operating system has been embraced by most mobile device manufacturers like Samsung, HTC, LG, and Acer.

The current versions of iOS and Android allow users to delete stock apps without any hassle. Android does not differentiate between the phone's basic applications and third-party applications. For picture addicts and those who want multifunctional functions, the HTC hero Pokemon Shuffle Mobile Hack boasts of a 5 mega pixel camera with auto focus feature giving you high quality photos on the go. This camera phone can also double up as a video recorder. The screens of android devices are based on touch and high quality sensor is used in it. Therefore, you will enjoy some supreme experience of touch. Buzz Voice is a very nice multifunctional news reader for busy Android mobile users. Even a fully functioning device A-GPS and HDMI video compatibility, another features a QWERTY keyboard and a GPS at all.

Most of us have seen this error one or the other time— you connect your phone to a PC via cable to transfer data, but the phone does not appear as a external drive on the PC. If that happens too  often with you, then get the free Airdroid app. The tablet also comes with T-Mobile streaming TV preinstalled as well as an on-demand service called T-Mobile TV, EA's Need for Speed Shift HD, Zinio Reader, and 3D camcorder and player software.

Now the android tablet firmware has EEPROM that is Electrically Erasable Programmable Read Only Memory that permits overwriting when the higher range of voltage is applied on it so it can be serviced for regular updates. The storage capacity of the device, the daily Free Pokemon Shuffle Mobile Hack usage of the device and also the type of usage. Bottom line, you do not have to be a fan of jazz to enjoy a good movie as much as you do not have to be an android to appreciate a good sci fi film. Battery life, at 6 hours talk time, was quite good and better than most of its peers.

The Motorola Droid - Like many Motorola Cell Phones this one offers a beautiful display and the benefits of Android 2.0. These include a faster Web browser, Google Maps Navigation application, and stronger messaging and management of your contacts. Android v2.1 (Eclair) is the OS of choice, and provides access to the android Market.

Android tablets have been particularly designed to complement everyone's requirements and make customers pleased with their investment. Now the Android application is growing rapidly in the market and the users are getting the apps within their budget. No additional software is required for the android based phones to download and install any web programs. The scope of the UI is quite broad (it even includes media Pokemon Shuffle Mobile Hack Tool Working Free playback, video, audio, phone vibration, for example), so we can't cover everything here, but we'll highlight some key areas that solid Android developers should be well versed in. The simplicity or the complexity of the following Hierarchy tree can be defined by the Android app developer using Android's predefined widgets and layouts or with the custom views defined by the Android app programmer. Often people get the information about the android games and apps through their friends rather than searching throughout the internet for the user reviews.

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/disneys-fox-merger-will-reunite-superheroes-fan-boys-girls/

How Disney's Fox merger will reunite superheroes for fanboys and fangirls

Disney's deal to take over nearly all of 21 Century Fox for $52.4 billion will be a major change in Hollywood's Big Six studios and fanboys and fangirls could be the biggest winners. The coming union of the Disney and Fox media empires is set to create a new nirvana for fanboys and -girls, one that reunites superheroes and sci-fi characters long separated by an energy barrier of corporate legalism. Take, for instance, the fractured world of Marvel superheroes. For years, the X-Men (Wolverine, Storm, Professor X, and the crew) and the Fantastic Four (Thing, Invisible Woman, et al.) have battled bad dudes from the studios of 20th Century Fox. Meanwhile, Iron Man, Black Widow, and other Avengers vanquished villains in another corner of the galaxy run by Disney. Almost ne’er the twain did meet — though that could soon change. Relatedly, rights to the various “Star Wars” films have been scattered all over a galaxy far, far away; those will soon be unified under a powerful Galactic Emp-- er, well, Magic Kingdom. THE MOUSE THAT ATE THE FOX Disney’s announcement Thursday that it’s buying most of movie goliath Fox for $52.4 billion in stock brings these once disparate franchises together, possibly for as-yet unplanned intergalactic dust-ups. Add the “Avatar” franchise to the blockbuster mix, and the company that launched Mickey Mouse will be an unavoidable presence at the box office and online if the deal goes through. The combined company will account for more than a third of theatrical revenues in the U.S. and Canada, an $11 billion business last year, not to mention a huge chunk of the global theater-going pie, according to Daniel Ives, chief strategy officer at market research firm GBH Insights. That would make the Disney juggernaut a more powerful theatrical force to be reckoned with than ever before. Online, Disney has announced plans to launch its own streaming service in 2019, after pulling titles like “Rogue One: A Star Wars Story” and Disney’s “Moana” from Netflix’s streaming platform to move onto its own. After Fox’s deal to send its movies to HBO ends reportedly in 2022, its films will also move to the Disney streaming platforms. “Creating a direct-to-consumer relationship is vital to the future of our media businesses, and it’s our highest priority,” Disney CEO Bob Iger told investors in a Thursday conference call detailing the Fox deal. ONE BIG HAPPY DEATH STAR Those old enough to remember the blaring 20th Century Fox opening to the original “Star Wars” (Episode IV) may no longer have to search far, far, away to find the other titles. The original was made and distributed by Fox, but it was a quirk of the series. Episodes V, VI, I, II, and III were owned by Lucasfilm (bought by Disney in 2012) and distributed by Fox. You can only stream those first six movies endlessly if you buy them and register them through the not-terribly-popular UltraViolet system backed by several studios. (You can also rent them digitally.) “The Force Awakens” — Episode VII — is available to streaming subscribers, though only if you have Starz. The Force may finally put these titles in one place. Buying Fox will also give Disney a majority stake in streaming platform Hulu. The addition of Fox’s regional sports TV networks and National Geographic video programming in the deal could let the new service bundle hugely popular movie and TV franchises, local sports broadcast rights, and distribution platforms into one live online video empire. That would recreate online what the U.S. Supreme Court broke apart in the 1940s. That’s when the court forced Hollywood studios to divest ownership of theater chains to keep content producers from controlling every step along the way to the consumer. “This moves Disney from an afterthought in streaming to a legitimate contender,” Ives said. SCRAPPY REBELS At the same time, tech companies — particularly Netflix, Amazon, Facebook, Google, and Apple — are making big investments in video streaming. Hollywood-centered entertainment companies have struggled as people drop traditional TV packages, shifting the nexus of power in entertainment from the Hollywood Hills toward Silicon Valley and Seattle. That marketplace dynamic could help pave the way for regulators to clear the deal, aimed to close within the next 12 to 18 months. “These guys are up against Facebook and Google, not Warner Bros. and MGM,” said Mike Kelly, the former Weather Channel CEO who is now CEO of investment and advisory firm Kelly Newman Ventures. “If you look at it that way, I don’t think the government would have that big of an issue with it.” Iger said he anticipates a “significant amount of regulatory scrutiny both in the United States and internationally” because of the deal’s size, but he said authorities should quickly approve it because it makes sense for consumers. He said Disney’s current thinking is to split its streaming services into three different brands, such as a Disney-labeled family service that would fold in NatGeo, Marvel, Pixar and Lucasfilm; an ESPN-led sports service; and an adult-oriented service that would incorporate Hulu and some of Fox’s TV shows. Disney also aims to expand the global audience of its cast of characters as it pulls in Fox’s London-based pay-TV broadcaster Sky, which has a pan-European audience, and Mumbai-based Star India. OH, THAT LONELY WEB-SLINGER But there’s one part of the comic book world that will escape Disney’s sizable web: Spider-Man, whose rights Marvel partially farmed out to Sony. Although Sony and Disney cut a deal to include Spidey in Avengers tales starting with “Captain America: Civil War” last year, Sony continues to develop its own alternate reality with movies like the animated “Spider-Man: Into the Spider-verse” as well as spin-offs “Venom” and “Silver & Black” starting in 2018. Will It Go Through Without A Hitch? Variety reported that to Democrats have voiced concern about this massive merger as they feel it could potentially violate antitrust laws. “I’m concerned about the impact of this transaction on American consumers,” said Senator Amy Klobuchar (D-Minn.), the ranking member of the Senate Judiciary antitrust committee. She also commented that this merger was “another industry-changing merger, which would have major implications in television, film, and media.” Klobuchar has reportedly asked Sen. Mike Lee (R-Utah) and Sen. Chuck Grassley (R-Iowa), who chair the antitrust subcommittee and the Judiciary Committee, respectively, to schedule a hearing on the matter. Representative David Cicilline (D-R.I.) called for his committee, the House Judiciary’s antitrust subcommittee, to take a closer look at the deal as well. “Disney’s proposed purchase of 21st Century Fox threatens to put control of TV, movie, and news content into the hands of a single media giant,” he said. “If it’s approved,” he continued, “this merger could allow Disney to limit what consumers can watch and increase their cable bills. Disney will gain more than 300 channels, 22 regional sports networks, control over Hulu, and a significant portion of Roku.” Since Disney’s acquisition of Lucasfilm in 2012, the company has already emerged as a leading, monolithic force in American entertainment. While that can be exciting—it’s thrilling to see so many compelling characters and worlds rubbing shoulders with each other—it can also be stifling. It’s hard to compete in the genre movie sphere if you’re not the MCU or Star Wars, and if this merger goes through that problem could get much worse.

Movie TV Tech Geeks News

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/disneys-fox-merger-will-reunite-superheroes-fan-boys-girls/

How Disney's Fox merger will reunite superheroes for fanboys and fangirls

Disney's deal to take over nearly all of 21 Century Fox for $52.4 billion will be a major change in Hollywood's Big Six studios and fanboys and fangirls could be the biggest winners. The coming union of the Disney and Fox media empires is set to create a new nirvana for fanboys and -girls, one that reunites superheroes and sci-fi characters long separated by an energy barrier of corporate legalism. Take, for instance, the fractured world of Marvel superheroes. For years, the X-Men (Wolverine, Storm, Professor X, and the crew) and the Fantastic Four (Thing, Invisible Woman, et al.) have battled bad dudes from the studios of 20th Century Fox. Meanwhile, Iron Man, Black Widow, and other Avengers vanquished villains in another corner of the galaxy run by Disney. Almost ne’er the twain did meet — though that could soon change. Relatedly, rights to the various “Star Wars” films have been scattered all over a galaxy far, far away; those will soon be unified under a powerful Galactic Emp-- er, well, Magic Kingdom. THE MOUSE THAT ATE THE FOX Disney’s announcement Thursday that it’s buying most of movie goliath Fox for $52.4 billion in stock brings these once disparate franchises together, possibly for as-yet unplanned intergalactic dust-ups. Add the “Avatar” franchise to the blockbuster mix, and the company that launched Mickey Mouse will be an unavoidable presence at the box office and online if the deal goes through. The combined company will account for more than a third of theatrical revenues in the U.S. and Canada, an $11 billion business last year, not to mention a huge chunk of the global theater-going pie, according to Daniel Ives, chief strategy officer at market research firm GBH Insights. That would make the Disney juggernaut a more powerful theatrical force to be reckoned with than ever before. Online, Disney has announced plans to launch its own streaming service in 2019, after pulling titles like “Rogue One: A Star Wars Story” and Disney’s “Moana” from Netflix’s streaming platform to move onto its own. After Fox’s deal to send its movies to HBO ends reportedly in 2022, its films will also move to the Disney streaming platforms. “Creating a direct-to-consumer relationship is vital to the future of our media businesses, and it’s our highest priority,” Disney CEO Bob Iger told investors in a Thursday conference call detailing the Fox deal. ONE BIG HAPPY DEATH STAR Those old enough to remember the blaring 20th Century Fox opening to the original “Star Wars” (Episode IV) may no longer have to search far, far, away to find the other titles. The original was made and distributed by Fox, but it was a quirk of the series. Episodes V, VI, I, II, and III were owned by Lucasfilm (bought by Disney in 2012) and distributed by Fox. You can only stream those first six movies endlessly if you buy them and register them through the not-terribly-popular UltraViolet system backed by several studios. (You can also rent them digitally.) “The Force Awakens” — Episode VII — is available to streaming subscribers, though only if you have Starz. The Force may finally put these titles in one place. Buying Fox will also give Disney a majority stake in streaming platform Hulu. The addition of Fox’s regional sports TV networks and National Geographic video programming in the deal could let the new service bundle hugely popular movie and TV franchises, local sports broadcast rights, and distribution platforms into one live online video empire. That would recreate online what the U.S. Supreme Court broke apart in the 1940s. That’s when the court forced Hollywood studios to divest ownership of theater chains to keep content producers from controlling every step along the way to the consumer. “This moves Disney from an afterthought in streaming to a legitimate contender,” Ives said. SCRAPPY REBELS At the same time, tech companies — particularly Netflix, Amazon, Facebook, Google, and Apple — are making big investments in video streaming. Hollywood-centered entertainment companies have struggled as people drop traditional TV packages, shifting the nexus of power in entertainment from the Hollywood Hills toward Silicon Valley and Seattle. That marketplace dynamic could help pave the way for regulators to clear the deal, aimed to close within the next 12 to 18 months. “These guys are up against Facebook and Google, not Warner Bros. and MGM,” said Mike Kelly, the former Weather Channel CEO who is now CEO of investment and advisory firm Kelly Newman Ventures. “If you look at it that way, I don’t think the government would have that big of an issue with it.” Iger said he anticipates a “significant amount of regulatory scrutiny both in the United States and internationally” because of the deal’s size, but he said authorities should quickly approve it because it makes sense for consumers. He said Disney’s current thinking is to split its streaming services into three different brands, such as a Disney-labeled family service that would fold in NatGeo, Marvel, Pixar and Lucasfilm; an ESPN-led sports service; and an adult-oriented service that would incorporate Hulu and some of Fox’s TV shows. Disney also aims to expand the global audience of its cast of characters as it pulls in Fox’s London-based pay-TV broadcaster Sky, which has a pan-European audience, and Mumbai-based Star India. OH, THAT LONELY WEB-SLINGER But there’s one part of the comic book world that will escape Disney’s sizable web: Spider-Man, whose rights Marvel partially farmed out to Sony. Although Sony and Disney cut a deal to include Spidey in Avengers tales starting with “Captain America: Civil War” last year, Sony continues to develop its own alternate reality with movies like the animated “Spider-Man: Into the Spider-verse” as well as spin-offs “Venom” and “Silver & Black” starting in 2018. Will It Go Through Without A Hitch? Variety reported that to Democrats have voiced concern about this massive merger as they feel it could potentially violate antitrust laws. “I’m concerned about the impact of this transaction on American consumers,” said Senator Amy Klobuchar (D-Minn.), the ranking member of the Senate Judiciary antitrust committee. She also commented that this merger was “another industry-changing merger, which would have major implications in television, film, and media.” Klobuchar has reportedly asked Sen. Mike Lee (R-Utah) and Sen. Chuck Grassley (R-Iowa), who chair the antitrust subcommittee and the Judiciary Committee, respectively, to schedule a hearing on the matter. Representative David Cicilline (D-R.I.) called for his committee, the House Judiciary’s antitrust subcommittee, to take a closer look at the deal as well. “Disney’s proposed purchase of 21st Century Fox threatens to put control of TV, movie, and news content into the hands of a single media giant,” he said. “If it’s approved,” he continued, “this merger could allow Disney to limit what consumers can watch and increase their cable bills. Disney will gain more than 300 channels, 22 regional sports networks, control over Hulu, and a significant portion of Roku.” Since Disney’s acquisition of Lucasfilm in 2012, the company has already emerged as a leading, monolithic force in American entertainment. While that can be exciting—it’s thrilling to see so many compelling characters and worlds rubbing shoulders with each other—it can also be stifling. It’s hard to compete in the genre movie sphere if you’re not the MCU or Star Wars, and if this merger goes through that problem could get much worse.

Movie TV Tech Geeks News