#Malta Corporation

[emdadvocates]

Aircraft Registration Malta

The Malta Aircraft Registration Act 2010

The Malta Air Operators Certificate (Malta AOC) and Aircraft Registration Malta Act 2010 consolidates the previously existing laws on aircraft registration. Through the establishment of an ambitious aircraft register and the setting up of the Malta Transportation (Regulatory) Authority, Malta is now also well positioned into one of the EU’s most topical business opportunities.

The Malta Aircraft Registration Act provides for the innovative concept of the registration of aircraft under construction. Such can be registered so long as such aircraft is uniquely identifiable. The Malta Aircraft Registration Act endeavors to limit nationality and form requirements in order to make the register accessible to as many owners and operators as possible, while ensuring that the register is not open to anyone and everyone.

To this effect the Malta Aircraft Registration Act prescribes those persons who are qualified to register an Aircraft whether used for the provision of air services or otherwise. These include:

• Citizens of Malta who have approved residence in Malta and citizens of Member States of the European Union, EEA State or Switzerland. Such individuals must have a place of residence or business in Malta, the European Union (EU), the European Economic Area (EEA) or Switzerland;

• An undertaking formed and existing in accordance with the laws in Malta, a Member State of the European Union, the EEA or Switzerland. In terms of the Malta Aircraft Registration Act, the undertaking must have its registered office, central administration and principal place of business within Malta, the EU, the EEA or Switzerland, whereof not less than 50% of the undertaking is owned and effectively controlled by the Government of Malta or by the Government of any other State of the EU, or by the persons abovementioned in paragraph (a), this requirement ought to be present indirectly or directly through one or more intermediate undertakings.

In accordance with the Malta Aircraft Registration Act, a natural person who does not qualify under paragraphs (a) and (b) above, but is a citizen of or an undertaking established in an approved jurisdiction shall be qualified to register aircraft in construction or one which is not used to provide an air service. This delineates the legislator’s intent to widen the scope of the Malta Aircraft Registration Act and consequently expand the range of those who could register under this law. This extends the possibilities for those owners of aircraft who will be using their aircraft for private use and not for hire or reward as prescribed by the pertinent legislation.

Malta VAT Treatment on Aircraft Leasing

The Maltese VAT Department has also recently launched a new aircraft leasing procedure, making Malta an attractive jurisdiction for aircraft registration for both private and commercial aircraft while ensuring full adherence to EU laws and regulations. The net result from this VAT simplification procedure is that the Malta VAT rate of 18% is only payable on that portion of the lease payment which is deemed to be for the use of the aircraft within EU airspace. The minimum percentage of time that an aircraft could be deemed to be in EU airspace, depending on maximum take off mass, maximum fuel capacity, fuel burn, optimum altitude and cruising speed) is of 30%, thereby resulting in a minimum effective VAT rate of 5.4%. For further information please click here.

The Use of Trusts and Fractional Ownership

The Malta Aircraft Registration Act ensures that when there is a trust relation and the Director General is to “look through” to the identity of the underlying beneficiaries, procedures will be implemented to safeguard the confidentiality of the trust arrangement in line with the principles governing trust law. In this manner, an obligation is imposed on the Director General to ensure that the disclosure for the purpose of Malta aircraft registration does not negatively affect the operation of the trust and its inherent confidential nature.

The new Malta Aircraft Registration Act acknowledges the benefits that will result from the employment of trusts in this field, and specific mention is made of fractional ownership and trusts which could be employed when the ownership/use interests of a plurality of persons (legal or natural) is to be regulated in relation to an asset, the aircraft, by interposing a trust relation. Thus, provision for regulation and co-ordination of the beneficiaries’ rights and interests will be made in the trust deed, which can provide for innumerable arrangements, in line with the contingencies of the case at hand.

The Maltese Aircraft Registration Act ensures that the existence of the trustee, being the registered owner of the aircraft, in favour of the determined beneficiaries (in a fixed trust scenario) or for the benefit of determinable beneficiaries (in a discretionary trust scenario) allows the arrangement to operate in a more streamlined manner whilst permitting the rights of the beneficiaries to be enforced against the trustee in case of default, thus protecting the beneficiaries who would be the stakeholders in this arrangement.

[uranustravel-blog]

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[thehopefuljournalist]

Seed networks are community organizations that have multiplied in the past decade in different Brazilian biomes to collect, trade and plant native seeds in degraded areas.

In the Chapada dos Veadeiros area, in Goiás state members of seed networks from several parts of Brazil met for almost a week in early June.

Along with environmental organizations, researchers and government officials, they participated in discussions to boost Redário, a new group seeking to strengthen these networks and meet the demands of the country’s ecological restoration sector.

“This meeting gathered members of Indigenous peoples, family farmers, urban dwellers, technicians, partners, everyone together. It creates a beautiful mosaic and there’s a feeling that what we are doing will work and will grow,” says Milene Alves, a member of the steering committee of the Xingu Seed Network and Redário’s technical staff.

Just in 2022, 64 metric tons of native seeds were sold by these networks, and similar figures are expected for 2023.

The effort to collect native seeds by traditional populations in Brazil has contributed to effective and more inclusive restoration of degraded areas, and is also crucial for the country to fulfill its pledge under international agreements to recover 30 million acres of vegetation by 2030.

Seed collection for restoration in these areas has previously only been done by companies. But now, these networks, are organized as cooperatives, associations or even companies, enable people in the territories to benefit from the activity.

Eduardo Malta, a restoration expert from the Socio-Environmental Institute and one of Redário’s leaders, advocates for community participation in trading and planting seeds. “These are the people who went to all the trouble to secure the territories and who are there now, preserving them. They have the greatest genetic diversity of species and hold all the knowledge about the ecosystem,” 

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The Geraizeiros Collectors Network are one of the groups that makes up Redário. They were founded in 2021, and now gathers 30 collectors from eight communities in five municipalities: Montezuma, Vargem Grande, Rio Pardo de Minas, Taiobeiras and Berizal.

They collect and plant seeds to recover the vegetation of the Gerais Springs Sustainable Development Reserve, which was created in 2014 in order to stop the water scarcity as a result of eucalyptus monocultures planted by large corporations.

“The region used to be very rich in water and it is now supplied by water trucks or wells,” says Fabrícia Santarém Costa, a collector and vice president of the Geraizeiros Collectors’ Network. “Today we see that these activities only harm us, because the [eucalyptus] company left, and we are there suffering the consequences.”

Costa was 18 years old in 2018, when the small group of seed collectors was founded and financed by the Global Environmental Facility. She says that working with this cooperative changed the way she looks at life and the biome in which she was born and raised. She describes restoring the sustainable development work as "ant work", ongoing, slow. But it has already improved the water situation in the communities. In addition, seed sales complement geraizeiros’ income, enabling them to remain in their territories.

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The Redário initiative also intends to influence public policies and regulations in the restoration sector to disseminate muvuca, the name given by the networks to the technique of sowing seeds directly into the soil rather than growing seedlings in nurseries.

Technical studies and network experiences alike show that this technique covers the area faster and with more trees. As a result, it requires less maintenance and lower costs. This system also distributes income to the local population and encourages community organizations.

“The muvuca system has great potential [for restoration], depending on what you want to achieve and local characteristics. It has to be in our range of options for meeting the targets, for achieving them at scale,” says Ministry of the Environment analyst Isis Freitas.

Article published August 3rd, 2023

[curio-queries]

I’m loving your production breakdown posts, they are so interesting and insightful.

I think you mentioned it maybe in the first ep breakdown but it was about expenses. I just thought it was interesting in ep4 when JK mentioned at the chicken place, paying in cash, and he solely has this conversation with Tae, not Jimin. Would there be an arrangement do you think? Or was that scene cut and he’d have asked Jimin too? I’ve noticed in comparison to Bv where they were usually only allowed a certain amount of money between them, with one usually being in control, or a sum for a task, in AYS, Jimin and JK have been whipping out their cards, be it their own or a company card, in Big Dicks store, in Walmart etc.

I just found it interesting

Hi anon,

The finance bits are interesting in the most boring corporate sense if that makes any sense. 😅 Trust me on this. Let's dive in:

In my opinion, it really boils down to two concerns: taxes and sponsorships. Taxes to insure the company receives every possible benefit for every dollar they spend. Sponsorships because some brands can have fussy rules about how individuals interact with their product and especially any competitor's products while they have an active agreement.

Obviously I have no actual insight onto how the finances and budget were managed for any of these specific shows and I know absolutely nothing of the intricacies of taxes in South Korea but in the US, there are many regulations when it comes to how companies can claim expenditures for tax breaks.

Every company that has had me travel for work has gone to a lot of trouble to insure that I was aware of exactly all of the requirements on my part regarding expenditures. I'm 100% sure all of the BTS members are aware of their requirements as well so I don't particularly think there's any motive other than as a cute convo for the moment between JK and V. Imo, the only reason it made it to the final cut was JKs endearing tone in his response.

Let's go through some examples though:

Receipts: in both AYS and Bon Voyage, we see the members be very specific in getting Receipts. JM and JK talk about it as they're leaving Walmart. In BV, it's all of the shenanigans with the money pouch they acquired in Malta and continued using in New Zealand. This is usually documentation required for any operation that's going to be claimed as a business expense for tax purposes.

Personal Spending: off the top of my head I can think of several clear instances where we know that the members are using their own money for purchases we see them make on the shows. In Run BTS ep.70 in Toronto, JK pays for the member's clothing purchases himself. In BV4, JM pays for the member's clothing himself a couple of times (remember the drama of his lost wallet? 😅)

Budget as Content: BV 1 & 2 mostly only include finances as part of the game-ification of the show. The members had to earn money as an allowance for the activities and determine the best ways to spend it. (I do vaguely remember some members wanting to negotiate for more when buying souvenirs? Was that just in the extra scenes? It's been so long, I've been holding off on rewatching until I'm done with my Run series).

Thankfully, the success of BTS has basically nixed the budget games. I think the last time we saw something like this were the Run episodes of a hotel staycation? But the prices were ficticious and not necessarily about real-world spending but rather determining the secret number to not exceed. (If I'm misremembering and there are more recent examples, please share!) Imo, it would just be too tone-deaf to continue portraying the members in that context. I know we all joke about them being broke millionaires, but there's a reason why celebrity game shows always make it clear that the money involved is for charity.

Anyway, back to AYS, the interesting bit to me is wondering about the inclusion of Taehyung from a budget standpoint. How was that reconciled? None of us can possibly know the answer, but it's interesting to think about. Some costs wouldn't have changed at all with one extra participant, like the house rental, or booking the climbing gym or yacht tour. But there were a few extra concessions, getting the extra mattress likely was more a logistics headache on short notice rather than an impact to the budget. And most Korean meals are served family-style so there honestly isn't a huge difference cost-wise. Except maybe the omakase. That I can imagine was noticeably more expensive with an added individual.

But really, the most expensive item per person would likely have been travel. Did someone say Tae was already in Jeju prior to filming? If he wasn't, did the show cover his flights like they would have JK, JM, and the crew? Or is the budget on these shows big enough that it was just another drop in a bucket? Also, the intent likely was for JK to zip around on the motorbike and JM to be on the scooter. I'm curious if they weren't logistically able to get another such vehicle with the short notice or if the budget/sponsorship constraint didn't allow for a third one the day. Or it could be that the scooter exists because of the 3 member count and production thought one of them could be JKs backpack. That bike has the space for it. But perhaps the difficulty to get coverage and/or converse wasn't appealing. Or maybe there just wasn't a third radio-enabled helmet prepared?

I know the various shippers are using this in their arguments. I'd like to firmly state that I am not building a case for either side here. Go do that on your own and leave me out of it. Lol.

There are so many questions and it's interesting to theorize how the finances could have impacted the development of the show. Maybe we'll get some more insight with the remaining episodes and bonus footage but I doubt it. Finances don't usually make for engaging content.

Thanks again for the ask! It's one of the points I want to discuss when I start doing my BV and ITS posts but who knows when that will be!

[usafphantom2]

SR-71 pilot recalls when his RSO Flipped Off a French Air Force Mirage III Pilot (Then They lit their Blackbird’s Afterburners and Outran him)

The SR-71 Blackbird

The SR-71 reconnaissance aircraft was the world’s fastest jet-propelled aircraft and the most advanced member of the Blackbird family developed by Lockheed Aircraft Corporation’s clandestine “Skunk Works” division.

The Blackbird was in a different category from anything that had come before. “Everything had to be invented. Everything,” Skunk Works legendary aircraft designer Kelly Johnson recalled in an interesting article appeared on Lockheed Martin website.

The speed of the SR-71 exceeded 2,000 mph. Other planes of the era could, in theory, approximate that speed but only in short, after-burner-driven bursts. The Blackbird maintained a record-setting speed for hours at a time.

Cool Video Explains how SR-71 Blackbird’s J58 Turbo-Ramjet Engine Works

This print is available in multiple sizes from AircraftProfilePrints.com – CLICK HERE TO GET YOURS. SR-71A Blackbird 61-7972 “Skunkworks”

One of the most entertaining stories about flying the Blackbird comes from Lt. Colonel William Burk Jr., who shares about a particular mission he flew [according to SR-71 pilot Stormy Boudreaux, Tom Henichek was Burk’s RSO for that mission] over Lebanon back in 1982 in the book Skunk Works by Ben Rich.

Blackbird over Lebanon

‘In the fall of ’82, I flew from Mildenhall on a mission over Lebanon in response to the Marine barracks bombing. President Reagan ordered photo coverage of all the terrorist basis in the region. The French refused to allow us overfly, so our mission profile was to refuel off the south coast of England, a Mach 3 cruise leg down the coast of Portugal and Spain, left turn through the Straits of Gibraltar, refuel in the Western Mediterranean, right turn into Lebanon and fly right down main street Beirut, exit along the southern Mediterranean with another refueling over Malta, supersonic back out the straits, and return to England.

‘Because Syria had a Soviet SA-5 missile system just west of Damascus that we would be penetrating (we were unsure of Syria’s intentions in this conflict), we programmed to fly above 80,000 feet and at Mach 3 plus to be on the safe side, knowing that this advanced missile had the range and speed to nail us.

SR-71 pilot recalls when his RSO Flipped Off a French Air Force Mirage III Pilot (Then They lit their Blackbird’s Afterburners and Outran him)

‘As we entered Lebanon’s airspace my Recon Systems Officer in the rear cockpit informed me that our defensive systems display showed we were being tracked by that SA-5. About 15 seconds later we got a warning of active guidance signals from the SA-5 site. We couldn’t tell whether there was an actual launch or the missile was still on the rails, but they were actively tracking us. We didn’t waste any time wondering, but climbed and pushed that throttle, and said a couple of “Hail Kellys.”

SR-71 crew flipping off a French Air Force Mirage III Pilot

‘We completed our pass over Beirut and turned toward Malta, when I got a warning low-oil-pressure light on my right engine. Even though the engine was running fine I slowed down and lowered our altitude and made a direct line for England. We decided to cross France without clearance instead of going the roundabout way.

‘We made it almost across, when I looked out the left window and saw a French Mirage III sitting ten feet off my left wing. He came up on our frequency and asked us for our Diplomatic Clearance Number. I had no idea what he was talking about, so I told him to stand by. I ask my backseater, who said, “Don’t worry about it. I just gave it to him.” What he had given him was “the bird” with his middle finger: I lit the afterburners and left that Mirage standing still. Two minutes later, we were crossing the Channel.’

Be sure to check out Linda Sheffield Miller (Col Richard (Butch) Sheffield’s daughter, Col. Sheffield was an SR-71 Reconnaissance Systems Officer) Twitter X Page Habubrats SR-71, Instagram Page SR71Habubrats and Facebook Page Born into the Wilde Blue Yonder Habubrats for awesome Blackbird’s photos and stories.

@Habubrats71 via X

[mostlysignssomeportents]

EU to Facebook: 'Drop Dead'

A leak from the European Data Protection Board reveals that the EU’s top privacy regulator is about to overrule the Irish Data Protection Commission and declare Facebook’s business model illegal, banning surveillance-based ads without explicit consent:

https://noyb.eu/en/noyb-win-personalized-ads-facebook-instagram-and-whatsapp-declared-illegal

In some ways, this is unsurprising. Since the GDPR’s beginning, it’s been crystal clear that the intention of the landmark privacy regulation was to extinguish commercial surveillance and ring down the curtain on “consent theater” — the fiction that you “agree” to be spied on by clicking “I agree” or just by landing on a web-page that has a link to some fine-print.

Under the GDPR, the default for data-collection is meaningful consent, meaning that a company that wants to spy on you and then sell or use the data it gathers has to ask you about each piece of data they plan to capture and each use they plan to make of it.

These uses have to be individually enumerated, and the user has to actively opt into giving up each piece of data and into each use of that data. That means that if you’re planning to steal 700 pieces of information from me and then use it in 700 ways, you need to ask me 1,400 questions and get a “Yes” to each of them.

What’s more, I have to be given a single tickbox at the start of this process that says, “No to all,” and then I have to be given access to all the features of the site or service.

The point of this exercise is to reveal consent theater for the sham it is. For all that apologists for commercial surveillance insist that “people like ads, so long as they’re well-targeted” and “the fact that people use high-surveillance services like Facebook shows a ‘revealed preference’ for being spied on,” we all know that no one likes surveillance.

There’s empirical proof of this! When Apple added one-click tracker opt-out on its Ios platform, 96% of users opted out, costing Facebook more than $10b in the first year (talk about a ‘revealed preference!’) (of course, Apple only opted those users out of tracking by its rivals, and secretly continued highly invasive, nonconsenual tracking of its customers):

https://pluralistic.net/2022/11/14/luxury-surveillance/#liar-liar

Properly enforced, the GDPR would have upended the order of the digital world: any argument about surveillance between product managers at a digital firm would have been settled in favor of privacy, because the pro-privacy side could argue that no one would give consent, and the very act of asking would scare off lots of users.

But the GDPR wasn’t properly enforced, thanks to structural problems with European federalism itself. The first line of GDPR enforcement came from privacy regulators in whatever country a privacy-violator called home. That meant that when Big Tech companies violated the GDPR, they’d have to account for themselves to the privacy regulator in Ireland.

For multinational corporations, Ireland is what old-time con-artists used to call a “made town,” where the cop on the beat is in on the side of the criminals. Ireland’s decision to transform itself into a tax haven means that it can’t afford to upset the corporations that fly Irish flags of convenience and maintain the pretense that all their profits are floating in a state of untaxable grace in the Irish Sea.

That’s because there are plenty of other EU countries that compete with Ireland in the international race to the bottom on corporate governance: Malta, Luxembourg, the Netherlands, Cyprus, etc (and of course, there’s post-Brexit UK, where the plan is to create an unregulated haven for the worst, wealthiest companies in the world).

All this means that seeking Irish justice from a corporation that wronged you is like asking a court in Moscow to punish an oligarch’s commercial empire on your behalf. Irish regulators are either “dingo babysitters” (guards in league with the guarded) or resource-starved into ineffectual torpor.

That’s how Facebook got away with violating the GDPR for so many years. The company hid behind the laughable fairy-tale that it didn’t need our consent to spy on us because it had a “legitimate purpose” for its surveillance, namely, that it was contractually obliged to spy on us thanks to the “agreement” we clicked on when we signed up for the service.

That is, you and Facebook had entered into a contract whereby Facebook promised you that it would spy on you, and if it didn’t spy on you, it would be violating that promise.

Har.

Har.

Har.

But while the GDPR has a structural weakness — allowing corporations to choose to be regulated in countries that can’t afford to piss them off — it also has a key strength: the private right of action, that is, the right of individuals to sue companies that violate the law, rather than having to convince a public prosecutor to take up their case.

https://www.eff.org/deeplinks/2019/01/you-should-have-right-sue-companies-violate-your-privacy

The private right of action is vital to any privacy regulation, which is why companies fight it so hard. Whenever a privacy bill with a private right of action comes up, they tell scare-stories about “ambulance chasers” who’ll “clog up the system,” trotting out urban legends like the McDonald’s Hot Coffee story:

https://pluralistic.net/2022/06/12/hot-coffee/#mcgeico

But here we are, in the last days of 2022, and the private right of action is about to do what the Irish regulators wouldn’t do: force Facebook to obey the law. For that, we can thank Max Schrems and the nonprofit he founded, noyb.

Schrems, you may recall, is the Austrian activist, who, as a Stanford law student, realized that EU law barred American tech companies from sending their surveillance data on Europeans to US data-centers, which the NSA and other spy agencies treated as an arm of their own surveillance projects:

https://pluralistic.net/2020/07/16/text-adventures-resurgent/#nein

Schrems brought a case against the Irish regulator to the EU’s top privacy authority, arguing that it had failed its duty by ruling that Facebook’s “contractual obligation” excuse held water. According to the leaked report, Schrems has succeeded, which means, once again, Facebook’s business model is illegal.

Facebook will doubtless appeal, but the writing is on the wall here: it’s the end of the line for surveillance advertising in Europe, an affluent territory with 500m+ residents. This decision will doubtless give a tailwind to other important privacy cases in the EU, like Johnny Ryan’s case against the ad-tech consortium IAB over its “audience taxonomy” codes:

https://pluralistic.net/2021/06/16/inside-the-clock-tower/#inference

It’s also likely good news for Schrems’ other ongoing cases, like the one he’s brought against Google:

https://pluralistic.net/2020/05/15/out-here-everything-hurts/#noyb

Facebook has repeatedly threatened to leave the EU if it is required to stop breaking the law:

https://pluralistic.net/2020/09/22/uncivvl/#fb-v-eu

This is a pretty implausible threat, growing less plausible by the day. The company keeps delivering bad news to investors, who are not mollified by Mark Zuckerberg’s promise to rescue the company by convincing all of humanity to spend the rest of their lives as highly surveilled, legless, sexless, low-polygon cartoon characters:

https://www.fool.com/investing/2022/12/06/why-meta-platforms-stock-dove-today/

Zuckerberg and his entire senior team have seen their net worth plummet with Meta’s share price, and that means the company needs to pay engineers with actual dollars, rather than promises of shares, which kills the massive wage-bill discount the company has enjoyed. This is not a company that can afford to walk away from Europe!

Between Apple’s mobile (third-party) tracker-blocking and the EU calling time on surveillance ads, things are looking grim for Facebook. You love to see it! But things could get even worse, and soon, thanks to the double-edged sword of “network effects.”

Facebook is a network effects business: people join the service to socialize with the people who are already there — then more people join to socialize with them. But what network effects give, they can also take away: a service that gets more valuable when a new user signs up loses value when that user leaves.

This is beautifully explained in danah boyd’s “What if failure is the plan?” which recounts boyd’s experiences watching MySpace unravel as key nodes in its social graph disappeared when users quit: “Failure of social media sites tends to be slow then fast”:

http://www.zephoria.org/thoughts/archives/2022/12/05/what-if-failure-is-the-plan.html

Facebook long understood this, which is why it spent years creating artificial “switching costs” — penalties it could impose on users who quit, such as the loss of their family photos:

https://www.eff.org/deeplinks/2021/08/facebooks-secret-war-switching-costs

This is why Facebook and other tech giants are so scared of interoperability, and why they are so furious about the new EU Digital Markets Act (DMA), which will force them to allow new services to connect to their platforms, so that users who quit Big Tech won’t have to lose their friends or data:

https://www.eff.org/deeplinks/2022/04/eu-digital-markets-acts-interoperability-rule-addresses-important-need-raises

An interoperable Facebook would make it easy to leave social media by removing the penalties Facebook imposes on its disloyal users, and the EU’s privacy framework means that when they flee to a smaller safe haven, they won’t have to worry about commercial surveillance:

https://www.eff.org/interoperablefacebook

But what about advertising-supported media? Sure, being spied on sucks, but a subscription-first media landscape is a world where “the truth is paywalled, but the lies are free”:

https://www.currentaffairs.org/2020/08/the-truth-is-paywalled-but-the-lies-are-free/

Ironically, killing surveillance ads is good news for ad-driven media. Surveillance-based ad-targeting is nowhere near as effective as Google, Facebook and the other ad-tech companies claim (these companies are compulsive liars, it would be amazing if the only time they told the truth is when they were boasting about their products!):

https://onezero.medium.com/how-to-destroy-surveillance-capitalism-8135e6744d59

And consent-theater or no, targeted ads reach fewer users every day, thanks to ad- blockers, AKA, “the biggest boycott in world history”:

https://blogs.harvard.edu/doc/2015/09/28/beyond-ad-blocking-the-biggest-boycott-in-human-history/

And when a publisher does manage to display a targeted ad, they get screwed. The Googbook dupololy is a crooked affair, with the two tech companies illegally colluding (via the Jedi Blue conspiracy) to divert money from publishers to their own pockets:

https://techcrunch.com/2022/03/11/google-meta-jedi-blue-eu-uk-antitrust-probes/

Targeted ads are a cesspit of ad-fraud. 15% of all ad revenues are just unaccounted for:

https://twitter.com/swodinsky/status/1511172472762163202

The remaining funds aren’t any more trustworthy. Ad-tech is a bezzle (“the magic interval when a confidence trickster knows he has the money he has appropriated but the victim does not yet understand that he has lost it”):

https://pluralistic.net/2021/01/04/how-to-truth/

As Tim Hwang foretold in his essential Subprime Attention Crisis, the pretense that targeted ads are wildly effective has been slowly but surely losing ground to the wider awareness of the fraud behind the system, and a reckoning is at hand:

https://pluralistic.net/2020/10/05/florida-man/#wannamakers-ghost

Experiments with contextual ads (ads based on the content of the page you’re looking at, not on your behavior and demographics) have found them to about as effective in generated clicks and sales as surveillance ads.

https://pluralistic.net/2022/04/29/taken-in-context/#creep-me-not

But this is misleading. Contextual ads don’t require consent opt-in (because they’re not based on your data) and they don’t drive users to install blockers the way creepy surveillance ads do, so lots more people will see a contextual ad than a surveillance one. Thus, even if contextual ads generate slightly less money per reader or viewer, they generate far more money overall, because they are aren’t blocked.

Even better for publishers: contextual ads don’t erode their own rate cards. Today, when you visit a high-quality publisher like the Washington Post, many ad brokers bid to show you an ad, but only one wins the auction. However, all the others have tagged you as a “Washington Post reader,” and they can sell that to bottom-feeder junk sites. That is, they can collude with Tabooleh or its rivals to offer advertisers a chance to advertise to Post readers at a fraction of what the Post charges. Lather, rinse, repeat, and the Post’s own ad revenues are drained.

This doesn’t apply with contextual ads. Indeed, none of the tech giants’ much-vaunted “data advantage” — the largely overstated value of knowing what you did online 10 or 20 years ago, the belief in which keeps new companies out of the market — applies to context ads:

https://pluralistic.net/2021/04/11/halflife/#minatory-legend

The transformative power of banning surveillance advertising goes beyond merely protecting our privacy. It also largely answers the case for “link taxes” (pseudo-copyright systems that let giant media companies decide who can link to them and charge for the privilege).

The underlying case for link taxes, snippet taxes, etc, is that Big Tech is stealing the news media’s content (by letting their users talk about and quote the news), when the reality is that Big Tech is stealing their money (through ad-fraud):

https://doctorow.medium.com/big-tech-isnt-stealing-news-publishers-content-a97306884a6b

Unrigging the ad-tech market is a much better policy than establishing a link-tax, like the Democrats are poised to do with their Journalism Competition and Preservation Act (JCPA):

https://www.politico.com/newsletters/politico-influence/2022/12/06/jcpa-opponents-spring-into-action-to-block-ndaa-inclusion-00072602

It’s easy to understand why the monopoly/private-equity-dominated news industry wants JCPA, rather than a clean ad market. The JCPA just imposes a tax on the crooked ad-tech giants that is paid to the largest media companies, while a fair ad market would reward the media outlets that invested most in news (and thus in expensive, unionized news-gathering reporters).

Indeed, the JCPA only works if the ad-tech market remains corrupt: the excess Big Tech rents that Big News wants to claim here are the product of a rigged system. Unrig the system and there won’t be any money to pay the link tax with.

Image: Anthony Quintano (modified) https://commons.wikimedia.org/wiki/File:Mark_Zuckerberg_F8_2018_Keynote_%2841118883004%29.jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

[Image ID: A theater proscenium. Over the proscenium, in script, are the words 'Consent Theatre.' On the screen is an image of Mark Zuckerberg standing in front of the words 'Data Privacy.' He is gesturing expansively. A targeting reticle is centered on his face. The reticle is made of the stars from the EU flag.]

[borisbubbles]

Eurovision 2023: #22 - #21

Mild like is not a zone I prefer to rest long in, so let's make the next two a package deal so that only 20 remain going into the new year!

22. SERBIA Luke Black - "Samo mi se spava" 24th place

Decade Ranking: 63/116 [Above Fyr og Flamme, below TBA]

Spaaaaavaaaaaaaaaaaaaaaai

But I am getting ahead of myself.

In the days leading up towards towards the rehearsals I got the feeling that Luke would only barely squeak by despite being both Serbian and reasonably well-liked by the fans. This came with the slow realization that "Samo mi se spava" is kind of cringe, oop. All memes eventually become stale, and that rate at which they age accelerates further if the music's kind of not good lol. Not everyone can have the eternal resilience of "In Corpore Sano".

So yeah, I totes understand why the Latvia stans were pissed they missed out while Luke basically passed to the Grand Final based on flag. However, many acts sucked in the semis, so I'm not bothered if one I liked (sorta) qualified over one i did not (sorta).

Not to get things twisted though, "Samo mi se spava" was serviceable for what it was, as a Melovin-lite combination of shock horror and an art major's irreverent graduation project. Once you've accustomed to the senseless krumpcrat choreo and the atonal mewling however, you just have to recognize Serbia's 2023 entry was the vanity project of an ageing emo twink . Do I enjoy it? Yes, but only as ~A Piece~ (not as "a song") and only in small enough doses. Take, a listen every four months.

All that said, there are two small things about "Samo Mi Se Spava" that I greatly enjoy.

(1) the frogmarches remain hilarious so let's enjoy that in gif form:

What a great way to finish A Piece.

(2) I merely have to think of Luke to hear "SPAAAVAAAAI" and "HELLO?! GAyME OVuh" ring through my mind in his characteristic gaywhispervoice and that ALWAYS produces a chuckle. So ultimately, while "Samo mi se spava" was admittedly not very good, it does manage to lift my spirits somewhat, and for that I'm willing to carry it to 22nd in my list!

-----------------------------------------

21. UKRAINE TVORCHI - "Heart of steel" 6th place

Decade Ranking: 62/116 [Above Luke Black, below Kalush Orchestra]

Yeah, Tvorchi did well for themselves. Given the war and the general air of misery surrounding last year's Vidbir (unironically a contender for worst NF this year, even under the circumstances) and the fact that Ukraine picked their most disappointingly heterosexual entry yet, there was no way "Heart of Steel" could become good. Like, who does this appeal to? What sort of person listens to this edgelordian church cabal, and thinks "ah, my favourite has arrived." Just the Musk fanboys, right?

Fortunately for us, Ukraine is the one Eurovision country that always understands the assignment. What do you do when your song below par? You provide a good show at least.

and it kinda nibbled.

...

...

Yeah, there's no punchline. Sorry but it's NYE, i cooked the family dinner by myself and you may think it's a small step to go from roasting broccoli to roasting mediocrities, but the latter action takes up too much thinking space for a brain semi-operating on sparkling wine that is trying to weave in and out of social conversation. Jeffrey sang well, I liked the presentation and it didn't drag the more enjoyable entries around it down, what else can a one ask for? It wasn't going to get any better than what we got. Count them lucky stars, and all that.

Fourth place in the televote is a VERY stupid result (this is more in range of a 14th placer if it were any other country) but let's not end the year on a sour rant. "Heart of steel" could have been a morose drag. Instead it was moderately bemusing. Upward and onward to better things.

THE RANKING

CONGRATZ FOR MAKING THE TOP 20 to the following:

ALBANIA / ARMENIA / AUSTRALIA / AUSTRIA / AZERBAIJAN BELGIUM / CZECHIA / ESTONIA / FINLAND / FRANCE ICELAND / LITHUANIA / MALTA / MOLDOVA / POLAND PORTUGAL / SLOVENIA / SPAIN / SWEDEN / UK Some of you kind of don't deserve to~ ps: Happy New Year Everyone!!!

[denimbex1986]

'With three years of theatre in Dublin under his belt, the actor Paul Mescal only came to mainstream attention in April 2020 when he made his television debut in the hit Lenny Abrahamson-directed adaptation of Normal People, the best-selling novel by Sally Rooney. It was the most-streamed series on the BBC that year and made Mescal a household name – his role as awkward, school-age Connell earned him an Emmy nomination and a Bafta for best leading actor. In the four years since, a series of impressive parts has followed: his first feature, Maggie Gyllenhaal’s critically acclaimed directorial debut, The Lost Daughter, premiered in 2021. The next spring, he was in Cannes promoting two lead roles: in Anna Rose Holmer and Saela Davis’s indie flick God’s Creatures, set in a bleak oyster-fishing town in rural Ireland, and Charlotte Wells’s devastating Aftersun. A beautifully constructed tale of a loving but stricken young father, the latter underscored Mescal as a powerful talent with the ability to both charm and break the hearts of viewers with one downward glance – the film also earned him a nomination for an Academy Award. In 2022 he returned to theatre for the Almeida’s production of A Streetcar Named Desire, going on to win an Olivier last year for his portrayal of Stanley Kowalski.

More recently, two new films have been released: Garth Davis’s Foe, a sci-fi romance in which Mescal performs opposite Saoirse Ronan, and the gut-punching All of Us Strangers. Directed by Andrew Haigh, All of Us Strangers tells the story of Adam (played by Andrew Scott) who, upon falling for Mescal’s Harry, begins to explore a tragedy that has cast a long shadow over his life. A dizzying dance ensues between the imaginary and the corporeal, as Adam flits between dreamlike visits to his dead parents and the very visceral beginnings of a new sexual relationship – viewers leave haunted and moved.

The British filmmaker Haigh is known for his works’ intimate scale and emotional heft. There’s Weekend, which dug at real and tender spots in gay male sex and relationships; 45 Years, starring Tom Courtenay and Charlotte Rampling, who depict a couple on their sapphire wedding anniversary processing an earth-shattering secret; and Lean on Pete, a coming-of-age tale of a motherless runaway boy with Chloë Sevigny and Steve Buscemi. In each quietly vigorous work, Haigh’s incredible casting and spare dialogue enable truly believable characters to wrestle with past trauma, belonging and love.

On set for his latest lead, in Ridley Scott’s Gladiator II, Mescal Zooms from a candelabra-filled room in a sandstone palace in Malta with Haigh, who’s at home in London. Here, the pair discuss the radical tenderness of their new film and what it takes to express inner conflict with the delicate restraint they are both known for. It’s the first time the collaborators have had the chance to talk together in public about the award-winning film.

Paul Mescal: I was just hanging out with the Searchlight crew in LA and they were saying that you were taking two weeks’ respite, having gone to every state in the US for this film.

Andrew Haigh: Yes, but I have to remind myself that sometimes you make a film and nobody is very interested at all. When people do care enough to want to talk about it, then you can’t be too grumpy. It’s why we made the film in the first place, to connect with people.

PM: But it’s that weird transition, isn’t it? I imagine there are many transitions for you – the writing process into the shooting, which feels like a private experience, but then you’re making this for an audience, so once you finish filming it, it’s for public consumption. Which is the most frightening part of it. But yes, when something feels like it registers with an audience, you’ve got to run with it because it doesn’t happen all the time.

AH: It’s definitely frightening releasing the film into the world. I try very hard during the actual making of the film to forget about all the stuff that comes afterwards. It’s almost too much pressure, isn’t it? I’m sure it’s the same for actors.

PM: You almost do forget. You get into a shooting rhythm but then the hardest bit for an actor is once you’ve handed it over. I kept bumping into you in Soho during the editing and I felt like I’d given you a version of my own child and you would be like, “Yes, that was really good.” The number one rule is try to avoid your director while they’re in the edit because they’re never going to give you any information that’s going to satiate you at all.

AH: Sorry about that. [Laughs.] In truth, it’s because I’m always so nervous about what an actor is going to think of the film.

PM: Did you feel nervous with All of Us Strangers? Because from a performance side of things, I feel like it’s really strong across the four of us [including Claire Foy and Jamie Bell, who play Adam’s parents].

AH: I was never worried about the quality of the performances. You are all incredible. It’s just when you’ve made something together, trusted each other and worked so hard on something I don’t want you to be disappointed. It matters to me that you like the film. You get offered lots of roles and I always want an actor to feel like they’ve made the right choice. How did you know you wanted to do this and not do something else?

PM: Because it was the best script. It sounds basic but it goes a long way – it was the best thing I’d read in the longest time. And that’s both a testament to your talent as a screenwriter but it’s also that it just becomes immovable in my brain. Something else can come in and it might be stretching a different muscle, or it might pay more money, or it might be to work with a director I like. But this had all those things. Ultimately it was the story, and the character felt both in my wheelhouse and a perfect stretch at the same time.

AH: When I knew that you were interested in the role of Harry, I was a little bit flabbergasted.

PM: I’ve heard you say this in interviews and I’m so curious as to why because I don’t know any actor worth their salt who wouldn’t be – I’d love to know how many actors you sent it to who didn’t respond to it.

AH: Only a few. And they said no.

PM: They said no?

AH: [Laughs.] I’m not going to name any names.

PM: Did you get a flavour of why they said no?

PM: That’s why I love that part so much – because ultimately it’s a supporting part in terms of the script and what the central story is, but he’s also a supporting human being to Adam. It’s like his whole function is to put the scaffolding up around Adam to protect him.

AH: That’s a beautiful way to put it – putting up the scaffolding to help him rebuild.

PM: And then you give such amazing clues into Harry’s own world – just drip-feeding them in tiny moments. You really see that there’s almost another film to be written about Harry that mirrors Adam’s, but you have the restraint to give enough of that without taking the focus off Adam.

In general you write such actor-friendly scripts, which is why if there were a part that size in another screenwriter or director’s hands, I probably wouldn’t take it. But there was nothing about that part that felt small to me. That character has had the same impact on me as other leading roles I’ve played. That’s about the imaginative space that you allow the actor to create – it allows the audience to project.

AH: And he is so important – he’s fundamental to Adam’s change. Still, in the hands of an actor who can’t embody that character, truly understand it, then none of it works. You have this amazing ability to deepen characters – to allow us to understand that a backstory might exist, even if we don’t know what that backstory is. The minute we see you at Adam’s door I can understand the pain, the longing, the need that Harry has, all lurking between your words and gestures. That’s a rare skill. I’m not entirely sure how you do it, honestly.

PM: Andrew, it’s all there in the script. I didn’t invent anything other than the normal actor work – you gave me all the tools I needed and with such economy. Can I say that that scene is one of my favourite scenes that I’ve ever got to play in my entire life. I remember reading it and thinking that you could spend a week on that scene – there are endless alleys it could go down. And I’m so happy with how it felt – it’s the perfect blend of dangerous and sexy and sad, but it’s unclear which part of the Venn diagram it’s sitting in.

AH: And it’s such an important scene too. The film does not work without that scene landing. Although you could say that about so many of the scenes in the film. Every scene asked us all to go to some emotional places. Every scene had its challenges. Some for personal reasons and others in terms of story. When you’re working as a director, a writer or an actor, you are emotionally exposed sometimes.

I struggled a lot with that – even in the writing – how much do I reveal and how much do I hold back? There’s this Nina Simone song, Who Knows Where the Time Goes – she talks at the beginning about a quote by Faye Dunaway, who said she tried to give the audience what they wanted [in Bonnie and Clyde]. And Nina Simone says, that’s a mistake because “you use up everything you’ve got, trying to give everybody what they want”. And I think it is about trying to find that balance, isn’t it? Of, “OK, I’m prepared to give this, but I don’t want to give this.”

PM: I would forget sometimes that you conjured up these people and it is scary, in the most exciting way, to be in your company and thinking, “I know he’s hiding stuff.” Through the writing process, the shoot, the edit, were you thinking about what your lines in the sand were when it came to talking about the movie? Or is that something that came in the weeks before the press run?

AH: Yes, I tried not to think about it too much while I was doing it because it’s really dangerous when you’re making the film to think too much about how the world is going to take it and what people are going to end up asking, because I think I would close up and become afraid. But one of the things I’ve tried to understand is why do I even want to make films?

PM: Why do you want to make films?

AH: I don’t know. Most of the time it’s so painful – the stress and anxiety. But I think for anybody that works in film, there’s part of you that is probably doing it because you just want to be loved by the world. [Laughs.] And the problem is it’s an appalling industry to work in if that’s what you’re wanting.

PM: Yes, because you’ll get it one second and then you’ll lose it.

AH: I always find that fascinating because sometimes things go well and sometimes they don’t and you often can’t even understand why.

PM: What scenes did you find particularly difficult to film? One that jumps to my mind is the scene in Harry’s …

AH: ... apartment.

PM: Yes, that was one that took us ... We had to climb a couple of steps to get there. I had performance anxiety – I’d seen how beautiful your work with Andrew had been and I was like, “We’re entering the final couple of minutes of the film and if I fuck it up, it’s my fucking fault.” But it’s one of those few moments when Harry does become the focus of the film for a second.

AH: You certainly hid that anxiety well. And you nailed the scene. It’s heartbreaking. I also adore the scene between you and Andrew in the bed halfway through the film. I can’t tell you how beautiful you both are in that scene. I feel like I’ve tried to capture intimacy a lot, but there is something special going on here, the way we see you opening up to each other. It is so delicate and tender, the way you hide and reveal.

PM: But that’s what I love about the writing as well. You’ve seen versions of those scenes in films where you see a character repress or hide what he’s feeling through a smile. But the thing that is different about this scene is that there’s somebody on the other side of the bed who loves him and tells him that it’s not OK to do that. And the thing I find so upsetting about that scene is that Harry says, “I’m marginalised by my family et cetera ... but it’s fine.” And the line that devastates me is when Adam says, “But why is that OK?” It’s such a simple line.

AH: Agreed. It’s about knowing that someone cares enough about you to push a little deeper. There’s an exhalation you do in response to that question, a giggle, a gesture and then you stretch. It’s one of my favourite moments in the film. We’re so close to your face, close enough to see Harry’s mind working, asking himself if he can fall deeper into this relationship. It’s those moments I am obsessed with trying to capture. Do you plan for those moments?

PM: That’s not something I think you can prepare for as an actor. You can’t go home and do your homework and be like, “And when he says this, I’m going to stretch and make a little noise.” You just can’t.

AH: One thing that always surprises me is how you can find and sustain that feeling of intimacy with all the trappings of a film set around you. Men in shorts. Cameras in your face. I’m always amazed when actors can ignore what is going on around them.

PM: It’s because we want to be adored. [Laughs.]

AH: That’s what it is.

PM: I feel like sometimes, though, it’s blind panic. Because I think acting has the capacity to be the most embarrassing thing that any of us ever do. And it can be in an instant. I’ve seen actors that I really admire do bad, embarrassing things. When you’re in a scene where that’s heightened – say, if your body is on show or there’s an emotional weight to a scene – weirdly, if you’re working with good actors, you can just throw a bubble around yourselves and white-knuckle it. Andrew Scott is just outrageously good.

AH: And you are outrageously good together. We see you fall in love on screen. We believe every moment of it. It feels so genuine.

PM: When you feel close with an actor like that, like with Andrew, it allows a real-life intimacy and a trust that I’ve only had a couple of times – obviously with Daisy [Edgar-Jones] in Normal People, and Andrew, and Saoirse in Foe. It has nothing to do with talent. Saoirse and Andrew are actually quite similar. They’ve got this well of emotionality where all you have to do when you’re in scenes with them is sit there and listen to what they’re saying. Normally they’ll find a way to unlock you.

It sounds reductive but you don’t have to do anything when you’re working with brilliant actors like that. I would say the size of the performance in Foe is much more robust than Strangers, which is big but it’s also restrained and subdued. In Foe, me and Saoirse just had to plant our feet and really go from the gut.

AH: That’s the skill of it, isn’t it? Because you have to understand what the film needs.

PM: I’d say that there’s a similar performance style across all of your films – and that’s the one thing I love about my job, that you get to go into different jobs with different actors, like Saoirse and Andrew, and you put on different hats and you figure it out. Would you say there’s a performance style that you’re interested in generally?

AH: I’d say there is a tone to my films to which a performance style is integral. Although I’m not very good at being able to articulate what that style is. I guess actors will have watched my films before they want to work with me, so instinctually understand the timbre of the performance I like. We usually don’t need to talk about it.

PM: We never actually spoke about it.

AH: But I think that’s the joy of when you’ve made a few films. You can have a reference of what you like. That’s why our choices are important. The choices we make define the kind of person we are. That’s why I wanted to work with you so much. The projects you choose are always interesting. And you’ve had a crazy few years. How does that feel?

PM: It’s a hard question ... Because I never expected this to happen. I had ambitions, of course, but I could never have expected that this would be where I was going to land. Being in drama school, I remember teachers telling me the statistic was something like “only 16 to 20 per cent of you will ever work as an actor”. So I remember getting my first job in theatre and thinking, “That’s it. Somebody has decided to pay me to do the thing that I love.” And then fast forward five years – it’s the thing that I love most in the world and I’m getting to do it with directors that I admire greatly.

I’m learning, though, that there’s only so long I can continue going at this rate before it starts to take away from my life – but right now is the time to put the foot down and really work hard.

AH: And now you’re doing your first huge movie.

PM: Gladiator comes across your desk and there’s no way you say no to it. But with this scale of film, and to work with Ridley Scott, it’s a no-brainer. Up until this point there have been very few larger films that remotely interested me.

AH: But this is Gladiator. This is not your average blockbuster.

PM: It feels really right. And also there’s the capacity to learn. It’s the first time that I’ve felt a pressure of, “God, I’m worried about box office receipts.” It’s a different metric. But Ridley shoots at a very different rhythm – he’s quick and it’s kinetic and wonderful. He knows exactly what he wants. It honestly reminds me of sport in a way that is really satisfying.

AH: Plus you get to dress up as a gladiator.

PM: We left that point out. That’s the best bit.

AH: You’re going to make a lot of people very happy!'

[watchinghallmark]

The Dancing Detective: A Deadly Tango - June 2nd on Hallmark Movies & Mysteries

Constance Bailey is a no-nonsense detective who prefers to work alone. When a high-profile CEO is murdered on the eve of his company’s corporate event in Malta – a high stakes ballroom competition between senior executives – Detective Bailey is sent undercover as one of the contestants. The only problem? She can’t dance. To convincingly compete, she must team up with charismatic and free-spirited performer Sebastian Moore. But with a killer on the loose and a growing list of suspects, it’s going to take more than a little fancy footwork to solve this case. Starring Lacey Chabert and Will Kemp.

[eurovision-revisited]

1998 Birmingham - Number 4 - Imaani - "Where Are You?"

The Great British Song Contest of 1998 was extraordinarily close. The privilege of representing the host country was settled on a televote. Third place got 65,712 votes. Second 66,278. Imaani won with 70,421. This comes after 800 songs were submitted to the BBC as prospective candidates. With eight songs initially selected, none were joke or troll entries, all were worthy potential Eurovision candidates. Whatever you think about the UKs attitude to Eurovision these days, in 1998 there was enthusiasm and excitement.

Prior to this, Imaani herself had provided vocals for the band Incognito and FM Inc. She was relatively unknown yet her assured confidence on stage with deep, smooth vocals didn't betray that lack of experience in front of an audience.

Where Are You? was written (shockingly) by the same man who wrote Jeff Beck's Hi Ho Silver Lining. This is not a football ground chant though. It's a plaintive plea for a lost love over a subdued house beat. It's chill, even if Imaani is singing about a prolonged heartbreak. It's contemporary chart music and after the previous years UK entries, that's perhaps a little surprising. This was modern. For a country that had been finding Eurovision increasingly naff, this was cool. Success can sometimes change perceptions.

This was one of the favourites going into Eurovision, and it did very well. Going into the final round of voting, it was was still in contention. 10 points from North Macedonia took it above Malta, but it couldn't pip Israel for the win. Another second place for the UK, Eurovision's perennial second-placed country.

Sadly, this success was short-lived. Imaani's recording contract got cancelled despite this single selling a quarter of a million copies in the UK. The music industry the BBC reverted to type, killing a career and failing to learn lessons. The UK had been in the forefront of change to Eurovision in the 1990s, and while this is not quite the last hurrah, but it's definitely the point at which the plot was lost. Having put on such a successful Eurovision, as soon as that winning feeling disappeared, corporate interest waned.

If only they'd taken the step to build on 1998 instead of pulling back and phoning it in for a few years... What could have been.

[hallmark-movie-fanatics]

Lacey Chabert and Will Kemp Reunite for Hallmark Mystery Centered on Ballroom Dance (Exclusive ETOnline)

The actors are teaming up for their third Hallmark movie, ET can exclusively reveal, following 2020's Christmas Waltz and 2019's Love, Romance & Chocolate. Chabert and Kemp will headline The Dancing Detective: A Deadly Tango for Hallmark Movies & Mysteries, which recently began filming on location in Malta.

The new Hallmark mystery, which will premiere later this year, is set in the competitive world of ballroom dance and is based on a story and characters created and developed by Kemp and Aubrey Day. Both Chabert and Kemp also serve as executive producers.

The Dancing Detective: A Deadly Tango follows Constance Bailey (Chabert), a no-nonsense detective who prefers to work alone. When a high-profile CEO is murdered on the eve of his company’s corporate event in Malta -- a high-stakes ballroom competition between senior executives -- Detective Bailey is sent undercover as one of the contestants. The only problem? She can’t dance. To convincingly compete, she must team up with charismatic and free-spirited performer Sebastian Moore (Kemp). But with a killer on the loose and a growing list of suspects, it’s going to take more than a little fancy footwork to solve this case. 

“After the success of Christmas Waltz, viewers have been clamoring for another movie with this charismatic duo. When Will came to us with this fun spin on a whodunnit, we knew that it was the perfect opportunity to reunite him with Lacey,” said Elizabeth Yost, Senior Vice President of Programming and Development at Hallmark Media in a statement. 

Click this LINK to read the full article at ET Online. 

[agape-philo-sophia]

➝ The Papal Bloodlines Black Nobility Crime Families 🚨

For thousands of years the ruling elite classes of monarchies, priests, black nobility, pharaonic blood lines, secret societies, money changers, dark occultists and Cabalists have been keeping knowledge from humanity, dividing and ruling us through fear and ignorance while all the while setting up a system of enslavement based on creating ignorance and division amongst us through false paradigms like money, religion, race division, the spreading of multiple conflicting ideologies, confusion through mixing of different languages, holding back occulted esoteric knowledge from our schooling and the general population, chemical dumbing down of populations through food, air and water additives, controlled propaganda, psychological warfare, false flags, psy-ops, hegalian dialectic tactics, sports and entertainment distractions, pharmaceutical, drugs, alcohol and other means. These international criminals and royal and noble crime bloodlines are threatening society with more fake epidemics, weaponized forced vaccinations, wars based on lies, civil war, world war, martial law, and genocides. They are attacking society with secret societies, organized crime, corporate fraud, and electronic weapons. These bloodlines spread plagues and have been doing that for hundreds of years. These families are behind all the major wars including World War I and World War II. When real people stand up to tyrants like them they infiltrate opposition such as the American Revolutionary War which was hijacked by Freemasons. These criminals collectively have trillions of dollars in offshore accounts in Switzerland, Liechtenstein, and Luxembourg and they are controlling the Bank for International Settlements. They extort governments and people and make hundreds of billions per year through organized crime. They torment people with electronic weapons. The entire electronic grid has been weaponized with neuro-bio hacking programs. They finance continual lying in society through the media and entertainment. Their primary tactics are lying, making false accusations against people who expose them, and using phony arrogance to appear like they are in control at all times. The royals and nobles run all the religious organizations, secret societies and covert organizations like the Jesuits, Freemasons, Rosicrucians, Scientologists, Skull and Bones, Kabbalists, Wiccans, Five Percenters, Knights of Columbus, Knights of Malta, Shriners etc. They own the organized crime syndicates including all mafias, drug cartels, street gangs, and biker gangs. They oversee the global organizations like the United Nations, NATO, World Bank, IMF, World Economic Forum, World Health Organization, CERN, Maritime Law, INTERPOL, Conference on Disarmament, Red Cross, Geneva Conventions, etc. These criminals have infiltrated every government agency in the world through pedophilia, child sacrifices, criminal financing, bribery, secret organizations, and mafia tactics. They have designed all governments as corporate entities and chartered subsidiaries of their corporate houses and monarchies. They are mass human traffickers, mass murderers, and war criminals who commit crimes against humanity at all times. Continue: https://thegreatwork208716197.wordpress.com/2022/10/23/the-papal-bloodlines-black-nobility-crime-families/

[uranustravel-blog]

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[moonmoonthecrabking]

another rtc eurovision post (i'm so sorry for my brainrot y'all) with me associating a song for each character

fair warning, this is *LONG*, so i'd suggest scrolling past if you don't really like long posts :)

i don't think that anyone pre-canon would've watched it but, you know, post-canon everyone lives au, afterlife, take your pick either works!!!

mischa: as previously stated, stefania by kalush orchestra (ukraine 2022) is his top of all time. wikipedia describes its genre as "alternative hip hop and folk" which is basically this song is awesome/talia. it being a tribute to the frontman's mother also deeply resonates with him, missing his own mother. other favourites include soldi (italy 2019), dark side (finland 2021), lie to me (czech republic 2018) and kuula (estonia 2012) because... in addition he loves everything ukraine's sent (aside from 2012. imagine being able to have pride and audience support for practically every entry from your country). he just finds so much enjoyment and nostalgia in it (ie me projecting onto my fave). he was so surprised when noel knew about it and that he had a buddy in this uranium hellhole to chat about it. has a crush on alexander rybak (norway 2009) and chanel (spain 2022). he still does not realise he is bisexual. he starts a betting pool with the choir for each new contest (and all the ones only he and noel have seen. the two get sad at first that they can't participate with those ones, but then decide to fuck with them)

noel: his winner of 2022 was in corpore sano (serbia) for The Drama and The Art, but he also supported fulenn because france (the man was so disappointed when they got second last). his all time favourite is l'enfer et moi (france 2013), because frenchwoman singing about how she would make her ex's life hell meant that he could graft on his dreams to that. because he's canadian i don't think he grew up with it like mischa, i think that he went down a youtube rabbithole when the march he turned 14 somehow or other and fell in love. he loves all the songs like n'oubliez pas (france 2015), voila (france 2019), tout l'univers (switzerland 2019), and bonds with mischa over zitti e buoni (italy 2021 who am i kidding everyone knows måneskin, thanks to @curious-georg for that idea!!!). sometimes he puts on playlists of the earlier competitions while he's studying to imagine a morning in france. has a crush on half the male entrants.

i haven't thought through how the rest of the choir gets exposed to it because it's pretty much a "after canon once they're friends, wherever they are, au or not i don't know". but basically i have a feeling that one time on movie night it's mischa's turn and he brings along the 2021 contest (because it's one of the best of the most recent and the hosts are so good) and noel goes BATSHIT and everyone else is just like "hey... what?? this is four hours long" and then it starts and they end up really enjoying it, with them going through all the contests (sometimes on mischa's night, sometimes on noel's, a couple for constance's too) and watching them live (because i said so)

ricky: they love the entries that are just a lil quirky. a lil different. their favourite from 2022 was eat your salad (latvia), mainly because the audience *screamed* out "PUSSY" to fight the censors (eurovision is a family friendly competition). the peak songs for them were at the start of semi 1 and then it all went downhill from there. and their goat? space (montenegro 2017). if you haven't seen that video, bestie, you should. they really do watch it for the memes, epic sax guy (run away aka moldova 2010), anti-crisis girl (ukraine 2009), "but in the end, they didn't" (the 2019 host talking to that year's cypriot contestant about cyprus coming in second in 2018).

constance: her 2022 winners were not the same (australia) and i am what i am (malta) because she loves the expression of the internal self and hearing peoples' emotions through the melodies. her all time favourites are monsters (finland 2018) and cry no more (netherlands 2017) because of how both are personal, one is upbeat in its self-empowerment, while the other is about familial love and support. she relates to and desires both. otherwise, anything with a gay kiss. she screamed at the full-on makeout session that occurred during this time (lithuania 2015). and marry me (finland 2013) made her VERY happy for that kiss at the end. even then, it takes her a while to realise she is Not Straight.

ocean: her 2022 winner was hold me closer (sweden), then river (poland) because it genuinely moved her, then die together (greece). she hates I.M (israel) with a burning passion, and everyone except her sees the irony in that. from other years she loves last dance (greece 2021), only teardrops (denmark 2013), popular (sweden 2011), lipstick (ireland 2011) and euphoria (sweden 2012). she has a spreadsheet ranking her placements for each year they watch, as well as the rest of the choir, and uses that to predict the results of the betting pool mischa started. sweden and greece are in her top five every year. she put if i were sorry as her first place when they were watching the 2016 edition and mischa refuses to talk to her for the rest of the night (this one actually isn't me projecting i just think it'd be funny).

penny/jane: because this idea isn't super-solidified, and her character isn't either, it's hard to know. i think that she's a menace and loves the voice cracks and mistakes (i feel bad if i direct people to certain entries for that!!! but if you know, you Know). the best guess i have is that her favourite 2022 entry is miss you (belgium) because of the religious allegory and shifting genres (like in the ballad of jane doe), but i will take suggestions!!

this was a really long post, thanks for sticking around if you got this far!

[usafphantom2]

The story of the SR-71 Blackbird crew that ‘gave the birdie’ to a French Air Force Mirage III pilot, lit the afterburners and outran him

‘I looked out the left window and saw a French Mirage III sitting ten feet off my left wing. He came up on our frequency and asked us for our Diplomatic Clearance Number. I had no idea what he was talking about, so I told him to stand by…,’ Lt. Colonel William Burk Jr., former SR-71 pilot.

The SR-71 reconnaissance aircraft was the world’s fastest jet-propelled aircraft and the most advanced member of the Blackbird family developed by Lockheed Aircraft Corporation’s clandestine “Skunk Works” division. Throughout its nearly 24-year career, the SR-71 remained the world’s highest-flying operational aircraft. From 80,000 feet, it could survey 100,000 square miles of Earth’s surface per hour. The aircraft was designed to fly deep into hostile territory, avoiding interception with its tremendous speed and high altitude.

During its operational lifetime, the SR-71 provided intelligence about the Yom Kippur War in 1973, the Israeli invasion of Lebanon in 1982, the US raid on Libya in 1986 and the revelation of Iranian Silkworm missile batteries in 1987. The USAF ceased SR-71 operations in January 1990.

That time an SR-71 Blackbird crew ‘gave the birdie’ to a French Air Force Mirage III pilot before lighting the afterburners and leaving the fighter jet behind

This model is available in multiple sizes from AirModels – CLICK HERE TO GET YOURS.

One of the most entertaining stories about flying the Blackbird comes from Lt. Colonel William Burk Jr., who shares about a particular mission he flew [according to SR-71 pilot Stormy Boudreaux, Tom Henichek was Burk’s RSO for that mission] over Lebanon back in 1982 in the book Skunk Works by Ben Rich.

‘In the fall of ’82, I flew from Mildenhall on a mission over Lebanon in response to the Marine barracks bombing. President Reagan ordered photo coverage of all the terrorist basis in the region. The French refused to allow us overfly, so our mission profile was to refuel off the south coast of England, a Mach 3 cruise leg down the coast of Portugal and Spain, left turn through the Straits of Gibraltar, refuel in the Western Mediterranean, right turn into Lebanon and fly right down main street Beirut, exit along the southern Mediterranean with another refueling over Malta, supersonic back out the straits, and return to England.

‘Because Syria had a Soviet SA-5 missile system just west of Damascus that we would be penetrating (we were unsure of Syria’s intentions in this conflict), we programmed to fly above 80,000 feet and at Mach 3 plus to be on the safe side, knowing that this advanced missile had the range and speed to nail us.

That time an SR-71 Blackbird crew ‘gave the birdie’ to a French Air Force Mirage III pilot before lighting the afterburners and leaving the fighter jet behind

‘As we entered Lebanon’s airspace my Recon Systems Officer in the rear cockpit informed me that our defensive systems display showed we were being tracked by that SA-5. About 15 seconds later we got a warning of active guidance signals from the SA-5 site. We couldn’t tell whether there was an actual launch or the missile was still on the rails, but they were actively tracking us. We didn’t waste any time wondering, but climbed and pushed that throttle, and said a couple of “Hail Kellys.”

‘We completed our pass over Beirut and turned toward Malta, when I got a warning low-oil-pressure light on my right engine. Even though the engine was running fine I slowed down and lowered our altitude and made a direct line for England. We decided to cross France without clearance instead of going the roundabout way.

‘We made it almost across, when I looked out the left window and saw a French Mirage III sitting ten feet off my left wing. He came up on our frequency and asked us for our Diplomatic Clearance Number. I had no idea what he was talking about, so I told him to stand by. I ask my backseater, who said, “Don’t worry about it. I just gave it to him.” What he had given him was “the bird” with his middle finger: I lit the afterburners and left that Mirage standing still. Two minutes later, we were crossing the Channel.’

SR-71 Print

This print is available in multiple sizes from AircraftProfilePrints.com – CLICK HERE TO GET YOURS. SR-71A Blackbird 61-7972 “Skunkworks”

Photo credit: U.S. Air Force and French Air Force Via FAST Museum Twitter Account

Thanks to Linda Sheffield Miller from Habubrats Facebook Page for helping with this article

@Habubrats71 via X