#Moulton-Seas-End

[thejohnfleming]

The making of The Comedians’ Choice Awards at this year’s Edinburgh Fringe

The making of The Comedians’ Choice Awards at this year’s Edinburgh Fringe

I have mentioned the Malcolm Hardee Comedy Awards in the last couple of blogs. The actual trophies were designed and made by mad inventor John Ward who is particularly keen (via an email this morning) that I mention he lives in or near Moulton-Seas-End in Lincolnshire. If you go to Wikipedia, you will find there is an article on Moulton-Seas-End currently illustrated with  a sole…

[quill-of-thoth]

Letters From Watson, The Noble Bachelor

Part 3: The Fun Bits

- Holmes did NOT have to make this a dinner theater, but he did. Because Watson is trapped at home by the weather? Because Lord St. Simon is footing the bill? So Hattie and Francis would get a much-belated wedding dinner?

- He also appears very ready to argue St. Simon down from his anger. And the feeling is valid but anything St. Simon would do stemming from it would do nothing but make the lives of innocent people more difficult.  - Missing, presumed dead is a trope, but it’s a lot easier to achieve believably in these days with travel and sending messages far more difficult. It’s made more believable by Victorian attitudes about the USA.  - Holmes’ visit to Hattie and Francis is also interesting to imagine. He’s a detective, but he knows you didn’t do anything wrong, you just... planned hastily. Everybody will feel a lot better if you all meet in secret at his place to talk it over - he’ll even provide a nice meal to celebrate your wedding! You mustn’t mind his roommate.  - Hattie must care enough about St. Simon to want this to go as least-terribly as possible for him. And this route does save her father a lot of grief too. St. Simon is... not so quick to cooperate.  - Holmes’ ideas regarding a US/UK global empire are, uh. You know the kind of retrofuturism that is so hopeful but also so fucking cringe? Yep. My dude. I have some READING for you to do. (How long do you think it would take to radicalize a victorian?) - After all this we skip the wedding dinner, which Holmes appears to have attempted to make enjoyable... if all went as he planned, would St. Simon and the Moultons be friends by the end? Does he think he can show off a little, feed everyone a nice dinner, and happily, instead of bittersweetly, resolve what is ultimately a case where nobody is to blame, or at least, nobody acted with malice? He doesn’t get a lot of those. - Love the actual evidence-finding in this case - the recipt. The prices alone narrow it down quite a bit, but were doubly lost on me when I first read this, being a modern american. I’m triply at sea because  the prices here are also so low that they’re really impossible to ballpark using only inflation calculators. The prices of food and lodging do not correspond to inflation anyway, as basically all of us are aware. Maybe I’ll add some historical comparison of wages vs. expenses to my projects along with the ongoing amended timeline. - Holmes gives the Moultons some “paternal” advice. Of note he’s like, barely thirty: Hattie is in her very early twenties and Francis presumably similarly aged. On the one hand, sir you are a hypocrite, on the other hand, I’m thirty and twenty-two year olds are kids. Especially if the solution to the problem is “you need to get over yourselves and talk this out.” - Holmes’ closing comments regarding that he and Watson are unlikely to ever be out both a spouse and an income in the same day are very, very hilarious if you, like me, presume that Holmes is aroace. I have legitimately told friends and acquaintances relating tales of romantic trouble (not theirs! I have some sense of when to shut up!) “Wow, glad I’ll never have that problem.” Also, when one remembers that Watson is weeks away from his own marriage, this could also be a clumsy attempt by Holmes to reassure him. This won’t happen to you, old chap. You’re the first and only person in Mary’s heart. 

[warrenwoodhouse]

Templars - Assassin’s Creed III Guide - Game Guides - Warren Guides

Grand Masters

Haytham Kenway | location: Fort George, West District, New York add | memory: Sequence 11, Memory 2: Lee’s Last Stand

George Washington “King Washington” | location: add | memory: Sequence - The Tyranny of King Washington- The Tyranny of King Washington, Memory NUM: add | DLC: The Tyranny of King Washington

Warren Vidic “Dr. Vidic” | location: Abstergo Industries, Vaticano District, Rome, Italy | memory: Sequence Present, Present - Abstergo

2nd in Command

Charles Lee | location: add | memory: Sequence 12, Memory 2: Chasing Lee

3rd in Command

Nicholas Biddle | location: add | memory: add

Logistics

George Davidson “Officer Davidson” | location: Star Fort, New York | memory: Sequence 8, Memory 1: A Different View; Sequence 8, Memory 2: Connor’s Way | DLC: Assassin’s Creed: Liberation: A Different View

Benjamin Church’s Decoy | location: Smith and Company Brewery, East District, New York | memory: Sequence 9, Memory 3: The Foam and the Flames

Benjamin Church | location: Caribbean Sea, West Indies | memory: Sequence 9, Memory 4: A Bitter End

Underworld

Thomas Hickey | location: The Gallows, City Hall, East District, New York | memory: Sequence 8, Memory 3: Public Execution

Mercenaries

John Pitcairn | location: Moulton’s Hill, Charlestown, Boston  | memory: Sequence 7, Memory 4: Battle of Bunker Hill

Daniel Cross | location: Abstergo Industries, Vaticano District, Rome, Italy | memory: Sequence Present, Present - Abstergo

Land

William Johnson | location: Johnson Hall, John’s Town, Frontier | memory: Sequence 6, Memory 4: Hostile Negotiations

[letterboxd]

We Bought a Cryptozoo.

As their kaleidoscopic new film Cryptozoo lands in theaters, filmmakers Dash Shaw and Jane Samborski talk to Jack Moulton about misguided compassion, the beholder’s share, Akira, Watership Down and life imitating art.

“Occasionally we watch a horror movie together, but I like to do things while I watch and Dash wants the lights down. We spend so much time together working so when it comes time to relax, I want to be as far away from him as possible.” —Jane Samborski

“Jurassic Park on acid.” This is the mystical world of Cryptozoo, the new film from personal and professional couple Jane Samborski and Dash Shaw. Cryptozoo takes place in a 1960s hippie society where mythological beings—griffins, krakens, unicorns, gorgons and the like, collectively known as cryptids—live among humans, though unhappily, since people have a habit of hunting them down.

We meet Lauren (voiced by Lake Bell), a protector of cryptids, on a mission to rescue a baku—a Japanese supernatural creature that devours dreams—from the military, who plan to weaponize its powers. However, in collecting all the cryptids into a sanctuary that feels more like a mall (echoes of Disney’s Epcot are plainly hinted at), the cryptozookeepers begin to realize that those they’re trying to safeguard are likely better off without their assistance.

Loaded with clear allegories for xenophobia and colonialism, Cryptozoo has proven both a hit and a miss among Letterboxd members with the nature of its metaphors, even if we can all agree it absolutely skewers white-people-savior complexes. Shaw and Samborski placed careful focus on the casting, for example, enlisting Greek actress Angeliki Papoulia to portray Phoebe, a Medusa-esque character from Greek mythology, who assists Lauren in her journey to locate the baku, and provides an essential perspective and critique on Lauren’s overzealous activism.

Steeped in detailed and surreal world-building, the kaleidoscopic, hand-drawn approach can become pure sensory overload. More than a few of our members felt compelled to light up first and check it out again if it ever hits Adult Swim. But among those happy to be overwhelmed, Andrew found himself “captivated by its tactile imagery; its texture and sketch and color, the full-body chills and immense sense of self—it is beautiful and passionate.”

Cryptozoo premiered earlier this year at Sundance, where it picked up the NEXT Innovator Award for its makers. (Although only Shaw is credited as director, Cryptozoo uses an ‘A Film By’ credit to emphasize Samborski’s visionary contribution as animation director.) The couple had previously collaborated on Shaw’s debut feature, My Entire High School Sinking into the Sea, which is much more of a roughly sketched-out daydream, whereas Cryptozoo represents a more serious shift, and a step up in ambition and craft.

Making films is far from Shaw’s only enterprise. After graduating from the School of Visual Arts in Manhattan, he has written comic books, graphic novels, lyrics and plays. Meanwhile, Samborski has appeared in several films as an actress, and lent her animation skills to productions including Netflix’s Thirteen Reasons Why. Among their animation influences, the pair have mentioned the films of Ralph Bakshi, Suzan Pitt’s Asparagus, René Laloux’s Fantastic Planet, Takeshi Tamiya’s Astroboy and the century-old films of Winsor McCay and Lotte Reiniger (especially The Adventures of Prince Achmed).

Shaw and Samborski sat down with Jack Moulton for a chat about expanding the scale of their work, life imitating art, the “heft and violence of Watership Down” and the best comic-book film ever made.

‘Cryptozoo’ director Dash Shaw and animation director Jane Samborski.

What stuck out to me when I finished the film was your ‘A Film By’ credit; it wasn’t just Dash, it had Jane’s name as well. How were the directing responsibilities divided in order to explain that credit? Dash Shaw: It just felt like the most accurate way to describe the movie.

Jane Samborski: I make a lot of the decisions about character acting and I’m taking the voices and using them to inform my understanding about the characters. In some cases, I was able to use video reference of the actors, but most of their physical mannerisms are coming from my brain, so in that way I’m taking a directorial role. While there’s a huge amount of the aesthetic direction that’s coming from me, Dash is definitely the one steering the overall ship. There were a few instances in the film where I got a little off-message and he pulled me back.

DS: Maybe it’s even more confusing with animated movies because people are doing a lot of different things, so when it comes to crediting we talk about what we think makes the most sense. We could have written our names on the backgrounds to try and figure out who drew what, but it just seemed like a film by the both of us.

JS: Everything is by us, except this thing, and this thing, and this thing…

What I found really interesting about the film is the way that all the characters are so fallible. It demonstrates how an egocentric allyship can do more harm than good. Why was it important for you to explore that idea of misguided compassion? DS: I think that that happened while trying to do something else. I had seen this Winsor McCay short, The Centaurs, and I wanted to write something Jane would enjoy painting. My first idea was about mythological beings, and then the next idea was that they were from actual mythologies in our culture and instead of being a fantasy world, they’re in our world.

That is when my mind went to these things that you talked about, like museums attempting to take imaginations from all over different cultures and introduce them to the public, and how that often damages the power of those artworks. There’s definitely a Cryptozoo movie that could’ve been made by a different person that didn’t get into any of this stuff, but because of my personality, those things ended up being embedded in the script.

You embraced the opportunity to utilize thin lines in Cryptozoo, as opposed to the thicker lines of My Entire High School Sinking into the Sea, which opens up what you can achieve cinematically. Can you talk about expanding that scale and how that may have approached your limitations? JS: It definitely was one of the first aesthetic decisions that was made in the film. There’s a broad simplicity to High School Sinking, so we wanted to zero in on fewer but more specific drawings. I was doing quite a bit of minor puppet work, especially in the latter parts of High School Sinking. I really love working in that way, so this was a match that played to an aesthetic that I responded to for a long time. It was logistically a lot more difficult as it’s very hard to turn in space with a puppet, so there were definitely times where we would run up against a problem and then throw out our rulebook and do cell animation. But I think that is the joy of setting up your own rules—you keep them as long as they’re useful to you.

Your film acknowledges very early on that “utopias never work out”. On the other hand, perhaps utopias never work out in movies because they’re just not dramatically interesting to explore when they succeed. What are your thoughts on sculpting a utopia in commercialized fiction? DS: You kind of know that it’s going to fail as soon as the movie starts. It’s a good fall. I find utopian art very inspiring and beautiful and that’s what I like about a lot of the art of the 1960s. I would not put this movie up against that imagery.

JS: Yeah, a utopia is certainly something we all want to experience but not necessarily something we want to hear a story about.

DS: That’s something that’s famously said about what’s really powerful about early seasons of Star Trek, and seeing all of these different people working together.

I imagine it was strange to be working on Cryptozoo for so many years, and then you have a storming-the-capital scene in your film, which premiered at Sundance only a couple of weeks after it happened in the real world (for very different reasons). How did that make you feel regarding the film’s timing? JS: It was a bit of a freak out!

DS: It was strange, even if we didn’t have that line in our movie, just to see that going on. It made me think of this art school thing, the “beholder’s share”, where the artists make 80 percent of the work in their time and place, and then the last twenty percent is completed in the viewer’s mind, in their own time and their place. You have to love that hand-off.

JS: The world changed so much over the course of making the film. Dash wrote the film before Trump was elected President. We started out with a script that we thought was talking about really interesting things that felt a little bit further away. As we worked on the project, it got closer and more real, so we just hoped that we were able to talk about it with honesty. The project feels like something larger than us and that’s really exciting.

When you look at some of the reactions, you can see how it’s really easy for audiences to dismiss the movie as too weird, but I do feel there are many accessible and mainstream elements to the plot. What are your instincts for playing in and out of the comfort zone? DS: One of my first ideas for wanting to make animated movies is that they would have a pop-art quality. They would be blockbuster movies that have been defamiliarized—they’ve been messed up, disorientated, changed, altered in some way. High School Sinking is like Titanic, and Cryptozoo is like Jurassic Park. There’s a blockbuster movie inside of them, but we keep veering away or disrupting it in some way that might make it seem stranger. It was right there as one of the first missions of making these films.

JS: I feel very differently. I love the experimental stuff, but if there wasn’t a clear story through-line, I would get bored. It’s the perennial music-video problem—it’s all gloss and no heft. So we have that clear action-adventure storyline to pull you through this crazy ride. We feel differently about what it’s doing for the audience, but it seems to be working, whichever one of us is right!

Are there any hidden or background details in the animation that you’re concerned people will miss? JS: For me, if somebody felt that there was so much going on that they wanted to watch it two or three times and they found something new each time, that would be the best thing ever. The idea that I would be able to make something that is worth multiple viewings far outstrips worrying that somebody is going to miss something I did.

What was the film that made you want to become a filmmaker? DS: I wonder if Jane is going to say Watership Down…

JS: I am! That was my favorite movie as a child. I liked to torture my friends with it. It’s particularly that segment right at the beginning when they tell the myth of El-Ahrairah—it’s so expressive and less representational, but it also has this heft and violence. It was definitely the first adult animated film that I saw. My parents wouldn’t buy it for me because it was at the local library, so we’d rent it again and again and I’d watch that beginning segment over and over and it would get scratchier and scratchier, so eventually the VHS just snapped from me watching it so many times.

DS: I would have to really dive deep to come up with a really good answer to that but for some reason the one that pops into my head right now is Todd Haynes’ Poison. I saw it at the School of Visual Arts. Poison felt like a collage movie with three different parts that kept pulling a special combination of ingredients. It felt like an art film and it also had very overt genre elements that were being used in an unusual way. It was one of the key movies to me that had a great independent spirit.

El-Ahrairah faces a challenge in the prologue to ‘Watership Down’ (1978).

What animated films have you seen recently that blew you away? DS: I want to plug an incredible movie we just saw at the Annecy International Animation Film Festival, Bubble Bath, which is a restored Hungarian film from 1980. I hope it will get a US release.

JS: We were also lucky enough to see an exhibit [at Annecy] for Michel Ocelot. I had seen the Kirikou films, which are phenomenal. I really like his work.

Do you have any movies that you often watch together? DS: We really don’t watch movies together. I wish she would watch movies with me!

JS: Occasionally we watch a horror movie together, but I like to do things while I watch and Dash wants the lights down. We spend so much time together working so when it comes time to relax, I want to be as far away from him as possible.

DS: I’m really glad we saw Bubble Bath together.

JS: That one was just amazing.

You’re a comic book writer, Dash. What’s the greatest comic-book movie ever? DS: Akira.

JS: Yeah, hands down.

Related content

Our animation correspondents Kambole Campell and Alicia Haddick in conversation about the 2021 Annecy International Animation Film Festival

Letterboxd’s Top 100 Animated Feature Films, a list by Rahat Ahmed

Vulture’s The 100 Sequences that Shaped Animation list on Letterboxd

Follow Jack on Letterboxd

‘Cryptozoo’ is currently screening in select US theaters.

[ramblingrybo]

Can I have a word with you?

Claxby Pluckacre is such a wonderfully rustic place name that I am sure it cannot be beaten. Certainly not in Lincolnshire it can’t. Mind you, there are one or two which come close. Take Bag Enderby and Hagworthingham for a start. Then there’s Hogsthorpe and Scremby. When I was a teenager, we used to travel in the back of a van to a disco in Scremby. Even before we got there, the name suggested somewhere seamy, dodgy, even dangerous. And, fortunately, it lived up to its name.

For really down-to-earth place names, however, you need to travel further south to the fens below Boston to enjoy the delights of Cowbit, Dogdyke, Pinchbeck, Clenchwarten, Tongue End, Bicker and, my all time favourite, Whaplode. As a fourteen year old, I knew these words intimately. They were on a map which was displayed on the back wall of my fourth-year form room at secondary school. They were as magical to me as the names of the sea areas on the shipping forecast. I would chant them like a litany under my breath. When I started going out with a girl from Moulton Chapel (between Cowbit and Whaplode), it felt preordained. A weekend bus journey to meet her at the cinema in Spalding allowed me to see all of these places in the flesh. It was like a dream come true.

At about this time, an interest in the sounds of words was also a requirement when it came to making up names for pop bands. Inspired by ‘Dip Dazzle and the Indicators’, we came up with ‘Steve Pebble and the Cliffs’ and ‘Plinth and the Magic Things’ but it wasn’t until Dave, a friend, came up with ‘H Bomb Ferguson and the Fall-Outs’ that we knew we were onto a winner. In fact, I didn’t think that this name could be beaten until another friend, Steve, came up with the following only this week: ‘Doppelganger and the Hidden Ears’. Now, isn’t that a corker?

Some words are so suggestive that they are like invitations. Take ‘Catskin Lane’, for example, a small lane between Walesby and Tealby. Who would not be tempted to seek this out on first finding out about its existence? It is so delightfully macabre and brings to mind a vision of hedges strewn with cat pelts like articles of clothing on a pre-industrial wash day.

A similar thing happened to me recently when I heard someone on the television talking about wood sorrel. They had been foraging in a wood and had picked some wood sorrel leaves. ‘They’re marvellous in a salad’. That’s what they said. ‘Really zingy.’ That was temptation enough. I had to go to find some. And now, having tracked some down in Willingham Woods, I can confirm how ‘zingy’ wood sorrel leaves really are. They have a sharp and sour taste like apple peel and lemon. Which, of course, accounts for the flower’s country name of wood sour. 

I recently went on a circular walk which took in Claythorpe, Tothill and Authorpe and I was reminded when I went through the final village of my favourite word, Aubade. Wow. Not only is this word a stunner to look at, but it is also a beautiful sounding word, ‘Owe-bad’. Yes, of course, its Frenchness adds to the romanticism but also its meaning as well. It is variously a morning love song, a poem about lovers separating at dawn or an instrumental composition evoking daybreak. In fact, the tradition of aubades goes back to the troubadors of the Provencal schools of courtly love in the Middle Ages. 

My second favourite word comes near the end of the day, not at dawn but at dusk, gloaming. How about that for suggesting comfort? Aurally, it is like being cocooned in a duvet. Visually, it is a very relaxed word and reminds me of a divan. As to its meaning, it is an evening twilight and makes me think of a pink after-glow in a slowly darkening sky, one anticipating mystery and adventure.  Indeed, just like ‘aubade’, it is a word associated with courtship, none more so than when it appears in the song by Harry Lauder, ‘Roaming in the Gloaming’.

Some people do not have a favourite word which I think is a pity. Perhaps it is an oversight. I am sure that, gently encouraged, most people could come up with a word which they favour. Just in case you find yourself in this category and need some inspiration, here are some favourite words I have gleaned from friends over the past week: gazebo, clarion, myrrh, wedge, chortle, stultiloquent, aurora, whinberry, dimple, quartz and marsupial. There. Now it’s your turn.

But before we go, a final word about Claxby Pluckacre. These days you won’t find a finger-post bearing its name on the main road between Scrivelsby and Revesby. Why? Because someone keeps pinching it and the County Council have decided not to replace it. If you want to see the name, you have to go down a gated track to an obscure lane where another finger-post has managed to remain in place. But, perhaps, I shouldn’t have told you that.

Next time: Walking with the poets

[abubakarcasestudies]

Case Studies

Wonder Woman 2017 (American Blockbuster)

Budget: $149 Million

Box Office: 821.9 Million

Genre: Action,war and fantasy

Directed by: Patty Jenkins

Producers:

Charles Roven

Debora Snyder

Richard Suckle

Dc Films

Rat-Pac Dune

Wanda pictures

Atlas entertainment

Cruel and unusual films

Cast:

Gal Gadot

Chris Pine

Robin Wright

Danny Huston

David Thewlis

Connie Nielsen

Elena Anaya

                                                                                          How it all happened

In 2015, Patty Jenkins accepted an offer to direct Wonder Woman, based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs. Of this version, Gadot stated that,

for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.

This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice, placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II). As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character. In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus. Jenkins cited Richard Donner's Superman as an inspiration.

                                          Filming and Locations

Production began on November 21, 2015, under the working title Nightingale. Among the film sets were Lower Halstow, Kent, Australia House, and the Sassi di Matera, Castel del Monte and Camerota in Southern Italy. Matthew Jensen was the director of photography, filming in the United Kingdom, France and Italy. Production in London ended on March 13, 2016. On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot. Production ended on May 9, 2016. Patty Jenkins and director of photography Matt Jensen revealed that the film's look was inspired by painter John Singer Sargent. Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.

To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy. It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".

                                                                                                                            Distribution

It was distributed by Warner Bros.Pictures

Wonder Woman had its world premiere on May 15, 2017 in Shanghai. It premiered on May 25, 2017 in Los Angeles. The film's London premiere, which was scheduled to take place on May 31 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing. The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX, on June 2, 2017, after originally being scheduled for June 23. Belgium, Singapore and South Korea received the film first, with May 31 openings. On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.

Lady Macbeth (British Independent Film)

                                                    PRODUCTION

Directed by William Oldryd

Written by Alice Birch

Produced by Fodhla Cronin

Production companies: Bbc films,sixty six pictures, British film institute,ifeatures,Protagonist Pictures.

Budget: $650,000

Box Office: $3.9 Million

                                                     Distributors

Altitude Film Distribution(UK)

Roadside Attractions (US)

                                                         CAST

Florence Pugh as Katherine Lester

Cosmo Jarvis as Sebastian

Naomi Ackie as Anna

Christopher Fairbank as Boris Lester

Paul Hilton as Alexander Lester

                                            HOW IT ALL BEGAN

In September 2015, it was announced Florence Pugh, Cosmo Jarvis, Christopher Fairbank, Naomi Ackie and Paul Hilton had been cast in the film, with William Oldroyd directing from a screenplay by Alice Birch.

                                            Filming and Locations

Lambton Castle, Chester-le-Street, County Durham, England, UK

(The Lesters' home)

Northumberland, England, UK

(shooting location)

Seaham Beach, County Durham, England, UK

Gibside, Near Rowlands Gill, Burnopfield, Gateshead, Tyne and Wear, England, UK

Cow Green Reservoir, County Durham, England, UK

                                            Critical Response

On review aggregator website Rotten Tomatoes, the film has an approval rating of 89% based on 135 reviews, with a weighted average of 7.7/10. The site's critical consensus reads, "Lady Macbeth flashes some surprising toughness beneath its period exterior, bolstered by a mesmerizing – and unforgiving – central performance by Florence Pugh." On Metacritic, which assigns an average rating to reviews, the film has a weighted score of 76 out of 100, based on 37 critics, indicating "generally favorable reviews".

Guy Lodge of Variety said "Florence Pugh announces herself as a major talent to watch in William Oldroyd's impressively tough-minded Victorian tragedy." Mick LaSalle of The San Francisco Chronicle writes "Oldroyd's approach to Lady Macbeth guarantees some longueurs as the film wears on. But the clarity with which Pugh and Oldroyd communicate Katherine's thoughts and motives maintains a solid interest throughout."

                                                        Release

The film had its world premiere at the Toronto International Film Festival on 10 September 2016. Shortly after, Roadside Attractions and Altitude Film Distribution acquired US and UK distribution rights to the film, respectively. It went onto screen at the BFI London Film Festival on 14 October 2016 and the Sundance Film Festival on 20 January 2017

The film was released in the United Kingdom on 28 April 2017 and in the United States on 14 July 2017.

[abubakarmediacasestudies-blog]

Case Studies - Wonder Woman

(American blockbuster)

WONDER WOMAN 2017                    

Budget: $149 Million

Box Office: 821.9 Million

Genre: Action,war and fantasy

Directed by: Patty Jenkins

Producers:

Charles Roven

Debora Snyder

Richard Suckle

Dc Films

Rat-Pac Dune

Wanda pictures

Atlas entertainment

Cruel and unusual films

Cast:

Gal Gadot

Chris Pine

Robin Wright

Danny Huston

David Thewlis

Connie Nielsen

Elena Anaya

                                              How it all happened

In 2015, Patty Jenkins accepted an offer to direct Wonder Woman,based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs.Of this version, Gadot stated that,

for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.

This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice, placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II).As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character. In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus. Jenkins cited Richard Donner's Superman as an inspiration.

                                            Filming and Locations

Production began on November 21, 2015, under the working title Nightingale. Among the film sets were Lower Halstow, Kent, Australia House,and the Sassi di Matera, Castel del Monte and Camerota] in Southern Italy. Matthew Jensen was the director of photography,[141] filming in the United Kingdom, France and Italy. Production in London ended on March 13, 2016. On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot. Production ended on May 9, 2016. Patty Jenkins and director of photography Matt Jensen revealed that the film's look was inspired by painter John Singer Sargent. Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.

To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy. It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".

                                                    Distribution

It was distributed by Warner Bros.Pictures

Wonder Woman had its world premiere on May 15, 2017 in Shanghai. It premiered on May 25, 2017 in Los Angeles. The film's London premiere, which was scheduled to take place on May 31 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing. The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX, on June 2, 2017, after originally being scheduled for June 23. Belgium, Singapore and South Korea received the film first, with May 31 openings. On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.

Case Study-  Lady Macbeth ( British independant film)

LADY MACBETH 2017

                                                                                 PRODUCTION

Directed by William Oldryd

Written by Alice Birch

Produced by Fodhla Cronin

Production companies: Bbc films,sixty six pictures, British film institute,ifeatures,Protagonist Pictures.

Budget: $650,000

Box Office: $3.9 Million

                                                   Distributors

Altitude Film Distribution(UK)

Roadside Attractions (US)

                                                        CAST

Florence Pugh as Katherine Lester

Cosmo Jarvis as Sebastian

Naomi Ackie as Anna

Christopher Fairbank as Boris Lester

Paul Hilton as Alexander Lester

                                          HOW IT ALL BEGAN

In September 2015, it was announced Florence Pugh, Cosmo Jarvis, Christopher Fairbank, Naomi Ackie and Paul Hilton had been cast in the film, with William Oldroyd directing from a screenplay by Alice Birch.

                                           Filming and Locations

Lambton Castle, Chester-le-Street, County Durham, England, UK

(The Lesters' home)

Northumberland, England, UK

(shooting location)

Seaham Beach, County Durham, England, UK

Gibside, Near Rowlands Gill, Burnopfield, Gateshead, Tyne and Wear, England, UK

Cow Green Reservoir, County Durham, England, UK

                                                 Critical Response

On review aggregator website Rotten Tomatoes, the film has an approval rating of 89% based on 135 reviews, with a weighted average of 7.7/10. The site's critical consensus reads, "Lady Macbeth flashes some surprising toughness beneath its period exterior, bolstered by a mesmerizing – and unforgiving – central performance by Florence Pugh." On Metacritic, which assigns an average rating to reviews, the film has a weighted score of 76 out of 100, based on 37 critics, indicating "generally favorable reviews"

Guy Lodge of Variety said "Florence Pugh announces herself as a major talent to watch in William Oldroyd's impressively tough-minded Victorian tragedy.Mick LaSalle of The San Francisco Chronicle writes "Oldroyd's approach to Lady Macbeth guarantees some longueurs as the film wears on. But the clarity with which Pugh and Oldroyd communicate Katherine's thoughts and motives maintains a solid interest throughout."

                                                        Release

The film had its world premiere at the Toronto International Film Festival on 10 September 2016. Shortly after, Roadside Attractions and Altitude Film Distribution acquired US and UK distribution rights to the film, respectively. It went onto screen at the BFI London Film Festival on 14 October 2016 and the Sundance Film Festival on 20 January 2017.

The film was released in the United Kingdom on 28 April 2017 and in the United States on 14 July 2017.

[bestlifeinsuranceuk]

Asda Life Cover Policies Review in Moulton Seas End #Personal #Cover #from #Asda #UK #Moulton #Seas #End https://t.co/oEayuxInBk

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— Best Life Insurance (@ukbestinsurance) March 23, 2019

[falconlord5]

The Enemy Below, Part 1

I don't think women were allowed on submarines at this time

Why are the Atlanteans wearing boob plates?

Written by Kevin Hopps

Directed by Dan Riba

And found two more

The Javelin and the Atlantean ships look awfully similar

How'd they get another Javelin? The one they were in was wrecked!

Okay, this is after the Aquaman episode in STAS, right? How did that not end with treaties being signed and borders recognized and what not? Our society is completely dependent on sea trade; nations would bend over backwards to get a nation like Atlantis on their side.

Mera has no belly button. That's not really important, it just kind of weirds me out.

John's attitude makes no sense in this episode. He's a Green Lantern, not an American Marine anymore. He should be trying to mediate between the US and Atlantis, not constantly accusing Aquaman of being nuts. Especially as Aquaman hasn't really done anything irrational yet.

Okay, Aquaman's actions don't make a whole lot of sense in this episode either. The guy's acting more like Namor the Submariner than Aquaman.

Do like Luke Cage and poke him in the eyeball

Hey, it's part timer man!

Duh.

Deadshot doesn't show up much in this series.

You know, for a guy who's nothing more than a really good shot, he's given the Justice League a pretty good run for their money.

According to Kevin Conroy (?), what Batman said was: I know where you live, Floyd.

It's kind of weird seeing all these pasty Atlanteans now. I'm used to Jason Momoa now.

Superman created by Jerry Siegel and Joe Shuster

Batman created by Bill Finger

Wonder Woman created by William Moulton Marston

Animated by Koko

[hayleyullrich21-blog]

#wednesday (at Moulton Seas End) https://www.instagram.com/p/CBP6XS5DuR8/?igshid=1pykjgvtkw1ix

[visitormanagementsystems]

Staff Management Systems in Moulton Seas End #Employee #Software # #Moulton #Seas #End

Staff Management Systems in Moulton Seas End #Employee #Software # #Moulton #Seas #End

— Visitor Management (@guestmonitoruk) May 18, 2019

[resinbondedgravel]

Resin Bonded Surfaces in Moulton Seas End #Scattered #Gravel #Surface #Installers #Moulton #Seas #End https://t.co/hoKyk5yGPU

Resin Bonded Surfaces in Moulton Seas End #Scattered #Gravel #Surface #Installers #Moulton #Seas #End https://t.co/hoKyk5yGPU

— Resin Bonded Gravel (@resinbondgravel) December 23, 2018

[kansascityhappenings]

Female war hero leads new wave of veteran candidates running for office

Watch Video

MJ Hegar does not hold back.

“I’m an ass kicking, motorcycle-riding, Texas Democrat. That’s who I am!”

She said that emphatically, unblinkingly and unapologetically to a constituent at a political meet-and-greet in a suburban Austin, Texas, home. And she was talking to someone she needs to win over.

“I’m a Republican,” the woman said to Hegar. “I’d like to know, in a county that is predominantly Republican, what makes you different from our current congressman?”

That question hit on the central challenge facing Hegar who, in order to defeat incumbent Republican Rep. John Carter in November, will have to win over GOP-leaning voters. Hegar’s response — “I’m an American. I’m a veteran. I’m fighting for this country.” — is how she hopes to do it.

Hegar served in the US Air Force and is one of many veterans running as Democrats in the 2018 midterms. She’s part of a broader strategy Democrats have used — recruit decorated veterans with compelling biographies to reach disillusioned moderates.

And these days, in this year of record numbers of female candidates running for Congress, many of them are battle-tested women.

“We worked tirelessly to recruit a historic number of candidates with records of service, including female veterans,” said Molly Mitchell, the Director of Media Affairs for the Democratic Congressional Campaign Committee, the campaign arm of Democrats in the House of Representatives. “These candidates have powerful personal stories and strong independent profiles that excite the grassroots base and prevent Republicans from successfully putting our candidates into ideological boxes. The DCCC knew that voters would flock to the stabilizing influences of veteran candidates.”

Outsiders with proven service

That deliberate recruitment is reflected in the current party affiliation of veteran candidates still in the running for national office.

And it’s also a shift in what those veteran candidates look like. Current numbers in Congress show 65 percent of lawmakers who are veterans are Republicans, the vast majority of them male, said Rye Barcott, CEO and co-founder of With Honor, a super PAC formed to elect more veterans to office, regardless of party affiliation.

Congressional candidates still in the running are now equal in party division, Barcott said, reflecting a surge in Democratic veterans, especially among women with compelling stories.

“The candidates who are advancing and who we find are most successful this year, the quality they share is that they’re authentic,” Barcott says. “They haven’t been overly coached by the DC political establishment because they’re outside of it. There’s a hunger for outsiders by voters. Candidates who are true to themselves, speak truth to power and can serve with civility, courage, integrity.”

With Honor says it’s tracking approximately 400 candidates who are veterans, with most of those candidates being first time politicians. The organization has endorsed 30 candidates from both parties for federal office, including MJ Hegar.

Hegar faces headwinds trying to flip a strong Republican district. But she became the darling of Democrats when she sprung into the national spotlight with a campaign video titled “Doors.”

The more than three-minute video introduces Hegar, a retired major and pilot in the Air National Guard, and reveals her compelling biography — from three tours of duty piloting a rescue helicopter, how that chopper went down and how, even injured, she shot at the Taliban as she herself was rescued.

That day brought her a Purple Heart, the Distinguished Flying Cross with Valor, one of the few women in history to earn it, and many scars that she now hides with tattoos. The video continues to her fight with the Pentagon about women in combat and describes how she says she was shunned by Carter, her congressman.

“To this day, I’ve never met John Carter,” said Hegar, who adds that as a former Republican, she voted for Carter, a 15-year incumbent. Absent to her then, Hegar said today, Carter remains absent to constituents in her district.

“The Republican leadership has gone off the frickin’ rails. And the things that the Republican Party stands for now are not representative of the values of the people in this district who voted Republican. I’m connected to this district, I understand the values of this district, I represent the values of this district, because I am this district.”

Todd Olsen, a spokesman for Carter, called that charge “the exact opposite of the truth.” Olsen added, “The congressman has won election after election because he’s a fighter and takes nothing for granted.”

In Hegar, Carter faces a unique challenger. Hegar’s tattooed body, motorcycle riding attitude and sometimes R-rated language is igniting an energy among progressives in Texas-31 — which includes part of the area surrounding Fort Hood — for the first time in more than a decade.

“These people listen to her. That military tag carries credibility,” said Tom Mowdy, a veteran and Democrat in the district, who came to meet MJ in person at a Democratic mixer. He beamed as MJ spoke. “Isn’t she great!”

Coming of age

One reason there are more women veterans running for Congress now is simply timing: many members of the military who joined post-9/11 are retiring and coming to an age when it’s feasible to run — their late 30s to mid 40s — and more of them are women.

Mikie Sherrill is right in that “coming of age” group. Sherrill is the Democrat running in the open seat in New Jersey’s 11th Congressional District. The district has been a safe-Republican seat for generations, but Sherrill is poised to flip the seat for Democrats.

She’s in that position because she jumped into the congressional race early, cleared the field with early endorsements and strong fundraising.

The mother of four and former federal prosecutor also relies heavily on her Navy combat pilot biography to open the door to moderates in her district, especially as a first time candidate. The graduate of the US Naval Academy spent 10 years on active duty with the Navy, flying a Sea King helicopter through Europe and the Middle East. She was a Russian policy officer and worked on the implementation of US nuclear treaty obligations.

Throughout that decade of service, Sherrill never asked which political party her fellow sailor or officer belonged to.

“I served with people from all backgrounds. Politics was never an issue when it came time to completing the mission,” Sherrill said.

Her military background allows her to walk seamlessly through a Hispanic street festival to a middle class political fundraiser.

“A lot of people serving today are members of the Hispanic community,” said Sherrill, on a day she posed for pictures with Colombian dancers and Costa Rican immigrants. “I think they look at myself and a lot of the veterans running who have served before have always put the country first so they expect us to do that in Washington.”

A welcome, from brothers in arms

Both Sherrill and Hegar are endorsed by Serve America, the Democratic PAC founded by Congressman Seth Moulton. Moulton, who served as a Marine officer in Iraq, has raised nearly $3 million to help elect veterans for Congress, state and local races, who often lack the funds to run for office because they’re busy serving their country.

Moulton made waves in his first run for Congress, running against a Democratic incumbent. Then in office, he again bucked the Democratic establishment by calling for a new generation of leadership, saying the party leadership was “out of touch.”

That kind of independence from the party is exactly what Washington needs, Moulton said as he pointed to former Marine pilot Amy McGrath, the Democrat running in Kentucky’s 6th district.

“Candidates like Amy are running against the establishment,” said Moulton, whose PAC has endorsed McGrath. “They’re rebelling, putting country over party and it is resonating. At the end of the day, members of the military set aside differences for the country. That’s what Americans should expect from Congress as well. We represent different districts, but we ought to be able to find common ground.”

Moulton believes President Donald Trump, whom he referred to as a five-time draft dodger, continues to propel Democratic veterans running for office.

“He’s the best recruiter we got. Veterans are concerned about the country.”

On the other side of the political aisle in Congress, Moulton cites Republican veterans as members he can argue with but also find some shared goals with as Americans. Among them is Wisconsin Rep. Mike Gallagher, who served in the US Marine Corps and deployed to Iraq.

Gallagher, a Republican, represents a strong pro-Trump district but has broken sharply with the White House on the firing of ex-FBI Director James Comey and the Russia-related investigations. While he often disagrees with Moulton, Gallagher cites their military background as common ground for why they break from their party leadership.

“We approach these issues not for what’s good from my party and how do I score political points, but what’s good for my country?” Gallagher said.

That sentiment is echoed by Republican Rep. Brian Mast from Florida, who served in the US Army for more than 12 years, including as a bomb disposal expert in Afghanistan. The last improvised explosive device Mast found injured him so badly, he lost both his legs.

“I wanted to keep serving,” said Mast, currently in his first term.

Public office gave him a new purpose, and he wants more brothers — and sisters — in arms to join him, whichever party they represent.

“We served with people from every religion, every skin color, the poorest to wealthiest background, and yes, gender. We served with all those men and women under the most difficult conditions. And we men and women get the job done.”

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2018/08/09/female-war-hero-leads-new-wave-of-veteran-candidates/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2018/08/10/female-war-hero-leads-new-wave-of-veteran-candidates-running-for-office/

[diamonddrillingservice]

Diamond Drilling Moulton Seas End Lincolnshire

If you are looking for diamond drilling Moulton Seas End Lincolnshire, then you need look no further. All of our staff are trained qualified professionals who use the best diamond drilling equipment.

  Some of the services we offer:

Drilling

Need to make a wide opening or hole in hard materials such as concrete then you need Diamond drilling professionals. We have a wide range of power sources which allows us to provide diamond drilling services in the remotest of areas.

Diamond drilling is precise and leaves no damage to the material, we can create holes from under 10mm right up to 1500mm in diameter and virtually any depth required.

We can make holes in just about any material safely, from natural stone, reinforced concrete, to the most delicate of tile. A perfect solution for the installation of wires and cables, anchoring bolts and load carrying devices.

Looking for a diamond drilling company in Moulton Seas End Lincolnshire that can provide a dust free, vibration free and with low noise output so that disruption is limited. Then get in contact with our team and wed be happy to discuss your project in more detail.

Chasing

When building work is carried out you often require channels to be made in brick or concrete so that the electricians can lay their cables or plumbers their pipe work. Chasing is how we achieve this.

After discussing with you or your site manager and reviewing the plans we carefully mark out the area that needs the channel and make to slots either side of the channel and then we cut out the centre. All of this is done whilst controlling the dust so that it does not spread, which allows us to work around others with no disruption.

Sawing

We can work with varied number of materials and get into those restricted spaces our team of professionals will discuss your requirements with you and advise on the best solution.

Whether you require doorway cutting an opening in a wall then our experienced team of professionals will use our track mounted circular diamond blade to make the opening.

Our cutting equipment can be remote controlled for extra safety and provide you with:

Stair cutting

Angle cutting

Flush cutting

Our team of professional qualified individuals can work with you to ensure that the project no matter how big or small, is planned, executed, controlled and completed in the agreed time. Projects we work on are completed on time thanks to our dedicated team, we’d be happy to speak to you and answer any questions you may have about the any of the processes mentioned above.

If you’ve searched for diamond drilling companies in Moulton Seas End Lincolnshire, then you have found the right team to work with you on your project. You can contact us to discuss your requirements and to gain the answers to your questions, one of our project managers will be happy to speak to you so that you’re fully aware of what will need to be undertake in order to have your project completed in the timescales you need it completing and to the professional standards you expect.

We can also provide teams to carryout:

HYDRAULIC BURSTING HYDRAULIC CRUNCHING

Just let us know your requirements and we can supply you with what you need.

The post Diamond Drilling Moulton Seas End Lincolnshire appeared first on Just Drill.

[biblewordstudy]

Ephesians 1:12-13 to the end that we who were the first to hope in Christ would be to the praise of His glory. In Him, you also, after listening to the message of truth, the gospel of your salvation-- having also believed, you were sealed in Him with the Holy Spirit of promise #VerseOfTheDay #VerseOTD 1:12. The result is that we who first trusted in Christ should be to the praise of His glory. Many believe that those who first trusted in Christ refers to the Jews to whom the gospel was first presented. Whether Paul was referring to only Jewish believers or to all early believers, both Jews and Gentiles, the end result is the same. God’s blessings of redemption, making known His will, and giving an inheritance should result in believers giving praise to His glory. 1:13. Now Paul gives us the final blessing from the Father through the Son based on the third member of the Trinity, the Holy Spirit. Paul again reminds the Gentile believers in Ephesus that in Him [Christ] you also trusted, after you heard the word of truth, the gospel of your salvation. The gospel is the message that brings salvation. After hearing the message the Ephesians believed and then instantaneously were sealed by the Holy Spirit. Sealing suggests security (cf. Eph 4:30). The moment one believes in Jesus Christ he is sealed by the Holy Spirit and is thus secure and safe forever. Believers can know that the moment they trust in Christ as their Savior they are sealed by the Holy Spirit and are safe forever. Believers have the assurance of salvation based on Christ’s promises (cf. John 5:24; 6:35; 11:26). Sealing also suggests ownership. The Holy Spirit’s seal reminds believers that they belong to God (Rom 8:16–17). The saints were made God’s heritage “that we should be to the praise of His glory.” “That” is eis (εἰς), a preposition often showing result. Translate, “to the end that we are to the praise of His glory.” The words “should be” too often carry the idea of obligation to the English reader, and thus suggest here the obligation of the Christian to live a life that will be to the praise of God’s glory. But Paul is speaking here of the saint’s position, not his Christian experience, which latter he takes up in chapters 4–6. Expositors comments: “This clause states the ultimate end which God had in view in foreordaining us to be made His inheritance. It was not for our own privilege (as the Jews with their limited and exclusive ideas had misinterpreted the object of God in His election of them), but that through us His glory might be set forth. Compare the prophetic declaration, ‘this people which I formed for myself, that they might show forth my praise’ (Isa. 43:21).” The “we” are described as those “who first trusted in Christ.” The word “trusted” is not pisteuō (πιστευω), the Greek word which means “to believe, to trust,” but proelpizō (προελπιζω), “to hope before, to repose hope in a person or thing before the event confirms it.” Vincent says: “We refers to Jewish Christians, and the verb describes their Messianic hope before (pro (προ)) the advent of Christ. Hence Rev., correctly, we who had (have) before hoped. In Christ should be ‘in the Christ,’ as the subject of Messianic expectation and not as Jesus, for whom Christ passed into a proper name. It is equivalent to in the Messiah.” The English word “Christ” is the transliteration (spelling) of the Greek word which means “the anointed,” and this is the translation of the Hebrew word “Messiah.” (1:13) The word “trusted” is in italics and is therefore not in the Greek text. It is not needed. We have in the Greek what is called an interrupted construction. The translation reads, “in whom also as for you (Gentiles), having heard the word of the truth, the good news of your salvation, in whom having believed, you were sealed with the Spirit of the promise the Holy (Spirit).” The word “sealed” is sphragizō (σφραγιζω), “to set a seal upon, mark with a seal.” The papyri afford the following examples of its use: “If the fruit is sealed, then everything is in order: the sealing is the last thing that must be done prior to delivering;” “let him seal a sample,” obviously to prevent the corn from being tampered with during its transit; “I gave the letter sealed (to the messenger);” “send the ass to be branded” (Moulton and Milligan, Vocabulary of the Greek Testament). The Scofield Bible footnote is helpful: “The Holy Spirit is Himself the seal. In the symbolism of Scripture a sea signifies (1) A finished transaction (Jer. 32:9, 10; John 17:4, 19:30), (2) Ownership (Jer. 32:11, 12; II Tim. 2:19), (3) Security (Esth. 8:8; Dan. 6:17; Eph. 4:30).” Thus, God places the Holy Spirit in us permanently (”The Spirit who has been caused to take up His permanent residence in us, has a passionate desire to the point of envy” Jas. 4:5), indicating that the great transaction in which God the Son paid for sin, thus satisfying the just demand of God’s holy law, is finished; that we saints belong to Him as His heritage, and that we are eternally secure. The Holy Spirit is described as the Spirit of the promise, namely, the Spirit who was announced by promise; see Acts 2:17, Joel 2:28; Zech. 12:10; Isa. 32:15, 44:3; John 7:39; Acts 1:4–8; Gal. 3:14 #BibleStudy #Theology #Sealed

[gtunesmiff]

Fred Ingrams • Flowering Potatoes - Pain Coming, Moulton Seas End, Lincolnshire •