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meolcwifes · 5 years

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I played Alone Among the Stars and had a nice time!

//BEGIN RECORDING: 20:24 SSC 15/03/35

//THIS IS THE LOG OF SOJOURNER KESTREL VISH.

+ Made planetfall as the suns set; after making camp, I set out under the light of the close-orbiting moon to investigate bands of phosphorescence visible 1.5 miles off, over hard terrain (dry, rocky bluff interspersed with 'hoodoos' eroded by wind). After ascending nearby escarpment, it becomes clear that phosphorescence is a property of certain strata of the rock formations themselves.

+ have followed river from its headwaters in the bluffland, and established base of ops. in high-sided canyon. Where higher elevations dry, lifeless, this area thrives; thick stands of fleshy plant life, fern-trees upward of 20' in height. Veins of sap seem to carry residual phosphorescent properties found in minerals deposits, river silt.

+ Caught my eye as I stopped for meal. further downriver I have found the remnants of some kind of construction: a low dome-shaped structure topped by a platform, reachable by stairway. All built of dry red-veined stone (abundant around river). Platform dominated by stone ring, roughly human-height in its aperture; study reveals its opening to align with the rise of the moon.

+ On leaving my leafy canyon, I find myself in dry hills again. Rounding a bend, I am faced suddenly with another ruined structure: carefully designed to blend into the land around it, a ciruclar area paved in stone bricks, surrounded by what appear to have been towers. The complex strongly reminiscent of small spaceport.

+ The weather has grown hot, and I have retreated to another river-canyon. This is forested with 'trees' like huge, swaying, coiling rosemary bushes. After much difficulty I manage to climb the ropey branches to harvest the fruit I see growing in the upper canopy. Thick and oblong, edible, something like a fibrous cucumber in texture. Sweet, somewhat peppery flavour.

+ Planet listing entered into Ekumenical Database as planet 'Sapsorrow' - name pending ratification. __________

+ Planetfall; fierce windstorm makes landing difficult. I make contact with small outpost of genemod settlers. Their aircraft shepherd me through storm, and the community gives me hospitality.

+ My first venture out of my hosts' territory cut short; their homestead is located on a volcanic 'island' in the middle of a hot sulphur lake.

+ After breakfast and tending to repairs on the ship, I catch my first sight of native life on the planet: an airborne plantform, something like a vast sail of kelp suspended in a 'rigging' of roots and held aloft by this world's forceful air currents.

+ Planet registered in Database under inhabitants' name: planet 'Ciuciush' - indigenous identification, ratification unnecessary. _________

+ Touched down on a black outcrop of rock near the equator - planet distant from sun, largely icebound - made camp on ridge overlooking the rough blue field of a glacier. From out my viewport as I made tea, I spotted the blackened wreck of what looks like an old transmition aerial, projecting from the ice. No signs of construction around me otherwise.

+ Surveying the glacier; I didn't see them at first - my snow goggles limiting the range of my vision - but I heard the whirr of their motorsledge. A research team from the Polis-Worlds. They crewed the station whose aerial I saw yesterday, before a fire consumed it and much of their assembled data; they make for another station on the far side of the mountains.

+ I am travelling with the researchers now; I haven't room in the ship to carry them, but the sledge moves faster now we've moved what supplies we can onboard. Progress impeded today by an unexpected ice barrier - the glacier's surface is variously pitted and upthrusting into weird daggers many storeys high. Tove - a geologist - and I climb one to get a better view. We'll have to go around the rough ice - at least a half day of travel.

+ As we progress along the spine of ice, we find that some of the pits contain liquid water - unusual! We refill our stocks.

+ Scouting ahead, Tove and I find the bare framework of another transmitter. 'The original survey team put down around here', she says. 'I thought they were further from us, though'. Ekumenical contact was apparently first made 20 SSY ago; Tove and her team are part of the ratification effort.

+ The descent from the glacier is exhausting. We are forced to disassemble the sledge; I ferry goods down in Penelope's Loom, but much of the journey is still a hard, dangerous climb. We are successful. Two days later: we have reached the research base. I manage a goodbye to Tove and my comrades of the past several days before they are consumed by a series of debriefings.

+ Planetary designation: Mahler. Ratification ongoing. __________

+ The skies here are thick with swarms of insects, hovering like flocks of starlings. They coat every surface with a tarry substance, which has found its way onto the Loom's exterior almost immediately. I have spent the morning attempting vainly to clear the viewports of the stuff.

+ Scanners reveal something on the lakebed; with great difficulty I fight through the thick skin of swarm-secretion which floats on the surface. It clogs my breathing apparatus, clings to my limbs. Not until get below it can I clean myself off, relying on oxygen backup. I am rewarded with the sight of a majestic stone sculpture: an enormous, beautiful face, its features human but made uncertain by erosion. Patches of mosaic scintillate under my searchlight.

+ The waters of this world hide such beauty. In a caldera lake, the surface clear of the omnipresent bugs of the lowlands, I find another statue. Tiled in long red oblongs, a huge human figure; the position of their arms evokes something ritual, prayerlike. The people of the world were or are truly wonderful artists.

+ Took water samples from a channel cutting through the highland rock. As I take a break from rowing, I spot through the water a trio of tiled figures, deep at the bottom and surrounded by a garden of tissuelike vegetation. I will miss this place.

+ Listing entered into Ekumenical Database: planet 'Monumence' - name pending ratification. ___________

+ Planetfall at mountain peak - atmosphere at lower elevations dangerously thick. A low stone wall rings the area, hemming in the mountaintop like an ancient fortress.

+ Pausing during the preparation of my landing and camp site, I see dark outlets carved into the cliffs above me. Perhaps the mountain *is* a fortress?

+ At night, the snow turned green under the hazy light of the moon as it filters through the atmosphere, the Loom is rocked by something outside. A small herd of animals: quadrupedal, avian, long-legged. At least 10' at the shoulder. The nuzzle the warm ground around the ship, perhaps for food.

+ I inspect something which I took initially to be a flying creature, but which has hung in the same place the last three days. It is an aerial structure; no sign of habitation - merely a lonely metal shell, a bunker in the sky. Its engine and means of staying in the air are opaque to me.

+ Though my record of this world is incomprehensive, I feel deeply uncomfortable here and have decided to leave. There is a presence that I do not like, and feel to have intruded upon.

+ Planet logged in Ekumenical Database: designation 'Broch' - name pending ratification. This article lacks physical data. __________

#it's neat to see how different my log is from ghoul's #i also got a better sense of Vish's voice as i went along #i recommend this game!#i couldn't come up with an original term i liked so 'ekumen' is borrowed from ursula leguin

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dweemeister · 5 years

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My alternative 91st Academy Awards

As always during 31 Days of Oscar, I partake in an annual fantasy. What would the Oscars look like if I stuffed the ballots - choosing every single nomination and choosing every single winner? It always would look a lot different. Fans of Black Panther and Bohemian Rhapsody and Vice? Come at me.

91st Academy Awards – February 24, 2019 Dolby Theatre – Hollywood, Los Angeles, California Host: None Broadcaster: ABC

Best Picture: ROMA

BlacKkKlansman, Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, and Spike Lee (Focus)

Burning (KOR), Lee Joon-dong and Lee Chang-dong (Pinehouse Film/Now Film/NHK/CGV Arthouse/Well Go USA Entertainment)

Eighth Grade, Scott Rudin, Eli Bush, Lila Yacoub, and Christopher Storer (A24)

The Favourite, Ceci Dempsey, Ed Guiney, Lee Magiday, and Yorgos Lanthimos (Fox Searchlight)

Mission: Impossible – Fallout, J.J. Abrams, Tom Cruise, Christopher McQuarrie, and Jake Myers (Paramount)

Roma (MEX), Alfonso Cuarón, Gabriela Rodriguez, and Nicolas Celis (Netflix)

Shoplifters (JPN), Matsuzaki Kaoru, Yose Akihiko, and Taguchi Hijiri (AOI Promotion/Fuji TV/GAGA/Magnolia Pictures)

Spider-Man: Into the Spider-Verse, Avi Arad, Ami Pascal, Phil Lord, Christopher Miller, and Christina Steinberg (Columbia)

A Star Is Born, Bill Gerber, Jon Peters, Bradley Cooper, Todd Phillips, and Lynette Howell Taylor (Metro-Goldwyn-Mayer/Warner Bros.)

Won’t You Be My Neighbor?, Morgan Neville, Caryn Capotosto, and Nicholas Ma (Focus)

Wholesale changes in this category compared to real life. The best three films of 2018, to me, were Burning, Roma, and Shoplifters -- none of these were in the English language. Films I tossed for Best Picture were Black Panther, Bohemian Rhapsody, Green Book, and Vice. I don’t think any of those four films have any business being in this category. In their place are the likes of Eighth Grade, Spider-Man: Into the Spider-Verse, Won’t You Be My Neighbor?, and one of the most technically marvelous action films in decades in Mission: Impossible -- Fallout. Yes, an M:I film (superb editing, setpieces, and audacious style that finally wakes the franchise up).

But I’m going for an unexciting pick according to some with Roma. To use an oxymoron, it is an intimate epic -- one crafted beautifully, daring to comment on relations between ethnicities and the sexes at a certain time in Mexico.

Best Director

Lee Chang-dong, Burning

Alfonso Cuarón, Roma

Hirokazu Koreeda, Shoplifters

Christopher McQuarrie, Mission: Impossible – Fallout

Paul Schrader, First Reformed

If you’re scratching your head, yes... Paul Schrader was nominated for Director in my ceremony, but First Reformed is nowhere to be found in Picture. I tend to do this for one Best Director nominee every year.

Best Actor

Christian Bale, Vice

Ryan Gosling, First Man

Ethan Hawke, First Reformed

Rami Malek, Bohemian Rhapsody

Yoo Ah-in, Burning

The real-life Best Actor category this year is the most dire slate in a while. So here is your palate cleanser.

Best Actress

Yalitza Aparicio, Roma

Glenn Close, The Wife

Olivia Colman, The Favourite

Elsie Fisher, Eighth Grade

Lady Gaga, A Star Is Born

It is not so much acting, as inhabiting. And, as a non-professional actress, Yalitza Aparicio has it. And I believe that, in my alternate Oscar universe (yes, I’ve drawn up and thought about it for many ceremonies past... I’ll reveal those some day), Aparicio would be the first indigenous woman to be awarded an acting Oscar.

Best Supporting Actor

Mahershala Ali, Green Book

Richard E. Grant, Can You Ever Forgive Me?

Josh Hamilton, Eighth Grade

Tim Blake Nelson, The Ballad of Buster Scruggs

Steven Yeun, Burning

Ali is good, don’t get me wrong. But, compared to the movie Moonlight and his performance in it, it looks like he is about to get a second Oscar for a far worse movie and a lesser role. Ali is fourth or fifth in this lineup for me. Grant is fantastic in Can You Ever Forgive Me?

Best Supporting Actress

Regina King, If Beale Street Could Talk

Emma Stone, The Favourite

Marina de Tavira, Roma

Rachel Weisz, The Favourite

Michelle Yeoh, Crazy Rich Asians

This comes down to the fact I couldn’t separate Stone and Weisz’s performances in their saucy movie. Nor could I find the argument to give de Tavira or Yeoh the Oscar. This is a bit of a default choice, I hate to say.

Best Adapted Screenplay

Joel Coen and Ethan Coen, The Ballad of Buster Scruggs

Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee, BlacKkKlansman

Nicole Holofcener and Jeff Whitty, Can You Ever Forgive Me?

Barry Jenkins, If Beale Street Could Talk

Debra Granik and Anne Rosellini, Leave No Trace

Spike Lee would have at least one or two Oscars in my alternative universe by this point! The difference between the screenplays for BlacKkKlansman and Can You Ever Forgive Me? is far slighter than you think.

Best Original Screenplay

Bo Burnham, Eighth Grade

Deborah Davis and Tony McNamara, The Favourite

Paul Schrader, First Reformed

Alfonso Cuarón, Roma

Hirokazu Koreeda, Shoplifters

Not even a contest if you asked me. This category is something else if I consider The Favourite and Roma bringing up the rear. But Koreeda’s drama about a found family that does what they can to survive is the culmination of what he has done in his career thus far. This is his Oscar.

Best Animated Feature

Incredibles 2 (Pixar/Walt Disney)

Night is Short, Walk On Girl, Japan (GKIDS/Toho Company)

Ruben Brandt, Collector, Hungary (Mozinet/Sony Pictures Classics)

Spider-Man: Into the Spider-Verse (Columbia)

Tito and the Birds, Brazil (Bits Produções/Shout! Factory)

Longtime followers know that I have unorthodox opinions about animated features. The only Animated Feature Oscar I’ve handed to Pixar/Walt Disney Animation Studios since beginning this tradition in 2013 was for Inside Out. I thought Ralph Breaks the Internet was a painful addition to the Disney animated canon, so it is not here. Nor is Wes Anderson’s culturally insensitive Isle of Dogs or Mamoru Hosoda’s sloppy Mirai. At the end of the day? No boat-rocking this time, except in some of the other nominees.

Best Documentary Feature

Free Solo (National Geographic)

Hale County This Morning, This Evening (The Cinema Guild)

Minding the Gap (ITVS/Kartemquin Films/Hulu/Magnolia Pictures)

Three Identical Strangers (CNN/Channel 4/Neon)

Won’t You Be My Neighbor? (Focus)

Shoulda been nominated! Shoulda won! But in the spirit of Mister Rogers’ Neighborhood, these are all great documentaries. Minding the Gap is a close #2.

Best Foreign Language Film

Burning, South Korea

Capernaum, Lebanon

Cold War, Poland

Roma, Mexico

Shoplifters, Japan

Best Cinematography

Alfonso Cuarón, Roma

Caleb Deschanel, Never Look Away (GER)

Rob Hardy, Mission: Impossible – Fallout

Matthew Libatique, A Star Is Born

Łukasz Żal, Cold War

Best Film Editing

Barry Alexander Brown, BlacKkKlansman

Jay Cassidy, A Star Is Born

Tom Cross, First Man

Eddie Hamilton, Mission: Impossible – Fallout

Yorgos Mavropsaridis, The Favourite

Best Original Musical*

Julia Michels, A Star Is Born

Marc Shaiman and Scott Wittman, Mary Poppins Returns

Sia, Greg Kurstin, Scott Walker, and Margaret Yen, Vox Lux

*Best Original Musical – known previously as several other names – exists in the Academy’s rulebooks, but requires activation from the Academy’s music branch. To qualify, a film must have no fewer than five original songs. This category was last activated when Prince won for Purple Rain (1984).

Best Original Score

Michael Giacchino, Incredibles 2

Justin Hurwitz, First Man

John Powell, Solo

Alan Silvestri, Ready Player One

Brian Tyler, Crazy Rich Asians

The Star Wars universe is in good musical hands when John Williams leaves after Episode IX!

Best Original Song

“All the Stars”, music by Kendrick Lamar, Sounwave, and Anthony Tiffith, lyrics by Lamar, SZA, and Tiffith, Black Panther

“Nowhere to Go but Up”, music by Marc Shaiman, lyrics by Shaiman and Scott Wittman, Mary Poppins Returns

“The Place Where Lost Things Go”, music by Marc Shaiman, lyrics by Shaiman and Scott Wittman, Mary Poppins Returns

“Shallow”, music and lyrics by Lady Gaga, Mark Ronson, Anthony Rossomando, and Andrew Wyatt, A Star Is Born

“When a Cowboy Trades His Spurs for Wings”, music and lyrics by David Rawlings and Gillian Welch, The Ballad of Buster Scruggs

Best Costume Design

Alexander Byrne, Mary Queen of Scots

Ruth E. Carter, Black Panther

Sandy Powell, The Favourite

Sandy Powell, Mary Poppins Returns

Mary E. Vogt, Crazy Rich Asians

Best Makeup and Hairstyling

Cindy Harlow and Camille Friend, Black Panther

Göran Lundström and Pamela Goldammer, Border (SWE)

Jenny Shircore, Marc Pilcher, and Jessica Brooks, Mary Queen of Scots

Amanda Knight and Lisa Tomblin, Solo

Greg Cannom, Kate Biscoe, and Patricia Dehaney, Vice

Best Production Design

Hannah Beachler, Black Panther

Nelson Coates, Crazy Rich Asians

Fiona Crombie, The Favourite

Nathan Crowley, First Man

John Myhre, Mary Poppins Returns

Best Sound Editing

Benjamin A. Burt and Steve Boeddeker, Black Panther

Ai-Ling Lee and Mildred Iatrou Morgan, First Man

James Mather, Victoria Freund, and Nina Norek, Mission: Impossible – Fallout

Ethan Van der Ryn and Erik Aadahl, A Quiet Place

Richard Hymns, Gary Rydstrom, Cameron Barker, and Doug Winningham, Ready Player One

Best Sound Mixing

John Casali, Paul Massey, Tim Cavagin, and Niv Adiri, Bohemian Rhapsody

Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis, First Man

Chris Munro, Paul Munro, Lloyd Dudley, and Mark Timms, Mission: Impossible – Fallout

Michael Barosky, Brandon Proctor, and Michael Barry, A Quiet Place

Tom Ozanich, Dean Zupancic, Jason Ruder and Steve Morrow, A Star Is Born

Best Visual Effects

Daniel DeLeeuw, Jen Underdahl, Kelly Port, Matt Aitken, Dan Sudick, Avengers: Infinity War

Christopher Lawrence, Michael Eames, Theo Jones, and Chris Corbould, Christopher Robin

Paul Lambert, Ian Hunter, Tristan Myles, and J. D. Schwalm, First Man

Roger Guyett, Grady Cofer, Matthew E. Butler, and David Shirk, Ready Player One

Rob Bredow, Patrick Tubach, Neal Scanlan, and Dominic Tuohy, Solo

Best Documentary Short

Black Sheep (Lightbox Entertainment/The Guardian)

End Game (Netflix)

Lifeboat (Spin Film/RYOT Films)

A Night at the Garden (Field of Vision)

Period. End of Sentence. (Guneet Monga)

My omnibus review of this year’s nominees is coming soon (check this space later).

Best Live Action Short

Detainment (Twelve Media)

Fauve, Canada (H264 Distribution)

Marguerite, Canada (H264 Distribution)

Mother, Spain (Apache Films/Caballo Films/Malvalanda)

Skin (New Native Pictures/Salaud Morisset)

My omnibus review of this year’s nominees is coming soon (check this space later).

Best Animated Short

Animal Behaviour (National Film Board of Canada)

Bao (Pixar/Walt Disney)

Late Afternoon (Cartoon Saloon)

One Small Step (Taiko Studios)

Weekends (Past Lives Productions)

My omnibus review of this year’s nominees can be read here.

Academy Honorary Awards: Cicely Tyson, Lalo Schifrin, and Marvin Levy

Irving G. Thalberg Memorial Award: Kathleen Kennedy and Frank Marshall

MULTIPLE NOMINEES (24) Eight: The Favourite; Roma Seven: First Man; A Star Is Born Six: Mission: Impossible – Fallout Five: Black Panther; Burning; Mary Poppins Returns Four: Crazy Rich Asians; Eighth Grade; Shoplifters Three: The Ballad of Buster Scruggs; BlacKkKlansman; First Reformed; Ready Player One, Solo Two: Bohemian Rhapsody; If Beale Street Could Talk; Incredibles 2; Mary Queen of Scots; A Quiet Place; Spider-Man: Into the Spider-Verse; Vice; Won’t You Be My Neighbor?

WINNERS 4 wins: Roma 2 wins: First Man; Mary Poppins Returns 1 win: BlacKkKlansman; Black Panther; Border; Can You Ever Forgive Me?; Cold War; Crazy Rich Asians; First Reformed; If Beale Street Could Talk; Marguerite; Mission: Impossible – Fallout; Shoplifters; Solo; Spider-Man: Into the Spider-Verse; A Star Is Born; Weekends; Won’t You Be My Neighbor?

19 winners from 25 categories. 39 feature-length films and 15 short films were represented.

#91st Academy Awards #Oscars #31 Days of Oscar

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ms-m-astrologer · 7 years

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Transiting Sun enters Pisces

February 18 - March 20, 2017

“The best way to view the transits of the Sun is to think of them as a big, celestial searchlight. It plays a hyperintense beam of self-awareness over us, cutting through the overlapping webs of planetary trigger points spread throughout the chart. Whatever part of the mind it hits is temporarily centralized in the ego, occupying our attention and centralizing its needs. With solar transits, ego plays its hand, for better or worse.” -- The Changing Sky, Steven Forrest

Through the filter of Pisces, the solar searchlight is a little hazy and out of focus. With little effort, our imaginations run wild, creating this or that scenario which may or may not have anything to do with reality.

I really like this representation of the constellation Pisces:

You can see easily that the two fish, though tied together by their tails, are headed in different directions - not opposites. One fish remains more or less aligned on the “path” made by the Zodiac, while the other is trying to leap free of the whole thing. That’s our first clue about any Pisces transit: there are things you can see easily, on the surface; and there are things you’ll discover only when you look beyond that surface.

Pisceans are notorious for their tendency to drift through life; a better way to channel that wafting energy is to put a little more conscious awareness into going with the flow. We’re very sensitive to all the different currents and undercurrents - and sometimes that’s too much to cope with, too overwhelming. Another less happy Piscean trait is escapism, be it via pharmaceuticals, the idiot box, or your poison of choice.

With practice and with faith, though, we can eventually become experts at navigation. We can anticipate not only problems, but possibilities. It isn’t yet time to act on these problems and possibilities - that’s Aries’ department - so use this month to prepare for that burst of energy next March.

Celebrities with Sun in Pisces Albert Einstein, Rihanna, Alan Rickman, Steve Jobs, Elizabeth Taylor, Adam Levine, George Harrison, Brian Jones, Drew Barrymore, Edgar Cayce, Daniel Craig, Nicolaus Copernicus, Oscar Isaac, Frederic Chopin, Johnny Cash, Kesha, Michelangelo, George Washington, Emily Blunt, Floyd Mayweather Jr., Isabelle Huppert, Erykah Badu, Nina Simone, Queen Latifah, Galileo Gallilei, Bobby Fischer

NB: for the time period February 20-25, the Sun/Pisces will be annoying the Cardinal Grand Cross. Please see this blog post for more information.

Tuesday, February 21, North Node/Virgo opposite Sun/Pisces, South Node/Pisces conjunct Sun/Pisces, 3:28

If the North Node symbolizes our path for growth, then the Sun conjunct the South Node is literally the furthest away from the path that is possible. As it’s the first major aspect the Sun makes, it sets the tone for the entire Sun-through-Pisces. Rather than giving up just as we’re getting started, we need to keep our ultimate North Node goals in mind (becoming more effective and sustainable) and commit to working toward them.

Planets/Points affected lie between 2:28 and 4:28 of the signs Taurus, Gemini*, Cancer, Virgo*, Scorpio, Sagittarius*, Capricorn, and Pisces.

Wednesday, February 23, Ceres/Taurus sextile Sun/Pisces, 5:50 Thursday, February 24, Juno/Capricorn sextile Sun/Pisces, 6:19

Quite down-to-earth, practical, and indeed a natural reaction to the previous aspect. We find it very easy to establish basic domestic routines which are healthy and emotionally supportive. Keeping life as simple and realistic as we can manage will have a tremendously stabilizing influence - sorely needed.

Planets/Points affected lie between 4:50 and 7:19 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Wednesday, March 1, Neptune/Pisces conjunct Sun/Pisces, 11:42

This can be confusing, delusionary, inspirational, otherworldly, impressionable, and psychic - all at once. It will be almost impossible to avoid, or evade, the overall Pisces vibe of the day; if you have anything important within range, and especially in the mutable signs, you may not like this. Or be particularly susceptible to it. Or both. Basically, it’s a great day to be a space cadet!

Planets/Points affected lie between 10:42 and 12:42 of the signs Taurus, Gemini*, Cancer, Virgo*, Scorpio, Sagittarius*, Capricorn, and Pisces.

Monday, March 6, Mercury/Pisces conjunct Sun/Pisces, 16:37

This is the “superior conjunction” of the Sun and Mercury. The little planet is at its top apparent speed, and is on the other side of the Sun from the Earth - in other words, it’s a “Full Mercury” time. We struggle to keep our minds as objective as possible, while reflecting (“Full Mercury”) on what has happened to us. In Pisces this could be difficult because of the innate Piscean being diffusive, nebulous, and vacillating. It may be time to let the right brain take over the mental processing, today.

Planets/Points affected lie between 15:37 and 17:37 of the signs Taurus, Gemini*, Cancer, Virgo*, Scorpio, Sagittarius*, Capricorn, and Pisces.

Thursday, March 9, Pluto/Capricorn sextile Sun/Pisces, 18:57

Pluto loves to plot, and Capricorn gives it an appreciation of structure and of the long-term. This sextile will bring opportunities to reach your “effective sustainability” goals, or whatever goals you have in mind. There’s real staying power. What the Sun in Pisces brings is a certain flexibility and fluidity - if/when we encounter roadblocks, we’re able to sail right around/through them.

Planets/Points affected lie between 17:57 and 19:56 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Friday, March 10, Vesta/Cancer trine Sun/Pisces, 20:09

This can be a very beautiful aspect of self-integration and self-identification. In water signs, however - well, remember that water has no shape of its own, but rather takes the shape of its container. We may be coming up with an “identity” that allows us to function in the world, with our real selves camouflaged, or sunk into deeper waters. We may be more concerned with “tribal” identity (Cancer) as a way to cope with the larger world (Pisces).

Planets/Points affected lie between 19:09 and 21:09 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Tuesday, March 14, Pallas/Pisces conjunct Sun/Pisces, 24:41; Chiron/Pisces conjunct Sun/Pisces, 24:42

This is an impressive triple conjunction. The two mentioned above are exact within 11 minutes of each other, and the third one (Pallas conjunct Chiron) occurs less than half an hour later. In “The Mountain Astrologer,” Leah Whitehorse comments that this “spotlights (Sun) bridge-building (Chiron) and negotiation (Pallas) to transcend our differences and help us adapt to change. Healing becomes a creative process of self-illumination.” I would like to substitute “immanence” for “transcendence,” as you well know - it isn’t just healing (Chiron), but a genius idea (Pallas), to find everything we have in common with one another.

Planets/Points affected lie between 23:41and 25:42 of the signs Taurus, Gemini*, Cancer, Virgo*, Scorpio, Sagittarius*, Capricorn, and Pisces; and between 8:41 and 10:42 of the fixed signs Taurus, Leo, Scorpio, and Aquarius.

Friday, March 17, Saturn/Sagittarius square Sun/Pisces, 27:29

Here is the day that the idealistic plans you’ve made are challenged by “reality.” It’s a test of faith, primarily, but also of our flexibility and our compassion. Can we live up to our own hype? How do we work with/around “unreasonable” authority? There’s a chance that we meet the enemy at last, and he is us - how do we respond to that realization? It’s impractical to ignore reality, but it’s stupid to let reality excuse us from showing imagination and mercy.

Planets/Points affected lie between 26:29 and 28:29 of the mutable signs Gemini, Virgo, Sagittarius, and Pisces; and between 11:29 and 13:29 of the fixed signs Taurus, Leo, Scorpio, and Aquarius.

#Astrology #Transiting Sun enters Pisces #Sun #Ms M astrologer

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neophyte17 · 4 years

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huzaifaenterprize · 4 years

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সহজে কিভাবে ফায়ার লাইসেন্স করবেন, ই ফায়ার লাইসেন্স [Fire License] অগ্ন...

#Fire license #E_Fire_License #Fire_Certificate

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gramilano · 5 years

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Richard Siegal’s New Ocean, photo by Thomas Schermer

MILANoLTRE, Milan’s festival of contemporary dance, now in its 33rd edition, presented 24 works at Teatro Elfo Puccini this year, and 19 were by Italian companies.

I saw three productions of outstandingly quality during the 17-day event, which also includes masterclasses, interviews, and lessons.

Susanna Beltrami’s Ballade, preghiera profana, photo by Lorenza Daverio

Susanna Beltrami, who runs the company, academy and performance space, DanceHaus in Milan, presented the premiere of her latest work: Ballade, preghiera profana.

The Night Just Before the Forests by French playwright Bernard-Marie Koltès was Beltrami’s starting point after being inspired by a production she saw in Madrid. She has plucked words and moods from his monologue to create a dance work for thirteen male dancers and a vocalist. Words such as ‘night’, ‘forest’, ‘the last breath’ – all suggesting places or moments of transition, when time is in limbo, a passage towards something new. But during those moments there is the unknown and the possibility of uncovering the greatest happiness… and the greatest fear. There is anger in the piece too, primarily as expressed by the singer, but the dancers show a wide range of emotions. Ballade by turns seduces the spectator and grabs them by the throat and, though little over an hour, the immersive intensity creates the sensation of having lived through something significant.

Composer Cesare Picco is onstage throughout playing an amplified grand piano. His marvellous music is varied and effectively mixes rap, jazz and mood music, and he adds percussive effects by knocking at the piano’s strings and interior.

Beltrami is endlessly inventive. There is an extended sequence where everything possible is done with the simple teeshirts the men wear. A unicycle comes on at one point. A series of large silver bowls with dry ice or water in each make a diagonal across the stage balanced on the head of each dancer; they glow enticingly under Matteo Bittante’s meticulous lighting before the water is sprayed across the stage, whipped out of the bowls with the dancers’ hair, and squeezed out of sponges over their bodies. Her vocabulary is varied, but her strength is instilling commitment to each move in her dancers, who perform with astonishing power and sureness. A stunning sequence towards the end has one dancer lying down and rolling phenomenally fast in a big circle around the others as though he is tracing the bezel of a watch. The dancers understandably looked drained but satisfied as they took the enthusiastic applause.

Susanna Beltrami’s Ballade, preghiera profana, photo by Lorenza Daverio

Italian choreographer Diego Tortelli brought his work Shifting Perspective to Milan from Germany for its Italian premiere (it’s a collaboration with Tanzbüro München). Having been issued with headphones, the audience enters with the three dancers already onstage armed with earpieces and smartphones. A searchlight turns continuously as the spectators meander to find a spot around the dancers. Instructions are given. There are three audio channels: one with a voice, in German, Italian and English; one is with ‘classical’ music, especially composed by Francesco Sacco; the third, electronic. The performers’ earpieces allow for everything to be coordinated. After toying with Sacco’s attractive electronic soundtrack, I settled on the ‘classical’ which was the electronic with some string effects over it – or at least in the first five minutes, while I was still playing with my new toy. We were also encouraged to take photos or videos and share them on social media – there is a dedicated Instagram account – and to move around the performance space.

The curious thing was that people are not all that bothered about finding new perspectives but want to find a comfortable position, leaning against a wall or sitting on the floor, where they are offered a good view. Three or four keen participants continually shifted their point of view, moving enthusiastically from one side of the space to the other, though their energy appeared to flag after the initial novelty had worn off.

Three people who had no problems with energy levels were the dancers – Jin Young Won, Christian Cucco, and the amazingly long-legged Corey Scott-Gilbert. They worked feverishly, tackling the many rapidly evolving and complex sequences, occasionally in couples or as a group, but most interestingly when alone. Tortelli has a classical dance background, having graduated from La Scala’s academy, and the mix of classical with sports movements (the dancers were dressed as though ready to play baseball) and contemporary, was fascinating.

Diego Tortelli’s Shifting Perspective with Jin Young Won, Cristian Cucco and Corey Scott Gilbert, photo Franz Kimmel

Diego Tortelli’s Shifting Perspective with Corey Scott Gilbert, Cristian Cucco and Jin Young Won, photo Franz Kimmel

Fascinating and completely satisfying was American choreographer Richard Siegal’s piece, brought over from Germany with his Ballet of Difference company, which pays tribute to Merce Cunningham on the 100th anniversary of his birth. New Ocean (the natch’l blues), is based on ideas and structures from Cunningham’s 1994 work, Ocean.

Cunningham created a work that was rigorously mathematical using the number of hexagrams in the I Ching, (64), and it was performed in the round. Siegal has his piece divided into interchangeable sections and the order for each dancer changes at each performance – maybe this dictated why there is no contact between his dancers throughout. He doesn’t place the audience around a circular performing space but has a large, low circular wall on stage which lights up at one point. A song from Taj Mahal’s The Natch’l Blues is heard as the lights come down and three grey walls descend to delineate the performing space, but on the recorded thud as they touch the floor, the music of the title is, strangely, never heard again, and there is just silence or the use of an atmospheric electronic score using compositions by Alva Noto and Ryuichi Sakamoto.

The dancers are an eclectic bunch of truly talented performers. I’ll name them all: Margarida de Abreu Neto, Jemima Rose Dean, Gustavo Gomes, Mason Manning, Andrea Mocciardini, Claudia Ortiz Arraiza, Zuzana Zahradníková, and Long Zou. They walk on calmly, perform their sequence, often sustained and slow-moving, and walk off. The effect is hypnotising.

In the first part, three transparent tubes rise and fall from the flies, ‘injecting’ smoke into the scene, like needles above a Petri dish. Or maybe they represent the bubbles in the ocean. These disappear for the second part, where the whole of the stage is lit by a powerful overhead projector which occasionally acts as a lighting rig, but magically uses projections to animate the floor and reveal the dancers in new ways. It is technically perfect and expressively compelling. The music has more urgency now, and as the dancers leave the stage, white smoke builds and builds, as does the music and a bank of 30 backlights, which gradually begin to dazzle the audience. The back wall falls, pushing the smoke out into the auditorium, revealing a blinding light before there’s blackness and silence.

Siegal has created a seductive and winning work.

Richard Siegal’s New Ocean, photo by Thomas Schermer

Three new works from MILANoLTRE Festival by Susanna Beltrami, Diego Tortelli and Richard Siegal MILANoLTRE, Milan’s festival of contemporary dance, now in its 33rd edition, presented 24 works at Teatro Elfo Puccini this year, and 19 were by Italian companies.

#La Scala #Merce Cunningham

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swipestream · 5 years

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Wargame Wednesday: Battle of the Bulge 18th and 62nd Volksgrenadier Divisions, 14th Armored Group and the 106th Infantry Division

Starting Positions

Introduction for this series here. This post discusses the terrain, some items considered during scenario design and a Q&A with the scenario designer.

The 18th Volksgrenadier (VG) Division holds my right flank and was opposed by the 14th Armored Group (AG) and the 422nd Regiment of the ill-fated 106th Infantry Division (ID). The 62nd VG Division is on my left and their jumping off positions are west of the German town of Prum. The armored Führerbegleit Brigade (Führer Escort) is in reserve behind the 18th VG Division, ready to exploit weaknesses in the American line.

Link to a map showing the initial attacks on the 106th ID from Hugh M. Cole’s The Ardennes: Battle of the Bulge.

The image above uses satellite imagery to show the importance of the Losheim Gap on the course of the battle. A larger image, discussion on the starting positions and reason for the blue line are available by clicking on the image or here.

More after the jump.

Terrain

Hugh Cole discusses the battlefield and I’ve selected some of his text for context.

Page 43. The road network:

“The road net in 1944 was far richer than the population and the economic activity of the Ardennes would seem to warrant. This was not the result of military planning, as in the case of the Eifel rail lines, but rather of Belgian and Luxemburgian recognition of the value of automobile tourisme just prior to World War II. All of the main roads had hard surfaces, generally of macadam. Although the road builders tried to follow the more level stretches of the ridge lines or wider valley floors, in many cases the roads twisted sharply and turned on steep grades down into a deep ravine and out again on the opposite side. The bridges were normally built of stone.”

“The normal settlement in the Ardennes was the small village with stone houses and very narrow, winding streets. These villages often constricted the through road to single-lane traffic. Another military feature was the lone farmstead or inn which gave its name to the crossroads at which it stood.”

Pg 46. Geography:

“The geography of the Ardennes leads inevitably to the channelization of large troop movements east to west, will tend to force larger units to “pile up” on each other, and restricts freedom of maneuver once the direction of attack and order of battle are fixed. To a marked degree the military problem posed by the terrain is that of movement control rather than maneuver in the classic sense.”

“What the German planners saw in 1944 was this: the Ardennes could be traversed by large forces even when these were heavily mechanized. An attack from east to west across the massif would encounter initially the greatest obstacles of terrain, but these obstacles would decrease in number as an advance neared the Meuse.”

“This is mountainous country, with much rainfall, deep snows in winter, and raw, harsh winds sweeping across the plateaus. The heaviest rains come in November and December. The mists are frequent and heavy, lasting well into late morning before they break. Precise predictions by the military meteorologist, however, are difficult because the Ardennes lies directly on the boundary between the northwestern and central European climatic regions and thus is affected by the conjuncture of weather moving east from the British Isles and the Atlantic with that moving westward out of Russia. At Stavelot freezing weather averages 112 days a year, at Bastogne 145 days. The structure of the soil will permit tank movement when the ground is frozen, but turns readily to a clayey mire in time of rain. Snowfall often attains a depth of ten to twelve inches in a 24-hour period. Snow lingers for a long time in the Ardennes but-and this is important in recounting the events of 1944-the deep snows come late.”

Game Design Considerations

The Campaign Series game engine allows a change of visibility on a turn by turn basis. In practice, most designers keep visibility the same for the whole scenario but in this scenario, visibility changes on a daily basis (every 6 turns). My preference would be greater granularity of visibility throughout the six turn day (e.g. fog in the mornings) but fog can be localized, especially in valleys and gullies but visibility settings are universal across the map.

Changing road and field conditions are harder to emulate. In this scenario, snow covers the ground throughout the game but conditions during the battle changed from mud to snow to frozen ground and back to mud. It is possible to change the ground conditions but that would require every player to manually update a game file. In the interests of playability, snow stays on the ground throughout.

A scenario designer always has to weigh the trade offs between realism, playability and the constraints of the game engine. Changes to one aspect can have second or third order effects on the others. For this scenario, the designer has come up with the following compromises:

Realism

Changing visibility on a day by day basis, an improvement over fog throughout the entire game.

6 turns per day. Lots of controversy in the Campaign Series world over how much time one turn represents. Over the years I have developed the following rule of thumb in that for smaller scenarios (up to the battalion level) each turn can account for a smaller period of time, even down to 20 to 30 minutes but for larger scenarios, 6 to 8 turns can equal the historical pace of an offensive. Without getting into a long discussion the bottom line is many daylight hours are spent in coordination, resupply, regrouping, taking cover, etc. Some days it takes a while to motivate oneself to go job. Imagine the time needed to motivate a squad or platoon to charge a machine gun nest.

Playability

Elected to keep the terrain as snow throughout. Not very historical but by changing movement rates any game balance achieved in this version will be thrown off.

Scenario start at first light. A lot of dramatic action was missed (initial German artillery bombardment; German searchlights illuminating the battlefield by reflection from low lying clouds; some Volksgrenadiers caught advancing in the open because of that illumination, and initial engagement with the 14th Armored Group at Krewinke) but the way night combat is simulated by the game engine was unsatisfactory.

Subject for next week’s post and the OOBs but the organizations are pared down a little. Example, battalion level HQs are not included in the game along with smaller caliber mortars (especially the American 61mm mortar which doesn’t make the trade off between game management and effectiveness).

Q&A with the Scenario Designer

Scott Cole: How long have you been working on this scenario?

Von Earlmann: I guess about 10 years or so to include my first modding attempts on the original East Front.

SC: How long did it take to create the map?

VE: The map was a long process as I started with a smaller version and kept adding to it as the scenario grew in my mind.

SC: What was your process for map creation (e.g. which sources did you use)?

VE: I actually found a complete set of battle maps for the whole Ardennes offensive at a lawn sale years ago which was what gave me the initial idea for this monster scenario as it had one map just for the V Panzer AOR (of course, I made the mistake of lending them to someone and they are now long gone). Also, used a lot of the maps and descriptions from the book “A Time for Trumpets“. The last expansion came from maps that Huib (Note: another master scenario designer) sent me from the actual area. I used them for a lot of the terrain and distances. I never did have topographic maps with the elevations so had to wing that but, figured it was the same map for both sides and does depict the toughness of the area to fight in.

SC: What was your philosophy for the OOBs?

VE: The main thing with OOB’s in a large scenario is reducing the number of HQs for smoother supply purposes. I simply eliminated most of the battalion HQs and have the entire regiment trace to regimental HQ by moving the platoons directly under regimental or brigade HQs (note: this is done in a separate OOB file unique to the scenario). It takes a lot of renaming but makes for better command and control and smoother supply.

I usually take out a lot of the smaller indirect fire units such as infantry guns, 81mm mortars and lower and things like machine gun sections. There is nothing that will ruin any large scenario more than watching replays with all those small units firing (Note: usually to no effect, though a direct hit from 81mm mortars can quickly change your plans for the day). In each scenario there is more than enough artillery to make it realistic, especially in this scenario as the Americans have plenty of artillery units (Note: I can attest to that….).

SC: What does this scenario start? I’m guessing after the pre-dawn night combat. For example, the 18th VG Regiment starts west of Krewinkle.

VE: Again, I used some poetic license to place units at start positions. It was a bit easier with the Germans as their forces divide up well over the three map sections. The Americans were a bit tougher as one of the divisions was spread over two sectors (Note: the 106th has some platoons in the center sector). Doing this represents how thin the Americans were spread across the front line.

The scenario beings with actions from 16 through 31 December. I used that time frame to seat weather, reinforcements, unit releases, etc. The basis is one day equals six turns. I know the game is supposed to be 6 minute turns but that is a discussion for another time and seems to work in this scenario.

Next Week

I’ll go over the OOBs for all units mentioned in today’s post and also will discuss the fighting at Krewinkle as the scenario starts after this engagement.

References and Links

The Ardennes: Battle of the Bulge Hugh M. Cole

14th Cavalry in the Losheim Gap

Project 1944. Military historians practicing “living history”.

Index

Intro Bulge Series Post.

Weather chart.

Wargame Wednesday: Battle of the Bulge 18th and 62nd Volksgrenadier Divisions, 14th Armored Group and the 106th Infantry Division published first on https://medium.com/@ReloadedPCGames

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fearsmagazine · 6 years

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FOX SEARCHLIGHT PICTURES Begins Principal Photography On SCOTT COOPER’S “ANTLERS”

Fox Searchlight Pictures Presidents of Production, Film and Television Matthew Greenfield and David Greenbaum announced today that principal photography has commenced in Vancouver, British Columbia for the horror thriller ANTLERS. Directed by Scott Cooper (BLACK MASS, CRAZY HEART), the film is written by Henry Chaisson (OPEN 24 HOURS) & Nick Antosca (THE FOREST, CHANNEL ZERO) with revisions by Scott Cooper, from the short story The Quiet Boy by Antosca. In ANTLERS, a small-town Oregon teacher (Keri Russell) and her brother (Jesse Plemons), the local sheriff, become entwined with a young student (Jeremy T. Thomas) harboring a dangerous secret with frightening consequences.

Starring in ANTLERS are Keri Russell (STAR WARS: EPISODE IX, FX’s “The Americans”), Jesse Plemons (HOSTILES, FX’s “Fargo”), Jeremy T. Thomas (“Lore”), Graham Greene (MOLLY’S GAME, WIND RIVER), Scott Haze (THANK YOU FOR YOUR SERVICE, VENOM), Rory Cochrane (WHITE BOY RICK, HOSTILES) and Amy Madigan (TWICE IN A LIFETIME, FIELD OF DREAMS).

The film’s producers are Guillermo del Toro (THE SHAPE OF WATER, PAN’S LABRYINTH), J. Miles Dale (THE SHAPE OF WATER, THE VOW), David S. Goyer (ASSASSINATION NATION, BATMAN v SUPERMAN: DAWN OF JUSTICE), and Kevin Turen (ALL IS LOST, 99 HOMES) serving as executive producer. ANTLERS is the first project between Fox Searchlight Pictures and Guillermo del Toro following the announcement of a deal between Searchlight and del Toro that covers live action feature film projects to be written, produced and/or directed by del Toro.

“I couldn’t be more excited to begin production on ANTLERS with Guillermo Del Toro, and reunite with my dear friends at Fox Searchlight,” said Cooper, adding, “They’re incredible filmmakers - not to mention necessary filmmakers - and are extremely passionate and supportive of my vision as I venture into yet another genre, and delve into the unnerving world of ancestral spirits.”

“We are delighted to be back in business with Scott Cooper, with whom we had an incredible journey on the Oscar-winning CRAZY HEART, and Guillermo Del Toro, fresh off THE SHAPE OF WATER,” said Fox Searchlight Chairmen Nancy Utley and Steve Gilula.

Added Greenfield and Greenbaum, “Scott is a master of creating human dramas with unforgettable performances. ANTLERS will allow him to bring his unique gifts to the horror genre. We could not be more thrilled.”

Joining Cooper on the film is director of photography Florian Hoffmeister (THE DEEP BLUE SEA, A QUIET PASSION), production designer Tim Grimes (THE WRESTLER, WAR OF THE WORLDS), editor Dylan Tichenor (PHANTOM THREAD, ZERO DARK THIRTY), costume designer Karin Nosella (INSOMNIA, MISSION IMPOSSIBLE: GHOST PROTOCOL), creature effects supervisor Shane Mahan (THE SHAPE OF WATER, AVENGERS: INFINITY WAR) and special effects make-up artists Lindala Schminken (GODZILLA, THE FOG) and Toby Lindala (THE REVENANT, GODZILLA).

#film news #movie news #production start #fox searchlight pictures #antlers.#scott cooper #guillermo del toro

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ms-m-astrologer · 7 years

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Transiting Sun enters Aries

March 20 - April 19, 2017

CAPSLOCK! FULL SPEED AHEAD! THE SUN IS IN ARIES NOW! ‘TEN-HUT! HUP TWO THREE FOUR! The trouble is, though, Aries isn’t self-aware. (Me, quoting Socrates to Aries ex: “The unexamined life is not worth living!” Aries ex, looking up from his “Sports Illustrated” magazine: “What the hell is that supposed to mean?”) It’s a sign of doing, not of thinking. (Or planning, or feeling.) It’s also a congenial place for the Sun to be, i.e. its exaltation. Explains Isabel Hickey:

“The Sun is exalted in Aries. Aries initiates activity. It is the impulse to be - the divine spark in each of us coming into matter. Wherever Aries is placed in the chart is where we begin to operate; where we plunge into activity and this energy has all the power of the solar ego behind it. In nature lies the secret of life. The Sun force that pulls the sap up in the trees and the planets in the spring is the force that starts new energy flowing.” - Astrology, A Cosmic Science

Where the Sun travels in your chart, while it’s in Aries, is first of all energized to the point of being overcharged. Beware burnout! You have a ton of energy to expend, you feel invincible, and you may become very competitive. Just bear in mind that (1) armies march on their stomachs and (2) garbage in, garbage out. In other words, take care of yourself!

Celebrities with Sun in Aries: Aretha Franklin, Lady Gaga, Mariah Carey, K Stew, Charlie Chaplin, RDJ, Vincent Van Gogh, Victoria Beckham, Lucy Lawless, Michael Fassbender, Ewan McGregor, Elton John, J. S. Bach, Pharrell, Linda Goodman, Billie Holiday, Gary Oldman, Hayden Christensen, Rene Descartes, Charles Baudelaire, Eddie Murphy, Jackie Chan, Alec Baldwin, Steven Tyler, Diana Ross, Charlie Hunnam, Maya Angelou

Asterisks * indicate difficulties and challenges for placements in that sign.

Saturday, March 25, Venus Rx/Aries conjunct Sun/Aries, 4:57

This is the beginning of the 580-ish day long Sun/Venus cycle, and I’ll probably do a separate blog post about it. For now, for the purposes of planning ahead: this is excellent energy for flirtation. Whether or not it’s good for lasting romance, well…. Also nice for starting something artistic.

Planets/Points affected lie between 3:57 and 5:57 of the signs Aries, Gemini, Cancer*, Leo, Libra*, Sagittarius, Capricorn*, and Aquarius.

Tuesday, April 4, Juno/Capricorn square Sun/Aries, 15:12

“Stressful aspects,” wrote Demetra George in Asteroid Goddesses, “point to potential conflicts between one’s need for individuality and the need for relatedness.” Some of us need a lot of space (Ms M raises her hand), but some others can’t wrap their heads around that. The solution lies, Demetra continues, “in developing a relationship structure that provides equality, honesty, and mutual support.”

Planets/Points affected lie between 14:12 and 16:12 of the cardinal signs Aries*, Cancer *, Libra*, and Capricorn*; and between 0:00 and 1:12 of the mutable signs Gemini*, Virgo*, Sagittarius*, and Pisces*.

Friday, April 7, Jupiter Rx/Libra opposite Sun/Aries, 18:15; Saturday, April 8, Pluto/Capricorn square Sun/Aries, 19:21

The cardinal grand cross is breaking up. Yippee! This is a “mere” t-square which, per astrologer Bill Herbst, speaks to “the need for change in addressing various collective problems and concerns. The existing status quo begins to give way to the understanding that something must be done, and quickly.” With the Sun in Aries, we could look at this as a “what can a poor boy do?” situation, or perhaps a “trying to swerve the Titanic” situation depending on one’s mood.

Planets/Points affected lie between 17:15 and 20:21 of the cardinal signs Aries*, Cancer *, Libra*, and Capricorn*; and between 2:15 and 5:21 of the mutable signs Gemini*, Virgo*, Sagittarius*, and Pisces*.

Wednesday, April 12, Eris/Aries conjunct Sun/Aries, 23:11; Thursday, April 13, Uranus/Aries conjunct Sun/Aries, 24:27; Friday, April 14, Vesta/Cancer square Sun/Aries, 25:01

“Just” a square, which to Ms M is screaming “LEAVE ME ALONE DAMMIT.” With maybe a little “DON’T LUMP ME IN WITH THOSE IDIOTS” mixed in. It’s a very angry energy, the chips on the shoulders piled high. On the other hand, those of us who are of the milquetoast persuasion can use this energy to light a fire under our asses and get moving. Maintain a pure inner core!

Planets/Points affected lie between 22:11 and 26:01 of the cardinal signs Aries*, Cancer *, Libra*, and Capricorn*; and between 7:11 and 11:01 of the mutable signs Gemini*, Virgo*, Sagittarius*, and Pisces*.

Monday, April 17, Saturn Rx/Sagittarius trine Sun/Aries, 27:41

Here is a responsible, authoritative influence that in any element other than fire would stabilize our situation. There’s a danger of being too sanctimonious, too preachy, and too Pharisaic. (In one of Jesus’ parables, the Pharisee is in the temple praying, approximately, “Thank you, Lord, for making me such a fine upstanding citizen, and not like that piece of trash tax collector over there.”) On the other hand, we can show moral leadership today by going high when they go low. This aspect also has a sense of humor, based on wry Saturnine wisdom channeled through Sag.

Planets/Points affected lie between 26:41 and 28:41 of the yang signs Aries, Gemini, Leo, Libra, Sagittarius, and Aquarius.

#Astrology #Transiting Sun enters Aries #Ms M astrologer

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recentanimenews · 6 years

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Check Out Nana Mizuki's Brand New Music Video "WHAT YOU WANT"

The official YouTube channel for 38-year-old voice actress/singer Nana Mizuki has posted a two-minute music video for "WHAT YOU WANT," the lead track from her next 37th single "WONDER QUEST EP" to be released on September 26. In addition, a sound-only preview for "Kekkai," a duet song with popular voice actor Mamoru Miyano, has been also streamed.

"WHAT YOU WANT" short version MV

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"Kekkai" sound-only preview

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"WONDER QUEST EP" TV CM

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37th single "WONDER QUEST EP" (September 26, 2018 release)

1. "WHAT YOU WANT" (web anime Monster Strike ED)

2. "Kekkai" (smartphone RPG Onmyouji theme song)

3. "Birth of Legend" (Smartphone game Koukyousei Million Arthur theme song)

4. "Hungry Hungry" (beef bowl restaurant chain Nakau TV-CM song)

CD jacket

One month after "WONDER QUEST EP," Mizuki will release her 38th single "NEVER SURRENDER" from King

Records on October 24, 2018.

38th single "NEVER SURRENDER" (October 24, 2018 release)

1. "NEVER SURRENDER" (Magical Girl Lyrical Nanoha Detonation theme song)

2. "GET BACK" (Magical Girl Lyrical Nanoha Detonation insert song)

3. "Searchlight" (Live-action film Futatsu no Kinou to Boku no Mirai theme song)

4. "Nageki no Hana" (TV anime Ken En Ken Aoki kagayaki OP song)

Her song "Searchlight" is featured in the latest trailer for the live-action film Futatsu no Kinou to Boku no Mirai

to be released on November 19.

youtube

Source: Nana Mizuki official website / YouTube channel

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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courtneytincher · 6 years

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Ukraine to unveil upgraded T-64BV tanks with improved thermal imaging devices

The Armed Forces of Ukraine will unveil during upcoming military parade its recently upgraded T-64BV second-generation main battle tanks that were fitted with improved thermal imaging devices.

The T-64BV tanks will be presented at the country’s Independence Day military parade in Kyiv on 24 August.

The new thermal sighting system installed on existing T-64BV main battle tanks (MBT) to improve target detection at longer ranges and to operate at night or in poorly lit environments.

The upgraded T-64BV is visibly distinguished by the absence on the left side of the infrared searchlight.

Thermal imaging devices – installed on the T-64BV – do not require changes in the design of the tank and are installed on a regular fixture and are connected to the tank electricity supply without changes. Due to high-quality components, they have high resistance to light interference, enhancing work under difficult conditions; they are not sensitive to exposure even when an enemy’s using special interference in the IR. Commander and gunner devices are integrated to the fire management system, providing detection, identification, and destruction of the enemy.

The improved sight device features a thermal channel that is capable of identifying a tank in poor light conditions or during night-time at a range of 5,000 m (destruction of the enemy at a distance of 1.5 km).

Also upgraded T-64BV tanks is equipped with a new navigation system developed by the SE “Orizon-Navigation”. This navigation system operates in automated digital system, allowing “online” exchange of encrypted data. Data on the location of each vehicle can be sent to the commanders of all levels, from platoon commander to the management of all military operations.

We recall that in the military parade on the occasion of the 27th anniversary of Ukraine’s independence 4,500 servicemen and 250 units of equipment will take part.

Ukrainian T-64BVs. Photo by the Berezutsky Sergey

The post Ukraine to unveil upgraded T-64BV tanks with improved thermal imaging devices appeared first on Defence Blog.

from Defence Blog

The Armed Forces of Ukraine will unveil during upcoming military parade its recently upgraded T-64BV second-generation main battle tanks that were fitted with improved thermal imaging devices.

The T-64BV tanks will be presented at the country’s Independence Day military parade in Kyiv on 24 August.

The new thermal sighting system installed on existing T-64BV main battle tanks (MBT) to improve target detection at longer ranges and to operate at night or in poorly lit environments.

The upgraded T-64BV is visibly distinguished by the absence on the left side of the infrared searchlight.

We recall that in the military parade on the occasion of the 27th anniversary of Ukraine’s independence 4,500 servicemen and 250 units of equipment will take part.

Ukrainian T-64BVs. Photo by the Berezutsky Sergey

The post Ukraine to unveil upgraded T-64BV tanks with improved thermal imaging devices appeared first on Defence Blog.

via IFTTT

#Defence Blog

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monkeyandelf · 7 years

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New Post has been published on Buzz News from Monkey & Elf |

New Post has been published on https://www.monkeyandelf.com/here-are-the-films-and-tv-shows-disney-would-get-from-fox/

Here are the films and TV shows Disney would get from Fox

Today’s massive deal between the Walt Disney Company and 21st Century Fox, in which Disney acquired most of Fox’s film and television production and distribution businesses for $52.4 billion, will have countless far-reaching implications for the media and entertainment industries. The most obvious one is that — as long as the acquisition doesn’t hit any regulatory roadblocks — Disney will take control of the rights to two of the biggest back catalogs in entertainment: 20th Century Fox for films, and 20th Century Fox Television for TV shows.

As one of the “Big Six” Hollywood studios, Fox has been around for a long, long time. The film studio was founded in 1935 as 20th Century-Fox Film Corporation; the company spun up a TV division called TCF Television Productions in 1949. Over the decades, Fox has produced dozens of box office hits and long-running TV shows — and now, Disney will own them all, adding to its acquisitions of Marvel Entertainment in 2009 and Lucasfilm in 2012.

Comics fans have focused on the deal allowing Disney to bring a few leftover Marvel characters and Star Wars: Episode IV — A New Hope (including the 20th Century Fox fanfare) into the fold. But an acquisition like this also involves tons of film and television properties, ranging from billion-dollar franchises to things you’ve never heard of.

Note that in the film segment, the deal includes Fox’s movie-making apparatus as well as its distribution business. On the TV side, 21st Century Fox will retain ownership of the Fox broadcast network, Fox News and the cable sports network Fox Sports 1. But the way the TV industry works, production studios regularly make shows that air on other networks, so Fox-produced shows could still appear on channels that Disney didn’t own. And Disney would control the rights to what it will really care about down the line: streaming distribution.

Marvel and Star Wars

Yes, Disney’s acquisition would give the company full ownership of the Marvel characters under Fox’s banner — Deadpool, the Fantastic Four and the X-Men. The companies have shared the screen rights for two additional Marvel characters: Quicksilver and Scarlet Witch, whose comic book origins lie in both the Avengers and X-Men series.

This means that, say, the X-Men could join the Marvel Cinematic Universe. And once the current phase of those films concludes with the 2019 follow-up to Avengers: Infinity War, the company would be able to bring in new villains like Doctor Doom and Galactus.

Shifting to a different universe of genre film, the deal would give Disney the one piece of the Star Wars puzzle that it didn’t acquire when it bought Lucasfilm. Fox’s original arrangement with George Lucas included the exclusive distribution rights to the first Star Wars film (which was later renamed Star Wars: Episode IV — A New Hope) in perpetuity.

With the rights secured, there’s a chance that Disney could put together a modern home video release of A New Hope — the original theatrical cut from 1977, not the special editions with Lucas’ much-maligned alterations, which is currently the only option. Purists can download the unofficial “Despecialized Edition” of the original Star Wars trilogy, but a fan edit, amazing as it might be, just isn’t the same as being able to walk into a store and buy a Blu-ray copy.

There’s also the matter of the 20th Century Fox fanfare, which accompanied the first six Star Wars films. The movies under Disney — 2015’s The Force Awakens, 2016’s Rogue One and The Last Jedi this week — open with a silent Lucasfilm logo. It remains to be seen whether Disney will bring back Fox’s iconic percussion-and-brass theme for future Star Wars films.

A Titanic film library

Fox has built up an impressive movie library over more than 80 years. Looking to the future, the Avatar franchise may be the crown jewel in Disney’s acquisition of the Fox film studio. The original film, which was released in 2009, is the highest-grossing movie of all time with $2.79 billion in worldwide box office receipts. Four sequels are in development, with release dates scheduled from 2021 through 2025.

This summer, Fox concluded its successful Planet of the Apes reboot trilogy with the well-received War for the Planet of the Apes. Other 2017 entries in major Fox franchises include Alien: Covenant and Kingsman: The Golden Circle. The fourth Predator movie, The Predator, is coming in 2018. And last year, Fox released a sequel to Independence Day two decades after its debut.

Looking into Fox’s back catalog, there are a number of other well-known franchises that Disney stands to acquire, including Diary of a Wimpy Kid, Die Hard, Home Alone, Night at the Museum. And on the animation front, 20th Century Fox Animation owns Blue Sky Studios — the production house behind the Ice Age and Rio franchises — as well as the live-action/CGI hybrid series Alvin and the Chipmunks.

The deal comes with more than tentpole blockbusters, of course. Disney would also acquire Fox Searchlight Pictures, the indie-focused arm of 20th Century Fox, which has won three Best Picture Oscars in the past decade. (Believe it or not, no Disney film has ever taken the top prize at the Academy Awards.)

A big Modern Family

Acquiring Fox’s television studios will give Disney a major boost to its TV production capabilities. Disney hasn’t been as successful as Fox on the programming front lately, and one of its most beloved and reliable creators — Shonda Rhimes, the woman behind Grey’s Anatomy and Scandal — left ABC Studios for Netflix earlier this year.

One of ABC’s longest-running hits, Modern Family, is actually produced by 20th Century Fox Television, and one of its newest, Speechless, is a co-production between Fox and ABC. Other popular network shows from Fox include This Is Us, which airs on NBC, and Empire, which appears on Fox. That channel also broadcasts Fox-produced shows such as the revival of The X-Files and The Gifted, a live-action series based on the X-Men.

A scene from Fox’s X-Men series The Gifted.

Ryan Green/Fox

20th Century Fox Television has a subsidiary, Fox 21 Television Studios, that primarily makes programming for cable channels. Fox 21 has a hand in Showtime’s Homeland and FX’s American Horror Story, among many other shows. Disney would also acquire FX Networks in this deal, including the channels FX, FXX and FXM as well as the studio FX Productions. That company makes Fox’s second X-Men show, Legion, along with acclaimed series such as The Americans and It’s Always Sunny in Philadelphia.

The other subsidiary of 20th Century Fox Television is Fox Television Animation, which, of course, makes animated TV series such as The Simpsons, Family Guy and Bob’s Burgers. The firm’s library includes American Dad!, Futurama and King of the Hill.

Disney would own the production apparatus behind those series, as well as the production and distribution rights to Fox’s widely varied back catalog, which includes shows such as 24, Buffy the Vampire Slayer, Hill Street Blues, M*A*S*H, The Mary Tyler Moore Show and The Shield.

Streaming is the future

All of those films and television shows would give Disney a formidable library of intellectual property, and a lot more fodder for Hollywood’s favorite practice: reboots of things people once loved. But Disney CEO Bob Iger has stressed that the company is looking ahead to a future where people increasingly get their entertainment over the internet rather than through a cable box — and that’s what the Fox acquisition is really all about.

The deal would give Disney 60 percent ownership of Hulu, the streaming service that is primarily known for hosting currently airing TV shows from numerous networks. And Disney has already discussed plans for two of its own streaming services: ESPN Plus, which will offer sports programming beyond what’s available via ESPN’s existing TV channels starting in spring 2018, and an unnamed platform set to debut in 2019 with all-ages content from Disney, Lucasfilm, Marvel and Pixar.

Each of those two services would cost “substantially below what Netflix currently charges,” Iger said today during an investor call. And the Fox acquisition would serve as a massive influx of content that Disney could use to bolster its streaming platforms as well as its traditional linear TV channels. Brands like Star Wars and Toy Story are attractive on their own, of course, but a stand-alone streaming service would be much more viable with other desirable TV shows and films from Fox’s considerable library.

Correction (Dec. 18): This story previously stated that Fox sold the rights to Futurama to Syfy earlier this year. However, that arrangement is nonexclusive and only applies to broadcasts outside of Fox. We’ve edited the article to reflect this.

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