#and not just assembly line marvel products

[eruscreaminginthedistance]

Lowkey annoyed and amused by all the people in the Dune tag saying they didn't like Dune 2 because it made adaptational changes but they don't even elaborate on why the changes are bad, or are open to any of them as improvements, just that they don't like that they changed things.

Like this isn't about people who are actually giving it thought and are looking at the film with a critical lens. It's just a baffling number of people expecting a 1 to 1 recreation and saying that the movie was terrible because Denis had the nerve to not make every single Fremen character uncritically suck Paul's dick the whole film

[frumfrumfroo]

I wouldn't be so harsh in the criticisms of Marvel if only because they've done more for diversity and representation than basically any other franchise in the sci-fi/fantasy space. The Black Panther films are genuinely good, even great, and they deserve better than to be lumped together with stuff like Quantumania.

I'm sorry, were you just born ten minutes ago? Are you unaware that Star Trek exists?

[dailyadventureprompts]

Expanded universes really are the final frontier of franchise based storytelling aren't they? The ultimate sign that the brand managers have finally squeezed out the artists and twisted things into a state of maximum profitability.

Crossovers and callbacks can be fun, continuous crossovers and callbacks make the story into a slurry. Canon and what if's and reboots all ground up and served in a trough for the undiscerning consumer to mire in. It's bland, it's exhausting, it's pointless.

Big companies and studios are risk averse, and the profit seeking wisdom steers them away from niche works of art and towards wide appeal content. Why risk money on a movie/game that only a fraction of people will love when you can spread that engagement out across a dozen different products that are just good enough to keep people invested in your extended universe, whether from genuine fandom or just cultural fomo?

Marvel feels ubiquitous as Kleenex doesn't it? It's always there in the movie theatre/store, slightly cheaper offbrands right beside it. While individual works within the marvel universe might be genuinely good in their own right their quality is secondary to their purpose in perpetuating the brand and keeping it relevant.

People like familiarity, and if it's a safe bet for you as a consumer to have a pretty okay time in exchange for your hardearned dollars then it's a safe bet for the investors to receive their quarterly returns. It's no mistake that Disney, the company that owns Marvel does most of its business in theme parks: entertainment on an industrial scale. Just like their movies the rides are made to give you and everyone else who bought a ticket a scientifically optimized amount of fun and then move you along so that that the next batch of riders can have an identical experience.

It's value production as efficient as an assembly line or slaughter house, completely atomized and divested of any trace of the individual for the sake of maximum profitability. The figured out a way to sell you your own fandoms like they sell you happymeals, endless iterations of a product just this side of bad but convenient enough that you never need to go without.

I don't blame anyone for liking things, just like I don't blame people for wanting a quick burger in the middle of a long day. Our minds need entertainment just like our body needs calories, and profit seeking conglomerates exploit that need as they always have. What irks me is the fact that even outside of the commercials I feel like I am being sold something, like the movies and games I actually enjoy are being supplanted by feature length billboards that only serve to advertise the next instalment. The desire to find out what happens next is a powerful thing in media, and that desire is being exploited by expanded universes the same way it's exploited by DLC that contains the "true ending".

You can tell it isn't sustainable.. McDonald's is so inflated in price it's competing with actual restaurants, the gaming Industry guts itself with layoffs every quarter, and Disney's competitors are producing entire movies and tv shows only to destroy them for tax befits. The cracks have been showing for a while but I have no idea what shape the landscape is going to take after the dam gives.

[piglet26]

Alright, Is the Star Wars Fandom Sexist?

As you probably know Daisy Ridley signed onto do another Star Wars film. I welcomed this..... mostly. If they don't reunited the Dyad I'm very curious as to what would be the point (more on that later.) Well, I saw this quote from a recent interview of hers, "I think my take is things get blown out of proportion and the interactions I've ever had with people have been nothing but wonderful and supportive," Ridley said. "I've only ever been embraced. And I think we're going to make a great film."

Now whether or not Ms. Ridley actually feels this way.......she's intelligent enough to say just this. Undeniably, all of the men who have talked shit about her for the past 7,8 odd years will now have softened to her for simply not holding them accountable. Hey, that's the biz kids. Don't make enemies out of your audience. No man wants to be called a sexist even if he actually is one.

Is there sexism in Star Wars? Yes and no. It has never been a straight answer. Now if you ask a lot of men in the Star Wars fandom if they are sexist..... they'll say no. Why? Princess Leia of course! Padme! Strong women who directed men, issued orders and politically led. They did and do support these women. In fact, if you had asked me if the fandom was sexist prior to The Sequel Trilogy I would've said that the SWF is one of the most progressive fandoms for women and has been since the 70s!

Where did it all go wrong?

Well, maybe this

Or, this

Maybe just good ole fashion paranoia. Personally, I think it's a combination of all three. The minute Disney bought Star Wars the fandom was primed to distrust it. Change, for better or worse, was on the horizon. Hell, even worse, corporate change. It's Rage against the Machine raging FOR the machine. Least we forget how Star Wars started...... as a "fuck you" to corporatized assembly-line movie production.

However, we are not her to discuss whether The Sequel Trilogy was good. Debatable..... with the exception of Reylo. That's just iconic. We are here to discuss how on earth Daisy Ridley ending up bearing the majority of the responsibility for its failures. Maybe even more importantly the "Feminization" of Star Wars.

A sane person could tell that. The same people screaming "Star Wars is Dead" for the last seven years are still saying the eulogy. Still going on whining and complaining about it. There is a general rule when franchise start to go off the track - you ignore it was ever made. Godfather 3? Tokyo Drift? Never happened.

If you don't like what Star Wars has become then the first person on your shit list should be it's creator. George Lucas. George could've signed over Star Wars under the guarantee that whatever outline he produced for The Star Wars Sequel Trilogy, Disney HAD to stick to - he didn't. He could've signed on a producer - he didn't. He could've picked someone else except Kathleen Kennedy to replace him - he didn't. Somehow George Lucas has escaped any responsibility in what his life's work has become. Maybe the fandom got it out of their system after the Prequel Road Rage.

News that George Lucas's treatments were thrown out and the extended universe being cancelled didn't exactly calm down the public.

Maybe the next person should JJ Abrams and Kathleen Kennedy for for thinking that there was something wrong with Star Wars. Star Wars already was diverse. It already HAD strong females. Yet, there they went finding problems that didn't exist. Why? Money. Disney has a powerful female/family demographic. Star Wars a strong male demographic. Disney sought to combine the best of all worlds in one franchise and they were the company to do it. Look at what they accomplished with Marvel!

Then the announcement came that there would be a female protagonist. A female Jedi to be exact. I thought this was different and interesting. The men did not. What they saw in there head was THE FORCE IS FEMALE in flashing bright lights. This was it. Confirmation. Star Wars was about to get pussyfied. From the get-go Daisy Ridley's Rey was to be a focus, a target, for the mistrust, uneasiness and rage from the men.

Let's me be clear men are ok girls liking their stuff. As long as girls are not in a position to influence whatever it is they like, or rather "ruin it." Can you blame them? If a bunch of straight dudes came in and started writing Sex and the City I'm telling you- they'd ruin it.

The Force Awakens finally arrives and curiosity was able to lure in even the most salty man. Not to mention the possible joy of seeing Han, Luke and Leia on screen together again. TFA is a perfectly decent film. There were two glaring choices in this film. One, Han is killed. Two, Rey beats Kylo Ren at the end. All things considered we should not have been surprised what the internet had to say. Rey was a Mary Sue. Men who didn't even know what a Mary Sue was were even saying this.

The term “Mary Sue” was first coined in 1973. A young main character, usually a woman, who was portrayed as unreasonably gifted across every discipline: intellect, combat, the arts, etc. This character would often become respected (and maybe even loved) by main characters and would end the story by saving the day in heroic fashion.

You don't have to like Rey. You don't have to love her. Rey isn't even the greatest character ever developed, but come on! I wonderer if the people criticizing her even watched the movie. I heard criticism that Rey was too likable! Well, she's the protagonist. She's too pretty! That's a bad thing? She's too nice! She comes off really brash and naive actually. She's the greatest pilot ever! She flew once and not that well. Most of the criticism around Rey was disingenuous and petty as hell.

Many critics have taken the lazy route of she has no character arc or character, but that’s not a very observant take. Her yearning for family and her desperation for her parents to return, while understandable, made her vulnerable to Kylo Ren. Her loneliness made her ultimately vulnerable to anyone who would be nice to her. Now I understand there was no consequences for her faults. However, there can't be both criticism. She either doesn't have a personality, or, she has one, but doesn't suffer consequences for it.

“How could she fly the Millennium Falcon so well?” “How could she beat Kylo Ren when she’d never used a lightsaber before?” “How could she resist Kylo Ren’s interrogation?” The film answered most of these questions. Ironically, no one questioned the 8 year old Anakin Skywalker or the farm boy Luke Skywalker for being amazing or great at anything because of The Force.

She grew up defending herself in melee combat. Her quarterstaff is not a lightsaber, of course, but it was established early on that she has the instincts and the reflexes to hold her own in a fight. While I don't agree with Rey beating Kylo Ren I understand how it was accomplished. Pure, dumb luck. It was luck that Ren was physically and spiritually crippled during their confrontation. Not to mention he had the hots for you. Finn was able to hold him off mostly because Kylo was toying with him, but when he grew bored Finn ended up face first in the snow. No one questioned how Finn the janitor could wield a lightsaber.

Let's talk about Finn, or rather John Boyega. All things considered pretty lucky guy. He got a likable that he played well and got paid well. You wouldn't know it by listening to him. He complained bitterly. He attacked the fans. He attacked Disney. He attacked America. He got off Scott free with fandom. Most remember him with nothing but fondness. Maybe because he is black people feel slightly uncomfortable going after him. But, the women? No problem. Even when fans hate male characters, they talk about what they hate with nuance.

Daisy Ridley did her job and she went home. She carried on beautifully and respectfully with what she was given by the production team. That is all any actor can do. The same would apply to the girl who played Rose Tico. Yet, criticism of what was happening on screen started to bleed onto the actresses in real life.

Mark Hamill shit talked the Sequel Trilogy - fair, enough. But why did you sign on? It he because he needed a job? Hondo wasn't a great leader. I agree. But, countless people ended up losing their lives due to Poe because he refused to listen to the female authority around him. Where was the fandom with their logic bitterness scorecard? The majority of the criticism I heard (Literally several videos on Youtube) was criticism towards Hondo for not telling a newly demoted soldier all of her plans.

Anywho Rey has this new movie coming out...........okay. Not sure who wants to come back for it other than her. After TROS and the fans most co-stars seem good doing other things. OG characters are killed off. There is one person with stunning jet black hair, 6'3, plush naturally red lips, a big dick, freckles and a heroic run that she's in a dyad with that would make this whole movie worth it. Do I faith they'll do the right thing and pay Adam Driver whatever they need to to bring him back? No. Cause there is a little bit of an agenda. For some reason love in the Star Wars universe doesn't do very well, but for the woman it's none existent. The concept that a strong woman doesn't have to die alone seems odd to the very people that want equality for women. For example I saw this comment, "Rey Skywalker is her own character and her continuing story doesn’t have to revolve around Ben Solo. Daisy Ridley’s return shouldn’t be overshadowed by fan expectation over Adam Driver returning."

Yes, it does. This film needs to work. I cannot stress that enough. You know people want to see this film fail. Reylo isn't purely for sentimental reasons (I WOULD SEE MY DYAD REUNITED FOUR TIMES IN THEATRES) Reylo is the biggest marketing advantage Disney Star Wars has..... you knew that when Solo flopped. Do the smart thing, put these people on mute and give us a iconic fight fuck scene.

Rey also wear clothes appropriate with her environment and match the physical needs of what she needs to accomplish like her male peers. Logical and refreshing. I hear the men mostly complain about the lack of hot women in their fantasy.

We could also talk about the sexism Carrie Fisher faced from the not only the studio, but the fandom for the crime of getting older and gaining weight. Her in a metal bikini is already in the spank bank - she contributed enough.

Again, neither Carrie Fisher nor Daisy Ridley in a smart world could ever really own that. Anymore than the Rose Tico actress could. Worse, they could never really tell the Fanboys what they really think of them. I love me some Fanboys, I do, but they aren't a perfect group of people. They just criticism everyone's work like they are. We're suppose to ignore the giant dump they take on anything and everything that comes out. I genuinely think the people beyond The Star Wars Sequel Trilogy sought out to create a great story. To honor what came before. In many respect they did. They aren't George Lucas though.

There is legitimate criticism towards Disney for how it has handled the Star Wars franchise. Currently it can't exactly be be described as quality over quantity. The writers seem like they are writing for early 00s Disney Channel rather a complex space political fairytale. Characterization has not been wonderful. Again, it's not simple. While Disney has not steered the ship perfectly. I would argue there was an audience sitting in ill will and waiting to be disappointment.

[togglesbloggle]

Is it just me, or is there a pretty under-explored niche for a massive D&D fantasy franchise along the lines of Star Wars and Marvel? The sort of missing third genre leg beside science fiction and comics, so to speak.

They've clearly tried this with Tolkien, at least as far as extending the LotR movies to the Hobbit trilogy and the Amazon show which is kinda-sorta in the same lineage. And those things had more than none traction. But the Tolkien estate isn't making it easy with rights licensing, and there's an awkward founder effect they have to contend with- the Jackson LotR trilogy gave the entire franchise a very distinct 'vibe' in the popular imagination, and in practice it seems to be hard to recapture given current production constraints. It seems like it's really hard to make a Tolkien movie or show that 'feels like' the Jackson movies unless you sink a lot in to costuming and practical effects, but the current trends are in the opposite direction, with elaborate greenscreening and digital everything.

But in any case, Middle-Earth really isn't the brand you want for a mass-media culture juggernaut, is it? It's literary when it needs to be pulpy, mournful when it needs to be exciting, pensive when it needs to be strident. The world is vast, but delicate, and written by a single author exploring a narrow, coherent set of themes and styles.

Surely D&D- which is to say, the Forgotten Realms, realistically- is better for this all-around. It has a truly massive baked-in fanbase that's clearly (through 'actual play' podcasts etc.) already chomping at the bit for high production value experiences, a vast backlog of source material to draw on owned by corporate entities rather than a single brittle family estate, a wide variety of scenarios allowing for multiple sub-genres and directoral styles all under the same umbrella. It's just as popular but less sacred, meaning the audience will be more tolerant of failures. It has merchandising options for days, already has beautiful examples of video game and multimedia tie-ins, and has established and successful writing patterns for epic-scale crossover movies, long-running multi-season campaigns, one-shots, and everything in between.

There's one weakness, which is that compared to Star Wars and Marvel, individual characters are less central in the existing property. D&D has some, such as Drizzt, that rose to prominence in the novel spin-offs, so of course this isn't totally wrecked. However, the brand was originally built fundamentally as a game system and as a set of places, with the heroes to be assembled by the consumers themselves; it must be said that iconic characters are somewhat sparse, and awkwardly spread across multiple settings and continuities. But I think if you got the thing really roaring, this might give it longevity that Star Wars and Marvel ultimately lack- Robert Downey Jr. is Iron Man, Mark Hammil is Luke, and notwithstanding AI representations, once those actors are gone, the franchises themselves flounder awkwardly. But if audiences come to identify their enthusiasm for D&D franchise movies with the world and brand itself, then the turnover in the cast is much less damaging to that brand, because the whole thing is already built from the ground up without overly relying on a specific group of 8-10 actors as a lynchpin of the whole operation. Even the leveling mechanic allows for franchise tentpole actors to grow in prominence as they emerge as audience favorites, then conveniently transition in to CG apotheosis or some other suitable end as the actors age out and new favorites are found.

I mean, far be it from me to give advice to the goliaths of culture, but I'm genuinely puzzled about why Disney hasn't bought D&D yet, or why Hasbro hasn't made some kind of big push to do this outside the single (pretty good!) movie. I think I'd even kind of enjoy it.

[blazehedgehog]

Do you agree with Martin Scorsese about Superhero films?

Movies mean different things to different people. People focus on Scorsese's remarks as an attack on super hero movies, but it's more of an attack on the business that generates them.

He sees a manufactured, packaged, mass-produced product, focus tested and factory-fresh. Grown in a test tube laboratory to do one thing, and one thing alone: make money.

Scorsese wants more movies made by people who are making movies for personal reasons. Marvel, Disney, Warner Brothers -- these studios come up with the idea first, and then find somebody to write the script, direct the movie, and fill it with actors after the fact.

I mean, Disney was openly talking about this just a few weeks ago, that they were pitching an animated Tron movie to directors hoping somebody would make it for them. Directors should be pitching movies to Disney, not the other way around! The Disney brand used to be this ultimate seal of quality! Everybody wanted to work for them! If they're having to headhunt for random directors, that says a lot about the state of things and how roles have changed.

After all, why wait for a billion dollar franchise to fall into your lap by accident when you can just look at marketing analytics and cash in on popular trends? Promise a big enough paycheck and you're bound to hook someone eventually, even if, deep down, they do not actually care for your ideas. But money is money. They can always fix it in post with CGI.

Scorsese makes movies because he wants to tell that particular story. He wants it to stand as a piece of his artwork. Think of it as if he's a sculptor, hand-making something out of stone and clay. A Marvel movie or a Space Jam 2 or whatever is put together on an assembly line.

Now the thing to keep in mind is that even assembly line things have all this craft and talent and power behind them, but it's also the difference between "there's only one of these statues in the world" versus, like, a Funko Pop.

What is at the heart of Scorsese's complaint is that there are fewer and fewer spaces for his kind of artwork (or the art of his friends) to be displayed and appreciated. His work is being pushed out of the conversation by your David Zaslavs and Bob Igers, whose only goal is to keep growing at all costs, all the way up until the bubble finally bursts.

It's like the end of Akira, where Tetsuo becomes this ever-expanding mass of flesh that threatens to crush the entire city under its mass. Scorsese is feeling like he's getting smushed.

[denimbex1986]

'Christopher Nolan is freaking me out.

“There’s a pretty simple argument mathematically for saying the world will end in nuclear Armageddon simply because that’s a possibility,” he’s calmly explaining. “Over an infinite timeline, it’s going to happen at some point.”

It’s hard to dispute Nolan’s logic that civilization will one day vaporize, but as he tops off his mug of Earl Grey tea from a small kettle on the table in front of him, he hits a slightly more hopeful note. “My optimistic human self has to believe we’ll find a way to avoid that, but I don’t take a lot of reassurance in the idea that mutually assured destruction has prevented a cataclysm so far. It’s the ‘so far’ that’s the problem.”

Nolan is something of an authority on the apocalypse. After all, “Oppenheimer,” his look at J. Robert Oppenheimer, the architect of the Atomic Age, is one of the most-seen films of this or any year. The three-hour, R-rated drama where the action mostly unfolds in laboratories and congressional hearings has grossed nearly $950 million globally, more than almost any recent Marvel movie. In the process, it’s reshaping Hollywood’s idea of what constitutes blockbuster entertainment.

Over the past two decades, comic book adventures subsumed the movie business, with studios churning out an assembly line of sequels and spinoffs featuring superpowered heroes. But “Oppenheimer” reveals that audiences will turn out in record numbers for darker, more complex stories. That is, if they’re told with the epic flair that Nolan has honed in movies like “The Dark Knight” and “Dunkirk.” And it’s giving other filmmakers hope.

“Not only did ‘Oppenheimer’ work, but it seemed to work in defiance of received wisdom,” says Damien Chazelle, the Oscar-winning director of “La La Land.” “Before I even saw the film, it felt like one of those test-case scenarios. All around the industry, a lot of people were saying, ‘This is not what the audience wants — it’s a bummer, and they just want escapism.’ And they were all wrong. So that makes its success all the sweeter.”

Nolan is stunned by the grosses, as well as the Oscar buzz that “Oppenheimer” is generating. “With certain films, your timing is just right in ways that you never could have predicted,” he says. “When you start making a film, you’re two or three years out from when it’s going to be released, so you’re trying to hit a moving target as far as the interest of the audience. But sometimes you catch a wave and the story you’re telling is one people are waiting for.”

In this case, the film reached screens at a moment of roiling global anxiety. Russia’s invasion of Ukraine, which took place just as Nolan and his cast and crew were starting production, has elevated fears of a potential nuclear conflict. And when we meet on an October morning in a lifeless conference room in lower Manhattan, blocks from where the World Trade Center once stood, we are a week away from the terrorist attack on Israel, which has resulted in unspeakable violence in the Middle East and the prospect of a widening war. Our troubled world has only grown more turbulent since “Oppenheimer” was released four months ago. (The film will be available on Blu-ray, DVD and digital on Nov. 21.)

“The awful truth of nuclear weapons is that concern about them ebbs and flows with the geopolitical situation,” Nolan says. “But it shouldn’t. The threat is always present, but sometimes an event will happen that brings it more front of mind. But that’s not how it should be; it’s a danger that hovers over the planet and will never go away.”

On the night “Oppenheimer” opened in July, Nolan sneaked his mom, his producing partner and (wife), Emma Thomas, along with three of their four kids into the back of the Imax theater at Manhattan’s AMC Lincoln Square to see how the sold-out crowd was enjoying the movie.

“I usually don’t want to go, but the minute I’m there, something magic happens,” says Thomas.

In the theater that night, as Oppenheimer and his team prepare to detonate the first nuclear weapon, Nolan felt viewers’ concentration intensify. “It was a remarkable experience to be there,” he says. “Every seat was filled, and the focus on what was happening on-screen was so strong. That level of engagement was something that I’d never really felt before. Real attention was being paid.”

On that morning downtown, Nolan, 53, is wearing a collared shirt, slacks and a blue blazer. He rarely deviates from this proper, vaguely professorial look, which colleagues say is intentional.

“His dressing style is a manifestation of the fact that he’s putting his energy elsewhere,” says “Oppenheimer” cinematographer Hoyte van Hoytema. ”He wears the uniform to make things easier for himself and to strip away the bullshit. He likes certain routines, and he hangs on to them in order not to have to think about anything else. He has such a hawk’s-eye focus on the task at hand. There’s no other director I’ve ever worked with who has such a specific devotion and dedication.”

There are certain rituals on a Nolan production too. He shoots on film, even though most of the industry has moved to digital, using Imax cameras to give his movies the scope and scale that he prefers. And he surrounds himself with a close-knit group of frequent collaborators — from Cillian Murphy, who took the lead role in “Oppenheimer” after five previous Nolan outings, to van Hoytema, who returned for a fourth go-round with the director. Despite his films’ big budgets, he likes to keep his sets small, shunning a video village. And he discourages his actors from spending a lot of time in their trailers.

“There’s not a lot of waiting around,” says Thomas, “because Chris is fast and efficient when he works.”

Thomas, who has produced all her husband’s films and co-founded their production company, Syncopy, says Nolan maintains an atmosphere on set. “Chris is clear about what he needs,” she says. “But there’s also a sense of calm, which allows people to do their best work.”

When he’s not shooting a movie, Nolan takes notes about ideas that, more often than not, never become a finished film. “His office is a shambles,” says Thomas. “It’s filled with notebooks. There’s no method to them — there are sketches of things or a logo for a movie he’s going to make or a little bit of a story he may want to tell. He writes everything down.”

But Nolan doesn’t start writing a script until he knows he’s actually going to make the movie he sees in his head. That’s partly due to his experience writing a biopic about Howard Hughes in the early aughts. He loved the screenplay he’d finished and expected to cast Jim Carrey as the reclusive billionaire, but he had to abandon it when a competing Hughes project, Martin Scorsese’s “The Aviator,” went into production. To this day, he hasn’t seen Scorsese’s film, something he had to confess to its star, Leonardo DiCaprio, when they made “Inception.”

“It was very emotional to not get to make something I’d poured all that into,” he says.

The idea for “Oppenheimer” was kindled when Robert Pattinson gave Nolan a book of the physicist’s speeches at the wrap party for his 2020 film “Tenet.” Nolan had been born into a world where nuclear weapons were a fact of life, but he was struck by how Oppenheimer and his fellow scientists were grappling for ways to make sense of the destructive power they had unleashed. “It was a brilliant mind asking how we manage this change we’ve wrought,” Nolan remembers.

That led him to revisit “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning biography. It documented how a socially awkward academic became the unlikely leader of America’s efforts to beat the Nazis in developing an atomic bomb. It also chronicled the aftermath of that discovery, as well as Oppenheimer’s conflicted feelings about the nuclear arms race it sparked. Nolan began to see the cinematic potential.

“This was a man who was a remarkable combination of integrity, sincerity and theatricality,” Nolan says. “I’m drawn to complex and contradictory protagonists.”

For most of his career Nolan made movies for Warner Bros. He never had a production deal with the studio, but Warners put him on the A-list by selecting him to oversee its “Batman” reboot, leading to the hugely successful “Dark Knight” trilogy. Warners then released other Nolan hits, such as “Dunkirk” and “Inception.” But in 2020, with the pandemic raging and theaters struggling to draw audiences, WarnerMedia chief Jason Kilar decided to premiere a year’s worth of films on HBO Max, the streaming service that Warner Bros.’ parent company had recently launched. Nolan didn’t have a movie slated to open during this period, but he was incensed by the precedent. He released a statement slamming the strategy as a bad business decision, writing, “Some of our industry’s biggest filmmakers and most important movie stars went to bed the night before thinking they were working for the greatest movie studio and woke up to find out they were working for the worst streaming service.”

So it wasn’t surprising that when it came time to make “Oppenheimer,” Nolan went elsewhere, to Universal. He had established a strong relationship with its head, Donna Langley, while working on a film adaptation of the TV series “The Prisoner” several years before. He couldn’t quite “crack” the adaptation, he says, which went unmade, but the pair stayed in touch, with Langley seeing Nolan and Thomas for the occasional lunch. Nolan appreciated Langley’s reputation for protecting and supporting top talent, while the executive was eager to land the next film from such a high-profile filmmaker. Still, “Oppenheimer,” with its nearly $100 million budget and lengthy discussions of theoretical physics, was a risky proposition.

“A biopic at this length about this subject matter should not do well,” says Langley. “But when you factor in a filmmaker like Chris, who is undeniably theatrical and who has a strong following of fans ranging from teenagers to adults, that’s the differentiator.”

Nolan didn’t want to make the movie on studio sets. He wanted to immerse viewers in the world of his protagonist, so he shot the film on location in New Mexico, near where Oppenheimer’s team made the bomb, as well as in Princeton and Berkeley, where he spent most of his academic career. The production also used historical locations, filming scenes in the actual Los Alamos home where Oppenheimer lived with his wife and young children as he oversaw the Manhattan Project.

“The audience may not notice the difference, but shooting as much as we can on the real locations gives everyone so much more to tap into,” says Thomas.

“Oppenheimer” unfolds in two overlapping sections. One, shot in color, is told from Oppenheimer’s perspective and is set largely during World War II. The other, produced in black and white, centers on Lewis Strauss, an original member of the U.S. Atomic Energy Commission, as he clashes with Oppenheimer over the scientist’s eventual opposition to the development of the hydrogen bomb. Strauss’ anger over slights, real and imagined, sets in motion a plot to discredit Oppenheimer and deny him his security clearance.

Nolan’s film depicts the Trinity test, the first detonation of the bomb in the New Mexico desert, in nail-biting detail, but it does not show the destruction of Hiroshima and Nagasaki, an omission that Spike Lee and others have criticized. Nolan says that was intentional — Oppenheimer was half a world away when the bombs were dropped. He learned about their detonation on the radio.

“The film presents Oppenheimer’s experience subjectively,” Nolan says. “It was always my intention to rigidly stick to that. Oppenheimer heard about the bombing at the same time that the rest of the world did. I wanted to show somebody who is starting to gain a clearer picture of the unintended consequences of his actions. It was as much about what I don’t show as what I show.”

Oppenheimer did grow more concerned about nuclear proliferation, and he advocated for the creation of an international body to control the production of radioactive material. However, he never publicly criticized the decision to drop the bombs. It’s a debate that continues to divide people. So what does Nolan think?

“My research and my engagement with this story tell me that anyone claiming a simple answer is in denial of a lot of the facts,” he says. “Obviously, it would be much better for the world if it hadn’t happened. But so much of the attitude toward the bombing depends on the situation of the individual answering the question. When you speak to people whose relatives were fighting in the Pacific, you get one answer. When you look at the devastating impact in Hiroshima and Nagasaki, you get another.”

Nolan says that he and the movie he made are more interested in provoking discussion than providing resolution. “The film is an honest attempt to express my feelings about it,” he says.

Shortly after Nolan and Langley announced in September 2021 that Universal would produce “Oppenheimer,” they revealed that the film would open two years later, in July, the same month that the director had launched two “Batman” movies, “Dunkirk” and “Inception.” “Chris is somebody who likes tradition,” Langley notes.

Nolan may have had sentimental reasons for picking July for “Oppenheimer” to drop, but he couldn’t foresee the stiff competition his film would face when it was released. In April 2022, Warner Bros. announced that it would open “Barbie” on the same day as “Oppenheimer.” It looked like the studio wanted to kill Nolan’s movie.

Nolan deflects when I ask him about it. “It’s always daunting when you start to see how the competition for the summer is shaking up,” he says. “I’ve been releasing summer films for 20 years, and it’s always crowded.”

If Warner Bros. intended to hobble Nolan’s film, the plan backfired spectacularly. Instead of cannibalizing each other, the prospect of two major movies opening in the same weekend galvanized audiences. It inspired memes that encouraged people to turn the confluence of blockbusters — one a neon-pink comedy, the other a somber drama — into an unlikely double feature.

“People had forgotten what it was like pre-COVID,” says Nolan. “Not that long ago, there often was more than one big film opening on a weekend. That can be stressful for filmmakers, but it’s better for theaters.”

It also seemed like a sign that audiences are desperate for something that isn’t a reboot or a retread. For the first time since 2001, the year’s three highest-grossing films, “Barbie,” “The Super Mario Bros. Movie” and “Oppenheimer,” aren’t sequels or comic book adventures.

“It’s clear from the box office that audiences are looking for things they haven’t seen before,” Nolan says. “We’ve been through a period where it was wonderfully reassuring for studio executives to feel that their franchise properties could go on forever and be predictably successful. But you can’t deny filmgoers’ desire for novelty.”

Despite the drama involving the “Barbie” and “Oppenheimer” release date, as well as his criticism of Warner Bros., Nolan’s relationship with the studio isn’t irretrievably broken. “It’s water under the bridge,” he says of the feud.

For one thing, the media chiefs that Nolan came out swinging against are gone. AT&T, which had prioritized streaming above all else, sold a controlling stake in the company to Discovery in 2022. The newly rechristened Warner Bros. Discovery then installed CEO David Zaslav, setting the stage for Kilar’s exit. Zaslav also recruited new movie chiefs, Michael De Luca and Pam Abdy. So is Nolan open to working with Warner Bros. again?

“Oh yeah, absolutely,” he says. “Pam and Mike and Zaslav, they’re trying to do some great things with that studio, which is encouraging to see.”

It also helps that the entertainment industry, and Warner Bros., have begun to share some of Nolan’s skepticism about streaming. For a time, nearly every major media company was busy dropping licensing deals that allowed their movies to appear on cable or platforms like Netflix. They wanted to bolster subscriptions to their own streaming services by offering their movies exclusively on the likes of HBO Max or Disney+. However, as Wall Street looked more closely at the economics of these platforms, it found them overly costly and insufficiently profitable.

Nolan, who clearly understands the film business as well as the art, says he slammed the HBO Max plan partly because of the shoddy economics. And he thinks that Hollywood’s decision to push a streaming model above all else caused the writers’ and actors’ unions to strike this year because they weren’t earning the same type of royalties they once did.

“Part of the craziness with the labor negotiations this summer has been the studios sitting there and going, ‘Well, we can’t pay you because we don’t have enough money,’” Nolan says. “To which the answer is ‘Well, you don’t have enough money because you’re not managing your business correctly. You’re not getting the same amount of money for your product that you were before.’ The shift to streaming has disrupted the entire industry and created problems for everybody.”

‘‘Are you making me look amazing?” Nolan asks.

He is in high spirits as he calls me a few days after our initial meeting to answer some follow-up questions and to see how the story is progressing. That includes teasing me when I ask him if he’s thought about what’s next after the blockbuster success] of “Oppenheimer.” “Why? Do you have a script to pitch me?” he asks with a laugh.

It’s a warmer, droller side of Nolan, and one I haven’t experienced before. Not that he’s prickly — he’s unfailingly polite, generous with his time and thoughtful in his responses. Yet, he’s also keenly aware of how his remarks may be misinterpreted on social media or repackaged online, which can lead him to approach certain topics gingerly. For example, when I ask him if he’s seen “The Batman,” Matt Reeves’ recent film about the Caped Crusader, Nolan says he doesn’t want to answer that question. “If I start talking about comic book movies, that would be the only thing anybody pays any attention to in the article,” he explains. He’s probably right.

Nolan hasn’t made up his mind about the kind of movie he’ll make next. And when I push him on whether he’d return to franchise filmmaking, as he did so effectively with his “Batman” films, or if he’d prefer to make a movie purely based on an original idea, he leaves the door ajar.

“Ideas come from everywhere,” he says. “I’ve done a remake, I’ve made adaptations from comic books and novels, and I’ve written original screenplays. I’m open to anything. But as a writer and director, whatever I do, I have to feel like I own it completely. I have to make it original to me: The initial seed of an idea may come from elsewhere, but it has to go through my fingers on a keyboard and come out through my eyes alone.”

It will be intriguing to see how Nolan spends the capital he’s accrued from the critical and commercial success of “Oppenheimer.” Ever since “The Dark Knight’’ topped the box office, studios have been lining up to work with him. He’s used their interest to greenlight cerebral epics and historical dramas that others might have had trouble getting made. These movies, whether they take place in the streets of Gotham City or on the beaches of France, center on similar themes. Many, if not most, of Nolan’s films contain a warning: The search for knowledge is perilous. That danger is front and center in “Oppenheimer,” where the quest to harness the power of the atom creates unimaginable suffering.

“This film has impacted people and made them think very deeply about all the ways in which we can be our own worst enemy,” says Thomas.

“Oppenheimer” also feels like the culmination of a phase of Nolan’s artistic journey.

“There was a sense that he’s been working his way toward this film,” Steven Soderbergh, the director of “Traffic” and an executive producer of Nolan’s film “Insomnia,” says. “It required all the tools and experience that he’d had up to that point to pull something like this off. This was the cinematic equivalent of a mic drop.”

Realizing his bold vision cost Nolan something. The darkness of the subject matter, along with the existential questions it raises, weighed on him as he edited the movie. One stormy day in Los Angeles, he was returning home when he noticed raindrops falling on a puddle. It evoked the beginning of “Oppenheimer,” where the intense physicist stares down at rainwater sloshing on the ground. It’s a moment of contemplation for a brilliant mind who, over the course of the film, will become painfully aware of humanity’s boundless potential to build, as well as destroy.

“As I looked at it, I had a distinctly negative reaction,” Nolan says. “That gave me the faith that the film was working on me. And it made me glad to leave it behind, which I haven’t felt with my other films. I was ready to think about other things.”

“So, thank you,” he says jokingly. “Thank you for dragging me back into this.”'

[age-of-moonknight]

is it strange that I hear Oscar Isaac voice when every moon knight comic panel? Also what are your opinions on the moon knight show?

……. I need friends 😭

I don't think that's strange at all! :D In fact, I would hazard a guess that you're not alone in that matter, particularly for people who were introduced to Moon Knight through the Disney+ show.

(Of the, comparatively few, people who have voiced Moon Knight - e.g. Dietrich Bader for Ultimate Spider-Man (2012), Gideon Emery for Avengers Assemble (2012), and Peter Giles for Spider-Man (2017) in addition to Oscar Isaac - Emery sounds the most like how I've personally always imagined Moon Knight sounding, especially in more recent volumes. Even if Emery only had, like, five lines...and this definitely isn't to discount Isaac's absolutely excellent performance...and this is all just my personal opinion so it ultimately doesn't even matter hahaha)

And ah, yes! I was wondering if I would ever get asked about the show! :D Right off the bat, I'll just say that I'm pretty easily satisfied when it comes Marvel cinema. Seriously, I'll find nice things to say about even Red Sonja or New Mutants (2020). But with that out of the way, I'll say that I did sincerely enjoy Moon Knight (2022)! When I first heard the rumblings that a Moon Knight show was in the works, I was a little nervous, as this was the first time that one of my more obscure (and most beloved) comic book characters was getting the MCU treatment, but the production team and Oscar Isaac's fantastic work in particular really did an excellent job in making Moon Knight an accessible franchise for a wider audience.

Naturally, there are some (rather stark) differences between the comics that I've loved for years and the show, but I can live with pretty much all of the changes they've made. ¯\_(ツ)_/¯ The comics and the show are kind of their own separate entities and I can enjoy the unique strengths of either independently of the other. Mainly, I just find it really exciting how many people were introduced to Moon Knight through the show and have since fallen in love with the character. It's always so thrilling to share something you really enjoy with new people, you know? :D

[fonteyn]

Imagine thinking that the recent "failure" (by Disney standards) of Phase 4 of the Marvel Cinematic Universe is because of the addition of "diversity wokeism" (their words, not mine) and a lack of focus from the architects of the MCU (mostly Kevin Feige) on the overarching storyline that binds all movies & shows and not due to the fundamentally unsustainable structure currently in place that attempts to make several gigantic billion dollar movies every year for the last 12 years whilst obviously relying on the exploitation of workers, particularly vfx artists, so much that it's driving people out of the industry, and milking as much money as possible through it all...

Like, sorry to say but: they aren't making movies...they're just rolling another product off the assembly line at this point.

[hifiaiart]

Wizards and Their Inventions!

What's more fun than AI wizards? Wizards and their inventions! The magic these guys perform is always unexpected. These wizards love playing with gizmos that generate untold amounts of energy. Here are two that I made today:

Both of the images above were created in Flux Schnell on NightCafe. Flux Schnell has been a bit disappointing lately; but I got it to bend to my will today, with some good fantasy, sci-fi, and intricate details built in. The top image is a wizard with a fortune-telling hologram tool. He is very serious and is never wrong at telling fortunes.

The second image is more of a goblin-type wizard. He's a mad scientist type who loves inventing drones. This particular drone flies through time (forward or backward). Just set it to the time you want, and add a bit of wizard energy. Bam! Back it goes to retrieve data for you from any time period. That way, you don't have to risk going back or forward in time, yourself!

Key Takeaways: Gosh, these wizards are inventive! People constantly badger them to speed up their processes, so they can buy tons of these invention marvels. The wizards say they don't want the pressure of mass production magic, and refuse huge sums of money to make assembly lines!

[james-smith07]

Advanced Technology in Busbar Bending: SunShine® NC.40Z-1200 CNC Machine

When you think of high-precision engineering, do you imagine complex machinery that seems almost magical in its capability? The SunShine® NC.40Z-1200 CNC Busbar Bending Machine is one such marvel, transforming the mundane task of busbar bending into an art of efficiency and accuracy. View More to dive into how this cutting-edge machine is revolutionizing the industry and how it could be the game-changer your manufacturing process has been waiting for.

The Importance of Precision in Busbar Bending

Imagine you're putting together a jigsaw puzzle; each piece must fit perfectly to complete the picture. In the same way, busbar bending requires exact measurements and flawless execution. A slight deviation in bending can lead to significant issues, such as electrical failures or inefficient power distribution. That's why precision is crucial—without it, even the most advanced systems can falter.

Meet the SunShine® NC.40Z-1200

The SunShine® NC.40Z-1200 is not just another CNC machine; it's a state-of-the-art solution designed to handle the demands of modern manufacturing:

Advanced CNC Technology: Ensures precision and efficiency.

Built for Performance: Optimized for high-volume production.

Think of it as upgrading from a standard toolkit to a high-tech laboratory—where every tool is fine-tuned for peak performance.

Innovative Technology Behind the Machine

What makes the NC.40Z-1200 so exceptional? Let’s explore its technological innovations:

Sophisticated Control Systems: These allow for precise adjustments and real-time monitoring.

Enhanced Automation: Reduces manual input and increases consistency.

It’s like having a smart assistant who handles all the complex tasks, allowing you to focus on the creative aspects of your work.

Key Features of the NC.40Z-1200

Here’s a closer look at what makes the NC.40Z-1200 stand out:

1. Precision Bending Capabilities

Exact Angles and Radii: Ensures each bend is executed with perfect accuracy.

Reduced Error Rates: Minimizes the need for rework and adjustments.

Imagine a laser-guided tool cutting through material with pinpoint accuracy—this is the kind of precision you can expect.

2. User-Friendly Interface

Intuitive Controls: Designed for ease of use, even for beginners.

Real-Time Feedback: Provides instant updates and diagnostics.

Think of it like operating a high-end smartphone—complex functionalities simplified into an easy-to-navigate interface.

3. High-Speed Production

Efficient Operation: Speeds up production without compromising on quality.

Seamless Integration: Fits smoothly into existing workflows.

Imagine the difference between a slow, manual process and a high-speed conveyor belt—your production line will experience a remarkable boost.

How the NC.40Z-1200 Boosts Efficiency

The NC.40Z-1200 is designed to enhance your production line in several key ways:

Faster Setup Times: Get up and running quickly with minimal downtime.

Streamlined Operations: Reduces the number of steps and manual interventions.

It’s like moving from a cumbersome, slow process to a sleek, efficient assembly line—everything becomes quicker and more streamlined.

User Experience: Intuitive and Easy Operation

One of the highlights of the NC.40Z-1200 is its ease of use:

Simple Programming: Users can quickly set up and adjust tasks.

Comprehensive Training: Available to help your team get the most out of the machine.

Imagine a tool so straightforward that even those with minimal experience can operate it effectively—making your team more versatile and productive.

Versatility for Diverse Applications

The NC.40Z-1200 isn’t just specialized; it’s versatile:

Handles Various Materials: Perfect for both copper and aluminum busbars.

Adaptable to Different Tasks: From bending to cutting and punching.

It’s like having a multi-tool that can handle a range of tasks with ease, providing flexibility for different projects.

Built to Last: Durability and Reliability

Investing in the NC.40Z-1200 means investing in long-term reliability:

Heavy-Duty Construction: Designed to withstand high-volume use.

Minimal Maintenance: Engineered for durability and ease of care.

Consider it a high-quality, long-lasting investment—one that pays off through dependable performance and reduced maintenance needs.

Success Stories and Customer Feedback

Don’t just take our word for it—here’s what others have to say:

Mark T., Manufacturing Lead: “The NC.40Z-1200 has transformed our production process. Precision and speed have never been better.”

Sarah L., Production Manager: “It’s a game-changer. Our efficiency and product quality have seen a significant boost.”

Real-world feedback highlights how the NC.40Z-1200 can elevate manufacturing operations to new levels.

Comparison with Other Busbar Machines

When comparing the NC.40Z-1200 with other machines, its advantages become clear:

Superior Precision and Speed: Outperforms many competitors.

Advanced Features and Controls: Offers more functionalities and better user experience.

It’s like comparing a luxury car to a standard model—every feature is designed for enhanced performance and comfort.

Cost-Effectiveness and Value

While the initial cost may be higher, the value it provides is unmatched:

Long-Term Savings: Reduced waste and improved efficiency translate to cost savings.

High ROI: Enhanced productivity and quality lead to a better return on investment.

Think of it as investing in top-tier quality—one that offers excellent value through improved outcomes and operational efficiency.

Integration and Setup Process

Setting up the NC.40Z-1200 is a streamlined process:

Custom Setup: Tailored to fit your specific production needs.

Operator Training: Ensures a smooth transition and effective use.

It’s like setting up a high-tech system where every aspect is optimized for performance from day one.

Future-Proofing Your Investment

SunShine® is committed to staying ahead with:

Future Upgrades: Continuous improvements and new features.

Ongoing Support: Keeps your machine updated and performing at its best.

Imagine having a partner who ensures your investment remains cutting-edge and valuable over time, adapting to future advancements.

Conclusion

The SunShine® NC.40Z-1200 CNC Busbar Bending Machine is more than just a machine; it's a technological marvel that brings precision, efficiency, and innovation to your manufacturing process. View More to discover how this advanced technology can revolutionize your operations, enhance product quality, and drive your business forward. Embrace the future of busbar processing with a machine designed to exceed your expectations and elevate your production capabilities.

[umichenginabroad]

Week 5: Holiday Travel Part 1 at Qingdao

On the Friday night before an early flight to Qingdao, I stayed up filled with excitement for the many things we can do there, worried about what to wear for the crazy 90 degrees Fahrenheit at Yantai, anxious for the upcoming EECS216 midterm, and busied myself in an ongoing battle with an unyielding mosquito. There is no way I'm letting the mosquito get to me when my left eye is still swelling from its previous bite. Being so occupied, I didn't sleep all the way to 3AM, when the alarm finally sounded and signaled me to get ready. Half an hour later, I was waiting at the east gate outside of the dorm with Ramona and my cousin Christine. We were waiting for one last person in our traveling group— my uncle Kelvin, who I need to emphasize is very young and having just graduated, this summer in China is his last vacation before he begins working. Imagine setting up countless 5 minute interval alarms on 3 different devices and oversleeping all of them. Thankfully, he did not mute WeChat text notifications. Cutting close, Kelvin arrived at the same time as the car did and the four of us took off.

The weekend's theme places are two coastal cities in the Shandong province north of Shanghai. The plan was to spend Saturday at Qingdao and save Yantai on Sunday and come back on Monday, which we have off because of the Dragon Boat Festival. I will cover the full day at Qingdao in this blog and save Yantai for next week as there's a lot of content.

After flying for one and a half hour, we arrived at Qingdao's airport at 8:30 AM and spent another hour on the metro, where I got really excited to finally see the city. Qingdao is a super popular tourist vacation city, and there have been many shows filmed there, including a Chinese pop idol show that got me into c-pop back then. Following Plan A of Ramona's detailed itinerary, (she was up at 1AM crafting three potential itineraries, respect), we dropped off our stuff at an airbnb conveniently located at the city center and headed out for lunch.

Qingdao looks like an anime world— there's the uniformly painted peach and orange colored apartments on the main road, cute street decorations and cartoon graphics along clean alleys, and big comic fonts on the restaurants' signs. Our hotel is a walkable distance to the anime street so after lunch, we trudged uphill and I found myself marveling again at the cute aesthetics. The anime street is a popular place to take pictures and with each block of stores we passed, I would see people claiming a spot at both sides of the streets giving their best poses. We had to line up a bit for the popular Totoro wall and there's us roasting under Qingdao's welcoming sun.

And of course, nothing's more exciting than trying out new food. For lunch, we had dumplings color coded with different fillings inside and underneath the dumpling picture is a simple dessert made out of yam coated with blueberry sauce (tasted minimal in sugar like most sweets in China) . The restaurant also kindly served us free Zongzi, which is the holiday food for the Dragon Boat Festival. Zongzi is glutinous rice that can have sweet or salty fillings tightly wrapped in leaves. They are in the picture at the top right of this mini food album. After lunch, we visited a coffee shop at the anime street where I got a rose flavored latte, and it was good good.

Next up on our itinerary is the beer museum, where we were about to have a sip of the local Tsingtao Beer. I should mention that the legal drinking age in China is 18. Although I'm not an alcoholic, I'm willing to give Qingdao's local specialty a try. We bought the tickets in advance in the museum's official mini program available on WeChat and off we went.

Taking shelter at the museum during the hottest time in the afternoon, we scanned over the beer's history, watched the assembly line factory where bottles and caps move around at fast speed and came out as packaged products on the conveyor belt, and experienced the loss of balance inside a drunk house designed for recreating the feel of getting drunk. When I finally get to try the beer, I have to say it did not taste very appealing. I'm better off drinking my mixed drink that is half fruit mix, half sprite, and a few droplets of alcohol. None of us had the courage to finish the drink, so we all dumped it and returned our glasses.

After we got done with the museum, we lost some time taking the metro to Laoshan, only to be dropped off at some ticket gate far away from the mountain trails and eventually decided we're not up for hiking so we took an hour subway to May Fourth Square instead.

Quoted from wikipedia, May Fourth Square is a public square in Qingdao's central business district that borders the Yellow Sea. The red spiral sculpture is called May Wind. Its color being Chinese red, the sculpture commemorates the patriotic spirit of the May Fourth Movement during World War One. One of the proposals in the Treaty of Versailles had involved transferring German concessions of the Shandong province including Qingdao to Japan. In response, mass student organizations gathered in Beijing on May 4th, 1919 and protested against the treaty. Their determination influenced the Chinese delegation to refuse to sign. Hence, a separate treaty was signed to return Shandong back to China. That's the history of the May Fourth Square. The May Wind stood as proof of the people's collaborative effort in a patriotic movement to get back the coastal province.

Credits to Ramona for taking the beautiful picture of the tall straight rose at the right.

After May Fourth Square, we headed back to our hotel and I fell asleep soon after settling into the comfy bed. The mattress was softer than my dorm's bed and the pillow was plumper. Most of all, I need to make up for the lack of sleep last night and replenish my energy for Yantai the next day. I needed rest so much I managed to block off the sound of the speaker down the street that repeatedly called out soufflé for sale. Goodnight to Qingdao.

That's it for Qingdao.

See you all next week for the upcoming Yantai, which embraced us with 90 degrees Fahrenheit but the fun of pedaling across the beach, the view of the glowing sun settling in the beautiful dusk, and the food patrol is so worth it.

Vivien Lin

Computer Engineering

UM - Shanghai Jiaotong University Joint Institute

[preciselighting4]

Illuminate Your Home with Timeless Elegance A Guide to Precise Lighting Antiques Chandeliers

In the realm of interior design, lighting plays a pivotal role in setting the ambience and enhancing the aesthetics of a space. Among the myriad lighting options available, chandeliers stand out for their timeless elegance and ability to elevate any room's decor. And when it comes to sourcing exquisite chandeliers that exude sophistication and charm,  AntiquePrecise Lightings emerges as a beacon of quality and style.

Introduction to Precise Lighting Antiques:

Established with a passion for curating premium lighting fixtures, Precise Lighting Antiques has carved a niche for itself in the realm of luxury illumination. Specializing in antique chandeliers, the brand seamlessly blends traditional craftsmanship with contemporary design sensibilities, offering a range of exquisite lighting solutions that cater to discerning clientele.

Timeless Elegance:

At Precise Lighting Antiques, each chandelier is more than just a lighting fixture; it is a work of art that epitomizes timeless elegance. Crafted by skilled artisans using the finest materials, these chandeliers boast intricate detailing and impeccable craftsmanship that elevate them to objects of desire. Whether your aesthetic leans towards classic opulence or modern minimalism, there's a chandelier in Precise Lighting Antiques' collection to complement your style.

Unparalleled Quality:

Quality is non-negotiable at Precise Lighting Antiques. Each chandelier undergoes rigorous quality control measures to ensure that it meets the brand's exacting standards. From the sourcing of premium materials to the final assembly, every step of the production process is meticulously executed to deliver chandeliers that not only dazzle with their beauty but also stand the test of time.

A Diverse Range of Styles:

One of the hallmarks of Precise Lighting Antiques is its diverse range of chandelier styles, catering to varied tastes and preferences. Whether you're drawn to the ornate splendor of Baroque design, the clean lines of Art Deco, or the understated elegance of Mid-Century modernism, you'll find a chandelier that speaks to your aesthetic sensibilities. With customizable options available, you can even tailor the design to suit your specific requirements, ensuring a truly bespoke lighting solution for your space.

Creating Ambiance:

Beyond their aesthetic appeal, Precise Lighting Antiques chandeliers are adept at creating ambience and setting the mood in any environment. Whether installed in a grand foyer, a cosy living room, or a romantic dining area, these luminous marvels have the power to transform ordinary spaces into extraordinary realms of beauty and sophistication. With their warm glow and captivating presence, Precise Lighting Antiques chandeliers become the focal point around which memories are made and cherished.

The Perfect Investment:

Investing in a Precise Lighting Antiques chandelier is not just an acquisition; it's a legacy. These timeless pieces of art not only enhance the beauty of your home today but also become cherished heirlooms to be passed down through generations. With their enduring appeal and impeccable craftsmanship, Precise Lighting Antiques chandeliers represent a sound investment in both style and substance.

Conclusion:

In a world where trends come and go, Precise Lighting Antiques stands as a beacon of timeless elegance and enduring quality. With their exquisite craftsmanship, diverse range of styles, and ability to create ambience, Precise Lighting Antiques chandeliers are more than just lighting fixtures; they are works of art that enrich lives and elevate spaces. Illuminate your home with the unparalleled beauty of Precise Lighting Antiques chandeliers and bask in the glow of timeless sophistication.

[borntobecheap]

My enjoyment of your father's motto, "Materials are everything”, was not entirely at his expense. Up to a point, I saw the value of people who made things, and to the highest standard: Herb and Gladys built their own house, smoked their own salmon, brewed their own beer. But I had never met two people who existed so exclusively in three dimensions. The only times I saw your father excited were over a curly maple mantle or a creamy-headed stout, and I think it was over static physical perfection that he exalted; sitting before the fire, drinking the beer, were afterthoughts.

Your mother cooked with the precision of a chemist, and we ate well on visits. Her meringue-topped raspberry pies that might have been clipped out of magazines, though again I would have the strong impression that it was pie-as-object that was the goal, and eating the pie, gouging into her creation, was a kind of vandalism. (How telling that your cadaverously thin mother is a marvelous cook but has no appetite.) If the assembly-line production of goods sounds mechanical, it felt mechanical. I was always a little relieved to get out of your parents' house, and they were so kind to me, if materially kind, that I felt churlish.

Still, everything in their house was buffed to a high, flat shine, so much reflection to protect the fact that there was nothing underneath.

They didn't read; there were a few books, a set of encyclopedias (the wine-colored spines warmed up the den), but the only well-leafed volumes were instruction manuals, do-it-yourself how-to's, cookbooks, and a haggard set of The Way Things Work, volumes one and two. They had no comprehension why anyone would seek out a film with an unhappy ending or buy a painting that wasn't pretty. They owned a top-shelf stereo with speakers worth $1,000 apiece, but only a handful of easy-listening and best-of CDs: Opera Stoppers; Classical Greatest Hits. That sounds lazy, but I think it was more helpless: They didn't know what music was for.

You could say that about all of life, with your family: They don't know what it's for. They're big on lifes mechanics; they know how to get its cogs to interlock, but they suspect that they're building a widget for its own sake, like one of those coffee-table knickknacks whose silver metal balls click fruitlessly back and forth until friction tires them. Your father was profoundly dissatisfied when their house was finished, not because there was anything wrong with it, but because there wasn't. Its high-pressure shower head and hermetic glass stall were impeccably installed, and just as he trooped out for a generic who-cares selection of best-of CDs to feed his magisterial stereo, I could easily envision your father running out to roll in the dirt to provide that shower a daily raison d'être. For that matter, their house is so neat, glossy, and pristine, so fitted out with gizmos that knead and julienne, that defrost and slice your bagels, that it doesn't seem to need its occupants. In fact, its puking, shitting, coffee-sloshing tenants are the only blights of untidiness in an otherwise immaculate, self-sustaining biosphere.

We've talked about all this on visits of course—exhaustively, since, overfed and forty minutes from the nearest cinema, wed resort to dissecting your parents for entertainment. The point is, when Kevin—Thursday— well, they weren't prepared. They hadn't bought the right machine, like their German-made raspberry de-seeder, that would process this turn of events and make sense of it. What Kevin did wasn't rational. It didn't make a motor run more quietly, a pulley more efficient; it didn't brew beer or smoke salmon. It did not compute; it was physically idiotic.

Eva (We need to talk about Kevin)

[stampwithtami]

Best of Sale-a-bration 2024: Don't miss out on the Trusty Toolbox Designer Paper

TRUSTY TOOL BOX DESIGNER SERIES PAPER As we near the close of Stampin' Up! Sale-A-Bration 2024, excitement buzzes around the exclusive offerings set to disappear after February 29. This is your golden chance to seize those special edition products from the Sale-A-Bration catalog, which, let me remind you, will be gone forever! With the end of the month approaching, the risk of these treasures selling out looms large. But here's the silver lining: with qualifying orders, you can earn these products FREE! Among the bounty, the Designer Series Papers hold a special place in my crafty heart, and I'm particularly smitten with the Trusty Toolbox Designer Series Paper. It's not just paper; it's a gateway to crafting heaven, especially when paired with the Trusty Tools Stamp Bundle and Die Bundle. Imagine getting this paper for FREE when you purchase the Trusty Tool bundle—yes, it's possible with this promotion! I've been busy in my craft room, creating and experimenting with these tools, and I'm thrilled to share two of my creations: the special circle wreath of tools card and the Cascading Pleats Toolbox fun fold card. These cards have garnered admiration and love, becoming instant favorites among crafters. I've prepared tutorials and videos to guide you through making these unique cards, hoping to inspire your next crafting adventure. Trusty Toolbox Designer Series Paper: A Closer Look The Trusty Toolbox Designer Series Paper is a marvel for anyone looking to craft tool-themed cards and projects. Tailored for the builders, fixers, and DIY enthusiasts in your life, this 12" x 12" (30.5 x 30.5 cm) paper pack features an array of tool designs—hammers, saws, wrenches, drills, and more, ready to bring your creative ideas to life. One side of each sheet dazzles with these tool motifs, perfect for backgrounds on cards or scrapbook pages. But that's not all. The reverse side offers all-purpose patterns, versatile enough for any project you have in mind. From creating a standout card to assembling a unique paper toolbox filled with die-cut tool pieces, the possibilities are endless. Don't Let This Opportunity Slip Away! Sale-A-Bration 2024 is a fleeting chance to enrich your crafting collection with unique, high-quality supplies. The Trusty Toolbox Designer Series Paper, along with its coordinating stamp and die bundles, offers an unmatched opportunity to create memorable, personalized projects. Remember, these special edition products will not be around after February 29, and the chance to earn them free with qualifying orders is too good to miss. Dive into the Sale-A-Bration catalog, make your selections, and start crafting with the Trusty Toolbox Designer Series Paper today. Who knows what masterpieces you'll create? Stay tuned for more crafting tutorials and inspiration, and remember to place your orders before these exclusive offerings are gone for good. Happy crafting! https://www.youtube.com/watch?v=Nn7njoC9SPI SALEABRATION DETAILS & PRODUCTS Saleabration ends February 29, 2024 Welcome to the most exciting time of the year for all crafting enthusiasts – Stampin’ Up Saleabration! This annual celebration is a crafting extravaganza, bringing you unparalleled perks, delightful surprises, and a whole lot of creative fun. Whether you’re a customer, a demonstrator, or just someone looking to add a touch of creativity to your life, Saleabration has something special for everyone. VIEW SALEABRATION CATALOG ONLINE SHOP ONLINE Ways to Saleabrate: - Earn Free Products with Every Order: Dive into a world of creativity by earning free Saleabration products with every $50 purchase in my online store. The more you shop, the more exclusive items you can add to your crafting stash. It’s the perfect opportunity to try new products and expand your creative horizons.View the Saleabration Catalog - Unlock the Saleabration Demonstrator Kit: Join the Stampin’ Up family and become a demonstrator during Saleabration to enjoy an extraordinary offer. Receive a Free Glass Mat and choose between $25 or $55 worth of additional free products when you purchase the Saleabration special Demonstrator Kit. It’s the ideal way to start your crafting journey or enhance your existing collection.Click for more details - Maximize Savings with Paper Pumpkin: Elevate your Paper Pumpkin experience by combining Pre-Paid Paper Pumpkin subscriptions with Saleabration. This winning combination ensures you not only receive your monthly crafting kit but also enjoy additional freebies, making every project an extra special delight.Click for more details - Earn Extra Stampin’ Rewards: For those who love to indulge in a crafting spree, here’s an exclusive offer. Receive an additional $30 in Stampin’ Rewards on orders exceeding $300. This is on top of the regular Stampin’ Rewards that kick in with orders totaling $150. It’s the perfect incentive to treat yourself or gather friends for a crafting party and share the rewards. PAPER PUMPKIN MEETS SALEABRATION If you’ve been thinking about subscribing to Paper Pumpkin, now’s the perfect time to jump on board. From now through February 29, you earn FREE Sale-A-Bration item(s) when you purchase a 3-, 6-, and 12-month subscription. This is a limited-time offer, so don’t wait. The sooner you purchase your prepaid subscription, the sooner you can start playing with your FREE Sale-A-Bration goodie(s). LEARN MORE ABOUT PAPER PUMPKIN KITS SALEABRATION PRODUCTS FREE WITH $50 ORDER FREE WITH $100 ORDER SALEBRATION DEMO KIT - THE BEST DEALS! WANT IT ALL NOW? Are you an avid crafter with a wishlist brimming with over $99 worth of new catalog products? If so, brace yourself for an incredible opportunity that could turn your crafting dreams into reality while saving you some serious cash. We’re talking about the Demonstrator Kit Special – the best deal in town during Saleabration. If you have a wishlist filled with over $99 worth of new catalog products, the Demonstrator Kit Special is the golden ticket to making your crafting dreams a reality. With the choice of:  - Free Glass Mat and $125 worth of products for just $99 or - Choose $155 worth of products for just $99! plus additional perks. It’s a crafting enthusiast’s dream come true, and here’s why the Demonstrator Kit is the ultimate deal. The Best Deal in Town:Imagine getting $125-$155 worth of high-quality crafting supplies for only $99. Sounds enticing, doesn’t it? But it gets even better. By opting for the Demonstrator Kit, you not only enjoy a significant discount but also receive free shipping, future discounts, and exclusive perks. Joining for the Discount:One of the most common questions we get is, “Can I join as a demonstrator just for the discount?” The answer is a resounding yes! In fact, it’s the most popular reason why people decide to become demonstrators. No pressure to sell, host classes, or throw parties – unless, of course, you want to have some fun doing these things. Benefits Beyond the Kit:Becoming a demonstrator isn’t just about the incredible deal on the kit. It opens the door to a community of like-minded crafters and provides ongoing opportunities for discounts and perks. Whether you’re a seasoned crafter or just starting your creative journey, being a demonstrator offers a wealth of benefits. Join for the discount, stay for the community, and let your creativity soar with the Demonstrator Kit Special during Saleabration. Don’t miss out on this unbeatable offer! PURCHASE THE DEMO KIT TRUSTY TOOLBOX CARD TUTORIALS INSTRUCTIONS PDF ⬇ The instructions include measurements and step by step directions to create this card. There is also a clickable supply list.  DOWNLOAD TUTORIAL DOWNLOAD TUTORIAL HELPFUL VIDEOS ⬇ CIRCLE WREATH CARD VIDEO On the video I'll share how to make the circle wreath card fold. CIRCLE WREATH VIDEO CLASS CASCADING PLEATS CARDS ⬇ On the video I'll share how to make the Cascading Pleats Fold. CASCADING PLEATS CLASS CIRCLE WREATH & CASCADING PLEATS SERIES CIRCLE WREATH & CASCADING PLEATS CARD SERIES Click the thumbnails below for more free tutorials in these card series. STAMPIN' UP! CATALOGS CURRENT SPECIALS PHOTOS I used the Stampin' Up Trusty Toolbox Designer Series Paper for these cards. I cut the tools from the Trusty Toolbox Designer Series Paper. The word DAD was stamped in Lost Lagoon. It's part of the Trusty Tools stamp set. I cut the letters out and layered them on a label from the Everyday Details Dies. I embossed the front circle mat with the Metal Plate 3D Embossing Folder. Who says wreaths how to be feminine and floral? I was thinking of Father's Day when I designed the card but it really can be sued for many occasions. Some views of the card from different angles. I made a tool box out of the designer paper. I have instructions for the Cascading Pleats Card above. Want to save these ideas for later? Pin them to your favorite Pinterest board. Have you tried these designs? I love to see your creations! Be sure to share them on #shareyourcrafts post every Saturday on my Facebook Page    Read the full article

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Build quality and the lasting appeal of the classic card game through product manufacturing machines

In the ever-evolving landscape of technology and leisure, two seemingly disparate elements find themselves intertwined in a delicate dance of craftsmanship and recreation: product manufacturing machines and the enduring appeal of solitaire classic card games. While on the surface they may appear unrelated, a closer examination reveals a shared commitment to precision, detail, and the pursuit of perfection.

At the heart of modern industry lies the relentless hum of product manufacturing machines. These mechanical marvels, with their intricate gears and sophisticated programming, have revolutionized the way we produce goods. From the assembly lines of automotive plants to the micro-scale precision of semiconductor fabrication, these machines are the backbone of a global economy driven by efficiency and innovation.

The meticulous nature of product manufacturing machines mirrors the disciplined approach required to master solitaire classic card games. Much like the calibrated movements of a robotic arm on an assembly line, success in solitaire demands careful consideration of each move. The solitary player faces a challenge akin to a manufacturing engineer striving for ideal production output – both require strategic thinking, adaptability, and a keen eye for detail.

In the realm of product manufacturing, the pursuit of perfection is an ongoing journey. Engineers continually refine machine algorithms, streamline processes, and implement cutting-edge technologies to enhance efficiency and reduce margins of error. Similarly, the world of solitaire classic card games is a domain where perfection is elusive, and victory is the result of a blend of skill, strategy, and a touch of luck. Just as a flaw in a manufactured product can disrupt an entire system, a single miscalculated move in solitaire can lead to a cascade of challenges.

The parallels extend beyond the technical aspects, delving into the human experience. The individuals who operate product manufacturing machines and those who engage in solitaire classic card games share a common pursuit of mastery. The machine operator seeks to understand the nuances of the equipment, striving to optimize its performance. In the same vein, the solitaire enthusiast hones their skills, learning the intricacies of the game to achieve consistent success.

Moreover, both pursuits offer a respite from the hectic pace of modern life. The rhythmic cadence of a manufacturing line or the quiet shuffling of cards in a solitaire game can be therapeutic, providing individuals with a sense of control and accomplishment. In a world filled with complexity and uncertainty, these activities offer a reassuring simplicity.

In conclusion, the world of product manufacturing machines and solitaire classic card games may seem worlds apart, but they share a symbiotic relationship grounded in precision and the pursuit of excellence. Whether it's the calibrated movements of a manufacturing robot or the strategic placement of cards on a digital screen, the common thread is the commitment to craftsmanship and the enduring human quest for perfection. As we navigate the future, let us appreciate the beauty in the convergence of these seemingly disparate elements, finding inspiration in the harmony of precision and the timeless allure of solitaire.