#it was fully intended from the start to only be a virtual concert and was created as such

[sonknuxadow]

whenever some popular artist releases recordings of their concerts as movies you can see at theaters im just like "hmm i don't really get the appeal of this isn't the whole Point of concerts getting to hear the music live in person. youre still just watching a recording whats the big deal why do people talk about them as if theyre so special" knowing that i was there for the premiere of the sonic 30th anniversary symphony and losing my shit

[scribbles97]

Left Behind -- Chapter 24

TW: MENTIONS OF DEPRESSION AND SUICIDE

In which Scott reminds everyone that he too is an adult now.

PART 1 / PART 2

Chapter 22 / Chapter 23

Jude held the door to the meeting room for him, glancing across to Tia as she followed Scott. He didn’t wait to hear their discussion as he stepped into the room where Kyrano and Hugh had fallen silent. 

The door closed silently behind him, closing off the conversation from unwanted ears. 

“What the hell happened?” he snapped, looking from one man to the other, “Why didn’t she get out of there before it blew?”

“Watch your tone young man,” Kyrano murmured turning to him, “You weren’t invited to this discussion.”

He straightened, hairs on the back of his neck pricking like a dog’s hackles, “Incase you had forgotten, I was in on this whole situation and I am not a boy or a young man any more.”

Looking between them he clenched his teeth, “I’m an adult here too, and one that has a right to know what happened to my mother out there.”

Hugh’s eye was red, his jaw bone tight as he looked to Scott and swallowed visibly, “We tried to get her out of there, but she wouldn’t come Scott.”

Something flared in his chest, lighting up and then tightening around his ribs as he shook his head quickly. Mom had promised to be careful, had sworn that she would come home. 

Sure, things hadn’t always been easy. He was fairly sure he was the only one of his brothers to know about the tablets hidden away in Mom’s bedside drawer, or the only one that realised not every trip to the mainland was simply for a business meeting. A widow with five sons was enough to spread anyone thin, throw in the worlds most highly recognised rescue organisation, and a multimillion dollar company and he knew that some days the stress was bound to be too much. 

It was Mom though. She was many things, stubborn as the rest of them, fierce in the face of anyone that questioned her, and so determined to do the right thing. 

Suicidal though?

He shook his head, ridding the thought. It wasn’t possible, it was Mom. She had so much to live for, her sons, her friends… Dad.

Unless…

“What did Gaat say about Dad?” He demanded, “Did he trick her into staying there until the bomb went off?”

Kyrano nodded once, mouth set in a thin line as he folded his arms, “In a sense, yes.”

Looking between them, Scott shook his head, looking from one to the other. What Kyrano was saying didn’t add up. The man either tricked Mom or didn’t, there wasn’t any ifs or buts about it. 

Kyrano straightened, “He told her that there wouldn’t be another chance to launch to the correct part of the Oort Cloud for years, essentially that this would be our one chance to find him.”

His legs went weak as he reached out for the chair nearest to him.

The new Zero-X had been their one chance. 

Their one shot at finding out if Dad was out there. 

“She couldn’t leave,” Hugh whispered as Scott sunk into the seat, “Gaat knew that she couldn’t simply abandon her one chance at finding Jeff.”

“No.” He ground out, “No, it’s Mom, she wouldn’t just…”

“No, she didn’t,” Hugh sighed, pulling out the chair next to Scott and sinking down in it to face him, “She was running away when the bomb went off, that much we know for sure. Gaat must have just thrown her, given her enough to distract her from running.”

“Gaat was blocking his transmissions, Lucy was the only one that could hear him,” Kyrano added, “We don’t know for sure that that is the case.”

“I could hear him.”

Scott looked up as his Aunt and Uncle stepped into the room, Lee’s brow creased deeply as he shoved the door shut behind him.

“Have you heard--” He started, looking to Val in hope before sinking back down as she shook her head.

“Sally is observing the surgery, that’s all we know at the moment.” She murmured, reaching out to squeeze his shoulder, “You okay?”

He wasn’t sure of his answer, physically, yes he was fine. His head was spinning though, continually going around in circles debating what must have happened and just how he was going to protect his family. 

There was also the issue of how to tell them of the possibility of Dad being alive.

“Did you pair know?” Lee growled, saving Scott from having to answer, “Because I heard him say it loud and clear to me. Is it true?”

Hugh looked to Kyrano and then to Scott,opening his mouth ready to say something before the Malay beat him to it.

“If you mean about Jeff, then yes, we were aware that there is a possibility he could potentially be alive.”

His uncle virtually exploded as he yelled, demanding answers, reasoning, why he hadn’t been told. 

Scott knew the feeling. 

Aunt Val remained stood by him, a hand resting firmly on his shoulder as Lee got up in Kyrano’s face, his cheeks red with anger. 

“Did Lucy know too?” He demanded, “Is that why she didn’t get off of the goddamn ship? You were going to let her launch that maniac’s machine into space?”

“Lucy was fully aware of the entire situation,” Kyrano nodded once, apparently unfazed by Lee’s outburst, “It was her decision that she would be the one to infiltrate Gaat’s ship.”

“And you stood by and let her!?”

Hugh stood, pushing Lee back from Kyrano, rage as clear on his face as it was Lee’s.

“You really think that of us?”

Lee’s eyes narrowed in on him, “She’s in surgery right now because you let her--”

“That was her choice!” Hugh yelled over him, “You really think he intended to hurt her? It was only because you stuck your ruddy nose in that he blew the damn ship up! If you hadn’t have got involved she could have at least reasoned with him! We all know the goddamn psycho would have listened to her.”

Scott frowned, looking between the three older men and then to his Aunt, “What?”

“Leave it,” Val murmured to him, eyes trained on the men, “Don’t ask questions you don’t want to know the answers to.”

“No,” He shook his head, shifting so he could stand, “What do they mean? Why would Gaat listen to Mom? That man tried to kill Dad! Why would Mom be able to reason with him?”

It was the missing link, it had to be. Whatever they weren’t telling him had to be the reason that Gaat was out to get his family. 

All three turned to him, Kyrano’s face blank, Lee’s still flushed in fury. Hugh’s good eye softened as he tilted his head slightly, looking past him at first before shaking his head slowly.

“He’s a grown man, he has a right to know.”

Behind him, Aunt Val sighed, her hand tightening on Scott’s shoulder, “Gaat went to college with your mother.”

He turned to face her, frowning. It didn’t make sense, there had to be something more, something bigger than being old college buddies. 

Something like…

“He tried to get her to date him in their first semester,” Hugh continued, “He loved her… he probably still does.”

He gave it a moment for the information to sink in, to slot into place amongst everything else he knew.

Mom and Dad had been dating since high school. 

Dad had gone straight into the Air Force whilst Mom had gone to college first. 

Mom had met Kyrano at college. 

Hadn’t she?

“I don’t… you mean… Gaat is just a jealous jilted ex?”

Kyrano swallowed as he looked down and sighed, “He was. My brother was always a very material man, valuing objects and money over anything else. His infatuation with your mother began with buying her such things, jewelry, art, flowers. It soon progressed to tickets to gallery openings and musical concerts.”

“But, Dad…” Scott frowned, not believing that Mom would have let two men believe that they were the only one in her life. 

“We were busy with basic training for two months,” Val murmured, “We knew that Gaat was there, that they were friends. When Lucy told us he was making inappropriate advances, the three of us pooled our savings and got her a ticket to fly to the air base and a hotel there for a week.”

Kyrano nodded, “Your father flew back with her at the end of that week, had a few stern words with Gaat, not that that put him off for long.”

“The psycho was obsessed,” Lee spat, “Forced her out of college just so she could get away from him.”

“It was some years later that he wanted me to take a letter to her, hand deliver it so he knew she had received it. This was just as the business was starting up, my brother disagreed with the use of part of the profits going to end world hunger and wanted to tell Lucy as such, that she should buy herself beautiful things with the money.” Kyrano shook his head, “I told him I had taken the letter, which was the truth, although I was not on my brother’s side.”

“That’s how you became head of security?” Scott guessed, “You abandoned him to protect us?”

A single nod, “Essentially, yes.”

“Should’ve shot the bastard whilst I could.” Lee grunted.

Scott suddenly understood what the others had meant when they had turned on his Uncle. If he had have just waited in the shadows, given Mom a chance to talk to Gaat. There was a chance, a slim one, that she could have launched the new Zero-X. 

Mom had always been good with words and wrapping people around her finger.

Maybe she could have made it into space.

Maybe she would have found Dad.

“Don’t you think you’ve done enough?” Hugh growled, “Now we have no Zero-X. No plans for a T-Drive. No time to launch a ship and Lucy’s in goddamn surgery fighting for her life! Did you not see her Lee? Did you actually look at your sister when I dragged her aboard Thunderbird One?”

Scott straightened, ready to step between the two as Lee turned on Hugh.

“Guys,” Tia stepped into the room, breaking the tension as she looked between them, “Sally is downstairs, she’s got news on Lucy.”

[therobinsonwayoflife]

How would each of the Robinsons handle Covid-19 lockdown?

NOTE: This is a silly thought experiment intended for virtual fun and frolic. If you have the means, self-isolate; if you have even more means, donate to your local COVID relief fund & think abt mutual aid to thy neighbours.

Now enough of the real world.

Firstly, the Robinsons live in a utopia where society is sustainable & environmentally friendly and where we no longer have monocultural industrial farming that causes mass epidemics. Worst case scenario the world would experience minor discomfort as its 👌 healthcare system and humaniatarian economy would mean COVID-19 would pass in two weeks where everyone stayed home, got tested, played animal crossing, and went back to work.

That mumbo jumbo aside, in the universe where everything is on fire, I would still imagine that the wealthy, crafty, and optimistic Robinsons are able to continue their lives in much the same as they did before: they’re eccentric billionaire shut ins with all the resources they need not only for self-sufficiency but to sustain their weird hobbies without ever leaving the property indefinitely. Indoor zoo, gym, pool, gardens, greenhouses, fly vending machines, back up power grid, indoor labs, art studios, sky-high ceilings for canons, propeller hats and indoor snowball fights, indoor studio & live frog performances, indoor train, robots & octopus servants to go to the grocery store, cut your hair, get your mail, etc. On top of that they have the latest and greatest & would have no problems telecommunicating w friends via holographic emojis.

HOWEVER the Robinsons would probably still do their part to help others & possibly feel the burn of the world dying around them alongside the economy’s impending collapse.

Order of the Robinsons’ likeliness to lose their marbles: Joe, Tallulah, Franny, Petunia, Fritz, Carl, Gaston, Art, Spike + Dimitri, Wilbur, Bud, Billie, Lucille, Buster, Cornelius, Lefty

Tallulah, if she has any seamstressing skills (or employs people who do) might convert her fashion business into cotton mask business.

Fran would perform live stream concerts and she would’ve been a part of that ugly Imagine celebrity-sing-along video. She might also start to do increasingly unhinged gardening vlogs like January Jones. (She would’ve also secretly donated lots of cash to charity.)

Wilbur’s sitting around playing video games, let’s not kid ourselves. (Neil probably has the timelab on triple lockdown, too.)

Art is a delivery guy so he’s obviously still working. The fact that he delivers intergalactically begs the question of wether the bad universe Robinsons have to deal with an intergalactic as well as global plague.

BHG is dead I’m sorry :(

Neil, as the owner of a multi-billion dollar corporation, is the only other Robinson likely to be interacting with the politics of the pandemic directly. His business isn’t an essential one but could easily be converted:

Reusable PPE: medical and sanitation supplies are disposable for obvious reasons but in times of scarcity, it’s wise to consider reusable alternatives like silicon bodysuits and plastic helmets.

Better masks: As of today a reusable respirator called the North 7700 is already being considered as an alternative to disposable surgical masks that have to be individually fitted to the wearer. Every. Time. Purportedly these masks are also more effective than the N95s (by like 1-5%). They have not been univsarlly adopted and they are also super awkward and bulky for surgeons who might need more space in their field of vision. Neil’s likeliest covid project is to redesign the the surgical respirator mask to be slimmer, versatile, accessible, efficient and resizable. I’m picturing a very fancy, transparent, silicone version of the N95. Maybe they automatically fit to the wearer through sci-fi magic.

Maybe he develops spray-on gloves as seen in a Cloudy with a Chance of Meatballs’ spray-on shoes?

ROBOTS & other automisation to replace engadagered essential workers such as grocery store clerks and delivery people. RI could develop a fully automated postal service & cleaning staff for hospitals. This could also be how the reusable PPE is sanitised. Depending on how intelligent these robots are, some of them could even sub in for orderlies and nurses

Better testing: automate mass testing

Higher accessibility to the internet and better telecommunication software: WiFi everywhere the way Nikola Tesla intended, free laptops / phones / devices and improved video conferencing technology

Software that helps w e-learning and e-working

Automated industrial farming? With an automated delivery system?

(In a post covid world this could lead to fully automated luxury communism or fully automated surveillance dictatorship your call)

Efficient pop up test sites, temporary sinks, etc

Improvements to public transportation (which we can assume is already automated so there’s no danger of drivers getting infected). Maybe the monorail cleans itself & has better air filtration. Maybe the seating and poles etc are rearranged to encourage people to stand apart.

Some kind of insta-garden for people wo yards in their homes? (Aka me. I would like this please thanks)

Bread machine

Maybe he helps develop some kind of powerful purel-like soap that kills the virus without water. But that’s not quite up his engineering ally so

Collabs and funding with biotech companies & hospitals to streamline hospital procedure, improve respirator, PPE, COVID testing technology & even vaccine research. Cornelius thinks the human body is gross but he also feels a moral obligation to help so...

If Neil were evil, he could also contribute to surveillance policing, where those disobeying social distancing and social isolation rules are either admonished by drones, surveilled with cameras, trackers, GPS, facial recognition or even house arrest anklets. But again he’s not evil...

I would also like to think that he pays for his employees’ health insurance and sick leave. Again, we hope he’s not evil.

Maybe the family also donates some food & extra supplies. With so many overseas friends they might send care packages or smth. Fran & her brothers are sure to video call the franahuccis often (their parents are in their seventies/eighties at this point).

The would also implement safety measures Gaston the over-50s and disabled among them. Joe, Bud and Lucille will find a way to self isolate from the rest of the family in style. And possibly with a lifetime’s supply of purell. Maybe they still attend dinner via Skype hologram. Or maybe each individual lives their lives as normal except in a giant self-isolation bubble that Neil invented. Bud will probably create a silly YouTube series to cheer up kids.

[beukahabah]

FreeCity: Built On The Foundation of Proof Of Interaction To Help Web3 Marketers Identify

Cities that are not governed by a municipal government To ensure that NFTs are visible, enterprise users have made a concerted effort, not only through Web 3 projects, but also through traditional players. Both companies appear to be having difficulty attracting and retaining clients interested in their products.

The Web 2.0 era By taking a novel approach to this challenge, Free City hopes to emulate its success. Due to Free City's social platform for user-generated content, commercial users can more efficiently advertise their products through Audioroom events and moments.

The FCC ecosystem's products and usage cases

The NFT Free City marketplace is intended to act as a "one-stop shop" for cross-chain solutions and a decentralized ecosystem that spans several metaverses, play-to-earn scenarios, and web 3.0 environments in general.

Participants in the Free City are issued an FCC ID and are compensated for their services (Proof of Interaction)

. Free City may develop $FCC GameFi to preserve NFT and game settings, with the ultimate goal of establishing a decentralized Free City web3 environment.

As a result of the aforementioned firm development, a specialized staff will be responsible for product promotion and launch.

Various NFT GameFi with earned $FCC may be produced in the future in Free City. Free City's future objective is to fully implement Web3.

A free city's vision

The Federal Communications Commission's goal is to aggregate Web 3.0 users (FCC). To facilitate user integration, Free City Web 3 will provide significant user-generated content capabilities and a simple user onboarding approach.

The FCC's user-generated content capabilities and expedited user onboarding process assist Web 3 protocols, communities, and enterprises. The FCC was the first to employ the technique of proof-of-interaction.

The $FCC token can be utilized for mutually beneficial reasons by both users and protocols via the Proof of Interaction mechanism. FCC tokens can be swapped for native Web 3 actions on the platform, which developers can employ to reward users/communities. $FCC's ultimate goal is to become a sufficiently decentralized DAO that offers the most alluring co-benefits to the $FCC community.

$FCC

The Binance Smart Chain will enable a scalable multi-chain NFT marketplace fueled by $FCC, as well as a unique set of "cross-metaverse" items for holders of $FCC.

As a starting point for residents and creators of Free City, this platform will eventually enable them to contribute to defining the city's destiny by deciding the final resting place, curating, and administering the $FCC- tokens.

If you engage in the project, you'll receive $FCC and more, as well as NFTs to improve your Play2earn earnings and in-game products backed by NFTs from future partners.

Due to the widespread interest in the blockchain's possibilities, there is no limit to what can be accomplished through community collaboration and engagement. Additionally, Free City will play a significant role. For the time being, the Free City community is focused on growing the community, developing the DAO ecosystem, establishing a multi-chain NFT marketplace, and developing a possible future Game + Web3 based on the blockchain.

tokenomics

FCC's ultimate goal is to become a decentralized independent organization (DAO). Because the DAO is decentralized, each member will have their own best interests at heart. This means that the more tokens a member possesses, the more likely he or she will vote for the FCC's best interests. As a result, the token's value increases and a use case in which all parties benefit is generated. The FCC token's value will increase immediately as a result of the FCC ecosystem.

To summarize, the token's value will increase in lockstep with the following:

an additional source of financial flow

Act

The trade of virtual things within the game

Aspects of the games and platforms developed by NFT

Ecosystem of user-generated content

Make a notation on it

a diminution in liquidity

tokenomics

With a total supply of 10,000,000,000, the tokens will be distributed as follows

Airdropped NFT Sale : 1.00%

Early Backer Sale: 15.00%

Sales of growth promoters: 8.00%

Public Sale: 5.00%

Community Reserve: 20.00%

Development & Marketing: 10.00%

Treasury and liquidity ecosystem: 25%

Founding team: 13.00%

Consultants & event partners: 3.00%

Please see the following link for more information:

Website: https://free-city.io/ Whitepaper: https://info-170.gitbook.io/freecity/free-city-whitepaper Facebook: https://www.facebook.com/FreeCityOfficial/ Twitter: https://twitter.com/FreeCity_OS Telegram: https://t.me/freecityChat Instagram: https://www.instagram.com/freecity_official Discord: https://discord.com/invite/MjhkdZ6GeP

Author :

Bitcointalk username : Eleanor Elmer Bitcointalk profile url : https://bitcointalk.org/index.php?action=profile;u=3424914 BEP-20 wallet address: 0x919B75f3EaFf1175c8AB90bA080b9565eD9131F7

[unexpected-readings-of-poetry]

Ratatouille the conceptual musical; online musicals and intermediality from the other direction

When musical theatre creators use intermedial techniques, live onstage performance combined with new media technology is brought before an audience, either in person or by proxy. Intermedial technologies such as projection allow performances to feature pre-recorded material or to include live performance from another location, expanding the depth of the musical by stepping outside the limits of conventional live performance. In 2020, young people on TikTok built a musical from the inside out, in a piece of intermedial theatre unlike any produced by theatre makers for the stage or for deliberate performance. Ratatouille the TikTok musical lacks official direction, staging, script, score, cast, scenography, and pretty much everything else that goes into making theatre. However, the medium of musical theatre, the medium of the TikTok app, and the medium of the meme culture that grew up around it create an intermedial performance that breaks the mould for musical theatre performance of the future.

Throughout the first year of the COVID-19 lockdown, many young people flocked to TikTok, a social media platform in the form of short videos, up to 60 seconds. The amount of creators experiencing the boredom that came out of enforced lockdown with reduced opportunities spawned a massive influx of new memes and entertaining content, and TikTok was the perfect place to explore that. The app allows users to combine their own video with existing sound as well as creating their own, and offers video editing tools such as filters and captions. Once a video is uploaded to TikTok, other users can use the material in their own videos. The audio can be used alone or played over a new video, with the second user being able to include their own sound as well or decide to work only with what another TikTok user has created. They also have the option to duet a video, placing the original material on one side of the screen, and themselves on the other. The audio from the original video can be added to, and many users create interactive videos designed to be duetted, leaving gaps to be filled in their speech, or looking off-screen in the direction of the duetting user. Multiple duets of a song can be used to build harmony, or complete multi-voice videos. Much of the creative culture that developed around TikTok relies on pre-existing knowledge of video or sound, which is then re-created and re-interpreted multiple times by different users.

Before Ratatouille, TikTok creators had already been creating remediated musicals based on existing popular media and recognisable concepts. Alexa Chalnick became popular in August 2020 for creating a song for a musical version of the 2012 movie ‘The Lorax’, and Daniel Mertzlufft, one of the foremost creators of Ratatouille, had previously become famous for Grocery Store: The Musical. In Mertzlufft’s original video, he demonstrates various vocal techniques stereotypically found in an emotional climactic breakup scene taking place in a grocery store. This was duetted by over 500 people adding characters and background to the setting of the grocery store, including shop employees, squeaky wheels on a trolley, and a bystanding can of soup (Chen, 2020). Creating comedy through this extreme attention to detail and over-dramatisation is highly indicative of the type of humour throughout TikTok’s user base, and provides a springboard for the creation of Ratatouille. At the end of of 2020, all of this combined to produce The TikTok Ratatouille Musical, a conceptual musical rather than a concept musical; conceptual in that the musical itself does not exist, but the concept of it is an established musical, recognisable to the many TikTok users who came across it. The overall musical is not determined by a definitive script or performance, but is made up of whatever fragments of the musical make their way to viewers, and the idea of the musical that this creates in each person’s head becomes the musical itself.

The first contribution to the Ratatouille Musical was ‘Ode to Remy’, a 20 second melody made in August 2020 by Emily Jacobsen, praising Remy the rat, the protagonist of the 2007 Disney/Pixar film Ratatouille. In October, another TikTok user, Daniel Mertzlufft, arranged the song in the style of the finale to a Disney musical, especially inspired by “[t]he end of Hunchback [of Notre Dame]” (cited in Alter, 2020). The video’s sound was made digitally using Logic Pro X, and features vocals from Mertzlufft and Cori Jaskier. The video features Mertzlufft dancing and lipsynching to the music, with captions describing the context and intended visuals for the “Big Act II finale”, with “lots of glitter […] Confetti everywhere! Lights going crazy! Remy on a lift flying over the audience!” superimposed over an image of Remy from the movie. This video is the most widely used and referenced song from the musical, featuring in duets proposing scenographic (Ardell, VOID, msfashionbunny, Shoebox Musicals), contextual (Katie, Cleary), and promotional material (Siswick) for the musical. After Mertzlufft’s song gained traction, more creators began composing music for the musical, such as Gabbi Bolt’s ‘Trash is Our Treasure’ and Blake Rouse’s Kitchen Tango duet. People started to duet the videos with proposals for choreography (Simonis), set (Shoebox Musicals) and costume design (Ardell), and even demonstrating what the backstage crew of the musical would be doing at crucial moments (Cook). This carried on developing through the end of 2020, culminating in a concert run by Seaview Productions, featuring performances by many of the creators involved in Ratatouille, as well as Broadway singers and performers such as Tituss Burgess and Andrew Barth Feldman.

TikTok provides an unusual context to explore the concept of intermediality. TikTok as a performance medium consists at its base level of visual and auditory components, created and/or combined by the user. The use of TikTok as a performance platform allows multiple performance types, and facilitates the addition of extra materials, such as a green screen function to provide background images, the combination of pre-existing and simultaneously recorded sound, and the interactive aspect of duetting or otherwise featuring other users’ videos in one’s own.

Ratatouille challenges the notion that liveness in theatre is a necessary component for intermedial performance (Klich & Scheer, 2012, p71). Blending of live, in-person performance and virtual or pre-recorded material is becoming more widely accepted practice throughout all forms of theatre.Robin Nelson suggests that theatre “as a live phenomenon in the here and now” is “being re-qualified contextually as it accommodates an integrated production, recording and storage medium” (2010, pp. 13-14). While the audience doesn’t experience Ratatouille live, the concept of liveness within the musical itself is blurred. When TikTok users add new content to the musical by duetting and adding to existing content, the mixing of existing media in the form of the original video or sound, with new media adds multiple layers of liveness and intermediality. This is evident in Rouse’s ‘Kitchen Tango’ open duet, in which he performs one part, leaving the part of Colette to be sung by other users. Some users, such as Amber, film their reactions to videos within the musical. This contributes to the feeling of liveness in the musical, as viewers of the reaction videos experience the original material alongside the reactor.

Although TikTok as a technological medium is closer to film technology than theatre, Ratatouille is closer to a stage musical than a celluloid musical. The construction and performance style of the musical is almost entirely consciously theatrical. Shoebox Musicals’ demonstration of the visual scenography includes a revolving stage, flown in set pieces, and a cyclorama, lit by miniature stage lights. Similarly, msfashionbunny’s set model features a split set on a revolving stage, demonstrating the use of scale to differentiate the size of the rats and the humans, similar to the use of scale in the set design for Lloyd-Webber’s Cats. Ardell’s costume designs propose using one of the performers’ legs as the rat’s tail, a design choice which would be frowned on in a film musical, where believable realism is the goal, but the suspended disbelief of the theatre fully allows for. Broadway performer Kevin Chamberlin composed Anyone Can Cook, and Karina Simonis choreographed a dance for Rouse’s ‘Kitchen Tango’.

Ratatouille supports Nelson’s argument that “the relations between different media in a multitracked text are ultimately a matter of perception and interpretation” (2010, p13). Not all of the videos contributing to Ratatouille are performances of songs or demonstrations of visuals. Some creators propose a scene, costume, visual effect or theatrical decision simply by describing it. Jack Cleary describes a scene in which food critic Anton Ego eats the ratatouille, proposing this as his first song in the musical. Despite the relative lack of visual or auditory material, these videos are linked with the rest of the musical by using hashtags in the video description, or by using a song from the musical in the background. These are often still included in the accepted canon of the musical, because audiences build a mental representation of the musical themselves based on the pieces provided by other people.

The musical does not need to be seen in a specific order. The purpose of the Ratatouille musical is not to tell the story of Remy, as most viewers are familiar with the plot from the movie. Instead, the purpose is to remediate the concept of the story through recognisable scenes, which the viewer can assemble in their own head. Every consumer has a different experience of the musical. Most viewers will be familiar with the audio of the most popular songs, and some of the more popular videos featuring choreography, visual design, or contextual explanations. Users have some control over which parts of the musical they see and therefore which songs, performances or proposed stylistic choices are included in their mental version of the musical. Some people even began proposing changes to the accepted material content, such as whether or not to replace the lyric “Remy the ratatouille”, as the character is a rat, rather than a ratatouille. Despite not adding material to the musical itself, this internal discourse contributed to the experience of the musical, becoming something of a metanarrative within the overall concept of the musical, as audiences could decide for themselves whether or not to include the song in their interpretation of the musical.

While the purpose of most conventional theatre is to create a production for audience consumption, the medium of TikTok means that the creators of the musical are also audience members, and the creation of the musical is done for the enjoyment of the creators. Although TikTok does provide payment to a few creators with a large number of viewers, many of the contributors only became popular enough to qualify thanks to their role in the development of Ratatouille. Instead, the creation of the musical was borne from a desire to create and share with other TikTok users.

On January 1st, 2021, Seaview Productions staged a performance of the songs from Ratatouille, featuring many of the original creators. The concert was hugely popular, and raised over $2m for The Actors Fund. However, I would argue that the concert marked the end of the Ratatouille musical. Rather than creating a vague framework for audiences to transpose their imagined version of the musical onto, Seaview Productions cast actors and celebrities as the lead characters, providing one definitive image for the musical, rather than allowing audiences to fill in the visuals using context from the film and the recognisable TikTok videos. After the concert, interest in the production of new Ratatouille content dropped almost completely, and the focus of TikTok users shifted elsewhere. Although the intermediality of TikTok allowed the musical to take flight, once Ratatouille entered a new performance medium, it was all over.

The internet musical

The internet allows musical fans to experience musical theatre outside of attending live performances by listening to soundtracks, discussing with other fans, and watching recordings, legal or otherwise. However, the experience of watching a recording of a stage musical is very different from watching an online musical staged for the internet. In 2009, A Very Potter Musical by Starkid, a musical parody of Harry Potter, reached internet fame in fandom spaces after a video recording of a performance was uploaded to YouTube. The musical became extremely popular with fans of Harry Potter, and Starkid produced two sequels, which were also uploaded to YouTube. However, the intermediality and the use of the internet in this case is very different to how it is used in Ratatouille. A Very Potter Musical was produced for live, in-person performance, rather than internet consumption, and the recording is not designed to be the main form of consumption. The use of the internet in the distribution and popularity of A Very Potter Musical largely takes the form of fandom and social media marketing, rather than as the primary vehicle of the musical.

Similarly, the internet musical differs from a celluloid musical because it relies on a framework provided by the internet. The experience of watchingThe Greatest Showman (2017) on Netflix is effectively no different to watching the same musical on DVD, and even in cinemas the material is received in the same way. However, watching AV byte’s 2016 short video ‘The Internet is Down - THE MUSICAL’ relies on the audience accessing it via YouTube. The context of the internet contrasts with the content of the song: a worldwide internet blackout. Watching the video on DVD or a non-internet based format would remove the context and reduce the effectiveness of the piece.

The intermedial use of the internet as a performance vehicle for music and performance has already been established before being necessitated by COVD-19. Choral performances using the internet have been pioneered by choirs and composers such as Eric Whitacre. In Lux Aeterna (2012), Whitacre uses pre-recorded videos and audio tracks of 185 singers in a grid on screen. At 1:00, a singer’s video is expanded during their solo, drawing attention to the performer in a way that is difficult to achieve in live choral performance. In Sing Gently (2020), Whitacre assembles 17572 singers, which would be very difficult to bring together for a live performance, and the use of the internet to facilitate the creation of the video allows Whitacre to use material from performers in 129 countries simultaneously.

The internet is an integral part of modern-day culture, and is used in almost every aspect of life, from education and employment to entertainment and socialisation. It’s natural that theatre and performance finds a new home online, and finds innovative ways to do so, especially under the circumstances of a global lockdown. Using the internet as a platform for musical performance has been a necessary move due to the pandemic, but has also succeeded in making musicals much more accessible for people who would otherwise be obstructed from seeing them (Schiavon, 2020). Since most popular theatre, especially megamusicals and performances featuring popular performers, takes place in major cities such as London’s West End and Broadway in New York, people who live in remote places are less able to attend them. Additionally, people with disabilities, either physical or mental may be prevented from seeing musicals due to added obstructions to travelling, accessing to theatre spaces, and the multisensory experience of a large-scale theatre performance being incredibly overwhelming. Therefore, moving more theatre and performance online opens up opportunities for more people to access musical theatre. While making recorded stage musicals more readily available online is a very positive step, musical theatre makers should fully embrace the available technology to usher in a new generation of online musicals.

The conventions of intermedial theatre are difficult to define, as people at the forefront of theatrical innovation are always finding new ways to integrate new media with performance, meaning that “previously existing medium specific conventions are changed” (Kattenbelt, 2008, p 25). Innovation in technology pushes artistic creators to come up with new ways to use technology in performance and to make performance with technology. When faced with cancellations and boredom, creators turned to newly available technology to do what they do best, and in doing so, redefined the conventions of the musical. As intermedial technology continues to develop, so too, hopefully, will the creation of musical theatre.

Bibliography

Alexa Chalnick [@alexachalnick] (2020); ‘~WHEN WORLDS COLLIDE~’; TikTok; available from: https://vm.tiktok.com/ZMebxyVrK/

Alter, R. (2020); ‘Broadway Is Closed, But Ratatouille the Musical Is Cooking on TikTok’ [online]; Vulture; accessed 09/05/2020; available from: https://www.vulture.com/2020/11/ratatouille-musical-tiktok.html

Amber [@missfionnacharming] (2020); ‘Ranking Songs from the Ratatouille Musical’; TikTok; available from: https://vm.tiktok.com/ZMebvCY5R/

Ardell [@ardellyfoshelly] (2020); ‘Untitled Video’; TikTok; available from: https://vm.tiktok.com/ZMebPtQFF/

Avbyte (2016); ‘The Internet is Down - THE MUSICAL feat. Thomas Sanders’ [online video]; YouTube; accessed on 08/05/2021; available from: https://www.youtube.com/watch?v=Oc30xP-8OH0

Bay-Cheng, S., Kattenbelt, C., Lavender, A., & Nelson, R. (Eds.) (2010); Mapping Intermediality in Performance; Amsterdam; Amsterdam University Press; accessed 10/05/2021; available from: http://www.jstor.org/stable/j.ctt46mwjd

Bolt, G. [@fettuccinefettuqueen] (2020); ‘Trash is Our Treasure’; TikTok; available from: https://vm.tiktok.com/ZMebPByQe/

Chamberlin, K [@chamberlin_kevin]; ‘Anyone Can Cook’; TikTok; available from: https://vm.tiktok.com/ZMebvVfSW/

Chen, T. (2020); ‘This Guy Posted A Silly Video On TikTok And Accidentally Created A Whole Musical Number’; Buzzfeed News; accessed on 08/05/2021; Available from: https://www.buzzfeednews.com/article/tanyachen/epic-tiktok-chain-musical-fighting-in-a-grocery-store

Cleary, J. [@jackattackcleary] (2020); ‘Untitled Video’; TikTok; available from: https://vm.tiktok.com/ZMebPtymc/

Cook, K. [@keegscook] (2020); ‘Stagehands for the Ratatouille Musical standing by.’; TikTok; available from: https://vm.tiktok.com/ZMebPXEWm/

Elleström, L. (2021); The Modalities of Media II: An Expanded Model for Understanding Intermedial Relations in L. Elleström, ed. Beyond Media Borders, Volume 1: Intermedial Relations among Multimodal Media; Palgrave Macmillan; pp 4-84

Eric Whitacre’s Virtual Choir (2010); Eric Whitacre's Virtual Choir - 'Lux Aurumque' [online video]; YouTube; accessed 09/05/2021; available from: https://www.youtube.com/watch?v=D7o7BrlbaDs

Eric Whitacre’s Virtual Choir (2020); Eric Whitacre's Virtual Choir 6: Sing Gently [online video]; YouTube; accessed 09/05/2021; available from: https://www.youtube.com/watch?v=InULYfJHKI0

Jacobsen, E. [@e_jaccs] (2020); ‘Remy – Emily Jacobsen’; TikTok; available from: https://vm.tiktok.com/ZMebPe7SY/

Kattenbelt, C. (2008); ‘Intermediality in Theatre and Performance: Definitions, Perceptions and Medial Relationships’; Cultural Studies Journal of Universitat Jaume I [online]; Vol VI, pp 19-29

Mertzlufft, D. [@danieljmertzlufft] (2020); ‘Grocery Store: A New Musical’; TikTok; available from: https://vm.tiktok.com/ZMebxPbgB/

Mertzlufft, D. [@danieljmertzlufft] (2020); ‘Remy: The Musical OG Song’; TikTok; available from: https://vm.tiktok.com/ZMebPkMv8/

Simonis, K. [@karinasimonis]; ‘Colette’s Kitchen Tango’; TikTok; available from: https://vm.tiktok.com/ZMebQdPKM/

Klich, R., E. Scheer (2012) 'Chapter 4: Liveness and Remediation' in Multimedia Performance, New York: Palgrave Macmillan, pp. 67-87.

Morales, C. (2021); ‘‘Ratatouille,’ the Musical: How This TikTok Creation Came Together’ [online]; The New York Times; accessed on 09/05/2021; available from: https://www.nytimes.com/2020/12/31/theater/ratatouille-tiktok-musical.html

msfashionbunny (2020); ‘Set design for Ratatouille’; TikTok; available from: https://vm.tiktok.com/ZMebPtnaS/

Nelson, R. (2010), ‘Mapping Intermediality in Performance’; Amsterdam University Press, Amsterdam; Available from: ProQuest Ebook Central

Rouse, B. [@blakeyrouse] (2020); ‘Ratatouille Tango’; TikTok; available from: https://vm.tiktok.com/ZMebfotB1/

Rouse, B. [@blakeyrouse] (2020); ‘The Rat’s way of Life’; TikTok; available from: https://vm.tiktok.com/ZMebPYxvD/

Schiavon, I. (2020); ‘BWW Blog: Make Theatre Accessible - A Pandemic Lesson’ [online]; BroadwayWorld; accessed on 10/15/2021; available from: https://www.broadwayworld.com/cleveland/article/BWW-Blog-Make-Theatre-Accessible-A-Pandemic-Lesson-20200814

Shoebox Musicals [@shoeboxmusicals]; ‘’Set design for Ratatouille’; TikTok; available from: https://vm.tiktok.com/ZMebPsSJq/

Siswick, J. [@siswij] (2020); ‘The #RatatouilleMusical marketing department is brainstorming visuals’; TikTok; available from: https://vm.tiktok.com/ZMebxos3v/

Team Starkid (2009); ‘A Very Potter Musical’ [online video playlist]; YouTube; accessed 2012; available from: https://www.youtube.com/watch?v=wmwM_AKeMCk&list=PLC76BE906C9D83A3A

TikTok (2021); ‘TikTok Creator Fund: Your questions answered’ [online]; TikTok; accessed on 10/05/2021; available from: https://newsroom.tiktok.com/en-gb/tiktok-creator-fund-your-questions-answered

Katie [@the bigandsexy70] (2020); ‘Untitled Video’; TikTok; available from: https://vm.tiktok.com/ZMebPsAA4/

Virginás, A (2021); Electronic Screens in Film Diegesis: Modality Modes and Qualifying Aspects of a Formation Enhanced by the Post-digital Era in L. Elleström, ed. Beyond Media Borders,Volume 1: Intermedial Relations among Multimodal Media; Palrave Macmillan; pp 141-169

VOID [@donttouchthevoid] (2020); ‘Here’s the Remy puppet no one asked for’; TikTok; available from: https://vm.tiktok.com/ZMebPqP58/

[bridesmaiddressesteyoiu]

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[whiteemotion]

Join us at the first Strange Umbrellas of 2017 in London. It is this Saturday, February 18, at Lewisham Arthouse - 140 Lewisham Way, London, SE14 6PD.- The Nearest station is New Cross, 5 minute walk to the venue. This fascinating mixed media show features: Charles Hayward & Karel Doing Charles Hayward and Karel Doing both work at Lewisham Arthouse and will perform together: a palindromic composition of manual labour both in sight and sound.

Jack Goldstein & Mandhira de Saram Jack Goldstein is a musicologist at Goldsmiths, a keen free-improviser and the founding member of the experimental pop quintet, Fixers. He curates a regular night of experimental music and performance, Strange Umbrellas, with Steve Beresford and Blanca Regina. For this event he will play in a duo with the violinist Mandhira de Saram. This is a the first time they will play together!

Richard Sanderson (amplified melodeon) Richard Sanderson will be improvising on a melodeon (diatonic button accordion) and effect pedals. His music plays with expectations of such a melodic instrument, mainly used in traditional folk music- forcing it to do things it was never intended to do, using sustain, wah, distortion and pitch change, whilst also respecting the tradition it, and where he comes from.

James Malone (guitar) & Steve Beresford (electronics and objects) Longtime free improviser on objects and electronics Beresford meets relative newcomer Malone, playing acoustic guitar beautifully.

COMEDY 'Bürger from the Hell’ by Norbert Bürger Who is Bürger from the hell? Bürger from the hell lives in a flat in the Lerchenfeld part of Freising, a small town close to Munich. He has inherited this flat from his grandmother, and considers himself the toughest rock guitarist of his generation. After his studies in classical zither at the Richard Strauss Conservatory, he switched to rock guitar in order to meet more girls. With the help of YouTube, he has carefully collected all sorts of tricks, attitudes and poses from the great rock legends. Bürger from the hell can completely concentrate on the development of his career as a rockstar, thanks to an unusual coincidence: the rocker from the ‘burbs is (thanks to an administrative error) sponsored by mistake by a foundation for hygiene products. Alongside building model aeroplanes and looking after his allotment, he therefore has plenty of time to prepare his big step into the limelight… And now, the moment has arrived. Bürger from the hell is ready to present his public with a grand rock show, that will exercise your ears and your sides, from laughing so hard! Accompany the bourgeois devil on his way to the pinnacle of rock, and experience live how Bürger from the hell turns the stage into a whirling cauldron, with the help of a guitar, a loop machine and his beatbox. Wordplay and razor-sharp banter will also lead you alone the previously undiscovered path between cabaret and rock concert.

FILMS ‘Sleepers‘ by Adam Chodzko (2016) ' Seeing someone sleep always provokes a level of uncertainty; perhaps this is more than sleep? Are they dead? Seeing a still image always provokes a level of uncertainty; ('Perhaps, I see movement?') The sleepers’ ‘withdrawal’ into another world, of dreams, also activates and destabilises our ability to empathise, despite our attempts to observe their slumbering state. The stillness and silence of a sleeping person, and a still photograph, creates a vacuum for the viewer, provoking a consciousness of sound. Sound here fragments outwards from the image and is drawn towards it, trying to connect with it, to “bring it to life” but never fully adhering to the image. Holes pierce the thin flat membrane of 35mm film, pouring in light ( -' time to wake up'? - ) allowing a journey through one image and into another. Equally, as digital imagery is increasingly in motion our expectation from our screens is of activity and not stillness, as restless as we are'

'Citizen of despair' by Blanca Regina (2017) video-performance

' We enter the creation and the performance from listening and dialogue. Blurring, erasing any border. In the suitcase the skein of crossed threads of the disciplines are what we work with. Where there are borders, the physical, real and virtual themselves blur and spread. The artist without limits, the sound, the light, the senses, the full and empty glass. From this multidimensionality, we approach the search for expression in several languages. The exchanges are infinite. Knowledge has no limits, it is infinite .... The limits are transferred to the stage space, where the fourth wall is broken and proscenium arch disappears; where the artist is both technical and performer. Duality, disappearance, mask, projection. We unfold in space, sounds, images, data. Contemporary issues infect and contain us. The borders have to disappear, they do not make sense, they only make us limit ourselves in categories, labels, formats that do not define us and that separate us from the whole...' 'W.I.P.‘( 16mm film ) by Pierre Bouvier Patron (2017) W.I.P (2017) is a visual experimentation on 16mm film. Hand painted, the film explores shapes, colours and the possibilities of perception. Strange Umbrellas #16 will give this film, still a work in progress, its first screening.

Doors 7.30 pm Performances start at 8.30 pm Entry 6/4 pounds concessions

[strangeumbrellassite]

Join us at the first Strange Umbrellas of 2017 in London. It is this Saturday, February 18, at Lewisham Arthouse - 140 Lewisham Way, London, SE14 6PD.- The Nearest station is New Cross, 5 minute walk to the venue. This fascinating mixed media show features: Charles Hayward & Karel Doing Charles Hayward and Karel Doing both work at Lewisham Arthouse and will perform together: a palindromic composition of manual labour both in sight and sound.

Jack Goldstein & Mandhira de Saram Jack Goldstein is a musicologist at Goldsmiths, a keen free-improviser and the founding member of the experimental pop quintet, Fixers. He curates a regular night of experimental music and performance, Strange Umbrellas, with Steve Beresford and Blanca Regina. For this event he will play in a duo with the violinist Mandhira de Saram. This is a the first time they will play together!

Richard Sanderson (amplified melodeon) Richard Sanderson will be improvising on a melodeon (diatonic button accordion) and effect pedals. His music plays with expectations of such a melodic instrument, mainly used in traditional folk music- forcing it to do things it was never intended to do, using sustain, wah, distortion and pitch change, whilst also respecting the tradition it, and where he comes from.

James Malone (guitar) & Steve Beresford (electronics and objects) Longtime free improviser on objects and electronics Beresford meets relative newcomer Malone, playing acoustic guitar beautifully.

COMEDY 'Bürger from the Hell’ by Norbert Bürger Who is Bürger from the hell? Bürger from the hell lives in a flat in the Lerchenfeld part of Freising, a small town close to Munich. He has inherited this flat from his grandmother, and considers himself the toughest rock guitarist of his generation. After his studies in classical zither at the Richard Strauss Conservatory, he switched to rock guitar in order to meet more girls. With the help of YouTube, he has carefully collected all sorts of tricks, attitudes and poses from the great rock legends. Bürger from the hell can completely concentrate on the development of his career as a rockstar, thanks to an unusual coincidence: the rocker from the ‘burbs is (thanks to an administrative error) sponsored by mistake by a foundation for hygiene products. Alongside building model aeroplanes and looking after his allotment, he therefore has plenty of time to prepare his big step into the limelight… And now, the moment has arrived. Bürger from the hell is ready to present his public with a grand rock show, that will exercise your ears and your sides, from laughing so hard! Accompany the bourgeois devil on his way to the pinnacle of rock, and experience live how Bürger from the hell turns the stage into a whirling cauldron, with the help of a guitar, a loop machine and his beatbox. Wordplay and razor-sharp banter will also lead you alone the previously undiscovered path between cabaret and rock concert.

FILMS ‘Sleepers‘ by Adam Chodzko (2016) ' Seeing someone sleep always provokes a level of uncertainty; perhaps this is more than sleep? Are they dead? Seeing a still image always provokes a level of uncertainty; ('Perhaps, I see movement?') The sleepers’ ‘withdrawal’ into another world, of dreams, also activates and destabilises our ability to empathise, despite our attempts to observe their slumbering state. The stillness and silence of a sleeping person, and a still photograph, creates a vacuum for the viewer, provoking a consciousness of sound. Sound here fragments outwards from the image and is drawn towards it, trying to connect with it, to “bring it to life” but never fully adhering to the image. Holes pierce the thin flat membrane of 35mm film, pouring in light ( -' time to wake up'? - ) allowing a journey through one image and into another. Equally, as digital imagery is increasingly in motion our expectation from our screens is of activity and not stillness, as restless as we are'

'Citizen of despair' by Blanca Regina (2017) video-performance

' We enter the creation and the performance from listening and dialogue. Blurring, erasing any border. In the suitcase the skein of crossed threads of the disciplines are what we work with. Where there are borders, the physical, real and virtual themselves blur and spread. The artist without limits, the sound, the light, the senses, the full and empty glass. From this multidimensionality, we approach the search for expression in several languages. The exchanges are infinite. Knowledge has no limits, it is infinite .... The limits are transferred to the stage space, where the fourth wall is broken and proscenium arch disappears; where the artist is both technical and performer. Duality, disappearance, mask, projection. We unfold in space, sounds, images, data. Contemporary issues infect and contain us. The borders have to disappear, they do not make sense, they only make us limit ourselves in categories, labels, formats that do not define us and that separate us from the whole...' 'W.I.P.‘( 16mm film ) by Pierre Bouvier Patron (2017) W.I.P (2017) is a visual experimentation on 16mm film. Hand painted, the film explores shapes, colours and the possibilities of perception. Strange Umbrellas #16 will give this film, still a work in progress, its first screening.

Doors 7.30 pm Performances start at 8.30 pm Entry 6/4 pounds concessions

[jenniferramona1]

Variable Annuity Investment Lawyers

Variable annuities are a hybrid investment with features of securities and insurance.

Although they can help provide a fixed income later in life, variable annuities have restrictive, complex, and confusing features that make them inappropriate for many investors. They are also a high-commission investment product, which can lead to aggressive broker sales tactics.

Variable annuities are a leading cause of FINRA investor complaints. If you suffered investment losses from variable annuities and feel that their risks were not properly explained to you, your losses may be recoverable.

VARIABLE ANNUITY FEATURES

Typical features of variable annuities include:

Tax-deferred growth

A death benefit

Periodic payment options that can provide guaranteed lifetime income

When an investor buys a variable annuity, they make either a lump sum payment or a series of payments that are invested into sub-accounts (usually mutual funds). In return, the investor is promised a future benefit. The benefit payments can either begin right away (immediate annuity) or be delayed to the future (deferred annuity).

However, as the name “variable annuity” implies, the investment’s rate of return is not fixed. Rather, it varies depending on the performance of the sub-accounts.

DISADVANTAGES OF VARIABLE ANNUITIES

Potential drawbacks of variable annuities are:

The investor will not achieve any gains—and may even lose money—since the rate of return is performance-based.

A lack of liquidity.

Fees and expenses such as surrender charges, sales charges, early withdrawal tax penalties, mortality and expense risk charges, and charges for special features such as guaranteed minimum income and principal protection.

While variable annuities have features similar to an Individual Retirement Account (IRA), IRAs offer more tax benefits. Investors are often better off maxing out their IRA contributions before they consider a variable annuity.

BROKERS AND FIRMS MUST FOLLOW PROPER SALES PRACTICES

The Financial Industry Regulatory Authority (FINRA) has specific rules governing the sales of variable annuities.

When recommending a variable annuity to an investor, a broker must inform the customer of the investment’s risks and features, including things like potential tax penalties, market risk, and fees and costs.

Brokers must also understand the customer’s investment profile and have reason to believe that a variable annuity is suitable for a particular investor. As a secondary precaution against unsuitability, a principal broker with the firm must review and approve the customer’s variable annuity application before sending it to the issuing insurance company.

If these steps are not followed—and the client ends up losing money on the investment—the brokerage firm may ultimately be held responsible for the client’s losses under FINRA’s failure to supervise provisions.

PONZI SCHEME ATTORNEYS

Ponzi schemes—investment schemes that use money from new investors to pay off earlier investors, with little or no real earnings—have been around for nearly a century, and are still going strong.

While major Ponzi schemes such as the Bernie Madoff scam make headlines, many smaller, less-publicized Ponzi schemes result in investor losses every year.

Ponzi scheme masterminds may face civil and even criminal charges for investment fraud, but this rarely results in investors getting their money back. A more practical recovery strategy for defrauded investors is to bring a claim against the broker and brokerage firm that sold them shares in the Ponzi scheme.

ABOUT PONZI SCHEMES

Ponzi schemes are named after Charles Ponzi, who scammed thousands of New Englanders in a postage stamp scheme in the 1920s.

The investment vehicles have changed over time, but the basics of a Ponzi scheme remain the same: the scammer offers returns to investors, but rather than reinvesting the money and earning profit-based returns, the scammer simply finds new investors and uses their money to pay off existing investors. In short, the Ponzi schemer robs Peter to pay Paul.

As long as there are fresh investors, the scheme keeps going. At some point, however, new recruits dry up, the mastermind takes the money and runs, or numerous investors request to cash out (often during an economic downturn). When any of these occur, the Ponzi scheme collapses—taking investors down with it.

OLD SCHEME, NEW TRICKS

Bernie Madoff became a household name as the perpetrator of the largest Ponzi scheme in history. Madoff’s $65 billion fraud hurt large and small investors alike. Only a few fully recouped their losses.

Madoff’s fraud made investors more aware of Ponzi schemes. It also put more pressure on the Securities and Exchange Commission (SEC) and the Financial Industry Regulatory Authority (FINRA) to crack down on Ponzi Schemes, since Madoff flew under regulators’ radar for decades.

But Ponzi schemes are still a major investor threat. In 2016, 59 Ponzi schemes were uncovered in the U.S. with a total of $2.4 billion in losses. Since 2012, about 65 Ponzi schemes per year have been discovered. The mean scheme is worth $6 million.

Recent schemes show that scammers are finding new ways to defraud investors. For example, the SEC has warned about Ponzi schemes using virtual currencies (such as Bitcoin), while FINRA has warned about social media-linked Ponzis.

In 2017, the SEC charged two men with running a Ponzi scheme involving tickets to popular shows like the Broadway musical Hamilton and Adele concerts. Also in 2017, a former NFL player was charged for his role in a Ponzi scheme that targeted professional athletes.

The SEC offers a list of Ponzi scheme red flags that includes:

An offer of high returns with little or no risks

Returns that do not go up and down over time

Investments in unregistered securities

Account statement errors

Promoters offering investors even high returns for not cashing out

RECOVERING PONZI SCHEME INVESTMENT LOSSES

When a Ponzi scheme comes crashing down and the schemer is caught, there may be criminal proceedings that result in assets being returned to defrauded investors. But investors are unlikely to recover more than pennies on the dollar through such an action.

It is often more efficacious for Ponzi scheme victims to pursue securities litigation or arbitration against the broker and/or the brokerage firm that promoted investment in the scheme. A defrauded investor may also have viable claims against parties that aided and abetted the scheme, such as banks, attorneys, or accountants.

Free Initial Consultation with an Investment Lawyer

When you need legal help with securities, investments or other business matters, call Ascent Law for your free consultation (801) 676-5506. We want to help you.

Ascent Law LLC8833 S. Redwood Road, Suite CWest Jordan, Utah 84088 United StatesTelephone: (801) 676-5506

Ascent Law LLC

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from Michael Anderson http://www.ascentlawfirm.com/variable-annuity-investment-lawyers/

from Utah Bankruptcy Law https://utahbankruptcylaw.wordpress.com/2018/03/13/variable-annuity-investment-lawyers/

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What?s The Difference Between Shared And Managed Web Hosting?

We at FIN Infocom render our clients services related to Software Development. FIN Infocom is amongst the fastest growing Software Development Company based in the UK featuring its offices in India, Australia along with the USA. Software Development can be a key area that takes our concerted effort. Our professional team focuses on giving quality service to absolutely free themes, which serves to resolve their complex business difficulties with a great deal of ease. FIN Infocom knows that each company can have its vision and, thus, unique needs and problems. Therefore, it requires solutions that work well just for them. Moreover, we know that if companies spend nearly all of their resources like serious amounts of manpower exclusively about the Software Development, their focus gets drifted in the core business. Hence, we as Software Consultants accept software demands and in our clients and work diligently to provide them creative and working solutions.

You should first prioritize your requirements. Choosing the right website hosting company with good reviews by users is rarely easy. Consider several factors before making the last choice, each of factor depends entirely on your preferences and the characteristics from the website that you created. If you need host for a personal webpage then selecting a cheap is better option but when you need host for business or commercial purpose then you certainly can't compromise at all. Like an e-commerce website demands another hosting solution like must faster and secure server, protections like SSL to encrypt your entire users data than the usual portal of games that simply need simple html pages to embed games. And hosting plans will be different should you be owning a company website as well as on the opposite hand, an image gallery. For a photo gallery site, choose the plan with an increase of space or database as images or videos occupied more space. Many people face problems when their webpage receives increased traffic and yes it shows 'resource limit have been reached' and they wind up loosing every one of the users. We must therefore have clear ideas concerning the type of project we have been meant to accomplish, otherwise our wrong decision will bring about some serious issue afterwards. {There are domain {web hosting|website hosting|internet hosting|hosting} plans {that include|which include|including|offering} {web hosting|website hosting|internet hosting|hosting}, domain registration {along with other|as well as other|and also other|along with} tools for designing {your website|your site|your internet site|your web site}. 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For example, {a company|a business|an organization|a firm} may offer performance monitoring, firewalls and intrusion detection. |Internet Growth- Web has bought {business world|business community|world of business|corporate environment} {a lot|a great deal|a whole lot|a good deal} closer and nowadays consumers can shop {from the|in the|from your|through the} comfort of {their house|their property|their residence|their apartment}. Anytime you {want a|desire a|need a|require a} cost-effective {web hosting|website hosting|internet hosting|hosting} service {in which case you|then you|then you definitely} should present all doable comfortable {answers to|solutions to|strategies to|techniques to} {the customer|the client|the consumer|the buyer}. They must be able to use {the requirements|what's needed|certain requirements|the needs} without wasting time {as they are|because they are|since they are|as is also} any backbone {of the|from the|with the|in the} business {and their|as well as their|in addition to their|along with their} gratification {can make|could make|will make|may make} {virtually any|almost any|just about any|every} business sail thru satisfactorily. Your {online business|internet business|web business|business online} must provide {all the|all of the|every one of the|each of the} companies and answers {in an|within an|in a|in the} {very affordable|very economical|very reasonable|very inexpensive} package. To make any {online business|internet business|web business|business online} profitable, {make sure you|be sure you|ensure you|be sure to} {provide the|supply the|give you the|provide you with the} best support service. Therefore {pick the|select the|find the|choose the} {most affordable|least expensive|most economical|most inexpensive} ecommerce option thats rapid and well-performing {as well as|in addition to|along with|and also} affords {the best|the very best|the most effective|the top} connectivity. Usually {buy from|purchase from|obtain|invest in} dependable providers so they really deliver {everything you|all you|whatever you|anything you} {pay for|purchase|buy|spend on}. One could also seek {the websites|those sites|web sites|sites} {to uncover|to discover|to locate} webhosting planks {that provide|that offer|offering|that supply} facts of webhosting {companies that|firms that|businesses that} might satisfy your desires. |It's because {of this|of the|with this|on this} security that SSL provides {that is the|that's the|this is the|which is the} exact {reason why|reason|reasons why|good reason that} {it's so|it is so|it's very} important. As consumers {start to|begin to|learn to|will} use the Internet {more and more|increasingly more|a growing number of|a lot more} {every day|every single day|each day|daily}, {they are also|they're also|also, they are|fortunately they are} starting to become {much more comfortable|convenient|more at ease|more leisurely} {shopping online|online shopping|shopping on the web|internet shopping}, {and using|and taking advantage of|and ultizing|and utilizing} that {personal information|private information|personal data|information that is personal}. Still, most won't even consider purchasing anything from {a website|an internet site|a web site|an online site} {that isn't|that's not|that is not|this is not} {equipped with|designed with|built with|furnished with} SSL {and so|and thus|therefore|so}, they'll leave {and find|and discover|in order to find|and locate} another website, and another business, that does. But there's {another reason|one more reason|one other reason|another excuse} that SSL {is so|is really|is indeed|can be so} important, {and that's|and that is|which is|that is certainly} {because it|since it|as it|given it} protects {your website|your site|your internet site|your web site}, too. When SSL is installed it's {much harder|more difficult|harder} {to hack

[defenderofthewing-blog]

My Survival Farm Reviews by Dan F. Sullivan - Did It Work

On the other hand, as mankind, we all do not obtain ourselves staying in the jungle as cats, a few of the requirements on the jungle do pertain to us. Survival is perfect for the fittest. In this instance, possibly the most highly developed in preparation. Oftentimes every now and then calamity attacks us. The only way you can easily understand our way out of such failure is with owning been satisfactorily ready for such an chance. The item I will require a review on is on that. Survival. Would you unintentionally employ a tough concept on how it could be plausible that you can get by or be prepared to give your household whilst in the fail providing that they make it and stay lively in the survival working days? Do you want to buy know-how about storage space of meals, standard water some of other essential preferences for managing of a catastrophe without the need for basically shortage of your assurance? 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[nilapearson7-blog]

Deluxe Furnishings & Home Style.

Queen Letizia and King Felipe VI in photos: A look at the royal romance and marital relationship. With the Earl incentive rate you are mosting likely to get: Scandal sheet box with Art publication, Poster, T-Shirt, Dice and Celebratory Brass coin + Access to the Alpha version of our game + Physical (digipak) in addition to electronic copy of Act I + Game soundtrack on CD + Constructing from video clip on DVD + Printed handbook + Access to our discussion forums + Earl online forum badge. Guide classifies him an authentic royal stud", a monarch that could have left behind him greater than 20 children". Yet his kid has actually up until now been much more prominent as well as satisfies his royal obligations with his cherished Letizia at his side. Nestor and also his team went back to that exact same device 15 times over the next 2 months, collecting $429,945 from 61 payments. Picture inscription Aircrafts utilized by the Saudi royal household are believed to have elegant interiors. Candy Crush Saga just released an iOS version in November 2012 It only got in Facebook's leading 10, with 1 billion gameplays monthly, in October 2011. The royal prince's desire to be himself is reasonable sufficient, yet the monarchy is improved structures of obligation. Image subtitle The family members swung from the balcony at the Royal Royal residence in Madrid. Asia is a crucial market for informal social games-- and thus for The company states that it has already seen some 1 million daily active gamers of Candy Crush Saga in Hong Kong, which amounts one-seventh of its population. The beginning of a three-day state check out to the UK by the king as well as queen of Spain ended with a Buckingham Palace reception. We likewise think that direct input from the neighborhood will help us a whole lot, allowing us to develop an experience that people in fact intend to play, as well as we're currently devising means to earn clear our development procedure to Kickstarter backers, as well as non-investors still interested in the final product. He has pledged obligation to the new crown royal prince, his younger cousin. For those who have virtually any inquiries regarding where along with tips on how to work with great site, you can e-mail us at the website. Softcover Edition of King of Storms and also the Stretch objective video game The Lambs. It is not a video game that more material will certainly be included in during this campaign, yet need to our financing level surge, we will have the ability to reveal even more stretch goals in the future! LONDON - British music royalty was readied to commemorate Queen Elizabeth II onMonday with a Buckingham Royal residence concert including acts fromthroughout her 60-year-reign. The Spanish government has actually declared 3 days of grieving after the twin assault in Catalonia, which Islamic State has actually asserted duty for. Thank You to all our fans of the Haunted Playing Cards, they are in the printing stage and also we expect to start delivering the 3rd week of September. By request: The Kingdom Great Karma Pledge - If you love the job and would love to sustain us! Gamers compose fantasy sporting activities groups at any moment of the period in head-to-head or multi-player contests, paying an entrance charge for every contest as well as vie for prize money. All cards, boxes, summary sheets as well as policy publications will certainly be fully equated into French, German, and also Spanish. BBC globe taken off air in #Thailand Federal government not satisfied with BBC news insurance coverage of #ThaiKing. The government purely applies Thailand's rigorous lese majeste regulations, which prohibit conversation of the King's wellness and sequence strategies. With the Knight (digital) incentive rate you are mosting likely to get: Early access to Beta + Digital copy of Act I + Download and install of soundtrack in MP3 + Making of Video clip long-term sight web link + Digital copy of the video game manual + Accessibility to our online forums + Knight discussion forum badge. Referred to as 'the prequel to Chess', King Down includes olden, fascinating as well as detailed auto mechanics from 'the Video game of Kings' yet breaks all the guidelines by reimagining the timeless pieces, presenting brand-new personalities, as well as consisting of brand-new spell cards, methods, strategies as well as win problems. Think about Kickstarter as a location where you could help support a project like ours and also in return we provide you a collection of benefits depending upon your promise. Half-brick (6) decks of The Right of Kings playing cards. Bonus Goal # 2 is COMPLETE: To commemorate surpassing the record established by our previous Kickstarter for Traveler Conqueror King, we have actually included 2 brand-new character classes, the paladin and also the warlock, and also 16 brand-new personality generation design templates for those classes, to the Gamer's Friend!

[adambstingus]

5 Terrible Tragedies Exploited By Cash-Obsessed A-Holes

Everyone loves a good scary movie, but wouldn’t it be great if you were actually living in a scary movie? That’s the business model in play for some luminaries out there, who think you really want to relive some of history’s most horrifying moments. They’re convinced that the tragedy-junkie dollar exists, dammit, and they’re going to get that green, dammit. So what’ve they come up with?

#5. Haunted Houses Based On Real Serial Killers

People who go to haunted houses are getting increasingly jaded — once you’ve chained live, naked actresses to the floor, there aren’t many places to go — apparently prompting the sort of people who design haunted houses to ask themselves, “What about actual murder?”

So, for the last few years, haunted houses have begun reenacting the real murders of notorious serial killers like Jeffrey Dahmer and John Wayne Gacy. One New York production even featured an exhibit of the creepsters’ personal belongings, donated by a murder memorabilia collector who requested to remain anonymous. Let the speculation begin!

It’s always the quiet ones.

If you haven’t cottoned on to what’s wrong with that, here’s a hint: The victims’ families are still alive! And lo, they aren’t thrilled about jump-scare peddlers using deceased loved ones as props. (And at $30 to $60 a ticket, wildly profitable ones.) To really rub it in, some houses are specifically focusing on local killers, just to make absolutely certain that someone will stumble upon their worst nightmare.

For example, a Sacramento house tried to cash in on the local notoriety of Richard Trenton Chase. For those of you who didn’t live through Chase’s serial killing spree, the short version is that he killed six people.

Then he mutilated and ate them.

Among his victims was a pregnant woman whom he shot, killed, stabbed, sexually assaulted, and drank the blood of, in that order. And her husband was the one who found her when Chase was done. So you could imagine the husband’s horror when he found out that 36 years later a local entertainer was selling tickets to staged re-creations of his wife’s murder. The only good news to come out of this story is that the Sacramento house shut down their fun little show when the victims’ grieving families complained.

Also, there’s a warm seat in hell reserved for this newspaper layout editor.

And the only reason the horrific story above is considered “good news” is because Rob Zombie didn’t have the grace to do the same thing after people complained about Rob Zombie’s Great American Nightmare in Chicago, which featured a Gacy room.

When the Gacy victims’ families complained about a haunted house room featuring a clown blowing up balloons while surrounded by child-sized dolls dressed as Boy Scouts, Rob Zombie said he thought the room was “funny.” And in case you’ve forgotten John Wayne Gacy’s shtick, it was raping and murdering at least 33 Chicago-area young men. To be fair, everyone who’s seen his Halloween remakes knows that Rob Zombie is a renowned authority on comedy.

Finally, London recently opened a Jack the Ripper museum that — not even fucking kidding here — initially branded itself as a new “museum of women’s history.” The museum’s press release invited visitors to experience Jack the Ripper’s crimes “through the eyes of the women who were his victims,” by which they meant “take selfies with their mannequin corpses.”

#TransformationTuesday #dead

No, really: “A picture with Jack in Mitre Square together with the body of Catherine Eddowes” was one of the advertised selling points. The museum’s spokesperson insisted that the morbid selfie station was “done in a very respectful way,” and those words somehow didn’t sound like nonsense when he heard them come out of his mouth. In another statement issued by the museum, they explained that they just wanted women to “be able to experience the London of 1888 in the presence of Jack the Ripper.” That’s a good point — where else could a woman ever experience the fear of violence just from walking down the street?

#4. An Annual Nazi-Themed Christmas Party

In 2014, a Minneapolis newspaper received a photo of a literal Nazi party, complete with cheerful swastika flags hung between Christmas lights over a group of men in SS uniforms. The anonymous sender provided no other information, making it seem like a really vague and bizarre threat, but the newspaper’s reporters eventually discovered that it was not, in fact, a Shining-style snapshot of a ghost ball but a group of historical reenactors partying like it’s 1939.

After the local Jewish community issued a call to shut down the event, its organizer made a statement, insisting, “By no means do we glorify the edicts of the Third Reich,” before pulling out the smelling salts in case he got a case of the vapors at the mere suggestion.

“We just like to get drunk and spend the evening heiling, like any fun-loving American.”

This little group just likes to get together for a bit of wholesome Nazi fun every Christmas and hand out swastika T-shirts to the restaurant staff, that’s all. Another partygoer explained, “Because they dress up like Germans from World War II, it’s cool to go to a German restaurant, eat German food, and drink German beer.” Dude, cultural appropriation is not the problem here.

As for why it was necessary to actually hang up Nazi decorations and give out Nazi party favors, they’re, uh … really into method acting? He compares it to “a Star Trek convention but for WWII enthusiasts,” failing to grasp the galaxy-sized difference between those things. He may not win any awards for cultural sensitivity, but he gets first place in self-dug holes.

#3. There Are Two New Titanics In The Works

Apparently, there are people who watch Titanic over and over for reasons other than Leonardo DiCaprio, Kate Winslet, and the furious masturbation they inspire. Indeed, the ship that famously claimed the lives of approximately 1,500 people has enough fans that not one but two actual-size replicas are being built.

One will be a functional cruise ship that its commissioner, Australian billionaire Clive Palmer, fully intends to sail, because some people have no fear of irony. Of course, the construction of Titanic II will comply with modern safety regulations, and it’s set to sail a completely different path. Don’t wanna tempt fate too much.

Crewmen shouting, “Iceberg! 2,500 miles north!” while not exactly in great taste, is a lot more reassuring.

The people building the other replica, however, are actually counting on it sinking. That’s because it will be part of a “6-D” Chinese theme park where people can experience the sinking firsthand with a simulation featuring an orgy of special effects and/or go insane exploring the two dimensions beyond time itself.

The guy funding it excitedly gushed that visitors “will think, ‘The water will drown me; I must escape with my life,‘” unwittingly unmasking himself as a robot with no comprehension of the human concept of fun. Aside from the questionable judgment of using a tragedy as the basis for a freaking theme park, what is even the point of a Titanic simulation that doesn’t include Kate Winslet’s nipples?

#2. A Reality TV Show Simulating Life In Nazi Germany

If you could travel back to any time period and experience how people lived in that era, what would you pick? The Ren Faire types might choose Renaissance Europe, the chemistry enthusiasts might choose the ’60s, and so on. That covers both of our readers, which means none of you picked Eastern Europe in the 1940s. Huh, why might that be?

“OK, before we set up the time machine, who votes ‘Hendrix concert’ and who votes ‘Nazi occupied Czechoslovakia’?”

Even though everyone knows what life was like in that particular place and time — to wit, super horrible — that hasn’t stopped those paragons of taste, reality TV producers, from bringing us The Real World: Nazi Europe. It was actually a short-lived series in the Czech Republic called, for serious, Holiday In The Protectorate. There was no time travel involved, just a modern family shut in a house with little food and period-appropriate accommodations while fake Nazi soldiers prowled outside, because they had a really weird idea of leisure.

“You have your Survivor, we have ours.”

The global Jewish community wasn’t impressed, namely because of one tiny anachronism that the director, whose stated goal was “to show life in another era while ensuring the highest level of authenticity,” had absentmindedly overlooked: The very real threat of death, which claimed 82,309 Czech Jews. The greatest danger faced by this family, on the other hand, was a falling stage light. Luckily, that means there was an easy way for the producers to make everyone happy: Just abduct one member of the household every week, never to be seen by their family again. For some reason, they went in a different direction.

#1. 9/11 And Trayvon Martin VR Games

It’s not a mind-blowing revelation that people like to play video games to live out fantasies, the most famous of which is pretending to be an Italian man who’s addicted to psilocybin and tortoise murder. There are also all kinds of Counter-Strike maps that allow you to play out real events, like the Boston Bombing and the standoff at the Malheur National Wildlife Refuge. They’re taking some pretty massive liberties with the facts, however. For example, the setup for the wildlife refuge includes fictional hostages the terrorists never took.

Apparently, long diatribes about the Bureau of Land Management don’t really work in a first-person shooter.

We already base most of our shoot-’em-up games on real wars and the like, so that’s only slightly below par for the course. Then there’s the 9/11 virtual reality game.

The plot? You’re not making a mad dash for survival. In fact, not dying isn’t even an option. You start out in an office in the North Tower, where you receive a few commands to fetch files for your boss and things like that, but once the first plane strikes, you just go where the game takes you. Where it takes you, in fact, is to the office of a stranger who quickly becomes so distraught that he jumps out the window. Then you watch your boss call her mom to say goodbye before you both suffocate from the smoke.

That’s it. Just 10 minutes of watching people cry, and then you die. It’s bleak as shit.

In terms of sheer pointlessness, though, the winner is — no, seriously — the VR reenactment of the shooting of Trayvon Martin. The experience is reconstructed from the 911 calls placed by George Zimmerman and, later, members of the community from inside their homes. So that’s the viewpoint we take. It’s literally just a bunch of people on the phone in their living rooms. We never see or hear anything of the actual shooting except for a flash of gunfire and the boy’s real screams for help. The designers insist that reenactments like these could be helpful to investigators, but failed to explain how animated phone calls starring the goddamn Sims tells anybody anything.

“We didn’t see anything because we were drowning our kids in the pool.”

Ready to learn about some more incredibly dickish people? Then check out The 8 Most Shameless Attempts to Cash In On 9/11 and The 6 Most Clueless Assholes To Ever Exploit Tragedies.

from All Of Beer http://allofbeer.com/2017/09/11/5-terrible-tragedies-exploited-by-cash-obsessed-a-holes/ from All of Beer https://allofbeercom.tumblr.com/post/165238661882

[jimdsmith34]

5 Terrible Tragedies Exploited By Cash-Obsessed A-Holes

Everyone loves a good scary movie, but wouldn’t it be great if you were actually living in a scary movie? That’s the business model in play for some luminaries out there, who think you really want to relive some of history’s most horrifying moments. They’re convinced that the tragedy-junkie dollar exists, dammit, and they’re going to get that green, dammit. So what’ve they come up with?

#5. Haunted Houses Based On Real Serial Killers

People who go to haunted houses are getting increasingly jaded — once you’ve chained live, naked actresses to the floor, there aren’t many places to go — apparently prompting the sort of people who design haunted houses to ask themselves, “What about actual murder?”

So, for the last few years, haunted houses have begun reenacting the real murders of notorious serial killers like Jeffrey Dahmer and John Wayne Gacy. One New York production even featured an exhibit of the creepsters’ personal belongings, donated by a murder memorabilia collector who requested to remain anonymous. Let the speculation begin!

It’s always the quiet ones.

If you haven’t cottoned on to what’s wrong with that, here’s a hint: The victims’ families are still alive! And lo, they aren’t thrilled about jump-scare peddlers using deceased loved ones as props. (And at $30 to $60 a ticket, wildly profitable ones.) To really rub it in, some houses are specifically focusing on local killers, just to make absolutely certain that someone will stumble upon their worst nightmare.

For example, a Sacramento house tried to cash in on the local notoriety of Richard Trenton Chase. For those of you who didn’t live through Chase’s serial killing spree, the short version is that he killed six people.

Then he mutilated and ate them.

Among his victims was a pregnant woman whom he shot, killed, stabbed, sexually assaulted, and drank the blood of, in that order. And her husband was the one who found her when Chase was done. So you could imagine the husband’s horror when he found out that 36 years later a local entertainer was selling tickets to staged re-creations of his wife’s murder. The only good news to come out of this story is that the Sacramento house shut down their fun little show when the victims’ grieving families complained.

Also, there’s a warm seat in hell reserved for this newspaper layout editor.

And the only reason the horrific story above is considered “good news” is because Rob Zombie didn’t have the grace to do the same thing after people complained about Rob Zombie’s Great American Nightmare in Chicago, which featured a Gacy room.

When the Gacy victims’ families complained about a haunted house room featuring a clown blowing up balloons while surrounded by child-sized dolls dressed as Boy Scouts, Rob Zombie said he thought the room was “funny.” And in case you’ve forgotten John Wayne Gacy’s shtick, it was raping and murdering at least 33 Chicago-area young men. To be fair, everyone who’s seen his Halloween remakes knows that Rob Zombie is a renowned authority on comedy.

Finally, London recently opened a Jack the Ripper museum that — not even fucking kidding here — initially branded itself as a new “museum of women’s history.” The museum’s press release invited visitors to experience Jack the Ripper’s crimes “through the eyes of the women who were his victims,” by which they meant “take selfies with their mannequin corpses.”

#TransformationTuesday #dead

No, really: “A picture with Jack in Mitre Square together with the body of Catherine Eddowes” was one of the advertised selling points. The museum’s spokesperson insisted that the morbid selfie station was “done in a very respectful way,” and those words somehow didn’t sound like nonsense when he heard them come out of his mouth. In another statement issued by the museum, they explained that they just wanted women to “be able to experience the London of 1888 in the presence of Jack the Ripper.” That’s a good point — where else could a woman ever experience the fear of violence just from walking down the street?

#4. An Annual Nazi-Themed Christmas Party

In 2014, a Minneapolis newspaper received a photo of a literal Nazi party, complete with cheerful swastika flags hung between Christmas lights over a group of men in SS uniforms. The anonymous sender provided no other information, making it seem like a really vague and bizarre threat, but the newspaper’s reporters eventually discovered that it was not, in fact, a Shining-style snapshot of a ghost ball but a group of historical reenactors partying like it’s 1939.

After the local Jewish community issued a call to shut down the event, its organizer made a statement, insisting, “By no means do we glorify the edicts of the Third Reich,” before pulling out the smelling salts in case he got a case of the vapors at the mere suggestion.

“We just like to get drunk and spend the evening heiling, like any fun-loving American.”

This little group just likes to get together for a bit of wholesome Nazi fun every Christmas and hand out swastika T-shirts to the restaurant staff, that’s all. Another partygoer explained, “Because they dress up like Germans from World War II, it’s cool to go to a German restaurant, eat German food, and drink German beer.” Dude, cultural appropriation is not the problem here.

As for why it was necessary to actually hang up Nazi decorations and give out Nazi party favors, they’re, uh … really into method acting? He compares it to “a Star Trek convention but for WWII enthusiasts,” failing to grasp the galaxy-sized difference between those things. He may not win any awards for cultural sensitivity, but he gets first place in self-dug holes.

#3. There Are Two New Titanics In The Works

Apparently, there are people who watch Titanic over and over for reasons other than Leonardo DiCaprio, Kate Winslet, and the furious masturbation they inspire. Indeed, the ship that famously claimed the lives of approximately 1,500 people has enough fans that not one but two actual-size replicas are being built.

One will be a functional cruise ship that its commissioner, Australian billionaire Clive Palmer, fully intends to sail, because some people have no fear of irony. Of course, the construction of Titanic II will comply with modern safety regulations, and it’s set to sail a completely different path. Don’t wanna tempt fate too much.

Crewmen shouting, “Iceberg! 2,500 miles north!” while not exactly in great taste, is a lot more reassuring.

The people building the other replica, however, are actually counting on it sinking. That’s because it will be part of a “6-D” Chinese theme park where people can experience the sinking firsthand with a simulation featuring an orgy of special effects and/or go insane exploring the two dimensions beyond time itself.

The guy funding it excitedly gushed that visitors “will think, ‘The water will drown me; I must escape with my life,'” unwittingly unmasking himself as a robot with no comprehension of the human concept of fun. Aside from the questionable judgment of using a tragedy as the basis for a freaking theme park, what is even the point of a Titanic simulation that doesn’t include Kate Winslet’s nipples?

#2. A Reality TV Show Simulating Life In Nazi Germany

If you could travel back to any time period and experience how people lived in that era, what would you pick? The Ren Faire types might choose Renaissance Europe, the chemistry enthusiasts might choose the ’60s, and so on. That covers both of our readers, which means none of you picked Eastern Europe in the 1940s. Huh, why might that be?

“OK, before we set up the time machine, who votes ‘Hendrix concert’ and who votes ‘Nazi occupied Czechoslovakia’?”

Even though everyone knows what life was like in that particular place and time — to wit, super horrible — that hasn’t stopped those paragons of taste, reality TV producers, from bringing us The Real World: Nazi Europe. It was actually a short-lived series in the Czech Republic called, for serious, Holiday In The Protectorate. There was no time travel involved, just a modern family shut in a house with little food and period-appropriate accommodations while fake Nazi soldiers prowled outside, because they had a really weird idea of leisure.

“You have your Survivor, we have ours.”

The global Jewish community wasn’t impressed, namely because of one tiny anachronism that the director, whose stated goal was “to show life in another era while ensuring the highest level of authenticity,” had absentmindedly overlooked: The very real threat of death, which claimed 82,309 Czech Jews. The greatest danger faced by this family, on the other hand, was a falling stage light. Luckily, that means there was an easy way for the producers to make everyone happy: Just abduct one member of the household every week, never to be seen by their family again. For some reason, they went in a different direction.

#1. 9/11 And Trayvon Martin VR Games

It’s not a mind-blowing revelation that people like to play video games to live out fantasies, the most famous of which is pretending to be an Italian man who’s addicted to psilocybin and tortoise murder. There are also all kinds of Counter-Strike maps that allow you to play out real events, like the Boston Bombing and the standoff at the Malheur National Wildlife Refuge. They’re taking some pretty massive liberties with the facts, however. For example, the setup for the wildlife refuge includes fictional hostages the terrorists never took.

Apparently, long diatribes about the Bureau of Land Management don’t really work in a first-person shooter.

We already base most of our shoot-’em-up games on real wars and the like, so that’s only slightly below par for the course. Then there’s the 9/11 virtual reality game.

The plot? You’re not making a mad dash for survival. In fact, not dying isn’t even an option. You start out in an office in the North Tower, where you receive a few commands to fetch files for your boss and things like that, but once the first plane strikes, you just go where the game takes you. Where it takes you, in fact, is to the office of a stranger who quickly becomes so distraught that he jumps out the window. Then you watch your boss call her mom to say goodbye before you both suffocate from the smoke.

That’s it. Just 10 minutes of watching people cry, and then you die. It’s bleak as shit.

In terms of sheer pointlessness, though, the winner is — no, seriously — the VR reenactment of the shooting of Trayvon Martin. The experience is reconstructed from the 911 calls placed by George Zimmerman and, later, members of the community from inside their homes. So that’s the viewpoint we take. It’s literally just a bunch of people on the phone in their living rooms. We never see or hear anything of the actual shooting except for a flash of gunfire and the boy’s real screams for help. The designers insist that reenactments like these could be helpful to investigators, but failed to explain how animated phone calls starring the goddamn Sims tells anybody anything.

“We didn’t see anything because we were drowning our kids in the pool.”

Ready to learn about some more incredibly dickish people? Then check out The 8 Most Shameless Attempts to Cash In On 9/11 and The 6 Most Clueless Assholes To Ever Exploit Tragedies.

source http://allofbeer.com/2017/09/11/5-terrible-tragedies-exploited-by-cash-obsessed-a-holes/ from All of Beer http://allofbeer.blogspot.com/2017/09/5-terrible-tragedies-exploited-by-cash.html

[samanthasroberts]

5 Terrible Tragedies Exploited By Cash-Obsessed A-Holes

Everyone loves a good scary movie, but wouldn’t it be great if you were actually living in a scary movie? That’s the business model in play for some luminaries out there, who think you really want to relive some of history’s most horrifying moments. They’re convinced that the tragedy-junkie dollar exists, dammit, and they’re going to get that green, dammit. So what’ve they come up with?

#5. Haunted Houses Based On Real Serial Killers

People who go to haunted houses are getting increasingly jaded — once you’ve chained live, naked actresses to the floor, there aren’t many places to go — apparently prompting the sort of people who design haunted houses to ask themselves, “What about actual murder?”

So, for the last few years, haunted houses have begun reenacting the real murders of notorious serial killers like Jeffrey Dahmer and John Wayne Gacy. One New York production even featured an exhibit of the creepsters’ personal belongings, donated by a murder memorabilia collector who requested to remain anonymous. Let the speculation begin!

It’s always the quiet ones.

If you haven’t cottoned on to what’s wrong with that, here’s a hint: The victims’ families are still alive! And lo, they aren’t thrilled about jump-scare peddlers using deceased loved ones as props. (And at $30 to $60 a ticket, wildly profitable ones.) To really rub it in, some houses are specifically focusing on local killers, just to make absolutely certain that someone will stumble upon their worst nightmare.

For example, a Sacramento house tried to cash in on the local notoriety of Richard Trenton Chase. For those of you who didn’t live through Chase’s serial killing spree, the short version is that he killed six people.

Then he mutilated and ate them.

Among his victims was a pregnant woman whom he shot, killed, stabbed, sexually assaulted, and drank the blood of, in that order. And her husband was the one who found her when Chase was done. So you could imagine the husband’s horror when he found out that 36 years later a local entertainer was selling tickets to staged re-creations of his wife’s murder. The only good news to come out of this story is that the Sacramento house shut down their fun little show when the victims’ grieving families complained.

Also, there’s a warm seat in hell reserved for this newspaper layout editor.

And the only reason the horrific story above is considered “good news” is because Rob Zombie didn’t have the grace to do the same thing after people complained about Rob Zombie’s Great American Nightmare in Chicago, which featured a Gacy room.

When the Gacy victims’ families complained about a haunted house room featuring a clown blowing up balloons while surrounded by child-sized dolls dressed as Boy Scouts, Rob Zombie said he thought the room was “funny.” And in case you’ve forgotten John Wayne Gacy’s shtick, it was raping and murdering at least 33 Chicago-area young men. To be fair, everyone who’s seen his Halloween remakes knows that Rob Zombie is a renowned authority on comedy.

Finally, London recently opened a Jack the Ripper museum that — not even fucking kidding here — initially branded itself as a new “museum of women’s history.” The museum’s press release invited visitors to experience Jack the Ripper’s crimes “through the eyes of the women who were his victims,” by which they meant “take selfies with their mannequin corpses.”

#TransformationTuesday #dead

No, really: “A picture with Jack in Mitre Square together with the body of Catherine Eddowes” was one of the advertised selling points. The museum’s spokesperson insisted that the morbid selfie station was “done in a very respectful way,” and those words somehow didn’t sound like nonsense when he heard them come out of his mouth. In another statement issued by the museum, they explained that they just wanted women to “be able to experience the London of 1888 in the presence of Jack the Ripper.” That’s a good point — where else could a woman ever experience the fear of violence just from walking down the street?

#4. An Annual Nazi-Themed Christmas Party

In 2014, a Minneapolis newspaper received a photo of a literal Nazi party, complete with cheerful swastika flags hung between Christmas lights over a group of men in SS uniforms. The anonymous sender provided no other information, making it seem like a really vague and bizarre threat, but the newspaper’s reporters eventually discovered that it was not, in fact, a Shining-style snapshot of a ghost ball but a group of historical reenactors partying like it’s 1939.

After the local Jewish community issued a call to shut down the event, its organizer made a statement, insisting, “By no means do we glorify the edicts of the Third Reich,” before pulling out the smelling salts in case he got a case of the vapors at the mere suggestion.

“We just like to get drunk and spend the evening heiling, like any fun-loving American.”

This little group just likes to get together for a bit of wholesome Nazi fun every Christmas and hand out swastika T-shirts to the restaurant staff, that’s all. Another partygoer explained, “Because they dress up like Germans from World War II, it’s cool to go to a German restaurant, eat German food, and drink German beer.” Dude, cultural appropriation is not the problem here.

As for why it was necessary to actually hang up Nazi decorations and give out Nazi party favors, they’re, uh … really into method acting? He compares it to “a Star Trek convention but for WWII enthusiasts,” failing to grasp the galaxy-sized difference between those things. He may not win any awards for cultural sensitivity, but he gets first place in self-dug holes.

#3. There Are Two New Titanics In The Works

Apparently, there are people who watch Titanic over and over for reasons other than Leonardo DiCaprio, Kate Winslet, and the furious masturbation they inspire. Indeed, the ship that famously claimed the lives of approximately 1,500 people has enough fans that not one but two actual-size replicas are being built.

One will be a functional cruise ship that its commissioner, Australian billionaire Clive Palmer, fully intends to sail, because some people have no fear of irony. Of course, the construction of Titanic II will comply with modern safety regulations, and it’s set to sail a completely different path. Don’t wanna tempt fate too much.

Crewmen shouting, “Iceberg! 2,500 miles north!” while not exactly in great taste, is a lot more reassuring.

The people building the other replica, however, are actually counting on it sinking. That’s because it will be part of a “6-D” Chinese theme park where people can experience the sinking firsthand with a simulation featuring an orgy of special effects and/or go insane exploring the two dimensions beyond time itself.

The guy funding it excitedly gushed that visitors “will think, ‘The water will drown me; I must escape with my life,’” unwittingly unmasking himself as a robot with no comprehension of the human concept of fun. Aside from the questionable judgment of using a tragedy as the basis for a freaking theme park, what is even the point of a Titanic simulation that doesn’t include Kate Winslet’s nipples?

#2. A Reality TV Show Simulating Life In Nazi Germany

If you could travel back to any time period and experience how people lived in that era, what would you pick? The Ren Faire types might choose Renaissance Europe, the chemistry enthusiasts might choose the ’60s, and so on. That covers both of our readers, which means none of you picked Eastern Europe in the 1940s. Huh, why might that be?

“OK, before we set up the time machine, who votes ‘Hendrix concert’ and who votes ‘Nazi occupied Czechoslovakia’?”

Even though everyone knows what life was like in that particular place and time — to wit, super horrible — that hasn’t stopped those paragons of taste, reality TV producers, from bringing us The Real World: Nazi Europe. It was actually a short-lived series in the Czech Republic called, for serious, Holiday In The Protectorate. There was no time travel involved, just a modern family shut in a house with little food and period-appropriate accommodations while fake Nazi soldiers prowled outside, because they had a really weird idea of leisure.

“You have your Survivor, we have ours.”

The global Jewish community wasn’t impressed, namely because of one tiny anachronism that the director, whose stated goal was “to show life in another era while ensuring the highest level of authenticity,” had absentmindedly overlooked: The very real threat of death, which claimed 82,309 Czech Jews. The greatest danger faced by this family, on the other hand, was a falling stage light. Luckily, that means there was an easy way for the producers to make everyone happy: Just abduct one member of the household every week, never to be seen by their family again. For some reason, they went in a different direction.

#1. 9/11 And Trayvon Martin VR Games

It’s not a mind-blowing revelation that people like to play video games to live out fantasies, the most famous of which is pretending to be an Italian man who’s addicted to psilocybin and tortoise murder. There are also all kinds of Counter-Strike maps that allow you to play out real events, like the Boston Bombing and the standoff at the Malheur National Wildlife Refuge. They’re taking some pretty massive liberties with the facts, however. For example, the setup for the wildlife refuge includes fictional hostages the terrorists never took.

Apparently, long diatribes about the Bureau of Land Management don’t really work in a first-person shooter.

We already base most of our shoot-’em-up games on real wars and the like, so that’s only slightly below par for the course. Then there’s the 9/11 virtual reality game.

The plot? You’re not making a mad dash for survival. In fact, not dying isn’t even an option. You start out in an office in the North Tower, where you receive a few commands to fetch files for your boss and things like that, but once the first plane strikes, you just go where the game takes you. Where it takes you, in fact, is to the office of a stranger who quickly becomes so distraught that he jumps out the window. Then you watch your boss call her mom to say goodbye before you both suffocate from the smoke.

That’s it. Just 10 minutes of watching people cry, and then you die. It’s bleak as shit.

In terms of sheer pointlessness, though, the winner is — no, seriously — the VR reenactment of the shooting of Trayvon Martin. The experience is reconstructed from the 911 calls placed by George Zimmerman and, later, members of the community from inside their homes. So that’s the viewpoint we take. It’s literally just a bunch of people on the phone in their living rooms. We never see or hear anything of the actual shooting except for a flash of gunfire and the boy’s real screams for help. The designers insist that reenactments like these could be helpful to investigators, but failed to explain how animated phone calls starring the goddamn Sims tells anybody anything.

“We didn’t see anything because we were drowning our kids in the pool.”

Ready to learn about some more incredibly dickish people? Then check out The 8 Most Shameless Attempts to Cash In On 9/11 and The 6 Most Clueless Assholes To Ever Exploit Tragedies.

Source: http://allofbeer.com/2017/09/11/5-terrible-tragedies-exploited-by-cash-obsessed-a-holes/

from All of Beer https://allofbeer.wordpress.com/2017/09/11/5-terrible-tragedies-exploited-by-cash-obsessed-a-holes/

[allofbeercom]

5 Terrible Tragedies Exploited By Cash-Obsessed A-Holes

Everyone loves a good scary movie, but wouldn’t it be great if you were actually living in a scary movie? That’s the business model in play for some luminaries out there, who think you really want to relive some of history’s most horrifying moments. They’re convinced that the tragedy-junkie dollar exists, dammit, and they’re going to get that green, dammit. So what’ve they come up with?

#5. Haunted Houses Based On Real Serial Killers

People who go to haunted houses are getting increasingly jaded — once you’ve chained live, naked actresses to the floor, there aren’t many places to go — apparently prompting the sort of people who design haunted houses to ask themselves, “What about actual murder?”

So, for the last few years, haunted houses have begun reenacting the real murders of notorious serial killers like Jeffrey Dahmer and John Wayne Gacy. One New York production even featured an exhibit of the creepsters’ personal belongings, donated by a murder memorabilia collector who requested to remain anonymous. Let the speculation begin!

It’s always the quiet ones.

If you haven’t cottoned on to what’s wrong with that, here’s a hint: The victims’ families are still alive! And lo, they aren’t thrilled about jump-scare peddlers using deceased loved ones as props. (And at $30 to $60 a ticket, wildly profitable ones.) To really rub it in, some houses are specifically focusing on local killers, just to make absolutely certain that someone will stumble upon their worst nightmare.

For example, a Sacramento house tried to cash in on the local notoriety of Richard Trenton Chase. For those of you who didn’t live through Chase’s serial killing spree, the short version is that he killed six people.

Then he mutilated and ate them.

Among his victims was a pregnant woman whom he shot, killed, stabbed, sexually assaulted, and drank the blood of, in that order. And her husband was the one who found her when Chase was done. So you could imagine the husband’s horror when he found out that 36 years later a local entertainer was selling tickets to staged re-creations of his wife’s murder. The only good news to come out of this story is that the Sacramento house shut down their fun little show when the victims’ grieving families complained.

Also, there’s a warm seat in hell reserved for this newspaper layout editor.

And the only reason the horrific story above is considered “good news” is because Rob Zombie didn’t have the grace to do the same thing after people complained about Rob Zombie’s Great American Nightmare in Chicago, which featured a Gacy room.

When the Gacy victims’ families complained about a haunted house room featuring a clown blowing up balloons while surrounded by child-sized dolls dressed as Boy Scouts, Rob Zombie said he thought the room was “funny.” And in case you’ve forgotten John Wayne Gacy’s shtick, it was raping and murdering at least 33 Chicago-area young men. To be fair, everyone who’s seen his Halloween remakes knows that Rob Zombie is a renowned authority on comedy.

Finally, London recently opened a Jack the Ripper museum that — not even fucking kidding here — initially branded itself as a new “museum of women’s history.” The museum’s press release invited visitors to experience Jack the Ripper’s crimes “through the eyes of the women who were his victims,” by which they meant “take selfies with their mannequin corpses.”

#TransformationTuesday #dead

No, really: “A picture with Jack in Mitre Square together with the body of Catherine Eddowes” was one of the advertised selling points. The museum’s spokesperson insisted that the morbid selfie station was “done in a very respectful way,” and those words somehow didn’t sound like nonsense when he heard them come out of his mouth. In another statement issued by the museum, they explained that they just wanted women to “be able to experience the London of 1888 in the presence of Jack the Ripper.” That’s a good point — where else could a woman ever experience the fear of violence just from walking down the street?

#4. An Annual Nazi-Themed Christmas Party

In 2014, a Minneapolis newspaper received a photo of a literal Nazi party, complete with cheerful swastika flags hung between Christmas lights over a group of men in SS uniforms. The anonymous sender provided no other information, making it seem like a really vague and bizarre threat, but the newspaper’s reporters eventually discovered that it was not, in fact, a Shining-style snapshot of a ghost ball but a group of historical reenactors partying like it’s 1939.

After the local Jewish community issued a call to shut down the event, its organizer made a statement, insisting, “By no means do we glorify the edicts of the Third Reich,” before pulling out the smelling salts in case he got a case of the vapors at the mere suggestion.

“We just like to get drunk and spend the evening heiling, like any fun-loving American.”

This little group just likes to get together for a bit of wholesome Nazi fun every Christmas and hand out swastika T-shirts to the restaurant staff, that’s all. Another partygoer explained, “Because they dress up like Germans from World War II, it’s cool to go to a German restaurant, eat German food, and drink German beer.” Dude, cultural appropriation is not the problem here.

As for why it was necessary to actually hang up Nazi decorations and give out Nazi party favors, they’re, uh … really into method acting? He compares it to “a Star Trek convention but for WWII enthusiasts,” failing to grasp the galaxy-sized difference between those things. He may not win any awards for cultural sensitivity, but he gets first place in self-dug holes.

#3. There Are Two New Titanics In The Works

Apparently, there are people who watch Titanic over and over for reasons other than Leonardo DiCaprio, Kate Winslet, and the furious masturbation they inspire. Indeed, the ship that famously claimed the lives of approximately 1,500 people has enough fans that not one but two actual-size replicas are being built.

One will be a functional cruise ship that its commissioner, Australian billionaire Clive Palmer, fully intends to sail, because some people have no fear of irony. Of course, the construction of Titanic II will comply with modern safety regulations, and it’s set to sail a completely different path. Don’t wanna tempt fate too much.

Crewmen shouting, “Iceberg! 2,500 miles north!” while not exactly in great taste, is a lot more reassuring.

The people building the other replica, however, are actually counting on it sinking. That’s because it will be part of a “6-D” Chinese theme park where people can experience the sinking firsthand with a simulation featuring an orgy of special effects and/or go insane exploring the two dimensions beyond time itself.

The guy funding it excitedly gushed that visitors “will think, ‘The water will drown me; I must escape with my life,'” unwittingly unmasking himself as a robot with no comprehension of the human concept of fun. Aside from the questionable judgment of using a tragedy as the basis for a freaking theme park, what is even the point of a Titanic simulation that doesn’t include Kate Winslet’s nipples?

#2. A Reality TV Show Simulating Life In Nazi Germany

If you could travel back to any time period and experience how people lived in that era, what would you pick? The Ren Faire types might choose Renaissance Europe, the chemistry enthusiasts might choose the ’60s, and so on. That covers both of our readers, which means none of you picked Eastern Europe in the 1940s. Huh, why might that be?

“OK, before we set up the time machine, who votes ‘Hendrix concert’ and who votes ‘Nazi occupied Czechoslovakia’?”

Even though everyone knows what life was like in that particular place and time — to wit, super horrible — that hasn’t stopped those paragons of taste, reality TV producers, from bringing us The Real World: Nazi Europe. It was actually a short-lived series in the Czech Republic called, for serious, Holiday In The Protectorate. There was no time travel involved, just a modern family shut in a house with little food and period-appropriate accommodations while fake Nazi soldiers prowled outside, because they had a really weird idea of leisure.

“You have your Survivor, we have ours.”

The global Jewish community wasn’t impressed, namely because of one tiny anachronism that the director, whose stated goal was “to show life in another era while ensuring the highest level of authenticity,” had absentmindedly overlooked: The very real threat of death, which claimed 82,309 Czech Jews. The greatest danger faced by this family, on the other hand, was a falling stage light. Luckily, that means there was an easy way for the producers to make everyone happy: Just abduct one member of the household every week, never to be seen by their family again. For some reason, they went in a different direction.

#1. 9/11 And Trayvon Martin VR Games

It’s not a mind-blowing revelation that people like to play video games to live out fantasies, the most famous of which is pretending to be an Italian man who’s addicted to psilocybin and tortoise murder. There are also all kinds of Counter-Strike maps that allow you to play out real events, like the Boston Bombing and the standoff at the Malheur National Wildlife Refuge. They’re taking some pretty massive liberties with the facts, however. For example, the setup for the wildlife refuge includes fictional hostages the terrorists never took.

Apparently, long diatribes about the Bureau of Land Management don’t really work in a first-person shooter.

We already base most of our shoot-’em-up games on real wars and the like, so that’s only slightly below par for the course. Then there’s the 9/11 virtual reality game.

The plot? You’re not making a mad dash for survival. In fact, not dying isn’t even an option. You start out in an office in the North Tower, where you receive a few commands to fetch files for your boss and things like that, but once the first plane strikes, you just go where the game takes you. Where it takes you, in fact, is to the office of a stranger who quickly becomes so distraught that he jumps out the window. Then you watch your boss call her mom to say goodbye before you both suffocate from the smoke.

That’s it. Just 10 minutes of watching people cry, and then you die. It’s bleak as shit.

In terms of sheer pointlessness, though, the winner is — no, seriously — the VR reenactment of the shooting of Trayvon Martin. The experience is reconstructed from the 911 calls placed by George Zimmerman and, later, members of the community from inside their homes. So that’s the viewpoint we take. It’s literally just a bunch of people on the phone in their living rooms. We never see or hear anything of the actual shooting except for a flash of gunfire and the boy’s real screams for help. The designers insist that reenactments like these could be helpful to investigators, but failed to explain how animated phone calls starring the goddamn Sims tells anybody anything.

“We didn’t see anything because we were drowning our kids in the pool.”

Ready to learn about some more incredibly dickish people? Then check out The 8 Most Shameless Attempts to Cash In On 9/11 and The 6 Most Clueless Assholes To Ever Exploit Tragedies.

from All Of Beer http://allofbeer.com/2017/09/11/5-terrible-tragedies-exploited-by-cash-obsessed-a-holes/