Social realism – The Idyllists Fri, 07 Jan 2022 18:24:45 +0000 en-US hourly 1 Social realism – The Idyllists 32 32 Can Live Casino Games Transform the Geordie Gaming Market? Fri, 07 Jan 2022 17:22:52 +0000

It’s no secret that the northern half like to play a few hands every now and then. So, it is not at all surprising that the Toon has three awe-inspiring casinos – Aspers, Genting and Grosvenor. However, these establishments are only the tip of the iceberg. The majority of Newcastle’s gaming premises involve slot machine rooms, bingo halls and other small venues.

Of course, the economic benefit is undeniable, even at the national level. The UK’s gross gaming yield (GGY) may have been a disappointing £ 5.89million in 2020, but somehow everyone involved in the game is still benefiting. This overshadows the issues with problem gambling and the overall presence of luck-based games.

One potential solution comes in digital form, and that’s none other than live casinos. Bringing classic games to websites and streaming them is far from new, but experts and gamers are seeing the benefits. Perhaps the increase of these sites can improve the situation in Newcastle, but some questions remain.

Out of the public eye

The main advantage of live casinos, as an alternative to betting shops, is that they only exist in their own domain. Think about it for a second, or better yet – take a walk around Grainger Town and see how apparent all the gaming ads are.

Even if the target audience (adults) justifies a certain way of marketing the brand, it is undeniable that such advertisements are on the verge of unsuitability. Since gambling advertisements and other forms of targeting are prohibited on social media, live casinos can help reduce the exposure of vulnerable groups, such as minors or problem gamblers.

Nonetheless, there is still the problem of betting shops and small venues being somehow a tradition among a lot of Geordies. Although social gatherings are an important part of people’s daily lives, the available data suggests that change is not a problem. The COVID-19 pandemic and the lockdowns that followed (and still persist) have helped a large chunk of gamers experience live casino games.

These encouraging trends certainly bode well for the game’s overall presence in people’s sight most of the time. When you also consider that the UK Gambling Commission is considering several changes to its regulations, it might be even easier for domestic and foreign operators to obtain licenses. As a result, supply and demand will readjust accordingly, with actors benefiting from the conditions. But what exactly are these advantages?

More realistic than ever

From a financial standpoint, a gambling night involves more than just the money you bet. There are drinks, food and anything that might involve a trip to Genting. And to be frank, UK casinos pale in comparison to the atmosphere of those in Vegas or Macau. It’s not meant to be an insult to any of the sites – it’s just that it’s understandably difficult to compete with two cities that are literally the mecca of the game.

However, players are still looking for that iconic casino atmosphere. Live casinos offer exactly that. The operator rents or builds a studio and decorates it to look like the most extravagant places you’ve ever seen.

Or better yet, some online casinos allow you to play at real tables, with the gameplay streamed directly from a land-based casino. This is the highest level of realism you can achieve while avoiding the expense of several thousand dollars.

There is also the innovation factor. Even though gaming sites have sort of become a part of the Toon, you can’t deny that they are quite limited. Of course, you can play poker, blackjack, roulette and baccarat, as well as the obligatory slots and a few electric tables.

But the problem is, the total is only a fraction of what you can do at live casinos. Developers can turn anything into a game. Monopoly Live for example. It is based on the popular board game from Hasbro, to which Evolution has purchased the rights. Blending classic gaming elements with all of Monopoly terminology, the game is a perfect example of what live casino games can do in terms of entertainment.

For example, regular roulette can be fun to play, but the payout odds are always 1:36 for each number on the wheel. Of course, there is a reason why everyone loves roulette. However, this remains limited. Live casinos are getting through this problem by asking developers to turn otherwise impossible ideas into reality. Multipliers are one example.

Whether to hunt Big Win Live Monopoly or boosted bets in another game, it is clear that there are endless possibilities when it comes to live casino games. And we only started to see paintings incorporating elements of multiple reality. The metaverse should also make things fun.

A solution for everyone

As fun as the game can be, there is a time and place for everything. Geordies has generally gotten used to the many advertisements and betting shops around town. Unlike the ban and tighter restrictions, live casinos are touted as a way to solve this problem without risking making the situation worse. While it’s reasonable to believe that Newcastle and cities of similar size will somehow retain a vibrant land-based casino culture, the decline is imminent. Not only are people at risk exposed to in-game content, there are simply better and more convenient ways to play your game.

The whole industry is going digital. If the UKGC takes smart action and doesn’t raise taxes too much, it will be a two-bird-to-one-stone situation. The casino games will be announced to those who really want to play them, while interested players will always have an easy way to have fun.

Above all, there will still be sufficient funds for projects in the region. Of course, this process should be a bit long, but it is a remedy that will make things easier nonetheless. Whether or not this is a permanent fix, both for Newcastle and the UK as a whole, no one knows for sure.

Can Live Casino Games Transform the Geordie Gaming Market?

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This British man’s reaction is the most realistic part of Emily in Paris Wed, 05 Jan 2022 14:06:56 +0000

Emily In Paris is rarely praised for her realism. The social media manager gets her job when she has only 48 subscribers and is sent to Paris by a global company without speaking a word of French. But in the second series, the writers got something very right: the dialogue of a British man.

Portrayed by Lucien Laviscount, Alfred alias Alfie enters Emily’s life when they (reluctantly) join forces in French class. The London banker is making known his disdain for the language school he was sent to for his job and, quite stereotypically, would prefer to play football.

Alfie refuses to speak French, ignores Parisian culture and prefers to drink pints in an English-speaking pub. His character is pretty much the daddy vibe on an all-inclusive vacation with slightly better clothes.

On the current level, he was sent to Paris by a British bank to help a French branch with its financial services during the post-Brexit transition. Despite his lack of interest in Europe, he was chosen for the role because he is the only person in the office without a family to uproot… Hence his surly attitude.

When Alfie meets Emily, their opposing romantic and pragmatic perspectives of Paris collide, making a fun and teasing friendship turned into a romance. So, when Emily’s career is threatened, it is naturally to Alfie that she opens up.

“They all abandoned me without saying a word,” she blurted out in a red tulle dress with a cocktail in hand at the end of a long day. And what words of wisdom does Alfie offer him in return? ‘It’s crazy.’ Two words, two syllables, hardly any meaning. Yet one of the most pronounced phrases in the UK.

A favorite of many Love Island male contestants, “it’s crazy” is essentially a jail-free phrase that allows you to respond to someone’s distress while saying next to nothing. Semantically, it is of the same family as “this is what it is”.

“The most realistic part of Emily in Paris is that she gives all her heart to this British boy just to respond with that,” one fan wrote on Twitter. “This is the best portrayal of a Briton I have ever seen in cinema,” added another.

Although it is disturbing that the defining attribute of British men is communication problems, it is a trope that has passed through endless Roma. Think of Mark Darcy in Bridget Jones – or Pride and Prejudice.

Lack of emotional intelligence aside, Alfie has some way too familiar habits: carrying a Chilly’s water bottle with him wherever he goes, judging Emily before he really knows her, and telling my mate at the end. of each sentence. If you’re heading to London’s financial district, you’ll meet more than a dozen people at Alfie’s before lunchtime.

Yet, as is often the case, prejudice and Alfie’s stubborn nature are clearly a defense mechanism. “Alfie’s role is to capture the feeling of being alone in a city,” Laviscount said Time of his character. “When you feel like that you can get quite bitter, which is why he lifts his guard being defensive and sarcastic. Emily opens up her world and gives her that perspective on what life can be like in Paris, and that’s where their friendship blossoms. ‘

READ MORE: All the ways Emily in Paris fails as a social media professional in season two

Meet Lucien Laviscount, the most recent favorite of television

11 of Emily’s best hair and makeup looks in Paris

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The best horror movie replacement found has already been revealed Sat, 01 Jan 2022 22:00:00 +0000

By modernizing the traditional film form of found images, onscreen horror has the potential to become the perfect replacement for the subgenre.

the images found The genre has terrified audiences for decades, but advancements in technology have prompted creators to find a replacement in the form of on-screen horror films. The horror of found images was first created by films such as The Blair Witch Project and Cannibal holocaust, present filmmakers with a way to create unique and horrific films on a low budget. The realistic nature of films of found images often allows them to be sold as true stories, a tactic that The Blair Witch Project used when marketing the film.

The feature films found don’t always work, but they are terribly effective when they do, and the adaptability of the format has ensured its longevity. Instead of negatively impacting the subgenre, the gradual disappearance of VHS and DVDs prompted filmmakers to find creative ways to explain how the creepy and cursed sequences became, which resulted in movies like REC and The Bay, on reports that have gone wrong. Although their popularity began to wane in the early 2010s, the rise of streaming services led to the creation of a new kind of found pictures film: the on-screen horror film.


Related: Why Paranormal Activity: Next of Kin Feels Like The Blair Witch Project

While the current internet age presents challenges for traditional found-footage film, on-screen horror uses the popularity and normality of the online world to its advantage. It would be impossible to reproduce the Witch Blair marketing campaign due to social media, but onscreen horror incorporates social media into movies to give them a sense of realism. Movies like Friendless, Dark Web, and Research positions the audience through the protagonists’ eyes, giving them an overview of the character’s computer screens. Facebook accounts, YouTube videos, and email inboxes are fully displayed, captivating the viewer by making them feel like they are scrolling through their own computer. This tactic is even more immersive for people who watch movies on their own devices, making them perfect for the streaming age.

VHS series avoided big complaint about found footage film

The images found and the horror films on the screen make heavy use of the technologies of their time, and they are able to adapt quickly to what audiences expect from a horror film, without losing that sense of realism. . Host, released at the start of the Covid-19 pandemic, made stay-at-home orders and Zoom serves as the basis for the 2018 film and film Research was a unique take on a missing person thriller, showing how the internet can heighten everyday fears and distort relationships. When done right, on-screen horror films leave audiences unsettled, weighed down by unanswered questions and the likelihood that events in the film will actually happen. While on-screen horror may be unable to recreate the ‘real events’ narrative often used in films of found images, they are still authentic enough to disturb audiences and make them wonder if there is. a fact hidden in fiction.

For as long as it has existed, found images film has evolved, constantly adapting to accommodate an ever-changing audience and technology. While the popularity of the subgenre rises and falls, its accessibility and straightforward format mean it won’t go away anytime soon, and filmmakers will always find ways to kick off a new phase of found footage films. While onscreen horror might not be the latest evolution in its genre, the internet age makes it the perfect evolution for the images found movies from the past.

Next: The Blair Witch Project Ends Explained: All Your Questions Answered

Severus Snape Alan Rickman Always

Harry Potter reunion ending is the perfect tribute to Alan Rickman

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TV performances of the 2021 Covid-19 estate, Grey’s Anatomy, Ted Lasso, Gossip Girl Wed, 29 Dec 2021 14:00:43 +0000

While realism and recognizable characters are qualities that are often praised on TV shows, most of us don’t really want our entertainment to feel. too much much like real life. This has become truer than ever over the past 18 months, as Covid-19 has curtailed our social lives, saturated our routines with anxiety, and pushed most people into a state of deep pandemic fatigue. No event in recent history has reshaped the world so profoundly, and so it’s no surprise that pop culture is still grappling with how to approach it. On the one hand, no one wants to log into pandemic content. On the other hand, does it get awkward at some point if the TV doesn’t recognize that the world has changed?

At the start of last year’s lockdown, when film and TV production had come to a complete halt with most of society, the distinction was simple: there were shows made in the Before Times, then there were shows. specific to the pandemic like that of Netflix Social distance and free-form Love in the days of Corona, made entirely using remote technology. It was easy to participate or not to participate in these shows, and based on the lukewarm critical reception from both, many withdrew.

As Hollywood slowly came back to life after the months-long shutdown, a debate began to emerge among viewers and creators: Should returning shows acknowledge the pandemic? At that time, the prevailing sentiment seemed to be “Absolutely not”. We were already depressed and exhausted, missed our friends, families and normal routines, turning to entertainment for comfort. If the world had changed so much that it was unrecognizable, at least television could stay the same.

There wasn’t a mask in sight the final season of Succession.

Graeme hunter

It was easier for some shows than for others. HBO Succession, for example, has always been placed in some sort of alternate reality that closely mirrors the real world, but retains some key differences, including a fictional president. This approach, along with the show’s ambiguous timeline (it’s unclear how much screen time has actually elapsed since the 2018 pilot) allowed season three to ignore the pandemic entirely. Likewise, the Apple TV + Ted lasso, despite being a quarantine hit, exists in a suspended reality that allowed for a perfectly pandemic-free second season.

In contrast, The morning show, also on Apple TV +, has completely redesigned its second season to incorporate the pandemic, but has defined its episodes in the first three months of 2020, the last breath of normalcy. This timing means that Covid is largely being treated as a new minor and a shadow that hangs over the show’s soapy procedures rather than a current danger. None of these solipsistic characters have a clue that a virus outbreak in Wuhan, China is about to turn their world upside down, and aside from a brief truncated script where Daniel (Desean Terry) is sent to Wuhan for Reporting on the situation there, the writers never had to engage much in the pandemic until the finale, when a major figure fell seriously ill with the virus.

the morning show

The second season of Apple TV + The morning show captured the early days of the coronavirus pandemic.

Erin simkin

Other shows have taken the opposite approach, placing their new seasons entirely in a post-Covid world. In season three of Netflix You, Penn Badgley’s tongue-in-cheek sociopathic narrator makes a few references to the pandemic, noting that her neighbor, an influential blogger mom, had to publicly apologize after throwing a party in the summer of 2020 “while the rest of us was home with hand sanitizer. “But this pandemic summer is clearly over, and there are no signs of masks or social distancing in the fictional Bay Area suburb where the season is set.

HBO Max The sex life of students and Gossip Girl both made similar decisions, firmly referring to the pandemic in the past. “There are a few jokes and lines that acknowledge that Covid has happened”, Student sex life Showrunner Justin Noble said on the Television Critics Association’s summer press tour, “But we’re an upbeat production in saying this coming year it’s all gone. It is a vague memory. We got away with it. “

gossip Girl

the Gossip Girl the reboot exists in a post-pandemic world unlike the one viewers live in.


Other shows tackled Covid at the start of their new seasons, but phased it out through their finals. Apple TV + Mythic Quest aired a deservedly acclaimed quarantine episode last spring that saw its characters grapple with isolation, but overtake the pandemic in its second season. “We thought people would be tired of talking about it and living the experience, and they would want to look at Covid in their rearview mirror,” said creator Rob McElhenney. Variety.

Grey’s Anatomy initially approached the pandemic in a more in-depth way than perhaps any other show, centering an entire season on the devastating impact of Covid-19 on medical workers. Season 17, including showrunner Krista Vernoff and lead actress Ellen Pompeo dedicated to healthcare professionals, finds Pompeo’s Meredith Gray fighting for her life on a ventilator, in a coma after contracting the virus while working on the frontlines. But even a medical drama like Grey’s can’t handle so many pandemic narratives, and so in the current 18th season, Covid is in the past.

Almost two years after the start of the pandemic, it is becoming increasingly clear that a “post-Covid world” may never exist in reality. Experts now widely predict that eradicating the virus that causes Covid-19 is unrealistic, and that the virus is more likely to become endemic, meaning it will stay, but pose less of a threat over time. Wearing masks in public spaces, regular booster shots, and some degree of travel uncertainty are likely to remain. So, will there come a time when pop culture has to describe Covid-19 not as a finite event, but as part of our ongoing reality?

Grey's Anatomy

In season 17 of Grey’s Anatomy, almost all scenarios have been affected by the Covid-19, but in season 18 the pandemic is in the rearview mirror.

Richard cartwrightGetty Images

Creators are starting to recognize the disconnect. Grey’s episodes are now limited by the following disclaimer: “This season, Grey’s Anatomy depicts a fictional post-pandemic world that represents our hopes for the future. In real life, the pandemic still ravages the medical community. It’s a moving, even heartbreaking, statement that highlights the gulf between this optimistic fictional world and our reality.

This escape approach – putting Covid in the rearview mirror – can be essential for storytellers. Perhaps the vast majority of television will soon be set in an alternate reality, where Covid-19 never existed, or had a clear beginning, middle and end.

The television is nice because it is built around structured arches. In any given episode or season, there is usually one inciting incident, a series of dramatic escalations and crises, and a climax. Obstacles are fought, overcome or not, and there is always some sort of resolution. It wouldn’t be nice to see the characters run into the same intractable problem over and over again, sometimes hoping they would overcome it, only to find themselves in limbo every time. There is nothing narratively satisfying about our new pandemic normal. So maybe putting Covid in the rearview mirror is the only way pop culture can cope. If we never get the triumphant and unambiguous return to normal that we all once hoped for, at least we’ll be able to watch it on TV.

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Viewing by appointment: the best free and Sky TV programming of the week Mon, 27 Dec 2021 16:05:00 +0000

They really pulled off the casting on these kids, didn’t they? Harry Potter 20th Anniversary: ​​Return to Hogwarts (Sunday January 2, 7 p.m., TVNZ 2) brings together (almost) the whole gang for a sentimental celebration of the great classics for children. It is the third highest grossing film franchise of all time. The Potter Universe made more money than any Bond movie, slightly less than Star Wars, and only half of what the Marvel movies did – although Iron Man and his fellow masked superheroes did. needed twice as many films to do so. It’s definitely going to be sappy, probably a little stilted and awkward, but hey – it’s also bound to be fun and it is assumed that a lot of tributes will be paid to the real star of the movies – RIP Alan Rickman.

Daniel Radcliffe, Rupert Grint and Emma Watson will be part of the Harry Potter 20th Anniversary: ​​Return To Hogwarts TV special.


Daniel Radcliffe, Rupert Grint and Emma Watson will be part of the Harry Potter 20th Anniversary: ​​Return To Hogwarts TV special.

* This Way Up: Aisling Bea’s uplifting black comedy finally reaches New Zealand
* Beauty and the Beast: At 30, it’s still the greatest animated film of all time
* Eleven Station: A Bold And Addicting New Pandemic Drama Comes To Neon And SkyGo
* The Lost Daughter: The Haunting Netflix Movie Might Be The Best Elena Ferrante Yet

Tom Hanks is Captain Phillips.


Tom Hanks is Captain Phillips.

Captain Phillips (Tuesday, December 28, 8:40 p.m., Three) is a tense thriller inspired by the 2009 hijacking of Maersk Alabama by pirates off the coast of Somalia. Winner of six Oscars, including Best Picture and Best Supporting Actor for Barkhad Abdi in his first truly terrifying performance. Tom Hanks anchors the film with typical gravity and Paul Greengrass (United 93, Bourne’s ultimatum) directs its long lenses towards action from surreptitious places, imparting a sense of claustrophobia, adding intimacy and realism to the naturally nerve-racking narrative.

Why not start the new year with a good road trip to Aotearoa? It’s risky to remake the classics, but Pork pie (Saturday, Jan. 1, 9:05 p.m. Prime) has managed to appeal to new audiences and not get in the way of those for whom the original is a beloved classic. As charismatic as they are chaotic, Dean O’Gorman and James Rolleston lead a who’s who of Kiwi actors in a merry top-to-bottom chase of our long island nation in a stolen mini yellow. A delight.

James Rolleston, Ashleigh Cummings and Dean O'Gorman team up for Pork Pie.


James Rolleston, Ashleigh Cummings and Dean O’Gorman team up for Pork Pie.

If you haven’t seen this documentary yet, you’re in for a treat. Paul Sorenson has spent 40 years teaching and, more importantly, learning from his beloved canine companions. A retired kiwi farmer and essentially a dog whisperer, he spends his time helping the next generation better understand their four-legged friends, and in this heartwarming film he reflects on a life dedicated to dogs. Old dog (Sunday January 2, 7:30 p.m., Māori TV) shows us that we have many misconceptions about dogs (and people) with down-to-earth humility and dry, wry humor.

It’s a smart social experiment in increasingly tough economic times, but it’s also just a great headline. Landlords For Codgers (Thursday, December 30, TVNZ 1, 8 p.m.) is an English-language show where millennials move in with retirees to save money and “learn from each other.” Like Lucy (25), who runs her own business (a social enterprise promoting veganism and mental health) and leaves her van to board with musician Merv (70) and his wife Viv (67), a teacher at the retirement. Hopeful peace and harmony will flourish, but you can just tell Lucy isn’t going to clean up after herself and the intergenerational war is about to explode.

If you like the black comedy of Succession, then The Death of Stalin is for you.


If you like the black comedy of Succession, then The Death of Stalin is for you.

If you look Great has piqued your interest in Russian historical melodrama with a modern comic twist, try Stalin’s death (Saturday January 1, 9 p.m., Māori TV). It’s funnier than it looks. An Armando Iannucci (Alan partridge, The thickness of it, Veep) satire with Steve Buscemi, Jason Isaacs and Michael Palin, it’s a twisted farce about the race for power after the sudden death of one of the greatest murderers of all time. If you like the black comedy of Succession, This is for you.

It all started with an adventure in Kaikōura. Then they visited Stewart Island in the middle of winter for this exploratory experience. This week, Uncharted: New Zealand (Monday January 3, 8:30 p.m., Three) takes Tim Roxborogh and Carolyn Taylor to Wellington’s Weta Workshop and Zealandia Urban Ecological Sanctuary, before crossing the strait to sample Marlborough Sauvignon Blanc. To be fair, much of this land has already been mapped out, but it’s always nice to take a tour of our unique Aotearoa home and see people discovering it for the first time.

Gabriel Byrne plays Bill Ward in War of the Worlds.


Gabriel Byrne plays Bill Ward in War of the Worlds.

This latest iteration of War of the Worlds (Tuesday, December 28, 8:30 p.m., Rialto) is loosely based on the HG Wells classic, but goes beyond the book to explore post-apocalypse life and the survivors of the alien massacre. Whether it’s a book, a radio play, a movie or a TV show, it’s a tremendous common thread, and this version (which recently shot its third season), is set in France and England, starring Gabriel Byrne and Daisy Edgar-Jones and has proven popular with fans of shows like The walking dead and Kingdom.

A series of individual interviews conducted by Julian Wilcox, Indigenous people 100 (Monday, January 3, 7:30 p.m., Māori TV) speaks to leading thinkers about their perspectives and ideas, hoping to inspire, motivate, and provide practical tools to bring about real change. These are conversations we need to have and voices we can learn from. In the first episode, Wilcox talks to Pania Newton, the public spokesperson for Soul (Save Our Unique Landscapes), about her life and the work she has done to protect her village in Ihumātao.

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How to watch Nicole Kidman as Lucille Ball on Being the Ricardos in Australia Thu, 23 Dec 2021 23:48:48 +0000

It’s so close. Only day until Christmas. We suggest that you don’t spend the day browsing the stores for one last run to do all your holiday shopping.

If even the idea of ​​planning the holiday season seems overwhelming, we’ve got a better suggestion for you: Check out three of the best new movies and shows coming to the streaming services this weekend.

READ MORE: Everything happens to Stan in December

Being the Ricardos

What: People love Lucy.

Lucille Ball was an American actress, comedian, model, studio manager and producer. She was nominated for 13 Primetime Emmy Awards, winning five times and starred in the television series I love lucy with her then real husband, Desi Arnaz.

Now, writer-director Aaron Sorkin has turned the real-life story of Ball and Arnaz’s relationship both on and off screen in the new movie. Being the Ricardos.

READ MORE: Aaron Sorkin Hopes People “Pay Less Attention to Twitter” After Watching Being the Ricardos

Located in 1950s Hollywood, Being the Ricardos examines the complex marriage of the beloved I love lucy co-stars. The entire film spans a week of production on the classic sitcom, especially when a major newspaper article accuses Ball of signing up as a Communist Party member in the 1930s.

Lucille Ball is played by Nicole Kidman. Upon hearing the news of her casting, Kidman revealed that she was terrified of taking on the role of the red-haired sitcom icon, especially after being angry. I love lucy the fans argued that Will and grace star Debra Messing would have been a better choice.

Kidman made the admission during a question-and-answer session in Los Angeles on Saturday night, following a well-received preview of the film. “I had tremendous apprehension about a month ago, and Aaron must have called and emailed me saying, ‘You have this,'” Kidman confessed, depending on the variety.

When: Stream the film now.

Or: Amazon Prime Video.

Do not seek

What: Do not seek stars Jennifer Lawrence as Kate Dibiasky, a graduate student in astronomy, and Leonardo DiCaprio as her professor, Dr. Randall Mindy, who make an astonishing discovery of a comet orbiting the solar system. The problem: he’s on a direct collision course with Earth. The other problem? Nobody really seems to care.

It turns out that warning mankind about a killer of planets the size of Mount Everest is an inconvenient fact to navigate. With the help of Dr Oglethorpe (Rob Morgan), Kate and Randall embark on a media tour that takes them from the office of indifferent President Orlean (Meryl Streep) and her sycophantic son and chief of staff Jason (Jonah Hill ), to the waves of The daily tear, an animated morning show hosted by Brie (Cate Blanchett) and Jack (Tyler Perry).

Just six months away from the comet’s impact, managing the 24-hour news cycle and grabbing the attention of obsessed social media audiences before it’s too late is proving incredibly comedic – what will it take? to make the world look up?

A beautiful disaster-satire film, Do not seek is a cathartic and hilarious story of humanity’s unsuccessful efforts to deal with climate change.

When: Watch the movie now.

Or: Netflix.

Christmas on the farm

What: Starring Australian-American actress Poppy Montgomery, Hugh Sheridan, Darren McMullen and Nicholas Brown, the Stan Original Film Christmas on the farm follows Clementine Jones (Montgomery), an Australian author whose autobiographical book on life on a Queensland farm is picked up by powerful publishers London & London.

But the truth is, “Clementine” is actually Emmy Jones – a New York socialite who passed off her late mother’s diary as her own. When the publisher announces that they are heading to Australia for an authentic ‘Clementine’ Christmas before signing the lucrative deal, Emmy is forced to return to the old family farm, along with her cousin (Sheridan) and husband Miles. (Brown) to help maintain the cunning.

READ MORE: What attracted Hugh Sheridan Christmas on the farm role

One problem: London and London CEO Ellison (Jennette Cronin) shows up with her adult stepson Jack (McMullen) – but if he remembers the night he met Emmy in New York, the deal could collapse.

A fun Australian Christmas party that is sure to be a hit with the whole family.

When: Stream the Stan Original Film now.

Or: Stan.

Premium: Emilie in Paris (Season 2)

What: Darren Star is the creator of some iconic televisions including Sex and the city, Beverly Hills 90210, Melrose Square, Grosse-Pointe, Younger and more. But this is his last series, Emilie in Paris with Lily Collins (the daughter of English musician Phil Collins), who broke the internet during the 2020 lockdown.

RELATED: Where you might recognize Emily in Parisian star Lily Collins from

This series follows Emily (Collins), a motivated American in her twenties from the Midwest, who moves to Paris for an unexpected job opportunity. She is responsible for bringing an American point of view to a struggling French marketing company. It’s the classic story of cultures in conflict as Emily adjusts to the challenges of living in a foreign city while juggling her career, new friendships, and love.

Shot outdoors in Paris and its suburbs, Emilie in Paris celebrates the beauty that is the City of Light. If you’re a fan of any of Star’s previous works, this series will woo you from its first minute, but it’s been ridiculed for its lack of realism. Fans choose to ignore financial impossibility issues because the show is so cute.

When: Season 2 is streaming now.

Or: Netflix.

Related clips

Nine Entertainment Co (the publisher of this website) owns and operates the streaming service Stan.

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Review: List of Barack Obama’s Favorite Movies of 2021 Wed, 22 Dec 2021 11:30:23 +0000

Former President Barack Obama speaks at a panel discussion at Strathclyde University in Glasgow, Scotland on November 8, 2021. (Jeff J Mitchell / Getty Images)

Notes on a demagogue’s favorite movies

Hbefore it is once again. The annual event on the list: “Barack Obama’s Favorite Movies of 2021”. Is it competing with Journalist Awards season? Or is it just another way to convince them that the King of Kalorama thinks like them? A critical friend responded brilliantly to the announcement: “‘God’ is intervening. “

It’s always fun to see how the Obama team keeps its grip on culture. This annual conference from above is designed to show off smarter diversions than an Obama populist. It matches the tastes of mainstream media. Like pollsters and trailblazers, the Obama team astutely researches what attracts the media and what can be sold as hip – the same way pet social policies are promoted during election campaigns.

The odd thing about Obama’s annual Ten Commandments (now a total of 13 Commandments) is that they are always aimed at cultural “betterment”, at demonstrating an evolved taste. This artistic version of progressivism resembles the Soviet talent for socialist realism.

Let’s break it down:

Drive my car at the top of the list, suggesting that Japanese artists imitating Uncle Vanya are more refined than you. This undeniable art film snobbery ignores the marvelous Coming 2 America (Or could this comedy about African heritage resuscitate the dreaded birth certificate controversy?)

Summer of the soul celebrates black music to prove its ethnic authenticity, an easy con artist preferable to Belfastwhite nostalgia, the family half that we do not talk about.

West Side Story keeps America’s past racist shame alive. A tribute to old friend Spielberg who “fundamentally transforms” the classic musical according to Obama’s vision of the fractured United States. The BFG. (cf Make Spielberg awesome again.)

The power of the dog slams American history and toxic masculinity, hiding behind the skirts of Jane Campion’s imitating feminism.

Pork distracts from Bill Ayers, an old-fashioned radical police insult with a gourmet tip story, a politically correct understatement of an elite for leaving a “tip.”

Who passed mixes racial and gender identity while paying homage to outdated black literature.

The card counter condemns the war in Iraq, the US military, the prison system and flirts with interracial sex. A quadruple campaign platform.

Judas and the Black Messiah twists the black activism of the 60s. Funny the new Messiah himself likes that.

The worst person in the world is an ironic justification for personal peccadilloes regardless of popular approval.

old henri replaces Faulkner’s racial profundity with a new American antipathy. This corrupt and unpopular western proves that these films are not consensus favorites.

The last duel is a chic feminist rewrite of history. Her analogy asks: Can Michelle replace Hillary?

Macbeth’s tragedy is a fruit at hand. If you make the obvious comparison, it’s either called a conspiracy theory or you’re canceled.

Go on! Go on tells a story that is such a broken family, broken nation coincidence that it easily sounds like a Barack-Michelle public service announcement.

Quo Vadis, Aïda? Eh? His Serbian subject, which revisits the tragedy in Bosnia, reminds us that foreign policy is never far from Obama’s thoughts. But why this and not Zola wink at trans activists exasperated by Dave Chappelle?

No sane person believes that Obama actually saw and judged the films for himself. All these choices are demagogic, turned towards the seduction of the electorate. The list perpetuates prejudice, dedication and gullibility. This is how movies and politics work.

The Obama team must think Hollywood needs to be reminded that the great Renaissance man is on his side and his constituents need better taste. Or does the former president just want your allegiance?

Armond White, cultural critic, writes about films for National exam and is the author of New post: The Prince’s Chronicles. His new book, Making Spielberg Great Again: The Steven Spielberg Chronicles, is available on Amazon.

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Decarbonization cannot make the products civilization demands – OpEd – Eurasia Review Mon, 20 Dec 2021 17:06:28 +0000

Until the 1800s the world was “decarbonized” because there were no coal or natural gas power plants, and what the Beverly Hillbillies sitcoms of the 1960s theme song “Oil , that is, black gold, Texas tea, ”had not been discovered as something that could be turned into usable products.

Before the 1900s, life was tough and dirty, and most people never traveled 100-200 miles from their birthplace, and life expectancy was short. Today, crude oil is made in all products used in the medical industry, fertilizers, electronics and more than 6,000 other products which are the basis of lifestyles and economies.

Today, global efforts are in place to have electricity generated by breezes and sun to decarbonize electricity produced by coal and natural gas. The “other” fossil fuel of crude oil is supported by efforts to phase out the 3 fossil fuels, but crude oil is rarely used for power generation!

Willow Omarova, who has stepped down as Biden’s candidate for currency comptroller, wants coal, oil and gas industries to ‘go bankrupt’ is a reflection that she is either oblivious or ignorant of how life and the economies of the world were before 1900. The world had no electricity generated by coal and natural gas, nor any of the products, nor fuels made from crude oil needed by airlines, ships and military around the world, as none of these existed before 1900! If confirmed, Willow Omarova wanted to take the world back to the carbon-free era of the 1800s.

As environmental, social and governance (ESG) factors gain in importance, there is a lost reality that the main use of crude oil is NOT for the production of electricity, but for making by-products and fuels which are the ingredients of everything that economies and lifestyles need to exist and prosper. Energy realism demands that lawmakers, policymakers and the media who exhibit widespread ignorance of the use of crude oil understand the staggering scale of the challenge of decarbonization.

The oil that reduced infant mortality, extended longevity to over 80 years, and allowed the world to populate to 8 billion in less than two centuries, is now needed to provide the food, medical care and communications necessary to maintain and grow that population. How can world leaders consciously support the demise of crude oil?

Just because 2 of the more than 6,000 products made from crude oil are gasoline and diesel fuels for short range and light equipment like cars and trucks, why continue to pursue the demise of crude oil? Electric vehicle technology is advancing to replace these two petroleum products. Electric vehicle owners have demonstrated that their use of electric vehicles for approximately 5,000 miles per year represents a real opportunity to meet this short-range need with electric vehicles.

What is the motivation for encouraging the deterioration of petroleum infrastructure which is a guarantee of inflicting irreparable damage to the crude oil supply chain in the 700 refineries around the world who manufacture petroleum products for global infrastructure and that’s 8 billion people, like efforts to stop the use of crude oil could be the biggest threat to civilization, not climate change?

The cancellation of the Keystone XL pipeline has increased global emissions and costs to Americans as this Canadian crude oil is now transported to the West Coast where it is then shipped around the world to China. Once China turns crude oil into usable products, in a country where environmental controls will be significantly less stringent than America, those products are then returned to America via air-polluting ships to coastal ports. west, for US consumption.

The current passion to implement a world with only intermittent electricity from breezes and the sun ignores the unintended consequences of a world without crude oil and products manufactured from it.

The signatories of the green movement failed to imagine what life was like without the infrastructure of crude oil and those products made from oil that did not exist before 1900 when we had:

  • NO medication or medical equipment
  • NO vaccines
  • NO water filtration system
  • NO sanitation system
  • NO fertilizer to help feed billions
  • NO pesticides to control locusts and other pests
  • NO communication system, including cell phones, computers, iPhones and iPads
  • NO vehicles
  • NO airline that now carries 4 billion people around the world
  • NO cruise ship that now carries 25 million passengers worldwide
  • NO merchant vessel that transports products around the world
  • NO tires for vehicles
  • NO asphalt for the roads
  • NO space program.

Wind turbines and solar panels may be able to generate intermittent electricity from breezes and sunlight to partially decarbonize the power grid, but these renewables cannot make any of the “black gold” derivatives that are at the base of the lifestyles and economies of modern society. .

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‘Pushpa: The rise – Part 1’ has an incredible performance by Allu Arjun Sun, 19 Dec 2021 07:30:00 +0000
  • Release date: 12/17/2021
  • To throw: Allu Arjun, Rashmika Mandanna, Suneel, Anasuya Bharadwaj, Fahadh Faasil
  • Director: Sukumar

Pushpa: The Ascension – Part 1 recounts the journey of Pushpa Raj (Allu Arjun), a man of nothing who rises to the pinnacle of power due to his daredevil nature and perceptive intellect. He started out as an employee and gradually rose through the ranks to reach the top of the food chain where he was seen taking control of the extraction and distribution network for the elusive red sandalwood. Its journey to this position of power is neither easy nor without its share of life-threatening situations. Viewers travel back and forth in time to show us the meteoric rise of a man who came from a place characterized by pain and insult and continued to take control of his own life and that of that countless others.

While the story of Pushpa: The Ascension – Part 1 is one that we’ve seen over and over in different iterations, it’s the kind of story that will never lose its appeal, and when completed, will always appeal to that hidden desire in people that makes them dream of achieving. an incredible success in a short time thanks to their physical power and intelligence. This is what we recognize as the story of the underdog and it never gets old. This is one aspect that the directors of this film are banking on in their story, and it is paying off.

The smuggling of sandalwood into parts of southern India has always been in the news and many like me are interested in learning the exact modus operandi for the same. While there have been a few films that have documented a similar concept, Pushpa: The Ascension – Part 1 is one of the most prominent films to do so. It’s also a film that has the most time to lay out such a broad concept and execute it well. Does he succeed? The answer is yes and no. While the film is capable of establishing a credible universe around the contraband trade and of showing us the issues at stake for each of the parties involved in the trade, it does not dwell on the trade itself and barely touches on it. area.