text:
Iatrogenic central retinal artery occlusion following retrobulbar anesthesia with adrenaline for vitreoretinal surgery: a case report
Filippo Confalonieri ORCID: orcid.org/0000-0003-4079-88811,2,3,
Gunn Elin Ladstein1,
Ingar Stene-Johansen1 &
Goran Petrovski1,2,4
We describe a patient presenting with central retinal artery occlusion (CRAO) of the right eye after retrobulbar anesthesia with adrenaline for macular pucker surgery.
The patient, a 67-year-old Caucasian man, developed a CRAO postoperatively by the next-day control likely due to the retrobulbar injection of a combination of Xylocaine and Bupivacaine with adrenaline as anesthetic.
The addition of adrenaline to the standard anesthetic solution could be a risk factor for serious complications, such as CRAO.
Central retinal artery occlusion (CRAO) has been reported as a rare complication associated to intraocular surgery in different types of ophthalmic surgery [1,2,3,4]. CRAO associated to anesthesia administration has been reported after sub-tenon [5, 6], peribulbar [7,8,9,10,11] and especially retrobulbar injection [2, 12,13,14,15,16]. Visual recovery is consistently reported to be poor in these patients. Epinephrine (adrenaline) is usually injected either with lidocaine or its derivatives to prolong the effects of a local anesthetic. Adrenaline is generally recognized as also havinga vasoconstrictive effect that decreases bleeding and counteracts the vasodilator effects of lidocaine through its sympathectomy effect. Eye vessels appear to be no exception even when anesthesia is administered outside the orbit [17,18,19,20,21,22]. Here, we report a case of a 1-day postoperative unilateral CRAO after vitreoretinal surgery with anesthetic containing adrenaline delivered by retrobulbar injection.
A 67-year-old Caucasian man with a history of non-pathological myopia underwent uneventful surgery for macular pucker with epiretinal membrane (ERM) peeling in his left eye. Three months later, he underwent the same surgical procedure using the same retrobulbar anesthesia in his right eye. Preoperative best corrected visual acuity (BCVA) was 0.5 (− 1.25 sphere − 0.75 cylinder at axis 50) in the right eye and 0.75 (− 3.25 sphere − 1.75 cylinder at axis 95) in the left eye. Both eyes were pseudophakic at the time of macular pucker diagnosis and underwent the same procedure 3 months apart. The patient underwent surgery under monitored anesthesia care with a retrobulbar block using a 25-gauge (G), 38-mm Atkinson needle containing 5 ml of a 1:1 mixture of 2% Xylocaine containing adrenaline (1:200,000) and Bupivacaine 5 mg/ml. Both eyes were operated by the same experienced surgeon. In both cases the retrobulbar anesthesia was administered by the same experienced ophthalmologist and the same drug combination was used.
Preoperative review of the patient's medical history showed that the patient was under observation due to a myocardial infarction that he had about 5 years previously. He also was undere rheumatological observation for ankylosing spondylitis. His treatment at the time of surgery consisted of acetylsalicylic acid 75 mg once daily and atorvastatin 40 mg once daily. No other health problems were reported. The patient denied any allergies. The patient's social history was negative for smoking, alcohol abuse, recreational drug use, and travel abroad. The patient was a doctor who had been worked in the hospital as a clinician for about 30 years. His mother suffered from migraines and died of a heart attack at the age of 70 years. At the age of 69 years, his maternal grandfather suffered a stroke. The patient did not know anything about his father's side of the family, but there was no other family history of stroke or vascular illness.
Three 25G trocars were placed through a self-sealing sclerotomy construction. Central and peripheral pars plana vitrectomy (PPV) was performed. Preexisting posterior vitreous detachment (PVD) induction was verified. Brilliant Blue G containing dye (ILM-BLUE®; D.O.R.C., Zuidland, the Netherlands) aided visualization of the internal limiting membrane (ILM) and allowed for both ERM and ILM peeling up to the vascular arcades. Peripheral indentation allowed for retinal lesion verification. No breaks were found. BSS intraocular irrigating solution was left in the vitreous chamber. The sclerotomies were self-sealing and no sutures were needed. At the conclusion of the procedure, about 0.2 mg of subconjunctival gentamycin was administered. No gas bubble was instilled, there were no episodes of hypotension during the surgery, and postoperatively the patient did not sleep in the prone position.
The left eye had a regular postoperative course (Fig. 1a, b). On postoperative day 1 the patient was seen by a junior ophthalmologist, and the visual acuity (VA) in the right eye was hand motion. Intraocular pressure (IOP) was 14 mmHg. There was a trace afferent pupillary defect by reverse in the right eye. The posterior segment examination showed retinal whitening in the macula and a cherry-red spot (Fig. 2a, b).
One day after uncomplicated left eye pars plana vitrectomy (PPV) + epiretinal membrane (ERM) peeling procedure. a Preoperative cross-sectional optical coherence tomography (OCT) scan of both eyes showed macular ERM. b Three months postoperative cross-sectional OCT scan of the left eye shows release of ERM-related anteroposterior traction
Right eye central retinal artery occlusion (CRAO) 1 day after uncomplicated PPV + ERM peeling procedure. a One-day postoperative wide-field fundus photograph of right eye showed CRAO. b One-day postoperative fundus autofluorescence. c One-day postoperative macular cross-sectional OCT shows foveal ischemia and edema
The retina was attached. There was no proptosis or orbital fullness. Optical coherence tomography (OCT) demonstrated inner retinal thickening and hyperreflectivity (Fig. 2c). Fluorescein angiography demonstrated delayed arterial and venous perfusion (not shown).
No further systemic evaluation was performed, the patient was observed and was not referred to a stroke center by the junior ophthalmologist. No blood tests were carried out. No blood pressure, pulse nor temperature was recorded. The patient was not treated with anterior chamber paracentesis, timolol-dorzolamide and brimonidine drops, or 500 mg oral acetazolamide at the first day postoperative control. The patient was alert, attentive, and oriented. Speech was clear and fluent. Cranial nerve assessment, reflexes, sensory perception, coordination, and gait were all normal. No signs of cerebrovascular event were reported.
At 3 months after surgery, the patient felt his central scotoma had improved, and the BCVA had remained stable at 0.05 (− 0.75 to 1.0 axis 60). The anatomical signs of acute ischemia had resolved, and the macular region resulted in atrophic changes with disappearance of the physiological foveal depression (Fig. 3).
Right eye CRAO 3 months after PPV + ERM peeling procedure. a Three-month postoperative wide-field fundus photograph and of right eye showed reduction of retinal whitening and disappearance of cherry red spot. b Three-month postoperative fundus autofluorescence image. c Three-month postoperative macular cross-sectional OCT shows atrophic foveal region and difficulty in central fixation
At 4 months after surgery, OCT angiography documented a right eye capillary dropout predominantly in the deep capillary plexus (Fig. 4)
Right eye CRAO 4 months after uncomplicated PPV + ERM peeling procedure. a 4 month-postoperative right-eye whole retinal, deep, and choroidal OCT angiogram show retinal ischemia predominantly in the deep plexus. HD structural line OCT scanning the fovea shows atrophy. b The left eye is shown for comparison. The left eye underwent the same procedure without any complication
We report a patient with CRAO that occurred in the postoperative period after vitreoretinal surgery with PPV + ERM peeling. Both eyes underwent the same procedure 3 months apart by the same experienced surgeon, but only the second eye showed CRAO.
Many authors have previously described the occurrence of CRAO after retrobulbar anesthesia, as summarized in Table 1.
Table 1 Summary of previous reports of central retinal artery occlusion after retrobulbar anesthesia
CRAO is a known, but very rare complication of ocular surgery that can occur after retrobulbar, peribulbar, or sub-Tenon's anesthesia [1,2,3,4,5,6,7,8,9,10,11,12,13,14]. It is also a known, but very rare complication of adrenaline injection as an adjuvant in anesthesia administration in other parts of the body, especially in ear, nose and throat, oral, and plastic surgery [14,15,16,17,18,19,20]. To our knowledge, this is the first report to associate retrobulbar anesthesia injection combined with adrenaline to CRAO.
We suspect that multiple factors related to the adrenaline injection might have contributed to the development of this case. Since CRAO can happen after retrobulbar anesthetic injection even in absence of adrenaline, however, this might just be one of those rare cases of increased intraorbital pressure in a patient affected by vasculopathy resulting in ischemia.
Since adrenaline can cause CRAO following trigeminal nerve block during oral procedures or local anesthesia of the nasal mucosa during nasal surgery [14,15,16,17,18,19,20], the proposed mechanism is arterial occlusion resulting from either direct or indirect mechanical trauma with subsequent vasospastic events or intraarterially injected adrenaline with retrograde migration [20, 23,24,25,26,27]. The Atkinson needle has a blunt tip and would be expected to cause minimal trauma to the surrounding tissue.
Adrenaline acts peripherally on α-adrenergic receptors [28], resulting in the constriction of blood vessels. Thus, in our case, retrograde arterial migration of the injected adrenaline into the ophthalmic arterial system might have blocked the ophthalmic artery immediately after injection. Through vasodilation over time, subsequent anterior movement of adrenaline to more distal vessels may have led to vasoconstriction and subsequent vasospasm.
We exclude the hypothesis of allergic reaction to adrenaline, even though sensitization could have happened after the first vitreoretinal operation, because of lack of systemic symptoms.
Adrenaline can lead to CRAO following retrobulbar injection of intraconal administered local anesthetics. Hence, physicians should carefully administer local anesthesia with adrenaline in the intraconal space while considering the possibility that such a complication may occur, or possibly exclude anesthetics containing adrenaline during retrobulbar anesthesia.
Data and material can be found at the Oslo University Hospital, Ophthalmology Department.
BCVA:
Best corrected visual acuity
CRAO:
Central retinal artery occlusion
ERM:
ILM:
Internal limiting membrane
IOP:
Intraocular pressure
PPV:
Pars plana vitrectomy
PVD:
Posterior vitreous detachment
VA:
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No funding was received for this work.
Department of Ophthalmology, Oslo University Hospital, Kirkeveien 166, 0450, Oslo, Norway
Filippo Confalonieri, Gunn Elin Ladstein, Ingar Stene-Johansen & Goran Petrovski
Center for Eye Research, Department of Ophthalmology, Institute for Clinical Medicine, University of Oslo, Kirkeveien 166, 0450, Oslo, Norway
Filippo Confalonieri & Goran Petrovski
Department of Biomedical Sciences, Humanitas Huniversity, Via Rita Levi Montalcini 4, 20090, Pieve Emanuele, Milan, Italy
Filippo Confalonieri
Department of Ophthalmology, University of Split School of Medicine and University Hospital Centre, Split, Croatia
Goran Petrovski
Gunn Elin Ladstein
Ingar Stene-Johansen
FC wrote the manuscript and constructed the table and figures. GP provided surgical care to the patient and supervised the whole work. GEL and ISJ reviewed and approved the paper. All authors read and approved the final manuscript.
Correspondence to Filippo Confalonieri.
Written approval for this case report was issued by the relevant authorities of the Oslo University Hospital.
No conflict of interest exists.
Confalonieri, F., Ladstein, G.E., Stene-Johansen, I. et al. Iatrogenic central retinal artery occlusion following retrobulbar anesthesia with adrenaline for vitreoretinal surgery: a case report. J Med Case Reports 16, 303 (2022). https://doi.org/10.1186/s13256-022-03518-0
Accepted: 04 July 2022
Ocular surgery


text:
Mimetus strinatii est une espèce d'araignées aranéomorphes de la famille des Mimetidae.

Distribution
Cette espèce est endémique du Sri Lanka. Elle se rencontre à Ella dans la grotte de Ravana Ella.

Description
La femelle holotype mesure .

Étymologie
Cette espèce est nommée en l'honneur de Pierre Strinati.

Publication originale
 Brignoli, 1972 : Ragni di Ceylon I. Missione biospeleologica Aellen-Strinati (1970) (Arachnida, Araneae). Revue Suisse de Zoologie, ,  (texte intégral).

Liens externes

Notes et références

Mimetidae
Espèce d'araignées (nom scientifique)
Faune endémique du Sri Lanka

redpajama_set_name: RedPajamaWikipedia


Geography of Home has been hailed as "an appealing, insightful collection of musings on the architecture, psychology, and history of house and home in America" (Kirkus). Now available in paperback, Geography of Home reminds us that the house is home to many things. Far more than four walls and a roof, it contains our private and public lives, our families, our memories and aspirations, and reflects our attitudes toward society, culture, the environment, and our neighbors.
In a literary tour of the spaces of our homes, noted design essayist Akiko Busch reflects on how we define such elusive qualities as privacy, security, and comfort. Part social history, part architectural history, part personal anecdote, this rich and delightful book uncovers the hidden meanings of the place we call home.
Akiko Busch has written extensively about architecture and design and her work appears regularly in publications in these fields.


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In large applications, managing localization files can become a behemoth of a task, especially if you're working with external translation teams who will be providing you with proper translations of YAML files (or XML, Ruby hash, files, etc.).
This <%= t('key_name') %> method will search for the matching key in your localization file and display the matching string based on your app's locale setting. Most of how to set your app-wide locale can be easily found by Googling. This blog post will cover the lessons I've learned with to manage localization in a more organized way while working on a large Rails application.
The first and most important thing when working in a team environment on a large Rails application is to agree upon a formatting rule when adding in new localization texts. There are several reasons for this.
It's not uncommon to see thousands of localization keys in a large Rails application. It may be easy to find duplicate strings when your application is small, but when your localization files contain thousands of strings, it can be difficult to search for the correct key you want to use when building out your HTML pages. Also, not having a team wide naming convention set can lead to duplicate strings, which can cause hard to catch bugs in your views.
en: welcome_back: "Welcome back" text_welcome_back: "Welcome back!" label_welcome_back: "Welcome back"
All three keys will display the text "Welcome back" with a few differences. The keys "welcome_back" and "label_welcome_back" will both display "Welcome back!" while the key "text_welcome_back" will display the same text with an exclamation point.
Let's say you have an application with multiple developers working on it. If you have a localization file like the one above, different developers may start using different keys based on what their "Find" function in their editor will locate first. Depending on what text you're supposed to display, some developers may end up displaying the incorrect version of the text. For example, what if you're not supposed to display the exclamation point in the view, but you end up doing so because you accidentally used "text_welcome_back"?
The issue becomes even more transparent when you have to start changing the actual text in the views. To change the text of the keys, you'll have to go into your localization files, try to figure out which text you're supposed to change, and hope that changing one of the "welcome_back" texts won't negatively affect all the other views that might be incorrectly using that key. For example, if you change the text for "welcome_back" to close a ticket for your specific page, it has a chance of creating a bug for all other pages that weren't supposed to be using that specific "welcome_back" key.
Therefore, it's important to set team wide rules on how to name localization keys. It really doesn't matter how you do it. The key is to set a ground rule and have your team be consistent with it when adding new keys. I've seen it done in different ways. Some teams have duplicate texts, but have different keys based on where they're supposed to use that specific version of the key. For example, "text_welcome_back" may just be a simple text while "label_welcome_back" may only be used as a label on a form. I've seen teams just stick with "welcome_back" and that's the only key for that text that they're allowed to have.
One final important rule that you should set (because I always have trouble keeping this consistent) is whether you should include punctuation in your keys or not, and if you do, how you should name your keys. For example, if you really do need to have "Welcome back!" as the text, would you leave the exclamation point in your localization text or hardcode it into your HTML? If you have it in your localization file, should you name your keys differently like "welcome_text_exclamation"? Personally, I think you should have the exclamation point inside your localization files because certain languages like Spanish will have the upside down exclamation point before the first word. In these cases, it'll make translating your app into other languages much easier since punctuation will already be accounted for in your localization files for languages that treat them differently.
I mentioned one potential issue that may arise from having inconsistent naming conventions where it may become difficult to figure out which locale string you're supposed to be using and/or changing as you code. Another benefit of having consistent naming conventions is that you eliminate duplicate keys/value pairs in your localization files. For example, when I search for a text to use in a localization file, I'll usually just use my text editor's search feature to look for which key I should be using. Sometimes, I'll find two key/value pairs with the same exact texts but different keys. Sometimes I'll find similar texts but with different keys. This always makes me go, "Okay… which one am I supposed to be using?". Not having any duplicate keys and texts in your localization files reduces this unnecessary mental road block.
If your localization files have improperly formatted strings, your Rails app will fail to boot. Worst of all, the logs will not tell you exactly which of your localization file is causing the issue nor will it tell you which line. This is incredibly frustrating to debug and always has me performing a manual binary search (temporarily delete first half of a YAML file, see if app boots up, if not repeat) through a large localization file(s) to figure out which key/value pair is causing the issue. And yes, sometimes it's literally one key/value pair that's blocking the entire app from booting.
The cause for improper string formatting can vary. Sometimes, it can even be caused by inconsistent string formatting between various key/value pairs. Therefore, it's much more sane to keep a consistent rule when it comes to formatting the string values for your texts. I like to follow this rule when it comes to Rails apps.
You'll see that some values for certain locale keys won't have any sort of quotation surrounding it. While this may work, if some of your texts require double quotes, you may run into parsing errors in subsequent key/value pairs that follow.
If you wrap your strings in double quotes, you can easily add in single quotes inside your double quotes without any issues.
If your text requires to display double quotes, then simply escape the double quotes with a backspace.
For example, if your text requires you to display Hi "Benjamin", then do something like this hi_benjamin: "Hi \"Benjamin\"" will allow you to display your double quotes and allow you to go to the next line in your localization files without any parsing issue.
If you follow these two rules consistently, you will have zero (or very few) issues when it comes to experiencing boot up errors in your Rails apps. In addition, having these set of rules will make working with third party translation vendors much easier.
As mentioned in the last point, if you're working with professional third party translation vendors, having a clear set of formatting rules will make your life 10 times easier. If you don't set some sort of ground rules with your translation vendor, they may send you huge YAML files with inconsistent formatting rules, causing your Rails app to crash. However, if your team already has a clearly defined set of rules, you'll have a more smooth experience working with third party vendors.
It is entirely possible to have your app translated into different languages automatically via services like Google Translate and Yandex. Sounds magical? Well, there are advantages and disadvantage to this method.
The way this works is that you'll write a script that you run as a rake task that will grab all key/values of your locale texts, loop through them, send a request to a translation API (Google Translate, Yandex, etc.), and build up a new YAML file for the language of your choice. This sounds great until you see the results which is in the disadvantages list.
Yep, the resulting translation usually is terrible, especially if it's a language that's difficult to translate into. For example, machine translation from English to Spanish may work "ok", but from English to something like Chinese probably will not. This is where working with professional translation services come in if your app requires proper translations.
If you want your app to read well (or even make sense) in other languages, you'll have to bring in a professional translation vendor. Most of the time, what you'll be doing is handing over your main YAML (or XML, Ruby hash file, or etc.) to them and then they'll send you over the YAML files in the languages you requested. You'll then take these YAML files and then merge them back into your codebase.
I've already mentioned that you should set text formatting rules with your vendor so that you don't have any problems with your app booting up. Assuming you have this part taken care of, I'll list a few things that can make your life working with vendors much easier.
There are multiple ways that you can work with translation vendors, but the way I've worked with them involved me providing the English YAML files (usually named "en.yml") and then having the translation vendor send the translated files back to me (includes something like "ko.yml", "es.yml", "fr.yml" and more). I would then take these files and merge them back into the codebase, and then start the local Rails server to check that the app boots up properly.
You can utilize different ways of managing the sending and receiving of the YAML files. I'm sure platforms like Dropbox and Google Drive work fine (heck, I'm sure you can even email them back and forth, although I wouldn't recommend it since managing that would get confusing real quick), but I found that using Github repos work even better. With Github repos, you can easily merge files back and forth between your main code repository and your "locale files" repository, and use git to resolve any differences.
With Github repos, anytime there were changes in the main YAML file (in my case, English), I would sync that file into the locale files repository on Github. The translation vendor would then pull down the latest "en.yml" file, translate the texts, and then push the latest set of YAML files in different languages to the repository. I would then pull down the latest YAML files, and then merge them back into the app's codebase.
Of course, there are different software solutions out there to manage this process, but I found using git to be the most simple and economical to manage localization files when working with translation vendors.
Sometimes, you might run into issues where you're displaying a text that exists in your default YAML file (en.yml for me) but that key doesn't exist in the YAML files provided by your translation vendor. This can happen since the translation vendors are humans at the end of the day, they might miss translating some texts. If this happens, it's possible to "fall back" on your autogenerated locales if you happened to have those lying around.
To do this, simply have two sets of translation files for each languages. First set is the custom ones from the translation vendor and the second set is the autogenerated ones that you built with making API calls to services like Google Translate.
You want to then organize your translations files in your config/locales folder.
I like to put all of the autogenerated localization files under config/locales/auto_generated and then the custom translated localization files under config/locales/custom folder.
What this will do, especially the config.load_path += line, is that it'll load up all of the localization files in your locales folder, and then sort them alphabetically. And since the word "custom" comes after "auto_generated", when Rails looks up the key/value pairs of locales, it'll first look for the locale key in the auto_generated one and then in the custom one. And since the custom translation comes after the auto_generated one, the custom translation will be utilized rather than the auto_generated one. And if for some reason the custom translation does not exist, the auto_generated translation will be utilized instead since it has already been loaded by Rails.
This way, you can always have a fallback option in case there are missing locale keys in your custom localization files.
When working with translation vendors, there is a chance that the localization files that you get back from them will have typos. The typo I've seen most often have been that the language key that's on the top of the YAML file would be a different one.
For example, here's a typical YAML file that would represent a Korean translation.
See that "ko" definition? Rather than that, sometimes I would get back files with some other language key instead, like "es" which is usually used for "Spanish". I've had times where I would merge this typo into the codebase, deploy and then have all the Korean users have their version of the app displayed in Spanish.
This is one of those typos that's easy to miss and can cause all sorts of annoyance for your international users. Thus, I like to write tests that check for the integrity of the YAML files before you merge and deploy your app. Here's are some typical tests I like to write to check for the integrity of the YAML files.
All this test does is it loads up the individual YAML files, and then check for the integrity of the key of that YAML file. For example, it'll load up a French YAML file, and then make sure that the key definition of that file is set to "fr", so that French users won't end up accidentally seeing Russian (it's happened once…). This is just an example of a test you can write to check for the integrity of your localization files. I'm sure that there are different types of tests that you can write depending on your situation.
I wrote in the first sentence of this post that managing localization in large apps can be a behemoth of a task. It is if you don't have a process set up for managing it. However, if you set up a organization wide process for managing it in a systematic way, it becomes one of those 5 minute tasks that's painless to do. I'm hoping this post can be helpful for those with apps that need to support multiple languages.
I'm building an application to solve the problems that I listed in this post. I describe the application that I'll be building here.


text:
Home Read Darkest Dungeon, a Hauntingly Beautiful Experience
Darkest Dungeon, a Hauntingly Beautiful Experience
Mitchell Long
[dropcap size=big]D[/dropcap]arkest Dungeon is a phenomenal dungeon crawler from Red Hook Studios. The unique gem of a game just launched its Steam Early Access phase, and it's one of the best releases of 2015. Red Hook Studios' masterpiece features gorgeous environments, challenging but rewarding gameplay, and psychological elements which join forces to craft a distinctive, unparalleled experience.
Dear diary, you won't even believe the day I had
Full Kickstarter funding was successfully completed on March 14, 2014, raising a total of $313,337 from almost 10,000 backers. The rewards varied from the standard base copy of the game at $15, early access for $20, and ranged all the way to the $5,000 tier. Some of the coolest rewards included exclusive playable characters, a personalized hero, and a journal of your journey through the game.
There's a hauntingly memorable opening cinematic which kicks off Darkest Dungeon, proving that the darkness isn't confined to hordes of malevolent foes. An eloquent voiceover explains that a once powerful and wealthy manor has disintegrated into ruin because of an unnamed evil entity. A neat Hound of the Baskervilles element oozes from the intro, though Darkest Dungeon features an actual supernatural threat unlike the Holmes story.
Iron Maiden? Darn, I was hoping for Black Sabbath.
Following the film is an ominous warning that characters, once dead, are permanently deceased. After this sequence, the player is thrust into action with a quick romp through a few rooms. This serves as a brief tutorial, walking you through the basics. Movement can be controlled with the keyboard or mouse, and I mainly found myself using the mouse. It's actually possible to play almost the entire game without the keyboard. The mechanics of the turn-based dungeon crawler felt familiar, but the garnishes and inner-tickings set Darkest Dungeon apart.
Let's just power through those injuries.
Gameplay is unlike any other title I've encountered. Don't let the fairly simple tutorial deceive you: Darkest Dungeon is rather difficult, but it's a fun rather than frustrating challenge. My first foray into a dungeon, I decided to skimp on provisions, such as food, shovels, torches, and healing herbs. Unfortunately, I paid the price, encountering a trap which inflicted claustrophobia on one of my four party members. The following fight further explained the foreboding warning that dead heroes are truly gone.
Stress relief at the tavern. Don't mind if I do
In traditional video games, damage manifests by detracting health points. With Darkest Dungeon, you have to consider mental health as well. Heroes suffer from claustrophobia, stress, hunger, and various elements which constantly require awareness. Torches actually fade, and as the light dims, so does the screen, so you'll often find yourself frantically right-clicking in your inventory. However, gameplay eschews repetitiveness, as your party members cope with these factors in varying capacities. One character may rally to overcome hunger, while another might succumb to their ailments and injuries. It's neat seeing these play out, and exploring the mental strain of video game characters, an oft-overlooked component.
If this is restoring the Halmet, just imaging restoring the Macbeth
Graphically, Darkest Dungeon shines with 2D animation that could easily be mistaken for illustrations in a book. Gothic dungeons, a ramshackle city, and inventive creatures paint a bleak environment. While there is an autosave feature, I found myself wishing there were a manual save option as well. At one point I actually restarted from scratch after losing all my heroes (hey, I never said I was skilled). Being able to load a previous save would have been highly beneficial. However, this structure projects similar psychological factors onto the player: fear of dying in-game, paranoia when opening chests, anxiety about supplies, etc. It's this investment that allows Darkest Dungeon to transcend the screen, and what makes it a brilliant RPG. You don't play Darkest Dungeon, it's an experience. Hauntingly beautiful, intricately chiseled, and meticulously concocted, it's a fantastic early access release, which bodes extremely well for the finished product.
Mitchell "Moe" Long is a North Carolina writer with a passion for all things pop culture. Besides gaming, Moe enjoys cult classic films, listening to vinyl, and drinking far too much coffee. In addition to Cliqist, Moe writes about music and movies, and is currently composing what he hopes will one day be a novel about the universally awkward period of life known as high school. Feel free to check out and subscribe to his Examiner page as well as connect with him on Twitter.
Latest posts by Mitchell Long (see all)
Wasteland 3 Represents a Huge Win For Fig - October 5, 2016
Five Kickstarter Funded Games You Must Play - February 7, 2016
Brianna Wu on Game Dev, Industry Trends, and GSX - December 2, 2015
The Music of Stasis - September 30, 2015
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redpajama_set_name: RedPajamaCommonCrawl


because we love answering them.
around how to reduce dark spots.
three that work incredibly well.
piece to add to your home care routine.
Bright Skin Licorice Root Booster-Serum.
minimize the appearance of the dark spots.
section that you really want to work on?
trying to treat or minimize faster.
look at minimizing something stronger.
will come in real handy for you.
questions that you have asked today.
and I'll catch you next time. See you.
In a brand new episode of #AskNatalie, Eminence Organics Lead #SkinCare Trainer Natalie Pergar gives her advice on how to get rid of the look of #darkspots on your face.
TOP 2 DIY Face Masks for Acne You May Want to Try!
DIY Face Cleanser or How to Say Goodbye to Your Acne!
I noticed that my products have been sitting on my skin and feeling really tacky. My makeup tends to look bad over it because it's not a dry, matte, surface. I've had this problem for a while but I haven't always had it. I have rosacea and I'm on medication. I still have some redness but it's pretty smooth now. Anti-aging is very important to me (firming, laugh lines) My skins on the oily side and has a tendency to get dehydrated sometimes, but not dry. Do you have any recommendations? I also have red marks from post inflammation. I know thats a lot of info. Thank you.


How do I cancel or alter my reservation as a tenant?
To cancel or alter your reservation, go to your Booking Tab found in ''My eLands''. There you can Alter or Cancel a booking Reservation. Please remember that when you cancel a reservation, your account will be the party responsible for the cancellation and that may affect the outcome. For more information please have a look at the eLands Cancellation Policy.
Upon a cancellation your Booking Reservation will change its status to "Cancelled''.
Tenants who cancel their Booking Reservation are not entitled to apply for the eLands Tenant Refund Policy unless the host had violated the eLands Minimum Quality Standards or if the rental description does not reflect the rental space the tenant booked. For more information please have a look at the eLands Tenant Refund Policy.
If the host cancels the booking Reservation, the Tenant will immediately get a full refund of his or her deposit and the option to place that refund on another listing or transfer the funds back to your personal bank account. When a host cancels a booking reservation his/her listing might be affected in placement on the eLands pages. For more information please have a look at the eLands Cancellation Policy.
The second option where you transfer the deposit you paid back (including all eLands service fees) to your bank account.
If a host cancels your reservation during your stay, a full refund is not guaranteed since you may have to pay for the nights you stayed in the listing. eLands will reach out to you directly if this is the case.
We feel that it is eLands duty to best protect our tenants and hosts' rights in the best way possible, and to do so we created a cancellation policy.
This policy varies depending on which party is making the cancelation.
If it is the host who is making the cancellation after the booking deposit was processed the tenant will get a full refund of his deposit and have the option of moving that Booking deposit to another listing or just withdraw his/ her money back to their bank account. When such actions are taken eLands opens an investigation to see if any policies were broken. When the host cancels a booking reservation, his/ her listing's placement in the elands pages will be affected and it might get negative reviews from his/her tenants who were affected by this cancellation. We understand that there might be some rare circumstances where the host has no other choice but to cancel a booking reservation. Because of such extreme circumstances, such as fire or death, the host has the possibility to explain it to the eLands Support Team, and if provided with all the needed evidence the listing placement will not be affected.
Can I cancel my pending reservation request?
You can cancel your reservation request at any time you wish. With that said, we would also like to point out that if your Booking request is still pending acceptance and as such you did not yet pay the deposit, you will not suffer any penalty for canceling your pending reservation.
You will only lose your deposit if you cancel your booking after you had confirmed your booking reservation.


text:
Ontario Teachers' Pension Plan acquires Busy Bees Nursery Group
October 31, 2013 · 1 min read
TORONTO – Ontario Teachers' Pension Plan (Teachers') today announced the acquisition of Busy Bees Nursery Group (Busy Bees), the largest childcare provider in the United Kingdom.
Terms of the transaction are not being disclosed and Busy Bees' management maintains a significant minority stake in the company. Teachers' acquisition of Busy Bees from Knowledge Universe was made through its private equity investment division, Teachers' Private Capital (TPC).
Busy Bees was founded in 1983 and currently operates 213 nurseries. Its 7,000 staff members provide quality care for 20,000 children.
"Teachers' is pleased to partner with the UK's market leader in the childcare sector. Busy Bees is an outstanding business with good growth potential," said Jo Taylor, TPC Vice-President and head of Teachers' London office. "Busy Bees' proven management team has a record of quality and integrity. We look forward to supporting their efforts to make its childcare services more widely available through developing new locations and acquiring other facilities."
"Busy Bees and Teachers' share many values, including a commitment to providing excellent service for children and families," said Marg Randles, co-founder and Managing Director of Busy Bees. "While we work together to explore exciting opportunities, our dedicated staff remains focused on delivering exceptional childcare every day at every nursery."
TPC activities include leading deals on a sole or partnered basis, investing in private equity funds in markets and sectors that it cannot efficiently access directly and co-investing with other like-minded private equity funds. TPC manages a global portfolio valued at approximately $12 billion.
About Teachers'
With $129.5 billion in net assets as of December 31, 2012, the Ontario Teachers' Pension Plan is the largest single-profession pension plan in Canada. An independent organization, it invests the pension fund's assets and administers the pensions of 303,000 active and retired teachers in Ontario. For more information, including our 2012 and previous annual reports, visit www.otpp.com. Follow us on Twitter at: @OtppInfo.


A roster of the dream.
You could walk into any Toys 'R' Us, KB Toys, or Lone Star Comics and see on the shelf any of one those beloved action figures. Except Gambit (and Iceman, but his toy was stupid.) You see, much like the De Beers diamond cartel, toy companies intentionally withhold certain figures to create a demand. So when a box of X-Men figures shipped, its contents included plenty of Banshees, Forges, Saurons, and the three different versions of Wolverine. But the a Gambit figure might be only one per box, or even none at all.
So in order to conduct my manhunt, I called previously listed toy stores everyday for about 6 months. To this day I still have the Toys 'R' Us number memorized. Even though it's been closed for about 10 years. My phone call went something like this.
Toys'R'Us Representative: Thank you for calling Toys'R'Us how can I help you?
Little Jack: Um..I was wondering if you've gotten your shipment in for the day.
Toys'R'Us Representative: Is this Jack?
Toys'R'Us Representative: What is it you're looking for again? Power Rangers?
Little Jack: No, I'm looking for any shipments of the X-Men Series 2 action figures.
Toys'R'Us Representative: Hold on, let me check.
Toys'R'Us Representative: We did, but didn't get any Gambits.
And that's what I did with my childhood when I wasn't playing video games.
So why am I telling you about this? Well I've been out of a job for a few months now. I'll spare you the details of my rise and fall from the reality TV world, my adventures of the writers' room of an unnamed but super mega awesome scripted TV show, and finally my depressing return to the restaurant frontier. I decided once and for all to do what it takes to get the office Production Assistant job that is so coveted by any and all aspiring TV writers.
Between Deadline, Below the Line, Che Equis's Temp Diaries, and a few secret tracking boards, I've managed to compile a list of television pilots currently in either development or production. (See below).
This is just a sample of the document in my Google Drive. In actuality it spans over 100 pilots. And each day I update the list's phone numbers, status, and then scan for who I have slated to contact for the day. Then I call.
Production Intern/Assistant: Something Something Productions.
Adult Jack: Hi, I was calling to see if the production company of [insert show name] pilot has been set up yet.
Production Intern/Assistant: Oh I uh…I don't think so. Try calling back in a month. (They always say a month).
Not the best answer in the world, but at least you can try them again.
Production Intern/Assistant: Yeah, here's the production office number.
This is actually bad, because most likely if the production office is set up, then it is staffed up too. But still worth a shot.
Production Intern/Assistant: No not quite yet. Probably next week though.
That's the answer you want!
Adult Jack: Great! Has a line producer or production coordinator been hired for the project.
Adult Jack: Wonderful. Might I be able to forward my resume to them for staffing?
And it goes from there. Then you have to check back.
So as you can see, I can't help but feel the parallel between my adulthood and childhood. It's a slug, but you gotta do it. Sad fact: You know how I finally got the Gambit toy? My friend found one for me. Which sadly, despite my best efforts, is probably what I am going to need to actually land the job.


text:
L'  aérodrome de Torraccia  est un aérodrome de Saint-Marin. Il est détenu par l'aeroClub Saint-Marin (ACS). C'est la seule piste de la principauté.

Situation
L'aérodrome est situé à  de la frontière italienne.

Infrastructure

L'aérodrome est doté d'une seule piste enherbée orientée 16/34 de . Un hélipad est situé à proximité de la piste.

En , un Cessna 172 de l'aéroclub Fano n'a pu freiné avant la fin de la piste à cause d'une défaillance du système de freinage. L'avion est complètement détruit mais les deux occupants ne sont que blessés..

Notes et références

Liens externes
 Site de l'aeroClub Saint-Marin

Torraccia


I am developing software and hardware to help robotics perceive the features of surfaces in their environment.
The Proton Pack is a portable sensor suite that measures the haptic and visual properties of surfaces. It is currently under development, calibration and testing in the lab. Preliminary results have been presented at conferences and we are looking to journals to publish our data and some machine learning on top of it.
SEPTAudio: We collaborated with SEPTA on a solution to the problem of collision detection for buses: a system including sensor fusion to determine when a bus is turning a corner, laser scanning to detect pedestrians in danger, and a targeted audio warning system. This project continues: as of 2016, students are working on directing the audio warning using an ultrasonic phased array.
Manip: The Manip project aimed to develop kinematic learning for robots: from 3D camera input, an algorithm might discover the structure of objects with moving parts. This project was abandoned due to lack of progress.
DARPA Robotics Challenge: I assisted Team THOR near the end of the 2013 DRC. In a "dress rehearsal" setting at Virginia Tech, we built a replica of most of the challenge tasks, and fine-tuned our strategy and equipment.
In my spare time I help with the development of the programming language Rust. Rust is a systems language that provides memory safety without garbage collection, and concurrency without race conditions. Most development for the Proton Pack is done in Rust.
Hall Monitor is a work-in-progress driver app for the Samsung Galaxy S4 (and S4 mini) to support the S View cover under alternative ROMs (like CyanogenMod).
I have several (slowly...) ongoing projects with the MSP430 Launchpad development platform, including making a retro-style tiny computer, and writing an instruction-level simulator.
With David Saltzman, I built and programmed a quadcopter from scratch for my engineering senior design project. It almost worked, too! Our inspiration was the Quidditch Snitch.
For Lisa Meeden's Adaptive Robotics class, Seth Foster and I tried to train a neural network quadcopter controller using the Gazebo simulator and the NEAT algorithm to evolve the topology and weights of the network simultaneously. It never came close to working.
These are some people who I've gotten to know personally and academically, and they're awesome.
Andreas Bastian - engineer, artist, and additive manufacturing wizard, previously at Makerbot Industries - website, tumblr.
Julian Leland - mechanical engineer, musician, rugby player, currently at Barrett Technology - website.
Seth Foster - electromechanical engineer, rugby player, currently at Makerbot Industries - blog.


text:
E Scooters To Be Treated The Same As Cars
A woman from the Isle of Wight is believed to be the first person to be banned from UK roads for drink-driving an e-scooter.
Kyah Jordan, the woman in question was almost three times over the limit when she went through a red light and almost crashed into an unmarked police car. Magistrates had heard that she had been drinking double shots of rum before riding the e-scooter through Newport on the Isle of Wight in December.
She was banned from driving for two years and given a community order.
The Met Police have said that fines and penalty points will be handed to e-scooter riders jumping a red light, using a mobile phone or riding on the pavement.
It remains illegal to use a privately owned e-scooter on public roads, cycle lanes or pavements. Owners risk a £300 fine, six penalty points on their driving license and an additional fine for not having insurance.
However, when it comes to rentals, government guidance says that the operating company will provide insurance, the rental can be ridden-with a full or provisional driving license-at up to 15.5 mph (incidentally a higher speed than what Ms Jordan was going at) on roads in regions where they are being trialled.
The Parliamentary Advisory Council for Transport Safety has said that there are legitimate safety concerns for both riders and pedestrians when it comes to the e-scooters. Executive director David Davies has applauded John Lewis, as it has stopped selling the scooters.
To add fuel to the fire about e-scooters, the Met's Chief Supt Simon Ovens has said that anyone given an e-scooter should consider taking it back to the shop. He believes 'getting on one of these things is plain craziness. It's got to be made clear that they're not to be used in public places.'
Retailers say that demand remains extremely high. Public affairs director Tom McPhail, said Pure Electric was selling several thousand a month, in a report published by Natwest in December.
The Transport Committee has called for e-scooters to be made legal, claiming that. 'E-scooters have the potential to become an exciting and ingenious way to navigate our streets and get from place to place. If this gets people out of the car, reducing congestion and exercising in the open air, then even better.'
It will be interesting to see how this pans out. Will the environment or safety win out?
E-scooters, Fines, Isle of Wight, Met, Police, Technology
Republicans Abandoning Trump, Finally
Moderna v the Variants


The meat looks delicious. Times for me to dine-in at A&W again.
Wah the aloha chicken burger looks really appetizing. I want to try it too.
WOW. That burger looks so YUMMEH! Will try it out one day!
Gosh! havent had a&w since ages! i guess it's time to visit them !
makan sambil menang, besst nya!


Promotional value expires 90 days after purchase. Amount paid never expires. Additional fees may apply depending on hair length, texture, and density. Limit 1 per person, may buy 1 additional as gift(s). Valid only for option purchased. Not valid for clients active within the past 12 month(s). All goods or services must be used by the same person. Valid only with select designer stylists. Merchant's standard cancellation policy applies (any fees not to exceed voucher price). Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.
Armed with all-natural Aveda products, the stylists at Green Apple Salon transform men's and women's mops during haircuts, special-occasion updos, and blowouts. In addition to a relaxing scalp massage, every haircut includes a consultation, letting guests work together with the stylist to craft the perfect look or swap banana-bread recipes.


Thank you all for your sweet comments on yesterday's post. It always good to hear that we are not alone! Our day was much nicer and went smoothly – with any luck it will continue through the weekend.
I made a second Swoon quilt square last night. This one has a pink and white Alexander Henry print that has been in my stash for a very long time. I love this print so much that I only ever used it sparingly – I think the one yard cut has lasted me for 6 years! Anyhow, it's gone now, except for the scraps. I am so happy that I will see it on Jane's bed being used instead of on the shelf, just sitting there. Thinking about that makes me smile.
We've got a busy weekend ahead. Hope you enjoy yours.
I think that quilt looks nice. I love the pastel colors and its patterns. You did a great job. Can't wait to see more.
Erin, this is so pretty.
How cool that you are sharing something you love with your daughter!
I'm glad to hear your smiling…thinking of you Erin.
I saw the AH ava on e-bay today. Can't wait to see this quilt come together.
P.S. the ava would make an awesome quilt back.


text:
Q: Linear Dead Reckoning in Winsock application I'm having a little difficulty understanding how I implement Dead Reckoning in my Server-Client Winsock game.
I've been looking on the internet for a decent explanation that explains exactly:

*

*When a message should be sent from the server to the client

*How the client should act if it doesn't receive update messages, does it keep using the predicted position as the current position in order to calculate the new predicted position?
The Dead Reckoning method I am using is:
path vector = oldPosition - oldestPosition
delta time = oldTime - oldestTime
delta velocity = path vector / delta time
new delta time = current time / oldest time
new prediction = oldPosition + new delta time * delta velocity

Hope this is the correct formula to use! :)
Should also note the connection type is UDP and that the game is played only on the server. The server sents update messages to the client.
Can anyone help by answering my questions please?
Thanks

A: Dead reckoning requires a group of variables to function - called a kinematic state - typically containing position, velocity, acceleration, orientation, and angular velocity of a given object.  You can choose to ignore orientation and angular velocity if you are only looking for the position.  Post a comment if you are looking to predict orientation as well as position, and I'll update my answer.
A standard dead reckoning algorithm for networked games is shown here:

The above variables are described like so:
Pt: The estimated location.  Output
PO: The most recent position update of the object
VO: The most recent velocity update of the object
AO: The most recent acceleration update of the object
T: The elapsed seconds between the current time and the timestamp of the last update - NOT the time the packet was received.
This can be used to move the object until an update is received from the server.  Then, you have two kinematic states: the estimated position (the most recent output of the above algorithm), and the just received, actual position. Realistically blending these two states can be difficult.

One approach is to create a line, or even better, a curve such as Bézier splines Catmull-Rom splines and Hermite curves (a good list of other methods is here), between the two states while still projecting the old orientation into the future.  So, continue using the old state until you get a new one - when the state you are blending into becomes the old state.
Another technique is to use projective velocity blending, which is the blending of two projections - last known state and current state - where the current rendered position is a blend of the last known and current velocity over a given time.
This web page, quoting the book "Game Engine Gems 2", is a gold mine for dead reckoning:
Believable Dead Reckoning for Networked Games
EDIT: All of the above is just for how the client should act when it doesn't get updates.  As for "When a message should be sent from the server to the client", Valve says a good server should send out updates at approximately a 15 millisecond interval, about 66.6 per second.
Note: the "Valve says" link actually has some good networking tips on it as well, using Source Multiplayer Networking as the medium.  Check it out if you've got time.
EDIT 2 (the code update!):
Here is how I would implement such an algorithm in a C++/DirectX environment:
struct kinematicState
{
     D3DXVECTOR3 position;
     D3DXVECTOR3 velocity;
     D3DXVECTOR3 acceleration;
};

void PredictPosition(kinematicState *old, kinematicState *prediction, float elapsedSeconds)
{
     prediction->position = old->position + (old->velocity * elapsedSeconds) + (0.5 * old->acceleration * (elapsedSeconds * elapsedSeconds));`
}

kinematicState *BlendKinematicStateLinear(kinematicState *olStated, kinematicState *newState, float percentageToNew)
{
     //Explanation of percentateToNew:
     //A value of 0.0 will return the exact same state as "oldState",
     //A value of 1.0 will return the exact same state as "newState",
     //A value of 0.5 will return a state with data exactly in the middle of that of "old" and "new".
     //Its value should never be outside of [0, 1].

     kinematicState *final = new kinematicState();

     //Many other interpolation algorithms would create a smoother blend,
     //But this is just a linear interpolation to keep it simple.

     //Implementation of a different algorithm should be straightforward.
     //I suggest starting with Catmull-Rom splines.

     float percentageToOld = 1.0 - percentageToNew;

     final->position = (percentageToOld * oldState->position) + (percentageToNew * new-State>position);
     final->velocity = (percentageToOld * oldState->velocity) + (percentageToNew * newState->velocity);
     final->acceleration = (percentageToOld * oldState->acceleration) + (percentageToNew * newState->acceleration);

     return final;
}

Good luck, and uh, if you happen to make millions on the game, try and put me in the credits ;)

A: This is a general and broad question to answer.
If you're implementing a game server with dead reckoning on the client side (as I assume you're doing), you should keep estimating the values as long as you don't get a new input from the server. At that point you should force a refresh of the new position / time / whatever you store. No server response means you'll have to estimate by yourself based on the most up-to-date estimate.
By the way it seems to me that the following
new delta time = current time / oldest time

should rather be something like
new delta time = current time - oldTime

in order to get the time elapsed before the last prediction. Otherwise you would assume that the system went faster when more time elapsed and slower when few time (compared to the oldest time used as a unit) elapsed. The linear motion equation (not accelerated) is new_s = s_0 + vel * t

redpajama_set_name: RedPajamaStackExchange


text:
'State Like Sleep' director talks grief, filming in Brussels and appeal of Michael Shannon
by Lesley Coffin
Cinema has a long history of depicting the photography profession as a seductive mix of invasive voyeurism and willful detachment. They are keepers of images of the world, providing their own point of view. From Rear Window to Blow-up, the profession has been used as a a strong backdrop for cinematic storytellers (often thrillers). After producing multiple shorts, documentaries and experimental films, Meredith Danluck is the latest director to explore these ideas with her feature-narrative debut State Like Sleep (which premiered at the 2018 Tribeca Film Festival) starring Katherine Waterston as a photographer trying to find answers to her husband (Michiel Huisman)'s recent death; co-starring Michael Shannon and Luke Evans.
Lesley Coffin: It's interesting to me that you really embraced the idea of silence and using it to convey the character's state of mind. Did you have that concept from the start?
Meredith Danluck: I did. The title of the film State Like Sleep conveys a woman who, after suffering this shocking loss, has built up walls and is sleepwalking through life, until things start to tug at her and drag her into waking life. So, because she's so shut down at the beginning of the movie, and because you have to see her essentially woken back up to life, the first half of the movie required the main character to be very silent.
Lesley Coffin: But it's interesting that you weave flashbacks into the film throughout, and even in the early part of the flashbacks she's somewhat shut off, just in a different way. I assume you pre-planned the scenes which would come before and after each flashback so audiences would make comparisons.
Meredith Danluck: It was something Katherine Waterson noticed and talked about with me a lot. What she noted, her character had to react very differently and she really showed that with her body language on set. She wanted the way her character moved to feel very different. She was always almost cat-like but the speed she moved was very different. She moves quickly and constantly doing things in the before, and hiding and trying to remain invisible in the present.
Lesley Coffin: I don't know if you feel this way, but I've certainly experienced the temptation to use your job as an observer to fade into the shadows a little in public and watch rather than interact. It's not only true of photographers but also writers, actors, and filmmakers. Have you ever experienced that? Or was that even something you spoke about with Katherine?
Meredith Danluck: Katherine was a photographer before she became an actress so that was definitely one of the things we talked about right away. We talked about the profession of photography a lot and were discussing the idea of photographer of voyeur a lot. But we were also talking about it as a mediating devise which can allow you to step away from the experience you're capturing. And photographers talk all the time about lowering the stakes, trying to lessen the emotional impact you're having while trying to capture this moment or disengaging from the person you're taking a picture of. It's a way to participate in life without putting yourself emotionally on the line every time.
Lesley Coffin: And photography is such a common profession to give characters in film. Because you gave her that trait, are you thinking about ways to incorporate or comment on the profession visually?
Meredith Danluck: We introduce her literally doing her work, so it's clearly a major part of her character. My favorite iteration of her as photographer is in her private moment in the hotel, where it's really abstract and close-up, when she's photographing smoke against a rainy window. We filmed that handheld and tried to keep things very loose, to convey the beauty of the abstraction she's capturing. That was my favorite scene because it shows the emotional connection she has to photography, beyond her professional life. She's creating a world she can escape into with her art.
Lesley Coffin: Katherine's become a big name in a relatively short period of time. How did you get her on board?
Meredith Danluck: Katherine was the very first actor to read the script. We have a mutual friend in common and he was the first person to read the script, because he's a writer also and I was very nervous about showing it to people. And right after he finished he told me "You have to meet my friend Katherine" and I asked "Are you saying that because the character's name is Katherine?" And he said "No, she's going to be a movie star." So, I gave the script to her and she loved it. Mind you, this was when the script didn't have an ending, so it was very different from the film we ultimately made. And it was before Inherent Vice, so she wasn't a name yet. And as I worked on the screenplay and found producers, I suggested we cast her. And they didn't know her name yet and said they needed a movie star. And so we lined up another cast and then things fell through. And by that time Inherent Vice has come out, Fantastic Beasts has come out. And I go back to the money people and say "Remember my friend Katherine?" And this time they were like, "You know her?"
Lesley Coffin: Did you actually go through a period of time when an entirely different actress was attached?
Meredith Danluck: At one point, we were going to make it with a different production company and Rebecca Hall was on board. And she's also an incredible actress but they are also very different "types".
Lesley Coffin: And with a film like this, where she's in almost every single scene, having a different lead would require you to make some adjustments I assume.
Meredith Danluck: The character in the script was set by the time Rebecca left and Katherine came back on board. But things can change drastically once an actress starts working and you're filming on location. Things come together in ways you would never be able to expect, because 50 percent of a character is probably in the writing, and 50 percent of a character is determined by what an actress brings to her role. I never saw how Rebecca would have played the role of Katherine, but part of me even feels Katherine Waterston was destined to play this role.
Lesley Coffin: Did you film on location?
Meredith Danluck: We filmed in Brussels and Toronto. Shooting Toronto for Brussels was pretty hard, but we had some incredible location scouts and our crew was great. But part of the job as a director is about making things work and acknowledging when they aren't working. And there were a couple of scenes where I said "We have to shoot this in Brussels, it just won't work any other way." And thankfully, my producers trusted me and found a way to make that happen.
Lesley Coffin: What was it about the city of Brussels that was important for this story?
Meredith Danluck: It's a big, beautiful city with a lot a transient people. There's this kind of umbrella of loneliness there, because there are a lot of people there working with the EU. And if you go there, you'll see a lot of people at really nice hotels eating alone. But I think the city itself feels like it has a lot of secrets. It's very clean but there is an underbelly of something going on behind closed doors.
Lesley Coffin: What interested did you find yourself pulling from?
Meredith Danluck: I thought a lot about Polanski's Frantic, I put some direct references in from that movie. In terms of colors, I really love In the Mood for Love. I also watched a lot of Billy Wilder movies because of the tone he could balance in those films, film which had great banter but were also suspenseful. The scene in Double Indemnity when Fred McMurray and Barbara Stanwyck were talking about speed limits is so exciting and there's so much heat between them. And I wanted to bring some of that to the scene when Katherine and Michael Shannon were having dinner at the hotel. The volley between them that is somehow still naturalistic but smart and witty.
Lesley Coffin: And it was nice to see Michael Shannon play a character who wasn't intense and intimidating.
Meredith Danluck: I remember in a couple of our test screenings, something like nine out of 10 women said they didn't realize Michael Shannon was so handsome or they didn't realize he could be so charming.
Lesley Coffin: Because people go into a film expecting one thing from Michael Shannon and he proves not to be like that here and the film has an undercurrent of suspense and thriller, is that type of casting against type an asset you were looking to exploit?
Meredith Danluck: I liked how fascinated she was with him that she doesn't understand what his appeal was. That's what makes Michael the perfect person to play the role. There's something really appealing about him, but it's hard to pinpoint what that exactly is. And I think he ultimately plays someone really smart and funny and charming, someone who's ultimately vulnerable with her which was so beautiful.
Lesley Coffin: What did you want to emphasize by focusing on the relationship she has with her mother in the present and her husband's relationship with his mother in the past?
Meredith Danluck: The aspect of Katherine having to go to Brussels to take care of her mother was something I pulled from my own life. I had to take care of my mom in Brussels and that's when I started writing this story. Regarding her husband, I find a lot of famous people, men especially, have mothers who are managing their lives, their careers, their finances. And that allows them to be who they need to be in public, but that ultimately cripples other aspects of their lives because they don't have to take responsibility for the choices they make. So I found that to be really interesting and also created this aspect of shared guilt. She's blaming everyone except herself. She was born out of a woman who wants the best for her child but essentially puppeteers a destructive situation.
Lesley Coffin: You mention this being inspired at least in part by your experience taking care of your mother. Did you pull from other aspects of your life in writing the story?
Meredith Danluck: I did experience a death similar to the one in the film. And what was interesting was, because of feelings of personal guilt and feeling responsible, I created a narrative which essentially removed me from the story. And it wasn't until I started writing that I realized that I was building that narrative to cope with that grief.
Lesley Coffin: What were some of the big changes you made from that early screenplay to the one you ultimately filmed?
Meredith Danluck: In the early screenplay, I was writing around this idea that Stephen took his own life. I thought I was alluding to it and that everyone understood, but when I went to the Sundance Lab, people were like "That's what you meant?" And people told me, if that's important the story you have to write it. But I also came to realize that the kernel of what you're writing about will only be revealed through the process of writing.
Lesley Coffin: I've spoken with a couple of people who came out of the Sundance Lab and it seems like an organization which can really help writers not only with the technical aspects but actually formulate ideas or pinpoint the crux of their story. What were your experiences there?
Meredith Danluck: There are all these amazing writers, mentors and peers. And they can really help magnify and make clear the idea you might still be struggling to find in your own story. I had a screenplay about the mystery of the last days of this man's life. But I had been writing all this other stuff around the subject I really wanted to examine.
(C) Lesley Coffin (5/8/18) FF2 Media
Featured photo: State Like Sleep courtesy of Sight Unseen Pictures, Code Red Productions, Scythia Films
Photos: Katherine Waterston; Michael Shannon; Jake Burghart and Meredith Danluck at an event for State Like Sleep (2018) courtesy of Andrew Toth – © 2018 Getty Images
Amelie Lasker January 12, 2021
Students of interdisciplinary artist Suzanne Lacy celebrate 'witnesses to the world'
Nicole Ackman December 18, 2020
'Testament' is a beautiful example of how dance can adapt
Amelie Lasker December 11, 2020
How to 'get to The Nutcracker' this year
by Lesley Coffin May 8, 2018
FF2 Media Alumna; Senior Contributor


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Beautiful Heart - Penny Black Clear Stamp
Item: PB-30-550
Type: Rubber Stamps
Designer: Penny Black
Size: Largest Stamp is 2 1/4 x 1 1/2
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most of our SG's are in a datacenter. It would be nice to have a feature to power off/on a UTM (like the old HP ILO of Celestix IPMI interface).
If an UTM somehow is powered off we now need local support in the datacenter to do a powercycle.
For UTMs with dual power supplies, a single PSU failure is indicated via audible alarm and blinky light.It would be great to have this condition logged, and to have a new notification category. This way customers could parse logs/messages/traps and catch failure conditions quickly vice relying on audio/visual cues.
Please tell us does Cyberoam supports SD WAN Feature.
Our clients are asking for SD Wan feature.
Please update us for same.
We are using Cyberoam Appliance CR200iNG, but there is no below features available in it.
(1) Unable to generate sms if disk is full and logs generation not happened on rotation basis i.e. if duration is set for 2 months and it is full in 1 month then logs should be generated of 31st days data and deleted 1st day data, which is not happening.
I think this card should be already available in the stock 3.12 kernel. Would you please compile and include it in the ASG?
I'm using at home the ASG Software 9.352-6 installed on a Shuttle barebone. I'd like to make WiFi working with integrated Realtek 8179 WiFi mini PCIe card.
Make it possible to export the spx database from one appliance to another, we are migrating services from a SEA to a UTM.
We would like to be able to export the spx database from our SEA to our new UTM.
UTM Home: It is VERY hard as a new person to find a hardware solution for entry into Sophos solutions.
UTM Home: Please maintain a DIY tutorial and keep it up to date.
Reason: It is VERY hard for a new person to find a hardware solution for entry into Sophos UTM Home (which would likely lead to future sales]. Searches are not likely to allow a person to get relevant information that match both hardware recomendations and accurate configuration for the current version.
eg: It is very hard to match a low powered CPU to Sophos requirements for the UTM home features and size required. Intel has very lousy naming conventions for non i3/i5/i7 CPUs.
I hope the OS will be improved that 503 error is not generated.
A workaround is introduced below URL for this problem.
Add kernel support (i40evf) for newer Intel X710 Virtual Function. Actually, there is a driver for older X520 Intel Virtual Function (ixgbevf), but no module for newer cards... It allows to use SR-IOV in virtualized environment, which provides a huge performance boost on network adapters supporting it.
After the momentary dissaster with 9.410 (and 9.411) it would be great to have the possiblility to switch back to the latest working version without any factory-reset.
Two different partitions. If the update goes wrong, switch back to the functionaly version.
There should be one feature or option to set the users status change automatically based on given schedule.
Implement Hardware management by IPMI, SNMP, Syslog etc..
Enteprise class ASG and XG hardware should have more useful hardware management. IPMI, Watching CPU/Memory module status, SMART on HDD, power condition about board.
And We also need SNMP monitoring and IPMI event store to watch hardware nonfunctional event.
If you could host a virtual appliance that mimicked the functionality of our HW, we could set up and (to a limited degree) test configuration changes or prepare for new hardware, without taking existing appliances off-line. We could then backup the virtual appliance, load settings onto our live one, and get it running with minimal tweaking. If it didn't work, we could quickly revert back with a saved backup from the live HW, and trouble-shoot on the virtual one.
A Platinum customer has requested that we have a SNMP Monitoring feature that we can set/enable within the Sophos Management Appliance (SMA). This does exist on the Web Appliance's but not on the SMA.
They would like this feature so they can be informed of the Health of the device as they recently had an issue where it ran out of resources (backed-up data since 2013).