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#FIRSTLOOK: NEW CHARACTER POSTERS AND TRAILER FOR "NIGHTMARE ALLEY"
Filmed right here in Toronto and even Markham (!), we cannot wait for NIGHTMARE ALLEY! Here is your first glance at the Teaser!
In NIGHTMARE ALLEY, an ambitious carny (Bradley Cooper) with a talent for manipulating people with a few well-chosen words hooks up with a female psychiatrist (Cate Blanchett) who is even more dangerous than he is.
Check-out these brand new Character Posters from the Film!
Searchlight Pictures release NIGHTMARE ALLEY December 17, 2021.
(Photo/video credit: Searchlight Pictures)
bradley cooper cate blanchett guillermo del toro Nightmare Alley rooney mara
#TIFF: TIFF PRESENT UPCOMING PROGRAMMING IN NOVEMBER 2021
TIFF announce their upcoming programming slate, and trust me, there is some really good stuff including TIFF '21 favourites SPENCER (we're definitely seeing this again!) and THE POWER OF THE DOG, plus some cool retrospectives!
TIFF CINEMATHEQUE SERIES
Céline Sciamma: Portraits of Desire – November 11 to 21, 2021
Since the success of the widely acclaimed Portrait of a Lady on Fire — which won both the Queer Palm and the Award for Best Screenplay at Cannes 2019 — French filmmaker Céline Sciamma made both a departure from her three previous films and a masterful culmination of an oeuvre that sensitively and intelligently deals with such urgent themes as gender identity, female bonds, and the blurred boundaries between friendship and love. This programme was created to celebrate her work upon the release of her fourth feature, and now, two years later, it's even more urgent and resonant as audiences await the theatrical release of the director's latest film, Petite Maman (2021), which had its Canadian premiere at the Festival. Included in this retrospective are Portrait of a Lady on Fire, Girlhood, Tomboy, and her debut, Water Lilies, as well as the animated film My Life as a Courgette (which Sciamma co-scripted).
Paul Thomas Anderson: Evolution of a Master – November 25 to 28, 2021
Size matters in the films of Paul Thomas Anderson, and the increasing visual and thematic scope of his work is illustrated by these 70mm presentations tracing his evolution from big, unwieldy indie-cinema talent to a refined, mature American master. From the pyrotechnical brilliance of his sophomore breakthrough, Boogie Nights, to the elliptical psychic case study of The Master, to the wry fairy-tale riffage of Phantom Thread, Anderson has always crafted images strong and detailed enough to match his ideas. With introductions by critic Adam Nayman, author of the acclaimed 2020 book Paul Thomas Anderson: Masterworks, and a screening of David Lean's 1949 romance The Passionate Friends, a major influence on Phantom Thread, this series seeks to honour these movies' monumental accomplishments.
Musicals! The Movies that Moved Us – December 2, 2021 to January 6, 2022
Whether you know all the words to each song or you're discovering these classics for the first time, there's no denying the show-stopping pleasure of the form. The best musicals are grounded in sophisticated narratives, remarkable visual invention, and towering achievements in technical craft. Watch how Stanley Donen, Vincente Minnelli, Farah Khan, Jacques Demy, Ken Russell, Mani Ratnam, and more turn the delights of movie musicals to their own particular passions. Comprising 25 films, the programme will delight any fun-loving musical fan with movies like Singin' in the Rain (1952), West Side Story (1961), Moulin Rouge! (2001), Mughal-E-Azam (1960), All That Jazz (1979), Kandukondain Kandukondain (2000), Grease (1978), and Purple Rain (1984).
Guillermo del Toro Presents: Film Noirs from 20th Century Fox – December 3 to 19, 2021
In anticipation of Guillermo del Toro's upcoming release Nightmare Alley, TIFF Cinematheque presents a curated selection of film noirs from 20th Century Fox, hand-picked by del Toro himself. Inspired by the runs of similar genre-making studio films such as the highly-stylized gangster pictures championed by Warner Bros. in the 1930s (which cemented the anti-hero archetype in the face of the Hays Code's guidelines) and the legendary monster movies helmed by Universal Studios between the '30s and '50s (whose creatures became the visual and emotional reference points for all subsequent horror-movie monsters), del Toro sees the brilliant stream of film noirs made under the 20th Century Fox banner as equally deserving of canonization. Before taking a turn down Nightmare Alley, audiences will have a chance to explore the director's top five influential film noirs from the studio's golden age of hard-boiled cinema, all on archival 35mm prints or in restored presentations.
SUBSCRIPTION SERIES
Subscriptions are on sale to Members now and to the public on October 27.
Reel Talk: Contemporary World Cinema – November 7, 2021 to March 20, 2022
Offering a global snapshot of the best cinema from around the world, Reel Talk: Contemporary World Cinema provides a focus on non-English-language, art-house films that may not see wide release.
Secret Movie Club – November 14, 2021 to January 23, 2022
Back again in its old clubhouse, TIFF Bell Lightbox, this series offers some of the best new indie cinema before it hits Toronto theatres. Last season's lineup included Minari, The Mauritanian, and Together Together.
Viola Desmond Day: Jennifer Holness on Subjects of Desire – November 8, 2021 at 7pm
TIFF is commemorating the 75th anniversary of Viola Desmond's historic stand against racial segregation and her barrier-breaking work as founder of the Desmond School of Beauty Culture with a special advance screening of the award-winning documentary Subjects of Desire, followed by a conversation with director Jennifer Holness. This provocative and culturally significant film is told from the perspective of women who aren't afraid to challenge conventional beauty standards, and is partially set around the 50th anniversary of the Miss Black America Pageant, which was created as a political protest against dominant standards upheld by the beauty pageant industry.
Note: A TIFF digital event commemorating Viola Desmond Day is taking place on Monday, November 8 at 12 pm ET with scholar Cheryl Thompson and Cameron Bailey, TIFF Artistic Director and Head, for a special talk about Black representation in 1940s cinema. They will discuss what the film experience was like for Black spectators at the time, and how systemic anti-Black racism continues to persist in the film industry to this day. Watch this conversation on TIFF's Twitter, Facebook, and YouTube channels.
TIFF Next Wave 48-Hour Challenge Screening – November 28, 2021, 2:30pm to 4pm
The highly anticipated return of the TIFF Next Wave 48-Hour Film Challenge welcomes teams of young creators to produce a short film in only 48 hours. TIFF will showcase all of the films shot during the challenge and celebrate the next wave of emerging filmmakers. Following the screening, one team will be awarded the grand prize for best film by a jury of film industry professionals.
Opens October 27
Rebecca Hall | UK, USA | 2021 | 98 mins.
Tessa Thompson and Ruth Negga star as two Black women contending with the notion of "passing" for white, in this 1920s-set psychological thriller. Shot in a 4:3 aspect ratio in beautiful black and white, this film was made for the big screen. Nominated for five Gotham Awards, including Best Feature, Best Screenplay, and Outstanding Lead Performance (Tessa Thompson).
Opens November 4
Pablo Larraín | Germany, UK | 2021 | 111 mins.
Official Selection, 2021 Toronto International Film Festival
Kristen Stewart stars in Pablo Larraín's haunting chamber drama that imagines a tumultuous Christmas in the life of Diana, Princess of Wales.
Opens November 12
Lin-Manuel Miranda | USA | 2021 | 112 mins.
On the cusp of his 30th birthday, a promising young theatre composer navigates love, friendship, and the pressures of life as an artist in New York City.
Jane Campion | Australia, New Zealand | 2021 | 127 mins.
TIFF Tribute Actor Award honouree Benedict Cumberbatch and Kirsten Dunst lead Jane Campion's drama about two brothers whose lives change when a widow and her son arrive at their ranch.
(Photo credit: Elevation Pictures)
guillermo del toro Passing paul thomas anderson spencer The power of the dog Tick Tick Boom tiff
#SPOTTED: BEN BARNES IN TORONTO FILMING "GUILLERMO DEL TORO'S CABINET OF CURIOSITIES"
Ben Barnes has built a steady, but quality body of work over the years. Whether you know him from The Chronicles of Narnia, his more recent work in Netflix's Shadow and Bone, or HBO's Westworld, it is easy to see why his career has shown longevity.
Barnes is in Toronto filming upcoming Guillermo del Toro Anthology Series CABINET OF CURIOSITIES. Barnes' episode also stars Crispin Glover, written by Lee Patterson and directed by Keith Thomas.
The Series stars several talented Actors including the likes of F. Murray Abraham, Tim Blake Nelson, Peter Weller and more, filming through February 2022.
We spotted Barnes in rehearsals a couple weeks back, prior to his episode filming around Baldwin Street. He was amazingly nice to make time to stop for a Snap before heading off to work!
He also is prepping the release of his EP SONGS FOR YOU. Check-out a quick Preview here for his Track 11:11:
(Photo/video credit: Mr. Will Wong/Ben Barnes)
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#FIRSTLOOK: GUILLERMO DEL TORO'S "CABINET OF CURIOSITIES"
Guillermo del Toro quietly has been filming around Toronto for the past bit and at last we get confirmation exactly what and who!
Official titles and Cast for the upcoming Anthology Series are below:
Essie Davis (The Babadook), Andrew Lincoln (The Walking Dead; Penguin Bloom) and Hannah Galway (Sex/Life) star in an episode written (based on an original story by Guillermo del Toro) and directed by Jennifer Kent (The Babadook; The Nightingale)
Academy Award winner F. Murray Abraham (Mythic Quest; Homeland; Amadeus), Glynn Turman (Ma Rainey's Black Bottom; Fargo; The Wire) and Luke Roberts (Ransom; Black Sails) will appear in an episode written by David S. Goyer (Dark City; The Dark Knight; Batman Begins) (based on a short story by Michael Shea), and directed by David Prior (The Empty Man; AM1200).
Tim Blake Nelson (Watchmen; The Ballad of Buster Scruggs), Elpidia Carrillo (Predator; Bread & Roses; Euphoria), Demetrius Grosse (Fear The Walking Dead; Boon; Lovecraft Country) and Sebastian Roché (The Man in the High Castle; The Young Pope) star in an episode written by Regina Corrado (Deadwood; The Strain) (based on an original story by Guillermo del Toro); and directed by Guillermo Navarro (Godfather of Harlem; Narcos)
Crispin Glover (Rivers Edge; Tim Burton's Alice In Wonderland; American Gods; Back To The Future; Willard; Charlie's Angels) and Ben Barnes (Shadow and Bone; Westworld; The Punisher) star in an episode written by Lee Patterson (Curve; The Colony) (based on a short story by H.P. Lovecraft) and directed by Keith Thomas (Firestarter; The Vigil)
Peter Weller (upcoming The Colosseum; Naked Lunch; Star Trek Into Darkness; Robocop) stars in an episode directed by Panos Cosmatos (Mandy), who also writes along with Aaron Stewart-Ahn
Mika Watkins (Origin; Black Mirror; Troy: Fall of a City) writes an episode (based on a short story by H.P. Lovecraft) directed by Catherine Hardwicke (Thirteen; Lords of Dogtown; Twilight); with cast to be announced
David Hewlett (SEE, The Shape of Water; Stargate: Atlantis) cast in an episode written (based on a short story by Henry Kuttner) and directed by Vincenzo Natali (In The Tall Grass; Splice; Cube; Hannibal)
Haley Z. Boston (Brand New Cherry Flavor) serves as writer of an episode (based on a short story by comic book author Emily Carroll) directed by Ana Lily Amirpour (A Girl Walks Home Alone at Night; Mona Lisa and the Blood Moon; The Bad Batch) with cast to be confirmed
The Series is coming soon to Netflix!
(Photo credit: Netflix)
Cabinet of Curiosities guillermo del toro
#GIVEAWAY: ENTER TO WIN ADVANCE PASSES TO SEE "SCARY STORIES TO TELL IN THE DARK"
eOne Films x Mr. Will want to give Readers a chance to win Advance Passes to see SCARY STORIES TO TELL IN THE DARK! Screenings are as follows:
SCARY STORIES TO TELL IN THE DARK TORONTO WEDNESDAY AUGUST 7TH SCOTIABANK THEATRE
SCARY STORIES TO TELL IN THE DARK VANCOUVER WEDNESDAY AUGUST 7TH SCOTIABANK VANCOUVER
SCARY STORIES TO TELL IN THE DARK CALGARY WEDNESDAY AUGUST 7TH SCOTIABANK CHINOOK
SCARY STORIES TO TELL IN THE DARK WINNIPEG WEDNESDAY AUGUST 7TH SCOTIBANK WINNIPEG
SCARY STORIES TO TELL IN THE DARK HALIFAX WEDNESDAY AUGUST 7TH PARK LANE
From the dark imaginations of Academy Award®-winner Guillermo del Toro and acclaimed director André Øvredal, based on the iconic book series, comes Scary Stories to Tell in the Dark — in theaters this summer.
It's 1968 in America. Change is blowing in the wind…but seemingly far removed from the unrest in the cities is the small town of Mill Valley where for generations, the shadow of the Bellows family has loomed large. It is in their mansion on the edge of town that Sarah, a young girl with horrible secrets, turned her tortured life into a series of scary stories, written in a book that has transcended time—stories that have a way of becoming all too real for a group of teenagers who discover Sarah's terrifying home.
See the Trailer:
To enter to win, click "like" on this Post at MR. WILL ON FACEBOOK and indicate your City! Re-Tweet this Tweet from @mrwillw for an extra chance.
eOne Films release SCARY STORIES TO TELL IN THE DARK Friday, August 9, 2019.
(Photo/video credit: eOne Films)
guillermo del toro Scary Stories To Tell in the Dark
#SPOTTED: RON PERLMAN, DAN FOGLER, JALEEL WHITE, TOMMY FLANAGAN, JONATHAN RHYS-DAVIES + MORE AT 2019 TORONTO COMICON
By David Baldwin and Mr. Will Wong
Now in its 19th year Toronto Comicon takes place at Metro Toronto Convention Centre this weekend bringing together fans of Sci-Fi, Anime, Cosplayers, Gaming, Comics and more in one extravaganza. Toronto Comicon year after year has given fans a chance to connect with their favourite idols with Panels, Autograph Signings and Photo Ops. Known as one of the most exciting events each spring in Toronto, the event this year was headlined by several stars including Ron Perlman (Hellboy), Dan Fogler (Fantastic Beasts and Where to Find Them), Jaleel White (Family Matters), Tommy Flanagan (Sons of Anarchy), Jonathan Rhys-Davies (Lord of the Rings), Corbin Bernsen (The Punisher) and several more!
Funko Pop! vinyl collectibles, rare editions of comic books and the opportunity to get one-of-a-kind commissioned pieces by Artists, continue to be a huge draw at the three-day affair. Truly Toronto Comicon is a mecca of all things adored.
Our David Baldwin had the opportunity to sit-in on a couple high-profile Panels for Ron Perlman and Dan Fogler.
Golden Globe Award winner Ron Perlman has had a celebrated career in Film and Television, including unforgettable performances on Television Series Beauty and the Beast and originating the titular role in a soon-to-be rebooted Hellboy. He delighted fans on Saturday afternoon with a lively Q&A session. He set the tone for the nearly hour-long discussion by taking the stage and immediately greeting the audience with "Sup motherfuckers?" He later apologized to everyone who brought their children with them, but did not change his casual demeanour. He says that "99% of the roles I've played, I've really loved" and likens that passion for his roles to his mantra of "Don't say yes unless you really love the person you're playing.".
While he enjoyed talking about his popular roles ("Sons of Anarchy was larger than life") and his close relationship with honourary Torontonian and Oscar-winning Director, Guillermo del Toro (going so far as to praise Pan's Labyrinth as a "masterpiece" and calling it the "quintessential del Toro movie"), Perlman did not hesitate to get very candid with the audience. Upon hearing an audience question about his time on the ill-fated 1996 remake of The Island of Dr. Moreau, he flat-out said "We should have never made that movie," and said that acclaimed Director Jean-Jacques Annaud saved his life and career more than once when he was "going to quit acting". He also let the audience in on a very telling secret: "I'm not a big fan of watching my own stuff. I just do it and move on to the next thing.".
Perlman next year can be seen in Paul W.S. Anderson's eagerly-awaited Monster Hunter.
FOGLER
Despite landing a breakout role in 2016's blockbuster Fantastic Beasts and Where to Find Them, the first of a few slated Films in the Franchise, Dan Fogler long has been honing his craft. Fashionably-late for his own Panel today, he was exactly as animated and wild a personality as you might expect: "I like acting in front of people." In his discussion, he detailed how much joy it brings him to get to play roles in the likes of Fanboys, the Fantastic Beasts series and The Walking Dead saying the roles "speak to the little nerd in me." He even went so far as to say that his work on Fanboys specifically gave him the "invitation to act like a kid again.".
Fogler went the extra mile during the Q&A portion, handing-out comic books and memorabilia to each audience member who asked a question (and in a rather wonderful touch, personally delivered memorabilia and hugged an audience member in a wheelchair). He riffed on his time working with Christopher Walken on Balls of Fury (telling the audience Walken's method of dialogue delivery: "It's all about slow, medium, fast") and reminisced about his inspirations, saying that after discovering that Voice Actor Mel Blanc was playing and creating voices for multiple Looney Tunes characters, "I want to do that!". Fogler even tried his hand at Sign Language, poorly attempting to sign-out "Say hello to my little friend" to his on-stage interpreter.
The Brooklyn native currently can be seen on AMC's The Walking Dead as Luke.
Check-out some more sights of 2019 Toronto Comicon:
Jonathan Rhys-Davies
John De Lancie
Cool, rare stuff
Also, CAPTIVE STATE is in theatres this weekend. Don't forget to check-out this need little installation where you can star in your own Poster for the Film!
You still have one more day left to check-out 2019 Toronto Comicon as it wraps Sunday, March 17, 2019!
Missed it? Don't worry, Fan Expo Canada is coming this Summer. More details here.
(Photo/video credit: Mr. Will Wong/David Baldwin)
Captive State Comicon Corbin Bernsen dan fogler fan expo guillermo del toro Jaleel White Jonathan Rhys-Davies Ron Perlman Tommy Flanagan
#SPOTTED: WILLOW SHIELDS, VIGGO MORTENSEN + GUILLERMO DEL TORO IN TORONTO
It has been to coldest, most unforgiving Toronto, winter so forgive us that we would rather be home than out! Productions continue to move along at a steady pace with a pair Netflix productions highlighting the pack.
Lovely meeting #WillowShields, in-town filming new Netflix figure skating Series, #SpinningOut. You know her as #PrimroseEverdeen from #TheHungerGames Series!
A post shared by Mr. Will Wong 📸 (@mrwillwong) on Feb 21, 2019 at 6:31pm PST
Spinning Out and Comedy Let it Snow fully utilizing our wintry weather. Spinning Out is a Series starring Kaya Scodelario (The Maze Runner), a seen-above Willow Shields (The Hunger Games) and January Jones (Mad Men), about an injured figure skater with a secret on the comeback trail as a pairs skater. The Series wraps early May.
Let it Snow stars Shameik Moore (Spider-Man: Into the Spider-verse), Kiernan Shipka (Chilling Adventures of Sabrina), Liv Hewson (Santa Clarita Diet), Odeya Rush (Lady Bird) and Isabela Moner (Instant Family), and is about a group of people who are brought together by a snow storm. It wraps end of March and will stream on Netflix.
Thank you #GuillermodelToro for what he has done for #Toronto, creating many jobs and opportunities for our City with his unparallelled vision, which continues to touch the World. #Hellboy, #PansLabrynth #PacificRim #CrimsonPeak #Blade and of course #TheShapeofWater. Who knows what genius the #AcademyAward winner is brewing-up again in the City, but we cannot wait! 🔥
A post shared by Mr. Will Wong 📸 (@mrwillwong) on Feb 19, 2019 at 6:14am PST
Academy Award-winning Filmmaker Guillermo del Toro must be lauded for what he has done for Toronto, creating many jobs and opportunities for our City with his unparalleled vision, which continues to touch the World. Known for his Films Hellboy, Pan's Labrynth, Pacific Rim, Crimson Peak, Blade II and of course, Best Picture-winning The Shape of Water. Who knows what genius he is brewing-up again in the City, but we cannot wait! And it for sure will be huge.
When #ViggoMortensen realizes you are sneaking a pic of him chatting on his – get this – red flip phone, and he walks right up to you and then onwards to psych you! I was morten-fied! The #GreenBook Oscar Nominee in #Toronto working on #Falling was picking-up his friend and Co-Star #LanceHenriksen, which is about a conservative father who moves in with his gay son's family is Los Angeles. The two met with a big, joyful hug after Viggo paced around for about two hours waiting for his buddy.
Viggo Mortensen certainly is a busy man, juggling Awards Season and his directorial debut which happens to be set to film in Toronto. He was spotted at Pearson International arrivals, not himself arriving, but picking-up. I think he realized I was sneaking a pic of him chatting on his – get this – red flip phone, and he walked right up to me to psych me out and then walked onward! I was morten-fied! The Green Book Oscar Nominee who is in Toronto working on Falling was picking-up his friend and Co-Star, veteran Actor Lance Henriksen (Aliens), which is about a conservative father who moves in with his gay son's family is Los Angeles. The two met with a big, joyful hug after Viggo paced around for about two hours waiting for his buddy.
We are thrilled to be Los Angeles-bound this weekend for some Awards Season fun and wouldn't be surprised if we saw Viggo or maybe even Shameik (Spider-verse is up for Best Animated Feature)!
Don't forget to tune into Hollywoood Suite, the exclusive broadcaster of this weekends Independent Spirit Awards, 2 PM ET/5 PM ET! Follow them on Twitter @HollywoodSuite for coverage and also follow us too as we'll be on the Carpet: @mrwillw.
(Photo credit: Mr. Will Wong)
Falling guillermo del toro Lance Henriksen Let it Snow Shameik Moore Spinning Out viggo mortensen
#GOLDENGLOBES: "BIG LITTLE LIES" + "THREE BILLBOARDS" DOMINATE 2018 GOLDEN GLOBE AWARDS
The 75th annual Golden Globes Awards took place tonight in Beverly Hills, California. With the #TimesUp initiative front and center of our attentions, we saw all talent uniformly wearing black to draw attention to the cause for equality and an end to sexual harassment in the workplace.
Seth Meyers hosted the affair boldly poking-fun at the likes of Kevin Spacey and Harvey Weinstein. In the face of change, he calls 2018 "the year marijuana was allowed and sexual harassment wasn't anymore.".
Oprah Winfrey who next can be seen in Disney's A Wrinkle in Time, was awarded the Cecil B. DeMille Award for lifetime achievement. Her Wrinkle Co-Star Reese Witherspoon introduced her as being all "a noun, a verb and an adjective". And even Meyers joked DeMille should be honoured she was given the award. Winfrey recalls herself as a kid in Milwaukee back in 1964, watching Anne Bancroft speak a historic five words on television, "The winner is Sidney Poitier". She hopes to inspire another black girl watching tonight seeing her be named the first ever black Cecil B. DeMille Award Winner. Winfrey states, "I wanted to express gratitude to all women who endured years of abuse and assault as they like my mother had mouths to feed, bills to pay and dreams to pursue.". Recounting the story of rape (1944) victim Recy Taylor whose six attackers never were persecuted, she defiantly states that we are at the end of an era, "Their time us up!".
"I want all of the girls watching here now to know, that a new day is on the horizon." @Oprah accepts the 2018 Cecil B. de Mille award. #GoldenGlobes pic.twitter.com/hbquC1GBjm
— Golden Globe Awards (@goldenglobes) January 8, 2018
Three Billboards Outside Ebbing, Missouri scored huge in the Film categories including a win for Motion Picture Drama. Martin McDonagh was awarded Screenplay for the Film which he also directed. He jokes, "My mother really wanted Lady Bird to win.". Oscar Winner Frances McDormand before tonight had been nominated seven times for a Globe, but finally received her first win for Actress in a Motion Picture Drama. She declined to make political comments but expressed pride that the Film still is filling seats in brick and mortar theatres across the U.S. the "old-fashioned" way. Sam Rockwell, after a career spanning almost three decades, finally won a Golden Globe for his work in Three Billboards Outside Ebbing, Missouri. "It's nice to be in a movie people saw", he kids before thanking others involved with the TIFF '17 People's Choice Award-winning Film and also wife Leslie Bibb.
Let's hear it for our winner of Best Performance by an Actress in a Motion Picture – Drama, Frances McDormand! She's honored for her role in @3Billboards. #GoldenGlobes pic.twitter.com/1bJOBP3YNW
HBO's Big Little Lies was a major force in the Television categories winning TV Miniseries or Movie. Nicole Kidman was awarded her fourth Golden Globe for her Actress work, thanking her Co-Star, Co-Producer and fellow Nominee Reese Witherspoon with whom together she brought the HBO release to Television. Kidman despite getting the cue to shorten her speech, thanked her husband Country Star Keith Urban last, telling him "When your cheek is pressed against mine, the whole world just melts away, I love you.". Co-Stars Laura Dern and Alexander Skarsgård also won for their work as Supporting Actor and Supporting Actress (Dern's fourth Globe too!) in the Miniseries.
Lady Bird, which premiered at TIFF '17, won Comedy or Musical. The Film which loosely is based on Greta Gerwig's life, also is her directorial debut. Gerwig thanked her hometown Sacramento for giving her the wings and roots needed to succeed in life. 23-year-old Saoirse Ronan already has been nominated for three Globes but alas gets her first win tonight for her acclaimed work in Lady Bird. She kept pointing-out in her humble speech how her mom out of excitement was in the audience on FaceTime while she was on-stage.
A round of applause for Saoirse Ronan taking home the award for Best Performance by an Actress in a Motion Picture – Musical or Comedy for her role in @LadyBirdMovie! #GoldenGlobes pic.twitter.com/fXm4pygZ41
Visionary Guillermo del Toro made a teary acceptance for Director with The Shape of Water while the Orchestra had tried drowning his speech out due to time restrictions. "Turn the music down, it's taken me 25 years to get here" he said, drawing cheers from the audience. Moments before, Natalie Portman presenting his award alongside Ron Howard, pointed-out how all Nominees in the Category were male.
Gary Oldman was awarded Actor in a Motion Picture Drama for his portrayal of Winston Churchill in TIFF '17 selection Darkest Hour. In his speech, he told us how his wife puts-up with his incredible dedication telling others "I go to bed with Winston Churchill and wake-up with Gary Oldman.".
A massive congratulations to Gary Oldman for being awarded the Best Performance by an Actor in a Motion Picture – Drama award for his role in @DarkestHour! #GoldenGlobes pic.twitter.com/YyPfI7iBNl
Jeered widely for having made the worst movie of all time, The Room, Filmmaker and Cult Icon Tommy Wiseau got the last laugh joining Actor in a Motion Picture Comedy Winner James Franco on-stage tonight. Franco stars in and directs The Disaster Artist which recounts Wiseau's process making that Cult Classic. Franco thanked his younger brother Dave in his speech saying "He always wanted his own Coen Brother" to make Films with and it looks like he too along with Wiseau saw his dream come true.
Allison Janney who delivers a chilling portrayal of Tonya Harding's mother LaVona Golden in I, Tonya, was awarded a well-deserved Globe beating-out some stiff competition including Laurie Metcalf whom many also feel is deserving for her work in Lady Bird. Janney made a poignant statement about perception of truth in Media, an enlightenment after having worked on the Film which gives us a fresh perspective on the disgraced Figure Skater. It was a good night for both Tommy Wiseau and Tonya Harding.
.@AllisonBJanney is awarded Best Performance by an Actress in a Supporting Role in any Motion Picture for her outstanding work in @ITonyaMovie. Yay! 👏 pic.twitter.com/tgg72x8p30
The Marvelous Mrs. Maisel was this year's Dark Horse, winning Comedy Series and also Rachel Brosnahan (House of Cards) winning Actress in a Comedy Series. The Amazon Series centers on a Jewish housewife in the '50s who becomes a Stand-up Comedian.
Elisabeth Moss shone a light on Canada dedicating her Actress in a Drama Series win to Margaret Atwood who wrote the source material on which Toronto-made The Handsmaid's Tale is based. The Series also took home a Globe for Drama Series. This is her second Golden Globe win, her first for Miniseries Top of the Lake.
After four nominations, Ewan McGregor finally gets his first Globe win for Actor in a TV Miniseries or Movie with Fargo. Another Canadian connection, the Series was filmed in Calgary.
Sterling K. Brown was awarded his first Globe for his work on Series This is Us. The rising star next can be seen in Marvel's Black Panther and reminded his kids in his speech he'd be there to take them to school tomorrow morning, in addition to expressing his awe of Oprah Winfrey being seated before him on the podium.
The ONLY way to start an acceptance speech. 🙌 @SterlingKBrown 🙌 #GoldenGlobes pic.twitter.com/34vexLiKA1
— GIPHY (@GIPHY) January 8, 2018
After getting a nod last year and seeing MASTER OF NONE, for which he has directing and writing credits, Funnyman Aziz Ansari gets a Globe for Actor in a Comedy Series. He becomes the first ever South Asian Actor to win a Globe.
In addition to having grossed almost $600 million worldwide, Disney•Pixar's Coco goes on to Globe success, winning Animated Feature.
Hot off its #1 success on the Billboard Hot 200 Album Chart, The Greatest Showman also wins a Globe for Original Song, This is Me, sung by Keala Settle and also Kesha.
Fatih Akin's In the Fade won Foreign Language Film. The German Film starring Diane Kruger as a woman dealing with the aftermath of a terrorist attack, received a TIFF '17 Premiere.
Awards Season culminates in the Academy Awards which air Sunday, March 4, 2018 on ABC, 7 PM ET.
(Photo credit: Getty Images)
Allison Janney aziz ansari Big Little Lies coco Elisabeth Moss ewan mcgregor Fargo golden globes greta gerwig guillermo del toro I lady bird Laura Dern nicole kidman oprah winfrey oscars Rachel Brosnahan sam rockwell Saoirse Ronan Sterling K. Brown The Greatest Showman The Handmaid's Tale The Marvelous Mrs. Maisel The Shape of Water This is Us THREE BILLBOARDS OUTSIDE EBBING MISSOURI Tonya
#GIVEAWAY: ENTER TO WIN ADVANCE PASSES TO SEE "THE SHAPE OF WATER"
Fox Searchlight x Mr. Will want to give Readers a chance first to see THE SHAPE OF WATER, hot off a rousing reception at TIFF '17.
Screenings take place as follows:
THE SHAPE OF WATER – TORONTO
Wednesday, December 6 / 7:00PM / Cineplex Yonge and Dundas
THE SHAPE OF WATER – VANCOUVER
Wednesday, December 13 / 7:00PM / Cineplex International Village
THE SHAPE OF WATER – CALGARY
Wednesday, December 20 / 7:00PM / Scotiabank Chinook
From master story teller, Guillermo del Toro, comes THE SHAPE OF WATER – an other-worldly fable, set against the backdrop of Cold War era America circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa's life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment. Rounding out the cast are Michael Shannon, Richard Jenkins, Michael Stuhlbarg and Doug Jones.
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Fox Searchlight release THE SHAPE OF WATER Friday, December 8, 2017 in Toronto, Friday, December 15, 2017 in Vancouver and wide Friday, December 22, 2017.
(Photo/video credit: Fox Searclight)
Doug Jones guillermo del toro michael shannon Michael Stuhlbarg octavia spencer richard jenkins sally hawkins The Shape of Water
#TIFF17: "THE SHAPE OF WATER"
Review by David Baldwin for Mr. Will Wong
Masterpiece. That is the easiest and quickest way to describe Guillermo del Toro's gothic romance The Shape of Water. The Film recently won the Golden Lion at the Venice Film Festival and is the early front-runner to take the Grolsch People's Choice Award at TIFF this Sunday.
It is the 1960's and mute Eliza (a never better Sally Hawkins) is working as a cleaning lady in a high-tech government facility. While cleaning one of the labs, she discovers what the scientists and top brass refer to as The Asset (Doug Jones) – a fish/human/creature hybrid. Despite the secrecy of his existence, Eliza befriends the creature, changing both of their lives irrevocably.
Not since 2006's Oscar-nominated Pan's Labyrinth has del Toro been able to marry his incredible visuals with a worthwhile story. But he delivers in spades here, creating a dark fairy tale that is just as much touching and emotional as it is thrilling. It is a breathless and surprising experience that is sure to delight audiences, and is easily one of the top movies of the year. And it's all the more special because so much of this period piece was filmed in Toronto – including at the Elgin Theatre where it will screen during TIFF.
Don't miss it.
Fox Searchlight Pictures will screen The Shape of Water at TIFF '17 at the following times:
Monday, September 11 9:30 p.m. Elgin Theatre
Tuesday, September 12 3:00 p.m. Elgin Theatre
Friday, September 15 9:00 p.m. Elgin Theatre
Sunday, September 17 6:30 p.m. Elgin Theatre
Doug Jones guillermo del toro michael shannon octavia spencer sally hawkins The Shape of Water


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text:
How to Use a Bow on "Straw Hat Samurai"
By Kevin Bramer
"Straw Hat Samurai" is a free online game that lets you use different weapons to slice up enemies with a sword and attack them from a distance with a bow. You control the sword by drawing a sword slice with the mouse while the bow controls are slightly more complicated. You'll need to learn a few controls to use the bow, but once you have that down, the bow is a very simple weapon to use.
Play through the first level until you unlock the bow. This will be after roughly five to seven fights and you will receive a message saying that it's unlocked.
Hold the "Shift" button to equip your bow. Hold the left mouse button to pull back the string on the bow.
Move the mouse up and down to aim the bow. Release the left mouse button to fire the arrow. You can also click on arrows that are on the ground to pick them up if you run out of ammunition.
YouTube: "Straw Hat Samurai" (Flash Game) Speed Run
Kevin Bramer, currently living in Champaign, Ill., has been writing critically about fiction and non-fiction literature (everything from aardvarks to zambonis) since 2000. Bramer has an associate's degree in arts and sciences from Kankakee Community College.

redpajama_set_name: RedPajamaCommonCrawl


text:
Wappingers Falls: Plane strays from runway at Hudson Valley Regional Airport
Jack Howland
No one was injured after a small home-built plane carrying one person left a runway at Hudson Valley Regional Airport in Wappingers Falls Friday, according to state police spokesperson Melissa McMorris.
The accident was reported at around 12:17 p.m. The plane, an RV4, had been "taxiing" when it left the runway, though McMorris said she didn't know whether the incident occurred after a landing or before a planned takeoff.
Only a pilot was inside the plane, she said, and the accident appears to be accidental at this time.
The Federal Aviation Administration will conduct an investigation.
Jack Howland: jhowland@poughkeepsiejournal.com, 845-437-4870, Twitter: @jhowl04


text:
Alliance for Wild Ethics
Projects & Conspirings
The Boundary Keeper
Jeremy Hayward, physicist and Tibetan Buddhist teacher, interviews David Abram
David Abram, Jeremy Hayward
Published in the Shambhala Sun, May 1997.
Jeremy Hayward: Maybe we could begin by talking a little bit about animism. It seems to me that the main thing you are trying to communicate in The Spell of the Sensuous is a sense that the world is not made of dead matter—that there's actually abundant life and intelligence everywhere.
David Abram: One of the strong intentions that moves through the book is the hope of breaking down what I see as a very artificial boundary between that which is animate and that which is inanimate, or between that which is alive and that which is not.
I very much want to suggest that everything is animate, that all things have their dynamism, that everything moves. It's just that some things move much more slowly than other things, so we don't notice their movement as readily. Suppose I'm walking along and a beautiful rockface draws my attention—I have a particular cliff in mind as I'm saying this— and I find myself moved by this presence, by this rock, by this huge implacable force that captures me each time I walk near it. If I'm moved by this being, how can I say that it does not move? By insisting that the rock itself does not move I'm denying my own direct experience.
Jeremy Hayward: You're speaking not of merely physical movement, but an inner movement, a movement of experience.
David Abram: Yes, although I wouldn't say that it is not physical. I really experience it as palpable movement within my viscera, a real physical engagement of my body by this other body, this other dynamism. It is a very, very different mode of dynamism but nonetheless it is flesh, is material, is matter.
So the animistic sensibility I'm trying to invoke is not one that avows the priority of some immaterial mind, or consciousness, out of which the material world is somehow born. Rather I wish to keep faith with matter, and with the sensuous particulars of the physical world that we find around us. This sensuous world, this material plenum, is not a sheerly objective set of mechanical processes. Material nature seems to have its own spontaneity, its own open-endedness, its own life.
In a sense I'm trying to walk a curious path between the spiritual idealism of much of the New Age, which often abandons the sensuous world to speak of the primacy of spirit or mind, and the detached objectivism of the scientific mainstream, which similarly isolates our awareness from the sensuous world by describing nature as a determinate set of objects. I very much want to keep faith with the earthly world, which I don't experience merely as a bunch of objects. It is just as much a field of living subjects.
Jeremy Hayward: I couldn't agree with you more. It's a sense of rejoining mind and body, or rather, recognizing that mind and body are and always have been one.
David Abram: It is remembering what we are. Never to forget that it is this fleshly form, this tongue flapping between my teeth right now, that enables me to come into contact with the trees and the frogs and the sky overhead. It is the body, with its nervous system and its senses, that brings us into contact with all of these other beings and enables us to feel and experience them.
Jeremy Hayward: If we realize that what we call our mind is an expression or aspect of body, and realize that our body is continuous with the physical world around us, then how can our experience not be continuous with the physical world? And if we experience an interiority, then surely the physical world that we exist in must have some kind of inner sense as well.
David Abram: Yes, just so. There is experience, sentience and sensitivity at every point in the surrounding world. This is not to say that I and the world are one, or that the Douglas fir is an extension of my own flesh—well, no more than I am an extension of its flesh—but to feel the inherence of mind in and as the body. In just the same way that the body of that tree is different from my own sensible flesh, so also its experience must be different from mine. The point is not to dissolve all differentiation into some sort of a bland oneness, but to wake up into a tremendous diversity of experiences. There are so many different forms of experience and sentience and sensitivity.
The human body knows that it needs a multiplicity of relationships with the whole of its surroundings. Our bodies have co-evolved with all these other fleshly forms, all of these other bodies—with cedar trees and salmon and windstorms and moon and sun, with critters and plants and herbs of every shape and size. The cultures that we all inhabited for some fifty thousand years practiced relationship with every aspect of the sensuous surroundings.
Today our bodies still know, our nervous systems still know, that they need the nourishment that comes from a full range of relationships with otherness. Yet all of this nourishment is precluded by a culture and language that defines the sensuous surroundings as not sentient, as a purely passive and automatic set of processes. There's no active agency there, no real otherness, nothing to relate to! We believe that the only place we can encounter otherness is in another human being. And so our bodies turn toward our human partners, demanding the sustenance that can only come from a full range of relationships. But another human, alone, cannot possibly provide all that otherness, and the strain rapidly shatters so many marriages and partnerships.
The Boundary Keepers
Jeremy Hayward: Most people as children have this sense of living connection with their surroundings. In terms of your own path, are you one of those rare people who never lost that connection, or is it something you worked to rediscover?
David Abram: I think it's true that children are born into an affinity with the whole of the sensuous world, and only later are they somehow cut off from that sense of imaginative participation with the other beings. But the recognition of difference—the awareness of the remarkable strangeness of these other beings, the otherness of their ways of experiencing the world and displaying and expressing themselves—that's something that I think only comes with maturity.
So a child is born into a sense of unity, and then gradually, as she comes to a sense of her own uniqueness, she grows a sense of the uniqueness of others—of the spider and the ways in which the spider's experience is very different from her own, of the specialness of the squirrel and the crow and the life of the wind. That each of these beings has its own powers uniquely different from hers, and that hers are uniquely different from theirs.
That respect for other forms of imagination only develops when it's allowed to, when our early, childlike sense of continuity is allowed to ripen and deepen. In our culture, however, our spontaneous, felt affinity with the rest of the sensuous world is often severed around six or seven years of age, around the time that the child is learning to read and write at school. This is when the child suddenly "gets" what the adults around him have all been saying, which is, look Johnny, it's just make-believe that that tree outside the house is watching over us—its really not doing anything at all except obeying the laws of chemistry and physics. And so the child is swept up in the peculiarly deadened world view of twentieth-century civilization, as though photosynthesis was not an astonishing and mysterious activity in its own right.
I certainly went through that. I suppose, however, that as a kid I was so porous, or oversensitive, that I was never able to shake that early sense of solidarity with other beings. It sort of slipped below the surface for a while, but as soon as I journeyed into a traditional culture it began to reappear and make itself felt once again.
Jeremy Hayward: When did that happen?
David Abram: Well, as a kid I had this odd experience, as I was saying, of being somewhat porous. For instance, I'd inadvertently pick up the accent of anyone I was speaking to. If I was speaking on the phone to someone from another country, everybody in the room would know from my accent the nationality of the person I was speaking to.
I was very mimetic—easily influenced by other people's ways of speaking or moving—and I often felt ashamed of this, like I was somehow spineless and had no real integrity of my own. Only later, when I stepped into the village cultures of Indonesia, did I discover that this oversensitivity, which is fairly useless in our society, is very, very useful to any culture which assumes that everything is alive and sentient.
There are always individuals who are a little too sensitive to spend all their time hanging around other humans, because they pick up too much from nervous systems that are the same shape as themselves. If someone depressed walks in the room, they find themselves getting depressed, and if someone happy walks in they're immediately joyous. They're too easily influenced by other humans, and yet their sensitivity is just right for entering into a rapport with a very different shape of awareness, with an owl, for instance, or an oak tree, or an ant.
These particularly sensitive folks tend to gravitate quite naturally to the edge of any traditional culture, where with one hand they can turn toward the human collective, but with the other they are open to the whole field of other-than-human powers. They become the intermediaries between the culture and the living land.
I think that every culture worthy of the name recognizes the need for such folks. These persons are the boundary keepers, those who tend the boundary between the human community and the wild, more-than-human world in which human culture is embedded. Their craft or work is to keep that boundary porous, to ensure that it remains a fluid membrane and doesn't harden into a static barrier.
Jeremy Hayward: And David, do you feel that this sensitivity, which is especially heightened in these boundary keepers, is something that everybody naturally has? To me this seems like a key to what we've lost in our present culture.
David Abram: It seems obvious to me that this is a capacity we all share; it's part of being human. At the same time, there are folks who are a little oversensitive, perhaps as much as twenty percent of any population, who aren't really good at working in the middle of the human community. That's not really where their gifts are. They're not very good at making decisions for the village, but they are really quite good at entering into relation with the other beings—with the animals or the local plants—and picking up what the land itself might need from us.
In the West, because we speak of the land and the rest of nature as a basically passive and insentient set of objects, such folks don't know what to do with themselves. There's no recognition that their sensitivity is good for anything, is actually necessary to the culture. Perhaps they learn to stifle their instinctive sensations, which just makes them sick; they become confused; often they get into quite a lot of trouble with the cultural mainstream.
Falling under the Spell
Jeremy Hayward: One of the key points of your book is the role of language in turning us away from, in covering over, this sensitivity. You present the view that the turning point was the moment when our alphabet became divorced from its connection with the natural world, when the words we used somehow became dissociated from our perceptions.
David Abram: Its more complex than that. Actually, I don't think there's a single point where things go wrong. It's a long and subtle process and I try to trace out some of the steps in this falling away from nature that we've succumbed to, this falling away from direct relationship with the land.
Having been a sleight-of-hand magician, my interest was first in sensory experience. I was interested in what could have affected our senses so directly that they became blind and deaf to the other forms of life and awareness that populate our world, so much so that we now casually bring about their destruction. It's not out of any meanness that we are destroying the natural world, but out of a sort of obliviousness. We simply don't notice that it's there.
That was the puzzle to me: how is it that we became so oblivious to the rest of nature? It seems to me that the ways we speak have a profound influence on what we see or hear of the world around us. Our body directly encounters the things around us as animate powers, as potent processes that draw us into relation with them. To the extent that we speak of these beings as objects, we deny our direct sensory experience.
Indeed, by defining the world as a bunch of objects we are essentially shutting down our senses, because our sensing body directly experiences the world only as a living field of forces. On the other hand, to begin to speak of the world as animate and alive is to begin to rejuvenate our direct sensory experience. To speak in a way that is in alignment with our senses reopens them to their reciprocity with the sensuous surroundings.
So how did our speaking ever get so cut off? How is it that we came to begin to speak of the land as inert? Especially since in traditional cultures it is assumed that everything speaks, not just humans. The voices and gestures of other animals enact their own languages. And not just other animals—even the wind in the willows is a voice with its own meaning. How then could we have come to this odd notion that language is an exclusively human property, and that everything else is mute, not really expressive at all?
I began to realize that there is one factor that directly influences our senses, at the same time that it influences our language and our ways of speaking. A factor that directly engages our eyes and our ears at the same time as it engages our language. This factor is the written word.
I began to look at the emergence of writing, and I quickly noticed that most of the cultures that we ecologists extol as being exemplary for their respectful, relatively sustainable relations to the land around them, like many of the indigenous cultures of North America, were oral cultures—cultures that traditionally flourished without any formal system of writing.
I began to wonder, what is it that writing does? I found that each script, each form of writing, engages the senses in particular ways and so influences our relation to language and to the sensuous world in a very specific manner. But it was one form of writing in particular—that which we call the alphabet—which really set the stage for the kind of intellectual distance from nature that is common to what we call Western civilization.
Even within alphabetic (or phonetic) writing, there are different forms of alphabets that have brought about unique and specific changes to the ways we see and hear the world. The ancient Semitic aleph-beth, from which virtually all alphabets are derived, had no vowels indicated on the page. When reading the consonants, the reader had to add the vowels, which of course are the breath sounds. (Traditional Hebrew texts have this same trait.) One could say that the consonants are the bones, and that one has to lend one's own breath to those bones to make them come alive and speak.
This lack of written vowels inadvertantly preserved the sense of sacredness accorded to the wind and the breath by so many oral cultures. For these cultures speech is nothing other than shaped breath, and the invisible wind is the very mystery of the spirit, that which gives all things life and awareness.
The Greeks for the first time inserted specific letters for the vowels, for the breath sounds, and in doing so they effectively desacralized the air and the breath. They made it possible for us to forget this invisible medium in which we, along with all the other animals and the plants, are immersed—this medium that palpably joins the inside of our breathing bodies to the inside of the trees and clouds.
The wind is the mystery of mysteries for so many oral cultures, and yet for our culture the air and the breath and the wind is often forgotten. We just speak of empty space; we don't speak of the air between us. It's as if we feel that there's nothing there, no physical connection.
Jeremy Hayward: What was it that separated people from nature in such a way that they could even conceive of changing the alphabet in this way? I wonder whether the separation of language from its direct connection with the natural world wasn't instigated by something else that was going on. For example, if we look at some traditions with phonetic alphabets, such as the Sanskrit or Tibetan, we don't necessarily find that kind of denial of nature.
David Abram: Once again, this is why I want to emphasize that it's a complex process that happens in a different way in each place. It's remarkable how unique the story of writing is to each place where it occurs. When the alphabet appeared in India, for example, it came into contact with an oral culture that was so alive, and functioning at so many levels of society, that writing never was able to displace it. Writing was sort of taken on as an adjunct to oral culture, a servant of storytelling, and the stories remained primary.
It's my feeling, at least at this point in my research, that there does not need to be a prior distancing which the technologies of writing then begin to embody, as you're suggesting, Jeremy. My sense is that our tools and technologies have their own potency and power, their own ability to alter or influence our relations with the world, and that we should respect them accordingly. The alphabet was a useful and a very beautiful thing that was taken up by diverse cultures across the globe. But such a technology has a power and a magic of its own, and if one does not work carefully with that magic it can be a very dangerous thing indeed.
I think that the separation you speak of, that beginning sense of a separation between the mind and the body, is itself made possible by this new reflexivity that emerges between the literate intellect and its own signs.
Cultures without writing come to know themselves primarily as they are reflected back by the other animals and the living landscape; many such cultures organize themselves in a totemic manner, according to who belongs to the turtle clan and who is of the beaver clan, and so on. The human society sees itself reflected in the movements and patterns of the land. With phonetic writing, for the first time, humans can reflect upon themselves in abstraction from the other animals and the local earth. They begin to enter into a reflexive relation with their own signs, one which short-circuits the ancestral reciprocity between their senses and the sensuous terrain.
It's no coincidence that the word "spell" has that double meaning: to arrange the letters in the right order to form a word, but also to cast a magic spell. Because to begin to read or write with this new technology was precisely to deploy a new kind of magic. It was also, all too often, to cast a kind of spell upon our own senses. Its as though we've all been under the spell of the alphabet in the West. The spell of spelling, one could say.
The Autonomous Human Zone
Jeremy Hayward: This also reflects on the Internet and the whole virtual world that people are so fascinated by. When we began to come under the spell of writing, we lost the direct relationship with the trees and animals who spoke to us. Now that we are coming under the spell of the Web, we're losing the direct relationship with other humans. We're actually beginning to live each in our own little box.
David Abram: In some ways it is the fulfillment of Plato's philosophy, his dream of an ideal dimension of pure forms that is prior to the sensuous world with all of its foibles. Plato's heaven of pure forms is finally exemplified in cyberspace. Finally it seems to offer us a way to escape our bodies, to free our minds from all embodiment. But of course it's the body that links us to the other animals and to the earth.
With older, non-alphabetic forms of writing, the pictorial or ideographic characters borrowed some of their shapes from the more-than-human surroundings. With the emergence of the phonetic alphabet however, the letters came to refer strictly to human sounds, and the more-than-human origin of those shapes was forgotten. The rest of nature was no longer a necessary part of the practice of reading and thinking, as it had long been when reading the hieroglyphics of the Maya or even the ideographic scripts of China.
This subtle shift makes all the difference—reflective thought now begins to experience itself as a purely human power. The act of thinking comes to inhabit an exclusively human dimension. And the Internet really extends that. There are no other organisms really participating with us when we're living out our lives through the screen, except, of course, virtual organisms devised and programmed by humans. We are just sort of wandering around inside our collective human nervous system. It's what Jerry Mander speaks of as a kind of intraspecies incest.
Jeremy Hayward: When one thinks that all over the globe millions of computers are connected together through these wires, one really begins to feel that it's taking on a body and an intelligence of its own. That it is somehow communicating with us, and almost using us, in a sense.
David Abram: Yes, and how could it not be so? From an animistic perspective, everything is alive in some manner, even the computer. Once one links up so many millions of nodes, certainly the complexity is invoking a very mysterious being indeed.
The Languages of the Land
Jeremy Hayward: So how do we work with this trap that we've created for ourselves? Is there a different way of teaching our children?
David Abram: Oh gosh, too many things are flooding into my awareness all at once. One very important aspect is to work toward a rejuvenation of oral culture, a renewing of the storied world. For heaven's sake, children are being brought up on screens now, both on the television screen, which seems to be the all-purpose babysitter, and increasingly in relation to the computer screen. Before they step into that world, even before they step into a world of texts and written words on pages, it seems to me essential that they walk first into the world of stories.
I'm talking about stories being told face to face, not read to children from books. Just telling the story of what happens inside that forest edge every full moon, or whose tracks are winding across this dry creekbed. What are the stories of your place? Why does that mountainside have that huge and strange-shaped boulder jutting out from it? Or the story of that street corner over there, where the street lamp keeps buzzing on and off—what's going on there?
Children need the stories in the land, the stories in the physical world, because, unlike other forms of discourse, we inhabit stories with our bodily imagination. We need to experience language bodily before we come to inhabit it as a disembodied realm of abstractions. We should put a priority on improvising stories together with our children, so that the child grows into a storied landscape, and has a sense of language as something that belongs not only to humans but to the whole of the world. The child growing up within a world of stories has a sense of being immersed in a meaningful cosmos, a world in which meanings are leaking out of every branch and blade of grass and beak that happens to open.
That's the kind of grounding that is necessary for the literate intellect, and perhaps even the computerized mind, to be able to navigate with some sort of ethical restraint. It can only do so if it's rooted in this bodily awareness of being immersed in a world in which not just humans, but other beings and other bodies also dwell.
The linking of language to the land, renewing the forgotten intimacy between language and the land, is so important. When I speak of revitalizing storytelling it's because of the need to rejuvenate a sense in which language and speech is rooted in particular places, and hence that the mind does not float free of the land. How peculiar it is that you could study at a university in New York or in California or in Texas or New Mexico, and you'd learn the very same things. We're taught the same information because the place where we are, the particular ecology, is thought to have no bearing on knowledge and thinking.
But what a bizarre assumption that is. It is a product of texts, the fact that once words are written down they can be carried everywhere. Stories were once rooted in the details of particular locations—the way the other animals moved and hunted, what plants grew there in what season, which roots could be eaten and which could not, which plants could heal specific ailments. All of that local knowledge is lost until we restore the storied dimension of oral speech which underlies and grounds the literate layer of language.
Jeremy Hayward: So what would you say if someone came to you and said, "David, your book has profoundly affected me and it has made me desperate, realizing how I've been caught up in language and separated from the natural world and so on, what can I do?"
David Abram: Ah, there's so much to do. I would say, for one thing, that there's no problem with being caught up in language because language is not the culprit. There are wonderful ways of speaking that are true to our direct sensory experience. What we need to do is slow down, quiet the incessant chatter in the brain for a moment, and give some room for our eyes and our ears to listen to all the other voices that surround us.
So why not try listening to the sounds, and letting them be voices. Allow all these other sounds to be meaningful. Sure, they don't speak in words, but it's still speech; it's still meaningful. How much more open our ears become then! Beginning to listen with our animal ears and to gaze into the world with our animal eyes! Beginning to value our bodies again, and our animal embodiment. And so feeling our embeddedness in the flesh of this living earth, giving time to the pleasures of sensual contact with the ground underfoot and the air that caresses our skin. So peeling off my shirt, even in the middle of winter, and feeling what it feels like on my flesh. Taking off my shoes and walking on the ground, barefoot, renewing the direct contact between ourselves and that which is not just human.
These gestures are so important, and yet they are not sufficient, because we also have to communicate with one another. It's necessary to move from that silence back into the world of expression, but to find ways of speaking that are true to our direct sensory experience of the world, true to our animal kinship with the rest of the animate world.
Many people have developed an incredible distrust of words and feel that language violates genuine experience. Well, it's not true. It's just that we've largely forgotten how to speak as earthly, sensorial, bodily beings. Story is an important key, and another great key is poetry, by which I simply mean speaking beautifully, speaking as a body speaks, rather than as a mind. Taking care that I use words that move my flesh, that have some physical resonance to them, that resound in my mouth and my muscles. Taking care to use words that are not just abstract terms, words that still have the soil clinging to their roots, that feel earthy, that are appropriate to the body and the land.
Life and Depth
Jeremy Hayward: What about the television and the computer?
David Abram: With writing, we began to enter into relation with the flat surface of the sheet of papyrus, the flat page. That later became the flat screen of the television or the computer monitor we gaze at. It's these flat surfaces that we spend so much time staring at which really defy the primordial experience of the perceptual world as something that exists in depth—as something that envelops us, that has a near and a far and a topology that shifts as we move within it.
Depth is the experience of being immersed. There's no depth dimension to the world unless you are in it. You don't get a near and a far unless you are yourself embedded in that visual field, situated in it somewhere.
When we and our children stare at screens, there isn't that full-body experience of being situated in the thick of the perceptual field. What that communicates to my body as a child is that nature, even the nature I watch on the splendid PBS program, is something I look at. It's not something that I am a part of. To me this is perhaps the greatest danger of the screen consciousness that seems to be overcoming our civilization—that we increasingly relate to the world as something we look at rather than something we are immersed in and permeated by.
I think the deepest impulse in my work, Jeremy, is to renew the experience of being immersed, embedded, in the depths of a living world. To me that's what that phrase "deep ecology" is all about. It simply means being in the depths of the ecology, in the thick of this very world that we mistakenly objectify as if we were outside of it.
But we're not outside of it. We don't have any privileged vantage point from which to gaze at the world and get a finished blueprint of it, because we are entirely a part of it, situated within it by virtue of being bodily entities. We are embedded in the thick of things. Our life is continuous with that of the world that surrounds us. So to invite people to speak of the earth as alive is simply to invite people to notice that they are inside of it.
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Real Bohemia: A Sociological and Psychological Study of the "Beats. " - RIGNEY, FRANCIS J. AND SMITH, L. DOUGLAS.
RIGNEY, FRANCIS J. AND SMITH, L. DOUGLAS. - Real Bohemia: A Sociological and Psychological Study of the "Beats. "
NY:: Basic Books, 1961. Hardcover. First edition. Near fine in a very good (minor edge wear) dust jacket. Near Fine in Very Good dust jacket .


thehiddenwardrobe Great buyer to deal with! Pleasant transaction! Overall a great experience. Thank you so much!!!
mustlovemurn Great buyer to deal with!
lyssia817 Great buyer to deal with!
@natasha716 is on Carousell - Follow to stay updated!
Cute black jeans with tags on, size 33. Love them but they just don't fit.
Cute dark blue Michael Kors phone case for IPhone 6S plus.
These are the cutest heels that I purchased to wear for my wedding however, they're a size or two too small. Absolutely love them but I don't have a use for shoes that don't fit. They're a size 10 (which is the size I wear) however their more like a size 8-9.


Disclaimer: This post mentions domestic violence and IPV (Intimate Partner Violence), which may be upsetting to some readers. This post is also being brought over to my current blog from my previous site, so it isn't as up-to-date as the other issues I will be publishing.
It's time to reclaim the word 'feminism'.


text:
Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species.
A. Rigsbee, A. Benton, B. King, W. Sprinkles, S. Katz-Amburn, Franklin Champlin
Biochemistry & Microbiology
Unlike most hydrophobic molecules, the biocide triclosan is able to penetrate the gram-negative bacterial outer membrane. The nosocomial opportunists Pseudomonas aeruginosa and Serratia marcesens are typically resistant to triclosan due largely to outer membrane impermeability properties for hydrophobic substances. However, we have recently shown that the degree of outer membrane involvement differs among disparate opportunistically pathogenic Serratia species. Cell surface hydrophobicity (CSH) properties underlie susceptivity to triclosan sensitization by outer membrane permeabilization in opportunistic Serratia species. A model system consisting of opportunistic Serratia species (marcesens, fonticola, and odorifera) exhibiting disparate degrees of susceptivity to hydrophobic antibacterial agents and triclosansensitization by outer membrane permeabilizer compound 48/80 were examined. Overall susceptibility to disparate hydrophobic antibacterial agents was determined using conventional disc agar diffusion and macrobroth dilution bioassays. Batch culture kinetics with triclosan and outer membrane permeabilizer compound 48/80 allowed analysis of cell envelope involvement in intrinsic triclosan resistance. CSH was determined using the hydrocarbon adherence method. S. marcesens and S. fonticola intrinsically resistant to hydrophobic antibacterial agents including triclosan, while S. odorifera was susceptible. CSH properties differed only slightly compared with control organisms, regardless of how susceptive they were to triclosan sensitization. These data suggest that the phenotypic differences seen in three opportunistic Serratia species with regard to intrinsic resistance to triclosan are at least partly due to disparate outer membrane exclusion potential. Moreover, susceptivity to triclosan sensitization by outer membrane permeabilization appears not to be influenced by CSH properties.
Fingerprint Dive into the research topics of 'Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic <i>Serratia </i>species.'. Together they form a unique fingerprint.
hydrophobicity Earth & Environmental Sciences
membrane Earth & Environmental Sciences
agar Earth & Environmental Sciences
bioassay Earth & Environmental Sciences
pesticide Earth & Environmental Sciences
dilution Earth & Environmental Sciences
hydrocarbon Earth & Environmental Sciences
Rigsbee, A., Benton, A., King, B., Sprinkles, W., Katz-Amburn, S., & Champlin, F. (2020). Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species.. Poster session presented at Oklahoma State University Center for Health Sciences Research Day 2019, TULSA, United States. https://shareok.org/handle/11244/323863
Rigsbee, A. ; Benton, A. ; King, B. ; Sprinkles, W. ; Katz-Amburn, S. ; Champlin, Franklin. / Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species. Poster session presented at Oklahoma State University Center for Health Sciences Research Day 2019, TULSA, United States.
@conference{666a73f76ae74f158bad2c301e7ca0a8,
title = "Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species.",
abstract = "Unlike most hydrophobic molecules, the biocide triclosan is able to penetrate the gram-negative bacterial outer membrane. The nosocomial opportunists Pseudomonas aeruginosa and Serratia marcesens are typically resistant to triclosan due largely to outer membrane impermeability properties for hydrophobic substances. However, we have recently shown that the degree of outer membrane involvement differs among disparate opportunistically pathogenic Serratia species. Cell surface hydrophobicity (CSH) properties underlie susceptivity to triclosan sensitization by outer membrane permeabilization in opportunistic Serratia species. A model system consisting of opportunistic Serratia species (marcesens, fonticola, and odorifera) exhibiting disparate degrees of susceptivity to hydrophobic antibacterial agents and triclosansensitization by outer membrane permeabilizer compound 48/80 were examined. Overall susceptibility to disparate hydrophobic antibacterial agents was determined using conventional disc agar diffusion and macrobroth dilution bioassays. Batch culture kinetics with triclosan and outer membrane permeabilizer compound 48/80 allowed analysis of cell envelope involvement in intrinsic triclosan resistance. CSH was determined using the hydrocarbon adherence method. S. marcesens and S. fonticola intrinsically resistant to hydrophobic antibacterial agents including triclosan, while S. odorifera was susceptible. CSH properties differed only slightly compared with control organisms, regardless of how susceptive they were to triclosan sensitization. These data suggest that the phenotypic differences seen in three opportunistic Serratia species with regard to intrinsic resistance to triclosan are at least partly due to disparate outer membrane exclusion potential. Moreover, susceptivity to triclosan sensitization by outer membrane permeabilization appears not to be influenced by CSH properties.",
author = "A. Rigsbee and A. Benton and B. King and W. Sprinkles and S. Katz-Amburn and Franklin Champlin",
Rigsbee, A, Benton, A, King, B, Sprinkles, W, Katz-Amburn, S & Champlin, F 2020, 'Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species.', Oklahoma State University Center for Health Sciences Research Day 2019, TULSA, United States, 21/02/19 - 22/02/19. <https://shareok.org/handle/11244/323863>
Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species. / Rigsbee, A.; Benton, A.; King, B.; Sprinkles, W.; Katz-Amburn, S. ; Champlin, Franklin.
T1 - Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species.
AU - Rigsbee, A.
AU - Benton, A.
AU - King, B.
AU - Sprinkles, W.
AU - Katz-Amburn, S.
AU - Champlin, Franklin
N2 - Unlike most hydrophobic molecules, the biocide triclosan is able to penetrate the gram-negative bacterial outer membrane. The nosocomial opportunists Pseudomonas aeruginosa and Serratia marcesens are typically resistant to triclosan due largely to outer membrane impermeability properties for hydrophobic substances. However, we have recently shown that the degree of outer membrane involvement differs among disparate opportunistically pathogenic Serratia species. Cell surface hydrophobicity (CSH) properties underlie susceptivity to triclosan sensitization by outer membrane permeabilization in opportunistic Serratia species. A model system consisting of opportunistic Serratia species (marcesens, fonticola, and odorifera) exhibiting disparate degrees of susceptivity to hydrophobic antibacterial agents and triclosansensitization by outer membrane permeabilizer compound 48/80 were examined. Overall susceptibility to disparate hydrophobic antibacterial agents was determined using conventional disc agar diffusion and macrobroth dilution bioassays. Batch culture kinetics with triclosan and outer membrane permeabilizer compound 48/80 allowed analysis of cell envelope involvement in intrinsic triclosan resistance. CSH was determined using the hydrocarbon adherence method. S. marcesens and S. fonticola intrinsically resistant to hydrophobic antibacterial agents including triclosan, while S. odorifera was susceptible. CSH properties differed only slightly compared with control organisms, regardless of how susceptive they were to triclosan sensitization. These data suggest that the phenotypic differences seen in three opportunistic Serratia species with regard to intrinsic resistance to triclosan are at least partly due to disparate outer membrane exclusion potential. Moreover, susceptivity to triclosan sensitization by outer membrane permeabilization appears not to be influenced by CSH properties.
AB - Unlike most hydrophobic molecules, the biocide triclosan is able to penetrate the gram-negative bacterial outer membrane. The nosocomial opportunists Pseudomonas aeruginosa and Serratia marcesens are typically resistant to triclosan due largely to outer membrane impermeability properties for hydrophobic substances. However, we have recently shown that the degree of outer membrane involvement differs among disparate opportunistically pathogenic Serratia species. Cell surface hydrophobicity (CSH) properties underlie susceptivity to triclosan sensitization by outer membrane permeabilization in opportunistic Serratia species. A model system consisting of opportunistic Serratia species (marcesens, fonticola, and odorifera) exhibiting disparate degrees of susceptivity to hydrophobic antibacterial agents and triclosansensitization by outer membrane permeabilizer compound 48/80 were examined. Overall susceptibility to disparate hydrophobic antibacterial agents was determined using conventional disc agar diffusion and macrobroth dilution bioassays. Batch culture kinetics with triclosan and outer membrane permeabilizer compound 48/80 allowed analysis of cell envelope involvement in intrinsic triclosan resistance. CSH was determined using the hydrocarbon adherence method. S. marcesens and S. fonticola intrinsically resistant to hydrophobic antibacterial agents including triclosan, while S. odorifera was susceptible. CSH properties differed only slightly compared with control organisms, regardless of how susceptive they were to triclosan sensitization. These data suggest that the phenotypic differences seen in three opportunistic Serratia species with regard to intrinsic resistance to triclosan are at least partly due to disparate outer membrane exclusion potential. Moreover, susceptivity to triclosan sensitization by outer membrane permeabilization appears not to be influenced by CSH properties.
Rigsbee A, Benton A, King B, Sprinkles W, Katz-Amburn S, Champlin F. Influence of cell surface hydrophobicity properties on susceptivity to Triclosan sensitization by outer membrane permeabilization in opportunistically pathogenic Serratia species.. 2020. Poster session presented at Oklahoma State University Center for Health Sciences Research Day 2019, TULSA, United States.


The prosecution follows a period in which Dr Webberley had refused to stop providing services to patients. As a result, HIW proceeded with criminal action against Online GP Services Ltd and Dr Webberley for operating a service without being registered under Section 11 of the Care Standards Act 2000.
Both Online GP Services Ltd and Dr Webberley were found guilty at Merthyr Magistrates court today. Sentencing will take place on 3 December 2018.
I welcome the decision of the court today. Unregistered healthcare services pose a risk to patient safety as they are not subject to the same level of scrutiny as registered services. HIW's role is to check that patients receive good care and we are committed to taking action where standards are not met and against those who provide services illegally. I am pleased that we have done so successfully in this case.


Love is a word that is tossed around pretty freely these days. Sometimes its "in love," but then over half of all marriages between people who were once "in love" end in "out of love." Sometimes love equals obsession or idolatry. We would give up all else if we could just be hunting right now, or fishing, or shopping, or using a new smart phone. What is my definition of love?
Jesus used the "love" word when talking about a relationship between me and God. He also knew that his hearers, including me, would need some help with that word. So he gives me a little peek into what kind of love and relationship I need to have. One that is "all in." With all my heart. With all my soul. With all my mind. With all my strength. Sounds exhausting, but that's exactly it. Exhaust myself. Spend everything I've got loving God. Spend all my time. Spend all my talents. Spend all my resources. Jesus also called this the greatest commandment. I also remember the second one he gave. Love your neighbor…with that same kind of love.
God is demanding, but he is also giving. He loved me first with an "all in" love. He gave his very son over to death on a cross…for me. That's all in.
Lord, help me go "all in" today for you. May my whole heart, soul, mind, and all my strength be dedicated to loving you, and those you bring into my life today! Amen.
The verse is three lines long on the screen of my phone. But spending just a few minutes thinking, writing, and praying over it allow it to fill me up, and hopefully my day too. Getting into a routine of reflecting on God's Word can be such a blessing. It takes discipline and dedication, but after a while if you don't do it, something just isn't right. The Holy Spirit has you then.
If you are interested, I journal using digital tools. No big surprise there right? Two that I can recommend are DayOne and Diaro. DayOne is an app only available on the Mac and iOS, while Diaro is available on the web and both iOS and Android. I find I like having tools like these available wherever I am as I can capture thoughts, but also images, location and other things that will allow me to reflect on God's grace, and also remember it.
If you use other tools or methods, I'd love to hear about them. Leave a comment below. Blessings on your reflections and walk with God.


text:
Kapela Korenička falu Horvátországban Lika-Zengg megyében. Közigazgatásilag Plitvička Jezerához tartozik.

Fekvése
Otocsántól légvonalban 35 km-re, közúton 50 km-re keletre, községközpontjától Korenicától 8 km-re északnyugatra, az 1-es számú főúttól nyugatra fekszik.

Története
A szerb lakosságú falu lakóinak ősei a 17. században a török által megszállt területről vándoroltak be ide. 1890-ben 196, 1910-ben 194 lakosa volt. A trianoni békeszerződés előtt Lika-Korbava vármegye Korenicai járásához tartozott. Ezt követően előbb a Szerb-Horvát-Szlovén Királyság, majd Jugoszlávia része lett. 1991-ben a független Horvátország része lett, de szerb lakossága még az évben Krajinai Szerb Köztársasághoz csatlakozott. A horvát hadsereg 1995. augusztus 6-án a Vihar hadművelet keretében foglalta vissza a község területét. Szerb lakossága nagyrészt elmenekült. A falunak 2011-ben 13 lakosa volt.

Lakosság

(1900-ig Vratnik néven. 1880-ig lakosságát Prijebojhoz számították.)

További információk
 Plitvička Jezera község hivatalos oldala
 Plitvička Jezera község turisztikai irodájának honlapja
 A Plitvicei Nemzeti Park honlapja
 A korenicai honismereti társaság honlapja
 Lika kronológiája
 A felsőkárolyvárosi pravoszláv eparchátus honlapja

Jegyzetek

Lika-Zengg megye települései

redpajama_set_name: RedPajamaWikipedia


Wn Pen05b H.K.B, Bernival, StP.Gruppe Penly, K.V.A. 'E2'. Haute-Normandy.
1 x 8.35cm Flak M22(t).
H.K.A.R - Heer Kusten Artillery Regiment.
H.K.B. - Heer Kusten Batterie.
The view from across the valley to Pen05b.
Battery site around late 1940s.
le Petit Berneval sitting out on the cliff overlooking the port of Dieppe which its guns would have protected.
Direction of fire of the battery was towards Dieppe Harbour.
Battery position out on the very flat top of the cliff.
Only one casemate was built and I believe two were in the process of being constructed and the rest of the battery site was to the left of the road in where a lot of housing has been built. If you wish to, walking through the estate it will throw up lots of odd interesting features. One is a latrine and several small bunkers. Most has been built over now.
Sitting on the side of the road is this bunker, there were 2 x Unterstand, 2 x Feldm, 7 x Wellblech and 1 x Latrine.
Red is the R669 and I think yellow is/was the Leitstand (fire control post.
This could be the the Leitstand?? now in the sea.
There was getting on for 600 of these bunkers built and probably many more planned and starting but not finished.
From this 1940's photo you can see construction work in progress.
Casemate for a field gun. .
I am presuming a I cannot find out what guns were going inside that the 12.2cm guns were to be casemated and the 17cm guns being too big would either be withdrawn or continue in open field emplacements in the area.
17cm K18 artillery in open field emplacements in North Africa.
R669 gun room now full of water..
Two small ammunition niches each side one the shell room and the other for case and powder bags.
I am not sure if this space is big enough for a 12.2cm gun or not?
In fact looking closely at this picture of a 12.3cm gun, the bunker behind looks like a R669? so it may do.


Windows-Explorer integration Diff-Ext-for-KDiff3 - shell extension included in installer . Splitting and joining differences for merging; Manual Diff Alignment tool. 20 Jul Description. KDiff3 is a free, open source and cross-platform tool designed to analyze text difference and merge files or directories. It features. Kompare (formerly "Kdiff") is a graphical diff and merge tool targeting developers. It allows users to compare two different text files or two directories. It is part of.
26 Sep - 9 min - Uploaded by James Stone In this video I will explain why you would want to use a differences tool with your HTML or CSS. git config --global --add greatolivetours.com kdiff3 git config --global --add greatolivetours.com3 .path "C:/Program Files/KDiff3/greatolivetours.com" git config --global. 1 Nov Cannot Launch KDiff3 External Merge Tool from Sourcetree. Matt Erman It says it is launching the tool but then nothing happens. I am unable.
19 Dec GIT needs to know that KDiff3 should be used as the preferred diff/merge tool. For this, we need to make a simple change in greatolivetours.comfig file. 7 Jul Download the latest version of KDiff3 free. Pick the input text files or directories and KDiff3 will analyze them and present the differences. 1 Sep KDiff3 is a KDE / Qt graphical merge and diff tool. For 3-way merge it can show both the 2 parent versions and their common ancestor. KDiff3 is a tool for Comparison and Merge of Files and Directories. Features. Compares or merges two or three text input files or directories; Shows the. Setting up different editors / tool for using git mergetool please refer to vimdiff if you still use the keyboard commands for GVim. kdiff3 · meld · tortoisemerge.
25 Feb A protip by mteece about git, windows, mergetool, and kdiff3. Kdiff is an awesome stand-alone diff/merge tool that lets you compare two or three text files or directories to display the differences line by line and character by. 16 Jan KDiff3 is a graphical text difference analyzer for up to 3 input files, provides character-by-character analysis and a text merge tool with. 26 Aug My tool of choice is KDiff 3 (Package also available on greatolivetours.com) as it is free and open source. Meaning I am able to just install it via.