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Tag: Chip Rossetti
The Accidental Missionary (Movie Review)
DJ Miller is a spoiled movie actor who just wants to do as little as possible while still making as much money as possible. However, when DJ gets negative publicity for something he does, his agent suggests he take a vacation to let the bad press blow over. Nonetheless, on the way out of town, a bizarre mix-up forces DJ to go on a mission trip to Africa and take the place of a missionary who was supposed to be there. Will DJ be able to change his ways while he's stuck in the wilderness?
A common shortcoming of nearly every Rossetti film is low quality production, and The Accidental Missionary is no exception. From inconsistent lighting to cheap sets, locations, and props that don't adequately represent what they're supposed to portray, there's little to no positive to note here. Camera angles are quite unusual, there are background echoes, and cringeworthy sound effects annoy the viewers. The soundtrack is too random to fit the mood, and there's often stock footage included that doesn't fit the mood. Further, the editing contains poor cuts and transitions as well as several continuity errors. Thus, no points can be awarded for this section.
Besides the fact that this plot's premise is unrealistically contrived, the very obvious dialogue creates simplistic, one-dimensional characters. The narrative is based on stupid coincidences, such as the most ridiculous reason for why two people got mixed up in an airport. There's no way anyone involved would realistically believe what happens in this story. What's more, silly and off-putting conversations between the characters patronizes local African cultures and comes close to making fun of them. It's all wrapped up in a save-the-mission-camp agenda and packaged with a forced romance that nobody can take seriously. Further, there seems to be a tendency to purposely create bizarre situations between some of the characters, including unnecessary levels of weirdness. Capping it off with wild character swings that lack realistic explanations, this section of the movie receives negative points for its offensive elements.
Surprisingly, the acting is the "best" aspect of The Accidental Missionary inasmuch as it's not zero or less. This is due to somewhat average acting even though much of it seems overly practiced. Emotions tend to be wooden and too earnest. The lead actress posts the strongest performances of anyone, but other cast members don't match the culture being portrayed. Costuming is also cheesy, and accents aren't always correct. Further, painfully bad injury acting caps off this mediocre section.
Of all the past Rossetti offerings that are just bad, this one is awful. Tone deaf portrayals of cultures that obviously aren't properly understood by the creators will almost always warrant negative points. There's also really nothing to redeem The Accidental Missionary from this pitfall. Everything was all wrong from the get-go, so this idea was doomed from the start.
Final Rating: -1 out of 10 points
September 30, 2020 by Box Office Revolutionary Categories: Comedy, Drama, Inspirational, International, Movie ReviewsTags: 2012, Chip Rossetti, Christopher Morrow, Comedy, Dei'Marlon Scisney, Drama, EchoLight Studios, Ed Caylor, Hilda Weber, Inspirational, International, Jason London, Jay Woolston, Jilanne Marie Klaus, Judee Sauget, Markus Porter, negative points, Rossetti Productions, Seth Adair Leave a comment
Where Was God? [2014] (Movie Review)
Pastor Thompkins has a secret, but his life becomes even more complicated when a desperate man decides to hold him hostage in the pastor's own home. During their standoff, the man asks Thompkins pressing questions about the problem of pain and life's true purpose. Will either man come out of the situation alive?
With such a low budget, it's unclear why this production was put forth just for it to contain cheap sets and props, lack actual locations, and have inconsistent lighting throughout. As it's basically people hanging around in a house, the camera work and video quality are fine, yet it all feels very cut-rate. The soundtrack is very generic, and all audio is quite hit-and-miss, including silly sound effects. There's also no editing to speak of, which rounds out an overall poor effort that undermines this film's existence.
As a heavy character-based plot, Where Was God? needed some serious help in the narrative department for it to even have a chance, but with only wooden characters to speak of due to overly constructed, obvious dialogue, there's really no hope for this movie. The entire premise, full of unrealistic circumstances, feels very contrived, and the storyline is an overused waste of time because it seeks to drag things out as long as possible. Dead time also fills gaps where substantial content could have gone. Instead of a real plot containing believable dialogue, the audience is only left with silly gender stereotypes and a strange endings that both instantly fixes all the problems and almost negates the entire situation at the same time. Due to all of these factors, no points can be awarded to this section.
In nearly every facet of Where Was God?, the acting is extremely awkward, including wooden emotions and incredibly forced line delivery. The drama is also manufactured, and the cast is so small that even the smallest errors are very noticeable. Unfortunately, there's just nothing positive to say about this category, which rounds out an overall basement-level offering.
What else is there to say? Where Was God? is just another in a long line of embarrassing Christian projects that will fade from memory as time goes on. There's next to nothing that justifies its existence and no reason for it to be made. The only thing that can be gleaned from it is how not to produce Christian entertainment, but there are already too many examples of that.
May 7, 2020 by Box Office Revolutionary Categories: Drama, Movie Reviews, SuspenseTags: 1 point, 2014, Bailey Rossetti, Chelsea Casanova, Chip Rossetti, CMD Distribution, David Ross, Donna Botts, Drama, Joe Mayse, Kaitlin Borst, Kristi Miller, Matthew Ulm, Pamela Cash, Paul Spite, Rossetti Productions, Sean O'Bryan Smith, Seth Adair, Suspense, Timothy Paul Taylor, TPTFILMS Entertainment, TRU Media Film Distribution Leave a comment
The Dream Motel, Season 1 (Series Review)
Jesse and Matteo are angels who have been assigned to do various tasks on earth, one of which is to fix up an old motel in rural Georgia so that they can win the spiritual war of owning buildings around the world. If the angels can own enough buildings, they can apparently lead more people to salvation, but if the demons in disguise keep taking over God's properties, they'll somehow be able to bring more darkness to the earth. Can Jesse and Matteo stop them one motel guest at a time?
Although the video quality and camera work are mostly fine in The Dream Motel, save for a few shaky action shots, there aren't many other positives to point out here. Audio quality is too inconsistent, including annoying background sounds, and there's basically no soundtrack at all. Also, outdoor lighting is fairly poor, and the sets, locations, and props are often cheap to the point of not even representing what they're supposed to represent. Further, there's no real editing or transitions throughout the season, and there some awkward fadeout moments. To top things off, there are bad special effects throughout, which rounds out a mediocre effort.
Besides the fact that The Dream Motel is a boring stock plot based on robotic dialogue and wooden characters, the world constructed in the premier and finale episodes makes no sense at all for a number of reasons. For one, it's unclear from Scripture whether or not angels have emotions or free will to wrestle with various philosophical issues like these characters do. For another, why would God need magical locations around the world to do His bidding, and how could demons steal them without His allowance? How are atheism and secularism powerful enough to halt Christ's will? Why would demons even have an interest in stealing magic buildings rather than actual people? These premise problems aside, the villain is stupidly obvious, some of the characters seem unnecessarily outraged at logical things, the narrative incorrectly portrays realistic circumstances involving HIPAA protection, and it's downright creepy to have smiling angels tell humans private things about the people. It feels like this storyline exists outside of reality even though scenes drag on as lines are painfully dragged out of the characters, who talk in circles to fill the runtime, and although boring activities of daily living, expository dialogue, and off-screen content make The Dream Motel seem like most poorly crafted Christian entertainment. With basically no personality or motive for the characters and far too many coincidences to hold up the plot, this series is just a collection of disasters.
Having very stilted and overly practiced acting is almost a given when it comes to Rossetti Productions, and The Dream Motel doesn't disappoint. Using the patented Rossetti style of basically reading lines for a church play, the cast members exhibit forced wooden emotions that make the viewers think that the actors and actresses don't actually care about what they're doing. Some cast members seem unnatural or even uncomfortable in their roles, and a portion of the theatrical annunciation is off-kilter. Many scenes feel like one-takes as some actors and actresses appear to forget their lines in some instances and awkwardly grasp for something to share that can fill the blank silence. Essentially, there's nothing positive to note in this section.
Continuity Quality (1 point)
Following a predictably typical series model, The Dream Motel offers premier and finale episodes that depart from the norm while all the between episodes are standard recurring dramas that introduce characters only to discard them before the credits roll. Concepts explored in the pilot aren't returned to until the last episode, which concludes with a cheesy cliffhanger ending. While this section isn't all bad due to some recurring subplots among the main characters, it's still a run-of-the-mill offering with missed opportunities for continuity.
There are just so many things wrong with The Dream Motel from the get-go. Basically a redux of The Encounter, only with angels, this Rossetti series is based on illogical and questionable concepts yet still commits errors beyond this. Even the best ideas can be easily derailed by poor storytelling, low production quality, and abysmal acting. With so much experience under their belt and a trailed of wasted opportunities, it's hard to know where the Rossetti Productions team is headed at this point, but this series is definitely not worth your time.
April 11, 2020 by Box Office Revolutionary Categories: Drama, Inspirational, Series ReviewsTags: 2019, Allen Hogan, Bella Martin, Brittany Goodwin, Caleb Martin, Carey Jones, Chip Rossetti, Christian St. John, Christian Weissmann, Christopher Hensel, Cole Cadman, Dakota Bruton, David Ditmore, David Ross, Dominick Wilkins, Donna Botts, Doris Collier, Doug Stroup, Drama, Francine Locke, Inspirational, Jeff Armstrong, Jeff Rose, Jessica Rossetti, John Cameron Bishop, John Schlitt, John Wells, Jonathan Plowman, Kaity Martin, Kamber Cain, Katie Stewart, Leah White, Margaret Tant, Mark E. Holmes, Peggy Goodman, Preston Douglas, Questar Entertainment, Reen Vogel, Robert Shepherd, Rossetti Productions, Shane A. Doyle, T. Graham Brown, TJ Cates, Todd Halliburton Leave a comment
The 3 [2019] (Movie Review)
After his daughter's tragic death in a school shooting, Jimmy Collins retreats to his cabin in the woods to sulk and drink alcohol. He wants to be left alone in his misery, but he keeps being visited by mysterious characters, some of which he's all too familiar with from the past. Nonetheless, each visitor keeps trying to steer him away from self-destruction and to the love of God that he's forsaken. Will Jimmy turn around before it's too late??
It's unclear why Chip Rossetti and his team continually put out very low quality productions even in the new era of Christian entertainment. The 3 exhibits poor audio quality via annoying sound effects that punctuate actions, a stock soundtrack, background echoes, and obvious overdubs. While the video quality is passable, this is really the only acceptable production element. Sets, locations, and props are also quite cheap and limited, and there's virtually no editing throughout the film. In the end, this level of production problems is simply unacceptable in our current market.
Essentially, The 3 is just a collection of very boring and brooding sequences that consistent either drawn-out scenes that lack dialogue or drab and meandering conversations that lack purpose or direction. Although the story explores some interesting psychological concepts centering around confronting family patterns, they are poorly executed and encased in horribly wooden and improperly constructed bouts of dialogue. When a narrative like this is so heavily character-based, conversations are all-important in crafting deep characters with strong motivations, but The 3 greatly drops the ball in this category. While there are some flashbacks throughout, they are improperly applied, and some darker issues, like suicide, are given too much screentime without being balanced by lighter concepts. As the storyline progresses, however, the psychological world that's created by the plot becomes more and more confusion and ends up getting lost in its own head, much like that of Turbulent. Therefore, this is an effort that lacks any potential or purpose.
Throughout The 3, the cast members exhibit extremely forced emotions and pushy line delivery that overall come off as very robotic and stilted. Other acting is simply bland and vanilla although some of the supporting cast members are slightly better than the principle cast members. However, it's simply not enough to register any life for this basically unnecessary film.
The era of Christian entertainment that once tolerated sub-par efforts like this movie is long over. Standards are higher now, so spitting out more low quality films that crowd the Christian market is unacceptable. Christian movie makers are being held to higher standards and can no longer simply make things just for the sake of making Christian creations. It's high time for us to offer better things for all audiences.
February 7, 2020 by Box Office Revolutionary Categories: Drama, Inspirational, Movie Reviews, PsychologicalTags: 1 point, 2019, Chip Rossetti, Cylk Cozart, Darryl Worley, Drama, Inspirational, Jeff Armstrong, Jefferson Moore, Jessica Bell, Jonathan Plowman, Kate Kilcoyne, Lisa M. Lewis, Matthew Ulm, Psychological, PureFlix, Rossetti Productions, Tina Wesson Leave a comment
Turbulent [2018] (Movie Review)
Oooohh scary
When a man and his wife have a sudden plane accident in the middle of nowhere, they have to do whatever they can do to fight for survival. However, the strained relationship between them becomes a detriment to their quest as she believes in God while he resists her faith because of the tragedies they've endured in their marriage. Will they be able to overcome both the elements and the distance between them in order to survive another day?
Production Quality (-1 point)
With a production this bad in 2018, we don't even know where to begin. It's literally terrible in every way you can conceive: weird outdoor lighting, horrible audio quality with loud background sounds, and basically no soundtrack on top of this. Sets, locations, and props are extremely cheap and don't line up with what they're supposed to portray. There are also weird special effects and oddly chosen sound effects that contribute to the annoyingly bad quality of this production. Since you almost have to try to make a production this bad, it warrants a negative point. It goes without saying that the editing is very choppy, but that's just white noise in the bigger picture because there are so many problems here.
Plot and Storyline Quality (-1 point)
In this storyline, there are no breaks in negativity or balanced scenes as everything is dour and dramatic in infantile ways. It has a very juvenile outlook on life as characters do things that have no grounding in reality and as the plot contains unrealistic survival elements. The majority of the film is painfully long and drawn out scenes that are like pulling teeth to watch. It's obvious that the main agenda of the film is to scare the viewers into being saved (as if any non-believers would ever think about watching this garbage), yet there are a lot of fantastically weird magical concepts that don't seem to line up with typical fundamentalist ideologies. These elements are connected to a really bizarre twist at the end of the movie that comes off in a very strange and off-putting way. In the end, there's so much wrong here with so little to deal with, which is why this is a rare feat deserving of negative points.
Acting Quality (-1 point)
With such a small cast, everything stands out, and the acting therein is annoyingly horrible. Emotions are excruciating to watch as if the cast members are being tortured to say them…it's like fingernails in the chalkboard to watch it unfold. Every little drama is extremely forced to the point of straining, and because of these issues, there's no way to properly connect with the character struggles. It's not like the cast members had good lines to work with in the first place, but they make matters worse with their agonizing delivery. Thus, in summary, if you're looking for the exact opposite of how to make a Christian film, watch Turbulent.
Negative films are absolutely unacceptable in the modern era of Christian entertainment, and survival plots as a whole are worn out and should be used sparingly unless somebody actually has a good idea to share. Basically, from Turbulent, we can learn the same old lessons we've seen before: if you don't have the money for your film, don't even think about making it because the higher production standards in the field today demand better delivery. Also, even if you have the money for a decent production, please make sure you actually have a worthwhile plot to share and can properly coach your cast to be believable. The time for poor quality Christian films to go away is long overdue.
June 4, 2019 June 4, 2019 by Box Office Revolutionary Categories: Drama, Movie Reviews, Psychological, SuspenseTags: 2018, Allen Hogan, Brandon Porter, Chip Rossetti, Donna Botts, Drama, Faith Murphy, Isaac Hernandez, Jeff Rose, Jonathan Plowman, Mark Potts, Nathaniel Sizemore, negative points, Psychological, Rossetti Productions, Suspense, Zachary Leffew 2 Comments
Gloria Dais (status unknown)
Writer(s): Chip Rossetti
Producer(s): Mark Potts, Chip Rossetti
Starring: Marion Ross, Erik Estrada, Karyn Williams
Plot Synopsis: Gloria Dais, named as such because of her parents love of Bruce Springsteen, has always lived in the city. After her mom and dad divorce, Gloria is forced to move to the tiny town on Wishem, Kentucky, against her wishes. As she begs her mother to let her go home to her friends, she unexpectedly ends up in the adventure of a lifetime. Along the way she meets people that will change her forever, and learn lessons in life and love. "Gloria Dais" is an adventure story for the whole family, where Gloria discovers that "True Adventure Takes You Home."
January 21, 2019 January 26, 2021 by Box Office Revolutionary Categories: Upcoming Movies and SeriesTags: Chip Rossetti, Erik Estrada, Karyn Williams, Marion Ross, Mark Potts, Rossetti Productions, Upcoming Movies and Series 3 Comments
The Christmas Reunion (Movie Review)
When a group of four unlikely friends from high school reunites in the small town of Cave City, Kentucky, for a brief Christmas reunion, they suddenly get stranded by the snow and are forced to recount the old days they had together. However, Cave City is falling apart at the seems as it gets bought up by some Eastern Syndicate – even the old diner!! Will they ever be able to save the small town from ruin?
In this 2016 production, there are many elements that should not be for one this new. This includes poor audio quality that sometimes echoes, as well as a cheesy holiday soundtrack that sometimes overpowers the scenes. There are also very cheap and limited sets, locations, and props, including an overpowering amount of Christmas decor. The only good areas of this production that keep it from being zero points are the fine video quality and camera work. However, the editing is fairly poor, and the use of special effects is cheesy, which keeps this at a one-point production.
In keeping with his past script-writing practices, Chip Rossetti includes
extremely stilted and unnatural dialogue throughout this story that makes the characters seem like robots. Another commonly used Rossetti theme that's present in this film is the heavy-handed small town values that are under attack by big city corporations. Paired with this are
constant return-to-small-town conversations and plenty of exposition through conversations that might as well be narration. All of these elements severely cripples any potential for character growth and reduces it to a church play feel. Besides this, there is really little to not plot potential here at all as the characters are cardboard cutouts instead of people. Instead of trying to develop the characters, the storyline seems to grasp at anything it can do to fill time with except for actually developing characters, and this includes poorly constructed flashbacks. As extremely convenient dialogue forces the plot along, the audience is forced to listen to the message that small town values fix everything even while big city evils try to destroy them. Essentially, there is little interesting to mention here.
In keeping with the way the lines are written, the delivery of them is also extremely practiced and measured, as if the cast members are robots. Acting is either overdone or underwhelming, and while it's fine sometimes, it's mostly very wooden and stilted. There is such a thing as over-coaching, and Chip Rossetti's teams have consistently done this in nearly all their films (except Fathers).
Chip Rossetti has an unusual production model to say the least. He advertises 3-5 movies throughout the year, and one of them might be released, but the rest disappear into the black hole while one or two other random films pop up on PureFlix on Demand with no warning or marketing. We have to give it to Chip, however: he never gives up on making more films. Nevertheless, all of this film-making experience should have amounted to something better than a two-point half-baked Christmas film by now. There's something to be said for doing the same thing over and over again with no results.
December 2, 2018 December 30, 2018 by Box Office Revolutionary Categories: Christmas, Inspirational, Movie ReviewsTags: 2 points, 2016, Amitt Parikh, Audrey Heckel, Ava Culpepper, Carl Richmond, Carlie Sanders, Cephas Media Group, Chip Rossetti, Chris Baker, Christmas, Diana Schmitt, Donna Botts, Donnie Allison, Donny Richmond, Donny Richmond Jr., Emma Phipps, Faith Dillon, Heather Dennison, Heather Lynch, Inspirational, John Cosper, Leah White, Manon Guy, Matthew Ulm, Michael LaCour, Peggy Goodman, Ricky Bucy, Robin Frazier, Rossetti Productions, Sarah Anthonie, Shanda Lee Munson, Shannon Le Grand |, Virgil Franklin Leave a comment
Saving Faith [2017] (Movie Review)
Faith Scott and her uncle Donny live in the struggling small town of Clifton, Tennessee. Everything's closing down in town, and people are either strapped for cash or leaving the area. Thus, the theater that has been in their family for years is on the brink of foreclosure, which is the delight of the evil local businessman Peter Marsh. Thus, Faith and Donny decide to schedule a desperation attempt to save the theater: a Christmas in June show featuring big names in Christian music. Will it be enough to save the theater and even the town from extinction?
The good thing for Chip Rossetti is that he has shown great production improvement over his movie career. This fact is also evident in Saving Faith, as evidenced by great video quality and camera work. Sets, locations, and props are mostly fine, if not a little quaint. However, the soundtrack can be too loud at times, and there are a handful of unnecessary background sounds, as well as some cheesy sound effects and special effects. Moreover, the editing is pretty good, thus rounding out a slightly above-average production.
Unfortunately, there is little to nothing creative about the plot of Saving Faith as it follows a stereotypical save the _____ with a holiday show plotline. The progression of the story is very predictable, as are the characters involved. A good portion of the characters are also cheesy and generally eccentric, such as the head-scratching Elvis character (no, it's not The Rev). The villain is also ridiculous and over the top; each character fits into a predetermined small-town mold: the local eccentric, the local business owner, and the local evil bank guy. While there are some attempts to have a good Christian message, all the problems are very easily solved in the end. The romantic subplot is also awkwardly predictable. In short, there aren't many positives to note here.
For the most part, the acting of this film is awkward and overplayed. It is at least good to see Jenn Gotzon and Jim Chandler star opposite each other as a couple. There are some good moments in this cast, but for the most part, unfortunately, it is mostly bland or silly. Thus, this rounds out an unfortunately disappointing and pedestrian film.
There truly is little point in constantly perpetuating this same small-town narrative over and over and over again. If we need more of that, we can always watch Hallmark. There is no creativity or authenticity in this concept, unless a film maker wants to explore some legitimate reasons behind collapsing small towns. Constantly making movies about the 'good old days' in the name of Christian film is disingenuous and worn out.
March 12, 2018 January 1, 2019 by Box Office Revolutionary Categories: Christmas, Comedy, Inspirational, Movie ReviewsTags: 2017, 3 points, Adam Lewis, Amy Grant, Buddy Jewell, Carey Jones, Carl Richmond, Chip Rossetti, Christmas, Comedy, Donna Botts, Donny Richmond, Doris Collier, Henry Cho, Inspirational, Jay DeMarcus, Jenn Gotzon, Jim E. Chandler, Kirk Wright, Lilly Echeverri, Matthew Ulm, Michael LaCour, Michael W. Smith, Phil Vassar, Rick Bucy, Rossetti Productions, Rudy Gatlin, Scott Hamilton, Sean O'Bryan Smith, Sherry Wright, Steve Gatlin, Troy Luccketta, Victoria Jackson, Vince Gill Leave a comment
The Colors of Emily (Movie Review)
Kate Montgomery is a big city art dealer who travels to a quaint small town to purchase some mysterious paints from a mysterious artist whom no one in the art dealing world knows the true identity of. However, she is also on the run from her psychologist and her dark past. While running away, she will have to end up facing everything she's trying to hide from in the most unlikely ways.
While there are some positive elements in this production, there are also some negative ones. For instance, video quality and camera work are mostly fine, but there is some poor audio quality throughout. The soundtrack is also a bit generic. Lighting can be a problem at times, and the sets, locations, and props are somewhat limited in some areas. For the most part, editing is fine, even though there are a few too many lagging scenes. Thus, as a whole, this production is basically average and has some room for improvement.
The Colors of Emily is mostly a departure for the Rossetti group. This story tries to delve into the psychological\suspense\mystery genre, and it contains interesting attempts at psychological elements, but there is too much wasted time before getting to the substantial mystery elements. This wasted time mostly consists of tongue-in-cheek dialogue about predictable fish-out-of-water concepts, as well as a seemingly vague premise and loose grip on reality. At times, the storyline seems very unfinished, and the characters come off as too understated and under-developed. Further, the villain is fairly cheesy, especially in the 'climax' scene that's full of monologuing. In short, while there is some potential in this story idea, its final product is too vague and undeveloped.
Unfortunately, most of the acting in The Colors of Emily is very awkward and not well-coached. A lot of the cast members come off as too unnatural, although Jenn Gotzon posts a more authentic performance than usual. Moreover, there are some other strange characters in this cast, and there are too many sequences of yelling and screaming, especially in the suspense scenes. Overall, there are too many forced lines and emotions to warrant any more than half of point here.
The Colors of Emily has a good idea behind it, but its effort is basically half-cocked and incomplete. On the whole, the production needs an upgrade, as does the acting. The storyline needs more clarification and deepening, as do the characters and dialogue. This film appears to be an example of the importance of taking time to make quality films rather than just making another movie most people are going to forget about.
March 11, 2018 January 1, 2019 by Box Office Revolutionary Categories: Movie Reviews, Mystery, Psychological, SuspenseTags: 2.5 points, 2017, Ann Burnworth, Brittany Mann, Brooke K. Taylor, Brookolyn Newton, Chip Rossetti, David Ross, Diana Schmitt, Donna Botts, Doris Collier, E. Carolyn Tucker, Fire Catcher Productions, Garrison Raftery, Greg Robbins, Jenn Gotzon, Jim E. Chandler, Juli Tapken, K. Leah Scott, Ken Dohse, M.T. Arnold, Mardell Elmer, Mary Arnold, Matthew Ulm, Meghan Larson, Mercedes Carter, Michael Warren, Mystery, Nandar Home Entertainment, Psychological, Quinn Alexis, Ray Graham, Richard E. Wilson, Robert Shepherd, Rossetti Productions, Sean O'Bryan Smith, Sherry Wright, Stanna Rae, Suspense, Timothy Paul Taylor, TPTFILMS Entertainment Leave a comment
The Borrowed Christmas (Movie Review)
More delicious cookies!
John Dale is all alone this holiday season, so he wants to manufacture his Christmas by going to a random store and ordering them to buy all kinds of things that are necessary for him to enjoy an artificial holiday experience, including paying off people from the local 'actors guild' to play along with his games. Will they be able to put together his borrowed Christmas before it gets too late?
From the ridiculous opening sequence to the end, this production is very cheap-looking. While camera work and video quality are fine, the audio quality has a lot of issues, including dead portions and unnecessary background noises. The soundtrack is also a cheesy Christmas one. The sets, props, and locations are also very limited and underwhelming. Finally, there is really no editing to speak of as all of the content is just presented at face value. In short, there is really not much good to say about this movie as a whole because it seems like most of the time that it is trying its best to not be interesting.
Besides the absurd Christmas premise, The Borrowed Christmas is probably the most anti-conflict film we have ever seen, Christmas or not. The story is very boring, childish, and extremely contrived. Even so, there are strange attempts to be overly dramatic for no reason at all. Also, the characters come off as extremely cheesy and plastic due to bubbly and overly happy dialogue. It's really hard to understand how this idea even came to be, especially due to the fact that there is basically no conflict to drive this plot. Thus, the story really has no clear purpose and only comes off as a silly church play. Even though there may be some good ideas here, they are not presented properly at all.
For the most part, this cast is dry and generic, as well as too theatrical at times. While they are fine at times, there are also some laughably random outbursts throughout. Another unfortunate negative to note is some poorly done makeup. However, not all is bad here, even though this movie still lacks overall purpose.
The Borrowed Christmas is basically a lesson in how to make a movie that completely lacks conflict. Even most Hallmark movies have more conflict than this one—it's kind of a requirement for plot writing. Alas, especially in holiday films, story writing continues to suffer as it is substituted for silly and trite holiday ideas. The time has come to move past these sorts of conventions and truly make a difference in the film world. At least Chip Rossetti and his team showed improvement after the creation of this film.
November 25, 2017 January 3, 2019 by Box Office Revolutionary Categories: Christmas, Inspirational, Movie ReviewsTags: 2014, Bailey Rossetti, Chance Caeden, Charlotte Rose Evans, Chip Rossetti, Christmas, Craig Bryant Belwood, Diana Schmitt, Donna Botts, Doris Collier, Jacqueline Josey, Jeff Rose, Jimmy DeTalente, John Paul Josey, Karrington Horvath, Kathy A. Johnson, LillyBea Ireland, Matthew Ulm, Maxi Taylor McDaniel, Mountain Top Entertainment, Rebecca Eaves, Riley Horvath, Rosanna Federico, Rossetti Productions, Scott McDonald, Sherry Morris, Sydney Horvath, Tess Smith, Timothy Paul Taylor, TPTFILMS Entertainment, Virgil Franklin, Zachary Scott 4 Comments
Homefront {The Things We Leave Behind} [2013] (Movie Review)
When three American soldiers are taken captive by the enemy and trapped in a dungeon awaiting their fate, their minds wander back to the lives their left behind in their home country. As they share stories and regrets, one of them tries to help the others come to Christ before it's too late. Will they be able to leave behind their regrets and embrace a new future with Jesus before time runs out for them?
Unfortunately, throughout his film career, Chip Rossetti has struggled with production quality. Homefront is no exception. Camera work is stationary and video quality is grainy. Lighting is terrible in a lot of the scenes. Audio quality is also bad and the soundtrack is basically nonexistent. Sets and locations are severely limited. Furthermore, editing is not what it should be, although there are some efforts to make it that way. In the end, it's unfortunate that the production quality of this film is so low because it had some potential.
It is clear that this film was intended to be a big military epic, but it fell very short of expectations. The story is very flat and boring, even though the dialogue has some potential. Flashbacks barely keep the movie alive, but they need a lot more development, as do the characters. There is a part of this film that is interesting and makes us want it to be better because we can see what Chip was trying to do here, but it just didn't work. As it is, Homefront does not have the stamina or powerful content to sustain a two-hour film. Though it was intended to be an international suspense epic, this dream unfortunately did not come to fruition. Thus, we are left wandering what could have been.
This cast, while they are not as bad as they could be, is very dry and cardboard in their emotions and in their line delivery. Some lines are severely mumbled, yet sometimes they surprise you with a randomly good performance. Since they were so underwhelming yet showed potential, they desperately needed some acting coaching. With that, this section could have been improved.
Homefront is the bare bones skeleton of an idea that needs serious fleshing out and a huge production and casting upgrade. It's not like there's not potential here—the potential is the one thing that keeps this film from being zero points. But with a production this bad, a film can never succeed. With a plot this understated and under-developed, there is no way a movie can make a difference. Furthermore, when your cast does not reach its full potential, you are in for disappointment. The good thing is that Chip Rossetti is making strides to improve his brand, and is having some success at this (see 94 Feet). This is all we ask from Christian film makers.
July 15, 2017 January 8, 2019 by Box Office Revolutionary Categories: International, Movie Reviews, SuspenseTags: 1.5 points, 2013, Brenda Jo Reutebuch, Brent Bredhold, Carrie-Ellen Zappa, Chip Rossetti, Cindy Maples, Danny Jones, Gretchen Bush, International, Jamie Lee Little, Jansen Hammock, Jeremiah Johnson, Markus Porter, Michael Loos, Misty Sisco, Nathan Todaro, Phase 4 Films, Rossetti Productions, Sadia Brimm, Seth Adair, Sheila Mudd Baker, Suspense, Terry Westfall, Timothy Paul Taylor, Todd Reynolds, Tyler Layne, Zappa Studios Leave a comment
94 Feet (Movie Review)
The coal town of St. Michaels is falling apart. The mill has already closed and now the coal mine is downsizing. The town is shrinking and people are leaving to find better times elsewhere. But one tragic day, the mine collapses and traps all of the miners beneath the surface of the earth. The entire town comes together to pray and rescue the miners from certain death before time runs out. Will they all lose the men they love and their faith at same time?
In the past, Chip Rossetti has had many rough moments when it comes to movie making, especially production elements (see Right to Believe and Fathers). However, 94 Feet demonstrates a definite improvement in this department, including professional video quality, camera work, and audio quality. The soundtrack is also intriguing. Sets, locations, and props are very appropriate and realistic. There are some minor issues in the special effects department, but this and some confusing editing are the only errors to highlight. Overall, this film demonstrates that no matter how small you start, you can always improve in your movie career if you put your mind to it.
Though the plot of 94 Feet is a definite improvement over past efforts, it still leaves something to be desired. It's great to use a real life story to base your movie on, but the premise if this film is still somewhat shallow as the characters and their dialogue need better development. There are too many very dry attempts at comedy and too much wasted time. The beginning of the plot is too slow and not engaging enough and does not use time wisely to develop characters. While we can appreciate their struggles, they still need more realism to deepen the experience. As it is, this story is fine and will many audiences will enjoy it, we just can't help but feel it could have gone a step further.
This section is also a major improvement over swing-and-miss casts of previous Rossetti films. These cast members appear to actually know what they are doing and demonstrate honesty and realism. Each cast member is cast appropriately. Emotions and live delivery are on point; this cast only demonstrates minor errors, thus making it this film's strongest portion.
Though improvement is sometimes slow and meager, any improvement is always good regardless. Sometimes it takes time to hone film making skills, and it appears that Chip Rossetti and his team are on the right road. Production and casting have greatly improved, so the final frontier for them will be plots. With better characters and a more engaging storyline, the Rossetti team will be looking at a Hall of Fame film in no time, if they stay the course and don't give up.
June 12, 2017 January 8, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 2016, 5.5 points, Alan Schmitt, Ann Burnworth, Blake E. Schaefer, Charles Skeeta Jenkins, Chip Rossetti, Christopher Ball, Connie Skelton Johnson, Courtney Lee Simpson, David Ross, Diana Schmitt, Donna Botts, Doris Collier, FortySixTen Studios, Inspirational, Jeremy Childs, Jimmy DeTalente, Konner Rudisill, Larry Wilcox, Lightworx Entertainment, Lilly Echeverri, Markus Porter, Matthew Ulm, Michael LaCour, Mike R. Tinker, Rick Bucy, Rossetti Productions, Saratoga Entertainment, Sean O'Bryan Smith, Shanda Lee Munson, Shawna Linzy, Sherry Wright, Steve 'Papaw' Pyatte, Whitney Kraus Jones, Wilson Conkwright 1 Comment
In Gramps' Shoes (Movie Review)
Ty is a 65-year-old retired grandfather, and he is passionate about running. He is also passionate about praying for his estranged daughter, whom he has not heard from in nearly twenty years. Therefore, when he suddenly hears from her one day, he is overjoyed. She reaches out to him for financial help, so he agrees to move in with her and her teenage children to help be a father figure for them. However, they are skeptical of Ty at first; will they be able to come around and trust God?
Its small budget aside, In Gramps' Shoes has an unacceptably poor production. While video quality is fine, the camera work is too stationary, and audio quality is very static and low quality, especially with the terrible outside sounds. The soundtrack is very generic and almost non-existent. Further, the indoor sets are fairly cheap and limited, even though the outdoor locations are okay. Finally, there is basically no editing present in this production. Essentially, though this production was relatively simple, it's still low quality for no good reason.
Basing a movie around an annoyingly perfect Christian protagonist who fixes everything he touches is never a winning formula for a movie, but that's what In Gramps' Shoes has done. This is done through very obvious and forceful dialogue that shoves cheesy messaging down your throat, even though the storyline is very vague and meandering without any clear purpose or direction except to force good-ole-days fundamentalism on you. The non-Christian characters are total strawmen, and the Christian message is very trite. Too many sequences of this film are just characters sitting around talking about what their characters are supposed to represent rather than using the dialogue to develop the characters. At that, this film is far too long to have no substantial content or ideas contained within it. Thus, it's basically a complete waste of time.
Full of typical Rossetti cast members, this group acts very robotic and overly practiced a majority of the time. Some cast members are downright annoying, and there is a lot of poor teen acting throughout. There are some slightly positive moments that keep this section from being zero, but on the whole, like the rest of this film, it's all very low quality.
It seems like the only purpose of awful films like this one is to push an unpopular message or personal agenda. We apparently needed another movie like this, so here it is. In the more modern era of Christian entertainment, low-quality films like this one are unacceptable and mostly unwelcome, unless they have a really good plot to share, which is certainly not the case with this film. Thus, In Gramps' Shoes should be forgotten.
June 6, 2017 January 8, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 1.5 points, 2014, Andrew Wilson Williams, Brittany Blades, Chip Rossetti, Denny Brownlee, Donald James Parker, Donna Botts, Francine Locke, Gavin Martion, Grace Etzkorn, Greg Robbins, Greyson Turner, Inspirational, Jeff Rose, Keegan Martion, Little Cherub Entertainment, Rossetti Productions, Ryan Patrick Williams, Sean O'Bryan Smith, Sword of the Spirit Publishing, Timothy Paul Taylor Leave a comment
Fathers [2012] (Movie Review)
Michael was randomly abandoned by his wife while Rick's wife and daughter died in a car wreck. Rick hates God now but Michael is still a perfect role model for his son. Rick has let his life fall into shambles, but Michael and his son reach out to Rick and his son and try to help them with stuff. After hanging around the doing stuff for a while, tragedy suddenly strikes these characters and they will have to try to face it together.
Seriously, this movie looks like it was filmed with a camcorder on the cloudiest days possible. We've seen some doozies when it comes to bad productions, but Fathers really takes the cake. There are absolutely no positive elements here as everything about this production is terrible and horrific in every possible way. From blurry video quality to shaky camera work to horrible audio quality to a loud soundtrack to highly unprofessional sets, this film is unrivaled, except for unforgettable gems like Final: The Rapture or My Refuge. As if it matters, there is also no editing. Just when we think we've seen it all, along comes another medieval production. How does this stuff get made?
With barely any plot or purpose to speak of, Fathers mindlessly slogs along until the time is up. Full of meandering emptiness and utter pointlessness, there is no clear story here to speak of. Whatever point is trying to be conveyed here is totally lost in the disaster that this film is. The characters therein in are totally empty and laughable, burping out garbled dialogue here and there. Though there is an attempt at a plot twist near the end of the story, it's just too little too late. Words can't even begin to describe how inept this film is.
If the Rossetti's team goal was to find and cast the most awkward white people Walmart has to offer, then they succeeded with flying colors. They succeeded in mumbling at least half of their lines and demonstrating to most dorky emotions ever. They constantly repeat phrases like 'you know' over and over again. At this point, it must be considered how much those involved in this film actually cared about what it looked like in the end.
There is little else we can say. If you want a good laugh, you simply have to see this one for yourself. If you don't laugh, then you have to cry at the fact that this kind of stuff is made in the name of Christian film. Money was spent on this and somehow it was released as a feature length film. The only thing we can ask is why. Why, why, why, why, why, why, why. Why.
May 19, 2017 January 9, 2019 by Box Office Revolutionary Categories: Drama, Inspirational, Movie ReviewsTags: 0 points, 2012, Chip Rossetti, Clay Evans, Eddie Arguello, Inspirational, Katherine Glover, Mark Clem, Matt Evans, Matthew Effinger, Phase 4 Films, Rossetti Productions, Seth Adair, terrible production, Terry Westfall, worst cast ever, zero points 6 Comments
One More Round [2015] (Movie Review)
Jake Taylor is a down-on-his-luck former boxer who is plagued by a mistake from his past that cost him his boxing career. Ever since then, he has been struggling to hold down a job, his marriage is a mess, and his house is about to be foreclosed on. When it seems like everything is about to fall apart, he suddenly stumbles upon his old trainers again and decides that his only shot at life may be through picking up the gloves again to fight. Will Jake be able to fight through one more round to save his family and his finances?
In One More Round, Rossetti Productions has taken on more than it can handle in a production. Though camera work and video quality are mostly fine, many other production elements are not. Audio quality is very poor, as background noises and echoes are very loud. The soundtrack is also loud and out of place, sometimes covering up dialogue. Sets, locations, and props are quite cheap-looking and seem like they are just slapped together. Finally, the editing is poor as scenes awkwardly cut and as they abruptly transition between each other. In short, though sports productions require extra effort to make them quality, this effort was not present in One More Round.
This plot unfortunately falls into the trap of a typical sports premise depicting a down-on-his-luck former athlete that has to get back into the sport in order to save something in his life, usually for financial reasons. The troubled athlete is usually hated by some people and is typically having relationship problems and struggling with his identity. The athlete has an epiphany moment that causes him to get back into the sport of choice, usually under the guidance of his old trainer, and training montages ensue. The climax is always the ultimate showdown between the troubled athlete and his arch-nemesis, which the athlete wins against all odds and reclaims glory and his broken relationships. All of these clichéd ideas are present in One More Round, except that this story also slaps a trite Christian message on top of this to make it marketable in Christian circles. Thus, in this one-track-mind plot produces flat, one-dimensional characters that are based on empty and forced dialogue. As the plot jumps from one thing to the next, trying to cover all of the high points, the audience is easily lost in the shuffle. In the end, unfortunately, this story was not really worth forcing to become a movie.
This is a very poor casting job that leaves the cast members with no real assistance or coaching. A lot of the performances are juvenile and childish, with some being over the top. Line delivery is very punctuated and stiff and emotions are not very accessible. Some cast members look very fake. Needless to say, the Rossetti team has not had much success with casting.
There's not really much else to say that hasn't been said. One More Round is based on a worn out idea and is not even executed properly. It would be one thing if the idea was unoriginal and the execution was positive, but this is not even the case. The Rossetti team is decent at marketing their films, but at what cost? Their reputation is becoming very disappointing and this will hurt their future work. The main lesson that can be learned from their films is always focus on quality over quantity.
May 19, 2017 January 9, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 1 point, 2015, Angela Cavallaro, Angela Kerecz, Charlotte Elizabeth Thomas, Chip Rossetti, Christopher Abram, Clint Calvert, Don Wilson, Donald James Parker, Franco Columbu, Geovanni Ventura, Inspirational, Jeremy London, Joan Luebbert, Jody Nolan, Kaye Laine, Kevin Sorbo, Mardell Elmer, Matthew Ulm, Michael Toay, Mindy Thomas, Nate Hopson, Nathaniel "Nate" Scott, Rossetti Productions, Roy Johnson, Ryan McLean, Sports, T. C. Stallings, Timothy Paul Taylor, Tommy Lee Thomas 2 Comments
Right to Believe [2014] (Movie Review)
What a strange idea…….
Tony Morris, a reporter for a local newspaper, suddenly finds his faith tested when he is instructed by his maniacal boss to cover a local gay pride parade. This assignment consists entirely of him interviewing a gay activist in a coffee shop to get that hard hitting piece done. As they argue back and forth on a wide variety of topics and employ outdated textbook arguments, the audience is left breathless in wonder. The plot twists and turns even more when Tony and his plastic wife discuss his occupational dilemma while sitting on the world's most hideous couch (pictured above). Suspense builds when a random gun-wielding man threatens the lives of the two debaters. In the end, as the film's original soundtrack asks us, will anyone have the right to believe?
Being forced to sit through this docu-drama should be a crime. With poor video quality and amateurish camera work, Right to Believe is a loser in every possible way. The lighting is very inconsistent in the three sets that are used to film this wonder. That's right: there's only three sets. Audio quality is the pits, especially when you're compelled to have the most obnoxious non-Hallmark soundtrack shoved into your ears, complete with the garage band original number that shares its title with this movie. To round things off, prop usage is high school caliber. In short, this is perhaps the cheapest looking production we have ever witnessed.
This is not a plot. There is zero plot content and the entire film consists of two long-winded coffee shop debates on homosexuality, sin, Christianity, and other related topics. Both sides of the issue use strawman arguments, like the Christian character saying that sin is worse in modern times because of technology. The portrayal of the gay character is cringe-worthy. Despite there only being three or four main characters, there is no development of any of them as we are forced to watch them stiffly converse in a coffee shop environment and lounge on the world's most hideous couch. They are talking points robots programmed to say stereotypical things.
No one will be converted based on the empty arguments offered by either side of the issue. There's really not much else to say here except for this film is a total embarrassment.
With literally eight cast members to work with, the acting should be flawless due to efficient acting coaching. This is not the case (shocker). More than half the time, spoken lines are indiscernible and mumbled. There are no realistic emotions to speak of. But after reviewing the other elements of this film, who's really surprised?
At the end of this film, there is a black and white epilogue depicting the main character's confession article as an internationally acclaimed piece, even appearing in Chinese and Russian (?) newspapers and books. Are we really supposed to believe this is the case? The writers were obviously bigger in their own heads. If they really wanted to craft an unforgettable epic on the Christian response to homosexuality, they should have taken more time to actually listen to the other side rather than paint them as illegitimate and stupid. There is no care or thought in this film as sensitive issues are clinically diagnosed and 'fixed' with empty arguments and rhetoric. In some ways, Right to Believe is an example of the sad state of the American church: cold, unfeeling, entitled, and somewhat delusional.
September 26, 2016 January 15, 2019 by Box Office Revolutionary Categories: Drama, Inspirational, Movie ReviewsTags: 0 points, 2014, Chip Rossetti, Christopher Hunt, Clay Evans, coffee shop drama, Donald James Parker, Inspirational, Jenn Gotzon, long-tailed cats in a room full of rocking chairs, Markus Porter, Matthew Ulm, Rossetti Productions, strawman arguments, that evil technology, Timothy Paul Taylor 4 Comments


transcripts/marksheets and certificates for your bachelor and master degree. The transcript is a record of your academic qualifications (containing the detailed program of the attended course with the corresponding grades) while the certificate is the final academic title. If you have still not completed your master degree (and therefore you do not have a master certificate) please indicate the date when you expect to finish your master studies. Both transcripts and certificates should be either in German or in English or translated into English. For the online application, non-certified translations are sufficient but remember that originals (or certified copies of the original) and the certified translations will be required for the formal final acceptance into the program.
All documents uploaded should be in one of the following formats: pdf, jpg, jpeg, gif (with a maximum size of 1MB).
Applicants should provide in the online application the contact details of two academic referees. Upon submission of the application, the referees will be automatically contacted via email and invited to upload a recommendation letter.
Very important: Please contact your referees prior to the submission of your application to make sure that they are willing to support your application.
Applications lacking the recommendation letters will not be processed. The deadline for the submission of the recommendation letters is a few days after the application deadline (check the time line of the current selection).
Very important: It is your responsibility to make sure that the referees submit the recommendation letters on time.
contact us (at imprs@mpi-dortmund.mpg.de) and we can re-send the reference request.


text:
East of the Sun is the fifth album from collaborative group Tuatara, and part of a double album release with West of the Moon. It is the first Tuatara album with lyrics, sung by a variety of guest vocalists.

Track listing
"Waterhole" (Peter Buck, Barrett Martin, and Scott McCaughey) – 3:56 (vocals by McCaughey)
"The Spaniard" (Buck, Gary Louris, Martin, and McCaughey) – 4:08 (vocals by Louris)
"Bones, Blood and Skin" (Buck, Jessy Greene, Martin, and McCaughey) – 4:43 (vocals by Greene)
"Silo Spring Violets" (Coleman Barks, Buck, Martin, and McCaughey) – 3:29 (vocals by Barks)
"Trouble Rides In" (Buck, Martin, McCaughey, and Dean Wareham) – 3:26 (vocals by Wareham)
"Missionary Death Song" (Buck, Martin, McCaughey) – 2:51 (vocals by McCaughey)
"A Spark in the Wind" (Buck, Mark Eitzel, Martin, and McCaughey) – 2:56 (vocals by Eitzel)
"Madrigal" (Buck, Louris, Martin, and McCaughey) – 4:14 (vocals by Louris)
"All the Colors in the World" (Buck, Martin, McCaughey, Mark Olson) – 4:40 (vocals by Olson and Victoria Williams)
"Orpheus Must Die" (Buck, John Wesley Harding, Martin, and McCaughey) – 3:20 (vocals by Harding and Gina Sala)
"Your Ghost Town" (Buck, Martin, McCaughey, and Wareham) – 1:12 (vocals by Wareham)
"Thank You Jesus" (Barks, Buck, Martin, and McCaughey) – 1:26 (vocals by Barks)
"Rainbow Drops" (Buck, Martin, McCaughey, and Victoria Williams) – 2:50 (vocals by Williams)
"Love Is" (Buck, Louris, Martin, and McCaughey) – 4:50 (vocals by Louris)
"Oxman Spoonmaker" (Barks, Buck, Martin, and McCaughey) – 3:47 (vocals by Barks)

Tuatara members
Peter Buck – acoustic and electric guitars, banjo, dulcimer
Dave Carter – trumpet
Jessy Greene – violin, cello
Kevin Hudson – electric and upright bass
Barrett Martin – drums, vibraphone, piano, organ, Arabic drums, percussion, backing vocals
Scott McCaughey – acoustic and electric guitars, piano, organ, harmonica, backing vocals
Elizabeth Pupo-Walker – percussion

2007 albums
Tuatara (band) albums

redpajama_set_name: RedPajamaWikipedia


text:
Två svenska kungligheter är kända under namnet Holmger av Sverige:
Holmger Filipsson, prins c. 1190 sonsons son till kung Erik den helige och far till kung Knut Långe
Holmger Knutsson, prins död 1248 son och tronföljare till kung Knut Långe


American conservatives liked to think that they were different. European pantywaists might keep voting for high-spending governments, but the US was founded on a popular revolt against taxation. As a Republican strategist put it to me during the convention in Tampa: "Our voters aren't French voters. You can win on a pro-cuts ticket here".
"We put up an impressive, mainstream guy with super credentials, who did well in the debates and was amply funded. The result? A repeat of 2008, basically. If I'd known it would turn out like this, I would have backed a Gingrich-Palin ticket. More fun, less expensive – same result."
The past 48 hours have seen a spate of articles arguing that the Republicans can never win again. Demographic changes have put them on the wrong side of too many voters, especially immigrants and ethnic minorities. The electoral college system means that, like British Tories, they must significantly outperform their opponents in the popular vote simply to draw level.
Such things are always written after defeats, of course. I remember reading similarly gloomy forecasts about the Labour party after 1992, yet it was only one election away from 13 years of office.
Nonetheless, Republicans have a problem – as do centre-right parties across the developed world. Many voters believe that they are living through a crisis of capitalism, that the credit crunch was caused by deregulation and that the deficit should be filled by taxing the bankers who, they have been assured, created it in the first place.
In vain does the conservative respond that, in a capitalist system, bad banks would have been allowed to fail and the losses suffered by bondholders and shareholders rather than taxpayers. Nor is it much use pointing out that you won't find a more regulated sector than the financial services: the FSA's guidebook now runs to 10,500 pages, and the compliance costs forced small banks out of the market, thus creating the "too big to fail" phenomenon. As for arguing that we could expropriate every banker in the land and barely dent the deficit, well, good luck with that one.
Candidates who promise "growth not austerity" thus currently have the advantage over those who maintain (correctly) that it was debt-fuelled growth that created the mess in the first place.
In one sense, though, America was different. Republicans largely held on to the extraordinary Congressional gains they made two years ago, having focused almost exclusively on the unsustainable levels of taxation, spending and debt. Fiscal conservatism, when presented honestly and decoupled from social conservatism, commanded a majority. When David Cameron called the Obama victory a victory for the "common ground", he was rightly stating that social conservatism is less mainstream than it once was. Plenty of US voters supported gay marriage and the legalisation of soft drugs while at the same time voting for anti-tax candidates. For what it's worth, I would have been one of them.
Conservatives the world over need to grasp the difference between being pro-market and being pro-business. Sometimes the two positions happen to coincide; often they don't.
The Tea Party movement and the Occupy movement were both, in a sense, complaining about the same thing, namely the use of public money to rescue failed banks. It's not often one gets the chance to write this but, when it comes to the bailouts, especially the euro bailouts, Marxists are right. Working people are being forced to support a privileged few.
Conservatives are supposed to be against public subsidies and nationalisations. When they line up with wealthy bankers and bondholders against taxpayers, they lose. They deserve to.


Day 5:2008年10月2日 15:30 出发前往世界和平塔。首先坐船从 Fishtail 摇到世界和平塔的山路口子,大约耗时半小时,船费 300卢比。闲来无事,问船夫要了另一只船桨,两人有板有眼得轮换滑起来。旁边船上有外国人大喊:you should ask for some discount!
Photo 112, 113, 114: The fishtail in sunrise, Sarangkot, Pokhara.
Photo 115: The village covered by mirage.
Photo 116: The boats on Fewa Lake.
Photo 117: Steps of Fulbari.
Photo 118: A Pokhara local resident renovating a house.
Photo 119, 120: Photo 115: The colorful truck in Nepal.
Photo 121: A shop on the way from lakeside to old city, Porkhara.
Photo 122: A shop selling Shari.
Photo 123: People busy with building.
Photo 124: Vegetable pedlar at road side.
Photo 125: A boy playing at a ceremony.
Photo 126: A popular game in Nepal, but I forgot the name.
Photo 127: Two boys showing their poses in front of my lens.
Photo 128: Lots of children should work hard for surviving.
Photo 129: Old women giving change.
Photo 130: Man with long hair.
Photo 131: A scalper outside of royal palace.
Photo 132, 133: Folk house under World Peace Tower, Pokhara.
Photo 134: Path down to Tibetan Town.
Photo 136: Delicious fish from Fewa Lake.
Photo 137: Baked corn, hard like stone.


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TRADITIONAL TELEVISION, MILLENNIALS AND BINGE-WATCHING – FROM TELEVISION VIEWER TO DIGITAL USER
Filomena Antunes Sobral [1]
In this multi-screen reality we live in, marked by constant changes in television consumption behaviors, the questions raised at the beginning of this century about the end of television (Katz & Scannell, 2009) have once again become a live issue and it is time for us to reflect on the position of this medium in an age of both media and social fragmentation. We are immersed in a post-television era in which audiovisual consumption is broadcast, not only on traditional television screens, but also on other platforms made possible by technological development and in which video streaming is a popular viewing practice among Millennials. The Internet has become a major means of communication for young people whose socialization and information processes are highly influenced by what they watch on screens, especially on their smartphones. This is an age in which viewing habits like binge-watching are becoming increasingly common.
Interestingly, we are evolving into meta-intelligence group-minds (Diamandis, 2013) within a technological culture that is finally achieving what Mcluhan established in 1964 - a culture that shaped the tools that are currently shaping us. Simultaneously, we are witnessing a culture based on technological devices that established the Age of EMEREC (Cloutier, 1975) or the era of self-media. In fact, if we want to understand what is happening in today's world, we must go back to the 1960s and 1970s and to the studies conducted by Mcluhan and Cloutier on media and communication. Mcluhan perceived media as extensions of the human being and nowadays, as we reach the communicational stage advocated by Cloutier, we enter definitively the fourth episode. We embrace the self-media and realize it is an extension of mass media. We have reached an age in which both the emitter and receiver become one - the so-called "Em-rec".
Much has been said about the decline of the centrality of linear television and about the model of activity upon which TV will have to base its future. Never has the question of how to adapt TV into the context of technological volubility been as relevant as it is today. What are the prospects for continuity and disruption? These and other questions will guide the revision of the state of the art about a topic that concerns both Portuguese and foreign researchers. Thus, this paper highlights several discursive formations covering the present and future of traditional television and underlines the window of opportunity which may help re-create the medium: it is not about accepting its imminent end, but about emphasizing the need for reconversion instead.
Television, Millennials, binge-watching, digital culture
Alves, A. (2018). O comportamento de consumo dos Millennials nas plataformas de video streaming e a prática do binge watching. Dissertação de Mestrado. Coimbra: Instituto Superior de Contabilidade e Administração de Coimbra. Amaral, I. & Sousa, H. (2009). A era dos self media. Revista Eletrônica Portas, 3 (3), 9-17. ANACOM (Autoridade nacional de comunicações), (2018). Serviço de Distribuição de Sinais de Televisão por Subscrição. https://www.anacom.pt/streaming/TVS1S18.pdf?contentId=1461991&field=ATTACHED_FILE. Becker, V.; Abreu, J.; Nogueira, J. & Bernardo C. (2018). The development of non-linear TV and schedule deprogramming. Observatorio (OBS*) Journal, 12 (1), 199-216. http://obs.obercom.pt/index.php/obs/issue/view/59. Cádima, F. R. (1999). Desafios dos novos media. Lisboa: Editorial Notícias. Cádima, F. R. (outubro 2001). Proto e pós-televisão. Adorno, Bourdieu e os outros – ou na pista da «qualimetria». Revista de Comunicação e Linguagens (30), 157-166. Cardoso, G. & Jacobetty, P. (2013). Surfando a crise: Culturas de pertença e mudança social em rede. In G. Cardoso (Eds.), A Sociedade dos ecrãs. Lisboa: Tinta-da-China, 195-236. Cloutier, J. (1975). A Era de Emerec ou a comunicação audio-scripto-visual na hora dos self-media. Lisboa: Instituto de Tecnologia Educativa. Correia, J. C. (2015). Ubiquidade: a próxima revolução televisiva. In Serra, P; Sá, S. & Souza Filho, W. (Orgs.). A Televisão Ubíqua. Covilhã: UBI, LabCom.IFP, 39-52. Diamandis, P. H. (2013). We are evolving into meta-intelligence group-minds. Internet History Library. http://www.internet-history.info/media-library/mediaitem/1476-dr-peter-h-diamandis-we-are-evolving-into-meta-intelligence-group-minds.html. Ericsson (2017). TV and MEDIA 2017 - A consumer-driven future of media. Stockholm, Sweden: Ericsson. Fry, R. (April 25, 2016). Millennials overtake Baby Boomers as America's largest generation. Pew Research Center. https://www.bcit.cc/cms/lib/NJ03000372/Centricity/Domain/701/Millennials%20overtake%20Baby%20Boomers%20as%20Americas%20largest%20generation%20Pew%20Research%20Center.pdf. Gomes, H. M. (23 junho 2016). A publicidade e o fim da televisão linear. Jornal Económico. https://jornaleconomico.sapo.pt/noticias/publicidade-fim-da-televisao-linear-59829. Gradim, A. (2015). A televisão no seu labirinto. In Serra, P; Sá, S. & Souza Filho, W. (Orgs.). A Televisão Ubíqua. Covilhã: UBI, LabCom.IFP, 69-82. Gutierrez, R. (2018). The Truth About Millennial TV Habits. Extreme Reach. https://extremereach.com/blog/the-truth-about-millennial-tv-habits/. Hastings, R. (2015). Entrevista. In L. Oliveira, Netflix, o fim da televisão como sempre a conhecemos? Revista Visão. http://visao.sapo.pt/actualidade/sociedade/2015-10-21-Netflix-o-fim-da-televisao-como-sempre-a-conhecemos---. Howe, N. & Strauss, W. (July–August 2007). The Next 20 Years: How Customer and Workforce Attitudes Will Evolve. Harvard Business Review. https://hbr.org/2007/07/the-next-20-years-how-customer-and-workforce-attitudes-will-evolve. Katz, E. & Scannell, P. (Eds.). (2009). The End of Television? Its Impact on the World (So Far). The Annals of the American Academy of Political and Social Science, v. 625. London: Sage. Lee, P; Stewart, D. & Calugar-Pop, C. (2018). Technology, Media & Telecommunications Predictions. London: Deloitte. Lee, P; Stewart, D. & Calugar-Pop, C. (2015). Technology, Media & Telecommunications Predictions. London: Deloitte. Mcluhan, M. (1964). Understanding Media: The Extensions of Man. London: McGraw-Hill Book Company. Mendes, P. B. (2017). Na idade da pós-televisão. Jornal Expresso. https://expresso.pt/sociedade/2017-01-08-Na-idade-da-pos-televisao. Miguel, A. F. (2015). As roupas que falam – dos e para os millennials portugueses. Dissertação de mestrado em Comunicação e Imagem. Lisboa: Instituto de Arte, Design e Empresa Universitário. Nielsen, H. (2014). Millennials: Technology = Social Connection. http://www.nielsen. com/us/en/insights/news/2014/millennialstechnologysocialconnection.html. Nikken, P. (2018). Parenting and young children's media use; a Dutch approach. In C. Rodrigues (Coord.), BOOM DIGITAL? Crianças (3-8 anos) e ecrãs. Lisboa: Entidade Reguladora para a Comunicação Social (ERC), 106-112. Piette, J. (2006). Os jovens e a Internet: De que "público" se trata? In J. C. Abrantes (Ed.), Ecrãs em mudança: Dos jovens na Internet ao provedor da televisão. Lisboa: Livros Horizonte, 13-24. Ponte, C.; Simões, J.; Castro, T.; Batista, S. & Jorge, A. (2018). Educando entre ecrãs. In C. Rodrigues (Coord.), BOOM DIGITAL? Crianças (3-8 anos) e ecrãs. Lisboa: Entidade Reguladora para a Comunicação Social (ERC), 36-45. Rodrigues, C. (Coord.) (2017). Crescendo entre Ecrãs: Usos de meios eletrónicos por crianças 3 a 8 anos. Lisboa: Entidade Reguladora para a Comunicação Social (ERC). Sampaio, D. (2018). Do telemóvel para o mundo. Lisboa: Caminho. Serra, P; Sá, S. & Souza Filho, W. (Orgs.) (2015). A Televisão Ubíqua. Covilhã: UBI, LabCom.IFP. Twenge, J. M. & Campbell, S. M. (2012). Who are the Millennials? Empirical evidence for generational differences in work values, attitudes and personality. In S. Lyons & L. Schweitzer (eds.) Managing the New Workforce. International Perspectives on the Millennial Generation. Northampton, MA, USA: Edward Elgar, 1-16.
Author: Filomena Antunes Sobral
EndNote %0 International E-Journal of Advances in Social Sciences TRADITIONAL TELEVISION, MILLENNIALS AND BINGE-WATCHING – FROM TELEVISION VIEWER TO DIGITAL USER %A Filomena Antunes Sobral %T TRADITIONAL TELEVISION, MILLENNIALS AND BINGE-WATCHING – FROM TELEVISION VIEWER TO DIGITAL USER %D 2019 %J IJASOS- International E-journal of Advances in Social Sciences %P 2411-183X-2411-183X %V 5 %N 14 %R doi: 10.18769/ijasos.591913 %U 10.18769/ijasos.591913

redpajama_set_name: RedPajamaCommonCrawl


text:
Asteroid Redirect Mission
This article is about the proposed NASA mission. For asteroid mining and utilization, see Asteroid mining.
2013–2017 proposed NASA space mission
Grippers on the end of the robotic arms are used to grasp and secure a boulder from a large asteroid. Once the boulder is secured, the legs would push off and provide an initial ascent without the use of thrusters.
The Asteroid Redirect Mission (ARM), also known as the Asteroid Retrieval and Utilization (ARU) mission and the Asteroid Initiative, was a space mission proposed by NASA in 2013. The Asteroid Retrieval Robotic Mission (ARRM) spacecraft would rendezvous with a large near-Earth asteroid and use robotic arms with anchoring grippers to retrieve a 4-meter boulder from the asteroid.
The spacecraft would characterize the asteroid and demonstrate at least one planetary defense technique before transporting the boulder to a stable lunar orbit, where it could be further analyzed both by robotic probes and by a future crewed mission, Asteroid Redirect Crewed Mission (ARCM).[1] If funded, the mission would have launched in December 2021,[2] with the additional objectives to test a number of new capabilities needed for future human expeditions to deep space, including advanced ion thrusters.[3]
The proposed 2018 NASA budget called for its cancellation,[4] the mission was given its notice of defunding in April 2017,[5] and NASA announced the "close out" on June 13, 2017.[5] Key technologies being developed for ARM have continued, especially the ion thruster propulsion system that would have been flown on the robotic mission.
1.1 Mars precursor
1.2 Expanded and sustainable deep space operations
1.3 Additional objectives
2 Spacecraft overview
2.1 Propulsion
3 Proposed timeline
4 Target asteroid
Astronaut on EVA to take asteroid samples, Orion in the background
The main objective of the Asteroid Redirect Mission was to develop deep space exploration capabilities needed in preparation for a human mission to Mars and other Solar System destinations[6][7] per NASA's Journey to Mars flexible pathways.[8][9][10][11][12]
Mars precursor[edit]
Space tug missions, to disaggregate non-time-critical Mars logistics from crew, can reduce the costs by as much as 60% (if using advanced solar electric propulsion (ion engines)[13]) and reduces overall mission risk by enabling on-site check-out of critical systems before the crew departs.[6][11][8][14][15][16]
Not only would the solar electric propulsion (SEP) technologies and designs be applied to future missions, but the ARRM spacecraft would be left in a stable orbit for reuse.[6][8][11] The project has baselined any of multiple refueling capabilities; the asteroid-specific payload is at one end of the bus, for possible removal and replacement via future servicing, or as a separable spacecraft, leaving a qualified space tug in cislunar space.[7][9][17][18][19]
Expanded and sustainable deep space operations[edit]
The robotic and crewed missions would demonstrate capabilities past Earth orbit, yet within a few days' return contingency.[20] Lunar Distant Retrograde Orbit (DRO), encompassing Earth-Moon L1 and L2, is essentially a node for Earth system escape and capture.[11][21][22][23] This is more so if an Exploration Augmentation Module (EAM) is brought for extended human stays, possibly by an ARRM-like SEP module.[6][8][11] On its return leg from Mars, a human mission may save tons of mass by capturing into DRO, and transferring to a parked Orion for Earth return and reentry.[12]
Additional objectives[edit]
A secondary objective was to develop the required technology to bring a small near-Earth asteroid into lunar orbit – "the asteroid was a bonus."[12] There, it could be analyzed by the crew of the Orion EM-5 or EM-6 ARCM mission in 2026.[2][24][25]
Additional mission aims included demonstrating planetary defense techniques able to protect the Earth in the future – such as using robotic spacecraft to deflect potentially hazardous asteroids.[24][26] Under consideration for deflecting an asteroid are: grabbing the asteroid and directly moving it, as well as employing gravity tractor techniques after collecting a boulder from its surface to increase mass ("enhanced gravity tractor").[27]
The mission would also test the performance of advanced solar electric propulsion (ion engines)[13] and broad-band laser communication in space.[28] These new technologies would help send the large amounts of cargo, habitats, and propellant to Mars in advance of a human mission to Mars[31] and/or Phobos.[43]
NASA Asteroid Redirect Mission
The asteroid redirect vehicle would demonstrate the "gravity tractor" planetary defense technique on a hazardous-size asteroid. This method leverages the mass of the spacecraft (18 tons[44]) and its 6m boulder cargo (at least 20 tons[45]) to impart a gravitational force on the asteroid, slowly altering the asteroid's trajectory. (ogv; gif)
Spacecraft overview[edit]
Asteroid grippers on the end of the robotic arms are used to grasp and secure a 6 m boulder from a large asteroid. An integrated drill would be used to provide final anchoring of the boulder to the capture mechanism.
Rendering of the Asteroid Redirect Vehicle departing the asteroid after capturing a boulder from its surface.
The vehicle would land on a large asteroid and grippers on the end of the robotic arms would grasp and secure a boulder from the surface of a large asteroid. The grippers would dig into the boulder and create a strong grip. An integrated drill would be used to provide final anchoring of the boulder to the capture mechanism.[46] Once the boulder is secured, the legs would push off and provide an initial ascent without the use of thrusters.[24][27]
Propulsion[edit]
The spacecraft would be propelled by advanced solar electric propulsion (SEP) (possibly a Hall effect thruster, see Ion thruster). Electricity would be provided by high efficiency UltraFlex-style solar panels (50 kW).[13][47]
The advanced ion engine uses 10% of the propellant required by equivalent chemical rockets, it can process three times the power of previous designs, and increase efficiency by 50%.[48] It would use the Hall-effect, which provides low acceleration but can fire continuously for many years to thrust a large mass to high speed.[13] Hall effect thrusters trap electrons in a magnetic field and use them to ionize the onboard xenon gas propellant. The magnetic field also generates an electric field that accelerates the charged ions creating an exhaust plume of plasma that pushes the spacecraft forward.[48] The spacecraft concept would have a dry mass of 5.5 tons, and could store up to 13 tons of xenon propellant.[49]
Each thruster would have a 30- to 50-kilowatt power level,[50] and several thrusters can be combined to increase the power of an SEP spacecraft. This engine, which is scalable to 300 kilowatts and beyond, is being researched and developed by Northrop Grumman with Sandia National Laboratories and the University of Michigan.[51] NASA Glenn Research Center is managing the project.[51]
Even at a destination, the SEP system can be configured to provide power to maintain the systems or prevent propellant boil-off before the crew arrives.[6][52] However, existing flight-qualified solar-electric propulsion is at levels of 1–5 kW. A Mars cargo mission would require ~100 kW, and a crewed flight ~150–300 kW.[6][11]
Proposed timeline[edit]
Originally planned for 2017, then 2020,[26][46] and then for December 2021.[2] The mission was given its notice of defunding in April 2017.[5] The launch vehicle would have been either a Delta IV Heavy, SLS or Falcon Heavy.[53] The boulder would have arrived in lunar orbit by late 2025.[46]
Target asteroid[edit]
As of October 29, 2017[update], 16,950 near-Earth asteroids are known,[54] having been discovered by various search teams and catalogued as potentially hazardous objects. By early 2017 NASA had yet to select a target for ARM, but for planning and simulation purposes, the near-Earth asteroid (341843) 2008 EV5 was used as an example for the spacecraft to pick up a single 4 m (13 ft) boulder from it.[24] Other candidate parent asteroids were Itokawa, Bennu, and Ryugu.[53]
The carbonaceous boulder that would have been captured by the mission (maximum 6 meter diameter, 20 tons)[45] is too small to harm the Earth because it would burn up in the atmosphere. Redirecting the asteroid mass to a distant retrograde orbit around the Moon would ensure it could not hit Earth and also leave it in a stable orbit for future studies.[29]
NASA Administrator Robert Frosch testified to Congress on "asteroid retrieval to Earth" in July 1980. However, he stated that it was infeasible at the time.[55][56]
The ARU mission, excluding any human missions to an asteroid which it may enable, was the subject of a feasibility study in 2012 by the Keck Institute for Space Studies.[49] The mission cost was estimated by the Glenn Research Center at about $2.6 billion,[57] of which $105 million was funded in 2014 to mature the concept.[28][58] NASA officials emphasized that ARM was intended as one step in the long-term plans for a human mission to Mars.[46]
The 'Option A' was to deploy a container large enough to capture a free-flying asteroid up to 8 m (26 ft) in diameter.
The two options studied to retrieve a small asteroid were Option A and Option B. Option A would deploy a large 15-metre (50 ft) capture bag capable of holding a small asteroid up to 8 m (26 ft) in diameter,[13] and a mass of up to 500 tons.[28] Option B, which was selected in March 2015, would have the vehicle land on a large asteroid and deploy robotic arms to lift up a boulder up to 4 m (13 ft) in diameter from the surface, transport it and place it into lunar orbit.[24][29] This option was identified as more relevant to future rendezvous, autonomous docking, lander, sampler, planetary defense, mining, and spacecraft servicing technologies.[59][60]
The crewed portion to retrieve asteroid samples from the Moon orbit (Orion EM-3) was criticized as an unnecessary part of the mission with claims that thousands of meteorites have already been analyzed[61] and that the technology used to retrieve one boulder does not help develop a crewed mission to Mars.[46] The plans were not changed despite the NASA Advisory Council suggested on April 10, 2015 that NASA should not carry out its plans for ARM, and should instead develop solar electric propulsion and use it to power a spacecraft on a round-trip flight to Mars.[62]
In January 2016 contracts were awarded by NASA's Jet Propulsion Laboratory (JPL) for design studies for a solar electric propulsion-based spacecraft. The robotic ARRM mission would have been the first phase of ARM. The contracts were won by Lockheed Martin Space Systems, Littleton, Colorado; Boeing Phantom Works, Huntington Beach, California; Orbital ATK, Dulles, Virginia; and Space Systems/Loral, Palo Alto, California.[63]
In May 2016, ASI (the Italian Space Agency) agreed to a joint study, and possible Italian participation.[64]
Under the 2018 NASA budget proposed by the Trump administration in March 2017, this mission was cancelled.[4] On June 13, 2017 NASA announced a "closeout phase" following the defund.[5] NASA has emphasized that key technologies being developed for ARM will continue, especially the solar electric propulsion system, which would have been flown on the robotic mission, which will be used on the Lunar Gateway as the Power and Propulsion Element.[5][65]
Asteroid capture
Asteroid impact avoidance
Artemis program
List of Earth-crossing minor planets
List of exceptional asteroids
Near-Earth asteroids
Potentially hazardous object
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^ Agle, DC (April 10, 2013). "NASA Associate Administrator on Asteroid Initiative" (Press release). Washington, DC: JPL. Retrieved March 29, 2015.
^ a b Harwood, William (March 16, 2017). "Trump budget blueprint focuses on deep space exploration, commercial partnerships". Spaceflight Now. Retrieved March 17, 2017.
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^ a b Manzanek, D. (May 20, 2016). The Asteroid Redirect Mission. USNO Scientific Colloquium.
^ a b c d Troutman, P. (July 30, 2014). The Evolvable Mars Campaign: the Moons of Mars as a Destination.
^ a b Gates, M.; Manzanek, D. (June 28, 2016). Asteroid Redirect Mission (ARM). 15th Meeting of the NASA Small Bodies Assessment Group.
^ Brophy, J.; Friedman, L.; Strange, N.; Prince, T.; Landau, D.; Jones, T.; Schweickart, R.; Lewicki, C.; Elvis, M.; Manzella, D. (October 2, 2014). Synergies of Robotic Asteroid Redirection Technologies and Human Space Exploration. 65th International Astronautical Congress (IAC-2014), 29 September – 3 October 2014, Toronto, Canada. International Astronautical Federation. pp. Art. No. IAC–14.A5.3.
^ a b c d e f Craig, D. Evolvable Mars Campaign. Jun 10 2015.
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^ Price, Humphrey W.; Woolley, Ryan; Strange, Nathan J.; Baker, John D. (2014). "Human Missions to Mars Orbit, Phobos, and Mars Surface Using 100-kWe-Class Solar Electric Propulsion". AIAA SPACE 2014 Conference and Exposition. doi:10.2514/6.2014-4436. ISBN 978-1-62410-257-8.
^ Manzanek, D.; Reeves, D.; Hopkins, J.; Wade, D.; Tantardini M.; Shen, H. (April 13, 2015). "Enhanced Gravity Tractor Technique for Planetary Defense". IAA-PDC.
^ NASA RFI: Spacecraft Bus Concepts to Support the ARM and In-Space Robotic Servicing- Section "Separable Spacecraft Architecture ARRM Concept".
^ Will April, 2020 be the last month on this earth? NASA told the whole truth. Retrieved March 20, 2020.
^ Moore, C. (January 2014). "Technology development for NASA's asteroid redirect mission" (PDF). IAC-14-D2.8-A5.4.1. Cite journal requires |journal= (help)
^ Conte, D. DiCarlo, M. Ho, K. Spencer, D. Vasile, M. (August 28, 2015). "Earth-Mars Transfer through Moon Distant Retrograde Orbits" (PDF). Acta Astronautica (Submitted manuscript). 143: 372–379. Bibcode:2018AcAau.143..372C. doi:10.1016/j.actaastro.2017.12.007.
^ Gong, S.; Li, J. (September 1, 2015). "Asteroid Capture Using Lunar Flyby". Advances in Space Research. 56 (5): 848–858. Bibcode:2015AdSpR..56..848G. doi:10.1016/j.asr.2015.05.020.
^ Englander, J.; Vavrina, M. Naasz, B. Merill, R. Qu, M. "Mars, Phobos, and Deimos Sample Return Enabled by ARRM Alternative Trade Study Spacecraft". AIAA 2014.
^ a b c d e Foust, Jeff (March 25, 2015). "NASA Selects Boulder Option for Asteroid Redirect Mission". SpaceNews. Retrieved March 27, 2015.
^ a b How Will NASA's Asteroid Redirect Mission Help Humans Reach Mars?. NASA, June 27, 2014.
^ a b c "NASA Announces Next Steps on Journey to Mars: Progress on Asteroid Initiative". NASA. March 25, 2015. Retrieved March 25, 2015.
^ a b NASA YouTube video:ARM, 'Option B': Boulder collection from a large asteroid.
^ a b c Malik, Tariq (March 27, 2015). "Obama Seeks $17.7 Billion for NASA to Lasso Asteroid, Explore Space". Space.com. TechMediaNetwork. Retrieved April 10, 2013.
^ a b c Erin Mahoney. "What Is NASA's Asteroid Redirect Mission?". NASA.GOV. NASA. Retrieved July 6, 2014.
^ Kathleen C. Laurini and Michele M. Gates, "NASA's Space Exploration Planning: the Asteroid Mission and the Step Wise Path to Mars", 65th International Astronautical Congress, Toronto, Canada, Sept–Oct. 2014. This paper (and related papers from the 65 IAC) can be found on the NASA page Asteroid Initiative Related Documents (accessed January 5, 2014)
^ [25][26][29][30]
^ Bamsey, M. "Investigation of a Phobos Sample Return Mission". Archived from the original on October 5, 2016. Retrieved September 14, 2016.
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^ Strange, N.; Merrill, R.; et al. "Human Missions to Phobos and Deimos Using Combined Chemical and Solar Electric Propulsion". 47th AIAA/ASME/SAE/ASEE Joint Propulsion Conference & Exhibit.
^ "Human Mars Plan: Phobos by 2033, Martian Surface by 2039?". May 8, 2015. Retrieved September 14, 2016.
^ Duggan, Matthew (December 2015). "The Path to Mars" (PDF). Archived from the original (PDF) on November 8, 2019. Retrieved September 14, 2016.
^ "Mars Base Camp". Retrieved September 14, 2016.
^ "Emerging Capabilities for the Next Mars Orbiter" (PDF). Archived from the original (PDF) on October 5, 2016. Retrieved September 14, 2016.
^ "The New Orbit-first Consensus". Retrieved September 14, 2016.
^ Lee, P.; Hoftun, C.; et al. (2012). "Phobos and Deimos: Robotic Exploration in Advance of Humans to Mars Orbit". Concepts and Approaches for Mars Exploration 2012. 1679: 4363. Bibcode:2012LPICo1679.4363L.
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^ Percy, T.; McGuire, M.; et al. "Combining Solar Electric Propulsion and Chemical Propulsion for Crewed Missions to Mars". NTRS 20150006952.
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^ "Near-Earth Asteroid Discovery Statistics". NASA/JPL CNEOS. October 25, 2017. Retrieved October 29, 2017.
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Wikimedia Commons has media related to Asteroid Redirect Mission.
Asteroid Initiative Program by NASA
Video: Asteroid Redirect Mission, 'Option A', Capture of an 8m free-flying asteroid.
Video: Asteroid Redirect Mission, 'Option B', Boulder collection from a large asteroid.
Video: Asteroid Redirect Mission: Crewed Orion spacecraft rendezvous with ARM in lunar orbit
Video: Asteroid Redirect Mission: Robotic Segment NASA
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HAMMER (nuclear impactor concept)
MANTIS (multiple flybys)
OKEANOS (multiple flybys and sample return, 2026)
World Is Not Enough (spacecraft refueling concept)
Interstellar (flyby, 2030-2042)
Cancelled or
not developed
Comet Hopper
CRAF
Hayabusa Mk2
MAOSEP
New Horizons 2
Asteroid belt
Colonization of asteroids
Small Solar System bodies
Near-Earth object
Trans-Neptunian object
Probes are listed in chronological order of launch. † indicates mission failures.
Planetary defense
Earth-grazing fireball
Impact event
Meteor air burst
Meteor procession
Meteoroid
Asteroid laser ablation
Gravity tractor
Ion-beam shepherd
Asteroid close approaches
Earth-crossing minor planets
Damage scales
Palermo scale
Torino scale
Space probes
NEA Scout
NEO tracking
Catalina Sky Survey
LONEOS
NEODyS
NEOSM
NEOSSat
OGS Telescope
Sentinel Space Telescope
Spacewatch
B612 Foundation
Japan Spaceguard Association
Meteoritical Society
NEOShield
Spaceguard
The Spaceguard Foundation
Space Situational Awareness Programme
Planetary Defense Coordination Office
Potential threats
1950 DA
101955 Bennu
(410777) 2009 FD
2010 RF12
99942 Apophis
Impact events
Fiction about meteoroids
Impact events in fiction
Retrieved from "https://en.wikipedia.org/w/index.php?title=Asteroid_Redirect_Mission&oldid=1064199506"
Missions to near-Earth asteroids
Cancelled spacecraft
NASA programs
Projects established in 2013
Projects disestablished in 2017
Use American English from March 2014
All Wikipedia articles written in American English
Articles containing potentially dated statements from October 2017
Articles containing video clips