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"Letting Go…Trusting that the People You've Casted Will Bring it to a Better Place": Karishma Dube on Bittu
Bittu
by A.E. Hunt
in Directors, Interviews
Bittu, Karishma Dube, Short Film
Karishma Dube's Bittu begins with sound before image, a vague squabble over black before it drops you into the middle of a world in motion. The opening shot is not held long before cutting to the next. It is one among many, does not announce itself as the beginning, and is not so contrived and defined that you can remember exactly when the film began. Suddenly, the viewer's immersed in a story that started well before they became a witness to it. The opening shot introduces the film's namesake little girl, Bittu, as played by the phenomenal first time performer Rani Kumari, entertaining a crowd of adult men with lewd poems and jokes with her best friend Chand [Renu Kumari].
Bittu is a perpetually runny nosed girl, fierce and funny, a force to be reckoned with for the fact that she doesn't hesitate being herself. Attending school somewhere in Koti Village in the mountain outskirts of Dehradun, she's punished for this confidence and perhaps for not conforming to traditional gender roles. She's alienated in her community while Chand remains a part of it and this dynamic presents obstacles to their friendship. But tragedy hovers over this tale of rambunctious adolescence: Bittu is a reimagining of the accidental school poisoning that took the lives of 22 children at a Bihar School in 2013.
Dube casted children from the villages outside the city of Dehradun and shot in a farm that her crew converted into a government school. The cast was almost entirely made up of non-professional child actors from the area and their needs, experiences, and personalities reshaped Dube's approach and original story. To gain their trust, Dube needed time with them and their families and to give something back herself. Her sister Shreya Dube, a D.P. and producer on the film, was an essential collaborator. Their sibling intuition and frank, unfiltered arguments got them through days that were again largely dependent on the needs of the young performers. The result is a stunning ensemble and an immense turn by the film's young lead Rani Kumari, all signaling the emergence of a major artist in Karishma Dube.
Dube talked with us about set hierarchies (despite being the director to her sister Shreya, the D.P., Dube's quoted here as saying she worked "for" Shreya and not vice versa), provides a thorough overview of her process working with first time performers, particularly children, and gives advice about how to carefully and respectfully collaborate with vulnerable communities for a film production. The Bittu team recently launched a fundraiser, "Breaking the Cycle of Poverty & Patriarchy with Education," for their two young leads to provide them basic needs: food, clothing, healthcare, education, etc.
Filmmaker: The last shot of your previous short, Devi, in which Devi's mother treats her daughter with the cordiality of table manners the morning after an unresolved argument, resonated with me.
Karishma Dube: I guess it came from the feeling of not wanting to shut down the topic of conversation when someone else has decided to. There's some of that in Bittu as well. I have this massive resentment towards these inherent power dynamics that exist at home in India and I guess here as well. But there's so much more of a hierarchy there in every interaction, not even between employer and employee, but within the family. When the doors are shut they're shut, the decision has been made outside the conversation. I also went to boarding school so that happened to me a bunch, so it's a massive trigger for me. I can't deal with people making decisions for me, or even just like uprooting me from my bedroom. [laughs] It's embedded in me in a weird way.
Filmmaker: How do you try to dissolve the hierarchy of a set?
Dube: It's funny because I kind of learned the set culture that exists over here, because I hadn't really been on set in India. I'd been an intern on a set that was a co production between here and there, so it was more unconventional. Here there is a strict adherence to departments and you cannot seep into others. But I learned it first at NYU, which was very foundational for me, in terms of learning and formalizing my practice as a filmmaker outside of being a director. I learned these very strict demarcations between departments, but I was also, at the same time, making these movies with friends of mine, and almost always the same friends, we would alternate roles with each other.
There is certainly a formality that comes from this American way of working, but there was this informality that exists among friends. I learned a lot from class, but I learned more from my friends because everyone comes from different experiences in the industry. I took that practice and held it very close, because there's always a paper trail and I kind of got used to the way things are done here.
In India, it's very different. There are more bodies on set. There's no insurance that comes with equipment, so three bodies will take care of like one C-Stand. I had a lot more people on this set. It was also my first collaboration with Sheya [Dev Dube, D.P and producer]. Mary [Evangelista, producer], who was down there from my world here in New York, and I tried to implement these same practices that we cemented in school. But it wouldn't work for many reasons. We didn't have much prep time with the crew. It's not something we could sustain while production was going on because that's now how they work. Even the role of a line producer was very different. It was more like commercial shooting, the team I ended up hiring, the idea was to throw money at it. So it was a massive shift from the way I worked.
But it's interesting, between my sister and I there's always been a hierarchy because she started film like four years before me. I remember when I first brought it up to her it was more like me asking her for permission. [laughs] But from the get go she's been really supportive and instrumental in trying to curate in me a taste of my own before starting film school. My taste was very divergent from hers. She studied in film in Australia and Paris and I was here in America. So when we came back together it was more equal because we were both bringing in different things. I noticed that as a director and D.P that we weren't really fighting for or serving anything else but the film from the very beginning. There was no formality between us, so we wouldn't be scared to have an argument about a scene or a decision with light. The argument that was best for the film always won. We're also very close, so we fight well. People would get a little tense, but we'd be fine in thirty seconds. We communicate really well. I also realized that we already had so much pre-production together. Having watched so many films together over the years, we had an inbuilt chemistry.
We hardly even spoke to each other on set. Working with kids was a first for me as well. I kind of banked all my trust on these kids and the relationship we had. They were more comfortable doing scenes when I was physically closer to them. So very often I would stand right behind the actor or just opposite them behind the camera, and they would be acting off of me. We had very little time and we had to keep moving on, so there were many times that I had to rely on Shreya to tell me when we had the shot and could move on. I didn't have the luxury of staying close to the monitor for everything, so I don't think I could have made Bittu with anyone else.
I think we both have a lot of different skills and tastes that we bring to the table, but we also overlap in very fundamental ways. We have high standards for our work, so there was never an option of "yeah, I'm sure there's something there." We needed to know.
So this set was not what I imagine a standard set looks like in India. Everyone had two jobs because we had a lot of kids on set. We were shooting on a mountainside, so everyone was doing what they were supposed to but also babysitting. The schedule, the shotlist, everything had the kids at the forefront of it. We wanted to make sure this was the kind of environment that they realized was work, but good work, that they came to set and it felt like home and they had an extended family. It's an environment conducive to a good performance. A good performance in this sense, was to act like no one was watching. I think that helped give the two girls and the rest of the kids the confidence that they could be themselves without too much pressure.
So I think the hierarchy was very different. Every day that passed I thought, "This is not how I work." [laughs] I had no control in some sense. But actually it was the only way to do it. It was very egalitarian and collaborative, everyone's work is apparent in each frame, and I'm very proud to have made a work like that.
Filmmaker: So the shotlist was made with the children's needs in mind?
Dube: Well not initially. I made my own shot list, because I'm just used to doing that and I had a lot more time in the space. I asked Shreya to shoot this film, not so much because she was my sister, but because I was kind of always waiting for the right opportunity to work for her. I always felt like nothing was good enough for her. [laughs] I do love her eye, it elevates almost everything she does. I knew that there was no one else who could shoot this in the way that she could. Of course I'm very tied to my country, I have a beautiful life there, these characters came out of my chest. But I've lived here [in the U.S] for six years, and I knew there'd be something about going back to a place we grew up and studied not very far from, something about our relationship to the space would come out in our images as well.
I wanted her voice more than anything. I wanted her images to bounce off of my words and my eye. I was very happy that she came wanting to make her own shot list as well, so I kind of left her alone to be in the space and make that. Then we would set up days for her to get to know the kids as well. She had her own team, I tried the best I could to make enough room in the budget for her to do this in the way she wanted to. So she had her own gaffer and A.C. and that was really freeing for her I think, under these challenging circumstances, that she could do things as she likes to. Once she finished her shotlist, we married our shotlists together and it became something else.
When we were on set, to be honest, we just did the best we could for the girls from that shot list. It was more than going down the shotlist, it was more, "this is what the scene is about, and I can't move on without it." It was also about what the kids were good at. I didn't want to block it too much, so I really gave Shreya a tough job, because we didn't know what was going to happen very often. The camera had to react to the kids. There was a lot of risk from the very beginning and it's present in every take. That's why I needed a team that I knew well on my first outdoor shoot in India.
Filmmaker: Is this your first film with non-professional actors? I read that you did theater workshops with the first time actors on Bittu. What was your approach with those?
Dube: My first film with dialogue, it's called Pia. It's on vimeo, but I didn't let it out into the world because it really felt like the first time I was making a movie. The story was also very personal to me. I had written something that was still in my world and with people I knew well, even though it took place here. I felt at that point that I couldn't speak to an immigrant experience of someone who was basically born here, but I could speak to people who had moved and shifted their lives to a new place and adapted to this rapidly evolving culture. I knew I could write a mother daughter relationship that felt like they were coming from two different worlds. So I wrote about this Bengali single mom who wants her daughter to goto Durga Puja and wear a dress. The daughter is a little overweight, but more importantly cannot be easily categorized into these lazy categories that come from Indian wardrobes, so she kind of puts up a fight.
A lot of my friends put up casting calls on backstage and I was stressed because I had about a hundred people to audition every weekend. I worked really hard on it and found no one. There were a few people but they didn't have the heavy accent I was looking for. So I was kind of lost for a long time, but then I eventually asked my aunt, my mom's cousin who lives here, to play the mother.
By some miracle, I was on some tier two set in New Jersey and found this girl that sort of looked the part, had this wonderful soft energy about her but was very intense as well. I called the producer and she happened to be the daughter of this other guy I had worked with on my previous film. So I met her for a coffee. She hadn't really acted before but was down to do it.
I would start the scene and it would not end up being what I had in mind, but somehow I found a way of finding the scene by embedding it in their experience. It was the first time I worked with first time performers, and I realized that—and I don't think the film is perfect—but there were moments where they were just themselves to camera, and I couldn't believe that I caught it.
I think a little loose framework of that spilled into Bittu. Of course it was different because there were so many kids in this film. I really didn't know what I was doing from the very beginning. But I knew that I could find the right kids, because I had spent so much time on paper with the characters. At that point I was also very prepared to transform the script around whoever I found.
So I found my location after like a month and a half of finding the right school. It was like a cute organic farm that I could convert into a government school. I just moved there, to that city, and started visiting government schools in the area. That didn't work because students have a certain performative quality when they're around their teachers. So I started spending time in these little villages and settlements with my friend and actor Nirvana Sawhney. We created a few games really, that were very comparable to workshops. A lot of kids were out of school. Even the kids that were in school were on holidays at the time, and a lot of them had never been to school.
In the afternoon they'd all be playing anyways, so they were very keen to learn these new things no matter where we went. In our minds we were just auditioning each kid, seeing who can take direction, who feels closer to which part. It was like a couple of weeks into that process that I went to this other community and Rani [Kumari] was like the first kid to walk out. She comes right up to me and she's like, "What's up? You wanna play?"
She was very small and her hair was going in different directions, and she had this really expressive face and total confidence in who she was. She was not shy of me, which was the first thing that really got me. And I was like, "Yeah, I wanna play. I have friends around we should do something." So she went back in and in like five minutes she brought back this big group, she was also like this little leader. Then I would ask her questions about how things worked, did she go to school? Where are your parents? She gave me the dirt on everyone and helped me navigate the space.
I tried to dwarf myself in her world, to be at her level, so she didn't feel she was reaching out. I was reaching out to her in some sense. I wanted a sense of equality between us. Physically, she was very different from what I had imagined, but I knew something worked so I kept going back everyday with Nirvana. Two weeks later, Nirvana left and I knew Rani was going to play this part. So I started casting everyone else based around her, even before bringing it up to her. I knew there were some lines that she needed to know by heart. She's very sharp in her class, unlike Bittu she's very good at English. I would teach her some lines like the poems or the joke, from the very beginning, like a month or two before we shot. Before playing the next morning I would ask her to repeat it and she had already learned it. And we would teach the rest of the girls too so it felt like a group activity.
I tried to find Chand by taking certain scenes from the script and making them into like street plays so the kids could play and Rani could do it with different kids so that I could see their chemistry. I tried to bring her own friends to it but it just wasn't working. Then I found Chand a few weeks into that. She was very small and just adorable. Very put together, very careful about what she touched and what she played with, very much like Chand already, but grew up next to Rani her whole life. So they already had an inherent power dynamic that was love-hate, which worked well for the part. She was not in school at the time, so she was lacking in basic social skills. But her brother was interested in cameras, so they both just really wanted to learn and I ended up having a really good relationship with her mom. Her mom would always push her to go and learn something new everyday. So she would come out and try really hard. We were learning from each other a lot, so she was willing to venture out of feeling too coy.
When I put them together I explained to them a lot about who Bittu and Chand was. I created these fictional people so that they knew it was not them. Everyone would take turns playing each character. I taught them the basic dynamic between Bittu and Chand, but I didn't rehearse too many scenes. The only scene we really rehearsed was the scene by the fire, where she's trying to make up with her and they fight. I wanted them to know that these things would happen when we'd work so that they'd know it was just a game, so they didn't take it too seriously.
Otherwise we just created a lot of memories, I got to know the people in their lives, so that when we got on set I could be like, "Do you remember when that teacher said that to you? Or remember when you teased that boy? You have to tease him like this." Or when Rani had to be clueless in class, I made sure I didn't teach her the song that we had taught the other kids. She's just so sharp, she would know it and have wanted to sing along. So she was genuinely confused. For the fight scene, there's this Bollywood film where these two girls learn how to wrestle, so I showed them that and then I showed them the making of it. I showed them a lot of the making of films with child protagonists, so that they understood the concept of the camera. I showed them how this boy could hold his laugh for ten seconds. So we had them count for ten seconds so that they held an expression. I got to know their expressions, so I knew how to push them on set. The wrestling movie was called Dangal, so I would say, "OK, we're going to play Dangal Dangal!" [laughs] So they were really into mimicking things they already knew, rather than performing. It also helped them to know that I had a relationship with their parents. I was an adult they could trust, and I wasn't using typical force as a form of discipline, which they're used to, so there was an openness between us that tied us together on set.
Somewhere down the line, Rani just started acting like an astute actor. It was brilliant to see her switch into Bittu. I would ask her to bring it down by like 20 or 30% and she was able to do it. I would ask her to hold an expression and she could hold it for as long as I needed. We were so close that sometimes when she saw that I was stressed out she would just keep doing the scene for me. I kept every promise I made her, and I think that helped us keep going.
It was a little different with the adults. The only professional actor was Saurabh [Saraswat], the teacher, he's kind of the silent leader of the class and did a wonderful job dwarfing himself to play on the same stage as these first time performers. He trained other actors too. He helped me a lot with translating the lines to suit each actor, rather than sticking with what we had written so that it didn't feel like they were overperforming.
The principal was played by this woman [Krishna Negi] who worked at the local salon in this place where I used to drink tea everyday after working with the kids. She used to sit outside her shop in an all red outfit and knit when no one was coming to her salon. I needed this woman to be very stern, but Krishna was very cheerful, happy, and lovable. When I asked her to not make any expression she was able to do it, and had this great stare. After I worked with the kids I would go and work with her in her shop. Sometimes I'd see her practicing with the vegetable guy beforehand. [laughs] She was just really down to do it, which is really the only thing I needed from an actor besides the fact that they looked the part.
She was the oldest actor on set, so it was kind of hard for her to practice that attention you have when the camera's rolling and everyone's holding their breath for your performance. But Nirvana came back, and I realized I just needed her to be very confident and she would figure it out. So before her scene I would leave her with Nirvana who would keep doing the scene over and over for three hours. She had the biggest leap in performance. When I asked her to run, in the wedding procession scene, she just ran for her life and was acting at the same time. When it was time for her closeup where she had to say, "It's time to leave town" she was asking to be sprayed again and stayed in character out of breath.
The shopkeeper is the local bartender. He was supposed to be [the principal's] husband, and she was supposed to be the more dominant person in the marriage. But I just couldn't find someone to play that. I would go drinking with my cousin, Rahil, who was basically my everything before the whole crew arrived. Monu [Uniyal] served us every night. He was very shy and nervous, but also had a Youtube channel and was really into making his own reggaeton music. One day, he was like, "Can I sing for you?" He just transformed. He had this need to perform and loved an audience. I asked him if he would do it and he was totally down. He was different, because he was trained in the hospitality industry by this resort. So I had to tell him to walk differently, get a little rougher, be this other guy. But I tried to preserve as much of him as I could and I rewrote the lines for his demeanor.
Filmmaker: We even hear him mention his YouTube channel in the film off screen.
Dube: [laughs] He did! There was a bigger scene where he actually sings a song. The first time he came in front of the camera, in that scene where he's going through the stuff in the store and he goes, "Mama?" Shreya and I just busted out laughing. He was just this gentle giant who was so funny. It was a moment where I felt my sister and I were connected in a way everyone else wasn't. Somehow I just got together a dream cast. I really wanted to have actors who felt like they were in the place and had a relationship with these mountains. I wanted to make a film with this community, and they were so generous to me. I think I did. When we were shooting the wedding procession scene I would kind of end up in the crowd egging people on. It felt wonderful to have them open up so beautifully, be so generous to the camera and dance with me. I can't wait to go back to see them, it was so special.
Filmmaker: Has the cast seen the film?
Dube: Not really, I mean some of the cast has, but I didn't want them to see the film on Whatsapp, because they don't have water and electricity where they are. But I've seen the film with the two kids, they were watching it and I was with them on Facetime. The community knows the film is doing very well, they're very proud, and they're rooting me on. But I hope to be back home soon, and I want to organize a big screening so that we can all watch it together so that I'm there when they have questions or comments.
Filmmaker: You've been working on this film since 2015, what was the road to funding like?
Dube: I didn't make a film after Devi for very long because I just didn't have the money. For Devi, of course, I had a small allotment for school, and I was able to put a lot of my own money into it because I was in school on a full ride. It was like my one agreement with my friends: if I need to make a film can I rely on you guys? They really kept their promise. But I made it really cheap and I shot it in the house I grew up in. All the actors were very generous and did it for free.
I didn't make Bittu for a long time because I didn't have money and I knew it needed a lot more. In retrospect I think that was the right choice, because I wrote it for much longer. So when Mary [Evangelista, producer] came on board, we knew we had to do a crowdfunding thing, which neither of us had experience with. We had a small allotment from NYU, $5,000, which they give for every thesis film, and then I applied for this production grant, which was the first grant from the Black Family Foundation—an in house NYU grant. I got that pretty early in the year when I was developing the film, so I was able to buy my ticket to go home, have meetings with people, give them a bit of money to get started on it. It really helped me take off and spend those three months prepping to go home and come back with a movie.
It turned into a lot of pre production because I was already in it when I started the kickstarter campaign. It helped me pay my line producer, and pay for trips to find locations and stuff. We aimed for $10,000 with the kickstarter, and then made more than what we asked for, $13,000, but that was not enough. [laughs] It was tough, because we were shooting in a very unpredictable location. We were in a valley, so the weather was unpredictable. So I needed really big flags that I couldn't afford, and I needed time for these kids to get used to it: I could have used 10 days but we shot over 6, 8 hour days. I really wish I could have paid everyone a little bit more for their time.
And then I somehow made that film and raised more in private equity for things I didn't foresee like hard drives and a generator. I didn't want to leave, I wanted to donate stuff to the schools that had been helpful and stuff like that. So it was easy to raise money in Delhi through family and friends when they knew what I was doing. Somehow I came back with a film, I was pretty broke, and I didn't have money to finish it.
I felt very disconnected from everyone when I got back. You obviously have a lot of proximity to poverty growing up in India. I had become embedded in Rani's world in this town where it's so intense, and suddenly it was over. I think I felt what actors feel sometimes. [laughs] So I couldn't get myself to edit it, I just had too many feelings with the footage. It was like documentary amounts of footage. I couldn't sort it through, so I left it and started raising more money and started to write something else. I wrote myself out of those vibrations.
And then we found another grant for post production through NYU. It was sponsored by the Reise Organisation. So I had a chunk of money where I could hand it off to people I trusted. My co-editor Colin Elliot, who Mary introduced me to, came on board for the summer and edited for over two months. We didn't find the film then, but I just couldn't have done it myself. He couldn't speak the language, but he was wonderful and fell in love with the kids. We found this version of the film that felt like, "OK, now I can do it." He found the building blocks of the film. So I took over again in the Fall and was able to put time into it because of the money from the grant.
I spent another 9 months, found the film, and with that money I was able to work with my sound designer and send the film back to be graded in India because I wanted Shreya to do that. I finished the film last year, January 2020.
Filmmaker: Why wasn't the film clicking at first in the edit?
Dube: It was a 14 or 16 page script and my first cut was like 25 minutes. By some miracle I managed to shoot every scene I had written, but it was just not how I imagined it in terms of time and flow. I kept cutting it in the way that I had written it, and there were scenes I really loved that I had to take out eventually. It was just not flowing like a short, it was breathing like a feature. Bittu had a lot more moments of being sassy before being kind of beaten down by her world. Colin helped me realize that we just didn't have the pauses that I had written into the script and the moments between characters because they were kids. I had to create these moments of tension and hold it there, and find the footage that could feel like that when it wasn't really like that.
I had to get rid of everything distracting for the first couple of months and put together a version that felt like I could watch it without stopping and saying, "That just can't work!" Then in the second half of the year, I was perfecting what I was left with. From 25 it became 17 minutes, after 6 months I had let go of these moments that I loved so much. Then it felt like there was a rhythm to it that was not in the script but that I found in the edit. Then it took me a long time to find the last sequence, after the wedding procession. I couldn't find the right energy to it, it suddenly felt like a different film, even though that's how it was designed to be. I wanted it to feel like a rude invasion in this world, as a kid would experience it. I knew it needed music. I went to a few composers and it just didn't work. That took a long time. Then I picked up the phone and spoke to this friend of mine, Arooj Aftab, she's like this amazing Brooklyn-based, Pakistani artist who mixes a lot of Sufi music with like a new age lens on it. She has strong roots in traditional music, loves lyrics like I do, and has a voice that's like a balm.
She loved the film already and I think she was just waiting for me to call her after the process of elimination. [laughs] I wanted it to feel like the music is holding you like a blanket to get you through this tough scene. She was recording her new album at that time, which comes out in April actually, but I felt relieved knowing she was going to do it. She had a song on the album that she thought should be it. She sent it and I knew it was it. I loved it so much I wanted to fit in the whole song but I couldn't. I had to cut it for the film. But the moment her voice was on the film it started working in a way that felt completely appropriate. That's when I found the right cut of images as well, over her voice. I think it still feels soothing for people who don't understand what's being said, but when you do understand it kind of elevates the whole thing. It's almost like a chance for you to keep breathing. It was too good to be true. That's when I knew I was done with the film and should just stop. [laughs]
Filmmaker: Do you have words of advice for filmmaker's who want to build a film in a vulnerable community and collaborate with the people in it?
Dube: To be honest, I was making it up as I went, but I started to realize what was working and what was not. It helps to have a love for the place and the people so that you know how to portray them in a way that feels true to what you observe and love. I just learned a lot from them and listened a lot, then the work primarily became transferring my fictional world to their reality. It could only work if I knew the script very well and what I wanted to achieve in each moment, because then I could find the right things from their life to propel that objective forward. I think trust is the most important thing, they have to believe what you're doing has good intentions and at the same time you aren't something they can't touch and feel. To the very end I felt like I was reaching into this community that I wasn't a part of. But I had done everything I could for them to believe I was willing to go far and deep into who they were to do justice to portraying them.
By the end of it we were comfortable eating meals together, and I told them a lot about my life as well: who I was, what I wanted, what has happened to me, who my sister is, who my friends are. They met my parents as well, so they didn't feel like it was a one way street. I was giving them a lot of myself as well. I'm available to everyone in that community whenever they want to call me, so I don't feel like I took something and left. They'll only do it for—not the material—but for you as a person.
And then I think just being open to changing what you've written, making it conducive so that they don't have to travel too far out of themselves to speak the lines that you've written. You have to be open to letting go of things and trusting that the people you've casted will take it to a better place. I kind of had to leave this training behind from NYU. It does help to know the rules before you step out of them. There are these formalities of what you can and cannot say to an actor. "You must not give result oriented direction!" What I learned is that it takes whatever it takes. Some people needed a line reading so I would give it to them. I had to act and they would mimic me. Some people wanted to be talked to more, some people didn't want to be spoken to. Some people needed that formality that I'd been trained in, and some people just needed to mimic what I did. Adapt, make up games for kids in between takes. Sometimes the two girls wanted to switch roles so I'd give them two takes to do that. [laughs] It's really just about listening and doing whatever it takes, being open and willing to change everything about the way you had imagined it, and trust that they're going to take it somewhere better.
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Q: Swift: How to add a delay to my AI in tic tac toe game? I have just completed the AI for my tic tac toe game in Swift and while everything works fine, it seems a bit odd to the user to have the computer opponent play immediately after the user plays without "thinking". How can I add a delay to the AI's response?
My AI code:
func aiTurn() {
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        return
    }
aiDeciding = true

//Computer: Has 2 in row

    if let result = rowcheck(value:0) {
        var wherePlayResult = wherePlay(result.location, pattern:result.pattern)
        if !isOccupied(wherePlayResult) {
            setImgforCircle(wherePlayResult, player: 0)
            aiDeciding = false
            checkforWin()
            return
        }
    }

//Player: Has 2 in row

    if let result = rowcheck(value: 1) {
        var wherePlayResult = wherePlay(result.location, pattern:result.pattern)
        if !isOccupied(wherePlayResult) {
            setImgforCircle(wherePlayResult, player: 0)
            aiDeciding = false
            checkforWin()
            return
        }
    }

    func firstOpen(#isCorner:Bool)->(Int?) {
        var spots = isCorner ? [1,3,7,9] : [4,2,8,6]
        for spot in spots {
            if !isOccupied(spot) {
                return spot
            }
        }
        return nil
    }

//Computer: Center spot available?
    if !isOccupied(5) {
        setImgforCircle(5, player: 0)
        aiDeciding = false
        checkforWin()
        return
    }

//Computer: Corner available?
    if let cornerOpen = firstOpen(isCorner: true) {
        setImgforCircle(cornerOpen, player: 0)
        aiDeciding = false
        checkforWin()
        return
    }

//Computer: Side spot available?
    if let sideOpen = firstOpen(isCorner: false) {
        setImgforCircle(sideOpen, player: 0)
        aiDeciding = false
        checkforWin()
        return
    }

    ResultsLabel.hidden = false
    ResultsLabel.text = "Tied!"
    Results2.hidden = false

    aiDeciding = false
}

func wherePlay(location:String, pattern:String)->(Int) {
    var pattern1 = "011"
    var pattern2 = "101"
    var pattern3 = "110"

    switch location {
    case "top":
        if pattern == pattern1 {
                return 1
        }
        else if pattern == pattern2 {
                return 2
        }
        else {
                return 3
        }
    case "bottom":
        if pattern == pattern1 {
            return 7
        }
        else if pattern == pattern2 {
            return 8
        }
        else {
            return 9
        }
    case "middle across":
        if pattern == pattern1 {
            return 4
        }
        else if pattern == pattern2 {
            return 5
        }
        else {
            return 6
        }
    case "left down":
        if pattern == pattern1 {
            return 1
        }
        else if pattern == pattern2 {
            return 4
        }
        else {
            return 7
        }

    case "middle down":
        if pattern == pattern1 {
            return 2
        }
        else if pattern == pattern2 {
            return 5
        }
        else {
            return 8
        }
    case "right down":
        if pattern == pattern1 {
            return 3
        }
        else if pattern == pattern2 {
            return 6
        }
        else {
            return 9
        }
    case "left-right diagonal":
        if pattern == pattern1 {
            return 1
        }
        else if pattern == pattern2 {
            return 5
        }
        else {
            return 9
        }
    case "right-left diagonal":
        if pattern == pattern1 {
            return 3
        }
        else if pattern == pattern2 {
            return 5
        }
        else {
            return 7
        }

    default: return 4

    }
}

//=============================================================================================

A: I think the easiest way would be to delay the call of the aiTurn() function with dispatch_after.
Assuming it is a method in your viewController, it would look something like this. Instead of calling self.aiTurn(). Use
let delayTime = dispatch_time(DISPATCH_TIME_NOW, Int64(NSEC_PER_SEC * 2))
dispatch_after(dispatch_time, dispatch_get_main_queue(),{ aiTurn() })

A: Yep - I searched around and found a solution - here is the code I used - slightly different than yours but I think you'll get it:
@IBAction func UIButtonClicked(sender:UIButton){
    userMessage.hidden = true
    if !plays[sender.tag] && !aiDeciding && !done {
        setImageForSpot(sender.tag, player:1)
    }
    checkForWin()
    func delay(delay:Double, closure:()->()) {
        dispatch_after(
            dispatch_time(
                DISPATCH_TIME_NOW,
                Int64(delay * Double(NSEC_PER_SEC))
            ),
            dispatch_get_main_queue(), closure)
    }
    delay(0.4) {
        self.aiTurn()
        // do stuff
    }

}

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text:
Electric Sheep Magazine podcast: Star Gazing
Alex Fitch talks to Marcel Barion after a screening of The Last Land / posters for Astronaut / Fonotune / After We Leave
Star Gazing: In this month's Electric Sheep Magazine podcast, Alex Fitch talks to four directors about their films on rockets and space exploration. Shelagh McLeod discusses Astronaut starring Richard Dreyfuss, Fint talks about his eclectic musical drama Fonotune: An Electric Fairytale, and Aleem Hossain explores his revenge and redemption saga After We Leave. Also director Marcel Barion, production designer Johannes Bade and Assistant director Carolin Utsch discuss surrealistic sci-fi movie The Last Land, in an interview recorded at SCI-FI-LONDON. Plus classic tracks by Iron Horse, Rilo Kiley and Commander Chris Hatfield. Originally broadcast on Resonance 104.4 FM / DAB on Weds 17th July at 5.30pm. (more…)
Electric Sheep Magazine podcast: Innovation in Animation
Posters for Francis and Doozy directed by Richard Squires / Fantastic Mr. Fox, Frankenweenie and Isle of Dogs, line produced by Simon Quinn
Innovation in Animation: In this month's Electric Sheep Magazine Podcast, Alex Fitch talks to the creators of films which revisit old forms of animation in new and innovative ways. Director Richard Squires discusses Doozy, his semi-animated documentary about actor / Hanna-Barbera voice artist Paul Lynde, and short films Francis and Ontologically Anxious Organism, in an interview recorded at Fabrica, Brighton. Animation Line Producer Simon Quinn talks about working on classic British TV animated shows such as the turn of the century revivals of Fireman Sam and The Wombles, and stop-motion features including Frankenweenie, Fantastic Mr. Fox, and Isle of Dogs. The hour long broadcast of this show will be on Resonance 104.4 FM / DAB on Weds 15th May at 5.30pm, repeated Fri 17th May at 2.30am. (more…)
Electric Sheep Magazine Podcast: Documentary / Art
Photo of The Tent as displayed in University of Brighton gallery / stills from promotional video for Frames of Representation at the ICA
Documentary / Art: In this month's Electric Sheep Magazine Podcast, Alex Fitch looks at the presentation of documentaries in art galleries. Director Kannan Arunasalam discusses his films The Tent, Kerosene and Paper being displayed in the Grand Parade Galleries, University of Brighton and at The Tetley Gallery, Leeds, which depict the effect of the Civil War on everyday life in Sri Lanka in the years that followed; ICA Cinema and Film Programme Manager Nico Marzano talks about this year's Frames of Representation festival, which focuses on political and aesthetic approaches to documentary film. With music curated by Kieron Gillen, including tracks by Imarhan, La Luz, and Stephen Malkmus and The Jicks.
Originally broadcast Wednesday 20th March 2019, on Resonance 104.4 FM
Visit www.archive.org, for more info and formats you can stream / download (more…)
Electric Sheep Magazine Podcast: Uncanny Locations
Posters for Brasilia: Life after design / Caught / I Kill Giants
Uncanny Locations: In this month's Electric Sheep Magazine Podcast, Alex Fitch looks at films set in uncanny locations. Alex talks to director Bart Simpson about his documentary film Brasília: Life After Design, which is screening at this year's East End Film Festival, plus his producing role on Moebius Redux and The Corporation.
Also, Graphic novelist turned director Anders Winter explores his adaptation of cult American comic book I Kill Giants which is released on VOD on May 4th, and in a Q and A recorded at SCI-FI-LONDON, the cast and crew of Caught discuss this new SF thriller, which mixes a classic British cottage under siege film with a John Wyndham style alien invasion.
Plus: classic tracks by David Byrne and Marisa Monte, Dhruva Aliman, and Ivo Meirelles with Funk 'n Lata. Originally broadcast 18th April 2018 on Resonance 104.4 FM
Visit www.archive.org, for more info and formats you can stream / download of the extended 80 min podcast. To hear the 59 min broadcast version, you can listen to the stream via mixcloud… (more…)
Tomorrow's show: Uncanny Locations
Tomorrow at 5.30pm on Resonance 104.4 FM and DAB, Electric Sheep Film Show: Uncanny Locations
In this month's Electric Sheep Film Show, Alex Fitch looks at films set in uncanny locations. Alex talks to director Bart Simpson about his documentary film Brasília: Life After Design, which is screening at this year's East End Film Festival, plus his producing role on Moebius Redux and The Corporation.
Plus: classic tracks by David Byrne and Marisa Monte, Dhruva Aliman, and Ivo Meirelles with Funk 'n Lata
5.30pm Wednesday 18th April 2018, repeated 7am Tuesday 24th April, Resonance 104.4 FM and DAB (London) / broadcast streamed at www.resonancefm.com / Resonance Replay stream on mixcloud.com / podcast after broadcast at www.panelborders.wordpress.com
More info: Brasília: Life After Design screening at East End Film Festival
I Kill Giants at Kaleidoscope Home Entertainment website
Info about Caught at Jump Start Productions (more…)
Electric Sheep Magazine Podcast: Books on film – Blade Runner and The Prisoner
Alex Cox discusses I Am (Not) a Number / Excerpt from The Shape of the Final Dog by Hampton Fancher / Stills from Blade Runner and BR 2049
Books on film – Blade Runner and The Prisoner: In this month's Electric Sheep Magazine Podcast, Alex Fitch talks to two exceptional film makers about their writing on film, and adapting classic texts into movies. Alex Cox discusses his book I Am (Not) a Number, which investigates a potential solution to the mystery of The Prisoner, and his films Three Businessmen and Death and the Compass based on the short story by Borges.
Hampton Fancher explains the process of adapting Do Androids Dream of Electric Sheep into his scripts for Blade Runner and Blade Runner 2049, turning the original opening scene from the movie into his short story The Shape of the Final Dog, the potential for future sequels, and writing the films The Mighty Quinn and The Minus Man. Plus classic tracks by Frank Sinatra, The Clash, and The Times. Originally broadcast 21st February 2018 on Resonance 104.4 FM
This week's show: Books on film – Blade Runner and The Prisoner
On Wednesday 21st February at 5.30pm on Resonance 104.4 FM and DAB, Electric Sheep Film Show: Books on film – Blade Runner and The Prisoner
In this month's Electric Sheep Film Show, Alex Fitch talks to two exceptional film makers about their writing on film, and adapting classic texts into movies. Alex Cox discusses his book I Am (Not) a Number, which investigates a potential solution to the mystery of The Prisoner, and his films Three Businessmen and Death and the Compass based on the short story by Borges.
Hampton Fancher explains the process of adapting Do Androids Dream of Electric Sheep into his scripts for Blade Runner and Blade Runner 2049, turning the original opening scene from the movie into his short story The Shape of the Final Dog, the potential for future sequels, and writing the films The Mighty Quinn and The Minus Man. Plus classic tracks by Frank Sinatra, The Clash, and The Times.
5.30pm Wednesday 21st February 2018, repeated 7am Tuesday 27th February, Resonance 104.4 FM and DAB (London) / broadcast streamed at www.resonancefm.com / Resonance Replay stream on mixcloud.com / podcast after broadcast at www.panelborders.wordpress.com (more…)
Electric Sheep Magazine podcast: 50 Years of The Prisoner
Stills from The Prisoner: Living in Harmony / Alex Fitch interviews Ian Rakoff and John S Smith
50 Years of The Prisoner: A special two hour programme celebrating the 50th anniversary of classic cult TV show The Prisoner. Alex Fitch talks to two editors of the show – Ian Rakoff and John S. Smith – and hosts a live commentary track for the episode Living in Harmony with Smith, Rakoff (who also wrote the episode), Prisoner historian Rick Davy, and Rob Fairclough, writer of The Official Prisoner Companion book.
Living in Harmony was broadcast on 29/12/67, exactly 50 years before the broadcast of this show, and the interviews and live commentary were recorded at the 'Mind Mash 2015' event organised by The Unmutual website. If listeners want to watch the episode while listening to the podcast, there'll be a countdown to pressing play on your DVD player / Amazon video stream. The podcast also features classic tracks by Albert Elms and Ron Grainer from the soundtrack of The Prisoner. Originally broadcast 29th December 2017 on Resonance 104.4 FM
Visit www.archive.org, for more info and formats you can stream / download of the extended 126 min podcast. To hear the 118 min broadcast version, you can listen to the stream via mixcloud… (more…)
Electric Sheep Magazine podcast: Anglo-Italian Thrillers
Stills from Your Vice is a Locked Room and Only I Have the Key / The Rizen, 14 x 88 Films
Anglo-Italian Thrillers: In this episode of Electric Sheep, Alex Fitch looks at British and Italian thrillers in interviews recorded at Cine-Excess and SCI-FI-LONDON film festivals. At Cine-Excess, Alex talks to film-maker Sergio Martino about his career and directing classic Italian giallo such as Your Vice is a Locked Room and Only I Have the Key, and to Richard Elliot and James Blower about their British cult film label '88 Films'. Also, at SCI-FI-LONDON in front of a live audience, an extract from the Q and A with the director and crew of new British zombie thriller The Rizen starring Julian Rhind-Tutt and Sally Phillips. Plus classic tracks from Ilya and Nicolas Kaplan, and Bruno Nicolai. Originally broadcast 20th December 2017 on Resonance 104.4 FM
Electric Sheep Magazine Podcast: Halloween Horrors
Retro advert for Video Dungeon by Tom Hodge / Posters for The Final Girls / Anti Matter
Halloween Horrors: In this month's Halloween themed episode of Electric Sheep, Virginie Selavy talks to Kim Newman about his new collection of reviews and essays, 'Video Dungeon', published by Titan Books and to cinema programmer Anna Bogutskaya about co–curating a tour of short horror films directed by women: 'The Final Girls – We Are the Weirdos'.
Also, at the SCI-FI-LONDON film festival, Alex Fitch talks to director Keir Burrows about his Oxford set Sci–Fi thriller Anti Matter which concerns the terrifying consequences of taking part in University science experiments. Plus classic tracks from Roy Clark, Gin Gillette, Lord Luther, and Larry and the Blue Notes. Originally broadcast 18th October 2017 on Resonance 104.4 FM
Today's show: Halloween Horrors
Today at 5.30pm on Resonance 104.4 FM and DAB, Electric Sheep Film Show: Halloween Horrors
In this month's Halloween themed episode of Electric Sheep, Virginie Selavy talks to Kim Newman about his new collection of reviews and essays, 'Video Dungeon', published by Titan Books and to cinema programmer Anna Bogutskaya about co–curating a tour of short horror films directed by women: 'The Final Girls – We Are the Weirdos'.
Also, at the SCI-FI-LONDON film festival, Alex Fitch talks to director Keir Burrows about his Oxford set Sci–Fi thriller Anti Matter which concerns the terrifying consequences of taking part in University science experiments. Plus classic tracks from Roy Clark, Gin Gillette, Lord Luther, and Larry and the Blue Notes.
5.30pm Wednesday 18th October 2017, repeated 7am Tuesday 24th October, Resonance 104.4 FM (more…)
Electric Sheep Magazine Podcast: Lowlife Lost Girls, Born in Flames
Posters for Lost Girls, Lowlife, Born in Flames
Lowlife Lost Girls, Born in Flames: Starting a new series of the monthly show about cult cinema. Electric Sheep Magazine editor Virginie Selavy talks to the cast and crew of a new American thriller about organ harvesting – Lowlife – at the Fantasia Festival in Montreal; assistant editor Alex Fitch talks to director Lizzie Borden about her low budget feminist dystopian classic Born in Flames, after a screening at the Edinburgh Film Festival; and German genre critic Marcelle Perks discusses her contributions to the book "Lost Girls: The Phantasmagorical Cinema of Jean Rollin" published by Spectacular Optical. Featuring classic tracks by Philippe Bréjean, Philippe Sissmann, Carl Perkins and Otis Redding. Originally broadcast 20th September 2017 on Resonance 104.4 FM
Electric Sheep Magazine Podcast: Summer Festivals
Posters for Beatriz at Dinner / Okja / Marjorie Prime
Summer Festivals: The monthly show about cult film and world cinema. Electric Sheep assistant editor Alex Fitch interviews a trio of independent film directors whose latest movies have premiered at recent festivals. At the London Sundance Film Festival, Alex talks to Miguel Arteta about his film Beatriz at Dinner, a drama about class conflict and environmentalism featuring John Lithgow and Salma Hayek, and to Michael Almereyda about his elegiac science-fiction movie Marjorie Prime adapted from the play of the same name and starring Lois Smith and Tim Robbins.
Plus: with translation by Jason Yu, Korean director Bong Joon-Ho discusses his latest film Okja, which proved controversial when screened at Cannes, and features Tilda Swinton and Jake Gyllenhaal in an uproarious tale of GM food. Alex and Bong also discuss Jon Ronson's involvement in the film, the theme of man vs. nature running through his filmography including The Host and Snowpiercer plus Netflix's funding of the movie. Featuring classic tracks by The Mamas and the Papas, Regina Spektor, James Taylor and Jimmy Cliff. (more…)
Electric Sheep Magazine podcast: Dangerous Consumption
Posters for The Girl with all the Gifts / The Boy on the Bridge / Flora / Cast and crew of Flora talk to Alex Fitch at SCI-FI-LONDON, photo by Chris Harvey
Dangerous Consumption: The monthly show about cult film and world cinema. This month we're looking at poisonous plants and post apocalyptic cannibalism, with two 'revenge of nature' film Q and As recorded at the SCI-FI-LONDON film festival. Electric Sheep assistant editor Alex Fitch talks to director Sasha Louis Vukovic, actors Teresa Marie Doran and William Aaron, Cinematographer Eric Irvin, and editor Erica Gulliver about their Canadian period Sci-Fi drama Flora, which depicts an expedition by 1920s botanists into uncharted territory…
Also, guest presenter and host of the Arthur C Clarke Awards, Tom Hunter discusses the film adaptation of acclaimed British zombie drama The Girl with all the Gifts and its print prequel The Boy on the Bridge with author Mike Carey. Featuring classic tracks by Nora Jones, The Beach Boys and C.W. Stoneking. Originally broadcast 16th May 2017 on Resonance 104.4 FM (more…)
Tomorrow's show: Dangerous Consumption
Tomorrow at 5.30pm on Resonance FM and DAB, Electric Sheep Film Show: Dangerous Consumption
The monthly show about cult film and world cinema. This month we're looking at poisonous plants and post apocalyptic cannibalism, with two 'revenge of nature' film Q and As recorded at the SCI-FI-LONDON film festival. Electric Sheep assistant editor Alex Fitch talks to director Sasha Louis Vukovic, actors Teresa Marie Doran and William Aaron, Cinematographer Eric Irvin, and editor Erica Gulliver about their Canadian period Sci-Fi drama Flora, which depicts an expedition by 1920s botanists into uncharted territory…
Also, guest presenter and host of the Arthur C Clarke Awards, Tom Hunter discusses the film adaptation of acclaimed British zombie drama The Girl with all the Gifts and its print prequel The Boy on the Bridge with author Mike Carey. Featuring classic tracks by Nora Jones, The Beach Boys and C.W. Stoneking.
5.30pm Wednesday 16th May, repeated 6am Sunday 21st May 2017, Resonance 104.4 FM and DAB (London) / streamed at www.resonancefm.com / podcast after broadcast at www.panelborders.wordpress.com (more…)
Electric Sheep Magazine podcast: Independent Cinema
Posters for Mad to be Normal / The White King / The Eyes of My Mother
Independent Cinema: The monthly show about world cinema and cult titles. In this episode we're looking at the work of four independent filmmakers whose work celebrates eclectic personalities and mixes genres to beguiling effect. Electric Sheep Magazine assistant editor Alex Fitch talks to husband and wife directing team Jörg Tittel and Alex Helfrecht about their dystopian debut film The White King starring Jonathan Pryce and Agyness Deyn, and to Nicolas Pesce about the influences on his monochrome thriller The Eyes of my Mother, from Béla Tarr to Tobe Hooper.
Also, in a Q&A recorded at Chichester Cinema, Film Festival programmer Roger Gibson interviews Robert Mullen about his exploration of R.D. Laing's anti-establishment psychiatric facility Kingsley Hall in Mad to be Normal. With music by Scott Bradlee's Postmodern Jukebox, Puddles Pity Party, The Ramones and The Zombies. Originally broadcast 19th April 2017 on Resonance 104.4 FM (more…)
Tomorrow's show: Independent Filmmakers
Tomorrow at 5.30pm on Resonance FM and DAB, Electric Sheep Film Show: Independent Filmmakers
The monthly show about world cinema and cult titles. In this episode we're looking at the work of four independent filmmakers whose work celebrates eclectic personalities and mixes genres to beguiling effect. Electric Sheep Magazine assistant editor Alex Fitch talks to husband and wife directing team Jörg Tittel and Alex Helfrecht about their dystopian debut film The White King starring Jonathan Pryce and Agyness Deyn, and to Nicolas Pesce about the influences on his monochrome thriller The Eyes of my Mother, from Béla Tarr to Tobe Hooper.
Also, in a Q&A recorded at Chichester Cinema, Film Festival programmer Roger Gibson interviews Robert Mullen about his exploration of R.D. Laing's anti-establishment psychiatric facility Kingsley Hall in Mad to be Normal. With music by Scott Bradlee's Postmodern Jukebox, Puddles Pity Party, The Ramones and The Zombies.
5.30pm Wednesday 19th April, repeated 6am Sunday 23rd April 2017, Resonance 104.4 FM and DAB (London) / streamed at www.resonancefm.com / podcast after broadcast at www.panelborders.wordpress.com
Electric Sheep Magazine podcast: Women in Horror
Deranged DVD cover / Diabolique magazine Summer 2017 / Boston Underground film festival poster
Women in Horror: The monthly show about world cinema and cult titles. Electric Sheep Magazine editor Virginie Sélavy talks to Nicole McControversy, director of the Boston Underground Film Festival, to Kat Ellinger, editor in chief of horror magazine Diabolique, and to Brazilian-born actress and producer Marcia do Vales about her latest film Deranged. Plus tunes by gutsy ladies, including Tina Turner and Prentice Moreland. Originally broadcast 15th March 2017 on Resonance 104.4 FM
Links: Boston Underground Film Festival website
Diabolique magazine website
Buy Deranged on DVD from Amazon UK
Electric Sheep Magazine podcast: Obscure films and conspiracies
Alex Fitch and Virginie Selavy at Resonance FM / still from Girl Divers at Spook Mansion / poster for The Creeping Garden
Obscure films and conspiracies: The monthly show about world cinema and cult titles. Alex Fitch and Virginie Selavy look at how to track down obscure films, their links with conspiracy theories and talk to Jasper Sharp about the examples of cult Japanese Cinema he will be exploring at the Miskatonic Institute of Horror Studies, such as Girl Divers at Spook Mansion, as well as his own documentary film The Creeping Garden. Featuring classic tracks by She Trinity, Baby Washington, Bobby Angelo, Elvis Presley and The Velvets…
Originally broadcast: 16th February 2017 on Resonance 104.4 FM (more…)
Electric Sheep Magazine podcast: Comics on Film
Tourbillon poster/ panels from The Seinfeld Matrix / Elsie Harris, Picture Palace
Comics on Film: The monthly show about world cinema and cult titles. Electric Sheep Magazine assistant editor Alex Fitch talks to actress Jessica Martin about her comic book tributes to Hollywood starlets and graphic novel Elsie Harris, Picture Palace about the Golden age of Cinema in an interview recorded at Cartoon County. Next, artist Paul O'Connell discusses his remixing of images from The Matrix and other films to create satirical fumetti strips.
Also, in a Q and A recorded at SCI-FI-LONDON, Alex talks to Alex talks to director Gene Ivery, and composer Gustavo Izquierdo of immortality drama Tourbillon. Featuring classic tracks by Nick Lowe, The Traits and Jenny Rock…
Originally broadcast: 18th January 2017 on Resonance 104.4 FM (more…)
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text:
ECNL
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... But you can call me Duke." Young Deucalion and Talia. Twice a year packs from all around come to celebrate the solstice and rejoice in the freedom of their wolfish desires. Talia Hale has come along with her pack for the second time and this solstice she runs into a certain young boy. Slightly AU.
One boy, Multiple lineages, A second war. Let the journey into Kanto begin with a dream and end with a blood trail.
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Jensen Ackles is the younger son and remaining heir to the Ackles Dukedom at Avenleigh in the country of Saven. He worked as a spy for his king, who did not accept his warnings. He heads north to protect his father's estate and to ride out the war. Jared leads the invasion that brings conquerors to the land of Saven. His next meeting with Ackles will have consequences which will lead to a war between the two men at Avenleigh.
I do not own nor do I make money from Supernatural.
As the Sovereign takes the throne and becomes queen, the celebrations are short lived.
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and they have a crazy run in with a witch and a faerie that changes everything.
In his own little world that tries to combine both class and sass, Louis Tomlinson finds himself being wildly independent. It's hard to keep that up though when you're the heir to the title of Duke and the best friend you've had since childhood is arranged to rule alongside you as your husband.
Through a flurry of ballgowns and heels, stolen kisses and lingering glances, dominating alphas and "submissive" omegas, Louis finds himself at the center of everything he's never wanted, yet he's never wanted anything or anyone more in his life than he does a certain Lord he's not arranged to marry and not allowed to have.


text:
package org.apache.activemq.artemis.tests.integration.amqp;

import java.net.URI;
import java.util.LinkedList;

import javax.jms.Connection;
import javax.jms.ExceptionListener;
import javax.jms.JMSException;

import org.apache.activemq.ActiveMQConnectionFactory;
import org.apache.activemq.artemis.jms.client.ActiveMQJMSConnectionFactory;
import org.apache.qpid.jms.JmsConnectionFactory;
import org.jboss.logging.Logger;
import org.junit.After;
import org.junit.Before;

public abstract class JMSClientTestSupport extends AmqpClientTestSupport {

   private static final Logger logger = Logger.getLogger(JMSClientTestSupport.class);

   protected LinkedList<Connection> jmsConnections = new LinkedList<>();

   @Before
   @Override
   public void setUp() throws Exception {
      super.setUp();

      // Bug in Qpid JMS not shutting down a connection thread on certain errors
      // TODO - Reevaluate after Qpid JMS 0.23.0 is released.
      disableCheckThread();
   }

   @After
   @Override
   public void tearDown() throws Exception {
      try {
         for (Connection connection : jmsConnections) {
            try {
               connection.close();
            } catch (Throwable ignored) {
               ignored.printStackTrace();
            }
         }
      } catch (Exception e) {
         logger.warn(e);
      }
      jmsConnections.clear();

      super.tearDown();
   }

   protected Connection trackJMSConnection(Connection connection) {
      jmsConnections.add(connection);

      return connection;
   }

   protected String getJmsConnectionURIOptions() {
      return "";
   }

   protected URI getBrokerQpidJMSConnectionURI() {

      try {
         int port = AMQP_PORT;

         String uri = null;

         if (isUseSSL()) {
            if (isUseWebSockets()) {
               uri = "amqpwss://127.0.0.1:" + port;
            } else {
               uri = "amqps://127.0.0.1:" + port;
            }
         } else {
            if (isUseWebSockets()) {
               uri = "amqpws://127.0.0.1:" + port;
            } else {
               uri = "amqp://127.0.0.1:" + port;
            }
         }

         if (!getJmsConnectionURIOptions().isEmpty()) {
            uri = uri + "?" + getJmsConnectionURIOptions();
         }

         return new URI(uri);
      } catch (Exception e) {
         throw new RuntimeException();
      }
   }

   protected Connection createConnection() throws JMSException {
      return createConnection(getBrokerQpidJMSConnectionURI(), null, null, null, true);
   }

   protected Connection createConnection(boolean start) throws JMSException {
      return createConnection(getBrokerQpidJMSConnectionURI(), null, null, null, start);
   }

   protected Connection createConnection(String clientId) throws JMSException {
      return createConnection(getBrokerQpidJMSConnectionURI(), null, null, clientId, true);
   }

   protected Connection createConnection(String clientId, boolean start) throws JMSException {
      return createConnection(getBrokerQpidJMSConnectionURI(), null, null, clientId, start);
   }

   protected Connection createConnection(String username, String password) throws JMSException {
      return createConnection(getBrokerQpidJMSConnectionURI(), username, password, null, true);
   }

   protected Connection createConnection(String username, String password, String clientId) throws JMSException {
      return createConnection(getBrokerQpidJMSConnectionURI(), username, password, clientId, true);
   }

   protected Connection createConnection(String username, String password, String clientId, boolean start) throws JMSException {
      return createConnection(getBrokerQpidJMSConnectionURI(), username, password, clientId, start);
   }

   private Connection createConnection(URI remoteURI, String username, String password, String clientId, boolean start) throws JMSException {
      JmsConnectionFactory factory = new JmsConnectionFactory(remoteURI);

      Connection connection = trackJMSConnection(factory.createConnection(username, password));

      connection.setExceptionListener(new ExceptionListener() {
         @Override
         public void onException(JMSException exception) {
            exception.printStackTrace();
         }
      });

      if (clientId != null && !clientId.isEmpty()) {
         connection.setClientID(clientId);
      }

      if (start) {
         connection.start();
      }

      return connection;
   }

   protected String getBrokerCoreJMSConnectionString() {

      try {
         int port = AMQP_PORT;

         String uri = null;

         if (isUseSSL()) {
            uri = "tcp://127.0.0.1:" + port;
         } else {
            uri = "tcp://127.0.0.1:" + port;
         }

         if (!getJmsConnectionURIOptions().isEmpty()) {
            uri = uri + "?" + getJmsConnectionURIOptions();
         }

         return uri;
      } catch (Exception e) {
         throw new RuntimeException();
      }
   }

   protected Connection createCoreConnection() throws JMSException {
      return createCoreConnection(getBrokerCoreJMSConnectionString(), null, null, null, true);
   }

   private Connection createCoreConnection(String connectionString, String username, String password, String clientId, boolean start) throws JMSException {
      ActiveMQJMSConnectionFactory factory = new ActiveMQJMSConnectionFactory(connectionString);

      Connection connection = trackJMSConnection(factory.createConnection(username, password));

      connection.setExceptionListener(new ExceptionListener() {
         @Override
         public void onException(JMSException exception) {
            exception.printStackTrace();
         }
      });

      if (clientId != null && !clientId.isEmpty()) {
         connection.setClientID(clientId);
      }

      if (start) {
         connection.start();
      }

      return connection;
   }

   protected String getBrokerOpenWireJMSConnectionString() {

      try {
         int port = AMQP_PORT;

         String uri = null;

         if (isUseSSL()) {
            uri = "tcp://127.0.0.1:" + port;
         } else {
            uri = "tcp://127.0.0.1:" + port;
         }

         if (!getJmsConnectionURIOptions().isEmpty()) {
            uri = uri + "?" + getJmsConnectionURIOptions();
         } else {
            uri = uri + "?wireFormat.cacheEnabled=true";
         }

         return uri;
      } catch (Exception e) {
         throw new RuntimeException();
      }
   }

   protected Connection createOpenWireConnection() throws JMSException {
      return createOpenWireConnection(getBrokerOpenWireJMSConnectionString(), null, null, null, true);
   }

   private Connection createOpenWireConnection(String connectionString, String username, String password, String clientId, boolean start) throws JMSException {
      ActiveMQConnectionFactory factory = new ActiveMQConnectionFactory(connectionString);

      Connection connection = trackJMSConnection(factory.createConnection(username, password));

      connection.setExceptionListener(new ExceptionListener() {
         @Override
         public void onException(JMSException exception) {
            exception.printStackTrace();
         }
      });

      if (clientId != null && !clientId.isEmpty()) {
         connection.setClientID(clientId);
      }

      if (start) {
         connection.start();
      }

      return connection;
   }

   interface ConnectionSupplier {
      Connection createConnection() throws JMSException;
   }
}

redpajama_set_name: RedPajamaGithub


text:
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Website of the Selwyn District Council, containing useful information and links for residents, travellers and tourists.
http://www.selwyn.govt.nz/ contact
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The web page for members to keep up to date with the projects being undertaken to restore and enhance the Waikanae River corridor and its environment.
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News and Media General | General Politics
110. NZ Ministry of Health
The Ministry of Health is responsible for ensuring the health and disability system works for New Zealanders. It is the Government's primary advisor on health policy and disability support services.
http://www.moh.govt.nz/
Government | Health General


text:
Delhi-NCR likely to receive moderate rains: IMD
ANI | Updated: Jun 25, 2019 08:31 IST
New Delhi [India], June 25 (ANI): Delhi and its adjoining region are likely to receive moderate rain today, predicted India Meteorological Department (IMD).
The minimum and maximum temperatures of the national capital will hover around 26 degree Celsius and 34 degree Celsius with generally cloudy sky.
Apart from Delhi, thunderstorm accompanied with lightning and gusty winds (30-40 kmph) at isolated places very likely over Punjab, Haryana, Chandigarh, East Rajasthan and West Madhya Pradesh, stated the weather forecasting agency in its All India Weather Warning Bulletin.
"Heavy to very heavy rainfall at isolated places over Konkan and Goa and Arunachal Pradesh. Heavy rainfall at isolated places over Coastal Karnataka, Madhya Maharashtra, Gujarat region, West Madhya Pradesh, Uttarakhand, Bihar and Andaman and Nicobar islands," the organisation added.
Rough sea conditions are likely to prevail over southwest and west central Arabian Sea. The IMD has adviced fishermen not to venture into these areas. (ANI)
Updated: Jul 18, 2019 08:25 IST
Indore: Junior Doctors extend support to teacher association's...
Indore (Madhya Pradesh) [India], July 18 (ANI): Indore's Junior Doctors Association (JDA) has extended its support to the ongoing agitation of teachers regarding the implementation of Seventh Pay Commission and time-bound promotions.
UP: Pregnant woman shot dead over water dispute, one arrested
Etah (Uttar Pradesh) [India], July 18 (ANI): A pregnant woman was shot dead in Samaur village allegedly over water dispute here in Etah on Wednesday, police said.
Coimbatore: Traffic police gets body-worn cameras
Coimbatore (Tamil Nadu) [India], July 18 (ANI): In an attempt to further curb traffic violations and have better surveillance on roads, Coimbatore traffic police personnel have been provided with ultra-modern body-worn cameras.
Maharashtra: Trolley of CSMT-Gorakhpur Antyodaya Express...
New Delhi [India], July 18 (ANI): A trolley of the CSMT-Gorakhpur Antyodaya Express derailed between Kasara and Igatpuri ghat section in Maharashtra on Wednesday morning.
Victory for India, defeat for Pakistan: Former Special Secretary...
New Delhi [India], July 18 (ANI): Former Special Secretary in Cabinet Secretariat, Tilak Devasher has said that the verdict of International Court of Justice (ICJ) in Kulbhushan Jadhav case is a huge victory for India and defeat for Pakistan.
MP: 8-yr-old child dies after blood bank allegedly denies giving blood
Damoh (Madhya Pradesh) [India], July 18 (ANI): An 8-year-old child, admitted to a district hospital here, died after the blood bank there allegedly denied giving blood.
Bengaluru (Karnataka) [India], July 18 (ANI): Janata Dal Secular-Congress coalition government, led by Chief Minister HD Kumaraswamy, will face its trust vote in the state Assembly on Thursday.
UP Police arrest 5 people in Sonbhadra firing incident
Lucknow (Uttar Pradesh) [India], July 18 (ANI): Five people have been arrested in connection with a firing incident over a land dispute at a village in Sonbhadra district of Uttar Pradesh that took place on Wednesday, Uttar Pradesh Police said.
'Not your fault, judgement delivered in English': Giriraj Singh...
New Delhi [India], July 18 (ANI): "Not your fault... judgement delivered in English," Union Minister Giriraj Singh took a witty jibe at Pakistan for claiming "big win" in Kulbhushan Jadhav case.
Pak an uncivilised nation, its Army was 'rogue': Former AG...
Hyderabad (Telangana) [India], July 18 (ANI): Calling Pakistan an "uncivilised" nation, former Attorney General Mukul Rohatgi said the world has seen that its Army was a "rogue Army".
UP: 5 arrested in Aligarh for duping people through fake websites
Aligarh (Uttar Pradesh) [India], July 18 (ANI): Five persons have been arrested for allegedly duping people through 49 fake financial websites.
Noida: 2 Iraqi nationals looted by men claiming to be cops from...
Noida (Uttar Pradesh) [India], July 18 (ANI): Two Iraqi nationals have alleged that some men, claiming to be cops, have looted their US$30000, from outside a private hospital where their brother is admitted for a liver transplant.