Site Description The scanty remains of Kenfig Castle, a once great medieval fortress, rise from the dunes beside the Cynfig river. The castle was established in the early twelfth century by the lord of Glamorgan and was set at the northern end of a walled borough (NPRN 15335). The castle was several times assaulted and ravaged and was greatly altered and added to in the late thirteenth century. It was maintained throughout the fourteenth century but was ruinous by the early sixteenth. The borough became besanded through the fifteenth century. The site was excavated in 1924-32.
The castle was set on a low knoll washed by the river on the west and north. It originally consisted of a roughly circular embanked and palisaded court some 37m across, enclosing a magnificent square-plan tower as well as a hall and its offices. The facades of the 14m square tower were articulated by slim dressed stone buttresses at the corners and centre of each side. It would have risen high above the court dominating the borough skyline. In about 1300 the castle was substantially reconstructed. The rampart was thrown down to level up the court and a stout curtain wall was built in its stead with a large masonry gatehouse facing into the borough. The tower was also reconstructed and its south-west wall completely rebuilt.


text:
package cache

import (
	"os"
)

type LocalFsCache struct {
	cacheDir string
}

func NewLocalFsCache() Cache {
	var cacheDir string

	if os.Getenv("RISU_CACHE_DIR") != "" {
		cacheDir = os.Getenv("RISU_CACHE_DIR")
	}

	if cacheDir == "" {
		cacheDir = DefaultTarCacheDir
	}

	if _, err := os.Stat(cacheDir); err != nil {
		os.MkdirAll(cacheDir, 0755)
	}

	return &LocalFsCache{cacheDir}
}

func (c *LocalFsCache) Get(key string) (string, error) {
	archivedCacheFilePath := getArchivedCacheFilePath(c.cacheDir, key)
	inflateDirPath := getInflateDirPath(DefaultInflatedCacheDir, key)

	if _, err := os.Stat(archivedCacheFilePath); err != nil {
		return "", nil
	}

	if err := InflateTarGz(archivedCacheFilePath, inflateDirPath); err != nil {
		return "", err
	}

	return inflateDirPath, nil
}

func (c *LocalFsCache) Put(key, directory string) error {
	temporaryCacheDir := getArchivedCacheFilePath("/tmp/risu/", key)
	archivedCacheFilePath := getArchivedCacheFilePath(c.cacheDir, key)

	if err := DeflateTarGz(temporaryCacheDir, directory); err != nil {
		return err
	}

	if err := os.Rename(temporaryCacheDir, archivedCacheFilePath); err != nil {
		return err
	}

	return nil
}

redpajama_set_name: RedPajamaGithub


text:
import os
import io
import re
from setuptools import setup

with open('README.rst', 'r') as f:
    readme = f.read()

def read(*names, **kwargs):
    with io.open(
            os.path.join(os.path.dirname(__file__), *names),
            encoding=kwargs.get("encoding", "utf8")
    ) as fp:
        return fp.read()

def find_version(*file_paths):
    version_file = read(*file_paths)
    version_match = re.search(r"^__version__ = ['\"]([^'\"]*)['\"]",
                              version_file, re.M)
    if version_match:
        return version_match.group(1)
    raise RuntimeError("Unable to find version string.")

setup(name='TRExt',
      version=find_version("trext", "__init__.py"),
      description='TRExt - Tableau Refresh Extract (Externally)',
      url="https://github.com/AtheonAnalytics/trext",
      author='Vathsala Achar',
      author_email='vathsala@atheon.co.uk',
      license='MIT',
      classifiers=[
          "Development Status :: 3 - Alpha",
          "Intended Audience :: Developers",
          "License :: OSI Approved :: MIT License",
          "Natural Language :: English",
          "Programming Language :: Python :: 2.7",
      ],
      packages=[
          'trext',
          'trext.db',
          'trext.extract'
      ],
      test_suite='nose.collector',
      tests_require=['nose'],
      install_requires=[
          'pyodbc',
          'mock',
      ]
      )


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In the past, in order to ensure this type of comprehensive surveillance of wide areas, basically three options were available: The first option consisted of installing a large number of single cameras that then either work individually or are linked via a management system. A second option involved 180°/360° cameras, with the third option consisting of controllable PTZ cameras. So what's the difference between Panomera® and these systems?
With Panomera®, the same area can be surveyed from a single location as with several HD cameras distributed over several locations. This offers two advantages: On the one hand, in some areas it is simply not possible to use more than one camera, since there aren't enough installation sites or the required infrastructure (cables, electricity, etc.) cannot be created to the necessary extent. This means that Panomera® provides images for areas that otherwise could not be monitored at all. On the other hand, since fewer camera installation locations are needed, the requirements for the infrastructure are lower, along with expenditures for servicing and maintenance.
At first glance, they may appear to be the ideal solution for surveying wide areas: 180° or 360° cameras that provide a comprehensive "bird's eye view". However, these cameras are only designed for short distances, for instance, for monitoring foyers or entryways. With some models, the "fisheye effect", which distorts the picture at the edges, is also a problem. This is not the case with Panomera®, since the edges are clearly defined, without distortion. And most importantly, with Panomera® it is possible to survey and record huge areas with top quality (better than HDTV!). In addition, with Panomera®, the specific quality needed for a particular distance can also be individually adjusted. The multifocal sensor system can be specifically scaled to meet any requirement posed by the customer.
PTZ cameras have a definite disadvantage: The operator must constantly decide between the overall view and a detail view. For instance, if the operator wishes to survey a certain area in more detail and zooms into it, only this detail is recorded. This means that later, no recording of the overall scene exists, so that incidents in other areas may be overlooked and can no longer be reconstructed. Here, Panomera® works differently: Regardless of the part of the surveillance area the operator focuses on at a particular moment, with Panomera®, the overall action is recorded at all times – with maximum resolution of detail. As a result, an incident can also be reconstructed in detail after the fact, no matter where it occurred.
Another advantage of Panomera® is its multicast and multiuser capability: In contrast to PTZ cameras, with which only one operator can pan, tilt or zoom, with Panomera®, an unlimited number of operators can navigate across the entire scene independently of each other. Although all operators are connected with the same camera, each of the individual users can select their view individually and zoom or pan as they desire. As a result, a range of different areas can be surveyed in detail at the same time. A sophisticated user management system makes it possible to assign different viewing rights to every workstation. Different users can be given individual user profiles that include authorisations for specific system functions.
And: In contrast to PTZ cameras, Panomera® has no movable mechanical parts, which means there is no wear, extending the camera's lifetime.


text:
Biografia
Max inizia a diventare DJ e speaker radiofonico nel 1996 anche per Radio Lupo Solitario. Nel 2001 partecipa alla fondazione del marchio Fivestars. Il 2005 si può definire il suo anno: ottiene un programma su Radio 105 chiamato "105 Stars" che andava in onda ogni venerdì dalle 21:00 alle 22:00 ed il sabato dalle 22:00 alle 23:00. Inoltre è stato in onda dal lunedì al giovedì dalle 19:00 alle 21:00 sempre su "Radio 105" con "105 non stop" insieme a Ylenia Baccaro e Leone Di Lernia. Attualmente conduce quotidianamente il programma 105 Mi Casa dalle 20.00 alle 21.00. Direttore artistico di Rock TV e Hip Hop TV, su quest'ultima conduce il programma "Mi casa", intitolato come il suo album, dove manda in onda dei video della scena rap\hip-hop e ospita celebri artisti. È il manager di Elisa, Elodie e Ultimo.

Discografia

Album in studio
2005 - Mi Casa

Singoli
2005 - La cintura (feat. La Gran Empresa)
2005 - Rootsie & Boopsie (feat. Papa Winnie)
2009 - La cintura Remix (feat. Vacca)
2009 - In Tha Danza (feat. Vacca)
2011 - MAMMALITALIANI (feat. Après La Classe e Two Fingerz)
2011 - Allenatichefabene
2011 - Allenatichefabene Remix (feat. Danti)
2012 - Allenatichefabene Remix (feat. Ensi)
2012 - Allenatichefabene Remix (feat. Dargen D'Amico)
2016 - Rumba (feat. Didy)
2018 - "Rapido y Liento" (feat. Didy)

Videoclip
2005 - La cintura (feat. La Gran Empresa)
2005 - Rootsie & Boopsie (feat. Papa Winnie)
2012 - Allenatichefabene (feat. Danti, Ensi e Dargen D'Amico)

Mixtape
2011 - Summertilt (mixtape in free download su Facebook)
2011 - MAME: 10 of 10 (The Best of October) (mixtape in free download sul suo sito web)
2011 - MAME: 10 of 11 (The Best of November) (mixtape in free download sul suo sito web)
2012 - The Winner Is - Best of 2011 (Hosted by Bassi Maestro) (mixtape in free download sul suo sito web)

Altro
2001 - Bella come (cantante)
2010 - Two Fingerz - HEY DJ Remix

Note

Collegamenti esterni

Direttori artistici italiani

redpajama_set_name: RedPajamaWikipedia


text:
O'Shea Jackson Jr. wears black high top Converse "Chuck Taylor" All Stars in the film.
Corey Hawkins wears monochrome black low top Converse "Chuck Taylor" All Stars in the film.
by Marcus Angulo
Ice Cube wearing black and white chucks in the studio.
In a crack house in Compton, Eric Wright (AKA Eazy-E, portrayed here by Jason Mitchell) arrives to make some money. He lives the life of a dope dealer, and takes all the risks that come with it. These risks become evident to us as a drug bust occurs and SWAT raids the house. Eric escapes into the streets of Compton with his life, but he knows his luck's going to run out soon. Andre Young (AKA Dr. Dre, portrayed here by Corey Hawkins) is listening to old school soul jams in his room, when he gets into a fight with his mom. She doesn't believe in his dreams of making music for a living, instead insisting that he gets a real job before kicking him out of her house. We then cut to O'Shea Jackson (portrayed by O'Shea Jackson, Jr.) who is riding to school on the bus, when a pair of Bloods stop the bus because some of the kids were flashing the Crip gang sign at them. He warns them of the dangers of messing with the wrong people, and acting stupid in the face of violence. These three are the core of what would become the world's most dangerous group, N.W.A. (AKA N*ggas With Attitudes).
N.W.A. decide that Eazy should be the one to rap "Boyz In Da Hood" after a failed attempt at recording with some East Coast artists.
After an ill-fated attempt to get O'Shea's (now going by Ice Cube) raps heard on the local nightclubs stage, Dre and Eric resolve to start their own record label. They recruit fellow musicians MC Ren and DJ Yella to assist in recording their first song, "Boyz In Da Hood". When the New York group they hired can't cut it, Dre decides to have Eazy take a stab at it, and with some coercing and coaching, they succeed in recording an instant classic. The song and the group blow up around Compton, and eventually catch the ear of producer Jerry Heller. He is able to get them a deal with Priority Records. The group goes on to record their debut album Straight Outta Compton which includes such classic hits as "Gangsta Gangsta","Dope Man", "Straight Outta Compton", and "F*ck The Police". The group then goes on their first world tour, but things fall apart quickly as Ice Cube is suspicious of Jerry's motives and Eazy's loyalties. He realizes he's not getting paid in full and decides to leave the group, urging Dre to do the same.
Ice Cube rocking chucks before a show.
After having his contracts looked over by Suge Knight, Dre decides to leave N.W.A. and form his own label, Death Row Records. We see all the members of N.W.A. move on with their careers, to varying degrees of success. Dre takes Death Row to new heights with acts like Snoop Dogg and 2Pac, while Cube pursues a career in film to accompany his multi-platinum solo career. Eazy ends up realizing that Jerry was as bad as Dre and Cube said he was, as he watches his career decline heavily over the next few years. He eventually contracts the AIDS virus, which brings the former members of N.W.A. back together as they pray for a miracle. Unfortunately, that miracle never comes as Eazy-E dies from complications of AIDS in 1995. The film ends with an epilogue that shows where Dre, Yella, Ren and Cube are now and the influence N.W.A had on an entire generation of rappers and musicians.
N.W.A gain inspiration for their song "F*ck The Police" (Dre wears black chucks).
The movie is a must see for any fan of hip-hop as N.W.A. are one of, if not the most important group in the genre's history. It's well directed, and the actors portraying these musical legends bring great depth and emotion to their roles. There is a lot of history to cover in two and a half hours, but it never feels like the movie drags or is overstuffed. The story of these five kids from Compton can resonate with anyone who's ever had to overcome adversity or rise above their station in life.
The three main cast members (bottom L to R), O'Shea Jackson Jr., Jason Mitchell, and Corey Hawkins with their surviving counterparts, Ice Cube (top left),Dr. Dre (top right), and director F. Gary Gray (top middle).
Dr. Dre wearing monochrome black chucks.
The best chucks scene in this movie occurs after Dre gets in a fight at the nightclub he works at. Eazy bails him out the next morning and we see Dre is carrying his shoes around in a plastic bag. It's a pair of all black chucks and we get a good look at them as he has to replace them. This is also the scene where Eazy and he decide to start their own label, so not only is it a great scene for chucks, but an important scene for the film as well.
Dr. Dre lacing up his monochrome black low top chucks.
Straight Outta Compton. (2015) O'Shea Jackson Jr., Corey Hawkins, Jason Mitchell, Neil Brown, Jr., Aldis Hodge, Marlon Yates, Jr., Cara Patterson, Alexandra Shipp, Paul Giamatti. Directed by F. Gary Gray.
Categories: Crime, Drama, Music.

redpajama_set_name: RedPajamaCommonCrawl


Storage space is definitely a consideration in making a practical kitchen. If you are restricted by flooring area, merely seek out. There is often a great deal of area between the counter tops as well as ceiling that simply isn't being made use of in a kitchen. Take a look at the area over the refrigerator. Is your own just accumulating dust or obtain menus? If so, include a closet and also you've got a wonderful location to keep hardly ever utilized platters or treats you want to keep concealed from the kids.
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Kitchen cabinetries come in more styles and also surfaces that you can picture. Nevertheless, if your budget is restricted then you don't have to replace them for a completely new look. Closet refacing lets you select closet patterns that are up to day as well as lovely.
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Minneapolis, MN, October 3, 2016 — Wheless Partners, an industry leader in executive search with globally recognized subject matter experts in strategy, assessment, executive selection, leadership development, and executive coaching, is pleased to announce the merger of the retained executive search firm Chandler Group. The groundbreaking merger brings together two of the most influential leaders in executive search and leadership consulting.
"We decided to seek a merger with another firm because we believe that a larger organization will allow us to provide a wider array of retained executive search services, increased industry expertise, and greater access to talent for our clients. Our decision is grounded in our belief that aligning with a proven, global enterprise and its collection of trusted business advisors and search consultants will further elevate our clients' brand equity and advance their marketplace position," said Cindy Chandler, President of Chandler Group.
The Chandler Group and Wheless Partners share cohesive core values and approaches to exceeding client expectations. Additionally, the combined organization brings greater industry experience to the 25 different industry sectors that they serve, bolstered by the support of an expert Advisory Council comprised of leading industry luminaries.
Wheless Partners is a trusted source of expert counsel and execution on Management, Executive, and Board search. Their team of globally recognized subject matter experts in strategy, assessment, executive selection, leadership development, and executive coaching also advise clients on Succession, Talent Mapping, and Interim Executive Solutions.
Since its founding in 1986, Wheless Partners has partnered with global Fortune 500 companies, midsize enterprises, leading public and private institutions, investment portfolio companies, not-for-profit foundations, and smaller entrepreneurial startups across all industries and functions.
Cap the number of enterprises accepted as clients to 3% in each industry sectors we serve.
Assure your access to 97+% of the limited supply of top talent in your segment to meet the critical needs of individual companies.
Employ a proven selection process to ensure clients advance mindshare, market share, ROI, EVA, enterprise, personal and professional brand equity.
Chandler Group began its retained executive search professional practice in 2001. The firm's growth over the past 15 years has attracted high-quality, committed professionals who are dedicated to serving their broad client base. Their work in Healthcare, Technology, Nonprofit, Boards, and the Commercial Sector has helped contribute to the growth and success of many organizations.


text:
Комник Юрий Фёдорович () — советский и украинский физик-экспериментатор. Автор фундаментальных исследований в области физики тонких плёнок, доктор физико-математических наук (1975), профессор (1981), лауреат Государственной премии УССР в области науки и техники (1986).

Биография
Юрий Федорович Комник родился 29 января 1931 года в г. Бердянск, Запорожская область, УССР. В 1956 г. окончил Харьковский политехнический институт по специальности «Физика металлов» [1]. После окончания вуза работал в институте преподавателем на кафедре физики, закончил аспирантуру под руководством проф. Л. С. Палатника. С 1964 работал в Физико-техническом институте низких температур НАН Украины. В 1970 г. по инициативе директора ФТИНТ Б. И. Веркина возглавил вновь созданный отдел электронных кинетических свойств металлов, которым руководил до 2002. С 2002 работал главным научным сотрудником в этом отделе. За время руководства Ю. Ф. Комником, отдел превратился из небольшой научной группы в мощный исследовательский коллектив [2]. "Фундаментальные исследования кинетики образования тонких пленок и фазовых переходов в частицах малого размера во многом определили успех Ю.Ф. Комника в обнаружении квантового размерного эффекта в тонких плёнках висмута, сурьмы и олова, изучении квантовых интерференционных явлений в тонких плёнках, в гранулированных и перколяционных системах, а также в двумерном электронном газе в гетеропереходах" [3,4]. В 1975 защитил докторскую диссертацию, в 1981 получил звание профессора, в 1986 стал лауреатом Государственной премии УССР в области науки и техники [5]. Опубликовал более 180 научных статей, несколько обзоров. Имеет индекс Хирша h=18 [6]. Является автором монографии «Физика металлических пленок. Размерные и структурные эффекты», изданной в 1979 году [7]. Под руководством Ю. Ф. Комника было защищено 14 кандидатских диссертаций.
Скончался 2 июня 2018 в Харькове.

Основные научные результаты
1. Кинетика образования тонких плёнок и фазовых переходов в малых частицах:
 обнаружение эффекта смены механизма конденсации пар-кристалл на механизм пар-жидкость при температурах существенно ниже температуры плавления вещества;
 введение представлений о характерных температурах и диаграммах конденсации тонких пленок;
 обнаружение размерной зависимости температуры плавления малых частиц и изменение в них периода кристаллической решётки.

2. Квантовый размерный эффект в тонких плёнках:

 квантово-размерные осцилляции проводимости плёнок полуметаллов;
 квантово-размерные осцилляции критической температуры сверхпроводимости плёнок олова;
 квантовые осцилляции проводимости при изменении параметров энергетического спектра в плёнках переменного состава висмут-сурьма.

3. Корреляция электронных свойств с координационной структурой аморфных пленок (низкотемпературные конденсаты висмута и галлия):

 низкотемпературная электронография и определение функций радиального распределения;
 связь проводимости с изменениями координационной структуры;
 связь сверхпроводящих свойств с изменениями дисперсионных кривых квази-фононных возбуждений, определяемыми координационной структурой.

4. Квантовые интерференционные эффекты в тонких пленках (слабая локализация и усиление электрон-электронного взаимодействия):

 обнаружение и изучение слабой локализации (антилокализации) в пленках висмута и сурьмы;
 доказательство ослабления электрон-электронного взаимодействия в «грязном» пределе;
 поведение квантовых поправок в сильном электрическом поле.

5. Электронный транспорт в гранулированных плёнках и перколяционных системах:

 переход металл-изолятор в гранулированных пленках, происходящий при усилении локализации электронов;
 эффект сверхпроводимости вблизи перехода металл-изолятор и возвратная сверхпроводимость;
 обнаружение гигантского отрицательного магнитосопротивления в режиме прыжковой проводимости.

6. Фокусировка электронов поперечным магнитным полем:

 нелинейные эффекты при поперечной фокусировке электронов;
 «циклотронная» спектроскопия электрон-фононной релаксации в микроконтакте;
 дифракция электронного потока через микроконтакт.

7. Электронный транспорт в двумерных электронных системах:

 спин-орбитальные эффекты в плёнках висмута в перпендикулярном и параллельном магнитном поле;
 эффекты слабой локализации и взаимодействия носителей заряда и эффект электронного перегрева в дельта-слоях сурьмы в кремнии;
 эффекты слабой локализации и взаимодействия носителей заряда в двумерном дырочном газе в квантовых ямах Ge и SiGe.

Приоритетные публикации

Литература
 Видатні випускники Національного технічного університету «Харківський політехнічний інститут»
 К 40-летию отдела электронных кинетических свойств металлов Физико-технического института низких температур им. Б. И. Веркина НАН Украины. Под редакцией Ю. Ф. КОМНИКА и Ю. А. КОЛЕСНИЧЕНКО. Харьков. СТИЛЬ-ИЗДАТ, 2010
 О. М. Калиненко. Комнік Юрій Федорович «Енциклопедія Сучасної України» (англ. The Encyclopedia of Modern Ukraine), 2014
 Комник Юрий Федорович. К 75-летию со дня рождения. ФНТ, 32, 129 (2006)
 Лауреати Державні премії — За цикл робіт «Розмірні ефекти у малих частках твердого тіла»
 Komnik Yu F, Комник Ю Ф, Google Scholar.
 Комник, Ю. Ф. Физика металлических пленок : Размерные и структурные эффекты. — М. : Атомиздат, 1979. — 363 с.

Физики по алфавиту
Физики СССР
Физики Украины
Родившиеся в Бердянске
Умершие в Харькове
Выпускники Харьковского политехнического института
Доктора физико-математических наук
Сотрудники Физико-технического института низких температур НАН Украины


The fourth annual William Walker Memorial Singing was held at Wofford College on Saturday, January 11, 1997. Harry Eskew opened the singing by welcoming the singers and visitors. Prayer was led by John Bullard.
Harry Eskew introduced Hugh McGraw to teach a brief four note singing school. Hugh McGraw led page 49 from the Sacred Harp. Harry Eskew followed with brief remarks about the life of William Walker.
The business session was held. Officers elected or appointed were: Chairman—John Bullard; Vice Chairman—Willie Isreal; Secretary—Charlene Wallace; Arranging Committee—Willie Isreal. Three books were used: Sacred Harp (S.H.); Christian Harmony (C.H.); Southern Harmony (So. H.).
Leaders: Brent Holcombe 101 (S.H.), 230 (C.H.); Dr. Walter S. Hartley 178, 146 (S.H.); Sharon Kellam 71 (S.H.), 191 (C.H.); Lee Rogers 35 (S.H.); Gene Crenshaw 547 (S.H.); Henry Zittrouer 59 (S.H.); Frances Carnell 163b, 368 (S.H.); Laurel Horton 200, 48b (S.H.).
The class was called together by Willie Isreal leading song on page 117 (C.H.), 86 (S.H.). A proposal was made by Harry Eskew to change the date of singing, due to weather conditions in January. The 1998 session will be held on Saturday before the first Sunday in April. Leaders: Debra Jones 159, 480 (S.H.); Perry Carnell 570, 479 (S.H.); Andy Morse 183, 57 (S.H.); Scott Swanton 32, 215 (So. H.); John Bullard gave the blessing followed by lunch at the college.
The class resumed singing with Judy Mincey leading songs on page 50 and 287 (S.H.). Leaders: Harry Eskew 8 (So. H), 40 (S.H.); Diane Eskenasy 89, 135 (C.H.); Don Bowen 66, 32 (S.H.); Lynda Hambourger 299 (C.H.), 528 (S.H.); J. B. Parker 55b, 160 (C.H.); Jennifer Chandler and Mildred Chandler 109 (C.H.); Terry Chandler 369 (C.H.); four generations of the Parker family—J. B. Parker, Mildred Chandler, Terry Chandler, and Jennifer Chandler 82 (C.H.); Dan Huger 92 (So. H.), 339 (C.H.); Chris Berg 136, 381 (C.H.); LeAnne Carnell 180, 198 (S.H.); Steve Walker 214, 70 (C.H.); Becky Walker 81 (C.H.).
The class was dismissed with prayer by John Bullard after which the singing adjourned to the nearby cemetery and sang 341 and 62 at the gravesite of William Walker. John Bullard dismissed with prayer.
Chairman—John Bullard; Vice Chairman—Willie Isreal; Secretary—Charlene Wallace.


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Providing Exceptional Service with a Passion Every Client Deserves.
"As first time home buyer, I was somewhat nervous about the whole process. Judy and her crew were great when it came to answering my questions and were responsive to my needs to look at my prospective new home yet again. Judy made buying a home a good experience. I would recommend her skills, professional manner and experience to anyone in need of a realtor. Thanks, Judy!"
"Niki could not have been more supportive & helpful in negotiating the steps to complete the sale and closing on my house in Riverton. I would absolutely recommend her to anyone in need of a capable realtor!"
"Niki helped my son and I purchase our first home. She was very patient helping me start the process long distance & set up a ton of showings for the one day I was in town. When we did make it out to look she showed us every home I added last minute even those she knew we wouldn't like! When we found the right fit the process was swift and smooth and she walked me through every little step. 6 months later and she still checks in! We'll definitely use her again if we decide to move."
"Judy Bauman represents Cornerstone with superior professionalism, sincerity and exceptional organization. We contacted Judy to place our parents home on the market. It took only six weeks to sell due to her spot on market analysis. As siblings, we have been involved in selling other properties, this experience was exceptional.. Judy took us through the selling process from start to finish, explaining our best pricing options and what would be required of us financially upon selling the home. We knew where we stood as clients! Superior work from start to finish."


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Kids' Learning Club
Newsletter and Annual Report
Recruitment of Center Director
Saint Barnabas' Society and Home
Since 1987, we have visited hundreds of street sleepers. Some live on the streets, some under flyovers or in back alleys. We also visit people who live in Wood Partitioned Rooms (WPR), dwellings that house the most vulnerable group of people in our society.
Each individual has had a different journey in life, and we at Saint Barnabas' Society and Home have tried to support them in the ways that we can. We see these people as Our Friends.
Come and read about the story of two of our friends, Grace and Mr. T.
We have the power of loving, because he first had love for us.
Providing shelter and helping the homeless and poor in Western Hong Kong since 1987.
Email: enquiries@sbsh.org.hk
Phone: 852-2548 9056
Address: 21 Fung Mat Road
(HKU MTR Station Exit B2)
Centre Hours: Tuesday to Saturday
2 pm to 6 pm
Newsletter & Annual Report
© 2021 Saint Barnabas' Society and Home


Are you the owner of a vehicle? Certainly you have seen times in which repairs are needed. It can drive you crazy trying to find a good and honest car service shop. In this article, there are tips that can help you find a company you can trust.
Know what the repair is going to cost you before handing over your keys. Ask any questions you have about the service before they start work on the car. You want to avoid being surprised with additional charges once the car is fixed.
Make sure all repair records are kept close. You may want to store them in the glove compartment for easy access. The mechanics who work on your car might need to go through these records. These documents can help the mechanic figure out the problem quicker.
Be careful that your mechanic does not attempt to perform unneeded repairs. They should contact you before doing any extra work. If an auto technician performs unnecessary repairs or repairs that were not agreed upon beforehand, don't return to them for further services.
There are quite a few repair services that exist and that makes it hard to locate one that can help you out. Be sure to use this advice for future car issues. Work hard and you'll get great results.


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/de/newyork/highline
A View On Cities > New York City > New York Attractions > High Line Loading...
United Nations HQ
> High Line
Intrepid Sea, Air and Space Museum
Metlife Tower
More New York Attractions...
- thehighline.org
The High Line is a 1.45 miles (2.33 km) long elevated park, 30ft (9m) above the ground. It was originally built in the 1930s as an elevated railroad along the West Side of Manhattan.
An Elevated Railroad
Tracks on the High Line
In the 1860s a railroad was built along the sparsely populated west side of Manhattan, known as the West Side Line. By the 1930s however traffic had increased to such an extent that the railroad had become a safety concern.
So in 1934 a mile and a half long part of the track - 22 blocks from Gansevoort Street to 34th street - was elevated 30 ft (9m) and became known as the High Line. The tracks were used by freight trains which could go straight into the warehouses in the Meatpacking and Chelsea districts.
After the trains stopped using the tracks in 1980, the railroad started to fall in disrepair, and wild plants quickly covered the tracks.
A New Park
At the end of the 1990s, when the High Line was already slated for demolition, the idea of turning the railroad into a park - similar to Paris's Promenade Plantée which had opened a decade earlier - was proposed by a group of local residents. They succeeded in overturning a demolition order and convinced the city to support their idea of a 'park in the sky'.
In 2006 the conversion of the elevated railroad into a park was started after a design by architects Diller Scofidio + Renfro and landscape architects James Corner Field Operations. The first section of the High Line, from Gansevoort Street in the Meatpacking District up to 20th Street in Chelsea, opened in June 2009; a second section opened two years later and the final section up to 34th street opened on September 21, 2014.
Overlooking 10th Avenue
The High Line is now an elevated greenway which can be reached by elevators or stairs about every two blocks. Walking along the beautifully landscaped park is an almost serene experience as you are three storeys above the bustling city. And thanks to the low-rise buildings in the area you have a great view over the neighborhood.
The landscaping often refers to the High Line's railroad past, with stretches of steel tracks still in place and concrete slabs shaped in the form of rails. The route even leads through buildings where trains used to deliver their cargo.
Along a central path are flower beds, often with wild grasses similar to those that used to overgrow the tracks after the railroad was abandoned. There are plenty of benches and even a series of steps from where you have a view over 10th Avenue.
Next: Intrepid Sea, Air and Space Museum
Next Park: Brooklyn Bridge Park
- High Line Pictures
High Line and Chelsea Walking Tour
http://www.partner.viator.com/en/9347/tours/New-York-City/High-Line-and-Chelsea-Walking-Tour/d687-5250HIGH
Secrets of the High Line
http://www.partner.viator.com/en/9347/tours/New-York-City/Secrets-of-the-High-Line/d687-43581P1
Highline and Chelsea Markets Tour
http://www.partner.viator.com/en/9347/tours/New-York-City/Highline-and-Chelsea-Markets-Tour/d687-108074P9
Chelsea Market, Meatpacking District & High Line Food Tour
http://www.partner.viator.com/en/9347/tours/New-York-City/Chelsea-Market-Meatpacking-District-and-High-Line-Food-Tour/d687-8501P8
High Line Park and Greenwich Village Food Tour
http://www.partner.viator.com/en/9347/tours/New-York-City/High-Line-Park-and-Greenwich-Village-Food-Tour/d687-6715GVHL
> More Tours
14th St. (A,C,E,L)
Starts at Gansevoort Street and Washington Street
leads north up to 34th Street
Press &ltESC> to close


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RUSSIA'S OPPOSITION TO BAN FROM ELECTION
Serhat TUNAR -TDO- The Russian Central Election Board announced that the election ban on opposition candidates wishing to participate in the Moscow local elections on 8 September will continue. Thousands of Russian citizens were detained in demonstrations in Moscow to allow the opposition names to participate in the local elections, and the police were harshly criticized for violent violence.
Russian officials said the objections of the country's leading activists, Lyubov Sobol, Dmitry Gudkov and Elena Rusakova, were rejected and these names could not be nominated in the elections.
The Central Election Board stated that the opposition names who wanted to compete in the local elections could not collect the required number of wet signatures to be nominated, but the opponents rejected this reason.
Leonid Volkov, who made a statement about the decision of the central election board, said the protests will continue to increase and marches will be organized in other cities except the capital Moscow.
/bilgi@diplomaticobserver.com
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porno izlebrazzers


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israelandstuffcom | March 19, 2018
French diplomatic vehicle, 2 consulate staffers arrested for smuggling Hamas arms
With the cooperation of the French gov't, Israel's Shin Bet security operatives arrest a French driver and Palestinian guard, both employed by the French Consulate in Jerusalem, for smuggling automatic assault rifles and hand guns from Hamas in Gaza to terrorists in the West Bank using a vehicle with French diplomatic plates.
By Yoav Zitun, Itamar Eichner
Two employees of the French Consulate in east Jerusalem—a driver and his security guard—were arrested by Israeli authorities last month on suspicion of using a vehicle with diplomatic plates to smuggle weapons from Hamas in Gaza to the West Bank, the Shin Bet said Monday.
The consulate's driver, Romain Franck, a French national, is suspected of using his diplomatic vehicle to transport some 70 handguns and two assault rifles.
The vehicle used by the French driver to transport the weapons – Photo: Shin Bet
A Palestinian guard employed by French authorities, a resident of east Jerusalem, was also arrested in the case, as well as several Palestinians from the Gaza Strip who were staying in the West Bank illegally.
Franck was part of a Palestinian network in the Gaza Strip, the West Bank and east Jerusalem that smuggled weapons from Gaza to the West Bank through the Erez border crossing.
The French driver smuggled arms on several occasions over the past few months, while taking advantage of his diplomatic vehicle, which was subject to less stringent security checks at the crossing.
Franck received the weapons from a Palestinian resident of Gaza who works for the "French culture center" in the strip. Franck then took the arms to a Palestinian man in the West Bank, who in turn sold them to arms dealers.
The investigation found that Franck had a financial motive and was acting of his own volition and unbeknown to his superiors. The investigation also found that several of the Palestinians arrested in the case were also involved in the smuggling of money from Gaza to the West Bank.
The investigation was carried out in coordination with the Israeli Foreign Ministry and while keeping French authorities constantly updated.
A total of nine suspects have been arrested in the case so far. Indictments will be filed against six of them on Monday.
The French embassy in Israel said on Monday it was cooperating with Israel in the investigation. "We take very seriously this case … and we work very closely with the Israeli authorities on this matter," said an embassy spokesman, who declined to comment further on the allegations against the staffer, a French citizen.
Romain Franck – Photo: Facebook page
According to his Facebook page, Franck, who is from Lambersart in the north of France, arrived in Jerusalem in January 2017. "It's the big day, starting to a new adventure.. Thank you for everything that accompanied me and supported in this new experience that begins!" he wrote at the time.
Later he posted many photos from the region, including from Petra and Aqaba in Jordan, the Palestinian Authority and the Jordan Valley.
An Israeli official called the incident "very grave," but clarified it would not affect Israel's ties with France. "We thank French authorities for the cooperation," he said.
A senior Shin Bet official decried the "cynical exploitation of the immunity and privileges granted to foreign representatives in Israel to smuggle weapons… that could be used in terror attacks against Israeli citizens and security forces."
The Coordinator of Government Activities in the Territories, Maj. Gen. Yoav Mordechai, also slammed the "cynical and never-ending exploitation of humanitarian aid and international aid by the terrorist infrastructure."
"This event only clarifies the need for a strict policy on granting (entry) permits," he continued. "International bodies are required to carry out internal inspections to ensure aid goes to the residents of Gaza and not to terror."
French lawmaker Meyer Habib, who represents French nationals living in Israel, the West Bank and Gaza, said, "Unfortunately, this isn't the first problematic affair the French Consulate in Jerusalem has been involved in. And even if only junior staff were involved, there is a feeling, unfortunately, that the consulate has actually become the French Embassy to the Palestinian Authority."
Category: Israel News | Tags: arrested, French Consulate, Shin Bet, weapons smuggling


On the 24th, of August, orders were issued to Col. B. F. Smith, commandant at Fort Snelling, directing him to arm and equip the company of troops under command of Captain Strout then of the l0th Regiment, and detail them to proceed "to Forest City and such other places in the vicinity as expediency might require, for the purpose of protecting and assuring the inhabitants of that region." As heretofore narrated in Chap. VI, p. 64, Strout arrived at Forest City on the eve of the 27th of August, and went into camp near the residence of Judge Smith, and stated that he could remain there if necessary till further orders. He was reliably informed that all the Indians then known to be on the frontier were at Swede Grove about ten miles west of Forest City.
On the 3d of September the stockade was built by the citizens then in Forest City about 120 feet square, by planting a double row of logs on end, three feet in the ground and about ten feet high, with bastions-it was built and finished up in less than 24 hours and I venture to say on the quickest time that any such edifice was ever erected in the United States-and well that we did so for we were treated to a ceremonious call at 3 o'clock on the morning of the 4th by about two hundred and fifty Savages.
Our hasty uncarpeted accommodations took the red devils by surprise. They had not previously discovered our accommodations, and at once gave up the idea of assailing us in quarters, and con fined their operations to a little promiscuous, careless shooting of old guns, and stealing horses, which unfortunately we had not secured within the stockade prior to their polite arrival.
Some ten or twelve Indians lost their lives here that morning in consequence of the inexperience, and un-soldier-like careless shooting by our boys. The boys all meant well but they didn't know any better, and notwithstanding the , assertion of dapper-fingered historians to the contrary, the Indians falsified said history by carrying their dead from the field of carnage before day. Only one white man was seriously wounded.
A gentleman from Canada had arrived at Forest City but a day or two before and was sleeping in the back of Mr. Hoyt's house and awoke just in time to see the Indians firing the front end of the house, and had the good luck to slip out at a back window and secrete himself in a corn patch in the garden, and while in this interesting position saw five dead Indians piled into a double wagon by the side of the burning house.
The celebrated "crazy" Irishman came strolling into town some days prior to the attack, as a spy for the Indians, and had he been allowed to return to his employers. .the attack would probably have been more successfully made some days earlier.
Not being able to pronounce the word "Shibboleth" he was placed in `durance vile' and ultimately shipped under guard to Monticello-thence to St. Paul where he was magnified into a harmless martyr by the moccasin aristocracy of the Saintly City and thence was allowed to depart to parts unknown.
This was the same "crazy" Irishman described by Mrs. Baker, and who passed Howard Baker's house just after the Indians, and who robbed the dead body of Baker of 50 to 70 dollars in gold. Six dwelling houses and one barn were burned at Forest City on the morning of the 4th, of Sep tember, viz: of Wm. Richardson, Milton Gorton, James P. Howlett. Dudley Taylor, A. B. Hoyt, William Richards and A. C. Smith, Mrs. T. C. Jewett, Mrs. Whitcomb and Mrs. Brown were the only ladies that remained at Forest City the entire period of these exciting times.
There were 12 persons killed in Meeker County and 12 in Monongalia the names of which were, in Meeker, Robinson Jones, Ann Baker, Viranus Webster, Clara D. Wilson, Philip Deck, Joseph Page, Linus' Howe, Wilmot Maybee, Nels Olsen, Caleb Sanborn and Cross, and in July 1 863 James McGannon. In Monongalia three Olsen's, father and two sons, Anderson and son, Carl Carlson and son, Mr. Backland, Mr Lawrenson and the Lumberg family, and nine in McLeod County, contiguous to Meeker, viz: Mr. Spondy, wife and two children, one child of John Adams (taking John Adams prisoner) and four of the White family at Lake Addle. Mr. Adams was taken prisoner Sept. 4th.
Total killed in Meeker and vicinity, thirty-three, and probably some who have never been reported.
July 1st, 1863 McGannon was shot between Kingston and Fair Haven, probably by Little Crow in person, as this distinguished chieftain was a few days after shot by Mr. Lamson on section 30 Town 118-29 (Collinwood) Meeker County, and was found in possession of McGannon's coat.


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Series Review: Cute High Earth Defense Club LOVE! (Binan Koukou Chikyuu Bouei-bu Love!)
Snow White with the Red Hair – Episode 9: "Feelings That Connect"
Sailor Moon Newbie Reviews: Episodes 116-117
Archive Dive
Sailor Moon Newbie Reviews: Episode 200 (Stars Finale)
My God, it's full of Sailor Stars!
And so we come at last to the end of things. As is tradition, I've got a Stars retrospective after the recap, with general commentary on the season as a whole. As for any overarching thoughts about the entire series and my two-year trip through the Mooniverse, I've decided to save those for another post tentatively scheduled to go up the first week of May.
For now, though, we've got a finale to tackle!
Episode 200 – To The Sailor Stars Through Difficulties
Fulfilling her season-long purpose, Chibi-Chibi (a.k.a. C.C.) (a.k.a. Galaxia's star seed) (a.k.a. The Light of Hope) (a.k.a. Sailor ex Machina) turns into a muthafuggin sword so Sailor Moon can use her to seal away Galaxia. Basically Galaxia released her own star seed, complete with Sealing Sword, as a fail safe in case she was possessed by the Chaos. This fits with our knowledge up till now and (kind of) (I guess) justifies C.C.'s lack of personality since she's more vessel than human, so I can roll with it.
Galaxia's worried enough about this new development to break her own bracelets, going Super Senshi Level Three and switching her alignment from Lawful to Chaotic Evil. But Usagi's a lover, not a fighter, so she uses the sword purely for defense, still insisting Galaxia can be saved. Along the way she accidentally stabs Galaxia, to which Galaxia responds by shattering the sword, Hope, and C.C. all in one go.
I can't decide if this is a good thing or an annoying thing, because while it does at least put the resolution of the story back into the hands of actual characters instead of convenient plot devices, it also makes C.C. functionally pointless. There is nothing she does that couldn't have been done by someone else, so why is she even here at all? I mean, I know "why"–because she's in the manga–but they've cut manga characters before when it didn't fit with the anime's story, so that's not really an excuse. Sailor Moon has usually done a good job of balancing its anime-original content with the source material's content, but C.C. is a pretty glaring failure, I'd say.
At any rate, Usagi both refuses to give up and to fight Galaxia, rejecting Galaxia's definition of what it means to have the "courage and pride of a guardian" in favor of her own Super Friendship Powers. She believes there's still a "fragment of hope" left in Galaxia's heart, some piece of her who still loves this world the way she once did. And so Usagi strips herself down to her barest self (metaphorically and literally!), pushes through the Chaos and grief, and reaches out to what remains of Galaxia herself.
And, of course, Galaxia reaches back.
Hulu had to rate this episode "M for Mature," because NUDITY?! GASP. Think of THE CHILDREN!
The two purge the Chaos from Galaxia's body, dispersing it out into the galaxy to live in everyone's hearts side-by-side with Hope. Galaxia points out this means new conflicts will arise, but Usagi encourages her to believe that people will listen to their better halves and not give in to Chaos. Wishing to right her own wrongs, Galaxia shoots off into the Milky Way with the many star seeds at her side, planning to restore them (and their physical forms) to their proper worlds. Granted, all those worlds are dead and full of phages, but if it means Siren and Crow are reunited, I'll still tag that as a happy ending.
This means the star seeds that belong to our world can be restored as well, and so Usagi's friends, boyfriend, and plot device return to her in sparkly shoujo glory. Princess Kakyu's back, too, so our battered Star Lights are having themselves a pretty good day as well. I think we all know what reaction gif I have to use now:
With the galaxy saved, C.C. disappears as arbitrarily as she arrived, Kakyu and the Lights return to their home planet, and Usagi and her friends go back to their dual lives as students and guardians. She and Mamoru make out beneath an alarmingly large moon as we bookend the series by having Usagi echo her early introductory monologue and the ORIGINAL OPENING THEME, YAAAAS, plays us through the end credits.
And that's, um… it, I guess. The end!
The Sailor Stars and Gripes Forever: A Retrospective
Okay. So. I think if you've been following along with me then you'll know I was pretty lukewarm about Stars, and while I mostly enjoyed this finale, my overall feeling is one of disappointment rather than satisfaction. As I've said before, I don't like writing negative reviews–I don't think they accomplish much beyond provoking conflict and raining on other people's parades–but I've been recapping this show for two solid years now and I can't just skip this retrospective or lie to you and pretend I thought it was all great.
That said, I have no real, like, "moral" problems with Stars. There are some things I wish it had done better in terms of Big Ideas or Social Commentary, but I don't think it's promoting anything actively harmful, either. I know it's a pretty popular season among Sailor Moon fans and I don't begrudge anyone their enjoyment of it. I'm glad you liked it! I wish I'd liked it as much as you did! And I have no interest in spoiling that for you.
So if you love Stars and don't want to read about someone who didn't love it, then this is your chance to close the tab and go read something else. We can part ways for now and geek out together like a pair of proper Mooninites when my series retrospective goes up. No hard feelings, I promise.
Still here? Then buckle in. If I have to explain why a story didn't work for me, then I'm going to take the time (and word count) to explain it as clearly as I can.
Let's start with what I did really like, which was a handful of standout episodes and character beats–Iron Mouse's ridiculous farewell episode, Siren and Crew's frenemyship, HaruMi's death scene, Minako's little story arc–as well as the Big Bad and the central idea/argument she helped represent. I think Stars's heart was in the right place in terms of the story it wanted to tell, and I think that it, like SuperS, did a nice job of using the antagonist as a foil to show why Usagi, for all her flaws, is still worthy of being The Hero.
I finished Star Driver (an Igarashi original project that I kiiiind of adored) a day before finishing Stars, so I can't help but draw comparisons and parallels, but I think Igarashi is personally very interested in challenging traditionally masculine ideals of strength, and that he uses Galaxia and Usagi to help explore that. Galaxia is the Traditional Masculine Hero, the lone ranger who's so physically strong she saves everyone on her own…which then leads to isolation, despair, and eventually the dehumanization of others. There's a fine line between "to protect" and "to own," between helping someone and trying to control them, and it's a lot easier to cross that line when you've never had to be protected by someone else.
Contrasted with Galaxia, Usagi freely admits that she's "not that strong" and often needs or just plain wants help from others. Even when she saves the day, she does so in part because of the faith others have put into her, and uses that as her strength. I think Stars, like much of Sailor Moon, very neatly reverses the Classic Hero Ideal, showing how acknowledging one's own weaknesses and relying on others is its own kind of strength, because it keeps you empathetic and respectful, seeing others as people instead of objects to be acted upon.
Sailor Moon has always been a pretty smart story in terms of how it takes traditional feminine ideals like communication and cooperation and "weaponizes" them, showing how they can be used to defeat "evil" just as well–and sometimes more effectively–than traditional masculine ideals. I love that about it, and I'm glad Stars continued that tradition in its own way.
Unfortunately, Stars fumbles a whole lot in the execution. You've already heard me grumble about Chibi-Chibi the Plot Device, how Seiya was the only Star Light who received a distinct personality despite a ton of "character building" episodes, all the wasted thematic potential, forced drama, and repeated story beats, so I won't go into detail about that here. Instead, I want to talk about how Stars undercuts its own central message about the importance of others by kind of…ignoring all those others.
With the exception of Minako and maybe Haruka and Michiru, none of the guardians get much in the way of character-focused episodes or anything resembling their own story arcs this season. The Inners' interactions center almost exclusively around the Star Lights and Usagi, and outside of a few cute touches here and there, they tend to act as a sort of Hive Mind, to the point where many of their lines seem interchangeable.
But hey, at least they had lines–Pluto and Hotaru were brought back so they could do almost nothing, and poor Mamoru and Chibiusa were written out altogether. Sailor Moon's greatest strength is its ensemble cast, and dropping that in favor of focusing exclusively on a few new characters caused the season to lose a lot of its variety and energy.
That's not even taking into account the larger Mooniverse, which the series had built up over the course of four seasons only to ditch here completely. Naru, Umino, Motoki, Unazuki, Chibiusa's friends, Rei's grandpa, MY SWEET DOPEY TEDDY…heck, did anyone in Usagi's family other than her mother even make an appearance? I get that the Moonies' dual lives would naturally cause them to become somewhat insular, but to have it happen so totally and swiftly feels more like poor writing than a gradual, organic development.
This lack of a supporting cast coupled with the season's halfhearted star target stories also gives Juuban (and the world at large) a generic quality, robbing the alien threat of a lot of its tension and stakes. I know others have criticized S and SuperS for spending so much time on one-off characters, but I think this is one of Sailor Moon's greatest strengths: That unlike so many other superhero shows, it treats those being attacked like real, layered humans instead of just random, faceless victims.
In a show that so strongly promotes empathy and redemption, it's vital that it focus on the people the Moonies save as much as it focuses on the Moonies themselves. In past seasons, we knew who Usagi was fighting for, and had real, specific reasons why we wanted the city and its people to be saved. This season, though? Seeing Juuban covered in darkness with generic citizens getting starvested? There's no human connection there, no sense of the subjects Usagi protects as opposed to the objects Galaxia controls, and that's a disservice to the very message Sailor Moon and Stars itself were trying to convey.
The thing is, for all that, I really don't think Stars is a bad standalone Sailor Moon season. It doesn't have a lot of high points but it doesn't have a lot of low points, either. It's consistently decent, mostly fun, sometimes annoying, occasionally moving, and flirts with some worthwhile ideas even if it doesn't always follow through with them. Overall I probably enjoyed it a little more than parts of SuperS and Season One, and maybe more than R as a whole. As a standalone season, I'd be feeling mostly positive about it and ready to see what Igarashi could do with the next arc, now that he'd had some time to get his feet under him.
But there's the rub, because Stars isn't a standalone season–it's the final season, and Episode 200 is supposed to be the series finale. That, more than anything, is why Stars has left me feeling so discontent. It's like the anime staff didn't get the memo, because outside of the size of the threat (Stars definitely upped the ante with a galaxy-destroyer, I can't deny that), nothing about this season feels like The Last One at all.
Instead of focusing on its central (and supporting) cast, providing them with satisfying story lines to grant them significant growth and wrap up their individual arcs, it ignores and homogenizes them in favor of a bunch of newcomers. Even our "miracle romance" gets shafted so we can cram in a way-too-late-in-the-game love triangle. There's no tying these events into the founding of Neo Tokyo, no setting us up for the future we know will eventually arrive.
I get that the scouts are still in high school with long (long!) lives ahead of them, and so there's only so much in the way of a "conclusion" that you can do here, but this season should have, at the very least, led to a significant paradigm shift. We just found out the galaxy is full of Sailors, and it has absolutely no effect on our characters or their lives. Everyone just goes home and the status quo is completely restored. So what changed, really? What makes this an appropriate moment to turn the final page on our story?
I have no idea. And that's what's got me so bummed by Stars. I wanted to leave the last episode of Sailor Moon thoughtful and satisfied and Full O' Feels the way I did at the end of S and SuperS, and I didn't get that, and that stinks. I don't want this two-year adventure to end with a grouchy post. That, more than anything, is why I decided to wrap this project up in a week (or two) with a flourish instead of leaving us here with a thud. Hopefully this long-winded critique hasn't driven you all away, and you'll be back to enjoy a far more positive stroll down Newbie memory lane. Punny titles are, of course, guaranteed.
Our final episode title is the obscurest of Stars references yet: Ad Astra Per Aspera is my home state's (totally awesome) motto, meaning "To the Stars Through Difficulties." How could I resist?
Watching the Star Driver and Sailor Stars finales right next to each other led to an unexpected realization: Igarashi sure does like him some naked ladies. He's actually pretty good about not sexualizing them in either episode, but the back-to-back nudity-riddled finales struck me as kind of hilarious.
Even HaruMi, Queens of Coolness, thought the Star Lights's sunset transformation was A+ 100% Awesome.
…Wait, did Usagi seriously never realize that Seiya had romantic feelings for her? HOW?! Just HOW?!
Hark! A finale point! Lackluster finales aside, these recaps have been a blast, and reading all your reactions (new and nostalgic) has been a ton of fun, too. Feel free to chime in with your own thoughts, and let's chat about it again soon, okay?
April 21, 2016 Josei Next Door	episode 200, recaps, reviews, sailor moon, sailor moon sailor stars
27 thoughts on "Sailor Moon Newbie Reviews: Episode 200 (Stars Finale)"
Vrai Kaiser says:
I'd been behind swearing I'd get round to catching up on Stars and THEN read the recaps and then…didn't, but I knew i had to pop in for the finale post at least. Oofta, it's a shame to hear it fell down so hard. And WHY A LOVE TRIANGLE ANYWAY. It's the worst device, the worst, and it's not like UsaMo wouldn't have, y'know, real world problems they could face as high school sweethearts entering adulthood and I just…..agh. But….at least poly Outer Senshi and their small doom child? That's a thing this season made canonically exist?
Josei Next Door says:
Heh, I'm realizing that calling it a love triangle is really misleading if you're reading this without any context. It's probably closer to a ship 'tease. I guess? I don't know how to explain it without detailed spoilers, and despite all those critiques I really do hope you watch Stars at some point, because I'd be curious to see what you think about it both as a long-time Sailor Moon fan and a Cool Person Whose Opinion I Value. Maybe you'd spot something in the story I missed, or really like the new characters, or etc. Or we could complain together, which is way more fun than complaining alone!
As for the poly Outer Senshi and their doom child… I mean, yes, it does canonically exist, so yay! Just… don't expect it to exist on-screen in very large doses. ^^;
I mean I'm aware from fandom osmosis of Seiya's general existence…thing…still not a fan. Sigh. Has to be better than Crystal, right?
CRYSTAL SEASON 3 IS ACTUALLY FUN THO?? So I don't know what's true anymore.
mithrandirolorin says:
Crystal Season 3 is awesome
I'm not fond of when Love Triangles are hate don in concept. What I want is more openness to resolving them with a Non-Monogamous resolution.
Andrew (@FH14) says:
While I adore this season to bits, I do admit that it had the tendency to underservice characters. I mostly get why Setsuna and Hotaru were largely excluded though – Both characters were pretty OP in their own ways and have limited use in terms of fighting. That, and both characters story arcs were so directly tied to Chibiusa, who is largely absent this season. I get why Chibiusa was written out too, since her starring role in SuperS wasn't received very well and the character is also largely absent from this arc in the manga. (That appearance in Usagi's dream in 198 probably wouldn't have been such a gut punch if she wasn't as absent as she was). That, and while SuperS had its very glaring flaws it was a strong character arc for Chibiusa and a good note for the character to go out on. That being said, I do wish Rei, Ami, and Makoto had gotten more of a character arc. I'm thrilled to bits how strong Minako's arc this season was though, because I feel like out of all of them she had shafted the most in terms of character building.
I think a lot of the reason for the clean slate in terms of characters was because of the fact that, especially in the beginning of the season, it payed off the promise made toward the end of SuperS where the characters grow up and their world starts to change with entering High School. Hell, it can be inferred by many of the supporting characters' almost non-presence in S and SuperS that Usagi and the others were growing apart from their junior high attachments and becoming less dependent on their guardians. (Hell, Usagi's mother only shows up in two episodes due to the introduction of another child character).
Overall, this season goes out of its way to elicit callbacks to the first two seasons. The most obvious are Seiya whose behavior often mirrors Season 1 Mamoru and ChibiChibi whose presence draws parellels to Chibiusa's mysterious entrance (both obviously have radically different outcomes). Others I can think of off the top of my head include a reversal of Minako's original motivation (season 1 – leaving behind hobbies and passions for duty, stars – finding time for her hobbies and passions while maintaining her sense of duty), Two villains whose devotion to each other defines them more than their mission (Zoisite/Kunzite and Siren/Crow), A villain desperately trying to stop what they've helped build only to die tragically (Saphir and Tin Nyanko), Two hero factions who have essentially the same motivations inexplicably don't team up due to their lack of understanding in one another (The Guardians/Tuxedo Mask and The Guardians/The Starlights) [This is different from the Inner/Outer Conflict in S since they did not have the same motivations], Yet another arc keeping Usagi and Mamoru apart, A villain who voluntarily let darkness consume her and use her as its instrument (Beryl in order to have Endymion, Galaxia in order to save the Galaxy), AND the search for a mythical princess (Luna's search for Serenity, The Starlight's search for Kakyuu), etc etc etc. Some of them are recurring themes but a lot of the parallels seems intentional to invoke nostalgia.
I feel like I mentioned this before, but the inner senshi have several episodes where they reach out to connect with a Starlight. While famous, each are fundamentally alone and focused on their duty (Seiya seems like the only one in the beginning to hold any value for their comradery that extends beyond duty). This parellels Usagi reaching out to the Inner Senshi back in season one who were also all either famous or infamous depending on what interpretation you take (Ami with her high test scores, Rei as the shrine maiden to a shrine with a poor rep, Makoto basically having a yankee rep, and Minako fighting crime alone as Sailor V). Each pass on the same kindness they were given to the Starlights even if they're hostile (I remember Rei being pretty hostile in Season 1).
I think I've blathered on enough now, but I think I'll sum it up as one of the better arcs of the series. If given more notice maybe they could have constructed a more heightened ending for the series (maybe cut out some of the Starlight angst in the last few episodes and add in some more end capping of character arcs like Minako's awesome idol audition episode). I definitely think it holds up a lot better than R in terms of writing and SuperS in terms of actually having a story arc for the whole season.
Maybe it'll be too much to hope that you'll give another crack at Sailor Moon Crystal now that it's improved leaps and bounds (though I still think Part 2 did a better job in a lot of places with adapting the Black Moon arc than R did – particularly where Chibiusa and Pluto are concerned). IMO the different interpretations of this story across mediums (manga/90s anime/Crystal/Live Action/Stage Musicals) is one of the most interesting parts of Sailor Moon as a property.
I AM SO SORRY I DIDN'T MEAN TO WRITE A POST THIS LONG IT JUST HAPPENED orz
A LONG post? On MY blog, which is KNOWN for its BREVITY? HOW DARE YOU, SIRRAH. :p
Seriously though, I'm glad people are passionate enough about Sailor Moon to talk about it in-depth like this. I may not always have the time to respond in kind, but I really enjoying reading them!
Bell Lectar says:
Congradulations on finishing an achievement this big! <3
Your thoughts on season are a precious read from an old fan perspective because of this thing when you first see a series as a kid without putting much thought to it and then find yourself unable to judge it because you already know it all by heart but only on surface level. Like "so that was a perspective too! Never thought of that!" And first time watchers that review are rare in a franchise this old.
My thought on Stars is that it ended up suffering from a kind of an evil irony in what it was different from other seasons in that all of them were written to be the last one without plans for 1 more later – and thus tried to be as climactic as they can.
But Stars is the only one that seems like it was written with the idea "surely it can't be the last" so they tried to make it as inconsequential as it gets – a bunch of filler that only focuses on the newcomer chars and does nothing for the old cast with an ending of as little consequence as all it did was only restore the status quo from the start of the season. The only quality change was that it brought back Pluto and Saturn, other than that these 33 episodes may have never happened.
So a series that focused to love and dreams ended with nobody else finding love, nobody having their dreams fulfilled…
Which seems like the ground work to make the next season possible, which the writers seems to have assumed to come but when it never did they still didn't rewrite the last episode to include any new content to make it into a real ending. Which I guess makes it a product of laziness and general inadequacy and disinterest. No way the season 1 would get a continuation had it been made with this little passion.
But the best thing about Sailor Moon is that it has many mediums, each having things its done better than others, so as you discover more things Sailor Moon those elements you liked best in different mediums combine into an ideal that only exists in your head, of what this series may have been like had it been done perfectly, a combination of those traits that different mediums exceled at. A thing most good fanfics do,
So even an lacking season had a lot of worth in it. The character designs, the music, the voices, even the mannerisms hinting at a lacking characterization of the new characters, all those are precious things that make this franchise richer.
And lacking seriality was something all seasons suffered from, as these series focused on episodic fun and drama. The anime focused on characterization while the manga focused on a serial plot. Both were made at the same time with the intention of complimenting each other while doing different things.
And that was the perfect Sailor Moon in my heart until lately I started watching the old musicals and discovered they had their qualities too, mostly fixing those times when the anime's characteriation failed. Like can you imagine Pluto speaking in a voice that displays a personality other than a generic servant?
So there will always be some more Sailor Moon wherever you feel like you're addicted and need another dose, as its a franchise that keep on giving. <3
Myself, I read that scene as Usagi displaying her increased maturity in a way of being developed into a bit of a bitch. Like, how does she treat a unrequired love coming her way? She mocks it publicly.
She did know to dodge that one time Seiya attempted to kiss her on the lips. So unless she developed an early sclerosis from getting blasted too many times, she knew exactly what she was saying. Yay for development, I guess.
Loïc Lecoutour says:
Dee, thank you so much for the recaps.
It's my first time commenting ( this is a now or never situation ), but I have been reading your recaps for a while now. I first came across them on TMS, it must have been halfway through R… every week I looked forward to your gifs, puns, and opinions. And then one day I realised the posts didn't originate from TMS and all of a sudden I had twenty recaps of yours waiting to be read! What a good day that was.
My favourite arc of the Sailor Moon anime has always been Super S, even though in France they stopped broadcasting the series a couple of episodes before the Amazon trio's redemption. Can you imagine making it through 98% of their interminable search for Pegasus only to be denied the end of their arc! Not to speak of being denied the Amazing Amazon Quartet. So should you ever meet a French person in their thirties, whatever they do, however they act, never forget that they have been traumatised as children, that their dreams have been shattered by not having seen half of Super S ( and definitely not Stars ).
There was something about Super S that really appealed to me as a child. I didn't mind ChibiUsa as the hero, but to me it was all about the bursting colours of that season, the circus theme, the music ( THE MUSIC ), the silly – but awesome – monsters. Aesthetically I think Super S is a masterpiece. And, it has to be said, the obvious rape metaphors went right over my head, so clearly I wasn't an insightful teenager.
I wanted to leave a comment to firstly thank you for your work recapping Sailor Moon – done – and secondly because I wanted to share my views on Stars, a series I only saw as an adult. I had read the complete manga back in the day but could barely remember what happened in the Stars arc, and I had heard a lot of bad things about that part of the anime before seeing it.
Having finally watched Stars a couple of years ago and rewatched it alongside your recaps, I can't help but dislike Stars despite the fact that it's not THAT bad. The opening episodes with Nehelenia were fine with me ( I always considered them more as an epilogue to Super S than an opening to Stars ), but I found the twenty or so episodes devoted to Galaxia's minions search for a StarSeed completely unengaging.
I mean, if I understand correctly, the "true" StarSeeds are only found within Sailor Soldiers and the "animamates" know that, being Sailors who lost their Seed, so it makes absolutely zero sense for the antagonists to attack random people and then LEAVE every time the sailor guardians show up! Am I missing something here? Of course, it wasn't the first time in Sailor Moon history that the search for an item turned out to be a mine for plotholes ( how does the Trio not realise that ChibiMoon being the one to call on Pegasus in every episode they should at least check out her mirror – erm, sorry, that's gross ), but I suppose the stories being told around the search were almost always interesting in previous seasons, plus there is always a way to make up reasons in your head for why this all makes sense somehow. But suspension of disbelief can only be carried so far, so watching Stars I found myself no caring about a good chunk of it.
It didn't help that, like you mentioned, most of the cast basically disappeared, but if the villains had made sense I would have had a much better time with Stars. If only all the episodes had been in a similar vein as the last Sailor Iron Mouse episode ( the only episode I watched multiple times ), we would have had a great season. ChibiChibi didn't bother me because CUTE, and no matter what they say, CUTE goes a long way. Still, it's a shame not to have had the CC from the manga…
Having re-read the manga very recently, I can't wait to see the Sailor Moon Crystal adaptation of the Stars arc if they go that far and keep the current team, as it really does bring the narrative to a satisfying close and manages to make sense the whole way through. Dee, I was wondering, did you read the Stars arc of the manga? I don't remember that you mentioned whether or not you did.
Sorry, that was freaking long! That's what happens when you wait years to comment!
Thank you again for your recaps, they have been a true joy to read.
Looking forward to the last post, and to what you will write in the future.
hecker says:
On CC: The problem for me is that CC never interacted with the other characters in any significant way (that I can recall), so of course there was no possibility for character development like Chibiusa had in S. They could have just made CC into an cat or other animal familiar; then she would have had a form more appropriate to her function.
On symbolic nudity: I can take it in small doses, but the finale was ridiculous. During the post-victory scene where Mamoru was embracing Usagi all I could think of was, "girl, put some damn clothes on!"
On your verdict on Stars: Speaking as someone who's not a hardcore Sailor Moon fan (though I did watch 200 episodes of the thing—hmmm…), I think that while Sailor Moon succeeds as a work for fans, it ultimately fails as a work of art (in the way that, for example, Utena is a work of art) for a non-fannish audience. I think you did a good job of pointing out why that's true for Stars. I feel as if the creators (both Takeuchi and the anime directors) took multiple shots at the same basic setup and plot template and never quite succeeded in getting a perfect take. (S comes the closest I think.) I'm interested in seeing your final verdict on the series as a whole.
On the "Sailor Moon for Newbies Reviews": I can honestly say that I would never have conceived of watching Sailor Moon were it not for your posts. I can't thank you enough for writing them. In the middle of many stressful weeks I looked forward to watching the latest episodes on Hulu and then reading your take on them, goofy GIFs, bad puns, and all.
Incidentally, I will not be among those calling for you to continue the "Newbies" series with Sailor Moon Crystal. I skipped seasons 1 and 2 entirely, and have no plans to watch them. I've started watching season 3 based on net recommendations, and it's reasonably well done, but I'm not sure there's much more to say about it. I think your talents would be better applied elsewhere.
Llavud says:
" I think that while Sailor Moon succeeds as a work for fans, it ultimately fails as a work of art (in the way that, for example, Utena is a work of art) for a non-fannish audience."
I don't mean to be rude but I can't help but find comments such as this to be dismissive and rather condensing in attitude. What constitutes as a work of art is always subjective and never universally agreed upon. Sailor Moon may not have reach the thematic heights the latter series had (but then few other anime have either) but IT was always entertaining, often thoughtful and emotional touching and spoke to many young anime watchers. It launched the careers of some of the most talented people in the industry and left a long legacy that would be followed, homaged and refined by nearly every magical girl series that came afterword. I would hardly call that an artistic failure on any level.
(Forgive me for sounding standoffish, Josei but I just couldn't let such a comment go unchallenged.)
I did not mean to be dismissive or condescending in my remarks. The key phrase in my opinion is "… for a non-fannish audience." I am not evaluating, and I cannot evaluate, Sailor Moon from the point of view of someone who grew up with it and for whom watching it was a transformative experience. I am watching it as an adult who occasionally recommends anime to other adults who are not already anime fans (another key point). I actually do find Sailor Moon to be "entertaining, often thoughtful and emotional touching"; otherwise I wouldn't have made the investment of my time to watch 200 episodes. However I wouldn't recommend it to someone who is not already an anime fan or otherwise inclined to like it, because I don't think it's consistently good enough to reward the non-fan for their time watching it.
An analogous non-anime case is Star Trek, specifically the original series. I did watch that as a child, and thought it was wonderful. I can't quite say it was a transformative experience for me, but it certainly was for many others, and I can see why. (In particular I can't recall anything else like Star Trek on US television in the 60s in terms of its optimistic and progressive vision.) However looking back at it as an adult I find lots of ST:TOS mediocre at best and occasionally just plain bad. Ardent fans of the series may think I'm being dismissive of something that means a lot to them, but that's just my honest opinion.
So when and if I get around to blogging about anime to my small audience of non-anime-fans, Sailor Moon will be on my list of "anime to note", but not on my list of "anime to watch"–and neither will a bunch of works that anime fans themselves consider to be all-time classics, because I can't in good conscience recommend them wholeheartedly to non-fans.
Carlos Arellano says:
I guess the biggest downfall for me rewatching Stars is all of the backsliding the characters take, particularly Yaten and Taiki. Some episodes do a pretty great job of establishing them as cold, mean, aloof, etc., and by the episode they learn a little more about compassion or teamwork, and you as the viewer think "Okay, that's kinda cool, I see where they're going with this." But the next episode starts and they're right back at square one. If we're going to spend so much time with these new characters, couldn't we at least see them grow gradually? Hell, even Ail and An in their 13-episode stint showed real growth so much that when An threw herself in front of Ail to protect him from the Doom Tree, it didn't seem out of character or like an unearned resolution.
I wonder if all the great Minako episodes since Sailor Moon S were a direct response to the fact that she was criminally underdeveloped in the first two seasons, showing right before the end-game in season 1, and having an ill-defined, Usagi 2.0 personality in season 2. Whatever the case, rewatching this series again, I have to say she became my favorite Inner Guardian (the honor which used to fall to Mars) because she's so complex. A former lone, dutiful vigilante who finally makes friends and learns about teamwork, then begins to question and doubt her duties because of how much she had to sacrifice and laments not being able to live a normal life? That's a damn good story right there.
I will admit, I am a sucker for lists (e.g. ranked seasons, sailor guardians, villains, top 10 best and worst episodes, etc.) I know it's a pretty reductive and shallow way to judge a piece of work's merits, but damn it, that human need for organization is just so strong. So, if you were to include lists in your retrospective, I wouldn't complain. :)
beatfish56 says:
I think for me, my disappointment stems from a few of sources; I have never seen this season, and for the 10+ years I've known about Stars it was built up in my head as "THIS IS THE VERY MOST FINAL THING IN SAILORMOONDOM!!!" So of course my expectations were not in quite in check for most of Stars.
The second thing is that… well, I've seen this finale before. Many, many times. I am an avid watcher of Super Sentai and I have enjoyed more than a few seasons of PreCure. Since Sailor Moon was always sort of a Proto-Sentai "For Girls" that PreCure eventually became, yeah there's a lot of common and repeated themes that I'm so used to by now that the final battle with Galaxia just fell flat.
You're absolutely right in that this season isn't bad, there were a lot of episodes I really liked. My favorites were 183 and 184, those were super fun episodes. If this wasn't the final season I think I would have given it a pass.
My question is why WAS this the final season? The mini-arc with Nehelenia proved that Sailor Moon The Anime can be just as strong (and in some cases stronger) on it's own legs than on the legs of the Manga. Wouldn't an entire Anime original season have been cool? I really wonder what the team at Toei would have done given the opportunity.
It really does feel like the anime staff thought they were going to get more episodes or at least some kind of big wrap-up film, with how borderline anticlimactic the final moments of this season were. As for why Toei didn't keep it going for a big anime-original finish–it's possible Takeuchi said no, or the studio wanted that creative staff on a different project, or the show hadn't been doing as well commercially and so they decided to call it quits. I can only speculate. But I would have loved to have seen that, too (more so if Ikuhara were still working on it, TBH, but Igarashi's original stuff can be really fun, too), to give the Inners a proper finale-like sendoff if nothing else.
shiningc says:
To be honest, I think the real reason is because… Naoko Takeuchi was getting exhausted. You can tell that she was putting her heart and soul into the series, and with the sudden and unexpected popularity and attention that it has gained, the stakes were high for her to churn out hit episodes after episodes every month for the monthly magazine. And in a way, she has succeeded, but after 5 years of doing it non-stop it must have been incredibly mentally and physically taxing on her part (in the end of the manga, she says how much she was exhausted after finishing the final chapter). The manga kinda ended abruptly after the Galaxia, so it seemed somewhat rushed. And since the anime is ultimately based on the manga, when the manga ended then so had the anime.
Thank you so much for all these recaps! It's a looong time since I saw any of the show but been a blast reading along! I enjoyed hearing both your praise and your criticisms of the series, even though I might not have commented much (mostly just because I don't remember first-hand a lot of what went on in these episodes). I do remember feeling lukewarm about this final season as well though, back when I last watched it – I think S will always be my personal favourite of the lot. And I'm thoroughly enjoying the currently airing season of Crystal as well, even if the first new season (which I never finished) broke my soul a bit. This third season is doing a lot to make up for it though, I'm feeling very optimistic about that right now.
I came back to Crystal for this season, too! It's…shockingly fun, now. I guess somebody at Toei was actually listening to viewers' critiques and made some changes for the better. Hopefully that can continue! It'd be great to be able to jump into a different version of Sailor Moon right after finishing the '90s series.
It's actually a good thing that this happened now on the Infinity arc, since from here on out, the manga version of the story is vastly different from the anime version of the story, whereas seasons 1 and 2 more or less followed the manga pretty closely (with tons of filler in between, of course).
I will be excited to see the Dream and Stars arcs if it continues on!
Bag of Magic Food says:
If you want to get through the last season of Sailor Moon Crystal just so you know what happened, I find the English dub makes it a little more engaging for me, and it'll finish that season next week. (The original series has been pretty good in both the original audio and the new English dub, but the old English dub weirds me out too much.)
Sara Laird says:
Firstly, congrats on completing your viewing! I haven't watched Sailor Moon in ten years or better, so I've very much enjoyed reading your reviews here, and I'm much looking forward to your series retrospective.
That said, please excuse me as I TLDR for a bit about the Stars manga and the ways it is superior to the Stars anime in the specific context of a final arc for the show. I apologize in advance if everyone reading this has, in fact, already read the manga and knows all this stuff already. It's no secret that there have always been some divergences between the anime and the manga for Sailor Moon, but nowhere is it as stark as it is with Stars, where the manga is telling an almost completely different story.
For starters, the manga really engages Galaxia's whole galactic-conqueror thing far more than the anime, and moreover, characters in the manga paint Team Moony's Sol System as unusually well-balanced and developed, contrasting it with planets elsewhere in the galaxy that are far poorer or more isolated. This means that, far more than in any other Sailor Moon arc, you get a hugely expanded sense of scope, and of what it means for Kakyuu to say that the whole galaxy knows of the radiant light of Sailor Moon and her sailor crystal. The last few chapters involve a chase to the center of the Milky Way, and an explanation of the very life cycle of sailor crystals. Way, WAY more series mythology to be had. It even circles all the way back to reference Queen Serenity (the first one) as having made the same journey once, before the Silver Millennium was even in place.
Also, more characters. Piles more characters. The nature of the story means there's even more steamrolling of mini-bosses than usual–the anime axes almost half of the Animamates (RIP Sailor Heavy Metal Papillon), and one to six Sailor characters depending on how you're counting. But at the same time, characters new and old have more to do. Chibi Moon is in the plot, as are the Amazoness Quartet. The Outers, though defensive of their system, are willing and wanting to ask the Starlights questions about this new enemy. There's a more different villain lady couple (and a rather more explicitly romantic one at that, though Siren and Crow are probably my favorite part of the Stars anime). The big reveal on Kakyuu happens all of five chapters in, and she remains an active participant in the story for far longer–the manga also manages to explain her and the Starlights without uncomfortably implying that they left their planet to die. While Mamoru still dies early on, it's in a context that completely changes Usagi's reactions to his lack of contact, and she finds out the truth about halfway through the arc.
It can be shockingly melancholy in places, actually, which I kind of adore about it. There are a number of distinctly downbeat threads, things like the unending cycle of peace and conflict, the loneliness and bitterness of Sailor senshi who don't have the comrades Sailor Moon has, and pretty much the entirety of Chibi Chibi's backstory (100% different from the anime's, and giving her both more reasons to be present at the climax and more things to do in said climax). There's a very chilly idea espoused by several of the villains (and occasionally Yaten), that since everything that makes the senshi what they are is contained in their immortal sailor crystals, their bodies–even their individual lives–ultimately don't matter much. Usagi pushes back against this constantly, championing the value of personal connection and mutual support built and maintained with one's hands and body–one of the many ways the manga lets Usagi be a little more physical and craving of physical intimacy than the anime.
Also, it ends with Usagi and Mamoru getting married. So, you know, if you want a paradigm shift…
Anyway, I think one of the great joys of Sailor Moon, and something pretty unique to it as a franchise, is the opportunity to compare and contrast it in all its different mediums. The Stars arc isn't perfect–see again the mini-boss steamrolling, some particularly terrible disconnect between character locations scene to scene, and some frankly mind-boggling confusion introduced to the series timeline–but thematically, I think it's much stronger than its anime adaptation, and very worth the time of even people who prefer the anime. Though, if the Crystal anime continues to justify itself financially, I hold out hope that we may finally, finally get an animated Sailor Cosmos. *crosses fingers*
Thanks again for the reviews!
I was coming here to post something like this but you manged to beat me too it and say it far better then I would have. So all I have left to say is THIS a 100 times.
Tyrone Lazosa says:
I think you kind of have to remember that what ended up happening here was that Takeuchi was running on fumes and thus not able to keep up with the demanding pace of the anime's schedule for developing the plot for this season. Rather than delay the start of the Sailor Stars anime Toei made the controversial decision to push forward on their own without knowing exactly what the manga was planning on doing for the whole plot and thus ended up creating their own central plot and just trying to incorporate elements of Naoko Takeuchi's work when possible…
The other thing to keep in mind here as that both Naoko Takeuchi and the people in charge of creating the anime for Toei were both under heavy pressure for characters that could be sold as toys. That's why Naoko Takeuchi created sooo many characters for Stars including the Starlights, and why the anime decided to focus so much attention on these very minor (to the manga) characters as it was determined by some corporate big wig based purely on appearance that they were the most marketable characters designed for the season?
Naoko Takeuchi was not at all thrilled with the anime pushing ahead on their own and this put a serious strain on her relationship with Toei. (Along with some of their decisions such as the gender-changing aspect of the Starlights as opposed to simply cross-dressing. She was unhappy with that since only females are supposed to be Senshi, and the anime left it ambiguous as to their true gender. Also Toei along with Bandai essentially pushed the rat-tail hairstyle on her for the Starlights which she was opposed to.).
Anyways this independence resulted in big trouble going back to even the very beginning of the season. The opening Nehellenia arc was essentially supposed to just be a harmless time waster to give her a little more time which aside from teasing a cosmic villain had the main purpose of basically just getting things in line with the manga's proper status quo by the time of the first Galaxia minion attack. In other words giving Usagi the ability to turn into Eternal Sailor Moon, bringing back the Outers including Pluto and an aged-up Saturn, and saying good-bye to Chibiusa. Simple enough. Unfortunately said harmless plot they came up with involved the idea that if something happened to Mamoru, then Chibiusa would simply cease to exist. This ultimately even included a scene where she indeed completely fades out of existence in front of Usagi. Can you say Uh-Oh? Toei was supposedly under the impression that with the manga sending her home before the arc began that Chibiusa was thus no longer going to be a cast member for this arc. This suited their plans just fine given the declining ratings of the previous season that had a strong focus on her. Unfortunately Naoko Takeuchi at some point after this mini-arc had been written decided to have her return along with her allies the Amazon Quartet and play an important role in the story as almost Usagi's last remaining allies by the time she reached Galaxia. You see the problem here right? if Mamoru just falling under Nehellenia's spell could prevent Chibiusa' birth, then how could you possibly rationalize his actual death not doing the same thing? On top of that it would have been repetitive and lost all emotional impact to have Chibiusa fade out of existence in front of her mother a second time in the same season. Doh!
Other stuff was changed just because it was indeed just deemed too complex/convoluted. The anime basically being targeted at kids never really wanted to go into any crazy deep themes from the manga in previous season and it did not want to now either… so stuff like the whole role of Chaos, the Cauldron at the center of the universe, existential debate, and the ill-defined (even the author herself stated that even she had not determined who/what exactly she was meant to be) Sailor Cosmos aka the true identity of Chibi Chibi were changed/omitted which again meant major plot changes had to be made…
I feel like what they should have done is… have a "5 years later" story with Usagi being all grown up, but still with Mamoru, and we find that they're getting married and they're going to have a big wedding day and everyone from the Sailor Moon Universe is invited and they're all grown up too and everyone is all happy and the show is going to be wrapped up nicely by that.
I feel like in both the anime and the manga, they focused too much on making the ending all epic and philosophical and it's all cool and interesting, but at the expense of the entire show and wrapping it up nicely with a feel-good closure. I mean it was a happy ending, but it didn't feel like a full ending of the show.
The Josei
Dee is a writer, a translator, a book worm, and a basketball fan. She has bachelor's degrees in English and East Asian studies and a master's degree in Creative Writing. To pay the bills, she works as a technical writer. To not pay the bills, she devours novels and comics, watches far too much anime, and cheers very loudly for the Kansas Jayhawks.
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