displaying: http://feeds.feedburner.com/wikileaksisdemocracy

Wikileaksisdemocracy
Smart implants to monitor healing
El streaming es el presente, pero aún tiene mucho que aprender del videoclub
?Elvis?: por qué es mejor que ?Bohemian Rhapsody? y ?Rocketman?
The Government lowers the transport bonus and announces the increase in non-contributory pensions | 7TV
Cult horror with college friends
Many human genomes shaped by past events that caused sharp dips in the inhabitants, study finds
Transport chronicle ? ?Silk Roads?, the underside of the China-Africa relationship
Disney+ releases in July 2022: 65 films, series and documentaries such as ?The Princess?, ?By Heaven?s Command? or Tobey Maguire?s Spider-Man
Can Jennifer Lopez save the romantic comedy?
Modeling historical biomass could be key to buffering climate change

MagpieRSS Object
(
    [parser] => Resource id #9
    [current_item] => Array
        (
        )

    [items] => Array
        (
            [0] => Array
                (
                    [title] => Smart implants to monitor healing
                    [link] => http://wikileaksisdemocracy.org/science/smart-implants-to-monitor-healing/
                    [dc] => Array
                        (
                            [creator] => Laura Surber
                        )

                    [pubdate] => Sat, 25 Jun 2022 15:18:08 +0000
                    [category] => sciencehealingimplantsmonitorSmart
                    [guid] => https://wikileaksisdemocracy.org/?p=8420
                    [description] => Journal Reference: Kaveh Barri, Qianyun Zhang, Isaac Swink, Yashar Aucie, Kyle Holmberg, Ryan Sauber, Daniel T. Altman, Boyle C. Cheng, Zhong Lin Wang, Amir H. Alavi. Patient?Specific Self?Powered Metamaterial Implants for Detecting Bone Healing Progress. Advanced Functional Materials, 2022; 2203533 DOI: 10.1002/adfm.202203533 Researchers at the University of Pittsburgh Swanson School of Engineering are creating patient-specific ... Read more
                    [content] => Array
                        (
                            [encoded] => 

Journal Reference:

  1. Kaveh Barri, Qianyun Zhang, Isaac Swink, Yashar Aucie, Kyle Holmberg, Ryan Sauber, Daniel T. Altman, Boyle C. Cheng, Zhong Lin Wang, Amir H. Alavi. Patient?Specific Self?Powered Metamaterial Implants for Detecting Bone Healing Progress. Advanced Functional Materials, 2022; 2203533 DOI: 10.1002/adfm.202203533

Researchers at the University of Pittsburgh Swanson School of Engineering are creating patient-specific 3D-printed smart metamaterial implants that double as sensors to monitor spinal healing. A paper detailing their work was recently published in the journal Advanced Functional Materials.

?Smart implants can provide real-time biofeedback and offer many therapeutic and diagnostic benefits,? said Amir Alavi, assistant professor of civil and environmental engineering, whose iSMaRT Lab led the research. ?But it is very challenging to integrate bulky circuits or power sources into the small area of implants. The solution is to use the implant matrix as an active sensing and energy harvesting medium. That?s what we?ve been focused on.?

The Intelligent Structural Monitoring and Response Testing (iSMaRT) Lab has developed a new class of multifunctional mechanical metamaterials, which act as their own sensors, recording and relaying important information about the pressure and stresses on its structure. The so-called ?meta-tribomaterials? a.k.a. self-aware metamaterials, generate their own power and can be used for a wide array of sensing and monitoring applications.

The material is designed such that under pressure, contact-electrification occurs between its conductive and dielectric microlayers, creating an electric charge that relays information about the condition of the material matrix. In addition, it naturally inherits the outstanding mechanical tunability of standard metamaterials. The power generated using its built-in triboelectric nanogenerator mechanism eliminates the need for a separate power source, and a tiny chip records data about the pressure on the cage, which is an important indicator of healing. The data can then be read noninvasively using a portable ultrasound scanner.

Not only is the proposed cage unique in its sensing capabilities, but it?s also made of a highly tunable material that can be customized to the patient?s needs.

?Spinal fusion cages are being widely used in spinal fusion surgeries, but they?re usually made of titanium or PEEK polymer materials (a semi-crystalline, high-performance engineering thermoplastic) with certain mechanical properties,? explained Alavi. ?The stiffness of our metamaterial interbody cages can be readily tuned. The implant can be 3D-printed based on the patient?s specific anatomy before surgery, making it a much more natural fit.?

The team has successfully tested the device in human cadavers and are looking to move on to animal models next. Because the material itself is incredibly tunable and scalable, the smart sensor design could be adapted to many other medical applications in the future, like cardiovascular stents or components for knee or hip replacements.

?This is a first-of-its-kind implant that leverages advances in nanogenerators and metamaterial to build multifunctionality into the fabric of medical implants,? said Alavi. ?This technological advancement is going to play a major part in the future of implantable devices.?

We would like to thank the author of this article for this remarkable content

Smart implants to monitor healing

Take a look at our social media accounts and also other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Journal Reference: Kaveh Barri, Qianyun Zhang, Isaac Swink, Yashar Aucie, Kyle Holmberg, Ryan Sauber, Daniel T. Altman, Boyle C. Cheng, Zhong Lin Wang, Amir H. Alavi. Patient?Specific Self?Powered Metamaterial Implants for Detecting Bone Healing Progress. Advanced Functional Materials, 2022; 2203533 DOI: 10.1002/adfm.202203533 Researchers at the University of Pittsburgh Swanson School of Engineering are creating patient-specific ... Read more [atom_content] =>

Journal Reference:

  1. Kaveh Barri, Qianyun Zhang, Isaac Swink, Yashar Aucie, Kyle Holmberg, Ryan Sauber, Daniel T. Altman, Boyle C. Cheng, Zhong Lin Wang, Amir H. Alavi. Patient?Specific Self?Powered Metamaterial Implants for Detecting Bone Healing Progress. Advanced Functional Materials, 2022; 2203533 DOI: 10.1002/adfm.202203533

Researchers at the University of Pittsburgh Swanson School of Engineering are creating patient-specific 3D-printed smart metamaterial implants that double as sensors to monitor spinal healing. A paper detailing their work was recently published in the journal Advanced Functional Materials.

?Smart implants can provide real-time biofeedback and offer many therapeutic and diagnostic benefits,? said Amir Alavi, assistant professor of civil and environmental engineering, whose iSMaRT Lab led the research. ?But it is very challenging to integrate bulky circuits or power sources into the small area of implants. The solution is to use the implant matrix as an active sensing and energy harvesting medium. That?s what we?ve been focused on.?

The Intelligent Structural Monitoring and Response Testing (iSMaRT) Lab has developed a new class of multifunctional mechanical metamaterials, which act as their own sensors, recording and relaying important information about the pressure and stresses on its structure. The so-called ?meta-tribomaterials? a.k.a. self-aware metamaterials, generate their own power and can be used for a wide array of sensing and monitoring applications.

The material is designed such that under pressure, contact-electrification occurs between its conductive and dielectric microlayers, creating an electric charge that relays information about the condition of the material matrix. In addition, it naturally inherits the outstanding mechanical tunability of standard metamaterials. The power generated using its built-in triboelectric nanogenerator mechanism eliminates the need for a separate power source, and a tiny chip records data about the pressure on the cage, which is an important indicator of healing. The data can then be read noninvasively using a portable ultrasound scanner.

Not only is the proposed cage unique in its sensing capabilities, but it?s also made of a highly tunable material that can be customized to the patient?s needs.

?Spinal fusion cages are being widely used in spinal fusion surgeries, but they?re usually made of titanium or PEEK polymer materials (a semi-crystalline, high-performance engineering thermoplastic) with certain mechanical properties,? explained Alavi. ?The stiffness of our metamaterial interbody cages can be readily tuned. The implant can be 3D-printed based on the patient?s specific anatomy before surgery, making it a much more natural fit.?

The team has successfully tested the device in human cadavers and are looking to move on to animal models next. Because the material itself is incredibly tunable and scalable, the smart sensor design could be adapted to many other medical applications in the future, like cardiovascular stents or components for knee or hip replacements.

?This is a first-of-its-kind implant that leverages advances in nanogenerators and metamaterial to build multifunctionality into the fabric of medical implants,? said Alavi. ?This technological advancement is going to play a major part in the future of implantable devices.?

We would like to thank the author of this article for this remarkable content

Smart implants to monitor healing

Take a look at our social media accounts and also other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656170288 ) [1] => Array ( [title] => El streaming es el presente, pero aún tiene mucho que aprender del videoclub [link] => http://wikileaksisdemocracy.org/mystery/el-streaming-es-el-presente-pero-aun-tiene-mucho-que-aprender-del-videoclub/ [dc] => Array ( [creator] => Kelly Nieves ) [pubdate] => Sat, 25 Jun 2022 14:10:13 +0000 [category] => MysteryaprenderaúndelmuchoPeropresentestreamingtienevideoclub [guid] => https://wikileaksisdemocracy.org/?p=8417 [description] => Ni es oro todo lo que reluce, ni todo tiempo pasado fue mejor: tendemos a romantizar los tiempos del videoclub y demonizar los del streaming, pero, más allá de la nostalgia y el fetiche de lo tangible, hay cosas que el streaming podría aprender de aquella época de cintas alquiladas, cortinas ocultando las carátulas porno ... Read more [content] => Array ( [encoded] =>

Ni es oro todo lo que reluce, ni todo tiempo pasado fue mejor: tendemos a romantizar los tiempos del videoclub y demonizar los del streaming, pero, más allá de la nostalgia y el fetiche de lo tangible, hay cosas que el streaming podría aprender de aquella época de cintas alquiladas, cortinas ocultando las carátulas porno y películas que veías tres veces en un fin de semana solo por amortizarlas.

Tomar riesgos como consumidor

En los años 80 y 90, para alquilar una cinta de la que no habías oído hablar no te quedaba otra que arriesgarte basándote en la carátula, la sinopsis y el título. Y nos enseñó algo sobre el cine: a veces, tus películas favoritas son esas que caen de casualidad en tus manos y acabas viendo por simple descarte. El videoclub no era, como muchos quieren hacer creer, un templo del saber cinéfilo: era más bien una arena de combate cinéfaga, en la que entre cine italiano de segunda que se hacía pasar por secuela de una película conocida y slasher de tercera división se podían colar clásicos de la nouvelle vague o de Alfred Hitchcock.

¿Quién no llegó a casa con una película que había alquilado por amortizar el viaje y acabó enamorándose de ella, repitiendo cada poco tiempo? En tus manos podía caer ‘Heavy metal’, ‘Hellraiser III’ o una de Bruce Lee, y encontrar que, más allá de lo que habías ido a buscar, había todo un mundo esperándote. El videoclub incentivaba el misterio, la búsqueda… Y por el camino, por qué no decirlo, hacía que te tragaras unos cuantos bodrios que te enseñaban a no fiarte de cualquiera. El “Te falta calle” en versión celuloide.

Rebobine Por Favor

Han pasado treinta años, pero la manera en la que consumimos cine es muy diferente. Si no vamos a lo que ya sabemos que queremos ver, antes de elegir cada película consultamos FilmAffinity, IMDb, preguntamos en Twitter, lo ponemos en “Mi lista” y terminamos decidiendo entre lo que el algoritmo ha seleccionado para nosotros.

No hay riesgo, no hay interés por ir más allá: para encontrar cosas fuera de tu zona de confort tienes que ser tú, como espectador, el que busque de manera activa. Es un modelo con el que vas a ser más feliz: siempre vas a encontrar aquello que te gusta, pero perdiendo por el camino el sentido de la maravilla, de encontrar joyas que no conocías y con una comodidad que no le hace ningún bien a películas más minoritarias que tienen que luchar mucho más por hacerse notar. Y ya no vale lo de llamar la atención titulando ‘Alien 2’ a tu película para ver si rascas algo.

Alien 2

Unas charlas de cine

Si fuiste cierto tipo de adolescente, vas a entender perfectamente la siguiente frase: trabajar de dependiente de videoclub era lo más cercano que existía a un trabajo de ensueño. Vivir entre películas, hablar de cine, comentar los últimos lanzamientos y los clásicos. Estas conversaciones eran, muchas veces, más interesantes que el alquiler en sí: los kioscos automáticos nos dieron libertad y facilidades, pero nos quitaron el valor humano. El principio del fin.

Esta conversación cinéfila parece haberse trasladado a Reddit y las redes sociales, donde, salvo excepciones, los temas giran en torno a las franquicias Disney, el taquillazo del momento y algunos clásicos básicos de los 80. Fuera de ahí, es un erial. Falta esa figura de autoridad que te recomiende sabiamente y personalizadamente, descubriéndote nuevos mundos que ni siquiera te habías planteado.

Hay que matar los 80: ocho grandes razones para acabar con la nostalgia en cine y televisión

“¿Te ha gustado esta película? Pues mira, ¿por qué no te llevas esta otra, que es del mismo estilo pero mejor?” es básicamente lo que hace el algoritmo, pero sin saber de lo que habla. A un algoritmo no le importa la calidad de lo que te está recomendando, solo quiere que veas una película más. Que te guste o no te guste importa más bien poco mientras sigas en la plataforma, atrapado en un loop infinito. Falta valor humano, comunidad, charlas: las plataformas de streaming, por mucho que lo intentan, siguen siendo tan frías como robóticas.

Y, sin embargo

Había algo bonito en la rutina de acercarse a alquilar una película: aprenderse bien las ofertas, ir con la mente abierta porque posiblemente lo que quisieras estaría ocupado, acordarse de rebobinar la cinta, maravillarse ante un mundo  físico y tangible fascinante… Y, sin embargo, ¿volveríais a aquello? Yo, francamente, no.

Puede que las plataformas sean robóticas, no inciten a la aventura y aún tengan clásicos básicos por estrenar, pero sí tienen algo con lo que el videoclub jamás podrá competir: un catálogo inabarcable repleto de estrenos semanales en el que nunca, jamás, te vas a quedar sin ver la película que quieres. ¡Y sin salir del sofá! Por muy idealizado que tengamos el videoclub, ir un día de lluvia, escapar de la comodidad de casa tras una dura semana de trabajo o tener que coger el coche no pueden competir con la simpleza de escoger desde nuestro mando.

A las plataformas aún les queda un larguísimo camino para acercarse, aunque sea lejanamente, a la parte más positiva de la experiencia del videoclub pero volver atrás es imposible. ¿Veremos en un futuro una experiencia más personalizada? ¿Un llamamiento a la aventura cinéfila? ¿Se convertirá el streaming en algo más que ese simple catálogo por el que pasear durante horas y tendrá un sitio especial al lado del Videoclub Paco de la esquina? Quién sabe. Probablemente no nos queda otra que añorarlo, porque esos tiempos, junto con una manera de entender el cine, no volverán.

We wish to say thanks to the writer of this short article for this awesome web content

El streaming es el presente, pero aún tiene mucho que aprender del videoclub

Find here our social media profiles and the other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Ni es oro todo lo que reluce, ni todo tiempo pasado fue mejor: tendemos a romantizar los tiempos del videoclub y demonizar los del streaming, pero, más allá de la nostalgia y el fetiche de lo tangible, hay cosas que el streaming podría aprender de aquella época de cintas alquiladas, cortinas ocultando las carátulas porno ... Read more [atom_content] =>

Ni es oro todo lo que reluce, ni todo tiempo pasado fue mejor: tendemos a romantizar los tiempos del videoclub y demonizar los del streaming, pero, más allá de la nostalgia y el fetiche de lo tangible, hay cosas que el streaming podría aprender de aquella época de cintas alquiladas, cortinas ocultando las carátulas porno y películas que veías tres veces en un fin de semana solo por amortizarlas.

Tomar riesgos como consumidor

En los años 80 y 90, para alquilar una cinta de la que no habías oído hablar no te quedaba otra que arriesgarte basándote en la carátula, la sinopsis y el título. Y nos enseñó algo sobre el cine: a veces, tus películas favoritas son esas que caen de casualidad en tus manos y acabas viendo por simple descarte. El videoclub no era, como muchos quieren hacer creer, un templo del saber cinéfilo: era más bien una arena de combate cinéfaga, en la que entre cine italiano de segunda que se hacía pasar por secuela de una película conocida y slasher de tercera división se podían colar clásicos de la nouvelle vague o de Alfred Hitchcock.

¿Quién no llegó a casa con una película que había alquilado por amortizar el viaje y acabó enamorándose de ella, repitiendo cada poco tiempo? En tus manos podía caer ‘Heavy metal’, ‘Hellraiser III’ o una de Bruce Lee, y encontrar que, más allá de lo que habías ido a buscar, había todo un mundo esperándote. El videoclub incentivaba el misterio, la búsqueda… Y por el camino, por qué no decirlo, hacía que te tragaras unos cuantos bodrios que te enseñaban a no fiarte de cualquiera. El “Te falta calle” en versión celuloide.

Rebobine Por Favor

Han pasado treinta años, pero la manera en la que consumimos cine es muy diferente. Si no vamos a lo que ya sabemos que queremos ver, antes de elegir cada película consultamos FilmAffinity, IMDb, preguntamos en Twitter, lo ponemos en “Mi lista” y terminamos decidiendo entre lo que el algoritmo ha seleccionado para nosotros.

No hay riesgo, no hay interés por ir más allá: para encontrar cosas fuera de tu zona de confort tienes que ser tú, como espectador, el que busque de manera activa. Es un modelo con el que vas a ser más feliz: siempre vas a encontrar aquello que te gusta, pero perdiendo por el camino el sentido de la maravilla, de encontrar joyas que no conocías y con una comodidad que no le hace ningún bien a películas más minoritarias que tienen que luchar mucho más por hacerse notar. Y ya no vale lo de llamar la atención titulando ‘Alien 2’ a tu película para ver si rascas algo.

Alien 2

Unas charlas de cine

Si fuiste cierto tipo de adolescente, vas a entender perfectamente la siguiente frase: trabajar de dependiente de videoclub era lo más cercano que existía a un trabajo de ensueño. Vivir entre películas, hablar de cine, comentar los últimos lanzamientos y los clásicos. Estas conversaciones eran, muchas veces, más interesantes que el alquiler en sí: los kioscos automáticos nos dieron libertad y facilidades, pero nos quitaron el valor humano. El principio del fin.

Esta conversación cinéfila parece haberse trasladado a Reddit y las redes sociales, donde, salvo excepciones, los temas giran en torno a las franquicias Disney, el taquillazo del momento y algunos clásicos básicos de los 80. Fuera de ahí, es un erial. Falta esa figura de autoridad que te recomiende sabiamente y personalizadamente, descubriéndote nuevos mundos que ni siquiera te habías planteado.

Hay que matar los 80: ocho grandes razones para acabar con la nostalgia en cine y televisión

“¿Te ha gustado esta película? Pues mira, ¿por qué no te llevas esta otra, que es del mismo estilo pero mejor?” es básicamente lo que hace el algoritmo, pero sin saber de lo que habla. A un algoritmo no le importa la calidad de lo que te está recomendando, solo quiere que veas una película más. Que te guste o no te guste importa más bien poco mientras sigas en la plataforma, atrapado en un loop infinito. Falta valor humano, comunidad, charlas: las plataformas de streaming, por mucho que lo intentan, siguen siendo tan frías como robóticas.

Y, sin embargo

Había algo bonito en la rutina de acercarse a alquilar una película: aprenderse bien las ofertas, ir con la mente abierta porque posiblemente lo que quisieras estaría ocupado, acordarse de rebobinar la cinta, maravillarse ante un mundo  físico y tangible fascinante… Y, sin embargo, ¿volveríais a aquello? Yo, francamente, no.

Puede que las plataformas sean robóticas, no inciten a la aventura y aún tengan clásicos básicos por estrenar, pero sí tienen algo con lo que el videoclub jamás podrá competir: un catálogo inabarcable repleto de estrenos semanales en el que nunca, jamás, te vas a quedar sin ver la película que quieres. ¡Y sin salir del sofá! Por muy idealizado que tengamos el videoclub, ir un día de lluvia, escapar de la comodidad de casa tras una dura semana de trabajo o tener que coger el coche no pueden competir con la simpleza de escoger desde nuestro mando.

A las plataformas aún les queda un larguísimo camino para acercarse, aunque sea lejanamente, a la parte más positiva de la experiencia del videoclub pero volver atrás es imposible. ¿Veremos en un futuro una experiencia más personalizada? ¿Un llamamiento a la aventura cinéfila? ¿Se convertirá el streaming en algo más que ese simple catálogo por el que pasear durante horas y tendrá un sitio especial al lado del Videoclub Paco de la esquina? Quién sabe. Probablemente no nos queda otra que añorarlo, porque esos tiempos, junto con una manera de entender el cine, no volverán.

We wish to say thanks to the writer of this short article for this awesome web content

El streaming es el presente, pero aún tiene mucho que aprender del videoclub

Find here our social media profiles and the other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656166213 ) [2] => Array ( [title] => ?Elvis?: por qué es mejor que ?Bohemian Rhapsody? y ?Rocketman? [link] => http://wikileaksisdemocracy.org/drama/elvis-por-que-es-mejor-que-bohemian-rhapsody-y-rocketman/ [dc] => Array ( [creator] => Beatriz Deitz ) [pubdate] => Sat, 25 Jun 2022 13:20:29 +0000 [category] => DramabohemianElvismejorporQuéRhapsodyRocketman [guid] => http://wikileaksisdemocracy.org/?p=8414 [description] => Elvis está vivo, al menos y sin hablar de conspiraciones cada vez más locas, en los cines de todo el mundo. Solo que, claro está, tiene el rostro de Austin Butler y el ritmo de Baz Lurhman. A primera vista puede parecer que Elvis llega como el tercero de una reciente moda de biopics musicales ... Read more [content] => Array ( [encoded] =>


    Elvis está vivo, al menos y sin hablar de conspiraciones cada vez más locas, en los cines de todo el mundo. Solo que, claro está, tiene el rostro de Austin Butler y el ritmo de Baz Lurhman. A primera vista puede parecer que Elvis llega como el tercero de una reciente moda de biopics musicales en torno a legendarias figuras masculinas. Sí, también hemos tenido biopics femeninos, pero más centrados en la problemática racial que en el directo homenaje a la leyenda que son Bohemain Rhapsody y Rocketman. La primera de ellas, con Freddie Mercury como imagen, batió récords de taquilla para una película de este tipo, disparó a Queen todavía más en las listas de éxitos inmortales y le dio a Rami Malek el Oscar. Rocketman parecía seguir la estela y, aunque no se consideró un fracaso y su recepción crítica fue incluso mejor, no nos cabe duda de que el público vibró bastante menos con ella.

    Sin embargo, hemos de decir que el biopic musical no es una moda reciente ni mucho menos, simplemente una cuya calidad estaba algo dormida. Sobra ver, por ejemplo, como en 2004 se estrenó Ray, sobre Ray Charles; en 2005, En la cuerda floja, de Johnny Cash; en 2007 La vie en Rose, de Edith Piaf y I’m Not there, de Bob Dylan. Quizás, por nombrar otro referente más antiguo, el mejor de todos siga siendo Bird, la obra maestra de Clint Eastwood sobre Charlie Parker con un Forest Whitaker descomunal.

    Sin embargo, el éxito de Bohemian Rhapsody y el pasable de Rocketman no solo han revivido la fiebre por el género (Madonna está en camino) si no que le han dado una imagen industrial que no favorece a sus rompedores artistas protagonistas. A pesar del carisma de sus legendarias figuras, Bohemian dejó claro que quizás lo mejor para una película así sea centrarse en la música y no distraernos mucho. La película de Freddie Mercury ganó un Oscasr a Mejor Actor doblando a su protagonista, pasó de puntillas por cualquier tema espinoso u oscuro del mismo y centró su clímax en imitar una actuación musical tan épica como la de Wembley.

    This content is imported from YouTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.

    El problema de Bohemian Rhapsody no era que este momento cumbre no fuese épico de vivir en el cine como fan, que lo era, es que seguía siendo inferior a simplemente ponerse esa misma actuación real en Youtube. De Mercury poco más había que un actor caracterizado, doblado y mucha música.

    Rocketman lo hizo algo mejor, al menos Taron Egerton cantaba de verdad. El problema es que, más allá de los trajes aplumados de Elton John, hasta las secuencias oníricas carecían de cualquier atisbo de originalidad y verdadero empuje visual. La película solo citaba el poderío estético de John pero nunca lo emulaba. En este contexto llega Elvis, más y mejor que ambas.

    Por qué ‘Elvis’ es mejor que ‘Bohemian Rhapsody’ y ‘Rocketman’

    Por Austin Butler

    Cómo no… En un biopic el actor que encarna al personaje principal tiene que brillar. Son papeles que colocan en las quinielas de premios siempre a sus intérpretes. Taron Egerton hizo todo lo que pudo con Elton y al menos se apuntó el tanto de cantar él mismo. No podemos decir lo mismo de Malek, que ni osó intentar cantar como Mercury. El cantante que lo dobló y el departamento de maquillaje merecen buena parte de su Oscar. Sin embargo, a pesar de los esfuerzos de ambos por diluirse entre las imágenes de archivo de las estrellas a las que encarnan, no podemos evitar sentir que hay más de imitación que de verdadera encarnación.

    Austin Butler no solo habla, canta y baila como Elvis, lo cuál ya es bastante meritorio, es que él todavía permanece en la película, haciendo que esta sea la historia del nacimiento de una estrella por partida doble, la ficcional de Elvis y la real, de Butler. Butler era conocido por pequeños papeles en series y películas juveniles de Nickelodeon y Disney Channel, además de por salir durante casi una década con Vanessa Hudgens, pero ahora ninguna de las dos cosas se citará en su presentación. Repetimos, Butler recrea de manera sobresaliente todo lo que las fans de Elvis quieren ver, pero en su atractiva voz, en su mirada de rompecorazones, en su vibrante forma de moverse en el escenario también está él. Los mejores momentos de Butler en el escenario no son, al contrario que los de Malik y Egerton, los que emulan una imagen específica muy conocida de su personaje si no todas las de alrededor. Butler se deja la piel, el aliento, el sudor en la pantalla y, de hecho, cuanto más se parece a Elvis y menos a Butler, cuanto más maquillaje tiene en la cara y en el cuerpo, menos brilla.

    Warner Bros.

    Por Baz Luhrman

    Quizás sea el único que sigue pensando que una película de autor suele ser más interesante que una que no. Aquí, para mal y sobre todo para bien, está detrás el creador de Moulin Rouge o El gran Gatsby. Esto hace que Elvis sea algo que Bohemian Rhapsody y Rocketman no eran ni de lejos, una película con personalidad, una que no se puede imaginar con otro director tras la cámara.

    En Elvis la leyenda de la música no está presente solo en Butler y en sus canciones, está presente en la propia película en sí. El ritmo, el montaje, los títulos de crédito, la multipantalla, la cámara lenta, rápida… Todos recordamos a Elvis en esos ropajes blancos, con capa, ese tupe engominado… Elvis es una película que, al fin, es como su protagonista. Y no hablamos del trabajo del departamento de vestuario y maquillaje, Rocketman y Bohemian Rhapsody también lo tenían, si no de la forma de su película. En aspecto, si le quitamos a Freddie Mercury y a Elton John a estas dos películas todas sus imágenes podrían ser de cualquier otra cinta. Luhrman ha conseguido que Elvis está presente en cada fotograma de la misma, más allá de si Butler está o no en pantalla. La película se mueve todo el rato como esas frenéticas caderas a las que homenajea, y solo por eso ya se merece respeto y aprecio.

    Por la narración de “Tom Hanks”

    La interpretación de Tom Hanks como el Coronel Parker, el estrafalario manager de Elvis, va a ser uno de los puntos más polémicos de la recepción de la cinta. Eso sí, una de las cosas más criticadas está siendo su extraño acento, algo que los que osen verla doblada no van a poder debatir. No obstante, para muchos será una decepción ir a ver Elvis y descubrir que la película, al contrario que Rocketman y Bohemian Rhapsody, no está totalmente centrada en su estrella. El falso Coronel es la voz que narra la película, y durante muchos tramos de la misma, la perspectiva desde la que se observa todo.

    tom hanks como el coronel tom parker en la película elvis

    WarnerMedia

    No obstante, esto es otra pequeña mentira que hace la narración de Elvis más apasionante. Parker era un mentiroso y un estafador, y la propia película que “él nos cuenta” va contradiciendo sus palabras, creando un juego metatextual en cuyos huecos está la verdad de la película.

    Volvemos, sin embargo, a la decepción que puede suponer que Elvis no sea el centro de la misma pero, y esto es algo que tratamos en el apartado siguiente, es otra muestra más de sinceridad. Rocketman contó con Elton John en el proceso y Bohemian Rhapsody con miembros de Queen y herederos de Mercury. Aquí también hay aprobación de la familia y de herederos de Elvis. No hablamos aquí de exactitudes o invenciones, de respeto o no, solo de un mejor punto de vista. Al narrar los hechos en primera persona desde sus leyendas, Rocketman y Bohemian Rhapsody se veían obligadas a rellenar, a inventar, a dotar de pretendida sustancia realmente insustancial sus narraciones. Elvis, sin embargo, cuenta con el punto de vista de Elvis que realmente hacía a Elvis, como a cualquier leyenda, único: el del observador. Elvis se narra desde los ojos que le observaron, los que se quedaron prendados de su talento, de sus movimientos, de su voz. Gracias a eso Elvis no es solo Elvis sobre un escenario, es ver a Elvis sobre un escenario y eso, sin lugar a dudas, es mucho mejor.

    This content is imported from YouTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.

    Por su superficialidad legendaria

    A Elvis se le está acusando de lo mismo que a toda la filmografía de Luhrman, de superficialidad. Pues bendita superficialidad. Si algo hundía a Bohemian Rhapsody o a Rocketman eran sus cobardes partes dramáticas, fragmentos de crítica social que a todas lucen parecían simples peajes a pagar. Hay miles de historias sobre el SIDA más interesantes que la de Mercury y millones de tramas LGTBIQ+ más interesantes que la de John, en su camino artístico donde no deberían de tener una historia rival. Las tres brillan más y mejor cuando se alejan de lo social, suben al escenario a sus protagonistas y encienden los focos. Dicen que en Elvis no conoceremos más de Elvis la persona pero, sinceramente, más allá de a los fans y conspiranóicos, ¿a quién demonios le importa un chaval católico de Memphis en los años 50 y 60 del siglo pasado? Elvis también patina al tratar las adicciones de su protagonista y sobre todo lo hace con su indeterminado posicionamiento ante los conflictos raciales, sureños, matrimoniales, paternales y religiosos que tuvo que atravesar su estrella a lo largo de su vida. Pero, al menos, le dedica mucho menos tiempo que Bohemian Rhapsody y Rocketman, obligadas por compromiso en centrar su trama humana en la orientación sexual de sus protagonistas más allá de su valía en el escenario. Es cierto que Elvis podía haber recortado 20 minutos de su metraje en estos términos, pero no dejan de ser notas a pie de página de una biografía musical que si tiene un drama es el del éxito y la vampirización del mismo. Elvis es Elvis Presley, sobre el escenario, bailando, cantando, brillando, moviéndose. Eso es lo maravilloso que la película tenía para contar y eso es, en esencia, lo que nos da.

    austin butler elvis

    Courtesy of Warner Bros. Pictures

    Habrá, por supuesto, quién quiera hablar de si Elvis no tuvo más mérito que ser el primer blanco que hizo lo que hacían igual o mejor los negros; habrá quién quiera ahondar en sus adicciones, en sus sonadas orgías con menores virginales o en su legendaria muerte. Pero cuando haces una película sobre una leyenda te has de quedar siempre con la leyenda. Bohemian Rhapsody y Rocketman también lo hicieron así, pero parecían disculparse al hacerlo, Elvis no. La cinta de Luhrman es Elvis Presley, el brillo, el ritmo, la leyenda.

We want to thank the author of this short article for this incredible material

‘Elvis’: por qué es mejor que ‘Bohemian Rhapsody’ y ‘Rocketman’

Visit our social media accounts and also other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Elvis está vivo, al menos y sin hablar de conspiraciones cada vez más locas, en los cines de todo el mundo. Solo que, claro está, tiene el rostro de Austin Butler y el ritmo de Baz Lurhman. A primera vista puede parecer que Elvis llega como el tercero de una reciente moda de biopics musicales ... Read more [atom_content] =>


    Elvis está vivo, al menos y sin hablar de conspiraciones cada vez más locas, en los cines de todo el mundo. Solo que, claro está, tiene el rostro de Austin Butler y el ritmo de Baz Lurhman. A primera vista puede parecer que Elvis llega como el tercero de una reciente moda de biopics musicales en torno a legendarias figuras masculinas. Sí, también hemos tenido biopics femeninos, pero más centrados en la problemática racial que en el directo homenaje a la leyenda que son Bohemain Rhapsody y Rocketman. La primera de ellas, con Freddie Mercury como imagen, batió récords de taquilla para una película de este tipo, disparó a Queen todavía más en las listas de éxitos inmortales y le dio a Rami Malek el Oscar. Rocketman parecía seguir la estela y, aunque no se consideró un fracaso y su recepción crítica fue incluso mejor, no nos cabe duda de que el público vibró bastante menos con ella.

    Sin embargo, hemos de decir que el biopic musical no es una moda reciente ni mucho menos, simplemente una cuya calidad estaba algo dormida. Sobra ver, por ejemplo, como en 2004 se estrenó Ray, sobre Ray Charles; en 2005, En la cuerda floja, de Johnny Cash; en 2007 La vie en Rose, de Edith Piaf y I’m Not there, de Bob Dylan. Quizás, por nombrar otro referente más antiguo, el mejor de todos siga siendo Bird, la obra maestra de Clint Eastwood sobre Charlie Parker con un Forest Whitaker descomunal.

    Sin embargo, el éxito de Bohemian Rhapsody y el pasable de Rocketman no solo han revivido la fiebre por el género (Madonna está en camino) si no que le han dado una imagen industrial que no favorece a sus rompedores artistas protagonistas. A pesar del carisma de sus legendarias figuras, Bohemian dejó claro que quizás lo mejor para una película así sea centrarse en la música y no distraernos mucho. La película de Freddie Mercury ganó un Oscasr a Mejor Actor doblando a su protagonista, pasó de puntillas por cualquier tema espinoso u oscuro del mismo y centró su clímax en imitar una actuación musical tan épica como la de Wembley.

    This content is imported from YouTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.

    El problema de Bohemian Rhapsody no era que este momento cumbre no fuese épico de vivir en el cine como fan, que lo era, es que seguía siendo inferior a simplemente ponerse esa misma actuación real en Youtube. De Mercury poco más había que un actor caracterizado, doblado y mucha música.

    Rocketman lo hizo algo mejor, al menos Taron Egerton cantaba de verdad. El problema es que, más allá de los trajes aplumados de Elton John, hasta las secuencias oníricas carecían de cualquier atisbo de originalidad y verdadero empuje visual. La película solo citaba el poderío estético de John pero nunca lo emulaba. En este contexto llega Elvis, más y mejor que ambas.

    Por qué ‘Elvis’ es mejor que ‘Bohemian Rhapsody’ y ‘Rocketman’

    Por Austin Butler

    Cómo no… En un biopic el actor que encarna al personaje principal tiene que brillar. Son papeles que colocan en las quinielas de premios siempre a sus intérpretes. Taron Egerton hizo todo lo que pudo con Elton y al menos se apuntó el tanto de cantar él mismo. No podemos decir lo mismo de Malek, que ni osó intentar cantar como Mercury. El cantante que lo dobló y el departamento de maquillaje merecen buena parte de su Oscar. Sin embargo, a pesar de los esfuerzos de ambos por diluirse entre las imágenes de archivo de las estrellas a las que encarnan, no podemos evitar sentir que hay más de imitación que de verdadera encarnación.

    Austin Butler no solo habla, canta y baila como Elvis, lo cuál ya es bastante meritorio, es que él todavía permanece en la película, haciendo que esta sea la historia del nacimiento de una estrella por partida doble, la ficcional de Elvis y la real, de Butler. Butler era conocido por pequeños papeles en series y películas juveniles de Nickelodeon y Disney Channel, además de por salir durante casi una década con Vanessa Hudgens, pero ahora ninguna de las dos cosas se citará en su presentación. Repetimos, Butler recrea de manera sobresaliente todo lo que las fans de Elvis quieren ver, pero en su atractiva voz, en su mirada de rompecorazones, en su vibrante forma de moverse en el escenario también está él. Los mejores momentos de Butler en el escenario no son, al contrario que los de Malik y Egerton, los que emulan una imagen específica muy conocida de su personaje si no todas las de alrededor. Butler se deja la piel, el aliento, el sudor en la pantalla y, de hecho, cuanto más se parece a Elvis y menos a Butler, cuanto más maquillaje tiene en la cara y en el cuerpo, menos brilla.

    Warner Bros.

    Por Baz Luhrman

    Quizás sea el único que sigue pensando que una película de autor suele ser más interesante que una que no. Aquí, para mal y sobre todo para bien, está detrás el creador de Moulin Rouge o El gran Gatsby. Esto hace que Elvis sea algo que Bohemian Rhapsody y Rocketman no eran ni de lejos, una película con personalidad, una que no se puede imaginar con otro director tras la cámara.

    En Elvis la leyenda de la música no está presente solo en Butler y en sus canciones, está presente en la propia película en sí. El ritmo, el montaje, los títulos de crédito, la multipantalla, la cámara lenta, rápida… Todos recordamos a Elvis en esos ropajes blancos, con capa, ese tupe engominado… Elvis es una película que, al fin, es como su protagonista. Y no hablamos del trabajo del departamento de vestuario y maquillaje, Rocketman y Bohemian Rhapsody también lo tenían, si no de la forma de su película. En aspecto, si le quitamos a Freddie Mercury y a Elton John a estas dos películas todas sus imágenes podrían ser de cualquier otra cinta. Luhrman ha conseguido que Elvis está presente en cada fotograma de la misma, más allá de si Butler está o no en pantalla. La película se mueve todo el rato como esas frenéticas caderas a las que homenajea, y solo por eso ya se merece respeto y aprecio.

    Por la narración de “Tom Hanks”

    La interpretación de Tom Hanks como el Coronel Parker, el estrafalario manager de Elvis, va a ser uno de los puntos más polémicos de la recepción de la cinta. Eso sí, una de las cosas más criticadas está siendo su extraño acento, algo que los que osen verla doblada no van a poder debatir. No obstante, para muchos será una decepción ir a ver Elvis y descubrir que la película, al contrario que Rocketman y Bohemian Rhapsody, no está totalmente centrada en su estrella. El falso Coronel es la voz que narra la película, y durante muchos tramos de la misma, la perspectiva desde la que se observa todo.

    tom hanks como el coronel tom parker en la película elvis

    WarnerMedia

    No obstante, esto es otra pequeña mentira que hace la narración de Elvis más apasionante. Parker era un mentiroso y un estafador, y la propia película que “él nos cuenta” va contradiciendo sus palabras, creando un juego metatextual en cuyos huecos está la verdad de la película.

    Volvemos, sin embargo, a la decepción que puede suponer que Elvis no sea el centro de la misma pero, y esto es algo que tratamos en el apartado siguiente, es otra muestra más de sinceridad. Rocketman contó con Elton John en el proceso y Bohemian Rhapsody con miembros de Queen y herederos de Mercury. Aquí también hay aprobación de la familia y de herederos de Elvis. No hablamos aquí de exactitudes o invenciones, de respeto o no, solo de un mejor punto de vista. Al narrar los hechos en primera persona desde sus leyendas, Rocketman y Bohemian Rhapsody se veían obligadas a rellenar, a inventar, a dotar de pretendida sustancia realmente insustancial sus narraciones. Elvis, sin embargo, cuenta con el punto de vista de Elvis que realmente hacía a Elvis, como a cualquier leyenda, único: el del observador. Elvis se narra desde los ojos que le observaron, los que se quedaron prendados de su talento, de sus movimientos, de su voz. Gracias a eso Elvis no es solo Elvis sobre un escenario, es ver a Elvis sobre un escenario y eso, sin lugar a dudas, es mucho mejor.

    This content is imported from YouTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.

    Por su superficialidad legendaria

    A Elvis se le está acusando de lo mismo que a toda la filmografía de Luhrman, de superficialidad. Pues bendita superficialidad. Si algo hundía a Bohemian Rhapsody o a Rocketman eran sus cobardes partes dramáticas, fragmentos de crítica social que a todas lucen parecían simples peajes a pagar. Hay miles de historias sobre el SIDA más interesantes que la de Mercury y millones de tramas LGTBIQ+ más interesantes que la de John, en su camino artístico donde no deberían de tener una historia rival. Las tres brillan más y mejor cuando se alejan de lo social, suben al escenario a sus protagonistas y encienden los focos. Dicen que en Elvis no conoceremos más de Elvis la persona pero, sinceramente, más allá de a los fans y conspiranóicos, ¿a quién demonios le importa un chaval católico de Memphis en los años 50 y 60 del siglo pasado? Elvis también patina al tratar las adicciones de su protagonista y sobre todo lo hace con su indeterminado posicionamiento ante los conflictos raciales, sureños, matrimoniales, paternales y religiosos que tuvo que atravesar su estrella a lo largo de su vida. Pero, al menos, le dedica mucho menos tiempo que Bohemian Rhapsody y Rocketman, obligadas por compromiso en centrar su trama humana en la orientación sexual de sus protagonistas más allá de su valía en el escenario. Es cierto que Elvis podía haber recortado 20 minutos de su metraje en estos términos, pero no dejan de ser notas a pie de página de una biografía musical que si tiene un drama es el del éxito y la vampirización del mismo. Elvis es Elvis Presley, sobre el escenario, bailando, cantando, brillando, moviéndose. Eso es lo maravilloso que la película tenía para contar y eso es, en esencia, lo que nos da.

    austin butler elvis

    Courtesy of Warner Bros. Pictures

    Habrá, por supuesto, quién quiera hablar de si Elvis no tuvo más mérito que ser el primer blanco que hizo lo que hacían igual o mejor los negros; habrá quién quiera ahondar en sus adicciones, en sus sonadas orgías con menores virginales o en su legendaria muerte. Pero cuando haces una película sobre una leyenda te has de quedar siempre con la leyenda. Bohemian Rhapsody y Rocketman también lo hicieron así, pero parecían disculparse al hacerlo, Elvis no. La cinta de Luhrman es Elvis Presley, el brillo, el ritmo, la leyenda.

We want to thank the author of this short article for this incredible material

‘Elvis’: por qué es mejor que ‘Bohemian Rhapsody’ y ‘Rocketman’

Visit our social media accounts and also other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656163229 ) [3] => Array ( [title] => The Government lowers the transport bonus and announces the increase in non-contributory pensions | 7TV [link] => http://wikileaksisdemocracy.org/comedy/the-government-lowers-the-transport-bonus-and-announces-the-increase-in-non-contributory-pensions-7tv/ [dc] => Array ( [creator] => David Zander ) [pubdate] => Sat, 25 Jun 2022 12:37:29 +0000 [category] => Comedy7TVannouncesbonusgovernmentincreaselowersnoncontributorypensionsTransport [guid] => https://wikileaksisdemocracy.org/?p=8412 [description] => The Government lowers the transport bonus and announces the increase in non-contributory pensions 06/25/2022 1:49 The President of the Government, Pedro Sánchez, announced this Saturday a package of anti-crisis measures after having been approved in an extraordinary Council of Ministers held this Saturday. Among the measures announced by the Chief Executive, the extension of aid ... Read more [content] => Array ( [encoded] =>

The Government lowers the transport bonus and announces the increase in non-contributory pensions

The President of the Government, Pedro Sánchez, announced this Saturday a package of anti-crisis measures after having been approved in an extraordinary Council of Ministers held this Saturday. Among the measures announced by the Chief Executive, the extension of aid to the price of gasoline until the end of the year stands out, a 50% discount on public transport that affects Renfe tickets and the transport vouchers of all municipalities and autonomous communities . He has also said that he will raise non-contributory widow and retirement pensions by 15%.

At a press conference after the Extraordinary Council of Ministers, Sánchez detailed that this new package of measures represents an extraordinary effort from the budget point of view, greater than 9,000 million, which is broken down into 5,500 million in spending to protect families and companies and 3,500 million in tax rebates. In this way, until the end of 2022, nearly 15,000 million euros will have been invested in protecting families and companies, more than one point of Spanish GDP.

Among the new measures announced by Sánchez, and in order to encourage the use of public transport, is a 50% reduction from September 1 on the price of all monthly passes and any type of pass for state transport companies, such as Renfeand from 30% for subscriptions of modes of transport that depend on municipalities and autonomous communities, a discount that can be extended with their own resources up to 50%.

It has also announced a 15% increase in non-contributory retirement and disability pensionswhich means a increase of 60 euros per month (360 euros between now and the end of the year), a direct aid of 200 euros for self-employed and unemployed of low income that can be requested from July or the limitation of the maximum price of butanewhich will be in force until December 31.

Also VAT on the electricity bill will be reduced from 10% to 5% and the rest of the measures related to electricity will be maintainedsuch as the extension of the discount of the social bond, the suspension of the tax on the value of production and the reduction to the minimum of the electricity tax.

In the field of fuels, the reduction of 20 cents in the liter of fuel is also maintained until the end of the year.

With the aim of reinforcing the protection of the most vulnerable groups, the aid of the Minimum Vital Income (IMV) is maintainedthe ban on cutting off power supplythe cap on rent increases and that the increase in energy costs cannot be cause for dismissal in companies that depend on the Administration.

Equally, the postponement of payment of Social Security contributions is extended to Septemberdirect aid to the gas-intensive industry is approved, drought aid is extended and aid to those affected by the eruption of the ‘Cumbre Vieja’ volcano is extended.

We want to give thanks to the author of this post for this awesome content

The Government lowers the transport bonus and announces the increase in non-contributory pensions | 7TV


Check out our social media profiles and other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => The Government lowers the transport bonus and announces the increase in non-contributory pensions 06/25/2022 1:49 The President of the Government, Pedro Sánchez, announced this Saturday a package of anti-crisis measures after having been approved in an extraordinary Council of Ministers held this Saturday. Among the measures announced by the Chief Executive, the extension of aid ... Read more [atom_content] =>

The Government lowers the transport bonus and announces the increase in non-contributory pensions

The President of the Government, Pedro Sánchez, announced this Saturday a package of anti-crisis measures after having been approved in an extraordinary Council of Ministers held this Saturday. Among the measures announced by the Chief Executive, the extension of aid to the price of gasoline until the end of the year stands out, a 50% discount on public transport that affects Renfe tickets and the transport vouchers of all municipalities and autonomous communities . He has also said that he will raise non-contributory widow and retirement pensions by 15%.

At a press conference after the Extraordinary Council of Ministers, Sánchez detailed that this new package of measures represents an extraordinary effort from the budget point of view, greater than 9,000 million, which is broken down into 5,500 million in spending to protect families and companies and 3,500 million in tax rebates. In this way, until the end of 2022, nearly 15,000 million euros will have been invested in protecting families and companies, more than one point of Spanish GDP.

Among the new measures announced by Sánchez, and in order to encourage the use of public transport, is a 50% reduction from September 1 on the price of all monthly passes and any type of pass for state transport companies, such as Renfeand from 30% for subscriptions of modes of transport that depend on municipalities and autonomous communities, a discount that can be extended with their own resources up to 50%.

It has also announced a 15% increase in non-contributory retirement and disability pensionswhich means a increase of 60 euros per month (360 euros between now and the end of the year), a direct aid of 200 euros for self-employed and unemployed of low income that can be requested from July or the limitation of the maximum price of butanewhich will be in force until December 31.

Also VAT on the electricity bill will be reduced from 10% to 5% and the rest of the measures related to electricity will be maintainedsuch as the extension of the discount of the social bond, the suspension of the tax on the value of production and the reduction to the minimum of the electricity tax.

In the field of fuels, the reduction of 20 cents in the liter of fuel is also maintained until the end of the year.

With the aim of reinforcing the protection of the most vulnerable groups, the aid of the Minimum Vital Income (IMV) is maintainedthe ban on cutting off power supplythe cap on rent increases and that the increase in energy costs cannot be cause for dismissal in companies that depend on the Administration.

Equally, the postponement of payment of Social Security contributions is extended to Septemberdirect aid to the gas-intensive industry is approved, drought aid is extended and aid to those affected by the eruption of the ‘Cumbre Vieja’ volcano is extended.

We want to give thanks to the author of this post for this awesome content

The Government lowers the transport bonus and announces the increase in non-contributory pensions | 7TV


Check out our social media profiles and other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656160649 ) [4] => Array ( [title] => Cult horror with college friends [link] => http://wikileaksisdemocracy.org/horror/cult-horror-with-college-friends/ [dc] => Array ( [creator] => Jody Bailey ) [pubdate] => Sat, 25 Jun 2022 12:12:28 +0000 [category] => Horrorcollegecultfriendshorror [guid] => https://wikileaksisdemocracy.org/?p=8407 [description] => Saturday 25.6.2022 – Last update – 8:13 What are the variables that determine that a film can win the arm wrestling over time? It is, of course, a multi-causal phenomenon. But it is clear that those who manage to fully understand and measure the possibilities offered by the medium in which they move have more ... Read more [content] => Array ( [encoded] =>

Saturday 25.6.2022

Last update – 8:13

Renaissance PicturesRenaissance Pictures


Renaissance PicturesRenaissance Pictures


We want to thank the author of this write-up for this outstanding content

Cult horror with college friends


Check out our social media profiles and also other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Saturday 25.6.2022 – Last update – 8:13 What are the variables that determine that a film can win the arm wrestling over time? It is, of course, a multi-causal phenomenon. But it is clear that those who manage to fully understand and measure the possibilities offered by the medium in which they move have more ... Read more [atom_content] =>

Saturday 25.6.2022

Last update – 8:13

Renaissance PicturesRenaissance Pictures


Renaissance PicturesRenaissance Pictures


We want to thank the author of this write-up for this outstanding content

Cult horror with college friends


Check out our social media profiles and also other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656159148 ) [5] => Array ( [title] => Many human genomes shaped by past events that caused sharp dips in the inhabitants, study finds [link] => http://wikileaksisdemocracy.org/science/many-human-genomes-shaped-by-past-events-that-caused-sharp-dips-in-the-inhabitants-study-finds/ [dc] => Array ( [creator] => Laura Surber ) [pubdate] => Sat, 25 Jun 2022 12:10:25 +0000 [category] => sciencecauseddipsEventsfindsgenomeshumaninhabitantsshapedSharpstudy [guid] => https://wikileaksisdemocracy.org/?p=8405 [description] => Journal Reference: Rémi Tournebize, Gillian Chu, Priya Moorjani. Reconstructing the history of founder events using genome-wide patterns of allele sharing across individuals. PLOS Genetics, 2022; 18 (6): e1010243 DOI: 10.1371/journal.pgen.1010243 Founder events can occur when a population experiences a sharp decrease in numbers or when a few individuals colonize an isolated environment, such as an ... Read more [content] => Array ( [encoded] =>

Journal Reference:

  1. Rémi Tournebize, Gillian Chu, Priya Moorjani. Reconstructing the history of founder events using genome-wide patterns of allele sharing across individuals. PLOS Genetics, 2022; 18 (6): e1010243 DOI: 10.1371/journal.pgen.1010243

Founder events can occur when a population experiences a sharp decrease in numbers or when a few individuals colonize an isolated environment, such as an island. Despite the large impact that founder events can have on a population?s genetics, we know few details of how these events have shaped the evolution of humans and other species. To better understand these past events, researchers developed a new technique called ASCEND that uses genomic analysis to estimate the timing and strength of founder events. In the new study, they applied ASCEND to analyze about 460 human populations worldwide. The researchers found that over half of the populations that they analyzed had evidence of recent founder events, including most living hunter-gatherer, nomadic and indigenous groups that were sampled. These founder events are associated with geographic isolation, a hunter-gatherer lifestyle, or the cultural practice of marrying within your own group or religion.

The researchers also analyzed about 200 modern dog populations and found that most populations show signs of extreme founder events. These events occurred within the last 25 generations, coinciding with the start of dog breeding during Victorian times, and may be related to inbreeding and the use of a few highly prized males to sire numerous litters.

The new analysis technique will help scientists to identify groups that experienced strong founder events and that may be at high risk of certain genetic diseases. Ashkenazi Jews and Finns, who experienced strong founder events, often undergo genetic screening to learn about their pre-disposition to certain genetic diseases. The study found that several populations among Native Americans, Oceanians, and South Asians have experienced even more extreme founder events than Ashkenazi Jews, and so these populations may also benefit from genetic screening.

Tournebize and Moorjani add, ?Some human populations like Ashkenazi Jews or Finns have been extensively studied in population genetics and have helped researchers identify many disease-causing mutations. Hence, we wanted to study if other populations have a similar history that could enable further progress in medical genetics. We were surprised to see how widespread the history of founder events is in humans, both in present-day and ancient DNA samples, suggesting that investigation of disease-causing variants will be fruitful to identify and reduce disease burden among contemporary groups.?

We would love to thank the author of this post for this amazing material

Many human genomes shaped by past events that caused sharp dips in the inhabitants, study finds

You can find our social media profiles here , as well as other pages on related topics here.http://wikileaksisdemocracy.org/related-pages/

) [summary] => Journal Reference: Rémi Tournebize, Gillian Chu, Priya Moorjani. Reconstructing the history of founder events using genome-wide patterns of allele sharing across individuals. PLOS Genetics, 2022; 18 (6): e1010243 DOI: 10.1371/journal.pgen.1010243 Founder events can occur when a population experiences a sharp decrease in numbers or when a few individuals colonize an isolated environment, such as an ... Read more [atom_content] =>

Journal Reference:

  1. Rémi Tournebize, Gillian Chu, Priya Moorjani. Reconstructing the history of founder events using genome-wide patterns of allele sharing across individuals. PLOS Genetics, 2022; 18 (6): e1010243 DOI: 10.1371/journal.pgen.1010243

Founder events can occur when a population experiences a sharp decrease in numbers or when a few individuals colonize an isolated environment, such as an island. Despite the large impact that founder events can have on a population?s genetics, we know few details of how these events have shaped the evolution of humans and other species. To better understand these past events, researchers developed a new technique called ASCEND that uses genomic analysis to estimate the timing and strength of founder events. In the new study, they applied ASCEND to analyze about 460 human populations worldwide. The researchers found that over half of the populations that they analyzed had evidence of recent founder events, including most living hunter-gatherer, nomadic and indigenous groups that were sampled. These founder events are associated with geographic isolation, a hunter-gatherer lifestyle, or the cultural practice of marrying within your own group or religion.

The researchers also analyzed about 200 modern dog populations and found that most populations show signs of extreme founder events. These events occurred within the last 25 generations, coinciding with the start of dog breeding during Victorian times, and may be related to inbreeding and the use of a few highly prized males to sire numerous litters.

The new analysis technique will help scientists to identify groups that experienced strong founder events and that may be at high risk of certain genetic diseases. Ashkenazi Jews and Finns, who experienced strong founder events, often undergo genetic screening to learn about their pre-disposition to certain genetic diseases. The study found that several populations among Native Americans, Oceanians, and South Asians have experienced even more extreme founder events than Ashkenazi Jews, and so these populations may also benefit from genetic screening.

Tournebize and Moorjani add, ?Some human populations like Ashkenazi Jews or Finns have been extensively studied in population genetics and have helped researchers identify many disease-causing mutations. Hence, we wanted to study if other populations have a similar history that could enable further progress in medical genetics. We were surprised to see how widespread the history of founder events is in humans, both in present-day and ancient DNA samples, suggesting that investigation of disease-causing variants will be fruitful to identify and reduce disease burden among contemporary groups.?

We would love to thank the author of this post for this amazing material

Many human genomes shaped by past events that caused sharp dips in the inhabitants, study finds

You can find our social media profiles here , as well as other pages on related topics here.http://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656159025 ) [6] => Array ( [title] => Transport chronicle ? ?Silk Roads?, the underside of the China-Africa relationship [link] => http://wikileaksisdemocracy.org/western/transport-chronicle-silk-roads-the-underside-of-the-china-africa-relationship/ [dc] => Array ( [creator] => David Zander ) [pubdate] => Sat, 25 Jun 2022 10:53:51 +0000 [category] => WesternChinaAfricachroniclerelationshiproadsSilkTransportunderside [guid] => https://wikileaksisdemocracy.org/?p=8403 [description] => Published on : 06/25/2022 – 07:34Modified : 06/25/2022 – 07:37 How will Chinese transport change Africa? This is one of the questions of the French documentary entitled The world according to Xi Jinping. Broadcast two years ago, before the Covid-19 pandemic, the film explained behind the scenes of the Chinese president’s ambitions in the world ... Read more [content] => Array ( [encoded] =>

Published on : Modified :

How will Chinese transport change Africa? This is one of the questions of the French documentary entitled The world according to Xi Jinping. Broadcast two years ago, before the Covid-19 pandemic, the film explained behind the scenes of the Chinese president’s ambitions in the world and in particular in Africa. A conquest of the continent due to the purchase or construction of seaports, railways and highways. How has the health crisis changed the ?silk roads? project? An updated version of the documentary can now be seen on the Arte website.

It’s like a bicycle wheel. A core in the middle: China. And whose rays go out in all directions, the continents of the world. This is the image given by Sophie Lepault, the director of the documentary The world seen by Xi Jinping.

Since 2013, the ?silk roads? have anticipated any American sanction or health crisis

To make the ?silk roads? strategy understood is to explain this relationship to time. A long-term view that particularly struck Sophie Lepault on her return from China: ? What I learned by investigating in the circles close to the Chinese president, it is this political ambition behind the economic ambition. When Xi Jinping proposes to an African country to invest in highways or bridges or ports, he is at the same time proposing a model based solely on the economy. This is his way of saying: “China will enrich itself by enriching countries that Westerners have failed to develop” “.

? To read and listen: War in Ukraine: what impact on the “new silk roads”?

Whether in Africa or on other continents, the other approach that the documentary shows well is the give and take hidden behind the ?silk roads?in other words, support for the countries where it invests with international bodies: the United Nations, the African or European Union, etc.

No Covid-19 effect

Nadège Rolland is a researcher at the National Bureau of Asian Research in Washington. Asked in the documentary, she talks about the health crisis which, according to her, does not change anything in Chinese strategy: ? Simply because that is exactly what the Chinese seem to have planned! This desire of the USA and Europeans to bring together and relocate their industry after the pandemic does not in any way modify the project. Since the beginning in 2013, these constructions of the new “Silk Roads” were decided to re-knit international exchanges. A desire to put China at the center while developing new factories and axes closer to rich countries, where traffic was more difficult or non-existent “.

The sea, the privileged way

However, a clue shows that the Chinese must take into account current events in the world: their choice for the boat. War in Ukraine (with countries to cross thanks to customs duties) towards Europe, risks moderating enthusiasm for transport by train or by land. This is the opinion of Xavier Aurégan, specialist in relations between Africa and China at the French Institute of Geopolitics.

? Also to listen: The EU wants to counter the Chinese “Silk Roads”: “The European strategy is evolving”

During the Covid-19 crisis, Western countries said they were going to have their goods made closer to home so they would no longer be dependent on China. But that’s much easier said than done! This does not (and will not) happen overnight! Even so… the Chinese are already anticipating by favoring transport by sea. Construction of ports, management of these ports along the African and Mediterranean coasts. They invest in Egypt, Morocco and the Emirates by ousting competition such as the Bolloré, DPWorld or MSC groups “.

50% of Chinese in Africa come from the poorest regions of China

Half of the Chinese workers present in Africa come from the poorest regions of China, in particular from Hunan (central-eastern part of the country). In the future, China would like to see Africa play the role of the workshop of the world, especially in textiles. Role that this same China has been playing for Westerners for a century.

The Chinese, who remain Africa’s leading economic partners, would reserve transport for more expensive products, which are therefore more profitable to export.

We would love to thank the writer of this article for this incredible content

Transport chronicle – “Silk Roads”, the underside of the China-Africa relationship


Visit our social media profiles and also other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Published on : 06/25/2022 – 07:34Modified : 06/25/2022 – 07:37 How will Chinese transport change Africa? This is one of the questions of the French documentary entitled The world according to Xi Jinping. Broadcast two years ago, before the Covid-19 pandemic, the film explained behind the scenes of the Chinese president’s ambitions in the world ... Read more [atom_content] =>

Published on : Modified :

How will Chinese transport change Africa? This is one of the questions of the French documentary entitled The world according to Xi Jinping. Broadcast two years ago, before the Covid-19 pandemic, the film explained behind the scenes of the Chinese president’s ambitions in the world and in particular in Africa. A conquest of the continent due to the purchase or construction of seaports, railways and highways. How has the health crisis changed the ?silk roads? project? An updated version of the documentary can now be seen on the Arte website.

It’s like a bicycle wheel. A core in the middle: China. And whose rays go out in all directions, the continents of the world. This is the image given by Sophie Lepault, the director of the documentary The world seen by Xi Jinping.

Since 2013, the ?silk roads? have anticipated any American sanction or health crisis

To make the ?silk roads? strategy understood is to explain this relationship to time. A long-term view that particularly struck Sophie Lepault on her return from China: ? What I learned by investigating in the circles close to the Chinese president, it is this political ambition behind the economic ambition. When Xi Jinping proposes to an African country to invest in highways or bridges or ports, he is at the same time proposing a model based solely on the economy. This is his way of saying: “China will enrich itself by enriching countries that Westerners have failed to develop” “.

? To read and listen: War in Ukraine: what impact on the “new silk roads”?

Whether in Africa or on other continents, the other approach that the documentary shows well is the give and take hidden behind the ?silk roads?in other words, support for the countries where it invests with international bodies: the United Nations, the African or European Union, etc.

No Covid-19 effect

Nadège Rolland is a researcher at the National Bureau of Asian Research in Washington. Asked in the documentary, she talks about the health crisis which, according to her, does not change anything in Chinese strategy: ? Simply because that is exactly what the Chinese seem to have planned! This desire of the USA and Europeans to bring together and relocate their industry after the pandemic does not in any way modify the project. Since the beginning in 2013, these constructions of the new “Silk Roads” were decided to re-knit international exchanges. A desire to put China at the center while developing new factories and axes closer to rich countries, where traffic was more difficult or non-existent “.

The sea, the privileged way

However, a clue shows that the Chinese must take into account current events in the world: their choice for the boat. War in Ukraine (with countries to cross thanks to customs duties) towards Europe, risks moderating enthusiasm for transport by train or by land. This is the opinion of Xavier Aurégan, specialist in relations between Africa and China at the French Institute of Geopolitics.

? Also to listen: The EU wants to counter the Chinese “Silk Roads”: “The European strategy is evolving”

During the Covid-19 crisis, Western countries said they were going to have their goods made closer to home so they would no longer be dependent on China. But that’s much easier said than done! This does not (and will not) happen overnight! Even so… the Chinese are already anticipating by favoring transport by sea. Construction of ports, management of these ports along the African and Mediterranean coasts. They invest in Egypt, Morocco and the Emirates by ousting competition such as the Bolloré, DPWorld or MSC groups “.

50% of Chinese in Africa come from the poorest regions of China

Half of the Chinese workers present in Africa come from the poorest regions of China, in particular from Hunan (central-eastern part of the country). In the future, China would like to see Africa play the role of the workshop of the world, especially in textiles. Role that this same China has been playing for Westerners for a century.

The Chinese, who remain Africa’s leading economic partners, would reserve transport for more expensive products, which are therefore more profitable to export.

We would love to thank the writer of this article for this incredible content

Transport chronicle – “Silk Roads”, the underside of the China-Africa relationship


Visit our social media profiles and also other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656154431 ) [7] => Array ( [title] => Disney+ releases in July 2022: 65 films, series and documentaries such as ?The Princess?, ?By Heaven?s Command? or Tobey Maguire?s Spider-Man [link] => http://wikileaksisdemocracy.org/action/disney-releases-in-july-2022-65-films-series-and-documentaries-such-as-the-princess-by-heavens-command-or-tobey-maguires-spider-man/ [dc] => Array ( [creator] => Amanda Tyer ) [pubdate] => Sat, 25 Jun 2022 10:45:25 +0000 [category] => ActionCommandDisneydocumentariesfilmsHeavensJulyMaguiresPrincessreleasesseriesSpiderManTobey [guid] => https://wikileaksisdemocracy.org/?p=8400 [description] => The time is coming to find out what’s new on streaming platforms for the month of July and now it’s time to make a stop at all the series, movies and documentaries that will be added to the catalog of Disney+ next month. Specifically, there are 65 titles like ‘The Princess’, ‘By command of heaven’ ... Read more [content] => Array ( [encoded] =>

The time is coming to find out what’s new on streaming platforms for the month of July and now it’s time to make a stop at all the series, movies and documentaries that will be added to the catalog of Disney+ next month. Specifically, there are 65 titles like ‘The Princess’, ‘By command of heaven’ or the definitive proof that Disney + wants to take over the monopoly of Marvel in streaming.

All movies and short films

‘The princess’

A princess played by Joey King that she has to face the man with whom she was promised but with whom she did not want to marry, thus unleashing her fury. A bit of a mix of ‘John Wick’ and ‘Tangled’, promising to be one of the best action hobbies of the summer.

1st of July

‘Bob’s Burgers: The Movie’

Initially it was planned that we would see this jump to the big screen of the Belcher family in theaters, but finally we will have to settle for enjoying how to try to save their restaurant directly in streaming.

July 13

All series and specials

‘By command of heaven’

Andrew Garfield and Daisy Edgar Jones star in this crime drama about how two brothers believe that God has chosen them to end the life of a woman and her daughter. Barely seven episodes for a series that has been compared to ‘True Detective’.

July 27th

The 21 best Disney + series

all documentaries

We would love to say thanks to the author of this short article for this outstanding web content

Disney+ releases in July 2022: 65 films, series and documentaries such as ‘The Princess’, ‘By Heaven’s Command’ or Tobey Maguire’s Spider-Man


We have our social media profiles here , as well as other related pages herehttp://wikileaksisdemocracy.org/related-pages/

) [summary] => The time is coming to find out what’s new on streaming platforms for the month of July and now it’s time to make a stop at all the series, movies and documentaries that will be added to the catalog of Disney+ next month. Specifically, there are 65 titles like ‘The Princess’, ‘By command of heaven’ ... Read more [atom_content] =>

The time is coming to find out what’s new on streaming platforms for the month of July and now it’s time to make a stop at all the series, movies and documentaries that will be added to the catalog of Disney+ next month. Specifically, there are 65 titles like ‘The Princess’, ‘By command of heaven’ or the definitive proof that Disney + wants to take over the monopoly of Marvel in streaming.

All movies and short films

‘The princess’

A princess played by Joey King that she has to face the man with whom she was promised but with whom she did not want to marry, thus unleashing her fury. A bit of a mix of ‘John Wick’ and ‘Tangled’, promising to be one of the best action hobbies of the summer.

1st of July

‘Bob’s Burgers: The Movie’

Initially it was planned that we would see this jump to the big screen of the Belcher family in theaters, but finally we will have to settle for enjoying how to try to save their restaurant directly in streaming.

July 13

All series and specials

‘By command of heaven’

Andrew Garfield and Daisy Edgar Jones star in this crime drama about how two brothers believe that God has chosen them to end the life of a woman and her daughter. Barely seven episodes for a series that has been compared to ‘True Detective’.

July 27th

The 21 best Disney + series

all documentaries

We would love to say thanks to the author of this short article for this outstanding web content

Disney+ releases in July 2022: 65 films, series and documentaries such as ‘The Princess’, ‘By Heaven’s Command’ or Tobey Maguire’s Spider-Man


We have our social media profiles here , as well as other related pages herehttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656153925 ) [8] => Array ( [title] => Can Jennifer Lopez save the romantic comedy? [link] => http://wikileaksisdemocracy.org/romance/can-jennifer-lopez-save-the-romantic-comedy/ [dc] => Array ( [creator] => Laura Surber ) [pubdate] => Sat, 25 Jun 2022 09:13:21 +0000 [category] => RomancecomedyJenniferLópezromanticSave [guid] => https://wikileaksisdemocracy.org/?p=8398 [description] => LOS ANGELES ? Of course, the fireplace is burning in the house of Jennifer Lopez. It’s a rainy day, just a week before Christmas, and their Spanish-style estate in Bel-Air is decorated as you’d expect: pine garlands strewn around the fireplace, orange roses on the coffee table, and a Christmas tree. professionally trimmed in room. ... Read more [content] => Array ( [encoded] =>

LOS ANGELES ? Of course, the fireplace is burning in the house of Jennifer Lopez. It’s a rainy day, just a week before Christmas, and their Spanish-style estate in Bel-Air is decorated as you’d expect: pine garlands strewn around the fireplace, orange roses on the coffee table, and a Christmas tree. professionally trimmed in room.

It’s like a page from a Restoration Hardware catalog, including our celebrity, dressed in the couture version of a work-from-home uniform: chunky beige sweater, cream joggers, and shiny Timberland boots. She wears her hair in a bun and a touch of makeup highlights her impossibly hydrated skin. The gigantic diamond earrings that she wears in her ears are the only real sign that she is one of the most famous women on the planet.

That leads us to wonder if something happens by chance in the life of Jennifer Lopez. It’s a question to ponder, especially after her new boyfriend, Ben Affleck, shows up to kiss her and have a whispered conversation with her near a giant gingerbread house with the words “Affleck Lopez Family.”

This is, after all, a woman who has successfully navigated the treacherous waters of fame for nearly three decades, enduring round after round of romances and public breakups, reinventing herself from dancer to singer, then actress to producer. At her 52nd birthday, a time when female stars often find themselves in a sexist, anti-aging Hollywood purgatory, Lopez seems more relevant than ever.

His new movie, sparkling romantic comedy Marry me, whose release has been significantly delayed by the pandemic, hits theaters and the Peacock streaming service this Valentine’s weekend. In it, Lopez plays a JLo-like superstar who tries to lead a love life amidst the trappings of superfame. (Does it ring a bell?). She will play another girlfriend in Shotgun Weddingwhich will be released this summer, before changing dresses for a role as a deadly assassin in the next Netflix film The Motherwhich was scheduled to finish shooting in the Canary Islands after the Christmas holidays.

At some point, the streaming service, which last year signed a multi-year deal with Lopez’s company, Nuyorican Productionswill also release a documentary chronicling the year he turned 50 and all of his disparate worlds came together: legitimate recognition for his performance in Wall Street Scammers (earned his second Golden Globe nomination and a SAG Award nomination), his 2019 international concert tour, and the 2020 Super Bowl halftime show. movies, music and fashion started to happen,? he said.

Marry me, which Lopez began working on years ago with Elaine Goldsmith-Thomas, her former agent turned producing partner, is in a way an explanation of what it’s like to exist in the Lopez spotlight, something she calls “a very specific life.” It’s also a tightrope balancing act, a bid to revive a genre that has been left for dead, both by the studio system and by the rom-com stars of the past.

For Goldsmith-Thomas, Lopez’s decision to go from Wall Street Scammerswhich increased her reputation as a serious actress, to Marry mewhich aligns more with her earlier success as a hardcore rom-com actress (Dream of love, Wedding expert), It makes a lot of sense. ?We loved doing Wall Street Scammers, but that doesn’t mean it’s the only thing we should do,” he said. ?I had the opportunity to pull back the curtain and make a film about what it’s like to live and love in a glass bubble, to have your mistakes amplified and crucified on all platforms and ultimately find your way through it. Add to that the ability to produce and perform a soundtrack to that journey, and we’d be fools not to do it.”

In Marry meLopez plays Kat Valdez, a global pop star who intends to marry her boyfriend, also a global sensation (played by Colombian singer-songwriter Maluma), before millions of fans in a televised act. Moments before the big “I do,” Valdez finds out he’s been cheating on her, calls off the ceremony while onstage, and opts to marry a poor devil in the audience (Owen Wilson) holding a sign that reads Marry me. It’s like a mix of The bodyguard Y Notting Hillwith soundtrack by Lopez.

The film is a frothy pop fantasy and a glimpse into a life few are lucky enough to lead. Any obsessive fan of Lopez will surely examine her closely for clues to the actress’s own psyche, specifically how lonely it can be to be on top, where the refuge of entitlement can be like a cage. And they won’t be wrong.

Lopez recalled filming a scene in which her character returns home after the televised wedding ceremony falls apart, exhausted and still in her wedding dress. She turns on Jimmy Fallon’s show, only to see him insult her during her late-night monologue, and begins to cry. It’s a hint of vulnerability that Lopez doesn’t usually show and that took the actress a while to achieve.

?When you’ve been burned a few times, you realize it and say, ‘I have to be careful.’ If things go too deep and you bring them out into the open, someone can step on your heart,? she said, adding a swear word.

The film’s director, Kat Coiro, admires Lopez’s quest for perfection. ?There is a choreography even in her performance,? she said. However, for the scene to work, Coiro asked him to repeat it several times to break that veneer. The result is real, or as real as Lopez allows himself to be.

?I had to remind myself that this movie was a safe place to let those feelings out,? said Lopez, sitting in front of the garlanded fireplace. ?They are making fun of me, that hurts. My instinct was to act like it wasn’t.”

Lopez has spent decades trying to find that balance between what the public wants from her and what she is willing to give them. She still likes to do fan meetings after concerts. Coiro, for her part, was surprised by the time she was willing to dedicate to them.

“It’s so ubiquitous that sometimes it’s not given the credit it deserves,” the director said. ?I think there is something of that in this movie.? When Kat Valdez “talks about never winning an award, I think it was a true-to-life moment,” Coiro continued. ?She has a track record. She has fans like nobody else, and because of that high profile she is sometimes not seen in a certain way.?

Despite the barriers, public perception is something Lopez continues to struggle to understand.

?You just want to sing and dance and act,? says Lopez. ?All of this is accompanied by something that you have to learn to manage: having that public life, that artistic life and then your private life. What you want is to have a normal life, like any other person, ?she added, then paused. “Everything is analyzed under the magnifying glass.”

Lopez had just told me this when Affleck showed up. “Hi, baby,” she told him. The two set the internet ablaze last year when they rekindled their relationship from 19 years ago, a relationship so extraordinary at the time that it single-handedly fueled tabloid culture with the couple’s glamorous — and highly public — encounters. (Rewatch the infamous video Lopez’s 2002 “Jenny from the Block” to see Affleck kissing her butt in a bikini as they sunbathe on a yacht). With a backpack slung over her shoulder, he interrupted the interview to lead her into the other room. They came back ten minutes later, to hug, kiss and whisper “I love you” in each other’s ears. “Very well, my love, I’ll see you later,” he said before running off.

It was a peculiar moment. It was planned? Spontaneous? My requests to speak to Affleck had been denied, but here he was, the boyfriend busily sharing words of encouragement with the press.

I asked Lopez about the conversations the two had before rekindling a romance that had previously scuttled two movies and put their respective careers in jeopardy. (a dangerous relationship and the later Single father crashed at its premiere, partly due to relationship turbulence). Had they thought about how to handle the media frenzy that would accompany such a union?

“I’d say we learned our lesson the first time,” he said with a sigh.

And what is that lesson?

“That we should keep it as something sacred,” he added. ?You have to do what makes you feel good at all times. But at the same time, you learn from the past, the second time you do things better. There is a part where, yes, we are together. But there is a part that is about not being as open as when we were so young and in love many years ago.

And what about everything he shared with the public during his four-year relationship with former Yankees player Alex Rodriguez, from the constant presence on the red carpet to the intimate Instagram photos with their respective children? The two even tried to buy the New York Mets in 2020, only to lose out to a higher bidder.

?When you’re in something, you do what feels right to you. And I don’t punish myself with ‘I wish I had done this differently’ or ‘Did I do too much?’? she said. ?It’s what was comfortable for me at the time. I did what I did. He did what he did. And he was fine. The relationship thing had nothing to do with being public or not being public.”

One thing does seem clear: Lopez is a hopeless romantic who, despite her three marriages and other failed relationships, continues to believe in destiny. She is the common thread of her new movie and she also seems to be the common thread of her life, one that she has no intention of changing anytime soon.

?You can’t live life and think that things are just mistakes: I screwed up there, I screwed up there. No, it’s all lessons,? she stated. ?It is what you can extract from the situation that is going to help you grow and go to the next level to understand yourself, find yourself and be able to be at peace with your life, at peace with who you are.?

Nicole Sperling is a media and entertainment reporter, covering Hollywood and the burgeoning business of streaming. She joined the Times in 2019. She previously worked for Vanity Fair, Entertainment Weekly, and the Los Angeles Times. @nicsperling



We wish to thank the author of this post for this incredible material

Can Jennifer Lopez save the romantic comedy?


Discover our social media accounts as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => LOS ANGELES ? Of course, the fireplace is burning in the house of Jennifer Lopez. It’s a rainy day, just a week before Christmas, and their Spanish-style estate in Bel-Air is decorated as you’d expect: pine garlands strewn around the fireplace, orange roses on the coffee table, and a Christmas tree. professionally trimmed in room. ... Read more [atom_content] =>

LOS ANGELES ? Of course, the fireplace is burning in the house of Jennifer Lopez. It’s a rainy day, just a week before Christmas, and their Spanish-style estate in Bel-Air is decorated as you’d expect: pine garlands strewn around the fireplace, orange roses on the coffee table, and a Christmas tree. professionally trimmed in room.

It’s like a page from a Restoration Hardware catalog, including our celebrity, dressed in the couture version of a work-from-home uniform: chunky beige sweater, cream joggers, and shiny Timberland boots. She wears her hair in a bun and a touch of makeup highlights her impossibly hydrated skin. The gigantic diamond earrings that she wears in her ears are the only real sign that she is one of the most famous women on the planet.

That leads us to wonder if something happens by chance in the life of Jennifer Lopez. It’s a question to ponder, especially after her new boyfriend, Ben Affleck, shows up to kiss her and have a whispered conversation with her near a giant gingerbread house with the words “Affleck Lopez Family.”

This is, after all, a woman who has successfully navigated the treacherous waters of fame for nearly three decades, enduring round after round of romances and public breakups, reinventing herself from dancer to singer, then actress to producer. At her 52nd birthday, a time when female stars often find themselves in a sexist, anti-aging Hollywood purgatory, Lopez seems more relevant than ever.

His new movie, sparkling romantic comedy Marry me, whose release has been significantly delayed by the pandemic, hits theaters and the Peacock streaming service this Valentine’s weekend. In it, Lopez plays a JLo-like superstar who tries to lead a love life amidst the trappings of superfame. (Does it ring a bell?). She will play another girlfriend in Shotgun Weddingwhich will be released this summer, before changing dresses for a role as a deadly assassin in the next Netflix film The Motherwhich was scheduled to finish shooting in the Canary Islands after the Christmas holidays.

At some point, the streaming service, which last year signed a multi-year deal with Lopez’s company, Nuyorican Productionswill also release a documentary chronicling the year he turned 50 and all of his disparate worlds came together: legitimate recognition for his performance in Wall Street Scammers (earned his second Golden Globe nomination and a SAG Award nomination), his 2019 international concert tour, and the 2020 Super Bowl halftime show. movies, music and fashion started to happen,? he said.

Marry me, which Lopez began working on years ago with Elaine Goldsmith-Thomas, her former agent turned producing partner, is in a way an explanation of what it’s like to exist in the Lopez spotlight, something she calls “a very specific life.” It’s also a tightrope balancing act, a bid to revive a genre that has been left for dead, both by the studio system and by the rom-com stars of the past.

For Goldsmith-Thomas, Lopez’s decision to go from Wall Street Scammerswhich increased her reputation as a serious actress, to Marry mewhich aligns more with her earlier success as a hardcore rom-com actress (Dream of love, Wedding expert), It makes a lot of sense. ?We loved doing Wall Street Scammers, but that doesn’t mean it’s the only thing we should do,” he said. ?I had the opportunity to pull back the curtain and make a film about what it’s like to live and love in a glass bubble, to have your mistakes amplified and crucified on all platforms and ultimately find your way through it. Add to that the ability to produce and perform a soundtrack to that journey, and we’d be fools not to do it.”

In Marry meLopez plays Kat Valdez, a global pop star who intends to marry her boyfriend, also a global sensation (played by Colombian singer-songwriter Maluma), before millions of fans in a televised act. Moments before the big “I do,” Valdez finds out he’s been cheating on her, calls off the ceremony while onstage, and opts to marry a poor devil in the audience (Owen Wilson) holding a sign that reads Marry me. It’s like a mix of The bodyguard Y Notting Hillwith soundtrack by Lopez.

The film is a frothy pop fantasy and a glimpse into a life few are lucky enough to lead. Any obsessive fan of Lopez will surely examine her closely for clues to the actress’s own psyche, specifically how lonely it can be to be on top, where the refuge of entitlement can be like a cage. And they won’t be wrong.

Lopez recalled filming a scene in which her character returns home after the televised wedding ceremony falls apart, exhausted and still in her wedding dress. She turns on Jimmy Fallon’s show, only to see him insult her during her late-night monologue, and begins to cry. It’s a hint of vulnerability that Lopez doesn’t usually show and that took the actress a while to achieve.

?When you’ve been burned a few times, you realize it and say, ‘I have to be careful.’ If things go too deep and you bring them out into the open, someone can step on your heart,? she said, adding a swear word.

The film’s director, Kat Coiro, admires Lopez’s quest for perfection. ?There is a choreography even in her performance,? she said. However, for the scene to work, Coiro asked him to repeat it several times to break that veneer. The result is real, or as real as Lopez allows himself to be.

?I had to remind myself that this movie was a safe place to let those feelings out,? said Lopez, sitting in front of the garlanded fireplace. ?They are making fun of me, that hurts. My instinct was to act like it wasn’t.”

Lopez has spent decades trying to find that balance between what the public wants from her and what she is willing to give them. She still likes to do fan meetings after concerts. Coiro, for her part, was surprised by the time she was willing to dedicate to them.

“It’s so ubiquitous that sometimes it’s not given the credit it deserves,” the director said. ?I think there is something of that in this movie.? When Kat Valdez “talks about never winning an award, I think it was a true-to-life moment,” Coiro continued. ?She has a track record. She has fans like nobody else, and because of that high profile she is sometimes not seen in a certain way.?

Despite the barriers, public perception is something Lopez continues to struggle to understand.

?You just want to sing and dance and act,? says Lopez. ?All of this is accompanied by something that you have to learn to manage: having that public life, that artistic life and then your private life. What you want is to have a normal life, like any other person, ?she added, then paused. “Everything is analyzed under the magnifying glass.”

Lopez had just told me this when Affleck showed up. “Hi, baby,” she told him. The two set the internet ablaze last year when they rekindled their relationship from 19 years ago, a relationship so extraordinary at the time that it single-handedly fueled tabloid culture with the couple’s glamorous — and highly public — encounters. (Rewatch the infamous video Lopez’s 2002 “Jenny from the Block” to see Affleck kissing her butt in a bikini as they sunbathe on a yacht). With a backpack slung over her shoulder, he interrupted the interview to lead her into the other room. They came back ten minutes later, to hug, kiss and whisper “I love you” in each other’s ears. “Very well, my love, I’ll see you later,” he said before running off.

It was a peculiar moment. It was planned? Spontaneous? My requests to speak to Affleck had been denied, but here he was, the boyfriend busily sharing words of encouragement with the press.

I asked Lopez about the conversations the two had before rekindling a romance that had previously scuttled two movies and put their respective careers in jeopardy. (a dangerous relationship and the later Single father crashed at its premiere, partly due to relationship turbulence). Had they thought about how to handle the media frenzy that would accompany such a union?

“I’d say we learned our lesson the first time,” he said with a sigh.

And what is that lesson?

“That we should keep it as something sacred,” he added. ?You have to do what makes you feel good at all times. But at the same time, you learn from the past, the second time you do things better. There is a part where, yes, we are together. But there is a part that is about not being as open as when we were so young and in love many years ago.

And what about everything he shared with the public during his four-year relationship with former Yankees player Alex Rodriguez, from the constant presence on the red carpet to the intimate Instagram photos with their respective children? The two even tried to buy the New York Mets in 2020, only to lose out to a higher bidder.

?When you’re in something, you do what feels right to you. And I don’t punish myself with ‘I wish I had done this differently’ or ‘Did I do too much?’? she said. ?It’s what was comfortable for me at the time. I did what I did. He did what he did. And he was fine. The relationship thing had nothing to do with being public or not being public.”

One thing does seem clear: Lopez is a hopeless romantic who, despite her three marriages and other failed relationships, continues to believe in destiny. She is the common thread of her new movie and she also seems to be the common thread of her life, one that she has no intention of changing anytime soon.

?You can’t live life and think that things are just mistakes: I screwed up there, I screwed up there. No, it’s all lessons,? she stated. ?It is what you can extract from the situation that is going to help you grow and go to the next level to understand yourself, find yourself and be able to be at peace with your life, at peace with who you are.?

Nicole Sperling is a media and entertainment reporter, covering Hollywood and the burgeoning business of streaming. She joined the Times in 2019. She previously worked for Vanity Fair, Entertainment Weekly, and the Los Angeles Times. @nicsperling



We wish to thank the author of this post for this incredible material

Can Jennifer Lopez save the romantic comedy?


Discover our social media accounts as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656148401 ) [9] => Array ( [title] => Modeling historical biomass could be key to buffering climate change [link] => http://wikileaksisdemocracy.org/science/modeling-historical-biomass-could-be-key-to-buffering-climate-change/ [dc] => Array ( [creator] => Laura Surber ) [pubdate] => Sat, 25 Jun 2022 09:01:49 +0000 [category] => sciencebiomassbufferingchangeClimatehistoricalkeyModeling [guid] => https://wikileaksisdemocracy.org/?p=8396 [description] => Journal Reference: A. M. Raiho, C. J. Paciorek, A. Dawson, S. T. Jackson, D. J. Mladenoff, J. W. Williams, J. S. McLachlan. 8000-year doubling of Midwestern forest biomass driven by population- and biome-scale processes. Science, 2022; 376 (6600): 1491 DOI: 10.1126/science.abk3126 While this woody biomass contains one of the largest pools of terrestrial carbon, changes ... Read more [content] => Array ( [encoded] =>

Journal Reference:

  1. A. M. Raiho, C. J. Paciorek, A. Dawson, S. T. Jackson, D. J. Mladenoff, J. W. Williams, J. S. McLachlan. 8000-year doubling of Midwestern forest biomass driven by population- and biome-scale processes. Science, 2022; 376 (6600): 1491 DOI: 10.1126/science.abk3126

While this woody biomass contains one of the largest pools of terrestrial carbon, changes in the magnitude of woody biomass over millennia are poorly known, with most direct observations of vegetation biomass spanning no more than a few decades. Because trees grow very slowly, this lack of data leads to a substantial knowledge gap. In the absence of empirical data, scientists make assumptions that lead to uncertainties about long-term carbon sink and projections of the future carbon-climate system.

A new study published in the journal Science on June 23, 2022 seeks to fill this knowledge gap. Led by Ann Raiho of the University of Maryland?s Earth System Science Interdisciplinary Center (ESSIC), an international team of scientists reconstructed the natural pace and pattern of carbon storage, painting a vivid image of how forests developed over centuries. The findings have the potential to shift ongoing debates about how landscapes can be managed to maximize carbon storage while also meeting conservation goals.

?We found that the forests in the Midwestern U.S. were expanding and getting bigger over the last 10,000 years,? said Raiho, a postdoctoral associate at ESSIC. ?This tells us that the prehistoric baseline for understanding forests was wrong and that it?s important from a carbon sequestration perspective to preserve trees that grow larger and live longer.?

For the study, the team developed ReFAB (Reconstructing Forest Aboveground Biomass), a Bayesian model that estimates aboveground woody biomass based on a time-series of fossil pollen assemblages in sediments. They used ReFAB to statistically reconstruct changes in woody biomass across a 600,000-plus kilometer area in the Upper Midwest of the U.S. over the last 10,000 years.

The researchers found that after an initial postglacial decline, woody biomass nearly doubled during the last 8,000 years. This result differs substantially from prior reconstructions of forest biomass in eastern Canada, which could be due to forest species differences between regions. Previous studies also used simpler models that did not account for uncertainties in the data and found results that indicated little or no change in biomass over the last 6,000 years. ReFAB corrects these uncertainties ? by accounting for temporal autocorrelation, uncertainty in sediment-dating, and uncertainty in the relationship between aboveground woody biomass and multivariate pollen data ? allowing researchers to zoom in to a finer scale, uncovering trends that were previously hidden.

?We found that the ecology of forests matters for understanding the carbon cycle,? Raiho said. ?The steady accumulation of carbon was driven by two separate ecological responses to regionally changing climate: the spread of forested biomes and the population expansion of high-biomass tree species within forests.?

However, the woody biomass that took millennia to accumulate took under two centuries to destroy. Industrial-era logging and agriculture severely depleted this carbon accumulation. The researchers found that the decline in woody biomass in the studied region occurred at more than 10 times the rate of aboveground woody biomass change in any century over the last 10,000 years.

This discovery could change the way that forests are managed to mitigate the effects of climate change. Storage of biomass in the region was driven by the population expansion of high biomass tree species such as the Eastern Hemlock and American Beech. Once these species were established, high biomass forests were sustained regionally for millennia. This reconstruction confirms arguments that high-biomass species in old forests play important roles in carbon storage and should be preserved.

?Forest management should emphasize sustaining populations of large trees,? Raiho said. ?This has the potential to emulate the natural carbon sequestration processes and ultimately extend the timescales and magnitude at which terrestrial ecosystems will continue to buffer climate change by acting as a carbon sink.?

The team will be moving forward with this work with NASA?s Global Ecosystem Dynamics Investigation (GEDI), which will enable the protection of large trees by providing high resolution maps of the 3D structure of forests around the world. GEDI will expand existing knowledge about biomass magnitude, structure, and density. With this wealth of information, researchers will be able to better predict the future of forests.

Raiho and her team plan to use this reconstruction data to improve the simulation models used by the Intergovernmental Panel on Climate Change to better understand how climate change will impact Earth and its ecosystems. Raiho?s work will improve these simulations and forecasts by informing the vegetation component in the models.

?This work would not be possible without all of the people who collected and counted the fossil pollen data,? Raiho said. ?There were probably a hundred people over the last several decades who did all the field work. We used over 232 fossil pollen cores in this research. Thousands of hours went into the data collection. We used the Neotoma database to access this valuable data.?

In addition to Raiho, this study included researchers from the University of Notre Dame, University of California, Berkeley, University of Calgary and the U.S. Geological Survey.

This research was supported by the National Science Foundation (Award Nos. DEB-1241874, 1241891, 1241868, 1241868, and 5 1458021).

We want to give thanks to the author of this post for this amazing material

Modeling historical biomass could be key to buffering climate change

Check out our social media profiles and also other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Journal Reference: A. M. Raiho, C. J. Paciorek, A. Dawson, S. T. Jackson, D. J. Mladenoff, J. W. Williams, J. S. McLachlan. 8000-year doubling of Midwestern forest biomass driven by population- and biome-scale processes. Science, 2022; 376 (6600): 1491 DOI: 10.1126/science.abk3126 While this woody biomass contains one of the largest pools of terrestrial carbon, changes ... Read more [atom_content] =>

Journal Reference:

  1. A. M. Raiho, C. J. Paciorek, A. Dawson, S. T. Jackson, D. J. Mladenoff, J. W. Williams, J. S. McLachlan. 8000-year doubling of Midwestern forest biomass driven by population- and biome-scale processes. Science, 2022; 376 (6600): 1491 DOI: 10.1126/science.abk3126

While this woody biomass contains one of the largest pools of terrestrial carbon, changes in the magnitude of woody biomass over millennia are poorly known, with most direct observations of vegetation biomass spanning no more than a few decades. Because trees grow very slowly, this lack of data leads to a substantial knowledge gap. In the absence of empirical data, scientists make assumptions that lead to uncertainties about long-term carbon sink and projections of the future carbon-climate system.

A new study published in the journal Science on June 23, 2022 seeks to fill this knowledge gap. Led by Ann Raiho of the University of Maryland?s Earth System Science Interdisciplinary Center (ESSIC), an international team of scientists reconstructed the natural pace and pattern of carbon storage, painting a vivid image of how forests developed over centuries. The findings have the potential to shift ongoing debates about how landscapes can be managed to maximize carbon storage while also meeting conservation goals.

?We found that the forests in the Midwestern U.S. were expanding and getting bigger over the last 10,000 years,? said Raiho, a postdoctoral associate at ESSIC. ?This tells us that the prehistoric baseline for understanding forests was wrong and that it?s important from a carbon sequestration perspective to preserve trees that grow larger and live longer.?

For the study, the team developed ReFAB (Reconstructing Forest Aboveground Biomass), a Bayesian model that estimates aboveground woody biomass based on a time-series of fossil pollen assemblages in sediments. They used ReFAB to statistically reconstruct changes in woody biomass across a 600,000-plus kilometer area in the Upper Midwest of the U.S. over the last 10,000 years.

The researchers found that after an initial postglacial decline, woody biomass nearly doubled during the last 8,000 years. This result differs substantially from prior reconstructions of forest biomass in eastern Canada, which could be due to forest species differences between regions. Previous studies also used simpler models that did not account for uncertainties in the data and found results that indicated little or no change in biomass over the last 6,000 years. ReFAB corrects these uncertainties ? by accounting for temporal autocorrelation, uncertainty in sediment-dating, and uncertainty in the relationship between aboveground woody biomass and multivariate pollen data ? allowing researchers to zoom in to a finer scale, uncovering trends that were previously hidden.

?We found that the ecology of forests matters for understanding the carbon cycle,? Raiho said. ?The steady accumulation of carbon was driven by two separate ecological responses to regionally changing climate: the spread of forested biomes and the population expansion of high-biomass tree species within forests.?

However, the woody biomass that took millennia to accumulate took under two centuries to destroy. Industrial-era logging and agriculture severely depleted this carbon accumulation. The researchers found that the decline in woody biomass in the studied region occurred at more than 10 times the rate of aboveground woody biomass change in any century over the last 10,000 years.

This discovery could change the way that forests are managed to mitigate the effects of climate change. Storage of biomass in the region was driven by the population expansion of high biomass tree species such as the Eastern Hemlock and American Beech. Once these species were established, high biomass forests were sustained regionally for millennia. This reconstruction confirms arguments that high-biomass species in old forests play important roles in carbon storage and should be preserved.

?Forest management should emphasize sustaining populations of large trees,? Raiho said. ?This has the potential to emulate the natural carbon sequestration processes and ultimately extend the timescales and magnitude at which terrestrial ecosystems will continue to buffer climate change by acting as a carbon sink.?

The team will be moving forward with this work with NASA?s Global Ecosystem Dynamics Investigation (GEDI), which will enable the protection of large trees by providing high resolution maps of the 3D structure of forests around the world. GEDI will expand existing knowledge about biomass magnitude, structure, and density. With this wealth of information, researchers will be able to better predict the future of forests.

Raiho and her team plan to use this reconstruction data to improve the simulation models used by the Intergovernmental Panel on Climate Change to better understand how climate change will impact Earth and its ecosystems. Raiho?s work will improve these simulations and forecasts by informing the vegetation component in the models.

?This work would not be possible without all of the people who collected and counted the fossil pollen data,? Raiho said. ?There were probably a hundred people over the last several decades who did all the field work. We used over 232 fossil pollen cores in this research. Thousands of hours went into the data collection. We used the Neotoma database to access this valuable data.?

In addition to Raiho, this study included researchers from the University of Notre Dame, University of California, Berkeley, University of Calgary and the U.S. Geological Survey.

This research was supported by the National Science Foundation (Award Nos. DEB-1241874, 1241891, 1241868, 1241868, and 5 1458021).

We want to give thanks to the author of this post for this amazing material

Modeling historical biomass could be key to buffering climate change

Check out our social media profiles and also other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1656147709 ) ) [channel] => Array ( [title] => Wikileaksisdemocracy [link] => http://wikileaksisdemocracy.org [description] => Trending Movie News [lastbuilddate] => Sat, 25 Jun 2022 15:18:08 +0000 [language] => en-US [sy] => Array ( [updateperiod] => hourly [updatefrequency] => 1 ) [generator] => https://wordpress.org/?v=6.0 [tagline] => Trending Movie News ) [textinput] => Array ( ) [image] => Array ( [url] => http://wikileaksisdemocracy.org/wp-content/uploads/2022/04/cropped-square-32x32.png [title] => Wikileaksisdemocracy [link] => http://wikileaksisdemocracy.org [width] => 32 [height] => 32 ) [feed_type] => RSS [feed_version] => 2.0 [encoding] => ISO-8859-1 [_source_encoding] => [ERROR] => [WARNING] => [_CONTENT_CONSTRUCTS] => Array ( [0] => content [1] => summary [2] => info [3] => title [4] => tagline [5] => copyright ) [_KNOWN_ENCODINGS] => Array ( [0] => UTF-8 [1] => US-ASCII [2] => ISO-8859-1 ) [stack] => Array ( ) [inchannel] => [initem] => [incontent] => [intextinput] => [inimage] => [current_namespace] => [last_modified] => Sat, 25 Jun 2022 16:13:05 GMT [etag] => W+PsWWABHyCLmOgcmAaMN/SEvo4 )