It may be hard for you to believe, but a very passionate group of game players are still contesting video game records, new and old, and vying to become champion in their particular game of skill in order to be immortalized in the on-line video game record bible “Twin Galaxies”.
Go check it out.
Maybe it’s time to limber up those fingers and go for the record. Every great wrestling match is predicated on a simple concept that holds for the ages: A ‘babyface’ (good guy’) with a seemingly overwhelming challenge vs. a ‘heel’ (bad guy), who has the cards stacked, usually unfairly, in his favor. As humans, we have an innate need to create an emotional investment in our favorite character, which in turn makes the outcome of the contest be something that we care about seeing.
That tried and true formula is fully rendered in a great documentary that I regularly watch called “The King of Kong: Fistful of Quarters”. Instead of wrestlers though, we’re dealing with elite-level, arcade-version Donkey Kong players facing off for the world record. As well, and unlike a wrestling match, our outcome is not predetermined and this reality adds oh-so deliciously to the drama as it unfolds.
Now, bring in the chief combatants in our story: social pushover Steve Wiebe, a stuck in second place, life-long loser that just can’t seem to get a break in life vs. chicken-wing sauce kingpin Billy Mitchell; he of the hypnotizing mullet and Charlie Sheen-type zeal.
Here we’ve got classic good guy vs. bad guy at its finest!
Watch how Wiebe finds great difficulty becoming accepted into the ranks of high level players even though his skill and scores are right up there with the best of the best. Billy Mitchell and his team of disciples manage to cheapen and disrespect Wiebe throughout, holding him back, and in turn making the viewer desperate for a little ass-kicking payback. Can Wiebe come through? The answer will surprise you. The climax is better than any made for Hollywood movie, and will keep you on the edge of your seats.
It doesn’t matter if you like video games or not, the emotional pull of this story cannot be denied, and I guarantee that you will dig it. “King of Kong” gets my five silo rating. There’s the full movie up above but the DVD has some great extras that get right to the root of some true video game nerd-dom. For the Silo, John McIntosh.
The call letters KLEE-TV had not been broadcast since July 1950, more than 3 years before a viewer in London, England picked up their transmission on his television set.
Adding to the mystery was the fact that while in operation KLEE-TV was based out of Houston, Texas- an entire continent and ocean away. Since this was an era before satellite t.v. transmission how could the images be picked up? Was it simply a hoax?
Though debunkers have stated that this story first appeared in Readers Digest, it actually was first reported in 1953 by TV Guide: a viewer based magazine that organized and listed television programming and reviewed highlighted television shows. Hugely successful and widely distributed- it seems counter-intuitive to consider how this might affect an already paranoid and anxious viewer body. After all, the Cold War and the Space Race were underway. Many Americans were building nuclear bomb shelters and keeping their eyes to the skies.
Television was still a new form of media and to many it transcended the boundaries of space of time.
It seemed possible that ghostly transmissions from another time and another place could occur. TV Guide pointed out in its story that at the time of the phantom KLEE-TV transmission, no other t.v. station in the world used those call letters.
For the next 12 year this enigma was forgotten but then in February 1962 Mrs. Rosella Rose of Milwaukee, Wisconsin witnessed the following. The KLEE-TV letters were flashed onto her screen as well as the images of an unknown man and woman arguing on a balcony, followed by the flashing of the word “HELP!” Then suddenly, her screen went blank. It seemed as though Mrs. Rose had witnessed an electronic netherworld. Could an alternate universe be superimposing its reality onto hers? The simplest answer is that Mrs. Rose was a victim of her time.
Phantom signal transmission in Stranger Things.
Perhaps as mentioned in Haunted Media Static and Stasis, “….The fleeting and inexplicable transmissions of KLEE are eerie in that they are symptomatic of a general loss of self presence felt socially in electronic communications as a whole.” I think it’s safe to say that Canadian Film Director David Cronenberg felt this way and successfully incorporated these themes into Videodrome. I think it’s also safe to say that the success of the recent Netflix series Stranger Things is due in some part to this notion of a technologically created netherworld. And what about the Australian reports of a Coke bottle and drinking flask being transmitted during the Moon Landing?
Today there are reports of phantom webcam transmissions, of strange beings quickly seen on a monitor or a tablet. If we are able to view images on our devices then is it so far fetched to imagine that we ourselves can be seen by others through our devices? And if that’s possible to what end are we being surveilled? For the Silo, Jarrod Barker.
The Max Headroom Signal Intrusion Incident of 1987
From Stranger Things dropping the first teaser for its final season to Sex Education Season 4, September is shaping up to be an exciting month for TV fans. New research has revealed the most popular TV series and Stranger Things tops the list. *costs are listed in USD
Our friends at Spin Genie have looked at a range of factors including the cost of the pilot episode, annual Google searches, number of Instagram posts and TikTok views as well as the IMDb rating of the world’s most popular TV series to determine the most successful series of all time.
The most Googled TV shows:
Rank
Show
Annual Google searches
1
Stranger Things
191.3 M
2
Game Of Thrones
69.2 M
3
The Walking Dead
54.1 M
4
Bridgerton
22.5 M
5
The Witcher
21.7 M
6
Westworld
17.1 M
7
The Mandalorian
15.7 M
8
Narcos
11.0 M
9
Orange Is the New Black
10.3 M
10
13 Reasons Why
10.2 M
The most searched for TV show is Stranger Things, with over 191 million annual searches. The show is also Instagram’s most popular TV show with over 15.5 million hashtagged posts on the app.
Taking the second spot is Game Of Thrones which receives nearly 70 million Google searches each year. The series was a worldwide success, with media attention lasting for eight years while the show was on air, drawing over 18.1 billion TikTok views and 13.8 million Instagram posts.
The Walking Dead takes the third spot with 54.1 million Google searches annually. The Walking Dead revolutionised the zombie apocalypse genre and captured the attention of millions of viewers across the world.
The research also revealed the top 10 most successful TV shows of all time:
Rank
Show
Pilot Budget
Google Searches
Instagram Posts
TikTok Views
IMBD Rating
Success Score
1
Game of Thrones
$10.0M
69.2M
13.8M
18.1B
9.2
9.64
2
Stranger Things
$6.0M
191.3M
15.5M
130.2M
8.7
8.10
3
The Mandalorian
$12.5M
15.7M
2.4M
4.6B
8.7
7.86
4
The Walking Dead
$3.4M
54.1M
7.9M
21.0B
8.1
7.50
5
Narcos
$2.5M
11.0M
722.3K
44.7M
8.8
6.43
6
Bridgerton
$7.0M
22.5M
737.0K
17.4B
7.4
6.19
6
Westworld
$25.0M
17.1M
410.0K
277.7M
8.5
6.19
8
The Witcher
$10.0M
21.7M
1.3M
3.3B
8.1
6.07
9
House of Cards
$5.0M
7.0M
454.4K
145.3M
8.7
5.84
10
The Crown
$13.0M
589.2K
571.3K
5.1B
8.6
5.83
Game of Thrones tops the listof the most successful TV shows, scoring 9.64 out of 10. The series is the highest-rated of any of the TV shows on the list, with an IMDB rating of 9.2 out of 10 and has also inspired 13.8 million Instagram posts, the second highest total of any shows.
In second place is Stranger Things with a score of 8.1. The popularity of this series has influenced the charts, with Kate Bush’s Running Up That Hill re-entering the charts after appearing on Stranger Things. The series has more Google searches and Instagram posts than any other show in this study, even though the pilot episode budget was just $6 million.
Rounding out the top three with a success score of 7.86 is The Mandalorian. The Disney+ exclusive’s third season stars Pedro Pascal, and the show’s pilot episode is reported to have cost $12.5 million. The series has 15.7 million annual Google searches, 2.4 million Instagram posts and an impressive 4.6 billion TikTok views.
Further findings:
Vinyl has the most expensive pilot episode of any of the TV shows profiled. Created by Mick Jagger and Martin Scorsese, the first episode cost a reported $30 million but failed to generate enough attention for a second season.
When it comes to TikTok, The Walking Dead tops the list as the most popular TV series totalling more than 21 billion views on the platform.
Narcos has the cheapest pilot debut of the series profiled, costing $2.5 million. Despite this, the show has gained a following of fans and has over 722,000 Instagram posts about it. Narcos also achieved a high rating of 8.9 on IMDB.
Around 75 million US and Canadian adults have a Netflix subscription, with the streaming service a huge hit. But, which Netflix original series and movies are most popular amongst us Canadians?
Our friends at Spin Genie- a leading online casino have helped us out with this one and looked at Google search data, viewing hours, news articles, Instagram posts and Tiktok views for Netflix’s biggest original series and movies to reveal the streaming service’s most popular projects.
Canada’s top 10 most Googled Netflix Original Series:
Rank
Title
Number of Google searches
1
Stranger Things Season 4
1,939,100
2
Bridgerton Season 2
656,500
3
You Season 4
605,700
4
The Crown Season 5
585,100
5
Love Is Blind Season 3
580,900
6
Love Is Blind Season 4
561,130
7
Ozark Season 4
469,400
8
Love, Death & Robots: Volume 3 Season 3
404,030
9
Cobra Kai Season 5
363,200
10
Ginny And Georgia Season 2
312,300
Taking the top spot is Stranger Things Season 4, with nearly 2 million Google searches between January 2022 to April 2023. Stranger Things Season 4 was also crowned Netflix’s best original series according to its overall Netflix score of 9.58/10.
Bridgerton Season 2 is Netflix’s second-most searched-for original series since January 2022, with more than 650,000 searches in Canada. The show also boasts over 1.7 billion Tiktok views, 23,200 news articles and 53,856 Instagram posts.
Rounding out the top three is You Season 4 with just over 600,000 Google searches. Season 4 of You had the most media coverage of any Netflix show, with around 180,000 articles written on Google News.
Canada’s top 10 most Googled Netflix Original Films:
Rank
Title
Number of Google searches
1
The Stranger
76,000
2
Persuasion
50,000
3
Hustle
41,770
4
Blonde
35,400
5
Troll
32,950
6
Purple Hearts
26,000
7
Senior Year
21,930
8
All Quiet on the Western Front
18,540
9
Pinocchio
16,810
10
White Noise
15,960
Taking the number one spot for the most Googled Netflix original movies in Canada, we have The Stranger, with around 76,000 searches since the start of 2022. The film was based on the non-fiction book, The Sting: The Undercover Operation That Caught Daniel Morcombe’s Killer by Kate Kyriacou.
In second place, we have Persuasion,another adaptation of Jane Austen’s novel of the same name. Since the start of 2022, this Netflix original movie has been searched for around 50,000 times.
Hustle rounds out the top three with searches up by 41,770. The sports comedy-drama features Adam Sandler as an NBA scout, and LeBron James was also a producer on the movie, through his company SpringHill.
The research also revealed the following:
Enola Holmes 2 is the most talked about Netflix original movie on Instagram with almost 109k posts. When it comes to Instagram’s most talked about Netflix original series, Wednesday tops the list with over 159k posts on the app.
Purple Hearts is the best Netflix original movie according to its overall Netflix score of 8.87/10. Stranger Things Season 4 takes the crown as Netflix’s best original series, scoring 9.58.
Glass Onion: A Knives Out Mystery is the most-watched Netflix original movie, amassing301,730,000 viewing hours in its 7 weeks in the top 10.
Dahmer has been named TikTok’s most talked about Netflix series, with around 8.7 billion views on posts talking about its first season. When it comes to Tiktok’s most talked about Netflix film, Enola Holmes 2 takes the crown with around 2 billion views on the platform.
Invest a little over an hour watching this documentary about tea and you might find yourself contemplating a new connection between rural farming communities and the tea farmers of China. That’s because All in this Tea deals with all aspects of Chinese tea production, but takes a special interest in how a new demand for high quality, organic Chinese tea is creating new opportunities for Chinese rural farmers.
The story begins by focusing on David Lee Hoffman’s elusive quest for rare and perfect teas.
David is a renowned tea importer and to say that he loves tea is an understatement. Based on the passion and knowledge shown in this doc, he seems to live for the stuff. Hoffman sees himself as a cultural zealot, promoting the rich history of simple Chinese farming practices and educating the western world on the merits of drinking pure, organic tea produced in the “Chinese way”.
He makes the act of producing tea seem like the ultimate expression of agricultural art.
His journey takes him to remote, obscure farms where he begins the process of encouraging the Chinese tea board to end mass farming practices and belligerent pesticide uses. His goal is to create a new tea farming economy, one where quality takes precedence over quantity. If you like tea or if you want to learn more about Chinese tea farming practices, If you’re a tea drinker or know someone who is (don’t we all?) then All in this Tea is the right documentary for you. For the Silo, Jarrod Barker.
Almost 6 billion accounts affected in data breaches in 2021
The year 2021 was record-breaking in terms of the sheer size of data breaches. According to the data collected and analyzed by the Atlas VPN team, 5.9 billion accounts were affected by data breaches throughout 2021.
Atlas VPN has retrieved and calculated the numbers of breached accounts based on multiple publicly available sources. The total count includes worldwide data breaches that took place from January 1st, 2021, to December 31st, 2021.
February saw the biggest data breach of all-time — COMB, or in other words, the Compilation of Many Breaches, which is responsible for the leak of a whopping 3.2 billion unique cleartext email and password combinations.
The breach was named this way because it is not a result of a single hack of a specific organization but rather combines leaked data from a number of different breaches spanning five years, including Netflix, LinkedIn, and others.
The breached data was first offered for sale on RaidForums, an underground database sharing and marketplace forum, for just $2 in February. Other breaches that made it to the top five biggest data leaks of 2021 include LinkedIn (700 million people), Facebook (533 million people), Brazil’s Ministry of Health (220 million people), and SocialArks (214 million people).
Cybersecurity writer and researcher at Atlas VPN Ruta Cizinauskaite shares her thoughts on 2021 data breach trends: “Even with data breaches becoming a growing threat, it seems organizations are still not putting enough effort in protecting the personal information of their users. One of the first things every organization should do is evaluate the amount of sensitive user data it collects — the less sensitive data is stored, the lesser the risk of it being leaked.”
TV content used to be delivered from a long distance transmitter and received by a roof antenna on your house. The antenna had to be manually or automatically positioned whenever you wanted to watch distant channels. Work was involved. Mystery was involved. Finding something to watch was satisfying.
I’m often asked what I think about the original Star Wars series versus the “new stuff”. A debate that continues to rear its ugly head again ever since Episode VII was released back in December 2015 . I think, for me, I’ve determined what the problem is and why those of us who grew up with Darth, Luke, Han and Leia have a hard time with the newer movies when the younger generation just loves them.
The ‘rabbit ears’: two metal rods sticking up from the television set. The rods could be rotated, pulled apart, shortened and lengthened etc. to fine tune a distant channel.
The Empire Strikes Back was released in 1980. I was an impressionable nine year-old. Although I had seen the original Star Wars, it didn’t resonate with me as much as Empire did. When May 21 of that year hit, my life it would seem was changed forever. After seeing the film, it was all I could do to stop thinking about it and what I had seen. The cliffhanger ending was killing me and yet I seemed okay with the fact that I was going to have to wait three more years to find out what happened to Han (no spoilers here in case somehow you have somehow missed Return of the Jedi).
That summer I saw the movie 13 times. The world was a different place. I took the bus by myself downtown to the beautiful Capitol Theatre (now the even more beautiful Sanderson Centre in Brantford). There was no internet (at least, not that mere mortals could access). I got excited by the occasional mention of the Star Wars universe on the television and I wouldn’t even get a VCR for four more years so the idea of being able to watch the movie “on demand” was not even a thought in my young mind. Instead, I had to rely on my mind through my memories and imagination.
For me, getting the action figures from the movies and being able to recreate scenes from the film helped bring me back to my happy place inside the Star Wars universe. We couldn’t afford to get all the playsets and ships, so I built a lot of them out of cardboard. I used my creative side to paint them like I remembered them in the movies and as soon as I could I ordered the photo books from the school book service so that I could go back there. When the movie eventually made it onto television, a VCR-less me compromised by recording the audio of the film onto cassette. I could then listen (and listen I did) to the movie with my eyes closed and pictured it all in my mind.
If I told this story to a nine year-old today, I would get strange looks. “Dude, why wouldn’t you just watch it on Netflix or look it up on your iPad?” It just wasn’t possible. I was so desperate for a connection to the universe I even cut out the black and white mini-movie poster that was printed into the newspaper with the local theatre listings and posted it on my bedroom wall. Yes, that’s honestly how it was.
Today, I feel like the instant access we have to everything “on demand” somehow diminishes our connections to content. I am pretty sure good movies have been made after the 80s, but I would be hard pressed to find one that hasn’t held such a close connection with me. Not only is there instant access to so much of the content we get today that there is, in fact, more content out there than I can possibly keep up with. This got me to thinking, how do others deal with content overload?
In my case the biggest problem I have is video games. With over 15,000 to choose from I am rarely bored. However, I have needed to come up with a system to keep track of everything I want to play. In my vast game collection there are surely a ton of stinkers, but there are also some amazing games from the 80s, 90s, and early 2000s that I have missed. Heck, I’ve missed a lot of the games that made the most critically acclaimed lists in the past few years. So I had to come up with a system.
How easy is it to have access to thousands of movies? Netflix can be streamed anytime to your I-phone.
What I do now is maintain a list on Dropbox.com that I can access anywhere. It’s called “Games I need to play.txt” (notice the “need” and not “want”). It has two sub-sections: “Started and Never Finished” and “Games to Play”. I don’t really like leaving games unfinished and so when I look at this list I am reminded of what I need to finish up (as I am often playing more than one game at a time) and then for my larger list I prioritize it with what should be next “on deck”. The list is dynamic, changing as I remember what I want to play or come across things of influence from my colleagues. I also have to admit sometimes I choose to play shorter games so that I can get through them and feel more “accomplished”. The site www.howlongtobeat.com is an amazing resource for this sort of thing.
When I asked my friends how they deal with content overload I got some interesting feedback. One of them, John, actually has an algorithm for dealing with his backlog of books. John shared it with me and it goes something like this:
1. I always have one serious and one fun book on the go and which I put on top of the night stand along with my reading glasses. Sometime I cheat and have two of each kind on the go.
2. I keep a pile of books I want to read someday in my night stand.
3. If I get bored with a book, I trade it with one in my night stand.
4. When I finish a book, I choose another from inside my night stand.
5. If I get tempted by a new book I buy it. If it will not fit in my night stand, then I discard the book that interests. Same goes for books that I’m given.
6. I do have a book shelf at work and one at home for books that I want to keep for later reference. If they get too full, I discard things of least interest.
7. I discard books by giving them to someone, donation to a charity or yard sale.
That’s pretty organized. It’s a little more efficient than how I deal with movies I have yet to watch. Presently, the ones that are on the shelf (Blu-ray or DVD) get “pulled out” a little bit so I can see them clearly among all of my other movies. Since they are all in alphabetical order I don’t want to just pull them out randomly and create a new pile.
A friend shared with me a good way to deal with television content. Just PVR or DVR all the content and then watch as you can. I tried this, but filled up my hard drive so I had to go out and buy an external drive. That drive is now dangerously full. There was some good advice in there, however. “What I do is record all the episodes of a TV show and then when it’s all done I go on a watching marathon and binge on the content for an entire day or two. If it’s a new series and I find out it has been cancelled before I even watch it, I delete all of the content and that way I’m not investing in a show that will ultimately let me down with no additional content.”
Algorithms, mechanisms, processes and lists all to deal with an over abundant amount of content. It’s a wonder there is any room left in our brains to remember or think about what we consumed last week, let alone last year. Yet I find myself looking forward to more content in an ADHD kind of way, I can’t seem to get enough. This is, ultimately, why there will never be anything better in my life than the original Star Wars and other films of the 80s (Raiders of the Lost Ark, Ghostbusters, Stripes, Uncle Buck, Back to the Future). At the end of the day, I’m okay with it because there is always something good and interesting around the corner, even if I have to implement a system to manage it all. There are definitely worse things in life. For the Silo, Syd Bolton.
Canada should ditch Canadian content tools that are ill-suited for the digital age, says a new report from the C.D. Howe Institute.
Daniel Schwanen
In “Choosing Canada: Canadian Cultural Policy in the Twenty-first Century” author Daniel Schwanen sets out a plan to bring Canadian content policy into step with developments such as the emergence of digital competitors for Canadian viewers, including Netflix, Spotify and YouTube.
Unfair Competition
These digital competitors, notes Schwanen, are unconstrained by Canadian content requirements facing traditional TV or radio distributors. The consequence is a “slow bleed” in audiences for licensed TV broadcasters and radio stations while audiences for non-regulated digital channels (many based outside Canada), are rising sharply.
Trends
These trends negatively impact the revenues of traditional conduits for culture and information as advertising revenues migrate to digital channels. Compounding burden on traditional broadcasters, regulators maintain out-dated quotas of Canadian content in prime time and requirements to help fund Canadian TV and film production, whereas their emerging competitors on digital platforms are not subject to these rules. Furthermore, foreign online services such as Netflix are not required to charge their Canadian customers the Goods and Services Tax, unlike their Canadian competitors.
“As Canadians embrace new technologies and platforms to access their entertainment and information, the ability of quotas to affect Canadians’ viewing or listening habits is rapidly diminishing,” said Schwanen. Indeed, 2013 marked the first year in which the number of Canadian households subscribing to internet services exceeded the number of traditional television subscribers. Although 75 percent of Canadian households still subscribed to cable or satellite television distribution services in 2016 – down markedly from 83 percent only four years before – 87 percent of Canadian households subscribed to internet services. In the economy more generally, the culture, entertainment and information services offered online through digital technologies have boomed relative to other economic activities, and in particular relative to traditional cultural and information businesses.
What Is True Demand?
The report proposes an approach focused on more deliberately linking offerings of Canadian content with the potential demand for them. The report’s recommendations for regulators include:
Focusing the funding framework for public cultural agencies and cultural subsidies, including that of the CBC, on the production, dissemination, and exhibition of original artistic or literary works for which a commercial market is not yet established or for which there is a clear public rationale (e.g., educational, informational, or community benefits).
Establishing an arms-length “Canadian Connections Fund” that would replace some existing subsidies with support for initiatives that promote non-commercial Canadian content with Canadian audiences.
Working with Canadian broadcasters and distributors to facilitate the “discoverability” of Canadian content on digital platforms (through, e.g., search engine optimization, targeted online advertising, mobile applications, and the translation of Canadian works for both foreign and domestic audiences).
Eliminating mandated funding of Canadian content and Canadian content quotas for broadcasters while ensuring a level playing field for federal taxation applicable to digital media services purchased by Canadians
Reducing foreign investment restrictions applying to cultural industries, with the aim of attracting investment in Canada.
I first took notice of this film because of where I live- which is not that far away from Long Point, Ontario, a mecca for birdwatchers. I find that it’s a more immersive experience to watch a movie that is connected thematically in some way to the sorts of activities that the area I live in has to offer. This reinforces the suspension of disbelief while watching and serves to supercharge the imagination. If you live in a seaside community and you’ve ever watched Jaws followed by a bit of swimming you know exactly what I mean.
Back to the birds
The main story arc of The Big Year goes a little like this: A ready-to-retire-but-not-quite-sure-its-the-right-time-to-retire businessman and a mid-thirties-divorced-unemployed-savant (he can identify any bird just by hearing a few notes of its birdsong) aim for beating the current single year record of bird sightings. In the parlance of the ‘birding’ community, this is known as doing a ‘big year’. The current record holder, played by Owen Wilson, is the rock-star of the ‘birding’ community and is completely obsessed with stopping anyone else from beating his record- even if this means missing the birth of his child and ruining his second marriage.
Highly competitive obsession
Jack Black, Steve Martin and Owen Wilson in the The Big Year.
I always believed that birding was a slowly paced albeit serious hobby but this movie turns the notion on its head. The story develops and moves quickly. The characters are highly competitive and race against each other as the suspense and intensity builds.
The Big Year is satisfying, clever and funny . If you are a birder there is a good chance that you will love this movie (especially if you can relate to the obsessive compulsive behavior of the main characters) but then again you might end up blaming this movie- you might decide on doing a big year and to hell with anything and anyone in your path. For the Silo, Doug McKenzie.
Jack Black’s character feeling bad (but not that bad) about Steve Martin’s character picking up the dinner tab.
I used to watch more foreign films. In my idealistic twenties I guess. But lately I’ve gotten lazy, and when I sit down for a movie the last thing I want to do is read subtitles. I do make some exceptions however. This is fortunate, for there are some truly exceptional films out there not made in English. And really, after five or ten minutes I completely forget I’m reading anyway.
A few years ago, I caught two incredible French films on Netflix Canada that I still highly recommend. The first is 2010’s Les Emotifs Anonymes (Romantics Anonymous), a genuinely delightful romantic comedy that follows the formula to some extent, but also transcends it with the originality of its script and the utterly captivating performances of its leads.
The formula I’m referring to is this: two attractive people meet, there is instant chemistry, and then numerous obstacles appear to twist and turn the plot and thwart their progress in realizing their love. The difference here is that the male and female protagonists look like real people, and the principle obstacles at play are their near crippling anxiety disorders.
How refreshing it is to watch a female lead (the luminous Isabelle Carre) who is truly “pretty as a picture,” but with imperfect hair and very-little-to-no makeup, make sparks and then run away from a co-star (Benoit Poelvoorde), who looks like the quintessential everyman, and, simultaneously, like a quirky and charming French gentleman.
This is a laugh out loud comedy that may have you, by the end, falling in love with one or both of these marvelous, messed up characters and doing some deep, warm smiling in the process, something I value most highly.
The second film, Coco Avant Chanel (Coco Before Chanel), goes back to 2009 and stars French beauty Audrey Tautou (Amelie, Dirty Pretty Things) as the now iconic Gabrielle “Coco” Chanel.
In this outstanding bio-pic we watch Chanel transform from a smart but bitter young woman in late 19th century France who must overcome obstacles of her own—in this case gender and poverty, two major impediments to success and independence at that time—to realize her dream of something greater. We watch that dream, vague at first, take greater definition and clarity until Chanel is revealed as the creative and business genius whose name would become a household word and whose designs would literally revolutionize women’s fashion in the west.
Gone are the restrictive corsets http://www.marquise.de/en/themes/korsett/korsett.shtml and meringue-y feathers and frills; Chanel was inspired to make clothes for women that were simple, elegant, modern and, perhaps most revolutionary of all, comfortable to wear. Tautou herself, as Chanel, becomes more compelling and beautiful as her character gradually realizes her destiny. And I would be remiss not to mention another dynamite performance by Benoit Poelvoorde, whose demeanor is so different in this film that I didn’t even recognize him as the same actor. Of course he has a mustache here as well—devious disguise.
This story solidifies Chanel’s stature as the woman who changed the direction of western fashion and created couture. How many artists have such a profound effect on their culture, let alone in their own lifetimes? Chanel continued to work until her death in 1971. Both films can be found by searching their English names on Netflix or, if you’re lucky, at your local video store. For the Silo, Alan Gibson.
Disney’s acquisition of 21st Century Fox means that the House of Mouse now controls a huge amount of our most beloved films and television series.
Announced in December 2017 and expected to take until at least 2021 to complete, this $66.1 Billion USD deal (that included taking on a size-able debt portfolio from Fox) ranks among the largest mergers of its kind in history.
We’ve compared these media giants, looked at the potential impact of the deal on both their own employees and the end user and demonstrated how Disney is looking to leverage this deal to break into new markets.
Read on to see how the merger will affect everything from television and the cinema box office to streaming platforms and sports broadcasting this comprehensive infographic from our friends at abcfinancial.co.uk.
BenQ America Corp., the No.1 DLP® projector brand worldwide, today introduced the Colorific™i500, a completely new way to enjoy immersive entertainment in small spaces. A compact device that combines wireless streaming, short-throw LED projection and rich integrated audio, BenQ’s i500 instantly delivers big-screen entertainment designed for today’s modern, tech-friendly lifestyles. With access to the most popular apps, the i500 opens unlimited possibilities for thousands of movies, shows, apps, games and even live broadcast — all without cables, set-top boxes or streaming dongles.
Cute as a button right? It’s only about 20cm x 9cm or 8″ x 3″
“The i500 smart projector is an entertainment game-changer,” said J.Y. Hu, vice president at BenQ America Corp. “At just 3.3 pounds and 3 inches tall just about the size of today’s tablets, the i500 is a powerful and versatile device for even the tightest spaces. Simply turn on the i500 and you’re ready to stream videos and music wirelessly for the ultimate big-screen experience anywhere.”
Thanks to its short-throw lens, the i500 projects images up to 80 inches from as close as 3 feet from the wall or screen, enabling supersized movies, shows, apps and games in WXGA (1280 x 800) native resolution. Supporting a variety of streaming content, the i500’s Colorific technology features a long-life LED light source rated for 20,000 hours without lamp replacement and is capable of projecting high-definition videos with supreme clarity and sharpness. Its vertical keystone correction means the projector can be placed at an indirect angle without any distortion — perfect for placement on a coffee table. With its contemporary gold finish, it blends in seamlessly with existing décor.
On the other side of the dual-sided device users will find a pair of 5W fine-mesh-covered chambered speakers specially tuned to produce clear voices and rich sound quality without external audio connections. When the i500 is not projecting, it can double as a powerful, portable Bluetooth® speaker system.
The i500 comes out-of-box-ready and maintains its flawless performance with the latest software and streaming apps via over-the-air live updates to provide years of unlimited hassle-free entertainment. It is preloaded with popular streaming services and apps such as YouTube, Spotify, Vimeo, Netflix, Hulu and many others. Also, with available game pad and controllers, the i500 unleashes a universe of heart-pounding games including action/adventure, strategy, role-playing and even first-person shooter games.
The i500 does all of this via wireless LAN with no other connections required, and it can play video or music content from a USB stick or display Excel, Word, or PowerPoint documents without a PC. For even more convenience and versatility, the projector offers a selection of the latest inputs, including HDMI x 1, USB 2.0 x1, USB 3.0 x 1, audio I/O as well as a mic in.
The BenQ i500 is now shipping in North America at a retail price of U.S. $749.
The Benq 1075- a full 1080p HD image, with the promise of over 1 billion colors and options for 3D. We want! CP
COSTA MESA, Calif. — BenQ America Corp., an internationally renowned provider of visual display solutions and the No. 1-selling DLP® projector brand in The Americas(1), today introduced its next-generation Colorific™ home entertainment projectors: the HT1075 and HT1085ST. Building on the incredible success of the company’s top-selling W1070 and the short-throw W1080ST, the new home theater devices have been designed to take content to an entirely new level — combining the magic of over 1 billion colors, 3D-readiness, and the realism of full HD 1080p picture quality. What’s more, the new projectors add streaming and mirroring capabilities for devices equipped with Mobile High-definition Link (MHL) to allow the transfer of small-screen content from any portable device. When such an astounding feature set meets such a small price tag, enthusiasts can now easily bring home a full-on cinematic experience.
“BenQ has taken two enormously successful projectors and made them even better,” said Bob Wudeck, Associate Vice President, Strategy and Business Development at BenQ America Corp. “Sustaining our value promise to our customers, the all-new HT1075 and HT1085ST provide enhanced benefits such as Colorific image quality, SmartEco technology, and flexible setup options that allow users to install and easily integrate the projectors with their MHL devices. Available at an amazingly low price, the duo delivers more vibrant colors and richer contrast levels for the ultimate in big screen entertainment.”
Featuring BenQ’s Colorific image quality, the HT1075 and HT1085ST provide more vivid and accurate color reproduction, higher brightness levels, crisper contrast, and longer-lasting picture quality. Both units offer full HD 1080p and 3D support, while the short-throw HT1085ST allows users to fill screens measuring up to 100 inches by simply setting up the device at only 6 feet away — making it an ideal choice for urban environments or media room settings where installation space is limited. Adding to the projectors’ razor-sharp imaging are 2,200 ANSI lumens of brightness and a 10,000:1 contrast ratio, which turn colors from TV shows, movies, or sporting events into more natural-looking, film-like content. The projectors are also ISFccc-certified by the Imaging Science Foundation® (ISF®), enabling viewers to enjoy a professionally calibrated picture with two optimized modes — ISF Day and ISF Night.
To create a household media hub, users can easily connect Blu-ray players and gaming consoles to the projectors via HDMI® as well as view cloud content using any MHL-ready streaming device, including Roku®, Chromecast®, and Apple® TV. As a result, viewers can bring their favorite content from popular services such as Netflix® or Hulu™ onto the screen using their streaming player of choice or even directly from their smart device. Rounding off the unparalleled convenience are the units’ new 10W chamber speakers, which offer rich audio to create a complete solution whenever a dedicated sound system is not practical, or in outdoor situations such as movie nights under the stars.
Further reducing installation and setup time is a new vertical lens shift option for the HT1075, allowing users to perfectly align the projected image to the center of the screen, thus eliminating any tedious tinkering. To ensure even more placement flexibility, both models offer horizontal and vertical keystone correction, which delivers picture-perfect projection at the push of a button. Saving money by lowering total cost of ownership (TCO), the projectors are equipped with BenQ’s SmartEco™ lamp-saving technology to prolong lamp life up to an amazing 6,000 hours while lasting three times as long as projectors sold just a few years ago. Additional cost-saving features include a filter-free design built around a sealed DLP chip that eliminates the need to clean or change messy filters; a unique lamp door design that enables lamp replacement down the road without needing to take down the projector; and a special sleep mode that reduces power consumption to under half a watt when connected but not in use.
To further simplify installations, a new optional wireless connectivity kit will be sold separately and is planned for release in Q4 2014. The fully wireless system will allow users to send content to the projectors from up to 100 feet away, giving homeowners the freedom to move the projectors throughout the house or even take them outdoors without the need to run cable.
Available in September 2014, BenQ’s all-new HT1075 and HT1085ST projectors retail at $1,199 (USD)and $1,299 (USD) respectively.
More information on BenQ’s full line of products is available at www.BenQ.us.
About BenQ America Corp. The BenQ digital lifestyle brand stands for “Bringing Enjoyment ‘N’ Quality to Life,” fusing lifestyle with technology, enjoyment with productivity, and aesthetic design with purpose-built engineering. It is this mantra that has made BenQ the No. 1-selling DLP® projector brand in The Americas(1). BenQ America Corp. offers an extensive line of visual display and presentation solutions that incorporate the very latest technologies. The company delivers a broad range of Colorific projectors, RevolutionEyes™ monitors, and flat-panel displays for any application and market — education, home, gaming, enterprise, government, house of worship, digital signage, A/V, and IT — with cutting-edge models that lead the industry in performance, reliability, environmental sustainability, and aesthetics. Whether it’s interactive digital whiteboards for classrooms, full HD 3D projectors for home theaters, short-throw projectors for boardrooms, interactive flat-panel displays for digital signage, or LED backlight monitors for professional gaming, BenQ continues to defy the limits of digital displays. The company’s products are available across North America through leading value-added distributors, resellers, and retailers.
Man I gotta thank you guys for the recommendation for House of Cards. I am hooked. I am into this shit. This is some of the best long form television that I’ve seen and you know? Long form television is changing the game. This series! I mean shit you’ve got David Fincher and Joel Schumacher directing these television episodes. Kevin Spacey, Robin Wright; holy shit you know? Not to mention all the great people on HBO…I mean, long form television has…..there was a time when film actors wouldn’t dream of condescending to doing television and now long form television is the shit and this House of Cards shit is the shit. It is better than Homeland though I recommend The Newsroom although I don’t think it’s available on Netflix but The Newsroom is a helluva series. Wow.
*this letter to the Silo was transcribed from a reader Skype call we received. Skype us anytime We are: thesiloteam on Skype
The beginning of the end of physical movie rentals? Mainstream online movie promo for frozen pizza lovers.
It is another death knell. We spoke last year in 2011 about the awesomeness that is Netflix, and now from left field is..McCain foods and what a great fit. For years now, cereal manufacturers (they buy a lot of corn eh>) have wisely chosen to promo their boxes by including free Movie at the Cinema passes.
About a year ago it went on sale and it included a free Movie at the Cinema pass for Cineplex. There were only very minor restrictions on the pass: not valid for preview screenings ( I can wait two days for the film to run ) and not being valid for IMAX screens. So other than those, it was OPERATION POPCORN. On account of the free movie.
And this is now. Over last year’s Christmas holidays and this year’s Summer holidays the marketing gurus at McCain unleashed this consumer gotcha!: buy a McCain thin crust California Chicken pizza (surprisingly not that unhealthy) or other McCain pizza (not surprisingly that healthy) to receive a free online digital movie. The code is in the box. This sounded like a bit of fun. It wasn’t exactly emptying out a box of cereal for the prize inside but it was close, and a more adult-like treasure hunt ensued.
So it’s buy your pizza, fix your pizza (if you don’t already, try adding some shaved deli chicken, sliced olives and crushed black pepper), cook your pizza, then sink into your favorite chair in your home theater , turn on your smart t.v. and use it’s built in web browser to visit the Link to McCain Movies and use your code. If you’re feeling especially retro, I suggest the 1978 Superman. Gene Hackman as Luthor. Comic fans- is there a better onscreen comic villain performance, even now, thirty-five years later?
I love New Orleans pizza but in a pinch frozen pizza gets the silver medal
FYI I just had a look and McCain’s collection is small but it’s quality over quantity and using the Epson projector in our Silo office theater, I streamed The Matrix while enjoying a hot slice of Cal. Chick. pizza. For less than 5$ I had a pizza and a free movie that streamed well and projected to 5X7 feet and felt like a cinema experience. I wasn’t even missing the popcorn.
Did you know? McCain uses caramel and annatto for adding the right amount of colour to its tomato pizza sauce?
Is this the future? This is the future if you don’t think so, you’re still renting movies- perhaps on DVD or dare I say it, VHS? For the Silo, Jarrod Barker.
I’d about had it with Bell Canada. My internet, home phone and basic satellite TV charges had incrementally and infuriatingly risen each month until I was red-faced steaming every time the outrageous bill appeared in my mailbox. I needed to reduce that burden, but….I needed some sort of plan.
The first step, I thought, would be to get rid of the TV portion of my package. I didn’t think I could go cold turkey though, so I had to come up with a solution for replacing what I was going to lose. I continued to stew and pay the bills, but in the meantime I started exploring what I could get for free online. I also experimented with some old-school rabbit ears, but those things didn’t really cut it.
Then, out of nowhere, like manna falling from heaven, the sweetness known as Netflix became available in Canada. I pounced. Now for only $7.99 a month I have an all-you-can-eat buffet of TV series and movies right at my fingertips. It’s all available through my wireless internet, works in combination with my Nintendo Wii (you can also use an xbox360 or Playstation3) and is viewable on my television. All for the price of two video rentals.
Once my mind was suitably blown by Netflix, let me tell you how satisfying and liberating it was to call Bell and cancel my TV service. It went something like this: “Hey, Bell , just wanted to tell you that you can go screw yourself. Instead of dealing with your over-priced and over-rated service, I’ve got something that meets my viewing needs at next to no cost at all”. Ahhh. Now that was nice.
Bell has since been mailing thank you notes for my long time patronage, encouraging me to “give them a call” to learn about all the “savings they have in store for me.” I mean really, give me a break. Couldn’t the money they’re spending on that embossed greeting card, and postage, be better used? And why don’t they offer these “great deals” when you’re already a subscriber? Oh man, I’m starting to burn again…
Okay, with Netflix there are some serious sacrifices that you might not be willing to make. First of all: no live sports. For some this may be impossible to accept. However I’ve been a staunch Toronto Raptors fan since their inception, and I thought I’d miss them big time. But I found that I just stopped caring. Of course the Raptors extreme ineptitude certainly made things easier.
Overall, I found that if it’s out of sight it really is out of mind. Trust me, your mind will get filled up with something else. No American Idol? Maybe it’s time to challenge yourself. There’s always YouTube if you absolutely have to see that results show. What about reading a book as an alternative?
The movies on Netflix are not “right out of the theatre” but that doesn’t seem to bother me. There are so many genres to choose from, and so many films I’ve missed or forgotten about, that it’s all new to me anyway. If you still can’t bear the thought of losing your cable, consider using Netflix as a supplement.
Next on the agenda is to get rid of my home phone, another huge part of my bill with *****. When I called to cancel my TV they delighted in telling me I was under contract for telephone service until June, and would have to pay a $200 termination fee to cancel it. Like, whatever. Why am I even surprised? For the Silo, John McIntosh.
One of Will Ferrell's most original roles, from 2001's ZoolanderFebruary can be hard, but March might be even harder. March is like exam week in the University of Winter: you’ve already had a really long haul and now you just have to steel yourself and push through to the end. There is drudgery in any life I guess, but I believe in taking breaks, and a funny movie can be like a 90 minute tropical holiday.
Reclining recently, cozy on my couch, I found myself contemplating two actors who seem to have their fingers on the comic zeitgeist. So the next time you’re at your local video store, or cruising Netflix for a digital vacation, keep an eye open for their films and beat the blahs while you warm your cockles.
The first is Michael Cera (pr. like Sarah), a quirky kid from Brampton with incredible comic timing who makes intelligence cool and softspoken wit accessible to a new generation. He got his first acting gig in a Tim Horton’s commercial (Wikipedia disclaimer), but I became aware of him watching Arrested Development, one of those truly brilliant television series that comes along now and then, creates a cult following and wins every possible award, but never generates the popular groundswell necessary for longevity on network TV. An Arrested Development movie is slated for 2012 release however, in case you’re interested…
You may have also seen Cera in Jason Reitman’s Juno (yes, that is the son of comedy legend Ivan Reitman), which generated big buzz in 2007, winning the Oscar for best screenplay and receiving a total of four nominations.
Diablo Cody’s script begins with a barrage of hipster language that put me off at first, but the story quickly evolves into a touching and comic tale about a very interesting teenage girl coming to terms with an unplanned pregnancy and the people it brings into her life. And Cera is perfect as Bleeker, a smart, quiet kid who might be relegated to a painful highschool nerdom if he wasn’t so sure of who he was.
Michael Cera’s become a big star in the last five years (he’s just 22), headlining a host of oddball films tailor made for his unique persona, which makes me think of Bob Newhart as a hip, skinny teenager. Titles like Superbad and Scott Pilgrim vs. The World, a contemporary comic-book of a film in which the young hero must defeat his lady-love’s seven evil ex-boyfriends, have been very successful vehicles. But my absolute favourite is 2009’s Youth in Revolt.
With a remarkable screenplay based on C.D. Payne’s novel Youth in Revolt: The Journals of Nick Twisp, this film is up there in the intelligent-teen-movie stratosphere formerly inhabited solely by director John Hughes in the 1980’s (Pretty in Pink, Ferris Bueller’s Day Off). But Youth in Revolt is distinctly more literary, with an artful style and darker edge for the new millennium.
Cera plays a precocious young man who must create a dashing, sociopathic alter ego to accomplish things his normal, mild-mannered self could never do—kind of like Fightclub except, in this case, ego and id work in tandem, side by side, in full awareness of one another.
There are so many reasons to love this movie, but for me Cera’s performance is at the top of the list. One of the only criticisms I’ve heard of this young star is that his characters are so similar, film to film, like Woody Allen without all the mania. But in Youth in Revolt, we get to see Cera really act. His portrayal of Nicholas’s Twisp’s alter ego, Francios Dillinger, is one of the most enjoyable performances I’ve seen. Ever. The transformation is subtle but total, and utterly believable. And the white pants…but I won’t say too much.
Will Ferrell is the other guy working right now who really does it for me. To take a momentary detour, Bill Murray has a cameo role in 2009’s Zombieland that sets up the way I think about Ferrell. When Emma Stone’s character recognizes Murray as himself she cries, “This guy has a direct line to my funnybone!” Will Ferrell has become that actor for me.
I remember an appearance he made on ABC’s The View a few years back. He was just sitting there in a jacket, sporting that little fluffy perm of his, and one of the hosts asked him how he’d been doing. “Fine,” he said. “Just fine.” Then there was a beat, and everyone started to laugh. Someone even commented on it. “You don’t even have to do anything and I laugh.”
Now, why is that? What is that? Was it the way he pitched his voice, the terseness of his response, the barely perceptible glimmer in his eye, or the relative stillness with which he held his body? The answer, I think, is yes: it was all of those things. But there was something else as well, an almost palpable comic energy that he generates, an X-factor that is greater than the sum of all those parts. Sometimes I just look at him and I’m done.
Ferrell became famous on Saturday Night Live and has gone on to become one of the most recognizable actors, comic or otherwise, of our time. He has reached a rare echelon. His name is pretty much a household word.
His magnum opuses, if you will forgive the term, are probably Anchorman, Talledega Nights, and Semi-Pro—three films that could be considered a kind of trilogy, if you think about it. They all feature many of the same (A-list) actors, and in each one Ferrell plays a similar character: a charismatic doofus in love with himself but largely ignorant about anything of genuine substance. They are all funny films, sometimes gut-bustingly funny. But I recently saw him opposite Mark Walberg in The Other Guys, another star-studded comedy in which the two leads play cops with unbalanced personalities. And this one is a little different.
It’s another big-budget comedy; action-comedy really. And we get to see Ferrell lying on the ground at one point, screaming non-sequiturs at the top of his voice in a style that has become one of his trademarks, going right back to SNL and his appearance in the first Austin Powers movie.
But what’s really fun about The Other Guys is the way it showcases that incredible energy Will Ferrell brings to deadpan comedy. Nobody does it quite like he does.
Ferrell has tried his hand at more serious roles, opposite the likes Emma Thompson and Dustin Hoffman in Stranger Than Fiction, although I never quite believed him in this film, kind of like I never believed Bill Murray in The Razor’s Edge. And while Murray, in his maturity, went on to give us his wonderful interpretation of an aging actor in Sofia Coppola’s Lost in Translation, one of the best films of 2003, he did it by using his naturally funny energy; toning it down, sublimating it, until he finally broke through into something, someone, simply sweet, and truly human. It was a subtle piece of work. Whether or not Will Ferrell, the man who gave us Mugatu, can do something like this…doesn’t really matter. Certainly he was born to be funny, and there’s nothing wrong with that. AG
The Rocket is a story about a man, a husband, a machinist and a hockey player; a man juggling a day job, a marriage and a passion to play “the game.”
His journey is classical and it has all of the elements of a Greek comedy, with the effect, just like in the Aristotelian tradition, of purging our souls of fear and pity- it is a catharsis. The fact that this is the story of a hockey player trying to make it in the the big time is something many Canadians can relate to: the quest has become a modern day myth in itself with legions of hockey parents secretly living the dream vicariously through their children.
Imagine, then, the impact that Maurice Richard had on an entire generation of francophones. During his playing years, many French-Canadians suffered through an undisguised social prejudice; Richard perhaps more than most. But this was a man who never gave up for long. Despite the stigma of being French, and a labourer; despite being viewed as “too soft, too small for the game,” Maurice Richard rose above and became “The Rocket”. For the Silo, Jarrod Barker.
Playing on Netflix at the time of this writing. Watch for Shawn Avery the pesky New York Ranger left-winger in a casting coup.
C’est une histoire au sujet d’un homme, d’un mari, d’un machiniste et d’un joueur d’hockey. Un homme jonglant un travail de jour, un rapport et une passion de jouer « le jeu ». Son voyage est classique et il a tous les éléments d’une comédie grecque et a l’effet de, juste comme dans la tradition aristotélicienne, purgeant notre âme de la crainte et le plaint est une catharsis. Le fait que c’est une histoire d’un joueur d’hockey essayant de faire le de premier rang est quelque chose beaucoup de Canadiens et Norfolkers peut se rapporter à et cette recherche est devenu un mythe moderne de jour en soi avec des légions d’hockey parents secrètement la vie le rêve délégué par leurs propres enfants.
Imaginez alors l’impact que Maurice Richard a eu sur une génération entière de francophone. Pendant ses années de jeu, beaucoup de Canadiens français ont souffert par un préjudice et un Richard sociaux ouverts
peut-être davantage que les la plupart. Mais c’était un homme qui n’a jamais abandonné pour longtemps. Contre les confins d’être un canadien français, contre les confins d’être un travailleur, contre les confins de l’visionnement en tant que « trop doucement, trop petits pour le jeu.
Maurice Richard est devenu le Rocket.
Maintenez une surveillance pour un garde forestier embêtant Shawn Avery de New York de gauche dans un coup de bâti.
Though debunkers have stated that this story first appeared in Readers Digest, it actually was first reported in 1953 by TV Guide: a viewer based magazine that organized and listed television programming and reviewed highlighted television shows. Hugely successful and widely distributed- it seems counter-intuitive to consider how this might affect an already paranoid and anxious viewer body. After all, the Cold War and the Space Race were underway. Many Americans were building nuclear bomb shelters and keeping their eyes to the skies.
