20 Home Show Lincoln, RI Twin River Event Center at Twin ...

Gov. Gina Raimondo COVID-19 Press Conference: 11/19/2020, 1:00 pm

Watch Here
WJAR Stream if issues with link above or WPRI
Gov. Raimondo is expected to announce new restrictions for high schools (announced by WPRI and WJAR last night) as well as discuss Thanksgiving.
Self-promotion: Yesterday I started graphing data in a few other threads. It's really ugly right now and far from finished (I'll make a separate post on this sub when it's done) but I did start a GitHub site to view the graphs

11/19/2020 Data

RIDOH Dashboard

Gov. Gina Raimondo

Intro

Data

New Restrictions

Intro - Rationale

Path from now to end of the year

Current restrictions will be extended until the Sunday after Thanksgiving with two exceptions, effective immediately:

Thanksgiving

Beginning 11/30 - "RI on Pause"

Open

Limited

Completely Closed

Stimulus grants announced next week for affected businesses

Comments on "pause"

Improvements to testing

Question Highlights

Q: CDC saying that in-person learning is dangerous (I'm glad someone asked)
A: "I believe that question is a mis-characterization of the data" - referencing Dr. Jha She sounds MAD about this question "we could argue about the risk, but children will suffer irreparable lifelong harm not being in school" She is trusting HS students to follow rules and "districts should keep kids in school if they can"
Q: "Wasn't the idea with PPE/testing that we wouldn't have to go back? What happened?"
A: "It turns out people don't follow rules very well when we have to do it for so long"
Q: What is the goal in terms of ease of scheduling/getting test results and do we need to scale back asymptomatic testing?
A: It isn't a perfect system (waiting to get tested) but we are working to fix it. "It's hard for me to believe you can't get a test at all" Personal note: I'm currently trying to get tested (possible exposure at work even though I have no symptoms) and I had to go online to CVS at 3:00 in the morning to get an appointment 3 days later
Q: Isn't distance learning with a teacher better than in-person with a substitute? Is there a percentage (like NY) where we would switch to full distance?
A: High schoolers work better with distance learning but younger kids really struggle. NY: We do not use a single metric to determine whether to shut down - "as long as schools can keep the environment safe" we will keep them open.
Q: Thoughts on a possible 4-6 week lockdown or advisory to governors to do so under President Biden?
A: "If congress would do their jobs" and send an appropriate stimulus, we could discuss a lockdown in RI
Q: Why is Twin River open until 11/30?
A: "If I could shut everything down immediately I would do that" but there is a need to be practical (restaurants who have increased inventory for next week will still be able to use it)
Q: Crisis standards of care?
A (Dr. Scott): Principles to help hospitals make difficult ethical decisions about care - we do NOT want to get here. (Gina): We cannot staff that many beds - patients may have medical students as nurses or not get checked on at all. We may have to "shut off" non-COVID procedures
Q: Nursing home staffing (can people volunteer to bathe their family members, etc)?
A: "Caregiver exemption" is in the works (allowing family to get certified to give care similar to CNA)
Q: Is RI still independently validating vaccine data despite Pfizer pilot program?
A: Yes.
Q: Will you get vaccinated?
A: I will not be first in line (not necessary), but yes.
My apologies, I missed a few questions
Q: General assembly?
A: They will need to meet before 12/31 to pass a 2021 budget - a space is being set up at the Vets to allow a safe in-person meeting or they may choose to do so virtually
Q: HS sports?
A: Winter season cannot start until January - no practices at all during pause

End of conference (2:25pm)

submitted by ComputerGeek1100 to RhodeIsland [link] [comments]

When we were kids, my little brother died on Halloween. He's come back to visit me every year since his death.

Jimmy returned for the first time exactly one year after the accident. I was home alone. Dad was at the bar and Mom was dead. We’d crammed her into a pine box and shipped her off to the incinerator months ago.
I’d been sitting on the couch watching a plump cockroach scuttle across the coffee table, sipping whiskey that I’d liberated the previous night after Dad passed out. I wasn’t quite drunk yet. At eleven years old, my tolerance to alcohol was comparable to most local stumblebum drunks.
A knock came to the door, the gentle tap of brittle knuckles upon rotted wood. I paused with the rim of the bottle resting against my lips. Even the cockroach cocked its long antennae curiously toward the door.
The local trick-or-treaters knew better than to come here seeking candy. Our ramshackle abode was always one DHS visit away from being condemned, and the cobwebs and sundry creepy-crawlies in our front windows certainly weren’t decorative.
I reflexively choked out a sob when I opened the door and saw his ghostly form. The sheet draped over him was stained brown and soaked with stinking river water.
“Jimmy?” I asked, my voice croaking in disbelief.
As if to answer me, his jaw fell slack and I heard the tiniest groan emerge from under that sheet, like a whining door hinge in a quiet house. He raised his hand to me and I shrank back in fear, expecting him to thrust an accusatory finger and damn me as a liar and murderer. Instead, I realized that he was holding his hand open, expecting something. A dry, throaty sound whistled up from his slackened jaw and I suddenly understood what he wanted.
My little brother had come back for his favorite holiday.
I rushed up to my bedroom, reached under my bed, and grabbed Jimmy’s pumpkin-shaped Halloween bucket. I flicked off the roaches and shook out mouse shit then ran back to the front steps, where my little brother was waiting.
As Jimmy snatched his candy bucket from me, I saw them, watching us from the corner. It was the same group of older bullies that harassed us last year, on the night of the accident. Last time, they’d been wearing clown masks. They chose the Power Rangers this year.
Despite their masks, I could tell that those bullies didn’t quite believe what they were seeing. Jimmy had been presumed dead for a year, yet here he was, wearing the very same costume they’d seen him wearing on the night he went missing.
I’d had a growth spurt since that night. Rage and self-hatred did wonders for a growing boy’s physique.
Fueled by whiskey and a desperate urge to blame anyone other than myself for Jimmy’s death, I charged them. Outnumbered four-to-one, I took some shots, no doubt, but I routed them regardless, and I left one of them bleeding on the sidewalk, beaten nearly half-to-death.
Then I returned to Jimmy, smiling, and hooked my pinky around his before we set off to celebrate Halloween.
#
I sat on my couch, eyes trained on the flickering candle on my coffee table. The power had been out for a month and I hadn’t seen any good reason to turn it back on; I’d only be cutting into my meager booze budget and, besides, the city was kicking me out in a few days. The house had been bought and paid for by some long-dead relative then passed down to my parents as an act of pity. When Dad finally kicked the bucket, he left the house to me, but I was never quite able to stay ahead of the property taxes.
I wasn’t going to miss the place. It wasn’t exactly full of fond memories.
At this time of night, I’d normally be blackout drunk, but tonight was Halloween and I didn’t want to miss Jimmy. My entire life might have amounted to a hill of shit, but I’ve promised to never let my little brother down again.
I checked the time. Eight o’clock on the dot. I grabbed Jimmy’s Halloween bucket and headed out front.
Jimmy never did tell me why Halloween was his favorite holiday. He’d been a gentle kid, small for his age, fair-skinned and wispy. You wouldn’t have known it to look at him, but he preferred the schlock and gore of October grindhouse horror movie marathons to kiddie fare more appropriate to his age. He never flinched at the scary parts, when the reanimated undead wreaked havoc or dream demons emerged to slash open teenage throats.
I’d never attributed his love of Halloween to something so cliché as donning a mask to pretend to be someone else, though I wouldn’t have blamed him. No, I’d always suspected that Jimmy loved this time of year specifically because it was when the world went dim and happily embraced the horrific. Vampires and possessed dolls and werewolves made more sense than the more abstract horrors we faced at home.
Or, shit, maybe the kid just really liked candy.
I stepped outside and the riverwards were alive with grinning jack-o-lanterns, windows glowing orange and framed with fake spider webs, and scores of yuppie parents leading their kids door-to-door. I spotted him walking slowly toward the house. I swore, he got smaller every year.
I waved to him. He didn’t wave back, but he did cock his head slightly, as if he was struggling to remember who I was. As always, he was wearing the filthy sheet, soaked in river water. I felt a passing wave of revulsion and guilt when I glimpsed the faded bloodstains where the fabric hugged Jimmy’s misshapen occipital.
I smiled and offered him the bucket. Jimmy snatched it from my hand. Though there was only darkness within those crooked eye holes I’d cut into the sheet twenty-five years ago, somehow I knew that if he still had eyes, they’d have been gleaming.
I reached down to his hand, hooked my pinky around his, and I took my little brother trick-or-treating, like I’d done every year since he first returned.
This wasn’t our neighborhood anymore. Sure, the names of the streets were the same, but that was about it. The yuppie influx, with the ensuing rent increases and property tax hikes, had squashed out most of the old guard. The newbies didn’t care for the sturdy, century-old houses forged with brick and mortar. One by one, those stout homes were being flattened to make way for flimsier, but more stylish facades. Soon, our childhood home was going to suffer the same fate.
Jimmy must have sensed that something was amiss because he tightened his pinky around mine. Though I haven’t heard his voice since that night by the river, his pinky squeeze said enough.
It said, I’ve got you.
That was our private show of reassurance that helped sustain us through our childhood. When Mom wept at the dinner table as we split a dried hunk of welfare cheese for dinner, I’d give Jimmy a squeeze. When Dad staggered home drunk and started laying into Mom, I’d join Jimmy on his small twin mattress. We’d squeeze pinkies, eyes shut tight, with pillows over our ears so we wouldn’t have to hear Dad’s fist knocking against Mom’s head.
I’ve got you.
Tonight, we stopped at every house that still had its lights on. Our new neighbors smiled awkwardly, genuinely troubled by the sight of the neighborhood drunk escorting a child in a raggedy ghost costume. I didn’t give a shit what they thought as long as they tossed a few bite-sized Snickers bars into Jimmy’s bucket.
Soon, the streets began to empty and the trick-or-treaters went home. One by one, those grinning jack-o-lanterns went dark, those orange window lights dimmed, and it was just Jimmy and I wandering the lonely streets.
We headed back toward the house. This was where we would normally part ways, with Jimmy heading back on his own. Tonight, though, I remained at his side.
He cocked his head again, curious.
I squeezed his pinky.
#
Though I loved Jimmy, he was still my little brother and, often, I treated him as such. Just because I hated the neighborhood bullies didn’t mean I didn’t glean some pointers from their abuse. Sometimes, I’d slap Jimmy around or steal his toys because he’d annoyed me somehow. Other times, I just wanted to feel stronger than someone else.
The day of his death, Jimmy had put me in a particularly foul mood. Using the five-fingered discount, I’d gotten comic books from the drug store on York Street and I was looking forward to thumbing through them. Jimmy came rushing into our bedroom, crying because the rats had gotten to his hand-me-down Jason Voorhees costume. The critters had gnawed through the plastic hockey mask and left the (fake) blood-splattered overalls stinking like rat turds.
I told him to take it up with Mom and Dad, but he said Mom was passed out and Dad was at the bar, as usual.
My mood instantly turned black, not necessarily because of Jimmy, but because, once again, I’d have to pick up the slack for our parents. I cooked most of Jimmy’s meals. I scrubbed the stink off his clothes and got him ready for school every morning while Mom and Dad were off, drunk and doped. All I’d wanted was a night to myself, curled up in bed with some stolen comic books, but they couldn’t stay sober long enough to even give me that much.
Somehow, I kept my temper in check. I got him to stop sobbing by yanking the sheet off his bed, cutting out those mismatched eye holes, and draping it over him. “There,” I said. “You’re a ghost now.”
His green eyes were visible through the holes in the sheet. His cheeks perked up under the sheet and I could tell he was smiling.
“Can you take me trick-or-treating?” he asked.
No, I didn’t want to, but I also didn’t want him crying again and Mom would have beaten the shit out of me if I let Jimmy wander the neighborhood alone.
So we set out into the streets, amongst a legion of Ninja Turtles and Ghostbusters and Barbie dolls brought to life. Though it was simple, he enjoyed his makeshift costume. I was just hoping to get through the night without bumping into our enemies.
That was certainly naïve of me. It didn’t take long for them to zero in on us. There were four of them, all older boys. Even the smallest one towered over me.
They were wearing clown masks, thin plastic smiling red-nosed clowns that filled my stomach with dread. None of the parents milling about with their kids noticed the brewing confrontation, not with the dozens of trick-or-treaters clogging the sidewalk.
Jimmy clutched his candy bucket to his chest. One of the bullies reached for it, and that was when I snapped. I couldn’t help it. I might have been pissed off at him for dragging me out here, but this was Jimmy’s favorite night of the year. I couldn’t watch some assholes ruin it for him.
I swung, hard. My fist connected with the bully’s face and I heard a loud crunch right before blood trickled down from behind the clown’s visage.
I grabbed Jimmy by the wrist and we took off into the throngs of costumed kids. We rounded the next corner and disappeared into an alley.
We hid there, holding our breath as the bullies sped past. There was no way they were going to let this go. Two of them would likely roam the neighborhood looking for us, while the other two would lay in wait near our house.
“What are we going to do?” Jimmy asked, voice quivering in fear.
Every night, right before I blackout, I think about how I should have just squeezed his pinky.
But I didn’t. Instead, I blamed him. We wouldn’t have been in this trouble if he hadn’t been such a crybaby back home. That was why, of the dozens of places we could have gone to hide, I chose the river, because I knew he was terrified of the river.
#
Today, the Delaware riverfront was as gentrified as the rest of the neighborhood. A casino and towering condominiums loomed large and quaint pedestrian walkways were infested with pop-up beer gardens.
In our youth, the riverfront had been an industrial graveyard, dominated by long-shuttered factories with stretches of wilderness between them. Stinking sumac trees swayed overhead and plump river rats darted through the bushes.
This wasn’t the first time we had to hide back here. Jimmy always hated it. Although the neighborhood lay only a quarter-mile to the west, Jimmy thought the riverfront was too isolated. He feared that if our bullies ever caught us here, they could kill us and no one would ever know.
My mood hadn’t improved when we finally reached one of the piers, big gray concrete blocks jutting out fifty feet into the sloshing water, supported by a number of wood pilings underneath.
Jimmy remained a few feet behind me, still in his costume, nervously gripping his Halloween bucket. The tide was coming in and he jumped every time he felt a wave hit the pilings beneath us, as if the pier might collapse.
But what scared Jimmy the most was the possibility of falling into the water, that those rough green-brown waves might trap him under the pier, where he’d come up for air and smash his face against unyielding concrete instead.
“Can we just please try to go home?” he whined.
“No,” I snapped back. “Not unless you want those assholes to knock your teeth out.”
He lowered his head. “But I don’t like it back here.”
Looking at my whimpering little brother, I lost all sense of empathy. After running scared from our bullies, I was eager to assert myself as an alpha. I yanked him toward the edge of the pier.
“I’m so tired of you acting like a wimp,” I snarled. I shoved him closer to the edge, where the water sloshed violently ten feet below us. “There’s nothing to be afraid of back here.”
“I just want to go home,” he cried, the eye holes in the sheet now rimmed with tears.
“Stop being such a pussy!” I shouted then instinctively gave him a stiff right hook to the shoulder.
What happened next occurred within seconds, yet in my memory, it seems to play out for an eternity.
I’d hit him harder than I meant to. Jimmy dropped his candy bucket then staggered as his shoes got caught in the pool of fabric underfoot. I watched in muted disbelief as he flopped over the pier, arms waving, right before the back of his head cracked against the concrete edge.
There was a splash ten feet beneath me and my brother was gone, leaving behind nothing more than a red patch on the concrete and white bubbles breaking the water’s surface.
#
Pinkies locked, we maneuvered through condominium parking lots and empty beer garden stalls until we reached that old pier.
For a moment, my memories blended with the present and I saw myself, cold and shivering and soaked with river water, trudging back toward the neighborhood alone, clutching Jimmy’s candy bucket.
I remembered how cold and dark the river was when I dove in, fighting the waves, trying in vain to find my brother before finally giving up. I never told anyone what happened. That night, when I got home, Mom was still passed out and Dad hadn’t come back from the bar yet.
I hid my wet clothes then, later, told them that Jimmy had simply run away from me. I was terrified of what would happen if they knew the truth. There was a police search that amounted to nothing. Dad didn’t seem to care very much. Months later, Mom swallowed forty sleeping pills and never woke up.
I took to stealing swigs of Dad’s half-empty liquor bottles to soothe my guilt, a habit that had served me ever since. But even that relief has proved fleeting. As Jimmy and I walked along the pier, I tightened my pinky around his, content to die sober.
We stood at the edge of the pier. Though I couldn’t see his face, I could tell that he was no less afraid of the river now than he had been twenty-five years ago.
Jimmy stepped off the pier and disappeared into the water below. I wondered, once this pier was inevitably torn asunder to make way for a condo or another casino, would Jimmy still resurface on Halloween? If he did, and he ventured into the neighborhood, would he even recognize that the shiny new studio apartments were standing on the grave of our old house?
Either way, I was going to make sure that he didn’t go through it alone.
I stepped off the pier, just like Jimmy had that night. I cracked the base of my skull against that concrete lip. A lightning flash of pain shot across the world and I crashed hard into the water, pushed at once by the tide under the pier. A wave slammed me against one of the pilings and I felt something snap in my back and, when I tried to scream, filthy river water filled my mouth.
Yet, as I was thrashed about under the dock, my consciousness slowly fading, I felt Jimmy’s tiny pinky finger squeezing around my own.
I’ve got you.
#
That happened almost one year ago, last Halloween. Though I wanted nothing more than to slip into a watery slumber with my little brother, he must have felt otherwise. I woke up, weeks later, in a hospital. They removed patches of my skull to relieve the pressure from the brain bleed, courtesy of cracking my head on that concrete lip. My ribs had been shattered to splinters from the paramedics’ vigorous chest compressions.
They found me on the road, which meant Jimmy dragged me from the water, across the industrial wilderness, then out to the waiting blacktop. I asked the medics if there’d been a boy in a ratty ghost costume with me when they arrived. They said they hadn’t seen one.
Anyway, I’m writing this on the computer at the public library right off Girard Avenue, but I better finish up. The librarian is a real asshole. Doesn’t like it when street bums like me stink up the joint. It’s almost Halloween once again. Jimmy might not want me down in the water with him, but I’m going back to join him, regardless.
I’ve got his candy bucket, so we can hit the neighborhood one last time. I’ve also got a box cutter with the sharpest goddamn razors I could find. Once Jimmy slips back into the water, I’m going to open myself up – both wrists, then my carotid artery – and I’m jumping into that green-blue Delaware shitwater right along with him, because I’m Jimmy’s big brother, god damn it.
I won’t let him swim alone.
submitted by MackMoyerAuthor to nosleep [link] [comments]

Here’s your morning coffee!

Good morning, hope everyone trades responsibly, let’s make some money!

DOW JONES

Boeing Company (BA) - Air Lease (AL) updated on its order book deliveries, sales and new significant financing occurring in Q2; at the end of the quarter, its fleet was comprised of 301 owned aircraft and 81 managed aircraft, with 398 new aircraft on order from Boeing and Airbus (EADSY) set to deliver through 2026; it delivered one new Airbus A320neo aircraft from its order book, and sold four aircraft.
Johnson & Johnson (JNJ) is facing calls from over 170 nonprofit groups to stop selling its talc-based Baby Powder worldwide, over concerns that it contains cancer-causing Asbestos, while some are also calling for the clearing of existing inventories.
Walgreens Boots Alliance (WBA) Q3 20 (USD): Adj. EPS 0.83 (exp. 1.17), Revenue 34.6bln (exp. 34.36bln), FY20 Adj. EPS view 4.65-4.75 (exp. 5.42); Suspending share repurchase programme, raises quarterly dividend to USD 0.4675/shr, a 2.2% increase. US Retail Pharmacy SSS +3.0% (exp. +1.2%). Most significant COVID-19 impact was in the UK market which required a review resulting in a non-cash impairment charge of USD 2bln. Boots (UK) will be cutting around 4,000 jobs. Annual cost savings to be in excess of USD 2bln by FY2022.

NASDAQ 100

Alphabet Inc (GOOG/GOOGL) said it has shut down its cloud project named “Isolated Region” and added that it was not weighing options to offer its cloud platform in China; earlier reports had stated that GOOG had shelved the project in China and other politically sensitive countries in May, partly due to rising geopolitical tensions and the pandemic; GOOG, however, added that the project’s shutdown was not due to either of those two reasons and that it has not offered cloud platform services in China.
American Airlines Group (AAL) / United Airlines (UAL) have temporarily halted flights to Hong Kong after its government-imposed coronavirus testing requirements for airline crews, according to Politico.
Costco Wholesale Corp. (COST) June sales update saw comparable sales (ex-gasoline and FX) rose 13.6% in the June five-week period, accelerating from the +9.2% seen in May, beating forecasts for around 9% growth.
Facebook, Inc. (FB) announced it is starting a chat with a business using QR codes, where people can scan QR codes businesses show at stores, product packaging or receipts to start a chat. It notes there are over 50mln WhatsApp Business app users globally every month.
Gilead Sciences (GILD) plans to make more of its drug remdesivir available for Germany and Europe from the fall, and will decide how much each country gets based on the rate of infection; it added that it could increase its worldwide monthly production from currently 190,000 treatment cycles to two million treatment cycles in December. Remdesivir is currently the only drug granted a conditional marketing authorisation by the EU for its use in COVID-19 patients.Oracle Corp. (ORCL) (Information Technology/Application Software) has been awarded a cloud services agreement by the Canadian government.

S & P 500

Carnival Corp. (CCL) Aida cruises are to recommence sailing vacations in August.
Ford Motor (F) said its China vehicle sales increased 3% in April-June from a year earlier, its first quarterly sales rise in China in almost three years; China sales grew by 158,589 units in Q2, attributed to the rise to a stronger vehicle line up and “strong demand following the lifting of COVID-19 pandemic restrictions”.
Mylan NV (MYL) announced it received FDA approval for its Hulio, a biosimilar to AbbVie Inc. (ABBV) Humira, for the treatment of rheumatoid arthritis.
Twitter, Inc. (TWTR) has been accused of being biased against conservatives and demanded information about its reactions to two tweets by President Donald Trump; two GOP lawmakers allege TWTR’s content moderation was not neutral. Meanwhile, analysts at Citi note its shares overreacted to the potential subscription service reports yesterday. Analyst Jason Bazinet says although it makes sense, there are many unknowns, such as the price and whether or not it will have advertisements. The analyst highlights that a consumer survey shows roughly 10% of its respondents were willing to pay for a USD 5/mth plan without ads and more analytic services. Citi estimates if such a service were to occur, it would be priced at USD 20/year internationally and USD 60/year in the US, assuming a 5% penetration for base case and 10% for its bull case with advertisements, the analyst believes the revenue contribution would be limited. Citi maintain a neutral rating.
United Continental Holdings (UAL) expects to recognise USD 300mln in employee separation charges in Q2, with USD 50mln to be in cash.
ViacomCBS (VIAC) reached a deal to stream all the UEFA Champions League and Europa League matches starting in August.

OTHER

Bed Bath & Beyond (BBBY) Q1 20 (USD): Adj. EPS -1.96 (exp. -1.22), revenue 1.31bln (exp. 1.39bln). Announced it is to close 200 stores over two years as sales fell around 50% during pandemic; BBBY said it was not reporting comp sales due to temporary store closures.
DocuSign (DOCU) had its PT upgraded at Wedbush to USD 240 (prev. USD 165, prev. closing price 206.35). The analyst “continues to believe DOCU’s deal flow is holding up well/stronger than expected in this Covid-19 pandemic environment which bodes well for strong underlying metrics/headline numbers during FY2Q”.
DraftKings (DKNG) and Twin River Worldwide (TRWH) Mardi Gras Casino announced the opening of DKNG’s temporary sportsbook at the casino in Black Hawk, Colorado. Guests can place bets at the sportsbook from 10th July.
Energy Transfer (ET) provided further clarification around news reports regarding the operations of the Dakota Access Pipeline, stating that it has never suggested that it would defy a court order. Rather, Dakota Access Pipeline was seeking appropriate relief from that order through the established legal process.
Japan Display (6740 JT) : FY group net loss JPY 101.42bln (prev. net loss JPY 106.59bln), operating loss JPY 38.54bln (prev. loss JPY 27.23bln), recurring loss JPY 57.76bln (prev. JPY 40.37bln).
Moderna (MRNA) announced a collaboration for large-scale commercial fill-finish manufacturing of its vaccine candidate with Rovi.
PTC (PTC) expects to deliver fiscal third quarter 2020 ARR growth of 9% year over year, 10% in constant currency; and also expects to deliver double-digit revenue and free cash flow year-over-year growth for the fiscal third quarter 2020; it will report results on 29th July.
Restaurant Brands (QSR) Burger King in the UK is warning of 1,600 potential job losses as it could close up to 10% of its restaurants
SAP (SAP GY, SAP) – Q2 prelim: total revenue EUR 6.74bln, +2% (+1% non-IFRS), operating profit EUR 1.28bln, +55% YY (+8% non-IFRS), non-IFRS cloud revenue EUR 2.04bln +21% YY (19% non-IFRS). At present, cloud backlog seen at EUR 6.65bln, +20%, cloud backlog remains strong but cloud revenue in Q2 was impacted by lower pay-as-you-go transactional revenue given COVID-19. Reiterates FY20 outlook. For FY20: confirm non-IFRS revenue EUR 27.8-28.5bln vs. Prev. EUR 27.6bln, cloud revenue EUR 8.3-8.7bln vs. prev. EUR 7.0bln, operating profit EUR 8.1-8.7bln vs. Prev. EUR 8.2bln. Have seen a strong sequential improvement compared to Q1 regarding software license revenue. Q2 & H1 results will be released on 27th July.
Siemens (SIE GY, SIEGY) – Are to spin off 55% of Siemens Energy to shareholders will equate to 1 Siemens Energy share for 2 Siemens shares. Initial listing of new shares is scheduled for 28th September 2020, will commence with a BBB rating at S&P. Siemens will retain a 35.1% stake in the spin-off and the Siemens pension trust an additional 9.9% stake, as such Siemens no longer has a controlling share. Further stake reductions could take place at a significant scale in the next 12-18 months. Separately, Co. are not planning any job reductions from COVID-19. For reference, in FY19 Siemens Energy generated revenue of circa EUR 29bln according to Siemens AG combined statements.

Additional US Equity Stories

Of note for Social Media names (FB, TWTR, SNAP), ByteDance is reportedly considering a change in the corporate structure to distance the app from China, and is also considering a TikTok HQ outside of China, according to WSJ.
Peloton (PTON) new product will probably not be a rowing machine or exercise bike, its CFO announced, but it could potentially be a lower price treadmill. The CFO stated the co. believes “the running and boot camp category is two-to-three [times] the size of the bike category”, adding it is first and foremost on their minds, reports Barron’s.
Walgreens Boots Alliance (WBA) CFO says towards the end of Q3 online volume sales reached Black Friday levels on a daily basis, and May sales increased almost 120%, with June sales growth even higher.
Tesla (TSLA) CEO Musk announced the automaker was "very close" to developing fully autonomous vehicles and could work out the basics of that technology as soon as this year; he reiterated that the electric vehicle maker has solved most of the essential challenges toward achieving fully self-driven cars that needs no human behind the wheel. The Tesla and SpaceX chief was reaffirming a goal first expressed in 2019.
Delta AIrlines (DAL) CEO reiterates urge for workers to consider voluntary departure., and announced it flew 20% of customers over the July 4th weekend.
submitted by WSBConsensus to wallstreetbets [link] [comments]

Which Director had the best run in the 90s?

Best run in terms of anything
Quentin Tarantino: Pulp Fiction, Jackie Brown, and Reservoir Dogs.
Martin Scorsese: Goodfellas, Casino, Kundun, Cape Fear, The Age of Innocence, and Bringing Out the Dead.
Robert Altman: The Player, Short Cuts, Prêt-à-Porter, Kansas City, The Gingerbread Man, Cookie's Fortune, and Vincent & Theo.
Robert Redford: Quiz Show, The Horse Whisperer, and A River Runs Through It.
The Coen Brothers: Fargo, Miller's Crossing, The Big Lebowski, Barton Fink, and The Hudsucker Proxy.
Wong Kar Wai: Chungking Express, Days of Being Wild, Ashes of Time, Fallen Angels, and Happy Together.
Paul Thomas Anderson: Hard Eight, Boogie Nights, and Magnolia.
David Fincher: Alien 3, Se7en, Fight Club, and The Game.
Francis Ford Coppola: The Godfather 3, The Rainmaker, Jack, and Bram Stoker's Dracula.
Steven Spielberg: Hook, Jurassic Park, The Lost World, Amistad, Schindler's List, and Saving Private Ryan.
Claire Dennis: Beau Travail, No Fear, No Die, I Can't Sleep, and Nénette and Boni.
Richard Linklater: Before Sunrise, Slacker, Dazed and Confused, The Newton Boys, and SubUrbia.
Abbas Kiarostami: Close Up, Taste of Cherry, The Wind Will Carry Us, Life, and Nothing More..., and Through the Olive Trees.
Harold Ramis: Groundhog Day, Analyze This, Stuart Saves His Family, and Multiplicity.
Michael Mann: Heat, The Last of the Mohicans, and The Insider.
Wes Anderson: Bottle Rocket and Rushmore.
Todd Haynes: Safe, Velvet Goldmine, and Poison.
The Wachowskis: The Matrix and Bound.
Emir Kusturica: Underground, Arizona Dream, and Black Cat, White Cat.
Krzysztof Kieślowski: Three Colours Trilogy and Double Life of Veronique
Steven Soderbergh: Out of Sight, Gray's Anatomy, Schizopolis, The Limey, Kafka, King of the Hill, and The Underneath.
Jonathan Demme: Philadelphia, The Silence of the Lambs, and Beloved.
Robert Zemeckis: Forrest Gump, Death Becomes Her, Contact, and Back to the Future Part III.
Zhang Yimou: To Live, Raise the Red Lantern, Not One Less, The Story of Qiu Ju, Ju Dou, Keep Cool, Shanghai Triad, The Road Home, and Zhang Yimou.
Terence Davies: The Long Day Closes and The Neon Bible.
Clint Eastwood: Unforgiven, The Bridges of Madison County, True Crime, Absolute Power, The Rookie, White Hunter Black Heart, In the Line of Fire, and A Perfect World.
Lars Von Trier: Breaking the Waves, Europa, and The Idiots.
Hirokazu Kore-eda: After Life, However..., Lessons from a Calf, August without Him, and Maborosi.
Gus Van Sant: My Own Private Idaho, To Die For, Good Will Hunting, Psycho, and Even Cowgirls Get the Blues.
David Lynch: Lost Highway, The Straight Story, Wild at Heart, and Twin Peaks: Fire Walk with Me.
Amy Heckerling: Clueless and Look Who's Talking Too.
Kathryn Bigelow: Point Blank, Strange Days, and Blue Steel.
Thomas Vinterberg: Festen, Last Round, The Boy Who Walked Backwards, and The Biggest Heroes.
Julie Dash: Daughters of the Dust, Funny Valentines, and Praise House.
Pedro Almodóvar: All About my Mother, Tie Me Up! Tie Me Down!, Live Flesh, High Heels, Kika, and The Flower of My Secret.
Jan De Bont: Speed 1 & 2, Twister, and The Haunting.
Oliver Stone: JFK, Nixon, Heaven & Earth, Natural Born Killers, The Doors, Any Given Sunday, and U Turn.
Rob Reiner: Misery, A Few Good Men, The American President, Ghosts of Mississippi, and The Story of Us.
Paul Verhoeven: Basic Instinct, Showgirls, Total Recall, and Starship Troopers.
Danny Boyle: Trainspotting, Shallow Grave, and A Life Less Ordinary.
Tim Burton: Edward Scissorhands, Ed Wood, The Nightmare Before Christmas, Sleepy Hollow, Batman Returns, and Mars Attacks!.
Ang Lee: Pushing Hands, Sense and Sensibility, The Ice Storm, Eat Drink Man Woman, The Wedding Banquet, and Ride with the Devil.
Jane Campion: The Piano, An Angel at My Table, The Portrait of a Lady, and Holy Smoke!.
Frank Darabont: The Shawshank Redemption and The Green Mile.
Lasse Hallström: What's Eating Gilbert Grape, Once Around, The Cider House Rules, and Something to Talk About.
Jim Jarmusch: Dead Man, Ghost Dog: The Way of the Samurai, Night on Earth, and Year of the Horse.
M. Night Shyamalan: The Sixth Sense, Praying with Anger, and Wide Awake.
Luc Besson: La Femme Nikita, Atlantis, Léon: The Professional, The Fifth Element, and The Messenger: The Story of Joan of Arc.
Alan Parker: The Commitments, Evita, Come See the Paradise, Angela's Ashes, and The Road to Wellville.
Terry Gilliam: The Fisher King, Fear and Loathing in Las Vegas, and 12 Monkeys.
Mike Leigh: Naked, Secrets and Lies, Topsy-Turvy, Life Is Sweet, and Career Girls.
Peter Jackson: Braindead, Heavenly Creatures, Forgotten Silver, and The Frighteners.
Martin Brest: Scent of a Woman, Meet Joe Black, and Josh and S.A.M.
Woody Allen: Everyone Says I Love You, Alice, Shadows and Fog, Husbands and Wives, Manhattan Murder Mystery, Mighty Aphrodite, Celebrity, Sweet and Lowdown, and Deconstructing Harry.
Ridley Scott: Thelma & Louise, G.I. Jane, White Squall, and 1492: Conquest of Paradise.
Bryan Singer: Apt Pupil, The Usual Suspects, and Public Access.
Kenneth Branagh: Othello, Much Ado About Nothing, Hamlet, Mary Shelley's Frankenstein, In the Bleak Midwinter, Dead Again, and Peter's Friends.
Theodoros Angelopoulos: Eternity and a Day, Ulysses' Gaze, and The Suspended Step of the Stork.
Spike Lee: Crooklyn, Malcolm X, Girl 6, Summer of Sam, Get on the Bus, Clockers, He Got Game, Mo' Better Blues, and Jungle Fever.
Radu Mihaileanu: Trahir, Bonjour Antoine, and Train of Life.
Richard Attenborough: Grey Owl, In Love and War, Chaplin, and Shadowlands.
Tony Scott: The Last Boy Scout, True Romance, Crimson Tide, The Fan, Enemy of the State, Days of Thunder, and Revenge.
Eric Rohmer: L'Arbre, le maire et la médiathèque and Les Rendez-vous de Paris.
Jacques Rivette: Up, Down, Fragile, Secret Defense, La Belle Noiseuse, and Joan the Maid.
Edward Yang: A Brighter Summer Day, A Confucian Confusion, and Mahjong.
Michael Haneke: Benny's Video, Funny Games, and 71 Fragments of a Chronology of Chance.
Farrelly brothers: Kingpin, Dumb and Dumber, and There's Something About Mary.
David Cronenberg : Naked Lunch, eXistenZ, Crash, and M. Butterfly.
Takeshi Kitano: Sonatine, Fireworks, Kikujiro and Kid's Return
Alex Cox: El Patrullero, Three Businessmen, The Winner, and Death and the Compass.
Atom Egoyan: Calendar, Exotica, The Sweet Hereafter, Felicia's Journey, and The Adjuster.
Manoel de Oliveira: The Divine Comedy, The Letter, Anxiety, Voyage to the Beginning of the World, Party, A Caixa, Abraham's Valley, The Convent, No, or the Vain Glory of Command, Day of Despair, and The Letter.
Dardenne brothers: Rosetta, Je pense à vous, and La Promesse
Jacques Rivette: La Belle Noiseuse, Top Secret, Up, Down, Fragile, and Joan the Maid.
Kiyoshi Kurosawa: Cure, Charisma, The Guard from Underground, Barren Illusions, and License to Live.
Jafar Panahi: The White Balloon and The Mirror.
Tsai Ming-liang: The River, Vive L'Amour, The Hole, and Rebels of the Neon God.
Hou Hsiao-hsien: The Puppetmaster, Flowers of Shanghai, Good Men, Good Women, and Goodbye South, Goodbye.
Leos Carax: Les Amants du Pont-Neuf, Sans Titre, and Pola X.
John Woo: Hard Boiled, Bullet in the Head, Hard Target, Once a Thief, Face/Off, and Broken Arrow.
Olivier Assayas: Cold Water, A New Life, Irma Vep, Tous les garçons et les filles de leur âge..., Paris Awakens, Cinéma, de notre temps, Alice and Martin, Man Yuk: A Portrait of Maggie Cheung, Late August, Early September, and Filha da Mãe.
Roman Polanski: Bitter Moon, Death and the Maiden, and The Ninth Gate.
Brian De Palma: Carlito’s Way, The Bonfire of the Vanities, Raising Cain, Snake Eyes, and Mission: Impossible.
Werner Herzog: Lessons of Darkness, My Best Fiend, Little Dieter Needs to Fly, and Scream of Stone.
Cameron Crowe: Singles and Jerry Maguire.
Alexander Sokurov: The Stone, Whispering Pages, Mother and Son, Moloch, and The Second Circle.
Mohsen Makhmalbaf: Hello Cinema, Gabbeh, The Silence, The School the Wind Blew Away, Tales of Kish, A Moment of Innocence, Time of Love, Images from the Qajar Period, The Nights of Zayande-rood, Once Upon a Time, Cinema, Actor, and Stone and Glass
Hayao Miyazaki: Princess Mononoke, Porco Rosso, and On Your Mark.
Jean Luc Godard: Nouvelle Vague, JLG/JLG – Self-Portrait in December, New Wave, Hélas pour moi, For Ever Mozart, Germany Year 90 Nine Zero, Les Enfants jouent à la Russie, and Histoire(s) du Cinéma.
Alexander Payne: Election and Citizen Ruth.
James Foley: Glengarry Glen Ross, The Chamber, Two Bits, After Dark, My Sweet, The Corruptor, and Fear.
Whit Stillman: The Last Days of Disco, Metropolitan, and Barcelona.
submitted by Britneyfan456 to criterion [link] [comments]

Draft for the PJO adaptation pacing (HoO included, ToA excluded)

Hi guys. English is not my native tongue, so excuse me if I have any grammatical mistake. I don't really know if anyone has done this before but here I go. Even since the D+ series was first announced I've been thinking of how the pacing of the series could look like, and started doing a little draft on it. I started creating a 10epx18season (divided between 5 series) plan including PJO, HoO, ToA, and the Kanes and Magnus' trilogies (involving some crossovers and other shenanigans) , but I didn't really had that great of a knowledge on the ToA since I haven't re-read them on the same amount as the previous ones, so I got stuck at the end of blood of Olympus. And recently since the announcement of the Netflix's CoK adaptation I thought it'll be better to leave it this way for now. I showed it to a friend at work recently and she told me i should better post it here since I could get a little help finishing it and creating a neat discussion on the topic, so here am I. Please tell me if you think I committed any error along the way, or if you see any miss opportunity I didn't. And if you have a better knowledge on the ToA so far and wanna contribute I would be very happy. I think this would be a fun way to entertain ourselves till we get a more concrete info on any of the adaptations.
TL;DR: Here's a little draft on how I think the pacing of the PJO adaption should look like. Feel free to add or change anything you think would contribute. Entertaining purposes only.
PJO Season 1: Ep1: beginning till percy went off after killing minotaur Ep2:percy at camp till Poseidon claims him Ep3: up till encountering medusa Ep4: defeating medusa till saint Louis arch (medea's lion cameo) Ep5: ares Ep6: lotus casino (cameo of bianca/nico?) and LA adventure Ep7: hades pt1 (up till arriving at hades castle) Ep8: hades pt2 Ep9: battle against ares Ep10: Olympus and end of the book
PJO Season 2: Ep1: up till the taxi Ep2: vs colquides bulls Ep3:the race up till hermes Ep4: princess andromeda and hydra Ep5: escila and caribdis (navigating to the sea of monsters) Ep6: circe and the sirens Ep7: polyphemus pt1 (up till the start of the battle) Ep8: polyphemus pt2 Ep9: princess andromeda pt2 Ep10: thalia returns
PJO Season 3: Ep1: up till annabeth falls Ep2: Artemis and apollo Ep3: capture the flag Ep4: the museum and new Mexico Ep5: the dessert and the dam Ep6: San fransisco and annabeth's dad Ep7: tamalpais mount pt 1 (climbing up the mountain) Ep8: tamalpais mount pt 2 Ep9: winter solstice Ep10: Nico runs away
PJO Season 4: Ep1: R.E.D and coming back to camp Ep2: falling into the labyrinth and prophecy Ep3: first run into the labyrinth and Alcatraz Ep4: ranch and arriving at hephaestus Ep5: saint Helens Ep6: calypso Ep7: R.E.D and pan Ep8: mount tamalpais and daedalus workshop Ep9: the battle of the labyrinth Ep10: it's that blue birthday cake?
PJO Season 5: Ep1: Charles Ep2: the great prophecy Ep3: a mother's blessing (Luke's mom and hestia) Ep4: achilles curse (grover and Achilles) Ep5: the city that felt asleep Ep6: the two rivers (defending Manhattan day 1) Ep7: hope (defending Manhattan day 2) Ep8: silena Ep9: the cursed knife Ep10: the new great prophecy (hinting at the Roman side?)
PJO Season 6: the lost hero Ep1: up till arriving at camp halfblood Ep2: festus (getting claim and leo discovering bunker 9) Ep3: Montreal Ep4: Chicago (medea and hephaestus. Up till leo wakes falling from the sky) Ep5: midas (up till thalia arriving) Ep6: eolo (up till falling from eolo's palace) Ep7: mount diablo Ep 8: the wolf's house pt1 Ep9: the wolf's house pt 2 (up till Jason's death) Ep10: Shenanigans (New Rome's/Camp Jupiter's cameo at the end)
PJO Season 7: the son of Neptune Ep1: little tiber (up till Juno leaving) Ep2: camp Jupiter (up till hazel presenting nico to percy) Ep3: the war games (up till dakota's resurrection) Ep4: the mission (up till percy drinking the blood) Ep5: Amazons (up till Iris's shop) Ep6: the Zhang legacy (up till arriving at alaska) Ep7: Alaska Ep8: the eagle Ep9: the battle of fortuna Ep10: praetor
PJO Season 8: mark of athena Ep1: Greeks and Romans (up till the 7 running away) Ep2: stuff that happens in west US(up till battle in topeka) Ep3: Ghosts and Atlanta Ep4: Afrodita and sailing to rome Ep5: the past (up to leaving the fish centaurs) Ep6: Hercules and arriving at Rome Ep7: rome and separation Ep8: the twin giants Ep9: the mark of athena Ep10: the fall
PJO season 9: House of Hades Ep1: Hecate Ep2: bolognia Ep3: venice and sciron Ep3: croatia and chione Ep4: ogygia and reunion Ep5: tartarus pt1 (in this version, we don't know of percy and annabeth till this chapter) up till damasen Ep7: tartarus pt2 (up till arriving at the doors) Ep8: the house of hades (up till circe and the new labyrinth) Ep9: the house of hades pt2 Ep10: reyna nico and hedge go to deliver athena parthenos
PJO Season 10: Blood of Olympus Ep1: Ithaca and Pompei Ep2: Olympia and Lycaon Ep3: Pylos, and Sparta Ep4: San Juan and Kymopoleia Ep5: Delos and South Carolina Ep6: Asclepious and arriving at long island Ep7: Athens and Start of battle in camp half-blood Ep8: Leaving Athens and Reyna arrives with the statue Ep9: Final battle against Gaia Ep10: The aftermath and leo at the end
submitted by JonaLopezVzla to camphalfblood [link] [comments]

Man Allegedly Stalked, Robbed at Rhode Island's Twin River Casino

Man Allegedly Stalked, Robbed at Rhode Island's Twin River Casino submitted by LVsportsbetting to RhodeIsland [link] [comments]

Which Director had the best run in the 90s?

Best run in terms of anything
Quentin Tarantino: Pulp Fiction, Jackie Brown, and Reservoir Dogs.
Martin Scorsese: Goodfellas, Casino, Kundun, Cape Fear, The Age of Innocence, and Bringing Out the Dead.
Robert Altman: The Player, Short Cuts, Prêt-à-Porter, Kansas City, The Gingerbread Man, Cookie's Fortune, and Vincent & Theo.
Robert Redford: Quiz Show, The Horse Whisperer, and A River Runs Through It.
The Coen Brothers: Fargo, Miller's Crossing, The Big Lebowski, Barton Fink, and The Hudsucker Proxy.
Wong Kar Wai: Chungking Express, Days of Being Wild, Ashes of Time, Fallen Angels, and Happy Together.
Paul Thomas Anderson: Hard Eight, Boogie Nights, and Magnolia.
David Fincher: Alien 3, Se7en, Fight Club, and The Game.
Francis Ford Coppola: The Godfather 3, The Rainmaker, Jack, and Bram Stoker's Dracula.
Steven Spielberg: Hook, Jurassic Park, The Lost World, Amistad, Schindler's List, and Saving Private Ryan.
Claire Dennis: Beau Travail, No Fear, No Die, I Can't Sleep, and Nénette and Boni.
Richard Linklater: Before Sunrise, Slacker, Dazed and Confused, The Newton Boys, and SubUrbia.
Abbas Kiarostami: Close Up, Taste of Cherry, The Wind Will Carry Us, Life, and Nothing More..., and Through the Olive Trees.
Harold Ramis: Groundhog Day, Analyze This, Stuart Saves His Family, and Multiplicity.
Michael Mann: Heat, The Last of the Mohicans, and The Insider.
Wes Anderson: Bottle Rocket and Rushmore.
Todd Haynes: Safe, Velvet Goldmine, and Poison.
The Wachowskis: The Matrix and Bound.
Emir Kusturica: Underground, Arizona Dream, and Black Cat, White Cat.
Krzysztof Kieślowski: Three Colours Trilogy and Double Life of Veronique
Steven Soderbergh: Out of Sight, Gray's Anatomy, Schizopolis, The Limey, Kafka, King of the Hill, and The Underneath.
Jonathan Demme: Philadelphia, The Silence of the Lambs, and Beloved.
Robert Zemeckis: Forrest Gump, Death Becomes Her, Contact, and Back to the Future Part III.
Zhang Yimou: To Live, Raise the Red Lantern, Not One Less, The Story of Qiu Ju, Ju Dou, Keep Cool, Shanghai Triad, The Road Home, and Zhang Yimou.
Terence Davies: The Long Day Closes and The Neon Bible.
Clint Eastwood: Unforgiven, The Bridges of Madison County, True Crime, Absolute Power, The Rookie, White Hunter Black Heart, In the Line of Fire, and A Perfect World.
Lars Von Trier: Breaking the Waves, Europa, and The Idiots.
Hirokazu Kore-eda: After Life, However..., Lessons from a Calf, August without Him, and Maborosi.
Gus Van Sant: My Own Private Idaho, To Die For, Good Will Hunting, Psycho, and Even Cowgirls Get the Blues.
David Lynch: Lost Highway, The Straight Story, Wild at Heart, and Twin Peaks: Fire Walk with Me.
Amy Heckerling: Clueless and Look Who's Talking Too.
Kathryn Bigelow: Point Blank, Strange Days, and Blue Steel.
Thomas Vinterberg: Festen, Last Round, The Boy Who Walked Backwards, and The Biggest Heroes.
Julie Dash: Daughters of the Dust, Funny Valentines, and Praise House.
Pedro Almodóvar: All About my Mother, Tie Me Up! Tie Me Down!, Live Flesh, High Heels, Kika, and The Flower of My Secret.
Jan De Bont: Speed 1 & 2, Twister, and The Haunting.
Oliver Stone: JFK, Nixon, Heaven & Earth, Natural Born Killers, The Doors, Any Given Sunday, and U Turn.
Rob Reiner: Misery, A Few Good Men, The American President, Ghosts of Mississippi, and The Story of Us.
Paul Verhoeven: Basic Instinct, Showgirls, Total Recall, and Starship Troopers.
Danny Boyle: Trainspotting, Shallow Grave, and A Life Less Ordinary.
Tim Burton: Edward Scissorhands, Ed Wood, The Nightmare Before Christmas, Sleepy Hollow, Batman Returns, and Mars Attacks!.
Ang Lee: Pushing Hands, Sense and Sensibility, The Ice Storm, Eat Drink Man Woman, The Wedding Banquet, and Ride with the Devil.
Jane Campion: The Piano, An Angel at My Table, The Portrait of a Lady, and Holy Smoke!.
Frank Darabont: The Shawshank Redemption and The Green Mile.
Lasse Hallström: What's Eating Gilbert Grape, Once Around, The Cider House Rules, and Something to Talk About.
Jim Jarmusch: Dead Man, Ghost Dog: The Way of the Samurai, Night on Earth, and Year of the Horse.
M. Night Shyamalan: The Sixth Sense, Praying with Anger, and Wide Awake.
Luc Besson: La Femme Nikita, Atlantis, Léon: The Professional, The Fifth Element, and The Messenger: The Story of Joan of Arc.
Alan Parker: The Commitments, Evita, Come See the Paradise, Angela's Ashes, and The Road to Wellville.
Terry Gilliam: The Fisher King, Fear and Loathing in Las Vegas, and 12 Monkeys.
Mike Leigh: Naked, Secrets and Lies, Topsy-Turvy, Life Is Sweet, and Career Girls.
Peter Jackson: Braindead, Heavenly Creatures, Forgotten Silver, and The Frighteners.
Martin Brest: Scent of a Woman, Meet Joe Black, and Josh and S.A.M.
Woody Allen: Everyone Says I Love You, Alice, Shadows and Fog, Husbands and Wives, Manhattan Murder Mystery, Mighty Aphrodite, Celebrity, Sweet and Lowdown, and Deconstructing Harry.
Ridley Scott: Thelma & Louise, G.I. Jane, White Squall, and 1492: Conquest of Paradise.
Bryan Singer: Apt Pupil, The Usual Suspects, and Public Access.
Kenneth Branagh: Othello, Much Ado About Nothing, Hamlet, Mary Shelley's Frankenstein, In the Bleak Midwinter, Dead Again, and Peter's Friends.
Theodoros Angelopoulos: Eternity and a Day, Ulysses' Gaze, and The Suspended Step of the Stork.
Spike Lee: Crooklyn, Malcolm X, Girl 6, Summer of Sam, Get on the Bus, Clockers, He Got Game, Mo' Better Blues, and Jungle Fever.
Radu Mihaileanu: Trahir, Bonjour Antoine, and Train of Life.
Richard Attenborough: Grey Owl, In Love and War, Chaplin, and Shadowlands.
Tony Scott: The Last Boy Scout, True Romance, Crimson Tide, The Fan, Enemy of the State, Days of Thunder, and Revenge.
Eric Rohmer: L'Arbre, le maire et la médiathèque and Les Rendez-vous de Paris.
Jacques Rivette: Up, Down, Fragile, Secret Defense, La Belle Noiseuse, and Joan the Maid.
Edward Yang: A Brighter Summer Day, A Confucian Confusion, and Mahjong.
Michael Haneke: Benny's Video, Funny Games, and 71 Fragments of a Chronology of Chance.
Farrelly brothers: Kingpin, Dumb and Dumber, and There's Something About Mary.
David Cronenberg : Naked Lunch, eXistenZ, Crash, and M. Butterfly.
Takeshi Kitano: Sonatine, Fireworks, Kikujiro and Kid'sReturn
Alex Cox: El Patrullero, Three Businessmen, The Winner, and Death and the Compass.
Atom Egoyan: Calendar, Exotica, The Sweet Hereafter, Felicia's Journey, and The Adjuster.
Manoel de Oliveira: The Divine Comedy, The Letter, Anxiety, Voyage to the Beginning of the World, Party, A Caixa, Abraham's Valley, The Convent, No, or the Vain Glory of Command, Day of Despair, and The Letter.
Dardenne brothers: Rosetta, Je pense à vous, and La Promesse
Jacques Rivette: La Belle Noiseuse, Top Secret, Up, Down, Fragile, and Joan the Maid.
Kiyoshi Kurosawa: Cure, Charisma, The Guard from Underground, Barren Illusions, and License to Live.
Jafar Panahi: The White Balloon and The Mirror.
Tsai Ming-liang: The River, Vive L'Amour, The Hole, and Rebels of the Neon God.
Hou Hsiao-hsien: The Puppetmaster, Flowers of Shanghai, Good Men, Good Women, and Goodbye South, Goodbye.
Leos Carax: Les Amants du Pont-Neuf, Sans Titre, and Pola X.
John Woo: Hard Boiled, Bullet in the Head, Hard Target, Once a Thief, Face/Off, and Broken Arrow.
Olivier Assayas: Cold Water, A New Life, Irma Vep, Tous les garçons et les filles de leur âge..., Paris Awakens, Cinéma, de notre temps, Alice and Martin, Man Yuk: A Portrait of Maggie Cheung, Late August, Early September, and Filha da Mãe.
Roman Polanski: Bitter Moon, Death and the Maiden, and The Ninth Gate.
Brian De Palma: Carlito’s Way, The Bonfire of the Vanities, Raising Cain, Snake Eyes, and Mission: Impossible.
Werner Herzog: Lessons of Darkness, My Best Fiend, Little Dieter Needs to Fly, and Scream of Stone.
Cameron Crowe: Singles and Jerry Maguire.
Alexander Sokurov: The Stone, Whispering Pages, Mother and Son, Moloch, and The Second Circle.
Mohsen Makhmalbaf: Hello Cinema, Gabbeh, The Silence, The School the Wind Blew Away, Tales of Kish, A Moment of Innocence, Time of Love, Images from the Qajar Period, The Nights of Zayande-rood, Once Upon a Time, Cinema, Actor, and Stone and Glass
Hayao Miyazaki: Princess Mononoke, Porco Rosso, and On Your Mark.
Jean Luc Godard: Nouvelle Vague, JLG/JLG – Self-Portrait in December, New Wave, Hélas pour moi, For Ever Mozart, Germany Year 90 Nine Zero, Les Enfants jouent à la Russie, and Histoire(s) du Cinéma.
Alexander Payne: Election and Citizen Ruth.
James Foley: Glengarry Glen Ross, The Chamber, The Corruptor, Two Bits, After Dark, My Sweet, and Fear.
James Mangold: Heavy, Cop Land, and Girl, Interrupted.
Whit Stillman: The Last Days of Disco, Metropolitan, and Barcelona.
submitted by Britneyfan456 to flicks [link] [comments]

Xavier DuPont de Ligonnès Article from Society, 6 Aug 2020, Part 2C [English]

Xavier DuPont de Ligonnès Article from Society, 6 Aug 2020, Part 2C [English]
Previous Section-Part 2B
[3/5]
Chapter 9

Highways and dead ends

The hunt for Xavier Ligonnès is enough to drive you crazy. It’s like looking for a lost object, a bank card for example, of which we can determine the exact moment of disappearance: we used it to pay, it was there, and the next moment it is not there anymore. Logic dictates that we look for it where we usually store it (a wallet, a handbag), then where it could be (a back pocket of pants, a hall cabinet), and the less we find it , the more we seem to see it everywhere. Faced with absence, the brain constructs images (the credit card in an office drawer, as a bookmark in a book, forgotten on the counter of the last store) but these are fictions or mirages; they encourage further research but they do not provide a solution. Xavier Ligonnès’s apparent volatilization follows the same logic and produces the same effects on the investigation. The more weeks and months go by, the more places to look get smaller. Emmanuel Teneur ends up leading the investigators to the Société Générale agency on Place Royale in Nantes, but the safe he holds there is simply empty. A request for information on Joven Soliman is sent to the security attaché for the French Embassy in the Philippines. He is a sedevacantist priest, a fringe of traditionalist Catholicism who considers the Pope to be an imposter. The attaché transmits the hours of mass where he officiates. A trip to the Philippines is being considered, but that would mean going to the other side of the world to look for a needle in the thousands of islands of the archipelago. If this track has never been closed, nothing has supported it to date.
Since we must push logic to the end, the investigators even contact the American authorities to corroborate or contradict the story of protected witnesses told by Ligonnès in his famous letter. The DEA has never heard of the individual, and the liaison officer based at the Miami consulate assures us that his last trip to the United States was in 2003: Ligonnès arrived in Florida on July 18 and left on August 22. The study of his entourage also did not highlight anyone capable of providing false papers to the fugitive, and if he had gone through a criminal network, the police believed that an informant would undoubtedly have warned them to protect himself.
Then there are the news reports: the portrait of Ligonnès goes around France, and even if he has undoubtedly changed his physical appearance, his hairstyle, perhaps had even resorted to cosmetic surgery, someone, somewhere, might recognize him one day. After all, that’s how John List, a New Jersey insurance salesman who killed his wife and mother in 1971, was arrested. He waited for two of his children to return from school to coldly shoot them, then attended his youngest son’s football game before shooting bullets through him at home. He evaded justice for 18 years until a co-worker recognized him from a report on America’s Most Wanted.
Rarely has a criminal case given rise to as many appeals as that of Ligonnès, because his stalking not only bewitches the police, it torments an entire country. More than 1000 reports, thousands of pages of depositions, letters, verifications. You have to imagine the miles of printed paper that this represents when they are stacked on a desk. The most recent: in July, after the broadcast of a Netflix documentary on the subject in the United States, the producers of the film claimed to have received an interesting lead in Chicago; but it’s just one more drop in the bucket. Xavier Dupont de Ligonnès has been seen in Annecy, Nancy, Cholet, Corsica (several times); on the side of a road, thumbs up, by a French tourist in Las Vegas; disguised as a chimney sweep in Nîmes; in a hotel in Cantal and in a pizzeria where he paid cash in a hurry; seen again in Germany, in Italy, and heard on the telephone by the reception of the psychiatric hospital of Troyes. Since he disappeared looking like the ordinary neighbor, since he was a representative and his profession has taken him to all corners of France, there is no less reason to see him in Mulhouse than in Roche-sur-Yon, and you can simply see him everywhere.
Aire de Lançon-Provence in July 2020
Extracts: “It was the same look, except that he looked very sad, in the west, but he had the same glasses as in the photo you are showing me”; “He looked like a man like everyone else, but there was something odd in his eyes;” “Yesterday, around 1:00 pm, I was watching the news on television on the TFI channel. I saw a report where an individual killed his children and his wife before disappearing into the wild. (...) Seeing the gentleman in the photo, I made the connection with the person whom I had crossed Sunday afternoon because he had the same smile.” At the Vauvert tourist office: “I hardly look at the news, but Thursday evening I saw the photo of Mr. Ligonnès, I had the impression of having already seen him, my heart was racing.” Between Carpentras and Avignon, when he comes back from the bakery, the manager of one of Nicolas Sarkozy’s brothers crosses paths with a man with a beige bob, which he is certain is the fugitive. “I flashed,” he says. “For me, there is no doubt. This is him.” Still more letters are sent to the police to offer them help. An amateur astrologer requests a copy of the suspect’s birth certificate to establish a birth chart, a woman in child-like writing recommended a great medium who had helped her find her daughter who had become a junkie in Marseille. A prisoner asked in writing to be sent to Guinea to go hunt him down in the jungle, attaching to his letter a list of the necessary equipment, including infrared glasses and a “samurai sword.”
With each letter, with each phone call to report a suspicious individual, investigators attempt to cross-reference the information. They patiently collect the testimonies of the depositors to know where Xavier Ligonnès was seen, if he was accompanied or not, what was his size and his outfit. Inconsistent testimonies or those referring to individuals who are too young (Ligonnès would be 59 years old today) and too small (he measures a little over 1.80 meters) are discarded. For the others, investigators check the CCTV recordings, when they have not been erased and when the cameras have actually recorded on tape. If the person has been spotted pumping gasoline, in a Géant Casino, or in a Courtepaille, they trace the means of payment used and seize the duplicates of bank cards. They give priority to the restaurants, especially the Buffalo Grill, Ligonnès’ favorite establishment. And when the trail is still hot and the dishes haven’t been done yet, they collect DNA from the plates and cutlery. A few months after the start of the investigation, the investigating judge in charge of the case will even be forced to ask them to slow down, the seals starting to take on the appearance of a china cabinet in a large restaurant.
The Total service station in Lançon-Provence, July 2020
The PJ of Nantes believed on several occasions to finally have in hand the winning ticket and to be on the point of intercepting Ligonnès. This was the case in Borgo, where a photo taken from the video surveillance of a supermarket in this small Corsican town was very similar. Upon verification, it was only a local. They believed in it even more in January 2018 when they were told that an individual with a strong resemblance to Xavier Ligonnès was at the Saint-Désert Notre-Dame de Pitié monastery near Roquebrune-sur-Argens. About twenty police officers raided and searched the premises until they came across Brother Jean-Marie Joseph, who certainly looked disturbingly like Ligonnès, but who was not him. In still other cases, the police were never able to “close the track,” and it is perhaps Ligonnès who was seen.
For example, in Lançon-Provence, April 26, 2011. That day, at 2:44 am, Mahjoub B., a handler by profession, parks his vehicle at the Total service station after the Lançon-Provence toll. He fills up, then goes to the store to pay. On his way, he passes a 45- to 50-year-old man, about six feet tall, who hangs out there between the gas pumps and the store. When he returns to his vehicle, his colleague asks him if he has seen the man, whom he is convinced is the one everyone is looking for, the one who killed his family in Nantes. Mahjoub then takes a new look at the individual, notices that he is wearing glasses, light jeans, that he has brown hair a little graying and a beard of a day. At his feet, four rigid shopping bags, one red, one white, one brown and one whose color he cannot distinguish. Inside the store, employees also noticed the individual. He’s been out for almost three hours. At one point, he walks in to ask for free coffee, as part of a promotion. Behind her cash register, Jocelyne H. notes a detail: he is missing a tooth. “The second on the left, I believe,” she says when heard by investigators. This is information that has never filtered out and yet, it’s true – a little detail, Xavier Ligonnès was missing a tooth. Little by little, the space has filled in, but you can always see it when he smiles. The images from the station’s surveillance cameras are confusing: if this man is not the one we are looking for, it must be his twin brother. At 3 a.m., the cameras show him hitchhiking by a Volkswagen Combi, which investigators quickly find. The driver’s name is Christophe B. He has not heard of the case, and he must be one of the only ones in the country; but Christophe is no longer listening to the news because, he says, “the news is bad all the time.” From the hitchhiker on the night of the 25th to the 26th, he remembers that he “did not smell very good” and that he had a growing beard. They didn’t discuss much. The man simply told him that he was coming from Paris where he had gone to see “his sick old father,” and that he wanted to take the train to Aix-en-Provence. Christophe dropped him off at a motorway exit, the 30 or the 31, between 4 a.m. and 4.15 a.m. The surveillance cameras at Aix train station allow you to get back on track. He is filmed on the forecourt at 6 am, he wears light pants, a dark jacket. He buys a ticket at 1.20 euro, free destination. Then we lose track.
Despite all the checks, despite all the cameras, it will be impossible to track this man perfectly resembling Dupont de Ligonnès, who could nevertheless have confirmed that he was, at least on this date, still alive.
How can one suddenly evaporate in plain sight, and how could a man who has collected chess all his life accomplish this feat? The XDDL mystery makes it possible to scaffold all the theories. These flourish in books, in docudramas and, of course, on the Internet. We imagine Ligonnès protected by the secrecy of a monastery, flown to the United States, where he can go unnoticed thanks to his English without an accent, or even on the escape alongside a woman he would have manipulated. The police officers in charge of the case do not work on theories or psychological profiles, but according to a scientific approach: they always start from a fact, which opens a track, which they then explore until the end, close, and move on to another. This method is also a way to protect yourself from endless guesswork, or insanity, but it doesn’t always work. Several times, the track looks like a highway towards the fugitive, and the police are convinced that they will finally close this investigation. But they end up stumbling upon the worst thing ever, as was the case with the allusion to Emmanuel Teneur’s sailboat: coincidences.
Coincidence number 1. When the Ligonnès C5 was discovered in the Formula 1 car park in Roquebrune, the night watchman informed them that two reservations had been made in the name of Dupont Xavier, one on April 5 and the another on April 14. The hotel manager then specifies that the first reservation was actually made for April 6. That day, however, XDDL was in Nantes, probably digging the grave of Thomas, murdered the day before. Had he thought of accomplishing his crimes earlier or had he reserved a room for an accomplice, who might have been hiding something for him? The videos of April 5 and 6 are no longer available, but payment for the room was made with a Crédit Agricole credit card. The number gives a name, Faiçal E., and an address. Could it be an accomplice? The checks are launched immediately lead to a man who simply used “Dupont Xavier” as an assumed name - like Ligonnès - to book a night in the same hotel, the same year, the same month, within ten days.
Coincidence number 2. The liaison officer in Miami launches research around the various aliases used by XDDL, for operations of “mystery shopper” or to stay in hotels. In the FBI file, he finds a certain Xavier Laurent, one of Ligonnès’s favorite nicknames, installed in Jacksonville, north of Florida. Jacksonville is not just any city. This is where Hugues, the cousin of XDDL lived, and it is also this locality that Ligonnès and his friend Michel Rétif declared to customs in 1990 during their trip to the United States. At the very end of the personalized letter sent to Michel on April 8, Xavier Ligonnès seemed to allude to it: “I will think about you there. (Not the right to tell you where, but you went there with me...in November 90…a clue to dig. LOL).” But this Xavier Laurent is another twist of fate: the police come across a certain Evan Shaffer, a petty criminal who has chosen this alias to commit crimes.
Coincidence number 3. Ten days before the crimes, XDDL reconnects with a childhood sweetheart, Catherine K., whom he met in Versailles in the 1980s. Between March 22 and 24, they exchange text messages and try to find a date to meet the week of April 12, in Chamonix. These messages intrigue the investigators, some answers seem surprising, almost illogical, and they suspect Ligonnès of having wanted to ensure a logistical relay in his escape. A little later, a certain Patrick O. reports having seen XDDL in the queue of a Sixt car rental agency at Nice airport on April 17, 2011. By peeling the names of dozens of people having rented a car that day, the police officers miss the infarction: in capital letters, white on black, appears the surname of Catherine, who would have rented a vehicle at 1:30 am. A few hours later, their heart rate drops again: it was only a perfect disambiguation.
Each coincidence causes the same chain of reactions. First a eureka!, the certainty of having finally found the tiny detail from which to trace everything. The police then cast their nets like fishermen on the high seas, telephone or banking requisitions, requests for listings, identity checks. Then they wait. It can last from a few hours to several weeks, and inevitably it is a burning, nagging wait, tense by the fear that the track will fly away. Finally, there is the immense disappointment and the obligation to face reality again: Xavier Ligonnès is still nowhere to be found, a track has flown again, and we have to hoist the rock up the mountain again. Those who have worked or are still working on the affair strive to maintain a cold, rational, police facade. But little by little, by dint of chasing a shadow - not even a shadow, a ghost - obsession lurks. One of them, a police officer with a professional Protestant pastor, now out of the investigation, still returned until recently to consult the investigation file every week, saying he simply wanted to put the 12,000 pages of documents in order. For a year, a criminal analyst has also been mobilized. He enters all the elements of the file in a software which digests them and spits out, perhaps, new threads to draw. In the meantime, the two police officers who are still following the investigation - one at the PJ in Nantes, one at the OCRVP, in Paris - “live” the case, as their colleagues say. Among these thousands of pages there is no doubt a clue that has gone unnoticed or, better, a lead that has not yet been explored.
Track number 1. Who typed “fraternité saint-thomas becket” on Google on April 3 at 11:34 pm, before clicking on a link in the Cité-Catholique forum? Is it the same person who, the same night at 2:01 am, from an iPhone, did the search for “communion state mortal sin,” bringing it to the same forum? On April 8, the user of this phone will in any case send the search engine the request “hello Chacou”, which will lead him (her) again to the Cité-Catholique forum. Chacou was one of the pseudonyms of Xavier Ligonnès. Investigators saw crazier coincidences, but still: can it really be someone other than Xavier Ligonnès, who himself connected to Cité-Catholique almost every day of his escape? The last article published on the site about Saint-Thomas Becket, an ultra-traditionalist fraternity which practices mass in Latin, dates from January 2009. It indicates the name of its founder, Father Jean-Pierre Gac, and specifies this: “Born in the diocese of Blois where there are two communities (…), the fraternity has also extended in the diocese of Toulon - a parish is also entrusted to them in Ollioules.” Ollioules is located six kilometers from La Seyne-on-Mer, where XDDL spent its penultimate known night, and 94 kilometers from Roquebrune. Jean-Pierre Gac was questioned by the police but claimed to have never been in contact with the fugitive. Investigators have always believed in the possibility that Ligonnès took refuge in a monastery in the Var. They considered to search them one by one, before understanding that there are dozens and dozens of brotherhoods and fraternities, that they are not always castles of the Purple Rivers but sometimes simple farms, lost in the hinterland. To mount a search, it would be necessary to ensure that they do not communicate with each other, and therefore to visit them all at the same time. The examining magistrate quickly tempered the fervor of the police and declared the operation impossible.
Track number 2. Xavier Ligonnès had two secret Facebook accounts. The first is named after his favorite country singer, Waylon Jennings. One of his nieces had also found him a month before the crimes, sending him a message, “but who is behind this nickname?,” to which XDDL had immediately replied “How did you manage to arrive on the Waylon Jennings Facebook profile? Too clever! Microsoft Advantage??? Kiss.” The second account concerns a certain “George Town” residing in Nantes and is linked to one of Ligonnès’ many email addresses, [email protected]. The police send a requisition to the management of Facebook in Palo Alto to obtain the creation and connection logs of the two profiles. The answer comes in days: the first was created in February 2010, the second in December 2007, when France had barely discovered the social network. Above all, the response indicates that Ligonnès connected to the two accounts on the night of April 4 to 5, between the first assassinations and that of Thomas. The profiles have since been deleted but suggest he could have used them to communicate with a third party. Catherine K., the youthful lover that XDDL contacted a few days before the tragedy, also reported to the police that she had been approached by a certain Philippe Steiner, whom she did not know, around May 20. He sent her a strange message, suggesting that they might have had a relationship in the past. When she went to respond, the profile had already been deleted. Today there are almost 100 Facebook accounts on behalf of Waylon Jennings, some are created and deleted every day.
Track number 3. When the Ligonnès family is having their last meal on April 3, 2011, around 9 pm, a young woman walks through the glass doors of the police station on Place Waldeck-Rousseau in Nantes. Originally from a small village near Vannes, Julie is a BTS student and comes to file a complaint: the Twingo that her father lets her drive has been broken into, probably during the night. There was not much inside, but Julie reported the theft of her car radio as well as the vehicle’s logbook, which she normally stored in a small Renault gray faux leather pouch. This same pouch was found on April 22 in the dresser of the Ligonnès living room where Xavier used to store his papers, during the investigation the day after the discovery of the bodies. The police did not follow this track: they put the break-in of Julie’s car on the account of one of the Ligonnès sons, Arthur, who had already been arrested for theft of a bicycle and driving under the influence of cannabis. But why would Arthur have taken the vehicle papers with the car stereo, and why would he put them in the middle of his father’s papers? And if the theft was committed by Xavier Ligonnès a few hours before killing his family, how can this be explained? Was he able to steal other identity papers to facilitate his escape?
In this case, it is always about cars. Those imported by XDDL from the United States, the Citroën C5 from the escape, the vehicles he claimed had been stolen over the years: the first at the Brest police station in 1998, while living in Pornic, a second at the same time at the Saint-Nazaire police station, and then again, in Nantes, on May 17, 2006, a Golf convertible finally found then sold a few months later to a mechanic, a friend of Cédric M.
Cédric M. is never far away when it comes to cars. He is also a mechanic, that’s how Ligonnès met him in Vannes a few years earlier. He is one of the recipients of the departure letter, therefore a close friend. He was even the first employee of the RDC. Ligonnès regularly went to visit him in Locmalo in the heart of Morbihan, a two-and-a-half-hour drive from Nantes. With Cédric and his partner, Renaud, they went to the local creperie. They had lunch there together on March 31, 2011, four days before the crimes. In the village, it is said that Ligonnès took care of the dark accounts of the “guys,” who have quite a reputation. Could he have built up a slush fund there that no one would have found until now? Cédric and Renaud’s garage is not indicated by any sign. It is at the end of a road. In the yard, wrecks of American cars and a goat on a leash. Inside, Renaud is working on a shiny yellow Cadillac. His attitude is confusing. He is angry with the police who have never come to question him when he is, according to him, “the last to have seen [Xavier] alive. But I will not tell you when, because that the date is important,” he adds before returning to his Cadillac, wrench in hand.
To date, Renaud has still not been heard by investigators.
At the same time, reports continue to flow.
Ligonnès seen in Mulhouse, on the four lanes between Saint-Brieuc and Rennes in a Peugeot 308 and overtaking on the right, Ligonnès seen again in Tunis and Toulouse.
Ligonnès seen, but never caught.

Next Section-Part 2D
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Respect Percy Jackson (Percy Jackson and the Olympians/Heroes of Olympus) [New Update]

The Lightning Thief=TLT Sea of Monsters=SOM The Titan’s Curse=TTC Battle of the Labyrinth=BOTL The Last Olympian=TLO The Singer of Apollo=TSOA The Sword of Hades=TSOH The Stolen Chariot=TSC The staff of Hermes=TSH The demigod diaries=TDD The Diary of Luke Castellan=DOLC The Lost Hero=TLH The Son of Neptune=SON The Mark of Athena=MOA The House of Hades=HOH The Blood of Olympus=BOO Demigods of Olympus: An Interactive Adventure=DOA The Son of Sobek=SOS The Staff of Serapis=TSOS The Crown of Ptolemy=COP The Hidden Oracle=THO The Tyrant’s Tomb=TTT Percy Jackson Greek Gods=GG Percy Jackson Greek Heroes=GH

Demigod traits

Weapon

Anaklusmos/riptide is a 3 ft long sword with a leaf shaped blade. Made of celestial bronze that harms the divine and monstrous beings of the world along with mortals if the mortal is important enough such as Setne and Carter Kane, and it can even cut down ghouls and ghosts. It’s disguised as a pen that always returns to him and durable enough to survive full submersion in lava

Strength/striking

Lifting strength

Combat Speed

Scaling to a son of Athena * -Zane dodging the charge of a leonte that was fast enough to move down a hall as a flash of yellow, and move across an office in a flash DOA pg.25,42 * -Scaling to Annabeth who could dodge Kelli HOH ch.15 * -Who’s one of the fastest characters we’ve seen in the universe. She’s fast enough to blitz Rachel before riptide can even switch to sword form after being uncapped. BOTL ch.14 And from the lightning thief that it only takes half a second for the sword form to release, but Kelli moves faster * -Leo doing a backward somersault to dodge large rocks thrown at him at super speeds. TLH ch.43 * -Piper coming up from below a ridge to move fast enough to to be a blur of turquoise and black TLO ch.42 * -Jason deflecting lightning in a fight with a ventus he was tagged when he wasn’t ready to fight, so thishad nothing to do with being a son of Zeus cause he can be affected by lightning, This one needs context cause you could argue against it * -but venti are storm spirits. In PJO nature spirits obviously make up nature. From trees spirits to river spirits,they have humanoid forms, but are also literally a tree or river or flower. For this venti named Dylan his true form is a literal storm cloud along with the other venti that comes with him. Venti are literal thunderstorms because they are the thunderclouds. It’s not the same as characters like avatar characters that can generate lightning cause in this case the lighting is being generated by the actual cloud. * -Besides that feat he did dodge a charge of a venti who are fast enough to move only a little slower than Arion who’s supersonic BOO ch. 59

Movement speed

Only faster than above average mortals * - Ran 10 yards before Bianca could say anything. TTC ch.6 * - human magician in good shape struggling to keep up SOS pg.9 * - outpaced Sadie while holding a heavy object, COP pg.12 * - Apollo who had been turned mortal couldn’t keep up with Percy and Meg THO pg. 57

Durability/Endurance

Agility

Mist control

The mist is the uppermost layer of the Duat which is the realm of magic. It’s the reason mortals don’t see anything out of the ordinary when dealing with the magical. Someone who can control it can alter memories, appearances, summon weapons, make creatures to fight for you, hide objects even if they’re directly in-front of you, create illusions, and teleport. Though he’s not very good at it Percy has shown the ability to make small illusions and hide in plain sight

Magic

Heat resistance

Magic resistance

Mental defense

Intelligence

Combat feats

Percy vs Ares * - Although Ares wasn’t taking him seriously it’s still impressive for a week trained 12 y/o especially since Ares seems to have battle precog because he knew where Percy was attacking before he even did it. Also shows how his adhd lets him see how his opponents tense, so he knows where the attack is gonna come from. TLT pg.341-344 * - After a year he’s considered one of the best swordsman in the last hundred years, cabins of super humans don’t work him out and he wishes he could fight the war gods cabins SOM ch.6 * - Curse Percy vs. Minotaur TLO ch.11 * - Against Carter he showed to be quick and strong, and while it was completely one-sided, he still told Carter he did better against him than most others SOS pg.5-6 * -Beating up the 1st and 2nd cohort of Camp Jupiter. Lots of rolling and flipping showing a very active and athletic fighting style SON ch.12 * -Easily beats Magnus,son of Frey, in hand to hand combat TSTD ch.1 While Magnus isn’t much of a fighter, he’s still capable of ripping a 20 ft. long lamppost out the ground and jump 60 ft. vertically. Percy’s trained in unarmed combat at Camp and this is one of the few times he does

Will

Aegis feats
Important to note that- while using his powers does drain him over time, the amount he's drained is pretty overstated. His storm powers are the only ones that drain him, in the way that he'll feel physically tired from it, but being to able to use his water powers at a high level is never affected especially considering his best feat occured after prolonged use of his storm powers.

Hydrokinesis

Water healing

Water amp

Hydrogenesis

Strom Generation

Geokinesis

Other powers

Wolf stare

A glare he learned from his mama wolf Lupa that scares people. It’s kinda like his bat-glare
Scares a gang SON ch. 16 Makes Leo,a fellow demigod, tremble MOA pg.46 Scares Piper BOO ch.19

Animal friends

Curse of Achilles

user gains invulnerability, increased fighting prowess, but one weak spot that can only be pierced, and even a nick is enough to kill

Avatar mode

Percy merged with the Egyptian vulture goddess Nekhbet granting him a few more abilities
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Turner Classic Movies (U.S.) Schedule For The Month Of September, 2020 (All Airtimes E.S.T)

Tuesday, September 01, 2020
(1:15 AM) (drama) L'Eclisse (1962/126 m/Michelangelo Antonioni)
(3:30 AM) (western) Lost Command (1966/129 m/Mark Robson)
(6:00 AM) (suspense) The 39 Steps (1935/87 m/Alfred Hitchcock)
(7:45 AM) (suspense) The Lady Vanishes (1938/96 m/Alfred Hitchcock)
(9:30 AM) (suspense) Foreign Correspondent (1940/121 m/Alfred Hitchcock)
(11:45 AM) (suspence) Suspicion (1941/99 m/Alfred Hitchcock)
(1:27 PM) (short) Men In Fright (1938/11 m/George Sidney)
(1:45 PM) (suspense) Stage Fright (1950/110 m/Alfred Hitchcock)
(3:45 PM) (suspense) Dial ‘M’ For Murder (1954/105 m/Alfred Hitchcock)
(5:32 PM) (short) Third Dimensional Murder (1941/7 m/George Sidney)
(5:45 PM) (suspense) The Wrong Man (1956/105 m/Alfred Hitchcock)
(7:34 PM) (short) Wrong Way Butch (1950/10 m/David Barclay)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 1) (2019/60 m/Mark Cousins)
(10:45 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 1) (2019/60 m/Mark Cousins)
Wednesday, September 02, 2020
(12:00 AM) (premiere) Olivia (1951/96 m/
(1:45 AM) (premiere) Sleepwalking Land (2008/96 m/Teresa Prata)
(3:30 AM) (premiere) Seven Beauties (1975/117 m/Lina Wertmuller)
(5:30 AM) (premiere) Je tu il Elle (1975/86 m/Chantal Akerman)
(6:57 AM) (short) Over The Counter (1932/18 m/Jack Cummings)
(7:15 AM) (premiere) Madchen In Uniform (1931/89 m/Leontine Sagan)
(9:00 AM) (comedy) La Cienaga (2001/101 m/Lucrecia Martel)
(11:00 AM) (musical) Yolanda and the Thief (1945/108 m/Vincente Minnelli)
(1:00 PM) (musical) Call of the Flesh (1930/100 m/Charles Brabin)
(2:45 PM) (musical) Fiesta (1947/102 m/Richard Thorpe)
(4:30 PM) (musical) Pan-Americana (1945/84 m/John H. Auer)
(6:00 PM) (romance) Latin Lovers (1953/104 m/Mervyn Le Roy)
(8:00 PM) (musical) Sweet Charity (1969/148 m/Bob Fosse)
(10:45) (drama) All That Jazz (1979)
Thursday, September 03, 2020
(1:00 AM) (musical) Cabaret (1972/124 m/Bob Fosse)
(3:15 AM) (premiere) Star ‘80 (1983/103 m/Bob Fosse)
(5:15 AM) (documentary) A Well Spent Life (1971/44 m/Les Blank)
(6:00 AM) (suspense) The Window (1949/73 m/Ted Tetzlaff)
(7:15 AM) (comedy) Having Wonderful Time (1938/70 m/Alfred Santell)
(9:30 AM) (drama) Picnic At Hanging Rock (1975/107 m/Peter Weir)
(10:30 AM) (adventure) Corvette Summer (1978/105 m/Matthew Robbins)
(12:15 PM) (romance) A Stolen Life (1946/107 m/Curtis Bernhardt)
(2:15 PM) (drama) The Southerner (1945/93 m/Jean Renoir)
(4:00 PM) (comedy) The Seven Year Itch (1955/104 m/Billy Wilder)
(5:49 PM) (short) Mackinac Island (1944/9 m/James A. FitzPatrick)
(6:00 PM) (romance) Summer of ‘42 (1971/104 m/Robert Mulligan)
(9:00 PM) (drama) The Story of Louis Pasteur (1936/86 m/William Dieterle)
(9:45 PM) (drama) The Story of Dr. Jenner (1939/10 m/Henry K. Dunn)
(10:00 PM) (drama) Sister Kenny (1946/116 m/Dudley Nichols)
Friday, September 04, 2020
(12:01 AM) (short) See Your Doctor (1939/8 m/Basil Wrangell)
(12:15 AM) (drama) Dr. Ehrlich's Magic Bullet (1940/103 m/William Dieterle)
(2:15 AM) (drama) Arrowsmith (1931/99 m/John Ford)
(4:15 AM) (adventure) Yellow Jack (1938/83 m/George B. Seitz)
(5:47 AM) (short) Her Honor, The Nurse (1956/8 m/Harry W. Smith)
(6:00 AM) (drama) Madame Curie (1943/124 m/Mervyn Le Roy)
(9:15 AM) (documentary) Hollywood: The Dream Factory (1972/51 m/Mark Woods)
(9:30 AM) (comedy) Some Like It Hot (1959/122 m/Billy Wilder)
(11:45 AM) (comedy) The Apartment (1960/125 m/Billy Wilder)
(2:00 PM) (comedy) The Prisoner of Second Avenue (1974/98 m/Melvin Frank)
(4:00 PM) (comedy) The Sunshine Boys (1975/111 m/Herbert Ross)
(6:00 PM) (comedy) The Goodbye Girl (1977/111 m/Herbert Ross)
(8:00 PM) (premiere) The T.A.M.I. Show (1964/113 m/Steve Binder)
(10:15 PM) (documentary) Let The Good Times Roll (1973/99 m/Sidney Levin)
Saturday, September 05, 2020
(12:00 AM) (documentary) Elvis: That’s The Way It Is (1970/95 m/Denis Sanders)
(1:45 AM) (documentary) Divine Madness (1980/94 m/Michael Ritchie)
(3:30 AM) (documentary) ABBA: The Movie (1977/97 m/Lasse Hallstrom)
(5:30 AM) (documentary) MGM Parade Show #4 (1955/26 m/?)
(6:00 AM) (crime) The Biggest Bundle Of Them All (1968/108 m/Ken Annakin)
(9:00 AM) (premiere) MGM CARTOONS: The Chump Champ (1950/7 m/Fred [Tex] Avery)
(9:09 AM) (documentary) Game Warden (1955/8 m/Harry W. Smith)
(9:18 AM) (short) Seattle: Gateway To The Northwest (1940/9 m/?)
(9:28 AM) (drama) Isle Of Fury (1936/60 m/Frank McDonald)
(9:30 AM) (serial) TERRY AND THE PIRATES: The Fatal Mistake (1940/17 m/?)
(10:00 AM) (premiere) POPEYE: Fleets of Stren'th (1942/7 m/Dave Fleischer)
(10:08 AM) (adventure) Elephant Stampede (1951/71 m/Ford Beebe)
(11:30 AM) (short) Frontier Days (1945/17 m/Jack Scholl)
(12:00 PM) (suspense) The Prize (1963/135 m/Mark Robson)
(2:30 PM) (western) Stagecoach (1939/96 m/John Ford)
(4:15 PM) (drama) East Of Eden (1955/118 m/Elia Kazan)
(6:30 PM) (comedy) Bananas (1971/82 m/Woody Allen)
(8:00 PM) (documentary) The Kids Are Alright (1979/109 m/Jeff Stein)
(10:00 PM) (premiere) Shine A Light (2008/122 m/Martin Scorsese)
Sunday, September 06, 2020
(12:15 AM) (documentary) The Decline of Western Civilization (1981/100 m/Penelope Spheeris)
(2:15 AM) (documentary) The Decline of Western Civilization, Part II: The Metal Years (1988/93 m/Penelope Spheeris)
(4:00 AM) (documentary) This Is Elvis (1981/102 m/Malcolm Leo)
(6:00 AM) (musical) On An Island With You (1948/108 m/Richard Thorpe)
(9:00 AM) (musical) Easy To Love (1953/96 m/Charles Walters)
(10:00 AM) (crime) Night Editor (1946/67 m/Henry Levin)
(12:00 PM) (romance) The Enchanted Cottage (1945/92 m/John Cromwell)
(1:45 PM) (drama) The V.I.P.s (1963/119 m/Anthony Asquith)
(4:00 PM) (romance) Crossing Delancey (1988/97 m/Joan Micklin Silver)
(6:00 PM) (romance) To Have and Have Not (1944/100 m/Howard Hawks)
(8:00 PM) (documentary) The Song Remains The Same (1976/138 m/Peter Clifton)
(10:30 PM) (documentary) Jimi Hendrix (1973/102 m/Joe Boyd)
Monday, September 07, 2020
(12:15 AM) (premiere) Jimi Plays Monterey (1986/49 m/D.A. Pennebaker)
(1:15 AM) (premiere) Shake!: Otis At Monterey (1987/19 m/D.A. Pennebaker)
(1:45 AM) (premiere) Fade To Black (2004/110 m/Patrick Paulson)
(5:30 AM) (premiere) Say Amen, Somebody: The Good News Musical (1982/101 m/George T. Nierenberg)
(7:15 AM) (premiere) A Poem Is A Naked Person (1977/90 m/Les Blank)
(9:00 AM) (premiere) Louie Bluie (1985/61 m/Terry Zwigoff)
(12:15 PM) (premiere) Big Time (1988/87 m/Chris Blum)
(2:00 PM) (documentary) Don’t Look Back (1967/96 m/D.A. Pennebaker)
(4:00 PM) (premiere) Neil Young: Heart Of Gold (2006/104 m/Jonathan Demme)
(6:00 PM) (premiere) Festival (1967/98 m/Murray Lerner)
(8:00 PM) (documentary) Monterey Pop (1969/79/D.A. Pennebaker)
(9:30 PM) (documentary) Woodstock: The Director’s Cut (1970/224 m/Michael Wadleigh)
Tuesday, September 08, 2020
(1:30 AM) (musical) A Hard Day’s Night (1964/87 m/Richard Lester)
(3:15 AM) (documentary) Go Go Mania (1965/70 m/Frederic Goode)
(4:45 AM) (documentary) Robert Osborne’s 20th Anniversary Tribute (2015/47 m/?)
(6:00 AM) (crime) Armored Car Robbery (1950/68 m/Richard Fleischer)
(7:30 AM) (crime) The Asphalt Jungle (1950/112 m/John Huston)
(9:30 AM) (crime) High Sierra (1941/100 m/Raoul Walsh)
(11:15 AM) (crime) Rififi (1954/118 m/Jules Dassin)
(1:30 PM) (crime) The League Of Gentlemen (1960/114 m/Basil Dearden)
(3:45 PM) (comedy) Ocean’s 11 (1960/127 m/Lewis Milestone)
(6:00 PM) (suspense) Jack of Diamonds (1967/108 m/Don Taylor)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 2) (2019/61 m/Mark Cousins)
(9:15 PM) (premiere) El Camino (1963/95 m/Ana Mariscal)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode #2) (2019/61 m/Mark Cousins)
Wednesday, September 09, 2020
(12:30 AM) (premiere) Lovely & Amazing (2001/91 m/Nicole Holofcener)
(2:15 AM) (premiere) Wanda (1970/103 m/Barbara Loden)
(4:15 AM) (premiere) The Watermelon Woman (1995/85 m/Cheryl Dunye)
(6:00 AM) (premiere) In The Empty City (2004/90 m/Maria Jopo Ganga)
(7:45 AM) (silent) The Adventures of Prince Achmed (1926/66 m/Lotte Reiniger)
(9:15 AM) (premiere) Entre Nous (1983/111 m/Diane Kurys)
(11:30 AM) (drama) Jeopardy (1953/69 m/John Sturges)
(1:00 PM) (suspense) Cry Terror! (1958/96 m/Andrew L. Stone)
(3:15 PM) (drama) The Devil Makes Three (1952/90 m/Andrew Marton)
(5:00 PM) (suspense) Dial 1119 (1950/75 m/Gerald Mayer)
(6:30 PM) (suspense) Beyond A Reasonable Doubt (1956/80 m/Fritz Lang)
(8:00 PM) (comedy) Mr. Belvedere Goes To College (1949/83 m/Elliott Nugent)
(11:30 PM) (premiere) Blondie Goes To College (1942/77 m/Frank R. Strayer)
Thursday, September 10, 2020
(1:00 AM) (musical) She's Working Her Way Through College (1952/101 m/Bruce Humberstone)
(3:00 AM) Start Cheering (1938/78 m/Albert S. Rogell)
(4:30 AM) Strictly Dynamite (1934/71 m/Elliott Nugent)
(6:00 AM) (drama) Mademoiselle Fifi (1944/69 m/Robert Wise)
(7:15 AM) (suspense) The Curse of the Cat People (1944/70 m/Gunther V. Fritsch and Robert Wise)
(8:30 AM) (horror) The Body Snatcher (1945/78 m/Robert Wise)
(10:00 AM) (suspense) Mystery In Mexico (1948/66 m/Robert Wise)
(11:15 AM) (western) Blood On the Moon (1948/?/Robert Wise)
(1:00 PM) (crime) Born To Kill (1947/92 m/Robert Wise)
(2:45 PM) (drama) The Set-Up (1949/72 m/Robert Wise)
(4:15 PM) (romance) So Big (1953/102 m/Robert Wise)
(6:00 PM) (drama) Somebody Up There Likes Me (1956/113 m/Robert Wise)
(9:00 PM) (war) So Proudly We Hail (1943/126 m/Mark Sandrich)
(10:15 PM) (comedy) MAS*H (1970/116 m/Robert Altman)
Friday, September 11, 2020
(12:30 AM) (war) The Story of Dr. Wassell (1944/136 m/Cecil B. DeMille)
(3:00 AM) (war) Cry ‘Havoc’ (1944/97 m/Richard Thorpe)
(4:45 AM) (war) Battle Circus (1953/90 m/Richard Brooks)
(6:30 AM) (short) Angel Of Mercy (1939/10 m/Edward L. Cahn)
(6:45 AM) (drama) The White Angel (1936/92 m/William Dieterle)
(9:30 AM) (comedy) Bud Abbott and Lou Costello In Hollywood (1945/83 m/S. Sylvan Simon)
(10:00 AM) (comedy) Merton of the Movies (1947/82 m/Robert Alton)
(11:30 AM) (musical) Show Girl in Hollywood (1930/78 m/Mervyn Le Roy)
(1:00 PM) (comedy) Goldie Gets Along (1933/68 m/Malcolm St. Clair)
(2:15 PM) (musical) Talent Scout (1937/62 m/William Clemens)
(3:30 PM) (comedy) Pick A Star (1937/70 m/Edward Sedgwick)
(4:45 PM) (comedy) Boy Meets Girl (1938/86 m/Lloyd Bacon)
(6:15 PM) (comedy) Movie Crazy (1932/96 m/Clyde Bruckman)
(8:00 PM) (adventure) She (1965/106 m/Robert Day)
(10:00 PM) (adventure) Clash of the Titans (1981/118 m/Desmond Davis)
Saturday, September 12, 2020
(12:15 AM) (comedy) Casino Royale (1967/131 m/John Huston, et. al.)
(2:45 AM) (horror) Plan 9 From Outer Space (1959/78 m/Edward D. Wood, Jr.)
(4:15 AM) (drama) Reefer Madness (1936/66 m/Louis Gasnier)
(5:15 AM) (premiere) Sex Madness (1938/52 m/?
(6:15 AM) (comedy) A Slight Case Of Murder (1938/85 m/Lloyd Bacon)
(9:00 AM) (premiere) MGM CARTOONS: Droopy’s Double Trouble (1951/7 m/Fred [Tex] Avery)
(9:09 AM) (short) High Dive Kids (1956/8 m/?)
(9:18 AM) (short) Sitka and Juneau: A Tale of Two Cities (1940/9 m/?)
(9:28 AM) (drama) Daredevil Drivers (1938/60 m/B. Reeves Eason)
(9:30 AM) (serial) TERRY AND THE PIRATES: Pyre of Death (1940/17 m/?)
(10:00 AM) (premiere) POPEYE: Pip-Eye, Pup-Eye, Poop-Eye An' Peep-Eye (1942/6 m/Dave Fleischer)
(10:08 AM) (adventure) The Lion Hunters (1951/80 m/Ford Beebe)
(11:30 AM) (short) The Rear Gunner (1943/20 m/Ray Enright)
(12:00 PM) (crime) Double Indemnity (1944/108 m/Billy Wilder)
(2:00 PM) (drama) Birdman of Alcatraz (1962/149 m/John Frankenheimer)
(4:45 PM) (war) The Sand Pebbles (1966/179 m/Robert Wise)
(8:00 PM) (suspense) Out of the Past (1947/97 m/Jacques Tourneur)
(10:00 PM) (drama) Experiment Perilous (1944/91 m/Jacques Tourneur)
Sunday, September 13, 2020
(12:00 AM) (suspense) Danger Signal (1945/78 m/Robert Florey)
(1:30 AM) (drama) The China Syndrome (1979/122 m/James Bridges)
(3:45 AM) (horror) Coma (1978/113 m/Michael Crichton)
(6:00 AM) (comedy) See Here, Private Hargrove (1944/101 m/Wesley Ruggles)
(9:00 AM) (musical) Summer Stock (1950/109 m/Charles Walters)
(10:00 AM) (suspense) Danger Signal (1945/78 m/Robert Florey)
(11:30 AM) (comedy) The Whole Town’s Talking (1935/93 m/John Ford)
(1:15 PM) (drama) The Last Hurrah (1958/121 m/John Ford)
(3:30 PM) (drama) Sweet Bird Of Youth (1962/120 m/Richard Brooks)
(5:45 PM) (adventure) The Black Stallion (1979/117 m/Carroll Ballard)
(8:00 PM) (musical) Carmen Jones (1954/105 m/Otto Preminger)
(10:00 PM) (drama) Bright Road (1953/68 m/Gerald Mayer)
(11:30 PM) (musical) Sun Valley Serenade (1941/86 m/H. Bruce Humberstone)
Monday, September 14, 2020
(1:15 AM) (silent) The Ace of Hearts (1921/74 m/Wallace Worsley)
(6:00 AM) (musical) Playing Around (1930/66 m/Mervyn Le Roy)
(7:15 AM) (drama) Union Depot (1932/67 m/Alfred E. Green)
(9:30 AM) (drama) When In Rome (1952/78 m/Clarence Brown)
(10:00 AM) (drama) The Toast Of New York (1937/109 m/Rowland V. Lee)
(12:00 PM) (musical) Fashions of 1934 (1934/78 m/William Dieterle)
(1:30 PM) (suspense) Kind Lady (1935/76 m/George B. Seitz)
(3:00 PM) (romance) Sylvia Scarlett (1935/95 m/George Cukor)
(4:45 PM) (romance) Nobody Lives Forever (1946/100 m/Jean Negulesco)
(6:30 PM) (suspense) Cast a Dark Shadow (1955/83 m/Lewis Gilbert)
(8:00 PM) (short) Star Night At the Cocoanut Grove (1934/20 m/Louis Lewyn)
(8:00 PM) (short) A Night At The Movies (1937/10 m/Roy Rowland)
(8:00 PM) (comedy) The Pip From Pittsburg (1931/21 m/James Parrott)
(8:00 PM) (short) Movie Pests (1944/10 m/Will Jason)
(8:00 PM) (short) So You Want To Be A Detective (1948/11 m/Richard Bare)
(8:00 PM) (short) Los Angeles “Wonder City of the West” (1935/8 m/?)
(8:00 PM) (short) The Man In The Barn (1937/11 m/Jacques Tourneur)
(8:00 PM) (short) Smash Your Baggage (1932/9 m/Roy Mack)
(10:00 PM) (short) Asleep In The Feet (1933/19 m/Gus Meins)
(10:00 PM) (comedy) Top Flat (1935/19 m/William Terhune)
(10:00 PM) (short) The Bargain of the Century (1933/19 m/Charley Chase)
(11:15 PM) (short) You’re Telling Me (1932/19 m/Lloyd French)
(11:15 PM) (short) Call A Cop! (1931/20 m/George Stevens)
(11:15 PM) (short) Too Many Women (1932/19 m/Lloyd French)
(11:15 PM) (short) Air-Tight (1931/17 m/George Stevens)
Tuesday, September 15, 2020
(12:45 AM) (comedy) Buzzin’ Around (1933/20 m/Alfred J. Goulding)
(12:45 AM) (short) Whispering Whoopee (1930/21 m/James W. Horne)
(2:00 AM) (short) Women In Hiding (1940/22 m/Joseph Newman)
(2:00 AM) (short) Drunk Driving (1939/21 m/David Miller)
(2:00 AM) (short) The Public Pays (1936/18 m/Errol Taggart)
(3:15 AM) (short) His Silent Racket (1933/18 m/Charley Chase
(3:15 AM) (short) Girl Shock (1930/20 m/James W. Horne)
(3:15 AM) (short) Fallen Arches (1933/19 m/Gus Meins)
(3:15 AM) (short) The Chases of Pimple Street (1934/20 m/Charles Parrott)
(3:15 AM) (short) Four Parts (1934/18 m/Eddie Dunn)
(5:00 AM) (short) So You Want To Play The Piano (1956/10 m/Richard Bare)
(5:00 AM) (short) Apples To You! (1934/20 m/Leigh Jason)
(5:00 AM) (short) Zion: Canyon of Colour (1934/8 m/?)
(5:00 AM) (short) How To Sleep (1935/11 m/Nick Grindé)
(5:00 AM) (short) Double Talk (1937/11 m/Lloyd French)
(5:00 AM) (western) Pony Express Days (1940/20 m/B. Reeves Eason)
(5:00 AM) (comedy) Important Business (1944/11 m/Will Jason)
(5:00 AM) (short) The Black Network (1936/21 m/Roy Mack)
(5:00 AM) (short) And She Learned About Dames (1934/?/?)
(5:00 AM) (short) The Fabulous Fraud (1948/11 m/Edward L. Cahn)
(7:15 AM) (suspense) Man Hunt (1933/64 m/Irving Cummings)
(8:30 AM) (suspense) Nick Carter, Master Detective (1939/59 m/Jac ques Tourneur)
(9:45 AM) (suspense) Phantom Raiders (1940/70 m/Jacques Tourneur)
(11:00 AM) (suspense) Sky Murder (1940/72 m/George B. Seitz)
(12:15 PM) (suspense) Star Of Midnight (1935/90 m/Stephen Roberts)
(2:00 PM) (suspense) Miracles For Sale (1939/71 m/Tod Browning)
(3:15 PM) (suspense) Eyes In The Night (1942/80 m/Fred Zinnemann)
(4:45 PM) (suspense) The Hidden Eye (1945/69 m/Richard Whorf)
(6:00 PM) (suspense) Stage Fright (1950/110 m/Alfred Hitchcock)
(9:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 3) (2019/61 m/Mark Cousins)
(9:15 PM) (documentary) Harlan County, U.S.A. (1976/105 m/Barbara Kopple)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 3) (2019/61 m/Mark Cousins)
Wednesday, September 16, 2020
(12:30 AM) (drama) The Virgin Suicides (1999/97 m/Sofia Coppola)
(2:30 AM) (premiere) Loving Couples (1964/113 m/Mai Zetterling)
(6:30 AM) (premiere) 10 to 11 (2009/110 m/Pelin Esmer)
(9:30 AM) (comedy) Losing Ground (1982/86 m/Kathleen Collins)
(10:00 AM) (premiere) Strangers In Good Company (1990/101 m/Cynthia Scott)
(12:00 PM) (short) Wagon Wheels West (1943/17 m/B. Reeves Eason)
(12:30 PM) (western) Westward The Women (1951/116 m/William A. Wellman)
(2:45 PM) (western) Strange Lady In Town (1955/112 m/Mervyn Le Roy)
(4:45 PM) (western) Rachel and the Stranger (1948/93 m/Norman Foster)
(6:15 PM) (western) Cat Ballou (1965/96 m/Elliot Silverstein)
(8:00 PM) (musical) A Connecticut Yankee in King Arthur's Court (1949/107 m/Tay Garnett)
(10:00 PM) (premiere) Peggy Sue Got Married (1986/103 m/Francis Ford Coppola)
Thursday, September 17, 2020
(12:00 AM) (premiere) Repeat Performance (1947/93 m/Alfred Werker)
(1:45 AM) (drama) Turn Back the Clock (1933/79 m/Edgar Selwyn)
(3:15 AM) (adventure) The Boy and the Pirates (1960/84 m/Bert I. Gordon)
(5:00 AM) (romance) Berkeley Square (1933/88 m/Frank Lloyd)
(6:45 AM) (short) MGM Is On The Move! (1964/36 m/?)
(7:45 AM) (crime) Angel Face (1953/91 m/Otto Preminger)
(9:30 AM) (western) River of No Return (1954/91 m/Otto Preminger)
(11:15 AM) (suspense) Bunny Lake Is Missing (1965/107 m/Otto Preminger)
(1:15 PM) (drama) The Man with the Golden Arm (1956/119 m/Otto Preminger)
(3:30 PM) (drama) Anatomy Of A Murder (1959/161 m/Otto Preminger)
(6:15 PM) (suspense) Laura (1944/88 m/Otto Preminger)
(8:00 PM) (comedy) People Will Talk (1951/110 m/Joseph L. Mankiewicz)
(10:00 PM) (drama) Magnificent Obsession (1954/108 m/Douglas Sirk)
Friday, September 18, 2020
(12:00 AM) (drama) A Man to Remember (1938/78 m/Garson Kanin)
(1:30 AM) (drama) The Citadel (1938/113 m/King Vidor)
(3:30 AM) (drama) Red Beard (1965/185 m/Akira Kurosawa)
(6:45 AM) (drama) The Doctor and the Girl (1949/98 m/Curtis Bernhardt)
(9:30 AM) (romance) Dark Victory (1939/104 m/Edmund Goulding)
(10:30 AM) (romance) The Painted Veil (1934/84 m/Richard Boleslawski)
(12:00 PM) (romance) Conquest (1937/112 m/Clarence Brown)
(2:00 PM) (romance) Camille (1937/109 m/George Cukor)
(4:00 PM) (comedy) Ninotchka (1939/110 m/Ernst Lubitsch)
(6:00 PM) Grand Hotel (1932/113 m/Edmund Goulding)
(8:00 PM) (drama) The Rain People (1969/101 m/Francis Ford Coppola)
(10:00 PM) (drama) Harry and Tonto (1974/115 m/Paul Mazursky)
Saturday, September 19, 2020
(12:00 AM) (comedy) Lost In America (1985/91 m/Albert Brooks)
(2:00 AM) (premiere) Wild At Heart (1990/124 m/David Lynch)
(4:15 AM) (premiere) Twin Peaks: Fire Walk With Me (1992/135 m/David Lynch)
(6:30 AM) (suspense) Blackmail (1939/81 m/H.C. Potter)
(9:00 AM) (premiere) MGM CARTOONS: The Flea Circus (1954/7 m/Fred [Tex] Avery)
(9:09 AM) (short) Holland Sailing (1956/8 m/?)
(9:18 AM) (short) Alluring Alaska (1941/9 m/?)
(9:27 AM) (western) Guns Of Hate (1948/62 m/Lesley Selander)
(9:30 AM) (serial) TERRY AND THE PIRATES: The Secret of the Temple (1940/17 m/?)
(10:00 AM) (premiere) POPEYE: Olive Oyl and Water Don't Mix (1933/7 m/Dave Fleischer)
(10:08 AM) (adventure) African Treasure (1952/70 m/Ford Beebe)
(11:30 AM) (short) Roaring Guns (1944/19 m/Jean Negulesco)
(12:00 PM) (drama) Going Home (1971/97 m/Herbert B. Leonard)
(1:45 PM) (western) 3:10 To Yuma (1957/92 m/Delmer Daves)
(3:30 PM) (drama) Fail-Safe (1964/112 m/Sidney Lumet)
(5:30 PM) (war) Sergeant York (1941/134 m/Howard Hawks)
(8:00 PM) (musical) Guys and Dolls (1955/149 m/Joseph L. Mankiewicz)
(10:45 PM) (crime) Midnight Alibi (1934/58 m/Alan Crosland)
Sunday, September 20, 2020
(12:00 AM) (suspense) Gilda (1946/110 m/Charles Vidor)
(2:15 AM) (sci-fi) Rollerball (1975/125 m/Norman Jewison)
(4:30 AM) (sci-fi) Countdown (1968/101 m/Robert Altman)
(6:15 AM) (drama) All The King’s Men (1949/110 m/Robert Rossen)
(9:15 AM) (comedy) It Happened One Night (1934/105 m/Frank Capra)
(10:00 AM) (suspense) Gilda (1946/110 m/Charles Vidor)
(12:15 PM) (musical) Going My Way (1944/127 m/Leo McCarey)
(2:30 PM) (musical) Royal Wedding (1951/93 m/Stanley Donen)
(4:15 PM) (musical) Dangerous When Wet (1953/95 m/Charles Walters)
(6:00 PM) (comedy) Guess Who’s Coming To Dinner? (1967/108 m/Stanley Kramer)
(8:00 PM) (premiere) Tamango (1959/100 m/John Berry)
(10:00 PM) (adventure) Tarzan’s Peril (1951/79 m/Byron Haskin)
(11:30 PM) (drama) The Harlem Globetrotters (1951/77 m/Phil Brown)
Monday, September 21, 2020
(1:00 AM) (premiere) Where Now Are The Dreams Of Youth? (1932/86 m/Yasujiro Ozu)
(2:45 AM) (premiere) LONE WOLF AND CUB: Baby Cart in the Land of Demons (1973/90 m/Kenji Misumi)
(4:30 AM) (premiere) LONE WOLF AND CUB: White Heaven In Hell (1974/84 m/Yoshiyuki Kuroda)
(6:00 AM) (silent) Flesh and the Devil (1926/112 m/Clarence Brown)
(9:15 AM) (romance) To Have and Have Not (1944/100 m/Howard Hawks)
(10:15 AM) (crime) The Postman Always Rings Twice (1946/113 m/Tay Garnett)
(12:30 PM) (romance) Possessed (1931/76 m/Clarence Brown)
(2:00 PM) (comedy) Woman of the Year (1942/114 m/George Stevens)
(4:15 PM) (romance) Swing Shift (1984/100 m/Jonathan Demme)
(6:00 PM) (drama) Stromboli (1950/106 m/Roberto Rossellini)
(8:00 PM) (drama) A Cry In The Dark (1988/121 m/Fred Schepisi)
(10:15 PM) (romance) The French Lieutenant’s Woman (1981/124 m/Karel Reisz)
Tuesday, September 22, 2020
(2:30 AM) (drama) Kramer vs. Kramer (1979/105 m/Robert Benton)
(4:30 AM) (drama) Wednesday’s Child (1934/68 m/John Robertson)
(6:00 AM) (documentary) MGM Parade Show #4 (1955/26 m/?)
(6:30 AM) (epic) Around The World In 80 Days (1956/182 m/Michael Anderson)
(9:45 AM) (musical) Bitter Sweet (1940/93 m/W.S. Van Dyke II)
(11:30 AM) (war) In Which We Serve (1942/115 m/Noel Coward)
(1:30 PM) (comedy) Private Lives (1931/84 m/Sidney Franklin)
(3:00 PM) (romance) We Were Dancing (1942/95 m/Robert Z. Leonard)
(4:45 PM) (comedy) Blithe Spirit (1945/96 m/David Lean)
(6:30 PM) (romance) Brief Encounter (1945/87 m/David Lean)
(9:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 4) (2019/61 m/Mark Cousins)
(9:15 PM) (premiere) The Cave of the Yellow Dog (2005/89 m/Byambasuren Davaa)
(11:00 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 4) (2019/61 m/Mark Cousins)
Wednesday, September 23, 2020
(12:15 AM) (crime) Salaam Bombay! (1988/114 m/Mira Nair)
(2:30 AM) (drama) Daughters of the Dust (1991/112 m/Julie Dash)
(4:30 AM) (premiere) Krane’s Confectionary (1951/103 m/Astrid Henning-Jensen)
(6:30 AM) (premiere) Mikey and Nicky (1976/107 m/Elaine May)
(9:45 AM) (premiere) The Juniper Tree (1990/79 m/Nietzchka Keene)
(10:15 AM) (premiere) Women Who Loved Cinema (Part 1 & 2) (2002/114 m/Marianne Khoury)
(12:15 PM) (comedy) Life Begins For Andy Hardy (1941/101 m/George B. Seitz)
2:00 PM) (musical) Girl Crazy (1943/Norman Taurog)
(4:00 PM) (adventure) The Adventures of Huckleberry Finn (1939/91 m/Richard Thorpe)
(6:00 PM) (comedy) Ah, Wilderness! (1935/98 m/Clarence Brown)\
(8:00 PM) (drama) Boys Town (1938/93 m/Norman Taurog)
(9:45 PM) (drama) The Human Comedy (1943/117 m/Clarence Brown)
Thursday, September 24, 2020
(12:00 AM) (adventure) The Black Stallion (1979/117 m/Carroll Ballard)
(2:15 AM) (musical) Strike Up The Band (1940/120 m/Busby Berkeley)
(4:30 AM) (crime) Killer McCoy (1947/104 m/Roy Rowland)
(6:15 AM) (romance) Wuthering Heights (1939/104 m/William Wyler)
(9:15 AM) (romance) Kitty Foyle (1940/108 m/Sam Wood)
(10:15 AM) (drama) Cass Timberlane (1947/119 m/George Sidney)
(12:15 PM) (drama) The Bad and the Beautiful (1952/118 m/Vincente Minnelli)
(2:30 PM) (drama) Magnificent Obsession (1954/108 m/Douglas Sirk)
(4:30 PM) (drama) All That Heaven Allows (1955/89 m/Douglas Sirk)
(6:15 PM) Written On The Wind (1957/99 m/Douglas Sirk)
(8:00 PM) (drama) Young Dr. Kildare (1938/82 m/Harold S. Bucquet)
(9:30 PM) (drama) The Young Doctors (1961/103 m/Phil Karlson)
(11:30 PM) (comedy) The Hospital (1971/102 m/Arthur Hiller)
Friday, September 25, 2020
(1:30 AM) (drama) No Way Out (1950/107 m/Joseph L. Mankiewicz)
(3:30 AM) (drama) The Girl In White (1952/93 m/John Sturges)
(5:04 AM) (short) Her Honor, The Nurse (1956/8 m/Harry W. Smith)
(5:30 AM) (drama) Emergency Hospital (1956/63 m/Lee Sholem)
(6:45 AM) (horror) War of the Planets (1965/97 m/Antonio Margheriti)
(9:30 AM) (horror) The Cosmic Monster (1958/72 m/Gilbert Gunn)
(10:00 AM) (horror) Satellite In The Sky (1956/84 m/Paul Dickson)
(11:30 AM) (horror) The Green Slime (1969/90 m/Kinji Fukasaku)
(1:15 PM) (horror) Queen of Outer Space (1958/80 m/Edward Bernds)
(2:45 PM) (horror) The Wild, Wild Planet (1965/94 m/Anthony Dawson)
(4:30 PM) (horror) Village of the Damned (1960/77 m/Wolf Rilla)
(6:00 PM) (horror) Children of the Damned (1964/90 m/Anton M. Leader)
(9:00 PM) (western) The Outlaw Josey Wales (1976/136 m/Clint Eastwood)
(10:30 PM) (western) Alvarez Kelly (1966/110 m/Edward Dmytryk)
Saturday, September 26, 2020
(12:45 AM) (western) Springfield Rifle (1952/93 m/Andre de Toth)
(6:00 AM) (comedy) Larceny, Inc. (1942/95 m/Lloyd Bacon)
(9:00 AM) (premiere) MGM CARTOONS: The First Bad Man (1955/7 m/Fred [Tex] Avery)
(9:09 AM) (short) Salar, The Leaper (1957/8 m/Douglas Sinclair)
(9:18 AM) (documentary) Land of Alaska Nellie (1940/9 m/?)
(9:28 AM) (western) Gun Law (1938/60 m/David Howard)
(9:30 AM) (serial) WILD WEST DAYS: Death Rides The Range (1937/?/?)
(10:00 AM) (premiere) POPEYE: Many Tanks (1933/7 m/Dave Fleischer)
(10:09 AM) (adventure) Bomba and the Jungle Girls (1952/70 m/Ford Beebe)
(11:30 AM) (short) Heavenly Music (1943/22 m/Josef Berne)
(12:00 PM) (drama) The Long Voyage Home (1940/106 m/John Ford)
(2:00 PM) (epic) Quo Vadis (1951/174 m/Mervyn LeRoy)
(5:15 PM) (war) Where Eagles Dare (1968/155 m/Brian G. Hutton)
(8:00 PM) (romance) The Red Shoes (1948/134 m/Michael Powell)
(10:30 PM) (war) Night Ambush (1958/105 m/Michael Powell)
Sunday, September 27, 2020
(12:15 AM) (drama) They Won’t Believe Me (1947/90 m/Irving Pichel)
(2:00 AM) (horror) Creature from the Black Lagoon (1954/79 m/Jack Arnold)
(3:30 AM) (horror) UFO (1956/88 m/Winston Jones)
(5:15 AM) (documentary) MGM Parade Show #4 (1955/26 m/?)
(6:00 AM) (romance) Mata Hari (1931/89 m/George Fitzmaurice)
(7:45 AM) (comedy) The Talk Of The Town (1942/117 m/George Stevens)
(10:00 AM) (drama) They Won't Believe Me (1947/90 m/Irving Pichel)
(11:45 AM) (comedy) Don't Make Waves (1967/97 m/Alexander Mackendrick)
(1:30 PM) (drama) Honeysuckle Rose (1980/119 m/Jerry Schatzberg)
(3:45 PM) (romance) Now, Voyager (1942/117 m/Irving Rapper)
(6:00 PM) (drama) Executive Suite (1954/104 m/Robert Wise)
(10:15 PM) (drama) The Decks Ran Red (1958/84 m/Andrew L. Stone)
(12:00 AM) (comedy) Our Modern Maidens (1929/75 m/Jack Conway)
(2:00 AM) (musical) Black Orpheus (1959/108 m/Marcel Camus)
(4:00 AM) (romance) Orpheus (1950/96 m/Jean Cocteau)
Monday, September 28, 2020
(6:00 AM) (comedy) Not So Dumb (1930/76 m/King Vidor)
(7:30 AM) (drama) Street Scene (1931/79 m/King Vidor)
(9:00 AM) (adventure) Bird of Paradise (1932/82 m/King Vidor)
(10:30 AM) (drama) Our Daily Bread (1934/74 m/King Vidor)
(11:45 AM) (western) Northwest Passage (1940/127 m/King Vidor)
(2:00 PM) (drama) H.M. Pulham, Esq. (1941/120 m/King Vidor)
(4:15 PM) (drama) The Fountainhead (1949/113 m/King Vidor)
(6:15 PM) (crime) Lightning Strikes Twice (1951/90 m/King Vidor)
(9:00 PM) (comedy) You Can't Take It With You (1938/126 m/Frank Capra)
(10:30 PM) (drama) Ship of Fools (1965/149 m/Stanley Kramer)
(1:15 AM) (premiere) Titicut Follies (1967/84 m/Frederick Wiseman)
(3:00 AM) (drama) The Sign of the Ram (1948/84 m/John Sturges)
(5:00 AM) (documentary) Private Screenings: Liza Minnelli (2010/45 m/Sean Cameron)
Tuesday, September 29, 2020
(6:00 AM) (drama) Blossoms in the Dust (1941/99 m/Mervyn LeRoy)
(9:00 AM) (romance) Mrs. Parkington (1944/124 m/Tay Garnett)
(10:30 AM) (drama) Madame Curie (1943/124 m/Mervyn Le Roy)
(1:00 PM) (romance) The Valley of Decision (1945/118 m/Tay Garnett)
(3:15 PM) (romance) Pride and Prejudice (1940/118 m/Robert Z. Leonard)
(5:30 PM) (war) Mrs. Miniver (1942/134 m/William Wyler)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 5) (2019/61 m/Mark Cousins)
(9:15 PM) (drama) Middle of Nowhere (2012/101 m/Ava Duvernay)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 5) (2019/61 m/Mark Cousins)
Wednesday, September 30, 2020
(12:30 AM) (drama) Beau Travail (1999/89 m/Claire Denis)
(6:00 AM) (premiere) Wasp (2003/26 m/Andrea Arnold)
(10:00 AM) (drama) Antonia's Line (1995/103 m/Marleen Gorris)
(12:00 PM) (premiere) The Green-Eyed Blonde (1957/72 m/Bernard Girard)
(1:15 PM) (crime) Ring of Fire (1961/91/Andrew L. Stone)
(2:45 PM) (drama) Untamed Youth (1957/80 m/Howard W. Koch)
(4:15 PM) (musical) Jailhouse Rock (1957/97 m/Richard Thorpe)
(6:00 PM) (drama) Rebel Without A Cause (1955/111 m/Nicholas Ray)
(8:00 PM) (drama) Stand and Deliver (1988/103 m/Ramon Menendez)
(10:00 PM) (drama) The Blackboard Jungle (1955/101 m/Richard Brooks)
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