Photo by Paul Fraser
Photo by Paul Fraser
Now, before all you EFFers go all totally wild (although it's undoubtedly a win for the EFF line of thinkingon this issue), you should know that this in no way requires Apple to jailbreak your phone for you, or lay down its arms in this ongoing fight. Basically, they just can't sue you for the specific act of breaking their protections, but there's nothing stopping them from putting those protections in there in the first place, or for suing you for an infringement not covered in this exception -- like distributing Apple code in a non-Apple-approved way, or installing illegal or pirated software. Not that any of you jailbreakers would ever do that. What's more, the DMCA still broadly forbids distributing to the public any "technology, product, service, device, component, or part thereof" that's primarily designed to break access controls, so Apple can always go after the Dev Team directly -- and we'd still keep those dreams of opening Joe's Jailbreak Hut on ice for now.Computer programs that enable wireless telephone handsets to execute software applications, where circumvention is accomplished for the sole purpose of enabling interoperability of such applications, when they have been lawfully obtained, with computer programs on the telephone handset.
Amy Winehouse has made a name for herself in the music world after winning various awards for her critically acclaimed projects Frank and Back to Black, but her fame has also given way to controversy surrounding drug use, suicide attempts, ailments and tabloid fodder. Aside from all of this, she has also shown her appreciation for Hip Hop with collaborations including work with Ghostface Killah. Rappers have also given her praise, including Jay-Z and Nas, whom she wrote "Me and Mr. Jones" about.
Now, Winehouse is planning a project with one of Hip Hop's most acclaimed producers, ?uestlove, the drummer behind The Roots and Raphael Saadiq, who will be playing the guitar. No name has yet been given to the group.
In the past, Winehouse was denied a visa for posessing cannabis and for an assault she has been cleared of since. As a result, getting together has been a challenge, but one that
According to The Sun, ?uestlove confirmed that the show will go on.
"The group will definitely happen. It's just the closest she can come to the States is Jamaica. I'm off to
In Jonah Hex, Josh Brolin stars as the titleâ€™s anti-hero, a Confederate soldier-turned-bounty hunter who, after being convinced by the United States government, looks to stop a madman (John Malkovich) with a weapon capable of destroying the country. Oh, and Megan Fox stars as a prostitute with absolutely no backstory whatsoever.
In another world, Jonah Hex would be an R-rated action extravaganza chock full of hardcore violence that a story such as this deserves. Instead, in this reality, Josh Brolin somehow finds himself in a disjointed 77-minute borefest that is far more laughable than exciting or just plain watchable. To say that this movie is bad is an understatement, but what do you expect with a movie so short? Thereâ€™s a reason that movies usually clock in at around 90 minutes or more. It is extremely difficult to craft a story â€“ or a good one at least â€“ within such a tight time frame.
The most infuriating part about the length of the movie is the fact that there was plenty of material that was simply brushed over. If youâ€™ve never read the comics (which I havenâ€™t), good luck figuring out what is going on during the cheesy comic book-esque prologue, or the first fifteen minutes in general. Instead of skimming over these fine details â€“ including a very important one that sort of attempts to explain Jonah Hexâ€™s ability to communicate with the dead â€“ how about just showing them?
Length wasnâ€™t the only problem with Jonah Hex, but it certainly starts that slippery slope that leads to a terrible movie. The writing is rushed, with lame one-liners capping off pedestrian fight scenes. I would attempt to joke about Megan Foxâ€™s performance, but her role suffers the most in all of this. Before the final showdown of the movie, she appears in about three scenes, and barely does anything in those. Now, her performance could have been so bad that parts of it had to be cut, which is entirely possible, but she is literally just a prostitute who loves Jonah Hex. There is no explanation as to how the two know each other or why she loves him so much.
It really is too bad that Jonah Hex turned out the way that it did; there were hints that it could have been so much better. With such a good cast, despite whatever reservations you might have towards Megan Fox, itâ€™s amazing that it ended up being soâ€¦boring. But with the overall disappointment this entire flock of summer movies have brought on moviegoers, maybe we should have expected thiRead more
On Sunday's episode of True Blood, Bill gets a proposition from the King of Mississippi. Sookie and Eric team up to find him while fending off werewolves. Tara, Jason and Lafayette all meet new love interests, while Sam meets his family.
We begin this episode Mike Tyson-style: Bill, with a severed ear in his mouth, all Mike Tyson-style. At his feet are a pile of bloodied naked bodies. Cooter's still alive â€” "Cooter? Seriously?" Bill asks with a snort â€” and just as he's about to attack Bill anew, up gallops Russell Edgington (Denis O'Hare), aka the King of Mississippi, in full equestrian gear. He couldn't look more out of place. (For more on Russell, check back tomorrow for my Q&A with O'Hare. There is a lot more to this guy than meets the eye.)
The king is not concerned that Bill killed three of the wolves, but he is not at all happy that Cooter and his friends fed off Bill. "You drank from my guest?" he spits. As a punishment, he takes out a pistol and shoots the only remaining living guy. He orders Bill into the saddle, and off they go.
Meanwhile, back at the castle, we meet Russell's husband Talbot (Theo Alexander), who has just redecorated the castle's guest room with a bed that once belonged to a famous Hungarian serial killer. He's hilarious. "I think I'm going to have to bring in the girl," Russell says mysteriously to Theo after they've escorted a befuddled Bill to his quarters. What exactly is he doing there?
He's there for a dinner party, of course! What's that? Vampires don't eat? Well, somebody better tell Theo that because he has quite the spread planned. First up: carbonated blood with a citrus finish. "This one ate only tangerines for weeks," Theo says. Ha!
The king says he wants to make Bill sheriff of Area 2 in Mississippi. He insinuates, however, that his eventual goal is much larger. He says he's asked Sophie-Anne to marry him (huh?), but that thus far she has rebuffed him. (OK, I did some research on this, and in the books, marriage between vampire monarchs is more of a political endeavor than a romantic one, meant to consolidate regions of power â€” just like humans in past centuries. They don't make that distinction clear on the show. In fact, Russell doesn't mention it until Theo has left the table to "drain the second course." "Carlo, bring me that Thai boy," Theo sing-songs as he re-enters the kitchen.)
Ah, warm blood bisque infused with rose petals â€” my favorite!
Then Russell says something interesting here, which picks up on an interesting plot line that was hinted at last season in Bill's dealings with the queen. Russell thinks Sophie-Anne is crazy to not utilize Bill, such a talented, young vampire, for better means than babysitting a waitress in Bon Temps. Bill weakly protests that it wasn't her idea, that he's not working for her, but it's clear from their conversation that Russell is on to something. (More on that later...)
Blood sorbet! A nice palate cleanser before... well, more blood.
Then, the worst party-crasher ever, Lorena, shows up. Bill welcomes her by throwing a hurricane lantern at her. As she bursts into flames, I find myself thinking how funny it would be if that was it for her, but I happen to know that it most definitely isn't. I get it â€” she's Bill's Kryptonite, so any time he needs to be bent to someone's will, she shows up. I like howMariana Klaveno plays her, but honestly, plot-wise I find her mostly to be annoying and extraneous.
Meanwhile, over at Fangtasia, Jessica sweetly asks Pam how to feed without killing. It's like the vampire birds-and-the-bees talk. Pam's advice: You force yourself to stop when the heartbeat slows; she likes to think of crying children with soggy diapers and maggots to calm her impulses.
Back at Compton Manor, Hoyt is on the doorstep with some B-positive TruBlood. He's sweet, as usual, but Jessica's got a corpse rotting under the floorboards, so this is no time for a midnight stroll. She blows him off and starts weeping bloody tears yet again. Oh, you crazy kids; I want it to work for them so badly.
She goes to sleep next to the decomposing redneck, who really must be stinking up the joint. The next evening, her frantic spraying of Lysol isn't doing the trick, so she looks into renting a chainsaw. But when she returns to take care of the body, it's gone.
INSIDE COMPTON MANOR
Presumably while Jessica was out at Home Depot, a figure wearing a mysterious pair of boots enters Compton Manor and ransacks Bill's study. He finds a secret drawer panel that contains a very detailed dossier on Sookie, including her family tree and a newspaper article about her childhood spelling-bee victory.
This is interesting on many levels, as it hints at a big secret that has yet to be revealed: As in the books, Bill was, in fact, sent to Bon Temps to protect Sookie. If she were ever to find out that she is a job for Bill, she might not feel so tender about his French-restaurant proposal.
ERIC and GODRIC
There was a series of flashbacks to Augsberg, Germany, in 1945 in this episode, and for lack of a better location, I'm going to write about them here.
An American soldier comes across a crouching, naked woman who appears to have been traumatized in some way. But no. As Uncle Sam's Finest approaches gallantly with his coat, she transforms into a werewolf and attacks him.
If Eric and Godric were action figures, these would be the special World War II Editions. They're dressed as SS officers, which is perplexing. Eric pins the naked woman to the wall with swords (yuck). Featured prominently is the Operation Werewolf brand on her collarbone. As such, she says they're on the same side. "No, we're not," Eric says. Clever Nazi disguise, Eric!
Eric wants to know who her master is, information she'll reveal if he gives her some of his blood. He obliges and she says her master is one of them, a vampire. (Russell?)
Unfortunately, with an infusion of vampire blood, she's strong enough now to overpower him. Fortunately, Godric steps in and breaks her neck, lickety-split. "A vampire is never at the mercy of his emotions. He dominates them," he says solemnly to his ward. Yes, sensei.
When we last saw Tara, she was attempting suicide. Lafayette arrives just in time to stop her and take her away from the hapless Lettie Mae, whose only assistance is to remind Tara that she can go to hell for killing herself.
As a cautionary tale, Lafayette takes Tara to see Ruby Jean Reynolds (Alfre Woodard), aka Lafayette's mom. What are her first words for her son, who she tells people is dead, after not seeing him for six months? "God killed him, because he's a faggot. But he keep coming back." Oh boy, she's clearly a handful. They meet Jesus (Southland's Kevin Alejandro), Ruby Jean's handsome nurse, and exchange pleasantries. "God killed you too," Ruby Jean says of Tara. "Almost," Tara replies.
So Lafayette says that there's some darkness in their family, and that he wanted to remind Tara that they are strong enough to overcome it. Point taken, Tara says. Lafayette also mentions that he thinks Jesus is hot, so get ready for all that to happen.
Franklin Mott (The Tudors' James Frain), a rakish, shifty-looking vampire, shows up at Merlotte's and sets his laser flirting sights on Tara. She's in no mood (when did we last see that sweet smile?), but she's polite. A pan down to the floor reveals that those were Franklin's boots we saw earlier in Compton Manor. Did he dispose of the redneck's body too?
Later, Tara is outside taking a slug off a bottle when she hears two rednecks mocking Eggs' death. Franklin intervenes in this confrontation, and is helpful enough to hold one of them while Tara beats the crap out of him. His fangs come out, but he doesn't bite anyone. In this context, I think it means he's turned on. So get ready for all that to happen too.
Quick note: Last week a lot of the comments were really anti-Tara. I understand that many of you think she's a whiner, but keep in mind, she's also a total sad-sack. She's had nothing but bad luck, and her troubles have hardened her. It doesn't bode well that now she's playing Sexual Fight Club with what appears to be a very sinister vampire, but I'm hopeful for more scenes of a lighter Tara in the future. She's a tough girl, so she doesn't need my protection, but come on, give her a break. (For what it's worth, Rutina Wesley is the sweetest, nicest person, the complete antithesis of Tara. It's a real testament to her acting abilities.)
Now, if I were to write negative comments on my own recap, it would be about this story line. I have an idea where it's heading, but man, is it slow going for now.
Sam wakes up in his truck outside the Mickens house with Tommy pointing a shotgun in his face. He takes him inside where he meets Joe Lee, who's sporting his best BVDs for the occasion, and Melinda â€” Sam's mom and dad.
Melinda tells Sam that she was 16 and Joe Lee was in jail when she gave him to the Merlottes. Sam says that he thinks he knows the real reason she gave him up, but Melinda says she was hopeful she'd be like his dad, the only non-shifter in the family.
Tommy is a petulant, jealous little twerp, so he takes off. Sam follows. They fight about their grass-is-greener childhoods until Tommy decides he'd like to go for a run. So they strip down â€” Tommy's covered in scars, by the way â€” and shift into their canine alter egos. Tommy laughs at his big brother's go-to shift, the cute collie; he's a more scrappy pit bull.
On the run, Tommy lures Sam into the street and transforms into some sort of eagle and flies away, leaving a naked Sam lying in the dirt, having narrowly escaped getting hit by a truck.
Andy gives a press conference, at which he's lauded as a hero. Later at Merlotte's, a drunken Jason tells everyone that Andy is the "wind beneath my wings." So he doesn't drive home, Andy offers him a ride. On his way, Andy gets called to a drug bust at a suspected meth house. Jason stays in the car, from where he sees a mysterious girl, who we'll later learn is named Crystal Norris (Lindsay Pulsipher). So get ready for all that to happen as well. He also sees a dealer escaping, hops out of the car and apprehends him. Thus begins the germ of an idea in the tiny brain of Jason Stackhouse.
ARLENE and TERRY
Terry makes a list of 10 reasons why Arlene can trust him with his kids, including that he nursed a baby armadillo and has a "diploma" in anger management. It's sweet, but her hormones decided this was a good time to puke. I guess it's no surprise that the dimwitted Terry hasn't caught on to her condition yet.
Sookie is at Fangtasia with Eric, Pam and Jessica, and she's telling them about the Operation Werewolf brand they found on the dead guy at the scene of the car crash. "Never seen it before, sorry," says Eric unconvincingly (see above).
Once Jessica and Pam head off to the ladies' room "to stare at themselves in the mirror" though, Eric says that werewolves are territorial, vicious, and pathologically secretive. "Boy, does that sound familiar," Sookie cracks. He's worried about her getting involved with them. "Your life's too valuable to throw away," he says.
At that point, Sookie plays the Godric card and cries about losing Bill. "Don't do that. It makes me feel... disturbingly human," Eric says. Heh.
The next morning at Merlotte's, Sookie sees a strange man in the woods and hears his malevolent thoughts. He disappears, but Terry is there, and the two of them track him, but find only his clothes. She makes Terry promise not to reveal what they've seen and says that a vampire sheriff is on the case.
Terry gives her a gun to protect herself. "I've always liked you, and I'd miss you if you got killed," Terry says. Aw.
Eric shows up at Sookie's house that night and tells her the whole story about werewolves that we saw in the flashback. He says he owes Sookie, presumably for finding Godric. But he's still the same Eric. "You're going to invite me so I can protect you or have passionate, primal sex with you," he says. "You're not going to distract me by talking nasty," Sookie, ever the lady, replies.
But then, Eric has a twitchy vampire sensory moment, and asks her again, more insistently, to invite him in. So she does. Inside there's a werewolf, and just as he's about to strike, Sookie fires the gun and the screen fades to black.
"I'm Alive" by Shelby Lynne is the outro, which I guess is all anyone in Bon Temps can hope for these days.
What did you think of "Beautifully Broken"? Lots of new love interests on the horizon â€” any predictions? Will Sookie find out about Bill's job? Will he take a new one in Mississippi? Am I being too hard on Lorena? What do you think happened to the body?Read more
To infinity and beyond may not be a stretch for Pixarâ€™s â€œToy Story 3,â€which sold $109 million in ticket sales in North America over the weekend and is on track to deliver a total domestic gross of over $400 million, analysts said.
â€œToy Story 3â€ entered the marketplace as a strong No. 1 â€” the 11th Pixar title in a row to achieve that feat. The result was Pixarâ€™s best opening ever, even when adjusting for inflation.
Sales were big enough almost to wipe out an early-summer slump at the multiplex. Total domestic box office revenue since early May is now only down by less than 1 percent from the same period last year, according to Hollywood.com, which complies ticketing statistics. In recent weeks revenue had dipped by over 6 percent, leading to hand wringing in Hollywood.
If history is any guide, â€œToy Story 3â€ will continue to dominate in the weeks ahead. On average just 23 percent of the total domestic gross for a Pixar film comes from opening weekend, according to Hollywood.com.
â€œThe audience was much broader than normal,â€ said Chuck Viane, the president for distribution at Walt Disney Studios, whose parent company owns Pixar. â€œItâ€™s been a long time since Iâ€™ve seen a movie with such unbelievably positive word of mouth.â€ In limited release overseas â€œToy Story 3â€ sold about $45 million.
Blissful reviews for the latest installment of the beloved â€œToy Storyâ€ franchise may have helped persuade audiences to pay extra to see the film in 3-D. An outsize portion of sales, for example, came from the 180 Imax theaters playing the movie. Though only 2 percent of the cinemas showing the film were Imax, they still delivered 8 percent of the weekend gross.
Young adults, typically not a big audience for animated films, also played an important role. Disney said â€œToy Story 3â€ drew 40 percent of its nonfamily audience from people ages 17 to 24: the group that grew up with Woody, Buzz Lightyear and the other characters from the franchise.
â€œToy Story 3,â€ directed by Lee Unkrich, becomes the third movie to open to more than $100 million at the domestic box office so far this year. All three have been movies made under the Disney umbrella. The other two are â€œAlice in Wonderland,â€ which sold over $116 million in its opening weekend, and â€œIron Man 2,â€ which opened to over $128 million.
The challenge for Disney, which bought Pixar in 2006, is to avoid flops in between blockbusters that diminish the financial impact of its megahits. After â€œIron Man 2â€ cameâ€œPrince of Persia: The Sands of Time,â€ which should go down as one of the biggest failures of the year. The seesawing could continue: next up on Disneyâ€™s release slate is â€œThe Sorcererâ€™s Apprentice,â€ a live-action fantasy starring Nicolas Cage that strikes many veteran movie marketers as a tough sell.
For the weekend â€œThe Karate Kidâ€ from Sony Pictures Entertainment continued to prove itself an audience favorite, selling about $29 million for second place and a new total of $106.2 million, according to Hollywood.com
â€œThe A-Teamâ€ from 20th Century Fox was third with about $13.8 million and a new total of $49.8 million, while the comedy â€œGet Him to the Greekâ€ from Universal Pictures was fourth with $6.1 million ($47.9 million total).
â€œShrek Forever Afterâ€ (a DreamWorks Animation title distributed by Paramount Pictures) was fifth with $5.5 million, bringing its total to $223 million.Read more
It's about the natural gas industry, which might be on the verge of insidiously ruining America's water supply. As such, "Gasland" could push a certain sort of viewer -- me, for example -- into the realm of panic attack. (First the oceans, now the streams and rivers?! And nobody cares about this stuff! Nothing can be done! And, as "Gasland" indicates, Dick Cheney and Halliburton still call the shots! Gaaaah!) We can all just get adjoining padded rooms -- a whole psych ward of neurotics who binge on documentaries and tumble into permanent despair.
"Gasland" is one man's (Fox's) attempt to educate himself about the six-figure offer he received in 2009 for the drilling rights beneath the hippy-dippy Catskills/Poconos farm where he was raised, near the Delaware River -- which, as it happens, sits on a potential swath of gas deposits, which are deep, deep underground.
Fox -- a banjo-plucking, horn-rimmed-hipster filmmaker in his late 30s -- appears to have inherited his place from his parents ("Gasland" never makes this quite clear), and he wants to know more about gas exploration techniques before he signs the paperwork. Though I doubt he was ever going to sell his drilling rights, Fox presents "Gasland" as a quest that quickly moves from naive questions to discoveries of corporate evil.
In that spirit, "Gasland" ventures where so many other environmental-outrage documentaries have gone before and returns with more questions than answers. What's different is that Fox makes for a warmhearted and darkly humorous road-trip companion. It's less about inconvenient truths and more of a memoir wrapped around an unfinished "60 Minutes" exposÃ©.
He starts in the small town of Dimmick, Pa., near his home, where some residents sold their rights only to have their wells turn suspiciously toxic soon after the drilling began. There are even rumors of a faucet where the water will ignite if you hold a lighter to it. That's not good.
Fox starts learning about the vast natural gas reserves spanning from the Northeast, down to the South, then across Texas and up the Western states; the gas is frequently tapped through a process known as hydraulic fracturing, or "fracking" in industry parlance.
Fracking pumps millions of gallons of chemically treated water deep into the earth, shattering the shale so that a gas well can be tapped. The chemicals used in the process are so many and multi-syllabic that they make for a frightening-sounding list, especially when the gas companies are not legally compelled to name them all, citing proprietary secrets. The craze to find natural gas really picked up with the 2005 Energy Act, which, Fox accurately notes, exempted gas exploration from federal water safety laws. (That's where Dick Cheney comes into Fox's narrative.)
Fox expands his journey far west, to Colorado and Wyoming, where he befriends farmers and rural residents who blame unregulated fracking for their ruined water supplies. Here, Fox finds and films many examples of the hitherto mythic flammable faucet. Also: mountain streams that now bubble with toxic vapors and a frantic woman who's helpfully kept in her spare freezer all the dead animals she's discovered on her land. Gas wells surround all this.
Shot against the chilly and bleak American expanse, "Gasland" quickly becomes a dirge. Fox winds up standing in a field next to some wells, wearing a gas mask and playing forlorn ditties on his banjo.
That's because "Gasland" never loses its sense of jaded artistry; it is first and foremost a movie, made by a Gen-X smartie who likes quick-cut montages of skies and clouds and water interspersed with telltale trendy Helvetica title cards.
In the Michael Moore spirit of things, Fox provides many glimpses of his attempts to get gas company executives and PR people to return his phone calls, including the predictable scene of a man in a suit removing the clip-on microphone and abruptly ending an interview. Although this is presented as sticking-it-to-The-Man material, it instead hints at Fox's failings as an amateur journalist.