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Back in the 1990s, Lou Harrison, a maverick American composer then in his late 70s, was living south of San Francisco. A beloved musical guru in the Bay Area, he had long been ignored by the prestigious San Francisco Symphony.

Michael Tilson Thomas changed that. The first piece he conducted as the orchestras music director, in September 1995, was a Harrison premiere, a teeming piece for an enormous ensemble, including Javanese gongs, oxygen tanks, organ the works. And San Francisco under Mr. Thomas swiftly became a home for music by other iconoclasts, too, while burnishing its sterling reputation in the standard repertory.

After 25 years, Mr. Thomass transformational tenure ends this spring. It was to have been the occasion for a tour to Europe and Carnegie Hall, as well as super-scale performances of Wagners Flying Dutchman and Mahlers Symphony of a Thousand. Sadly, most of the plans were lost to the coronavirus pandemic. (The orchestra is instead hosting an online celebration through June 28, releasing content from one year of Mr. Thomass tenure each day.)

But despite the unexpected anticlimax, Mr. Thomass time in San Francisco should not go unmarked as it comes to a close. From the beginning, it has been a remarkable musical marriage. Mr. Thomas presented an American work in each subscription program he led that first season, a bold statement. But he simply saw the role of an American orchestra as championing American music. If that idea now seems standard, its in part because of him.

He embraced composers a bit outside the mainstream, like Charles Ives, Henry Cowell, Morton Feldman, John Cage and Henry Brandt, inaugurating an American Mavericks series that drew in eager audiences. He fostered relationships with living composers; brought the orchestra to new heights of technical vitality; and turned it into one of the worlds most respected Mahler ensembles, performing and recording the composers complete symphonies and song cycles on a series of albums released on the orchestras SFS Media label, another Thomas initiative that garnered multiple Grammy Awards. It was also no small thing that he was an openly gay music director when that was, as it still is, a rarity.

A prodigiously talented musician, also a pianist and composer, Mr. Thomas, 75, was born in Los Angeles to a family with a rich heritage in the American Yiddish theater. He attracted attention early on for his dynamic musicianship and wide-ranging tastes. If during that youthful period he was also often perceived as bratty and rebellious, he had innovative results as music director of the Buffalo Philharmonic and principal conductor of the London Symphony Orchestra. In 1987, he helped found the New World Symphony in Miami, which became perhaps Americas pre-eminent training orchestra for young artists.

But his career will be defined by his quarter-century in San Francisco. Mr. Thomas clearly realized that by settling in and focusing on a single ensemble poised for adventure, he could foster curiosity among both players and audiences.

Its true that over the last five seasons more, some would say his penchant for exploration seemed to be waning, with fewer fresh initiatives and more of a tilt toward the standard repertory. Mr. Thomas answered this criticism, in essence, by deciding to move on. Its time for other perspectives and voices; Esa-Pekka Salonen, his successor, is sure to pull the orchestra in new directions. But if the San Francisco Symphony is ready for those challenges, its in large part because of all that Mr. Thomas has already done.

Here is a selection of some favorites among the many recordings they have made together, chosen by New York Times critics.

For one of his first recordings with San Francisco, in 1996, Mr. Thomas emphasized that Aaron Copland, the cozy-seeming composer of Appalachian Spring, had an unabashed modernist streak. I especially like the bristling performance of the raw and riveting Orchestral Variations, Coplands arrangement of his flinty Piano Variations. ANTHONY TOMMASINI

Mr. Thomas is unusual among the leaders of the countrys largest orchestras: Hes an American. And he has made a sustained project of presenting music by his compatriots. There are puzzling omissions the composers he chooses tend to be white and male but Mr. Thomass efforts have nevertheless been essential to keeping in the repertory works by singular, often overlooked voices. He may be the most prominent champion of Carl Ruggles, a contemporary of Ives whose muscular Sun-Treader offers a brassy declaration of American atonality. JOSHUA BARONE

Mr. Thomas is the most gifted and effective educator about music for the general public since Leonard Bernstein. Take the documentary Gustav Mahler: Origins, part of the ambitious Keeping Score project that he inaugurated. In it, Mr. Thomas journeys to rural stretches of the Czech Republic to discover the origins of Mahlers music in street bands, folk songs and nature, then revealingly analyzes the First Symphony before ending with an exciting complete performance. ANTHONY TOMMASINI

Mr. Tilson Thomass middle period with the San Francisco Symphony was dominated by Mahler, whose symphonies it took them the better part of a decade to release, to immense acclaim. They began with this Sixth, which they recorded in the days after Sept. 11. Perhaps a little fussy at times, it is still properly intense and flawlessly played, a convincing start to what became the best American Mahler cycle since Leonard Bernsteins with the New York Philharmonic. DAVID ALLEN

The orchestras productive relationship with John Adams, the paterfamilias of Bay Area composers, began long before Mr. Thomass tenure but continued to flourish under his leadership. I Still Dance, a propulsive tribute to Mr. Thomas and his husband, Joshua Robison, opened the most recent season in San Francisco, the latest in a line of extraordinary commissions that includes Absolute Jest (2012), a frenetic journey through the sound world of late Beethoven. JOSHUA BARONE

In 2013, Mr. Thomas and the orchestra earned the rare permission from all of the West Side Story rights holders to perform Bernsteins full score as a concert work. Their rendition is sensitive to all the grit in the writing. When the soprano Julia Bullock sings Somewhere, her final syllables resonate with triumphant hopefulness, but the ensemble roils underneath, as if predicting the tragic finale, the dashing of individual hopes. SETH COLTER WALLS

Mr. Thomass long love affair with Ives reached a pinnacle with this 2019 release of the Fourth Symphony, his second recording of the work. In the chaotic and lovely second movement, the brasses that run riot over pensive strings have all the bombast that they need. Delicacy mixes with pungency, courtesy a veteran Ivesian. SETH COLTER WALLS

There are few recordings of Cowells rarely performed Piano Concerto, so Mr. Thomas and San Franciscos sparkling rendition, with Jeremy Denk a precisely pounding soloist, is a gift. All three movements of the 15-minute work are delightful, but listen to the finale, Counter Rhythm, which goes through moods alternately grim, jerky, playful, cosmic, suave and woozy before ending with a CinemaScope-wide flourish. ZACHARY WOOLFE

Another of San Franciscos additions to the body of rarely recorded works albeit by a rather more widely known composer is Beethovens early, superb Cantata on the Death of Emperor Joseph II. Mr. Thomass orchestra is as sober and burnished here as it is angular in Cowell. ZACHARY WOOLFE

See the rest here:
After 25 Years, San Franciscos Maverick Conductor Moves On - The New York Times

Jacob Solis, The Nevada Independent

Democrats competing in the Congressional District 2 primary have poured tens of thousands of dollars into the race in the hopes of pulling off a historic first: winning a Northern Nevada seat no Democrat has ever won.

The three leading candidates Clint Koble, Patricia Ackerman and Ed Cohen have avoided openly criticizing each other, instead training their primary messaging on incumbent Republican Mark Amodei and on President Donald Trump.

But whoever emerges from the primary will still face a steep, uphill climb in a general election; Amodei entered June with more than $231,000 in cash on hand nearly 70 times as much money as his nearest Democrat opponent. Alongside a 10-point Republican voter registration edge and little support from the national party or outside groups, a Democratic upset remains a fringe prospect in November.

As of June 1, the Cook Political Report, which analyzes electoral partisan advantages and rates congressional races across the country, rated District 2 as solid Republican, with a partisan lean of 7 percentage points.

THE DEMOCRATIC PRIMARY

Even with a long history of Democrats trying and failing to flip the largely rural District 2 away from Republicans, a field of seven Democrats emerged in the 2020 primary, including four candidates who have actively campaigned and fundraised over the last year.

First to enter the race was Clint Koble, a former director of the USDAs Nevada Farm Services Agency and the Democratic nominee who lost to Mark Amodei in 2018.

That year, where Democrats elsewhere in the state saw broad success up and down the ballot, the blue wave fell far short of denting Amodeis firewall in District 2. Amodei was re-elected to his seat by more than 16 percentage points, a margin exceeded only by incumbent Democrat Dina Titus in Las Vegas deep-blue District 1.

In 2020, Koble has sought to mount a resurgent bid that would build off his 2018 effort. He has campaigned on staple Democratic issues health care, government corruption and equality in addition to more specific pushes for public lands protections and the expansion of rural broadband.

Though he has been endorsed by the powerful Culinary Union and a pair of veteran ex-Democratic officials in former Sen. Richard Bryan and former Attorney General Frankie Sue Del Papa, Koble has seen his fundraising fall behind his competitors in the final few months of the campaign.

Even after reportedly raising more than $14,000 ahead of the June 9 primary, Kobles campaign had just $1,374 in cash on hand as of May 28 the least of any actively-campaigning Democrat in the district.

Patricia Ackerman, a former small business owner and one-time candidate for state Senate, entered the race next in mid-November. In the time since, her campaign has centered on a broadly progressive platform calling for, among other things, a fight back against government corruption and adopting Medicare for All.

She has also roughly matched Koble in the fundraising race, even exceeding his receipts in the first quarter after raising more than $27,000 and adding another $12,000 in loans. Still, she too has burned through campaign cash reserves, and entered the final weeks of the race with just over $8,100 in cash on hand.

Its the largest war chest among the actively campaigning Democrats in the 2nd District, but it is a far cry from the campaign coffers of other competitive challengers in District 3 or District 4, where multiple Republican candidates have more than $100,000 in cash on hand.

Ed Cohen, communications director for a Reno-based judicial education nonprofit and a one-time journalist, was a last-minute entry to the field, launching his bid on March 9.

Since then, he has used a combination of candidate loans and small-dollar fundraising to match the efforts of Koble and Ackerman, frequently campaigning on his credentials as a former journalist and touting that Trumps worst nightmare is having a journalist in Congress asking the tough questions.

That journalistic background includes seven years as a newspaper reporter on the East Coast, including a stint at a Gannett-owned newspaper in Delaware. Cohen later left newspapers to spend more than a decade in academic magazine writing, including 10 years at Notre Dame Magazine, before eventually moving to Reno.

Cohen led Democratic fundraisers in the first quarter of the year, and later reported raising more than $17,000 in the pre-primary period between March and the end of May, edging out fundraising hauls from either Koble or Ackerman. Still, Cohen has vastly outspent his fundraising in the final weeks of the campaign, spending more than $47,000 and leaving just $2,200 in the bank.

Rick Shepard, a business owner and self-identified progressive candidate, was another late entry into the race.

Running in part on a platform of single-payer health care and reformed systems for education and federal taxes, Shepard has lagged behind the other three candidates in the fundraising race. For the pre-primary period, Shepard reported banking $1,125, but spending nearly $11,000 and leaving his campaign with just over $2,000 for the final weeks of the race.

Steve Schiffman, a former lawyer and journalist who also entered the race just before the filing deadline, holds the technical distinction of having the most cash-on-hand among Democrats in the district after he made a $150,000 loan to his campaign at the end of March.

But Schiffman has otherwise raised no additional money, and his lone financial filing shows a single $500 expense on a set of radio and television ads from May 10. Unlike his rivals, Schiffman has spent nothing on online advertisements, according to Facebooks Ad Archive.

With no polling and little outside attention on the race, the quarterly financial reports have become a de facto benchmark among the leading three campaigns, and each has sought to use those reports as proof-positive that his or her campaign remains in a position to oust Amodei.

Ackerman, for instance, briefly claimed victory as the sole leader in the money race in April after it became clear that she had outraised Koble by roughly $15,000. But before the day was over, the Ackerman campaign retreated, after a filing from Cohen showed his campaign had raised about $11,000 more than she had.

Also running in the Democratic primary are Reynaldo Hernandez and Ian Luetkehans, though neither reported raising more than $500 ahead of last weeks pre-primary congressional filing deadline.

ABOUT DISTRICT 2

District 2 is among the largest congressional districts by area in the country, roughly encompassing the upper third of the state and fully 11 of Nevadas 17 counties.

With the single-largest concentration of rural and suburban Republican voters in the state, the District has remained a deep-red Republican stronghold since its creation 1982. Today, 41 percent of registered voters there are Republicans, 31 percent are Democrats and 20 percent are nonpartisans, making it the only congressional district in the state with a Republican registration advantage.

First represented for 14 years by Republican Rep. Barbara Vucanovich, the seat would come to be represented by both eventual Gov. Jim Gibbons and eventual Sen. Dean Heller before Amodei who at the time had just left a seat in the Nevada Senate won a special election to succeed Heller in 2011.

Since then, Amodei has won four successive re-election bids with a greater than 15 percent margin of victory, including three occasions 2012, 2014 and 2016 that were won with more than 20 percentage points between himself and his Democratic rivals.

These victories have come largely without the big-dollar fundraising typical of the states more competitive swing districts. Amodei reported more than $231,000 in cash on hand through the pre-primary reporting period last month a figure that dwarfs his Democratic rivals but falls far short of the millions raised by Democratic incumbents Susie Lee and Steven Horsford in District 3 and 4, respectively.

Still, that money has also given Amodei the latitude to outspend any possible challengers by orders of magnitude. As of May 28, Amodei reported spending nearly $78,000 roughly $10,000 more than his top four Democratic rivals raised in the same time period combined.

For more on the 2020 primary elections, including maps, fundraising roundups, race breakdowns and more, visit our 2020 Elections page.

This story is used with permission of The Nevada Independent. Go here for updates to this and other stories.

See the article here:
Election Preview: Democrats face off in 2nd Congressional District primary in longshot bid to oust Amodei - Carson Now

Welcome to your complete look at whats coming to Netflix throughout the month of June 2020 in the United States. This list will be updated slowly over time as we learn of new titles that are due to grace our subscriptions throughout the month

For a more expanded preview of the biggest Netflix Originals coming in June, you can find a dedicated preview here. We also have other regional coming soon previews coming up soon too.

You can also find regional lists here on Whats on Netflix where were currently covering whats coming in June to the UK.

Note: this list is filled out over time. Netflix has released its full list which weve added below but well be updating every other day with new titles that get announced.

Note: in total, over 50 movies and series hit Netflix US on June 1st. Full list here.

Zimbabwean film @CookOffZim will premiere on Netflix on the 1st of June 2020, becoming the first independent Zimbabwean film to be acquired by Netflix.

The rom-com is a story of a single mother who enters a reality cooking show competing with professional chefs. #CookOffZim pic.twitter.com/4Xgddd25hL

PopPulse (@PopPulseSA) May 24, 2020

Netflix US may not be getting Studio Ghibli content but it is getting the excellent Mirai added on June 1st! (via @NXOnNetflix) pic.twitter.com/hjCwCFR9N6

What's on Netflix (@whatonnetflix) May 24, 2020

All three seasons of @BryanFuller's bloody brilliant #Hannibal will be available on Netflix in The US starting June 5 pic.twitter.com/7VILCMUOoW

See What's Next (@seewhatsnext) May 18, 2020

Here Iz Da Teaser Poster For Da 5 BLOODS. The New Spike Lee Joint Will Drop Globally On NETFLIX-Friday June 12th. Please Check It Out. PEACE And LOVE,Spike @strongblacklead @netflixfilm pic.twitter.com/C832EkGorS

Spike Lee (@SpikeLeeJoint) May 7, 2020

Alright trainers, it's time for a new adventure! Pokmon Journeys comes exclusively to Netflix June 12th. pic.twitter.com/HZZDrictj2

NX (@NXOnNetflix) April 23, 2020

What are you looking forward to watching on Netflix in June? Let us know in the comments.

If youre wanting to look ahead, were also tracking whats coming to Netflix throughout July 2020 too.

See the article here:
Whats Coming to Netflix in June 2020 - What's on Netflix

Take yourself back to February 2012. The previous year was a landmark year for RPGs, with The Elder Scrolls V: Skyrim and Dark Souls being some of the best role-playing games ever. Now that youre done with those two, what could be the next best thing? Enter Kingdoms of Amalur: Reckoning.

Okay, we may be exaggerating slightly: in February 2012, fans of the fantasy genre were also treated to games like Final Fantasy XIII-2 and SoulCalibur V, but Kingdoms of Amalur: Reckoning was offering something a little different.

With inspiration from games like Fable, World of Warcraft, and God of War, Amalur was really touting itself as the next major evolution of action-RPGs. While that aspect of the game is debatable, Amalur is definitely a really fun game and a new remastering is more than welcome.

Some might say that the story behind Kingdoms of Amalur: Reckoning is even more infamous than the game itself; it tells a tale involving former US baseball players, Todd Macfarlane, and a massive loan from the state of Rhode Island.

Nonetheless, the game has since garnered a cult following thanks to Amalurs take on a vibrant fantasy world, where players can define their fate in the world in any way they want, as well as a combat system that is just as fun and engaging.

The best way we can describe Amalur for the uninitiated is that it takes the moral choices and freedom of Fable, the sprawling lands in World of Warcraft, and a combat system akin to the original God of War trilogy.

In Kingdoms of Amalur, you play as the Fateless One, a person who has cheated death and has no predetermined fate in the mortal world. This sets you up to be any kind of character you want: an inherently evil mage-warrior hybrid, a rogue with a heart of gold, or a completely neutral character who just wants to do right by the world.

This is also extended to the free norm class system, which allows you to use a combination of skills from either fighter, mage, or rogue. You could choose to specialise in just one skill tree, two trees, or a balanced take on all three.

Combat is fast and fluid, with you mixing up light and heavy attacks on enemies, dodging and weaving between enemy attacks, and using a variety of spells and abilities at your disposal.

Theres also a ton of weapons to choose from, ranging from your typical staves, daggers, greatswords to more unique armaments like chakrams, scepters, and Faeblades. The best part is that you get to equip two weapons at a time, which lets you essentially make your own combos.

As you fight, you can build up your Reckoning meter, which essentially works like the Devil Trigger in Devil May Cry. Once full, you can beat up enemies more easily and end it all with a quick QTE, just like the finishers in God of War. Doing these well will typically net you extra EXP.

In short, we are excited for this new remastering. While details are scarce, hopefully, new additions will be made to the game, whether it is a new skill tree of sorts, a multiplayer mode, or even mounts to traverse the huge open-world. Kingdoms of Amalur: Reckoning deserves a second chance to be great once more.

See the original post:
Why We Cannot Wait for Kingdoms of Amalur Re-Reckoning - IGN Southeast Asia

Monday, June 1st saw the last parts of the country emerge from the Modified Enhanced Community Quarantine (MECQ). As many Filipinos continue to return to work, we should revisit the status of the governments COVID-19 budget.

Ten weeks since the passing of the Bayanihan Act, 89 percent of targeted beneficiaries have received the first tranche (or portion) of government aid for social amelioration. This is up from 83 percent on May 18. But the second tranche of aid, which was slated for distribution by the end of May, remains unreleased by the Department of Social Welfare and Development (DSWD).

In a previous article, we examined the size, sources, and sectoral breakdown of the COVID-19 response budget under the Bayanihan to Heal as One Act (Republic Act (RA) No. 11469). As explained in that article, the response budget is actually larger than the oft-mentioned PHP 275 billion (theCovid-19 Citizens Budget Trackeror CCBT pegs its latest tally at PHP 385 billion) and that at least for now, the government has enough cash from revenues and borrowings to cover planned spending.

Based on available data, 46 percent of the total budgetor PHP 178.2 billionis reported to have been spent. The uptick in spending from two weeks ago is explained by:

Additional spending on social welfare (+ PHP 6.6 billion), labor support (+ PHP 4.2 billion), and farmer and agriculture support (+ 0.3 billion) programs

PHP 1.3 billion liquidated by one province, eight cities, and 58 municipalities as part of the PHP 37 billion one-time Bayanihan grant available to local government units (LGUs)

PHP 0.6 billion worth of additional PhilHealth payments to health care institutions

PHP 14.1 billion of spending by the Department of Health (DOH)

Having previously unpacked the basics, further clarity may be helpful around a few more aspects of the COVID-19 budget.

So far, we have focused on the governments COVID-19 budget across three categories: social amelioration, health, and local government assistance. However, it is critical to highlight that this does not constitute the totality of the governments planned COVID-related spending nor does it capture indirect costs from interventions such as tax exemptions, concessionary loans, or regulatory relief. Rather, it represents the direct spending that is authorized by the first Bayanihan Act to support immediate response and relief efforts.

In April, the Department of Finance (DOF) released the first iteration of the governments larger socioeconomic recovery plan,We Will Rise As One. The still-evolving blueprint is estimated to be worth PHP 1.7 trillion and involves a four-pronged approach:

Pillar 1 Emergency support for vulnerable groups and individuals (PHP 595.6 billion)

Pillar 2 Marshalling resources to fight COVID-19 (PHP 58.6 billion)

Pillar 3 Fiscal and monetary actions to finance emergency initiatives and keep the economy afloat (PHP 856.3 billion)

Pillar 4 An economic recovery plan to create jobs and sustain growth (financed by Pillar 3)

Source: Department of Finance

The PHP 385 billion Bayanihan Act budget is but a subset of this greater spending plan and is encompassed by Pillars 1 and 2. Examples of additional spending that are not included in the PHP 385 billion figure are free online upskilling courses offered by the Technical Education and Skills Development Authority (PHP 3 billion) and a Department of Trade and Industry loan program for micro, small, and medium businesses (PHP 1.2 billion).

Additions are possible, with a second Bayanihan bill that may expand the provisions of its precursor underway.

As the government frees up fiscal space for urgent priorities, it is important to be aware of what we are giving up in the process. How has the 2020 National Budget been reprogrammed to accommodate the COVID response budget? The same question can be asked about future budgetary realignments that may be made by the President using his emergency powers.

Broadly speaking, there are three buckets within the national budget that the government is permitted to tap to generate resources for COVID-19 response efforts under the Bayanihan Act: namely, (a)discontinuedappropriations, (b)continuingappropriations, and (c)unprogrammedappropriations.

At the risk of oversimplification, appropriations can be thought of as Congress-approved budget items that correspond to

(a) budget meant for programs, activities and projects that will no longer be used, (b) budget earmarked for specific projects or purposes

(c) discretionary budget that can be released when revenue collections or foreign funds exceed targets

So far, the total value that has been secured from these three buckets is PHP 350.4 billion. This includes pooled savings across government entities, including national departments, government owned or controlled corporations, and state universities and colleges.

Allotments generated from this budget reprogramming exercise are then reallocated to agencies at the forefront of government response efforts.

Lastly, it is important to stress that reported spending does not necessarily equal real-time spending. What the CCBT team is able to track is mostly limited to the numbers provided by the government. It is possible that actual expenditure is higher than what is reported, if there is a delay in the documentation or release of data. This is likely what happened with the DOH, the bulk of whose spending was only accounted for this week, despite qualitative reports of the agency procuring PPE sets and medical equipment even before June.

Likewise, spending may not necessarily equate to proper disbursement. We cannot discern from the reported spending figures alone if disbursements are going to their highest and best use and if they are reaching their intended recipients. Are we paying fair prices for medical equipment? Are there certain policies or strategies that would deliver greater bang for buck than what is currently being pursued?

Cash meant for social amelioration that is released to LGUs may be marked as disbursed, but there is still a need to validate the veracity of beneficiary lists. These are just some of the considerations that should be kept in mind.

Hence, while the CCBT can give us a general understanding of the rate and breakdown of government expenditure, it cannot tell the full story. To be sure, laws such as thePrice Act(RA 7581) and validation processes of agencies such as the Commission on Audit (COA) and the DSWD exist to prevent the misuse of funds.

Nevertheless, even with such checks in place, we should all be encouraged to seek out and scrutinize data. This not only shows us where our money is going, but that can help us evaluate whether funds are being spent in the best way possible and whether they are indeed going to the people who need them. This entails monitoring both health and socioeconomic outcomes as well as continuously assessing whether government interventions are working as intended. Once spending is fully accounted for, the next step is to ask another important question: Are the high-level reports consistent with whats happening on-the-ground?

To learn more about the status of the governments Covid-19 budget, visitcovidbudget.ph. Raya Buensuceso is a finance and economic analyst atPolestrom, an infrastructure advisory firm that specializes in public-private partnerships. She was formerly a research fellow at the Asia Center of the Milken Institute, a US-based policy and economic think tank, and graduated from Princeton University in 2017.

See the original post:
Tracking the COVID budget: Second portion meant to aid millions by end of May has not been released - ABS-CBN News

Oldboy (2003)

Park Chan-wooks shocking, twisty revenge thriller sees a man held hostage in a hotel room for 15 years with no idea of why. When hes finally released he has just days to track down his captor and discover his motives. The second part of director Parks Vengeance Trilogy (which is also a standalone though Sympathy for Mister Vengeance and Lady Vengeance are also available), its packed with standout sequences like the infamous corridor hammer massacre and the eating of a live octopus. The ending is bonkers too.

A mythical quest into the depths of hell dressed up as a hoodie horror set in a Glasgow high rise, Citadel sees a young man with agoraphobia venture into a terrifying tower to battle demonic youths who have taken his baby. As a modern take on classical tropes its clever and well observed but it works just as well as a twisted urban horror.

Very much a film of three parts, it starts as what looks like a low budget Japanese zombie film gone wrong, morphs into an interesting meta movie, and ends with a final third thats more joyful than you could possibly imagine. The fun is in the discovery so try to avoid reading about this, instead hang around until the end for a clever, funny, and uplifting love letter to indie film-making.

Directed by Clive Barker based on his novella The Hellbound Heart, Hellraiser is an infernal body horror featuring S&M demons whove found a way out of a dark dimension and want to take you back there. This is the movie which introduced chief Cenobite Pinhead (played by Doug Bradley) who would return for seven more Hellraiser sequels. But the first is of course, remains the edgiest and the best. Hellbound: Hellraiser II is also available.

A cyberpunk hybrid of Eraserhead, Blade Runner, Scanners, and your worst nightmares about machines run amok, Tetsuo: The Iron Man was the first feature by iconoclastic Japanese filmmaker Shinya Tsukamoto (who also stars in the picture). Surreal, shockingly violent and unforgettably relentless, Tetsuo is a fever dream of orgasmic human/metal mating and murder that is almost indescribable and utterly strange. You cant unsee this perverse triumph of twisted imagination

Read more:
The Best Horror Movies to Watch on Shudder - Den of Geek UK

Arrow Video is excited to announce the June rollout of titles on their subscription-based Arrow Video Channel, including the exclusive debut of Miguel Llanss Jesus Shows You the Way to the Highway. A hit on the international festival circuit, the film boasts an Irish-accented Joseph Stalin, a kung-fu-fighting Batman, a mix of Afro-futurism, Cold War paranoia, Lynchian surrealism, the dystopian world of Philip K. Dick and 60s exploitation cinema.

Jesus Shows You the Way to the Highway is available June 1st exclusively on the Arrow Video Channel in the US and the UK. Additional new titles available June 1st include The Woman (UK/US), Bloodtide (UK/US), Dream Demon (UK/US), White Fire (UK/US) and The Stuff (US). The Arrow Video Channel is available on Apple TV in the UK and US, as well as on Amazon in the UK.

RELATED: Streaming This Weekend: Becky, Shirley, The Last Days of American Crime and More

In Jesus Shows You the Way to the Highway, the year is 2035, and Special Agent Gagano (Daniel Tadesse, Crumbs) dreams of leaving the CIA to open a business with his wife Malin (Gerda-Annette Allikas). Before he can hand in his resignation, however, a strange cyber virus attacks Psychobook, the CIAs operating system, forcing Gagano to enter cyberspace via virtual reality to combat the threat. Before long, however, the virus starts to reach out into the real world, destabilizing the fragile socio-political order for its own ends, and Gagano, trapped in the VR world, must find a way out before its too late.

In the coming months the Arrow Video Channel will be adding more cult classics from East Asia including a collection of the Japanese classic Gamera movies and American made horrors such as Creepshow 2, Children of the Corn, and Lake Michigan Monster. In addition to crowd pleasing cult movies on the service, the Arrow Video Channel will continue to give you an exclusive platform to brand new genre offerings from around the globe.

The Arrow Video Channel gives cult movie fans the opportunity to watch a wide selection of movies that the Arrow Video brand has been famous for, personally curated by members of the Arrow team. From horror to sci-fi, thrillers to westerns, the Arrow Video Channel is home to cutting edge cult and undiscovered gems such as Takashi Miikes Audition, Wes Cravens seminal masterpiece The Hills Have Eyes, George A. Romeros contagion classic The Crazies, Edwin Browns slice-and-dice staple The Prey and so much more.

The Arrow Video Channel also hosts a growing collection of documentaries, interviews and never-before-seen content from the Arrow Video archives, as well as newly-produced material. These documentaries will breathe new life on the Arrow Video Channel, giving movie fans an immersive look into the creation of many cult movie classics such as Donnie Darko and Hellraiser. The service will be updated regularly with new content, new curation focus and never-before-seen content, all hand-picked by the Arrow Video team.

Topics: Streaming

Excerpt from:
What's Streaming on the New Arrow Video Channel in June - News Brig

Here's something to consider before you buy an LG Oled TV: the South Korean manufacturer uses the same Oled panel type for its lower-tier models as its best Oled TV.

Yes, the flagship model will likely have a more refined design, better speakers and perhaps a more powerful processor.

But the picture quality, which is impeccable due to the millions of light-emitting pixels in an Oled TV that produce perfect blacks and bright whites, is generally similar across LG's Oled TV lineup.

Thus, it may make more sense for users - especially those who have invested in a good sound system - to choose an upper mid-range model like the latest LG CX Oled TV ($4,099 for the 55-inch version tested, available on Lazada and Shopee) over the higher-end GX model ($4,799 for 55-inch).

I would even venture to say that last year's C9 Oled TV, the predecessor of the CX which has dropped to around $2,500 for the 55-inch model, could actually offer even better value than the CX.

This is because while the CX has excellent picture quality, I am hard-pressed to say with certainty if it is better than the C9 without a side-by-side comparison.

What I can say is that the CX exhibits virtually no dirty screen effect (uneven splotches on the screen when viewing an uniform colour, like a football pitch). Viewing angles are superb with minimal reflections.

If I am picky, the CX has a hint of banding and is not as bright as a top LED TV. But these minor issues were also present in last year's versions.

The design of the CX is almost indistinguishable from that of the C9. Both televisions perch their ultra-thin Oled panels on an identical, low sloped stand, one that is low enough that my soundbar actually blocks a sliver of the bottom screen.

The CX's ports and connectors are also found at the same locations at the back as the C9's.

Like the C9, the new model has four HDMI 2.1 ports. Compared with HDMI 2.0, the newer 2.1 standard enables higher resolutions and frame rates, as well as variable refresh rates and an automatic low-latency mode for lag-free gaming.

But there are practically no HDMI 2.1 source devices available, at least not till the end of the year when the next-generation game consoles from Microsoft and Sony are expected to launch.

PC gamers, though, can enjoy a smooth gaming experience, thanks to the CX's support for Nvidia's G-Sync technology, which works with compatible Nvidia's graphics cards, to reduce stuttering by synchronising the frame rates in a game with the CX's 120Hz refresh rate.

The CX also comes with a HGiG mode - created by the HDR Gaming Interest Group industry body - that recommends how the high dynamic range (HDR) effect, which produces more lifelike and realistic visuals, are implemented in games.

For video content, HDR formats like Dolby Vision and HDR10 are supported but not the Samsung-led HDR10+ format.

Both G-Sync and HGiG are also available for the C9 with a firmware update. This is good news for C9 owners but makes the CX a less compelling upgrade.

To be fair, the CX does have a newer processor that is said to improve the TV's ability to upscale lower-resolution content to its native 4K resolution. This works well - for instance, upscaled 720p content looks suitably sharp to my eyes and could pass off as 1,080p content.

The CX also has a black frame insertion feature, dubbed Oled Motion Pro, that adds black frames between normal frames to create the illusion of smoother motion, especially for fast-moving content like sports. When I tested it, the feature darkens the visuals, especially at High setting.

Personally, I do not use any sort of motion smoothing feature, which is why I found the CX's new Filmmaker Mode to be very handy.

As its name suggests, this picture mode - created by the UHD Alliance industry body - gives viewers the cinematic experience as intended by the director. In practice, this mode basically turns off the TV's processing, like motion smoothing and image sharpening.

To cater to users who watch TV in diverse lighting conditions, the CX also has a Dolby Vision IQ mode that uses the TV's light sensors to measure ambient light and adjust picture settings accordingly.

Both these modes are great additions to the CX, though I wonder if they will be made available for the older C9, too.

The CX's updated interface now comes with the Apple TV app, alongside popular apps like Netflix, Spotify and YouTube. Mediacorp's CNA and meWatch apps are also available from the TV's app store.

Navigating the CX's responsive interface was made easier with the versatile LG Magic Remote, which has a motion-based pointer and handy shortcuts to Netflix and Amazon Prime Video.

Overall, the LG CX is an outstanding Oled TV that offers excellent visuals and supports the latest technologies. Its gaming features are especially appealing to those who plan to buy a next-generation game console.

New picture modes

Responsive user-friendly interface

Comes with Apple TV app

Nvidia G-Sync support

Future-proof

Identical design as last year's model

Still no HDR10+ support

Price: $4,099 (55 inches, version tested), $5,999 (65 inches), $17,999 (77 inches)

Picture features: Maximum resolution of 3,840 x 2,160 pixels, HDR10, HLG, Dolby Vision IQ

Audio features: 2.2ch (40W), Dolby Surround, Dolby Atmos

Operating system: webOS 5.0

Connectivity: 4 x HDMI, 3 x USB, Optical output, headphone output, Ethernet, Wi-Fi

Features: 4.5/5

Design: 4/5

Performance: 5/5

Value for money: 4/5

Overall: 4.5/5

ST Tech Editor's Choice

More:
Tech review: LG CX is a superb Oled TV - The Straits Times

Carly really enjoys staying up to date on the latest trends and technology as she takes a lot of joy in meeting her clients needs. Some of the new styles that customers have been interested in include large format tiles, wood-look porcelain, and decorative mosaics that offer unique designs. A lot of tile companies have beautiful geometric patterns, elegant crackled glass, organic-like shapes and lots of texture.

In addition to the material, she has experience with a computer software program called Sketchup which allows clients to see their kitchen, bathroom or whole area in a three dimensional rendering. With this, they are able to see their tile selections applied in the room helping give a visual representation of their choices. Its a tool that allows us to go to job sites, measure spaces and help connect the homeowner, contractor and installer. Personally working with the installers, contractors and designers is an important aspect that helps ensure a smoother finished product. Im still learning everyday so its essential for me to be in good communication with everyone. When Im provided with the correct square footages, we can review the Sketchup design that details layouts and placements.

Finding a professional and qualified tile installer and contractor is just as important as finding your favorite tile. While Stone Cavern does not provide installation, they certainly will advise contact information for some of the best in the area. A few exceptional installers like Rob Russ, Alex Smith, Jim Burden and William Roa can sometimes be hard to come by! Stone Cavern is not only working with new contractors in the area but has long standing relationships with accomplished contractors including Bill Dacchille with Dacchille Construction, Chick and Vickie Fuller with Fuller & Fuller Construction, Brett Schwebke with Tynecastle, Mike Flannigan with Cornerstone Construction, Sean Pepin with Pepin Construction, Pete Archer with Rattlesnake Mountain Construction Co., Rick Doty with Doty Homebuilders, Jim Frye with Associated Construction Trades and Tom Eggers with Eggers Construction. They also work with local design firms like Dianne Davant & Associates, Tatum Galleries & Interiors and Creative Interiors.

Another helpful visual that Stone Cavern is currently working on is a large Schluter shower vignette that features a curbless shower entrance, linear shower drain, Ditra Heat mat and wire for a heated bathroom floor that you can stand on and feel, Schluter profiles like Rondec, Jolly and Quadec, different size tiles including 847, 1224 and 2448 along with a floating bench, Schluter niche, shelves and Tileware products. This allows customers to physically see what really is the most vital part of any shower installation; the underlayment. Schluter offers a lifetime guarantee of their products using their complete system, which is a great reason to choose Schluter.

Soon we may have the opportunity to host yearly Schluter workshops from reps that will teach installers, contractors and others the foundations of using Schluter products. It will be a great chance to expand proficiency while bringing some of the community together.

Excerpt from:
New Owner, Same Great Stone and Tile Selection at Stone Cavern as Carly Moore Takes Over - High Country Press

If you've scrolled through your phone at all today, you may have noticed dozens of people on Instagram posting black tiles with the hashtag #BlackoutTuesday, something proponents say will help raise awareness for the nationwide uprisings that have erupted following the death of George Floyd, a Black man killed by police last week.

Such posts, though easy in effort and innocuous in intention, have already been digested, regurgitated, and spit out by the rapid social media cycle, with some arguing that black tiles are not only ineffective at helping the Black Lives Matter movement but possibly detrimental. Below, we break down everything to know about #BlackoutTuesday, from how it started to how to effectively participate.

Two Black women in the music industry, Jamila Thomas and Brianna Agyemang, initially started the social media campaign to hold the music industry accountable for profiting off Black talent and creatives. Originally called #TheShowMustBePaused, the initiative's intent to "disrupt the work week" has morphed into an altogether different beast as many began posting black tiles on Instagram with the hashtag #BlackLivesMatter, an important channel for activists and those protesting on the ground to spread news and resources.

In their original statement, Thomas and Agyemang wrote, "Tuesday, June 2nd is meant to intentionally disrupt the work week. Monday suggests a long weekend, and we can't wait until Friday for change. It is a day to take a beat for an honest, reflective and productive conversation about what actions we need to collectively take to support the Black community."

They explain how the multibillion-dollar music industry and its affiliates benefit from Black entertainment without empowering Black people at large. "To that end," they wrote, "it is the obligation of these entities to protect and empower the Black communities that have made them disproportionately wealthy in ways that are measurable and transparent. This is not just a 24-hour initiative. We are and will be in this fight for the long haul. A place of action will be announced."

You can keep up with their updates on their Instagram or Twitter account.

After people began to notice that the #BlackLivesMatter channel was flooded with black tiles, effectively blotting out any pressing news or resources for protesters and organizers, criticism began to mount online.

Kehlani retweeted a video of someone going through the recent #BlackLivesMatter posts, writing, "I don't like this."

Lil Nas X also pointed out the blacked-out hashtag channel. "This is not helping us," the musician wrote on Twitter. "Bro who the hell thought of this?? ppl need to see what's going on."

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Another vein of criticism paints the black tiles as a form of virtue signaling, a pithy sign of solidarity thatwithout the accompaniment of material resources or support in the form of donations, information, protesting, or otherwiserenders the perhaps well-intentioned post moot.

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

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

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

If you've already posted a black tile with the hashtag #BlackLivesMatter, your safest bet is to delete it. As others have pointed out, even if you've changed the hashtag to #BlackoutTuesday, the post will still be featured on the original hashtag channel, thus contributing to the difficulty of disseminating critical information for organizers and others on the ground.

Another way to efficiently partake in today's campaign is to uplift and amplify the voices, content, and businesses of Black creators, while halting any self-promotion, selfies, or other banal posts from your daily life.

If you're still considering posting a black tile, it would be critical to use other hashtags like #BlackoutTuesday or #TheShowMustBePaused. Yet, even so, rememberespecially if you are non-Blackthat a movement is sustained beyond feel-good shows of solidarity. Take the time to post resources on protests, match donations to bail funds, and tough out difficult conversations with yourself and those around you. The fight won't be won on your Instagram feed.

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Read more from the original source:
What Is #BlackoutTuesday? Here's Everything You Need to Know - HarpersBAZAAR.com