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By Christian death of course
Casca: How could you not order enough pizza for everyone?
Julius: But there was enough for everybody to have a slice...
Brutus: I ate 2 slices.
Julius: ATE TWO, BRUTE?
.... they were chess nuts boasting in an open foyer.
This is ridiculous. DICE needs to be made aware this decision has to be reversed completely. The player base does not want to see your goofy ass elites from Europe running around in the pacific.
DICE has been absolutely silent on this, and only snuck it in a comment in a post. It isn’t even shown in the trailer. It makes absolutely no sense to have them in the pacific. None. What so ever.
NO PHANTOM OF THE OPERA.
Think of battlefront, star wars. What if DICE just said “well clones can be used on original/sequel trilogy maps because they have a lot more skins and people paid for those skins. The community will understand.”
In other words, there is joint support for joint support for joint support...
I'm an employee at an Australian cinema. This is becoming an increasingly tough time for all of us. Co-workers, my bosses, customers, movie fans, anyone who works in movie production. The works.
You've all heard about movies being delayed. It sucks. I know. I'm not trying to be disingenuous, I definitely understand. I want to see these movies as much as I want to sell tickets to customers to see them.
But on a deeper level, the lack of availability to these movies means that the core facet of our business is being taken away from us. My employer is doing the best it can to mitigate this, but has conceded that our shifts are going to disappear. In other parts of the world, cinemas can't even open. We're fortunate that - for now - the government here down under isn't mandating we close. 'For now' being the operative words.
I suppose what I'm trying to say is that if you're seeing a movie - or able to see a movie in your part of the globe - please make sure you're patient with whoever is working at the candy bar/ticket booth/ushering you. I'm aware we have the mandate, working in customer service, to be as stoic as possible whilst serving you. And in my shifts this week, I know I'll remain my usual self.
I'm aware this post is sappy and could be interpreted as condescending. But we're human too. Go easy on us in this uncertain and simply weird time.
I am working for a small theatre company (only about a year old) in a pretty small town. Right now, we’ve pretty much exclusively done things online to keep everyone safe during this time. Right now, we basically only make enough every performance to make it sustainable (pay rent, pay rights, etc.) and everyone works for free.
The head of the company is planning to make the transition to doing this full time within the next year or two and we’re starting to talk about paying people. Some people are very for it and some are very against it. The people against it mainly say that, currently, our profit margin is incredibly slim and if we payed everyone in productions we would essentially barely break even.
I’ve seen a lot of posts/articles about how you need to pay people for their work if you’re a for-profit company. I agree with this wholeheartedly, but my question is, when you have such narrow margins, how do you do it?
Anyone out there know where I can find the audio of Rich and Chris August 13, 2006 Brothers of a Feather show in Boulder, Colorado? It's a killer set, with a mind-blowing version of Peace Anyway, and Loser as an encore.
TIA for any info you may have!
In ADWD we are told about how many southern men are dying from the cold in Stannis' army. And then we are told about how no northmen are dying, except one Flint and 1 mule, but Morgan Liddles think that the Flints stole him. So, why is this important? Why is one dead, or not so dead Flint with an escaped mule so important? Well, let's talk about the Flints.
I don't see many people talking about the Flints when we talk about Stannis and the upcoming battle, but they seem to be important. Before we can speculate what they will do and what that will mean for our story, let's do some background and some recent events.
Background.
House Flint is one of the oldest First Men houses in the North. House Flint is actually split into at least three branches. House Flint of the Mountains is known as the First Flints. They are the oldest house, and are one of the mountain clans. House Flint of Flint's Fingers inhabits the Western coast of The North. The FF Flints as I shall call them are not quite as powerful as those of Widow's Watch, but they sit at a very opportune point to have information from the Riverlands, the West, and the Iron Islands. The last branch is probably the most powerful, it is House Flint of Widow's Watch. It sits on the Eastern End of the North, between the Bite and the narrow sea. These Flints are close to White Harbor and Essos. Lord Wyman Manderly also seems to think that these Flints are his friends and will do what he does.
There is also a 4th branch mentioned in the histories, House Flint of Breakstone Hill, but these Flints may be extinct by now. One Branch of Flints also held the Wolf's Den at one point. There could be more Flints, but we know of only 3 right now.
Recent Events
House Flint was host to some recent events that can determine the power struggle for the North. Let's start with the Flints of the Moutains. In a Storm of Swords, Bran and company stay with the Flints on their way up to the Wall. So, House Flint is one of the only people in Westeros to know that Bran is alive and headed North, except Sam and whoever he told. And right now the First Flints are marching with Stannis with the sole purpose of freeing Arya Stark, because of their love for Ned. The First Flints do know one other thing, they were at the Thenn/Karstark wedding, and they know about the new Free Folk in the North. They probably know about the Others as well.
Next, on to the Flints of Flint's Finger. We don't know too much
... keep reading on reddit ➡Hello all, I posted this is r/theatre as well but wanted to see what designers and techs though in this issue:
I am studying theatre and in one class, the discussion this lead to a back and fourth regarding theatre in the near future. Once theatres reopen, it is likely that many performances (both plays and musicals) will be on a much smaller scale at least for some time. Eventually the industry will recover but until then, shows will most likely be limited in the size of both their performances and the audience. Many felt that in this environment, their creative abilities would be hindered by this and that their designs or performances would be in effect “watered down” versions of what they could create.
So my question becomes: “Does a smaller house, and nightly audience limit the artistic ability of theatre professionals and even eliminate the need for some all together? If so, should theatrical professionals be ready (in the short term) to create in smaller environments knowing that funding, salary, or over all design elements may be limited? Or should they hold out until they are able to create content at their full capabilities?”
I look at the 2017 Off-Broadway run of Sweeney Todd as a great example of theatre being smaller scale and yet still creatively effective. It had a cast of eight, a three piece orchestra, and 130 audience seats. It also had full creative team of sound, lighting, costume, and set designers along with a PSM and a music director.
