chief products

Email the Netflix decision makers to renew Sense8

Here are their emails:

Reed Hasting - Co-founder and CEO

rhastings@netflix.com

Cindy Holland - Vice President of Original Content

cholland@netflix.com

Neil Hunt - Chief Product Officer

nhunt@netflix.com

Ted Sarandos - Chief Content Officer

tsarandos@netflix.com


REMEMBER TO BE NICE AND RESPECTFUL!!!

I got these emails from here which is a great post with more info about what you can do to help save Sense8, so definitely check it out! I just thought it would be helpful to put the emails in their own post to make them more prominent!

Thanks!

Thousands of posters were produced and distributed by the Office of War Information (OWI) during World War II to persuade the American people to support the war effort. To get these messages out, the Federal government mobilized the Boy Scouts of America.

The scouts would distribute posters to stores located on the street level every two weeks. Approximately 2,300 communities participated. The OWI shipped posters to a central distributing outlet, such as a large department store. The Boy Scouts picked up their posters and distributed them to the smaller stores.

At first, African American scout troops distributed only posters with African American themes. For instance, the poster featuring Dorie Miller, who received the Navy Cross for heroism under fire at Pearl Harbor, was at first distributed only through channels in the African American community, such as churches, restaurant, and benevolent organizations.

In May 1943, Jacques DunLany, the chief of OWI’s Production and Distribution Division, suggested that the agency might be criticized if it continued to single out the African American scouts as distributors of posters with African American themes, adding that the boys might feel “they were being ‘segregated’ or even 'discriminated’ against.” While African American scouts continued to distribute posters to mainly African American establishments, the OWI made sure they also received the same posters as any scout troop.

Read more about the WWII contributions of the Boy Scouts in Prologue magazine: http://bit.ly/2k3byk0

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Warner's Gold Diggers of 1933 (1933) opens up with the iconic musical number “The Gold Diggers’ Song (We’re in the Money)” sung by Ginger Rogers. On the second chorus of the song, Ginger sings the lyrics in Pig Latin where, in an extreme close-up of her face,  "We’re in the Money" becomes “Ereway inhay the oneymay”. This version of the chorus was Ginger’s idea.

One day on the set, Ginger was handed the song and told to learn it by that evening since the number was to be shot the following day. After practising the lyrics for hours, Ginger started goofing around and, instead of singing the song as it was written, she translated it into Pig Latin.  Warner’s production chief at the time, Darryl F. Zanuck, heard her and was so struck by the novelty of the queer play of words that he ordered Ginger to sing in Pig Latin when the shot was taken. 

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Nova #5 (January 1977). Marv Wolfman (W), Sal Buscema (A), Tom Palmer (I), J. Costanza (L), Michelle Wolfman (Colors)

Nova heads to the offices of Marvel Comics in Manhattan (575 Madison Avenue) to see if he has what it takes to star in his own comic book. This sequence is self-deprecating, self-mythologizing, and self-promoting at the same time. Featuring appearances by writer Marv Wolfman, artist Sal Buscema, Stan Lee, Editorial Assistant Beth Bleckley, “Production Chief” John Verpoorten and other Marvel employees. Stan Lee’s chest hair is a nice touch.

I’ve always been a fan of scenes where superheroes interact with, read, or comment on their imagined exploits in comic books, movies, and other media, and this sequence is fun. I particularly love the idea that Wolfman has someone keeping tabs on Dracula in Boston for his Tomb of Dracula work. Also, Dracula lives in Boston in the Marvel Universe in the 1970s!

The Nutcracker and the Four Realms, which stars Mackenzie Foy as Clara, Keira Knightley as the Sugar Plum Fairy, and Helen Mirren as the power-hungry Mother Ginger, will grand jeté into theaters on Nov. 2, 2018.

The first trailer for the film was shown at D23 during the studio’s live-action panel on Saturday. In the footage, viewers got a glimpse at Morgan Freeman’s Drosselmeyer as well as cast members Misty Copeland and Sergei Polunin. Disney production chief Sean Bailey also revealed that Charles “Lil Buck” Riley will play the Mouse King, a CG creation comprised of hundreds of mouse creatures.

Bailey also elaborated on the four realms that Clara visits during her magical Christmas Eve adventure: The Land of Flowers, attended by Eugenio Derbez’s Hawthorn; The Land of Snowflakes, lorded over by Richard E. Grant’s Shiver; the Land of Sweets, dominated by Knightley’s Sugar Plum Fairy; and the fourth realm, belonging to the villainous Mother Ginger, played by Mirren. - EW

latimes.com
Six women accuse filmmaker Brett Ratner of sexual harassment or misconduct
In interviews with the Los Angeles Times, six women – including actresses Olivia Munn and Natasha Henstridge — accused filmmaker Brett Ratner of sexual harassment or misconduct.
By Amy Kaufman, Daniel Miller

Ratner, 48, has long flaunted his playboy persona, bragging publicly about his sexual prowess. He has been romantically linked to the likes of Paris Hilton, Lindsay Lohan and Mariah Carey. In December, Tina Fey, speaking at the Hollywood Reporter’s annual Women in Entertainment breakfast, cracked: “Brett Ratner is here. In his defense, he thought this was a thing where you could eat breakfast off of 100 women.”

For years, he palled around with Robert Evans, the slick-haired former production chief at Paramount Pictures who was later convicted of trafficking cocaine, and Toback, who, as The Times reported last month, has been accused of sexual misconduct by more than 300 women. In a January interview with Variety, Ratner said Evans, Toback and Roman Polanski, who was convicted of having unlawful sex with a minor in 1977, were among his “closest friends.”

After Ratner quipped that “rehearsal is for fags” while appearing at a 2011 screening of his film “Tower Heist,” he was widely criticized. The misstep cost him a plum gig: He quickly resigned from producing the 2012 Academy Awards telecast and issued an apology, calling it a “dumb way of expressing myself.”

In interviews, Ratner has tried to smooth out the rough edges of his bad-boy image, especially more recently, as he has expanded his business ventures. In 2012, Ratner co-founded production company RatPac Entertainment. A year later, RatPac partnered with now-Treasury Secretary Steven Mnuchin’s Dune Entertainment to create the investment vehicle RatPac-Dune Entertainment, which inked a co-financing deal with Warner Bros. worth about $450 million. Among Ratner’s executive producing credits via those companies are “Jersey Boys” and “Black Mass.”

The filmmaker often has told reporters that he doesn’t use drugs or drink alcohol. Sometimes, in enumerating his lack of vices, Ratner also points out his love of beautiful women, saying, for example, in a 2008 Jewish Journal story: “I’m not into dark stuff. I’m just a nice Jewish kid … who loves movies and pretty girls.“

Actress Jaime Ray Newman said Ratner put it more bluntly to her, explaining in vulgar terms that he needed sex — not alcohol or drugs.

Newman said she encountered Ratner in 2005 when they were both in first class on an Air Canada flight. The filmmaker swapped seats with his assistant before departure so he could be next to her, she said. Newman, who was on her way to shoot her first major acting role on the TV show “Supernatural,” was excited to talk with a “famous director” about to helm “X-Men: The Last Stand,” she said.

Within five minutes of the plane taking off, she said, Ratner began loudly describing sex acts he wanted to perform on her in explicit detail. He also showed her nude photos of his then-girlfriend, said Newman, 39, who stars on Netflix’s forthcoming “The Punisher.”

“He was graphically describing giving me oral sex and how he was addicted to it,” she said.

Newman said she was so shaken by the encounter that she immediately told a handful of people about it. Both her mother and a friend confirmed to The Times that the actress shared details shortly after the flight.

Ratner, through his attorney, denied that the incident occurred, referring to it as a “ridiculous claim.”

Over the years, Ratner has received several honors for his philanthropic and humanitarian endeavors. On Sunday, the Jewish National Fund presented Ratner with its annual Tree of Life Award at a gala in Hollywood where the guests included film producer Avi Lerner, United Talent Agency co-founder Jim Berkus and Singer.

Gal Gadot, the Israeli star of “Wonder Woman,” had been slated to give the award to Ratner, but as The Times was reporting on his alleged sexual misbehavior last week, the actress’ publicist announced she would not appear at the event because of a scheduling conflict.

Instead, "Wonder Woman” director Patty Jenkins, who has known Ratner for years, presented him the award, saying: “He’s gone on to be this real power in this town. He’s a big character. He’s a big personality. But you know what I love about Brett, he wants that for everybody else too.”

The first flight of the first Lockheed L-100, the commercial version of the C-130 Hercules airlifter, was memorable, and also very l-o-n-g. On 20 April 1964, company Chief Production Pilot Joe Garrett took off from the Lockheed facility in Marietta, Georgia, and landed the aircraft (named One World Hercules, civil registered N1130E) on the same runway an incredible 25 hours and 1 minute later. The crew flew all but 36 minutes of the flight with the two outboard engines shut down, as shown here. The milestone flight, which consisted of a racetrack patter over Georgia and Alabama, was made at what the company called a “loitering speed” 130 mph. The L-100 was developed from the C-130E and certified by the FAA as a commercial freighter on 16 February 1965. The L-100 demonstrator was later taken on a world tour and was delivered to Alaska Airlines.

‘Psych: The Movie’ Is Real, as the ‘Psych’ Cast Reunites for a New Case This Christmas

Christmas has come early for the “Psych”-os: USA Network confirms that it has ordered a “Psych” reunion movie, set to premiere this December.

James Roday, who stars as fake psychic detective Shawn Spencer, and Dulé Hill, who plays his childhood best friend and business partner Burton “Gus” Guster, are back for “Psych: The Movie.” The 2-hour event takes place three years after the events of the show’s 2014 finale.

Creator Steve Franks co-wrote the movie with Roday and will also direct it. Also back: Timothy Omundson (Lassiter), Maggie Lawson (Juliet), Corbin Bernsen (Henry) and Kirsten Nelson (Chief Vick). Production begins on May 24.

READ MORE: ‘Psych’ Movie: All Signs Point to Production Beginning as Early as This Summer

“Psych” premiered in 2006 and ran for eight seasons. According to USA, the film will follow the pals gathering during the holidays after a mystery assailant targets one of their own.

“‘Psych’ is a beloved part of our USA family, and what better time to reunite with family than the holidays.” said Chris McCumber, President, Entertainment Networks for NBCUniversal Cable Entertainment. “Steve and James have taken the unique brand of comedy that the series honed over eight seasons and packed it in to a two-hour movie that successfully rekindles one of the greatest bro-mances in television history.”

Jeff Wachtel, Chief Content Officer, NBCUniversal Cable Entertainment, and President, Universal Cable Productions, credited the show’s rabid fan base – who affectionately call themselves “Psych-os” – for keeping the franchise alive.

Franks, Roday and Hill executive produce the film with Tagline’s Chris Henze and Kelly Kulchak.

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Related stories ‘Psych’ Movie: All Signs Point to Production Beginning as Early as This Summer'Queen of the South’ Season 2 Teaser: There Can Be Only One Queen in USA Drug DramaJessica Biel Talks Her Daring New Role in 'The Sinner’: 'I Just Wanted to Get to Be a Little Nuts’
Double Agent Vader fic: Trickster Steals the Moon

I’ve been wanting to write something like this for a while, and finally did it: a fic that’s half Ekkreth trickster-tale, and half Anakin’s history as a double agent, where the stories interconnect and Anakin’s actions exist within the sacred tradition of storytelling.

For this one, we’re going back in time a bit. This is set almost immediately after Optimal Functioning, and just before ANH.

The myth in this is the origin story for the holy week of Marokkepu, of which Maru is the central hero. Her name means “water,” and she’s considered one of the great prophets.

I’m blaming this one on @nimblermortal, who may or may not know why.

Trickster Steals the Moon

There are as many Ekkreth stories as there are slaves on Tatooine, which is to say, there are stories without number, and more every day.

This is one of them.

Keep reading

Was Ward Kimball’s ‘Big Chief’ Racist?

While compiling production art for this week’s Peter Pan posts, I realized that I had to address Ward Kimball’s ugly and unsettling character design for the ‘Big Chief.’ The big question was obviously: Is it racist?

In my opinion? Yes.

But…

There’s no way I would ever say it wasn’t racist, as it bears many of the same visual hallmarks as the Cleveland Indians’ logo, Chief Wahoo, a logo I would decry as an entirely inappropriate caricature of Native Americans.

And I’m hardly the only one who feels this way.



So, yes, Ward Kimball’s design for the ‘Big Chief’ was most certainly racist. But I believe it was unintentional racism. A racism based on ignorance, not hate.

Kimball’s ‘Big Chief’ design was a product of its time. It fits in squarely with the style of caricature seen in the animation, magazine cartoons and advertising of its day. Was this “style of caricature” grotesque? Yes. Did it play off of offensive stereotypes? Yes. Were artists using the already-cliched caricatures of Native Americans (huge nose, wide mouth, bright red skin) taking the lazy way out? Most definitely. But could artists who used this type of visual/racial shorthand in their work simultaneously NOT be racist in their day to day life and interactions with others? Yes! And THIS is the Kimball conundrum.

Kimball was, by all accounts, one of the most socially and politically progressive of Walt Disney’s Nine Old Men. In the 1960s, Kimball’s house was a known hang-out for hippies and acid-heads of ALL races and genders – due in no small part to his daughter, Chloe, who R. Crumb once described as “one of the first real hippie girls I ever met.”

Then there’s the fact that, except for the unquestionably offensive and artistically uninspired nose and skin color, Kimball’s ‘Big Chief’ looks a helluva lot like many of the other non-Native American characters he designed while at Disney.



The guy just loved drawing genuinely grotesque caricatures.

And when it came to exaggerating physical features via caricature, Kimball was just as merciless to himself. Shown below is a ‘Ward Kimball Model Sheet’ Kimball created for some of the other animators at Disney.



Not exactly a Tinder-ready selfie, is it?

Another question I’ve asked myself is, if Kimball lived in OUR time, would he have designed ‘Big Chief’ the same way? If he knew how offensive and hurtful this sort of caricature was to Native Americans, would he have gone ahead and done it anyway? (Kinda like how the Cleveland Indians refuse to let their logo go?)

I find myself answering ‘no.’

Like I said earlier, Kimball was a pretty progressive guy. He was a vocal supporter of the civil rights movements of 50s and 60s. He described himself and his politics as "quite liberal.” Kimball was NOT the sort of person who thought of himself as racist, nor was he the type of old person who used lines like, “Well, that’s just how it was in my day,” as an excuse for continued ignorance and/or racism. He did NOT view other races as ‘less than’ himself.

So why didn’t Kimball realize that his design for the ‘Big Chief’ was offensive back when he was first coming up with it?

Social stupidity. Or, to use modern terminology, the ignorance of White privilege. Not surprisingly, this still exists today. Hell, it still exists in the Peter Pan movies being made today!

In the end, I find myself wishing like crazy that Kimball hadn’t taken the lazy way out when creating the character design for the ‘Big Chief.’ I say “lazy” because even back in the early 1950s, those stereotyped Native American facial features were cliched cartoon hack.

If only Kimball had tapped into the same sort of inspired lunacy that he used when creating the Cheshire Cat or the charming graphic originality of his design for Jiminy Cricket, then Peter Pan’s ‘Big Chief’ might’ve been as celebrated and beloved (and merchandised!) as those characters are today. Instead, ‘Big Chief’ remains a controversial misstep, an ignorant artistic embarrassment, and yes, a hurtful racist caricature.

And then there’s the ‘Big Chief’s song, What Makes the Red Man Red?

Fuuuuuuuuck.


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STAFF - GUERRILLA - ARMY

top row, left to right: designer rei kawakubo, deputy-chief pattern cutter makiko hatakeyama, knitwear deigners rikuko ikeuchi, pattern cutter hirofumi ikenami, production manager shigeru tsuchida, production mikito nishimura, production chief hiroyuki sato, pattern cutter ashiko yana, deputy knitwear/accessories keiichi tanikoshi, model amy nemec.

middle row, left to right: pattern cutter tamima akiyama, pattern director yoneko kikuchi, managing director tsubomi tanaka, production yuichi omaru, pattern cutter chizu hirose, head pattern cutter keiko yamazaki, chief pattern cutter masako masaki, production taichi yoshida.

bottom row, left to right: pattern cutters yasuko masubuchi, yusuke monden, tetsuya hashimoto, shiro miyao, yusuke horihata, knitwear miwako netsuka, knitwear/accessories yuzo takenaka, pattern cutter emi akutsu

A gentleman opposed to their enfranchisement once said to me, women have never produced anything of any value to the world. I told him the chief product of the women had been the men, and left it to him to decide whether the product was of any value.
—  Anna Howard Shaw (February 14, 1847-July 2, 1919) was a leader of the women’s suffrage movement in the United States. She was also a physician and the first ordained female Methodist minister in the United States.she became the first woman to earn the Distinguished Service Medal.
Incense in ancient South Arabia

The south-western part of the Arabian Peninsula has been a centre of culture for thousands of years. Today this area is broadly covered by modern Yemen. This post is part of a series highlighting Yemen’s rich cultural history.

The Roman author Pliny the Elder wrote ‘The chief products of Arabia are frankincense and myrrh’. A market for perfumes and incense is known to have existed in the ancient Near East and Egypt since at least the 3rd millennium BC. In the 1st millennium BC historical sources begin to refer to an Arabian origin for many of these, which are sometimes referred to as ‘spices’. According to classical writers, the most valuable forms of incense in the Mediterranean were frankincense and myrrh. These were two of the three gifts (along with gold) offered by the Magi or 'three wise men’ to the infant Jesus in the Bible. South Arabian texts refer to many more types of aromatics, which became essentials in the royal courts, temples, houses and tombs. Their high value, light weight and long shelf life made them ideal trade goods, and their sale was carefully regulated.

This is an incense burner with an inscription in Minaean, one of several related Semitic languages spoken in ancient South Arabia. It records the dedication of a pair of incense burners to the god Athar Dhu-Qabd by Ammdhara and Hawf-Wadd (although only this one remains). The burner comes from the site of ancient Harim, in Ma'in, one of the rival kingdoms of South Arabia. There was often warfare between the different kingdoms over control of frankincense and myrrh, two of the most prized materials in antiquity, which only grow in eastern Yemen and southern Oman and in some parts of Somaliland. The production and trade of these aromatics were in the hands of the ancient South Arabians, who became extremely wealthy as a result.

This cast bronze incense burner is in the form of a bowl with a splayed foot, one wall raised to form a sort of heat shield surmounted by spikes, with the front decorated with the standing figure of an ibex or wild goat. The animal perhaps served both as a convenient handle and as a cult object. This is not the only such incense burner known, and even miniature versions survive.

Cuboid incense burners have a long history in the ancient Near East. They were particularly popular in the Levant and Arabia from the late 5th century BC to the 1st century AD and were specifically used to burn natural aromatics within the home and temple. This type of cuboid incense burner is often inscribed with the names of specific aromatics from the range of woods, barks, roots and resins used in south Arabia, many of which have yet to be identified. This example is inscribed with the names rand [possibly myrtle], darw [an aromatic resin], kamkam [cancamum] and qust [costus].

Discover more about how incense burners are made in this region today here.

Calcite incense-burner, 4th–3rd century BC.

Bronze incense-burner,  8th– 3rd century BC.

Painted limestone incense burner.  

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Kelvar Motors is a transportation solution to the rise in commute in the Sub Saharan African middle class. We are in the process of designing and developing cars that address issues of sustainability, terrain manoeuvrability and affordable leisure.

Currently there is no automobile made for the ever changing and long winding roads of West Africa that go from mud to gravel in seconds. Pricy premiums, Evasion of potholes and the heavy fuel prices discourage many from buying low clearance cars.

The market however doesn’t make owning a bicycle or scooter safe anymore since the introduction of cheaper low CC motorcycles have flooded the streets as substitute taxis. Furthermore its no secret that public transportation is a nightmare. So if you can’t afford an SUV, you buy a second hand car just to get by.

Kelvar Motors aims to bridge the gap between the fast growing middle class workforce, long commutes and the high heat temperatures. Our goals are simple yet complex. Create a structurally sturdy one seater, two seater and four seater vehicle. That runs partially on solar, electricity and petrol. Delivering a powerful engine, great handling and fantastic gas mileage.

- CEO & Chief Product Architect, Funfere Koroye