CouldnoT

A second lockdown in the Netherlands has forced the closure of many of the nation’s top museums, but you won’t have to leave your home to see research about the extensive holdings of the Kröller-Müller Museum and the Van Gogh Museum in Otterlo and Amsterdam, respectively. A new database called Van Gogh Worldwide allows users to access provenances, technical information, archival materials, and more related to 1,000 works on paper and paintings by the famed Post-Impressionist. Launched on Thursday, the database is a collaboration between the Kröller-Müller Museum, the Van Gogh Museum, and the RKD–Netherlands Institute for Art History, along with the Cultural Heritage Laboratory of the Cultural Heritage Agency of the Netherlands. Currently on the database is information about roughly half of van Gogh’s output, from his early paintings and drawings focused on the working class to his later, more expressive landscapes. In some cases, users are able to look behind the works to see their versos and also glean technical information, such as reports on restorations and potential damage. In some cases, related quotations from van Gogh’s correspondence with family members and other artists are also included. For now, Van Gogh Worldwide only includes works held by Dutch institutions such as the Kröller-Müller Museum, the Van Gogh Museum, the Groninger Museum, the Rijksmuseum, the Museum Boijmans Van Beuningen, and more. But plans are in place to eventually make available research about works held by international museums. Roughly half of the known works by the artist are currently logged on Van Gogh Worldwide. artnews.com

On December 23, 1888, Vincent van Gogh lost his left ear in Arles under mysterious circumstances. While some historians blame rival French painter Paul Gauguin for having attacked van Gogh, others favor an act of self-mutilation as a result of mental disorders. A brand new study is giving credibility to the latter theory, claiming that the injury followed psychotic disorder fueled by alcohol withdrawal. Researchers from the University Medical Center Groningen, Netherlands, claim that Vincent van Gogh suffered from severe borderline personality disorder. The symptoms of this psychiatric pathology could have been aggravated by acute alcohol addiction. While trying to withdraw from this addiction, the artist who also suffered from malnutrition, would have experienced delirium that entailed his self-inflicted left ear mutilation. "Thereafter, he likely developed two deliriums probably related to alcohol withdrawal, followed by a worsening with severe depressive episodes (of which at least one with psychotic features) from which he did not fully recover, finally leading to his suicide," wrote the authors of the study published in International Journal of Bipolar Disorders. Before reaching this diagnosis, the team reviewed 900 handwritten letters sent by the Dutch artist to his relatives, notably his brother Theo. These historic documents allowed them to fill out four questionnaires on personality disorders to better understand van Gogh's psychopathology. One should note, however, that such a method of analysis has its own limitations. "In these letters he described what he was experiencing in his life, including his mental problems, although it must also be realized that Van Gogh did not write his letters for his doctors, but for his brother Theo and other relatives, to inform, or to reassure them," note the authors. Van Gogh's mental state has fueled speculations over the years. In 2016, 35 doctors, psychiatrists and international art historians never managed to agree on a definitive diagnosis. This meeting was sponsored by Amsterdam's van Gogh's museum in relation to the Dutch painter's exhibition "On the verge of insanity." "There have been thousands of medical papers about Van Gogh's mental condition, but it has proved remarkably difficult to determine the cause of his problems. This latest paper, by some distinguished specialists, is certainly important and based on a serious study of the artist's symptoms. But it is unlikely to be the last word on this challenging question," declared Martin Bailey, a Van Gogh specialist, to Artnet News. news18.com

Numele tău: CouldnoT Poziţia ta: Agree Argumentul 1: With no doubt vaccination is so important to avoid pandemics and complicated infections. Argumentul 2: Vaccines have reduced and, in some cases, eliminated many diseases that killed or severely disabled people just a few generations ago, and even protects others you care about. Alte precizări: I wonder why it's even a controversial topic.

Hello everyone!

@David. It's 150x300, make sure you resize it, so it follows the requirement.

Superstore‘s 100th episode doubled as America Ferrera‘s twice-delayed swan song. Thursday’s installment also marked the conscious uncoupling of Amy and Jonah. The inevitable breakup was foreshadowed in last week’s season opener, which concluded with a panicked look in Amy’s eyes. The decision, however, was essentially mutual. After an emotional discussion in the stockroom, Jonah and Amy realized that they wanted different things: Jonah was ready to get married (and had secretly taken one of Amy’s rings to determine the right size for an engagement band), while Amy wasn’t ready to fully commit, still haunted by what she gave up when she agreed to marry Adam all those years ago. In the end, the Cloud 9 associates gathered to toast Amy’s big move in a scene that harkened back to the series’ pilot, when everyone gathered to toast Cheyenne’s engagement to Beau. Meanwhile, Glenn was reinstalled as manager of the Ozark Highlands store. Below, co-showrunners Gabe Miller and Jonathan Green discuss the decision to have Amy and Jonah break up in Ferrera’s last episode, and what’s next for Jonah following Amy’s departure. TVLINE | How different was this version of “California Part 2” from the original script you wrote in a pre-COVID world, when it was originally intended as your Season 5 finale? MILLER | The Amy and Jonah story is pretty close to what it was originally, the main difference being that months have now passed in between the decision to move to California together and this episode, when Amy is finally getting to move. And so, over that time, [we have] the additional pressures of pandemic life and Amy having to work two jobs at once, not seeing Jonah as often anymore even though they’re living together. All of those pressures sort of add up and expose some cracks in their relationship. Without the pandemic, and without those months in between, we still would’ve gotten to the same place [of Amy and Jonah breaking up], but it wouldn’t have been for all of the same reasons. TVLINE | Do you feel like the episode benefitted from the changes you made? MILLER | Yeah. It allowed us some time within the show for pressures to build, and [for] that emotional distance [to build between Amy and Jonah], where they realized they weren’t necessarily on the same page. So, yeah, in a way, prolonging things probably helped to make it feel a little more believable, we think. GREEN | Right. Also, I think the experience of going through this pandemic has made a lot of people sort of take stock and reevaluate their priorities, and think about the future and what they really want. And I think it’s had that effect on Amy as well. TVLINE | Was there any fear that Amy’s doubts would seem out of the blue? Or do you think you successfully planted those seeds in the lead-up to #Simmosa’s demise? MILLER | We felt like it was very organic to her character to be concerned about the way things went with Adam — how circumstances forced them into that marriage, and how she’d be very gun-shy about that happening again. As much as she loves Jonah, and as great as she thinks he is, she would be [against] letting that happen to her again… It was important to us, also, to see that maybe even she thinks that she [made] a rash decision. She doesn’t want to lose Jonah, and she’s torn. GREEN | We really liked the idea that she doesn’t know if she’s doing the right thing. It’s just what is feeling right to her [in the moment]. If it feels a little out of the blue to people, you know, it’s sort of catching her off-guard, too. TVLINE | Was there a reason you chose to have Jonah intend to propose to Amy? That’s kinda twisting the knife in, no? GREEN | The idea of the ring was not a part of the [plan at the end of last season]. But this season, it was sort of a way to address, “Hey, why is Amy struggling so much on her last day?” We came up with the ring as a way to really make that pressure something tangible, and something that she could be reacting to. And then when we had that, we were like, “Oh, that would be heartbreaking in a great way…” We like what it showed as far as the difference between their characters. And yeah, it definitely occurred to us that there would be fans who may not want to see this happening. We weren’t trying to play it as a mislead or “Haha, we tricked you into thinking that they’re going to get married or he’s going to propose.” We liked it for how it plays dramatically in the episode. TVLINE | Do you guys see this as the definitive end to Jonah and Amy’s love story? MILLER | We feel like the door is still open the way that we left things. By the end, what they [both] realize is that they are making an adult decision. They’re not on the same page about their future right now, but who knows? They still could find their way back to each other. TVLINE | Looking ahead, how will Jonah be holding up in subsequent episodes? MILLER | He tries to throw himself into some other things to distract himself… He realizes that he’s still working at the store when he thought he would be moving on to California and a new life, so he pursues some other job prospects, and he considers trying to move up at the store. We definitely are dealing with that in the early part of the season a lot: What is Jonah’s plan now that he’s found himself in this position? TVLINE | And in terms of COVID, will Season 6 continue to reflect the reality of the pandemic, or will the show transition to a post-COVID world at some point? MILLER | We’re keeping it going. The world has changed so much, [and] it doesn’t seem to be changing back anytime soon, unfortunately. GREEN | Sometimes that’ll be [reflected in the customer interstitials] that we have in between scenes. And sometimes it’ll be like a story we have coming up, about Mateo and Cheyenne having an event [during the pandemic]. It comes up that Sandra doesn’t feel comfortable with their level of COVID safety and the social aspect of that. We’re trying to find different ways to hit it and explore it, [and] we’re seeing how much we can get out of it. tvline.com

As the series switches to Peacock, Lennie James continues his incredible twin achievements as both an observant writer and unforgettable performer. 17 months go by in between the first two seasons of “Save Me.” When the camera ducks inside The Palm Tree, the local pub frequented by so many in the series’ ensemble, most of the patrons are living their lives much the same way as they did before the events of the show’s first season. “Save Me,” which aired its opening episodes stateside on Starz before landing at its current home on Peacock, began with the disappearance of Jody, the 13-year-old daughter of Nelly (Lennie James) and Claire (Suranne Jones). At the opening of Season 2 (stylized in the opening credits as “Save Me Too”), Jody is still missing. Nelly, much like Claire and her husband Barry, have settled into a state of perpetual anxiety, even if they’re able to mask that sadness to their respective partners. Even with the potential arrival of a new baby among the Palm Tree faithful, there’s still a lingering tension that comes by Jody’s continued absence. Even though Nelly has found some sense of refuge in a stable relationship with Zita (Camilla Beeput), the smiles are momentary, the sense of purpose still unfulfilled. There’s a tricky tonal balance at the heart of “Save Me,” which blends elements of a family drama, a detective series, and even a dash of a workplace comedy thrown in for good measure. All of those are handled here with the same agility found in Season 1, and these new episodes also benefit from a new perspective. Grace (Olivia Gray), the teenager who Nelly managed to free from an underage trafficking ring at the close of the first season, becomes a key part of the show’s core. After examining the kind of secondary trauma visited on all those affected by Jody’s looming absence, “Save Me Too” gives Grace a chance to explore what the first season could not. “Save Me” allows these characters to acknowledge the weight of their grief and regret without the show being consumed by it. This certainly isn’t an easy show to watch at times, but it finds a reality in the degrees of peril that they all face that doesn’t rely on exploitation. The first two episodes of Season 2 play out in a fractured timeline that, if not consciously mirroring the disjointed sense of reality that both Grace and Jody have been subjected to, still shows how everyone involved in this is trying to process the past. The ensemble work on “Save Me” is so strong that it’s sometimes possible to overlook that James is giving a miraculous performance, at once some of the richest and most effortless work being done anywhere on TV. At least part of that comes from his having written a majority of the series to this point, inhabiting the minds of his scene partners’ characters long before the cameras roll. So much more comes from his sense of timing. When Nelly’s rage is simmering under the surface, James knows just how much to let that anger peek through before either tamping it down or indulging it. In Nelly, “Save Me” is anchored by a man who is charming and haunted, gentle and dangerous, understanding and impulsive. James inhabits each side of those divides with astonishing vulnerability. That same economic understanding of how to get across complicated emotions in a short amount of time is also evident in how even more intertwined everyone in this story becomes. Nelly doesn’t just interact with a couple of mates as he’s pursuing dangling leads to Jody’s whereabouts. Beginning with bartender and Nelly’s landlady Stace (Susan Lynch) and continuing through his old flames and current confidants, the breadth of Nelly’s interactions gives the impression that he understands how much this single thing in his life has affected everyone in this web. In turn, “Save Me” strengthens the idea of how much Nelly’s ongoing search has a community at its back. The most notable addition to Season 2 is Lesley Manville, who enters seamlessly as the wife of a man charged with facilitating the same ring that preyed on Grace. Without trying to make their pain equal, “Save Me” considers how different people can cope with a new ugly reality in their own way, either with bewilderment or denial or a renewed desire for justice. For some, it’s an odd combination of the three. Manville plays Jennifer’s stricken helplessness and eventual resolve in a way that doesn’t overpower the delicate chemistry the rest of the ensemble patiently built over the first six episodes. Keeping everything calibrated is even harder in Season 2, with Nelly imagining Jody around different corners, Claire struggling with how much she should try to move forward, and even a shocking act of violence. Any one of those strands (or the way that they’re represented visually) has the potential to crowd out the patient character work being done in other areas. “Save Me” keeps all these fraught elements level, letting each new development flow organically from the last. The narrative tightness of the story is never at odds with its diligent pacing. That combination allows each player in this expanding world to feel like they belong. The final chapter of “Save Me Too” is both a logical endpoint and a pathway to continuing. It’s a constant strength of this show that it’s filled with the kind of moments where other series would be content to bow out. Tidy bows and conclusions could easily abound, but “Save Me” relishes the opportunity to show these individuals in the moments after these kinds of stories usually end. If the opportunity arises to continue, it will certainly be a welcome one. If not, “Save Me” will stand as a special kind of drama that cut through crime story expectations to find the truths buried underneath. indiewire.com

Thunderbolt is ready to strike on DC’s Stargirl. Comedian Jim Gaffigan, whose previous voice work includes Bob’s Burgers and Pale Force, is set to voice the mild-mannered-looking “pink pen,” which was glimpsed early in Season 1 of the CW series before being unceremoniously dropped into a pencil cup on clueless Courtney’s bedroom desk. Stargirl creator and EP Geoff Johns said at this summer’s DC FanDome event that the pink pen Courtney grabbed from the OG JSA HQ will get further screen time, once the show does justice to the heroes already in the mix. “We do have so many other things to explore with these characters, and other avenues and other characters to meet and introduce, we’ll do it the best we can and we’ll do it at our own pace,” he said. “But we’ll definitely be playing with things like the pink pen in Season 2.” Per the official character description on EW.com, “the wishes [the Thunderbolt] grants often cause more trouble than the wish-asker would ever expect. But despite his somewhat constant supernatural disasters, the Thunderbolt’s heart is always in the right place, even if it is wounded by the friends he has lost throughout his long existence.” * HGTV has renewed Flip or Flop, starring divorced duo Tarek El Moussa and Christina Anstead, for a 15-episode Season 10, which is slated to premiere in late 2021. * To honor the late Sean Connery, BBC America this Friday will air the classic James Bond films Dr. No (at 3:30 pm ET), From Russia With Love (6 pm) and Goldfinger (8:30 pm). tvline.com

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The European Film Awards is to take place virtually over five consecutive nights as a result of the ongoing Covid-19 pandemic. Organisers had previously taken the decision to cancel the 33rd edition of the annual ceremony, which was due to take place in Reykjavik, Iceland, and instead host a virtual event from the European Film Academy’s base in Berlin on December 12. But it will now extend the awards from December 8-12 under the banner The EFAs at Eight, reflecting the 8pm (CET) start time. The first night will feature a discussion on the future of European filmmaking with directors Mark Cousins, Agnieszka Holland and Thomas Vinterberg alongside Kirsten Niehuus, CEO of regional film fund Medienboard Berlin-Brandenburg. The session will be moderated by Screen contributing editor Wendy Mitchell. The four subsequent evenings will see winners announced virtually, without an audience, with the top awards revealed on the final night from Berlin’s Futurium museum. The programme will be streamed live at www.europeanfilmawards.eu and through an international network of streaming and broadcast partners, with the nominees and winners joining via live video conference. EFA chairman Mike Downey said: “The times we live in call for innovation and extra creativity. In this unusual year, this will be an unusual, and, we hope an exceptional, awards ceremony – one with a different approach, that will allow us to give more attention to the various awards presented. Necessity being the mother of invention, we have chosen to try out this different format, and will use it to see how we will further develop the EFAs in the years to come.” Nominations for the awards will be announced online via a livestream on Tuesday, November 10. As per the organisation’s schedule of hosting the ceremony in Berlin every other year, the 2021 awards will take place in the German city, with the 2022 edition then held in the Icelandic capital. EFAs 2020 online events All take place at 8pm (CET) December 8 Discussion: From Survival to Revival: Building the Post-Covid Future With Mark Cousins, Agnieszka Holland, Kirsten Niehuus and Thomas Vinterberg. Moderated by Wendy Mitchell. December 9 The EFA Excellence Awards: presenting the winners in the categories European Cinematography, Editing, Production Design, Costume Design, Make-up & Hair, Original Score, Sound, and Visual Effects. December 10 Eurimages, Short Film and EUFA: presenting the winners in the categories Eurimages Co-Production Award, European Short Film and European University Film Award (EUFA). December 11 Comedy and Animation: presenting the winners in the categories European Comedy and European Animated Feature Film. December 12 The EFAs 2020 Grand Finale: presenting the EFA Award for Innovative Storytelling, as well as the Awards for European Documentary, European Discovery, European Actress, European Actor, European Screenwriter, European Director and European Film. Announcing – for the first time – the nominations for the LUX European Audience Film Award by the European Parliament and the European Film Academy and in partnership with the European Commission and Europa Cinemas. Hosted by Wim Wenders, Agnieszka Holland, Mike Downey and Marion Döring. screendaily.com

Bankside Films has acquired worldwide sales rights to Irish filmmaker Alan Friel’s sci-fi thriller Woken, set to star Maxine Peake and Naomi Ackie. The London-based sales agent will introduce the project to buyers at the upcoming American Film Market (AFM) next week. It is aiming to shoot in Ireland next year. Ackie will play a young woman who wakes up on a remote island without any memory and is forced to re-learn everything about herself, including her husband and the baby she is carrying. When two disfigured men arrive on the island, she comes to learn another terrifying truth. Woken is being produced by Brendan McCarthy, John McDonnell and Deirdre Levins of Dublin-based Fantastic Films whose credits include Vivarium, Sea Fever and Wake Wood. Screen Ireland has backed the development of the project. Woken marks the feature debut of Friel who previously worked with Peake on his 2017 short Cake in which she starred with Letitia Wright. Peake is best known for roles in Peterloo, Funny Cow, The Theory Of Everything and The Falling. Ackie was named a Screen Star of Tomorrow in 2017 and has since been seen in Star Wars: The Rise Of Skywalker, The End Of The F***ing World, Yardie and Lady Macbeth. screendaily.com

Julia Stiles will also star in the new film titled “Orphan: First Kill,” which is directed by William Brent Bell A prequel film is in the works to the 2009 horror-thriller “Orphan,” and Isabelle Fuhrman, who played the duplicitous orphan girl Esther, will reprise her role in the new feature, an individual with knowledge of the project told TheWrap. Julia Stiles will also star in the new film titled “Orphan: First Kill,” which is directed by William Brent Bell and is in production now in Winnipeg, Canada. In “Orphan: First Kill,” previously just titled “Esther,” Fuhrman returns as the murderous sociopath from the original but follows her life before she assumed the identity of Esther. Fuhrman will play Leena Klammer, who escapes from an Estonian psychiatric facility and travels to America by impersonating the missing daughter of a wealthy family. But Leena’s new life as Esther comes with an unexpected wrinkle and pits her against a mother who will protect her family at any cost. David Coggeshall wrote the script. Esther’s real identity in the original “Orphan” as an adult killer posing as a child was a major twist, but now that Fuhrman is older, the filmmakers will utilize a combination of forced perspective shooting and a world-class makeup team to make the real Fuhrmann appear younger and smaller again. Entertainment One and Dark Castle are producing “Orphan: First Kill.” Dark Castle Entertainment’s Alex Mace, Hal Sadoff and Ethan Erwin will produce with James Tomlinson. David Leslie Johnson-McGoldrick will serve as an executive producer with Jen Gorton and Josie Liang overseeing for eOne. Sierra/Affinity is handling international sales. Jaume Collet-Serra directed the original “Orphan,” which made $77.9 million at the worldwide box office. Fuhrman will next be seen in “Escape Room 2,” set to release in January 2021, and she’s also starred in “The Hunger Games” and “Masters of Sex.” Stiles recently starred in “Hustlers” and on the series “Riviera.” Stiles is represented by The Gersh Agency, Untitled Entertainment and Sloane, Offer, Weber & Dern and Wolf Kasterler. Fuhrman is represented by UTA and Gang, Tyre, Ramer, Brown & Passman. Variety first reported the news. thewrap.com

Democratic Republic - presidential : This is the closest state organization to reality, which can assure the democracy to everyone. Let's a get a small example, so my reader can understand the point I'm referring to. Imagine you're in a place where there's 100 people and you are asked to come with an idea for a project, you will get 60-70 idea ( there some neutral people and some agreement ). So, you decided to do a vote, then you will find 40% agreement on an idea X and 60% on idea Y. In this case, we all have the right to decide ?, all the general manager can do, is to announce the result. As a result we will have two groups 40% and 60% fighting forever and no progress. Now, let's say that the manager ( of course wise and well cultured and smart enough ) will listen to all the audience and decide what's the result? doesn't need big brain we will have a choice that the almost agreed on but the rest has to agree because there's someone that has the last word. We were talking about 100 of people, now you are free to image a field of 10,000, but millions of people, but a whole country.

I consider Centru stânga the barycentre ( joke for mathematicians ) of politics which can assure equality to every religion, because a religion-agnostic government is the way to have a neutral government that treats everyone with national rules ( we will not discuss the way they are put ) without being closer to the common religion in the country. Presidency is the closest system that may assure the factors I have stated.

Fonts are your specialty, very great job, thousands of hours are spent on this. Congratulations ?

Topic closed.

Deadline reports that MGM has acquired the rights for the Johnny Depp drama “Minamata” – chronicling W. Eugene Smith’s last photo essay on the horrific mercury poisoning in Minamata, Japan. For decades, Japan’s Chisso Corporation dumped methylmercury and other heavy metals into wastewater that exited into Minamata Bay, a by-product of their chemical manufacturing. The highly toxic compound was absorbed by sea life, and subsequently eaten by locals, which led to horrific birth defects. After years of tireless work by Japanese activists, the government finally acknowledged the cause of the problem in 1968. In the above episode of the PhotoShelter podcast Vision Slightly Blurred, Sarah Jacobs and Allen Murabayashi discuss Smith’s Minamata project. In 1971, famed photojournalist W. Eugene Smith traveled to Japan with his second wife Aileen Mioko Smith at the behest of one of the activists. Before heading south to Minamata, Smith was walking around Tokyo when a recent college graduate recognized him from his textbooks. The serendipitous meeting led to Smith hiring Takeshi Ishikawa as an assistant. Although Smith had only intended on staying for three months, he, Aileen, and Takeshi ended up staying in Minamata for three years to produce Smith’s last photo essay prior to his death in 1978. Of the thousands of images that Smith produced during that time, the most stirring was a portrait entitled Tomoko Uemura in Her Bath – an image of a Ryoko Uemura cradling her deformed daughter, Tomoko, in a traditional ofuro, or Japanese soaking tub. Jim Hughes, Smith’s biographer, revealed in a Digital Photojournalist essay that Ryoko had suggested the image to Smith and invited him into the bathing area. The image, part of a Life magazine photo essay entitled “Death-Flow from a Pipe”, put a global spotlight on the Chisso Corp and Minamata disease. The image in many ways transcended the mother and daughter and became an iconic presentation of the ill-effects of environmental pollution. But it also brought intense scrutiny onto the Uemura family, which had to contend with press inquiries and accusations of profiteering. Upon Smith’s passing in 1978, the copyright to the Minamata work was passed onto his widow Aileen (Smith’s children from a first marriage were bequeathed the copyright to all his other work). In 1997, on the 20th anniversary of Tomoko’s death, a French TV company reached out to the Uemura family to seek the rights to publish the image. Exhausted, the Uemura family refused interview requests and permission to use the image. Upon hearing about the family’s unhappiness, Aileen traveled to meet with them, and according to Jim Hughes, agreed to “return” the image to the family and ceded. In 2001, Aileen wrote an essay revealing her decision to no longer allow publication of the Tomoko image after years of consultation with the Uemura family. She explained: This photograph would mean nothing if it did not honor Tomoko. This photograph would be a profanity if it continued to be issued against the will of Tomoko and her family. Because this was a statement about Tomoko’s life, it must honor that life and by it her death. —aileenarchive.co.jp While acknowledging the enormous burden upon the family, Hughes offered a counterpoint, arguing both against ceding copyright control to the subject of photographs, as well as the importance of the image in history: This photograph is among the most profound ever made: beyond a particular horror and tragedy, the image has come to represent compassion and humanity. Whether the universal takes precedence over the particular is, of course, a question that may never be answered satisfactorily for everyone…All good intentions aside, it would be a disservice, I am convinced, to deprive the world, or Gene, of that moment. —digitaljournalist.org The Andrew Levitas-directed film is slated for a February 5, 2021 release. petapixel.com