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Factorial Program The while loop has no loop counter, and for that reason we have used the variable i to work as a loop counter. The loop counter value is initialized by the number for which we need to get its factorial, then we decrease it manually in each cycle of the loop. When i reaches 1, the loop will break. Using while loop : program factorial; uses wincrt; var Fac, Num, i: Integer; begin Write('Please input any number: '); Readln(Num); Fac:= 1; i:= Num; while i > 1 do begin Fac:= Fac * i; i:= i - 1; end; if num > 1 then writeln('The factorial of the number is: ', Fac) else writeln('The factorial of the number is 1'); Readln; end. Using for repeat until loop : program factorial; uses wincrt; var num, x : Integer; begin write('Please input a number: '); readln(num); x:= 1; num:= i; repeat begin x:= x * i; i:= i - 1 end; until (i = 1); if num > 1 then writeln('The factorial of the number is: ', x) else writeln('The factorial of the number is 1'); readkey; end. Why Does Zero Factorial Equal One? The reason for the definition of 0! = 1 has to do with the formulas that we use for permutations and combinations. This does not explain why zero factorial is one, but it does show why setting 0! = 1 is a good idea. A combination is a grouping of elements of a set without regard for order. For example, consider the set {1, 2, 3}, wherein there is one combination consisting of all three elements. No matter how we arrange these elements, we end up with the same combination. We use the formula for combinations with the combination of three elements taken three at a time and see that 1 = C (3, 3) = 3!/(3! 0!), and if we treat 0! as an unknown quantity and solve algebraically, we see that 3! 0! = 3! and so 0! = 1. There are other reasons why the definition of 0! = 1 is correct, but the reasons above are the most straightforward. The overall idea in mathematics is that when new ideas and definitions are constructed, they remain consistent with other mathematics, and this is exactly what we see in the definition of zero factorial is equal to one.

Netflix's The Old Guard Review: Charlize Theron's Action Movie Gets Right What Very Few Do "Is this even safe?" KiKi Layne's Nile Freeman asks as she looks around a rickety Russian plane. "Does it matter?" shrugs Charlize Theron's Andy, looking tough in a black tank top and Chet Baker-like haircut. In a typical action movie it's a typical line — macho, heroic bluster. But The Old Guard, Netflix's sensational superhero film based on Greg Rucka's comic and directed by Gina Prince-Bythewood, is not typical. Andy, whose full name is Andromache the Scythian, leads a small group of do-gooder warriors who cannot die. They can be injured, and they can certainly feel pain, but their Wolverine/Deadpool-esque healing factor will quickly patch them together again no matter how badly they are bruised. This imperviousness to injury, not to mention their longevity, can lead to a certain world-weary attitude, even as they roam the globe, looking for wrongs that need righting. "Does it matter?" In addition to Andy, as old as antiquity, there's her right arm, Booker (Matthias Schoenaerts), who discovered his abilities in combat with Napoleon's armies. There's also Joe (Marwan Kenzari) and Nicki (Luca Marinelli), two men on either side of combat during the Crusades who fought and then fell in love. There were others in the group over the centuries, but to divulge too much about their fates is to give too much away about this story. Nile, a US marine serving in Afghanistan, is the newest member of the group. The other four simultaneously dreamed of her when she experienced her first death during a task force operation. Andy quickly zips to her base to spirit her away before doctors can start poking around too much, wondering why the heck she cannot die. The rest of the gang, however, are back at a safe house, because they've just survived a set-up by a questionable ex-CIA operative (Chiwetel Ejiofor) and a sinister, master-of-puppets pharmabro played to annoying perfection by Harry Melling. It is all leading to a big showdown, with some serious aha! twists along the way. Charlize Theron and Matthias Schoenaerts, The Old Guard The set-up may be fairly standard post-X-Men superhero stuff, but there are a number of things that make this movie stand out. On one side, there's some really badass action sequences. Theron, coming off Mad Max: Fury Road and Atomic Blonde, is swimming in a familiar pond as she destroys baddies one by one. If you like watching her stomp down corridors, flinging death in all directions, this is the movie for you. The choreography is remarkable, but it's not too gory as these things go. Then there is that thing all superhero movies talk about but rarely get right: world-building. Using flashback snapshots, Rucka's script entices us with just enough cool stuff from the past; it's extremely less-is-more (you may even grab the remote to catch a glimpse of an awesome costume), but this economic type of storytelling works wonders to keep the wheels spinning without hampering forward momentum. These scenes come during moments when the characters stop and talk to one another, which brings us to what ultimately makes The Old Guard so special. Prince-Bythewood's last feature film, Beyond the Lights, is a melodrama about the perils of fame — a very 1930s-type movie with a 2010s gloss. It's a beautiful and heartfelt story with not much in there suggesting that an action-heavy comic book movie was next. (This just proves that if you give a talented person a shot, she's likely more than capable to handle it.) What is ported over, though, is the genuinely touching and humane scenes between the characters. In too many superhero films the glue between the action set pieces are mostly wisenheimer jokes. It can be fun, but there isn't much weight. More often than not, when there is an attempt to slip in some genuine drama, everything grinds to a dull halt. That is not the case with The Old Guard. To put it bluntly: This is the rare action movie in which the talk-y bits are actually the best part. Everyone involved is terrific, and all of the characters are battling serious personal demons. (I was personally most touched by Ejiofor, but there's a lot of competition!) When the acting and writing and directing is this good you can put aside the preposterousness of the situation and think, yes, what would it be like to be immortal and walk the Earth watching everyone you know die? This movie crackles with action, but it is also poignant and sad. It also ends with one of the most "HOLD ON!" endings I've seen in a while. So it's important everyone watch this movie. If Netflix's all-seeing eye clocks enough streams, it'll hopefully get everyone on board for a sequel. TV Guide rating: 4/5 The Old Guard premieres Friday, July 10 on Netflix. Charlize Theron, The Old Guard Jordan Hoffman tvguide.com

‘Dark’: The Netflix Show’s Creators Discuss the Impossibility of Saying Goodbye Jantje Friese and Baran bo Odar discuss what they kept from set, the challenge of making a literal mirrored world, and the difficulty of letting go once filming on the series ended. Note: The following interview discusses Season 3 of the Netflix series “Dark.” If seeing an entire reality flipped in the last season of “Dark” seemed jarring, know that it felt just as dissonant to the people helping to bring it to life. When it came time for Martha (Lisa Vicari) to take on some of the some iconography that in previous seasons was associated with Jonas (Louis Hofmann), that exchange between the two main characters made for a moment that forced them and series co-creators Jantje Friese and Baran bo Odar to recalibrate a little. “Just even her wearing the yellow raincoat in the costume test was really weird. Also for [Lisa] because it was so iconic for Jonas as his character. For Louis, being on set and she’s entering the room with his jacket, the first reaction was like, ‘Give me back my jacket! This is mine!'” Odar said in a recent interview with IndieWire. Of course, that’s just a tiny part of the hook of Season 3’s new alternate reality, one in which Martha’s younger brother never travels back in time and never becomes Jonas’ father. The two resulting timelines are more than just metaphorical reflections of each other. In constructing the visual representation of that Season 3 idea, Odar wanted to flip things literally, too. “We actually mirrored all the images that take place in a mirrored world, which means you mirror the sets. Stairs that go from left to right, they now go from right to left. Doors that used to be on the left side, were on the right side,” Odar said. “But it also means props-wise, you have to change a lot of things like books and bookshelves. You have to change the titles on them and mirror them. But the biggest challenge was actually for actors to play everything in a mirrored way. You have to open doors with your left hand. And if you ever tried that for one day, it is really weird and awkward.” Those visual changes are built on the foundation of a braided narrative that stretches out across all three seasons of “Dark.” Ideas planted early in the series’ run return as the show moves toward its poignant ending. It’s not the kind of story that can be reworked and improvised on the fly with each passing group of episodes, as Friese can attest. “It always sounds to people like it’s easier to do a last season when you know where you going. But I honestly believe that the contrary is true,” Friese said. “If you don’t know where you’re going, you can just write whatever. But if you know where you want to end, it is even harder to then lay out the structure for the episodes to get there. It was not the new stuff that we added throughout the second season that was the hardest thing to tackle, it was really being true to where we wanted to go in the end.” “Dark” is a show that certainly invites a certain kind of theorizing. Mysteries about characters’ allegiances or motives are hard to separate from their ties to family fates. While the closing chapter features answers to some of those questions, the episode before that is the one that holds the key to more than a few loose ends that have been lingering for fans of the show. Friese compared it to the Season 1 episode that first travels to the 1950s and the Season 2 episode that revisits the day of Michael’s death. “In every season there is what I always call a bridge episode, because to me it’s like the bridge in a song” Friese said. “In Season 3, the seventh episode is where we basically fill in all those last puzzle pieces. So it was finding out which puzzle pieces need to go in there so that we have the feeling of the characters really going full circle. Now we finally fill in the gaps and you see how the circle plays out. That was one of the cornerstones to developing the third season. We looked at all the characters and tried to find out what’s really important, what we need to deliver.” A key part of any ending is knowing the right cutoff point. Especially with a show like “Dark,” which does close so many of those open loopholes, there’s always a certain amount of desire to stay with those characters and see what happens after the turmoil has subsided. For an ensemble this vast, it’s almost impossible to give each person a dedicated farewell. “There were some really tough choices to be made, especially in the in the editing room. We wanted to be fair and just to each of the characters, but obviously some of the endings needed to be cut out or just arranged in a different way,” Friese said. “I think we we focused on the stuff where we just personally felt it adds to the overall mystery and we need to deliver the ending. Some of the stuff we decided that you kind of figure it out yourself. You don’t need to see it on screen. Obviously, we were fighting for our own characters to to be heard, but then you just have to make choices.” After 26 episodes and three seasons of one of the best Netflix Originals to date, there are a few remnants of “Dark” that remain. Friese and Odar said that they were able to keep the raincoat, the St. Christopher necklace, and the recreation of the Rubens painting “The Fall of the Damned” that’s the centerpiece of Adam’s Sic Mundus hall. Much to the disappointment of diehards who might venture to Berlin in the hopes of visiting the show’s most pivotal location, the Winden cave doesn’t actually exist. It was a set constructed specifically for the series. Still, there are enough locations that do exist, exteriors that even when dismantled were the site of many memories for those who worked on “Dark.” It’s understandable that even Odar didn’t want to give up the show right away. “I went back three days after the end of shooting because I was really not feeling well, to be honest. I went out with my large format camera and I was taking pictures of those locations like a fan. It was a really awkward feeling that day,” Odar said. “You were really, like, lovesick after filming was done. You really had a problem letting go, I think,” Friese added.” “Yes. But now I’m fine. It’s over,” Odar said. “Like letting go of some love affair.” indiewire.com

4 Shows All Vikings Fans Should Watch Next Have you finished History Channel's Vikings and are looking for what show to watch next? The drama about the Norse warriors of the 8th and 9th Centuries who sacked and pillaged their way across Europe borrows from both truth and fiction, and creator Michael Hirst has crafted a series packed with unique culture, fascinating characters, and brutal battles. Unfortunately, Vikings is preparing for its series finale later this year (the show is currently in the middle of its sixth and final season, but there is a Netflix spin-off coming soon), so it's time to look beyond Kattegat for the show you should watch after you finish Vikings. We've plowed through all of TV to find shows that all Vikings fans will love. Not all are about Vikings; some follow other groups of warriors throughout history, and some feature more of the medieval swords and shields battles that Vikings has become famous for. If you're here for more history or just here to see someone get their head cut off, you'll find what you need in these shows that are similar to Vikings. Looking for more recommendations of what to watch next? We have a ton of them! We also have recommendations for the best historical dramas on Netflix and best supernatural shows to watch right now. Game of Thrones : We'll start with the obvious pick: HBO's Game of Thrones. In fact, since Game of Thrones predates Vikings by a few years, it's quite possible you found Vikings because of your love of Game of Thrones. But if for some reason you haven't seen Game of Thrones, then a) where have you been? and b) you'll find the only show in the last decade that has better battle scenes than Vikings does. And contrary to what you may have been told, Game of Thrones doesn't emphasize fantasy elements. Yes, there are dragons, but when author George R.R. Martin crafted the story, he based it on history, specifically the War of the Roses in which several different families laid claim to the crown. It's your call whether you want to watch the final two seasons, which sadly didn't live up to the rest of the show. The Last Kingdom : Of all the shows on this list, The Last Kingdom is going to be most like Vikings, and should be your first stop if you're trying to relive the thrills of Ragnar and company. Based on Bernard Cornwell's Saxon Stories, The Last Kingdom nearly overlaps with the events of Vikings (which begins in 793), starting with the 866 Viking conquest of York. The show's hero is Uhtred of Bebbanburg, a Saxon who is adopted by invading Vikings and raised as one of their own after the Vikings conquer his homeland, pulling him in two different directions as he has the blood of a Saxon but came of age as a Danish Viking. As the two shows are loosely based on the same history, some characters appear in both shows at different ages in similar stories separated by a generation of history. Spartacus : You know what? It's OK to like Vikings for its bloodletting. And if it's spurting crimson you want, it's a tidal wave you'll get in the Starz series Spartacus. One of the most brutal and violent series ever, Spartacus is set in 72 B.C in the Roman Empire and follows the gladiators who made murder a sport, which Spartacus is more than happy to show off in artfully cinematic ways. And in keeping with the hedonism of the times, the show is also loaded with sex and nudity, because I know that's also your thing. The Witcher : If Vikings' complex political drama is what intrigues you, you'll get a faceful of the same in Netflix's The Witcher. It's far more fantasy-based, however, spectacularly bringing Polish author Andrzej Sapkowski's novels about a monster hunter fulfilling an unknown destiny to the small screen, while also laying out an expansive battle for a continent between a brutish empire and several independent nation-states. Plus, Henry Cavill is the only other charismatic sword-swinging hunk who can hold a candle to Travis Fimmel. www.tvguide.com

Brie Larson Revealed She Auditioned for ‘The Hunger Games,’ ‘Star Wars,’ And The ‘Terminator’ Reboot There are plenty of intriguing “what if” casting stories in Hollywood, where now-known actors auditioned for roles that they didn’t get, before the movie ended up being incredibly successful. There’s Jake Gyllenhaal auditioning for “Lord of the Rings,” Gwyneth Paltrow in “Jurassic Park” or Kurt Russell‘s auditioning to play Han Solo. The latest actor to reveal the major roles they auditioned for? Brie Larson, who revealed she auditioned for “The Hunger Games,” the “Terminator” reboot, and also “Star Wars.” Larson revealed her unsuccessful auditions during the first video on her newly launched Youtube channel . Though Larson is now busy being part of the Marvel Cinematic Universe as Captain Marvel, she opened up about how she could have been part of the galaxy far, far away. “I auditioned for ‘Star Wars’ too,” the actor admitted. “I auditioned for ‘Hunger Games’, I auditioned for the ‘Terminator’ reboot. I actually was thinking about the ‘Terminator’ reboot today because I got a flat tire and I was like, ‘Oh the last time I got a flat tire was when I was driving into my audition for Terminator. Got a flat tire at the audition, and then didn’t get the job.” Though Larson didn’t reveal which roles she auditioned for, it’s not hard to guess that her “Star Wars” audition was to play either Rey or Jyn Erso — since there, unfortunately, haven’t been that many female roles in “Star Wars” even if it’s improved from the first two trilogies. When it comes to “The Hunger Games” and the “Terminator” reboot — most likely “Terminator: Genisys” — it seems likely that Larson auditioned for Katniss Everdeen and Sarah Connor, respectively. Though, due to Larson’s lack of experience with big franchises at the time, it is also possible she auditioned for supporting roles. theplaylist.net

‘Blasphemous’ Film ‘Habit’ Starring Paris Jackson as Jesus Sparks Petition to Block Release Nearly 300,000 people have signed a petition aiming to block the release of the independent film “Habit,” starring Bella Thorne and Paris Jackson, in which Jackson plays a version of Jesus. Thorne plays a street-smart, party girl who has a Jesus fetish and finds herself in a drug deal gone wrong. She’s able to escape danger by disguising herself as a nun. Multiple times in the film, Jackson appears as Jesus to her. “A new blasphemous Hollywood film is predicted to come out soon depicting Jesus as a lesbian woman. The film ‘Habit’ stars Paris Jackson who plays the role of ‘lesbian Jesus.’ Distributors haven’t picked it up as of yet, so let’s please spread awareness and wake people up to the Christianophobic garbage that is spread nowadays, but is somehow accepted and praised by society,” reads the description of the petition. However, there is no indication in the film’s current promotional materials or logline that Jackson’s depiction of Jesus is a lesbian. “Habit” is in post-production as it finished shooting before coronavirus shut down most projects in Hollywood in mid March. It currently does not have a release date. The cast also includes Hana Mae Lee, Gavin Rossdale, Caroline D’Amore, Josie Ho, Andreja Pejic, Larissa Andrade, Libby Mintz, Jamie Hince, Ada Mogilevsky, Damon Lawner and Michael Suppes. Janell Shirtcliff is directing the film from a script by Suki Kaiser, based on a story by Libby Mintz and Shirtcliff. Elevated Films, Donovan Leitch, 852 Films, Martingale Pictures, Voltage Pictures and Cloudlight are the producers on the film. variety.com

How TikTok Users Boosted the NSFW Film ‘Love’ From 2015 Into Netflix’s Top 10 In February, Netflix began to feature daily Top 10 lists on its user interface to showcase what films and television shows had the highest streaming numbers. Although the feature doesn’t include exact numbers, it offers a glimpse into what is being watched on Netflix, which has historically held its data close to the chest. While the rankings are usually composed of a combination of new releases and content recently licensed to the platform, a particularly odd film appeared at No. 5 on the top 10 movies list on June 24 and has stayed in the rankings ever since: the 2015 erotic art film “Love.” Directed by French-based Argentine filmmaker Gaspar Noé, who has made other films with explicit content like “Irreversible” and “Climax,” the film examines how a relationship between two young people shifts when they invite a third person into their bed. “Love” has been available to watch on the streamer since 2017. However, it’s enjoyed a new boost in popularity due to a viral challenge being shared among TikTok users to watch the first scene and record their reaction. The film opens with an unsimulated sex scene between the two lead actors, one of several throughout its runtime. The phenomenon began with a video uploaded by user bella_ashey, who recommended the film based on the popularity of the new erotic Polish drama “365 Days,” which has also attracted a large audience on Netflix, ranking as one of the top 10 movies since June 8. “If you’ve seen 365 Days and you liked it, go watch ‘Love’ on Netflix and use this sound to record yourself watching the very beginning. I mean the very beginning. Hit play and record yourself and let’s see your reaction,” she says in the video. “Every teenager that I can think of has watched [365 Days] and we kind of all fell in love with the main characters,” said TikTok user Isela Sule, one of hundreds who recorded their reaction. “It brought us to a movie called ‘Love…’ In the beginning of the movie we were supposed to show our face reaction… But, that’s how it all started with 365 Days.” With many “365 Days” viewers now watching “Love,” it’s also likely that Netflix’s algorithms are suggesting the latter film to those who have watched the former, independently suggesting the film outside of the TikTok challenge. “My friend sent me a link to the challenge and told me I should do it,” said Stephanie Trucco, another TikTok user. “It actually really caught me by surprise. And I didn’t think it was going to be anything, like when I did the challenge I thought ‘How bad could it be? Is it someone getting murdered?’ I don’t even know. I didn’t think it would have any shock value and when I turned it on I was like, ‘Oh my god, yeah, this is really big shock value.” Both Trucco and Sule’s reaction videos have garnered thousands of views, as has Christopher Olsen and his partner Ian Paget’s, who went a step beyond a visual reaction by featuring their own vocal commentary on the opening scene. Olsen expressed astonishment over the film being featured prominently on the streamer’s top 10 considering its explicit content. “You’d think just anyone would click on a top 10 movie as that’s a good indicator of it’s popular or good,” Olsen said. “You’re not really getting anything vulgar from it. You’re just kind of watching this very calming scene of lovers pleasuring each other and it ends once the man has finished, which they show. So you’re really not getting anything left out of the imagination… It’s kind of insane because I wonder if my dad is going to press it. ‘Oh what’s Love? That’s on the top 10?'” However, it’s notable that none of the users interviewed for the piece actually ended up watching the entire movie, suggesting that the film has reached the top 10 even with many viewers only sticking with the film for its first few moments. In January, Netflix announced that the streamer counts just two minutes of streaming as a view. “The whole movie is sexual, so I didn’t get to finish it because I felt very disturbed,” Sule said. “I watched like an hour of it and it progresses very slowly,” Trucco said. “[It’s] like two and a half hours long, just a lot of back and forth and a lot of flashbacks and stuff. It got a little boring for me. “ “We were told to watch the full movie so we may do a full reaction to that after,” Olsen said. “I did scroll over what the rest of the movie looks like. The first scene is really just scratching the surface of what we’re going to get into… We’re going to have to do a full review, but it definitely just increases from there.” The licensing rights to “Love” are set to expire in August, meaning Olsen, Paget and other curious viewers will only be able to watch the entire film for another month. However, if it only takes an immediately shocking opening that viewers want to share for a film to reach the top 10, it would only seem to be a matter of time before another viral challenge pushes an older release into an unexpected second wave of popularity. variety.com

Procedures This time we need to write our own procedures that can be used by our applications. In the next example we have written two procedures: SayHello and SayGoodbye: program Structured; uses cthreads, Classes; procedure SayHello; begin Writeln('Hello there'); end; procedure SayGoodbye; begin Writeln('Good bye'); end; begin // Here main application starts Writeln('This is the main application started'); SayHello; Writeln('This is structured application'); SayGoodbye; Readln; end. We see that the procedure looks like a small program, with its own begin..end, and it can be called from the main application's code. Parameters In the next example, we introduce parameters, which are variables passed to a procedure when calling it: procedure WriteSumm(x, y: Integer); begin Writeln('The summation of ', x, ' + ', y, ' = ', x + y) end; begin WriteSumm(2, 7); Write('Press enter key to close'); Readln; end. In the main application, we have called the WriteSumm procedure and passed the values 2, 7 to it, and the procedure will receive them in x, y integer variables to write the summation result of them.

‘Mulan’ Moves Release Date To August 21 With NY, LA & China Theaters Still Not Open It’s official — at least for the time being: Disney said Friday it is moving Niki Caro’s Mulan release date from July 25 to August 21, the weekend after Tenet‘s five-day opening from August 12-16. We were hearing noise about this earlier this week, as we told you, with COVID-19 cases surging nationwide and theaters reopening in New York, Los Angeles and China up in the air. Even though California has provided guidelines for cinemas to reopen, Los Angeles County hasn’t given the go-ahead yet. The good news here for exhibition is that Disney has a plan to open Mulan in the near future, close to Tenet and not during the holidays or 2021 (or even on Disney+, for that matter). Mulan‘s moola will be greatly appreciated. “While the pandemic has changed our release plans for Mulan and we will continue to be flexible as conditions require, it has not changed our belief in the power of this film and its message of hope and perseverance,” said Alan Horn, co-chairman and chief creative officer, and Alan Bergman, co-chairman, The Walt Disney Studios. “Director Niki Caro and our cast and crew have created a beautiful, epic, and moving film that is everything the cinematic experience should be, and that’s where we believe it belongs – on the world stage and the big screen for audiences around the globe to enjoy together.” What happens now is we’ll likely see the cinemas, such as AMC, shift their reopening schedule. What was July 10 for the No. 1 circuit’s reopening will likely become July 31, with tiered reopenings occurring August 7 and August 12. I hear Cinemark is reopening 75 theaters next weekend and will rely, natch, on catalog product; that’s from a source, not one of the chain’s insiders. For the most part, the majority of the nation’s exhibitors will be near a 4 1/2-month shutdown come July 31 due to the COVID-19 pandemic. We’ll hammer out a revised summer (what is now turning into fall) release schedule after we see where Solstice Studios puts Unhinged, Sony puts Broken Hearts Gallery, and where STX places Greenland. MGM just moved Bill & Ted Face the Music from August 14 to August 28 after Tenet plopped on its release date. deadline.com

Streaming: gaslighting films that will have you doubting your sanity The Invisible Man, now available to stream, is the latest in cinema’s chilling tradition of psychodramas, from Gaslight to The Girl on the Train. In the before times, when films were still being released in cinemas, The Invisible Man staked an early claim as the year’s best mainstream blockbuster. A steely, sharp-witted reimagination of a dusty old Universal fantasy franchise, Leigh Whannell’s film succeeded by flipping audience expectations of whose story to tell from its far-fetched premise: not the millionaire playboy scientist who discovers ingenious means of invisibility, but the ordinary, unassuming woman – played with frenzied commitment by Elisabeth Moss – he chooses to torment with these powers, in ways only she can see and feel. Now out on streaming and DVD, it’s a horror film that assumes the victim’s perspective in ways both bracing and classical: there may be a rich tradition of imperilled horror heroines pursued by violent, insistent men, but The Invisible Man builds her plight as a thoroughly era-attuned meditation on toxic masculinity and the difficulty that victimised women often have in being believed. Among its many virtues, Whannell’s film offers a perfect metaphorical primer on the concept of “gaslighting” – a buzzword often thrown about these days to refer to any form of lying. Its true meaning, that of undermining someone’s trust in their own sanity, is a rather more subtle, insidious process, presented here to maximum claustrophobic effect. Cinema, of course, has a rich tradition of gaslighting thrillers, beginning with the one that popularised the term in the first place. The Invisible Man carries no small amount of DNA from Gaslight, the 1940s psychodrama based on a Patrick Hamilton play, with its Victorian story of a dastardly husband manipulating his new bride’s psyche, beginning with the simple hiding and moving of objects in the home. It was filmed twice in four years: the original British version from 1940 (available on Amazon) is tighter and a little more ghoulish, but the 1944 Hollywood remake (on Chili) benefits from swoonily lush production values and the Oscar-winning emotional turbulence of Ingrid Bergman’s performance: gaslighting has certainly never been more beautiful than it is here. The gaslit woman has subsequently become a regular trope in Hollywood suspense and horror cinema. In 1964, Bette Davis’s doddery heiress was cunningly tilted toward madness by her wily, money-grubbing cousin Olivia de Havilland in Hush... Hush, Sweet Charlotte (on iTunes), a shadowy, slow-burning slab of Southern gothic that has aged rather elegantly. It was intended as a follow-up to Whatever Happened to Baby Jane until Joan Crawford declined to work with Davis again: instead, Crawford opted to play the hysterically gaslit, axe-murdering protagonist of Strait-Jacket (on Amazon), an unabashed B-movie that exploits the most lurid (not to mention ableist) possibilities of the premise: “Warning! Strait-Jacket vividly depicts axe murders!” screamed the poster, so you know where you are with this one. But it’s a high-camp hoot. Gaslighting stories aren’t limited to the thriller genre, of course. Humidly expanded by Tennessee Williams and Gore Vidal from a one-act play by the former, Suddenly, Last Summer (on Amazon) proved it could be the foundation of full-blown melodrama. Wealthy dowager Katharine Hepburn is so desperate to refute the mental stability of her psychologically fragile niece Elizabeth Taylor – and thus suppress a supposedly unsavoury family secret – that she pushes for a lobotomy. It’s deliciously overheated stuff, but the performances give it cruel emotional weight. Fast-forwarding to the 1980s, Overboard (on iTunes) attempted the unlikely balancing act of a gaslighting romcom, as snooty rich girl Goldie Hawn is afflicted with the kind of convenient movie amnesia that makes it a cinch for opportunistic carpenter Kurt Russell to swan in and claim he was her husband all along. The film relies on the couple’s sparky chemistry to make it seem cuter than it is: perhaps it should have been a thriller after all. Recently, the gaslighting trope has returned to its more familiar context. Angelina Jolie in Clint Eastwood’s handsome, mournful Changeling (on Netflix) and Emily Blunt in the glossy trash diversion The Girl on the Train (on Amazon) both get put through the ringer, encouraged by patriarchal authorities to disbelieve their own eyes. In Steven Soderbergh’s grimy, gripping Unsane (free on Amazon Prime), Claire Foy is scammed into entering an institution, made to wonder if she belongs there or not. The fast-progressing conversation around mental health is taking this subgenre into new, more nuanced territory – though as The Invisible Man shows tensely, movie gaslighters will thrive as long as women aren’t believed. www.theguardian.com

New ‘Pirates of the Caribbean’ Movie Will Star Margot Robbie, With Script From ‘Birds of Prey’ Screenwriter Christina Hodson Yo-ho, yo-ho, it’s a pirate’s life for Margot Robbie. The Birds of Prey and Once Upon a Time in Hollywood star is hoisting the mainsail and swabbing the poop and doing other naval terms you’ve heard in movies but don’t know what they mean, because she’s set to star in a new Pirates of the Caribbean movie at Disney. And she’s brought along Birds of Prey and Bumblebee screenwriter Christina Hodson for the ride. The Hollywood Reporter has the story and it certainly paints an interesting picture: Disney is seemingly ready to go all-in on bringing the Pirates franchise back to life. This film is separate from the franchise reboot announced last year, which writers Ted Elliott and Craig Mazin are still developing. But like that project, this one will bear the famed Pirates of the Caribbean name while tossing much of the baggage overboard. Namely, these new films will be free of Johnny Depp and Captain Jack Sparrow, a character who became exceedingly tiresome over the course of the increasingly turgid sequels. (That first film though? Still great.) THR notes that the Robbie/Hodson joint is “not intended to be a spinoff,” but rather a “wholly original story with new characters under the Pirates moniker.” This suggests that Disney may be taking a cue from the Marvel Cinematic Universe, where the world that the franchise is set in is often the main draw, rather than a single leading man or character. And considering how cool the supernatural and swashbuckling Pirates of the Caribbean universe was before it collapsed under its own weight…count me in. While plot details are unknown at this time, it’s worth noting that the Pirates of the Caribbean theme park attraction (upon which the films are loosely based) recently received a significant upgrade: a badass, redheaded female pirate, replacing one of the ride’s more socially questionable sequences. Rumors have swirled since then that this could be the seed for a future film and now, a female-fronted entry in the series has appeared on the horizon. Coincidence? Maybe! But I’m wondering if Margot Robbie has started trying on red wigs. While Birds of Prey was a box office disappointment, the general consensus around the film is that it is pretty darn good. The same could be said for Bumblebee, which benefitted hugely from Hodson’s grounded screenplay. This all sounds very promising and if Disney sees the Pirates of the Caribbean series as an excuse to tell spooky adventure stories set on the high seas without Johnny Depp weighing the whole thing down, this could be a fascinating reboot of a once-promising franchise. www.slashfilm.com

‘The Office,’ ‘Family Guy,’ ‘Simpsons,’ Making Changes After Criticisms of Racial Insensitivity A scene from "The Office" containing blackface has been edited out, while the voice actor for Cleveland Brown on "Family Guy" is quitting. “The Office,” “Family Guy,” and “The Simpsons” are the latest television shows to make changes amid the nation’s ongoing protests regarding systemic racism and police brutality. The Wrap reports that a Season 9 episode of “The Office,” titled “Dwight’s Christmas,” has been edited to remove a scene where a character engages in blackface. The old version of the episode has been removed from Netflix and will not appear on Peacock when the series moves to NBCUniversal’s streaming service next year. The old version of the episode will be replaced with the updated version for syndication airings, according to the publication. “‘The Office’ is about a group of people trying to work together with mutual respect despite the inappropriate actions of their boss and assistant manager,” series creator Greg Daniels said in a statement to The Wrap. “The show employed satire to expose unacceptable behavior and deliver a message of inclusion. Today we cut a shot of an actor wearing blackface that was used to criticize a specific racist European practice. Blackface is unacceptable and making the point so graphically is hurtful and wrong. I am sorry for the pain that caused.” “The Office” wasn’t the only television show to make headlines for racially-related changes on Friday. Mike Henry, who voiced Cleveland Brown on “Family Guy” for two decades, announced on Twitter he would step down from the role. Henry announced his decision following reports that Jenny Slate and Kristen Bell would no longer voice Black characters on Netflix’s “Big Mouth” and Apple TV+’s “Central Park,” respectively. As for “The Simpsons,” which has been the subject of criticism since 2017’s “The Problem With Apu,” the show’s producers announced on Friday that white actors will no longer portray non-white characters. Hank Azaria, who portrayed Apu on the show, announced he would no longer voice the character on the series earlier in the year. The changes at the three shows were announced after weeks of headlines regarding the removal of racially-insensitive television episodes from various platforms. Episodes of several shows that contained blackface, such as NBCUniversal’s “30 Rock,” have been removed from streaming and syndication. Netflix recently removed the entire “Little Britain” series from the platform due to the show’s use of blackface. www.indiewire.com

‘The Boys’ Season 2 Gets Premiere Date From Amazon Prime Amazon Prime Video’s superhero satire The Boys will premiere the first three episodes of its second season Friday, September 4, the streamer announced today, with new episodes available each Friday until the season finale on Oct. 9. The dates were announced during a streaming event today hosted by Season 2 guest star Patton Oswalt. Creator and executive producer Kripke said in a statement that Season 2 will be “crazier, stranger, more intense, more emotional,” and joked that “the Surgeon General has insisted we air the first three episodes on September 4, then air the remaining five episodes weekly after that. We wanted to give you time to freak out, digest, discuss, come down from the high, before we give you another dose. We only have your well-being in mind. Hope you love the season as much as we do.” The new season will find The Boys on the run from the law, hunted by the Supes, and trying to regroup and fight back against Vought. In hiding, Hughie (Jack Quaid), Mother’s Milk (Laz Alonso), Frenchie (Tomer Capon) and Kimiko (Karen Fukuhara) try to adjust to a new normal, with Butcher (Karl Urban) nowhere to be found. Meanwhile, Starlight (Erin Moriarty) must navigate her place in The Seven as Homelander (Antony Starr) sets his sights on taking complete control. His power is threatened with the addition of Stormfront (Aya Cash), a social media-savvy new Supe, who has an agenda of her own. On top of that, the Supervillain threat takes center stage and makes waves as Vought seeks to capitalize on the nation’s paranoia. The Supes of The Seven also include Queen Maeve (Dominique McElligott), A-Train (Jessie T. Usher), The Deep (Chace Crawford) and Black Noir (Nathan Mitchell). Recurring stars in the upcoming season include Claudia Doumit, Goran Visnijc, Malcolm Barrett, Colby Minifie, Shantel VanSanten, Cameron Crovetti, PJ Byrne, Laila Robbins and Giancarlo Esposito returning as Vought boss Stan Edgar, among others. The eight-episode Amazon Original series will be available on Prime Video in more than 200 territories around the world, and is produced by Amazon Studios and Sony Pictures Television Studios with Point Grey Pictures, Kripke Enterprises and Original Film. deadline.com

Word Counter This is a small program that allows you to count how many words there are in a text. Here is the script : program counter; uses crt; var text: string; x, c: Integer; procedure count; begin delete (text, x, 1); c:= c+1; end; begin textcolor(white); writeln('Welcome to the word counter'); write('enter the text : '); textcolor(lightblue); readln(text); textcolor(white); c:= 0; repeat begin x:= pos(' ', text); count; end; until(x = 0); If c < 20 then writeln('There is ' ,c, ' words.') Else writeln('There is ' ,c, ' word.'); readkey; end. This counter works by eliminating every time a space from the text and adds +1 in each loop until the number of spaces is zero (position is zero). PS : the position of x should be also integrated in the loop so that the variable gets the new position on each time the loop works.

What's the language ?

That's me ???