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MrShooter

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  1. Apple devices without 3D Touch can now use trackpad mode to precisely place a cursor for editing Apple's trackpad mode is a great way to make corrections when you're editing text on your iOS device. It allows the user to turn the virtual QWERTY on his iPhone into a trackpad that can be used for more precise placement of the cursor on the screen. Up until now, this feature was available only on iOS devices that had 3D Touch, which meant that all iPads and iPod touch models could not use it. That is, until iOS 12 was launched. With iOS 12, the trackpad mode can be used on all Apple devices that run the latest iOS build. That means that Apple iPhone 5s and later can use the feature as can the Apple iPod touch (6th generation), all Apple iPad Pro and iPad Air tablets, the iPad mini 2 and up, and the fifth and sixth generation iPads. To activate the feature on those models with 3D Touch, deep press anywhere on the virtual QWERTY. With the mode enabled, those using a device with 3D Touch can select a specific word by deep pressing on it. A complete paragraph can be highlighted pressing even deeper into the screen. Devices without 3D Touch can also can enable the trackpad mode with a long press on the space bar. A long press on the space bar followed by a tap anywhere on the keyboard will open a text selection mode that will allow you to select text by moving your thumb up and down. Keep in mind that on those iOS 12 devices running 3D Touch, you need to deep press on the screen. This means pushing down on the glass harder than normal. Those devices without 3D Touch respond to a long touch, which is based on time, not the amount of pressure placed on the screen. There is a difference. And we should point out that you'll know the mode is enabled when the letters disappear from the QWERTY keys, leaving them blank (See image at the top of this article).
  2. New Zealand could become the next country to adopt pirate site blocking. Sky TV will take the matter to court this year, hoping to force local ISPs to block The Pirate Bay and an unnamed sports streaming site. New research released by the company shows that action is needed and also supported by the majority of the public. Earlier this year Hollywood’s Motion Picture Distributors’ Association stated that site-blocking was the only option left to beat online piracy. While it’s impossible to completely eradicate the phenomenon, rightsholders generally see ISP blockades as one of the most effective tools at their disposal. This is also true for Sky TV New Zealand. Last year the company took its first steps in this direction, and it is now pushing on. Newsroom reports that Sky hopes to file a lawsuit targeting The Pirate Bay and an unnamed sports streaming site before the end of the year. The company just released the results of an extensive piracy survey which shows that 29% of all New Zealanders have pirated sport and entertainment during the last month. The majority of pirates prefer streaming, but downloading and pirate boxes are popular too. “We’ve known that piracy is a problem for a while, but the scale is even bigger than we thought,” SKY spokesperson Sophie Moloney says. “If piracy remains unchecked, it risks really hurting the sports and entertainment industry in New Zealand, and our ability to create great content,” she adds. The lacking availability of legal viewing options is the main reason why people pirate, the research reveals. Legal content is either not available or it’s significantly delayed. Interestingly, non-pirates believe that people mainly turn to unauthorized offerings to avoid paying. Sky TV, however, believes that there are plenty of legal option and will push its blocking plans through. “Other countries are taking steps to stop piracy and encourage people not to steal content, and we want to do the same here in New Zealand, including by way of blocking pirate websites,” Sky TV’s Moloney says. Surprisingly, there is even support for this effort among self-proclaimed pirates. Just over half of all pirates agreed that they “would be happy for my ISP to block access to a piracy website if it was required by a court to do so.” This is also preferred over other options, such as tighter regulation or lawsuits against individual pirates. “Site-blocking is used in 42 countries around the world, including Australia and the UK. It’s good to see that many New Zealanders would prefer that these dodgy sites are blocked from view using this approach,” Moloney notes. Whether Internet providers feel the same way has yet to be seen. When Sky TV first announced its blocking intentions last year, local ISPs responded critically. “SKY’s call that sites be blacklisted on their say so is dinosaur behavior, something you would expect in North Korea, not in New Zealand. It isn’t our job to police the Internet and it sure as hell isn’t SKY’s either, all sites should be equal and open,” said Taryn Hamilton of local IPS Vocus at the time. ISPs instead pointed out that rightsholders should focus on improving the legal options. And with Sky TV’s research revealing ‘limited legal options’ as the main motivation to pirate, they are likely to stick with this. Source: Torrentfreak.com
  3. TorrentHeaven News - New domain Site has moved to a new domain: Code: https://newheaven.nl
  4. HD4Free BeyondHD ( high rank buffer + invite ) Blutopia Proof received Good luck
  5. “New Amsterdam,” like the mammoth hospital it’s set in, has a whole lot of enthusiasm and too many areas in which to direct it. Based on Dr. Eric Manheimer’s book on New York City’s Bellevue Hospital (“Twelve Patients: Life and Death at Bellevue Hospital”), NBC’s new medical drama paints a simultaneously promising, bleak, and (unintentionally) absurd picture of how a public hospital built on good intentions went awry. As Max Goodwin (Ryan Eggold) tells a roomful of skeptical employees on his first day as their latest medical director, the hospital needs to find its way back to patient care after taking advantage of its celebrity status for too long. This isn’t necessarily a bad way into a TV show. The problem is that no matter how many side characters and plots the series adds into the mix — and it adds a lot — the doctor who’s supposed to be its main catalyst for change is so irritating that he ends up overshadowing the more promising elements. Eggold’s Max is such a hilarious version of TV’s long beloved “doctor who doesn’t play by the rules” archetype that it’s difficult to ever take him all that seriously. He’s framed as a Man of the People after he reveals he can speak Spanish to the janitorial staff. He aims for benevolence with a tilted head and pleasant catchphrase (“how can I help?”), even as he slashes and burns the hospital’s workforce after assuming he knows everything about every department after spending approximately 30 seconds looking at them. When the more experienced New Amsterdam employees — usually women and/or people of color — around him point out that he perhaps made a hasty decision in firing the entire cardiac surgery department on sight, he takes their suggestions and reframes them as his own. Maybe realizing that Max might not be quite as sympathetic as the show needs him to be, the pilot episode of “New Amsterdam” gives him two significant life hurdles — a pregnant, estranged wife and a secret illness — in a blatant effort to humanize him. But again: just like the hospital, the show’s best attributes work in spite of Max’s efforts, not because of them. The supporting cast of “New Amsterdam” does its level best to rise above the material from wildly different sectors of the hospital. Over in the emergency room, Janet Montgomery’s Laura Bloom is whipsmart and matter of fact about the harder parts of her job. She’s a bright spot, or at least she is whenever the show’s not forcing romantic chemistry between her and Jocko Sims’ cardiac surgeon Floyd who, again, would be better off without their unconvincing flirtation. Iggy (Tyler Labine) works with sick and displaced children; physician Anil (the ever reliable Anupam Kher) floats in between them all. Elsewhere, however, Freema Agyeman is almost completely wasted as Hana Sharpe, a talented doctor who got too caught up in New Amsterdam’s PR game to practice medicine. She knows New Amsterdam like the back of her hand, but Max doesn’t understand or care why she needs to occasionally go on TV to raise awareness and money in order for it to keep running. So even though Hana starts off as a promising (and necessary) counterbalance to Max’s schemes, she quickly becomes all about his vision once the script decides he needs her on his side. “New Amsterdam,” like its supposed hero, ostensibly has good intentions. It wants to do a medical show with an inclusive cast that can, thanks to the hospital’s public standing and sprawling services, tell stories about a wider swath of people. But in the meantime, it’s weighed down by an albatross of a main character who, despite his best and oft expressed wishes, isn’t helping much at all. Drama, 60 minutes. Premieres Tuesday, Sept. 25at 10 p.m. on NBC. Cast: Ryan Eggold, Freema Agyeman, Janet Montgomery, Jocko Sims, Anupam Kher and Tyler Labine. Crew: Executive producers: David Schulner, Kate Dennis, Peter Horton, Dr. Eric Manheimer. TV Review: NBC's 'New Amsterdam'
  6. With Warner Bros. and DC entertainment getting closer to assembling its team for its Harley Quinn pic “Birds of Prey,” the studio has dated the film for Feb. 7, 2020. Cathy Yan is directing with Margot Robbie reprising her role of Quinn, which she first put on display in “Suicide Squad.” Sue Kroll, Robbie and Brian Unkeless are producing. Plot details are vague at the moment but will focus on Robbie assembling a team of superheroes including Black Canary, Huntress and Renee Montoya, to battle an evil crime lord, who has yet to be unveiled. Reports surfaced last week that several actresses tested with Robbie including Mary Elizabeth Winstead, Gugu Mbatha-Raw, Jurnee Smolett-Bell, Margaret Qualley and Cristin Milioti. Sources add that the studio may possibly do another round of tests this week but have not determined if it would be a new round of women or same group. The pic is aiming to start shooting at the top of 2019. As of right now, several films are expected to bow in February 2020 including “Bond 25” which recently moved its date after it had to replace Danny Boyle with Cary Jo Fukunaga as director. The sequel to the Sony hit “Peter Rabbit” also bows that month. Yan’s first feature was “Dead Pigs,” which won a special jury prize at Sundance.
  7. Mel Gibson is coming on to write and direct a remake of the classic Sam Peckinpah western “The Wild Bunch” at Warner Bros. Gibson will co-write with Bryan Bagby and also exec produce the pic. The project is based on the classic Peckinpah film that follows an aging group of outlaws look for one last big score even as what they viewed as the wild west is slowly passing them by. The pic had an all-star cast that included William Holden, Ernest Borgnine, Robert Ryan, Edmond O’Brien, Warren Oates, Jaime Sanchez and Ben Johnson. Project marks the first directing gig for Gibson since 2016’s “Hacksaw Ridge,” which earned him an Oscar nomination as director. It’s unknown if Gibson’s “Wild Bunch” will be a straight remake or a different story. WB has been trying to get the reboot off the ground for years and at one point had Will Smith interested in starring. As for when Gibson will shoot “The Wild Bunch” remains a mystery. He’s also trying to get his World War II film “Destroyer” into production. That film, with Mark Wahlberg attached to star, is currently looking for financing.
  8. High Fidelity, the TV series for Disney's forthcoming streaming service, has found its lead. Zoe Kravitz has been tapped to star in the reboot of the 2000 film take on Nick Hornby's novel. The 10-episode series is described as a reimagining of the movie and book and told from the female point of view. Kravitz, who will take on the role portrayed by John Cusack in the film, will star as the ultimate music fan and record store owner who is obsessed with pop culture and top-five lists. The actress also will executive produce. Kravitz is the daughter of musician/actor Lenny Kravitz and actress Lisa Bonet, with the latter having played Cusack's ex-girlfriend Marie DeSalle in the original pic. Veronica West and Sarah Kucserka created the High Fidelity TV series for the forthcoming Disney streaming service. They will also exec produce alongside Midnight Radio's Josh Appelbaum, Andre Nemec, Jeff Pinkner and Scott Rosenberg. The unnamed direct-to-consumer streaming service is set to launch in late 2019 and feature a mix of original and library content from Disney's feature film and TV groups, Pixar Animation, Marvel Entertainment and Lucasfilm.
  9. Adam Levine, Blake Shelton, Kelly Clarkson and Jennifer Hudson are back. The Voice returned for its 15th season on NBC tonight, with Blake Shelton, Adam Levine, Kelly Clarkson and Jennifer Hudson settling into the coach seats for the Blind Auditions. Coaches have one block this round, which they can use to disqualify another coach from the running. First up was 15-year-old singer Sarah Grace, singing “Ball and Chain” by Janis Joplin. She has experience playing piano in a band with her family and gravitates toward the blues. Clarkson turned first, followed by Shelton and Hudson. Clarkson praised her “stank face” while performing, and Hudson similarly said she could sense her strong stage presence without even seeing her. Grace joined Team Kelly. Tyshawn Colquitt, who has a cake business with his mother, was up next. He sang “Like I Can” by Sam Smith, turning the chairs of Hudson and Shelton with his smooth voice and warm tone. Colquitt seemed to have his mind made up before the coaches even made their pitches: He joined Team Jennifer. “Your voice is limitless,” Hudson said. The 17-year-old artist Tyke James gave a folky performance of “Perfect” by Ed Sheeran next, accompanying himself on the guitar. Levine was the only coach to turn, so he joined Team Adam by default. Ayanna Joni, who has worked professionally as an actor and singer, came to The Voice hoping to take her career to the next level. She sang “Sorry Not Sorry” by Demi Lovato and had some pitch issues, so she didn’t turn any chairs. However, she was chosen as a comeback artist, which means she will compete against other Blind Auditions rejects in The Voice’s online series The Comeback Stage and possibly rejoin the main competition later in the season. After failing to turn a chair last season, Mercedes Ferreira-Dias came back to sing Sara Bareilles, vowing not to hold back this time. Sure enough, she snagged two turns at the last second this time around, with Shelton and Clarkson going head-to-head for the artist. She surprised by joining Team Blake despite being a better genre fit for Clarkson’s team. The next artist, 19-year-old Radha, cited her father as one of her musical inspirations. She sang “Mama Knows Best” by Jessie J and impressed Levine, Hudson and Shelton. Levine chose to block Hudson, which worked in his favor, because Radha joined Team Adam. “I think you could win, and I think it’s with me,” Levine said. Kameron Marlowe sang “One Number Away” by Luke Combs. He was a straightforward, radio-ready country artist, so Shelton obviously turned. But Clarkson through her hat in the ring, too. A big Shelton fan, Marlowe unsurprisingly joined Team Blake. Clarkson got another chance to go for a country artist when Mikele Buck took the stage with his performance of “She Used To Be Mine” by Brooks & Dunn. Clarkson and Shelton both turned again, but this time Team Kelly landed the country artist, with some backup support from Levine. Sam Hastings’ performance of “Angela” by The Lumineers did not turn any chairs. Patrique Fortson was the second-to-last artist of the night. He gave a soulful performance of “Get Here” by Oleta Adams. Fortson recorded a gospel album when he was just 7-years-old, and his experience came through in his audition. Levine and Hudson both turned. As is The Voice tradition, the first night of the Blind Auditions ended with a four-chair turn. It went to 13-year-old artist Kennedy Holmes, who sang “Turning Tables” by Adele. “I think you’re the best vocalist that has auditioned this year,” Shelton said. “You sound so beautiful,” Clarkson added. Hudson pulled out the move where she gets on stage and sings with the artist, and it did the trick: After their brief duet of Hudson’s own “I Am Changing,” Holmes joined Team Jennifer. The Blind Auditions continue tomorrow night on NBC.
  10. Plus, what lessons Jeff Rake learned from a post-'Lost' world. [This story contains spoilers from the series premiere of NBC's Manifest.] During Monday's series premiere of NBC's Manifest, Flight 828 re-emerged after going missing for more than five years. But that was just the start of the mystery for its passengers. Siblings Ben (Josh Dallas) and Michaela Stone (Melissa Roxburgh) had a rocky reunion with their loved ones after years apart. In the time they were gone: their mother passed; Michaela’s almost-fiancé, Jared (J.R. Ramirez), married her close friend; Ben’s daughter, Olive (Luna Blaise), grew up amid health struggles, though her sick twin, Cal (Jack Messina), remained the age he was when the plane departed; and Ben’s wife, Grace (Athena Karkanis), moved on — though he doesn’t know it yet. But that wasn’t all: the duo — along with a handful of other passengers, including a doctor, Saanvi (Parveen Kaur), whose research could be the key to saving Cal’s life — heard mysterious warnings, which led to the group being drawn to the plane … as it exploded into flames. For creator Jeff Rake (NBC's The Mysteries of Laura), Manifest was a long time coming. Rake first conceived of the drama while on a family vacation a decade earlier. The idea was assembled, pitched out, and dead within a month. “It was a different time in the TV landscape,” said. “We were a little bit saturated with the serialized event mystery. And as a result ... that structure was played out.” Traditionally, once scripts have been passed over, they remain buried; however, the real-life tragedy of the still-missing Malaysia Airlines flight in 2014 caused Rake to think about the concept again. “I was filled with the very real paranoia: ‘Are people going to remember this was an old idea? Are they going to think I’m just recycling and have run out of original stuff?’” he admits. “I decided to be quite open about it. I went in and pitched it to [Warner Bros. TV], and right away they were like, no, that’s a really good idea and because of Malaysia Air feels relatable. And because of what it talks about, thematically, it feels very of the moment. They were right.” What, if anything, did you adjust in your plans for the show between its initial conception and its eventual NBC life? I’ve tried to lean a little more heavily into the underlying themes I think are kind of relevant to the world right now. When The show is ultimately about the possibility of redemption. The possibility of a second chance: being able to explore inside of ourselves and figure out what would I change about myself, if I had the opportunity to do that. And, also, hopefulness about the idea that maybe there’s something bigger than all of us. When so many people are on all sides of the political spectrum and are feeling a great sense of frustration about our lives in big and small ways, that maybe there is something bigger out there guiding us, that will allow us to be a better version of ourselves. I’m hopeful it’ll connect with a lot of people. With a plane being a key part of your mystery, the Lost comparisons started from day one ... I’m a fan of Lost. My writers’ room, similarly, fans of Lost. Were it not for Lost, this show would not be on the air. I think of them as one of the founding fathers of the genre; I’m very much inspired by it. I learned a lot from the show, and I’d like to think our storytelling is inspired by it. Event mysteries have great upsides because they can be very tantalizing. And they also have challenges, because people often ask, can you keep up, can you maintain a serialized mystery, can you excite and mystify and compel your audience on an ongoing basis the way you did the first episode or the first season or first few seasons? I think a lot about that. I know that Lost and other serialized mysteries, people hold up their magnifying glass, talking about what was great about those shows and where people felt those shows fell off along the way. ... I do think I’ve had the benefit to look at the whole landscape of serialized mysteries and I’ve tried to learn from them. And hopefully, my show will be all the stronger because of having been able to watch and admire all the shows that came before me. In the post-Lost world, a lot of shows came along trying to find that success — but didn’t seem to fundamentally understand why Lost was successful. What lessons did you take from those shows? Some of the follow-up serialized mysteries post-Lost may not have succeeded as well [with] being able to follow up the fundamental obstacle of their premise pilot with an ongoing engine of conflict and drama for their core characters to deal with. I like to think that Manifest will succeed in that regard, because my premise is out there on the table five minutes into episode one: “Here are some returns, and everyone is back. Now what?” That’s when the mystery begins. Yes, the plane disappeared and returns, and we’ll hopefully spend many seasons figuring out where it went and why it was gone. But for my core characters, the obstacles they’ll face only start to begin in the days and weeks after they’ve returned. It has to do with the mystery of the plane, it has to do with some supernatural and inexplicable things that are happening to them, week in and week out. And that’ll be a very slow burn over the course of the series. It’s about their grounded lives. One thing I think our show has going for us, [is unlike] some of the follow-up serialized mysteries that came after Lost, our show doesn’t live exclusively in the mythology of the show. Because we’re dealing with grounded relationship drama and missions each week, it allows my mythology to burn at a very slow rate. That allows us to take our time and focus on the relatable and elements of our characters each week. We will find it much easier to sustain through the seasons as compared to other serialized mysteries that invested more completely in the unveiling of the mythology. That is much harder to sustain in my opinion, so we stand to have longevity. We’re not the first show to explore the theme of disappearance and return, but because we’re telling the story through a supernatural lens, it’s a new way to tell that story. In addition to the survivors and the world wondering what happened to this plane, there’s a task force who is out to get answers. How will that investigation be woven into the story? The show wants to live in more of a balance between the grounded relationships, the mythology of the show and the investigation. The shows are living about one-third [split] between the relationship drama, the investigation, and the unveiling of the mythology. In terms of the investigation, the government agency that is running point is the NSA. The deputy director of the NSA, continues to push forward looking for answers. We see at the end of episode one that there is a small subset of passengers on the plane that take on a higher profile when they show up at the airport in that final moment of the pilot and witness the plane’s explosion. As we get into episode two, we pick that up almost in real time and come to discover the 20 or so passengers, including our heroes, Ben and Michaela, are being focused on by the NSA. They were apprehended at the scene after the explosion, they’re all being interrogated, and now going forward, they and this small group of the passengers are in the crosshairs of the NSA. The screws tighten under the investigation, and Michaela and Ben find themselves under increased pressure. There was an interesting scene in the pilot when Ben urged Michaela to keep quiet about the voices she was hearing, or else she could get locked up. How will they be handling the pressure of these post-return abnormalities, and how much of that scene was that foreshadowing? This compulsion to keep what’s happening to them a secret remains a driving force of our storytelling in the early episodes. It’s one of the fundamental dilemmas in the first batch of episodes for Ben and Michaela. They’re going to find it increasingly difficult to keep what’s happening to them under wraps. And yet, at the same time, the desire to keep things secret, even from their loved ones — in Ben’s case keeping a secret from his wife Grace; in Michaela’s case, keeping a secret from her ex-boyfriend/nearly fiancé, Jared, who becomes her de facto partner on the police beat — becomes incredibly problematic and threatens to tear apart these core relationships, even as they’re trying to reestablish the foundation of these relationships. As the inexplicable phenomenon becomes larger, all of this is going to come to a head. And by the time we’re three or four episodes down the road, there are going to be impossible ramifications, and this will come to a boiling point. And they’re each going to have to make a difficult choice, which will have ramifications in either of their lives. The pilot primarily focused on the Stone family. Will this be more of a true ensemble piece or will each episode focus on a specific survivor? Each episode is its own animal. Most episodes feature a passenger from the plane. The characters we met in the pilot, beyond our core family, those people feature more prominently in the early episodes. Saanvi, whose research we discover is pivotal in Cal’s recovery, continues to remain an important part of our story. And so, too, will other people: the flight attendant and the Jamaican musician will feature predominantly. The pilot of the flight, Captain Daly, will continue to be an important part of the series. And others take on varying degrees of importance in the early episodes. But our family, Ben and Michaela, that remains front and center throughout the series. We’ll always be telling stories through their point of view. Looking to Saanvi’s research and medical expertise, outside of potentially saving Cal, how will that play into the overall mythology? Saanvi is obviously a pivotal figure in Cal’s recovery. But more important than that, she becomes a partner, in essence, to Ben, in terms of searching for a grounded, scientific explanation for what is happening to the passengers. Saanvi and Ben analyze and ultimately endeavor to figure out what happened to all the passengers. That science-based investigation is driven by Saanvi in these episodes. And just to clarify, the mystery of where they were and what happened during the five years the flight disappeared will be revealed at end of series? That’s what we’re going to hold on to until the very end of series. That will be a very slow burn as we spend most of series focusing on other aspects of these people’s lives.
  11. Not only will Bumblebee — the upcoming Transformers prequel, centering around the fan-favorite robot in disguise and starring Hailee Steinfeld and John Cena — be set in the 1980s, the new trailer has underscored that it’ll firmly appeal to fans of that Transformers from that era, as well. Before the release of the new trailer, everything about Travis Knight’s movie appeared to suggest that Bumblebee would be a different type of Transformers movie on a number of levels, not least of which the audience it was targeting. With a teenage girl as the (human) lead and a first trailer that provoked a sense of wonder and adventure that had more in common with Steven Spielberg’s 1980s output than the sturm-und-drang of Michael Bay’s earlier movies in the franchise, the impression given was that the franchise was, well, transforming itself into something skewing away from the hardcore fanbase that supported the earlier movies, and towards something more broad and, arguably, younger. There’s all manner of upsides to this approach, not least of which the obvious appeal of revitalizing the franchise after Bay’s Transformers: The Last Knight had exhausted the existing formula pretty comprehensively. Given the success of the series to date — Last Knight aside, each of the previous installments had been in the top 10 box office earners for their years of release — Paramount could be forgiven for getting a little nervous about repositioning the series entirely, losing the audience that made it a success in the first place. If only there was some way of managing to maintain appealing to a new generation and keeping the older generation excited…! The new trailer demonstrates a surprisingly simple way of doing so. For those unfamiliar with the Transformers franchise, or only a passing familiarity with it, it’s precisely the continuity-light coming of age with robots movie that the first trailer teased, with the friendship between Bumblebee and Steinfeld’s character at the core even as the fate of the world hangs in the balance. For fans who grew up with Transformers toys, comics and cartoons, however, it’s something else entirely: It’s the return of the original Transformers of old. The character design of Bumblebee — once again, a Volkswagen Beetle as he was in his original toy form — might have been a clue for those paying attention, but the new trailer introduces “new” movie designs for Optimus Prime, Soundwave and Shockwave — no relation — that are less adaptations of their original toy and animation designs as they are straight-up recreations. To underscore the nostalgia element, the trailer also includes a scene where Soundwave ejects Ravage from his chest, who transforms with a variation of the sound effect that accompanied such scenes from the original 1980s animated series.Bumblebee, then, might turn out to be the ultimate Transformers nostalgia trip for old school fans, in addition to a makeover and stealth reboot of the series for everyone else. It might not have something for every fan of the franchise — sorry, Beast Wars lovers — but the new trailer makes it clear that two different audiences are being simultaneously targeted. Will the finished movie manage to appeal to both, and grow the Transformers brand moving forward? We’ll find out in December — but don’t be surprised if it includes a version of this song, just to seal the deal:
  12. Netflix’s ‘ReMastered,’ With Investigations on Bob Marley, Johnny Cash and More, Launches Oct. 12 Netflix’s original documentary series “ReMastered” investigates high-profile events affecting major figures in music. Helmed by Jeff and Michael Zimbalist (“The Two Escobars,” “Favela Rising,” “Nossa Chape,” “Pelé”), the Zimbalist brothers and directors Kief Davidson, Barbara Kopple, Sara Dosa, Brian Oakes, Stuart Sender, B.J. Perlmutt, Kelly Duane de la Vega and Sam Cullman, each episode investigates events in the lives of artists such as Bob Marley, Johnny Cash, Jam Master Jay, Sam Cooke and others. ReMastered is a Netflix original documentary series produced by Triage Entertainment and All Rise Films. The series will launch monthly on Netflix, with the following rollout, according to the announcement: “Who Shot the Sheriff?” – Launches October 12 Directed by: Kief Davidson (Open Heart, The Ivory Games) The violent political suppression of the roots reggae movement in Jamaica told through an investigation into Jamaican politics and the CIA’s involvement in the mysterious shooting of Bob Marley. “Tricky Dick and the Man in Black” – Launches November 2018 Directed by: Barbara Kopple and Sara Dosa (American Dream, Harlan County USA) Concerned by a rising rock-n-roll influence on a growing liberal fanbase, President Nixon invited Johnny Cash to the White House to solidify his base in the traditionally more conservative genre of country music. What Cash did instead was subversive and surprised everyone. Cash’s political values had begun to take a new shape after his famed prison concerts at Folsom and San Quentin and this night marked the climax of his political transformation. “Who Killed Jam Master Jay?” – Launches in December 2018 Directed by: Brian Oakes (Jim: The James Foley story, Abstract) Run DMC’s Jam Master Jay was shot and killed in a Jamaica, Queens recording studio in 2002. Despite six witnesses present at the murder, no one has ever been convicted. “Massacre at the Stadium” – Launches in January 2019 Directed by: B.J. Perlmutt (Havana Motor Club) Known as Chile’s Bob Dylan, Victor Jara was a fearless political singer who led the historic Nueva Cancion folk movement in Chile during the CIA-backed Pinochet dictatorship. Pinochet’s regime eventually would torture and kill Jara – along with 3000 others – in the National Stadium, for writing a song about the covert killings. The Chilean army official who was convicted of pulling the trigger and ending Jara’s life is living in hiding in Florida. He is convinced he can prove his innocence. “The Two Killings of Sam Cooke” – Launches in February 2019 Directed by: Kelly Duane de la Vega (Better This World) Sam Cooke was one of the most influential black musicians of the Civil Rights Movement and made a huge impact on the rights of black musicians, frustrating the white establishment. An investigation into the circumstances and controversy surrounding his murder uncovers a deeper question — did the record industry try to suppress the story of Cooke’s death? And to what extent did they suppress the politics of his life? “The Miami Showband Massacre” – Launches in March 2019 Directed by: Stuart Sender (Harmony: A New Way of Looking at Our World) In 1974, while on the way home from a gig, the apolitical rock group, The Miami Showband, fell into the crosshairs of a Protestant unionist paramilitary group that planted explosives on their bus when it was stopped at a fake checkpoint. The explosives detonated prematurely and the paramilitary group machine-gunned down the band. But bassist Peter Travers survived. This film tracks Travers’ efforts and recent discoveries to tie the bombing and subsequent attacks to direct orders given by the British government. “Devil at the Crossroads” – Launches in April 2019 Directed by: Brian Oakes (Jim: The James Foley story, Abstract) The short, mysterious life of the most enduring legend of blues music, Robert Johnson, is one of elaborate myth. Johnson was said to have made a deal with the Devil at a crossroads in rural Mississippi, and many believe that everything the impassioned blues icon touched was cursed. This film examines more worldly interpretations of these myths and how they might explain the depth and beauty of later blues musicians who were heavily influenced by Johnson. “Lion’s Share” – Launches in May 2019 Directed by: Sam Cullman (Art and Craft) This film tracks South African journalist Rian Malan’s journey to find the original writers of the legendary song “The Lion Sleeps Tonight,” which earned more than 15 million dollars in royalties for American groups like The Tokens, Pete Seeger and the Weavers, as well as Disney. Malan discovers that the original writer, a black South African named Solomon Linda, whose family currently lives in poverty in the slums of Soweto, didn’t receive royalties. Driven by his own guilt that his uncle was one of the architects of apartheid, Malan goes after businessmen in the US music industry to force them to pay their fair share to Linda’s family.
  13. With a mock security pass that lists her as the “First Baby” of New Zealand, 3-month-old Neve Te Aroha made her United Nations debut on Monday when her mother - Prime Minister Jacinda Ardern - spoke at a peace summit in the General Assembly. Her partner Clarke Gayford, who is the baby’s full-time caregiver, sat with the New Zealand delegation and held Neve as Ardern spoke. Ardern, 38, is only the second elected leader to give birth while in office, after Pakistan’s Benazir Bhutto in 1990. Gayford posted a photo on Twitter earlier on Monday of Neve’s security pass for the annual gathering of world leaders in New York this week. He added: “I wish I could have captured the startled look on a Japanese delegation inside U.N. yesterday who walked into a meeting room in the middle of a nappy change. Great yarn for her 21st (birthday).” Ardern is her country’s youngest premier and the first to take maternity leave while in office. The United Nations was delighted to see baby Neve in the General Assembly hall, U.N. spokesman Stephane Dujarric said. “Prime Minister Ardern is showing that no one is better qualified to represent her country than a working mother. Just 5 percent of the world’s leaders are women, so we need to make them as welcome here as possible,” he said.