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Top law enforcement agents, Boon and Novak, achieve special access through steep sacrifice during job assignments and are permitted to tour their upcoming placement in the highly exclusive Death House, the ultimate maximum and multi-level penitentiary home to the nastiest criminals known to society and the deadly threat to mankind in a metaphysical way. Death Houses uses virtual reality to keep inmates stimulated to the point of calm submission as well as drugging the homeless and the unwanted to supply killers with victims upon victims in an their personalized virtual surroundings, but when an outsider uses an EMP to knock out all power within the facility, the cages are open and the ruthless animals are free to overrun, beating to death the guards and staff. Boon and Novak must fight their way to the bottom level that hold the Five Evils, criminals with grotesque supernatural abilities and a wickedly grisly past, where the two agents believe the Evils are their best hope for survial against a Five Evils acolyte named Sieg and his faithful jailhouse followers.
Considered as "The Expandables" of horror, "Death House" had gained almost instant fandom solely from the long-list of horror icons in the cast. Director B. Harrison Smith ("Camp Dread") re-writes most of Gunnar Hansen's original "Death House" story produced by Cleopatra Entertainment and Entertainment Factory. Cleopatra Entertainment is more notably a music label that has delved into films the last few years and, in my opinion, haven't faired positively in the horror genre, but "The Texas Chainsaw Massacre" star fought tooth and nail to try and get his script off the ground, even in the face of death. "Death House" saw release after Hansen's death, but from interviews with the filmmakers, Smith had almost totally revamped the original treatment, leaving The Evil's at Hansen's request if his script was to be entirely cleaned. Shot right in this reviewer's backyard of Philadelphia, Pennsylvania at the historic Eastern State Penitentiary, the defunct prison is an ideal location as the "Death House" due in part to John Haviland's separate cell design and gritty appeal that was once of the home of Al Capone, but more of the focus is on the interior than exterior with green scenes and Los Angeles shots constructing the story-lined scenes.
Like aforementioned, "Death House" has been called the "The Expendables" of horror. An immense, if not soaked, cast of horror fan favorites are peppered about around the main characters of Agent Boon and Novak. "Sushi Girl" and "Zombeavers" star Courtney Palm embodies the Agent Boon character with G-man toughness, but finds difficulty leaving that b-horror mentality with shakiness in working climatic scenes. Palm's also roped into doing an extremely gratuitous shower scene with Cody Longo ("Piranha 3D") as Agent Novak. Novak's a hotshot and Longo has the looks and the talent to out perform his character, but Smith's script doesn't do justice to either Boon or Novak's character that blatantly underwhelms their performances with cameo star power and a shoddy narrative. Dee Wallace ("Cujo"), Barbara Crampton {"Re-Animator"), and Kane Hodder ("Jason Goes to Hell") have prominent roles that are pertinent to the story and are enjoyable to see them in more of a supporting capacity. Andrenne Barbeau {"The Fog"), Sid Haig ("The Devil's Rejects"), Vernon Wells ("The Road Warrior"), Bill Moseley {"The Devil's Rejects"), Lloyd Kaufman (Mr. Troma), Michael Berryman ("The Hills Have Eyes"), Tony Todd ("Candyman"), Sean Whalen ("The People Under the Stairs"), Debbie Rochon ("Killer Rack"), Bill Oberst Jr. ("Deadly Revisions"), Felissa Rosa ("Sleepaway Camp"), Danny Trejo ("Machete"), Tiffany Shepis ("Abominable"), Brinke Stevens ("The Slumber Party Massacre"), Camille Keaton ("I Spit On Your Grave"), Gunnar Hansen ("The Texas Chainsaw Massacre), and R.A. Mihailoff ("Leatherface: Texas Chainsaw Massacre"). Whew. Rounding out the remaining cast is Lindsay Harley ("Nightmare Nurse"), Vincent M. Ward ("The Walking Dead"), and Bernhard Forcher.
While the genre star-studded ensemble cast is a wet dream for horror fans, "Death House" fails in numerous filmmaking categories with the first being the most important, the script. Smith's re-work of Hansen's original story requires another drastic once-over, or two, as the final result attempts to push, stuff, and cram 100 lbs of multi-subgenre elements into a 10 lb, inflexible bag, cramping the ambitious project with dis-connective storyline tissue braced together with shoddy visual effects, like the two agents free-falling down a bottomless elevator shaft and able to precisely shoot their targets on each level. The overall result of "Death House" just endures an unfinished varnish and seems slapped together with pre-schooler glue and claggy spit. Singular moments surface as diamond specks amongst cubic zirconias, like the Mortal Kombat fatality-esque practical effects, but are too far and in between to muster up an enjoyable film. The Five Evils definitely and desperately needed more presence in the story instead of just flexing the talking heads muscle; well, the only two Evils to say anything at all were Bill Moseley and Vernon Wells. The Five Evils didn't quite have that oomph to be a force to be dealt with as Gold-described beings who philosophical interpretations on the concept of good and evil.
Cleopatra Entertainment and MVDVisual present B. Harrison Smith's long-anticipated "Death House" onto DVD home video. The unrated, all-region DVD is presented in a widescreen format that displays some frayed flaws like contrast; there's way too much inky black in the dark scenes and little-to-no definition in more visible sequences. The compression suffers from blotchy artefacts at times too and lacks hues, which works with the gritty tone inside the Eastern State Penitentiary's decomposing walls of rubble and decay. Visual effects are glossy with virtually no textures to give detail or, essentially, life amongst the continuous death. Bonus features include multiple interviews with director B. Harrison Smith, Courtney Palm, and more. Also included is a behind-the-scenes feather, a gallery slideshow, and theatrical trailer. Despite being true to the title and highly anticipated since it's inception into the public market, "Death House" ultimately disappointments as an unfurnished mess enlisted with big names in the horror domain that'll unfairly sell the film on it's own, but all-star cameos won't establish "Death House" as a solidified cult favorite, being unfortunately one of the biggest release flops of 2018.
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Herbert West Receives a New, Evil Release! "Re-Animator" review!
Third year medical student Dan Cain is on the verge of graduating from the New England Miskatonic University Medical School. That is until Dr. Herbert West walks into his life. Learning all he can from neurologist Dr. Hans Gruber in Zurich, Switzerland, West eagerly enrolls as a student at Miskatonic to viciously dismantle, what he believes, is a garbage postmortem brain functionality theory of the school's grant piggybank Dr. Carl Hill while West also works on his own off the books after death experiments with his formulated reagent serum. West takes up Cain's apartment for rent offer and involves Cain in a series of experiments that lead to reviving the old and the fresh dead. The only side effects of revitalizing dead tissue is the unquenchable rage and chaos that urges the recently revived to rip everything to shreds. Things also get complicated and people begin to die and then revive when West and Cain's work becomes the obsessive target of Dr. Hill, whom discovers the truth and plans to steal West's work, claiming the reagent serum as his own handiwork while also attempting to win the affection of Dr. Cain's fiancee and Miskatonic's Dean Halsey daughter, Megan Halsey, in the most undead way.
A vast amount of time has passed since the last time I've injected myself with the "Re-Animator" films and I can tell you this, my rejuvenation was sorely and regrettably way overdue. Stuart Gordon's impeccable horror-comedy, "The Re-Animator," is the extolled bastardized version of Mary Shelley's Frankenstein without direct references and begins the ghastliness right from the initial opening prologue and never wanes through a fast-paced narrative of character thematic insanity and self-destructing arrogance with hapless do-gooders caught in the middle of undead mayhem. Producer Brian Yuzna financially backs Charles Band's Empire International Pictures distributed 1985 film that's based loosely off the H.P. Lovecraft 1922 novelette "Herbert West-Reanimator." From a bygone novelette to an instant cult favorite amongst critics and fans, "Re-Animator" glows vibrantly like it's reagent serum embodied with reality-buckling entertainment and grisly havoc displayed through the silver screen adapted form. Umbrella Entertainment has released a two-disc collector's set, the first volume on their Beyond Genres label of cult favorites, and this release, with various versions, will include the allusive 106 minute integral cut!
From his first moments on screen holding a syringe to over three decades of pop-culture films, comics, and social media presence, nobody other actor other than Jeffrey Combs could be envisioned to be the insatiable Dr. Herbert West. Combs is so compact with an explosive vitality that his character goes beyond being a likable derivative of a Machiavellian anti-hero. Narrowing, dagger-like eyes through thick glasses on-top of small stature and a cruel intent about him makes Combs an established horror icon unlike any other mad doctor we've ever seen before. Bruce Abbot costars as Dr. Dan Cain, a good natured physician with a penchant of not giving up on life, but that's where he's trouble ensnares him with Dr. West's overcoming death obsession. Abbott's physically towers over Combs, but his performance of Cain is softly acute to West's hard nose antics. Abbott plays on the side of caution as his character has much to lose from career to fiancée, whose played by Barbara Crampton. "Re-Animator" essentially unveiled the Long Island born actresses and made her a household name who went on to have roles in other prominent horror films, including another Stuart Gordon feature "From Beyond," "You're Next," and the upcoming "Death House." David Gale rounds out the featured foursome as the detestable Dr. Carl Hill. Gale embraces the role, really delving into and capturing Dr. Hill's maddening short temper and slimy persona; a perfect antagonist to the likes of Combs and Abbott. The remaining cast includes Robert Sampson ("City of the Living Dead"), Carolyn Purdy-Gordon, and Peter Kent.
The "Re-Animator" universe is right up there with the likes of Sam Raimi's "The Evil Dead." Hell, there is even a line of comics that pit the two franchises together in a versus underlining. Unfortunately, "Re-Animator" is frankly nothing without the franchise star Jeffrey Combs, much like "The Evil Dead" is nothing without Bruce Campbell even though we, as fans, very much enjoyed the Fede Alvarez 2013 remake despite the lack of chin. Gordon's film needs zero remakes with any Zac Efron types to star in such as holy role as Dr. Herbert West. That's the true and pure terrifying horror of today's studio lucrative cash cow is to remake everything under the genre sun. Fortunately, "Re-Animator" and both the sequels have gone unscathed and unmolested by string of remakes, reboots, or re-imagings. Aside from a new release here and there, such as Umbrella's upstanding release which is fantastic to see the levels of upgrades up until then, "Re-Animator" has safely and properly been restored and capsulated for generations to come.
Umbrella Entertainment proudly presents the first volume of the Beyond Genres' label with Stuart Gordon's "Re-Animator" on a two-disc, full HD 1080 Blu-ray set, presented in a widescreen 1.77:1 aspect ratio. A very fine and sharp image quality that maintains equality across the board with minuscule problematics with compression issues, jumping imagery on solid colored walls for example, but the issues are too small amongst the rich levelness of quality and when compared to other releases, Umbrella Entertainment's release is a clear-cut winner. The English DTS-HD master audio puts that extra oomph into Richard Bands' score that's heavily influenced by Alfred Hitchcock's "Psycho," adding a pinch of chaotic gothic charm to the macabre story. Dialogue is balanced and upfront, but there isn't much prominent ambient noise to put the dialogue off-kilter. Special features on the first disc include the 86 minute unrated version of "Re-Animator," audio commentaries from director Stuart Gordon, producer Brian Yuzna, and stars Jeffrey Combs, Barbara Crampton, Bruce Abbott, and Robert Sampson; there's also a "Re-Animator Resurrectus" documentary, 16 extended scenes, and a deleted scene. The second disc includes the 106 itegral cut along with interviews with Stuart Gordon, Brian Yuzna, writer Denis Paoli, composer Richard Band, and former Fangoria editor Tony Timpone. Plus, a music analyst by Richard Band, TV spots, and the theatrical trailer. All this and a bag of corpses is sheathed inside a remarkably beautiful encasement with a seriously wicked custom slipcover desgin by illustrator Simon Sherry. There's also reversible Blu-ray casing cover art with previous designs incorporated. H.P. Lovecraft would be extremely flattered and proud on how Umbrella Entertainment not only enhanced the film adaptation of his classic tale of macabre, but also with how diabolically attired the release is distributed. A true horror classic done right!
Want to be the Evil Doctor's Guinea Pig? "American Guinea Pig: Bloodshock" review!
One man becomes the unfortunate subject of ghastly experimentations performed by a sadistic and blood thirsty doctor. Wheeled by abiding orderlies back and forth from his sterile white and padded cell to the mad doctor's dark and dingy operating room office, the man's will to live quickly begins to fade, yearning for death before suffering anymore in an alternative Hell. That is, until the handwritten notes start appearing on his padded room floor. The notes seep through between the pads from another tortured soul, a female, in the adjacent room. Withstanding new atrocities done to her before the man receives them, she pleads with the man to not leave her and to make a pact to outlive the inhumanities together.
Welcome to the new American Guinea Pig series! "Bloodshock" is the 2015 follow up film, on the coattails of 2014's "American Guinea Pig: Bouquet of Guts and Gore," from writer-producer and Unearthed Films president Stephen Biro and directed by special effects guru Marcus Koch. Koch, whose effects credentials include the Barbara Crampton starring thriller "We Are Still Here" and Koch's prior directorial work "Rot" and "100 Tears," strays away from the straight forward concept with an ultra gore art house expressionistic horror film that aims to break your mind as well as your body. Open for interpretation, "Bloodshock" fits perfectly into the ever provocative Unearthed Films' wide open cache of underground cinema and will alleviate Koch to the next level of filmmaking. My interpretation of what this poor man and woman are experiencing is simply a penancing purgatory that's intended to cleanse their souls in the warmth of their own wretched blood; the two victims understand their pain, as if not feeling the invasive effects of being dissected while still yielding breath, and are willing to subdue themselves to a maniacal physician until they're able to briefly thwart his tireless work to share pain and open wounds in blood-soaked passion of hopeless ecstasy.
Dan Ellis puts in a powerful performance as the mistreated male patient with Lillian McKinnay, as the female patient, co-starring in an equally bold performance, especially being McKinnay's first major role. Andy Winton's diabolical medical maltreatment compares to the similar magnitude of "The Human Centipede's" Dieter Laser by conducting exploratory, invasive, and unnecessary surgeries for sport while being candor about his blood lusting necessity. Amongst the three main actors, Biro's script contains little dialogue, banking laboriously on physical renditions since both tortured patients' tongues have been severed and jarred. Every movement is precisely executed and surged with attention, tuned to tell the story without much verbiage. Ultra gore isn't everybody's cup of cinematic tea and with an extremely thin film of dialogue as an outer coating, Ultra gore becomes that much difficult to be entertained by, but, recently, I've been lucky enough to come across another gore and shock film, coincidentally enough another Unearthed Films' release entitled "Flowers" by director Phil Stevens, that had proved to me, as well as Koch has just done, that unspoken gore can be ingeniously crafted and thought provoking.
"Bloodshock's" gore holds nothing back and leaves nothing to the imagination. The meticulous bone-sawing, head-splitting effects from a talented special effects team, consisting of Marcus Koch's Oddtopsy FX crew, paint a sordid picture with a blood brush. Koch's decision to go with Donald Donnerson's cinematography under the two-tone of black and white doesn't stiffen the poignant sight of blood, inner layers of flesh, or the splintering bone fragments. The Japanese would be pleased with their American counterparts realistically depicting gore and death captured amongst an underlying meaning. Unearthed Films has already taken the steps to continue the series with their next installment, "American Guinea Pig: The Song of Solomon," which will pertain to a graphic exorcism and, currently, there are preview images and video scenes available.
The 3-Disc Collector's Set from Unearthed Films and MVD Visual has priceless collector's value. Not only does the set have a Blu-ray transfer of the 1.85:1 widescreen presentation, but also contains a DVD presentation and a third disc containing a CD of the Kristian Day industrial-jarring soundtrack. The black and white image quality is sharp and solid for a majority of 91 minute runtime. Some scenes go soft, losing shape to blotchy interference, but the qualities only supplement to "Bloodshock's" charming grit. Only during the course of the patients unifying do colorful hues gradually seep in, almost unnoticeably, during an ostentatious sex scene involving blood and intestine that's effectively edited to slowly build the passionate boiling point. Despite two of the main characters have their tongues removed, the Dolby Digital 2.0 audio has the dialogue so sorely crushed under the weight of the Kristian Day soundtrack that at some scenes I can't even understand what the good mad doctor is saying. Also, on the DVD, I noticed that all audio tracks delay a second behind the action and dialogue. The bonus features are immense with interviews with director Marcus Koch, writer-producer, Stephen Biro, actor Dan Ellis, actress Lillian Mckinney, and two commentary tracks with Marucs Koch and Stephen Biro on one and actor Andy Winton, Gene Palubicki, and Alberto Giovannelli on the other. There's also a behind the scenes featurette, production videos, and a booklet with a review from Ultra Violent Magazine! Unearthed Films certainly has a definitive release in their collection with "American Guinea Pig: Bloodshock" that's packed with bonus material and full of venomous content abiding by the guidelines set forth by the Japanese. I don't foresee the underground cinema juggernaut or the explicitly snuff-like Guinea Pig series ever slowing the flow of blood. "Bloodshock" fulfills the qualifications of the series by having the guts to show the guts and being just as demented and sick for fans who can stomach and endure grisly content.
Evil Out Your Pineal Gland! From Beyond (Second Sight) review!
Perhaps the most very definition of sensory stimulation lies with the Stuart Gordon 1986 mad science horror film From Beyond. Numerous sensors are teased from color perspectives to sexual stimulation to even the thrill of exciting the mind through science. From Beyond is not only a maddeningly weird and utterly slimy film about expanding the pineal gland to the point of losing yourself to a creature ridden other-dimensional world where you're absorbed into chaotic, gelatinous mutated mass. No. From Beyond lets you fully and freely experience what most people consider to be taboo and frightening.
Dr. Edward Pretorius and his assistant Crawford Tillinghast construct a machine called the Resonator that will tap into the dormant pineal gland of the mind in hopes of expanding to beyond the regions of the mind. When Crawford first turns on the machine, creatures appear swimming in the air and attack Crawford. Ignoring the warnings of possible danger, the obsessed Pretorius turns on the machine and has his head twisted and decapitated by a shape-shifting monster. Crawford's story lands him committed in an mental institution where he is greeted by Dr. Katherine McMichaels who treats Crawford and wants him to recreate his experience in order to treat what she thinks is schizophrenia. Crawford, Katherine and Bubba Brownlee, an overseeing officer to make sure Crawford behaves himself, return to the Pretorius house to reactivate the Resonator – to recreate the nightmare.
How can you not read that synopsis and not be curious to see this fun flick? Loosely based of H.P. Lovecraft's short story of the same title and intertwined with other Lovecraftian stories. We all know that director Stuart Gordon is the true historian behind Lovecraft as he has most likely studied and then directed most of Lovecraft's stories such as Herbert West-Re-Animator and Dagon. Yet somehow with From Beyond, Gordon and his team did something right; they infused their own ideas and their own creative style making From Beyond more memorable and highly controversial amongst the MPAA. Hell, I'm guessing this is why we can never have a home entertainment copy stay in print for more than 3 years – point in case, the MGM release! Luckily, for you and for me, UK cult and horror film loving Second Sight Films has brought back From Beyond from the DVD grave and has even enhanced the film for Blu-ray!
From Beyond really did push the limits with the MPAA; so much in fact that even using green slime over blood to lessen the effect still caused heavily edited down editions. But there are scenes of extreme uncomfortableness which I find a sense of relieve and peacefulness in. Such scenes are with Barbara Crampton in the S&M outfit and she fondles Jeffrey Combs as he lies hair less and injured in bed. If I feel awkward, dirty, or uncomfortable after a scene, I'm extremely enjoying the movie and thank you director, producers, writers, actors, and the rest of the crew in making uncomfortable scenes enjoyable for weird folks as myself. Like I always say, if a horror movie frightens you, then the movie is doing it's job! From Beyond will surface all sorts of internal emotions and stimulations that cause the sensations to overload and explode much like the Resonator stimulating the pineal gland to the point of blissful agony.
If you want to feel like you're on a severe acid trip, I'd suggest grabbing From Beyond from Second Sight here before the DVD goes out of print again. Remember, this is a region 2 disc and can only be played on region 2 players so beware!


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You might not think that the dude responsible for the steamy Mexican road trip film Y Tu Mamá También would be the #1 choice to direct kid's film. After all, Y Tu Mamá También was about two teenage boys, um, "traveling" with an older woman. (Dang.)
But you'd be wrong.
Somehow, the unlikely pairing worked, even though Cuarón was one of seven people on the planet who hadn't read a Harry Potter book at the time he got the job. (Source)
That doesn't mean Cuarón wasn't a reader. His other big films had been adaptations of popular novels. Cuarón brought Great Expectations (1998) to life, although he moved the setting from 19th Century London to modern-day New York City (and, oh yeah: he made the movie way steamier than the Dickens novel).
But Cuarón stayed within the borders of Great Britain (and refrained from adding any extra-saucy scenes) in Harry Potter. And the result is awesome. Azkaban dealt with darker themes than the first two movies, making Cuarón a perfect fit.
Not only does Cuarón do a fantastic, respectful job portraying the tumultuous inner lives of teens, he also doesn't pull punches with the scary imagery, like the Dementors and werewolves. He's confident that his audience can handle it.
Oh, and bonus: he took Harry and the gang out of their robes, putting them in street clothes for the first time in the franchise. Hoodies are far more comfy than wizarding gear.
If there were a magical incantation to translate a book into a screenplay, the perfect time to use it would be when adapting the seven Harry Potter novels for the screen. And if Steve Kloves used such a spell, he's not confessing to it.
(We're not sure if adapting one of the most popular book series of all time into a movie is the greatest gig in the world or the worst. Fighting Voldemort might be easier than appealing to the billions of Potterheads.)
But Kloves more or less succeeded. He wrote the screenplays for all eight Potter films, and received Hugo Award nominations for most of his efforts.
Prior to Potter, Kloves adapted the screenplay from Michael Chabon's Wonder Boys (2000) and created The Fabulous Baker Boys (1989) starring Catwoman—er—Michelle Pfeiffer. (Source)
So yeah. Kloves is a talent whether or not he's working in adaptation, Nic Cage-style.
The captain of a ship needs to know when step aside and let someone else take the wheel. We're unsure what nautical expertise Chris Columbus—the director of the first two Harry Potter film adaptations, possesses—but he knows enough about movies to know when to let another director hoist the mainsail. (It's taking all our effort to not make a pun about the Niña, Pinta, and Santa Maria right now. Whoops. Too late. Sorry, Chris Columbus.)
Columbus may have given up his director's chair, but he didn't abandon ship entirely. He continued to produce Azkaban though his production company, 1492 Pictures. Sensing a theme here? His company is also responsible for a few of Ben Stiller's Night at the Museums (or should that be Nights at the Museum?) and two films starring Harry's brother from another mother, Percy Jackson.
Azkaban was co-produced by Heyday Films, which was founded in 1997 by film producer David Heyman, the "Hey" in "Heyday." Who's the Day? Doris Day? Felicia Day? Groundhog Day?
Heyday produced all eight Harry Potter films, as well as the 2016 spin-off Fantastic Beasts and Where to Find Them. Heyman also produced Selma in 2014 and worked again with Cuarón to strand Sandra Bullock in space in 2013's Gravity, so their talents aren't limited to witches and wizards. Their films are almost always hits—they can't quite conjure money out of thin air, but they come close.
One of the best parts about being an actor has to be all the cool clothes and costumes you get to wear. Who wouldn't want to wear Hogwarts robes around every day? (If you really want to, what's stopping you? Let your Ravenclaw flag fly.)
But as cool as those robes, it would get old to wear them all the time. So the young actors of Prisoner of Azkaban were thrilled when Alfonso Cuarón allowed them to dress themselves. (Source)
Cuarón wanted to explore the more human sides of these magical characters, and getting them into their street clothes was the perfect way to show it on camera. Plus, seeing them dressed like us makes us identify with them even more.
In case all the talk about street clothes confused you, don't worry: we're still talking about a Harry Potter movie. It's a fantasy, with magical creatures that need to look sufficiently fantastic as well as believable. The crew created practical models of Buckbeak, trying to get his look right down to the feather. They combined these models with CG technology to create the living, breathing creature we see on screen. (Source)
Maybe the coolest effects in the film belong to the scariest creatures. No, not Snape and his hissy fits, but the Dementors. To get the creepy, swirly look of their black cloaks, the crew experimented with underwater puppets to get the proper movement of their tattered garments. (Source)
As if we weren't already scared enough of going in the water, we have to add Dementors to our list of underwater fears, which already includes Jaws, Ursula from the Little Mermaid, and the Snorks. (We'd rather take our chances with Dementors.)
John Williams, a.k.a. That Guy Who Composed Almost Every Spielberg Film, composed the first three Harry Potter films, including this one. He's responsible for the iconic title theme, known as "Hedwig's Theme," which is featured in all eight movies and makes us close our eyes and picture Hogwarts on the backs of our eyelids.
Like the movie itself, Williams' score takes on a darker tone this time around, featuring tracks like "The Dementors Converge" for the scene where the Dementors converge and "The Werewolf Scene" for the scene with the werewolf. Hogwarts feels like the medieval castle it is supposed to be in this installment, and Williams' score sounds like music you may have heard echo in its stony halls centuries ago. (Source)
Williams also injects a bit of Shakespeare into the proceedings with the "Double Trouble" song featuring the lyric "Something wicked this way comes." (We, of course, remember that from Act 4, Scene 1 of Macbeth, 'cause we're lit nerds like that.)
But even Shakespeare never dreamed up something as frightening as the Dementors. "Wicked" barely even begins to cover those hellish creatures.
As far as merchandising goes, Harry Potter might be second only to Star Wars. Today we have a Harry Potter theme park, Harry Potter LEGOs and LEGO video games, and enough Harry Potter-themed clothing to fill your entire wardrobe…once you get that pesky boggart out of there, of course. (We delve into all this in great detail over at our Harry Potter and the Sorcerer's Stone movie page, so fly your broomstick over thataway if you want more.)
In 2004, though, the Wizarding World of Harry Potter still existed only in fans' wildest dreams. Potterphiles instead turned to fan sites like The Leaky Cauldron or Mugglenet for the latest Harry news and gossip.
But there were plenty of action figures to collect in 2004 to re-enact major scenes in your own home, without the risk of putting someone's eye out with a wand. Mattel released figures of Harry, Ron, Hermione, Buckbeak, and included playsets of Potions class and the Knight Bus.
There is even the "Expecto Patronum" Harry action figure which shoots spells from his wand. Okay, somebody might lose an eye after all, but there's gotta be a spell to put it back, right? Can you use oculo repairo on an actual eyeball?


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Come along and have fun, free tea and biscuits on tap! Volunteers needed for Littleport charity shop
PUBLISHED: 18:15 22 February 2016
Do you have a few spare hours a week? Then a charity shop in Littleport could be the ideal place to volunteer and help your local community.
Branching Out charity shop is looking for volunteers to help on Saturday.
The shop, at 12 High Street, currently has 17 volunteers but needs more for Saturdays to help with processing and sorting donations.
Simon Garner, Shop Manager, said: "Come and play. Tea and biscuits on tap. Fun and laughter and all for a good cause."
Anybody interested is welcome to call Simon on 01353 863561 or he said: "Pop in the shop anytime and say hello and tell us you want to help."
The charity has recently been awarded the Living Wage accreditation.
It means that for any paid employees, regardless of whether they are permanent employees or third-party contractors and suppliers, receive a minimum hourly wage of £8.25 - significantly higher than the national minimum wage of £6.70.
The Living Wage is an hourly rate set independently and updated annually according to the basic cost of living.
Susan Wiggans, general manager, said: "Branching Out took the decision to become a Living Wage employer because we want the best for the vulnerable people we support and that means investing in and valuing our staff."
Employers choose to pay the Living Wage on a voluntary basis.
Living Wage Foundation Director, Sarah Vero said: "We have accredited over 2,000 leading employers, including Branching Out, ranging from independent printers, bookshops and breweries, to well-known companies such as Nationwide, Aviva and SSE. These businesses recognise that clinging to the national minimum wage is not good for business."
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Radiation Chemistry Data Center Thesaurus
"The indexing terms listed in the thesaurus are those found in the RCDC Bibliographic Data Base and therefore are the terms used to generate the keyword index in this volume. The keywords are arranged alphabetically. Numbers, dashes, parentheses and super- and sub-scripts are ignored in ordering the terms except when required to distinguish two terms. Thus, '1-propanol' precedes '2-propanol' (following 'propane') and 'H2O+' precedes 'H2O-' and 'H2O2+' (all three precede 'hole'). Arrangement is word by word, thus 'hole traps' precedes 'holes'.


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Free workshop: Modernize your Web Forms app using DotVVM
DotVVM offers a unique upgrade path to .NET Core for ASP.NET Web Forms developers. It allows you to integrate DotVVM framework into a Web Forms app...5/24/2020 Continue reading >
My name is Tomas Herceg, I live in Prague, Czech Republic, and since 2011, I am running a software company called RIGANTI focused on custom software development, consulting and solution architecture services.
I am a founder of DotVVM DotVVM, an open-source framework which simplifies creating line of business web applications and makes it easier for any .NET developer.
I was awarded with Microsoft Most Valuable Professional and Microsoft Regional Director for my influence in technical communities, public speaking and publishing of technical articles. You can meet me at various tech events in the Czech Republic and other countries, speaking about web development, .NET Framework, software architecture, cloud and related topics.
I spend a lot of time helping other companies with difficult technical decisions, such as cloud migration, microservices architecture, Domain Driven Design, modernizing of legacy applications or choosing the right technologies and approaches.
15+ 100+ 80+
I am also co-founder of the Czech largest website focused on .NET development DotNetPortal, where I published many articles for beginner and advanced developers. I have also co-founded DotNetCollege, a company providing lectures and courses to web and .NET developers and organizes various community events.
For several years, I was one of the organizers of MS Fest a successful community conference with about 700 attendees that was running for 10 years. Currently, I am co-founder of Update Conference Prague, the largest .NET conference in the Czech Republic featuring 42 sessions led by famous speakers, and I also co-organize smaller technical conferences called Update Days.
DotVVM offers a unique upgrade path to .NET Core for ASP.NET Web Forms developers. It allows you to integrate DotVVM framework into a Web Forms app...5/24/2020 Continue reading >
The sessions from our first virtual conference are published on our DotVVM YouTube channel. Learn how to build ASP.NET Core web sites with the MVV...5/24/2020 Continue reading >
Interested in building web apps in .NET using an MVVM approach? Don't miss out on our first live-streamed conference! On April 29 - 30, we'll broa...4/10/2020 Continue reading >
We are happy to announce our first Virtual Meetup and invite you to join the discussion with the DotVVM Team. We've decided to host this informal ...4/7/2020 Continue reading >
Today, we have released the version 2.4 of the DotVVM framework, Bootstrap for DotVVM and DotVVM Business Pack. This version brings many bug fixe...12/28/2019 Continue reading >


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MINNEAPOLIS (WCCO) — For four decades, the sweets and treats inside Minnesota's Largest Candy Store in Jordan have been the main attraction.
But this week, it is what is on the outside that is causing a sugar rush.
Early Sunday morning, a suspected drunk driver rammed into another car on Highway 169 and veered off the road, right into the side of the big, yellow barn. The crash left a huge hole in the middle of the candy store.
Plain plywood just wouldn't do to patch up this mess. The candy store's owner asked a friend to paint a mural of the scene of the crime, with some minor adjustments. The yellow roadside signs also got a makeover.
The first sign calls out the driver of the suspect vehicle, closely followed by two other signs that read, "I Guess You Could Hit The Broad Side of a Barn."
"This is probably, I would say, one of the craziest. No one has ever drove into the store," said owner Renee Wagner.
Nobody was hurt in all of this, and that is what counts to Wagner and her family. In the future, she hopes customers remember the drive-thru here was never open, and is now permanently closed.
In all, the owners think this crash caused $50,000 of damage to merchandise alone. The car went through the imported chocolate section of the store.
They do expect to have the hole patched up professionally by the end of this week.
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Thursday, 17 May 2001 12:00 AM
Li Shaomin, originally from China but a U.S. citizen for the past six
years, is accused of spying for Taiwan. Li, who teaches business studies at
Hong Kong's City University, disappeared in February in the southern Chinese
city of Shenzhen.
Amy Liu, Li's wife, said she received a telephone call on Tuesday from
China's State Security Bureau informing her that her husband had been
formally arrested for spying. Liu called the accusation nonsense and called
on Washington to help.
The U.S. consulate in Hong Kong said it was very concerned about the case.
"We are very concerned by this. ... We will press for him to be accorded
due process and for his case to be brought to a fair and speedy conclusion
resulting in his swift release," a spokesman said in a statement.
Li is the second academic with foreign ties to be charged with spying in
the last two months. In March, China detained Gao Zhan, a U.S. resident and
political science researcher at the American University in Washington. She
was accused of espionage, too. At least five other intellectuals with
Western links have also been detained on spy charges.
Copyright 2001 by United Press International.
All rights reserved.
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Skill Games Licences Debut In Malta
31st Jan 2017 | Written by: Dan Townend
Malta confirmed on Monday that its skill games regulations have come into effect after a period of public consultation, announcing it had awarded its first licences.
DraftKings has become the first major skill-based gaming operator to agree to be regulated by the Malta Gaming Authority (MGA) since the country brought new Skill Games Regulations into force.
Manuel Mallia, the minister for competitiveness and digital services, said that the government's "pioneering legal framework" offered protection to consumers and legal clarity and that further gaming legislation was being drafted.
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Faru Team Burra Update: 01 January 2004
Project period 5th-31st of January
Isaac Maina. Jacob Dadi. Sammy Odero. Samuel Lotukoi Mutua Koti Alden Jarison- K.W.S Rangers George Kileiya- KWS Ranger
The start of the year was very disappointing for the Burra team, with a total of 1537, the largest amount we have ever collected in one operation.
On the first few days of the operation we managed to rescue and release two Dikdiks, we lost one that broke the snare and ran away and found another two, which had been killed in snares.
The operation started in Ndii where we managed to collect a total of 108 snares, all of them made for small game, and later on in the operation we collected a further 227 in the same area. In Irima we only collected 6 snares which is fantastic and we can assume that the arrest of a poacher in the area was a deterrent to even the optimistic poacher. Another factor which may be a cause for the decline in snaring is the fact that we removed the 160km of railway line in the area which would have other wise been used to make snares. Between Ndii and Manga hill on the community side we recovered 101 snares and sadly in the area of Kyamweli we collected an astounding 310 snares. This is an area where game moves through and so is an obvious place to set snares. A total of 543 snares were collected in this area.
Another area of concern is Sagalla ranch where we removed 837 snares, most of the snares were for smaller game, snares made from the burning of discarded tyre treads and 44 of the 837 were designed for larger animals. The number of snares recovered at this time I can only put it down to the failure of the rains at the end of the year which forced people to turn to snaring in order to eat. However the rains finally came in the middle of January and so we can only hope that February will bring a reduction in the amount of snares that we will collect.
Report by Isaac Maina.


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Beard oil? Yes, you heard me right. If this is the first time you hear about beard oil, bear with me. Men really do use it! Not only does it work for those beard masterpieces that almost require a comb to manage, but it's also great for your man featuring a 5-day scruff look as these beard oils also help moisturize and nourish the skin beneath the hair!
I just bought an aromatherapy diffuser and it didn't specify much about the oil to use other than an essential oil of my choice. I chose to use these essential oils and I would buy them again. The fragrances cover all of the typical aromatherapy uses and allow for mixing of scents to match your preferences and need. My personal favorite is eucalyptus. I haven't gone through all of the combinations yet, but I think it'd be difficult to create a bad fragrance with these oils. If you aren't sure which type of scent you like then this is the perfect package for you because the bottles are so small! It's like a sampler pack for the scents, but a little really does go a long way. I'd say this is a good purchase as a good price.
This is a nice looking unit that blends with any decor. We needed something to add humidity to our dry Colorado air and to diffuse essential oils that aid in sleeping. After a week of use, I would say...so far, so good! Our sinuses feel less dry and sleep has been more restful, even though my husband has sleep apnea and often struggles with his CPAP.


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Please feel free to continue submitting your questions to email@example.com We will try to address as many of them as possible in the days to come.
Please feel free to continue submitting your questions to email@example.com We will try to address as many of them as possible in the days to come.
The JST has not operated with any significant reserves (savings) since Tenacious was built and has been working hard to increase our income to allow this to happen. In 2015, Trustees set an aim of building reserves of £0.5m which would help sustain the JST in the event of any unplanned expenditure and support future investment needs.
Under a two ship model, the JST is unlikely to build an operating reserve until we reach c. £4.5m, which would be the level of income and expenditure that would allow us to operate a full, proactive, planned maintenance programme that would allow us to maintain the ships to a higher standard and make the experience onboard even more accessible and comfortable. This would also allow us to address maintenance issues on the ship before they materialise in service.
This £4.5m number is much greater than what the trust has spent historically. This is because the JST needs to catch-up on some deferred investment on the ships. It also reflects an increase in the age-related running costs of both vessels, the impact of operating in an increasingly regulated environment (onshore and offshore) and increased investments in fundraising, which are necessary to grow income and compete in an increasingly competitive charitable environment.
We set about growing income by introducing a partnerships programme. We chose to launch this programme because it would improve our earning from activities onboard the ships and also increase our charitable impact. Earning would increase because partner projects were intended to be self-funding (generating c. £55,000 per week) and would contribute almost double the income than public voyages, which are 50% subsidised by the JST's fundraising. They would also increase our impact by helping us reach, and work with, new groups of beneficiaries.
The JST has also considerably strengthened our Fundraising Team – and continues to do so – so we can raise funds from higher value applications and major donors, alongside our more established gifts from smaller contributors.
The combined impact of this work has increased our core income by around £1m per year. Reflecting this, our forecast (unaudited) results for the financial year ending March 2019 will see a break-even result, with income and costs balanced at £3.9m. This is over a £1m more than our average income in the period Financial Year 2011 to Financial Year 2014 but, despite this progress, the JST is still c. £0.5m short of its income target and has, as a consequence, still been unable to build the reserves it needs.
Without these reserves, the JST is vulnerable to shock and in the last 18 months, financial pressure has increased because of a number of unplanned engineering works during 2016, 2017 and 2018 on both ships. Across three financial years, these have totalled nearly £1m. As we have not had the funds readily available to service this work, our trade creditor balance (debts owed to people who have provided us with goods or services) has increased significantly. One key test of solvency is being able to pay your debts when they fall due, so it is important that the JST can show continued progress in reducing trade creditor debts.
For the past year, JST has been just about getting by month-to-month, but the situation worsened towards the end of 2018, when we had turnover in two critical income roles during an important time of year before Christmas, which is a peak fundraising period and also when we close out our partnership agreements for the following year. We arranged interim coverage within six weeks, but the impact of this has been slower conversion of some partnership and major gift opportunities this year. Further engineering issues have added to the pressure.
In June, two key pieces of funding (with a total value close to £200,000) were deferred. Without any reserves to draw down upon, this meant we were struggling to service our core costs in June. Furthermore, a number of our trade creditors were seeking urgent payment and it is the combination of these issues that forced the Trustees to initiate an emergency fundraising effort.
Now that we have hit our £1m target, it will give the trust much needed resources to start addressing/negotiating the organisation's aged creditor balance (debts). It will also provide the working capital needed to stabilise the JST's finances in the short-term.
The Trustees statement on Monday July 22nd outlines further changes planned to improve the service we offer beneficiaries and stabilise the JST finances in the medium to longer-term. These changes will, undoubtedly, create a new set of challenges. However, as you would expect, the Trustees will explore every option and are primed to take whatever action is necessary to safeguard the organisation's mission.
As required by the Charities Statement of Recommended Practice (SORP), salary information for everyone earning over £60,000 must be disclosed in our Annual Report and Accounts in note 7, which are submitted to the Charity Commission annually and available publicly. Substantial changes have since been made to the organisation in terms of staffing so our annual salary expenditure is much lower this financial year. Under GDPR laws we are unable to share specific individuals salaries, but the SORP requirements are there to offer transparency in terms of salary expenditure. There is also a note in the accounts starting on page 31 which shows how salaries are governed and benchmarked by the Trustees, again this is a SORP requirement for all charities.
At JST, the CEO also leads fundraising and has a significant income generation responsibility (8-10 times salary) and earns £100,000, which is in-line with similar sized charities where the executive leader also has other functional responsibilities. Our CEO not only manages the charity but is an instrumental figure in developing the charity's income and therefore reach.
No, per Fundraising Regulator Guidelines, the JST does not pay bonuses or commission to any of our employees or Trustees. This is both as part of their ongoing work with the Trust and as/when they decide to leave the organisation. This policy has been consistent for at least the past 5 years.
Furthermore, and as is covered in the next question, JST Trustees are not paid compensation although they are also entitled to claim reasonable expenses. However no Trustee has made an expense claim for at least the past 3 years.
Per Charities Commission guidelines there are very limited situations where Trustees can charge for their services (e.g. the provision of professional advice). They are also entitled to claim reasonable expenses. The JST is compliant with this regulation and very fortunate to have Trustees that fully volunteer their time, working for the JST fully at their own personal expense. No Trustee expense claims have been made for at least the past 3 years.
As you would imagine, we have been taking restructuring advice over the past several months to ensure that the Trustees have acted appropriately in managing the JST's on-going financial pressures. We now continue to take advice so we can act on the Emergency Appeal success in the most responsible way possible, considering the needs of the JST's creditors, donors and beneficiaries.
Reflecting this, the reason for the two-week "pause" after the appeal was to allow the Board to update our plans, based on the fundraising appeal outcomes, and then test them internally and externally to establish their feasibility and estimated consequences for the Trust. This will help JST use the funds received in the most appropriate and impactful way.
To help facilitate this, a number of contributors to the appeal kindly gave the Trustees permission to use their donations to provide working capital during this two week period, so that this important work could be done without detriment to the JST's activities or creditors.
Another factor is that we are also still in the process of receiving some of the larger donations, which have been pledged (formally promised) by individuals and institutions with more complex and lengthy processes for transferring funds. Most of the online donations, via Just Giving, are not received immediately, as this happens on a fortnightly cycle by standard procedure.
Per the recent Trustees' Statement of July 22nd, funds are now being cautiously used as plans continue to be refined and validated.
For the past nineteen years, we have been working hard to make a two ship model work, as we have always believed it to be in the best interests of our mission and stakeholders. Over recent years, many steps have been taken to try and ensure two ships can be kept in service (See answer to "Why such short notice and how has this come about?").
However, despite this progress, the Trustees are now of the view it is too risky, expensive and financially challenging to continue operating two ships. The future planned costs to sustain a two-ship fleet are too high, as are the monthly running costs compared to the income we can reliably predict. As a result, moving to a one ship fleet will improve the JST's financial sustainability by significantly reducing the organisation's overheads (ongoing costs) and cash needs, both onshore and offshore.
Despite the reduction in overall capacity, moving to a one-ship model has the potential to increase the JST's charitable impact by allowing us to have a more rigorous application process to determine which crew will sail with us, and by focusing our charitable resources on those who would most benefit from one of our transformative, life-enhancing voyages.
A single vessel will also help the JST deliver a much stronger voyage experience by concentrating investment into crew training, professional development, along with ship maintenance, and other elements that improve life on-board (e.g. upgrading adaptive technologies).
We appreciate that both JST ships are much-loved and have a loyal following. However, the consideration of which vessel to retain had to be taken on purely objective factors and with our beneficiaries in mind.
The decision was made by the Trustee Board, on advice from the JST's Finance and Audit Committee, Executive Management Team, lawyers and restructuring advisors. Historical data on finances and occupancy were referenced, along with feedback from beneficiaries and partners. Amongst many, the following factors were weighted most heavily in the decision:
Beneficiary Impact: Where provided, voyage feedback indicates a roughly equal split in terms of individual preference; both ships have a regular complement of repeat, loyal disabled sailors and score similarly in terms of voyage feedback from our core beneficiary groups.
The ships are slightly different in design and some of our disabled crew have expressed preferences based on a ship's suitability for their own particular needs. For example, the narrower decks on Lord Nelson provide more hand-holds. Equally, those crew in wheelchairs generally find the more spacious decks on Tenacious easier to navigate, so they can get around other crew members whilst performing tasks on board. Tenacious has more aids for those with visual impairments. Many disabled crew also comment about the exhilaration of getting further out off the bowsprit than on Lord Nelson.
Overall, it was felt that the needs of our beneficiaries were equally met by both vessels and this was not a major factor in the decision.
However, as we look to the future, Tenacious has 40 voyage crew berths (vs. 36 on Lord Nelson) which means she offers more capacity for beneficiaries overall, including those with disabilities. Reflecting this, in the past five years, Tenacious has taken 2,884 disabled sailors to sea as opposed to 2,506 on Lord Nelson.
In moving down to a single ship, we expect our voyages to be full (or nearly full) year round. This means the additional capacity on Tenacious will have a bearing on our overall impact and ability to generate income.
On-board experience and future investment needs: Both ships are also maintained to a good standard and would be viable options for future use.
However, the Trustees have been carefully monitoring the rising standards of accommodation in other comparable, adventure-based activities (e.g. Youth Hostels) and being set by other tall ship operators around the world. It is clear that beneficiaries expect more and the likely investment required in both ships, both now and in the future, was carefully considered.
Against this context, Tenacious is fifteen years newer, has a lay-out more suited to a variety of activities and has a more modern presentation in accordance with the rising expectations of those who sail with the trust. Whilst the ship will need to be maintained to meet expectations in the future, improvements can be made gradually over time and there are relatively few immediate issues to address.
By contrast, we regularly receive feedback about the tired and dated presentation of Lord Nelson. Her adaptive technologies are also very dated and do not present the JST in accordance with contemporary standards. Whilst this creates a certain charm, it is clear that the ship requires significant investment and the JST had been preparing Lord Nelson for a multi-million pound refit within the next 3-5 years that reflects this.
Other more urgent expenditure needed for Lord Nelson includes the complete replacement of her decks, which are thinning in many areas. Various other core systems are also due for complete replacement or overhaul.
Running costs: Despite the fact Tenacious is a larger ship, the operating costs for both vessels are broadly similar and historical variances are much more driven by the voyage programme of a vessel as opposed to its running costs – for example, we observed a change in the cost base of both Tenacious and Lord Nelson when they ran extensive overseas programmes during "Sail the World" and during the extended Australian deployment.
Whilst it is true that Tenacious currently burns more fuel than Lord Nelson, her engines need a full strip down to satisfy our regulators and Lord Nelson's engines would also need to go through a similar process in December 2020. In both cases, it would be more cost effective to replace the engines (as opposed to overhaul them) and we expect this will reduce Tenacious fuel consumption by c. 1/3rd and bring it to the same levels as Lord Nelson, had the latter ship been kept in service.
Similarly, pilotage costs can be less on Lord Nelson but there are also numerous examples where both ships fall into the same bracket for these requirements meaning their costs are broadly the same. A much bigger driver of these costs will be the successful implementation of our Hub strategy where we hope to secure in-kind arrangements with key ports around the UK to significantly reduce these types of cost.
Significant maintenance and surveys: Both ships are in a regular programme of dry docking and special survey. Tenacious must complete her 20 year dry docking and special survey by the end of August 2020. Lord Nelson must complete her special survey by December 2020. The scope of core work is similar across both vessels and the project budget is c. £300k in both instances. From a survey perspective, we do not see significant variances in investment needs across both ships (per above, the investment required for refits is a much greater factor) therefore this did not bear significantly on the Trustees' decision-making.
Other drivers of asset profitability: As part of the decision-making process, Trustees performed extensive analysis on historical trends that were also drivers of profitability – for example voyage programme, occupancy levels, mix of voyages (public vs. partner voyages), yield (earning per berth per day). Small variances were noted on all these points – some favourable to Tenacious, others to Lord Nelson. There was no strong correlation to suggest one vessel was inherently more profitable than the other.
Instead, it was clear that the two major drivers of profitability were as follows:- the number of vessels in operative service within the North Atlantic sea zone (earnings for the vessel remaining in proximate waters improved significantly when the other was on longer-haul international tour) and the mix of voyages (increasing the mix of partner voyages significantly improves vessel profitability).
Comparative asset value: Finally, Tenacious is the more valuable ship (with a balance sheet value of £3.7m as opposed to. £2.2m for Lord Nelson) and this is a consideration given the value of loans secured against both vessels and continued balance sheet solvency (you need to have more assets than liabilities). At present, Tenacious has £2.8m of loans secured against her and Lord Nelson has £0.5m of loans secured against her.
It is likely that taking a ship out of service will negatively impact the value of a vessel to some degree. Therefore, the retention of Tenacious in service provides greater comfort on this, ensuring future balance sheet solvency. Having spoken with our secured creditors, there is no possibility of any loan forgiveness at this point in time.
Our aim is to get as many people as we can to sail with us and to remove as many barriers as we practically can. Please see our previous answer to the question "Why was it decided to keep Tenacious in service as opposed to Lord Nelson? What process was followed and how was this conclusion reached?" regarding the beneficiary impact in the selection of Tenacious as the vessel that will continue in operative service.
The needs of all our crew are considered individually and on a case by case basis. Our medical policy is overseen, refined and managed by independent doctors, and designed to ensure the safety of all onboard and ensure individual needs are supported. We continually review our policies to be as inclusive as possible and to adapt to new technologies on the market. For example, we now welcome an increasing number of crew who have battery assisted manual wheelchairs, which can be accommodated. Over the years, where funds have allowed, we have also made investments to improve our adaptive technologies and features to enhance the experience for all our crew onboard.
We are also looking at non-technical solutions to making our voyages more accessible. Based on crew feedback, we are making ongoing adjustments to our voyage programme to improve accessibility. For example, it now includes more shorter voyages, which are more accessible than longer ocean passages. An increasing number also start and finish in the same port to ease travel to and from the ship.
Once the decision to decommission Lord Nelson had been made, the appropriate timing of this was then considered by Trustees from a number of perspectives.
The fixed elements, which were constant in each scenario (as they would all need to happen before the end of calendar year 2020) were as follows:
– The need for one vessel to deliver the 2019/2020 winter programme and on Mediterranean commitments from April to June 2020;
– The need to complete the Tenacious Dry Docking and special survey by the end of August 2020 (a regulatory requirement and deadline);
– The cost of this dry dock; and
– Team restructuring costs.
Against this context, the three strongest scenarios were then considered and modelled in detail. These were:
1. Have Lord Nelson deliver the winter programme and perform the Tenacious dry docking/special survey across the forthcoming winter months (from December 2019 to March 2020). Then, take Lord Nelson out of service in April 2020, whilst bringing Tenacious back into service;
2. Taking Lord Nelson out of service immediately and performing the Tenacious dry docking/special survey across the forthcoming winter (from December 2019 to March 2020). Then, bringing Tenacious back into service at this time;
3. Taking Lord Nelson out of service immediately and performing the Tenacious dry docking/special survey in the late summer and Autumn of 2020, towards the end of the permitted regulatory period. Then, bringing Tenacious back into service in October 2020;
The variables within these scenarios were as follows:
– Potential changes to the existing voyage programme and the need to pay refunds to voyage crew already booked onto a voyage;
– Anticipated income earned from the voyage programme;
– Expected running costs for the same period (a combination of the ship-specific costs and the head office team required to operate two vessels across the period).
Of the three scenarios, the option 1 was the most expensive by well over £100,000. This is primarily because both ships run at a loss (which grows for each additional month a vessel is in operation) and the need for (comparatively) more onshore and offshore resources to manage two ships through to March 2020, even when one vessel is in dry dock. Various urgent/essential Lord Nelson engineering costs, including a replacement port engine, which would also need to be made prior to March 2020.
For this reason, the scenario of keeping a second ship in operation until March 2020 was discarded.
There was very little to choose between options 2 & 3 (less than £5,000). However, it was decided to go for option 3 as it was less disruptive to the voyage programme and also gave JST more time to fundraise towards the costs of the Tenacious dry docking.
The JST has always intended to operate two ships and no decision in this regard was made before the appeal. Indeed, considerable efforts have been made over recent years to make a 2 ship model work. The decision to move down to a single ship came after the appeal, following extensive discussion about options for reducing the financial risks in our model and against latest forecasts for the current and next financial year.
We set about developing and increasing our income by introducing a (high yielding, high impact) partnership income stream to complement our public voyages and by also strengthening our Fundraising Team so we could set about pursuing higher value funding applications and major gifts. The combined impact of this work has increased our core income by over £1m per year – taking us much closer to these target earning levels, but we are not quite there yet, meaning our funding environment has continued to be extremely tight without any operating reserves. The recent financial challenges arose despite this progress and reflect the vulnerability of the JST's position despite very proactive steps to improve its financial standing.
The JST Management has always had high levels of financial oversight and scrutiny. A sub-group of Trustees with significant business experience meet monthly to discuss the JST finances. They are supported by three independent advisors, who are all respected and very experienced accounting professionals. The management team reports back to this group weekly.
Over recent years the JST has made various changes to its mode of operation to improve occupancy, including: the introduction of partner voyages, more varied international programmes, the use of channel partners to promote voyages and enhanced approaches to marketing/awareness building.
The JST has also established working relationships with other sail training operators, industry bodies and associations. We are currently collaborating with them to develop coordinated market approaches to programming and partnerships, which will help us identify the best sailing opportunities and will increase the demand for our voyages by giving us access to wider audiences.
As part of the current strategic review, the JST will be considering further steps to ensure our mission is effectively delivered. It is expected that a single ship fleet will deliver very high levels of onboard occupancy and, as a consequence, the consistently high quality experience this will bring beneficiaries.
The JST has two types of activity: partnership voyages and those open to the public. At present, the partner voyages generally cover their costs whereas the public voyages are subsidised by JST's fundraising and run at a significant loss, even with the contributions from the voyage crew which typically represent 40-60% of the true voyage cost (c. £180-200 per person, per day, dependent on the voyage).
This latter model is not sustainable, even at 100% occupancy, so there are long-standing structural issues with this cost model that will need to be addressed in our future plans. We also need to ensure our charitable funds are put to good use and it is increasingly difficult to defend subsidising the cost for people outside our core beneficiary groups (people with disabilities, those facing financial disadvantage, young people etc.).
We would argue that £200 per person, per day/£1,400 per week is a very reasonable investment in a voyage given the transformative, life enhancing experience that the JST offers. Our future plans will need to address these issues and create clearer alignment between our charitable objectives and voyage crew contributions.
No, solvency issues may have arisen much sooner without the overseas deployment of Tenacious. Taking Tenacious away from the UK/European market provided a much improved uplift in capacity utilisation across both the JST's vessels as Lord Nelson was able to take more advantage of the UK demand while Tenacious was able to tap into a whole new demand through overseas bookings. It also opened up new sources of funding and significantly grew the fundraising contribution to the trust.
JST had a commercial mortgage following the construction of Tenacious in 2000. This was a commercial arrangement with RBS, underwritten by the government. When this arrangement expired in 2016, the JST underwent a benefactor-led refinancing effort to pay down this mortgage and to create much needed working capital. Four very established donors (three individuals and one institution) provided the funding for this refinancing – all on very favourable, low-interest bearing long-term arrangements. This benefactor syndicate solution was much friendlier, and financially viable, than any commercial solution available.
The Australian supporter (Harry Cator) was one of the donors in this syndicate. Harry is a long-term (more than 35 years) supporter of the JST and the son of JST President, and co-founder, Jacquetta Cator. He is also Chairman of JST Australia, the JST's charitable partner in this country. Beyond his support with refinancing, Harry has been a significant major donor and has contributed significantly as a volunteer.
Harry, and all the other supporters who helped with this re-financing effort, have been very supportive of the trust throughout our recent financial challenges, providing loan and interest payment holidays. They are working with us to help ensure a bright future for our work and being as helpful as they possibly can.
It is essential that the JST presents itself in a way that aligns with our charitable mission and beneficiaries. In 2018, we made a number of enhancements to our mission, target beneficiaries and impact frameworks. We also undertook a rebranding exercise to better present our work to these target audiences.
We were fortunate to partner with Valiant Design on this project, who provided over 90% of the brand design and website work pro bono (without charge). The cash impact to the JST was consequently very low and has not been a factor in this recent financial situation.
As part of continued good governance, we will be reviewing our Trustee Board and management team to ensure it is fit for purpose. In accordance with good practice, succession planning is also on-going for all senior positions.
Per the Trustees Statement of July 22nd, we recently launched an internal staff consultation (per ACAS guidelines) to discuss the potential organisational impact of moving down to a single ship fleet. This consultation was concluded on August 16th and has resulted in 5 offshore voluntary redundancies and 10 onshore involuntary redundancies. The hiring process for a number of new roles, essential to the JST's new structure, have also been launched.
Over the past 5 years, we have grown the number of partnerships we have with a wide range of organisations (businesses, charities, foundations, educational establishments and governments) to deliver our mission. By working collaboratively with partners, JST is able to:
● Raise greater awareness of our work and spread our charitable mission to new audiences;
● Access hard-to-reach communities and individuals that might benefit from our mission and thus increase our charitable reach and satisfy our charitable purposes more extensively;
● Provide greater impact to our beneficiaries; and
● Create sustainable sources of funding for our beneficiary groups.
All JST voyages require mixed ability crews and our partnership work is normally the most impactful (certainly this is the feedback from our permanent crew).
When we work with businesses, we typically have members of staff sailing alongside beneficiaries of partner charities that support people with disabilities and/or other forms of social disadvantage.
The staff, through their fundraising efforts and the matched funding from businesses, are able to fully fund the beneficiary berths on-board, removing financial barriers for these beneficiaries to access our voyages. In the past 3 years alone, these partnerships have generated 927 fully funded bursaries for individuals within our core beneficiary groups (for a definition of these core beneficiary groups please see our answer to the question "Who is a beneficiary and am I still allowed to sail?".
We would therefore argue that partnerships are both important to our mission and also essential to providing opportunities for all our beneficiaries (which include a wide range of disabled people, along with those from disadvantaged backgrounds and those facing other challenges in their life) especially those who would most benefit from a voyage, but may be socially isolated and otherwise unaware of the opportunity to sail, and those who need financial support to participate.
See above. Partnerships have helped to improve the JST's impact and financial standing. They will continue to play a strong role in our future as the Trust sincerely believes they will help secure JST's future.
Since the launch of the new JST website we have received many positive responses by users, especially regarding the improvements to accessibility. However we are also aware that there are elements in the new design that our regular users are missing from our old site. During a second phase of the website creation some previous features may be reinstated and other new elements may also be added. Constructive feedback from our website users is always welcome as it guides us on any possible future improvements. Please send your suggestions to email@example.com or email@example.com
Yes, we will be. Please see more information about this in the Hub Port Strategy document.
As a smaller charity, with a limited marketing/PR budget, we will always face challenges in raising awareness of our work. Some good progress has been made in recent years and our partnerships strategy is central to this, for example impact stats from Barclays RBV, Lord Dannatt's Round Britain Challenge, Sea Change winning Silver in National Charity Film Awards.
We recognise the need to take this further and are in the process of recruiting a Story Teller and Content Manager to ensure we take a strong and contemporary approach to this task. It is a critical hire, so please share the details with anyone who might be interested.
Yes, this is always a consideration in our planning. The aforementioned Hub Strategy should increase these opportunities in communities across the UK.
Per the Trustees Statement on July 22nd, those crew members booked onto STS Lord Nelson's voyages from March 2020 (towards the end of her winter programme) will be given the option of a full refund, or being booked onto another SV Tenacious voyage. Those with existing bookings will be contacted by our Customer Service Team to discuss their options and a new, revised, programme for both vessels can be found here
In the last few years, considerable focus has gone into growing the JST's base of major donors (people contributing £10,000+ per year) and this has helped to improve the Trust's core income and deal with major issues like our re-financing needs (See answer to "Is the JST beholden to a 'mystery Australian business man' as the major creditor?").
The recent appeal has highlighted the widespread support for our work and that we need to do a better job maintaining relationships with our grassroots supporters and volunteers within the community. Opportunities to do this will be central to our future plans, as will the growth of other opportunities, like corporate sponsorship and benefit-in-kind support from our suppliers.
Yes, we do have independent auditors audit our financial records annually as is legally required for a charity of our size. They are a well established chartered accountancy firm that is a member of the UK200 Group of independent chartered accountants and lawyers. During our most recent audited Annual Report and Accounts, for the year ending March 2018, the auditors did comment on "material uncertainty" regarding the trust's continued operation within the "Conclusions relating to going concern" section of their report. They can be found on page 36 of the document.
The JST has also been the beneficiary of a generous grant from a big-4 accounting firm, who have also been independently providing us with ongoing restructuring advice from time-to-time.
The JST Management has always had high levels of financial oversight and scrutiny. A sub-group of Trustees with significant business experience meet monthly to discuss the JST finances. They are supported by three independent advisers, who are all respected and very experienced accounting professionals. The management team reports back to this group weekly.
From our very first voyage, there has always been an international dimension to the JST's programmes. However, this needs to be balanced with other objectives, like accessibility and costs of travel.
Going forwards, we will be reviewing our voyage programme to maximise our charitable impact and ensure financial objectives are met. The Hub Strategy will likely provide a backbone to future UK programming as will our international network of partners.
However, due to poor weather from October to April, it is likely that our operational vessel will need to leave UK waters to seek the winter sun. We also remain open minded about future longer-haul international programmes, but they will need a clear funding source and must demonstrate that they are delivering on our charitable goal/mission.
Two Trustee sub-committees were established; one was a "Planning Team" and the second a "Review Team". The "Planning Team" was made up of three Trustees with very significant commercial and professional experience: Martyn Cuff (Vice Chairman), Ashley Head and Mark Rawson.
The Review Team was constituted of Kevin Curran (Trustee, Chair of the Finance and Audit Committee), Mark Needham (Trustee and a lawyer), Tom Stewart (Trustee, former Chairman, and architect of the Watch Leader Training Programme) and Stuart Lisle (a Chartered Accountant and independent member of the Finance and Audit Committee). PwC, who are providing ongoing restructuring advice, and Hill Dickinson, the JST's lawyers, have also been on-hand to provide professional advice where needed.
The Trustees have been delighted to get a significant volume of thoughtful feedback from staff, volunteers and beneficiaries of the JST's work. This has been gathered together, sorted and will be considered as plans are developed.
Our standard terms include penalties to partners that cancel within a specified time frame. The cancellation penalties increase the closer you get to the voyage date.
We welcome people from all walks of life. You can sail with us from age 16 upwards on a voyage. Children from as young as 12 can join us for a day sail, if accompanied by a parent or appropriate adult, making it a great day out for families, schools and groups. There is no upper age limit on either voyages or day sails. Many people who sail with us are complete sailing novices, whilst some are passionate tall ship sailors.
We aim to make a difference to the lives of all our participants, but we know that our impact is especially strong for:
– disabled people, including those with physical impairments and learning disabilities or difficulties
– those dealing with long term health issues or mental health conditions
– the lonely or socially isolated
– those dealing with significant challenges or change in their career or educational life
– people from disadvantaged backgrounds, including disadvantaged youth
We fully understand and appreciate that a big part of the JST's mission is delivered through bringing together people of all walks of life to break down social barriers so concentrating only on the specified groups above would not be delivering on our mission. We do believe that our mission can have a deep impact on the groups above however so we want to do a better job of identifying and involving members of these groups, but not at the expense of others.
We appreciate the Trustees statement has raised questions about future voyage funding. There are still many details to work through and the Trustees will be consulting more widely before anything is finalised. First and foremost, we are not trying to change the JST mission or the outcomes achieved whilst on board. As has always been the case in our history, we also want to ensure anyone who wishes to sail with JST has this opportunity regardless of their financial circumstance.
However, we do need to make sure the JST's model is defensible in today's increasingly challenging market and it is increasingly hard to defend the provision of financial assistance to those who would not normally be viewed as appropriate beneficiaries of charitable funding. The sentiment in the Trustees Statement reflects the need for a much clearer articulation of who the JST primary beneficiaries are and the need to revisit the subsidy model in light of this. We also need to revisit the current trend of having voyages run at a significant loss (even when 100% occupied) and thus what level of subsidy/bursary support can be offered to all our crew, based on the expected funds available.
These are complex issues that will take time to properly work through and there are lots of details to consider. For example, many other service-orientated charities offer benefits available to communities who actively support their mission (for example, in our case, by volunteering, fundraising, becoming a Friend etc) and are able to justify these benefits because of their wider contribution to charity life. It is likely the JST would explore something similar.
We are very grateful to all the JST team for their patience, professionalism and resilience during what has been a very challenging time for the JST. We have needed to take some very tough decisions to help get the organisation onto the strongest possible footing and after a period of consultation, it was decided to restructure the organisation which included making some positions redundant.
For our Offshore Team, we needed to reduce headcount, rather than remove roles. As a result, we have completed a Voluntary Redundancy Programme for the Permanent Crew and five members of the team applied. The JST permanent crew are employed by the organisation, not a specific ship, so everyone was treated equally during the voluntary process, irrespective of the vessel upon which individuals normally sail. The applications for voluntary redundancy were successful and there were enough of them to avoid a Compulsory Redundancy process. Those leaving the organisation will do so by the end of October, once the Lord Nelson decommissioning is completed.
For the Onshore staff, a Voluntary Redundancy Programme was not an option as we needed to restructure rather than just reduce headcount so we initiated a Compulsory Redundancy Programme and, after a period of Consultation, ten team members will be leaving the JST. Based on operational requirements, these individuals will be leaving across the months of August, September and October.
This has not been an easy time for our team across the organisation and we are saying farewell to friends and valued colleagues. We know those departing will appreciate your thoughts and well wishes.
By constitution, the JST is a Trust and not a members-based organisation. Therefore, the only individuals with voting rights on strategic decisions are members of the Board of Trustees.
However, as has always been the case, Trustees will continue to solicit feedback from a wide range of stakeholders to ensure their decision-making process is informed and in the best interest of the organisation, along with the beneficiaries we seek to serve.
Following the decommissioning of Lord Nelson, a decision around next steps has not yet been taken by the Trustees. We cannot afford two operational ships, therefore we need to see what options there are for Lord Nelson. Bristol has very kindly agreed for us to berth the ship there for the time being, cost free.
Andy Spark, our Lord Nelson project manager, recently blogged about What's next for Nellie and possible options that we are considering. You can read his blog here
No. No members of staff or Trustees received any form of commission from the recent emergency appeal or any other appeal for that matter. Every penny raised went to and continues to go to the JST.


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As Andrey writes, McSorley and GSHC's owner and president Hugh Quennec are apparently not on the same page anymore. Thus, still according to Andrey, McSorley could, in fact, leave the Grenats. However, more information about this dispute is not available at the moment.
Last September, Le Matin Dimanche reported that Chris McSorley had sold his shares to Hugh Quennec, who now holds 100% of the Grenats. In return, McSorley had signed a contract with GSHC that would keep him in town until his retirement (about 15 years). This information, however, has never been confirmed by the club.
Last Update: 12 March 2017, 03:03 PM | bsc
Le torchon brûle entre Quennec et McSorley. L'entraîneur ontarien pourrait bien s'en aller... Clap de fin imminent? #rtssport @RTSsport— Patrick Andrey (@andrey_patrick) 12. März 2017


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By David L. Rolston
Fiction feedback has an extended and influential background in pre-modern China, the place critics may learn and reread yes novels with a focus and fervor a ways exceeding that which such a lot Western critics supply to person works. This quantity, a resource publication for the learn of conventional chinese language fiction feedback from the past due 16th to the early 20th centuries, provides translations of writings taken from the observation variations of six of crucial novels of pre-modern China. those translations consist typically of tu-fa, or "how-to-read" essays, which exhibit sensitivity and intensity of research either within the therapy of common difficulties in regards to the interpreting of any paintings of fiction and in additional centred discussions of specific compositional info in person novels.
The translations have been produced by means of pioneers within the research of this manner of fiction feedback within the West: Shuen-fu Lin, Andrew H. Plaks, David T. Roy, John C. Y. Wang, and Anthony C. Yu. 4 introductory essays by way of Andrew H. Plaks and the editor deal with the old heritage for this sort of feedback, its early improvement, its formal gains, recurrent terminology, and significant interpretive options. A target of this quantity is to help within the rediscovery of this conventional chinese language poetics of fiction and aid cast off the various distortions encountered some time past by way of the imposition of Western theories of fiction on chinese language novels.
Originally released in 1990.
The Princeton Legacy Library makes use of the most recent print-on-demand know-how to back make to be had formerly out-of-print books from the prestigious backlist of Princeton collage Press. those paperback versions guard the unique texts of those very important books whereas featuring them in sturdy paperback variants. The aim of the Princeton Legacy Library is to significantly bring up entry to the wealthy scholarly background present in the millions of books released through Princeton collage Press seeing that its founding in 1905.
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Extra resources for How to Read the Chinese Novel
Sample text
As for Fan Chung-yen, in T'ien-hsia ts'ai-tzu pi-tu shu Chin Sheng-t'ancomments on a piece of prose by that writer, "Yen hsien-sheng tz'ut'ang chi" (A Record of Mr. Yen's Sacrificial Hall), "This is the source for today's examination essays" ("tz'u chin-jih chih-i chih so ch'u yeh" p. 15/242- (a) Sources 23 A new feature of the eight-legged essay was the custom that the candidate was supposed to express himself on behalf of the sages using their manner of expression ("tai ku-jen yii-ch'i wei chih" , 7 6 Perhaps this is one of the reasons that a strong connection between Yuan dynasty drama and this form of examination essay is often felt to exist.
S6 JLWS, p. i 5 / i 2 a - b . I b i d . , p. i3/7a. , p. 1 8 / i a - b . 8 9 S e e the story o f Chu-ko T'ien-shen's hiring o f Nanking literati to help him produce a collection o f essays, chaps. 2 8 - 2 9 , c s P- PP- 2 9 / 6 a - b and 29/8b~9b. This material is presented satirically, but the general details should be realistic enough. 9 0 See, for instance, L o Ken-tse, Chung-kuo wen-hsueh p'i-p'ing shih, vol. 3, pp. 262—63. 9 1 K u a n g - w e n shu-chii (Taipei, 1970) reprint o f the Wen-chang kuei-fan.
T o him, the compilation of p'ing-tien style books was of the least concern to writing (wen chih mo-wu , not to be shown to others but only to aid one's own memory, to be passed down neither from father to son, nor from teacher to pupil. W h y is that? " 1 1 6 In the other section of the Wen-shih t'ung-i that deals with this problem, "Ku-wen shih pi" (Ten Faults in Classical Prose), Chang Hsiieh-ch'eng describes the genesis of p'ing-tien style criticism and its terminology: When instructors teach [their pupils] the style and meaning of the Four Books and how to write examination essays, the essays must have technique [fa-tu | so as to comply with the formal requirements [ch'eng-shih But technique is difficult to speak of abstractly, so they often use metaphors to teach their students.
How to Read the Chinese Novel by David L. Rolston
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