Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale, while PostTrak reported filmgoers gave it a 70% overall positive score.

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## DeadlineBox OfficeWhy 'The Mummy' Turned Crummy At The Domestic B.O. & W

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### MGM Sets 'Every Day' YA Book To Star Angourie Riceby by Anthony D'Alessandro

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# Why 'The Mummy' Turned Crummy At The Domestic B.O. & What This Means For Uni's 'Dark Universe'

Updated overall analysis No amount of marketing stunts, from a 75-foot sarcophagus to two VR experiences, could create any want-to-see for Tom Cruise's latest movie, Universal's The Mummy, which tanked stateside this weekend with an estimated $32.2M.

Cruise's pic takes second place behind Warner Bros/DC's Wonder Woman, which will own the top spot for a second consecutive weekend with $57.2M, -45% and with a running cume of $205M by Sunday.

For the most recent weekend analysis of the box office as of Sunday, click here.

'Wonder Woman' Soars On Saturday; 'Mummy' Still Crummy - Late Night B.O. Update

While we've pointed out recently how Rotten Tomatoes has been denting popcorn pics' ticket sales, The Mummy is detested by both critics (at 18% Rotten) and audiences alike, with a B- CinemaScore and 70% total positive score from Screen Engine/ComScore's PostTrak.

This isn't a scenario where a popcorn pic was beloved by audiences and critics killed its chances at the domestic box office.

That latter number is even lower than the 76% earned by Paramount's Baywatch.

Though men at 54% were the majority at The Mummy to females' 46%, per PostTrak, they loathed it more than the ladies, 64% to 77%.

On CinemaScore, 30% over 50 gave Mummy a C+, while 68% over 25 gave it a B-.

By comparison, Cruise's Oblivion, also from Uni, earned a B- CinemaScore, opened to $37M and fell short of $100M with a final $89.1M stateside.

Mummy's weekend is the lowest domestic opening in the Universal Mummy series when compared to the Brendon Fraser trilogy and even lower than the Dwayne Johnson spinoff The Scorpion King ($36M).

Even with Cruise hitting his best global opening with $174M here, there's a question whether Mummy will leg out abroad and break even given the competition in coming weeks.

Industry estimates (not Universal's) have Mummy's combined P&A and production costs ranging between $335M-$370M. On top of that, some industry sources say that Mummy's $142M start abroad has a lot to do with its massive day-and-date release pattern in 63 territories more than anything else.

True, broken popcorn fare has a much better chance at succeeding abroad given the burgeoning cinematic markets, especially in China.

Just look at last year's Independence Day: Resurgence which cost an estimated $165M before P&A, and generated 74% of its $390M worldwide.

Some like to point out that Mummy's failure stems from being an antiquated property paired with an antiquated star, but if you remember, it wasn't that long ago that both audiences (A-) and critics (93% certified fresh) were having a blast at another aging Cruise franchise, Mission: Impossible – Rogue Nation, which opened to $55.5M and held the top spot for two weeks in a row, becoming the second-highest title in the M:I series with $195M domestic.

In addition, per CinemaScore, 40% bought tickets because of Cruise, a respectable number for a star.

There are myriad reasons why Mummy isn't connecting stateside, but as critics and moviegoers concur – it's just a really bad, messy movie which can't decide which direction to take, with a complex mythology around a female mummy's soul trapped in Cruise's body.

The Mummy should also serve as a warning sign to other major studios: Here's another example of what can go severely wrong when there's so much emphasis put on a movie to launch a franchise, in this case Universal's monster Dark Universe.

Warner Bros. nearly ran into this problem with Fantastic Beasts and Where to Find Them back in October when they ambitiously announced a month before release that the Harry Potter spinoff series would span five titles.

Fantastic Beasts put up the lowest opening of any Potter universe title ($74.4M) but wound up being profitable at the end of the day.

When Marvel was adapting Iron Man, Captain America and Thor to the big screen, a franchise organically took place and eventually yielded The Avengers.

That's the approach Universal should have taken with Dark Universe: just let it happen naturally.

Now Dark Universe is off to a cockeyed start.

Uni swears that one title isn't integral to the next, nor should Mummy serve as an indicator for the quality of Bill Condon's Bride of Frankenstein and other titles.

But Mummy arguably blemishes a new brand that Universal is seeking to establish, and the last thing the studio needs is for that Dark Universe logo to scare off audiences.

Mummy's fate stateside just puts more stress on Bride of Frankenstein to deliver.

Much like there was a significant amount of strain at Warner Bros. to bring The Legend of King Arthur to the screen, so there was at Uni to reboot their monster movies and Mummy.

Before blockbuster scribe Alex Kurtzman was selected to direct his first tentpole here (following the disastrous drama People Like Us at $12.4M), Mummy had been passed over by directors Len Wiseman and Andres Muschietti.

Wiseman backed out due to scheduling, while Muschietti left due to creative differences, though word is the Jon Spaits script he was working from was much bolder.

Muschietti was originally pursued due to his riveting horror film Mama, which earned $146.4M worldwide off a $15M budget.

Many believe he made the right choice moving off Mummy and taking on Stephen King's It for New Line, which is already generating excitement (the online trailer earned close to 200M views in its first 24 hours).

Muschietti left Mummy in May 2014 a matter of days after Kurtzman and his Transformers/Star Trek partner Roberto Orci parted ways to work on separate projects.

The duo were originally brought to Uni in May 2012 under a two-year production deal.

By July 2014, Kurtzman was paired with Fast and Furious scribe Chris Morgan to be the architects of the Dark Universe narrative.

Amid Mummy's bombing, industry executives are clearly juxtaposing that creative combo to the previous pizzazz of Kurtzman/Orci.

Deadline hears that Mummy was a problematic shoot, with Cruise in the end trying to save the movie in the editing room.

Some even think that Kurtzman bit off more than he could chew in tackling The Mummy as director.

Cruise brought on his Rogue Nation director/scribe Christopher McQuarrie to take a stab at the script.

In the end, we're left with a mishmash of dull action scenes, sans that singular, vibrant auteur's vision that Jordan Peele brought to Uni/Blumhouse's Get Out.

A studio such as Universal, which reaped a fortune from rebooting a classic movie like Jurassic Park with Jurassic World, should know better.

Why lose what everybody loved about the older Mummys?

Social media analyst RelishMix observes that social chatter has fans with "fond memories of Brendan Fraser's series of films" and reviewers fondly recall the campiness of those pics, gone now for a dark, broody, monotonous tone.

Heading into the weekend, RelishMix noticed that The Mummy "had mixed conversation to be sure…Some moviegoers don't believe Cruise in this role, and conversation along these lines suggests a certain amount of wear-out related to the actor in these super-action roles."

Also coming in lower than the industry expected especially after its glowing reviews at 86% fresh is A24's It Comes at Night which is opening to $6M.

Some believed it had slightly better prospects between $8M-$10M.

Typically with these low budget horror movies, and this one was only $5M before P&A, there's a heavy degree of social and digital marketing.

But RelishMix noticed that the movie is impaired by a cast which isn't widely active on social with "less than 300K social media followers, which is light for a film opening during the competitive summer season."

Furthermore the current conversation among horror fans for It Comes at Night is "dubious at best," says Relish Mix, "They are tired of the zombie film, and the 'stuck in a house' element."

Those who've seen the Trey Edward Shults film give it a big D CinemaScore, a complete knife in the back to this pic's longevity.

While PG-13 horror films pull in young girls, this one is rated R, so guys at 53% are the majority.

Those over 25 at 56% gave It Comes at Night a D, while over 50 at 12% had zero patience for the movie, slamming it with a F.

Bleecker Street's war drama Megan Leavey with 79% fresh from 27 reviews and an A CinemaScore is doing better than expected with $3.8M at 1,956 theaters, however, for a wide release that's still very low.

Whenever you see an indie go wide like this versus a platform, it typically means the distributor has a certain amount of financial skin in the game, meaning that they have but no choice but to go wide, and make as much as they can theatrically so they can quickly segue to home entertainment.

That versus a platform release which is much more of an investment over a longer period, and may not pan out successfully for a movie in the long run.

Bleecker acquired the movie back in January from Liddel Entertainment.

For Sunday morning's weekend analysis, click here.

Previous box updates for the weekend of June 9-11.

2.). The Mummy (Uni), 4.035 theaters / $12M Fri. (includes $2.66M) /3-day cume: $30.5M/Wk 1

4.). Pirates Of The Caribbean: Dead Men Tell No Tales (DIS), 3,679 theaters (-597) / $2.97 M Fri. (-53%)/3-day cume: $10.4M (-53%)/Total:$135.5M/ Wk 3

5.). It Comes at Night (A24), 2,533 theaters / $2.4M Fri. (includes $700 previews) /3-day cume: $6.2M/

8.). Megan Leavey (BST), 1,956 theaters / $1.2M Fri /3-day cume: $3.8M / Wk 1

11.). My Cousin Rachel (FSL), 523 theaters / $278K Fri. /3-day cume: $981k / Wk 1

Beatriz at Dinner (RSA), 5 theaters / $42K Fri. /PTA: $27,2k/3-day cume: $136k / Wk 1

Universal's The Mummy is looking pretty dingy at the domestic box office with an opening between $29.6 million-$32 million at 4,034 theaters, off a first day that's between $11.5M-$12.5M. Last night's previews of $2.66M are rolled into today's ticket sales.

This is a horrible domestic start for Universal's Dark Universe monster franchise, with The Mummy on track to be the lowest opening among the studio's previous Mummy pics and spinoffs, i.e., The Mummy 1999's $43.3M opening, The Mummy Returns' $68.1M, The Mummy: Tomb Of The Dragon Emperor's $40.4M and even below the Dwayne Johnson spinoff The Scorpion King which opened to $36M.

Per one rival marketing executive on The Mummy's cursed outcome, "Nobody wanted to see Tom Cruise in this movie."

And we've heard that The Mummy in its production cost is substantially higher than the $125M-$130M reported before P&A; it's more in the $195M vicinity.

This puts the Cruise movie in second place behind Warner Bros/DC's Wonder Woman, which will hold No. 1 with $48.5M-$51M in its second weekend at 4,165, an average ease of 52%.

If these figures hold up on the high end, Wonder Woman will stand at $198.9M by EOD Sunday.

20th Century Fox/DreamWorks Animation's Captain Underpants will take third with $4M today and $13.3M in weekend two at 3,529, -44% for a 10-day gross of $45.6M.

Disney's Pirates of the Caribbean: Dead Men Tell No Tales will take fourth with an estimated $3.2M today, and $11.1M in its third outing, -49% for a running stateside total of $136.3M.

Newcomer It Comes at Night from A24 will slot fifth with $3.7M today, and an opening of $9.1M at 2,533 locations.

Bleecker Street's Megan Leavey at 1,956 is looking at $800K-$1.1M today and $2.5M-$3.2M in its debut.

Again, all these figures could sway up or down by evening.

Universal's The Mummy drew $2.66M in previews last night at 3,015 venues, a figure that's 34% less than the $4M Tom Cruise's summer hit Mission: Impossible – Rogue Nation grossed on its preview night two years at 2,674 locations.

Film reviewers have trashed The Mummy putting its Rotten Tomatoes score at 20% Rotten, and thus greatly impacting the pic's domestic weekend results which could be as low as $32M according to some tracking services (that's under the $35M-$42M we originally saw).

Universal has a lot of skin riding on The Mummy as its the first title in their revamped monster Dark Universe series, and this is not an excellent start by any means.

Some say the reported net production cost for Mummy is between $125M-$130M, while other finance sources say it's closer to $195M.

If there's any hope of breakeven here, it will boil down to overseas for the Alex Kurtzman-directed film.

At the same time, The Mummy's Thursday night is higher than Jack Reacher: Never Go Back ($1.325M at 2,850 venues), The Edge of Tomorrow ($1.8M) and Universal's Oblivion which grossed $1.1M from midnight shows.

But if you want to know where the majority of America's moviegoers were yesterday, they were watching Warner Bros./DC's Wonder Woman which took in an estimated $9.2M, only 2% down from Wednesday's take.

Current running cume stands at $147.8M, and should Wonder Woman on the low end make $52.2M in her second weekend (it could be as high $60M), she'll easily clock past the two century mark at the B.O.

Also this weekend, A24 is opening their horror title It Comes at Night in 2,500 theaters.

It made $700K last night at 2,000 theaters.

The movie has been greatly embraced by critics at 85% certified fresh and could potentially hit $10M.

The movie directed by Trey Edward Shults was financed by A24 for a cost of $5M.

Bleecker Street has the Kate Mara war drama Megan Leavey which industry estimates figure will gross $2M at 1,944 locations.

The Gabriela Cowperthwaite-directed title currently has a 78% Rotten Tomatoes fresh score.

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i think everyone knows that mummy is not going to do well in states but tom cruise has enough star power to ensure it will atleast make some money globally

a bit of an embarrassment for Universal.

Feels like a big money grab in the vein of The Huntsman – where there is no script or idea so they just sign some stars and throw a lot of Viz Effects, and money, at the screen.

They may win the battle but will lose the war in the long run.

Overall, there whole plan for the Dark Universe feels way dated.

Do younger audiences really care about these titles, let alone Cruise, Depp and Crowe?

Don't movies like GET OUT teach them anything?

They were desperate for their own AVENGERS and these were the only IPs in the library they could come up with.

And hey, rebooting THE MUMMY as big-budget action worked before, so

I'm puzzled as to why the studio didn't go with a continuation of their already popular Mummy franchise.

I didn't care for that franchise myself — too cheesy IMO — but it did have a large fan base likely would have shown up even after all this time.

Tom Cruise's character could have been a modern descendant of Brendan Fraser's character.

That would have hooked in the former fans and maybe ensured a better first weekend.

It's monsters and witchcraft and tuff so you could have even brought Brendan Frazier in as having been frozen by another monster, reintroducing Fraziers character and another monster.

The truth is that they could still do that in another film.

Elleinto & Jenn, 'Dark Uni' should hire you.

Yes they should have gone with newer talent and brought Fraser back for cameo and kept the camp.

Cruise is great in M:I and other pics but I have no idea it was to to place him in this & pay his likely $20 mil + backend (probably non-existent now) for this.

And I don't see why he took it, he's got more $$$ than Ft. Know and his profile ain't dead yet with M:I still surviving.

Johnny Depp Fan • on Jun 9, 2017 5:29 pm

Depp is hugely popular among younger audiences.

His tag on Instagram currently has 1,529,313 posts, which I believe makes him the most popular actor on the youthful platform.

Clearly people would rather look at Johnny Depp on Instagram and Gal Gadot in movie theaters.

Selena Gomez is about the most popular celeb on social media but no one goes to her movies.

One doesn't necessarily translate to the other.

Also, we are learning, as in the case of Katy Perry and others, that up to half of those followers are fake.

Anyway, where were those followers for Depp when it came to Mortdecai, Dark Shadows, Alice 2, Transcendence, The Tourist, Rum Diaries, etc.?

IMO, the same people that are claiming that Johnny Depp has not turned into a total cliché") are the haters against WW, and frankly, are the same people that think that the "DARK Universe" is a great concept, where a man with scars is a villain

, frankly, WHO ON EARTH thinks calling someone with a congenital condition a monster is a good idea?

I'm not a writer, but I know too many studios have forgotten this in search of blockbusters.

It means nothing if you don't care about the characters.

After the failure of King Arthur & the Mummy, hopefully studios will stop believing the can create success by sticking a generic action movie around a known brand.

There is no fresher talent that is at the calibre of Crowe and Depp.

But I think its not the stars – Hemsworth and Blunt play to a younger crowd, but can't seem to sell.

Cruise sells but more overseas depending on the project.

But its like none of them are acting anymore, only REacting to some green screen and 90% of the movie is cooked up in some VixFX work station.

And you can only watch so much of that before they should just start billing it as an animated movie.

I doubt Wonder Woman would outgross Pirates globally though.

Not everyone in the world are Superhero fans.

Just like when Doctor Strange failed to outgross Fantastic Beasts globally.

POC5 is doing very well in the Foreign box office for some reason.

It's pulled in almost three times as much foreign versus domestic, which is probably important as studios only keep a third of the foreign take anyway once the distributors and theaters themselves get a take.

I'm sure the fact that Fantastic Beasts showed in IMAX theaters twice as long as Doctor Strange got to had something to do with that.

Did that little detail slip your mind on purpose or on accident?

Did you forget that Harry Potter is a foreign property to start with, and has already made a billion worldwide.

I should hope a spinoff would outgross the introduction of an obscure new comic book character.

DRACULA UNTOLD in 2014 had a final score of 23% on Rotten Tomatoes.

Final worldwide box office was $217 million.

Well, it's a big hit overseas – in fact it's Tom Cruise's biggest international opening.

Quite frankly, it lost some of its business to the juggernaut Wonder Woman that it would otherwise have gotten in a less crowded field.

Most of Tom Cruise's movies didn't open on the same day worldwide.

So, it's an apples to oranges comparison.

Bank on this: Mummy will not make more than 450 million worldwide.

No need to over-think it, Tom Cruise in a Mummy reboot is just a bad idea.

It was a bad idea from the moment anyone heard of it.

He'll do anything that feels 'franchise' and just keep swinging away.

Hard working fella, but he can't go a week without being on a movie set as the 'star' or god forbid, home alone for a week binge watching The Leftovers.

Millennial Griffith • on Jun 9, 2017 1:58 pm

I would have gone to see the movie if Tom Cruise actually *played* the Mummy.

I thought the point of the Universal monster universe was that you were going to have big stars in the title roles.

The only reason any remembers the original Carl Laemmle production is because Boris Karloff played the title role.

The monster needs to be the most important character on screen, not Tom Cruise as an umpteenth Ethan Hunt knockoff.

So you think audiences want a major star to play The Creature from the Black Lagoon?

I really doubt the reason the film is tanking is because Cruise isn't the Mummy.

I would love to see a new Creature From The Black Lagoon movie.

Much better idea than The Mummy or another Dracula movie

Universal must now be reconsidering whether to go forward with THE MUMMY MOMMY and LOOK WHO'S MUMMY NOW?

Brendan Fraser's Ghost • on Jun 10, 2017 9:14 am

OK, I'll Jump In • on Jun 10, 2017 3:37 pm

Paramount is developing Mummy Impossible with Universal.

Why would he punish himself by watching Leftovers?

In fact, when it was announced he was in talks to star in the reboot, I said, "There is no way Tom Cruise is doing this."

I went on the record and had to eat crow.

I don't know what he is thinking between this and Top Gun: Maverick…he's ruining his legacy.

I used to say, "Tom Cruise doesn't make bad films," but his last two have been TERRIBLE.

The worst of his career (and I have seen them all).

Don't forget the Edge of Tomorrow sequel.

I honestly hope it falls apart, Edge of Tomorrow was a pretty good film but does not need a sequel and the title for the proposed sequel is awful.

I don't understand why they plan all these films until after they finish their runs at the box office.

The Fantastic Beasts sequels are going to end up bombing unless Rowling get off Twitter and tries to write something decent.

The Fantastic Beasts sequels will more than likely be hugely successful like the first one was.

The original was an excellent film that was very entertaining and was popular with critics and filngoers alike.

The poster is right about Twitter though.

Rowling has become a radical tweeter, weighing in on issues that simply don't concern her.

Write a few books, star in some movies and suddenly you think everyone should listen to you about everything.

Actors should act, writers write and bands just keep on playing.

Keep tweeting long enough and you're guaranteed to alienate everyone.

Kevin Thunder • on Jun 10, 2017 10:00 pm

Thank MERLIN that J.K. Rowling wrote it.

In fact, I wish she had written the Harry Potter movies.

Half-Blood Prince still leaves a stench in my mouth.

Steve Klove and David Yates turned a good, suspenseful book into a Rom-Com.

Some of the humor was juvenile for my taste, but it had real heart.

✔ Movie to avoid • on Jun 11, 2017 10:58 am

But, I'm sure his Scientology "friends" won't let him.

They make big bucks off of their cult leader, i.e., Tom Cruise.

It's so bad and lackluster and lifeless.

The movie could have worked with someone besides Cruise.

I thought it was supposed to be an epic film.

It was a generic action/suspense film with a powerful mummy rather than a terrorist as the villain.

Tom cruise and Russell Crowe in a mummy reboot was never going to work.

We went to check out It Comes At Night, instead of The Mummy, and were very surprised.

Not exactly the horror that was marketed as, but instead a very claustrophobic and suspenseful film full of dread.

More than the generic action flick Tom's movie looked to be.

I saw a clip of it and it seemed like it was mostly them talking exposition rather than the jump scares you see you horror movies.

That's probably why I didn't see it – but if the reviews are good, I'd give it a second look.

There was also the Megan Leaveny and Cousin Rachel that I was considering and probably will try to see since they look like a 1 week out type movies.

Look Eric, we don't need to hear your life story.

The Undecided Voter • on Jun 9, 2017 9:16 am

A Tom Cruise movie these days are what they are.

I'm not going to see The Mummy & expect a storyline as great as The Godfather.

The leap there to The Godfather is too large.

Few modern movies are as good as that, so a more apt bar would be a World War Z or even San Andreas, which weren't that well received but played their action beats well enough to avoid this kind of backwash.

I'm more curious if Guardians 2 will be able to cross 900mill at the end of its run, it should be around 830mill worldwide at the end of the weekend

Not as good percentage as Winter Soldier or Thor 2 but it made far more money so all evens out depending on what interests you more, and of course it didn't drop stateside like IM2 or Avengers 2.

Key for part 3 will be if it goes up after they make their Avengers sighting because it seems to have maxed out its international appeal around the mid 400's number.

Its out of gas here in North America and was weaker than I would have guessed overseas.

Overseas, Guardians not being pushed past $1B doesn't surprise me all that much.

Return-wise, it was still a slight improvement over the first by a few tens of millions of dollars, but foreign audiences aren't quite as interested in the franchise as more traditional superhero fare.

I think that the third one will get a big boost by the next two Avengers movies, because the Guardians will prominently appear there.

Without Iron Man being involved, I think Marvel's box office ceiling is about $800M-$900M+ – which would also be consistent with similar hugely-successful superhero movies making $700M-$800M+.

This makes me interested in seeing if Spider-Man: Homecoming is the fifth consecutive RDJ-involved Marvel movie to cross $1B or if the movie will come up a few tens of millions short of that – and I definitely think that it'll do better at the foreign box office because of Iron Man's involvement in a movie series that's already popular overseas.

At the current rate it won't, since it's already opened pretty much everywhere internationally.

Right now 855-860M is most likely (385M DOM + 470-475 OS)

It doesn't have another $25 million domestic in it.

After 7 years Marvel seems to have their overseas audience fairly set.

It's not growing much or shrinking much.

Outside of films that are directly branded "Avengers" branded films they'll get in the mid $400's overseas.

There may be some outliers but they will not be huge outliers, most likely.

As an aside, I'm sure they are a little disappointed in the Japanese returns as "weird space team that becomes a family that includes a cute talking tree" seems perfect for that market, but they clearly didn't expect "Beauty and the Beast" to become the third highest grossing film of the last 5 years over there and still basically running the show.

But when you've got a juggernaut, milk it.

Why wouldn't they expect BatB to be successful in Japan after Frozen was and massive hit over there?

carolinaalvarennga • on Jun 10, 2017 8:00 pm

The live action Cinderella hit $47m, Maleficant topped out at $63m.

Beauty should end up around $110 when all is said and done.

Will most likely end with $375-380M in USA and between $860-880M worldwide.

He ruined Star Trek and he has a bad touch.

I hope he never writes or directs again.

He's a decent enough writer, at the very least.

It's funny that women and minorities, even when successful, have a hard time lining up a new gig, but white men get passes over and over.

How many duds does he have to have before we decide perhaps he is not deserving of these projects and someone else should take charge?

"From the director of People Like Us and 2017's The Mummy and the writer of The Amazing Spiderman 2 and Cowboys and Aliens" is not a recommendation that entices anyone.

Pedro you make an excellent point about the passes given out to white men in Hollywood, especially directors.

When women and minorities achieve huge successes, it is certainly not a lock on future gigs.

However, it won't because the heads of the studios are still older, white men who will continue to hire other white men (especially directors and producers) regardless of their track record because that is their comfort level.

Kurtzman is attached to at least a dozen or more tv and film projects.

Yeah except time shouldn't tell anymore because he's failed as a director so many times already to the point where he shouldn't be able to find work anymore.

This is more evidence that Hollywood is as far from meritocratic as can be, giving the social justice types all the more ammo.

Don't Mind Me Now • on Jun 9, 2017 1:01 pm

He wrote a two Star Trek movies that were "meh" at worst.

Anyone who says that there were no bad Star Trek series or movies before the Orci/Kurtzman installments is lying to themselves.

Star Trek fans turn a blind eye to what they want when it comes to pre Abrams era films and TV.

There's much worse Trek out there than the three recent films (and Discovery does not look promising either).

I've never met a Star Trek fan who didn't agree that the one with Spock's brother where they go in search of God in the center of the galaxy (or whatever they were doing) was about as bad a movie as you could imagine.

Hell, William Shatner himself directed arguably the worst TREK movie ever.

I think Paramount should just sell Star Trek, preferably to Warner Bros.

I'm not a "DC fan" per see, I prefer Marvel, but I know Warner Bros knows how to generate Audience Interest–unlike Paramount.

That's the first step in "fixing" Star Trek

Chris Stephenson • on Jun 9, 2017 3:20 pm

Star Trek before Kurtzman and Abrams was a complete dumpster fire.

Enterprise had been cancelled with horrid ratings, and both Insurrection and Nemesis were bombs and bad movies.

The new movie was beloved by critics and fans, and made more money than the rest of the series combined.

Into Darkness wasn't as good unfortunately but still did respectably.

I'm not sure in what way Kurtzman ruined anything considering he wrote one of the most well-recieved entries and brought a dead franchise back to life.

How could Star Trek be dead when the many series are still making millions in merchandising, syndication and streaming?

I know "out of production" equates to "dead" in Hollywood, but Trek is still very much alive to the public,

The box office from the 2009 didn't make more than the whole series — it's the top domestically but behind the 1979 movie internationally — and each reboot movie has made less than the one before.

I enjoyed the reboot film, but I doubt its lasting impact on Star Trek in the long run.

Star Trek is dead because the vast majority of its merchandise consumers are over 40.

They aren't creating new fans like Star Wars, Marvel, DC, Disney, Warner Bros etc.

I kind of hope Star Trek goes away to leave room for other franchises or even original films.

It's just an obvious moneygrab like a needless Hangover 3 or Police Academy 7.

Kevin Thunder • on Jun 10, 2017 10:03 pm

Don't forget Star Trek: Beyond, which was amazing. :)

Although I can't remember if he had anything to do with that movie lol.

But both Star Trek movies have received great reviews and created more fans worldwide; how exactly he ruined Star Trek?

Anyone who listens to the critics instead of their own eyes is a weak-minded fool.

If you didn't know that before last year than the fresh rating for Girlbusters should've cemented it in your mind forever.

So – you have some skin in the mummy game or you're just a misogynist?

Rex the Wonder Dog • on Jun 9, 2017 8:06 pm

Interestingly even the no-weak minded fools who ignored the critics and went anyway in general agree that the Mummy is a bad movie.

While most everyone agrees that Wonder Woman more than deserves what the critics said about her movie.

Sure, I'll ignore the critics as soon as you tell me how to listen to my own eyes without pissing away ten bucks and two+ hours of my time.

Saw this last night at the Chinese Theater Imax.

Not even that glorious screen could save this turd.

I just didn't care while sitting through it.

Tom Cruise felt oddly out of place it it.

So a midnight showing did not compare to a showing at Thursday evening.

How many want to watch a midnight movie without it being a sequel i.e. star wars

Chris Stephenson • on Jun 9, 2017 3:22 pm

It's not a hack job saying nobody wanted to see this movie, it's a factual statement.

To say a movie at midnight, compares to a movie that played all night, should be established movie

I hope Wonder Woman makes +65M, please guys.

Thank God, RT is a non-factor outside the USofA.

It's nice to see people enjoying movies which they like, and not ones they are told to like.

I went to this movie despite the bad rotten tomatoes score.

It's not that "RT is a non factor" (there are hundreds of foreign movie critics), it's that overseas markets enjoy watching awful movies.

Star Power still seems to hold weight over seas a bit more than here – so people keep asking 'why did they make another X' because they don't pay attention to the IBO

Overseas audiences are where NA audiences were 10-20 years ago.

Overseas audience will go see a move is Actor X is in the film, no matter how bad the film is.

NA audiences bother to read reviews, both from professional sources and trusted amateur (friends/acquaintances) types.

And both have films with low RT scores made bank, while several acclaimed films at the aggregation failed to sizzle at the box-office.

But I suppose, overall, people are exerting more discretion while picking what to watch and that is a good thing.

Studios will have to work harder, just like WB had to, and actually deliver a coherent film with strong characters, something to say and a vision instead of just stacking up CGI set pieces.

If we're talking about The Mummy, you forget that Tom Cruise is box office poison in America.

Mission Impossible – Rogue Nation $195 million domestic.

But, Cruise is a falling star here in America.

A more accurate statement would be that Tom Cruise is a negative in the minds of the movie going public when considering whether or not to buy a ticket.

He's not the dispositive factor, one way or the other.

If the movie looks good I'll see it despite him.

I won't go to see many bad movies because of him.

I saw mummy, because I loved the previous reboots.

Chris Stephenson • on Jun 9, 2017 3:24 pm

In what way does a website laying flat how many critics liked a movie and how many didn't tell anyone to like a movie

RT just makes it easier to find what more people that know movies like.

They have RT in the U.K. and it matters there at least.

I don't pay much attention to critic scores, but find audience scores on RT to be mostly reliable.

Right now The Mummy is sitting at 47%, and frankly I find that generous given my impression of the film from a few days ago.

I'm not sure if this is enough to kill the DU franchise given that the next two entries are already in pre-production, but it certainly sucks a lot of the air out of it.

If anyone was excited for more monster movies, they certainly aren't now.

Rex the Wonder Dog • on Jun 9, 2017 8:13 pm

Plus RT blends the " want to see" scores in with the scores of people after the movie is released.

So that tends to increase the audience score.

Otherwise for some movies the audience score would be a lot lower.

If they just used the score of people after the movie was released it would be a lot more accurate.

That makes a lot of sense as to why the score is higher than it deserves.

I wasn't aware they mixed the two scores like that.

If I recall, Want to See for this movie was 96% so that mean audience scores must have been in the toilet to bring that average down to 46%.

prez babycakes • on Jun 9, 2017 12:20 pm

This looked like straight to DVD fare… never seen a Tom Cruise trailer that looked so redbox-rental-ready.

Dead On Arrival Universe • on Jun 9, 2017 12:21 pm

Dark Universe was a stupid idea but they were so desperate to have their own Marvel universe they failed to realize they don't have the characters needed to do a cinematic universe.

Donna Langley should be fired for wasting so much money not just on producing this crap fest but also the millions of dollars she spent on their writers room to develop this monster universe.

None of their planned movies will work the way they want them to.

Donna should be exiled to the Prodigium it's where she belongs there she can spend her time and energy trying to capture legendary monsters.

Universal seemed to think they could 'force' a universe by taking similar themes (hey look spooky human monsters) into what's interlocking.

It's not like marvel created the universe for the movies – they have 50+ years of 'universe' extant to work with

Couldn't they come up with something a little more clever?

As well, the DU has a major rooting/interesting-character problem here.

Do you root for the creepy corporation policing them partly by keeping the public ignorant of them?

It's as if the X-Files had no Mulder/Scully and we had to root for the aliens/monsters.

And this movie proves that star power is not going to compensate for shoe-horned-in, bland protagonists we have no reason to care about.

Frankly, Universal would be smarter buying good contemporary horror novels and doing moderate, well-scripted adaptations instead of redoing these horror classics for the bazillionth time.

There's a reason GET OUT did well–and why its director/writer was smart in optioning LOVECRAFT COUNTRY for the screen.

To steal a quote from "Frequently Asked Questions About Time Travel" (great movie btw):

Man of Steel declined 64.6% from its first to second weekend.

If Wonder Woman declines 52% (or less), that would be awesome (and would match The Dark Knight's second weekend decline).

As far as superhero films go, 52% is an incredible hold, even better than most Marvel or Fox releases.

The average, even for massively successful titles, is closer to 60% or even above it, because the genre tends to be front-loaded.

The only reason that WW is holding out is because the other movies mentioned made way more money than she did.

So its important that people stop making her seem like a great success cuz she's really not.

I mean 10 days in and still not guaranteed to pass the $200 million mark?

And the reason I say this is because everyone is treating her movie as if its an event movie.

DM3 and the true greatest superhero of all Spider-man will put an end to this upstart.

Check holds for Iron Man, Doctor Strange, Guardians of the Galaxy, Thor: The Dark World, or, actually, most Marvel titles.

Lower opening than Wonder Woman and higher second week dips.

Nope, it will keep easing down and will make more than man of steel.

You obviously have no idea what you're talking about.

She's already nearing if not passing 200 mil this weekend.

I mean, what the heck is an event movie?

This movie is a summer blockbuster as all movies are that are heavily advertise, highly budgeted and released during the summer blockbuster gauntlet.

Also, you've failed to define and use examples of how the next three weeks will end her run.

Listing a bunch of up coming movies doesn't say anything.

Box Office Fan • on Jun 10, 2017 5:01 pm

I think he was using Mockingjay Part 2 to base his predictions that Wonder Woman won't gross more than $280 million domestically.

Mockingjay Part 2 had $102.7 million for the first weekend and grossed $52 million for the second weekend.

By the end of the second weekend Mockingjay Part 2 had $198.5 million in the bank.

If Wonder Woman ends up with $200.6 million by the end of the second weekend, Wonder Woman should end up with around $285 million at the end of its domestic run (versus $281.7 million for Mockingjay Part 2).

Wonder Woman will still be below Man of Steel's $291 million.

Wonder Woman is ahead of Guardians of the Galaxy domestically in every way measurable.

Which is what you'd hope for considering she's one of the best known superheroes of all time.

agca hadvatydc • on Jun 10, 2017 9:00 am

nonsensicalwhimsy • on Jun 10, 2017 9:54 am

Sounds like you're desperate for it to not do well.

I keep seeing posts similar to this, and I don't understand why.

carolinaalvarennga • on Jun 10, 2017 3:11 pm

carolinaalvarennga • on Jun 10, 2017 3:06 pm

carolinaalvarennga • on Jun 10, 2017 2:57 pm

Hopefully Langley will finally be cut loose

has terrible taste, this dark Universe crap she championed so hard is awful, nobody cares about this franchise or ever will.

Universal had the best year in its history two years ago.

There's no way that Universal's BoD is gonna let her go anytime soon.

If low critic ratings mean Hollywood has to tell better stories, then so be it.

Why on earth did Tom Cruise agree to this?

I think it's because Cruise seems unsure of where to go and what to do.

Think of it this way, in 1999 when the first Brendan Fraser film came out and what Cruise was doing that year, if you asked anybody (including him) if they thought 18 years later he would be rebooting that series, no one would have bought it.

But he has limited time left on the Mission series, Jack Reacher is a bust and so he seems to be trying to find a way to stay relevant in action tentpoles

What he should be doing is, while not yet giving up on popcorn yet, try to start mixing in proper acting roles in other types of movies, the way he flirted with in the past.

He's already past his genuine box office domestic peak but he remains one of the few 'stars' of the 80's/90's who still can work on a global level, but not for very much longer at 54.

Would love to see Dwayne Johnson in a Jack Reacher role

Rex the Wonder Dog • on Jun 9, 2017 8:15 pm

Because he is Tom Cruise and he thinks every movie is better with Tom Cruise.

It sounds like he really wanted to do a classic horror piece–and he was slated to do del Toro's IN THE MOUNTAINS OF MADNESS Lovecraft adaptation.

But when that got killed, this was the next best thing.

The Mummy started off fine, but became confused and lacklustre as the film progressed.

I like Cruise but felt he was miscast and too old for the part.

Wouldn't be surprised if Wonder Woman is closer to $55 million for the weekend.

Mummy was a snoozefest and beneath the talent involved.

The classic monsters need to be given a rest for a while.

Im really confused about the overwhelming amount of negative reviews this movie is receiving.

Since when do summer blockbusters need to be critically acclaimed to be enjoyable?

This movie was fun and worth the price of admission.

It's an audience pleaser not a oscar contender.

Im sure the studio also banked on the global performance of the movie and I don't think Universal ever really expected this to be a Monster hit in the US.

They wanted to get this dark universe started quickly and they needed a safe bet so they enrolled Tom Cruise, gave him the some creative control on action sequences, marketed the crap out of it, and now have a starting ground.

It'll make $400 million or more worldwide and they left plenty of room to lead the Dark Universe in any direction they want it to go.

I can't believe it took six guys to write that horrible dialogue.

We read all the bad reviews right before we saw it and we still enjoyed it.

"Since when do summer blockbusters need to be critically acclaimed to be enjoyable?"

There's a difference between the good, well-made sort of mindless franchise movie (GotG 1 and 2, the Captain America movies) and movies that are just inept and annoying (The Mummy, countless others).

But bad movies do well overseas all the time.

I'd say keep an eye on foreign BO before writing this one off.

You quote two Marvel films as examples, they should be exempted due to the he comic book film craze sweeping the world.

I would rather see the new Pirates film as an example which I thought was very enjoyable.

I think the US is heading down a one way street now with Marvel and DC driving the bus.

All well and good if you love those films but the rest of the world prefer some variety in their heroes

Bugs Meany (@BugsMeany) • on Jun 9, 2017 2:46 pm

Really, who was asking for this to be rebooted?

The Mummy needed to be good to justify its existence.

Well, everyone expect studio knew that "The Mummy" with Tom Cruise will flop on the day it was announced.

Because no one was asking for new "Mummy franshice".

But some people thought: "Well, if they invest so much money in it then I guess they have good plan for it and script.

Maybe I will give it a try and wait for trailer.

After all those Brendan Frasier ones were fun adventure ".

And then trailer came and it showed that studio had no plan, it has no relation to previous Mummy franchise.

It's some popcorn movie where Tom Cruise runs and saves the world, there is some ghost like evil woman and some cloud or something….

Do they really thought that 54 years old Tom Cruise still has the power to bring 150 millions to every blockbuster he stars in?

Oblivion, EoT and Jack Reacher all underperformed.

Yes, but Edge of Tomorrow wasn't one of the best sci-fi action films of the last decade and Cruise was perfectly cast.

My dumbass phone decided to change it to wasn't.

"Edge of Tomorrow" was an excellent sci-fi/thriller/adventure film.

But I don't think it was marketed as well as it could have been.

But let's face it, with a title like "Edge of Tomorrow," which sounds like a soap opera and doesn't describe what the film is really about, they weren't giving their marketing department much to work with.

I think the title did undermine the film's success quite a bit.

And perhaps, at the time, his religious beliefs and marital woes, put on blast by the tabloid media, may have dinged his ability to attract an audience as well.

I'm not a huge Tom Cruise fan, at all, but this film was brilliant!

There is no such thing as celerity pull anymore(and people are tired of too many British actors).

Can you give some examples who you would have cast instead of just trolling?

People who appreciate superior acting are not tired of too many British actors; only xenophobe would say that.

If what you say is true, you wouldn't keep seeing Hugh Laurie, Naomi Watts, Kim Catrall, Christian Bale, Gillian Anderson, Haley Atwell or a hundred other performers who are so talented you didn't even realize they are British.

When was the last hit movie any of those actors had in the US?

Hollywood is ignoring the domestic box office by not employing more US actors like, African American, Hispanic, Native American, Asian instead of foreigners.

Johnny Depp is Native American yet he's cast in movies all the time

The movie business is a world wide business not an American one.

Hidden Figures was only big in the States but nowhere else.

Other movies like The Golden Compass underperformed in the States but were saved by European audiences

My point is some movies are made more for Europeans than Americans

Johnny Depp is like 1 percent Native American, if that.

Trying to single out Depp for the sake of diverse casting is laughable.

I didn't know that Kim Catrall was British.

Thank you, I learned something new from your post.

However, Gillian Anderson, is not British.

She was born in Chicago, lived in England until she was 11, then moved to Michigan.

British actors, Australian actors, American actors, I could give a fiddler's damn.

I've complaining about all these Brit actors for awhile now.

Movies with them in it usually tank at the domestic box office.

They are cheaper than Americans and no better.

I think if Brit actors were all barred from US TV and Films you would notice a pretty big gap.

Game Of Thrones would be gone completely.

No Bond films, no big budget films made cheap with tax incentives in the UK (they require a quota of UK actors to qualify), recast Star Wars.

Rogue One, 1 billion dollars WW with over 500 million domestic with 2 of the 6 main cast being British.

Beuaty And The Beast, over 1 billion dollars, both leads British, films in Britain.

Yeah I can see your logic, let's just ban all those crappy Brit actors

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Creative Development CoordinatorTriptyk Studios, New York, New York

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Save the Children, Fairfield, Connecticut

"The Mummy" received generally negative reviews from critics, with criticism aimed at its narrative, tone, acting, and plot points setting up the "Dark Universe". On Rotten Tomatoes the film has an approval rating of 16% based on 290 reviews, with an average rating of 4.2/10. The site's critical consensus reads, "Lacking the campy fun of the franchise's most recent entries and failing to deliver many monster-movie thrills, "The Mummy" suggests a speedy unraveling for the "Dark Universe"." On Metacritic, the film has a weighted average score of 34 out of 100, based on 44 critics, indicating "generally unfavorable reviews".


In early November 2014, Disney announced that it had sold over three million "Frozen" costumes in North America alone, of which Elsa was the no. 1 best-selling Disney costume of all time, followed by Anna at no. 2.

Elsa Dominates Anna in 'Frozen' Merchandise Sales - WSJ

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# Elsa Dominates Anna in 'Frozen' Merchandise Sales

## Soup, Mouthwash, Dolls and Dresses; 'Elsa Has Powers and She's Pretty'

She has the most lines, songs and love interests in blockbuster Walt Disney Co. movie "Frozen," and ultimately saves the day.

Yet at cash registers and in playrooms Anna's older sister, Elsa, a withdrawn, reluctant queen whose powers to freeze nearly doom Anna and the rest of her fictional Norwegian village, is winning the popularity contest.

Elsa products are expected to dominate sales this...

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In December 2013, Disney began releasing "Musical Magic Elsa and Anna Dolls", which played their signature songs that appear in the film. Numerous other doll versions of Elsa were released for purchase, including fashion doll sets, mini dolls, plush dolls, and Elsa-as-a-toddler dolls. A dress up costume for children was modeled after Elsa's ice gown along with gloves similar to ones she wears in the film. Together with Anna, she was depicted on various "Frozen"-inspired dishware such as plates and coffee mugs. Other Elsa-inspired merchandise includes luggage, nightgowns, and home décor. Additionally, simplified versions of the film were adapted to children's storybooks, including one with voice audio and another called "A Sister More Like Me" that was illustrated by Brittney Lee. Elsa and Anna also both appear as playable characters in "Disney Infinity" through the use of their corresponding figurines.
 In early 2014, most "Frozen" merchandise, including dolls and dresses, were sold out nearly everywhere, including Disney stores and theme parks.


In 2011, Kashyap shared the Best Story and Best Screenplay Award at the 56th Filmfare Awards with Vikramaditya Motwane for "Udaan".

(meta data) TITLE: Winners of 56th Filmfare Awards 2011

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Sify.comMoviesBollywoodWinners of 56th Filmfare Awards 2011

Last Updated: Sun, Jan 30, 2011 04:18 hrs

Male)Shah Rukh Khan - My Name Is Khan Best Actor In A Leading Role (Female)Kajol - My Name Is Khan

Best FilmDabanggBest Director Karan Johar - My Name Is KhanBest Film (Critics)UdaanBest

Actor Male (Critics)Rishi Kapoor - Do Dooni ChaarBest

Actor Female (Critics)Vidya Balan (Ishqiya)Best Actor In Supporting Role (

Male)Ronit Roy - UdaanBest Actor In A Supporting Role (

Female)Kareena Kapoor - We Are FamilyBest Sensational Debut (

Male)Ranveer Singh - Band Bajaa BaaraatBest Sensational Debut (

Female)Sonakshi Sinha - DabanggBest Debut DirectorManeesh Sharma (

Band Baaja Baraat)Best Playback Singer (Male) Rahat Fateh Ali Khan - Dil Toh Baccha Hai Ji (Ishqiya)Best Playback Singer (

Female)Mamta Sharma - Munni Badnaam Hui (

Dabangg)Sunidhi Chauhan - Sheila Ki Jawani (

Production DesignMukund Gupta - Do Dooni ChaarR. D. Burman

Music AwardSneha Khanwalkar - Love Sex Aur DhokhaSony Best Scene Of The YearGolmaal 3Lifetime Achievement AwardManna Dey40 Years Of Greatness AwardAmitabh Bachchan

'Welcome Back' review: Mayhem and Mirth!

"భలే భలే నవ్వించే మగాడు : "భలే భలే మగాడివోయ్" రివ్యూ

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On 20 May 2013, Kashyap was awarded the Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) by the French government at 2013 Cannes Film Festival, when India was the guest country of the festival to commemorate 100 years of Indian cinema.
 He has also served as one of the jury members at many film festivals including the 2009 Venice Film Festival, 2013 Sundance Film Festival, 13th Marrakech Film Festival, and the 20th Busan International Film Festival. In 2016, Kashyap was awarded with Yash Bharti Award by the Government of Uttar Pradesh for his contribution in the field of cinema.
 In 1999, Kashyap shared the Screen Award for Best Screenplay, along with Saurabh Shukla for "Satya". The next year, his short film "Last Train to Mahakali" won the Special Jury Award at the same awards. His feature film debut "Black Friday" won the "Grand Jury Prize" at the 3rd Annual Indian Film Festival of Los Angeles, and was a nominee for the Golden Leopard (Best Film) Award at the 57th Locarno International Film Festival.


"Tsunami" was co-written and co-produced by KSHMR, who was uncredited in the track's final release.

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The creator of the track "Tsunami" was initially unknown. The single, which had been widely played at festivals for months, had been released and promoted by DJ Sander van Doorn, although he denied being the producer.
 Radio DJ Pete Tong confirmed the song to be the work of DVBBS and Borgeous when he played it on his show on BBC Radio 1 on August 16, 2013. "Billboard" magazine called it "the most played tune at [2013's] Tomorrowland", a Belgian electronic music festival. It was officially released on Doorn Records on August 19, 2013.


Another major supporter of Rushdie, Christopher Hitchens, said that the fatwa persuaded him that Islamic fundamentalism was an urgent menace, and later wrote "God Is Not Great", a polemic against religion.

(meta data) TITLE: For Hitchens, In Life And Death, An Unaware Cosmos : NPR

(meta data) PUBLISHED DATETIME: 2011-12-16

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# For Hitchens, In Life And Death, An Unaware Cosmos

Christopher Hitchens, shown here in 2010, began a lifelong battle with a God he didn't believe in when he was just 9 years old.

Writer Christopher Hitchens, who died on Thursday from complications of cancer at the age of 62, leaves behind some 18 books and countless essays on politics and public figures.

But his most lasting legacy may be his atheism and his long-running duel with what he considered the world's most dangerous threat: religion.

It was not trauma or disillusion that propelled Christopher Hitchens into a life of unbelief.

It was Mrs. Jean Watts, who taught nature class at Hitchens' boarding school when he was 9 years old.

The pivotal moment, he recalled, occurred when Mrs. Watts explained that God had made the grass and the leaves green as a gift to mankind.

"She says, 'This is an excellent thing and proof of the glory of God, because he could have made vegetation orange or red, something that would clash with our eyes, whereas green is the most restful color for our eyes!' " Hitchens told C-SPAN.

"And I sat there in my little corduroy shorts, and I thought, that's absolute nonsense."

From that moment, Hitchens began a lifelong battle with a God he did not believe in.

"I think deep down he understood that this was the most crucial question," says Hitchens' younger brother, Peter.

"Is man the creation of a benevolent God in an ordered universe, or is he entirely on his own — and all the things that flow from that?

And he'd spotted it as being the fundamental question and decided to pursue it."

### The Many Targets Of Christopher Hitchens

Over the years, Christopher Hitchens took on most of the leading figures of his time.

Over the next few years, Hitchens discovered that, as he put it, "words could function as weapons."

He honed his skills in Oxford and later in the U.S. as a writer and debater.

His antipathy toward religion became intensely personal in 1989, after the Ayatollah Khomeini decreed Salman Rushdie should be killed because of his book The Satanic Verses.

Rushdie was a close friend, and Hitchens said that fatwa persuaded him that Islamic fundamentalism was an urgent menace.

It was "money offered in public by a theocratic leader to suborn the murder of a novelist," he recounted to NPR.

"Pretty extreme challenge to all the things that I like from all the things that I hate."

It was not merely Islamic fundamentalism that worried Hitchens.

He viewed all believers as deluded at best and fanatical at worst, even the saints.

And so in typical Hitchens fashion, his next target was an icon: Mother Teresa.

He produced a documentary about Mother Teresa called Hell's Angel and a book in 1995, The Missionary Position, both of which reviled the diminutive nun as an ambitious self-promoter who took money from dictators and criminals.

"Mother Teresa is a very important figure, it seemed to me, to expose," he told NPR shortly after her death.

"She was a fanatic, a fundamentalist and a fraud.

She was someone whose net effect was to make more people more poor and more miserable and more wretched."

"You know, a lot of us were like, 'It's Mother Teresa, leave her alone, what are you gonna do?' " Jeffrey Goldberg, a close friend of Hitchens and writer for The Atlantic, says with a laugh.

"When that Mother Teresa book came out, I thought, 'Who next?

'The Most Well-Known Atheist In America'

With his 2007 book, God Is Not Great, Hitchens became a voice for a growing atheist movement.

He delighted crowds at debates and book signings, ridiculing believers for rejoicing in an omniscient, omnipotent God.

He compared the reign of this "supposed God" to North Korea — "an absolutely impermeable dictatorship that couldn't even be criticized, let alone overthrown, that went on forever, that supervised and invigilated your every waking moment and would not stop torturing you even after you were dead," he told a crowd at a book signing in Washington, D.C.

"To wish this to be true is to wish to be a slave."

Christopher Hitchens On Suffering, Beliefs And Dying Oct. 29, 2010

Hitchens Brothers Agree To Disagree Over God Oct. 13, 2010

A 'Collision' Of Beliefs: Atheist Vs. Theologian Oct. 25, 2009

Christopher Hitchens On 'This American Moment' Aug. 27, 2008

God Is Not Great became an instant best-seller and catapulted Hitchens from a highly regarded intellectual to an international sensation.

"I would say that Hitchens became the most well-known atheist in America," says Dinesh D'Souza, president of the evangelical King's College in New York.

D'Souza was one of a few religious believers who dared to debate Hitchens.

By all accounts, Hitchens was a devastating debater, seizing on logical weaknesses and often dominating the conversation with his words and his Oxford accent.

At one exchange at the University of Colorado in 2009, D'Souza was trying to explain the difference between Christian and Islamic views of morality.

As D'Souza unfolded his argument, Hitchens bellowed: "Thought crime.

We know what you're thinking, and we can punish you for it.

"He was sort of a bomb thrower, and he relied in a sense on shoot-from-the-hip type of arguments," D'Souza says.

But, he says, he's debated a lot of atheists, and Hitchens was his favorite.

"His joie de vivre made him stand out among atheists," D'Souza says.

So he was able somehow to communicate both that effervescence and at the same time to convey a certain depth that, underneath it all, he was a serious man."

But soon, Hitchens' energy would begin to ebb.

In June 2010, he awakened one morning barely able to breathe.

Thus began his journey "across the stark frontier that marks off the land of malady," he wrote.

As he chronicled his cancer on the pages of Vanity Fair, Hitchens received thousands of letters and emails.

Many said they were praying for him — that he would recover, or that he would accept God.

He said he was flattered, even though he thought the prayers were silly.

"In the soft form it's offered to me — you pray either that you get better or that you see the light — what's the harm?" he told TV interviewer Charlie Rose.

The disease marked a new stage in Hitchens' public atheism, with religious believers fervently hoping the cancer would convert him, and Hitchens insisting that he was unwilling — no, incapable — of believing in the supernatural.

"Under no persuasion could I be made to believe that a human sacrifice several thousand years ago vicariously redeems me from sin," he said.

"Nothing could persuade me that that was true — or moral, by the way.

Goldberg says that as Hitchens' health failed, he made a pre-emptive strike against those who might claim he had a deathbed conversion.

"One of the things he said to me and other people was, 'If I lose my faculties, defend my reputation as an atheist.'

Basically, he said: 'If, God forbid, I say something about believing in God, will you please go out there and say: This is the medication, this is dementia, this is not the Hitchens that we know.' "

The Hitchens he knew, Goldberg says, loved wine and friendship and debating the existential questions.

As to his early death, Hitchens told NPR he had been "dealt a pretty good hand by the cosmos, which doesn't know I'm here and won't know when I'm gone."

Weekly Standard: A Hitchless World Dec. 16, 2011

Writer Christopher Hitchens Dies At 62 Dec. 16, 2011

### Haiti's 'Baby Doc' Duvalier Dies At 63

### Ohio's James Traficant Dies, Days After Accident On Farm

### Why Youngstown, Ohio, Loved 'Jimbo' Traficant

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Social and political fallout.:Explanation of different reactions.:Western mainstream.

 Some Western politicians and writers did criticise Rushdie.   Former United States president Jimmy Carter, while condemning the threats and fatwa against Rushdie, stated, "we have tended to promote him and his book with little acknowledgment that it is a direct insult to those millions of Moslems whose sacred beliefs have been violated and are suffering in restrained silence the added embarrassment of the Ayatollah's irresponsibility". He also held that Rushdie must have been aware of the response his book would evoke: "The author, a well-versed analyst of Moslem beliefs, must have anticipated a horrified reaction throughout the Islamic world". He saw a need to be "sensitive to the concern and anger" of Muslims and thought severing diplomatic relations with Iran would be an "overreaction".
 Among authors, Roald Dahl was scathing and called Rushdie's book sensationalist and Rushdie "a dangerous opportunist". John le Carré thought the death sentence to be outrageous, but he also criticised Rushdie's action: "I don't think  it is given to any of us to be impertinent to great religions with impunity", although he later expressed regret over his dispute with Rushdie. Rushdie, however, was supported by major bodies in the literary world such as PEN and Association of American Publishers, and prominent figures such as Günter Grass, Martin Amis, Saul Bellow, Nadine Gordimer and Derek Walcott.


The speculation was aided by the political polarisation in Turkey, which was perceived to have made it difficult for two parties to come together in a coalition.

(meta data) TITLE: At last, the Turkish awakening Erdogan could not crush | Alev Scott | Opinion | The Guardian

(meta data) AUTHOR: https://www.theguardian.com/profile/alev-scott

(meta data) PUBLISHER: https://www.facebook.com/theguardian

(meta data) PUBLISHED DATETIME: 2015-06-08T08:31:53-0400

Available for everyone, funded by readers

# At last, the Turkish awakening Erdogan could not crush

The spirit of Gezi Park inspired an election result no one predicted.

Now Turkey's opposition parties must form a grand coalition that marginalises the Orwellian AKP

Last modified on Wed 5 Jul 2017 08.13 EDT

Supporters of the Peoples' Democratic party wave Kurdish flags as they celebrate the results of Turkey's legislative election in the south-eastern of Diyarbaki.

Photograph: Bulent Kilic/AFP/Getty Images

Turkey fulfilled the legacy of Gezi Park yesterday.

What protesters could not accomplish two years ago has now been achieved.

Such a resounding vote for change – for the first time in 13 years – means the ludicrously named Justice and Development party (AKP) has lost its majority.

As the votes came in last night and the opposition's amazed celebrations began, no one partied harder than supporters of the minority rights-focused Peoples' Democratic party (HDP), which blossomed out of the Gezi movement, and whose success in the face of intimidating odds proved the key to the AKP's undoing.

On waking up today my overriding urge was to sing 'Ding dong, the witch is dead!' and dance like a liberated Munchkin

There are now serious questions to be asked about Turkey's political future in the wake of this extreme transformation, but on waking up this morning my overriding urge was to sing "Ding dong, the witch is dead!" and dance like a liberated Munchkin.

Of course I'm talking about President Recep Tayyip Erdoğan, who failed to surface yesterday evening after his ambitions for an executive presidency had been crushed with satisfying finality – and about whom I would never have written such blasphemous sentiments if his party still retained a majority.

Being a writer in Turkey in recent years has meant self-censoring while admiring those braver than you – such as the journalist Can Dündar, who was sued last week by Erdoğan and now faces two life sentences for a "treasonous" news story.

It has meant clothing your criticism in feeble witticisms and slightly despising yourself for scattering the word "alleged" into perfectly obvious accounts of government corruption.

## Turkey election results: what you need to know

Domestic media are abuzz with speculation that repeat elections may be called in the next few months, which could result in the AKP clawing its way back if the electorate is sufficiently frightened by the prospect of instability to abandon its resolve for change.

I could soon be regretting these words, but for now the puerile Wizard of Oz jingle is pure therapy.

And I'm in good company – reading the triumphant headlines of anti-government papers this morning has been like taking part in a glorious orgy of righteous revenge, in which everyone has been granted sudden access to a stock of previously prohibited satire.

It may prove hubristic, but today it is irresistible.

Throughout Gezi I was constantly impressed by the insistence on peaceful protest among people daily subjected to police brutality, and I was equally impressed by the way the Kurdish supporters of the HDP refused to be provoked by the horrifying bombings on Friday at a party rally in the south-eastern city of Diyarbakir.

I volunteered at a polling station yesterday in a conservative area of Istanbul, and felt the influence of Gezi on an electorate determined to participate in fair elections.

After vote-rigging scandals during municipal elections last year, tens of thousands of volunteers mobilised to guard ballots and count them fairly.

Every few minutes we cross-referenced our counts.

We never discussed our personal choices, or passed judgment on the results.

The important thing was to record it all fairly, and it felt momentous to be recording the fates of the children whose classroom we were sitting in, and whose older siblings occasionally popped curious faces in, asking about the results.

## Gezi Park has become a hotbed of activity as Turks make their stand | Constanze Letsch

One common conviction united the Gezi protesters two years ago: that they would not bow to an authoritarian government that labelled them "terrorists" and bullied them with an Orwellian police force and "thought crime" security laws.

The same priority should guide the real victors of last night's results.

While most people expect a coalition government of the AKP and the Nationalist Movement party or – worse – a hung parliament and new elections in a few months, Turkey's best hope in moving forward lies in a grand opposition alliance that would seek to put aside its differences and leave Erdoğan and his minions firmly in the background.

Yes, there could be economic instability, and the coalition could struggle to survive a year.

But after 13 years of the AKP, what a coalition of champions that could be.

The opposition parties owe it to their voters, and above all to those who have died demanding change during the past two years.

## The Guardian view on the Turkish elections: Erdoğan's ambitions halted | Editorial

During the Gezi protests, I finished writing a book about Turkey that I optimistically called Turkish Awakening.

After the crackdown that followed the protests, this seemed a sadly naive choice of title.

By the time I had to update the second edition with a gloomy chapter chronicling the AKP's tightening authoritarian rule, I was actually embarrassed by the title.

Now I'm ashamed to have doubted what Turkey was going through at the time – it was an awakening, it proved itself in yesterday's results, and it is time to act on it.

The prospect for an early election arose as early as the eve of the previous election on 7 June 2015, as soon as it emerged that the AKP had lost its majority.


The village is home to HM Prison Prescoed, a Category D prison.

(meta data) TITLE: Usk/Prescoed (Prescoed) Prison information

# Usk/Prescoed (Prescoed) Prison information

Prescoed originally opened in 1939 as an open Borstal.

In 1983 it became an Open Youth Custody Centre and later changed to an open YOI in 1988.

Since 1993 it has been a Resettlement open establishment housing Adult Male Category D Prisoners.

Young Adults and Sex Offenders are also held at Prescoed.

Prescoed provides every opportunity for offenders to change their lives, fully rehabilitate themselves and prepare for release back into the community.

Coed-y-Paen Pontypool Monmouthshire NP4 0TB

Accommodation: 11 modern, purpose built, detached accommodation blocks housing approximately 20 offenders in each.

Specialist and privileged accommodation provided for prisoners fully engaging with the resettlement agenda.

Visiting someone in prisonFamily and friends of prisonersHelp with the cost of a prison visit

Coed-y-paen is a village in South Wales, situated at the south-eastern end of Llandegfedd Reservoir, 2.5 miles (4 km) north-west of Llangybi.


The show's first series of 10 episodes premiered on 21 March 2013 on the Australian Broadcasting Corporation (ABC) television station ABC TV.

(meta data) TITLE: The Checkout - new ABC series on consumer affairs - Consumers' Federation of Australia

Developing and promoting the consumer perspective

1 comment on "The Checkout – new ABC series on consumer affairs"

# The Checkout – new ABC series on consumer affairs

A new 10 part series is set to air on the ABC at 8pm on Thursday March 21st, including presenters Craig Reucassel and Julian Morrow (Chaser's War on Everything and The Hamster Wheel), Kirsten Drysdale (Hungry Beast) and Kate Browne from CFA member CHOICE.

This is great news for consumers, providing another platform for exposing misleading and harmful industry practices.

The Checkout will feature factual issues that affect consumers, some of which will be taken from CHOICE campaigns and research.

In welcoming the show, CHOICE have noted:

"The show will take a satirical look at the world of consumer affairs.

Regular segments will include Beat the System, light-hearted tips for changing consumer behaviour based on consumer psychology, Product vs Packshot, showing some of Australia's most lovingly photographed products as they look in real life, and If I Could Say One Thing, bite-sized chunks of advice for consumers from some of Australia's and the world's leading consumer advocates and researchers."

Click here to see the trailer of The Checkout.

#### 1 Comment on "The Checkout – new ABC series on consumer affairs"

This is a great witty and informative program.please air more of these for the future.

Previous Previous post: Clock ticking on outrageous credit card surchargersNext Next post: 'ACCC – Your Rights Mob Tiwi Islands' videos

Organisations and individuals join CFA to signal their commitment to the consumer interest.

Sign up here for a bi-monthly wrap up of consumer policy news, as well as updates from CFA members, regulators, researchers and more.

### When a product presents a safety risk

"The Checkout" is an Australian consumer affairs television series.


It focuses on providing actionable recommendations for specific businesses, industries, business models, strategies, or events, rather than management techniques for managers and leaders.

(meta data) TITLE: Ivey students take on Harvard Business Review - The Globe and Mail

(meta data) PUBLISHED DATETIME: 2018-05-11T14:04:33.967Z

Skip to main content Business School News

# Ivey students take on Harvard Business Review

A student works on a laptop in the grass, surrounded by books.

Jennifer Lewington Special to The Globe and Mail Published June 8, 2013 Updated May 11, 2018 Comments

The Globe's biweekly business-school news roundup.

A student-run business publication, which recently published its 100th article, has ambitions to make a name for itself in the "thought leadership" market now dominated by the Harvard Business Review.

The Ivey Business Review, founded in 2009 by undergraduates at the Ivey School of Business at the University of Western Ontario, has a more youthful, journalistic feel than its more established, scholarly peers (with cartoon illustrations and headlines like "Et tu, Google") but student contributors are required to be no less rigorous in analyzing company strategies and market trends.

"We wanted to give students a chance to push beyond the Ivey case method and immerse themselves in a real-live business issue," says Matthew Ball, one of 10 co-founders of the Review and now a consultant with Accenture Management Consulting.

He adds "we believe deeply in the potency of collaborative education and the value of a self-directed learning experience that drew upon the collective talents of the entire Ivey community."

Published free twice a year, the Review recently revamped its website to include alumni blogs.

The publication operates with a 13-person editorial board of current business undergraduates and an advisory board of 12 Ivey alumni, with 10-12 stories an issue selected from proposals pitched by undergraduates.

As well, in a relationship developed between the Review and Accenture, student authors meet face-to-face with the firm's seasoned consultants, who offer advice and insights in their area of expertise.

The publication retains editorial control.

"Accenture provides a sense check, but doesn't guarantee veracity," says Michael Zawalsky, the current publisher of the Review, which receives funding from the school, the student association and corporate sponsors.

Mr. Zawalsky says the publication already has had an impact, including an exclusive interview with Encana chairman David O'Brien about his retirement plans.

Other Review stories have been picked up by mainstream business media.

Mr. Zawalsky, 21, expects to graduate next year with undergraduate degrees in business and engineering and describes the preparation of the Review as a team effort.

"It is an opportunity to practice everything you have been taught in the classroom in an actual context," he says.

"You are managing teams, budgets, marketing, public relations, fundraising and development of the website."

As the traditional business press moves away from long-form print journalism, Mr. Zawalsky and his colleagues are bucking the trend.

"We believe there will always be a place for well-reasoned, deep insightful coverage of issues," he says.

"We try to attract readers who are interested and will take the time to read 1,600 words on a niche topic."

Adds Mr. Ball, "We have a pretty ambitious program in which we hope to become a key player in the business thought leadership space.

We certainly see that as being something we are headed towards but we are not there yet."

In its first overseas agreement in a decade, the Edwards School of Business at the University of Saskatchewan has signed a formal agreement with the Beijing Institute of Technology to promote student and faculty exchanges.

The agreement, signed in late May, cements a long-standing relationship between the two institutions.

Already, about 50 MBA students from Edwards spend a couple of weeks in Beijing and Shanghai as part of their program, according to business school dean Daphne Taras, with plans now for Chinese students to spend time in Saskatchewan.

Last year, Dr. Taras took an undergraduate class to Israel and Jordan to "break the ice for undergraduate courses and I hope to see more courses abroad in the coming years," she stated in an e-mail.

Simon Fraser University's Beedie School of Business plans to deliver a part-time MBA program at its campus in Surrey, B.C., tapping into the city's reputation as a fast-growing hub in the southeastern region of the province.

The evening program will enroll its first students in January, 2014, adding to a bachelor of business administration offered at the Surrey campus since 2002.

The Graduate Management Admission Council, which administers the globally-used GMAT entrance exam for business education, has named Sangeet Chowfla as its next president and CEO, effective Jan. 1, 2014.

The business career of the India-born American citizen spans several sectors, including technology, telecommunications and venture capital.

Concordia University's John Molson School of Business has tapped Sandra Betton as director of the MBA program, effective this month.

In addition to the MBA program, she will oversee the school's graduate diploma and certificate programs in business administration.

A former chairwoman of the finance department, Dr. Betton joined Concordia in 1994.

Rob Hines, a 25-year business veteran, has been appointed executive director of the Career Development Centre at York University's Schulich School of Business.

A former managing partner of the executive search firm CTPartners, Mr. Hines is also a member of Schulich's international advisory council.

Follow Jennifer Lewington and Business School News by subscribing to an RSS feed here.

Contact Jennifer at jlewington@bell.net.

Executive training is on the rebound, but it's a different beast now

New scholarship for black MBA students in Nova Scotia Negotiation: What an Argos linebacker learned from pandas at b-school Three Canadian schools in the FT Top 50 executive education programs

The business case for happiness in the workplace Job prospects looking up for MBA grads: survey

Data breaches: It's more expensive to react than prevent

Report an error Editorial code of conduct Comments

"Ivey Business Review" ("IBR") is an undergraduate publication dealing with  business strategy,  written and managed  by students  in the honours business administration program at the School. It is published twice per academic year, in December and April, and is managed at the school's main campus in London, Ontario. Published copies of IBR are available in print formator on the publication's website. Since its inception, the magazine has published eight issues containing over 100 total articles and involving more than 150 students. The "Review" is an original research–based publication with all content created  for the magazine through collaboration between the writers and members of the editorial board.


The film centers around Waël, a con man whose life is changed when he is forced to work as a mentor for a group of teenagers who face expulsion from school.

(meta data) TITLE: 'Bad Seeds' Review: A Scam Artist Teaches From the School of Life - The New York Times

Skip to contentSkip to site indexMoviesLog InToday's PaperMovies|'Bad Seeds' Review: A Scam Artist Teaches From the School of Life

# 'Bad Seeds' Review: A Scam Artist Teaches From the School of Life

ImageCatherine Deneuve and Kheiron in a scene from "Bad Seeds.

"CreditCreditJean-Claude LotherBad SeedsDirected by KheironComedy1h 40mMore

When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.

"Bad Seeds" opens with a quote from Victor Hugo.

("There are no weeds, and no worthless men.

Then it pivots on another quote about troubled teens.

("Remember, a problem child is a child with problems.")

Eventually, it just gifts the lead character, a scam artist turned educator, with a literal book of quotations.

This sweet-and-salty redemption tale from France, written and directed by its mononymous star, Kheiron, wants to deliver a message about the outcasts and ne'er-do-wells of Paris banlieues.

And it arrives one corny aphorism at a time.

As Wael, a former street child who steals wallets and hearts, Kheiron prowls through "Bad Seeds" with a sprightly restlessness that seems rooted in his stand-up comedy.

Catherine Deneuve graciously cedes the floor as Monique, Wael's adoptive mother and partner-in-crime, who has mastered her part in a nifty fake purse-snatching scheme.

When Victor (André Dussollier), an old acquaintance of hers, catches them in the act, he threatens to press charges unless they agree to take part in his organization, which seeks to rehabilitate teenage delinquents.

There's some fun in watching Wael con his students into learning — while also teaching them the art of the con — but the film, which debuted last week on Netflix, can't keep the sentiment at bay for long.

Between flashbacks to Wael's hardscrabble past in an unnamed, bombed-out Middle Eastern city and its insistence on solving the problems of each and every one of his six students, "Bad Seeds" mostly sticks to an earnest syllabus.

DirectorKheironWriterKheironStarsKheiron, Catherine Deneuve, André Dussollier, Louison Blivet, Adil DehbiRunning Time1h 40mGenreComedy

A version of this article appears in print on , Section C, Page 4 of the New York edition with the headline: Lessons From the School of Street Life.

Order Reprints | Today's Paper | Subscribe

## 'The World Is Yours' Review: Isabelle Adjani Revitalizes the Comic Caper

"Bad Seeds" (French: "Mauvaises herbes") is a 2018 French drama-comedy film written and directed by Kheiron who also plays the lead role, with Catherine Deneuve and André Dussollier in starring roles. It was released on 21 November 2018 in cinemas in France, and on 21 December 2018 on Netflix.


He served in the United States Army Reserve from 1966-1972.

Watch LiveFor the PressQuick LinksSenatorsFind a BillMedia RoomGet InvolvedBlogSession Info

200 W. Washington St.Indianapolis, IN 46204Phone: 800-382-9467 or 317-232-9494Email: Senator.Charbonneau@iga.in.gov

Legislative Assistant:Micha SabecPhone: 317-232-9494Email: Micha.Sabec@iga.in.gov

Media Contact:Paige PearsonPhone: 317-232-7184Email: Paige.Pearson@iga.in.gov

Wabash College, CrawfordsvilleLoyola University, Chicago, IL (MBA)South Texas College of Law, Houston, TX (JD)(Licensed to practice in Indiana, Texas and Pennsylvania, Federal District Court and the Supreme Court of the United States)

Chairman, Great Lakes-St. Lawrence Legislative CaucusChairman, Council of State Governments – MidwestPower Over Poverty Under Laws of America Restored (POPULAR) 2011 mid-year integrity award recipientBoard Member, Opportunity EnterprisesPresident,

Home Field Advantage FoundationFormer Interim President and Chief Executive Officer, The Methodist Hospitals, Inc.Former Board Vice Chairman, The Methodist Hospitals, Inc.Former President and Chief Executive Officer, Northwest Indiana

ForumFormer head of government and community affairs, U.S. SteelFormer member of the Indiana State Ethics CommissionFormer Board Chairman, Porter County United WayFormer Board Chairman, Lake County

United WayFormer Executive Board Member of the Northwest Indiana Quality of Life CouncilFormer Board Chairman, Tradewinds Rehabilitation CenterFormer Board of Trustees member, Indiana Dunes Environmental Learning CenterFormer member of the Indiana Steel Industry Advisory CommissionSagamore of the Wabash award recipientTradewinds Rehabilitation Center Sempre Vivum award recipientABATE of Indiana, Region 2 Member

Wife: SharonTwo children; six grandchildren

Pulaski County and portions of Jasper, LaPorte, Porter and Starke counties

#### Charbonneau: Gov. Holcomb signs bills to improve Indiana's water

State Sen. Ed Charbonneau (R-Valparaiso) today joined Gov. Eric Holcomb at the Statehouse for the ceremonial signing of Senate Enrolled Act 4 and House Enrolled Act 1406.

#### Charbonneau: Gov. Holcomb signs bill to establish Perinatal Navigator Program

State Sen. Ed Charbonneau (R-Valparaiso) today joined Gov. Eric Holcomb for the ceremonial signing of House Enrolled Act 1007.

#### Bill Authored by Sen. Charbonneau Signed by Governor

Senate Enrolled Act 360, authored by State Sen. Ed Charbonneau (R-Valparaiso), was signed into law today by Gov. Eric Holcomb.

#### Charbonneau: Gov. Holcomb Signs Water Infrastructure Legislation

Several water-related bills authored and sponsored by State Sen. Ed Charbonneau (R-Valparaiso) were ceremonially signed into law today by Gov. Eric Holcomb.

#### State Sen. Ed Charbonneau to Serve as Chairman of Health and Human Services Study Committee

STATEHOUSE (June 29, 2017) — State Sen. Ed Charbonneau (R-Valparaiso) has been appointed by Senate President Pro Tem David Long (R-Fort Wayne) to serve as the Chairman of the Interim Study Committee on Public Health, Behavioral Health, and Human Services, and the Compliance Advisory Panel during the summer and fall months to help prepare for the 2018 session of the General Assembly.

He has also been appointed to serve on the following study committees and authority: more »

#### Charbonneau: Water Infrastructure Assistance Fund Bill Moves to Governor

STATEHOUSE (April 11, 2017) — Legislation authored by State Sen. Ed Charbonneau (R-Valparaiso) to establish the Infrastructure Assistance Fund is now headed to the governor for final consideration.

### 2019 Summary of New Laws - Sen. Charbonneau

Charbonneau attended Wabash College, Loyola University Chicago, and South Texas College of Law.


He was commissioned as a Second Lieutenant in August 1863, and was discharged by special order from General George Meade after serving a total of 43 months.

(meta data) TITLE: Antietam: Corp Benjamin Ham Child

Unit: 1st Rhode Island Light Artillery, Battery A

"He was a youth of eighteen at the opening of the civil war, and in June 1861 he enlisted as private, and was mustered into the United States service in the Second Rhode Island Battery, afterwards Battery A, First Regiment, Rhode Island Light Artillery, for three years, or for the war.

At the first Battle of Bull Run, July 21, 1861, he was slightly wounded and in August following was promoted to corporal."1

He was wounded in combat on 17 September, but insisted on returning to duty in command of his piece.

He was later awarded the Medal of Honor for his bravery there.

"[After Antietam] he was promoted to Sergeant.

At Gettysburg, in Pickett's charge, he received a severe wound—shot through the left shoulder—and was sent to the Satterlee Hospital at West Philadelphia.

And in August 1863 he was commissioned second Lieutenant of Battery A (afterwards transferred to Battery H, same regiment) by Governor James V. Smith.

After serving forty-three months in the Second Army Corps, Army of the Potomac, and three times wounded, he was honorably discharged on account of wounds, by special order of General Meade, commanding the Army of the Potomac."1

In 1868 he joined the police department of Providence, and was successively promoted to Doorman in 1874, Sergeant in 1877, Captain in 1879, and was appointed Chief of Police, January 5, I881.

Photograph above from Battery A, 1st Regiment Rhode Island Light Artillery Unit Association2 by kind permission of Gregg Mierka.

See a bio sketch and later photograph of him from the Toolmakers site1.

1 Weaver, Barry, and Richard Slaney, Robert Bills, Keith Bills, Sue Bacheller, researchers, Benjaminam Ham Child, Early RI Toolmakers & Tradesmen, Published c. 2000, first accessed 01 June 2004, <http://www.netris.org/RIToolmakers/CHILD,J.E./ChildBenjHam.html>, Source page: Child [AotW citation 63]

2 Mierka, Greg, webmaster, Battery A Rhode Island Unit Association History Page, Published c. 2001, first accessed 10 June 2005, < http://www.angelfire.com/ri2/GARvets/BtryAhistory.html>, Source page: history [AotW citation 64]

Child was born in Providence, Rhode Island on 8 May 1843. He joined the 1st Rhode Island  Light Artillery in June 1861. After his Medal of Honor action, he was promoted to Sergeant, and wounded in the Battle of Gettysburg.