Amanhã a partir das 2 horas da tarde,não percam a historia da record no aqui agora.

A rede record é a emissora mais velha de todas,comandada pelo bispo edir marcedo da igreja universal,ela estar no meio de uma guerra contra a emissora de silvio santos o SBT,não percam amanhã no AQUI AGORA.

                         Mediador  Joalisson menezes 

              MINHA AUDIENCIA-AQUI A AUDIENCIA É SUA

Is Netflix fast? Oh yeah. However, even though they have ultra fast shipping the movies may take 4 days or so sometimes. This is due to the fact that when you send your movies in, it takes a while for Netflix to acknowledge that you've sent your old movies back and are anxiously waiting the arrival of something new. Something that I like to think makes motion picture delivery faster is placing the bar code correctly. The packages you send your movies back in have a little slot cut out on the upper side to allow the scanning of your movie while it is still in the package. However, being that the paper case the DVD comes in is square, you have four different ways to put it in the mailing package; only one of which is the "correct" position. Does this make shipping faster? Logic served me well if it does although I can't prove it. I'll send that one in to Mythbusters.

Lately I've been into the heist movies; the comedy that is based on the robbing of some poor bank or wealthy person such as the Ocean 11 series which I very much enjoyed. I am a comedy kind of person. Actually I take that back; I enjoy meaningful movies whether they be funny, dramatic, or suspenseful. Horror movies just don't suit me well. Being a genuine scaredy cat, I find myself having the worst sleep I've had in years because the guy with the mask and hatchet is coming to chop me in half. The fact I live in the semi-boondocks does not help either. Nope, I will not, I repeat, will not watch horror. Once again, it's the meaningful movies that do me good. The Pursuit of Happyness is a favorite as is Coach Carter and The Terminal. I also enjoy a good musical every once and a while although I would never admit it to anyone I know. High School Musical 1 & 2 we favorites of mine. Musicals aren't always admired by me because they're so great, even though most are, but because I know that if I lived in a big enough town that I could possibly partake in something such as what I'm seeing. This once again goes back to the fact that I don't mind singing for an audience and would love to participate in something as cool, at least to some people, as the classical musical. We're not in Kansas any more.

-SS

TOMA LÁ, DÁ CÁ!

Vôo cego

No próximo episódio de ‘Toma Lá, Dá Cá’, os moradores do Jambalaya têm suas ambições testadas. Bozena (Alessandra Maestrini) encontra uma cesta de café da manhã luxuosa na porta do apartamento de Rita (Marisa Orth), enviada pelo mais recente noivo milionário de Isadora (Fernanda Souza), Serafim Matusa (Júlio Natale). Enquanto esperam a visita do senhor, 76 anos mais velho que a jovem, um estrondo surpreende a todos.

Um homem desmaiado preso a uma asa-delta invade o apartamento de Celinha (Adriana Esteves) e Mário Jorge (Miguel Falabella). Enquanto um problema entra pela janela, outro vem pela porta: dona Alvará (Stella Miranda) e seu Ladir (Ítalo Rossi) querem processar Arnaldo (Diogo Vilela) por uma ponte fixa que ficou fixa demais. Para aumentar ainda mais a confusão, o noivo de Isadora chega ao local. Visivelmente debilitado, Serafim sofre fortes emoções durante uma brincadeira com Copélia (Arlete Salles), seu Ladir e Isadora.

Em meio a tantas surpresas, os moradores do bloco C do Jambalaya, finalmente, descobrem que Copélia conhece o homem misterioso preso à asa-delta: é Edelmo Cedro da Cruz (Marcelo Várzea), um riquíssimo herdeiro de um conglomerado de indústrias. De posse desta informação, a ganância de todos é levada ao limite.

Escrito por Maria Carmem Barbosa e Miguel Falabella, ‘Toma Lá, Dá Cá!’ tem direção de núcleo de Roberto Talma e direção geral de Mauro Mendonça Filho e Cininha de Paula. A exibição do episódio ‘Vôo cego’ está prevista para a terça-feira, dia 14, logo após o ‘Casseta e Planeta Urgente!’.

Fotos no site de imprensa www.redeglobo.com.br/imprensa

Fonte: Sala de Imprensa Rede Globo

Postado no Multigolb por Cleberson

Heroes tinha tudo para ser "a" série! Quebrar recordes e se tornar um modelo para as séries que virão por aí...

Mas não sei que coisa tem na cabeça dos roteiristas pra estragar uma boa série em apenas 4 capítulos!

Estou falando da quarta temporada de Heroes (que já está na ABC nos EUA e estréia em novembro aqui no Universal), que apenas em 4 epísodios, conseguiu me fazer perder a vontade de acompanhar a série! E me fez perder tempo também!

Para aqueles que irão acompanhar aqui no Brasil pelo Universal Channel, um aviso. Cuidado! Muito cuidado para não ficar com raiva, que nem eu!

Save the cheerleader my ass...

Bourdais was in a battle for position on the track with Ferrari's Felipe Massa, who had seriously cocked up his race in Japan with one error after another. Bourdais did everything correctly, he was outside of the pitlane area, he was on the inside of the corner, and was next to the metal barrier on his right side when Massa drove up on his left, and proceeded to try to drive straight through Bourdais as if he didn't see him as he aimed for the apex of the corner without any regard for the car which was already in that position.

Of course, Massa hit the side of the Toro Rosso and span, losing point scoring places as a result. As Massa slowly made some places up, the TV screen announced that the incident between him and Bourdais would be investigated "after the race." Meaning when the TV cameras had gone and the potential for bad PR on the main evening news had dissipated and they could work out which penalty to apply to Massa without hurting his World Championship chances.

In the end, they decided to penalise the innocent man who was driven into. There must be some rule giving a more severe penalty to someone receiving their second stop-go penalty in the same race (he had already driven into the side of Hamilton on Lap 1) so they couldn't give Massa a second drive-through penalty. Because he had finished in 8th, and the 9th placed man (and a few others) were all within a few seconds of him at the finish because of his most un-World Championlike driving the stewards couldn't give him a penalty because that would mean taking away a single point from him. Never mind they'd already taken a race win away from Lewis Hamilton in Belgium when they last fiddled when Rome was burning. So, they had to blame someone for the accident, and that left Bourdais.

After all, he was clearly at fault because Massa span and Massa never spins! Cough, cough, don't mention Silverstone or the first two races of 2008... Oh, and of course, Massa doesn't make mistakes either - it's not his fault he continually drives into other cars... after all, he is half blind.

Bourdais carried on to finish in a fine 6th, one place ahead of his team mate, Monza winner and latest wunderkind, Sebastian Vettel. But after the penalty, he was demoted to 10th place!

The politics of this are interesting. First of all, Bourdais is French, the only French driver in F1 at the moment, and the FIA offices are in Paris. Ferrari is Italian, and I think most mediterranaean types would not have complained much about Ferrari favouritism from the FIA stewards before, since it was always "Les Anglais, Les Rosbifs" who were being penalised previously. Oh, and Frenchman Jean Todt, erstwhile head of the Ferrari F1 team is rumoured to be being groomed to be the next FIA president after Max Mosley retires next year. Oh yes, and Bourdais has the audacity to have made his name in the US, where F1 has no glowing reputation to uphold to such an extent that they won't even be going to Canada in 2009 - so they feel safe to treat Bourdais shabbily as they think there will be no come back.

Ferrari, the clowns of Singapore, are clearly continuing to disintegrate and the only question left is will the FIA follow the sinking ship down proclaiming to all and sundry that it was the iceberg's fault all the while?

PS Spaniard Alonso won. In a French team. What should have been a great news story, is now just an also ran to yet another Ferrari fiddle. Poor Alonso. Poor Bourdais. Poor Formula One.

PPS Is Max Mosley's man the financial link between Ferrari money and the FIA Stewards' Ferrari favouritism?

Pannonica questions whether we, as a society, are capable of going without celebrities and all the attendant coverage and media madness that surrounds them.

Ultimately, she believes the answer is no - and I agree.

I understand why we're obsessed: they're beautiful, rich, they get to hang out with other beautiful and rich people. They wear designer clothes, drive expensive cars, live in palatial mansions and receive favours and gifts from people simply by virtue of being in the public eye.

I think we figure it like this: Some celebrities start out just like us - living a normal life, doing normal stuff, wearing clothes from Walmart or Target and then Something Magical happens and they are suddenly living like gods - the world at their feet, everyone wanting to know them, see them, and if at all possible, to BE them. They have everything.

We want some of the Magic too - we want to know how to get there and failing that, watching them do stupid things like get arrested for drunk driving, shaving their heads in a fit of madness and depression, or seeing a photo of them looking frumpy, tired and badly dressed is fair compensation. If we can't have what they have, we want to see them lose it. Watching famous people mess up or look bad makes us feel better about ourselves. It makes them more human and brings them back down to our level.

What if we simply stopped being interested? What if, as Pan envisioned, we turned on the news and saw coverage of actual news instead of the latest shenanigans on Big Brother or American Idol?

What if we went one step further and deep-sixed our cable TV and picked up a book, or decided to spend more time with the kids instead of the idiot box? What if, at the grocery store we didn't buy entertainment magazines because we simply didn't care all that much about Brad and Angelina's new babies? What if we stopped squeeing over their love lives and screw-ups?

What happens if we stop watching - and thus, supporting -  crap like Big Brother, Blind Date, American Idol, America's Top Model and all the other tripe that passes as "quality programming"?

It won't happen of course. It's far easier to be entertained than to entertain yourself. Simpler to veg out in front of YouTube or the TV and just let the voices and pretty colours wash over you.

Joe and I got rid of our cable over a year ago and it was weird at first. We had so much more time in the evenings. I spend more of it reading now, writing, playing video games and going out with friends, talking to Joe and generally being engaged with the world. We do buy a couple of shows on DVD (House M.D. and Heroes) but if I didn't get to watch them anymore, I'd be OK with it.

After all, no one on their death-bed says, "I wish I'd watched more TV when I had the chance." or "Please, God, just one more YouTube video of dancing hamsters and I'll come quietly."

A world without celebrities? I want that world, but I think I'm in the minority.

hast Du es gelesen oder davon gehört? Marcel Reich-Ranicki sollte einen Ehrenpreis für sein Lebenswerk bekommen, hat ihn dann aber unter großen Getöse abgelehnt.

Reich-Ranicki philosophierte auf der Bühne zunächst über zahlreiche Preise, die er schon erhalten habe und sagte dann, er sei diesmal in einer schwierigen Situation. Und dann: "Ich nehme diesen Preis nicht an", so Reich-Ranicki. Er gehöre nicht hier her. Zunächst glaubte mancher an einen Scherz. Doch es war keiner. Reich-Ranicki: "Ich gehöre nicht in die Reihe dieser Preisträger."

Das ist schon eine wirklich schwere Woche für Herrn Reich-Ranicki. Erst trifft das Nobelkommitte eine Entscheidung, mit der Reich-Ranicki nicht einverstanden ist und dann wird er auch noch mit so einem Ärgernis belästigt. Und das war ja auch überhaupt nicht absehbar. Nein, nein, nein, daß diese ganze Veranstaltung vollkommener Schwachsinn sein würde, war überhaupt nicht abzusehen.

Oder vielleicht doch? Zwei Hinweise hätte es da eventuell doch gegeben.

1) Thomas "Busenwitz" Gottschalk war als Moderator vorgesehen

2) Die Nominierungen waren zum Teil unter aller Sau

Ich spreche jetzt nicht von den Nominierungen für die Kategorien "Bester Fernsehfilm/Mehrteiler" oder "Beste Dokumentation". Mir geht es um "Beste Realitysendung" (es ist fast wie Kratzen mit langen Fingernägeln auf einer Tafel, findest Du nicht?). Erstens ist die Kategorie als solches eine Frechheit und zweitens werden da Sendungen wie "Die Ausreißer" mit "Deine Chance! 3 Bewerber - 1 Job" gleichgesetzt.

Hast Du eine von den Sendungen mal gesehen? "Die Ausreißer" ist tatsächlich eine gute, vielleicht auch wichtige Sendung, da sie auf obdachlose Jugendliche aufmerksam macht (Ein Sozialarbeiter, dem man deutlich ansieht, daß es nichts gibt, was dieser Mann noch nicht gehört hat, sucht nach Jugendlichen, die von daheim weggelaufen sind).  "Deine Chance..." ist eigentlich eine ganz einfache Castingshow. Drei Kandidaten ("Das ganze Leben ist ein Quiz..." - das Leben immitiert mal wieder die Kunst) treten gegeneinander an, wenn es darum geht, ihren "Traumjob" zu bekommen (man kann mir erzählen, was man will, ich glaube einfach nicht, daß so viele Menschen wirklich Nageldesigner werden wollen). Das ganze ist ein Schaukampf, so wie alle Castingsendungen, einschließlich der Menschenverachtung. Vor jeder Aufgabe werden die Kandidaten oder Bewerber gefragt, wie sie sich einschätzen, bevor gezeigt wird, wie sie dann tatsächlich abgeschnitten haben. Oft sagen die Damen und Herren, daß sie überzeugt sind, bei der nächsten Prüfung sehr gut abzuschneiden, weil sie sozial ja so unheimlich viel drauf haben/beim Entwerfen von Nageldesigns schon immer gut waren/die anderen so schlecht abschneiden werden, daß sie selbst gut dastehen werden. Natürlich läuft es so nie. Immer versagen die Kandidaten genau bei dieser Prüfung und werden durch einen gehässigen Spruch des Sprechers für ihre Überheblichkeit abgestraft.

Natürlich müssen sich das Leute gefallen lassen, wenn sie freiwillig Teil einer solchen Sendung sind, aber nur, weil es so ist, muß ich sie doch nicht unbedingt danach behandeln, oder? Sag mir, wenn ich falsch liege, aber wir reden hier von 17- bis 21-Jährige, die oft schon geraume Zeit nach Lehrstellen gesucht haben. Und die Sendung nutzt ihre Verzweiflung schamlos aus.

Den Kandidaten wird zu Beginn der Sendung ein bestimmtes Profil gegeben, um zu zeigen, wie unterschiedlich die drei sind. Da gibt es dann gerne mal die Schüchterne, die gegen den Selbstsicheren und die immer Lustige antritt. Und wenn sich die Damen und Herren mal nicht entsprechend ihrer Rollen verhalten, werden die Aufnahmen einfach so zusammengeschnitten, daß es schon irgendwie paßt. Daß die drei nach der Sendung mit den Stempeln, die sie aufgedrückt bekommen haben, leben müssen, ist dem Sender herzlich egal. Aber warum sollte es ihn auch bedrücken, wird er doch mit einer Nominierung für den Deutschen Fernsehpreis belohnt.

Das bringt uns dann auch wieder zurück zu Marcel Reich-Ranicki. Habe ich schon erwähnt, daß ich den Mann mal unheimlich bewundert habe? Wirklich. Mein einziger richtiger Kontakt zur deutschen Literaturszene war dieser Mann. Hast Du sein Buch gelesen? Ich war selten so beeindruckt. Wie kann man so in deutscher Literatur aufgehen, obwohl das Land einen fast getötet hat? Solltest Du das Buch noch nicht gelesen haben, lies es. Warte nicht auf den Film, denn dem wird es nicht möglich sein, das Geschehene angemessen rüberzubringen. Abgekommen von Reich-Ranicki bin ich erst, als ich ihn mal bei der Feier zu einer weiteren Ehrendoktorwürde für ihn erlebt habe, und oh mein Gott, hat der sich schlecht benommen. Ehrlich, das war unglaublich. Nach den ganzen Reden ging man über zum Sektempfang, und da wollten natürlich einige Menschen (es haben im Ganzen nur drei gewagt) mit dem Ehrengast reden, ihn wissen lassen, daß sie existieren. Und weißt Du, was der Mann gemacht hat? Er hat uns ignoriert! Uns alle! Wir haben ihn angesprochen, aber er hat sich nicht einmal umgedreht, sondern ist einfach gegangen. Ich verstehe, daß ständig irgendwelche Menschen etwas von ihm wollen und daß das sicherlich sehr nervtötend ist, aber trotzdem sollte man seine gute Manieren nicht vergessen, kosten sie doch nichts. Mein Schatten ist zu groß, als daß ich in dieser Sache darüber springen könnte. Gute Manieren sind mir wichtig, und wer sich für so wichtig hält, daß er sie nicht zeigen muß, kann mir gestohlen bleiben. SO! Du denkst jetzt sicher, daß ich nur beleidigt bin, weil er mich ignoriert hat, aber um mich geht es mir ausnahmsweise mal nicht. Er hat eine Mutter ignoriert, die ihren etwa 12-jährigen Sohn dabei hatte. Du hättest den Blick des Jungen sehen sollen, er war wirklich aufgeregt, und dann sehr enttäuscht.

Aber zurück zum Deutschen Fernsehpreis. Elke Heidenreich war auch da.

Empört ist Heidenreich, die im Publikum der Show saß, vor allem auch über den respektlosen Umgang mit dem 88-jährigen Großkritiker: "Ich dachte, was für eine Zumutung diese armselige, grottendumme Veranstaltung für ihn sein müsse. In jeder Hinsicht – einen so alten Mann lässt man nicht derart lange warten, und man mutet einem so intelligenten Mann nicht einen solchen stundenlangen Schwachsinn in hässlicher Kulisse zu."

Ich muß ganz ehrlich sagen, daß ich es auch von ihr vollkommen albern finde, sich so zu echauffieren. Hätten ja alle schon vor der Veranstaltung ihre Meinung sagen können, dann wäre ihr ganzer Protest glaubhafter gewesen. Aber vielleicht ist man einfach ein kleines bißchen zu auszeichnungsgeil, um sich im Vorfeld über die Veranstaltung und über die Nominierungen zu informieren. Und dann, als klar war, daß das alles ein ziemlicher Blödsinn ist, mußte man irgendwie sein Gesicht wahren. Am besten durch einen albernen Skandal. Das hat Jenny Elvers früher auch so gemacht.

Deine marta

P.S.: Die Gewinner sind jetzt übrigens bekannt. Veronica Ferres ist unter ihnen. Bin ich zu dumm, ihr Genie zu erkennen, oder ist sie einfach keine gute Schauspielerin? Ich denke, sie ist das beste Beispiel, daß es sich lohnt, mit wichtigen Filmleuten zusammen zu sein. Dann kann man sich irgendwann auch ungestraft so wichtig machen, ohne auch nur ein Funken Talent zu haben.

P.P.S.: Ich habe noch einen schönen Artikel zu dem Thema gefunden (schön nicht nur, weil er meine Überzeugungen teilt). Darin heißt es,

Welch Ironie: Ausgerechnet der Dieter Bohlen der Literaturkritik schlug am Samstagabend mit seiner Kritik am deutschen Fernsehen wieder einmal so derart über die Stränge, dass sich alle über ihn empörten - und Marcel Reich-Ranicki wieder sichtlich glücklich ganz in seinem Element war. Dabei wäre es nicht verkehrt gewesen, handfeste Kritik am Deutschen Fernsehpreis zu üben.

Doch Reich-Ranicki machte aus seiner Rede gleich eine Pauschal-Kritik am deutschen Fernsehen, die eins beweist: Er kennt das deutsche Fernsehen, durch das er selbst erst große Berühmtheit erreichte, nicht mehr. Seine Kritik am gesamten deutschen Fernsehen anhand einiger fragwürdiger Auszeichnungen bei der 10. Verleihung des Deutschen Fernsehpreises - sie ist willkürlich. Denn auch in der Literatur kann ich an die falschen Bücher geraten - und würde nicht auf die Idee kommen, den Buchdruck oder das Medium zu verteufeln.

Reportagem:Joalisson menezes

Das 8 séries estreantes que o canal terá na temporada, apenas quatro chegam em novembro: os dramas "Eleventh Hour", "Flashpoint", "Privileged" e "The Mentalist".

Assim como no ano passado, quando guardou a melhor estréia ("Pushing Daisies") para a "midseason", a Warner fará o mesmo desta vez, jogando as séries mais aguardadas para, na melhor das hipóteses, o início de 2009: "Fringe", série de ficção-científica criada por J.J. Abrams ("Lost", "Alias"), e "Knight Rider", a nova versão da clássica série dos anos 80, "Super Máquina".

Já a chegada de "Trust Me", estrelada por Eric McCormack ("Will & Grace") e Tom Cavanagh ("Eli Stone", "Ed"), era esperada apenas para o próximo ano, já que a série só estréia em janeiro na tv americana. E o reality show "Randy Jackson Presents: America's Best Dance Crew" também ficou para tapar algum buraco da programação do ano seguinte.

As principais séries do canal já retornam agora em nova temporada, com grandes mudanças na grade de programação. Agora, as séries do horário nobre não terão mais reprise nas madrugadas.

Ficaram de fora as novas temporadas de "Californication", "Chuck", "Pushing Daisies" e "The New Adventures of Old Christine". E não foi por falta de espaço, já que "Friends", quatro anos e meio após seu término, continua ocupando 3h30 do horário nobre do Warner Channel.

Nas noites de segunda, passam a ser exibidas "Supernatural", a novata "Eleventh Hour" e "Cold Case". As terças continuam praticamente intactas, com o retorno de "The Big Bang Theory", "Two and a Half Men", "Smallville" e "Terminator: The Sarah Connor Chronicles", além da estréia de "Flashpoint".

"Gossip Girl" será a única série das quartas, que passa a também ter uma sessão de filmes. Já as quintas, começam com a estreante "The Mentalist", a veterana "ER" e "Without a Trace". Na sexta, o canal continua exibindo episódios inéditos de "Aliens in America", seguido por duas sessões de filmes.

"The Bachelor" passa a ocupar as tardes de sábado, seguida por "Life is Wild" e a estréia de "Priviledge". E "The Sopranos" encerra a programação do final de noite de domingo.

Também retornam com episódios inéditos o programa sensacionalista de celebridades "TMZ" e "The Ellen DeGeneres Show". Curiosamente após fazer tanto estardalhaço no lançamento em junho, o Warner agora decidiu rebaixar o talk show apresentado por Ellen DeGeneres para as madrugadas.

A "midseason" (meio de temporada) também terá as novas temporadas do reality show "The Bachelorete" e do polêmico drama "The L Word".

Fonte: Séries on line

The Times asks if Americans are becoming news-obsessed as we are in the middle of a very exciting election season as well as stuck in a hot economic mess. They begin with a story of a film production accountant with the last name "Lehman" (coincidence? please....) whose MSNBC-watching habits have gone so far as to elicit a pretty hilarious behavioral tick from her  5 year-old son Beckett.

YANA COLLINS LEHMAN, a film production accountant who lives in Brooklyn, knew something was amiss when her 5-year-old son, Beckett, started to announce to no one in particular, “I’m John McCain, and I approved this statement.”

Ms. Collins Lehman, 36, thought: “Oh my God, I’m watching too much news.”

But it is hard not to, she said, with the financial markets in meltdown, and that crisis increasingly intertwined with a frenzied presidential campaign entering the homestretch. This is why her own news diet has spiked to where it feels as if it’s taking over her life. And maybe her son’s, too.

“It’s such a drain on productivity,” Ms. Collins Lehman said. “It’s a compulsion.”

And of course the NY Times looks to a sociologist to ask about news-compulsion.

ERIC KLINENBERG, a sociology professor at New York University, said people are unusually transfixed by news of the day because the economic crisis in particular seems to reach into every corner of their lives. Usually, he added, people can compartmentalize their lives into different spheres of activity, such as work, family and leisure. But now, “those spheres are collapsing into each other.”

I do not buy Klinenberg's veiled economism but I do see where his view stems from. More philosophically, we would consider his statement about the ability to rationalize and compartmentalize social phenomena parallel to what existential philosophers call "ontological security." In other words, everything is in its right place. Or as the phrase goes, "everything is everything." But as of late, during periods of crisis or social transformation, as the classical sociologist Durkheim believed, we experience a spike in "anomie" or normelessness. Or, as the great George Constanza put it: "Worlds are COLLIDING!!!!!"(Warning: The link is actually in Spanish overdub, which I find to be extra-hilarious.)

But beyond the existential argument, I find another area that the Times reports on to be far more interesting, that of what Pierre Bourdieu called "cultural capital."

For others, information serves as social currency. Crises, like soap operas or sports teams, can provide a serial drama for people to talk about and bond over, said Kenneth J. Gergen, a senior research psychologist at Swarthmore College who studies technology and culture. “It gives us the stuff that keeps the community together,” he said. And for those whose social circles think of knowledge as power, having the latest information can also enhance status, Dr. Gergen said. “If you can just say what somebody said yesterday, that doesn’t do the trick,” he said.

This is something you and I have all experienced, which is the necessity of "one-up-manship" that occurs at all social gatherings especially in situation in which the person who does not know how to explain a derivative and its importance in the current global financial meltdown is looked upon as lacing social currency, in other words, culturally poor. It is most likely the case that we modulate between the one who is disdained and the one who disdains.

However, I find the tragic human alienation narrative that the Times story paints is not only a bit "precious" but also empirically iffy in one sense. Information can become a compulsion but it can also, and is in many places in the world, a hard-to-find commodity. And in many ways, I think information-in-use, that is not the concept of information but information as it is used socially and other wise, exists as something that is ready-at-hand, not something is overloading humans' ability to use it. What I mean to say is that the Times report lacks an understanding of information distribution. It assumes that because all of this information exists in our technomediated worlds, that it is used by everyone at once. It is quite clear that people do not use one media at a time; I, along with most of you all, watch TV regularly with laptop close by. Nevertheless, information, especially news, must be accessed through iPhone, TV sets, and computers. It does not land on the doorstop of your consciousness with the help of a news stork. All of this to say, the Times paints the portrait of the overfed individual who obsessively watches the news and goes to Huffington Post by him or herself. This is a very old story from the 1950s in which the individual loses his or her individuality through the colonization of his or her mind by technology (See various books by Riesman, Lasch, Adorno and Horkheimer, Jacques Ellul, and more recently Neil Postman). But this is not exactly an accurate picture of the conditions under which information is distributed--sent out and received.

How many times have you sat around the TV with roommates, friends, significant others and had a burning question which was quite easily answered by someone grabbing the computer or whipping out (pause..haha, had to do it.) their iPhone?

X-posted at Human Potential.

Ciekawe jakby u nas przyjeła się taka reklama... ;)

POLITIK  Österreich / Europäische Union

HAIDER FUHR VIEL ZU SCHNELL

Jörg Haider ist vor seinem tödlichen Autounfall viel zu schnell gefahren.

Der 58 jährige sei zum Zeitpunkt des Unfalls mit 142 km/h doppelt so schnell unterwegs gewesen wie auf der Strecke erlaubt, so das Untersuchungsergebnis der Sachverständigen.

Die technische Überprüfung des Unfallautos ergab, dass der VW Phaeton völlig in Ordnung war. Haider war angeschnallt, Überlebenschance hatte er trotzdem keine. Seine Verletzungen seien so schwer gewesen, dass ihn niemand hätte retten können, ergab die Obduktion.

NEWS @ ORF.at: Schlechte Sicht

ORF:  ZEIT im BILD am Sonntag den 12. 10. 2008

[wpvideo xPwPF9U4]

ORF Animation

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>>> Jörg Haider: zur Biographie

>>> 11. Oktober: Jörg Haider (58) bei Autounfall gestorben

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Zabawna -  trochę jak nie reklama Twix'a:) Przypomina mi reklamówkę jednego samochodu z Jackiem, który od początku wiedział co dobre :)

Przecież najważniejsze to kogoś spotkać :)

                    

A Era das louras passou e as emissoras de TV já não investem mais numa programação para baixinhos. Nem mesmo o modelo da apresentadora sexy de shortinhos ou minissaia brincando não faz mais sucesso e tampouco as brincadeiras e jogos para crianças. Com isso, os desenhos imperam praticamente sozinhos nas emissoras abertas. Os profissionais de TV não sabem exatamente o que as crianças de hoje querem ver e preferem não investir para ter pouco retorno. Quem sofre são os telespectadores, que ficam com poucas alternativas, como destaca Mauro Garcia, diretor de Projetos Especiais da Fundação Padre Anchieta, mantenedora da TV Cultura. "A publicidade infantil migrou para a TV a cabo, que tem público de maior poder aquisitivo. Se não há faturamento, por que as emissoras abertas vão produzir?", desafia.Murilo Fraga, diretor de programação da Band, também tem um ponto de vista que reforça essa análise. "Os programas infantis impulsionavam a venda de discos e brinquedos. Mas o tempo mostrou que os desenhos eram mais importantes do que as apresentadoras", defende. Atualmente, sua emissora não tem sequer um programa infantil na grade. E, em tempos de pulverização de audiência, eles não pensam em investir nas crianças tão cedo. "No período da manhã, Globo e SBT já apresentam desenhos. Ganhamos mais se oferecermos outra coisa", acredita Murilo.São poucos os que persistem. Como Renato Aragão, com A Turma do Didi, na Globo. "É um luxo continuar fazendo programa infantil diante da concorrência americana. Faço humor para o povão, ingênuo. Mas sei que perdi uma fatia do público porque a internet deixou as crianças de hoje menos ingênuas", resume o comediante que, nas manhãs de domingo, chega a marcar 15 pontos de audiência com o programa.A garota Maisa, que comanda o Sábado Animado do SBT, é uma prova de que as crianças de hoje estão realmente menos ingênuas. Com boas sacadas na apresentação ao vivo - o que inclui eventualmente tirar um sarro daqueles que ligam para participar do programa - a menininha já chegou a deixar Xuxa para trás na audiência das manhãs de sábado, marcando 10 pontos. Antes dela, a dupla infanto-juvenil Priscila e Yudi já dava conta do recado apresentando o Bom Dia e Cia, de segunda a sexta, na mesma emissora. Para a diretora do programa Juliana Soares, criança falando com criança possibilita uma maior identificação e é um dos segredos que mantém a dupla na apresentação do programa desde 2005. "As crianças querem se sentir importantes. Elas têm de ser o foco, e não uma apresentadora", reforça a diretora.Além do SBT, a única emissora da TV aberta que tem algo além de desenhos animados em sua grade é a Globo. Xuxa insiste em trabalhar com os baixinhos, apesar do diretor do TV Xuxa Luiz Gleiser enfatizar que o atual formato do programa é voltado para toda a família. "Para atrair qualquer público, inclusive as crianças, é preciso ser inovador. Hoje em dia elas estão acostumadas a usar computador, controle remoto e celular ao mesmo tempo", descreve ele. Mas apesar das tentativas, a audiência não passa dos 9 pontos.Para quem se tornou ídolo de uma geração como Bia Bedran, que de 1987 a 1994 cantou e musicou histórias infantis no programa Canta Conto, da antiga TVE, há uma dificuldade dos pensadores da TV em saber quem é a criança contemporânea. "Estreei quando já havia Xuxa e desenhos na TV. E fiquei no ar por sete anos. Hoje a internet mudou os hábitos das crianças, mas não as crianças", pondera Bia. Já a apresentadora Eliana, a primeira a levar um programa infantil educativo a uma emissora comercial - na época o SBT - também defende que é só apresentar mais qualidade às crianças que elas absorvem. "Elas assistem aos desenhos porque é só isso que oferecem. Para atraí-las não é preciso grandes produções. Falta criatividade", afirma Eliana. Em meio a tantos compromissos com índices de audiência, TV Cultura e TV Brasil são as únicas alternativas de um conteúdo de mais qualidade. "É claro que audiência é importante. Mas na Cultura o público infantil não vê pancadaria ou incentivo ao consumismo ", decreta Âmbar Barros, diretora do núcleo infanto-juvenil da TV Cultura. A partir de 2009, a emissora anunciou que não terá mais publicidade em meio à sua programação infantil. Já a TV Brasil pretende investir pesado nas animações brasileiras, no próximo ano. "O Brasil exporta mão-de-obra nessa área e as emissoras nunca deram bola. A TV pública faz um contraponto à mercantilização da infância, que impera nas emissoras comerciais", critica Leopoldo Nunes, diretor de programação da TV Brasil.

Reportagem:Joalisson menezes

I was a bit skeptical about the BBC's ability to reproduce the TopGear show phenomenon in other countries with other presenters. Well I was wrong, sort of. I watched the first episode of the Australian TopGear show on Friday and um, it's exactly the same. Frighteningly the same. Like they lifted the set exactly as it is in the UK and rebuilt it in Australia. They didn't even let them customize it to Aussie standards. The intro is also an exact copy of the intro for the TG UK show. Same music, same images just different outlines of different guys and a few new clips. Ok, that is just freaky. I expected the logo and theme music to go over but they treated this like a franchise of American Idol. Yuck.

I would have liked to see the mimicry end at the logo and theme music. After that why not give the show their own ability to create a cool guy set with some Australian flair? Is Britain just too into the monarchy system to let individual creativity happen?

And the guys are totally the same, it's like they cloned them with better hair. The older guy is the main lead presenter and he is cocky and always making fun of the other guys and showing off like Jeremy. The second guy is shorter and way hyper and talks hella fast and is all emotional all the time like Richard. The third guy is a cartoonist, (I like this twist, he draws on sight and this could lead to some interestingness) and not a pro driver and most like James may with short hair. (Charlie Cox, Warren Brown, Steve Pizzati)

And OMG there is no intro that explains what the show is or where it came from. Hello, a segway was necessary there. Would it have killed them to say that they have launched their own creation under the TopGear family umbrella and introduce the guys in a little more detail. Maybe say why they wanted to do the show in the first place and why they went through an open audition process to get there? Was that funny at all behind the scenes?

They just try to jump into cockiness and double entendre with total awkwardness because no one knows who they are. They should say this is the biggest car show about absolutely nothing or this is the car show where we plan to break very expensive things. Anything would be better than odd pauses as the audience doesn't know what to laugh at because no one knows who these guys are.... Or they haven't yet gotten comedic timing from their cue cards...

I sincerely hope they allow these series a little more breathing room to not only re-create things with a regional flavor but to look for ways to improve on the show and innovate too. Things will never innovate if the guys are practicing talking like Jeremy Clarkson in their dressing rooms and they have to name turns on the track after the UK presenters.

Dude, and they never say anything about the Stig being the Australian cousin? Why just make up all this stuff about the Stig with such a weak intro. Yikes! The guest star in a reasonably priced car was weird too. Over enthusiastic in everything he said in a really creepy way. And he liked Saabs. Heh, I own one buddy they are not luxury and sport cars. They are an unreliable bowl of crap. This post has been brought to you by "don't buy a Saab". 

I shouldn't be so hard on the show but I am a fan, so I have to be this way.  I plan on watching the second one tonight. The thing is they did have some snafus that were a surprise to the viewer even if they were scripted so it had it's entertaining moments. But gee whiz, please let these smart people you have hired in Australia do what they do best, make a funny car show by mucking around.

I do have to mention though that the content of the show was around 55 minutes with the commercials cut out (that might be entertaining to watch commercials from another country actually, if they're weird or funny) so at least they shoved the commercials on the end of the 60 minutes and added time rather than cut it back. Yay for that.

And...when this show and the US show have gotten their feet under them we need to have an inter TG competition of some kind between the 3 regions. But that is not for a couple of years yet...

O futebol é o esporte nacional, possui milhões de apaixonados por todo o país. Com toda essa fixação dos brasileiros, o que se fizer sobre o assunto vai vingar, correto? Não exatamente, mas é o que pensam emissoras, dirigentes e outros envolvidos. Estão acostumados ao dinheiro fácil, porém, esse não dura para sempre, as fontes sempre secam rápido.

Andei vendo algumas transmissões na TV e só tive uma reação: Que porcaria! Desde o surgimento da televisão, ainda se usa a mesma câmera fixa mostrando o jogo lateralmente, sem qualquer emoção. Somando isso ao fato dos narradores estarem mais preocupados com a vida dos jogadores do que com o jogo, assistir a uma partida televisionada atualmente se tornou muito massante.

Fazendo uma comparação, vejam os jogos dos grandes campeonatos europeus. Que show! Até eu, nada empolgado pelo esporte, gostei do que vi. O jogo é gravado com ângulos mais próximos dos jogadores, há uma troca de câmeras muito rápida, tudo muito dinâmico, dando mais velocidade e emoção ao jogo. Não é à toa que lá futebol dá dinheiro, e muito dinheiro!

Todavia, se insistirem em não ver o que está a suas frentes, continuarão a perder audiência, patrocinadores, os clubes continuarão falindo e por aí vai. O Brasil não é grande porque as pessoas não querem crescer. E aquele ditado de não mexer em time que está ganhando é coisa de um completo idiota. E pelo visto, brasileiro.

- Falando em Caldeirão sem muitas novidades o cansativo Caldeirão do HUCK nestem sábado dia 11/10 marcou 16,5.

- A Supernanny ficou na vice neste sábado

-É tudo indica que a bomba que Claudete Troiano anuncio na quinta e na sexta passada no olha Você seja a volta da Casa dos Artistas será se vai dá certo?

- Hilário o Zorra Total de ontem especial do dia das crianças. Com todos personagens caracterizados com famosos personagens infantis.

- A REVELAÇÃO continua com todo vapor quando se trata de gravações.

[ TIVE UM TEMPO FORA DO BLOG, POR CAUSA DOS ESTUDOS, ESTAVAM MORRENDO DE SAUDADES E ESTOU DE VOLTA]

POR ÍTALO

Aaaaaaaaaaaaaaalso, dann mal Ton Ab, Kamera läuft, ÄKSCHN:

Fringe, die am meisten gepushte und beworbene Serie des Herbstes. War eigentlich gar nicht nötig, denn nach dem letztjährigen Autorenstreik gab es eh nicht viel neues. Und die einzig ernstzunehmende Konkurrenz (Dollhouse, das neue Baby von Joss Whedon und Eliza Dushku) kommt erst im Januar. Frühestens. Also Fringe geschaut. Zum zweiten Mal.  Nicht wirklich besser geworden. Eher langweiliger. Und obwohl ich Joshua Jackson noch nie leiden konnte, nervt er am wenigstens vom ganzen Cast. Selbst Denethor ist eigentlich nicht cool. Soll wohl den Monk-Faktor mitbringen. Hilft aber nicht.
Wirkt alles doch sehr konstruiert, wirr und hölzern. Zwei Ampullen Akte X, etwas gestreckt mit Lost-Effekten (optisch und Audio) und dazu viel Hype. Danke, das ist öde. Wenn ich sonst nix zu tun habe werd ich mich durch den Rest der Staffel schleppen. Wie ich generell so lese gibt es ja zumindest noch ein wenig Hoffnung auf Besserung.
Aber eins hat mir gefallen: die jeweiligen Ortsbezeichnungseinblendungen.

The Good included a much faster pace than last week's pilot, a tighter (but still borrowed from elsewhere) plot, and some great interaction between the principal three characters.  The relationship between Joshua Jackson's Peter and his father Walter (John Noble) is undoubtedly the best thing about the show; a completely believable combination of filial concern and exasperation entertainingly accompanied by Peter's repertoire of snarky comments.

Peter's relationship with Olivia is also beginning to warm up nicely, and the comedy comments seem to be a family thing as Walter managed to throw in a few zingers himself on the subject.

All this Good though, was tarnished by the Bad in the form of several glaringly obvious continuity errors.  For instance, last week, sinister business-lady Nina Sharp made a big fuss about taking off her sinister black glove and showing us that she has a sinister robot arm, perfected for her by her sinister employers.  This week, she clearly had two flesh and blood ones, sinister glove-free.  I know things often change between the pilot and the rest of the season, but really - don't make such a big deal of something then think people won't notice the difference.  How hard would it have been to keep her gloves on, even if you don't want to bring back the robot arm?

The same principle applies to other errors within this episode.  If in one shot, you show Joshua Jackson taking off his labcoat with a big flourish so he's standing in his T-shirt, don't suddenly forget and have him back in the labcoat again in the next shot.  Starting to run.  With another big flourish.  And, while I'm here, if you're going to have poor Joshua snarkily suggest something might be "highly theoretical?" in the manner of directly quoting someone, make sure the conversation he gets the quote from comes BEFORE he does the quoting, rather than a few minutes later. 

This type of sloppiness is not only Bad, it's frankly inexcusable in a programme with a budget this size.

Not Bad but horribly Ugly, however, was a traumatic childbirth scene, the "magic old-man baby" born, grown and deceased in the course of a few scenes, and the gruesome murders of several unfortunate young women.  All very well done, but absolutely gross. And I won't even mention the eyeball business.  If you saw the eyeball business, I don't need to tell you about it.  If you didn't, I wish I was you.  I'll be back for episode 3 but I may bring a cushion to hide behind.

Die Zusammenfassung im EPG endet mit den Worten: Aiman Abdallah zweifelt.

Das ist schön, das macht Spass, das tut weh. Damals, vor vielen Monden weilte ich besuchsweise im Pottteil Deutschlands, gut behütet und bewirtet von Mutter Parsonadams. Die Deutsche Nationalmannschaft, die zugehörigen Fans und vor allem Pipiprinz Poldi haben sich in Slowenien übelst blamiert ("Ach, die Jungs wollen doch auch nur Spass haben") und Pro7 packt einen Hammer ins österlich-edukative Programm: oben genannte Enthüllungsdoku aus dem Wissenschaftskeller von Deutschlands Info-Sender Nummer EINS.

Schwimmende Holzbote, plötzlich erscheinende Brüste auf dem berühmtesten Schlemmerbild aller Zeiten, noch mehr schwimmende Boote und ein paar Inder. Das alles im Namen der kritischen Aufklärung.

Aiman Abdallah zweifelt.

Zurecht.