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dear-ao3 · 1 month

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ok so considering im decently sure a good chunk of the f1 drivers dont actually like driving road cars on roads (fair) i propose a new grand prix to determine the real Best Driver.

behold. the rush hour grand prix.

1 lap. at rush hour on a friday night. all the usual normal commuters and terrible drivers are still on the road along with all the drivers. in the rain. everyone drives a car of their choice. they have to count out all their tolls using change, no one gets ez pass. and you get disqualified if you veer from the instructions (no wrong turns!)

and where does this take place?

thats right.

new jersey. (and new york city) (but mostly new jersey)

here is the proposed track:

we start and end on route 22 right outside the staples. a terrible awful road that would cause harm to any driver, especially european ones. route 22 is so terrible because there is a long stretch that has a center median with shops in it, so theres shops on the right the left and in the center with u turns every 500 feet.

they go east on 22 towards us route 1 and 9 and, thats right, newark liberty international airport. here they have to do a loop around all of the departure terminals before exiting and heading towards jersey city on route 78.

they take route 78 through the holland tunnel, which is a hilarious tunnel to go through as you can literally blink and miss the signs because theyre so small.

upon arriving in new york city they will head towards the canal street station, doing an awful little loopy loop to take hudson street to 8th avenue. new york will prove a challenge for many of them because every other street and avenue there is pretty much a one way in the opposite way.

theyre going to turn right on 23rd street and take it three blocks towards the flatiron building on fifth avenue before doing another turn around and heading back up sixth avenue

here theyre going to turn left on 40th street, then right on 7th avenue then immediately right again on 41st street and then back to 6th avenue which they'll take all the way to the bottom of central park. here they'll turn left onto 59th street then go around columbus circle, exiting on broadway and then going right onto 57th street, which they'll then take down to 11th avenue, then after. few blocks cut over to the west side highway (12 avenue) and then they'll get off at 40th street and enter, you guessed it, the lincoln tunnel.

they'll exit the lincoln and get onto route 3 which they'll take down to route 120 and then they'll do a single doughnut in the parking lot at the american dream mall (a terrible place) before getting onto, you guessed it! 95!! they'll take 95 (devil highway) to 78 to the garden state parkway before getting back on route 22, doing a quick hairpin turn at one the first u turn and then end up straight back where they started. outside the staples.

i think maybe 3 people would finish the whole thing. logan sargeant, being the only american, would come in first. fernando alonso takes second and valtteri bottas takes third.

#im accepting no questions #not a tag #from saph #f1

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louisupdates · 5 months

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The Habit He Can’t Break 4/4

IQ 123 | Gordon Masson | 9.11.2023

If I Could Fly

With the production traveling to Australia, in early 2024, before shifting to Latin America, Andy Lovell at Freight Minds is gearing up to become involved with Tomlinson once again.

“We did the Central and South America dates on the tour last year, and onto Mexico,” says Lovell. “It was very challenging back then as we were still coming back from Covid, and various systems and infrastructure were in pieces. But it all went well in the end, as we kept an eye on things and worked on it every day to make sure we had solutions to everything that was thrown our way.”

Lovell continues, “Things on this tour kick in early next year for us. Historically, Australian services were quite reliable, as we could use any number of airlines. But post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse engineered with the budget being worked out before we can see what we can afford to take as freight, and then we try to plan accordingly.”

“Similarly, in Central and South America there are still just a fraction of the flights operating, compared to pre-Covid, so that makes it very challenging. If there aren’t the flights to handle the gear, then you have to start looking at chartering aircraft, or alter your schedule, and that can become very expensive, very fast.”

With everyone working on the artist’s behalf to make sure the tour remains on track, being able to call on such experienced production experts is paying off on a daily basis.

Sherwood notes, “There are a few back-to-back shows over long distances that occasionally mean we don’t arrive at the next venue until 11 AM, rather than 6 AM. But we’ve never failed anywhere to open the doors on time, so we know we’re capable of getting things done, even if we have a late start at mid-day.”

Such dilemmas are not lost on agent Rowland. “It’s not so much the routing, it’s more like the timings, because Louis does have two support acts, so the shows start at 7 o’clock, and then when we’re done, we need to load out to get to the next show in good time for loading in the next morning and soundchecks, etc.”

Nevertheless, Sherwood admits that he loves the trickier venues and schedules. “Because I’m a dinosaur, I relish anything that makes things difficult or awkward for us on the production side of things,” he says. “I think everyone on the crew looks forward to challenges in finding the solutions to problems.”

Common People

Having amassed millions of fans through his association with One Direction, Tomlinson very much has a ‘pay it forward’ attitude to music and is building a reputation as a champion for emerging talent, wherever he performs.

“He’s a great advocate for alternative music,” says manager Vines. “Louis realizes he’s in an incredibly privileged position in terms of what he can create in terms of awareness. He loves alternative music and indie music, and he understands how hard it is for that music to be heard. But we have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences. It’s a huge part of his love of music, wanting to help younger bands.”

Rowland agrees. “He took an act called Andrew Cushin - a very new artist – on the road in America with him as a support, and he’s doing the same for Europe. Louis is a fan and is championing his career.”

Indeed, Tomlinson’s A&R skills have knock-on effects for his agent, too. “He asked me to confirm the Australian band Pacific Avenue as support for his Australian tour last year. The music was great, and they didn’t have an agent, so now I’m representing them,” says Rowland.

Perfect Now

As the European tour speeds towards its conclusion, agent Rowland is enjoying every minute of it.

“It’s incredible – they’ve really stepped things up,” she says, fresh from seeing the show in Athens and Paris. “They’ve got six hanging LED screens on the stage, and the whole production just looks polished and professional.”

And Rowland is especially excited about next year’s Latin America dates, which will deliver her first stadium shows as an agent.

“The return to Latin America is going to be huge – Louis is playing arenas and stadiums in South America and Mexico 15 shows across 11 countries,” she says.

Vines is similarly enthused. Harking back to the Covid situation, when the show would go on sale, sell out, be postponed, and then re-scheduled in a bigger venue, Vines says, “For example, in Chile, originally the show was scheduled at a 5,000-cap, half-capacity arena in Santiago. And what we ended up doing with three nights at 10,000-cap in that same venue.”

Vines contends that Tomlinson’s work ethic is outstanding. “He loves his fans, and he loves performing for them, it’s as simple as that,” he says. “He just loves being on the road and seeing how the songs connect live. In fact, the second album was very much written with the tour and live shows in mind – ‘This song could work live,’ ‘This one will open the set,’ ‘This is the one we can do for the encore.’”

Fearless

Another element to Tomlinson’s psyche has been his decision to visit places off the usual tour circuit.

“Louis has a real desire to perform to fans in markets that are often overlooked,” says Rowland.

Manager Vines explains that while the Covid-delayed first tour allowed them to upgrade venues pretty much everywhere, “On this tour, we are a bit more competent on venue sizes, but we still speculate a little bit in different territories. In Europe, for example, we’ve gone into the Baltics in a number of different places to test the markets there, while in America, we’re looking at A and B markets, but also tertiary market as well – we go to places where people just don’t tour in America, just to see what the reaction is. That was something that very much interested Louis - to play in front of people who don’t normally have gigs in their town. So there’s been a lot of experimentation on the tour in terms of where we go and what room to play.”

That concept is something that Vines has employed before. “I manage a band called Hurts, who were pretty much overlooked by the British radio system, and we have spent 15 years building a business outside of the UK. And that was built on going to play at those places where people didn’t normally go. They built to multiple arena level in Russia, for instance.”

“If you can build fanbases in lots of different places, you have festivals that you can play every summer, as well as touring those places. It allows you to have more consistency over a number of years, by having more opportunities.”

Such a strategy found a convert in Tomlinson. Vines tells IQ, “Louis also is extremely fan-focused in everything that he does. He comes at it from a perspective of ‘I want to take the show to them,’ meaning he’s always more willing to take the risky option to try something out.”

And the result? “It’s a combination,” concludes Vines. “There have been a couple of places where we now understand why tours don’t go there. But there are more places where it’s worked incredibly well. For example, we enjoyed incredibly good sales in Budapest. And overall, it’s allowing us to get a clearer idea, globally, of where the demand is, which will help us when we go into the next tour cycle.”

1/4, 2/4, 3/4

#louis press #iq magazine #louis tomlinson #9.11.2023

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mariacallous · 1 month

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EARLY VOTING in Mariupol began on March 10th, courtesy of armed election brigades who criss-crossed the city in search of participants. Sometimes, mobile ballot boxes were unveiled to the sounds of rousing hits such as Sergei Voitenko’s “My Russia” (Russia! Russia! My Russia! / Great country! Motherland!). Other times, guns did the talking. Those preferring to wait until the official start had a harder job. The locations of polling booths were not advertised ahead of the vote—a provision, officials explained, designed to ensure the safety of organisers. By the time polls closed on the evening of March 15th, the first of the three official ballot days, a stratospheric 69% of the region had already voted. This was all the more remarkable given the absence of accurate voting lists to calculate the number from.

The vote in Mariupol could be written off as a farce, were it not for everything that went before it. The second day of voting came exactly two years after Russian planes dropped bombs on the city’s main theatre while a large number of children were taking shelter inside, killing hundreds of them. Local authorities estimate that at least 22,000 civilians were killed in the city during weeks of bombardment. It may be considerably more. Only 120,000 of a pre-war population of 450,000 remain in Mariupol, plus a similar number of new migrants from Russia and central Asia.

Local sources, whose identities we are withholding for their protection, report that Mariupol has been unusually deserted over the days of the vote. The city still bears obvious war scars, they say. Central streets alternate between ruins and, where houses have been cleared, empty pits. Only collaborators who have proven their worth to the occupying Russian forces have been given homes in the few new-builds, hastily constructed for the cameras on the edge of the city. Access to the city is still tightly controlled, with checkpoints on the roads in and out. Anyone wanting to enter has to get permission at Moscow’s Sheremetyevo airport, 1,000 km away.

The Kremlin has been nonetheless keen for Mariupol to display loyalty. One of the very first acts of the occupying forces—even before the theatre was filled in with concrete in an attempt to contain the stench of rotting corpses—was to wheel in massive video screens showing Vladimir Putin. “They hadn’t even opened the shops or the market, or the hospitals, but they had the big propaganda screens,” one local said. In the run-up to the presidential elections, there was a campaign to encourage locals to take up Russian passports. Its lack of success was perhaps most clearly shown in the decision in December 2023 to allow people to vote using their Ukrainian IDs, a rare example of a state allowing nationals of another one to take part in a presidential election. It is one of many avenues for voting fraud, suggests Mariupol’s elected mayor Vadym Boychenko, now based in Ukrainian-controlled Dnipro.

Solomiia Bobrovska, a member of Ukraine’s parliamentary intelligence committee closely connected to resistance movements, says that Mariupol remains a partisan hotbed. “That’s why they are so strict about the city. They don’t trust locals with anything important.”

The resistance effort can broadly be split between military and civilian wings. Partisan and diversionary activity in the former category is overseen by agencies like the SSO, Ukraine’s special forces, and HUR, its military intelligence agency. The SBU, the domestic intelligence outift, leads on civilian resistance.

Alongside this are other more independent activist groups, like Yellow Ribbon, which says it has 15,000 activists across Ukraine’s occupied territories. The resistance is mostly low-level: printing anti-Putin posters and organising underground Ukrainian flag production. Its social-media channel offers suggestions about how to avoid voting and share information about election organisers with prosecutors. “It’s about giving people support, to show they are not alone,” says “Alex”, a co-founder of the movement. “Our aim is to irritate the hell out of the Kremlin.”

Civil and military representatives are hesitant to discuss the extent of their networks, but it’s clear that their work has become much more difficult since the early days of the war. Many agents have been compromised, hauled off to prison in the best case scenarios. Russia has dispatched tens of thousands of security officers to the occupied territories. Petro Andryushchenko, an adviser to the mayor of Mariupol, also in exile, admits the resistance was “losing too many people,” and suggests Ukraine should become more careful. He suggests encouraging locals to vote unless it was safe not to do so; a boycott was unlikely to change anything and could attract dangerous attention, he says. “The Mariupol resistance is different to everywhere else given our history and the level of control. At this stage we need to think about keeping people alive. They are our stake.”

The Ukrainian government, perhaps surprisingly, has not produced a unified position on what its citizens should do: take part in the electoral farce to avoid reprisals, or ignore it. That is partly down to disagreement inside the corridors of power. But it is really because officials find it hard to admit that the liberation of Mariupol now looks remote. For Mr Boychenko, the exiled mayor, who has been criticised for his decision to leave his city in the early days of the war, the focus should be on helping the 200,000 or so survivors now scattered across Ukraine. “We are an evacuated city, a people in exile. But we haven’t disappeared.”

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softlyblues · 10 months

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so in my dream narnia that has nothing to do with real narnia, there’s a city that clumps up beside cair paravel, because although i get the agrarian fantasy it’s just not realistic not to have a bustling city beside the docks!

the city is called pavilions in my head, because it’s built sort of clinging onto the cliff that the cair is built of, on these little raised platforms and pavilions. (hah!) and it starts as a sort of shanty town, because oreius and peter lead the army to the cair after the big battle and the coronation and hey! a lot of these people haven’t got homes to go to anymore, but they do have fuckloads of sturdy war tents!

so for the first year or so, they call it pavilions and wait for it to be deconstructed, but it never is. peter gets a bit worried and asks oreius if the army is waiting for any reason, but here’s the thing - when an army hangs around for longer than about nine months, it stops being an army and starts being a sort of mobile town. there are definitely babies. hell, oreius’s army has been around for a hundred years. there are KIDS raised in that warcamp, and they don’t particularly want to go back to long-defrosted burrows, no thank you!

so eventually lucy decides she needs a crusade, and she gets a whole pile of courtiers and hangers-on to make pavilions a bit more official. they make a main street (maybe it’s called broadway, or lions path, or something) and a few branching streets, mostly officialising what’s already there. some of the tents have already turned into wooden shacks, and so lucy and her badgers and beavers and otters and foxes and ducks and (weevils) do a bit of construction, get some of their dwarvish friends to quarry rock from the nearby deposits, and help build a lot of the central buildings. the pub, a few houses of dubious repute (ik its a childrens book but listen), a few market stalls get shoppified.

lucy doesn’t commission them, but they crop up anyway. four statues, made of quartz-veined marble, and very admirable likenesses they are too, because narnia is full of craftsmen. but because pavilions is a piecemealy sort of city, there isn’t room for the four of them together, and they become squares and circles and gardens. queen lucy way. queen susan avenue. king peter road. the statue to edmund is beside a black dwarf bar on the outskirts of pavilions, and occasionally gets egged in the night, and edmund never goes to see it. there’s an official king edmund street, because lucy made the maps, but it’s more like an alley really, the back of a few market stalls and some crooked houses.

#my writing #narnia #narnia headcanons #golden age of narnia #edmund #look i have a lot of golden age thoughts #and i so badly want to explore pavilions #you know that scene in the silver chair #where eustace is too late #in my head those are like bustling docks #beside this huge city #where did the city come from!#it isn't the cair #mnhc

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unpopularwiththepopulace · 8 days

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Propelled chiefly by last year’s London production, I have written a (rather) long form piece to do with Rebecca the Musical. Though focusing mainly on this eventual and heavily expectant premiere of the English production of the musical, discussion relates also to the original and other iterations of the show, and musicals more generally, too.

The piece is anchored by the central theme of insatiability while looking in turn at:

the process of tracing the evasive histories of character representations and theatrical productions over many decades – including also flickered and largely forgotten records of the play and opera forms of Rebecca, and the “apparitional”, equivocal lens that queer female sexuality is handled with across large spans of time

decoding evidence of sparse, if periodically rather dire, female queerness in theatrical, musical contexts – guided by the disciples of dykeish dissatisfaction in the musical’s character of Mrs Danvers or the story’s primary author of Daphne du Maurier herself

considering what it means to exist as an audience member responding in situ to (principally female) performers with thrilling voices, both in and outside an auditorium, and the delicate but frequently under-discussed predicament of queer female diva devotion.

Take a look if you're interested!

In further expansion of photographic documentation of each of the examined stage-based, theatrical iterations of Rebecca, more images are presented below.

Discussion originates from the existence of the 2023 English premiere production of Rebecca the Musical at the Charing Cross Theatre in London, where cast principals included Kara Lane as Mrs Danvers (alternated by Melanie Bright), Lauren Jones as I (the new Mrs de Winter), and Richard Carson as Maxim. Photos by myself.

The first stage production of Rebecca arose much earlier, concerning the 1939 play by the same name at the Queen’s Theatre on Shaftesbury Avenue (now The Sondheim Theatre). Daphne du Maurier herself wrote its script. Margaret Rutherford played Mrs Danvers, Celia Johnson was the new Mrs de Winter, Owen Nares appeared as Maxim. The Queen’s Theatre was bombed in 1940 during WWII at the time of Rebecca’s occupancy, becoming the first theatre in London to be hit by a wartime bomb, and bringing to an immediate premature close the show’s successful run - and highlighting earlier associations of this story's connection to tumultuous tales and dramatic events in histories of it's staging, as the attempted primary stagings of the English musical iteration would later return to.

Photos from this first theatrical, London production include those by Angus McBean from a periodical spread entitled ‘Mystery and Murder in Stately Cornish Home - Dramatic Moments of Du Maurier’s “Rebecca.”’, published in The Sketch (vol. 190), May 1940.

The play also then appeared on the road in America, and subsequently on Broadway in 1945 at the Ethel Barrymore Theatre for a fleeting 20 performances; and of this entity, record remains even more scarce. Cast principals included: Florence Reed (Mrs Danvers), Diana Barrymore (the new Mrs de Winter), Bramwell Fletcher (Maxim).

The next and last distinct adaptation of Rebecca to appear on stage before the musical was the 1983 opera production devised for Opera North, with music by Wilfred Josephs and libretto by Edward Marsh. It toured the UK before being revived briefly in 1988 and never seen again. Cast principals included: Ann Howard as Mrs Danvers, with Gillian Sullivan and later Anne Williams-King as the new Mrs de Winter, and Peter Knapp as Maxim.

Finding these few, historic photographs in obscure newspapers or consulting original scripts and librettos, for instance, in libraries and archives during this effortful and active treasure-hunting felt special and rewarding. But possible reconstruction of these stage iterations in the present day is only incompletely possible, because of reduced ease of access to or apparent remaining visceral evidence of a visceral art form.

The frustration in trying to seek out these apparitional traces not only foregrounds the importance of maintaining accessible, comprehensive primary records within the theatre, but mirrors also the act of trying to seek out records of queer female sexuality across history in works of literature, cinema or theatre, as a process typified by a similarly effortful navigation of apparitional erasure. This facet connects with the notion that consideration around Rebecca entangles with a web of insatiability or dykeish dissatisfaction, a web that stretches from this erasure and liminality of representation, to character constructions within the work – including of its infamous housekeeper, Mrs Danvers, to contextual backgrounds like those of the story’s primary author itself, Daphne du Maurier.

The entity of Rebecca, then, across its many themes, productions and decades, is uniquely useful in the way it can in turn encompass and facilitate explorations of these many facets – being capable of simultaneously holding consideration of these expansive webs of documentation, erasure or dykeish dissatisfaction that can be found lurking in historical margins, as well as also the contrasting luminous energy that can be produced in the present in association with the musical, as physical audiences interact with and respond to the material of the show and its performers within theatres in real time. These considerations have transferrable applicability beyond this singular context of this particular show to more general notions of theatrical pieces and the practice of theatregoing, too, as they foreground the question of how audience members respond to, process, and interact with shows; and, as a matter of far less common discussion or scholarly writing on the subject of diva devotion, how female fans specifically navigate the complex predicament of queer, female, performance-driven high regard.

#rebecca the musical #rebecca das musical #rebecca #mrs danvers #ich #the new mrs de winter #daphne du maurier #lonbecca #rebecca london #kara lane #willemijn verkaik #musical theatre #musicals #terry castle #wayne koestenbaum #the apparitional lesbian #theatre

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freddycarterus · 5 months

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I am posting this for notes purposes, because we are going to be contacting many of these companies to pitch SIX Of Crows! ;)

The following companies are looking for new TV pitches for development & production.

Campaign - Production Companies

20th Century Fox Television

20th TV, Fox and MyNetworkTV

2C Media

3 BALL PRODUCTIONS

3 Ball Productions/Eyeworks USA

3 Ring Circus

360Production

40 Partners

720 PR

8790 Pictures,Inc.

ABC Cable Networks

ABC Entertainment

ABC Studios

Abrams Artists Agency

Adept Entertainment

Alan David Group

Alchemy Television

Alchemy Television Group

Alcon Entertainment

Allan McKeown Presents Ltd

Allan R. Smith Productions

Ambush Entertainment

American Media Television

Anne Carlucci Productions, Inc.

APA

Arclight Films

Arjay Entertainment Television

Artist International

Asylum Entertainment

AT IT Productions

Atlas Media Corp

Automatic Pictures

Avalon Television USA

Axelson-Weintraub Entertainment

Banner-Caswell Productions

BBC Worldwide

BCII

Beth Grossbard Productions

Big Cattle Productions

Big Hill Pictures

Boulevard Pictures

Boxing Cats Productions

Boz Productions

Brian Graden Media

Broken Lizard Industries

Buck Productions

Buck Productions Inc.

CAA

Cakehouse Media

Capestany Films

CartoonNetwork

Cataland Films

Cavelight Films

CBS

CBS Entertainment

CBS Films

CBS Interactive

CBS Paramount

CBS Paramount Network Television

CBS Studios International

CBS Television Distribution

CBS Television Studios

Central Artists

Champion Entertainment

Clear Pictures Entertainment

Codeblack Entertainment

Codeblack Films/Lionsgate

Collins Avenue

CoLours TV

cosmic pictures

Creative Chaos Inc.

Creative Convergence

DASH Networks

DatsEntertainment

De Line Pictures

Digital Alchemy Entertainment Inc.

Disney Channel

diverse talent group

Dragonfly Film and TV

E'lan Productions

Echelon Studios

Echo Lake Productions

Echo Production Company, Inc

Edmonds Entertainment

Edward Saxon Productions

Electric Entertainment

Elkins Entertainment

Ellman Entertainment

Enchanted Rock Pictures/MTS Entertainment

Endemol USA

Endgame Entertainment

Ensemble Entertainment

Entertainment Studios, Inc

Epic Level Entertainment

Epiphany Pictures

Espiritus Productions

Evatopia

Eventime Productions

Evolution Entertainment

Eyeworks Belgium NV

Fauci Productions, Inc.

Faultline Films ltd

Film 44

Film Garden Entertainment

Firehorse Pictures

Fireworks Enterprises

Fisher Entertainment Group

Forward Entertainment, llc

Fox Broadcasting

Fox Interactive Media

Fox International Channels

Fox Searchlight Pictures

FOX Sports

Fox Television Studios

Frontlot Productions

FX Network

Generate

Goliath

Grand Productions Inc

GRB Entertainment

Greene & Associates Talent Agency

Greenspan Kohan Mgt.

Handmade Films

Harper Winslow Productions

HBO

HDNet

Here Media

Homerun Entertainment

Honest Engine Films

Hope Enterprises, Inc.

Ideas Unlimited - TV (Denmark)

Idiomatic Entertainment

IKA Collective

Imbroglio Pictures Inc. / Scott & Cooper Entertainment Ventures

Innovative Artists

insomnia media group

Inspire Films and Television

International Creative Management

Intuitive Entertainment

IWV Media Group, Inc.

Jackamo Television Ltd

Jane Street Entertainment

Jeff Ross Entertainment

Jupiter Entertainment

Just SInger Entertainment

Kaplan-Stahler Agency

Ken Ehrlich Productions

Kickstart Productions, Inc.

Kingfish Productions

klasky csupo, inc.

KoldCast TV

Komixx Entertainment

Konigsberg Company

Kritzer Levine Wilkins Griffin Entertainment

Laika Entertainment

Legion Entertainment LLC

Lionsgate

Lionsgate Television

Little Dog Productions

LITTLE STUDIO FILMS

Litton TV

Lucky 8 TV

M Creative Group, Inc.

Madeline Films

Madhouse Entertainment

Madison Road Entertainment

Magical Elves

Magnet Management

Magnolia Entertainment

Mandeville Films Inc

Mandt Bros. Productions

Mango Tree Films

Manville Media

Mark Yellen Productions

Mashaal Media Corp.

Mass Hysteria Entertainment

Matrixx Prod.

Mayhem Pictures

Media 8 Entertainment

MGM

Michael Berk Productions

Michael Grais Prods.

Michael Levy Enterprises

Microsoft Corporation

Moniker Entertainment

Moxie Pictures

MPH Entertainment, Inc.

Mpower Pictures

Mt. Vernon Entertainment

myriad pictures

National Geographic Digital Media

National Lampoon/ Comedy Cocktail

NBC/Universal | Mun2

Neon Television

Network Entertainment Inc.

New Wave Entertainment

Noble Savages

Nu Image

Nu Image / Millennium Films

Nu Image/Millennium Films

Oceanside Entertainment

Ocular Production Inc.

One Entertainment

PalmStar Entertainment

Panic Productions, Inc.

Paradigm Agency

Paramount Digital Entertainment

Paramount Network

Paul Schiff Productions

Paulist Productions

Phoenix Pictures

Pie Town productions

Planet Grande Pictures

Planet Pictures

Playboy Entertainment Group

Plymouth Rock Entertainment, Inc.

Pogo Pictures

Popular Arts Entertainment

Porchlight Entertainment

Port Magee Pictures, Inc.

PorterGeller Entertainment

POW! Entertainment

preferred artists

Principal Entertainment

Principato Young

Principato-Young Entertainment

PrizmHead Pictures

Rain Management Group

Rainstorm Entertainment

RDF USA

RDS FILM

Red Baron Films

Reel Entertainment

Reid Media Group, Inc.

Revelations Entertainment

Reyes Entertainment

Right Brain Media

ROAR

Rob Gallagher Literary Management

ROBBINS ENTERTAINMENT GROUP

Rudolph Films Inc

S.L Entertainment

SB Productions Inc.

Scream Films (UK Based)

Shatner Universe

ShineReveille International

ShootersTV

Sidney Kimmel Entertainment

Sigh Griffin Management

Slate of Eight Productions

Smash Media

Smoke and Mirrors Creative / Pandemonium Films

Solar Films Inc

Sony Pictures

Sony Pictures International TV

Sony Pictures Television

Sony Pictures Television International

Sony Pictures TV

Sony Television

SPEED Channel

Sports Branded Media

Starz

Starz Media

State Street Pictures

Station3

Storytime Films

Stowaway Films

Telecast productions

Tell Tale Productions

test

The Corsa Agency

THE GERLER AGENCY

The Gersh Agency

The Gersh Agency, L.A.

THE MAK COMPANY

The Sterling/Winters Production Studios

The Televisionaries

The Terminal

The Wolper Organization

The Wolper Organization / WBTV

Thousand Hills Productions

ThunderBall Films, LLC

Touchdown Television

Trevino Enterprises

Trilogy Entertainment Group

TV Guide Network

Twentieth Century Fox Television

Twentieth Television

Underground Films

Underground Films and Management

Union Entertainment

United Talent Agency

Universal Studios

UTA

Valencia Corp

Venture IAB

ViacomCBS

VPR Media

Walt Disney Company

Walt Disney Studios

Walt Disney Studios Motion Picture Production

Washington Square Films

Wayans Brothers Prod.

Weller/Grossman Productions

Wide Angle Productions Group, Inc.

Wildbrain Entertainment

William Morris Endeavor

Wolf Moon Films

Zero gravity

Zero Gravity Management

Zilo Networks Inc.,

Zucker Productions

#six of crows #shadow and bone #campaign

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dinios-kol · 1 year

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ik this is an incredibly lame observation, but it feels very apparent that the design of elendel was based on ebenezer howard’s idea of an urban utopia - the garden city

it mimics the structure of a garden city by having the very concentric and intentional canals and streets that divide the city into different sectors. it has the main roads that follow the grand avenue structure, even if the smaller streets divert entirely from the grid structure that howard posited for the entire city. and with the field and government buildings in central city, it mimics the intent to have green space and “public” buildings as the centroid. and where the garden city wanted to have a grand canal bisecting the city, instead it’s the irongate river. but the other canals do follow the geometric pattern suggested by howard, even to the extent of these canals connecting the rest of the elendel basin to elendel itself.

#at first this made me think of burgess’ concentric zones model #but there are no obvious class distinctions in the map of elendel like there are in the zone model #nor is the center city a central business district #mistborn #cosmere meta #and don’t even get me STARTED on how the railways mimic highway placement #or how the other cities in the elendel basin are patterned almost geometrically in a central place theory type way

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usafphantom2 · 6 months

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New image of the B-21 Raider shows mysterious vertical elements on the tail

Fernando Valduga By Fernando Valduga 03/11/2023 - 18:51in Military

New image of the rear of the first B-21 bomber undergoing engine and taxi tests at the Northrop Grumman facility in Palmdale, California, shows vertical characteristics that make industry experts scratch their heads in relation to some prominent elements.

The new photo, posted on Reddit by user Folding_White Table, shows two vertical characteristics rising from the upper middle part of the B-21.

The vertical elements rise just above the root of the wing of the body of the combined wing, both port and starboard, just above where the engine core or cores are probably placed. It is not clear in the photo if they are positioned symmetrically on the aircraft.

Based on the previous photos, the vertical features are retractable.

At least one of the elements was visible in a previous first view of the aft deck of the B-21, which circulated online in October. However, the angle of this photo made it difficult to determine if it was part of the aircraft or if it was a background object.

In a Reddit post, u/Folding_White Table said the photos were taken at the intersection of 40th Avenue East and Avenue N in Palmdale, right on the fence line at the end of Northrop Grumman Air Force Plant 42, with a perfect view of runway 25/7, 22/4 and Site 4", on the nearest public road to the Northrop facility.

This is the first look at the new B-21 Raiders rear-end.

byu/Specialist-Ad-5300 inaviation

Industry experts asked to comment on what the objects could be - and speaking strictly about the background, given the sensitive nature of the B-21 - offered a series of speculations about the vertical components.

A common interpretation is that the vertical elements are covers for auxiliary air intakes in the open position and are extended to allow more air to enter the engines for ground operations.

However, two experts contested this, saying that the elements may be far behind the aircraft and too thin to serve this purpose efficiently. It was also observed that the elements are "exceptionally high" for such a purpose and so thin that the opening they supposedly cover may not be large enough to provide the necessary air.

These elements also look triangular and pilone-shaped, rather than flat.

In this image after the revelation of the aircraft it was not possible to see the vertical elements.

Experts ruled out that they are antennas or sensors, as they would ruin the stealth form of the B-21 if extended during an operational mission. They also ruled out that they are "sabreen" extendable for fuel ventilation, since they are far ahead and the fuel openings are usually positioned in the tail of the aircraft.

Another possibility is that the resources exist to prevent a ground sensor from learning something about the cross section of the B-21 radar. The F-117 and F-35 stealths have a removable and faceted device that makes them more visible to air traffic controllers and increases the cross section of the radar. In these aircraft, the objects are removed for combat.

In the B-2, which served as the basis of the B-21 design, the auxiliary air intakes are placed just above and behind the entrance and give the appearance of four curved blades, with two above each entrance.

The vertical elements of the B-21 are also close - but off the edge - to an inexplicable dark feature on the surface of the aircraft on both sides of the central bulge or spine. This feature is also visible in the front image of the aircraft released by the U.S. Air Force. It is inside the engine inlets in that image - not aligned with them - on the side of the column.

In both front and rear images, this feature is rounded and apparently teardrop-shaped, and darker than the general color of the aircraft's light gray paint. It also seems to have depth, with a potential wedge-shaped shadow inside.

An expert suggested that the dark feature is a mechanism to disperse the large amount of heat probably generated by the avionics of the B-21, hence its proximity to a potential air bleeding feature of the engines.

Another speculated that this darker feature could be a necessary air outlet for the serpentine inlets of the B-21, which are air tunnels that hide the engine fan blades, but potentially create a bottleneck in the airflow in front of the engines. The argument against this explanation is the fact that the feature is not aligned with the likely position of the engines inside the aircraft body.

As clearer views of the B-21 emerge through the taxi testing process, the purpose of these new features may become more apparent.

Source: Air Force & Space Magazine

Tags: Military AviationB-21 RaiderNorthrop GrummanUSAF - United States Air Force / U.S. Air Force

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Fernando Valduga

Aviation photographer and pilot since 1992, has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has work published in specialized aviation magazines in Brazil and abroad. Uses Canon equipment during his photographic work in the world of aviation.

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goodpix2021 · 2 years

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Central Avenue, Route 66, Albuquerque, New Mexico during golden hour.

#laskowitzpictures photography color art travel unique #street photography #traveling #out on the road #ray laskowitz #road trip #Albuquerque #new mexico #golden hour #central avenue #route 66

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coldresolve · 1 year

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Moneymakers: A Desperate Thing // Part 1

This AU takes place before (or instead of) the events of Moneymakers. I’d encourage you to read Moneymakers before this anyway, as it’ll give you some context as to what the characters are like. If you want to read @suspicious-whumping-egg’s take on this AU, that can be found here.

Masterlist / Next

It’s five minutes past noon, and Renee Vaughan is getting nervous.

Left and right, busy people rush past him, high heels clacking on the pavement as their scarves flutter in their wakes. Hot dog vendors and newspaper stands respectively call out their prices or the latest headlines, dog walkers are dragged along by the leashes of their animals, and city joggers huff with their last thread of effort. The reflection of the sun in nearby skyscrapers is blinding to behold directly, and several people waiting by a nearby bus stop shield their eyes against it, hands gloved in lieu of natural warmth.

Renee stands in the middle of it all, on the corner of Madison and Central Avenue, exactly as agreed upon. Curbing his restlessness by rolling on the balls of his feet, his hands are clenched into anxious fists in the pockets of his jacket, as his eyes scour each passer-by for any semblance of recognition – though, truth be told, he isn’t entirely sure who he’s looking for. His newfound partner sure seemed to revel in keeping things mysterious.

He's on his first day of withdrawal from snow, and on the third day of withdrawal from benzos, creating a mess of rapidly alternating restlessness and exhaustion, which only solidifies itself by each passing hour. It’s a feeling not unlike having a bad case of the flu, a general unrest which does nothing to mitigate his unease. On the seventh minute past meeting time, he lights a smoke, hungrily sucking it down as he waits, paranoid of every stranger who so much as looks at him sideways. He must look insane, standing there staring, but he can’t help it. This isn’t your average rendezvous, and it frustrates him that the man is late.

He’s about to call the wait off when he locks eyes with a stranger across the street. Someone who appears to be looking at him, with no small degree of curiosity. The man is on the shorter side, dark hair flowing past his shoulders almost as far as his waist, wearing all black clothes, a typical metalhead look. His features are vaguely Native, high cheekbones and a hooked nose, a calculated look in his dark eyes.

Renee lets the eye contact linger until there’s no doubt in his mind that the stranger has zeroed in on him. Then he breaks the eye contact, scurrying through blearing traffic to cross the street.

The stranger does a bit of an elevator look on his approach, sizing him up and down and nodding to himself. “You must be Renee?”

Renee nods.

“I’m Davin,” the man says. “C’mon.” Then he turns on his heel, fully trusting that Renee will follow along.

Renee does follow, if a little uncertainly. The Davin guy walks surprisingly quickly for a short guy. “You said twelve o’clock,” he says as soon as he’s caught up.

Davin shrugs a shoulder. “I wanted to make sure you were alone.”

He leads Renee down an alleyway which, thankfully, isn’t particularly barren of people. Little cafes have fenced off dining areas reaching out onto the sidewalk, the odd bicyclist trails past them on the road, the clicking of their gears echo off the nearby buildings. Renee’s anxiety rises for every step.

Eventually, they reach another main vein of the city, an avenue on which cars are parked in single file along the side of the road. Davin walks up to one such car, a relatively new-looking gray four-wheel drive with tinted windows in the back. He nonchalantly opens the driver’s side door, nodding at Renee to get in the passenger seat.

Hesitating, Renee eyes the car. “Where are we going?”

Davin smiles. “You don’t need to know,” he says as he ducks into the driver’s seat.

A moment of apprehension passes, in which Renee looks up and down the busy street, chewing on his lower lip. The last thing he wants is to be alone with some shady stranger, but he supposes that moment had to come sooner or later. He doesn’t like the thought of not knowing where they’re going, though. It feels like it could be a trap.

But none of this is going to feel right, is it?

Although every cell in his body revolts against it, Renee pops open the passenger side door and climbs in, feeling a pang of regret when he shuts the door. Thankfully, the doors in this car don’t automatically lock.

He carefully watches as Davin starts the engine and pulls out of the parking spot, joining traffic. “So that’s just how it’s gonna be, huh?” He remarks. “Me in the dark about everything?”

“For now,” Davin hums, slightly distracted by driving, although he, too, occasionally looks sideways at Renee, as if gauging his reaction. “I don’t trust you either, you know,” he says.

Renee chuckles tensely. He looks out the passenger window at the city which slowly grows less dense around them, trying a little too hard to come across as casual. His leg is bouncing on the floormat. “Why do it this way, then? Why not just take someone?”

Davin snorts. “Too much of a hassle. I can’t do it on my own.” He lets out a sigh. “It’s much easier with a willing participant, no?”

Renee feels his stomach drop at that, with something akin to shame. He grits his teeth, eyes scouring the landscape. Factories and auto mechanics whiz by off the side of the highway, soon to be replaced by suburbs. All the unknowns dance around his head like a swarm of flies, pestering him with uncertainty about his current endeavor. “So, uh,” he says. “Have you done something like this before?”

Davin chuckles softly. Markedly doesn’t answer.

Renee nods to himself, sniffing in a quick breath. “Alright, then.”

The highway gets fewer and fewer lanes the further out of the city they drive, and soon, the landscape changes as well, from suburbs to farmlands and forested areas long since withered and dead-looking.

After about half an hour of driving in tense silence, Davin slows down, blinking his way off an exit ramp to a rest stop. This time of day, apart from a few trucks scattered here and there, the parking area is relatively empty.

Renee tries not to let the steadily inclining rush of adrenaline show in his features. “What are we stopping for?”

Davin doesn’t answer. He finally brings the car to a halt in a parking booth, in a secluded part of the rest stop.

Teeth on edge, Renee’s hand instinctively sneaks down to clutch the knife in his pocket. “I’m serious, man, if you’re trying to pull a fast one on me—”

“Relax,” Davin says nonchalantly. “I’m not deviating from our agreement. You’re still here on your own volition.”

Renee warily watches the man shut off the ignition and reaches into the back seat for something.

“What’s the catch?”

Davin just snorts, pulling forth a cloth as well as what looks like a brown bottle, like the ones used on old apothecaries.

“What is that?”

“Chloroform,” Davin says.

Renee opens his door and steps out into the cold autumn air.

Laughter. “I thought you were in,” Davin calls after him.

Sneering, Renee spins around, gestures at the bottle. “Why the fuck would I agree to that?”

“Because you need the money,” Davin says easily, giving him a vague smile. “I don’t want you to see where we’re going, in case you nope out on me later.”

“Give me a fucking blindfold, then, fuck!”

“That’s not good enough. It’s this, or we say our goodbyes, and I leave you on the side of the road.”

Renee grits his teeth. “What the fuck, man?” he hisses. His eyes hopelessly glide over the desolate rest stop, as if anything there would help his current dilemma.

Because Davin is right: Renee desperately needs the money. He hasn’t slept for over 48 hours, and his chest yearns to a painful degree for a fix of something, anything, to get his mind off how fucking terrible it feels to be sober. And bar actually going out there and mugging some poor father of three, who probably needs the money just as much as he does, this is his last shot, even if it is a shot in the dark.

Renee lets out a sound of frustration, biting down the urge to attempt to tear the car door off its hinges. Jaw set, he ducks back into the car. He can’t bring himself to look Davin in the eye. “You’ll let me go if I say I want to leave,” he says, and he doesn’t phrase it as a question.

Something more solemn flashes over Davin’s face, and he nods seriously. “Of course. That’s part of our agreement.”

“And you don’t touch me while I’m out, you hear me? Or I swear to god, I’ll fucking kill you.”

Laughing, Davin shakes his head. “I wasn’t planning to.”

Renee nods to himself. Then he leans forward in his seat, holding his head between his hands. “Fuck, man, I can’t believe I’m actually doing this.”

Davin lets him stew in that misery for a while, silently waiting.

Eventually, Renee takes a deep breath and leans back. “Alright. Fucking… do it before I change my mind.”

Davin nods. Screws the lid off the bottle. Renee deliberately looks away as he pours a bit of the liquid inside onto the cloth.

This is fucking insane.

“Try to sit still,” Davin says as he screws the cap back on.

When he finally reaches across the center console to put the cloth over Renee’s mouth, Renee can’t help but reel back a little, grabbing onto Davin’s wrist with one hand – not pushing it away, exactly, just really, really wanting to.

The smell is sickly sweet, with a tang of something more pungent and chemical-esque, and the effect – well, that’s almost immediate. Renee can feel the energy tapping out of his limbs, as if his whole body is filled with lead, weighed down by gravity. His fingers slip from around Davin’s wrist, hand landing slack in his lap. He makes a last feeble attempt at jumpstarting himself, writhing somewhat in his seat.

“You can’t fight it,” Davin says, more clinical than gentle.

His vision is clouded by a vignette, one that slowly expands from his periphery. His chest rises and falls more slowly, his breath heats up the cloth around his mouth. With one last glance out into the rest stop, to freedom, he feels his eyes roll back in his head, and that’s the last sensation he has before the world finally disappears, and Renee Vaughan sinks into the black mist of unconsciousness.

Masterlist / Next

#writing #moneymakers #a desperate thing #partner told me The Thing doesnt work Like That so before you tell me i already know #im including it anyway cause its fiction and im having fun thats why

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visit-new-york · 1 year

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The Edge at Hudson Yards

THE EDGE NYC OVERVIEW The Edge NYC is “the highest outdoor skydeck in the western hemisphere” , and there is no better vista than the one the Edge has to offer because it grants visitors a full 360-degree view of Manhattan and its surrounding landscape.

From its perch on 10th Avenue bordered by 31st and 33rd streets, this Hudson Yards attraction offers a sprawling view of downtown Manhattan and the New York Harbor, where one can easily identify some of New York City's most iconic landmarks, including the views of the Statue of Liberty, Ellis Island, Freedom Tower, Battery Park City, the Verrazano Bridge, and Staten Island, and more, including parts of New Jersey to the west.

To the east, the sightline from the Edge at Hudson Yards runs almost parallel to the Empire State Building, the New Yorker Hotel, Madison Square Garden, and Brooklyn in the distance, and to the north, one can see the sheer magnitude of the greenery in Central Park, the skyscrapers of midtown Manhattan including the Chrysler Building, the George Washington Bridge, and the Bronx in the distance.

Because of these incredible views and the unique way to see them from high above, this has quickly become one of the best things to do in New York City.

WHERE IS THE EDGE? The Edge NYC is at the Hudson Yards Mall, bordered by 31st Street to the south, 33rd Street to the north, 10th Avenue to the east, and 11th Avenue to the west.

The closest subway stop to the mall and adjoining building that hosts the Edge NYC is the last stop on the 7 (purple-colored) train, 34th St. Hudson Yards.

It is also easily accessible from Penn Station, so if you are coming from out of town on the Amtrak, Long Island Rail Road, or New Jersey Transit, Hudson Yards is only a two avenue walk west. The A, C, E, 1, 2, and 3 trains all stop at Penn Station as well, making this Hudson Yards attraction an easily accessible location for train commuters from within the city and from outside of it.

The Edge NYC skydeck is highly visible if you are coming from the south or the east, so just keep an eye out for it as you leave Penn station and follow your gaze. If you take the 7 train to Hudson Yards, you’ll be deposited right at the base of the mall near the Vessel, closest to the entrance to the Edge at Hudson Yards.

Hudson Yards is also accessible by Citi Bike, with two stations bordering the mall at 30th street between 10th and 11th Avenues, and the corner of 34th Street and 11th Avenue.

The NYC ferry and the New York Waterway ferry also have stops at 39th street, just a short walk from the northern end of the Hudson Yards plaza at 33rd street and 11th avenue.

Upon arriving at Hudson Yards, enter the Shops at the street level and take the elevator, escalator, or stairs up to level 4, where the entrance to the Edge NYC is located. Look out for the “Beyond the Edge” shop, Shake Shack, or The Body Shop, and you’ll know you’re in the right spot.

THE EDGE & HUDSON YARDS TICKETS There are varying prices for The Edge at Hudson Yards tickets for visitors of all types, with additional add-ons available, like a glass of champagne or a small photo book. It’s suggested you purchase Skip the Line Edge tickets in advance so you don’t have to wait in any queues on the day of.

Listed below are the options: (Open 8 am-midnight during summer hours)

GENERAL ADMISSION EDGE AT HUDSON YARDS TICKETS Adult (13-61): $36 per person Child (6-12): $31 per person Child (5 and under): Free Senior (62+): $34 per person

CHAMPAGNE ADMISSION EDGE AT HUDSON YARDS TICKETS (comes with a glass of champagne) Adult (21-61): $53 per person Senior (62+): $51 per person

PREMIUM ADMISSION EDGE AT HUDSON YARDS TICKETS (comes with a glass of champagne and a personalized photo book) Adult (21-61): $71 Senior (62+): $69

EDGE EQUINOX YOGA AT HUDSON YARDS TICKETS (mornings 6:30 am-7:30 am) (very limited availability) $50 per person

All purchased tickets come with a free digital souvenir photo

New York City residents get $2 off general admission ticket prices

Visiting at sunset will cost an additional $10 per ticket

Visiting during peak days (often summer and weekends) will increase the price of the ticket $2

All ticket purchases require selection of an hour-long specific entry time, available every ten minutes from 8 am-11 pm. The last entry time slot begins at 11 pm and ends at 11:30 pm, but the last elevator ride up is 50 minutes before closing at midnight. Visitors can stay as long as they like until closing upon arriving at the skydeck.

Before visiting The Edge, it’s best to buy your tickets online. The easiest way to secure your spot at The Edge NYC is to purchase tickets online, recommend booking the Skip the Line Edge tickets so you don’t have to wait in any queues on the day of as this is one of the most popular NYC experiences.

The skip the line tickets are general admission, to see all the other tours and ticket options available visit The Edge website as the tickets vary depending on the add ons you can choose from.

Alternatively, you can purchase a discount voucher that gets you into multiple NYC attractions for a fraction of the price if you plan on doing multiple activities on your trip to save money and hundreds of dollars! All you have to do is pick which attraction pass is best for your visit, make a one time purchase, and then the attractions are free or included in your pass!

CityPASS offers a 3 attraction pass or a 6 attraction pass with over 12 city attractions to choose from including the Edge. Using this pass instead of buying individual tickets can save up to 35% equaling hundreds of dollars in savings.

Another great option is the New York Pass which you can purchase anywhere from a 1 Day Pass to a 10 Day Pass that gets you into over 100 attractions. Once you purchase your New York Pass you download the Go City app and use that to get into the popular NYC attractions as well as some hidden gems.

Using New York Pass instead of buying individual attraction tickets can save you hundreds of dollars and up to 45% savings on popular attractions including free admission to The Edge!

TIPS, TRICKS, AND FUN FACTS FOR VISITING THE EDGE NYC To avoid crowds, it is best to visit the Edge at Hudson Yards during off-peak days and hours as this is one of the most popular observation decks in NYC. These are oftentimes during weekdays at non-sunset hours and during shoulder seasons when tourists are less likely to visit New York City, like after the Christmas rush and in the spring.

For those who do not buy a ticket package that includes a glass of champagne, the Edge NYC has a bar where the skydeck is located on the 100th floor that offers an assortment of refreshments including champagne, wine, beer, soft drinks, and light snacks.

There are also souvenirs available on the 100th floor, as well as on the fourth level of the Shops at Hudson Yards near the entrance to the elevators.

The Edge at Hudson Yards is located more than 1,100 feet above street level, and contains more than 7,500 square feet of space extending 80 feet from the main building. It includes glass walls angled outward towards the skyline, a glass floor section allowing visitors to look straight down to street level, elevated skyline steps to rest and look out over the horizon, and an eastern lookout point at the most extended corner for one person to stand and see the entire New York skyline.

The Edge NYC elevators are also a point of interest, offering interactive animation and drone footage of the surrounding areas as you ascend in just about 50 seconds.

#the edge #hudson yards #New York City #new york #newyork #New-York #nyc #ny #manhattan #urban #city #usa #buildings

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kingwilliamv · 5 months

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The Prince of Wales’ Court Circular entries for November 2023

Total: 39 engagements

Solo:

Public: 13

Private: 15

Joint (w/ Kate and other BRF members):

Public: 9

Private: 2

Breakdown:

November 1: (2)

Held an Investiture at Windsor Castle this morning

Received Ms Fara Williams (Advocate, “Homewards” Programme)

November 2: (3)

Visited Outfit Moray, Burghead Primary School, Grant Street, Burghead

Visited Brodieshill Farm, Forres

Visited Day1 at Inverness Kart Raceway, Sir Walter Scott Drive, Inverness

November 5: Attended a Welcome to Singapore at the Jewel, Singapore Changi Airport and was received by the Hon Mrs Sim Ann (Senior Minister of State for Foreign Affairs)

November 6: (4)

Visited PAssion WaVe@Marina Bay, 11 Rhu Cross

Received by The President of the Republic of Singapore at the Istana

Called upon the Prime Minister of the Republic of Singapore at the Istana

Attended the United for Wildlife Global Summit at the Flower Dome, Gardens by the Bay, Marina Gardens Drive

November 7: (5)

Held a Meeting with Finalists of the 2023 Earthshot Prize Awards at Gardens by the Bay, Marina Gardens Drive

Attended a Founding Partners’ Lunch at Eden Hall, Nassim Road

Visited EcoLabs at Nanyang Technological University, Cleantech Loop

Attended the Earthshot Prize Awards at the Theatre at Mediacorp, One- North Avenue

Attended an Earthshot Prize Thank You Reception at the Theatre at Mediacorp

November 8: (5)

Visited TreeTop Walk, Central Catchment Nature Reserve

Attended the Earthshot+ Summit at Park Royal Pickering, Upper Pickering Street

Visited the Centre for Wildlife Forensics

Attended a Meeting with United Kingdom Defence Advisers at the British High Commission

Attended a Reception for the Earthshot Prize given by Conservation International at Spago, Bayfront Avenue

November 11: Attended the Royal British Legion Festival of Remembrance at the Royal Albert Hall

November 12: Laid a wreath at the Cenotaph on the occasion of Remembrance Day

November 13: (2)

Received Lieutenant General Ian Cave (Colonel, The Mercian Regiment) and Brigadier Peter Dennis (Secretary) at Windsor Castle

Attended the Funeral of Sir Robert Charlton (English professional footballer) which was held in Manchester Cathedral

November 16: (2)

Visited the Hideaway Youth Project, the Armani Centre, Shoreham Close, Manchester

Met members of the local community and volunteers from Keeping It Real at Moss Side Millennium Powerhouse, 140 Raby Street, Moss Side, Manchester

November 21: (3)

Welcomed The President and First Lady of the Republic of Korea on behalf of The King at the Four Seasons Hotel, 10 Trinity Square, London EC3

Attended the Ceremonial Welcome for The President and Mrs Kim of the Republic of Korea at Horse Guards Parade

Attended a State Banquet this evening in honour of The President of the Republic of Korea and Mrs Kim Keon Hee

November 22: Held a Reception at Windsor Castle

November 23: (2)

Received Her Majesty Margareta, Custodian of the Romanian Crown and Prince Radu of Romania at Windsor Castle

Visited The Mercian Regiment on Salisbury Plain, Wiltshire

November 24: Received The Crown Prince of the Sultanate of Oman at Windsor Castle

November 27: (2)

Held an Investiture at Buckingham Palace

Attended the Tusk Conservation Awards at the Savoy, the Strand, London WC2

November 28: (2)

Received Lieutenant Colonel Guy Bartle-Jones (Regimental Adjutant, Welsh Guards) at Windsor Castle

Received submariners at Windsor Castle

November 30: (2)

Received The Crown Princess of Sweden and Prince Daniel of Sweden at Windsor Castle

Attended the Royal Variety Performance in aid of the Royal Variety Charity at the Royal Albert Hall, Kensington Gore, London SW7

——————————————————————————

Current total for 2023: 178 engagements

#cc:nov2023 #cc2023 #prince william #prince of wales

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