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grindy-cog · 3 years

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What did Lenkov do?

Dear Anon,

I have received a very similar question about Peter Lenkov a while back, which I have yet to reply to, so I’ll just answer them both now. OG Anon, I hope you’ll read this too.

First things first, I’m not claiming to be an expert on what exactly happened, as there is a lot we do not know about - yet. I would like to make that clear.

Now, back in early July 2020, several weeks after H50 had ended; CBS fired Lenkov ‘due to accusations the producer and showrunner created a toxic work environment on his sets’. Apart from Hawaii Five 0, it also included Magnum P.I. and MacGyver, in case you don’t know. At first, not much had been revealed, pretty much just a quick info on what it was likely about and a confirmation that PL’s other shows will now have new showrunners. It was far too late for H50 by that point; his first, big show that made him famous and successful, which was - technically - cancelled; even though it’s very clear from Lenkov’s comments alone, that even if we would have had another season, it wouldn’t change much plot wise, in terms of what happened in s10.

Some time after that first article about Peter Lenkov and CBS’s decision to terminate their cooperation with him; we learned some further information that was very nicely gathered up in this post. It’s quite long but definitely worth the read; I highly, highly recommend it, if you want to understand what happened and even to whom. You can find the first article summed up here.

Apart from the above, he also showed little to no respect towards ‘his characters’ on H50, by what he decided to do to them in the last couple of episodes; not to mention many times before that. I’m not even going to comment on the impossible amount of clear queerbaiting that he never shied away from during the entire 10 seasons; as this isn’t what you, Anons, asked me about.

On the top of that however, Lenkov pretty much laughed in our faces’ about how he could have listened to us and respect others’ opinions; by not bringing Catherine back out of nowhere, because he knew most people were strongly against that and honestly, it - not rarely - had nothing to do with people shipping Mcdanno. But he didn’t listen, because, according to him, ‘his show, his characters, he knows them best’.

Finally, the fact that Alex himself, Lenkov’s very own lead; was openly and strongly against the idea of Catherine being back in Steve’s life, as anything other than a friend. And while you may argue that Alex did everything he could to portray Steve as anything but madly in love with Catherine or even happy to see her on that plane; the fact remains that Lenkov still forced Alex to play that out, to make some people in the fandom believe that they are supposed to be back together now; that Catherine is nothing more than a baby oven. That all is well in Steve’s life now, despite the fact that he has PTSD, that he needs help and therapy; not to play a happy family with anyone, let alone someone like Catherine, after everything that happened between them; after Lenkov turned her into Doris 2.0. Not to mention that last scene between Steve and Danny; the very last Mcdanno’s interaction we have ever received... He could have just as well slapped Alex and Scott across the face.

So yes, that’s it. There’s clearly much more to this whole story with Peter Lenkov; but what we know now about everything that has been happening to real people for years; and what we have seen being done to the characters (probably not just the H50’s ones); is, honestly, bad enough already.

Hope I answered your question!

Take care,

#hawaii five 0 #h50 #peter lenkov #asks #anons #my thoughts #alex o'loughlin #magnum pi #macgyver #mcdanno #catherine rollins #scott caan #mcrollins #anon asks #replies #answers #danny williams #steve mcgarrett #mine

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canardroublard · 5 years

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TMFU, Gaby’s fashion, and some feminist film analysis

Back when I slapped together a reblog post about the men’s fashion in The Man From UNCLE in between physio appointments, which somehow got like way more notes than I ever really expected or even wanted, I didn’t address the fashion of the lead female character, Gaby. It was outside the scope of the OP, and I didn’t feel like I had anything new or interesting to say about Gaby’s fashion, or lack thereof.

(My beta says those earrings are the ugliest thing ever. I disagree. It’s a wonder we’re still friends)

Anyways, we see only one brief scene of Gaby in her own street clothes, and a slightly longer sequence of her in her work clothes. The rest of the film, she is wearing clothes chosen for her by Illya. Saying “we just don’t have enough info” is a perfectly reasonable approach to this. So this was the other reason I had no intention of making this post.

But then people started getting interested. Someone reblogged commenting about Gaby’s fashion, and I discovered that I have very strong opinions about something I’d previously claimed was unknowable, and it made me wonder what was going on in my brain.

Then I talked to some other TMFU friends who all seemed interested in what I assumed was common knowledge/nothing unique. So, they may have been feigning interest out of politeness, but it activated the art history side of my brain, and here we are now!

The boring stuff but please read this

I am not attempting to tell anyone how to interpret this film. I am not even trying to change people’s minds or persuade them to my thinking. All I am doing is sharing my thought process. I wasn’t even going to do this for Gaby until people asked. To this end, please don’t attempt to argue with me about this. I don’t want to argue. I won’t respond to it. If you disagree, then please, just move along.

And I’m going to remind people that I love TMFU. I love this movie so much it hurts. Why am I putting this reminder here? Because I am about to apply some critical analysis to it, and in places this will be cynical, and it will not always look kindly on the film. If you just want to exist in a happy “I love TMFU!” bubble and not hear anything less than 100% positive about the film (which is a totally valid choice, I don’t fault anyone for that), then don’t read. But don’t yell at me for being mean or criticizing the film, because I warned you.

Tldr; or, if I were still being graded for this stuff here’s my thesis statement

When analysing Gaby’s fashion, there exist considerations which don’t apply to the male characters. Namely, she is a woman and the male gaze is a thing. So I am very, very wary about taking at face value any expressions of traditional femininity in the choices made for her outfits, hair, makeup, etc. Therefore, when considering her character, I find it much more useful and informative to give more weight to the aspects of her appearance which do not connote traditional femininity, rather than those that do.

For readers who have studied enough media analysis to follow my thought based on that alone, there’s the thesis statement, y’all can go home (or at least skip to the end where I come to a conclusion). If you’re lost, then read on.

(mobile readers, the cut here might not work, and if so I apologize for what is going to be a very long post. Tumblr’s “keep reading” functionality is inconsistent at best, but I tried)

Context is for kings essential for analysing media in a meaningful way

(Or, some brief background. Stick with me here, we’ll get to the good stuff soon)

So, art doesn’t exist in a vacuum. Attempting to analyze any artwork (in this case a film) while disregarding the culture it was created in and the intentions of the creator is...not going to get you very far. Asking “what is art” is a question that quite frankly exhausts me at this point (looking at you, Duchamp) but the closest I’ve ever come to an answer is that the only thing that separates art from everything else is intent. And intention only exists within cultural context. So yes, intent and context don’t just matter peripherally, they are one of the biggest considerations one needs to make when analyzing works of art. The creator in this case being Guy Ritchie et al, the culture being British/American Popular Cinema in The Year of Somebody’s Lord Two-Thousand-And-Fifteen.

Everyone views and creates (if applicable) art through their own distorted, murky, imperfect lens of personal experience. And one of the most persistent Things in western art is that cishet men create art based on their experience of Being A Dude. This is crucial, because this lens of cishet male perspective literally underpins almost all of western culture including popular culture. And thanks to feminist film theorist Laura Mulvey, we have a name for this.

The male gaze and you

I’m going to quote Wikipedia here, because honestly this intro sentence sums things up rather neatly (with one exception which I will address momentarily).

In feminist theory, the male gaze is the act of depicting women and the world, in the visual arts and literature, from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the male viewer.

What does that all mean? That the Viewer and the Artist are both cishet men by default, and any women are Subjects of art. Women are viewed, never viewers. Men take action, women are subjected to actions. Furthermore, women are supposed to be pleasurable to view. By men. Since the Viewer is male by default.

But I would disagree that the pleasure is inherently based on women being sexual objects. That’s honestly a really damn limited read on the whole theory, and it’s one that Wikipedia itself contradicts later in the article. More broadly, cis men also derive other forms of pleasure from the presentation and viewing of female bodies, including aesthetic pleasure (the enjoyment of looking at beautiful things).

The theory of the male gaze is not without limits. As originally theorized, afaik it’s not particularly intersectional. It doesn’t really address queer perspectives or perspectives of POC. However, these issues are something I just can’t address here, unfortunately. And when looking at popular media, I still find the concept of the male gaze, imperfect as it may be, is a helpful means of analysis, so it’s worth having in your toolbox.

Circling back, the easiest way to sum up the male gaze, if you’re still not super clear on what it is, is with a demonstration.

Ever seen a shot like this in a movie?

And did you immediately roll your eyes? Feel gross? Congrats, you have just perceived and reacted to the male gaze.

Now we actually get back to TMFU

But the male gaze also shows up in many more subtle, insidious ways than fanservice-y boob shots. For this post, let’s focus on the following considerations, which might help everyone follow my thought process more clearly.

Gaby is a woman

She functions as the love interest of Illya in the script (I am not talking from a shipping perspective. What you ship does not matter for this discussion. I am talking about the narrative function of Gaby in the script as written. Put on your “cishet man” goggles for a moment)

Illya is a man who is attracted to women, specifically Gaby (again, I don’t care if your shipping conflicts with this. I am analyzing the film based on a literal reading of it as if I were a cishet man. Why? Because that’s who made the film. That’s who it’s “for”. I am all for queer readings of film--hell, I ship OT3, I myself have chosen a queer reading for how I interact with it, but I’m not critiquing people’s readings, I’m critiquing the film itself and to do that I have to critique its intentions and cultural context.)

Cishet men are traditionally only allowed to be attracted to women who are conventionally attractive. If they were to be attracted to anyone else it would destroy their fragile senses of self and their heads would explode or something. At least I assume that’s what must happen, based on how terrified they are of it.

Therefore, Gaby must be conventionally attractive, because it is literally required of her or otherwise the whole underpinning of western straight malehood crumbles and then where would we get such a pure, vast source of unadulterated toxic masculinity?

(Yes, this is a very cynical read on things. I’ve studied, like, three centuries worth of this bullshit. I’m tired. Let me be cynical.)

Or, to force myself to be less cynical, Gaby has to be pretty because...nope, this is still going to turn out just as cynical.

But what I will say in favour of this movie is that it gives Gaby and Victoria both a lot of agency and general awesomeness, which is quite unusual in this sort of big-budget action film, and it’s one of the big reasons I love it. I’m not saying that the entire film is sexist. On the contrary, there’s a ton of stuff to celebrate about how it portrays its female characters. But these aspects don’t change the cultural context, and we still have to consider the impacts of the male gaze.

Anyways, point being is that as filtered through the male gaze, Gaby is never given the option to, say, wear no makeup (or the appearance of such, as the guys are afforded, this being cinema where “no makeup” still means makeup) because that would look “ugly”. Instead she needs to have a “baseline of pretty” which is way higher than reality because she is not a real human being with her own agency, she is a character created by a cis male writer/director team in a film directed by a cis man in a genre that caters to cishet men.

Gaby doesn’t exist in a vacuum. She exists battling centuries and centuries worth of sexist convention.

Now then, remembering all of that, let’s actually look at her. There are woefully few good pictures so I’m going to have to piece things together a little. Starting with the coveralls.

This is a great look, I love it. And I’m going to give Ritchie a lot of credit here because it would’ve been easy to go for a “Michelle Rodriguez in F&F sexy mechanic lady” look. In case I need to provide a visual:

(Repeat above gif about rolling my eyes)

Now, to be clear, I am not making any judgement about the way any real-life women dress. I’m sure there’s plenty of female mechanics who have their hair down and wear tank tops while working. That doesn’t bother me. I don’t care if real life mechanics choose to do their jobs in a string bikini. Or in cosplay of the bee from Bee Movie. I don’t care (and quite frankly it’s none of my business) because they are real people who can make their own decisions. But what I am talking about here is a fictional character who does not have her own agency. I am critiquing how male creators choose to dress their female characters.

So I personally choose to read much more into the unpretty aspects of Gaby’s outfit, because these are not the “obvious” or “easy” things. Obvious and easy are “of course she wears makeup” and “of course her hair looks good” and “of course she doesn’t look like a swamp witch who bathes in mud and spends her days cursing passing men”. Those things don’t challenge or disrupt the assumption that women must look attractive for male consumption.

Gaby’s introduction to us is with her in a pair of grease-stained, baggy coveralls, not wearing any obvious makeup (again, this is cinema, so she is wearing makeup. For cinema the goal posts around “wearing makeup” always need to be moved from where they’d be irl). There’s very little here that screams ‘pretty’. And that is fascinating to me.

I don’t know how deeply Ritchie thought this through when giving final approval to the costume, hair and makeup. But unpretty is not the default here. It’s a choice

And look at this. This is the stance and dress sense (and socks!) of a woman who does not give a damn about looking good for the male gaze, whether the in-movie gaze of Napoleon, or the implied gaze of the viewer and creator. It’s not ‘pretty’. And this is the only time in the film we see Gaby in her own everyday clothes, as she only escapes East Berlin with the literal clothes on her back.

So how do I think Gaby dresses? I think that for the most part she dresses....like this. Practical. Comfortable. With a few simple touches of things she likes/finds pretty, perhaps, but not with a specific interest in being pretty. She dresses for herself, not for others. And if that isn’t something to aspire to, I don’t know what is.

#gaby teller #tmfu #the man from uncle #meta #costume design #male gaze #fashion #thank you to michael bay for providing me with such a good example of the male gaze

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batwomanandmotherpanic · 6 years

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(Updated January 1, 2020)

I've mentioned a few times across various posts here that I strongly believe Kate Kane was officially involved in boxing at West Point, but I haven't really explained the reasons for that, at least not all in one place (apart from a few fanfics). So that's what I'll attempt to do now.

But there's a larger point here, too. This is a specific example, but it works to illustrate how a lot of information about a character can be gleaned from reasonable extrapolation and a bit of research, even if that information may not have been intended by the authors. It's a window into how I tend to read characters, and I think the principles described here can be applied in many different cases. I certainly don't claim to have invented it (especially since it's strongly related to Watsonian textual interpretation), but I do think it's a valuable exercise.

So first, let's look at the scene where this all spiraled out from, in Batwoman: Rebirth #1:

I try to research as many avenues as I can about Kate and the things she has probably done or experienced, but this was particularly interesting to me because it overlapped with a sport I love.

The first order of business was to establish a timeline. We know that Kate left the Academy early into her final fall semester, that DADT was repealed in September 2011, that Kate was 20 when she left, that Kate is 27 as of her 2017 series, and that there needed to be at least a year between her dismissal and the repealing of DADT, or else she would easily just have re-enrolled.

I really don't like that Kate was de-aged in Rebirth, but it does still work out; this scene with Sophie has to take place in fall 2010.

The next question then became: could women participate in boxing at the Academy at that time? After all, on the surface this scene says nothing about that one way or another. Maybe Kate and Sophie were just renting out some of the Academy's trunks and shoes for some private, unofficial sparring.

The answer to this question proved to be more complicated than one might think.

Through various articles, I found that female cadets were not required to box until fall 2016... but prior to that, if they completed all PE requirements in their plebe year, boxing was available to them as an elective, provided that they were each paired with another female cadet of similar weight (co-ed sparring was strictly prohibited).

I also found that West Point's women's boxing club started up in mid-to-late 2009, and that early 2010 was when some of their members competed for the first time, before they officially achieved club status. So that worked out as well. There was also, unfortunately but unsurprisingly, quite a bit of sexism from Academy officials regarding the formation of the club; this potentially serves as a valuable subtextual parallel to the homophobia already present in Kate's time there. Like her potential military service, it is yet another thing that became officially integrated and accepted after her time. Thematically speaking, this seemed like a right thing to include in her story.

With all this in mind, other things about that initial scene started to click into place and confirm that I was on the right track. And the beauty of it was that, like so many such things in comics, I don't know if any of it was intended to stack up this way. But it did.

There's Sophie's first line to Kate, which implies that Jacob helped her in a similar situation:

That is to say: a previous fight. Looked at from an internal perspective, why else would Sophie be saying this? What else could it be about in this context? It can't be a reference to Kate's kidnapping and rescue, because A) wow that would be a super inappropriate thing to be talking about in this situation, especially so flippantly, and B) Sophie says "help," not "save."

So, if Jacob helped Kate in a previous fight, it had to have been at a public event, which, based on the established timeline, would have been the 54th Brigade Open. And given the context of the line, since Kate is losing to Sophie here, it means Kate won in part due to Jacob's help. He gave her ringside coaching, in other words.

There's also the matter of the clothes each woman is wearing, if we circle back to the possibility that the gear was rented. Not so, it seems. None of it looks like West Point's own boxing gear (whether circa-2010 or present-day), meaning that it's almost certainly Kate and Sophie's personal attire. And why would they bother with that if they weren't involved in the sport somehow? Those articles I referenced earlier even speak of this very thing; due to budgetary constraints, many members of the fledgling club purchased their own gear.

And there are smaller, prior bits of evidence that also fit. Kate mentioning in her New 52 #0 issue that even before her Batwoman training she felt confident in her fighting ability, implying she had fought often:

(Bonus: Note where Kate describes getting beaten up.)

There's Simone's Batgirl #12, where Kate is shown jabbing as Barbara narrates that Kate is testing her reach, which is indeed one use for a jab:

Barbara's first line here also strongly ties into this discipline: boxing is at least as mental as it is physical (when done well, that is), so it's fitting that Kate would have that as a foundation for her future combat skills to rest on.

But most importantly, this participation falls in line with a few aspects of Kate's character.

Her sense of service: participating in boxing this way, at this specific time, would mean Kate was part of something that helped open up new opportunities for future female cadets at the Academy (a sentiment that a few of the real members of the club have expressed in interviews). The service aspect also ties into Kate's intended future as a leader of soldiers. A big reason boxing is required at all the service academies is not just for its obvious physical benefits, but also that it helps instill all sorts of disciplines into future troops. If you read or listen to interviews with the head coaches of the academies, they mention things like strategic thinking under stress, the ability to adapt to physical fear, perseverance in the face of hostility, etc. These are all things that would clearly translate to a battlefield situation and any good leader on that battlefield. I think Kate would have been savvy enough to seek out extra benefit in this way, and the fact that she would have had to go out of her way to do so sounds like her to me.

Dovetailing with that a bit, it also reflects her ambition: this would have presented Kate with the opportunity to be one of the first champions in a new and permanent athletic landscape at the Academy (though not the absolute first). Given the way she excelled in all other areas up to that time in her life, I imagine that this would have been another attractive point for her.

To sum this all up, the logical conclusion from all this evidence is that Kate was a member of the newly-formed women's boxing club at West Point, and won a match at the 54th BBO.

So. That was all very long-winded and thorough. Why is it important?

Well, in particular, it offers a new (if not totally revelatory) facet to Kate, and any information about a character has value.

But in a larger sense, this exercise demonstrates what I mentioned earlier: that researching a detail about a character, no matter how small, can yield a wealth of new info, even if that info was unintended or remains subtextual. To use another example for Kate: we can know a great deal about her academic skillset just from the medals she earned. Not because we're shown or even told any of that information, but because the qualifications for each of those medals can be looked up.

And this ties into a final, even more important point: this concept is a great strength of comics and other collaborative fiction. It allows for the sum to be greater than all the parts.

Even in this relatively minor case, the individual pieces built on each other and interlocked to such an extent that what they point to is pretty airtight, it seems, even though that endpoint may not have been considered by anyone involved.

Does this always happen? No, of course not, and often the exact opposite can occur, resulting in little more than a pile of narrative rubble. But when it does work, it’s incredibly cool. And if it can work for something like this… imagine the potential it can have when applied to weightier character details.

What all is still out there waiting to be uncovered like this?

#batwoman #kate kane #fiction #writing #characters #boxing #comics #analysis #research #watsonian #continuity

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aion-rsa · 3 years

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Tenet: Is the Protagonist the Real Villain?

https://ift.tt/2SuTFBP

This article contains Tenet spoilers.

The Protagonist might be one of the most unimaginatively named main characters of all time, but it’s worth pointing out that he is referred to as “the Protagonist,” which is notably different from being called “the Hero.”

Of course it’s not hard to argue he’s a good guy who does good guy things. He is fighting against a gangster who regularly kills people and has trapped his wife in an abusive marriage. He saved all those unconscious hostages from those bombs (maybe, we’re still figuring that out). His goal is stated, multiple and explicit times, to be saving the world. That makes him a good guy, right?

His goal, ultimately, is to prevent the assembly of the “Algorithm,” which a future adversary will use to invert the flow of time, wiping out the past and potentially destroying all existence in the process. It’s complicated, as we’ve covered before, but you can skip an awful lot of the explanation to get to the “and then the world ends” part and decide, yes, yes this person is doing Hero Things.

So that means the people he’s fighting must be villainous, right? Well…

A Not-So Evil Villain

Sator is, by anyone’s estimate, a bad egg. We’ve covered that. But when he tells us his goal, it’s not one of ultimate destruction. He tells the Protagonist, “I want to create a new world. Somewhere, once, a man in a crystal tower presses a switch, and Armageddon is both triggered and prevented. Time itself changes direction. The sunshine we enjoyed will warm the faces of our descendants.”

That sounds pretty nice, and while we can all agree Sator is a wrong ‘un who deserves to be shot and slip-n-slided off his own yacht, the people he’s working for in our future have some pretty understandable motivations.

Sator tells us they are reversing time “because their oceans rose and their rivers dried up. They have no choice but to turn around. We are to blame for that.”

He’s right. No reasonable person can deny climate change is going to be absolutely catastrophic if not prevented. Faced with that, a giant reset button, an opportunity to live in an abundant and imagined past is surely understandable.

The Protagonist doesn’t think so, which might be fair enough, but his justification is, well, weird.

He tells Sator “Each generation provides for its own survival.” Now I’m sorry, but that is a bloody weird justification for screwing over your own descendants. To get a bit dangerously political for a second, that line has extreme “Why shouldn’t we inflate the housing market so our kids are forced to rent forever?” vibes. It sounds very “Why should I bother about carbon footprints if I’m not going to live to see the consequences?” In a film where one of the characters’ primary motivations (and, some might say, only actual personality trait) is that they want to protect their child, saying “Screw you” to your children’s children’s children rings oddly.

But whatever we think of the Protagonist’s arguments, the truth remains that the Algorithm is going to blow up the universe if it is used, and so the Protagonist is right to stop it, even if he has to be a dick about it. Right?

Well to answer that, we have to look at Tenet as a time travel movie, and an espionage movie, and how those two things interact. They do this nowhere more profoundly than in the repeated phrase “Ignorance is our ammunition.”

Ignorance is Whose Ammunition?

We’ve covered the time travel rules of Tenet before, and they seem pretty cut and dried. What happens stays happened, history can’t be changed, you can watch a film forward or in reverse, but the events still play out the same. It’s a model that appeals to Christopher Nolan’s sensibilities as a filmmaker.

What “Ignorance is our ammunition” means in terms of Time Warfare refers to the immutability of the past and future. The past and future are like the cat in Schrödinger’s thought experiment. It is alive and dead until somebody looks at it and it becomes one or the other.

You remain ignorant of how a mission you’re about to carry out goes so that you don’t find out if it ends badly and then get stuck on that course. Every piece of information you learn becomes a shot fired, an event that cannot unhappen.

But at the same time, you don’t tell other people the future when things go well so that events go as they already have. That hints that maybe things can change. We’ll get to that, but first we’re going to pull our own pincer movement and look at what “ignorance is our ammunition” means in terms of espionage.

Here the meaning of the phrase is far more obvious. In espionage, information must be constantly compartmentalized. Plausible deniability, need-to-know, isolation of active parties to prevent information from falling into enemy hands.

Neil, played by Robert Pattinson, is perhaps the greatest advocate of not-knowing-shit, coming out with such pithy quotes as “lying is the standard operational procedure” and “policy is to suppress.”

This extends even to thinking critically at all, when the scientist who delivers the Protagonist his first info dump tells him, “Don’t try to understand it. Feel it.” It’s a line that feels like a heavy wink toward the viewer, but it also seems to warn the Protagonist himself from thinking critically.

The only person who suggests that the Protagonist should be asking more questions is that old bastard Sator, again. He tells the Protagonist, “You’re fighting for a cause you barely understand, with people you trust so little that you have told them nothing.” When he calls the Protagonist a fanatic, it’s hard to argue.

Perhaps the most damning clue comes from Fay, the CIA boss who recruits the Protagonist into Tenet in the first place. He introduces the Protagonist to the fight saying, “There’s a cold war. Cold as ice. To even know its true nature is to lose.”

The nature of the war is that the Earth faces a climate catastrophe that will render it uninhabitable, and the Protagonist is fighting to ensure it happens. Knowing that would definitely hurt your resolve.

There Is No Answer, It’s A Paradox

But once again, the Earth dying at some future time is still a better outcome then everything being obliterated in an instant right now, right? After all, throughout the film it is shown time and time again that history can’t be changed.

Except, does anybody really try?

Movies

Tenet Ending Explained

By Chris Farnell

Movies

Tenet: Robert Pattinson’s Neil Timeline Explained

By David Crow

When the Protagonist tries to warn Neil, knowing he’s about to go to his death, Neil argues, “We just saved the world, can’t leave anything to chance.” The Protagonist asks, “But can we change things if we do it differently?” and he’s just met with a glib “what’s happened, happened.”

Neil responds with some philosophical stuff about fate, and we’ve argued about free will before. But the point is, the Protagonist could have just gone back with Neil, made sure he didn’t get killed, and history would have changed (for better or worse). But he doesn’t.

Neil himself appears less certain about “What’s happened, happened” elsewhere in the film. When the Protagonist argues, “Doesn’t us being here now mean it never happened?” Neil will only offer an “Optimistically, I’d say that’s right.”

Pessimistically, Neil starts talking about “parallel worlds theory” and “multiple realities,” admittedly in the most garbled and non-sensical way possible, and elsewhere he explains the Grandfather Paradox, even though I’m pretty sure anyone going to see Tenet already knows that one by now.

However, he also let’s slip that there are other opinions that “in the future, those in power clearly believe you can kick grandpa downstairs, gouge his eyes out, slit his throat, without consequence.”

When the Protagonist asks if they could be right, Neil evasively says, “It doesn’t matter.” Even the scientist who sends the Algorithm back in time is compared to Oppenheimer in the doomsday scenario she predicted—Oppenheimer believed (or at least scientists working for him in Los Alamos) that a nuclear bomb might ignite the Earth’s atmosphere. But that theory was also wrong.

So maybe the barrier here isn’t physics or time travel logic. Maybe it’s politics.

The Protagonist and the End of History

Above and beyond being a time travel movie, Tenet is a spy movie. It may, in fact, be the Bond movie that Christopher Nolan never made. But I’d argue it draws its influences from a very specific era of spy movie. The plot throws allusions to nuclear weapons and cold warfare, echoing the spy movies from the height of the Cold War. At one point in time the war is referred to as “ice cold,” which sort of means there’s no danger of violence breaking out, so I’m not sure what Nolan meant by that.

But the film feels resonant of the spy movies of the ‘90s and early ‘00s. In these films, The Saint, Death Train(or Detonator as it’s known elsewhere), The Sum of All Fears, and Tomorrow Never Dies, the world is relatively, and for a spy movie, irritatingly stable. The Cold War is over. 9/11 has yet to dominate the global consciousness. It’s a time period whose beginning is marked by the publication of The End of History and the Last Man by American political scientist Francis Fukuyama. Fukuyama argues that with the ascendancy of Western liberal democracy and the dissolution of the Soviet Union, history was done. No more world wars. No more revolutions. No huge economic shifts. The future, looked at from the ‘90s, was an everlasting capitalist liberal democracy with incrementally better gadgets as time went on.

In these films the threat isn’t a foreign power, or a political entity equal in might to America’s own; it’s the idea that “history” might restart, that the eternal status quo we were promised might be upended.

And ultimately, this is what most spy movies are about. Spies aren’t revolutionaries (not in their own country anyway). They are government employees, and typically stability is the highest cause that they fight for.

Like the Tenet organization, and the Protagonist, they are fighting for the status quo, they’re not interested in improving anything.

The Protagonist ends the film realizing that he is in charge of Tenet, that he most likely founded the organization. But even in founding it, he has no agency, he won’t change anything. As the mastermind of the Tenet group he is still following orders.

When the Protagonist is asking all his questions about Tenet’s time travel logic, Neil tells him, “We’re the people saving the world from what might have been.”

But not once does the Protagonist wonder if what might have been could have been an improvement.

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governorsschoolessayexamples545 · 4 years

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Can Science Writing Be Automated?

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essaytopicsabout280 · 4 years

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Write My Essay For Me

Write My Essay For Me In both content and elegance, write the sort of paper you’d actually want to learn. Keep an viewers in thoughts; you want your tone and elegance to win over your readers. Don’t assume your humorless, nit-choosy English teacher is the one person who will ever lay eyes on it. Even if that finally ends up being the case, your essay only has an opportunity should you can think about a broader readership. Writing one thing significant can be a lengthy process, so advise college students to get started instantly to permit for time to draft and revise. It may be a matter of organizing your existing ideas into a coherent essay. Clearly, the simpler it is to seek out info, the sooner you possibly can write. Taking under consideration that the corporate presents a large selection of services, it is among the greatest essay sources to rely on from a spread perspective. Apart from basic companies such as article and case examine providers, the corporate also goes for multimedia products. These are not the only guidelines of excellent essay writing, however they're a superb place to start out. Don’t let anyone persuade you that essay writing must be tedious and predictable. If you begin with the belief that the only good essay is a boring essay, you might as properly surrender from the start. If somebody has an essay due tomorrow and they waste time reading this, then they are a little bit of an idiot for giving themselves even much less time to work with. If they’re leaving work to the last minute like that, then the one thing they should be doing is leaping right in and writing . Stress that the essay ought to be written lengthy earlier than the deadline. Your college students’ school essay is their alternative to disclose their greatest qualities and to show an admission committee what makes them stand out from different candidates. It could take about an hor to write 300 word essay but modifying also takes some time. So on averege, I rely the time to write the piece itself + time edit every little thing. If a person writes a e-book, they don’t only rely the time it took them on the typewriter writing. They depend all the time it took to analysis the book as well. I can normally research and write a reasonably technical magazine article of 1,000 phrases in three hours, however do keep in mind that I’m an expert author. Throwing your self headlong at a 1,000-word essay and writing until you reach the word count might appear to be the straightforward option, but it isn’t. Planning your essay in order that it begins with an introduction, highlights an important points you want to make and then wraps every little thing up into a conclusion actually saves you time. Sometimes, essay directions will tell you the way to construction the piece, so read them fastidiously and extract any info you can use to information your essay’s construction. If you’re writing an opinion piece on one thing you have already got some information about, you could not need to do any research at all. Work with your students to assist them with this necessary piece of their application. Yes, you need to comply with the rules in your assignment. If your teacher tells you to put in writing a five-paragraph essay, then write a 5-paragraph essay! Nice philosophy, but utterly unhelpful in case you have a paper due tomorrow and restricted amount of time to write. Contrary to what academia self-righteously preach, its crucial for any writing and explanation of thought to be simplified. If you cant explain it in brief time/short essay you don’t perceive it enough. In my opinion, hours which might be introduced here a partially true. The writer says that it’s based on what she writes and is just a basic approximation. How lengthy it takes you or anybody else to put in writing an essay will obviously be completely different because you’re not the identical as all people else. Nobody writes at the similar pace so how long it takes you to write an essay shall be completely different for every individual. The more in-depth your report is supposed to be, the longer you should spend on it. Students seeking to create a multimedia presentation would possibly consider the web site. The writer didn’t do any proper research nevertheless it took me some time to search out out the work wasn’t unique either. To sum up, get able to pay more for a greater high quality of your order, However, it seems unprofessional as all of the papers should be carried out an excellent level. I recognize that you simply began with the big picture– the potential for writing inspiring or thought-provoking essays that are value reading– earlier than going into the how-tos.

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seoagencyspecialist · 4 years

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Along with the proper know-how you should manage to find an ideal web hosting p ...

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shrus3758 · 5 years

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What Is Social Media SEO?

To reply to the question, "What is actually social media SEO? " Possibly I first need to try a definition of what social networking is. It is social networks that clearly include Facebook, Google+ and others.

It also includes Tweet and social bookmarking sites, for example, Delicious, Digg and Come across. For info and detailed knowledge on Social Media Mangement tool visit Jarvee Review 2019

Then there is Wikipedia, Wikihow and Wiki answer, together with Yahoo! and its answers as well as social networks.

Social media SEO gets your site into all these websites or at least the ones that people often use a lot, by book-marking pages, adding comments and usually promoting your site.

Of course, remarks should be relevant to the articles and should also add information to your site (you always reach leave your URL) appears authoritative on topics associated with its niche.

This is important. You would like to create a higher profile for the site so that it rises within the Search Engine Rankings Pages (SERPS), which means you shouldn't write negative feedback on sites which have comments published by your competitors.

What you are attempting to do is create a good image for your site along with having it climb the actual SERPS. Don't resort to responses which can be construed as junk e-mail, as this simply serves in order to irritate people.

You need to build up a business profile on both Myspace and Google+ which is right now open to businesses. These are both major players in the social media marketing network field without a doubt. Google+ membership may not help with customers immediately as it only offers 40 million or so customers currently.

While Facebook states that it has 800 mil active users with more individuals joining every day, but Google+ is an arm of the Search engines empire, which includes its internet search engine, which is important because having a high profile on its SEARCH RESULTS your business will theoretically broaden because it is more visible the larger up those pages it really is ranked.

All the social network press sites provide webmasters along with backlinks to their site that are necessary to rise in the SEARCH ENGINES. You basically ignore these types of valuable links at your danger.

Part of SEO is about obtaining as many reputable and appropriate backlinks to your site as possible, and potentially Google will rank those people who are in its social network more extremely than others in their WEBSITE POSITIONING.

It can do this by cinching together all the +1 strikes you have on your pages and your site, which will ultimately secure a rise in your SERPS place.

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fapangel · 7 years

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"the WaPo expects us to just trust them - and their mysterious “sources” - implicitly" - Ron Ziegler, 1973

“The failure of CBS Mews to do just that, to properly scrutinize the documents and their source, led to errors in our reporting. CBS News deeply regrets it. I also want to say personally and directly - I’m sorry.” - Dan Rather, September 20th, 2004

I could berate you for the appeal to accomplishment, appeal to tradition and so forth, but the best way to make my point’s to actually read Bernstein and Woodward’s original articles - which the Washington Post has happily made publicly available, laid out in a chronological timeline. So come with me on a journey to days of yore, when journalists were almost honest and the plains were dark with buffalo, and learn the Old Ways of reporting.

First, note that the story got underway due to Bernstein and Woodward's own independent footwork, following the first obvious lead, then following the money. It wasn’t until Sep. 29th, 1972 that they resorted to anonymous sources -and studying how they wrote that article is quite instructive. I’ll list them the exact same way I listed the WaPo’s cited sources from last week’s article:

* “-several reliable sources have told The Washington Post.”

* “Those sources have provided almost identical, detailed accounts of Mitchell’s role as comptroller of the secret intelligence fund and its fluctuating $350,000 -$700,000 balance.”

* “The sources of The Post’s information on the secret fund and its relationship to Mitchell and other campaign officials include law enforcement officers and persons on the staff of the Committee for the Re-election of the President.”

You’ll note how much space is devoted to detailing the sources and establishing the accuracy of their information, compared to the WaPo’s May 15th, 2017 bullshit smear-job. Bernstein and Woodward made it clear that they’d heard nigh-identical accounts from multiple independent sources - by way of explaining why they believe the sources are telling the truth. They also tell you who the sources are - law enforcement personnel (almost certainly investigators, or at least with access to the LEO grapevine sharing rumors of such,) and people on the staff of the exact organization being investigated. Also note how carefully Bernstein and Woodward attribute sources; every bit of information is labeled with “sources said” to make it clear where it came from. Compare to WaPo’s recent trash, which calls their anonymous sources “current and former U.S. officials” in the lede - which both obfuscates the fact that they’re anonymous sources (unlike Bernstien and Woodward, who clearly cited “sources involved in the Watergate investigation” in their lede) and makes it easy to confuse the anonymous sources with other cited officials, like “White House officials” cited later on. It also whitewashes their anonymous sources - the article never uses the term sources to refer to the WaPo’s own sources, not even once, because “official” carries an air of credibility that “sources” doesn’t. We also have no idea where these “sources” are from, aside from many of them being “former” officials (so not actually in the loop) and being ~somewhere~ in the White House, which could mean anything from a file clerk to the Vice President.

Also note how Bernstein and Woodward contacted the accused for their own statements - and instead of just referencing them sidelong like the WaPo did in their recent article, they actually printed their damn quotes verbatim.

The real kicker, however, is the FBI’s investigation catching CREEP et al. dead to rights on October 10th, barely a week after Bernstein and Woodward published their first article with anonymous sources - demonstrating handily that their sources were telling the truth (aided, no doubt, by the knowledge that it was going to come out pretty soon anyways.) In other words, Bernstein and Woodward published anonymously-sourced info they were very confident on. Compare this to WaPo’s reporting since before Trump took office, which has been nothing but baseless slanders, speculation and hearsay, none of which has been verified.

The goal of Bernstein and Woodward was to get to the truth. The Washington Post doesn’t give a shit about the truth anymore - their goal is to throw shade and muddy the waters. Someone on IRC summed up their goal nicely when they said to me “but dude, isn’t it suspicious? Where there’s smoke, there’s usually fire, and there’s a lot of smoke!” That’s the media’s goal - blow smoke up our asses until the idiots shout “fire!”

This isn’t journalism. This hasn’t been journalism for a long time, but only at the tail end of 2016 did the media finally shed their last remnants of decorum and reveal themselves for what they really are - arrogant bastards who consider their onetime aura of respect theirs by right, without the need to adhere to the rigorous standards of truth, objectivity and verification that created that hard-won trust in the first place. If you still trust them, you are a knuckle-dragging baboon.

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girlmeetsherworld · 7 years

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Listen Up Girl Meets World Fans!

Okay, GMW Fandom we need to have a chat. I haven’t been active over the last few months because I have a lot going on personally and professionally. However; that doesn’t mean I don’t care about GMW anymore. I’ve been quietly active in my own way for months.

I’ve called, emailed, and live chatted with Netflix, Hulu and Amazon about picking up the show. I made my planes4GMW paper airplanes for all four networks (the ones above and Disney). I reached out to my old boss at Disney (the VP of Disney’s in house creative agency) to see if he has any insight. He’s been kind of enough to answer my questions. What I’m saying is that I’m keeping my finger on the pulse of what is happening with GMW. I was doing it before the show was officially canceled and now I’m doing it to keep up with the effort to get the show picked up elsewhere.

When I saw everyone attacking Linda Ge, a prominent entertainment journalist, for her article yesterday I was disappointed, to say the least. I understand that Netflix was the first choice of venue for a lot of people but that’s not a reason to ignore what she is saying or to deride her abilities or integrity as a journalist.

As someone who worked in PR and Marketing for several years, I can assure you that there are numerous, numerous occasions on which someone in a corporation will anonymously give information to a journalist that they want the public to know without giving a quote or providing official confirmation from their company. That is how journalism works. Please, go read a newspaper; at least half of the articles will say “sources close to” or “sources deep inside the organization” “certain high ranking officials” etc. Journalism depends on the ability of a source to give information without revealing their identity. They may lose their job if their identity is revealed. A million things could happen. Sometimes it’s as simple as a corporation telling someone to approach a journalist but to retain anonymity because they want a piece of info out but they don’t want to publicly announce something. If I had to guess I would say this last possibility is exactly what happened with Netflix and Linda Ge.

As someone that now works as an editor for an online magazine, I can tell you that the process for getting an article published, especially by a legitimate source such as Yahoo, is incredibly rigorous. You need to confirm a story with at least three reliable sources. We don’t publish the additional sources or give readers their names, but you better believe both the journalist and the editor verified any story, especially one that breaks any type of news, with three sources.

There is no way Linda Ge wrote a story and got it published with false information.

Let me say this again: there is no way a reputable site like Yahoo would have published a story without verifying the veracity of the story first.

As for the people that contacted customer service at Netflix and were told it’s still possible; I think it’s wonderful that you’re attempting to be diligent. However, customer service is the lowest man on the totem pole of Netflix. Even when I worked for Guest Relations at Disney back in the day, there were many many times I knew information before it was officially announced to the public and if people asked me about it I was required to say no decision has been made, even if I knew a decision had been made and I knew what that decision was. My point is that 1) it’s likely that no one has told customer service what’s happening 2) it’s likely that even if customer service does know they are only allowed to say that no decision has been made and nothing is confirmed because that’s what corporate wants them to say.

Now, why would corporate want customer service to say nothing is confirmed? Most likely they aren’t planning on making an official announcement about not picking the show up. Networks and streaming platforms make announcements when shows are canceled but networks rarely, if ever make actual official announcements when they aren’t picking a show up. I can think of one example of a network/streaming platform that made an announcement about not picking up a canceled show. It very very rarely happens. If a network isn’t planning on announcing anything they aren’t going to have any of their representatives say anything because that defeats the purpose of not making an announcement.

To sum up: Linda Ge is Netflix’s announcement. They sent someone to her with the story, she was able to verify the story with other sources within Netflix (again the story wouldn’t be published if she couldn’t verify it with at least three sources). It was a back door way of letting us know what is happening and where we should be concentrating our efforts.

Look, I know Netflix got thousands of requests to pick up Girl Meets World. In the real world, that isn’t enough. Disney and Netflix have a very tense relationship as it is. They’ve had a tense relationship for a few years now. I have my Disney sources that say Disney Channel PR is freaking out and pushing for them to 1) either backtrack and renew GMW for a fourth season (I know for a fact that they’ve gotten a lot of complaints and parents saying they’re going to cancel their subscription to Disney/disney on demand or change their cable package to a less expensive one that doesn’t include Disney because they were only keeping it for GMW) or 2) sell the rights to any interested party. I know that my old boss was brought in for a few sessions related to GMW’s future over the past two weeks.

Things are not as bad as they seem. Netflix is 99.9% a no go. We need to be concentrating on platforms where we actually have a chance. This means Hulu, Amazon and I know people won’t like this but it also means Disney Channel. The rights are an issue regardless of where the show goes. Even though Hulu is owned by Disney, Disney Channel would have to sell the rights to Hulu because of the way Disney, as a company is structured. Lines of Business and separate entities under the Disney umbrella do not share money. What one entity earns or owns is not transferable to another Disney entity without a contract and financial exchange (the same way one would be required if it was going to a non Disney entity). What I’m saying is that the rights matter for Hulu as much as they do for Amazon. Even if you don’t want to target Disney Channel for renewing GMW (which is a possibility) you still need to target them for selling the rights to Hulu or Amazon.

I get that Netflix was the preferred platform for a lot of people. If I could pick anywhere for GMW to live I would pick Netflix. But we’ve been given a gift. Someone at Netflix (along with Linda Ge who has been a big fan of Girl Meets World for a long time and gave us the wonderful Jacobs interview last week and only wants to help our cause) decided that the best way for our campaign to succeed is for us to have as much information as possible so we can build and execute the best campaign possible. Netflix wanted this info out so we could make our Hulu and Amazon and Disney Channel efforts stronger and not waste time or resources on a platform that isn’t feasible.

You don’t have to believe Linda and you don’t have to believe me. This post pretty clearly spells out the way things work from the corporate side of giving journalists info anonymously as well as how the editorial and publication process works. It isn’t easy to get something published by a reputable source (which Yahoo News is, FYI). What I will ask is for all of you to stop attacking Linda. I ask all of you to stop thinking you know how the journalistic process works if you’ve never worked in journalism. I will ask you to stop pretending you understand how corporations and companies release information to journalists anonymously if they want a piece of information leaked.

If you still want to target Netflix that’s your choice. However, the wisest course of action is to target Hulu, Amazon and Disney Channel with everything you have. If you want to throw Netflix in there go for it. If you forego targeting Hulu, Amazon or Disney Channel in favor of targeting Netflix you are doing a disservice to saving the show we’ve all loved for three years. Putting the show ahead of your personal beliefs and desires to see the show on one particular platform is paramount.

Let’s continue to fight together to give this show the best possible chance of survival. The cast and crew deserve that from us, let’s not disappoint them.

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grandminers · 3 years

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Writing an essay is a burden to bear for every high school, college and university student. That is why the chances are you`ll most probably have to deal with this task on your own. There are many types of essays. For instance, argumentative, expository, persuasive and more. In this plethora of essays, one of the most interesting is a narrative one. In this article, you`ll learn what it takes to create an A grade narrative essay outline in the easiest way ever. So keep reading to be in the loop of academic writing tips and the things you are about to discover now will come in handy later. Maybe tomorrow.

TABLE OF CONTENTS

What you need to know about a Narrative Essay

Why do you need an outline?

Killer technique to create an excellent Narrative Essay Outline

Top style recommendations to ensure great narrative essay outline:

What you need to know about a Narrative Essay

They say that you`ll be asked to conduct a narrative essay as a course assignment for English communication class and college admissions. Thuswise, it`s really important to understand what exactly you will have to deal with.

Narrative essay mixes up storytelling and essay composing. This means that you`ll have to write a response to some prompt. The tricky thing about a narrative essay is that your answer has to depict a particular real-life story, to show your personal experience of something and, thus wise, explaining to the reader your values. This shows the things that shaped you as a person and gives a reader insider information about yourself (FYI it`s a vital factor to get enrolled in a college).

Composing a perfect narrative essay lies in the structure you are to follow. So when you are crafting a narrative essay, you`ll have to create a compelling introduction, support it with the story in the body of your text, and arrive at a conclusion, which will sum up the whole document.

Why do you need an outline?

Admit it. You have been advised several times to create an outline for your essay, but you never actually thought to do it. Yes, it`s hard to structure the pace of your thought. You are just doing research, and afterward, your creativity takes in. So you write it with no structure or planning at all. Do not say it`s not true.

However, you do need to create that goddamn outline. Why? Who`s doing drafts these days? All the smart people out there are already getting the A+ just because they`ve spent some time to design a decent outline. Moreover, only by studying material you are not able to create an impressive essay. You`ll need to see a broader picture to make your professor go WOW. Secondly, when you plan your paper, you`re setting the structure of your essay-to-be. Plus, you are to get engaged in choosing the right wording. And if you`re doing two processes at once, everything ends up in a mess. Multitasking in essay writing is a half the battle of its flop. All in all, planning is everything it takes to succeed in academic essay writing.

Killer technique to create an excellent Narrative Essay Outline

Ok, and now is the moment you all have been waiting for. Top tips to create a cool narrative essay outline are all here!

Your essay may have a tight deadline, especially if it`s for college admissions. So the best advice to beat the deadline and create a marvelous paper is to stop that crazy heartbeat, take a deep breath, sit comfortably, and focus on the task you have to complete. Your panic attacks will do no good.

All professional writers advise starting your paper with an introduction that will highlight main aspects of the story but will intrigue the reader. Your introductory part has one aim, that is, to make a reader want to keep learning the story you`re about to bring upon him or her.

Basically, any introduction consists of three elements.

The hook. That`s the first sentence of your story, and this is the part where you can tell some fact, or describe your feelings in order to captivate the attention of the reader. It`s better to choose an experience that influenced your future decisions or was extremely dangerous/ funny/ poignant.

Setting the scene. This enables your target audience to visualize the situation clearly. Let the reader know when and where the action takes place. Provide general info.

Conduct a thesis statement. Understand the problem or the situation you want to show. Try to remember what you were feeling at that moment. Here you can tell a lesson learned, a theme you`ll be speaking about or write something like, «This was a usual day when I had breakfast and made ordinary decisions about places to visit, but it all ended up differently.» Remember what happened, pick the essential things from your plot and attack your readers will all these, so they will have no chances to put your papers down.

On the other hand, you may have a topic or prompt to write about or respond to. Here you`ll have various options to choose from. For some students, it makes the task harder, for others it works vice versa. Do not get distracted by the choice you have. Pick the topic, which is the most appealing to you.

Think about each theme carefully, note down the things you can say about every prompt. What incidents are stuck in your mind? What experience can you tell about in great detail? Such list of ideas to write about will help you see what subject you are the most passionate about. Review all your thoughts and select the one and only topic.

When you`re choosing to write about a prompt you feel emotional about, your writing style becomes more captivating and animated. Remember a situation in your life when you`ve felt or experienced something similar to the topic of the text and start working with this prompt.

You can also get a few topic ideas for your narrative essay here.

Now that you are done with the introduction, you can get going and move on to the main body. This is the part where you tell your experience or provide few stories that depict (support) the main idea of your text.

Your main body consists of several paragraphs. Bear in mind that each paragraph is the continuation of the previous one, so make sure you use transition sentences that transform all the sections into one complete story. Such transition sentences can appear either at the beginning of a new paragraph with the references to the prior sentences or at the end of the previous paragraph to introduce the next one.

Top style recommendations to ensure great narrative essay outline:

“Show, don’t tell”. Use descriptions that will construct the picture of your story in the head of a reader. The more descriptions, and emotive words, the better.

Avoid using clichéd phrases, or direct and dry statements. Show the story in bright colors, make a lively atmosphere, and add actual phrases from your past.

Make sure your text has a climax when the primary problem of the story is resolved.

Do whatever it takes to make a reader emphasize your characters, get engaged in the storyline.

Remember that the sequence of events in your plot has to be sequential and make sense. You don`t want to confuse your target audience with inconsistent actions that lead nowhere.

Make the ending clear. Even if it`s not a happy ending, your readers have to know how the story finished.

And the final part of your narrative essay is the conclusion that in the majority of cases sums up everything from the main body. Here you tell a reader how you benefited from the things that happened to you. Do you want to change your past? Would you act in another way if you could relive the situation one more time? It`s essential to clarify the lessons learned from your past and make them clear to the reader.

Highlight the moral of the story, analyze, and reflect the importance of such experiences for yourself.

Do not forget to check your essay once it seems to be finished. Make sure there are no grammar, stylistic, spelling or any other errors. Scan your papers on plagiarism, if you have this opportunity. Ensure the retrospective is understandable for the reader and check if there are too many «I» and «my» in the text. You do not want to seem intrusive.

Conclusion:

So folks, now you have all the instruments to create a compelling, intriguing and original narrative essay outline. The only thing left is actually to sit and start crafting it. Come on. Maybe there is a Stephen King or Emily Bronte inside you. Let`s find it out!

https://grademiners.com/blog/how-to-write-a-great-narrative-essay-outline

#essay writting services

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endenogatai · 5 years

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Europe’s top court says active consent is needed for tracking cookies

Europe’s top court has ruled that pre-checked consent boxes for dropping cookies are not legally valid.

Consent must be obtained prior to storing or accessing non-essential cookies, such as tracking cookies for targeted advertising. Consent cannot be implied or assumed.

It’s a decision that — at stroke — plunges websites into legal hot water in Europe if their cookie notices don’t ask for consent first. As many don’t, preferring not to risk their ability to track users for ad targeting.

Now they could be risking a big fine under EU privacy laws if they don’t obtain valid consent for tracking.

Full text of the CJEU cookie ruling improves understanding of #GDPR consent. Preselected fields make it impossible to detect if user consented. #ePrivacy https://t.co/rzuVEzGtRi

— Lukasz Olejnik (@lukOlejnik) October 1, 2019

Sites that have relied upon opting EU users into ad-tracking cookies in the hopes they’ll just click okay to make the cookie banner go away are in for a rude awakening.

Or, to put it another way, the ruling should put a stop to some, er, ‘creative’ interpretations of the rules around cookies that manage to completely miss the point of the law…

ehem

at here refreshing Curia press release page & noticed their own non-compliant #cookie notice – spot the irony on their cookie information page – looks like the Court are about to render their own site illegal wrt to pre-ticked boxes… a little embarrassing… #privacy #planet49 pic.twitter.com/ewdEqQqrvb

— Alexander Hanff (@alexanderhanff) October 1, 2019

The decision is also likely to influence the ongoing reform of ePrivacy rules — which govern online tracking.

While the outcome of that very heavily lobbied piece of legislation remains to be seen today’s ruling is clearly a win for privacy.

Planet49 case

The backstory to today’s ruling is that a German court asked the CJEU for a decision in a case relating to a lottery website, Planet49, which had required users to consent to the storage of cookies in order to play a promotional game.

In an earlier opinion an influential advisor to the court also took the view that affirmative action not simple inaction must be necessary to constitute consent.

Today the CJEU agreed, handing down a final judgement which makes it plain that consent can’t be assumed — it requires an active opt-in from users.

In a punchily brief press release the court writes:

In today’s judgment, the Court decides that the consent which a website user must give to the storage of and access to cookies on his or her equipment is not validly constituted by way of a prechecked checkbox which that user must deselect to refuse his or her consent.

That decision is unaffected by whether or not the information stored or accessed on the user’s equipment is personal data. EU law aims to protect the user from any interference with his or her private life, in particular, from the risk that hidden identifiers and other similar devices enter those users’ terminal equipment without their knowledge.

The Court notes that consent must be specific so that the fact that a user selects the button to participate in a promotional lottery is not sufficient for it to be concluded that the user validly gave his or her consent to the storage of cookies.

Furthermore, according to the Court, the information that the service provider must give to a user includes the duration of the operation of cookies and whether or not third parties may have access to those cookies.

So, to sum up, pre-checked consent boxes (or cookie banners that tell you a cookie has already been dropped and pointlessly invite you to click ‘ok’) aren’t valid under EU law.

Furthermore cookie consent can’t be bundled with another purpose (in the Planet49 case the promotional lottery) — at least if that fuzzy signal is being used to stand for consent.

There’s also an interesting new requirement which looks set to shrink the ability of service operators to obfuscate how persistently they’re tracking Internet users.

For consent to cookies to be legally valid the court now says the user must be provided with some specific information on the tracking, namely: How long the cookie will operate, and who their data will be shared with. So, er, awkward…

The most interesting thing is how the Court justifies that info on cookie duration/those who can access should be provided. ePrivacy refers to data protection law on the information provided, but as ePrivacy is not always about personal data, the info reqs in DP don't always fit

— Michael Veale (@mikarv) October 1, 2019

What's more interesting: sites must inform about the duration of cookie validity. This is interesting insight, and was not generally followed. Should be identical to 'Expires' or 'Max-Age' setting when cookies are set. Does it also apply to SameSite configuration? #GDPR #ePrivacy pic.twitter.com/f55AtbqArb

— Lukasz Olejnik (@lukOlejnik) October 1, 2019

“Extending information requirement to include cookie configuration details is an interesting twist that will provide more information to users,” Dr. Lukasz Olejnik, an independent cybersecurity advisor and research associate at the Center for Technology and Global Affairs at Oxford University, told us.

“Sites will need to be wary to be sure that the user-facing text matches the actually used values of max-age or expires attributes. It is also interesting to wonder if sites will want to provide similar information about other cookie attributes.”

Safe to say, there will be some long faces in the ad industry today.

“The Court has made clear that consent should always be manifested in an active manner, and may not be presumed. Therefore, online operators should ensure that they do not collect consent by asking users to unclick a pre-formulated declaration of consent,” said Luca Tosoni, a research fellow in computers and law at the University of Oslo, also commenting on the court ruling.

ePrivacy reform

As we’ve reported before very many sites and services in Europe have, at best, been playing lip-service to EU cookie consent requirements — despite the advent of tighter rules coming into force last year under the General Data Protection Regulation (GDPR), which says that consent must be specific, informed and freely given to be a valid legal basis. And despite — more recently — further guidance from DPAs clarifying the rules around cookie consent.

So the CJEU ruling should lift a fair few heads out of the sand.

“Before the entry into force of the GDPR, the conditions for consent were interpreted differently across Europe. Today’s judgment is important as it brings some clarity on what should be considered valid consent under EU data protection law,” Tosoni also told us, saying he expects the ruling to result in changes to many cookie notifications.

“National courts and data protection authorities across the EU will need to follow the Court’s interpretation when assessing whether controllers have validly obtained consent. In turn, this should lead to more harmonization in enforcement across Europe, in particular with regard to cookie notices. Thus, I would expect many operators to change their non-compliant consents to conform with the ruling.”

EU law on cookie consent dates back much earlier than the GDPR — to the prior Data Protection Directive and the still in force ePrivacy Directive — Article 5(3) of which specifies that for cookies to be used users must give opt-in consent after being provided with clear and comprehensive information (with only a limited exception for ‘strictly necessary’ cookies).

Although European legislators have been trying for years to agree on an update to the ePrivacy Directive.

A draft proposal for an ePrivacy Regulation was introduced by the Commission at the start of 2017. But negotiations have been anything but smooth — with a blitz of lobbying from the adtech and telecoms industries pushing against a firm requirement for opt-in consent to tracking.

The CJEU’s clarity that consent is required to store and access cookies pushes in the opposite direction. And that firm legal line protecting individual privacy from background tracking technologies should be harder for legislators to ignore.

“Today’s ruling is likely to have a significant impact on the ongoing negotiations on the ePrivacy Regulation which is set to regulate cookie usage, an issue on which European legislators are struggling to find an agreement,” Tosoni said, adding: “In the past, the Court’s rulings have had an important impact on the development of the GDPR.”

In the meanwhile, the judgement should at least force some of the more cynical and/or stupid cookie banners to be quietly replaced with something that at least asks for consent.

Cookie walls

That said, the ruling does not resolve all the problems around cookie consent.

Specifically the court has not waded into the contentious forced consent/cookie wall issue. This is where a site requires consent to advertising cookies as the ‘price’ for accessing the sought for service, with the only other option being to leave.

Earlier this year the Dutch DPA deemed cookie walls to be illegal. But the agency’s interpretation is open to legal challenge. Only the CJEU can have the final word.

In the Planet49 case the court sidestepped the issue — saying the referring court did not ask it to rule on the question of “whether it is compatible with the requirement that consent be ‘freely given’, within the meaning of Article 2(h) of Directive 95/46 and of Article 4(11) and Article 7(4) of Regulation 2016/679, for a user’s consent to the processing of his personal data for advertising purposes to be a prerequisite to that user’s participation in a promotional lottery, as appears to be the case in the main proceedings”.

“In those circumstances, it is not appropriate for the Court to consider that question,” it wrote.

Likely it’s doing so because another case is already set to consider that question. Tosoni says he expects the Orange Romania case — which is pending before the court — to further clarify the requirements of valid consent in the context of it being ‘freely given’.

“Some uncertainty on the requirements of valid consent remains. Indeed, in today’s judgment, the Court has primarily clarified what constitutes unambiguous and specific consent, but the Court has, for example, not clarified what degree of autonomy a data subject should enjoy when choosing whether or not to give consent for the latter to be considered “freely given”,” he said.

“Today’s judgment does not provide an answer on the legality of cookie walls, which require consent to access the underlying service. The Court found that it was unable to address this point, as the referring German court had not asked the ECJ to assess the legality of making participation in a lottery — the service at issue in the case — subject to giving advertising cookie consent. Further clarity on this issue may come from the Orange Romania case, which is currently pending before the ECJ.”

We’ve reached out to the IAB Europe for a response to the ruling and to ask what advice it will be issuing to its members. At the time of writing it had not yet responded to these questions.

Today's decision of the EU Court of Justice in the case #Planet49 is a message to the #adtech industry: your business model based on unlawful profiling, forced tracking and unconsented targeted ads is not valid under EU law #ePrivacy https://t.co/BDgRpB0hK2

— Access Now (@accessnow) October 1, 2019

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