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letterboxd · 3 years

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Best of the Fests 2020.

From 17th-century werewolves to WWII gremlins to present-day nomads, the stripped-back, mostly virtual 2020 fall festivals still managed to bring the goods. Our team rounds up the very best titles we saw at TIFF, NYFF, the BFI London Film Festival and beyond.

LISTEN: Gemma Gracewood and Ella Kemp chew over their festival favorites in the latest episode of The Letterboxd Show.

Kudos to the teams at the Toronto, New York and BFI London Film Festivals for pulling excellent hybrid festivals together in extremely weird, not-at-all-ideal circumstances. From the always-excellent conversations (and Cameron Bailey’s always-excellent suits) to the hybrid options for viewing, we left feeling hope for our favorite art form.

We have been keeping track, over on our Twitter account, of the many film festivals going online, and it’s safe to say that virtual film festivals—and the wider accessibility they offer—have been a silver lining to this mostly awful year. Indeed, the 58th NYFF was one of Film at Lincoln Center’s most-attended festivals, with 70,000+ attendees in all 50 states and beyond. (We participated in a NYFF Industry Talk, along with MUBI and Rotten Tomatoes, about the future of online film conversation, moderated by Indiewire’s David Ehrlich.)

Attempting to replicate the extreme fatigue of the real thing, our festival team (Ella Kemp, Aaron Yap, Kambole Campbell, Jack Moulton and Gemma Gracewood and—helping us bridge the geo-locked divide—Canadian TIFF regular Jonathan White) disregarded international date lines and dove right in. We saw many films to love, but by consensus (and a poke around your Letterboxd reactions) these are the ones we’re still thinking about.

Lovers Rock Directed by Steve McQueen, written by McQueen and Courttia Newland. The ‘Small Axe’ anthology will be released on a weekly rollout on Amazon Prime Video beginning November 20 with ‘Mangrove’, then ‘Lovers Rock’, ‘Red, White and Blue’, ‘Alex Wheatle’ and finally ‘Education’. Seen at: NYFF, BFI London Film Festival.

Lovers Rock, the first part of Steve McQueen’s ambitious, multi-part film project Small Axe, feels like a massive stylistic departure for the filmmaker, in a manner that completely transfixes and astounds. It’s no wonder that this one turned heads at multiple festivals, as it’s immediately warmer, more freewheeling and sensual than any other McQueen work. It’s defined by a hypnotic focus on sound and touch, represented in its earliest scenes with a tactile close-up of a heated comb working its way through hair, and later with its focus on hands wrapped around shoulders, moving across shirts and dresses, people joining together and/or colliding through song and dance. Despite being made for television, it’s astounding how little Lover’s Rock feels that way. Often impressionistic and unbound to the kind of urgency or efficiency that naturally comes with having to adhere to a time-slot, it simply rests in the moment. With the seismic protests being undertaken by Black people this year, Lovers Rock feels like more than welcome respite from a hateful populace—visually rich, gorgeously soundtracked Black joy and love. Also, man, those shirts are incredible. —KC

Nomadland Written and directed by Chloé Zhao. In US theaters December 4. Seen at: TIFF, NYFF, BFI London Film Festival.

“I am already convinced that Chloé Zhao deserves the whole world,” writes Jaime of Nomadland, the TIFF People’s Choice winner. Personal security is something we don’t think about on a daily basis. We have shelter, we can buy food, anything else is bonus. But what if those two basic tenets vanish? While the global financial crisis affected all in 2008, it affected retirees more. Supposedly secure retirement investments vanished; security no more. What do you do? Survive. Zhao’s adaptation of Jessica Bruder’s 2017 non-fiction masterpiece Nomadland: Surviving America in the Twenty-First Century is a beacon of human spirit and survival. It may not be pretty, but it’s real. It’s not something to be embarrassed about, it’s something to be proud of. Those that let this happen to good, honest working people should be the ones embarrassed. —JW

Minari Written and directed by Lee Isaac Chung. No release date announced. Seen at: Middleburg Film Festival.

Minari is the medicine for these tough times. It’s a wonderful, wonderful, deeply personal, utterly serene and metaphysical portrait of America—freedom, faith, superstition, forces of nature, and ambition collide with the costs of intoxicating capitalist dreams, but not without a whole lot of heart. This is elegantly crafted, at once organic in its approach and always sweepingly cinematic. The film’s gentle sense of humor ensures that it never takes itself too seriously and allows the weight of its poetic images and juxtapositions to guide the narrative. The brilliant ensemble should grow to join Steven Yeun as household names (well, cinephile households). Youn Yuh-jung and Alan Kim are bright sparks as the latest classic duo of sassy grandma and precocious grandchild, but it’s Han Ye-ri—taking on the surrogate role of director Lee Isaac Chung’s mother—who provides an overlooked and tender sounding board for familial bonds in fraction. Minari is truly one of 2020’s most invaluable and essential pieces of art, living up to the hype built since Sundance. Korea came to the USA for the Oscars earlier this year, and if 2021 shows similar mercy, there’s a chance you’ll see this home-grown Asian-American picture mounting that stage in future. —JM

Wolfwalkers Directed by Tomm Moore and Ross Stewart, written by Will Collins with Moore and Stewart. Recently released in UK theaters; coming to Apple TV+ December 11. Seen at: TIFF, BFI London Film Festival.

The much-anticipated Cartoon Saloon adventure Wolfwalkers was met with only joy around here. A fable about what happens when a colonizing force tries to tame a wild forest, set during Oliver Cromwell’s Siege of Kilkenny, Wolfwalkers builds to “one of the most sensational animated third acts I’ve seen in years,” according to Animatedantic. The film’s themes are embedded in every hand-drawn line and stroke. “It’s not sleek and seamless and modern,” writes Cow Shea. “This is transparently a true work of art where all the work of that art is part of the finished product.” Mebh and Robyn are animated action heroes for the ages, and you’ll hear a lot about ‘Wolfvision’ in the weeks to come—for very good reason. Werewolf films have, for years, tried different ways to put us inside the beast’s mind, but Tomm Moore and Ross Stewart followed their noses and it’s as thrilling as things get. —GG

David Byrne’s American Utopia Directed by Spike Lee. On HBO and HBO Max now. Seen at: TIFF, NYFF, BFI London Film Festival.

David Byrne’s American Utopia is well on track to join Jonathan Demme’s film of another Byrne stage outing, Stop Making Sense (1984), as one of the highest-rated anythings on Letterboxd. We’re still deciding whether this film is sublime because the stage show itself is sublime, or because Spike Lee has sublimely captured the whole joyous thing for us to inject into our eyeballs, time and again, for far less than the price of a Broadway ticket. Let’s be honest: it’s due to both, and more besides. It’s a blessing upon 2020, of that we are certain. As Clint writes, “The phrase ‘this is the film we need right now’ is such a creaky cliché, but there’s an ineffable feeling that, if David Byrne and Spike Lee can’t heal the world with grey suits, bare feet, and some of the most all-encompassing works of music ever written, no one can.” As my colleague says, “will rewatch to death”. —GG

Shiva Baby Written and directed by Emma Seligman. On the festival circuit. Seen at: TIFF, LFF.

A girl walks into a shiva and bumps into her sugar daddy. What sounds like a joke sets up 77 minutes of note-perfect comedy horror in Emma Seligman’s Shiva Baby, her feature debut adapted from her dissertation short of the same name. It’s funny, horrifying, excruciating and so painfully, accurately Jewish. Isaac Feldberg calls it “cruelly hilarious about everything smothering and inevitably miserable about Jewish family gatherings”, but Seligman’s sharp eye for comedy, her affection for her teen hero Danielle (Rachel Sennott, a bona fide star) just figuring her career out and owning her sexuality (Molly Gordon playing Danielle’s overachieving ex-girlfriend Maya is a highlight) cuts straight to the core, however you relate. Matt Neglia points out how Shiva Baby “captures the behaviors of its characters with the same level of dry wit and detail as the Coen Brothers would”. What a thrill for a young, smart, Jewish, bisexual woman to be setting the pace now. Keep an eye on Seligman’s bright, bright future. —EK

Tove Directed by Zaida Bergroth, written by Eeva Putro. Released in Finland; on the festival circuit elsewhere. Seen at: TIFF.

If there was a film swoony enough to fill the Portrait of a Lady on Fire-sized hole in your heart this year, it’s Zaida Bergroth’s Tove, a bewitching biopic of Finnish author and illustrator Tove Jansson, creator of the beloved Moomin cartoon characters. Set in Helsinki during and post-World War II, the film orbits around her boho world, flitting between her creative struggles as a painter and deep sexual awakening with married theater director Vivica Bandler (Krista Kosonen). As Lillian says, “Lesbians and Moomins is such a huge fucking mood I never wanted it to end.” Alma Pöysti shines effortlessly in the lead role. “The film happens on her fantastic face,” writes Hannu. Seth agrees: “a captivating first-class drama about a world-renowned talent in search of her own identity, love and freedom.” A cozy fall-season perfection. —AY

Shadow in the Cloud Co-written and directed by Roseanne Liang. Slated for a summer 2021 release. Seen at: TIFF, AFI Fest.

A proud addition to the “she did that!” canon, the single downside of Roseanne Liang’s genre-perfect, “deliciously fearless” Midnight Madness winner Shadow in the Cloud is that there was no Midnight Madness to experience it at—but thanks to a juicy sale out of TIFF, we can look forward to a premiere next summer. Chloë Grace Moretz is Maude Garrett, a WWII pilot assigned to transport a highly classified package over the Pacific. The all-male crew of the B-17 Flying Fortress banishes her to the lower ball turret, where they harass, gaslight and leer over her—and that is nowhere near the worst part of this bonkers, non-stop hell flight, which Moretz carries like the future action hero she must now become, if the movie goddesses are listening. —GG

Pieces of a Woman Directed by Kornél Mundruczó, written by Kata Wéber. Coming soon to Netflix. Seen at: TIFF, NYFF.

You will be hearing a lot about Vanessa Kirby in the months to come. Pieces of a Woman is an arresting, often taxing watch, but few actors have delivered a performance as utterly overwhelming as Kirby portraying Martha, a grieving mother processing the loss of her baby. The filmmaking team (Mundruczo and Weber share a “film by” credit) zoom in on deep, jagged pain, and tease out some of the most affecting moments put to screen this year. Jack calls the film “an intensely intimate depiction of mental and marital deterioration caused by tragedy” and nods to master Howard Shore’s “subtle yet potent” score. It’s poetry in motion, with stunning turns from Shia LaBeouf, Ellen Burstyn, Sarah Snook and Benny Safdie also. But proceed with caution: “this film will destroy you”, Alisha Tabilin warns. —EK

Underplayed Directed by Stacey Lee. On the festival circuit. Seen at: TIFF. (Also recommended in our music movies round-up.)

Women-in-the-workplace movies aren’t usually this banging. Stacey Lee’s documentary Underplayed focuses on one corner of the still wildly sexist music industry—the dance-music scene—and lays out both the facts and feelings regarding why women still, always, deserve better. A number of key names guide the story—Rezz, Alison Wonderland, Nervo, TokiMonsta—giving the viewer a taste of what we’re missing out on while booking the same old men, over and over. And it’s not just because of the stats or the injustices that this is a must-watch: in times of limited social interaction and when the feeling of an adrenaline-fuelled crowd feels like a foggy memory, Lee captures some truly electric moments of these women thriving, captivating thousands of music lovers at once. “Buy yourself good speakers and turn them up because this movie is fun and it deserves it,” writes Matt Brown, and he’s absolutely correct. Underplayed is essential and exciting. The most entertaining education of the year. —EK

Another Round Directed by Thomas Vinterburg, written by Vinterburg and Tobias Lindholm. Awaiting new UK date due to lockdown. In US cinemas soon. Seen at: TIFF, LFF.

Another Round reunites filmmaker Thomas Vinterberg with his muse Mads Mikkelsen, in a lads-on-tour buddy movie, except the lads are four middle-aged high-school teachers, and the tour features a very casual, very constant level of intoxication each man commits to in the name of a social experiment. What could possibly go wrong, you ask? Plenty, naturally—but Vinterberg marries the slapstick moments of bumbling drunks falling over themselves with more mature, poignant scenes that question just how far you can or should go to feel that little bit more alive. There’s a lot to love here, but if we’re being very precise, it’s “rock-solid proof that Mads Mikkelsen is one of our greatest actors,” says Karen Han. Come for the wise, contemplative study of youth and spontaneity, stay for rock-solid proof that Mads Mikkelsen is also, somehow, one of our greatest contemporary dancers. —EK

One Night in Miami Directed by Regina King, adapted by Kemp Powers from his own stage play. In select US theaters December 25, coming to Amazon Prime Video January 15, 2021. Seen at: TIFF, NYFF.

Ladies and gentleman, Regina King has arrived. The actor wastes nothing in her feature directorial debut, bringing to the screen Kemp Powers’ vivid stage play of the same name with a heavyweight cast of greats. Kingsley Ben-Adir, Eli Goree, Aldis Hodge and Leslie Odom Jr. are Malcolm X, Cassius Clay (before he took the name Muhammad Ali), Jim Brown and Sam Cooke respectively, as the four men celebrate Clay’s victory over Sonny Liston in February 1964, during One Night in Miami. Rachel Wagner notes how “they all feel like friends and have chemistry, but each with a unique perspective”. This chemistry comes from King’s perfect alchemy of mood, design and structure; she lets her men speak, but her voice is never lost. “Queen King never wavers on her vision until every bit of flesh is torn off each man,” Ben notes, admiring a film that shines for all its famous faces, but stands the test of time for its rich, piercing empathy for every other one waiting in the shadows. —EK

Supernova Written and directed by Harry Macqueen. Awaiting UK and Ireland release due to lockdown; in select US theaters January 29, 2021. Seen at: BFI London Film Festival.

Colin Firth at his very best, Stanley Tucci losing his grip on himself, the luscious Lake District and endless cozy, delicious, warm knitwear. Supernova is every bit as beautiful as it sounds, but also packs a major punch when it comes to mapping a lifelong love story, and the cost of loyalty and pride when you’re fighting against pain nobody can control. As Sam and Tusker, devoted to one another for decades, come to terms with Tusker’s diagnosis of early on-set dementia, there is as much care and sadness as is to be expected, but it still feels brand new and cuts deep. Every good love story is its own. Director Harry Macqueen and his two shining stars understand this better than anyone. —EK

French Exit Directed by Azazel Jacobs, written by Patrick DeWitt. Scheduled for US release January 21, 2021. Seen at NYFF.

Armed with acerbic wit and sharpened claws, Michelle Pfeiffer delivers a vulnerable close-to-career-best performance in French Exit as a mother free-falling from wealth and reconciling with her son, an expertly cold Lucas Hedges. What appears to be formal and dry (“rich white-people stuff”, blegh) is actually wonderfully weird and surprisingly spiritual. There’s a divisive scene at the half-way point that instantly unroots the movie from any grounding we assumed it had established. In any other film, it would open up an entire world of possibilities, but French Exit decidedly treats it as matter-of-fact in order to focus on the emotional journey. It’s the decisive moment—you’re on its wavelength, or you’re overboard—and the rewards for staying aboard are plentiful. Patrick DeWitt’s adaptation of his own novel is in good hands with director Azazel Jacobs. —JM

Still Processing Directed by Sophy Romvari. On the festival circuit. Seen at: TIFF.

A final, honorable mention for Sophy Romvari’s Still Processing, the highest-rated short film out of TIFF, and an excavation of grief like no other. “You’ve got to watch this one twice,” writes Martyn. “First viewing to just weep every two to three minutes. Second viewing to really appreciate how great it is.”

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kaboommagazine · 6 years

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Kaboom! Bombshell of the Day! (8/28/18): Model Krista Kemp

Krista Kemp Info:

Age: 32

Zodiac Sign: Libra

Hometown: Kelowna BC, Canada

Ethnicity: Spanish/English

Occupation: Small Business Owner/Model

Measurements: 34-25-36

Height: 5’7″

Weight: 125

Instagram: @kristakemp

Twitter: @kristakemp

Dream Car: Black Lamborghini

Best Advice You’ve Ever Received: Live each day like its your last.

Favorite Meal: Carbonara

Favorite Drink: Champagne

Favorite…

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#2018 #BOMBSHELL #Krista Kemp

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newstinxahoi · 4 years

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Sụp đổ dây chuyền vì Covid-19

Mỹ Khi Table 20 phải đóng cửa vì Covid-19 thì những người nông dân, nhà cung cấp khăn trải bàn và các bên khác cũng "thấm đòn".

Allie và Chris Lyons là chủ nhà Table 20 nổi tiếng ở Cartersville, Georgia. Trong hai tuần, họ tính chỉ còn 6.000 USD tiền mặt, sau khi trả lương nhân viên, bảo hiểm và tiền thuê nhà.

Các ca nhiễm Covid-19 đầu tiên ở Cartersville được xác nhận vào ngày 11/3. Trong bối cảnh doanh số giảm mạnh, vợ chồng này đã sa thải tất cả nhân viên, chỉ chừa lại hai người. Họ đề nghị chủ nhà và ngân hàng cứu trợ. Họ cũng hủy đặt hàng mọi thứ, từ khăn trải bàn cho đến rượu.

Cartersville là một đô thị nhỏ 21.000 dân, cách Atlanta một giờ lái xe. Tuy nhiên, mỗi quyết định của Table 20 tại đó lan rộng xa hơn nhiều cộng đồng này. Nó là một ví dụ cho thấy những rắc rối mà một doanh nghiệp nhỏ phải đối mặt sẽ ảnh hưởng thế nào đến nền kinh tế Mỹ.

Cặp vợ chồng Chris và Allie Lyons bên trong nhà hàng không còn đón khách của họ. Ảnh: WSJ

Số ca nhiễm Covid-19 được xác nhận ở Mỹ đã tăng 15.000 trong tuần này. Doanh nghiệp càng nhỏ càng chịu tác động nghiêm trọng của khủng hoảng. Họ có xu hướng hoạt động dựa trên tỷ suất lợi nhuận mỏng và ít dự trữ tiền mặt. Nhưng họ sử dụng khoảng 60 triệu người Mỹ, hoặc gần một nửa lực lượng lao động tư nhân.

William Dunkelberg, Kinh tế trưởng của Liên đoàn Kinh doanh Độc lập Quốc gia cho biết, với ít vốn, các doanh nghiệp nhỏ gặp nhiều khó khăn về việc quyết định có nên trả tiền thuê nhà, công nhân hay hóa đơn từ chuỗi cung ứng của họ hay không.

Không giống như một số bang, Georgia không yêu cầu các nhà hàng đóng cửa nhưng Thống đốc Brian Kemp khuyến khích người dân đặt về nhà hoặc mua mang đi và hạn chế các cuộc tụ họp công cộng quá 10 người.

Khi Lyons mở Table 20 tại trung tâm thành phố lịch sử Cartersville vào năm 2016. Họ chi khoảng 225.000 USD để biến cửa hàng bánh sandwich cũ thành một nhà hàng cao cấp. Trước đại dịch, nhà hàng 70 chỗ thu về khoảng 17.500 USD một tuần thông thường, đôi khi nhiều hơn. Vào một ngày cuối tuần thông thường, khách phải chờ một tiếng rưỡi để có bàn.

Vào thứ ba (17/3), khi các lời kêu gọi tự cách ly tăng lên, nhà hàng chỉ đón 8 người. Ngày hôm sau, hai vợ chồng đóng cửa phòng ăn. Bây giờ, họ đang cố gắng sống sót bằng cách bán các bữa ăn mang về kiểu gia đình. "Sự nghiệp của chúng tôi đang sụp đổ", Lyons nói.

Lyons đã liên lạc với chủ nhà, một người về hưu đã rời khỏi thị trấn, để thương lượng về khoảng 2.500 USD tiền thuê hàng tháng. Cô không mấy lạc quan vì mối quan hệ với chủ nhà xấu đi từ lần bất đồng trong việc cải tạo mặt bằng. Đến trưa thứ sáu (20/3), đã có 40 trường hợp dương tính được xác nhận tại quận Bartow, nơi tọa lạc của nhà hàng.

Người cho vay

Khi tác động kinh tế của đại dịch rõ ràng hơn vào tuần trước, những người cho Table 20 vay, gồm một ngân hàng và một hiệp hội tín dụng địa phương, bắt đầu xác định những người vay có nguy cơ cao nhất.

Ngân hàng Thế kỷ Georgia tại Cartersville có tài sản trị giá 210 triệu USD. Họ đang điều chỉnh khoản vay 113.000 USD của cặp vợ chồng, cho phép chỉ trả lãi. Điều này có nghĩa họ thu khoảng 500 USD thay vì 1.800 USD mỗi tháng như trước.

Trong cuộc họp thứ ba thường kỳ, hội đồng bảy thành viên của ngân hàng đã xem xét danh mục cho vay và dự trữ tổn thất cho vay. Vào thứ sáu (20/3), ngân hàng đã giữ cho ba chi nhánh tiếp tục hoạt động. Họ sẽ tiếp tục trả cho 35 nhân viên mức lương đầy đủ ngay cả khi quyết định giảm giờ làm. Về phía khách hàng bị ảnh hưởng bởi đại dịch, họ trì hoãn các khoản thanh toán gốc và miễn các khoản phí và lệ phí trả trễ.

Giám đốc điều hành của Century Bank, Richard Drews. Ảnh: WSJ

Giám đốc điều hành của Century Bank, Richard Drews, nói rằng các nhà quản lý đang thúc giục ngân hàng hỗ trợ các khách hàng bị ảnh hưởng. Tuy nhiên, quyết định của Fed về việc giảm lãi suất gần bằng 0 sẽ làm giảm lợi nhuận của họ.

Trong khi đó, Coosa Valley Credit Union, tổ chức cho Lyons vay 15.600 USD để mua một chiếc xe tải chở thực phẩm năm ngoái đã cho trì hoãn khoản thanh toán 314 USD trong một tháng, và có thể nhiều hơn. Saunders Jones, Giám đốc cho vay của Coosa Valley Credit Union cho biết đã nhận được hơn một chục cuộc gọi và tin nhắn mỗi ngày từ những người vay bị ảnh hưởng nặng nề bởi đại dịch.

Coosa Valley Credit Union đang thực hiện kế hoạch hỗ trợ khó khăn và sẽ trình bày cho các thành viên hội đồng vào tuần tới. Nó bao gồm khả năng giảm 50% thanh toán khoản vay trong tối đa 6 tháng. Liên minh tín dụng này có tài sản trị giá 355 triệu USD, gần 44.000 thành viên, 103 nhân viên và 257 khoản vay kinh doanh với tổng trị giá gần 26 triệu USD.

Đội ngũ nhân viên

Lyons đã gọi nhân viên của mình đến nhà hàng vào thứ hai (16/3), để đề nghị mọi người nộp đơn xin trợ cấp thất nghiệp, trừ hai người được giữ lại làm việc. Vợ chồng cô đã giảm được 45% số tiền phải chi trả trong kỳ thanh toán này. Họ hy vọng sẽ cắt giảm gần 75% chi tiêu cho kỳ thanh toán tiếp theo.

Tiffany Herron, trong số những người bị sa thải, kiếm được khoảng 500 USD mỗi tuần để bổ sung thu nhập, bên cạnh nghề môi giới bất động sản. Nhưng bây giờ, những người bán nhà không muốn đón tiếp ai và cũng chẳng ai đi kiếm nhà. "Tất cả mọi thứ đều đóng băng", cô nói.

Allie Lyons (bên trái) và nhân viên phục vụ duy nhất còn lại Ashten McBride. Ảnh: WSJ

Ashten McBride, 23 tuổi, nhân viên phục vụ duy nhất còn lại, nhận mức lương cơ bản là 2,13 USD một giờ. "Khi một cái gì đó như thế này xảy ra, nó rất đáng sợ", cô nói. McBride sống cùng dì, chú và bảy người thân khác. Dì của cô làm việc trong một quán ăn tự phục vụ ở trường; hai anh em họ, làm việc tại Walmart, đã bị cắt giảm giờ làm. Hiện tại, cô tập trung vào lo việc trả tiền cho thực phẩm và tiền thuê nhà. "Mỗi USD chi tiêu bây giờ đều phải cân nhắc", cô nói thêm.

Casey Brazell, 21 tuổi, một nhân viên bị sa thải khác, đang sống cùng chồng chưa cưới và hai người bạn cùng phòng. Cô đang đánh giá lại ngân sách cho đám cưới của mình cũng như kế hoạch về một căn nhà đẹp.

Các nhà cung cấp

Table 20 từng giành giải thưởng địa phương cho các món ăn sáng tạo, thu hút nhiều người sành ăn và doanh nghiệp. Nhưng giờ, họ bán những bữa ăn cơ bản cho gia đình 4 người ăn với giá 45 USD. Thực đơn phục vụ mới đồng nghĩa doanh thu của trang trại rau thủy canh Mama J’s Produce giảm theo.

John Jerauld, người điều hành trang trại cùng mẹ trong một thập kỷ, thường giao hàng cho 20 nhà hàng một hoặc hai lần một tuần. Tuần này, anh không giao hàng vào thứ ba và chỉ một lần vào thứ năm. "Những nhà hàng khác thực sự đóng cửa hoặc chỉ bán mang đi", anh nói.

John Jerauld làm việc trong trang trại Mama J’s. Ảnh: WSJ

Cuối tuần trước, rau diếp, rau arugula và củ cải non của Mama J’s còn đắt khách ở một chợ nông sản địa phương. Nhưng chợ phiên cuối tuần ngoài trời này hiện đã đóng, ít nhất là nửa tháng. John Jerauld đành bán rau qua trang fanpage của nông trại. Anh cũng chuẩn bị cho khách đặt mua qua một website.

Bán rượu, phần lợi nhuận nhất trong kinh doanh nhà hàng và 15% doanh thu của Table 20, là một chuyện buồn khác. Lyons ban đầu đã cắt giảm số lượng rượu đặt mua. Sau đó, họ tạm dừng mua rượu hoàn toàn trong tuần này.

Krista Duncan là một chuyên gia về rượu của Eagle Rock Distribution, một trong tám đại diện bán hàng làm việc vớiTable 20. Cô nói rượu vẫn được tiêu thụ mạnh ở các cửa hàng tạp hóa nhưng tại quán bar và nhà hàng địa phương thì lao dốc, vì hầu hết đã đóng cửa.

Lyons cũng đã hủy đặt hàng 500 USD một tháng với Jackson Mat & Towel Service, một doanh nghiệp gia đình cung cấp khăn trải bàn và khăn ăn. Họ có khoảng 300 khách hàng, chủ yếu là các nhà hàng. Khoảng 25% vẫn giữ đặt hàng và 50% khác đã chuyển sang bán mang đi nên cắt giảm một nửa đơn hàng. Ông chủ công ty nói sẽ làm bất cứ điều gì có thể để tiếp tục trả lương cho bảy nhân viên của mình. Một người đang mang thai và số khác đang theo các lớp học trực tuyến ban đêm. "Chúng tôi coi họ như con của mình", ông nói.

Bên ngoài Georgia

Tổng doanh thu của nhà hàng Mỹ được dự đoán sẽ đạt gần 900 tỷ USD trong năm nay, trước khi có sự cố Covid-19, theo dữ liệu từ Hiệp hội Nhà hàng Quốc gia. Dự báo ban đầu cho thấy, giờ thì ngành này có thể lỗ ít nhất 225 tỷ USD vì đại dịch.

Để tiết kiệm khoảng 500 USD mỗi tháng, Table 20 đã dừng hợp đồng với dịch vụ đặt bàn trực tuyến OpenTable. Họ cũng ngừng dịch vụ với MiCamp Solutions, một công ty cung cấp dịch vụ xử lý thẻ tín dụng và phần mềm hoạt động cho khoảng 16.000 thương nhân. Table 20 thường chi khoảng 2.000 đô la một tháng cho phí xử lý. "Rất nhiều quán bar và nhà hàng của chúng tôi đã giảm doanh thu hơn 50%", Micah Kinsler, CEO công ty cho biết.

Vào thứ tư (18/3), ông Farrar, đầu bếp của Table 20, đang kiểm tra công thức món Water Pie, một loại sữa trứng làm từ bột mì, nước, đường và một ít bơ. Nhưng nhà hàng hết vani nên ông thay bằng rượu whisky vani. Đội ngũ của nhà hàng đã ăn thử món này. Cô Lyons dự định thêm nó vào thực đơn phục vụ và hy vọng thu hút được sự chú ý của khách hàng trên truyền thông xã hội.

Phiên An (theo Wall Street Journal)

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ledenews · 4 years

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Sky the Limit for Union Local Jets

The question of whether the Union Local girls could answer the bell against a similarly talented team in a big game was answered Saturday with an emphatic yes. Beating previously unbeaten Indian Creek by 19 points (64-45) on a neutral floor tends to put things in perspective. Any thoughts of an emotional letdown were quelled Monday with a 79-49 win against John Marshall. It's a team with no seniors and only one starter who will be legally able to drive a car by school year's end. So while many might believe Saturday's first half was the first time this team had been in a close fight, that wasn't quite the case. “The first time we played Ferry, we were down one midway through the third and against Shadyside, it was a three or four point game at halftime,” recalled Union Local head coach Ron Barr. “Our first game against Monroe Central, we had four brand new starters on the floor and they were scared to death. We were down 13 in the first half but cut it to five at halftime and ended up winning by 15.” None of the aforementioned teams are slouches and all will be playing in the OVAC tourney next week in their respective classification.

Union Local Last Unbeaten Team

The team fought through its early maturation process and stands alone, the last unbeaten team in the conference with a 19-0 mark. This team is built to win, and win big, averaging more than 70 points per game. It's a rare combination of size and speed that allows the Jets to play fast on both ends of the floor. The “smallest” player in the starting five is also its oldest in junior point guard Casey Kildow (5-6). On the wings she's joined by her sister, freshman Torre Kildow (5-11) and sophomore Hannah Merritt (5-8). Underneath stands the team's tallest player along with its most physical in 6-1 frosh Reagan Vinskovich and 5-7 sophomore Keira Gregor, respectively. Speed and tempo are their game.

Union Local won the Buckeye 8 title with a 64-45 win against previously unbeaten Indian Creek. The players, coaches and support staff pose with the championship trophy, perhaps the first of a lot of hardware to be won this season. “We go into every game, hoping we never have to run a play. It's kind of our moniker,” Barr said of his team's offensive philosophy. “That's the way I like to coach and it's the way they like to play. “Offensively, we like when other teams press. It puts us into fast break mode and that's to our advantage.” That's not to say Union Local can't play in the half-court offense. Merritt and the Kildow sisters all can pop from the perimeter, and Torre connects at a near 50-percent clip from behind the arc. They can also penetrate and attack the basket, or dump it off to the bigs underneath. Rinskovich averages a double-double per game with around 12 points and 12 boards per. But it's a balanced scoring effort to be sure. Torre Kildow (16.5), Merritt (11.0) and Casey Kildow (10.5) all average in double figures with Gregor (6.8) not far off the pace.

Teamwork, Understanding

The girls understand their roles and have flourished in them. “The lack of selfishness and finding their role has developed over the course of the season,” noted assistant coach Nikki Gregor. “Not everyone is going to be the leading scorer, but the important thing is to know your role and execute and if we can do that, winning is inevitable. “The win belongs to all of them. They each play a part.” Defensively, they are a nightmare as well. Multiple six or near-six footers creates issues when attacked the basket, moreso when long-legged and long-armed defenders can move and adjust quickly, covering ground in a hurry and allowing their teammates to take chances to force turnovers. “The fact we can switch among defenses so easily gives us an edge,” Gregor said. An uptempo offense that can excel in the half-court when necessary coupled with a diverse and conditioned defense is a tough match-up. That begs another question though.

Union Local's starting five of Casey Kildow (2), Keira Gregor (40), Hannah Merritt (30), Reagan Vinskovich (42), Torre Kildow (22) and sixth-man Baylee Rex (21) have their team playing at a torrid pace and sitting with a spotless 19-0 record as the postseason approaches.

How good can this team be?

Union Local has featured some quality athletes this century and captured a few OVAC titles. But you have to go back 20 years to the 2000-01 team coached by Rick Jones to find one as dominant, or even a few years further back to 1997-98 to find another that had a similar hot start to the season. Gregor knows this more than most. Back when she still used her maiden name Kemp, she was a senior on the 97-98 squad, also coached by Jones that started the year 15-0 before back to back losses to Bellaire and Indian Creek spoiled the perfection. They finished 19-3, with the final loss coming against Fort Frye in a sectional. The Cadets later lost to Bellaire in the district semifinals. That was a senior-laden team led by junior Erin Mason, Gregor, Jamie (Carruthers) Vinskovich, Dawn Renzler and Courtney (Feaster) Howard. Fellow juniors Angie Ault and Jess Chillinsky were part of a starting lineup that mixed-and-matched between six girls. A few years later, Gregor's younger sister Heidi Kemp was part of a group of seven seniors, also led by a junior in multi-sport all-Ohio athlete Jenny Campbell, that took things a step further.

Depth

Depth was one of that year's team's aces in the hole. While the starting five usually consisted of Campbell, Jenny Chillinsky, Amy Scarnecchia, Casey Stenger and Amanda Mercer, Kemp and Miranda Thompson both drew starting nods depending on matchups. The 2000-01 Jets were battle tested come the post season, having faced the likes of Bellaire's Kacie Vavrek, Martins Ferry's Lindsay Coyne, St. Clairsville's Piccolini sisters, Bethany and Lindsey and even the Fort Frye duo Krista Ferguson and Cincinnati signee Leslie Knoch, though Knoch missed the regular-season showdown won by the Jets. “Their guard size was comparable to ours,” Barr said of his team and the 00-01 version. “But they were more seasoned. And that year, it seemed like every team had two or three really good players. Every game was a dog fight.” Union Local advanced through the sectional round and came within five points of winning a district title. But once again, the postseason nemesis of Fort Frye, this time at full strength, was victorious, 65-61. The Cadets fell in the regional but were voted No. 3 in the final Division III AP Poll. Union Local was close behind at seven.

The 1997-98 team was the last one to start the season 15-0 prior to this year's teams current 19-0 mark. Front Row: manager Tyler Feaster, Jess Parker, Emily Tacosik, Dawn Renzler, Angie Ault, Erin Mason and Courtney Feaster. Back Row: Coach Jackson, Nikki Kemp, Jess Chillinsky, Casey Stenger, Jamie Carruthers, Erin Patterson, Jenny Chillinsky and Coach Rick Jones. Kemp (Keira Gregor), Carruthers (Reagan Vinskovich) and Patterson (Alliegh Cheatham) all have daughters on this season's team, while Tacosik is the cousin of Casey and Torre Kildow.

How do they match up?

There are a number of similarities when comparing the three teams. Each team boasts lights-out shooters, capable of attacking the basket or pulling up from the perimeter. All three hammered teams with transition offenses and showed equal tenacity and tempo defensively. But when comparing present-day to 97-98, Gregor believes her daughter's team has the advantage in the post. “Jamie and Jess were our two 'bigs' and I played there as well, but Keira and Reagan have a huge advantage over the three of us in the paint,” Gregor admitted. Vinskovich would tower over the 2000-01 team as well, as Stenger and Scarnecchia were the only true posts on the team and neither were near 6-1 in stature. But what they lacked in height they made up for in physicality. Where the 2000-01 Jets may have the advantage is both in depth and conditioning. “We had a rotation of seven girls that started or came off the bench and we didn't really skip a bit no matter who was in,” Kemp recalled. “We not only ran a track-meet style offense, but we pressed A LOT. Having fresh legs running in and out made it doable.”

Turning to now

The OVAC Championship Tourney is approaching and soon after, the OHSAA tournament will begin. Goals have been set and some have been achieved already. Others are further down the road. Eventually, the Jets will run into a veteran team that has the conditioning and talent to keep up with them for four quarters. None have yet, but it's bound to happen. That's when the true test begins. Barr noted that most of these girls have been playing together since they entered third grade. They may be relatively new to varsity basketball, but they are quite familiar with one another. That trust in their teammates shows. “This team has incredible chemistry. They've played a lot of basketball together so you don't even realize how young they really are,” Kemp said. “The sky is the limit for this group and I can't wait to see how high they fly.” Related: The Best of Bishop Donahue Hoops Postseason Again for CCHS Read the full article

#Girls #Jets #UL #unionlocal #unionlocalhs

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rihstopher · 7 years

Note

Actually the pool pics didn't look like the ones with chris at all, They looked a lot like the pics she took with matt kemp in the pool. People forget she took matt to barbados as well. Just like chrianna pages weren't out here checking for matt kemp, travis or drake, they don't HAVE to check for Hassan unless they want to. Same way chrianna pages didn't have to check for kae( or jasmine or draya) or these girls krista or ammika. ALL chrianna fans aren't the same.

No one forgot about her pool pics with Matt. But for that PERSON it reminded them of Chris. Y'all gotta realize these are people's OPINIONS and theories. There are no right or wrong answer. Calm the hell down. And you're right, not all chrianna is the same. I wish y'all stop TREATING us like we are tho - Doreen

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draggedfightingfromhistomb · 4 years

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via Fitness Gurls Magazine

#IFTTT #Fitness Gurls Magazine

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murfreesboronews · 5 years

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The MCS Competition Cheer Junior Rec Team placed 2nd in the Nation in the Junior Rec Division during the National High School Cheerleading Championship with zero deductions in their routine. The MCS Youth Rec Team placed 10thin the nation in their division. This was the second year for the Junior Team to compete and the first year for the Youth Team. As new participants in this national competition, breaking the top ten by both teams was an extraordinary accomplishment.

Thirty-three students from across Murfreesboro City Schools have trained throughout the school year to earn their bids to Nationals. The teams comprised of students from 1st through 6th grade are led by coaches Jessica Jacobs, Amber Kelly, Megan Brewer and Taylor Sams.

Junior Rec

Addy Neal, 6th Grade, Scales

Aniyah Andrews, 5th Grade, John Pittard

Alayna Workman, 6th Grade, Reeves Rogers

Annalise Poplin, 5th Grade, Discovery

ChloeAnne Jones, 3rd Grade, Erma Siegel

Ellie Young, 2nd Grade, Northfield

Jayda Holst, 5th Grade, Overall Creek

Jordin Washington, 5th Grade, Scales

Jorie Miller, 6th Grade, Bradley Academy

Juliana Foley, 6th Grade, Cason Lane

Krista Smith, 6th Grade, Northfield

Kylie McKinney, 5th Grade, Northfield

Kylie Travis, 6th Grade, Scales

Kyniah Hall, 6th Grade, Scales

Myah Taylor, 5th Grade, Cason Lane

Novah Chanthaphanh, 6th Grade, Scales

Sameah Covington, 5th Grade, Scales

Sophie Gough, 6th Grade, Scales

Youth Rec

Addison Jennings, 1st Grade. Scales

Allison Hart, 3rd Grade, Scales

Anslee Wyatt, 3rd Grade, Overall Creek

Cadian Allen, 4th Grade, Scales

Carlie Savannah, 2nd Grade, Reeves Rogers

Caroline Campbell, 2nd Grade, Discovery

Caroline Robinson, 3rd Grade, Erma Siegel

Ella Richards, 3rd Grade, Scales

Grace Smith, 2nd Grade, Overall Creek

Jordan Kemp, 5th Grade, Northfield

Kaylee Wilder, 4th Grade, Scales

Kobie Davis, 3rd Grade, Scales

Madeleine Maignan, 4th Grade, Erma Siegel

Madison Fuller, 4th Grade, Hobgood

Taylor Sims, 1st Grade, Overall Creek

The National High School Cheerleading Championship (NHSCC) is the most prestigious cheerleading championship in the country.

MCS Cheer Wins at Nationals The MCS Competition Cheer Junior Rec Team placed 2nd in the Nation in the Junior Rec Division during the National High School Cheerleading Championship with zero deductions in their routine.

#award #cheer #schools

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babessquat · 3 years

Photo

Krista Kemp Wants more ? ▶ http://cutt.ly/uhqHU5d

#girl #girls #babe #beauty

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ledenews · 4 years

Text

Sky the Limit for Union Local Jets

Union Local Last Unbeaten Team

Teamwork, Understanding

How good can this team be?

Depth

Depth was one of that year's team's aces in the hole. While the starting five usually consisted of Campbell, Jenny Chillinsky, Amy Scarnecchia, Casey Stenger and Amanda Mercer, Kemp and Miranda Thompson both drew starting nods depending on matchups. The 2000-01 Jets were battle tested come the post season, having faced the likes of Bellaire's Kacie Vavrek, Martins Ferry's Lindsay Coyne, St. Clairsville's Piccolini sisters, Bethany and Lindsey and even the Fort Frye duo Krista Ferguson and Cincinnati signee Leslie Knoch, though Knoch missed the regular-season showdown won by the Jets. “Their guard size was comparable to ours,�� Barr said of his team and the 00-01 version. “But they were more seasoned. And that year, it seemed like every team had two or three really good players. Every game was a dog fight.” Union Local advanced through the sectional round and came within five points of winning a district title. But once again, the postseason nemesis of Fort Frye, this time at full strength, was victorious, 65-61. The Cadets fell in the regional but were voted No. 3 in the final Division III AP Poll. Union Local was close behind at seven.

How do they match up?

Turning to now

#Girls #Jets #UL #unionlocal #unionlocalhs

0 notes