Один из пользователей Reddit обнаружил приложение Gemini Live в филлипинском App Store. Он сообщил, что программа аналогична по возможностям веб-версии чат-бота. У неё также есть поддержка Live Activities, поэтому бот может быть активен и за пределами приложения. Когда состоится релиз для всех стран, неизвестно. Сейчас, по всей видимости, Google тестирует приложение в избранных странах.

Китайский суд принял иск к Apple от разработчика Bodyreader. Он требует около $420 тыс. компенсации за удаление своего приложения для коррекции осанки детей из App Store в 2020 году. Разработчик утверждает, что Apple несправедливо удалила их приложение, обвинив в «недобросовестном» поведении, а также оспаривает комиссию в 30% на покупки и контроль компании над экосистемой iOS....

A Chinese court has agreed to hear a lawsuit against Apple from Beijing Bodyreader, a developer seeking around $420,000 in damages after their children's posture correction app was removed from the App Store in 2020.


Bloomberg reports that the case – the first of its kind to be heard in Beijing's intellectual property court – bears similarities to Epic Games' 2021 lawsuit against Apple. Bodyreader claims Apple unfairly removed their app citing "dishonest" behavior, while also challenging the company's 30% commission on app purchases and its control over the iOS ecosystem.

According to court documents reviewed by Bloomberg, Bodyreader argues that Apple's enforcement of App Store policies is inconsistent. The developer notes that after their original app was removed, they successfully published an identical app under a different name, "Qilin Century," which remains available on the App Store. Closed-door hearings began Thursday and could conclude this week.

The hearing represents the first time Apple has been forced to defend its standard mobile platform practices against a Chinese developer. Earlier this year, Apple successfully fought off antitrust accusations from a Chinese consumer, but the company still went so far as to appeal to remove references to its market dominance from the ruling.

Bodyreader is seeking monetary damages, an apology, and a court declaration that Apple engages in unfair monopolistic behavior. The developer has also requested that Apple be required to allow third-party app stores and external payment links.

This article, "Apple Faces Epic Games-Style China Lawsuit Over App Store Practices" first appeared on MacRumors.com

Discuss this article in our forums

Apple today overhauled the App Store Connect app designed for developers, introducing version 2.0. Developers use App Store Connect to distribute and manage their apps for the iPhone, iPad, Mac, Apple Watch, Apple TV, and Vision Pro.


‌App Store‌ Connect 2.0 includes a refreshed UI throughout the app, as well as new capabilities. Developers are able to promote their apps by generating marketing assets for app launches, version updates, featured placements in the Today tab, and more.

These marketing assets that are generated for special moments can be shared on various social media channels for app promotion purposes.

‌App Store‌ Connect will also now send developers notifications when their app is featured in select placements on the Today tab, such as App of the Day or Game of the Day.

In addition to allowing for app management, ‌App Store‌ Connect also provides support for creating TestFlight betas, monitoring sales and trends, and responding to customer ratings and reviews.

This article, "App Store Connect for Developers Gains Refreshed UI, Feature Notifications and More" first appeared on MacRumors.com

Discuss this article in our forums

“Shattered Crosses”, новое видео группы IGNITOR, доступно ниже. Этот трек взят из альбома Horns And Hammers, выход которого состоялся третьего октября на Metal on Metal Records:

“Horns And Hammers”
“Imperial Bloodlines”
“Dark Horse”
“Cyber Crush”
“Shattered Crosses”
“Taking Up With Serpents”
“Ferocious The Martyrs”
“Suicide Anthem”
“Chaos Maximus Eternal”
“Terminus”
“Hell Shall Be Your Home” (Live / bonus track)
#Ignitor #HeavyMetal #Heavy_Metal
Видео: https://www.youtube.com/watch?v=ZY4HQ3Wra98

Команда MP Motorsport объявила, что Ричард Ферсхор сядет за руль одной из её машин в оставшихся гонках сезона, а также будет выступать в 2025 году...

How has Doctor Sleep fared 5 years since its release?

REVIEW – I’ve had my two Dell monitors for a while, but I’ve yet to find a monitor arm that fits the weight of my 32″ curved screen. I tried my heavy duty work arms, yet no matter how tight I made it, it would slide down and rest on the desk. The LiftSync Dual […]

REVIEW – There seems to be a number of different form factors popping up with projectors recently. Very slim projectors, portable cubes, and today’s variation which looks more like a spotlight than a projector at first glance. The XGODY Gimbal 3 projector looked like a fun projector to try out and looked very portable. Read […]

This weekend is StoryFest 2024!!! This will be my first time at this literary festival, and I'm so excited! 

I'll be on the "Dangerous Visions: Dreams Across Universes" panel on Saturday (9/21/24) at 10am with Jedidiah Berry, P. Djeli Clark, Sarah Beth Durst (me!), Christopher Golden, Peng Shepherd, and GennaRose Nethercott. The panel will be followed by a signing.

If you're near the Westport Library in CT, I hope you'll join us! 

https://westportlibrary.org/storyfest-2024/

Had a wonderful time at StoryFest this weekend! Thank you, Westport Library!!! 

I had a board game first this summer: I read an entire series of novels in preparation for playing a board game. When Jamey Stegmaier announced he was designing a new game with Alex Schmidt based on the award winning Red Rising  series by Pierce Brown, his excitement was so palpable that I wanted to understand the draw of the saga held for him. I checked my local library and the first book was already reserved, with a long waiting list in line before me. So I took the plunge and purchased the whole series from Amazon, hoping it would captivate me as it seemed to have done for Jamey.

Start with a narrative universe politically ordered by a tightly controlled color coded caste system;  pull in the concept of a boarding school with quirky teachers (like Hogwarts from Harry Potter) but introduce some structural changes to the school so that only the most socioeconomic elite in the caste system are permitted to attend; have the students compete in fight to the death brutal competitions (evocative of The Hunger Games but more violent and rape-y); explore the dynamic of class struggles and the penchant for revolution the lower castes foment; and you’ve got a good understanding of the Red Rising series that details the life and times of our protagonist, Darrow O’Lykos. To be honest, it’s an intense and difficult read due to the graphic nature of the violence (definitely not a story I want to see acted out on the big screen). But it’s well written literature and it makes you think.

Once I finished the book series, I was emotionally charged and ready to play Red Rising. I unboxed my review copy, invited over a few friends, and sat down for my first game. Jacqui Davis, Miles Bensky, and Justin Wong designed the artwork for the game and I’d describe it overall as futuristic, with a cartoonish bent when it comes to the character cards.

Before we get into the mechanics of the game, the components for Red Rising  Collector’s Edition warrant a discussion. I loved the weight of the metal influence cubes and fleet tokens handed out to each player. Likewise, the start player token, sovereign token, central board, and house cards are well constructed. And I appreciated the gold foil on the character cards. However, our first group of players gathered around our game table (and subsequent groups I played with) identified nuisance problems with some of the components. Each player’s set of metal influence cubes is  a different color and the yellow and gold sets are difficult to distinguish from across the table. The card holders included exclusively in the Collector’s edition are a disaster.

Every single person I played with managed to accidentally knock over their holder several times during a game, spilling out their hand for all to see repeatedly. Finally, the character cards reveal some questionable graphic design and font choices. For example, it was very difficult for all of us in the middle age cohort to read “obsidian” printed on the black cards.  None of these issues are significant enough to downvote the game, but I hope to see them corrected in future print runs.    

Onto the mechanics… Red Rising  is a mid-weight board game with a primary focus on cards and hand management. At the start of the game, each player is dealt 5 character cards and a house card (which grants a special ability). One of the primary goals is to build a hand of highly valued character cards (tabulated at the end of the game using the interaction formulas printed on the bottom of each card). To build this hand, players will use most of their turns to discard a character card from their hand to the board (called deploying) and then pick up a character card from a different column of the board. 

To spice things up, each card has a deploy ability that is triggered when the card is deployed (for example, a card might let you banish another card, move a card from one column to another on the board, immediately choose another card on the board to redeploy, etc). And each time you pick up a character card, you get a bonus immediately that edges you closer to victory along the path of one of the other strategic goals established in the game – either the receipt of helium tokens (worth 3 VPs each), forward movement along the fleet track (increasing VPs for each step forward), the possession of the sovereign token (10VPs if held at end of game), or influence cube placement on the influence area of the board (worth 4/2/1 VPs each, depending on your player’s rank in the influence cube area population). Instead of discarding+picking up on your turn,  there’s also an option, called scouting, to simply draw from the deck, place the drawn card on a column on the board, and then gain the bonus for that column. This option might be used when you are completely satisfied with your hand and can’t bear to part with any of it, or when you’re trying to pad the columns with cards of certain colors (some cards give you end game points per card of X color on the board) and crossing your fingers you can draw them.  It should be used sparingly since you miss out on the deploy ability when scouting.

I didn’t encounter a lot of analysis paralysis when playing this game, and it plays in under an hour (maybe 90 minutes for your very first time at higher player counts).  There’s plenty of replayability in the box given the large assortment of cards, but I do wonder if they’re going to eventually release an expansion for Red Rising  to keep things fresh for experienced players with different character card abilities or new point tallying interaction rules.

Jamey and Alex have hit on an accessible and winning combination by supporting a large spectrum of player counts (1-6), providing mid-weight complexity, keeping the gameplay tight enough to finish in under an hour, and selling it for under $60 at launch. And perhaps most importantly for players who worship theme and backstory, playing the game feels incredibly personal after you’ve read the books. I felt connected to the characters as they were revealed from the deck because of my experience reading the series. I was delighted to have the Sevro card in my hand, giddy to be given the House of Mars player role, and I flushed with anger when the Jackal card appeared on the board. I spent a lot of the game explaining the highlights of each character to my friends as new cards were laid down. Pretty sure I had to fight back tears when Eo’s card came up. In one of our games, my friend Malinda played Apollo and probably didn’t understand why I worked so tirelessly to thwart her efforts. Red Rising  is a solid OUI! OUI! OUI! from me for those who have read the series (and a OUI! OUI! for those who haven’t). Get the Red Rising  book series and read it and then get the game and play it. In that order. And consider pairing  the series with the game as a generous present for someone you love who loves board games and great dystopian novels.

-------------------------------------------------

Publisher: Stonemaier Games
Players: 1-6
Actual Playing Time (vs the guideline on the box): About 45 minutes per game
Game type: hand management

Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

COVID has put the kibosh on much this year, but it can’t stop the capsule TIFF reviews. From the plague-ready, off-model edition of the Toronto International Film Festival, here’s my annual collection of mini-reviews.

The greatly cut-down slate included only slivers of the festival I’d program for myself in a regular year: four to five from international auteurs and a couple examples of global genre cinema. The missing items either are waiting in limbo as sales agents the world over hope that theatrical exhibition will return, or didn’t even get shot.

This list features more Canadian films and documentaries than I’d see at the fest (as opposed to catching them later.) Festivals tend toward the dour and downbeat but that was doubly true this time out. If we’re still trapped in our homes next year, I’ll likely be more vigilant about sorting through the slim pickings, supplementing our streaming experience with titles already available on other platforms.

That said, the overall hit rate was probably as strong as any other recent year. The average score on my numerical ratings would be higher, actually. It’s just that I saw the same festival everyone else did, starting with the film that garnered nearly universal acclaim, nabbed the People’s Choice Award, and will surely be part of the Oscars race—whatever the heck that will look like.

Films are listed in order of preference. Within categories that doesn’t mean much and entails a lot of apples-to-oranges comparisons. A festival near you, or not so near you but within your territory for geolocking purposes, may be virtually screening some of these soon.

The Pinnacle

Nomadland [US, Chloé Zhao, 5] When her town closes down in the wake of its gypsum mine’s closure, a self-reliant widow (Frances McDormand) moves into her van and joins the ranks of the nomad subculture, people who rove the US, taking whatever hard work they can get and living out of their vehicles. Rooted in social realist cinema, marked by a triad of transcendent qualities: poetic visual beauty, an indelible central performance and a deep love for the characters from the writer/director.

Recommended

Another Round [Denmark, Thomas Vinterberg, 4.5] Burned out high school teacher (Mads Mikkelsen) embarks with three colleagues on an experiment to enhance their performance by maintaining a blood alcohol level of 0.5% throughout their days at work. Not only an original booze movie, but a big one, full of turns and ambiguities, and an utterly masterful performance from Mikkelsen.

City Hall [US, Frederick Wiseman, 4] The latest of Wiseman’s distinctive epic-length observational documentaries studies the quotidian, procedural and human moments of human life as seen through the processes of municipal government in Boston, as held together by the thoughtful charisma of Mayor Martin Walsh. Improbably absorbing as always, this institutional cross-section offers a beguiling vision of an oasis of good government in the USA.

True Mothers [Japan, Naomi Kawase, 4.5] Parents of a kindergartner react with dismay when a woman contacts them claiming to be his birth mother. Luminous, delicate drama of shifting perspectives.

Fireball: Visitors from Darker Worlds [US, Werner Herzog & Clive Oppenheimer] Documentary explores the science and mythology of meteor, from Chicxulub to ʻOumuamua. The intersection between scientific discovery and religious awe, central to all of Herzog’s beautiful and delightful nature docs, rises from subtext to text through the intercession of traditional elders, joyful researchers, and the Jesuit scholar of the Vatican’s heaven stone collection.

David Byrne’s American Utopia [US, Spike Lee, 4] Filmed version of the Broadway version of David Byrne’s recent tour features joyous choreography, simple but arresting stagecraft, and songs from his Talking Heads and solo eras. When you shoot a concert film featuring David Byrne, you have to bring it, and Lee does that ably, finding countlesss different ways to shoot within a proscenium.

The Father [UK, Florian Zeller, 4] Retired engineer (Anthony Hopkins) struggles to piece together the confusing reality of his living circumstances as his daughter (Olivia Colman) copes with his progressing dementia. Impeccably performed stage play adaptation puts the viewer inside the contradictory shifts of the protagonist’s subjective viewpoint.

Night of the Kings [Côte d'Ivoire/France , Philippe Lacôte, 4] When the red moon rises over MACA, the Ivory Coast’s toughest prison, its inmate boss appoints the new arrival as storyteller—a post that results in death if the tale ends before sundown. Prison drama with compelling narrative hook widens out to encompass ancient warfare, contemporary politics, and even a wizard duel.

Summer of 85 [France, Francois Ozon, 4] Love between two young men in a French beach town leads to a bizarre crime. Teen emotions run high in a sunlit melodrama of Eros and Thanatos.

Spring Blossom [France, Suzanne Lindon, 4] Bored with her classmates, an awkward 16 year old (played by the writer-director) pursues her attraction for a ruggedly handsome stage actor (Arnaud Valois.) Character drama sets aside the sexual aspect of this staple French cinema situation to focus on the emotion, periodically breaking from naturalism to have its characters express their feelings through dance.

Get the Hell Out [Taiwan, I-Fan Wang, 4] Taiwan’s notoriously pugilistic parliament tips into arterial spray when the effluent of a controversial chemical plant triggers a zombie epidemic. Zombie comedy features an eye-searing palette and an onslaught of optical overlays, and is paced like a quarter kilo of crushed Adderall.

Preparations to Be Together For an Unknown Period of Time [Hungary, Lili Horvát, 4] Top neurologist questions the accuracy of her recollections when she moves back home from the US to Budapest for a romantic rendezvous, only to find that the object of her affections professes not to remember her. Quietly suspenseful drama of psychological uncertainty.

Shiva Baby [US, Emma Seligman, 4] The ambient social pressures of a post-funeral gathering skyrocket for a directionless college student (Rachel Sennott) when attendees include not only the expected ex-girlfriend (Molly Gordon) but also the sex work client she’s caught feelings for. Knife-edge comedy of emotional suffocation uses a plucky suspense score for that extra frisson of social anxiety.

Under the Open Sky [Japan, Miwa Nishikawa, 4] Out of prison after a long sentence, an aging yakuza (Koji Yakusho) struggles with his volcanic temper as he attempts to go straight. Bittersweet drama anchored by a lead performance from Yakusho, a mainstay of contemporary Japanese cinema.

New Order [Mexico, Michel Franco, 4] A wedding thrown by a wealthy family during a growing insurrection suffers a murderous attack by protestors and the kidnapping of the bride. Wildly disturbing vision of political violence and degradation takes its time unreeling its allegorical purpose.

Limbo [UK, Ben Sharrock, 4] Syrian oud player grapples with guilt over family left behind as he cools his heels with other refugee claimants at a center in the bleak and isolated Outer Hebrides. Moments of deadpan humor and stark landscapes layer this exploration of displacement.

Violation [Canada, Madeleine Sims-Fewer & Dusty Mancinelli, 4] Woman (Madeleine Sims-Fewer) exacts meticulous revenge after her brother-in-law rapes her. Although this jarring, meditative drama includes gruesome imagery and horror-exploitation motifs, it’s closer in spirit to Michael Haneke than Dario Argento or Wes Craven.

Shadow in the Cloud [New Zealand, Roseanne Liang, 4] When an WWII RAF Flight Officer (Chloe Grace Moretz) boards a Samoa-bound cargo plane bearing a mysterious package, a monstrous gremlin on board is just one of the surprises. Enclosed space horror-action thriller tips an 80s-style hat to Carpenter and Cameron.

Beans [Canada, Tracey Deer, 4] As the 1990 Oka standoff envelops her Mohawk community, a shy tween achiever (Kiawentiio) decides to toughen up by ingratiating herself to the tough kids. Mixing the docudrama and coming-of-age structures offsets the inherent trickiness of both, but it wouldn’t work without an appealing and touching performance from its charismatic young lead.

Akilla’s Escape [Canada, Charles Officer, 4] Weed dealer hoping to leave the business (Saul Wiliiams) tries to recover his boss’ ripped-off cash and product without sacrificing a young gang member who reminds him of his younger self. Moody, laconic crime drama contextualized by the political history of Jamaican gangsterism.

Enemies of the State [US, Sonia Kennebeck] Documentary pulls apart a labyrinth of contradictory evidence around Matthew DeHart, an Indiana man who was framed for child pornography by the FBI as part of a Wikleaks espionage case, or created a story of secret files to shield himself either cooked up a Wikileaks-related espionage smokescreen to mask his sex crimes. Invites the viewer to join a filmmaking team as it goes ever deeper down a rabbit hole.

The Inconvenient Indian [Canada, Michelle Latimer, 4] Essay-format documentary examines the Indigenous struggle for sovereignty and cultural reclamation in North America, as hosted by novelist Thomas King and inspired by his nonfiction book of the same name. Makes its case through cinematic language, pushing the archival footage and talking heads format to the background.

Beginning [Georgia, Dea Kulumbegashvili, 4] Depressed wife of a pastor bears the brunt of a persecution campaign from a local man hostile to their minority Baptist faith. The camera acts as a pitiless eye in this harsh, austere drama of pervasive male oppression.

The Truffle Hunters [Italy, Michael Dweck & Gregory Kershaw, 4] An aging generation of Piedmontese truffle hunters carries on the search for the elusive delicacy, fearing the poison bait left for their beloved dogs by ruthless newcomers to the trade. A documentary balm for lovers of food and canines luxuriates in the presence of sumptuously photographed forest eccentrics and their very, very good dogs.

Lift Like a Girl [Egypt, Mayye Zayed, 4] From ages 13 to 18, under the tutelage of a volcanic, motormouth coach, with a rubble-strewn lot on a busy Alexandria street, weightlifter Zebiba trains to be a champion. Fly-on-the-wall documentary inhabits a hardscrabble community powered by loving verbal abuse.

The New Corporation: The Unfortunately Necessary Sequel [Canada, Joel Bakan & Jennifer Abbott, 4] Polemical documentary deploys narration, stock footage and talking heads (some appearing via lockdown video conference) to survey corporate capitalism and the struggle against it from Reaganomics to COVID and the George Floyd protests. Comprehensive primer for the prospective young progressives includes a call to continued electoral action.

40 Years a Prisoner [US, Tommy Oliver, 4] Documentary recounts the 1978 standoff between members of radical Black back-to-nature organization MOVE and Philadelphia police through the efforts of the son of two of the group members to secure their parole. A strong emotional hook greatly assists in telling a tenaciously complicated story.

Good

Pieces of a Woman [US, Kornél Mundruczó, 3.5] Grief tears a couple (Vanessa KIrby, Shia LaBeouf) apart after the death of their baby in childbirth, abetted by the insistence of her domineering mother (Ellen Burstyn) that they pursue legal action against their midwife (Molly Parker.) Wrenching drama marked by deep performances and key long take scenes. An otherwise masterful script reaches for the conventional when it hits its climax.

Wildfire [UK/Ireland, Cathy Brady, 3.5] After going missing for a year, a bipolar woman (Nika McGuigan) drops in on her sister (Nora-Jane Noone), opening the wounds of shared tragedy. Raw, unsubtle family drama against the backdrop of Northern Irish politics as Brexit threatens a fragile peace.

Fauna [Mexico/Canada, Nicolás Pereda, 3.5] Narratives nest within narratives when an actor visits his girlfriend’s family in a sleepy small town. Comic misunderstandings, naturalistic locations and twisting meta-story may remind seasoned festival-goers of the works of Hong Sang-soo, with Coronas instead of soju.

The Water Man [US, David Oyelowo, 3.5] Imaginative kid (Lonnie Chavis) heads into the Northwestern forest in search of a legendary immortal, thinking he holds the secret to curing his mom (Rosario Dawson) of leukemia. One of the more successful of a recent wave of films that put a somber sin on 80s kids adventure, thanks to a well-constructed script and Oyelowo’s sure control of tone.

The Way I See It [US, Dawn Porter, 3.5] Documentary profile of Obama-era Official White House photographer traces his arc from work for the Reagan administration to anti-Trump social media firebrand. Whether American viewers consider this slickly fashioned film heartfelt or sentimental will depend on party registration. It’s certainly explicitly designed to fire up Ds to get out there to de-elect the current president.

Okay

Bandar Band [Iran/Germany, Manijeh Hekmat, 3] A pregnant singer, her husband and their guitarist try to get their van through a floodstruck region to attend a contest gig in Tehran. Neorealist drama where the obstacles in the characters’ path are literal.

Penguin Bloom [Australia, Glendyn Ivin, 3] A former surfer left paralyzed from the chest down by a freak accident reluctantly bonds with a magpie chick named Penguin, which one of her young sons has rescued. Sun-dappled animal-related family drama about the depression and anger that can accompany a life-changing injury.

Falling [US, Viggo Mortensen, 3] Pathologically forbearing airline pilot (Mortensen) attempts to find a new situation for his lifelong miserable prick of a father (Lance Henriksen) as his dementia worsens. With one character incapable of change and another not needing to change, almost all of the scenes repeat the same dynamic.

Gaza Mon Amor [Palestine/France, Tarzan & Arab Nasser, 3] Middle-aged fisherman discovers a Greek statue and courts a wary dress shop clerk. Deliberately paced dramedy of life under oppression.

Concrete Cowboy [US, Ricky Staub, 3] After yet another expulsion from school, a troubled teen (Caleb McLaughlin) gets dumped for the summer with his father (Idris Elba), who belongs to Philadelphia’s threatened culture of inner city horse owners. A rich social milieu is the star of the show in this affirming drama, which could do with a stronger drive to activate its protagonist.

I Care a Lot [UK, J Blakeson, 3] Corrupt legal guardian (Rosamund Pike) who slaps unsuspecting seniors into care facilities to bleed them dry triggers a cat-and-mouse game when her latest prey (Dianne Wiest) turns out to be the mother of a wealthy gangster (Peter Dinklage.) Engaging thriller— until it betrays the contract it has established with the audience.

Not Recommended

Memory House [Brazil, João Paulo Miranda Maria, 1] Racist harassment from German co-workers drives dairy worker to vengeance. Blunts the political anger of its subject matter with enervating pacing.

For years TIFF has been intentionally or otherwise making it incrementally more difficult to do the event diehard style, as we have always done. Often it announces changes that blindside longtime loyalists—sometimes, as this year, after they’ve purchased their expensive memberships and ticket packages. This time around they surprised us by taking a tier of titles that any other year would be available through the package we purchased and moving them into a premium package previously reserved for the most publicized Gala films. For good measure, they threw in a couple of other medium-sized irritants.

To recreate something closer to our usual experience, we programmed another 25 titles already available on streaming platforms. Some actually played TIFF in the past; others were the types of movies that could have played the fest but didn’t.

I’m glad that we did, because the TIFF titles we were allowed to choose from included all of the duds of a normal year and none of the surprise masterpieces. Granted, it was a miracle that any films got made this year, and those that did tended toward the sorts of modest chamber pieces that could be produced under COVID protocol conditions.

This year crystallized a gradually growing realization we’ve been trying to suppress. So much has changed in the world of international cinema, from the festival’s position in their life cycle, to their subsequent availability, and even the style of the movies themselves, has completely changed since we started doing this in the mid 80s.

We have always gone to the fest for great films that we could otherwise never see, and started doing it in the VHS era. We don’t care about seeing things before anyone else does, or seeing the stars wave at us from the stage beforehand, or hearing audience members ask directors rambling questions afterwards. Even the virtues of a big screen experience are blunted by a dirty secret — a packed TIFF venue is not actually an ideal place to see a movie. Talkers and smartphone screens abound in every screening, and the bigger venues they convert into movie theaters for ten days are universally terrible.

You’d think that programming films from existing streaming platforms eliminates the other key part of fest-going, the surprise from out of nowhere. Except we got more of those with our alternate schedule than we did with the official titles this year.

In other words, after 36 years we are retiring from our vacation. Next year we’ll be doing a fully alternate replica of TIFF as we think of it from the past. The old rodeo is dead. Long live the new rodeo.

Here then is my final set of Toronto International Film Festival capsule reviews.

(Capsules for the 2021 Robin and Valerie International Film Festival will drop over time in Ken and Robin Consume Media.)

Recommended

Murina (Croatia, Antoneta Alamat Kusijanović) Teen (Gracija Filipovic) chafes at the agitated authority of her command-barking father (Leon Lucev) as he hosts a rich, glamorous old friend (Cliff Curtis) to try to sell him on a resort proposal. Taut, superbly acted family drama set against the stunning yet slightly sinister beauty of the rocky Croatian coastline.

Saloum (Senegal, Jean Luc Herbulot) Three gunslingers—the mastermind, the hard case, and the magic user—take an unscheduled pit stop at an eccentric communal resort, which harbors horrible secrets of both the man-made and supernatural varieties. Gorgeously shot, tightly edited contemporary horror western with political resonance and cool monster design.

Compartment No. 6 (Finland, Juho Kuosmanen) Traveling alone on a trip she was supposed to take with her Muscovite professor girlfriend, a Finnish archaeology student finds herself sharing a compartment on the train to Murmansk with a loutish miner. Naturalistic light romantic drama of human connection overcoming barriers of class and personality.

OUT OF SYNC (Spain, Juanjo Giménez Peña) Isolated sound mixer (Marta Nieto) is unnerved to suffer a strange delay in her hearing, which becomes all the more inexplicable as it worsens. Realist weird tale makes smart use of cinema’s relationship between sight and sound. 

Zalava (Iran, Arsalan Amiri) In pre-Revolutionary Iranian Kurdistan, a pig-headed police sergeant interferes with a djinn exorcism, sparking village hysteria. Tale of communal terror and its hazards generates suspense by skillfully modulating its pace.

Vengeance is Mine, All Others Pay Cash (Indonesia, Edwin) After meeting cute by beating the crap out of each other at a construction site, two lovers navigate the vicissitudes of fidelity, vengeance, and impotence. A martial arts flick that isn’t an action movie, but rather an allegorical romantic drama with elements of satire and magic realism to go with its bruising 70s style fights.

Hold Your Fire (US, Stefan Forbes) Documentary recreates the 1973 robbery-turned-hostage incident in which a group of young black Sunni men hoped to steal guns from a sporting goods shop to protect themselves from the Nation of Islam, in which the beginnings of hostage negotiation techniques were created and implemented on the fly. Archival footage and compelling retrospective interviews illuminate a complicated narrative with resonances into the present day.

A Banquet (UK, Ruth Paxton) After her husband’s death, a brittle woman (Sienna Guillory) struggles with her eldest daughter’s (Jessica Alexander) visionary transformation, which has taken away her need to eat. Slow burn realist cosmic horror filters eating disorders, emotional control and female rage.

Kicking Blood (Canada, Blaine Thurier) Vampire (Alanna Bale) connects with a detoxing alcoholic, prompting her to reconsider preying on humans. Frosty supernatural indie drama extends the vampire-as-addiction metaphor.

Yuni (Indonesia, Kamila Andini) High schooler with a yen for purple chafes at the narrow expectations her religious school, family and village have for her.  Observational social drama enlivened by a vivid color palette.

Good

The Daughter (Spain, Manuel Martín Cuenca) Teacher at a juvenile detention center helps a pregnant 14-year old escape so she can live secretly with him and his wife at their mountain home and give them the baby when it is born. Ultra-restrained domestic thriller could stand a notch or two less restraint.

Dug Dug (India, Ritwik Pareek)  A local saint cult springs up when a motorbike keeps mysteriously returning to the site of its owner’s death. Gentle satire of faith and religious merchandising shows the sort of color and verve that raises hopes for a fresh wave of Indian art cinema.

Tug of War (Tanzania, Amil Shivji) A callow Marxist subversive falls for an Indian girl who has escaped her arranged marriage in British-controlled 1950s Zanzibar. Political romantic drama adopts the language of classic Hollywood glamor, albeit without the magnetic movie star performances the style depends on. Based on a classic Tanzanian novel.

Okay

Earwig (France, Lucile Hadžihalilović) In a creepy manor, an anxious loner (Paul Hilton) looks after a girl with teeth made of ice, at the behest of mysterious masters. The director’s first English language film pushes her dream narratives of childhood transformation into the far fringes of austerity.

Not Recommended

You Are Not My Mother (Ireland, Kate Dolan) A withdrawn teen’s depressed mother briefly disappears, prefiguring the revelation of a supernatural family secret. Contemporary folk horror with stronger direction than script, with extensive foreshadowing genre fans will be well ahead of and an inactive menace that doesn’t do enough to propel the story.

Snakehead (US, Evan Jackson Leong) Smuggled immigrant (Shuya Chang) works off her debt by acting as the right hand to the matriarch (Jade Wu) of an NYC Chinatown crime family. Socially conscious gangland drama features the bane of longtime documentarians turning their hand to fiction:  awkward, exposition-heavy scripting.

Arthur Rambo (France, Laurent Cantet) Rising literary star (Rabah Nait Oufella) plummets when the hate-filled tweets of his old alter ego resurface. Refined, uncinematic debate film presents thesis, antithesis, and credits.

Medusa (Brazil, Anita Rocha da Silveira) Member of AN ultra-right Christian school’s violent, pallid-masked theocratic girl gang  goes undercover at a coma ward in search of a disfigured model. Overlong, unfocused political allegory references the horror genre, chiefly by adopting Dario Argento’s color palette.

After Blue (Dirty Paradise) (France, Bertrand Mandico) On a psychedelic alien world, a young outcast (Paula Luna) frees the statuesque, wish-granting death-dealer Kate Bush and she must accompany her hairdresser mother (Elina Löwensohn) on a quest to hunt her down. Invokes the spirits of Jodorowsky and Barbarella for a sleepwalk trudge through an arbitrary sequence of dream-logic events. Like its influences it is perhaps intended for a chemically altered audience.

La Soga 2 (US, Manny Perez) Dominican hitman (Perez) has gotten out and is living with a devoted new girlfriend, until a corrupt CIA officer pulls him back in. Scrappy microbudget crime flick is Dominican. 

1. Corporate regulator sues Cbus over unresolved insurance claims  Sydney Morning Herald
2. VIDEO Cbus taken to court accused of failing to pay thousands of claims  ABC News
3. Super fund in strife over $20m in delayed payments  The Canberra Times

John Pesutto chalks up a first-time victory over Jacinta Allan in latest Resolve poll  The AgeView Full coverage on Google News

1. Murder charge after beloved Elvis impersonator found dead after karaoke night  9News
2. Beloved Elvis impersonator allegedly murdered after karaoke night  Sydney Morning Herald
3. Love Island winner's best mate is accused of killing beloved grandad - after the Good Samaritan had tried to h  Daily Mail
4. Video: Elvis impersonator named as alleged murder victim  WAtoday

1. Legitimacy of two Victorian local government elections in question after duplicate votes detected  ABC News
2. Victorian council election results 2024 LIVE updates: Suspected postal vote tampering in council elections  Sydney Morning Herald
3. VEC investigates potential vote tampering in two Melbourne councils  The Age

OMG. I can't believe October is over already. I blame Satisfactory which, okay, I do get it now, and it did destroy my body and mind. I am inches from being done now; I just want to make sure that I finish it with enough force that I do actually put it away, as I could imagine tinkering with my saddest factory forever.

The game isn't without flaw, but I think most of those flaws are not interesting to talk about. I do have one petty but important criticism, which is mildly spoilerful and anyway will only be interesting if you played the game. There is an object called the Somersloop ("cool S") which allows you to double the output of a machine. Canonically this item is some kind of "loop" and the flavor text talks about how it is able to create more energy than you put into it. So when I'm out hunting for Korok seeds I have this thought that maybe I could create a loop of factories whereby it would create infinite resources by repeatedly doubling. And I'm thinking about it but the crafting tree doesn't have any notable loops in it, but I remember the "packager" which allows you to put a fluid in a container or the converse, and I'm like: Yes, that's great! So I get back to base and I am doing this, just for fun to create an infinite fuel factory or whatever, and I realize that the packager just doesn't have a slot for a Somersloop. They must just hate fun, elegant twists. It would not break the game to allow this (you can always get infinite resources lots of other ways) or cause any other problem I can think of. Hmph!

The thing about constructing a factory and watching it churn is that it's basically the same thing as a programming project that you invented for yourself, and it's probably better to do the programming project. Here's progress on my mysterious rectangle:

Minusweeper 2

It's good progress if I do say so myself! Anything but black here is a Satisfactory result, which is 90.55% of them at this point. I may need heavy machinery for the remaining 9.45%, but that is part of the fun.

I think that's really it for this month! Please vote in the US Elections if you can (but I guess also vote in any important elections. And obviously, vote for the good guys???). And happy Halloween!

I'm just back from a twelve day trip up to Chicago, Milwaukee, and Minneapolis-St. Paul, where I did a bit of research and visited a bunch of schools and children's indie bookstores.

The trip started inauspiciously, when my flight was canceled because the wind blew the plane onto a belt conveyor.

Eventually, I made it to Chicago, though, where the weather looked like this:
Still, I had arrived ahead of time so I could go down to the Museum of Science and Industry, which has a World War II German u-boat and a chicken incubator.
Next two days were the actual school visits, arranged at Henry Puffer Elementary  and Liberty Elementary by Anderson's Book Shop and at Attea Glenview School and Rondout School by The Book Stall.  Afterwards, I got to hang out with Robert from The Book Stall and stopped by for a couple of pics.

Posing with posters

Then I was off to Milwaukee for a school visit at Atwater Elementary arranged through the Boswell Book Company.
It was my first time I'd ever been to Milwaukee, but sadly didn't have a chance to sightsee, because it was off to Minneapolis-St. Paul for three days of school visits.

Visits at North Trail Elementary and Brimhall Elementary were through Addendum Books; those at Crestview Elementary and Little Canada Elementary were through the Red Balloon Bookshop; and at Valley View Middle School, through Wild Rumpus Books.

Snake!

I had some free time, so I went over to Addendum Books for some pics and had a fun lunch with Katherine and Marcus, the proprietors.

In front of the "Purple Rain" wall

Since I was there over the weekend, I spoke at Red Balloon for the Minnesota SCBWI about Research and the Suspension of disbelief.

I also had the chance to go run a couple times on the Mississippi Riverfront trail and visit the Science Museum of Minnesota.

T.rex!

Triceratops

Stegosaurus!

After Monday's school visit I had a fun lunch with Drew and Jordan of Wild Rumpus Books at Pizzeria Lola (a separate Pizza-a-Day Diet post will be forthcoming).  Then I visited the bookstore, where I met the menagerie.

Copper oven and decorative birch logs

Chicken!

Ferret!

Then I was back to Chicago and spent a day at the Field Museum of Natural History and showed Madeline Smoot of CBAY Books a bit of the city!


Many thanks to all the librarians and booksellers and Blue Slip Media and everyone else who made this happen.  Thanks also to Quinette Cook and all the folks from MN SCBWI who came out for the workshop.  It was great fun meeting you!

For information on how to book me for school visits for the 2016-2017 school year, contact Carmen Oliver at The Booking Biz.

It's the eve of the Texas Book Festival so make sure you check out the festivities on the Capitol grounds! And here's a tentative list of projects from Austin authors and illustrators releasing next year! For previous years, go here.

Picture Books, Easy Readers, and Board Books

WHAT DO YOU DO WITH A VOICE LIKE THAT? by Chris Barton, ill. by Ekua Holmes (Simon & Schuster/Beach Lane 2018).

MIGHTY TRUCK: ON THE FARM, by Chris Barton, ill. by Troy Cummings (HarperCollins, May 2018).

PENGUIN AND TINY SHRIMP DON'T DO BEDTIME, by Cate Berry, ill. by Charles Santoso (Balzer + Bray/HarperCollins 2018).

ABRAHAM LINCOLN'S DUELING WORDS, by Donna Janell Bowman, ill. by S.D. Schindler (Peachtree, 2018)

THE BOOK THAT JAKE BORROWED, by Susan Kralovansky (Pelican 2018).

COUNTING COLORS IN TEXAS, by Susan Kralovansky (Pelican 2018).

KATE, WHO TAMED THE WIND, by Liz Garton Scanlon, ill. by Lee White (Schwartz & Wade, Spring 2018).

FRANCES IN THE COUNTRY, by Liz Garton Scanlon, ill. by Sean Qualls (Neal Porter Books/Roaring Brook Press, Summer 2018).

DEAR SUBSTITUTE, by Liz Garton Scanlon, ill. by Chris Raschka (Disney-Hyperion, Summer 2018).

STALEBREAD CHARLIE AND THE RAZZY, DAZZY SPASM BAND,  by Michael Mahin, ill. by Don Tate (Houghton Mifflin Harcourt, 2018).

PAR-TAY: DANCE OF THE VEGGIES (AND THEIR FRIENDS), by Eloise Greenfield, ill. by Don Tate (Alazar Press 2018).

POTATO KING: THE STORY OF JUNIUS G. GROVES, by Don Tate (Knopf 2018).
 

Middle Grade

THE BOY, THE BOAT, AND THE BEAST, by Samantha Clark (Paula Wiseman Books/Simon & Schuster, Summer 2018).

KNOCKOUT, by K.A. Holt (Chronicle, Spring 2018).

DEAR ME (tent. title), by K.A. Holt (Scholastic, Summer 2018).

THE PARKER INHERITANCE, by Varian Johnson (Scholastic, Spring 2018).

THE CAMELOT CODE: THE ONCE AND FUTURE GEEK, by Mari Mancusi (Disney-Hyperion, Oct. 2018).

GIRLS WHO CODE: LIGHTS, MUSIC, CODE, by Jo Whittemore (Penguin Workshop, Spring 2018).

REVENGE OF THE TEACHER'S PETS, by Jennifer Ziegler (Scholastic, June 2018).

Young Adult

HEARTS UNBROKEN, by Cynthia Leitich Smith (Candlewick Press, 2018).

AVENGED, by Amy Tintera (HarperTeen, May 2018).

With all the advances in private space exploration, why do taxpayers still pay for space science missions?

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I am always happiest when a story of mine comes into print. Today, I have the joy of introducing you to "Unquiet Graves," a seasonal tale of graveyard misbehavior and betrayal. Oh, and there's nothing supernatural about it at all.

You can read the story here. But if you're like me, you'll just go to Clarkesworld, look over the table of contents, and decide which story you want to read first. Mine by preference, but follow your whim.

 

And for those who like trivia . . .

I came up with the handheld's app many long years ago and it took forever to come up with a story for it. You'll notice that it is left unnamed in the story. That's because its secret name was "The Graveyard Reader." Which is the title of a well-known story by Theodore Sturgeon.  While I was writing the story, I thought of it as "The New Graveyard Reader." But Sturgeon's story and mine go off in totally different directions, and giving mine (or even the app) a title suggesting there was some implicit connection between the two would only cause confusion.

The title I finally came up with was derived from "The Unquiet Grave" by that most prolific of all poets, Anonymous. If you look it up, I suggest you do so after reading my story. It gives away some of the plot.

*

 

1. Chennai doctor stabbed by assilants posing as patients  The Times of India
2. Chennai Doctor Stabbed 7 Times By Son Of Woman Who Had Cancer  NDTV
3. Doctor stabbed by patient’s attendant at Kalaignar Centenary Super Speciality Hospital in Chennai  The Hindu
4. Patient's son stabs doctor 7 times in Chennai hospital, arrested  India Today
5. Doctor stabbed multiple times in Tamil Nadu government hospital by patient’s relative  Deccan Herald

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