O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:138:"Jason Derulo is Being Honored at the 6th Annual Charmaine Blake Red Carpet Oscar Viewing Dinner to Benefit the Faber Ryan Youth Foundation";s:4:"link";s:182:"https://bestmovies.movs.world/movie-actors/jason-derulo-is-being-honored-at-the-6th-annual-charmaine-blake-red-carpet-oscar-viewing-dinner-to-benefit-the-faber-ryan-youth-foundation/";s:2:"dc";a:1:{s:7:"creator";s:10:"Lance Kind";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 00:45:42 +0000";s:8:"category";s:111:"Movie Actors6thAnnualBenefitBlakeCarpetCharmaineDeruloDinnerFaberFoundationHonoredJasonOscarRedRyanViewingYouth";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118725";s:11:"description";s:874:"HOLLYWOOD, Calif., March 22, 2022 /PRNewswire/ — The Charmaine Blake Red Carpet Oscar Viewing Dinner will take place on Oscar Night, Sunday, March 27th, 2022. The event is an elegant black-tie affair that is surely not to be missed, and will be attended by several Hollywood luminaries who have graced the silver screen and enhanced ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5317:"
HOLLYWOOD, Calif., March 22, 2022 /PRNewswire/ — The Charmaine Blake Red Carpet Oscar Viewing Dinner will take place on Oscar Night, Sunday, March 27th, 2022. The event is an elegant black-tie affair that is surely not to be missed, and will be attended by several Hollywood luminaries who have graced the silver screen and enhanced the artistic excellence of film history with their presence.
We are delighted to have this event at the luxurious ballroom of Beverly Hills restaurant Spice Affair; it will be the prestige of elegance and flair. The event will be decked out in such élan that the attendees will feel as if they are at the Academy Awards. Furthermore, we are thrilled to have supremely gifted television stars, past and present Oscar winners and nominees, along with exclusive members of the media – altogether to celebrate the Academy Awards.
This black-tie affair will be replete with an elegant dinner, cocktails, and dessert.
Additionally, our red carpet viewing auction will be absolutely spectacular this year. The auction is centered around a gift basket that was created for the late Chadwick Boseman, just 2 weeks before he passed away. Other auctioned items include a piece by Pablo Picasso, a Norman Rockwell painting, and a Magic Johnson portrait.
There will be live entertainment, and attendees will receive amazing giftbags along with an NFT giveaway from crypto-giants, the HUSL.
EXPECTED CELEBRITIES:
Jason Derulo (Singer-Songwriter & Humanitarian), Natalie Burn (Ukrainian-American Actress, Black Adam), Anthony Anderson (Blackish), Donnell Rawlings (Chappelle’s Show), Layla Crawford (King Richard), Barton Fitzpatrick (Power Book IV: Force), Wayne Brady (Let’s Make a Deal), Daniele Lawson (King Richard), Gus Edwards (NFL Running Back for the Baltimore Ravens), Terrence Howard (Triumph), Mario Van Peebles (Director), Eric Benét (Singer-Songwriter & Star of Legend), Simeon Othello Daise (All American), Esai Morales (Mission Impossible), Kate Linder (The Young & the Restless), Jessica Wang (5.2 Million TikTok /1.7 Million IG Influencer), Cheryl Boone Isaacs & Many Others…
This year, the Charmaine Blake Red Carpet Oscar Viewing Dinner is absolutely thrilled to bring awareness to ‘The Faber Ryan Youth Foundation’.
ABOUT THE FABER RYAN YOUTH FOUNDATION: “Our mission is grounded in our commitment to impact the lives of youth. Regardless of race, gender, socioeconomic status, faith or politics. The goal will always be the same-to help them become independent, resilient, mentally tough critical thinkers. Through carefully curated mentorships, programs, and experience. With a focus on the entertainment industry. The Faber Ryan Youth Foundation partners with well-established, reputable non-profits in the greater Los Angeles area, to give urban youth support and guidance needed to succeed in their chosen careers and in life.” – Dr. Faber
Press Check-In: 2:00 PM Arrivals: 3:00 PM Location: The Luxurious Ballroom of Beverly Hill’s Restaurant ‘Spice Affair’ 50 N La Cienega Blvd, Beverly Hills, CA 90211 Contact:[email protected] Charmaine Blake PR Firm
***This event requires proof of vaccination***
SOURCE Charmaine PR Firm
We would like to give thanks to the writer of this short article for this awesome material
";}s:7:"summary";s:874:"HOLLYWOOD, Calif., March 22, 2022 /PRNewswire/ — The Charmaine Blake Red Carpet Oscar Viewing Dinner will take place on Oscar Night, Sunday, March 27th, 2022. The event is an elegant black-tie affair that is surely not to be missed, and will be attended by several Hollywood luminaries who have graced the silver screen and enhanced ... Read more";s:12:"atom_content";s:5317:"
HOLLYWOOD, Calif., March 22, 2022 /PRNewswire/ — The Charmaine Blake Red Carpet Oscar Viewing Dinner will take place on Oscar Night, Sunday, March 27th, 2022. The event is an elegant black-tie affair that is surely not to be missed, and will be attended by several Hollywood luminaries who have graced the silver screen and enhanced the artistic excellence of film history with their presence.
We are delighted to have this event at the luxurious ballroom of Beverly Hills restaurant Spice Affair; it will be the prestige of elegance and flair. The event will be decked out in such élan that the attendees will feel as if they are at the Academy Awards. Furthermore, we are thrilled to have supremely gifted television stars, past and present Oscar winners and nominees, along with exclusive members of the media – altogether to celebrate the Academy Awards.
This black-tie affair will be replete with an elegant dinner, cocktails, and dessert.
Additionally, our red carpet viewing auction will be absolutely spectacular this year. The auction is centered around a gift basket that was created for the late Chadwick Boseman, just 2 weeks before he passed away. Other auctioned items include a piece by Pablo Picasso, a Norman Rockwell painting, and a Magic Johnson portrait.
There will be live entertainment, and attendees will receive amazing giftbags along with an NFT giveaway from crypto-giants, the HUSL.
EXPECTED CELEBRITIES:
Jason Derulo (Singer-Songwriter & Humanitarian), Natalie Burn (Ukrainian-American Actress, Black Adam), Anthony Anderson (Blackish), Donnell Rawlings (Chappelle’s Show), Layla Crawford (King Richard), Barton Fitzpatrick (Power Book IV: Force), Wayne Brady (Let’s Make a Deal), Daniele Lawson (King Richard), Gus Edwards (NFL Running Back for the Baltimore Ravens), Terrence Howard (Triumph), Mario Van Peebles (Director), Eric Benét (Singer-Songwriter & Star of Legend), Simeon Othello Daise (All American), Esai Morales (Mission Impossible), Kate Linder (The Young & the Restless), Jessica Wang (5.2 Million TikTok /1.7 Million IG Influencer), Cheryl Boone Isaacs & Many Others…
This year, the Charmaine Blake Red Carpet Oscar Viewing Dinner is absolutely thrilled to bring awareness to ‘The Faber Ryan Youth Foundation’.
ABOUT THE FABER RYAN YOUTH FOUNDATION: “Our mission is grounded in our commitment to impact the lives of youth. Regardless of race, gender, socioeconomic status, faith or politics. The goal will always be the same-to help them become independent, resilient, mentally tough critical thinkers. Through carefully curated mentorships, programs, and experience. With a focus on the entertainment industry. The Faber Ryan Youth Foundation partners with well-established, reputable non-profits in the greater Los Angeles area, to give urban youth support and guidance needed to succeed in their chosen careers and in life.” – Dr. Faber
Press Check-In: 2:00 PM Arrivals: 3:00 PM Location: The Luxurious Ballroom of Beverly Hill’s Restaurant ‘Spice Affair’ 50 N La Cienega Blvd, Beverly Hills, CA 90211 Contact:[email protected] Charmaine Blake PR Firm
***This event requires proof of vaccination***
SOURCE Charmaine PR Firm
We would like to give thanks to the writer of this short article for this awesome material
";s:14:"date_timestamp";i:1651106742;}i:1;a:11:{s:5:"title";s:100:"Shia LaBeouf ditches his bushy beard while stepping out for a stroll with Mia Goth and their newborn";s:4:"link";s:144:"https://bestmovies.movs.world/movie-actors/shia-labeouf-ditches-his-bushy-beard-while-stepping-out-for-a-stroll-with-mia-goth-and-their-newborn/";s:2:"dc";a:1:{s:7:"creator";s:15:"Pauline Moonlky";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 00:45:16 +0000";s:8:"category";s:68:"Movie ActorsbeardbushyDitchesGothLaBeoufMianewbornShiasteppingStroll";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118719";s:11:"description";s:778:"Shia LaBeouf has officially ditched the bushy beard he has been sporting the past few months for a clean-shaven style, just weeks after becoming a dad. While enjoying a leisurely stroll with his partner Mia Goth, 28, the 35-year-old Emmy winner wore a white ‘Milk Gang’ t-shirt, black Nike shorts and a large hat to protect himself from the ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11275:"
Shia LaBeouf has officially ditched the bushy beard he has been sporting the past few months for a clean-shaven style, just weeks after becoming a dad.
While enjoying a leisurely stroll with his partner Mia Goth, 28, the 35-year-old Emmy winner wore a white ‘Milk Gang’ t-shirt, black Nike shorts and a large hat to protect himself from the sun on Tuesday afternoon.
As he pushed his newborn, whose name and gender has not been publicly revealed, in a stroller, the Honey Boy and other half stared lovingly at their little one.
New look: Shia LaBeouf has officially ditched the bushy beard he’s been sporting the past few months for a clean-shaven style, just weeks after becoming a dad
For their laid-back outing, Goth wore a white short sleeve top and black pants, which hugged every inch of her toned post-postpartum body.
The new mother completed her look with a pair of brown sunglasses, white sneakers and her blonde hair in a sleek, bun.
The two looked happy as they walked side-by-side and took turns pushing their baby’s black stroller through their Pasadena neighborhood.
Doting dad: While enjoying a leisurely stroll with his partner Mia Goth, 28, the 35-year-old Emmy winner wore a white ‘Milk Gang’ t-shirt, black Nike shorts and a large hat to protect himself from the sun
Very different: Over the years, LaBeouf has been rocking a bushy beard (seen in 2019)
As they walked around, LaBeouf could be seen grinning from ear-to-ear as they enjoyed the fresh air.
Sometime in March, the Even Stevens actor recently became a first-time father, after his on-again-off-again partner gave birth to their first child.
Shia and Mia have opted to keep her pregnancy low key, and neither announced the recent birth.
Smiling: As he pushed his newborn, whose name and gender has not been publicly revealed, in a stroller, the Honey Boy and other half stared lovingly at their little one
Looking good! For their laid-back outing, Goth wore a withe short sleeve top and black pants, which hugged every inch of her toned post-postpartum body
The High Life actress was spotted late in March without the baby bump she has sported in recent months, and she was spotted just a day later with the baby, confirming that she had given birth.
The couple also haven’t announced an engagement, but they have been rumored to be engaged after Mia was photographed in late December sporting what appeared to be a ring on her left ring finger, and she was seen again earlier in January where what appeared to be the same sparkler.
The couple originally met after they appeared together in Lars Von Trier’s controversial and sexually explicit two-part film Nymphomaniac in 2012.
First-time parents: The new mother completed her look wtih a pair of brown sunglasses, white sneakers and her blonde hair in a sleek, bun
Fresh air: The two looked happy as they walked side-by-side and took turns pushing their baby’s black stroller through their Pasadena neighborhood
They were seen having a dramatic argument in Germany in 2015 during which Shia was caught on a video obtained by ET saying, ‘If I’d have stayed there, I would have killed her.’
But the following year the two appeared to have been married by an Elvis impersonator in Las Vegas.
The union was short-lived, though, and LaBeouf filed for divorce in 2018, but it’s unclear if the marriage was ever fully dissolved, or if it was even legal to begin with.
Strolling: As they walked around, LaBeouf could be seen grinning from ear-to-ear as they enjoyed the fresh air
Navigating parenthood: Sometime in March, the Even Stevens actor recently became a first-time father, after his on-again-off-again partner gave birth to their first child
We wish to give thanks to the author of this short article for this remarkable content
";}s:7:"summary";s:778:"Shia LaBeouf has officially ditched the bushy beard he has been sporting the past few months for a clean-shaven style, just weeks after becoming a dad. While enjoying a leisurely stroll with his partner Mia Goth, 28, the 35-year-old Emmy winner wore a white ‘Milk Gang’ t-shirt, black Nike shorts and a large hat to protect himself from the ... Read more";s:12:"atom_content";s:11275:"
Shia LaBeouf has officially ditched the bushy beard he has been sporting the past few months for a clean-shaven style, just weeks after becoming a dad.
While enjoying a leisurely stroll with his partner Mia Goth, 28, the 35-year-old Emmy winner wore a white ‘Milk Gang’ t-shirt, black Nike shorts and a large hat to protect himself from the sun on Tuesday afternoon.
As he pushed his newborn, whose name and gender has not been publicly revealed, in a stroller, the Honey Boy and other half stared lovingly at their little one.
New look: Shia LaBeouf has officially ditched the bushy beard he’s been sporting the past few months for a clean-shaven style, just weeks after becoming a dad
For their laid-back outing, Goth wore a white short sleeve top and black pants, which hugged every inch of her toned post-postpartum body.
The new mother completed her look with a pair of brown sunglasses, white sneakers and her blonde hair in a sleek, bun.
The two looked happy as they walked side-by-side and took turns pushing their baby’s black stroller through their Pasadena neighborhood.
Doting dad: While enjoying a leisurely stroll with his partner Mia Goth, 28, the 35-year-old Emmy winner wore a white ‘Milk Gang’ t-shirt, black Nike shorts and a large hat to protect himself from the sun
Very different: Over the years, LaBeouf has been rocking a bushy beard (seen in 2019)
As they walked around, LaBeouf could be seen grinning from ear-to-ear as they enjoyed the fresh air.
Sometime in March, the Even Stevens actor recently became a first-time father, after his on-again-off-again partner gave birth to their first child.
Shia and Mia have opted to keep her pregnancy low key, and neither announced the recent birth.
Smiling: As he pushed his newborn, whose name and gender has not been publicly revealed, in a stroller, the Honey Boy and other half stared lovingly at their little one
Looking good! For their laid-back outing, Goth wore a withe short sleeve top and black pants, which hugged every inch of her toned post-postpartum body
The High Life actress was spotted late in March without the baby bump she has sported in recent months, and she was spotted just a day later with the baby, confirming that she had given birth.
The couple also haven’t announced an engagement, but they have been rumored to be engaged after Mia was photographed in late December sporting what appeared to be a ring on her left ring finger, and she was seen again earlier in January where what appeared to be the same sparkler.
The couple originally met after they appeared together in Lars Von Trier’s controversial and sexually explicit two-part film Nymphomaniac in 2012.
First-time parents: The new mother completed her look wtih a pair of brown sunglasses, white sneakers and her blonde hair in a sleek, bun
Fresh air: The two looked happy as they walked side-by-side and took turns pushing their baby’s black stroller through their Pasadena neighborhood
They were seen having a dramatic argument in Germany in 2015 during which Shia was caught on a video obtained by ET saying, ‘If I’d have stayed there, I would have killed her.’
But the following year the two appeared to have been married by an Elvis impersonator in Las Vegas.
The union was short-lived, though, and LaBeouf filed for divorce in 2018, but it’s unclear if the marriage was ever fully dissolved, or if it was even legal to begin with.
Strolling: As they walked around, LaBeouf could be seen grinning from ear-to-ear as they enjoyed the fresh air
Navigating parenthood: Sometime in March, the Even Stevens actor recently became a first-time father, after his on-again-off-again partner gave birth to their first child
We wish to give thanks to the author of this short article for this remarkable content
";s:14:"date_timestamp";i:1651106716;}i:2;a:11:{s:5:"title";s:96:"Study shows creativity assessments progressing slowly, including racialized, gendered approaches";s:4:"link";s:142:"https://bestmovies.movs.world/healthandscience/study-shows-creativity-assessments-progressing-slowly-including-racialized-gendered-approaches/";s:2:"dc";a:1:{s:7:"creator";s:12:"Tony Grantly";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 00:39:31 +0000";s:8:"category";s:98:"Health And ScienceapproachesassessmentscreativityGenderedIncludingprogressingracializedslowlystudy";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118714";s:11:"description";s:790:"Journal Reference: Haiying Long, Barbara A. Kerr, Trina E. Emler, Max Birdnow. A Critical Review of Assessments of Creativity in Education. Review of Research in Education, 2022; 46 (1): 288 DOI: 10.3102/0091732X221084326 KU researchers analyzed studies published in eight major creativity, psychological and educational journals between 2010 and 2021 to get a better picture of ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7402:"
Journal Reference:
Haiying Long, Barbara A. Kerr, Trina E. Emler, Max Birdnow. A Critical Review of Assessments of Creativity in Education. Review of Research in Education, 2022; 46 (1): 288 DOI: 10.3102/0091732X221084326
KU researchers analyzed studies published in eight major creativity, psychological and educational journals between 2010 and 2021 to get a better picture of the state of creativity assessments. The results showed that creativity continues to be primarily assessed by divergent thinking or creativity tests, self-report questionnaires, product-based subjective techniques and rating scales. That lack of innovation in assessments shows a refined approach is needed to build creative profiles of students, better understand how creativity develops through the span of education and encourage it in multiple domains of schooling, according to the researchers.
“There are a lot of conversations about how much improvement that creativity research in education needs. We want to promote creativity with schools and students through assessments that can be applied in classrooms. We also want to reform the current high-stakes, narrowly focused standardized tests in education — maybe by using creativity assessments as an alternative,” said Haiying Long, associate professor of educational psychology and lead author of the study. “But before we are able to achieve these purposes, we want to have a better idea of the state of creativity assessments in education over the last decade and understand what has been done and what needs to be done.”
The study, written with co-authors Barbara Kerr, Williamson Family Distinguished Professor of Counseling Psychology, and Trina Emler and Max Birdnow, doctoral students in educational leadership and policy studies, all at KU, was published in the journal Review of Research in Education.
The analysis also showed that research on assessments in creativity tends to be evenly split between educational and psychological assessments. Those in education tend to focus on college more than K-12 education, while the psychological studies depend overwhelmingly on psychology undergraduates as research subjects. That is potentially problematic, the authors wrote, as those students overwhelmingly tend to be white and female, meaning they do not present a broader picture on how the assessments interact with diverse populations.
The studies are also increasingly international. That trend is encouraging, but the United States continues to lead the field. Because of that, students in many countries receive no creative assessments, while others take assessments developed in the U.S. that often do not directly translate to other languages and cultures, Long said.
Creativity assessments fall into three major approaches, the most common of which is creative or divergent thinking tests. While the tests have shown to be reliable and valid in assessing students’ divergent thinking ability, they often are not tested for all potential domains and tend to focus only on intelligence or focused primarily on one aspect such as cognitive, emotional or conative aspects of creativity, according to the researchers. That problem existed to varying degrees across self-report questionnaires and product-based assessments as well. The analysis found that there are new approaches to assessing creativity appearing, but most research continues to focus on the dominant approaches of the last several decades.
“All of these approaches have been used in the field for a long time,” Long said. “There are new tests or scales focusing on other aspects of creativity, such as creative potential, creative self-efficacy, creativity in different domains, but the review shows just how much the field is not changing. If you don’t want to change the field, it is hard to improve it.”
Perhaps most troubling, the studies on creativity assessment are primarily conducted with white students in the United States and often lack information on racial or ethnic compositions of students in international studies. That prevents further understanding of who is and is not assessed and whether there are any equity issues, the authors wrote. Also, the effect of gender socialization on creativity of girls in K-12 education has rarely been addressed, and issues of privilege and socioeconomic inequities — such as which students at underprivileged schools are assessed — are rarely explored.
The authors close the study with several recommendations to address the shortcomings of creativity assessments in education. Ideally, all students would be screened for cognitive, personality and motivational characteristics by kindergarten to establish baselines for creative approaches with reassessments at key stages. Using multiple approaches to identify and encourage students to use creativity across domains and use of assessments outside the traditionally dominant approaches would better serve students as well, they wrote. However, the researchers acknowledge challenges in the way of that goal, including better translating research from the lab to teachers who need assessments in classrooms. To address that, the authors also called for a close collaboration between creativity researchers and educators in schools by using a service model and providing teachers with more professional development on creativity.
Long praised her colleagues in KU’s creativity research group, including her co-authors as well as notable KU scholars Yong Zhao and Neal Kingston, who are working on innovative ways to assess creativity and ask deeper questions about who is assessed for creative potential, how creativity assessments can reform educational assessment more broadly, improve students’ creative educational experience and contribute to an equitable and democratizing education.
“We want to fill the gap between research and practice with better ways to identify creative students. When students are selected for gifted and talented programs, it is widely based on intelligence and seldom on creativity tests,” Long said. “If you don’t think a student has high intelligence ability, they won’t be selected for the programs. In school districts, that creativity assessment is used to identify gifted and talented students. It is considered simply a side effect of intelligence. At the same time, we do see promise for creativity assessments in addressing these questions. They can provide more equitable information than they currently do, and we want to push the field forward and do better.”
We wish to say thanks to the writer of this post for this outstanding content
";}s:7:"summary";s:790:"Journal Reference: Haiying Long, Barbara A. Kerr, Trina E. Emler, Max Birdnow. A Critical Review of Assessments of Creativity in Education. Review of Research in Education, 2022; 46 (1): 288 DOI: 10.3102/0091732X221084326 KU researchers analyzed studies published in eight major creativity, psychological and educational journals between 2010 and 2021 to get a better picture of ... Read more";s:12:"atom_content";s:7402:"
Journal Reference:
Haiying Long, Barbara A. Kerr, Trina E. Emler, Max Birdnow. A Critical Review of Assessments of Creativity in Education. Review of Research in Education, 2022; 46 (1): 288 DOI: 10.3102/0091732X221084326
KU researchers analyzed studies published in eight major creativity, psychological and educational journals between 2010 and 2021 to get a better picture of the state of creativity assessments. The results showed that creativity continues to be primarily assessed by divergent thinking or creativity tests, self-report questionnaires, product-based subjective techniques and rating scales. That lack of innovation in assessments shows a refined approach is needed to build creative profiles of students, better understand how creativity develops through the span of education and encourage it in multiple domains of schooling, according to the researchers.
“There are a lot of conversations about how much improvement that creativity research in education needs. We want to promote creativity with schools and students through assessments that can be applied in classrooms. We also want to reform the current high-stakes, narrowly focused standardized tests in education — maybe by using creativity assessments as an alternative,” said Haiying Long, associate professor of educational psychology and lead author of the study. “But before we are able to achieve these purposes, we want to have a better idea of the state of creativity assessments in education over the last decade and understand what has been done and what needs to be done.”
The study, written with co-authors Barbara Kerr, Williamson Family Distinguished Professor of Counseling Psychology, and Trina Emler and Max Birdnow, doctoral students in educational leadership and policy studies, all at KU, was published in the journal Review of Research in Education.
The analysis also showed that research on assessments in creativity tends to be evenly split between educational and psychological assessments. Those in education tend to focus on college more than K-12 education, while the psychological studies depend overwhelmingly on psychology undergraduates as research subjects. That is potentially problematic, the authors wrote, as those students overwhelmingly tend to be white and female, meaning they do not present a broader picture on how the assessments interact with diverse populations.
The studies are also increasingly international. That trend is encouraging, but the United States continues to lead the field. Because of that, students in many countries receive no creative assessments, while others take assessments developed in the U.S. that often do not directly translate to other languages and cultures, Long said.
Creativity assessments fall into three major approaches, the most common of which is creative or divergent thinking tests. While the tests have shown to be reliable and valid in assessing students’ divergent thinking ability, they often are not tested for all potential domains and tend to focus only on intelligence or focused primarily on one aspect such as cognitive, emotional or conative aspects of creativity, according to the researchers. That problem existed to varying degrees across self-report questionnaires and product-based assessments as well. The analysis found that there are new approaches to assessing creativity appearing, but most research continues to focus on the dominant approaches of the last several decades.
“All of these approaches have been used in the field for a long time,” Long said. “There are new tests or scales focusing on other aspects of creativity, such as creative potential, creative self-efficacy, creativity in different domains, but the review shows just how much the field is not changing. If you don’t want to change the field, it is hard to improve it.”
Perhaps most troubling, the studies on creativity assessment are primarily conducted with white students in the United States and often lack information on racial or ethnic compositions of students in international studies. That prevents further understanding of who is and is not assessed and whether there are any equity issues, the authors wrote. Also, the effect of gender socialization on creativity of girls in K-12 education has rarely been addressed, and issues of privilege and socioeconomic inequities — such as which students at underprivileged schools are assessed — are rarely explored.
The authors close the study with several recommendations to address the shortcomings of creativity assessments in education. Ideally, all students would be screened for cognitive, personality and motivational characteristics by kindergarten to establish baselines for creative approaches with reassessments at key stages. Using multiple approaches to identify and encourage students to use creativity across domains and use of assessments outside the traditionally dominant approaches would better serve students as well, they wrote. However, the researchers acknowledge challenges in the way of that goal, including better translating research from the lab to teachers who need assessments in classrooms. To address that, the authors also called for a close collaboration between creativity researchers and educators in schools by using a service model and providing teachers with more professional development on creativity.
Long praised her colleagues in KU’s creativity research group, including her co-authors as well as notable KU scholars Yong Zhao and Neal Kingston, who are working on innovative ways to assess creativity and ask deeper questions about who is assessed for creative potential, how creativity assessments can reform educational assessment more broadly, improve students’ creative educational experience and contribute to an equitable and democratizing education.
“We want to fill the gap between research and practice with better ways to identify creative students. When students are selected for gifted and talented programs, it is widely based on intelligence and seldom on creativity tests,” Long said. “If you don’t think a student has high intelligence ability, they won’t be selected for the programs. In school districts, that creativity assessment is used to identify gifted and talented students. It is considered simply a side effect of intelligence. At the same time, we do see promise for creativity assessments in addressing these questions. They can provide more equitable information than they currently do, and we want to push the field forward and do better.”
We wish to say thanks to the writer of this post for this outstanding content
";s:14:"date_timestamp";i:1651106371;}i:3;a:11:{s:5:"title";s:73:"Tye Sheridan on Quibi’s Wireless and Paul Schrader’s The Card Counter";s:4:"link";s:111:"https://bestmovies.movs.world/movie-actors/tye-sheridan-on-quibis-wireless-and-paul-schraders-the-card-counter/";s:2:"dc";a:1:{s:7:"creator";s:10:"Tom Pauler";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 00:37:12 +0000";s:8:"category";s:61:"Movie ActorscardCounterPaulQuibisSchradersSheridanTyewireless";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118708";s:11:"description";s:725:"[Editor’s note: The following contains some spoilers for Wireless.] Tye Sheridan takes a step into new territory with the Quibi survival thriller Wireless, which comes from the minds of creators and writers Zach Wechter and Jack Seidman, with Steven Soderbergh executive producing. Sheridan plays Andy Braddock, a 20-something college kid who finds himself stranded in ... Read more";s:7:"content";a:1:{s:7:"encoded";s:26829:"
[Editor’s note: The following contains some spoilers for Wireless.]
Tye Sheridan takes a step into new territory with the Quibi survival thriller Wireless, which comes from the minds of creators and writers Zach Wechter and Jack Seidman, with StevenSoderbergh executive producing. Sheridan plays Andy Braddock, a 20-something college kid who finds himself stranded in the Colorado wilderness after crashing his car while driving to a New Year’s Eve party. Luckily, Andy’s phone is at full power and is becomes his key to surviving a harrowing night complete with freezing temperatures and howling winds. But as Andy tries to survive, nature isn’t the only force to be reckoned with as the ghosts he’s trying to outrun in his personal life come back to haunt him while trying to seek help from his best friend (LukasGage), his ex-girlfriend (FrancescaReale), and his mom (Andie MacDowell). In an intriguing twist, Wireless not only shows us the survival thriller drama going on around Andy but takes us into his phone, allowing us to watch actual FaceTime calls, text messages, and scroll trips through Instagram and learn more about Andy.
COLLIDER VIDEO OF THE DAY
Just one week after Wireless premiered on Quibi, Sheridan hopped on a call with Collider to discuss this intense survival thriller. Over the course of our chat, Sheridan opened up about the technical process of making a show where your social media life is just as dramatic as surviving a blizzard, making Wireless in just 19 (yes, 19!) days, how he got Andie MacDowell on board to play his mom, and much more.
COLLIDER: I’m really curious to know what it was about Wireless that made you want to sign on. You’ve been in projects in similarly big projects before, but what was it about this one that made you want to sign on?
Image via Quibi
TYE SHERIDAN: I think it was mostly the getting an opportunity to work on something that was the first and it’s kind. I think this format was super interesting, and I was interested to see if it would work — and I really believed in it. I think after seeing Zach Wechter and Mishka Kornai’s short film, Pocket, that they made, that takes place all vertically on the phone. It’s a year in the life of a 15-year-old kid from the perspective of his phone. It’s was really, really intriguing. I think that we all have such a personal relationship with our phones, they’re a big part of our lives, and they should be settings for stories that we’re telling. I think that it was just that realization. Realizing how prominent smartphones are in our lives, what role they play. I think this really spoke to that.
And so, there were a couple of things. I think it was one, working with that director, exploring this new format, exploring telling a story through the setting of a 22-year-old’s iPhone or a 21-year-old’s iPhone, and then working on a Quibi project. I thought it was all new and exciting.
To drill down a little further on making this Quibi show and the filming process: What was that filming process like? For example, were there discussions about filming things that would appear in vertical or horizontal, and how to go about that?
SHERIDAN: Well, I will say to the filming process, if I could sum it up in one word, it would be “challenging.” We had 19 days to do this project, and it was like shooting two films at one time because there are a lot of times where you’re shooting on a cinema camera — when you see the iPhone on screen — but we had to use a rig. It was called the “tri-phone rig.” It had a forward-facing camera, a rear-facing camera, and then an interactive phone on top. So it was like a three phone sandwich, this big brick that we were capturing all the vertical content. So, we had to separate those two occasionally because you would see the iPhone onscreen in the cinema perspective. So it was basically like, sometimes you’d have to do the same scene and have to shoot it twice. It was really time-consuming.
When you have only 19 days to shoot a project, and you’re working in freezing conditions, it was pretty challenging. But hats off to Zach Wechter and the rest of the team on Wireless for making it happen. Everybody there working on the project was extremely passionate about this new format. I think that was the only way it was going to get made the way it did.
I’m also curious to know a bit more about the discussions for crafting Andy’s social media life because his phone, and what we see on his phone, is so pivotal to some of Wireless‘s emotional beats. What was it like creating Andy’s social media presence, and what kind of things you wanted to make sure made it onto his social media?
Image via Quibi
SHERIDAN: Yeah, I think the goal was for Andy to represent a lot of us. The majority of the millennial generation. Not in the sense of how it looks, or what he’s going through in his life, but definitely his relationship with his iPhone and the connection that he has to everyone through this digital interface. I think that, above all, was the most important, and what the character symbolized, and what we wanted him to stand for. But we also wanted him to feel like a relatable guy, just another guy growing up in his teenage years, [or] early 20s, in this situation and on these digital platforms.
Because each episode is happening in a small amount of time (under 10 minutes), I’m curious to know if, on your end, while filming whether it was ever a concern for your performance about getting to those big emotional cliffhangers? Or is that all just editing that we’re seeing?
SHERIDAN: I don’t think so. When I first read the script it was like reading a 95-page feature film and there weren’t any episode breaks. Then once I read a script once, Zack and Jack Seidman, the other writer, worked on creating those episode breaks. They happen really naturally.
It was kind of amazing to see because there are all of these big, traumatic moments that were perfect for the breaks. The narrative lent itself easily to these episode breaks. So I was never really wanting to be conscious of where the breaks from the episodes are, and how viewers are. There were so many questions you’re asking yourself on this project. I say, if I could sum it up in one word, it would be “challenging” because it was challenging on so many different levels.
Image via Quibi
It was challenging technologically. It was challenging for me as an actor. It was challenging for us as a crew making this series. But we had to ask questions that no one was ever asking themselves before, like, “Where should he put his phone for this section of the scene?” Because you’re thinking about the vertical perspective, or sometimes you’re thinking about where the viewers are going to be, whether they’re going to be in landscape or portrait mode in this section of the scene. So if we have to favor one perspective, whether it be vertical or horizontal, which one would it be? And so there are all of these questions that come into play and it made it super fun. It was totally new. Such a new experience.
You mentioned that it was challenging for you as an actor. Are you able to elaborate on that?
SHERIDAN: Yeah, totally. I think it was challenging because, I think at the end of the first episode — if you haven’t seen the show yet this might be a spoiler, so don’t go any further — but at the end of the first episode we find out that Andy’s drinking and driving. He’s got a lot of problems that are revealed as the show goes on, but this is one that we see pretty quickly. We find out that he’s kind of an alcoholic. So I think it was challenging in that aspect, and it was also challenging because this guy’s basically freezing to death in this vehicle. He’s stuck in a blizzard through the night, and he’s going to freeze to death in his Bronco.
Image via Quibi
We shot all the interior scenes that take place inside the Bronco at night. We shot them in L.A. on stage. And we actually froze, [well] we actually brought in a huge freezer that would blow cold air into the stage and we’d keep all the doors shut. We were shooting in Burbank, so it was 85 degrees outside, but inside on the stage it was 28 degrees Fahrenheit, and super, super cold. So every day waking up going to shoot in extreme conditions of the L.A. stage was challenging.
Andie MacDowell plays your mom on Wireless and I was curious to know if you were able to meet her before you started filming, or were able to get some face time with her.
SHERIDAN: Yeah, no, absolutely. I’ve always been a fan of her work. I think when Zack first brought her name up as an idea, I got really excited because I think that she has just this kind of innate charm to her. I think that it’s an interesting role for her because we really only know this character through Andy’s iPhone. We see her in videos from his camera roll, we see her on Andy’s social media platforms. We hear her on phone calls, and occasionally on FaceTime, but I was really curious to know if she would want to do it. I didn’t know if she would be interested in it.
So, I actually wrote Andie a letter when I knew that they were going to go out to her, and just gave her my two cents on why I thought the project was special. She was on a vacation in India, and she, almost immediately, got my note and wrote me back on an email, which is super surprising. She was happy to come on board and it [was] super exciting.
Image via Quibi
[While filming Wireless] we did all the phone calls in real-time, which was a huge advantage for us. So, Andie would be on a trailer outside of the stage, and we would be shooting inside the stage, and I would be on the phone call with her in real-time. I think, for both of us, it was key to have that because imitating that in post, and recreating that in post, especially when we know so well the dynamic of these phone calls and these exchanges, whether they be via text and whatnot. I think we had to do it that way. I think Zach Wechter was adamant about that. I’m so grateful that everybody was game to do that.
Even when there’s the FaceTime calls with Jake, Andy’s best friend in the show played by Lukas Gage, we were shooting those real-time as well. So we would screen record on the iPhone that I was holding, and he was screen recording on the iPhone that he was holding. We would be in separate locations FaceTiming each other, and doing a scene over Face Time in real-time. Then you just take the screen recording and that’s the performance. So it was so authentic. We shot through these applications from these platforms and these mediums. So we wanted to embrace the digital nature of the iPhone as much as possible.
Finally, I’m really curious about The Card Counter, which is coming up soon, and I’m just curious to know what it was like working with Paul Schrader.
SHERIDAN: It was such a joy. I really love working with him. Of course, the movie is about Oscar Isaac’s character, and I think I’m just a piece of the story, but I was so happy to work on the project and work with a living legend. He’s such an economical filmmaker. I learned so much from that guy. At first, I think it was really surprising and hard to figure it all out and get a grip on his process.
But sometimes we would just start in the middle of a scene. We’d start shooting in the middle of the scene because he knew that he wasn’t going to be using the first half of the scene at this angle, and he wanted to start in the middle of the scene. So it really keeps you on your toes for sure. And he doesn’t do a lot of takes. He gets what he wants, and if you don’t hear anything, that’s usually good. There’re some directors, I think, that they’re really communicating and come and talk to the actors after every take, so there’s a lot of dialogue. But I think with Paul, he gets what he wants and he expects you to do your job and deliver, and occasionally you might get a compliment. They’re few and far between —and I kind of appreciate that.
Wireless is now available to watch on Quibi. Get even more Quibi updates here.
Allie Gemmill is the Weekend Contributing Editor for Collider. You can follow them on Twitter @_matineeidle.
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Allie Gemmill (1525 Articles Published)
Allie Gemmill is the Lead News Editor at Collider. Previous bylines can be found at Bustle, Teen Vogue, Inverse, ScreenRant, SheKnows, VICE, and Atom Tickets.
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We would like to give thanks to the writer of this write-up for this remarkable web content
";}s:7:"summary";s:725:"[Editor’s note: The following contains some spoilers for Wireless.] Tye Sheridan takes a step into new territory with the Quibi survival thriller Wireless, which comes from the minds of creators and writers Zach Wechter and Jack Seidman, with Steven Soderbergh executive producing. Sheridan plays Andy Braddock, a 20-something college kid who finds himself stranded in ... Read more";s:12:"atom_content";s:26829:"
[Editor’s note: The following contains some spoilers for Wireless.]
Tye Sheridan takes a step into new territory with the Quibi survival thriller Wireless, which comes from the minds of creators and writers Zach Wechter and Jack Seidman, with StevenSoderbergh executive producing. Sheridan plays Andy Braddock, a 20-something college kid who finds himself stranded in the Colorado wilderness after crashing his car while driving to a New Year’s Eve party. Luckily, Andy’s phone is at full power and is becomes his key to surviving a harrowing night complete with freezing temperatures and howling winds. But as Andy tries to survive, nature isn’t the only force to be reckoned with as the ghosts he’s trying to outrun in his personal life come back to haunt him while trying to seek help from his best friend (LukasGage), his ex-girlfriend (FrancescaReale), and his mom (Andie MacDowell). In an intriguing twist, Wireless not only shows us the survival thriller drama going on around Andy but takes us into his phone, allowing us to watch actual FaceTime calls, text messages, and scroll trips through Instagram and learn more about Andy.
COLLIDER VIDEO OF THE DAY
Just one week after Wireless premiered on Quibi, Sheridan hopped on a call with Collider to discuss this intense survival thriller. Over the course of our chat, Sheridan opened up about the technical process of making a show where your social media life is just as dramatic as surviving a blizzard, making Wireless in just 19 (yes, 19!) days, how he got Andie MacDowell on board to play his mom, and much more.
COLLIDER: I’m really curious to know what it was about Wireless that made you want to sign on. You’ve been in projects in similarly big projects before, but what was it about this one that made you want to sign on?
Image via Quibi
TYE SHERIDAN: I think it was mostly the getting an opportunity to work on something that was the first and it’s kind. I think this format was super interesting, and I was interested to see if it would work — and I really believed in it. I think after seeing Zach Wechter and Mishka Kornai’s short film, Pocket, that they made, that takes place all vertically on the phone. It’s a year in the life of a 15-year-old kid from the perspective of his phone. It’s was really, really intriguing. I think that we all have such a personal relationship with our phones, they’re a big part of our lives, and they should be settings for stories that we’re telling. I think that it was just that realization. Realizing how prominent smartphones are in our lives, what role they play. I think this really spoke to that.
And so, there were a couple of things. I think it was one, working with that director, exploring this new format, exploring telling a story through the setting of a 22-year-old’s iPhone or a 21-year-old’s iPhone, and then working on a Quibi project. I thought it was all new and exciting.
To drill down a little further on making this Quibi show and the filming process: What was that filming process like? For example, were there discussions about filming things that would appear in vertical or horizontal, and how to go about that?
SHERIDAN: Well, I will say to the filming process, if I could sum it up in one word, it would be “challenging.” We had 19 days to do this project, and it was like shooting two films at one time because there are a lot of times where you’re shooting on a cinema camera — when you see the iPhone on screen — but we had to use a rig. It was called the “tri-phone rig.” It had a forward-facing camera, a rear-facing camera, and then an interactive phone on top. So it was like a three phone sandwich, this big brick that we were capturing all the vertical content. So, we had to separate those two occasionally because you would see the iPhone onscreen in the cinema perspective. So it was basically like, sometimes you’d have to do the same scene and have to shoot it twice. It was really time-consuming.
When you have only 19 days to shoot a project, and you’re working in freezing conditions, it was pretty challenging. But hats off to Zach Wechter and the rest of the team on Wireless for making it happen. Everybody there working on the project was extremely passionate about this new format. I think that was the only way it was going to get made the way it did.
I’m also curious to know a bit more about the discussions for crafting Andy’s social media life because his phone, and what we see on his phone, is so pivotal to some of Wireless‘s emotional beats. What was it like creating Andy’s social media presence, and what kind of things you wanted to make sure made it onto his social media?
Image via Quibi
SHERIDAN: Yeah, I think the goal was for Andy to represent a lot of us. The majority of the millennial generation. Not in the sense of how it looks, or what he’s going through in his life, but definitely his relationship with his iPhone and the connection that he has to everyone through this digital interface. I think that, above all, was the most important, and what the character symbolized, and what we wanted him to stand for. But we also wanted him to feel like a relatable guy, just another guy growing up in his teenage years, [or] early 20s, in this situation and on these digital platforms.
Because each episode is happening in a small amount of time (under 10 minutes), I’m curious to know if, on your end, while filming whether it was ever a concern for your performance about getting to those big emotional cliffhangers? Or is that all just editing that we’re seeing?
SHERIDAN: I don’t think so. When I first read the script it was like reading a 95-page feature film and there weren’t any episode breaks. Then once I read a script once, Zack and Jack Seidman, the other writer, worked on creating those episode breaks. They happen really naturally.
It was kind of amazing to see because there are all of these big, traumatic moments that were perfect for the breaks. The narrative lent itself easily to these episode breaks. So I was never really wanting to be conscious of where the breaks from the episodes are, and how viewers are. There were so many questions you’re asking yourself on this project. I say, if I could sum it up in one word, it would be “challenging” because it was challenging on so many different levels.
Image via Quibi
It was challenging technologically. It was challenging for me as an actor. It was challenging for us as a crew making this series. But we had to ask questions that no one was ever asking themselves before, like, “Where should he put his phone for this section of the scene?” Because you’re thinking about the vertical perspective, or sometimes you’re thinking about where the viewers are going to be, whether they’re going to be in landscape or portrait mode in this section of the scene. So if we have to favor one perspective, whether it be vertical or horizontal, which one would it be? And so there are all of these questions that come into play and it made it super fun. It was totally new. Such a new experience.
You mentioned that it was challenging for you as an actor. Are you able to elaborate on that?
SHERIDAN: Yeah, totally. I think it was challenging because, I think at the end of the first episode — if you haven’t seen the show yet this might be a spoiler, so don’t go any further — but at the end of the first episode we find out that Andy’s drinking and driving. He’s got a lot of problems that are revealed as the show goes on, but this is one that we see pretty quickly. We find out that he’s kind of an alcoholic. So I think it was challenging in that aspect, and it was also challenging because this guy’s basically freezing to death in this vehicle. He’s stuck in a blizzard through the night, and he’s going to freeze to death in his Bronco.
Image via Quibi
We shot all the interior scenes that take place inside the Bronco at night. We shot them in L.A. on stage. And we actually froze, [well] we actually brought in a huge freezer that would blow cold air into the stage and we’d keep all the doors shut. We were shooting in Burbank, so it was 85 degrees outside, but inside on the stage it was 28 degrees Fahrenheit, and super, super cold. So every day waking up going to shoot in extreme conditions of the L.A. stage was challenging.
Andie MacDowell plays your mom on Wireless and I was curious to know if you were able to meet her before you started filming, or were able to get some face time with her.
SHERIDAN: Yeah, no, absolutely. I’ve always been a fan of her work. I think when Zack first brought her name up as an idea, I got really excited because I think that she has just this kind of innate charm to her. I think that it’s an interesting role for her because we really only know this character through Andy’s iPhone. We see her in videos from his camera roll, we see her on Andy’s social media platforms. We hear her on phone calls, and occasionally on FaceTime, but I was really curious to know if she would want to do it. I didn’t know if she would be interested in it.
So, I actually wrote Andie a letter when I knew that they were going to go out to her, and just gave her my two cents on why I thought the project was special. She was on a vacation in India, and she, almost immediately, got my note and wrote me back on an email, which is super surprising. She was happy to come on board and it [was] super exciting.
Image via Quibi
[While filming Wireless] we did all the phone calls in real-time, which was a huge advantage for us. So, Andie would be on a trailer outside of the stage, and we would be shooting inside the stage, and I would be on the phone call with her in real-time. I think, for both of us, it was key to have that because imitating that in post, and recreating that in post, especially when we know so well the dynamic of these phone calls and these exchanges, whether they be via text and whatnot. I think we had to do it that way. I think Zach Wechter was adamant about that. I’m so grateful that everybody was game to do that.
Even when there’s the FaceTime calls with Jake, Andy’s best friend in the show played by Lukas Gage, we were shooting those real-time as well. So we would screen record on the iPhone that I was holding, and he was screen recording on the iPhone that he was holding. We would be in separate locations FaceTiming each other, and doing a scene over Face Time in real-time. Then you just take the screen recording and that’s the performance. So it was so authentic. We shot through these applications from these platforms and these mediums. So we wanted to embrace the digital nature of the iPhone as much as possible.
Finally, I’m really curious about The Card Counter, which is coming up soon, and I’m just curious to know what it was like working with Paul Schrader.
SHERIDAN: It was such a joy. I really love working with him. Of course, the movie is about Oscar Isaac’s character, and I think I’m just a piece of the story, but I was so happy to work on the project and work with a living legend. He’s such an economical filmmaker. I learned so much from that guy. At first, I think it was really surprising and hard to figure it all out and get a grip on his process.
But sometimes we would just start in the middle of a scene. We’d start shooting in the middle of the scene because he knew that he wasn’t going to be using the first half of the scene at this angle, and he wanted to start in the middle of the scene. So it really keeps you on your toes for sure. And he doesn’t do a lot of takes. He gets what he wants, and if you don’t hear anything, that’s usually good. There’re some directors, I think, that they’re really communicating and come and talk to the actors after every take, so there’s a lot of dialogue. But I think with Paul, he gets what he wants and he expects you to do your job and deliver, and occasionally you might get a compliment. They’re few and far between —and I kind of appreciate that.
Wireless is now available to watch on Quibi. Get even more Quibi updates here.
Allie Gemmill is the Weekend Contributing Editor for Collider. You can follow them on Twitter @_matineeidle.
‘Me Time’ Image Reveals Mark Wahlberg and Kevin Hart’s… Turtle Heist?
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About The Author
Allie Gemmill (1525 Articles Published)
Allie Gemmill is the Lead News Editor at Collider. Previous bylines can be found at Bustle, Teen Vogue, Inverse, ScreenRant, SheKnows, VICE, and Atom Tickets.
More
From Allie Gemmill
Subscribe to our newsletter
Sign up for Collider’s newsletter for exclusive news, features, streaming recommendations and more
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We would like to give thanks to the writer of this write-up for this remarkable web content
";s:14:"date_timestamp";i:1651106232;}i:4;a:11:{s:5:"title";s:101:"Marvel Studios’ “DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS” Enters a New Dimension in ScreenX";s:4:"link";s:150:"https://bestmovies.movs.world/movie-production-companies/marvel-studios-doctor-strange-in-the-multiverse-of-madness-enters-a-new-dimension-in-screenx/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 00:32:22 +0000";s:8:"category";s:91:"Movie Production CompaniesDimensionDoctorEntersMadnessMarvelMultiverseScreenXStrangeStudios";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118702";s:11:"description";s:822:"“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format. Tickets on Sale Now HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6315:"
“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format.
Tickets on Sale Now
HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats and cinema technologies, announced today that Marvel Studios’ “Doctor Strange in the Multiverse of Madness” will debut in the visually immersive 270-degree panoramic ScreenX theaters worldwide starting May 6.
By expanding specially selected film sequences onto the left and right-side walls of the auditorium, ScreenX surrounds and transports moviegoers into the story and action of the film. CJ 4DPLEX worked closely with Marvel Studios and the filmmakers to ensure the highest quality presentation of the action adventure to guarantee an immersive, 270-degree panoramic viewing experience that can’t be replicated elsewhere.
After Marvel Studios and CJ 4DPLEX announced their collaboration to release films in the ScreenX format, audiences have been able to watch Marvel megahits like “Black Panther,” “Captain Marvel” and “Black Widow” in ScreenX’s peripheral three-screen design. “Doctor Strange in the Multiverse of Madness” is the next installment of this partnership and will be available on more than 372 ScreenX screens worldwide and 71 screens in North America with Regal Cinemas, Cineplex, B&B, Cinepolis and CGV Cinemas.
“ScreenX audiences will be transported into another universe with ‘Doctor Strange in the Multiverse of Madness.’ Thank you Disney, Marvel Studios and the filmmakers for your valued collaboration and innovative input to make the ScreenX experience one-of-a-kind,” said Jongryul Kim, CEO, CJ 4DPLEX.
“We’re excited for audiences to enter a new dimension with 52 minutes of exclusive ScreenX imagery highlighting for movie goers the differentiation between the cinema and the home experience,” said Don Savant, CEO & President, CJ 4DPLEX America.
“Doctor Strange in the Multiverse of Madness” tickets are on sale now and can be purchased at your local ScreenX theaters.
About “Doctor Strange in the Multiverse of Madness” Marvel Studios’ “Doctor Strange in the Multiverse of Madness”—a thrilling ride through the Multiverse with Doctor Strange, his trusted friend Wong and Wanda Maximoff, aka Scarlet Witch. “Doctor Strange in the Multiverse of Madness” opens in U.S. theaters on May 6, 2022.
About CJ 4DPLEX CJ 4DPLEX is a leading, next-generation cinema technology company, headquartered in Seoul with international offices in Los Angeles and Beijing. The company has created innovative film technologies for theaters worldwide that include ‘ScreenX’, ‘4DX’, and ‘4DX Screen’ for consumers to experience films in ways that were never before possible.
CJ 4DPLEX is a part of the CJ Group conglomerate that also includes entertainment powerhouses CJ CGV, the fifth largest theater chain in the world, and CJ ENM (CJ Entertainment & Media), who produced the Academy Award®, Golden Globe® and SAG Awards winning film, “Parasite”. CJ 4DPLEX was named Most Innovative Company of 2017 and 2019 in Live Events by Fast Company, and the technology has been recognized with Silver at the Edison Awards in the Media and Visual Communications-Entertainment category in 2015 and 2018.
ScreenX is the world’s first multi-projection cinema with an immersive 270 degree field of view. By expanding the image beyond the frame and onto the walls of the theatre, ScreenX draws you into the story on the main screen and immerses you in a virtual reality like setting with cinema quality resolution. To date, there are over 372 ScreenX auditoriums around the world in 38 countries.
4DX provides moviegoers with a multi-sensory cinema-going experience, allowing audiences to connect with movies through motion, vibration, water, wind, snow, lightning, scents, and other special effects that enhance the visuals on-screen. Each 4DX auditorium incorporates motion-based seating synchronized with more than 21 different effects and optimized by a team of skilled editors. To date, there are over 776 4DX auditoriums around the world, spanning over 69 countries.
4DXScreen is a powerful combination of our super premium immersive theatre technologies of ScreenX and 4DX in one auditorium, creating a never-before-seen experience for cinemagoers. To date, there are 41 4DXScreens installed around the globe.
SOURCE CJ 4DPLEX
We would love to thank the writer of this short article for this awesome web content
";}s:7:"summary";s:822:"“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format. Tickets on Sale Now HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats ... Read more";s:12:"atom_content";s:6315:"
“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format.
Tickets on Sale Now
HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats and cinema technologies, announced today that Marvel Studios’ “Doctor Strange in the Multiverse of Madness” will debut in the visually immersive 270-degree panoramic ScreenX theaters worldwide starting May 6.
By expanding specially selected film sequences onto the left and right-side walls of the auditorium, ScreenX surrounds and transports moviegoers into the story and action of the film. CJ 4DPLEX worked closely with Marvel Studios and the filmmakers to ensure the highest quality presentation of the action adventure to guarantee an immersive, 270-degree panoramic viewing experience that can’t be replicated elsewhere.
After Marvel Studios and CJ 4DPLEX announced their collaboration to release films in the ScreenX format, audiences have been able to watch Marvel megahits like “Black Panther,” “Captain Marvel” and “Black Widow” in ScreenX’s peripheral three-screen design. “Doctor Strange in the Multiverse of Madness” is the next installment of this partnership and will be available on more than 372 ScreenX screens worldwide and 71 screens in North America with Regal Cinemas, Cineplex, B&B, Cinepolis and CGV Cinemas.
“ScreenX audiences will be transported into another universe with ‘Doctor Strange in the Multiverse of Madness.’ Thank you Disney, Marvel Studios and the filmmakers for your valued collaboration and innovative input to make the ScreenX experience one-of-a-kind,” said Jongryul Kim, CEO, CJ 4DPLEX.
“We’re excited for audiences to enter a new dimension with 52 minutes of exclusive ScreenX imagery highlighting for movie goers the differentiation between the cinema and the home experience,” said Don Savant, CEO & President, CJ 4DPLEX America.
“Doctor Strange in the Multiverse of Madness” tickets are on sale now and can be purchased at your local ScreenX theaters.
About “Doctor Strange in the Multiverse of Madness” Marvel Studios’ “Doctor Strange in the Multiverse of Madness”—a thrilling ride through the Multiverse with Doctor Strange, his trusted friend Wong and Wanda Maximoff, aka Scarlet Witch. “Doctor Strange in the Multiverse of Madness” opens in U.S. theaters on May 6, 2022.
About CJ 4DPLEX CJ 4DPLEX is a leading, next-generation cinema technology company, headquartered in Seoul with international offices in Los Angeles and Beijing. The company has created innovative film technologies for theaters worldwide that include ‘ScreenX’, ‘4DX’, and ‘4DX Screen’ for consumers to experience films in ways that were never before possible.
CJ 4DPLEX is a part of the CJ Group conglomerate that also includes entertainment powerhouses CJ CGV, the fifth largest theater chain in the world, and CJ ENM (CJ Entertainment & Media), who produced the Academy Award®, Golden Globe® and SAG Awards winning film, “Parasite”. CJ 4DPLEX was named Most Innovative Company of 2017 and 2019 in Live Events by Fast Company, and the technology has been recognized with Silver at the Edison Awards in the Media and Visual Communications-Entertainment category in 2015 and 2018.
ScreenX is the world’s first multi-projection cinema with an immersive 270 degree field of view. By expanding the image beyond the frame and onto the walls of the theatre, ScreenX draws you into the story on the main screen and immerses you in a virtual reality like setting with cinema quality resolution. To date, there are over 372 ScreenX auditoriums around the world in 38 countries.
4DX provides moviegoers with a multi-sensory cinema-going experience, allowing audiences to connect with movies through motion, vibration, water, wind, snow, lightning, scents, and other special effects that enhance the visuals on-screen. Each 4DX auditorium incorporates motion-based seating synchronized with more than 21 different effects and optimized by a team of skilled editors. To date, there are over 776 4DX auditoriums around the world, spanning over 69 countries.
4DXScreen is a powerful combination of our super premium immersive theatre technologies of ScreenX and 4DX in one auditorium, creating a never-before-seen experience for cinemagoers. To date, there are 41 4DXScreens installed around the globe.
SOURCE CJ 4DPLEX
We would love to thank the writer of this short article for this awesome web content
";s:14:"date_timestamp";i:1651105942;}i:5;a:11:{s:5:"title";s:52:"Scream 2: Every Main Character, Ranked By Likability";s:4:"link";s:93:"https://bestmovies.movs.world/scream-away/scream-2-every-main-character-ranked-by-likability/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 00:12:53 +0000";s:8:"category";s:46:"Scream AwayCharacterLikabilitymainRankedScream";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118696";s:11:"description";s:640:"Sidney Prescott starts attending Windsor College in Scream 2 and meets some new people who help her adjust to college life and have fun. But just as Sidney gets comfortable, people start being killed again, and soon fans are watching original characters such as Dewey Riley and Gale Weathers handle the new Ghostface along with Sidney’s peers. RELATED: 10 ... Read more";s:7:"content";a:1:{s:7:"encoded";s:20697:"
Sidney Prescott starts attending Windsor College in Scream 2 and meets some new people who help her adjust to college life and have fun. But just as Sidney gets comfortable, people start being killed again, and soon fans are watching original characters such as Dewey Riley and Gale Weathers handle the new Ghostface along with Sidney’s peers.
RELATED: 10 Best Characters In The Horror Franchise Scream, According To Reddit
While Sidney is always a fan favorite character, there are several new faces in Scream 2 who fans have strong opinions about. Although several characters are easy to love, some are overly confident, greedy, or outright killers.
8 Mickey Altieri
Ghostface’s famous Scream quotes are one reason why these villains are so well-known. When Sidney learns that Mickey, her fellow college student, is one of the killers in Scream 2, she’s surprised since he seemed sweet.
Since Mickey wants to get in trouble for murdering Sidney and he wants to talk about how he was influenced by pop culture, it’s impossible to like him. He’s a well-written character because he has a reason for doing what he does, but he’s not a good person at all, and fans think that his idea is terrible.
7 Mrs. Loomis
Billy’s mother wants revenge and she’s out for blood. She can’t stand the fact that Sidney murdered Billy, which seems unfair since Billy came after Sidney and he and Stu murdered several people in Woodsboro.
Mrs. Loomis is a harsh character and like the other Ghostfaces, she’s no nonsense, tough, and doesn’t feel badly about what she has done. Fans also know that Mrs. Loomis wasn’t a good parent, to say the least, and it’s terrifying watching her go after Sidney.
SCREENRANT VIDEO OF THE DAY
6 Cotton Weary
In Scream 2, Cotton is happy that he is no longer being accused of murdering Sidney’s mother Maureen, but even though Cotton is innocent of these crimes, he’s still not easy to love.
RELATED: 10 Behind-The-Scenes Facts About The Scream Franchise
Cotton is conceited and believes that he has a right to be famous, and it’s no wonder that Sidney still dislikes him and wants nothing to do with him. At the end of Scream 2, Cotton wants to have a high-profile interview with Diane Sawyer and Sidney, which Sidney would rather not do. Cotton seems to want to cash in on the fact that he has become a household name.
5 Derek Feldman
Derek is a character appearing in one Scream movie and he and Sidney seem to really connect with each other at Windsor College.
Whether singing in the cafeteria or spending time with Sidney, Derek is a kind person who helps Sidney have a better time than she has in a while. It’s sad when Mickey murders Derek, but Derek might feel a bit flat when compared to the original characters who have been in many of the movies.
4 Gale Weathers
Although Gale becomes a fan favorite Scream character, she’s not the nicest person in the first two movies. In Scream 2, Gale is still caught up in desiring fame, and she’s convinced that she can get an interview with Cotton and Sidney.
Gale focuses on her career dreams and goals instead of thinking about what Sidney wants and is comfortable with, which makes her a less likable character than some of the others. Gale redeems herself later on, but in this movie, she isn’t very compassionate.
3 Randy Meeks
Randy is one of the most likable Scream characters and he continues his streak of talking about horror movies in this movie. This time around, he’s sharing the rules for sequels.
Fans love Randy and hate to watch Ghostface kill him in this film. Randy will always be beloved thanks to his compassion for Sidney and the bond that they have after going through the scary situation of the first movie.
2 Dewey Riley
Dewey is a likable character in each Scream movie, as he truly wants to protect people. Dewey never seems all that much older than Sidney, but since Sidney is best friends with his younger sister Tatum in the first movie, Dewey and Sidney have a special and sweet relationship.
RELATED: Every Recurring Character From The Scream Franchise, Ranked
Dewey is just as loveable in Scream 2 as he comes to Sidney’s college to talk to her about the murders that are happening all over again. Dewey wants Sidney to feel that he’s on the case and that he’ll do what he can to keep everyone safe, but he knows that she’s scared, and fans love how kind he is.
1 Sidney Prescott
Many Scream fans would likely say that Sidney is the greatest character in each movie, and she proves that to be true once again in Scream 2. Sidney shows an incredible amount of toughness and resilience as she starts college life and realizes that people are being murdered again. Scream 2 is one of the best horror movie sequels and it’s interesting seeing Sidney in a new place
Sidney is polite and caring toward people who deserve it, but she lets her opinions out there, whether telling Gale that she’s being opportunistic or confronting Ghostface. Fans can’t get enough of Sidney’s perfectly strong and compelling personality.
NEXT: Sidney Prescott’s 10 Best Action Sequences In The Scream Franchise, Ranked
Next MCU: 10 Worst Changes The Movies Made To The Comics, According To Reddit
About The Author
Aya Tsintziras (1763 Articles Published)
Aya Tsintziras is a freelance writer who writes about pop culture and TV. She has a Political Science degree from the University of Toronto and a Masters of Journalism from Ryerson University. She loves coffee, reading, working out, and watching TV. She lives in Toronto with her husband.
More From Aya Tsintziras
We would like to give thanks to the author of this short article for this outstanding material
";}s:7:"summary";s:640:"Sidney Prescott starts attending Windsor College in Scream 2 and meets some new people who help her adjust to college life and have fun. But just as Sidney gets comfortable, people start being killed again, and soon fans are watching original characters such as Dewey Riley and Gale Weathers handle the new Ghostface along with Sidney’s peers. RELATED: 10 ... Read more";s:12:"atom_content";s:20697:"
Sidney Prescott starts attending Windsor College in Scream 2 and meets some new people who help her adjust to college life and have fun. But just as Sidney gets comfortable, people start being killed again, and soon fans are watching original characters such as Dewey Riley and Gale Weathers handle the new Ghostface along with Sidney’s peers.
RELATED: 10 Best Characters In The Horror Franchise Scream, According To Reddit
While Sidney is always a fan favorite character, there are several new faces in Scream 2 who fans have strong opinions about. Although several characters are easy to love, some are overly confident, greedy, or outright killers.
8 Mickey Altieri
Ghostface’s famous Scream quotes are one reason why these villains are so well-known. When Sidney learns that Mickey, her fellow college student, is one of the killers in Scream 2, she’s surprised since he seemed sweet.
Since Mickey wants to get in trouble for murdering Sidney and he wants to talk about how he was influenced by pop culture, it’s impossible to like him. He’s a well-written character because he has a reason for doing what he does, but he’s not a good person at all, and fans think that his idea is terrible.
7 Mrs. Loomis
Billy’s mother wants revenge and she’s out for blood. She can’t stand the fact that Sidney murdered Billy, which seems unfair since Billy came after Sidney and he and Stu murdered several people in Woodsboro.
Mrs. Loomis is a harsh character and like the other Ghostfaces, she’s no nonsense, tough, and doesn’t feel badly about what she has done. Fans also know that Mrs. Loomis wasn’t a good parent, to say the least, and it’s terrifying watching her go after Sidney.
SCREENRANT VIDEO OF THE DAY
6 Cotton Weary
In Scream 2, Cotton is happy that he is no longer being accused of murdering Sidney’s mother Maureen, but even though Cotton is innocent of these crimes, he’s still not easy to love.
RELATED: 10 Behind-The-Scenes Facts About The Scream Franchise
Cotton is conceited and believes that he has a right to be famous, and it’s no wonder that Sidney still dislikes him and wants nothing to do with him. At the end of Scream 2, Cotton wants to have a high-profile interview with Diane Sawyer and Sidney, which Sidney would rather not do. Cotton seems to want to cash in on the fact that he has become a household name.
5 Derek Feldman
Derek is a character appearing in one Scream movie and he and Sidney seem to really connect with each other at Windsor College.
Whether singing in the cafeteria or spending time with Sidney, Derek is a kind person who helps Sidney have a better time than she has in a while. It’s sad when Mickey murders Derek, but Derek might feel a bit flat when compared to the original characters who have been in many of the movies.
4 Gale Weathers
Although Gale becomes a fan favorite Scream character, she’s not the nicest person in the first two movies. In Scream 2, Gale is still caught up in desiring fame, and she’s convinced that she can get an interview with Cotton and Sidney.
Gale focuses on her career dreams and goals instead of thinking about what Sidney wants and is comfortable with, which makes her a less likable character than some of the others. Gale redeems herself later on, but in this movie, she isn’t very compassionate.
3 Randy Meeks
Randy is one of the most likable Scream characters and he continues his streak of talking about horror movies in this movie. This time around, he’s sharing the rules for sequels.
Fans love Randy and hate to watch Ghostface kill him in this film. Randy will always be beloved thanks to his compassion for Sidney and the bond that they have after going through the scary situation of the first movie.
2 Dewey Riley
Dewey is a likable character in each Scream movie, as he truly wants to protect people. Dewey never seems all that much older than Sidney, but since Sidney is best friends with his younger sister Tatum in the first movie, Dewey and Sidney have a special and sweet relationship.
RELATED: Every Recurring Character From The Scream Franchise, Ranked
Dewey is just as loveable in Scream 2 as he comes to Sidney’s college to talk to her about the murders that are happening all over again. Dewey wants Sidney to feel that he’s on the case and that he’ll do what he can to keep everyone safe, but he knows that she’s scared, and fans love how kind he is.
1 Sidney Prescott
Many Scream fans would likely say that Sidney is the greatest character in each movie, and she proves that to be true once again in Scream 2. Sidney shows an incredible amount of toughness and resilience as she starts college life and realizes that people are being murdered again. Scream 2 is one of the best horror movie sequels and it’s interesting seeing Sidney in a new place
Sidney is polite and caring toward people who deserve it, but she lets her opinions out there, whether telling Gale that she’s being opportunistic or confronting Ghostface. Fans can’t get enough of Sidney’s perfectly strong and compelling personality.
NEXT: Sidney Prescott’s 10 Best Action Sequences In The Scream Franchise, Ranked
Next MCU: 10 Worst Changes The Movies Made To The Comics, According To Reddit
About The Author
Aya Tsintziras (1763 Articles Published)
Aya Tsintziras is a freelance writer who writes about pop culture and TV. She has a Political Science degree from the University of Toronto and a Masters of Journalism from Ryerson University. She loves coffee, reading, working out, and watching TV. She lives in Toronto with her husband.
More From Aya Tsintziras
We would like to give thanks to the author of this short article for this outstanding material
";s:14:"date_timestamp";i:1651104773;}i:6;a:11:{s:5:"title";s:78:"Covivio conferma la ripresa delle performance degli immobili a uso alberghiero";s:4:"link";s:119:"https://bestmovies.movs.world/lifestyle/covivio-conferma-la-ripresa-delle-performance-degli-immobili-a-uso-alberghiero/";s:2:"dc";a:1:{s:7:"creator";s:10:"Holly June";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 23:43:09 +0000";s:8:"category";s:75:"LifestylealberghieroconfermaCoviviodeglidelleimmobiliperformanceripresausó";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118690";s:11:"description";s:749:"L’amministratore delegato di Covivio Italia Alexei Dal Pastro Arrivano buone notizie dall’ultima trimestrale Covivio per il comparto alberghiero (che rappresenta il 15% del portfolio della compagnia). Il gruppo con primo azionista la Delfin di Leonardo Del Vecchio conferma infatti la ripresa del settore già emersa a chiusura del bilancio 2021. Spiccano in particolare le performance degli ... Read more";s:7:"content";a:1:{s:7:"encoded";s:3174:"
L’amministratore delegato di Covivio Italia Alexei Dal Pastro
Arrivano buone notizie dall’ultima trimestrale Covivio per il comparto alberghiero (che rappresenta il 15% del portfolio della compagnia). Il gruppo con primo azionista la Delfin di Leonardo Del Vecchio conferma infatti la ripresa del settore già emersa a chiusura del bilancio 2021. Spiccano in particolare le performance degli immobili a uso alberghiero a ricavi variabili, che hanno registrato tra gennaio e marzo una progressione del +160% dei canoni flessibili in Francia. La percentuale di incasso dei canoni fissi ammonta invece al 100%. Inoltre, gli ultimi insoluti sui ricavi del 2021 sono stati interamente recuperati nel corso dello stesso 1° trimestre 2022. Mentre il mercato del segmento alberghiero conosce una fase di rimbalzo, Covivio ha messo quindi in movimento il proprio patrimonio alberghiero, proseguendo la propria strategia dinamica di asset management. E’ stato infatti firmato infatti un protocollo d’intesa con B&B Hotels per la locazione di 31 immobili a uso alberghiero situati in Francia, finora occupati da AccorInvest. Tali hotel, per un totale di 2.565 camere, già di proprietà di Covivio e gestiti sotto varie insegne del gruppo Accor (Ibis, Novotel e Mercure), erano finora locati nel quadro di contratti a canone variabile alla stessa AccorInvest. A seguito della firma del protocollo, Covivio e B&B Hotels si sono quindi impegnati per nuovi contratti a canone fisso per 12 anni. Covivio beneficerà di un aumento sostanziale del canone rispetto a quello del 2019 e parteciperà a un programma di lavori eseguiti da B&B Hotels.
In sintesi, dopo la buona dinamica iniziata nella seconda parte del 2021, e malgrado la parentesi della variante Omicron, l’attività alberghiera ha fatto segnare un forte incremento nel 1° trimestre dell’anno, con un +51% a perimetro costante. In miglioramento marcato anche i margini operativi lordi (ebitda) degli immobili a uso hotel con contratto di management (essenzialmente in Francia e Germania, per un +69% rispetto allo stesso periodo dell’anno precedente). I canoni fissi infine hanno registrato un aumento dell’8% a seguito della rilocazione di un hotel a Madrid (canone aumentato del +50% rispetto a quello precedente).
We want to thank the author of this article for this outstanding web content
";}s:7:"summary";s:749:"L’amministratore delegato di Covivio Italia Alexei Dal Pastro Arrivano buone notizie dall’ultima trimestrale Covivio per il comparto alberghiero (che rappresenta il 15% del portfolio della compagnia). Il gruppo con primo azionista la Delfin di Leonardo Del Vecchio conferma infatti la ripresa del settore già emersa a chiusura del bilancio 2021. Spiccano in particolare le performance degli ... Read more";s:12:"atom_content";s:3174:"
L’amministratore delegato di Covivio Italia Alexei Dal Pastro
Arrivano buone notizie dall’ultima trimestrale Covivio per il comparto alberghiero (che rappresenta il 15% del portfolio della compagnia). Il gruppo con primo azionista la Delfin di Leonardo Del Vecchio conferma infatti la ripresa del settore già emersa a chiusura del bilancio 2021. Spiccano in particolare le performance degli immobili a uso alberghiero a ricavi variabili, che hanno registrato tra gennaio e marzo una progressione del +160% dei canoni flessibili in Francia. La percentuale di incasso dei canoni fissi ammonta invece al 100%. Inoltre, gli ultimi insoluti sui ricavi del 2021 sono stati interamente recuperati nel corso dello stesso 1° trimestre 2022. Mentre il mercato del segmento alberghiero conosce una fase di rimbalzo, Covivio ha messo quindi in movimento il proprio patrimonio alberghiero, proseguendo la propria strategia dinamica di asset management. E’ stato infatti firmato infatti un protocollo d’intesa con B&B Hotels per la locazione di 31 immobili a uso alberghiero situati in Francia, finora occupati da AccorInvest. Tali hotel, per un totale di 2.565 camere, già di proprietà di Covivio e gestiti sotto varie insegne del gruppo Accor (Ibis, Novotel e Mercure), erano finora locati nel quadro di contratti a canone variabile alla stessa AccorInvest. A seguito della firma del protocollo, Covivio e B&B Hotels si sono quindi impegnati per nuovi contratti a canone fisso per 12 anni. Covivio beneficerà di un aumento sostanziale del canone rispetto a quello del 2019 e parteciperà a un programma di lavori eseguiti da B&B Hotels.
In sintesi, dopo la buona dinamica iniziata nella seconda parte del 2021, e malgrado la parentesi della variante Omicron, l’attività alberghiera ha fatto segnare un forte incremento nel 1° trimestre dell’anno, con un +51% a perimetro costante. In miglioramento marcato anche i margini operativi lordi (ebitda) degli immobili a uso hotel con contratto di management (essenzialmente in Francia e Germania, per un +69% rispetto allo stesso periodo dell’anno precedente). I canoni fissi infine hanno registrato un aumento dell’8% a seguito della rilocazione di un hotel a Madrid (canone aumentato del +50% rispetto a quello precedente).
We want to thank the author of this article for this outstanding web content
";s:14:"date_timestamp";i:1651102989;}i:7;a:11:{s:5:"title";s:61:"Japanese population projected to live longer without dementia";s:4:"link";s:109:"https://bestmovies.movs.world/healthandscience/japanese-population-projected-to-live-longer-without-dementia/";s:2:"dc";a:1:{s:7:"creator";s:12:"Tony Grantly";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 23:22:36 +0000";s:8:"category";s:57:"Health And SciencedementiaJapaneselivepopulationProjected";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118685";s:11:"description";s:691:"Journal Reference: Megumi Kasajima, Karen Eggleston, Shoki Kusaka, Hiroki Matsui, Tomoki Tanaka, Bo-Kyung Son, Katsuya Iijima, Kazuo Goda, Masaru Kitsuregawa, Jay Bhattacharya, Hideki Hashimoto. Projecting prevalence of frailty and dementia and the economic cost of care in Japan from 2016 to 2043: a microsimulation modelling study. The Lancet Public Health, 2022; 7 (5): e458 DOI: ... Read more";s:7:"content";a:1:{s:7:"encoded";s:3894:"
Journal Reference:
Megumi Kasajima, Karen Eggleston, Shoki Kusaka, Hiroki Matsui, Tomoki Tanaka, Bo-Kyung Son, Katsuya Iijima, Kazuo Goda, Masaru Kitsuregawa, Jay Bhattacharya, Hideki Hashimoto. Projecting prevalence of frailty and dementia and the economic cost of care in Japan from 2016 to 2043: a microsimulation modelling study. The Lancet Public Health, 2022; 7 (5): e458 DOI: 10.1016/S2468-2667(22)00044-5
Taking care of the older members of society is a common concern around the world. Japan is famous for its long-lived residents, the number of which continues to rise. In 2020, almost 30% of the Japanese population was aged 65 years or older, and this age group is not projected to peak until 2034. Caring for people with age-related ailments, such as dementia and frailty, poses a challenge both to individuals and public health care systems.
Microsimulation models, which are computer models that can provide detailed analysis on an individual basis, are currently used to project future population health in some countries, such as the U.K. and the U.S. Professor Hideki Hashimoto and researchers at the University of Tokyo, along with researchers from Stanford University in the U.S., wanted to create a new microsimulation model for Japan, which would take into account more diverse conditions than had been considered before.
“We developed a new Japanese microsimulation model that accounts for 13 chronic conditions (including heart disease, stroke, diabetes, depression and dependency), as well as frailty and dementia,” explained Hashimoto. “Using an ultralarge data system, we were able to ‘follow’ a virtual cohort of more than 40 million people aged 60 and over from 2016 to 2043.”
According to Hashimoto, projections of aging in Japan usually rely on the “average” status of older people and so don’t consider the diversity of the population. “I believe that problems of aging are a matter of health gaps over the course of people’s lives,” he said. “Our projection brings attention to a widening health gap among older people. It highlighted that women with a less than high school education aged 75 or over are more likely to be affected.”
Identifying where health gaps like this exist could be used to better inform public policy, not only about health care but other influential aspects of life. “Japan’s case may suggest that improvement in educational attainment, as well as population health, could be a key to making a healthier and more manageable aging society,” said Hashimoto.
Positively, this study shows hope for a future where many people live longer and more healthy lives. “People might believe that an increase in cases of dementia is inescapable, given population aging. However, in this study we found that in Japan, despite an aging population, the number of people with dementia is expected to decrease over the next two decades,” said Hashimoto. “Population aging does not necessarily mean an increase of social burden for care, but it does bring a diversity of problems that requires careful study and science-based policy attention, to close the health gap.”
We would love to thank the writer of this write-up for this incredible content
";}s:7:"summary";s:691:"Journal Reference: Megumi Kasajima, Karen Eggleston, Shoki Kusaka, Hiroki Matsui, Tomoki Tanaka, Bo-Kyung Son, Katsuya Iijima, Kazuo Goda, Masaru Kitsuregawa, Jay Bhattacharya, Hideki Hashimoto. Projecting prevalence of frailty and dementia and the economic cost of care in Japan from 2016 to 2043: a microsimulation modelling study. The Lancet Public Health, 2022; 7 (5): e458 DOI: ... Read more";s:12:"atom_content";s:3894:"
Journal Reference:
Megumi Kasajima, Karen Eggleston, Shoki Kusaka, Hiroki Matsui, Tomoki Tanaka, Bo-Kyung Son, Katsuya Iijima, Kazuo Goda, Masaru Kitsuregawa, Jay Bhattacharya, Hideki Hashimoto. Projecting prevalence of frailty and dementia and the economic cost of care in Japan from 2016 to 2043: a microsimulation modelling study. The Lancet Public Health, 2022; 7 (5): e458 DOI: 10.1016/S2468-2667(22)00044-5
Taking care of the older members of society is a common concern around the world. Japan is famous for its long-lived residents, the number of which continues to rise. In 2020, almost 30% of the Japanese population was aged 65 years or older, and this age group is not projected to peak until 2034. Caring for people with age-related ailments, such as dementia and frailty, poses a challenge both to individuals and public health care systems.
Microsimulation models, which are computer models that can provide detailed analysis on an individual basis, are currently used to project future population health in some countries, such as the U.K. and the U.S. Professor Hideki Hashimoto and researchers at the University of Tokyo, along with researchers from Stanford University in the U.S., wanted to create a new microsimulation model for Japan, which would take into account more diverse conditions than had been considered before.
“We developed a new Japanese microsimulation model that accounts for 13 chronic conditions (including heart disease, stroke, diabetes, depression and dependency), as well as frailty and dementia,” explained Hashimoto. “Using an ultralarge data system, we were able to ‘follow’ a virtual cohort of more than 40 million people aged 60 and over from 2016 to 2043.”
According to Hashimoto, projections of aging in Japan usually rely on the “average” status of older people and so don’t consider the diversity of the population. “I believe that problems of aging are a matter of health gaps over the course of people’s lives,” he said. “Our projection brings attention to a widening health gap among older people. It highlighted that women with a less than high school education aged 75 or over are more likely to be affected.”
Identifying where health gaps like this exist could be used to better inform public policy, not only about health care but other influential aspects of life. “Japan’s case may suggest that improvement in educational attainment, as well as population health, could be a key to making a healthier and more manageable aging society,” said Hashimoto.
Positively, this study shows hope for a future where many people live longer and more healthy lives. “People might believe that an increase in cases of dementia is inescapable, given population aging. However, in this study we found that in Japan, despite an aging population, the number of people with dementia is expected to decrease over the next two decades,” said Hashimoto. “Population aging does not necessarily mean an increase of social burden for care, but it does bring a diversity of problems that requires careful study and science-based policy attention, to close the health gap.”
We would love to thank the writer of this write-up for this incredible content
";s:14:"date_timestamp";i:1651101756;}i:8;a:11:{s:5:"title";s:79:"David Stypka získal posmrtně tři Ceny Anděl, uspěli i Ewa Farna nebo Mirai";s:4:"link";s:110:"https://bestmovies.movs.world/music/david-stypka-ziskal-posmrtne-tri-ceny-andel-uspeli-i-ewa-farna-nebo-mirai/";s:2:"dc";a:1:{s:7:"creator";s:8:"Ann Moon";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 23:06:52 +0000";s:8:"category";s:69:"MusicAndělCenyDavidEwaFarnaMiraineboposmrtněStypkaTriuspělizískal";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118679";s:11:"description";s:772:"Letošní Ceny Anděl si v hlavních kategoriích zcela podmanili hudebníci z Moravskoslezského kraje – přesně, jak jsme na musicserveru předvídali. Hned třikrát zvítězil David Stypka, jehož album “Dýchej” vyšlo po zpěvákově loňském skonu. Stypka zvítězil v kategorii sólových interpretů, kde navázal na své prvenství z roku 2017. Další trofeje přidal se svou kapelou Bandjeez za ... Read more";s:7:"content";a:1:{s:7:"encoded";s:3790:"
Letošní Ceny Anděl si v hlavních kategoriích zcela podmanili hudebníci z Moravskoslezského kraje – přesně, jak jsme na musicserveru předvídali. Hned třikrát zvítězil David Stypka, jehož album “Dýchej” vyšlo po zpěvákově loňském skonu.
Stypka zvítězil v kategorii sólových interpretů, kde navázal na své prvenství z roku 2017. Další trofeje přidal se svou kapelou Bandjeez za album roku a také se skladbou “Farmářům”. Sólovou interpretkou roku se stala Ewa Farna za desku “Umami”, mezi kapelami dostali nejvíce hlasů Mirai s nahrávkou “Maneki Neko”.
Objevem roku je podle akademiků zpěvačka Annabelle, cenu za nejlepší videoklip si odnesla rapperka Annet X. Hned dvakrát uspěl Smack, který zvítězil v rapové sekci a vyhrál také v hlasování fanoušků. Kontroverzní moment obstarala skupina Sněť, která triumfovala v rockové kategorii, sošku však odmítla převzít – zdůvodnila to tím, že mezi partnery akce je OSA. Do Síně slávy byl uveden skladatel Jaroslav Uhlíř.
Role moderátora slavnostního ceremoniálu v pražském Veletržním paláci se premiérově ujal Martin Mikyska alias Mikýř. Živě vystoupili Ewa Farna, Mirai, David Koller, Pokáč, Ben Cristovao, Annabelle, fiedlerski, Stein27, Smack, Emma Smetana a Jordan Haj nebo Kateřina Marie Tichá s Bandjeez. Ve speciálním čísle s orchestrem vzdali Michal Malátný a Katarína Knechtová poctu loni zesnulému Mirovi Žbirkovi.
Vítězové Cen Anděl 2021:
Album roku:
Sólový interpret roku: David Stypka – Dýchej
Sólová interpretka roku: Ewa Farna – Umami
Skupina roku: Mirai – Maneki Neko
Skladba roku: David Stypka & Bandjeez – Famářům
Videoklip roku: Annet X – Bylo nebylo (režie: Jaroslav Moravec)
Objev roku: Annabelle – Runnin’ Out Of F* Time
Alternativa a elektronika: Amelie Siba – Love Cowboys
Folk: Vladimír Mišík – Noční obraz
Jazz: Nikol Bóková – Prometheus
Klasika: Ivo Kahánek: Antonín Dvořák – Kompletní klavírní dílo
Rap: Smack – Chimera Pt. 3: Snake
Rock: Sněť – Mokvání v okovech
Slovenské album: Lash & Grey – Blossoms Of Your World
Cena fanoušků: Smack
Síň slávy: Jaroslav Uhlíř
We wish to thank the writer of this short article for this outstanding material
";}s:7:"summary";s:772:"Letošní Ceny Anděl si v hlavních kategoriích zcela podmanili hudebníci z Moravskoslezského kraje – přesně, jak jsme na musicserveru předvídali. Hned třikrát zvítězil David Stypka, jehož album “Dýchej” vyšlo po zpěvákově loňském skonu. Stypka zvítězil v kategorii sólových interpretů, kde navázal na své prvenství z roku 2017. Další trofeje přidal se svou kapelou Bandjeez za ... Read more";s:12:"atom_content";s:3790:"
Letošní Ceny Anděl si v hlavních kategoriích zcela podmanili hudebníci z Moravskoslezského kraje – přesně, jak jsme na musicserveru předvídali. Hned třikrát zvítězil David Stypka, jehož album “Dýchej” vyšlo po zpěvákově loňském skonu.
Stypka zvítězil v kategorii sólových interpretů, kde navázal na své prvenství z roku 2017. Další trofeje přidal se svou kapelou Bandjeez za album roku a také se skladbou “Farmářům”. Sólovou interpretkou roku se stala Ewa Farna za desku “Umami”, mezi kapelami dostali nejvíce hlasů Mirai s nahrávkou “Maneki Neko”.
Objevem roku je podle akademiků zpěvačka Annabelle, cenu za nejlepší videoklip si odnesla rapperka Annet X. Hned dvakrát uspěl Smack, který zvítězil v rapové sekci a vyhrál také v hlasování fanoušků. Kontroverzní moment obstarala skupina Sněť, která triumfovala v rockové kategorii, sošku však odmítla převzít – zdůvodnila to tím, že mezi partnery akce je OSA. Do Síně slávy byl uveden skladatel Jaroslav Uhlíř.
Role moderátora slavnostního ceremoniálu v pražském Veletržním paláci se premiérově ujal Martin Mikyska alias Mikýř. Živě vystoupili Ewa Farna, Mirai, David Koller, Pokáč, Ben Cristovao, Annabelle, fiedlerski, Stein27, Smack, Emma Smetana a Jordan Haj nebo Kateřina Marie Tichá s Bandjeez. Ve speciálním čísle s orchestrem vzdali Michal Malátný a Katarína Knechtová poctu loni zesnulému Mirovi Žbirkovi.
Vítězové Cen Anděl 2021:
Album roku:
Sólový interpret roku: David Stypka – Dýchej
Sólová interpretka roku: Ewa Farna – Umami
Skupina roku: Mirai – Maneki Neko
Skladba roku: David Stypka & Bandjeez – Famářům
Videoklip roku: Annet X – Bylo nebylo (režie: Jaroslav Moravec)
Objev roku: Annabelle – Runnin’ Out Of F* Time
Alternativa a elektronika: Amelie Siba – Love Cowboys
Folk: Vladimír Mišík – Noční obraz
Jazz: Nikol Bóková – Prometheus
Klasika: Ivo Kahánek: Antonín Dvořák – Kompletní klavírní dílo
Rap: Smack – Chimera Pt. 3: Snake
Rock: Sněť – Mokvání v okovech
Slovenské album: Lash & Grey – Blossoms Of Your World
Cena fanoušků: Smack
Síň slávy: Jaroslav Uhlíř
We wish to thank the writer of this short article for this outstanding material
";s:14:"date_timestamp";i:1651100812;}i:9;a:11:{s:5:"title";s:120:"‘The Black Phone’ CinemaCon Review: A Scary Ethan Hawke And Terrific Young Stars Make This Thriller A Blumhouse Best";s:4:"link";s:156:"https://bestmovies.movs.world/scream-away/the-black-phone-cinemacon-review-a-scary-ethan-hawke-and-terrific-young-stars-make-this-thriller-a-blumhouse-best/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 22:50:50 +0000";s:8:"category";s:81:"Scream AwayBlackBlumhouseCinemaConEthanHawkephoneREVIEWScaryStarsTerrificThriller";s:4:"guid";s:39:"https://bestmovies.movs.world/?p=118673";s:11:"description";s:824:"As Universal’s distribution head Jim Orr said in introducing Tuesday night’s CinemaCon screening of the studio’s upcoming late June release The Black Phone, studios don’t normally bring a movie like this to show in its entirety at a theater-owners convention two months ahead of opening unless they know they have the goods. . – Credit: ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9792:"
As Universal’s distribution head Jim Orr said in introducing Tuesday night’s CinemaCon screening of the studio’s upcoming late June release The Black Phone, studios don’t normally bring a movie like this to show in its entirety at a theater-owners convention two months ahead of opening unless they know they have the goods.
. – Credit: Deadline
Deadline
More from Deadline
With this one reuniting producer Jason Blum and Blumhouse with director Scott Derrickson and co-writer C. Robert Cargill — all having worked together on 2010’s Sinister — Universal does have the goods, and then some. Being marketed apparently as a horror film, with a poster dominated by a fully terrifyingly masked and horned Ethan Hawke, what this late 1970s-set movie really is about is the trauma of youth crossing from childhood into teen years, more appropriately falling into the suspense thriller category than the kind of standard horror the marketing seems to indicate.
Hopefully audiences won’t be put off by that approach, because this is a truly effective movie that defies easy description but should appeal to a wider crowd. It originally premiered at the 2021 Fantastic Fest and was planned for a January release but Blum and the studio felt it needed to be seen in theaters, thus the smart move to a prime summer slot and exclusive theatrical run.
Based on the 2014 Joe Hill short story comparisons to Stephen King, and particularly It, will be inevitable, but The Black Phone marches to its own beat as we are introduced to its protagonist, young teen Finney Shaw (Mason Thames), an ace baseball pitcher who nevertheless finds himself subjected to constant harm by school bullies, as well as a single alcoholic father (Jeremy Davies) who is in over his head in raising Finney and his younger, foul-mouthed but quite religious sister Gwen (Madeleine McGraw). Gwen’s psychic dreams are given credence by local authorities (if not her own dad, who physically abuses her and orders her to stop) when she is able to pinpoint an abduction of one of the Colorado town’s young teen boys.
. – Credit: Universal
Universal
It seems a serial killer is on the loose and several boys are disappearing. Little does she know her beloved brother is about to become one of them as a black van stops and a clown-like magician (Hawke) appears, and using a gaggle of black balloons knocks out Finney and throws him into the back of the vehicle. Finney soon finds himself locked away in a basement, the latest victim of The Grabber as Hawke’s disturbed and masked man is known in the town. Assured he will suffer no harm, a cat-and-mouse game ensues between them. A black dial-up phone on the wall which The Grabber said was inoperative starts ringing and Finney finds himself in conversations with previous victims, now dead, but offering tips on how to escape without getting caught, something each of them failed to do. Meanwhile, the feisty and determined Gwen begins her own dreamlike quest to find the whereabouts of her brother and bring him to safety.
The best movies of any genre are the ones that focus on character giving us a reason to root for them. These filmmakers put the thrills and chills (and there are many) in second position to favor advancing a story that also stands in as an allegory for the terrors of growing up and losing the innocence of childhood in a very dark world, this one inhabited not just by The Grabber, but also bullies who mercilessly beat up their fearful schoolmates, unhinged parents, and other realities of life. The Black Phone may also be known someday as a star-making film, with both Thames perfectly anchoring the story as Finney, a kid whose own awkwardness and eventual determination to survive has us cheering for him, and particularly McGraw, who steals every scene she has with a seeming ease that says this movie will not be the last we hear of her. She is a true standout.
All the teen roles are well played in fact, and there is some amusing support from James Ransone as a drug-addicted guy named Max who basically does lines of coke upstairs as dire things happen in the basement below. Hawke really ventures out of his usual zone here but gives this non-descript killer more than one dimension, all the while hiding behind a gross mask. That’s acting.
The Black Phone is certainly not the highest-profile summer offering studios have on display this week at CinemaCon, but I have a feeling it is one that could turn into a major sleeper hit when Universal releases it June 24. It is a highly entertaining and gripping thriller of the best kind, one where the horrors of everyday life are not all that easy to escape.
";}s:7:"summary";s:824:"As Universal’s distribution head Jim Orr said in introducing Tuesday night’s CinemaCon screening of the studio’s upcoming late June release The Black Phone, studios don’t normally bring a movie like this to show in its entirety at a theater-owners convention two months ahead of opening unless they know they have the goods. . – Credit: ... Read more";s:12:"atom_content";s:9792:"
As Universal’s distribution head Jim Orr said in introducing Tuesday night’s CinemaCon screening of the studio’s upcoming late June release The Black Phone, studios don’t normally bring a movie like this to show in its entirety at a theater-owners convention two months ahead of opening unless they know they have the goods.
. – Credit: Deadline
Deadline
More from Deadline
With this one reuniting producer Jason Blum and Blumhouse with director Scott Derrickson and co-writer C. Robert Cargill — all having worked together on 2010’s Sinister — Universal does have the goods, and then some. Being marketed apparently as a horror film, with a poster dominated by a fully terrifyingly masked and horned Ethan Hawke, what this late 1970s-set movie really is about is the trauma of youth crossing from childhood into teen years, more appropriately falling into the suspense thriller category than the kind of standard horror the marketing seems to indicate.
Hopefully audiences won’t be put off by that approach, because this is a truly effective movie that defies easy description but should appeal to a wider crowd. It originally premiered at the 2021 Fantastic Fest and was planned for a January release but Blum and the studio felt it needed to be seen in theaters, thus the smart move to a prime summer slot and exclusive theatrical run.
Based on the 2014 Joe Hill short story comparisons to Stephen King, and particularly It, will be inevitable, but The Black Phone marches to its own beat as we are introduced to its protagonist, young teen Finney Shaw (Mason Thames), an ace baseball pitcher who nevertheless finds himself subjected to constant harm by school bullies, as well as a single alcoholic father (Jeremy Davies) who is in over his head in raising Finney and his younger, foul-mouthed but quite religious sister Gwen (Madeleine McGraw). Gwen’s psychic dreams are given credence by local authorities (if not her own dad, who physically abuses her and orders her to stop) when she is able to pinpoint an abduction of one of the Colorado town’s young teen boys.
. – Credit: Universal
Universal
It seems a serial killer is on the loose and several boys are disappearing. Little does she know her beloved brother is about to become one of them as a black van stops and a clown-like magician (Hawke) appears, and using a gaggle of black balloons knocks out Finney and throws him into the back of the vehicle. Finney soon finds himself locked away in a basement, the latest victim of The Grabber as Hawke’s disturbed and masked man is known in the town. Assured he will suffer no harm, a cat-and-mouse game ensues between them. A black dial-up phone on the wall which The Grabber said was inoperative starts ringing and Finney finds himself in conversations with previous victims, now dead, but offering tips on how to escape without getting caught, something each of them failed to do. Meanwhile, the feisty and determined Gwen begins her own dreamlike quest to find the whereabouts of her brother and bring him to safety.
The best movies of any genre are the ones that focus on character giving us a reason to root for them. These filmmakers put the thrills and chills (and there are many) in second position to favor advancing a story that also stands in as an allegory for the terrors of growing up and losing the innocence of childhood in a very dark world, this one inhabited not just by The Grabber, but also bullies who mercilessly beat up their fearful schoolmates, unhinged parents, and other realities of life. The Black Phone may also be known someday as a star-making film, with both Thames perfectly anchoring the story as Finney, a kid whose own awkwardness and eventual determination to survive has us cheering for him, and particularly McGraw, who steals every scene she has with a seeming ease that says this movie will not be the last we hear of her. She is a true standout.
All the teen roles are well played in fact, and there is some amusing support from James Ransone as a drug-addicted guy named Max who basically does lines of coke upstairs as dire things happen in the basement below. Hawke really ventures out of his usual zone here but gives this non-descript killer more than one dimension, all the while hiding behind a gross mask. That’s acting.
The Black Phone is certainly not the highest-profile summer offering studios have on display this week at CinemaCon, but I have a feeling it is one that could turn into a major sleeper hit when Universal releases it June 24. It is a highly entertaining and gripping thriller of the best kind, one where the horrors of everyday life are not all that easy to escape.
