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:76:"In U.S., alcohol use disorder linked to 232 million missed workdays annually";s:4:"link";s:135:"https://movieshere.packagingnewsonline.com/healthandscience/in-u-s-alcohol-use-disorder-linked-to-232-million-missed-workdays-annually/";s:2:"dc";a:1:{s:7:"creator";s:12:"Tony Grantly";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 17:26:16 +0000";s:8:"category";s:61:"Health And SciencealcoholannuallydisorderlinkedMissedworkdays";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44653";s:11:"description";s:740:"Journal Reference: Ian C. Parsley, Ann Marie Dale, Sherri L. Fisher, Carrie M. Mintz, Sarah M. Hartz, Bradley A. Evanoff, Laura J. Bierut. Association Between Workplace Absenteeism and Alcohol Use Disorder From the National Survey on Drug Use and Health, 2015-2019. JAMA Network Open, 2022; 5 (3): e222954 DOI: 10.1001/jamanetworkopen.2022.2954 Among U.S. adults working full ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6482:"
Journal Reference:
Ian C. Parsley, Ann Marie Dale, Sherri L. Fisher, Carrie M. Mintz, Sarah M. Hartz, Bradley A. Evanoff, Laura J. Bierut. Association Between Workplace Absenteeism and Alcohol Use Disorder From the National Survey on Drug Use and Health, 2015-2019. JAMA Network Open, 2022; 5 (3): e222954 DOI: 10.1001/jamanetworkopen.2022.2954
Among U.S. adults working full time, an estimated 9% — almost 11 million full-time workers — met the diagnostic criteria for alcohol use disorder, a medical condition characterized by an impaired ability to stop or control alcohol use despite adverse consequences in one’s social life, work life or health.
The findings are published online March 17 in the journal JAMA Network Open.
Analyzing the survey data, the researchers found that people with severe alcohol use disorder reported missing 32 days of work each year because of illness, injury or simply skipping work, more than double the number of workdays missed by individuals without alcohol use disorder. In all, workers with alcohol use disorder missed more than 232 million work days annually.
“Alcohol use disorder is a major problem in the United States and a big problem in many workplaces, where it contributes to a significant number of workdays missed,” said senior investigator Laura J. Bierut, MD, the Alumni Endowed Professor of Psychiatry. “The problem likely has worsened during the pandemic, and we need to try to do more to ensure that people can get the help they need to deal with alcohol use disorder. The new data also point to an economic incentive for employers and policymakers to address the issue.”
Bierut and her colleagues analyzed data gathered from 2015 through 2019 via the National Survey on Drug Use and Health. The survey is administered every year by the Substance Abuse and Mental Health Services Administration, which asks individuals over age 12 about their use of alcohol and other drugs over the previous 12 months.
Alcohol use disorder is diagnosed using a series of questions — such as whether an individual tried to stop drinking but couldn’t, spent a great deal of time sick from drinking, or continued to drink even after having a memory blackout.
Those surveyed who did not meet criteria for alcohol use disorder missed about 13 days of work annually, but individuals with mild alcohol use disorder missed an average of almost 18 days. Meanwhile, those with moderate alcohol use disorder missed nearly 24 days, and those with severe alcohol use disorder reported missing 32 days of work each year.
“Often, people who miss that much work lose their jobs,” said Bierut, who also directs the Washington University Health & Behavior Research Center. “But our hope is that the workplace might be a point of contact where intervention can occur. You’re there eight hours a day, and when an employer begins seeing these difficulties, perhaps instead of firing a person, they could take action to assist with that individual’s recovery.”
The researchers found that although people with alcohol use disorder represented about 9.3% of the full-time workforce, those with drinking problems accounted for 14.1% of total workplace absences.
Alcohol use disorder was more common among men, younger people, those who identified as white or Hispanic and those with lower incomes. The analysis included only full-time workers.
With more people working remotely during the pandemic, problems with excessive absence may be harder for employers to spot. The pandemic changed many things about how people work, and it also changed alcohol consumption patterns. For example, in the early days of the pandemic, from March through September 2020, alcohol sales increased by 20% compared with the same period in 2019. Further, the latest data indicate that sales have remained at about that level ever since.
“We specifically chose to stop our data analysis the year before the pandemic began so that we could be more confident in our findings,” said first author Ian C. Parsley, MD, a psychiatry resident. “Having more people working at home could change the associations we saw before the pandemic began. The amount of alcohol consumed since people have been working from home more has really just gone through the roof. That’s not something that’s just going to resolve itself, even as we slowly come out of this pandemic.”
Bierut said it’s likely that the loss of the routine of going to a job has contributed to problems.
“Work has the benefit of giving us structure: You get up in the morning, get dressed, go to work,” she explained. “But many people lost their jobs during the pandemic while others worked at home and lost that structure. We’ve lost our guardrails for certain types of behaviors, so if anything, I think it’s likely alcohol use disorder is having a greater impact on the population and on the workforce than it did in 2019. And as our findings show, it was having a big impact in 2019.”
Parsley IC, Dale AM, Fisher SL, Mintz CM, Hartz SM, Evanoff BA, Bierut LJ. Workplace absenteeism associated with alcohol use disorder from the National Survey on Drug Use and Health 2015-2019. JAMA Network Open, March 17, 2022.
This work is supported by the National Institute on Drug Abuse, the National Institute of Mental Health, and the National Institute on Alcohol Abuse and Alcoholism of the National Institutes of Health (NIH). Grant number K12 DA041449, R34 DA050044-01, R25 MH112473 and U10 AA008401. Additional funding comes from a Substance Abuse and Mental Health Services Administration grant H79TI082566.
We would like to give thanks to the author of this write-up for this outstanding web content
";}s:7:"summary";s:740:"Journal Reference: Ian C. Parsley, Ann Marie Dale, Sherri L. Fisher, Carrie M. Mintz, Sarah M. Hartz, Bradley A. Evanoff, Laura J. Bierut. Association Between Workplace Absenteeism and Alcohol Use Disorder From the National Survey on Drug Use and Health, 2015-2019. JAMA Network Open, 2022; 5 (3): e222954 DOI: 10.1001/jamanetworkopen.2022.2954 Among U.S. adults working full ... Read more";s:12:"atom_content";s:6482:"
Journal Reference:
Ian C. Parsley, Ann Marie Dale, Sherri L. Fisher, Carrie M. Mintz, Sarah M. Hartz, Bradley A. Evanoff, Laura J. Bierut. Association Between Workplace Absenteeism and Alcohol Use Disorder From the National Survey on Drug Use and Health, 2015-2019. JAMA Network Open, 2022; 5 (3): e222954 DOI: 10.1001/jamanetworkopen.2022.2954
Among U.S. adults working full time, an estimated 9% — almost 11 million full-time workers — met the diagnostic criteria for alcohol use disorder, a medical condition characterized by an impaired ability to stop or control alcohol use despite adverse consequences in one’s social life, work life or health.
The findings are published online March 17 in the journal JAMA Network Open.
Analyzing the survey data, the researchers found that people with severe alcohol use disorder reported missing 32 days of work each year because of illness, injury or simply skipping work, more than double the number of workdays missed by individuals without alcohol use disorder. In all, workers with alcohol use disorder missed more than 232 million work days annually.
“Alcohol use disorder is a major problem in the United States and a big problem in many workplaces, where it contributes to a significant number of workdays missed,” said senior investigator Laura J. Bierut, MD, the Alumni Endowed Professor of Psychiatry. “The problem likely has worsened during the pandemic, and we need to try to do more to ensure that people can get the help they need to deal with alcohol use disorder. The new data also point to an economic incentive for employers and policymakers to address the issue.”
Bierut and her colleagues analyzed data gathered from 2015 through 2019 via the National Survey on Drug Use and Health. The survey is administered every year by the Substance Abuse and Mental Health Services Administration, which asks individuals over age 12 about their use of alcohol and other drugs over the previous 12 months.
Alcohol use disorder is diagnosed using a series of questions — such as whether an individual tried to stop drinking but couldn’t, spent a great deal of time sick from drinking, or continued to drink even after having a memory blackout.
Those surveyed who did not meet criteria for alcohol use disorder missed about 13 days of work annually, but individuals with mild alcohol use disorder missed an average of almost 18 days. Meanwhile, those with moderate alcohol use disorder missed nearly 24 days, and those with severe alcohol use disorder reported missing 32 days of work each year.
“Often, people who miss that much work lose their jobs,” said Bierut, who also directs the Washington University Health & Behavior Research Center. “But our hope is that the workplace might be a point of contact where intervention can occur. You’re there eight hours a day, and when an employer begins seeing these difficulties, perhaps instead of firing a person, they could take action to assist with that individual’s recovery.”
The researchers found that although people with alcohol use disorder represented about 9.3% of the full-time workforce, those with drinking problems accounted for 14.1% of total workplace absences.
Alcohol use disorder was more common among men, younger people, those who identified as white or Hispanic and those with lower incomes. The analysis included only full-time workers.
With more people working remotely during the pandemic, problems with excessive absence may be harder for employers to spot. The pandemic changed many things about how people work, and it also changed alcohol consumption patterns. For example, in the early days of the pandemic, from March through September 2020, alcohol sales increased by 20% compared with the same period in 2019. Further, the latest data indicate that sales have remained at about that level ever since.
“We specifically chose to stop our data analysis the year before the pandemic began so that we could be more confident in our findings,” said first author Ian C. Parsley, MD, a psychiatry resident. “Having more people working at home could change the associations we saw before the pandemic began. The amount of alcohol consumed since people have been working from home more has really just gone through the roof. That’s not something that’s just going to resolve itself, even as we slowly come out of this pandemic.”
Bierut said it’s likely that the loss of the routine of going to a job has contributed to problems.
“Work has the benefit of giving us structure: You get up in the morning, get dressed, go to work,” she explained. “But many people lost their jobs during the pandemic while others worked at home and lost that structure. We’ve lost our guardrails for certain types of behaviors, so if anything, I think it’s likely alcohol use disorder is having a greater impact on the population and on the workforce than it did in 2019. And as our findings show, it was having a big impact in 2019.”
Parsley IC, Dale AM, Fisher SL, Mintz CM, Hartz SM, Evanoff BA, Bierut LJ. Workplace absenteeism associated with alcohol use disorder from the National Survey on Drug Use and Health 2015-2019. JAMA Network Open, March 17, 2022.
This work is supported by the National Institute on Drug Abuse, the National Institute of Mental Health, and the National Institute on Alcohol Abuse and Alcoholism of the National Institutes of Health (NIH). Grant number K12 DA041449, R34 DA050044-01, R25 MH112473 and U10 AA008401. Additional funding comes from a Substance Abuse and Mental Health Services Administration grant H79TI082566.
We would like to give thanks to the author of this write-up for this outstanding web content
";s:14:"date_timestamp";i:1647969976;}i:1;a:11:{s:5:"title";s:113:"This is the double of Úrsula Corberó that generated confusion at the Latin Grammys – Market Research Telecast";s:4:"link";s:164:"https://movieshere.packagingnewsonline.com/movie-actors/this-is-the-double-of-ursula-corbero-that-generated-confusion-at-the-latin-grammys-market-research-telecast/";s:2:"dc";a:1:{s:7:"creator";s:9:"Blue Holt";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 17:20:23 +0000";s:8:"category";s:77:"Movie ActorsConfusionCorberódoublegeneratedGrammysLatinmarketTelecastÚrsula";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44647";s:11:"description";s:788:"The last gala of the Latin Grammy has not gone unnoticed by anyone. It was last Thursday when the MGM Grand Garden Arena in Las Vegas hosted in the twenty-second edition of these awards the most outstanding stars of Latin American music. The awards given by the National Academy of Recording Arts and Sciences of ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5448:"
The last gala of the Latin Grammy has not gone unnoticed by anyone. It was last Thursday when the MGM Grand Garden Arena in Las Vegas hosted in the twenty-second edition of these awards the most outstanding stars of Latin American music. The awards given by the National Academy of Recording Arts and Sciences of the United States are already the most important in the industry, and how could it be otherwise, its previous red carpet was marked by the looks bizarre from the guests and for some subliminal messages that they brought with them.
Stefania Roitman in a photocall / Gtres
But if there was a star theme after the broadcast of this highly anticipated event, it was the appearance of Stefania Roitman. The model and actress has up to three million followers in Argentina and did not hesitate to accept the invitation to the 2021 Grammy Awards, although probably I did not imagine the repercussion that his arrival would have. And it is that the young woman has been the main protagonist of the comments of the last days given her great resemblance to Úrsula Corberó. In fact, the fans got to confuse them and even believed that she was the interpreter of Tokyo in The Money Heist who had come to the appointment.
Taking into account the great repercussion of the Catalan on the big screen both nationally and internationally, it was not surprising that at the Latin Grammys they wanted to have her. The strangest thing is that Úrsula herself had not commented on anything through her social networks that she would attend the event, so this supposed arrival caused a great stir and a pleasant surprise for her followers. But the joy of these was in a well when the true identity of the girl who posed in it was finally known. photocall, and it had nothing to do with the Spanish actress.
Although the resemblance between the two is more than evident, a small “change” in their style caused alarm bells to go off about the confusion. And is that the supposed Úrsula Corberó appeared in front of the cameras dyed blonde, a new look that attracted attention since recently it had not been seen with this dye. But if something characterizes the actress of the series Physics or Chemistry It is his great ability when it comes to alternating the state of his hair to opt for the most atypical cuts. In fact, it was crowned as the forerunner of the cut mullet, a trend that was not very common when Úrsula decided to bet on her.
It was hours later when the reality of the most outstanding unknown of the 2021 Grammys became known. Stefania Roitman uploaded a carousel of images to her Instagram account showing some of its highlights during the gala. A publication that cleared up doubts by making it clear that who had attended the awards ceremony was Argentina. Although perhaps after this confusion it is more likely that both coincide with the other event and make it clear that the similarities between them are more than evident.
We would like to give thanks to the author of this article for this amazing material
";}s:7:"summary";s:788:"The last gala of the Latin Grammy has not gone unnoticed by anyone. It was last Thursday when the MGM Grand Garden Arena in Las Vegas hosted in the twenty-second edition of these awards the most outstanding stars of Latin American music. The awards given by the National Academy of Recording Arts and Sciences of ... Read more";s:12:"atom_content";s:5448:"
The last gala of the Latin Grammy has not gone unnoticed by anyone. It was last Thursday when the MGM Grand Garden Arena in Las Vegas hosted in the twenty-second edition of these awards the most outstanding stars of Latin American music. The awards given by the National Academy of Recording Arts and Sciences of the United States are already the most important in the industry, and how could it be otherwise, its previous red carpet was marked by the looks bizarre from the guests and for some subliminal messages that they brought with them.
Stefania Roitman in a photocall / Gtres
But if there was a star theme after the broadcast of this highly anticipated event, it was the appearance of Stefania Roitman. The model and actress has up to three million followers in Argentina and did not hesitate to accept the invitation to the 2021 Grammy Awards, although probably I did not imagine the repercussion that his arrival would have. And it is that the young woman has been the main protagonist of the comments of the last days given her great resemblance to Úrsula Corberó. In fact, the fans got to confuse them and even believed that she was the interpreter of Tokyo in The Money Heist who had come to the appointment.
Taking into account the great repercussion of the Catalan on the big screen both nationally and internationally, it was not surprising that at the Latin Grammys they wanted to have her. The strangest thing is that Úrsula herself had not commented on anything through her social networks that she would attend the event, so this supposed arrival caused a great stir and a pleasant surprise for her followers. But the joy of these was in a well when the true identity of the girl who posed in it was finally known. photocall, and it had nothing to do with the Spanish actress.
Although the resemblance between the two is more than evident, a small “change” in their style caused alarm bells to go off about the confusion. And is that the supposed Úrsula Corberó appeared in front of the cameras dyed blonde, a new look that attracted attention since recently it had not been seen with this dye. But if something characterizes the actress of the series Physics or Chemistry It is his great ability when it comes to alternating the state of his hair to opt for the most atypical cuts. In fact, it was crowned as the forerunner of the cut mullet, a trend that was not very common when Úrsula decided to bet on her.
It was hours later when the reality of the most outstanding unknown of the 2021 Grammys became known. Stefania Roitman uploaded a carousel of images to her Instagram account showing some of its highlights during the gala. A publication that cleared up doubts by making it clear that who had attended the awards ceremony was Argentina. Although perhaps after this confusion it is more likely that both coincide with the other event and make it clear that the similarities between them are more than evident.
We would like to give thanks to the author of this article for this amazing material
";s:14:"date_timestamp";i:1647969623;}i:2;a:11:{s:5:"title";s:79:"Sam Heughan explains why Jamie was wearing kilt to go fishing in latest episode";s:4:"link";s:136:"https://movieshere.packagingnewsonline.com/movie-actors/sam-heughan-explains-why-jamie-was-wearing-kilt-to-go-fishing-in-latest-episode/";s:2:"dc";a:1:{s:7:"creator";s:10:"Lance Kind";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 17:19:00 +0000";s:8:"category";s:60:"Movie ActorsepisodeExplainsFishingHeughanJamiekiltSamWearing";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44641";s:11:"description";s:674:"Sam Hueghan has taken to Twitter to explain an interesting scene from the latest episode of Outlander. The Scottish star, who plays Jamie Fraser on the hit show, was spotted wearing a kilt to go fishing in the third episode of season six, Temperance. It was a moment many fans were delighted to see and ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4440:"
Sam Hueghan has taken to Twitter to explain an interesting scene from the latest episode of Outlander.
The Scottish star, who plays Jamie Fraser on the hit show, was spotted wearing a kilt to go fishing in the third episode of season six, Temperance.
It was a moment many fans were delighted to see and touched upon the Jamie of old.
However, one fan was confused as to why he would wear the tartan garment – just to go and catch a fish or two.
Sam, who regularly interacts with fans on the social media site, was quick to respond.
He said: “It was still illegal to wear a kilt at that time, punishment would be huge.
“Jamie can’t risk it in the presence of the crown, especially potentially working for them. However, when he’s alone, on his own land with no risk, he can reveal who he really is…”
Sam Heughan (Jamie Fraser) wore the kilt in episode three of Outlander (Image: Starz)
The explanation touches on a moment the show took to explain the tartan situation in episode one, with Jamie taking the punishment of one of his men after the redcoat guards found a piece of tartan on them.
In the aftermath of Culloden, the British crown stamped down hard on any elements of Highland culture they deemed to be patriotic towards the Jacobite cause and it seems the showrunners have gone out of their way to highlight this in the TV show.
Fans were delighted by Sam’s response.
One wrote: “This level of detail and authentic characterization alignment is what we love about the show. Thank you for taking the time and care to address it- both in your performance/production and through conversation.”
While another added: “So will we see more of the kilt then? I miss the kilt and those early days of Scotland with the highlanders, so it’s a fun reminder to see him wearing it.”
“Seeing Jamie in a kilt, able to be true to himself, is a comfort,” added another. “You can take the Scot out of Scotland, but you can’t take Scotland out of the Scot.”
Don’t miss the top culture and heritage stories from around Scotland. Sign up to our twice weekly Scotland Now newsletter here.
We would love to say thanks to the writer of this write-up for this amazing web content
";}s:7:"summary";s:674:"Sam Hueghan has taken to Twitter to explain an interesting scene from the latest episode of Outlander. The Scottish star, who plays Jamie Fraser on the hit show, was spotted wearing a kilt to go fishing in the third episode of season six, Temperance. It was a moment many fans were delighted to see and ... Read more";s:12:"atom_content";s:4440:"
Sam Hueghan has taken to Twitter to explain an interesting scene from the latest episode of Outlander.
The Scottish star, who plays Jamie Fraser on the hit show, was spotted wearing a kilt to go fishing in the third episode of season six, Temperance.
It was a moment many fans were delighted to see and touched upon the Jamie of old.
However, one fan was confused as to why he would wear the tartan garment – just to go and catch a fish or two.
Sam, who regularly interacts with fans on the social media site, was quick to respond.
He said: “It was still illegal to wear a kilt at that time, punishment would be huge.
“Jamie can’t risk it in the presence of the crown, especially potentially working for them. However, when he’s alone, on his own land with no risk, he can reveal who he really is…”
Sam Heughan (Jamie Fraser) wore the kilt in episode three of Outlander (Image: Starz)
The explanation touches on a moment the show took to explain the tartan situation in episode one, with Jamie taking the punishment of one of his men after the redcoat guards found a piece of tartan on them.
In the aftermath of Culloden, the British crown stamped down hard on any elements of Highland culture they deemed to be patriotic towards the Jacobite cause and it seems the showrunners have gone out of their way to highlight this in the TV show.
Fans were delighted by Sam’s response.
One wrote: “This level of detail and authentic characterization alignment is what we love about the show. Thank you for taking the time and care to address it- both in your performance/production and through conversation.”
While another added: “So will we see more of the kilt then? I miss the kilt and those early days of Scotland with the highlanders, so it’s a fun reminder to see him wearing it.”
“Seeing Jamie in a kilt, able to be true to himself, is a comfort,” added another. “You can take the Scot out of Scotland, but you can’t take Scotland out of the Scot.”
Don’t miss the top culture and heritage stories from around Scotland. Sign up to our twice weekly Scotland Now newsletter here.
We would love to say thanks to the writer of this write-up for this amazing web content
";s:14:"date_timestamp";i:1647969540;}i:3;a:11:{s:5:"title";s:50:"Tom Hiddleston: “Loki es una caja de engaños”";s:4:"link";s:103:"https://movieshere.packagingnewsonline.com/healthandscience/tom-hiddleston-loki-es-una-caja-de-enganos/";s:2:"dc";a:1:{s:7:"creator";s:15:"Pauline Moonlky";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 17:16:38 +0000";s:8:"category";s:50:"Health And ScienceCajaengañosHiddlestonLokiTomuna";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44635";s:11:"description";s:657:"Tom Hiddleston participó en “War Horse” y “The Deep Blue Sea”. / Getty Images Foto: John Phillips ¿Cuál fue su reacción cuando lo llamaron para hacer una serie sobre Loki? Me entusiasmé muchísimo. Recuerdo una conversación que tuvimos todos en Marvel Studios después del estreno de Infinity War. Entre todos pensamos: bien, hice seis películas ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8537:"
Tom Hiddleston participó en “War Horse” y “The Deep Blue Sea”. / Getty Images
Foto: John Phillips
¿Cuál fue su reacción cuando lo llamaron para hacer una serie sobre Loki?
Me entusiasmé muchísimo. Recuerdo una conversación que tuvimos todos en Marvel Studios después del estreno de Infinity War. Entre todos pensamos: bien, hice seis películas el papel de Loki, pero esas películas son en realidad la saga de Thor. ¿Cómo seguimos ahora? ¿Qué no hicimos todavía? Fue una conversación muy inspiradora. Recuerdo que me fui pensando: esto va a ser muy nuevo, porque el personaje tiene mucha amplitud y profundidad. Ese fue un regalo para mí como actor. Loki es una fascinante caja de engaños infinitos, y cuando crees conocerlo, él revela algo diferente.
Hace años que interpreta a Loki, pero esta es la primera vez que él es el centro de la historia. ¿Qué le gustaría que los “fans” supieran de él?
Espero que los fans sientan que todo lo que les gusta de Marvel y todo lo que les gusta de Loki está allí. Que hemos creado algo brillante, colorido y espectacular, que tiene luces y sombras, profundidad y humor. Creamos personajes interesantes y mundos nuevos en donde las personas se enfrentan a desafíos físicos y emocionales, que las ponen a prueba. Y se ven obligadas a superarlos y tomar las decisiones apropiadas. Para cualquiera que le guste Loki, este es el personaje que conocen: sigue siendo el dios del engaño y la travesura. Pero esto lo lleva a otro nivel.
Loki I Marvel Studios | Tráiler Subtitulado
¿Qué es lo que hace falta para que Loki no se siga sintiendo a la sombra de Thor?
Loki necesita evolucionar. El ciclo era: confían en Loki, él traiciona, se convierte en un villano, aprende a confiar otra vez, lo traicionan, vuelve a ser confiado, se puede confiar en él, luego él traiciona o se siente traicionado. Es un círculo interminable de confianza, traición y resistencia. Y el personaje está esencialmente cantando la misma canción una y otra vez. Está atrapado en una rueda de repetición, en una compulsión de repetir el mismo daño, la misma historia. Y estamos rompiendo ese disco. Lo estamos liberando de esa trampa. En esta historia mostramos que él puede cambiar, que puede crecer.
¿Pero qué es lo que la AVT quiere de Loki?
Según la AVT, si hiciste algo para alterar el curso de la historia, o alterar el curso del futuro, te llevan al cuartel general y te procesan como delincuente del tiempo. Tal vez no hiciste nada. La AVT es una organización que ordena y vigila el paso del tiempo. Ellos tienen predeterminado lo que pasa en el pasado, el presente y el futuro, en una línea recta. Si haces cualquier cosa que se desvíe de esa línea, o cree una rama alternativa de la realidad, la AVT te arresta y te acusa de delitos contra la línea del tiempo, y básicamente te meten en una prisión temporal. Nadie se sorprenderá de que Loki sea uno de esos delincuentes del tiempo. Él las hizo todas. Infringió demasiadas restricciones.
¿Cómo fue trabajar con Owen Wilson, quien interpreta a Mobius?
Owen tiene una inteligencia y una curiosidad natural por el mundo que es muy particular de él. Y lleva todo eso a su personaje, Mobius. Él puede ser luminoso y brillante, divertido y curioso, pero también puede ser intenso. Me encantó que Owen quisiera cambiar su aspecto también, ayudando a crear el mundo de la AVT y la historia de Mobius dentro de la organización. Creo que el público nunca lo vio así. Lo que hizo para dar vida a Mobius es brillante: es inteligente, compasivo, divertido y original. Me encantó trabajar con él.
¿Qué nueva perspectiva le añadió?
Kate Herron defiende a estos personajes y creó un mundo en el que Loki y los demás personajes sienten con mucha intensidad y siempre están poniendo mucho en juego. Su idea básica es que la serie tiene que ver con el autoconocimiento, y que Loki y sus amigos se vuelvan más conscientes de sí mismos. Y a través de ese viaje conmovedor son capaces de cambiar, y que en realidad el cambio comienza por reconocer quién eres, reconocer tus errores, reconocer tu pasado y hacer las paces con eso. Y entonces eres capaz de avanzar. Y con un personaje como Loki, todos esos aspectos son un tanto extraordinarios.
¿Cómo describiría la serie “Loki” desde el punto de vista del tono?
Queríamos que el tono de la serie representara lo mejor del personaje de Loki. Creo que tiene una gran amplitud. Puede ser divertido, alegre e ingenioso. Siempre tiene algo ocurrente para decir. A fin de cuentas, es el dios de las travesuras. De modo que queríamos que la serie estuviese imbuida de travesura, de algo dinámico y divertido. Pero también sabemos que Loki tiene un corazón muy sensible, dañado, roto, con una inmensa capacidad de sentir las emociones de la manera más fuerte posible. Y de ir a ese lugar hondo y tranquilo en donde se exploran las experiencias más profundas de estar vivo, que tienen que ver con la soledad y la tristeza, con la ira, el dolor y la pérdida.
Después de todos estos años, ¿qué es lo que hace que Loki sea un personaje tan interesante para seguir explorando?
Siempre sentí afecto por él y su vulnerabilidad. Pero durante el transcurso de mi experiencia en las películas de Marvel Studios en los primeros diez años en los que Loki tiene un papel que cumplir, tuve que interpretar al villano. Luego tuve que interpretar al antihéroe. Y esta vez, es la primera vez, tal vez por un tiempo, que tuve que ver si podemos romper el molde y cambiarlo, reteniendo sus mejores aspectos. Pero, como dije, tratar de ir debajo de todas sus defensas: la defensa de su carisma, la defensa de mantener a la gente a distancia. Y creo que ese es el germen de una idea muy interesante dentro de la historia. ¿Tiene Loki la posibilidad de cambiar? ¿Es capaz de cambiar? Si cambia, ¿los demás lo dejarán cambiar? ¿Puede salirse de su propio camino? ¿Puede tomar decisiones diferentes? Y si toma esas otras decisiones, ¿hacia dónde irá? Lo descubrirán en la serie.
We would love to thank the writer of this article for this awesome material
";}s:7:"summary";s:657:"Tom Hiddleston participó en “War Horse” y “The Deep Blue Sea”. / Getty Images Foto: John Phillips ¿Cuál fue su reacción cuando lo llamaron para hacer una serie sobre Loki? Me entusiasmé muchísimo. Recuerdo una conversación que tuvimos todos en Marvel Studios después del estreno de Infinity War. Entre todos pensamos: bien, hice seis películas ... Read more";s:12:"atom_content";s:8537:"
Tom Hiddleston participó en “War Horse” y “The Deep Blue Sea”. / Getty Images
Foto: John Phillips
¿Cuál fue su reacción cuando lo llamaron para hacer una serie sobre Loki?
Me entusiasmé muchísimo. Recuerdo una conversación que tuvimos todos en Marvel Studios después del estreno de Infinity War. Entre todos pensamos: bien, hice seis películas el papel de Loki, pero esas películas son en realidad la saga de Thor. ¿Cómo seguimos ahora? ¿Qué no hicimos todavía? Fue una conversación muy inspiradora. Recuerdo que me fui pensando: esto va a ser muy nuevo, porque el personaje tiene mucha amplitud y profundidad. Ese fue un regalo para mí como actor. Loki es una fascinante caja de engaños infinitos, y cuando crees conocerlo, él revela algo diferente.
Hace años que interpreta a Loki, pero esta es la primera vez que él es el centro de la historia. ¿Qué le gustaría que los “fans” supieran de él?
Espero que los fans sientan que todo lo que les gusta de Marvel y todo lo que les gusta de Loki está allí. Que hemos creado algo brillante, colorido y espectacular, que tiene luces y sombras, profundidad y humor. Creamos personajes interesantes y mundos nuevos en donde las personas se enfrentan a desafíos físicos y emocionales, que las ponen a prueba. Y se ven obligadas a superarlos y tomar las decisiones apropiadas. Para cualquiera que le guste Loki, este es el personaje que conocen: sigue siendo el dios del engaño y la travesura. Pero esto lo lleva a otro nivel.
Loki I Marvel Studios | Tráiler Subtitulado
¿Qué es lo que hace falta para que Loki no se siga sintiendo a la sombra de Thor?
Loki necesita evolucionar. El ciclo era: confían en Loki, él traiciona, se convierte en un villano, aprende a confiar otra vez, lo traicionan, vuelve a ser confiado, se puede confiar en él, luego él traiciona o se siente traicionado. Es un círculo interminable de confianza, traición y resistencia. Y el personaje está esencialmente cantando la misma canción una y otra vez. Está atrapado en una rueda de repetición, en una compulsión de repetir el mismo daño, la misma historia. Y estamos rompiendo ese disco. Lo estamos liberando de esa trampa. En esta historia mostramos que él puede cambiar, que puede crecer.
¿Pero qué es lo que la AVT quiere de Loki?
Según la AVT, si hiciste algo para alterar el curso de la historia, o alterar el curso del futuro, te llevan al cuartel general y te procesan como delincuente del tiempo. Tal vez no hiciste nada. La AVT es una organización que ordena y vigila el paso del tiempo. Ellos tienen predeterminado lo que pasa en el pasado, el presente y el futuro, en una línea recta. Si haces cualquier cosa que se desvíe de esa línea, o cree una rama alternativa de la realidad, la AVT te arresta y te acusa de delitos contra la línea del tiempo, y básicamente te meten en una prisión temporal. Nadie se sorprenderá de que Loki sea uno de esos delincuentes del tiempo. Él las hizo todas. Infringió demasiadas restricciones.
¿Cómo fue trabajar con Owen Wilson, quien interpreta a Mobius?
Owen tiene una inteligencia y una curiosidad natural por el mundo que es muy particular de él. Y lleva todo eso a su personaje, Mobius. Él puede ser luminoso y brillante, divertido y curioso, pero también puede ser intenso. Me encantó que Owen quisiera cambiar su aspecto también, ayudando a crear el mundo de la AVT y la historia de Mobius dentro de la organización. Creo que el público nunca lo vio así. Lo que hizo para dar vida a Mobius es brillante: es inteligente, compasivo, divertido y original. Me encantó trabajar con él.
¿Qué nueva perspectiva le añadió?
Kate Herron defiende a estos personajes y creó un mundo en el que Loki y los demás personajes sienten con mucha intensidad y siempre están poniendo mucho en juego. Su idea básica es que la serie tiene que ver con el autoconocimiento, y que Loki y sus amigos se vuelvan más conscientes de sí mismos. Y a través de ese viaje conmovedor son capaces de cambiar, y que en realidad el cambio comienza por reconocer quién eres, reconocer tus errores, reconocer tu pasado y hacer las paces con eso. Y entonces eres capaz de avanzar. Y con un personaje como Loki, todos esos aspectos son un tanto extraordinarios.
¿Cómo describiría la serie “Loki” desde el punto de vista del tono?
Queríamos que el tono de la serie representara lo mejor del personaje de Loki. Creo que tiene una gran amplitud. Puede ser divertido, alegre e ingenioso. Siempre tiene algo ocurrente para decir. A fin de cuentas, es el dios de las travesuras. De modo que queríamos que la serie estuviese imbuida de travesura, de algo dinámico y divertido. Pero también sabemos que Loki tiene un corazón muy sensible, dañado, roto, con una inmensa capacidad de sentir las emociones de la manera más fuerte posible. Y de ir a ese lugar hondo y tranquilo en donde se exploran las experiencias más profundas de estar vivo, que tienen que ver con la soledad y la tristeza, con la ira, el dolor y la pérdida.
Después de todos estos años, ¿qué es lo que hace que Loki sea un personaje tan interesante para seguir explorando?
Siempre sentí afecto por él y su vulnerabilidad. Pero durante el transcurso de mi experiencia en las películas de Marvel Studios en los primeros diez años en los que Loki tiene un papel que cumplir, tuve que interpretar al villano. Luego tuve que interpretar al antihéroe. Y esta vez, es la primera vez, tal vez por un tiempo, que tuve que ver si podemos romper el molde y cambiarlo, reteniendo sus mejores aspectos. Pero, como dije, tratar de ir debajo de todas sus defensas: la defensa de su carisma, la defensa de mantener a la gente a distancia. Y creo que ese es el germen de una idea muy interesante dentro de la historia. ¿Tiene Loki la posibilidad de cambiar? ¿Es capaz de cambiar? Si cambia, ¿los demás lo dejarán cambiar? ¿Puede salirse de su propio camino? ¿Puede tomar decisiones diferentes? Y si toma esas otras decisiones, ¿hacia dónde irá? Lo descubrirán en la serie.
We would love to thank the writer of this article for this awesome material
";s:14:"date_timestamp";i:1647969398;}i:4;a:11:{s:5:"title";s:55:"‘Master’ Turns Racism on Campus into a Horror Movie";s:4:"link";s:105:"https://movieshere.packagingnewsonline.com/scream-away/master-turns-racism-on-campus-into-a-horror-movie/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 17:13:11 +0000";s:8:"category";s:40:"Scream AwaycampusHorrorMasterMovieracism";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44629";s:11:"description";s:628:"Minor spoilers ahead. Stories of Black students facing racism at predominantly white institutions (PWI) have made headlines for as long as Black people have been able to inhabit these spaces. So it makes sense that when filmmaker Mariama Diallo set out to make her first feature, inspired by her time at a PWI, it ended ... Read more";s:7:"content";a:1:{s:7:"encoded";s:12549:"
Minor spoilers ahead.
Stories of Black students facing racism at predominantly white institutions (PWI) have made headlines for as long as Black people have been able to inhabit these spaces. So it makes sense that when filmmaker Mariama Diallo set out to make her first feature, inspired by her time at a PWI, it ended up being a horror film. In Master, which premiered at Sundance and is now streaming on Prime Video, three Black women come face-to-face with the institutionalized racism that persists in the academic world. Although many of their experiences manifest supernaturally, they are rooted in reality.
Regina Hall stars as the title character, Gail Bishop, the first woman of color to be named dean—commonly referred to as “master”—of a residence hall at the fictional Ancaster College in New England. During Diallo’s college years, she also had a “master,” and in the construction of this film, she’s been able to interrogate that language and experience. “The master comes from the world of academia, but is more personally invested in you as a student, so it’s very sneaky. It’s not like you use the term master for the person who is in some kind of disciplinary position. They gave the most fucked up name to the nicest position,” Diallo tells ELLE.com. “So it’s like, ‘everyone loves their master.’”
Hall’s list of credits is extensive and wide-ranging—from the recent dramatic thriller, Nine Perfect Strangers to the Scary Movie franchise, romantic comedies, and another 2022 Sundance feature comedic film, Honk for Jesus, Save Your Soul. But this role is unlike any other we’ve seen her in. “I wrote a letter to Regina, making a case for why I thought she would be an incredible performer to play the role of Gail. And the next thing I knew, I was sitting across from her in L.A., having lunch, and feeling like I was with an old friend. Regina has a very powerful, positive energy. She’s very warm and invites people into her world. I didn’t feel like I was sitting with a celebrity. I felt like I was sitting with a future friend and collaborator,” says Diallo. “Regina likes to try new things, and she’s stretching herself, always, in all different directions. I was the happy beneficiary of her thinking this role sounded different from what she had done. And she was up for it, and up for the challenge.”
Zoe Renee in Master
Linda Kallerus/Courtesy Amazon Studios
The film also features Zoe Renee as incoming freshman Jasmine Moore, whose excitement is gradually stifled as she experiences conflict with her roommate and becomes submerged in the school’s culture—one that seemingly emboldens its white students to use racial slurs around her, with no hesitation. Jasmine also finds herself clashing with one of the school’s few Black professors, Liv Beckman, played by Tony-nominated actress Amber Gray. Liv, too, struggles as the school council challenges her application for tenure, believing she’s under-qualified. In addition to the racism that they face in present-day, the women discover that there are supernatural powers at play too: The college is cursed by the spirit of a woman who was lynched there hundreds of years ago, who is now after Jasmine. And after Gail moves in on campus, she starts becoming haunted by visions of a Black maid who used to work at her new home. As a Black woman in the role of “master,” Gail must clean up Ancaster’s mess and make it look more inclusive than it actually is. Not only are these women haunted by their daily experiences with bigotry, but they’re also haunted by the past.
“I had to go through my memories and sit through it and wonder, ‘What was going on with you? What were you really feeling? What were you really experiencing? And what did you have to numb in order to get through this experience?’ I started unpacking all sorts of memories over the course of those years—and that was a horror film,” says Diallo. “There’s also this aspect of these ghosts, and this invisible sort of malevolent energy that surrounded me for much of my experience there, that I really needed to confront. I felt like the best way to represent it was using horror because emotionally, they lined up perfectly. I felt as if the horror was enhancing the story of me mining my own past for what I had chosen to ignore.”
Diallo is no stranger to the genre. Her debut short film, “Hair Wolf”—also horror—won the jury award for US Fiction Short at the 2018 Sundance Film Festival. “I do think that horror is fun, or exhilarating, and it really provokes a physical response, which a lot of other film genres don’t necessarily,” the director explains. “So I do think that it’s a great medium for reaching people because people are into it.”
Despite the clear effective nature of horror to break through the noise and capture the public’s attention, Diallo didn’t necessarily make Master to educate white audiences or those who might not be as willing to do the work to learn about the true horror stories beyond the film. “I don’t want to sneak a message to somebody who doesn’t want to hear what I have to say,” says Diallo. “There was almost a moment where there was this idea of horror as a teaching tool for white people, and that would be the way that creators of color could find their way into the genre. Even though there’s so much that I’m talking about, and I want people to get from it, I also don’t want to teach. Because that still centers the white experience. It’s like, ‘Oh, there are all these Black characters, but they’re here to teach.’”
“Even though there’s so much that I’m talking about, and I want people to get from it, I also don’t want to teach. Because that still centers the white experience.”
For many Black Americans, racism is a very real part of life that we know to be true, regardless of validation—still, having that validation, especially on a large scale, is valuable. Especially for those who face racism in spaces that are dominated by people who perpetuate it. “It can be very isolating when you’re experiencing things, and you’re observing things that you know are real, and you know are happening, but are not being seen necessarily by all the people around you,” says Diallo. She hopes that Black viewers feel some sense of validation in viewing this film. “One of the things that was so important for me was to say, ‘We’re not crazy. We’re not wrong.’”
Diallo is excited for viewers to experience Master and come to their own conclusions. “I think that the power of a film like this is to, at a certain point, stand out of the way of the film as the creator, and for it to be something that somebody can engage with on their own—on their own terms.” Regardless of what audiences decide, there’s no ignoring the film’s clear message: that the events of yesterday aren’t simply relics from history textbooks to be engaged with as text. Because in reality, they’re a direct reflection of the events of today.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io
We would like to say thanks to the author of this article for this incredible material
";}s:7:"summary";s:628:"Minor spoilers ahead. Stories of Black students facing racism at predominantly white institutions (PWI) have made headlines for as long as Black people have been able to inhabit these spaces. So it makes sense that when filmmaker Mariama Diallo set out to make her first feature, inspired by her time at a PWI, it ended ... Read more";s:12:"atom_content";s:12549:"
Minor spoilers ahead.
Stories of Black students facing racism at predominantly white institutions (PWI) have made headlines for as long as Black people have been able to inhabit these spaces. So it makes sense that when filmmaker Mariama Diallo set out to make her first feature, inspired by her time at a PWI, it ended up being a horror film. In Master, which premiered at Sundance and is now streaming on Prime Video, three Black women come face-to-face with the institutionalized racism that persists in the academic world. Although many of their experiences manifest supernaturally, they are rooted in reality.
Regina Hall stars as the title character, Gail Bishop, the first woman of color to be named dean—commonly referred to as “master”—of a residence hall at the fictional Ancaster College in New England. During Diallo’s college years, she also had a “master,” and in the construction of this film, she’s been able to interrogate that language and experience. “The master comes from the world of academia, but is more personally invested in you as a student, so it’s very sneaky. It’s not like you use the term master for the person who is in some kind of disciplinary position. They gave the most fucked up name to the nicest position,” Diallo tells ELLE.com. “So it’s like, ‘everyone loves their master.’”
Hall’s list of credits is extensive and wide-ranging—from the recent dramatic thriller, Nine Perfect Strangers to the Scary Movie franchise, romantic comedies, and another 2022 Sundance feature comedic film, Honk for Jesus, Save Your Soul. But this role is unlike any other we’ve seen her in. “I wrote a letter to Regina, making a case for why I thought she would be an incredible performer to play the role of Gail. And the next thing I knew, I was sitting across from her in L.A., having lunch, and feeling like I was with an old friend. Regina has a very powerful, positive energy. She’s very warm and invites people into her world. I didn’t feel like I was sitting with a celebrity. I felt like I was sitting with a future friend and collaborator,” says Diallo. “Regina likes to try new things, and she’s stretching herself, always, in all different directions. I was the happy beneficiary of her thinking this role sounded different from what she had done. And she was up for it, and up for the challenge.”
Zoe Renee in Master
Linda Kallerus/Courtesy Amazon Studios
The film also features Zoe Renee as incoming freshman Jasmine Moore, whose excitement is gradually stifled as she experiences conflict with her roommate and becomes submerged in the school’s culture—one that seemingly emboldens its white students to use racial slurs around her, with no hesitation. Jasmine also finds herself clashing with one of the school’s few Black professors, Liv Beckman, played by Tony-nominated actress Amber Gray. Liv, too, struggles as the school council challenges her application for tenure, believing she’s under-qualified. In addition to the racism that they face in present-day, the women discover that there are supernatural powers at play too: The college is cursed by the spirit of a woman who was lynched there hundreds of years ago, who is now after Jasmine. And after Gail moves in on campus, she starts becoming haunted by visions of a Black maid who used to work at her new home. As a Black woman in the role of “master,” Gail must clean up Ancaster’s mess and make it look more inclusive than it actually is. Not only are these women haunted by their daily experiences with bigotry, but they’re also haunted by the past.
“I had to go through my memories and sit through it and wonder, ‘What was going on with you? What were you really feeling? What were you really experiencing? And what did you have to numb in order to get through this experience?’ I started unpacking all sorts of memories over the course of those years—and that was a horror film,” says Diallo. “There’s also this aspect of these ghosts, and this invisible sort of malevolent energy that surrounded me for much of my experience there, that I really needed to confront. I felt like the best way to represent it was using horror because emotionally, they lined up perfectly. I felt as if the horror was enhancing the story of me mining my own past for what I had chosen to ignore.”
Diallo is no stranger to the genre. Her debut short film, “Hair Wolf”—also horror—won the jury award for US Fiction Short at the 2018 Sundance Film Festival. “I do think that horror is fun, or exhilarating, and it really provokes a physical response, which a lot of other film genres don’t necessarily,” the director explains. “So I do think that it’s a great medium for reaching people because people are into it.”
Despite the clear effective nature of horror to break through the noise and capture the public’s attention, Diallo didn’t necessarily make Master to educate white audiences or those who might not be as willing to do the work to learn about the true horror stories beyond the film. “I don’t want to sneak a message to somebody who doesn’t want to hear what I have to say,” says Diallo. “There was almost a moment where there was this idea of horror as a teaching tool for white people, and that would be the way that creators of color could find their way into the genre. Even though there’s so much that I’m talking about, and I want people to get from it, I also don’t want to teach. Because that still centers the white experience. It’s like, ‘Oh, there are all these Black characters, but they’re here to teach.’”
“Even though there’s so much that I’m talking about, and I want people to get from it, I also don’t want to teach. Because that still centers the white experience.”
For many Black Americans, racism is a very real part of life that we know to be true, regardless of validation—still, having that validation, especially on a large scale, is valuable. Especially for those who face racism in spaces that are dominated by people who perpetuate it. “It can be very isolating when you’re experiencing things, and you’re observing things that you know are real, and you know are happening, but are not being seen necessarily by all the people around you,” says Diallo. She hopes that Black viewers feel some sense of validation in viewing this film. “One of the things that was so important for me was to say, ‘We’re not crazy. We’re not wrong.’”
Diallo is excited for viewers to experience Master and come to their own conclusions. “I think that the power of a film like this is to, at a certain point, stand out of the way of the film as the creator, and for it to be something that somebody can engage with on their own—on their own terms.” Regardless of what audiences decide, there’s no ignoring the film’s clear message: that the events of yesterday aren’t simply relics from history textbooks to be engaged with as text. Because in reality, they’re a direct reflection of the events of today.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io
We would like to say thanks to the author of this article for this incredible material
";s:14:"date_timestamp";i:1647969191;}i:5;a:11:{s:5:"title";s:73:"Scary Stories to Tell in the Dark Adds Austin Abrams, Gabriel Rush & More";s:4:"link";s:127:"https://movieshere.packagingnewsonline.com/movie-actors/scary-stories-to-tell-in-the-dark-adds-austin-abrams-gabriel-rush-more/";s:2:"dc";a:1:{s:7:"creator";s:10:"Tom Pauler";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 16:21:41 +0000";s:8:"category";s:55:"Movie ActorsAbramsaddsAustindarkGabrielRushScaryStories";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44623";s:11:"description";s:732:"Scary Stories to Tell in the Dark Adds Austin Abrams, Gabriel Rush & More Following the recent casting announcement of Zoe Colletti, CBS Films and Entertainment One have added even more to their cast for Scary Stories to Tell in the Dark including Austin Abrams (Brad’s Status, Tragedy Girls), Gabriel Rush (Moonrise Kingdom, The Grand Budapest Hotel), Michael ... Read more";s:7:"content";a:1:{s:7:"encoded";s:2970:"
Scary Stories to Tell in the Dark Adds Austin Abrams, Gabriel Rush & More
Following the recent casting announcement of Zoe Colletti, CBS Films and Entertainment One have added even more to their cast for Scary Stories to Tell in the Dark including Austin Abrams (Brad’s Status, Tragedy Girls), Gabriel Rush (Moonrise Kingdom, The Grand Budapest Hotel), Michael Garza (Wayward Pines, The Hunger Games: Mockingjay – Part 1), Austin Zajur (Fist Fight, Kidding) and Natalie Ganzhorn (Make it Pop, Wet Bum).
“We spent months searching for and assembling the perfet group of actors to help us realize the most terrifying adaptation that we could conceive,” director André Øvredal said.
Guillermo del Toro agreed with Øvredal, adding, “I am honored to support Andre’s vision and, with our partners, to bring the incredible world of SCARY STORIES to the screen.”
Scary Stories to Tell in the Dark is based on a series of three children’s books of the same name written by Alvin Schwartz and Illustrated by Stephen Gammell. The horror book series was first published during the 1980s. The film follows a group of young teens who must solve the mystery surrounding the sudden and macabre deaths in their small town.
The movie will be directed by André Øvredal (The Autopsy of Jane Doe, Trollhunter) and is co-written by Daniel and Kevin Hageman along with del Toro, Patrick Melton and Marcus Dunstan. At one point del Torro (The Shape of Water, Trollhunters, Pan’s Labyrinth) was set to direct the film, but recently del Toro decided to only serve as a producer on the project. The film’s production is set to begin this week.
Entertainment One will distribute the project in Canada, U.K., Australia, New Zealand, Germany, Benelux, Spain, Austria, and Switzerland. CBS Films will distribute the feature in the U.S. through Lionsgate. Sean Daniel, Elizabeth Grave, Jason F. Brown, and J. Miles Dale will also be producing.
No official release date has been revealed, but the horror film should be coming to theaters in 2019.
We would love to say thanks to the author of this post for this incredible web content
";}s:7:"summary";s:732:"Scary Stories to Tell in the Dark Adds Austin Abrams, Gabriel Rush & More Following the recent casting announcement of Zoe Colletti, CBS Films and Entertainment One have added even more to their cast for Scary Stories to Tell in the Dark including Austin Abrams (Brad’s Status, Tragedy Girls), Gabriel Rush (Moonrise Kingdom, The Grand Budapest Hotel), Michael ... Read more";s:12:"atom_content";s:2970:"
Scary Stories to Tell in the Dark Adds Austin Abrams, Gabriel Rush & More
Following the recent casting announcement of Zoe Colletti, CBS Films and Entertainment One have added even more to their cast for Scary Stories to Tell in the Dark including Austin Abrams (Brad’s Status, Tragedy Girls), Gabriel Rush (Moonrise Kingdom, The Grand Budapest Hotel), Michael Garza (Wayward Pines, The Hunger Games: Mockingjay – Part 1), Austin Zajur (Fist Fight, Kidding) and Natalie Ganzhorn (Make it Pop, Wet Bum).
“We spent months searching for and assembling the perfet group of actors to help us realize the most terrifying adaptation that we could conceive,” director André Øvredal said.
Guillermo del Toro agreed with Øvredal, adding, “I am honored to support Andre’s vision and, with our partners, to bring the incredible world of SCARY STORIES to the screen.”
Scary Stories to Tell in the Dark is based on a series of three children’s books of the same name written by Alvin Schwartz and Illustrated by Stephen Gammell. The horror book series was first published during the 1980s. The film follows a group of young teens who must solve the mystery surrounding the sudden and macabre deaths in their small town.
The movie will be directed by André Øvredal (The Autopsy of Jane Doe, Trollhunter) and is co-written by Daniel and Kevin Hageman along with del Toro, Patrick Melton and Marcus Dunstan. At one point del Torro (The Shape of Water, Trollhunters, Pan’s Labyrinth) was set to direct the film, but recently del Toro decided to only serve as a producer on the project. The film’s production is set to begin this week.
Entertainment One will distribute the project in Canada, U.K., Australia, New Zealand, Germany, Benelux, Spain, Austria, and Switzerland. CBS Films will distribute the feature in the U.S. through Lionsgate. Sean Daniel, Elizabeth Grave, Jason F. Brown, and J. Miles Dale will also be producing.
No official release date has been revealed, but the horror film should be coming to theaters in 2019.
We would love to say thanks to the author of this post for this incredible web content
";s:14:"date_timestamp";i:1647966101;}i:6;a:11:{s:5:"title";s:98:"Christina Applegate & Linda Cardellini On ‘Dead To Me’ Season 2’s Blend Of Comedy And Trauma";s:4:"link";s:144:"https://movieshere.packagingnewsonline.com/movie-actors/christina-applegate-linda-cardellini-on-dead-to-me-season-2s-blend-of-comedy-and-trauma/";s:2:"dc";a:1:{s:7:"creator";s:8:"Tim Hall";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 16:14:26 +0000";s:8:"category";s:72:"Movie ActorsApplegateBlendCardelliniChristinaComedydeadLindaseasontrauma";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44617";s:11:"description";s:739:"Netflix dramatic comedy Dead to Me doubled down on darkness in its second season. This is quite an achievement for a show that started out with a hit-and-run and a sham friendship formed at a grief support group between a widow and the woman who was driving the car. Christina Applegate, who plays mother, widow ... Read more";s:7:"content";a:1:{s:7:"encoded";s:21851:"
Netflix dramatic comedy Dead to Me doubled down on darkness in its second season. This is quite an achievement for a show that started out with a hit-and-run and a sham friendship formed at a grief support group between a widow and the woman who was driving the car.
Christina Applegate, who plays mother, widow and realtor Jen Harding, and Linda Cardellini, who plays driver, health care assistant and emotional pudding cup fan Judy Hale, are forced to face a whole new set of challenges after the death of James Marsden’s crooked Greek Mafia lawyer Steve Wood.
Firstly, the pair must figure out what to do with the dead body; then, they must avoid getting caught, deal with Wood’s twin brother Ben—who, in pure telenovela-style, is also played by Marsden—and work on recalibrating their own relationship.
Throw in a couple of new love interests, including a tryst between Judy and Natalie Morales’ Michelle, and a prison appearance from Katey Sagal, who played Christina Applegate’s mother on Married… with Children.
Created by Liz Feldman and produced by CBS Television Studios in association with Gloria Sanchez Productions, the half-hour comedy hopes to build on Applegate’s nomination last year for Outstanding Lead Actress in a Comedy Series (she was beaten by Fleabag’s Phoebe Waller-Bridge).
Netflix
Now, from their respective lockdown bubbles, Deadline reunites Applegate and Cardellini for a long discussion of the show. “Are we Zooming?” jokes Applegate. “Does anyone have to get a gown?”
DEADLINE: How did you feel about where you started Season 2?
LINDA CARDELLINI: Judy has decided that she would kill herself because that’s what Jen has asked. She goes from that to then being saved by Jen and her telling her to come home, which is a word that is very important to Judy; the idea of having a home and having a family. She is now part of something that she could have never imagined and that puts her in such a complicated place. It evens the footing between the two women, because they both have something to do with the loss of the other one’s significant other.
In terms of her mourning for Steve, that relationship is very toxic and I thought the idea of mourning a toxic relationship was interesting because I haven’t really seen it done like that. Jen and Judy only have each other to rely on in the worst of times, and they end up not being able to live without each other because they need each other to get them through something that they can’t share with anybody else.
CHRISTINA APPLEGATE: Jen was amped up. It’s exhausting because she was already kind of amped up, and now there’s another level of conflict, and her muscles are just in knots all over her body and her soul and her heart.
DEADLINE: What did you think when you found out James Marsden was returning as Steve’s twin?
Netflix
APPLEGATE: When Liz told me that there was going to be a twin, I was like, “You’re punking me right now, right?” She said, “Just trust me.” Then I watched my beautiful friend, James Marsden, just f**king sell it. He just beautifully fell into it, and I think that that was the biggest surprise, obviously, for the season. We wanted James back. He’s a delightful human being and a great actor. It was like either we were going to just have him back for a bunch of flashbacks or find another way to get him in this.
CARDELLINI: I loved it. When Liz first told me about it, I just laughed, and I thought that it was going to be so much fun to pull off. As out there as you think it is, the really fun part is to earn all of that. He’s so great. He’s so wonderful to work with too, and he’s such a team player. I love all the people who got to return in the second season, it’s just so much fun to have them with us. You really do become a family, because you work so hard and such long hours with each other. I really think Liz is so fantastic at taking those kinds of twists and making them seem so well-earned, so natural.
DEADLINE: Where do you think the relationship between Jen and Judy stands at the beginning of Season 2?
APPLEGATE: I think that unfortunately Jen was very manipulative with Judy in the second season at the beginning because she needed her to fix this. It was very selfish. And I think towards the end, she realized how much she needs her, and how much value Judy plays in her life, to her whole family, and the relationship with her kids, and trying to figure out how to be a better mom, and then getting that second chance to be a mom.
Netflix
CARDELLINI: When it rains, it pours. Judy’s in the middle of a storm cloud. For me, one of the challenges of the character that I haven’t had to face with other characters is that she doesn’t get angry. It’s something that was decided early on, that she has a hard time showing her anger.
DEADLINE: It’s a very dark show about grief but there’s still an element of comedy to it. How do you balance that?
APPLEGATE: The comedy obviously comes out of the tragedy. It’s not saying jokes. It’s coming out of the awkwardness of life, the pain of life, the messiness of life. For the viewer, it’s funny, but for the characters, it’s not. Their imperfection and their messiness is what I think people relate to, and the comedy always kind of forms out of that. I think that some of our funniest stuff is when it’s just me and Linda, basically just ranting.
CARDELLINI: It’s a delicate balance. At first when we were tasked with it, we weren’t sure exactly how to do it because on the page it can go many different ways. It can go very broad, you can go very dark, and the idea that it’s sort of in this inbetween zone is really fun. I hadn’t really done anything like that. The really delicious part about Judy is that she takes these things that are almost hard to believe, and makes them seem so natural to her character. And that, to me, is really fun.
DEADLINE: The moment when Linda is breaking down while eating a pudding cup seems to be a great example of that.
CARDELLINI: That was actually improv. I thought, I’m just going to open this up and see if it makes anybody laugh. Then we kept that.
DEADLINE: How much of the show is improvised?
Netflix
APPLEGATE: We always do as written, and then it’ll be just those moments when Liz will say, “Hey, can you guys just do your Jen and Judy thing?” Then we’ll just kind of come up with weird s**t. It happened a couple of times, and then they just saw how comfortable we were with it, and then it kind of became like their own language.
CARDELLINI: The wonderful thing is that Liz has created these characters that are so specific. I feel like she’s really given us ownership of them, but we go to her for everything. I mean, you see the two of us on screen, but she’s also right there with us for any questions that we have and for anything. It’s really her vision that we are proudly executing. We always get what’s on the page, but the fact that she has given over to us these characters, we are allowed to do whatever we feel in the moment.
DEADLINE: You’ve both done lots of comedy before. How is this different?
APPLEGATE: When you’re on a sitcom and you’re in front of an audience, it’s vaudeville. That’s kind of how I look at it. It’s a dance between you and those 200 people, and you need to get an audible reaction out of them. It’s not canned laughter. I consider that kind of like the vaudevillian form of comedy. Then you do something like a Samantha Who?, which has got its own tone, and then an Anchorman lives in its own bizarre kind of realm. I always feel like comedy is twinkling above reality. This is unlike anything I’ve ever done; it’s its own genre really. We always call it a traumedy because it’s not a black comedy, it’s not a dramedy. It’s people in trauma.
Netflix
CARDELLINI: It’s different to being on the old network schedule, which used to keep you for about nine months. On the Netflix schedule, because it’s 10 episodes, as opposed to 24 or 26, like I might have done during ER, it’s a shorter schedule, so you do have more time in the year to do something else. The idea of being able to play different roles is what it’s all about to me. I love the idea that I get to dive into this great female-led show with two strong colleagues, and I get to be on the screen and work really hard and go sort of stretch all of my muscles in that way, and then I love the idea that I can then go do a movie in the interim between seasons.
DEADLINE: It’s a very personal story for creator Liz Feldman. Can you talk about her process and working with her?
APPLEGATE: She’s incredible. She’s so hands-on, which is wonderful because that’s her vision. She works really well with the directors, which are all female. We only had one male director, Abe Sylvia, who’s incredible. He was one of our producers too. But he, fortunately for him, sold a show, and moved back to New York. So, this year, it was all females. What that means on a set and how it’s run is very different than anything I’ve ever been a part of. Liz is really the driving force behind everything. She oversees everything. She oversees every script. She oversees the editing. She’s there keeping us on track and she’s just a lovely human being.
CARDELLINI: It is truly a team effort and Liz trusts who she hires, she trusted us with the material, and she trusts us going forward.
APPLEGATE: She’s the reason I did it. I was looking to go on an ensemble show, like working two days a week. That was what I was really looking for. [But now] I’m working 18-hour days, and not seeing my child for three months. To go from my dream job, which was like Ed O’Neill’s schedule on Modern Family, to that, it was not what I had expected or desired, but it ended up being very satisfying.
DEADLINE: There’s a scene where Jen is dissolving a rat in the bathtub, and for a moment, I thought you were going to go full Breaking Bad.
Netflix
APPLEGATE: We wanted you to feel that way. That was the intent. The intent was she’s now completely unraveled. She’s gone completely f**king nutso. But the reality is, who could do that? Jen just can’t. She was losing her mind. So that’s why the scene after that was her just completely breaking down, almost like a scared little child.
CARDELLINI: I love that about the way that they do the show. They take you somewhere where you think you know where you’re going and then it goes in a different direction. I remember feeling that way about the balloon floating down in the first season, and thinking, Oh, I know what this is. Then it turns out that it’s not my balloon. But I love the little, tiny moments where you think you’ve got it pegged and they do something completely different.
DEADLINE: The line, “Sometimes justice works itself out,” after Jen confesses to Detective Perez, seems important; more so given what’s going on in the country right now.
APPLEGATE: Given what’s going on, yeah. It’s so painful, I just feel so helpless. Not that you should smash someone’s head and then bury them in the woods, and then get off; not to say that’s a good thing. But humanity sometimes has to take precedence over something else.
DEADLINE: Katey Sagal turns up this season but she’s playing Judy’s mother. How was that?
APPLEGATE: I was so bummed. I didn’t get to see her or work with her. I finally got a day off the day they did all their scenes. I’m very good friends with a lot of the crew. One of my favorite people in the world, Mitch [B. Cohn], who’s our boom operator, would always get me peanut butter cups when I was having kind of a hard day. He’d hide him in my mic pack and stuff. I texted him, and I said, “You take care of Katey today.” She ended up texting me a picture of her in front of all this candy that he had gotten for her. It was so sweet.
Netflix
CARDELLINI: How lucky am I? It was so great. We were so happy to have her. I think that character is a glimpse into Judy’s life that nobody ever gets. You don’t really see Judy’s background so much. I think it’s an interesting idea that you can have this mother who, clearly they have similarities, but just by being born to her, she’s learned some things. But they’re two completely different people. Judy’s not as manipulative in some ways as her mother, but she has learned to manipulate from her mother.
DEADLINE: That final scene is quite shocking with the car crash, the really surprising reveal of who is driving the car, Jen’s son finding out who his mother is, and a dog seemingly digging up Steve’s body. So what do you think happens next?
APPLEGATE: I have no idea what’s going to happen next. I mean, we haven’t been picked up or anything, but it’s not really the landscape right now, right? But given if we do go back, if any of us go back to work ever again, I don’t know what’s going to happen.
Originally, [in the car crash scene] I was really injured, so I didn’t say, “F**k me.” That was all added. Because I think originally, they wanted you to think that I was toast. But I think that would have upset people. So, they added me saying, “What happened?” and, “F**k me,” again, so that you know that there’s another chapter to all of this.
CARDELLINI: I loved it. The question of what happens next is always sort of the fun part of the show. I am definitely looking forward to, if there is a third season, seeing where that goes, and what that does to them, and if they know who hit them, and when they do know who hit them, what happens. There are a lot of unanswered questions.
DEADLINE: Are you confident that there will definitely be a third season?
CARDELLINI: I am cautiously optimistic. That’s sort of a skill I’ve learned in this industry after all this time. I hope so. And if not, we’ve given it our all, and people have enjoyed it, and that’s something too. I have been on many shows that have not lasted long, and ones that have been very short-lived, so you never know.
We wish to say thanks to the author of this post for this remarkable content
";}s:7:"summary";s:739:"Netflix dramatic comedy Dead to Me doubled down on darkness in its second season. This is quite an achievement for a show that started out with a hit-and-run and a sham friendship formed at a grief support group between a widow and the woman who was driving the car. Christina Applegate, who plays mother, widow ... Read more";s:12:"atom_content";s:21851:"
Netflix dramatic comedy Dead to Me doubled down on darkness in its second season. This is quite an achievement for a show that started out with a hit-and-run and a sham friendship formed at a grief support group between a widow and the woman who was driving the car.
Christina Applegate, who plays mother, widow and realtor Jen Harding, and Linda Cardellini, who plays driver, health care assistant and emotional pudding cup fan Judy Hale, are forced to face a whole new set of challenges after the death of James Marsden’s crooked Greek Mafia lawyer Steve Wood.
Firstly, the pair must figure out what to do with the dead body; then, they must avoid getting caught, deal with Wood’s twin brother Ben—who, in pure telenovela-style, is also played by Marsden—and work on recalibrating their own relationship.
Throw in a couple of new love interests, including a tryst between Judy and Natalie Morales’ Michelle, and a prison appearance from Katey Sagal, who played Christina Applegate’s mother on Married… with Children.
Created by Liz Feldman and produced by CBS Television Studios in association with Gloria Sanchez Productions, the half-hour comedy hopes to build on Applegate’s nomination last year for Outstanding Lead Actress in a Comedy Series (she was beaten by Fleabag’s Phoebe Waller-Bridge).
Netflix
Now, from their respective lockdown bubbles, Deadline reunites Applegate and Cardellini for a long discussion of the show. “Are we Zooming?” jokes Applegate. “Does anyone have to get a gown?”
DEADLINE: How did you feel about where you started Season 2?
LINDA CARDELLINI: Judy has decided that she would kill herself because that’s what Jen has asked. She goes from that to then being saved by Jen and her telling her to come home, which is a word that is very important to Judy; the idea of having a home and having a family. She is now part of something that she could have never imagined and that puts her in such a complicated place. It evens the footing between the two women, because they both have something to do with the loss of the other one’s significant other.
In terms of her mourning for Steve, that relationship is very toxic and I thought the idea of mourning a toxic relationship was interesting because I haven’t really seen it done like that. Jen and Judy only have each other to rely on in the worst of times, and they end up not being able to live without each other because they need each other to get them through something that they can’t share with anybody else.
CHRISTINA APPLEGATE: Jen was amped up. It’s exhausting because she was already kind of amped up, and now there’s another level of conflict, and her muscles are just in knots all over her body and her soul and her heart.
DEADLINE: What did you think when you found out James Marsden was returning as Steve’s twin?
Netflix
APPLEGATE: When Liz told me that there was going to be a twin, I was like, “You’re punking me right now, right?” She said, “Just trust me.” Then I watched my beautiful friend, James Marsden, just f**king sell it. He just beautifully fell into it, and I think that that was the biggest surprise, obviously, for the season. We wanted James back. He’s a delightful human being and a great actor. It was like either we were going to just have him back for a bunch of flashbacks or find another way to get him in this.
CARDELLINI: I loved it. When Liz first told me about it, I just laughed, and I thought that it was going to be so much fun to pull off. As out there as you think it is, the really fun part is to earn all of that. He’s so great. He’s so wonderful to work with too, and he’s such a team player. I love all the people who got to return in the second season, it’s just so much fun to have them with us. You really do become a family, because you work so hard and such long hours with each other. I really think Liz is so fantastic at taking those kinds of twists and making them seem so well-earned, so natural.
DEADLINE: Where do you think the relationship between Jen and Judy stands at the beginning of Season 2?
APPLEGATE: I think that unfortunately Jen was very manipulative with Judy in the second season at the beginning because she needed her to fix this. It was very selfish. And I think towards the end, she realized how much she needs her, and how much value Judy plays in her life, to her whole family, and the relationship with her kids, and trying to figure out how to be a better mom, and then getting that second chance to be a mom.
Netflix
CARDELLINI: When it rains, it pours. Judy’s in the middle of a storm cloud. For me, one of the challenges of the character that I haven’t had to face with other characters is that she doesn’t get angry. It’s something that was decided early on, that she has a hard time showing her anger.
DEADLINE: It’s a very dark show about grief but there’s still an element of comedy to it. How do you balance that?
APPLEGATE: The comedy obviously comes out of the tragedy. It’s not saying jokes. It’s coming out of the awkwardness of life, the pain of life, the messiness of life. For the viewer, it’s funny, but for the characters, it’s not. Their imperfection and their messiness is what I think people relate to, and the comedy always kind of forms out of that. I think that some of our funniest stuff is when it’s just me and Linda, basically just ranting.
CARDELLINI: It’s a delicate balance. At first when we were tasked with it, we weren’t sure exactly how to do it because on the page it can go many different ways. It can go very broad, you can go very dark, and the idea that it’s sort of in this inbetween zone is really fun. I hadn’t really done anything like that. The really delicious part about Judy is that she takes these things that are almost hard to believe, and makes them seem so natural to her character. And that, to me, is really fun.
DEADLINE: The moment when Linda is breaking down while eating a pudding cup seems to be a great example of that.
CARDELLINI: That was actually improv. I thought, I’m just going to open this up and see if it makes anybody laugh. Then we kept that.
DEADLINE: How much of the show is improvised?
Netflix
APPLEGATE: We always do as written, and then it’ll be just those moments when Liz will say, “Hey, can you guys just do your Jen and Judy thing?” Then we’ll just kind of come up with weird s**t. It happened a couple of times, and then they just saw how comfortable we were with it, and then it kind of became like their own language.
CARDELLINI: The wonderful thing is that Liz has created these characters that are so specific. I feel like she’s really given us ownership of them, but we go to her for everything. I mean, you see the two of us on screen, but she’s also right there with us for any questions that we have and for anything. It’s really her vision that we are proudly executing. We always get what’s on the page, but the fact that she has given over to us these characters, we are allowed to do whatever we feel in the moment.
DEADLINE: You’ve both done lots of comedy before. How is this different?
APPLEGATE: When you’re on a sitcom and you’re in front of an audience, it’s vaudeville. That’s kind of how I look at it. It’s a dance between you and those 200 people, and you need to get an audible reaction out of them. It’s not canned laughter. I consider that kind of like the vaudevillian form of comedy. Then you do something like a Samantha Who?, which has got its own tone, and then an Anchorman lives in its own bizarre kind of realm. I always feel like comedy is twinkling above reality. This is unlike anything I’ve ever done; it’s its own genre really. We always call it a traumedy because it’s not a black comedy, it’s not a dramedy. It’s people in trauma.
Netflix
CARDELLINI: It’s different to being on the old network schedule, which used to keep you for about nine months. On the Netflix schedule, because it’s 10 episodes, as opposed to 24 or 26, like I might have done during ER, it’s a shorter schedule, so you do have more time in the year to do something else. The idea of being able to play different roles is what it’s all about to me. I love the idea that I get to dive into this great female-led show with two strong colleagues, and I get to be on the screen and work really hard and go sort of stretch all of my muscles in that way, and then I love the idea that I can then go do a movie in the interim between seasons.
DEADLINE: It’s a very personal story for creator Liz Feldman. Can you talk about her process and working with her?
APPLEGATE: She’s incredible. She’s so hands-on, which is wonderful because that’s her vision. She works really well with the directors, which are all female. We only had one male director, Abe Sylvia, who’s incredible. He was one of our producers too. But he, fortunately for him, sold a show, and moved back to New York. So, this year, it was all females. What that means on a set and how it’s run is very different than anything I’ve ever been a part of. Liz is really the driving force behind everything. She oversees everything. She oversees every script. She oversees the editing. She’s there keeping us on track and she’s just a lovely human being.
CARDELLINI: It is truly a team effort and Liz trusts who she hires, she trusted us with the material, and she trusts us going forward.
APPLEGATE: She’s the reason I did it. I was looking to go on an ensemble show, like working two days a week. That was what I was really looking for. [But now] I’m working 18-hour days, and not seeing my child for three months. To go from my dream job, which was like Ed O’Neill’s schedule on Modern Family, to that, it was not what I had expected or desired, but it ended up being very satisfying.
DEADLINE: There’s a scene where Jen is dissolving a rat in the bathtub, and for a moment, I thought you were going to go full Breaking Bad.
Netflix
APPLEGATE: We wanted you to feel that way. That was the intent. The intent was she’s now completely unraveled. She’s gone completely f**king nutso. But the reality is, who could do that? Jen just can’t. She was losing her mind. So that’s why the scene after that was her just completely breaking down, almost like a scared little child.
CARDELLINI: I love that about the way that they do the show. They take you somewhere where you think you know where you’re going and then it goes in a different direction. I remember feeling that way about the balloon floating down in the first season, and thinking, Oh, I know what this is. Then it turns out that it’s not my balloon. But I love the little, tiny moments where you think you’ve got it pegged and they do something completely different.
DEADLINE: The line, “Sometimes justice works itself out,” after Jen confesses to Detective Perez, seems important; more so given what’s going on in the country right now.
APPLEGATE: Given what’s going on, yeah. It’s so painful, I just feel so helpless. Not that you should smash someone’s head and then bury them in the woods, and then get off; not to say that’s a good thing. But humanity sometimes has to take precedence over something else.
DEADLINE: Katey Sagal turns up this season but she’s playing Judy’s mother. How was that?
APPLEGATE: I was so bummed. I didn’t get to see her or work with her. I finally got a day off the day they did all their scenes. I’m very good friends with a lot of the crew. One of my favorite people in the world, Mitch [B. Cohn], who’s our boom operator, would always get me peanut butter cups when I was having kind of a hard day. He’d hide him in my mic pack and stuff. I texted him, and I said, “You take care of Katey today.” She ended up texting me a picture of her in front of all this candy that he had gotten for her. It was so sweet.
Netflix
CARDELLINI: How lucky am I? It was so great. We were so happy to have her. I think that character is a glimpse into Judy’s life that nobody ever gets. You don’t really see Judy’s background so much. I think it’s an interesting idea that you can have this mother who, clearly they have similarities, but just by being born to her, she’s learned some things. But they’re two completely different people. Judy’s not as manipulative in some ways as her mother, but she has learned to manipulate from her mother.
DEADLINE: That final scene is quite shocking with the car crash, the really surprising reveal of who is driving the car, Jen’s son finding out who his mother is, and a dog seemingly digging up Steve’s body. So what do you think happens next?
APPLEGATE: I have no idea what’s going to happen next. I mean, we haven’t been picked up or anything, but it’s not really the landscape right now, right? But given if we do go back, if any of us go back to work ever again, I don’t know what’s going to happen.
Originally, [in the car crash scene] I was really injured, so I didn’t say, “F**k me.” That was all added. Because I think originally, they wanted you to think that I was toast. But I think that would have upset people. So, they added me saying, “What happened?” and, “F**k me,” again, so that you know that there’s another chapter to all of this.
CARDELLINI: I loved it. The question of what happens next is always sort of the fun part of the show. I am definitely looking forward to, if there is a third season, seeing where that goes, and what that does to them, and if they know who hit them, and when they do know who hit them, what happens. There are a lot of unanswered questions.
DEADLINE: Are you confident that there will definitely be a third season?
CARDELLINI: I am cautiously optimistic. That’s sort of a skill I’ve learned in this industry after all this time. I hope so. And if not, we’ve given it our all, and people have enjoyed it, and that’s something too. I have been on many shows that have not lasted long, and ones that have been very short-lived, so you never know.
We wish to say thanks to the author of this post for this remarkable content
";s:14:"date_timestamp";i:1647965666;}i:7;a:11:{s:5:"title";s:92:"MINIRECENZE: Někdy milá popová deska stačí. Přesně takovou je “The Kick” od Foxes";s:4:"link";s:127:"https://movieshere.packagingnewsonline.com/music/minirecenze-nekdy-mila-popova-deska-staci-presne-takovou-je-the-kick-od-foxes/";s:2:"dc";a:1:{s:7:"creator";s:8:"Ann Moon";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 16:12:21 +0000";s:8:"category";s:69:"MusicdeskaFoxeskickmilaMINIRECENZENěkdypopováPřesněstačítakovou";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44614";s:11:"description";s:799:"Zatímco někteří hudebníci se pandemií proflákali (případně pracovali ve zcela jiném oboru, aby se uživili), jiní se zavřeli do studia, kde skládali a nahrávali. Do druhé skupiny patří i britská zpěvačka Foxes, která loni vydala EP “Friends In The Corner” a letos na něj navázala třetí řadovkou “The Kick”. 8/10 Foxes – The Kick Vydáno: ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4426:"
Zatímco někteří hudebníci se pandemií proflákali (případně pracovali ve zcela jiném oboru, aby se uživili), jiní se zavřeli do studia, kde skládali a nahrávali. Do druhé skupiny patří i britská zpěvačka Foxes, která loni vydala EP “Friends In The Corner” a letos na něj navázala třetí řadovkou “The Kick”.
8/10
Foxes – The Kick
Vydáno: 11.2.2022 Celkový čas: 40 minut
Skladby: Sister Ray, The Kick, Growing on Me, Potential, Dance Magic, Body Suit, Absolute, Two Kinds Of Silence, Forgive Yourself, Gentleman, Sky Love, Too Much Colour
Louisa Rose Allen, jak se Foxes jmenuje občanským jménem, zaujala už svým debutem “Glorious” z roku 2014, který o dva roky později následovala albová dvojka “All I Need”. Následně si od hudby dala na několik let pauzu, když ale přišel covid, opět se naplno ponořila do skládání a nahrávání. Třetí řadovka “The Kick” prý vznikla celá přes Zoom, poznat to na ní však není. Místo černých mračen totiž září pozitivitou a nečekanou přístupností.
Foxes byla vždy samozřejmě popová zpěvačka, ač se pohybovala na mírně alternativní hraně. Na novince každopádně vsadila na přímočaré melodie, které zabalila místy do osmdesátkové melancholie, v níž nechybějí ozvuky disca, místy do devadesátkového danceflooru. Celou kolekci otevírá pilotní singl “Sister Ray”, který by se klidně mohl objevit na nějakém albu Robyn, a kdyby ho nazpívala třeba taková Cheryl, měla by jasný britský hit. Podobně striktně tanečními kusy jsou třeba “Absolute” či “Sky Love”, které mají až jemný trancový zvuk. Jindy je však zpěvačka rádiově přítulná, skladby jako “The Kick”, “Growing On Me” či “Dance Magic” rostou s každým dalším poslechem. Snad jen obě pomalé písně, “Body Suit” a “Too Much Color”, do nálady desky moc nezapadají. V případě první jmenované bychom ale přišli o sexy saxofonovou osmdesátkovou baladu, takže je vlastně dobře, že na albu je.
Foxes se na své třetí řadovce rozhodla nic nekomplikovat a natočit milou popovou nahrávku plnou silných písní. A naštěstí se jí to i povedlo.
We want to thank the author of this short article for this outstanding content
";}s:7:"summary";s:799:"Zatímco někteří hudebníci se pandemií proflákali (případně pracovali ve zcela jiném oboru, aby se uživili), jiní se zavřeli do studia, kde skládali a nahrávali. Do druhé skupiny patří i britská zpěvačka Foxes, která loni vydala EP “Friends In The Corner” a letos na něj navázala třetí řadovkou “The Kick”. 8/10 Foxes – The Kick Vydáno: ... Read more";s:12:"atom_content";s:4426:"
Zatímco někteří hudebníci se pandemií proflákali (případně pracovali ve zcela jiném oboru, aby se uživili), jiní se zavřeli do studia, kde skládali a nahrávali. Do druhé skupiny patří i britská zpěvačka Foxes, která loni vydala EP “Friends In The Corner” a letos na něj navázala třetí řadovkou “The Kick”.
8/10
Foxes – The Kick
Vydáno: 11.2.2022 Celkový čas: 40 minut
Skladby: Sister Ray, The Kick, Growing on Me, Potential, Dance Magic, Body Suit, Absolute, Two Kinds Of Silence, Forgive Yourself, Gentleman, Sky Love, Too Much Colour
Louisa Rose Allen, jak se Foxes jmenuje občanským jménem, zaujala už svým debutem “Glorious” z roku 2014, který o dva roky později následovala albová dvojka “All I Need”. Následně si od hudby dala na několik let pauzu, když ale přišel covid, opět se naplno ponořila do skládání a nahrávání. Třetí řadovka “The Kick” prý vznikla celá přes Zoom, poznat to na ní však není. Místo černých mračen totiž září pozitivitou a nečekanou přístupností.
Foxes byla vždy samozřejmě popová zpěvačka, ač se pohybovala na mírně alternativní hraně. Na novince každopádně vsadila na přímočaré melodie, které zabalila místy do osmdesátkové melancholie, v níž nechybějí ozvuky disca, místy do devadesátkového danceflooru. Celou kolekci otevírá pilotní singl “Sister Ray”, který by se klidně mohl objevit na nějakém albu Robyn, a kdyby ho nazpívala třeba taková Cheryl, měla by jasný britský hit. Podobně striktně tanečními kusy jsou třeba “Absolute” či “Sky Love”, které mají až jemný trancový zvuk. Jindy je však zpěvačka rádiově přítulná, skladby jako “The Kick”, “Growing On Me” či “Dance Magic” rostou s každým dalším poslechem. Snad jen obě pomalé písně, “Body Suit” a “Too Much Color”, do nálady desky moc nezapadají. V případě první jmenované bychom ale přišli o sexy saxofonovou osmdesátkovou baladu, takže je vlastně dobře, že na albu je.
Foxes se na své třetí řadovce rozhodla nic nekomplikovat a natočit milou popovou nahrávku plnou silných písní. A naštěstí se jí to i povedlo.
We want to thank the author of this short article for this outstanding content
";s:14:"date_timestamp";i:1647965541;}i:8;a:11:{s:5:"title";s:85:"Study shows that intranasal Rx halts memory decay in experimental Alzheimer’s model";s:4:"link";s:143:"https://movieshere.packagingnewsonline.com/healthandscience/study-shows-that-intranasal-rx-halts-memory-decay-in-experimental-alzheimers-model/";s:2:"dc";a:1:{s:7:"creator";s:12:"Tony Grantly";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 16:09:22 +0000";s:8:"category";s:76:"Health And ScienceAlzheimersdecayExperimentalhaltsintranasalmemorymodelStudy";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44609";s:11:"description";s:819:"Journal Reference: Ceren Emre, Luis E. Arroyo-García, Khanh V. Do, Bokkyoo Jun, Makiko Ohshima, Silvia Gómez Alcalde, Megan L. Cothern, Silvia Maioli, Per Nilsson, Erik Hjorth, André Fisahn, Nicolas G. Bazan, Marianne Schultzberg. Intranasal delivery of pro-resolving lipid mediators rescues memory and gamma oscillation impairment in AppNL-G-F/NL-G-F mice. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03169-3 ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4260:"
Journal Reference:
Ceren Emre, Luis E. Arroyo-García, Khanh V. Do, Bokkyoo Jun, Makiko Ohshima, Silvia Gómez Alcalde, Megan L. Cothern, Silvia Maioli, Per Nilsson, Erik Hjorth, André Fisahn, Nicolas G. Bazan, Marianne Schultzberg. Intranasal delivery of pro-resolving lipid mediators rescues memory and gamma oscillation impairment in AppNL-G-F/NL-G-F mice. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03169-3
Neuroinflammation is a hallmark of neurodegenerative disorders, including Alzheimer’s Disease. Specialized pro-resolving lipid mediators are bioactive compounds composed of fatty acids like omega-3 or their derivatives that resolve inflammation. Neuroprotectin D1 (NPD1), discovered by Nicolas Bazan, MD, PhD, Boyd Professor and Director of the LSU Health New Orleans Neuroscience Center of Excellence, and colleagues is one. Previous studies by the Bazan lab demonstrated that NPD1 is protective in experimental stroke as well as retinal damage and that it is in short supply in the memory area of the brains from AD donors.
Resolving inflammation is a complex process involving mediators, cell subtypes and communication pathways. Response includes cell communications that order the activation of protective, pro-survival mechanisms and silence pro-inflammatory signaling pathways. Specialized pro-resolving lipid mediators such as NPD1 are the key signaling molecules in the process.
The paper discloses solid data on microglial activation, pro-inflammatory signaling, chronic inflammation and neuronal damage in Alzheimer’s disease. The study uses the AppNL-G-F/NL-G-F mouse model for AD. The paper extensively studied amyloid load, cognition, neuronal network oscillations, glial activation, receptors and inflammatory factors.
The authors conclude that the noninvasive administration route, intranasal delivery, of biologically active lipid messengers opens avenues for therapeutic exploration for AD and other neurodegenerative diseases.
“AD lacks prevention or cure and exerts a horrendous toll on patients and their families due to crippling progression and devastating adverse events,” notes Dr. Bazan, who led the research at LSU Health. “Millions of Americans currently suffer from AD, and the number is expected to escalate rapidly in the coming years.”
Bazan has been collaborating with Marianne Schultzberg, Senior Professor of Clinical Neuroscience at the Department of Neurobiology, Care Sciences and Society at the Karolinska Institutet (KI). Projects include looking at the novel signals that protect the brain in the cerebral spinal fluid (CSF) of the early stages of Alzheimer’s disease.
“This productive collaboration is uncovering important aspects of early stages of Alzheimer’s Disease, and the novel evolving mechanisms are promising paths for innovative therapies like the one disclosed in the current paper,” says Professor Schultzberg.
According to the National Institute on Aging, Alzheimer’s disease is currently ranked as the seventh leading cause of death in the United States and is the most common cause of dementia among older adults.
Other members of the LSU Health New Orleans research team include Drs. Khanh V. Do, Bokkyoo Jun and Megan L. Cothern. Ceren Emre, who recently completed her PhD at the Karolinska Institutet, was co-supervised by Dr. Bazan and worked at LSU Health New Orleans Neuroscience Center of Excellence for eight months just before the pandemic.
We would like to give thanks to the author of this short article for this remarkable material
";}s:7:"summary";s:819:"Journal Reference: Ceren Emre, Luis E. Arroyo-García, Khanh V. Do, Bokkyoo Jun, Makiko Ohshima, Silvia Gómez Alcalde, Megan L. Cothern, Silvia Maioli, Per Nilsson, Erik Hjorth, André Fisahn, Nicolas G. Bazan, Marianne Schultzberg. Intranasal delivery of pro-resolving lipid mediators rescues memory and gamma oscillation impairment in AppNL-G-F/NL-G-F mice. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03169-3 ... Read more";s:12:"atom_content";s:4260:"
Journal Reference:
Ceren Emre, Luis E. Arroyo-García, Khanh V. Do, Bokkyoo Jun, Makiko Ohshima, Silvia Gómez Alcalde, Megan L. Cothern, Silvia Maioli, Per Nilsson, Erik Hjorth, André Fisahn, Nicolas G. Bazan, Marianne Schultzberg. Intranasal delivery of pro-resolving lipid mediators rescues memory and gamma oscillation impairment in AppNL-G-F/NL-G-F mice. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03169-3
Neuroinflammation is a hallmark of neurodegenerative disorders, including Alzheimer’s Disease. Specialized pro-resolving lipid mediators are bioactive compounds composed of fatty acids like omega-3 or their derivatives that resolve inflammation. Neuroprotectin D1 (NPD1), discovered by Nicolas Bazan, MD, PhD, Boyd Professor and Director of the LSU Health New Orleans Neuroscience Center of Excellence, and colleagues is one. Previous studies by the Bazan lab demonstrated that NPD1 is protective in experimental stroke as well as retinal damage and that it is in short supply in the memory area of the brains from AD donors.
Resolving inflammation is a complex process involving mediators, cell subtypes and communication pathways. Response includes cell communications that order the activation of protective, pro-survival mechanisms and silence pro-inflammatory signaling pathways. Specialized pro-resolving lipid mediators such as NPD1 are the key signaling molecules in the process.
The paper discloses solid data on microglial activation, pro-inflammatory signaling, chronic inflammation and neuronal damage in Alzheimer’s disease. The study uses the AppNL-G-F/NL-G-F mouse model for AD. The paper extensively studied amyloid load, cognition, neuronal network oscillations, glial activation, receptors and inflammatory factors.
The authors conclude that the noninvasive administration route, intranasal delivery, of biologically active lipid messengers opens avenues for therapeutic exploration for AD and other neurodegenerative diseases.
“AD lacks prevention or cure and exerts a horrendous toll on patients and their families due to crippling progression and devastating adverse events,” notes Dr. Bazan, who led the research at LSU Health. “Millions of Americans currently suffer from AD, and the number is expected to escalate rapidly in the coming years.”
Bazan has been collaborating with Marianne Schultzberg, Senior Professor of Clinical Neuroscience at the Department of Neurobiology, Care Sciences and Society at the Karolinska Institutet (KI). Projects include looking at the novel signals that protect the brain in the cerebral spinal fluid (CSF) of the early stages of Alzheimer’s disease.
“This productive collaboration is uncovering important aspects of early stages of Alzheimer’s Disease, and the novel evolving mechanisms are promising paths for innovative therapies like the one disclosed in the current paper,” says Professor Schultzberg.
According to the National Institute on Aging, Alzheimer’s disease is currently ranked as the seventh leading cause of death in the United States and is the most common cause of dementia among older adults.
Other members of the LSU Health New Orleans research team include Drs. Khanh V. Do, Bokkyoo Jun and Megan L. Cothern. Ceren Emre, who recently completed her PhD at the Karolinska Institutet, was co-supervised by Dr. Bazan and worked at LSU Health New Orleans Neuroscience Center of Excellence for eight months just before the pandemic.
We would like to give thanks to the author of this short article for this remarkable material
";s:14:"date_timestamp";i:1647965362;}i:9;a:11:{s:5:"title";s:34:"Nötsmörstreats – Food Pharmacy";s:4:"link";s:82:"https://movieshere.packagingnewsonline.com/lifestyle/notsmorstreats-food-pharmacy/";s:2:"dc";a:1:{s:7:"creator";s:10:"Holly June";}s:7:"pubdate";s:31:"Tue, 22 Mar 2022 15:37:46 +0000";s:8:"category";s:37:"LifestyleFoodNötsmörstreatsPharmacy";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=44603";s:11:"description";s:627:"Food Pharmacy Store ABs integritetspolicy Food Pharmacy Store AB (“Food Pharmacy”) arbetar för att säkerställa att din integritet ska skyddas vid användning av våra tjänster. Food Pharmacy är personuppgiftsansvarig för de personuppgifter som du skickar till oss i enlighet med dataskyddsförordningen (GDPR). I denna integritetspolicy informerar vi dig om varför och på vilket sätt vi ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6423:"
Food Pharmacy Store ABs integritetspolicy
Food Pharmacy Store AB (“Food Pharmacy”) arbetar för att säkerställa att din integritet ska skyddas vid användning av våra tjänster. Food Pharmacy är personuppgiftsansvarig för de personuppgifter som du skickar till oss i enlighet med dataskyddsförordningen (GDPR).
I denna integritetspolicy informerar vi dig om varför och på vilket sätt vi behandlar personuppgifter och hur vi använder cookies. Här kan du även läsa om vad du som registrerad har för rättigheter och vart du kan vända dig med frågor eller synpunkter kopplade till Food Pharmacys personuppgiftsbehandling. Integritetspolicyn uppdaterades senast i september år 2019.
Vad för slags personuppgifter samlar vi?
Kund Vi samlar in personuppgifter som du skickar till oss, t.ex. när du gör beställningar och kontaktar vår kundtjänst. De personuppgifter som du skickar till oss kan t.ex. omfatta kontaktinformation, födelsedatum och betalningsinformation. Dessutom kan vi samla in vissa personuppgifter från externa källor, t.ex. kreditupplysningar och adressuppdateringar. När vi gör kundundersökningar anonymiseras alla användaruppgifter. Vår lagliga grund för denna personuppgiftsbehandling är för att kunna fullgöra avtalet mot dig som kund eller för att kunna fullgöra förpliktelser enligt lag. Personuppgifterna lagras i 3 år.
Nyhetsbrev och erbjudanden Personuppgifter samlas också in vid registrering av vårt nyhetsbrev. Har du handlat en vara hos oss tidigare behandlar vi även dina kontaktuppgifter för att kunna skicka ut erbjudanden till dig. Sådan personuppgiftsbehandling grundar sig på vårt berättigade intresse. Om du har nåtts av oönskade utskick från oss har du, i enlighet med GDPR och marknadsföringslagen, alltid rätt att motsätta dig fortsatta utskick. Det gör du genom att klicka på länken i själva mejlutskicket eller genom att kontakta oss på info@foodpharmacy.se.
Medlemskap Om du är medlem i Food Pharmacy behandlar vi dina kontaktuppgifter och de uppgifter du anger i din profil. Denna behandling av dina personuppgifter krävs för att vi ska kunna fullgöra våra åtaganden enligt avtalet/villkoren om medlemskap. Personuppgifterna lagras till dess att medlemskapet avslutas.
Hur använder vi dina personuppgifter? För följande ändamål:
för att ge dig som kund en så bra upplevelse som möjligt
för att hantera ditt personliga konto på Food Pharmacy (om du väljer att skapa ett sådant)
för att bearbeta dina beställningar och returer och för att kontakta dig angående dina beställningar.
för att sammanställa statistik
för att uppfylla lagstiftarens krav på bokföring
för att marknadsföra våra produkter till dig
för att skicka kundundersökningar till dig
Var lagras dina personuppgifter? Uppgifterna lagras inom det europeiska ekonomiska samarbetsområdet (EES).
Vilka är dina rättigheter? Du har rätt att begära information om de personuppgifter vi har om dig. Om dina uppgifter är felaktiga, ofullständiga eller irrelevanta, kan du begära att få dem rättade eller raderade. Vi kan däremot inte radera dina uppgifter i fall då det föreligger ett lagstadgat krav på lagring för t.ex. bokföringsregler, eller när det finns andra legala skäl till varför uppgifterna måste sparas. Du har även rätt att vända dig till Datainspektionen på datainspektionen@datainspektionen.se för att lämna klagomål.
Vem har tillgång till dina personuppgifter? Vi säljer, byter eller vidarebefordrar aldrig dina personuppgifter för marknadsföringsändamål till tredje part utanför Food Pharmacy. Uppgifter som vidarebefordras till tredje part används endast för att tillhandahålla ovannämnda tjänster till dig, t.ex. transportörer i samband med leverans av varor, mediebyråer för distribution av nyhetsbrev och kreditupplysnings- eller inkassobyråer för upplysningskontroller för kontroll av identitet, kredit eller indrivning av skulder.
Vi skyddar dina personuppgifter Vi har tekniska och organisatoriska åtgärder för att skydda dina uppgifter från obehörig åtkomst. Vi anpassar fortlöpande våra säkerhetsåtgärder. Våra betalningsombud bearbetar dina kort- och personuppgifter i enlighet med den internationella säkerhetsstandarden. Du kan läsa mer om dessa standarder på våra leverantörers hemsidor – Klarna.se och Stripe.com.
Cookies En cookie är en textfil som sparas på din dator eller mobila enhet och hämtas därifrån vid senare besök på vår hemsida. Food Pharmacy använder cookies för att förbättra och förenkla ditt besök. Vi använder inte cookies för att lagra personuppgifter eller för att sprida uppgifter till tredje part.Du kan enkelt radera cookies från din dator eller mobila enhet via webbläsaren, alternativt surfa i anonymt läge.
Vi använder cookies från tredje part för att samla in statistik i samlad form i analysverktyg som Google Analytics. De cookies som används är både permanenta och tillfälliga cookies (sessionscookies). Permanenta cookies sparas som filer på din dator eller mobila enhet i max 24 månader. Tillfälliga cookies raderas när du stänger webbläsaren.
För att få mer information om cookies och lagen om elektronisk kommunikation kan du besöka Post- och telestyrelsens webbplats.
Personuppgiftsansvarig Food Pharmacy Store AB är personuppgiftsansvarig för de personuppgifter som du skickar till oss i enlighet med dataskyddsförordningen (GDPR).
Food Pharmacy AB Riddargatan 20 114 51 Stockholm E-post: info@foodpharmacy.se, jonna.andersson@foodpharmacy.se
We would love to give thanks to the author of this post for this remarkable content
";}s:7:"summary";s:627:"Food Pharmacy Store ABs integritetspolicy Food Pharmacy Store AB (“Food Pharmacy”) arbetar för att säkerställa att din integritet ska skyddas vid användning av våra tjänster. Food Pharmacy är personuppgiftsansvarig för de personuppgifter som du skickar till oss i enlighet med dataskyddsförordningen (GDPR). I denna integritetspolicy informerar vi dig om varför och på vilket sätt vi ... Read more";s:12:"atom_content";s:6423:"
Food Pharmacy Store ABs integritetspolicy
Food Pharmacy Store AB (“Food Pharmacy”) arbetar för att säkerställa att din integritet ska skyddas vid användning av våra tjänster. Food Pharmacy är personuppgiftsansvarig för de personuppgifter som du skickar till oss i enlighet med dataskyddsförordningen (GDPR).
I denna integritetspolicy informerar vi dig om varför och på vilket sätt vi behandlar personuppgifter och hur vi använder cookies. Här kan du även läsa om vad du som registrerad har för rättigheter och vart du kan vända dig med frågor eller synpunkter kopplade till Food Pharmacys personuppgiftsbehandling. Integritetspolicyn uppdaterades senast i september år 2019.
Vad för slags personuppgifter samlar vi?
Kund Vi samlar in personuppgifter som du skickar till oss, t.ex. när du gör beställningar och kontaktar vår kundtjänst. De personuppgifter som du skickar till oss kan t.ex. omfatta kontaktinformation, födelsedatum och betalningsinformation. Dessutom kan vi samla in vissa personuppgifter från externa källor, t.ex. kreditupplysningar och adressuppdateringar. När vi gör kundundersökningar anonymiseras alla användaruppgifter. Vår lagliga grund för denna personuppgiftsbehandling är för att kunna fullgöra avtalet mot dig som kund eller för att kunna fullgöra förpliktelser enligt lag. Personuppgifterna lagras i 3 år.
Nyhetsbrev och erbjudanden Personuppgifter samlas också in vid registrering av vårt nyhetsbrev. Har du handlat en vara hos oss tidigare behandlar vi även dina kontaktuppgifter för att kunna skicka ut erbjudanden till dig. Sådan personuppgiftsbehandling grundar sig på vårt berättigade intresse. Om du har nåtts av oönskade utskick från oss har du, i enlighet med GDPR och marknadsföringslagen, alltid rätt att motsätta dig fortsatta utskick. Det gör du genom att klicka på länken i själva mejlutskicket eller genom att kontakta oss på info@foodpharmacy.se.
Medlemskap Om du är medlem i Food Pharmacy behandlar vi dina kontaktuppgifter och de uppgifter du anger i din profil. Denna behandling av dina personuppgifter krävs för att vi ska kunna fullgöra våra åtaganden enligt avtalet/villkoren om medlemskap. Personuppgifterna lagras till dess att medlemskapet avslutas.
Hur använder vi dina personuppgifter? För följande ändamål:
för att ge dig som kund en så bra upplevelse som möjligt
för att hantera ditt personliga konto på Food Pharmacy (om du väljer att skapa ett sådant)
för att bearbeta dina beställningar och returer och för att kontakta dig angående dina beställningar.
för att sammanställa statistik
för att uppfylla lagstiftarens krav på bokföring
för att marknadsföra våra produkter till dig
för att skicka kundundersökningar till dig
Var lagras dina personuppgifter? Uppgifterna lagras inom det europeiska ekonomiska samarbetsområdet (EES).
Vilka är dina rättigheter? Du har rätt att begära information om de personuppgifter vi har om dig. Om dina uppgifter är felaktiga, ofullständiga eller irrelevanta, kan du begära att få dem rättade eller raderade. Vi kan däremot inte radera dina uppgifter i fall då det föreligger ett lagstadgat krav på lagring för t.ex. bokföringsregler, eller när det finns andra legala skäl till varför uppgifterna måste sparas. Du har även rätt att vända dig till Datainspektionen på datainspektionen@datainspektionen.se för att lämna klagomål.
Vem har tillgång till dina personuppgifter? Vi säljer, byter eller vidarebefordrar aldrig dina personuppgifter för marknadsföringsändamål till tredje part utanför Food Pharmacy. Uppgifter som vidarebefordras till tredje part används endast för att tillhandahålla ovannämnda tjänster till dig, t.ex. transportörer i samband med leverans av varor, mediebyråer för distribution av nyhetsbrev och kreditupplysnings- eller inkassobyråer för upplysningskontroller för kontroll av identitet, kredit eller indrivning av skulder.
Vi skyddar dina personuppgifter Vi har tekniska och organisatoriska åtgärder för att skydda dina uppgifter från obehörig åtkomst. Vi anpassar fortlöpande våra säkerhetsåtgärder. Våra betalningsombud bearbetar dina kort- och personuppgifter i enlighet med den internationella säkerhetsstandarden. Du kan läsa mer om dessa standarder på våra leverantörers hemsidor – Klarna.se och Stripe.com.
Cookies En cookie är en textfil som sparas på din dator eller mobila enhet och hämtas därifrån vid senare besök på vår hemsida. Food Pharmacy använder cookies för att förbättra och förenkla ditt besök. Vi använder inte cookies för att lagra personuppgifter eller för att sprida uppgifter till tredje part.Du kan enkelt radera cookies från din dator eller mobila enhet via webbläsaren, alternativt surfa i anonymt läge.
Vi använder cookies från tredje part för att samla in statistik i samlad form i analysverktyg som Google Analytics. De cookies som används är både permanenta och tillfälliga cookies (sessionscookies). Permanenta cookies sparas som filer på din dator eller mobila enhet i max 24 månader. Tillfälliga cookies raderas när du stänger webbläsaren.
För att få mer information om cookies och lagen om elektronisk kommunikation kan du besöka Post- och telestyrelsens webbplats.
Personuppgiftsansvarig Food Pharmacy Store AB är personuppgiftsansvarig för de personuppgifter som du skickar till oss i enlighet med dataskyddsförordningen (GDPR).
Food Pharmacy AB Riddargatan 20 114 51 Stockholm E-post: info@foodpharmacy.se, jonna.andersson@foodpharmacy.se
We would love to give thanks to the author of this post for this remarkable content
