Rosanna Arquette thinks she's Madonna in "Desperately Seeking Susan" (1985), Goldie Hawn forgets she's rich and spoiled in "Overboard" (1987), Christopher Lloyd's Uncle Fester in "The Addams Family" (1991) thinks he's an imposter, and Ellen DeGeneres, in animated form, forgets, well, most everything in "Finding Nemo" (2003). When Joel McCrea loses his memory late in "Sullivan's Travels," it lands him in prison. Charlie Chaplin's Little Tramp suffers from it in "The Great Dictator" (1940), and William Powell forgets he's a con artist in "I Love You Again" (1940). We haven't even gotten to the 1940s' 10-film "Crime Doctor" franchise, in which a famous criminal psychologist has forgotten he was once a criminal himself.Ĭomedy has also made a lot of hay with amnesia. Peck tried it again with the very Hitchcock-like film "Mirage" (1965), and others in thriller trappings include George Peppard in "The Third Day" (1965), Nicol Williamson (as Sherlock Holmes) in "The Seven Percent Solution" (1976), Jennifer Jones in "Love Letters" (1945), William Powell in "Crossroads" (1942), Elizabeth Taylor in "Suddenly Last Summer" (1959), Robert Taylor in "The High Wall" (1947), both Frank Sinatra and Laurence Harvey in "The Manchurian Candidate" (1962), and Tom Berenger in "Shattered" (1991). And how about Tippi Hedren as the title character in "Marnie" (1964)? Next was Gregory Peck in Hitchcock's classic "Spellbound" (1945). The first time was with the character played by Norah Baring in Hitchcock's "Murder" (1930). And that includes a few by the Master of Suspense, Alfred Hitchcock himself - who may have forgotten he had already used it when he decided to use it again. Even that film was a remake, though, having been a two-part TV miniseries starring Richard Chamberlain in 1988.īut even by 1988, the amnesia plot had been done to death, most often in the service of mysteries. In fact, "The Bourne Identity" remains the biggest moneymaker on the subject, spawning a pair of highly successful sequels, with another in the planning stages. Both are examples of creaky material getting a reboot that works well enough to entertain for a couple of hours. "Unknown" is pretty good, with a dandy car chase and a climax that is expected, yet surprising in the way it occurs. That 2002 thriller starred Matt Damon as Jason Bourne, rescued from the water to find he has amnesia, so he looks for answers with help from a beautiful stranger as they elude assassins.īut none of this is really meant to disparage those movies. If you're thinking, "That sounds like 'The Bourne Identity,' " give yourself a gold star. Only flashes of memories remain, which he tries to piece together with the help of the beautiful cabbie who saves his life as they elude unknown assassins. Martin Harris, an American in Berlin who loses his memory after being rescued from a taxi that crashes into a river. If you've been looking for evidence that Hollywood has run out of original ideas, look no further than "Unknown," with Liam Neeson as Dr. One of the more hackneyed movie-plot devices of the past 100 years is amnesia, yet here we are in the 21st century and it's still being trotted out in major Hollywood motion pictures.
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If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. If only he’d been able to make it, Kaleidoscope might have been the Hitchcock-iest Hitchcock film of all. But, throughout a career spanning five decades, he had always catalogued humanity’s most violent and misogynistic impulses, and played with bold new cinematic approaches. They saw him, presumably, as the self-parodying, avuncular host of the Alfred Hitchcock Presents TV series and its spin-off literary anthologies and records. Maybe so, but if Wasserman and MCA/Universal’s other executives wanted to protect the Hitchcock brand, they clearly didn’t understand it. “You have to realise that he was a brand,” says Law, “with TV syndication rights, a back catalogue of valuable films, books, magazines and a persona known around the world.” John William Law, who discusses Kaleidoscope in his new book, The Lost Hitchcocks, believes that Wasserman wasn’t just worried about the film’s effects on Universal’s reputation, but on the industry which had grown around Hitchcock himself. But it was all in vain. “In no time at all they rejected the script and told Hitchcock they couldn’t allow him to film it,” said Fast. He was “further in the development of this project than any other unrealised production,” writes Dan Auiler in his book, Hitchcock Lost. Hitchcock went into a studio meeting armed with photos, footage and a detailed script that included 450 specific camera positions. These Italian directors are a century ahead of me in terms of technique! What have I been doing all this time?”Īlas, executives at MCA/Universal didn’t share his enthusiasm. “My God, Howard,” Hitchcock said to Fast. He hired two further writers, Hugh Wheeler and Howard Fast, to polish his screenplay, the latter of whom would recall his revitalised sense of purpose in Patrick McGilligan’s biography, Alfred Hitchcock: A Life in Darkness and Light. He was going to experiment with an unknown cast, handheld cameras, natural light and location shooting – anything to prove that he wasn’t “tired” or “distracted”. Something had to be done.īut this wasn’t to be a typical Hitchcock production. “There is a distracted air about the film,” wrote Richard Schickel in Life magazine, “as if the master were not really paying attention to what he was doing.” Schickel went on to complain that the “mechanical” Torn Curtain was the work of a “tired” Hitchcock repeating “past triumphs”. Torn Curtain, Hitchcock’s 50th film, had gone down especially badly when it came out in 1966. On the other hand, his last two releases, Marnie and Torn Curtain, had both been disappointments. He had just been given an honorary Oscar, the Irving G Thalberg award, and Francois Truffaut’s book of interviews with him had just been published, so his place in the pantheon of all-time great directors was secure. Hitchcock had hoped that the film would go into production in 1967. Kaleidoscope was deemed so transgressive that not even the man behind Psycho was allowed to make it. If he had succeeded, we might currently be celebrating the 50th anniversary of a boundary-pushing, taboo-shattering masterpiece. Determined to catch up with Europe’s most innovative directors, Hitchcock wanted to apply their radical methods to one of his own typically dark narratives. But Hitchcock had an even more shocking film planned just a few years later. In a recent documentary about that one scene, 78/52, Peter Bogdanovich remembers the “sustained shriek” that filled the cinema when Psycho premiered in New York. For all of his phenomenal achievements, Alfred Hitchcock is probably best known for Psycho, and in particular the scene in which – spoiler alert – a man dressed in his dead mother’s clothes stabs a naked woman in a motel shower. Click the What to look for tab at the top of the page for images and information.įor more information about older versions of Windows, see the Microsoft knowledge base article Find your Windows product key. This logo verifies that the computer is a Genuine Windows 11 or Windows 10 device and has a Product Key on the motherboard.įor more on specific labels that Microsoft uses on computer hardware, see Microsoft's How to Tell website. Identify a Genuine Windows 11 or Windows 10 Computerĭell computers that are factory-installed with Windows 11 or Windows 10 may carry a logo on the palm rest. 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Then, combine the mixture until the cheese is evenly distributed. Use a stand mixer to put the pulverized cheese into the bowl with the dough. Then, pulse the cheese until it's as fine as possible. Place 1 cup of shredded cheddar cheese into a food processor and put the lid on. Use a spoon to stir the dough and keep adding spoonfuls of water until the dough pulls away from the side of the bowl. Take a 1/2 cup of cold water and pour a few spoonfuls of it into the flour and butter mixture. Use a hand mixer to mix the ingredients until the butter is incorporated. Combine 8 tablespoons of softened butter into the dry mixture. Mix 2 cups flour, 4 teaspoons of cornmeal, 1 teaspoon of salt and 1/8 teaspoon of garlic powder in a bowl. 1/3 cup powdered cheese Instructions: 1.1/2 teaspoon of lemon pepper seasoning.Up to 1⁄2 cup of water For the Flamin' Hot Seasoning:.It also makes a TON of Cheetos (about 5x the amount shown in the bowl in the video)! Recipe which I found on is below! 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As long as I can convert from unix timestamp to a friendly date/time, I dont mind if its off from the wall clock time by a few seconds. Parsing uptime or last reboot was a bit more of a pain to covert into something you can return a value of just days to.īash example: sysctl kern.boottime | awk '' | tr -d ,) Id rather leave leap seconds out of the equation. I also use sysctl to track this, or at least I found it the easiest to parse. Presented as miserable and remorseful, Michael isn’t the guy you do drive-by shootouts with. Such is the quality of the voice acting and mission structure, you’ll find yourself subconsciously role-playing whoever you think Franklin and co. Thanks to its innovative character-swapping gameplay, GTA 5 lets you live three very distinct lives over the course of a single campaign. Most of the time though, this Los Santos yarn is way too hard to pin down… and that’s a compliment. At times it’s a wisecracking take on Michael Mann’s Heat – those headline scores are incredible. The most subversive story Rockstar has ever told in GTA is also the series’ best. Probably this should have gone into the suggestions forum I dont know.Platforms: PC, PS4, PS5, Xbox One, Xbox Series X/S So just implement on mobile what is currently implemented on desktop so whoever still wants to have those buildings shown can view them, whoever doesnt like to have them shown can hide those. Now there are players who like to have those buildings still shown on the Headerquarters. so it goes against the principle of keeping things as clean as possible on mobile. The more elements we add in a mobile screen the heavier it gets. On mobile we fight against time, we try to do the more things on the minimum amount of time but we cant do that when we have to scroll a lot or when we have to wait for all those un-needed images to finish loading or for the view to render. IMO these settings should be valuable also for mobile, especially for mobile. On desktop there are settings that hide these kind of buildings. On mobile app when a player goes on headquarter to upgrade buildings he can see a list of his current upgrade commands and right below that a full list of the buildings.īuildings that can be upgraded and buildings that can not be upgraded or even buildings that have finished upgrade, so they are fully upgraded. Two very differing goals in browser vs app it seems. The app feels like a toy designed to do some small things one at a time and is just there to look pretty. It's based on getting a lot done in little time.
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Pete Townshend loved the Rolling Stones and kinda wanted to be them and took Keef and Mick’s jailing in 1967 as an excuse to vow not to release anything other than Stones’ covers until the Rolling Stone Two were released. Speaking of groups who were better at doing original stuff than covers, I think the Who rival the Kinks for best exemplar. Like “Louie, Louie”, just slightly stabbier. I can’t “da-dum” the guitar in “I Can’t Explain” because I hear it as a series of “DANT”s, even though I’m aware that “DANT” has not (yet) achieved the same status as Technical Musical Term as “da” or “dum”. If they only have two, they feel unfinished-and this is why both Lennon’s and McCartney’s solo stuff is so frequently unsatisfying they didn’t have the other guy to suggest the third bit, the “release” that sets off the other stuff. I’ve always had a pet theory, expressed to nobody but my wife, that truly great pop songs have to have three distinct pieces, each arresting on their own, but fitting together. Then the “middle eight”–the shouty bit, followed by rave-up call-and-response, then back to the melody. Just for comparison’s sake, here’s the Raspberries “Go All the Way”:ĭig that impossibly crunchy guitar…that dissolves into an arrangement so sugary it’s pre-Beatles, more like Beach Boys. I assumed we’d get to Nuggets when I posed the question, but to me at least there has to be a significant melody for something to be pop as well as power. The Choir’s “It’s Cold Outside,” from 1966, is essential power pop.Īgree that “Louie Louie” is in the bloodline, but not exactly power pop. IMHO.īut speaking of the overlap, Stiv Bators in 1979 did a cover version of a song called “It’s Cold Outside,” from the short-lived Cleveland group The Choir–whose lead singer, Eric Carmen, of course went on to form Raspberries, probably the greatest power pop group of all time. But otherwise the Kingsmen’s record (based of course on the Richard Berry & The Pharaohs original, which was calypso-flavored R&B from Los Angeles) is pure atavistic garage or proto-punk rock–which often overlaps with power pop, but not here. (They were also covering a lot of the same classic rock ‘n’ roll as the Beatles, like “Too Much Monkey Business” and “Long Tall Sally,” and it’s all freaking terrible the Kinks were only ever good at original material.) If I’m really listening, I see the influence of “Louie” on the British groups as being entirely limited to the fast, savage guitar break. I love “Louie Louie” but I can’t see it as power pop, even though you can hear it in “You Really Got Me,” and even though the Kinks did their own, really, really bad, version of it. You could also make an argument that some of that first heavy metal is basically just “Ticket to Ride” slowed way, way down, and sluiced through with blues but I don’t know why you’d want to. That still sounds plausible to me, though anyone can come up with “heavy” records predating those the point is 1968 seems like an agglomeration point, the year a real genre was born. The narrative has usually been that heavy metal started sometime in 1968, the year when Blue Cheer released Vincebus Eruptum Iron Butterfly blessed us with “In-a-Gadda-Da-Vida” Steppenwolf released their first two albums and Jimmy Page, who’d briefly marshaled the remnants of the old Yardbirds as the New Yardbirds, formed Led Zeppelin. But who cares, I find it every bit as dynamite today as I did on first hearing it, when it was less than a decade old I can only imagine that makes it as dynamite today, or very nearly so, as it was the day it was released. But it was far from the first power popper, and so has no real “pioneering” placement. “Ticket to Ride” is absolutely power pop, in fact it’s still a definitive example. |
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