Simon Callow plays John Leech, the famed illustrator of the finished novella, and Miles Jupp adds a bit of twisted fun as Dickens' rival William Makepeace Thackery. The best parts are also the easiest with which to relate – those involving the characters and the story slowly coming together. We often get the feeling that perhaps too much was crammed into the run time, what with the conflicts over money, renovations, family matters, and publishing. Having the characters of the story appear on screen and interact with the writer is a terrific way to explain how the creative mind works, although at times, the sources of ideas, characters and key lines seem a bit too convenient. Screen veteran Miriam Margolyes plays the housekeeper, and Anna Murphy is Tara, the Irish nanny who serves as a muse for Dickens. Dickens is in the midst of severe writer's block, and only the quiet strength of his wife and never-wavering loyalty of friend/agent John Forster (Justin Edwards) are able to keep in from sinking to even lower emotional depths. In 1843 London, the renowned Dickens is coming off three straight flops and experiencing financial woes that are exacerbated by his insistence on the finest materials for the large home he and wife Kate (Morfydd Clark, LOVE & FRIENDSHIP) are renovating. Even as an adult, Charles had recurring nightmares of his time in child labor, and fortunately he was able to use those memories to create many long-lasting stories, each oblivious to generational change. Jonathan Pryce also excels as Charles' father John, a charming man who has never quite figured out the economics of life and whose long ago debt sent young Charles to a work house mixing shoe black. What a delight to behold the talented octogenarian as he leaves us wishing for even more of the grumpy and miserly old former partner of Jacob Marley. It should surprise no one that Christopher Plummer steals each of his scenes as Ebenezer Scrooge. Stevens easily fits into the latter, but as a testament to the strength of the story and supporting cast, we viewers are nonetheless quite entertained. Attempts to capture the process behind creative writing usually falls into one of two buckets: dry and boring, or outlandish and over-the-top. Dan Stevens (BEAUTY AND THE BEAST, 2017) stars as the esteemed writer Charles Dickens, and he bounds from scene to scene like a moody and spoiled Energizer Bunny. Rather than offer up yet another film version of the Dickens novella, director Bharat Nalluri (MISS PETTIGREW LIVES FOR A DAY, 2008) instead uses the Susan Coyne screenplay adapted from the non-fiction work of Les Standiford to present the lively and entertaining tale of HOW Dickens wrote his iconic book. Most would agree there is only one Christmas story that surpasses the popularity and familiarity of Charles Dickens' "A Christmas Carol", and both have had numerous film and screen adaptations. The quick change in ambience and the French musician’s ability to entrance his audience with any genre of music he commits to, is indicative of his astonishing artistry, both recorded and live.Greetings again from the darkness. People began linking arms, running around in circles, and jumping up and down, as though they were in a barn in the middle of Mississippi. At the end, he improvised some “American folk dance” music that sent the chilled-out audience into a hoedown throw down of some sort. The one-man band alternates between the piano, the saxophone, the guitar, a soundboard, and his voice, looping the eclectic instruments together during his entire set and captivating his audience with his quick dexterity and fluid sounds.įrench Kiwi Juice certainly left a lasting impression on everyone when he brought out Masego, for their famous duet “ Tadow,” and not only came back after everyone yelled “encore,” but also stayed for an additional 15 minutes, playing music that deviated away from his album. Overlaying jazzy low-fi undertones with EDM and stoner tunes, French Kiwi Juice easily worms his way into everyone’s inner desire to sway with our eyes closed, head tilted upwards. FKJ is the all-encompassing personification of our current generations’ music renaissance.
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Aliens, Cloudy with a Chance of Meatballs, and the Harry Potter series. As I scanned my library of movies, most of the titles I own from the above studios were in the catalog, including Hugo, Raising Arizona, Serenity, Saving Private Ryan, Speed, The Untouchables, Kingdom of Heaven, Gladiator, Moneyball, The Social Network, Casablanca, the Mission: Impossible series, The Fifth Element, A Few Good Men, The Godfather, Ocean's Eleven, The Bourne trilogy, The Hangover, Shrek, Madagascar, Monsters vs. The catalog of titles has definitely grown over the past year. You can't just authorize any old disc the movie has to come from a participating studio, and it has to be a title that has been "legally cleared for digital distribution from studios participating in the UltraViolet program." Studio partners include Paramount, Sony, Twentieth Century Fox, Universal Studios, Warner Brothers, DreamWorks, and Lionsgate. That brings me to another drawback mentioned in my original story: the limited number of titles that were available in the Disc-to-Digital catalog when the service first launched. Read more about disc to digital and its drawbacks and why it's limitations aren't that limited on. The other option is to simply pop the disc you want to authorize into your computer drive and see if it's compatible or not. The Disc-to-Digital page now has a helpful search tool to see if your movies are in the catalog. Instead, you should keep the VUDU website open in your browser. The VUDU to Go application doesn't directly include the ability to browse and search for titles to see what's available in the Disc-to-Digital catalog. The credit card linked to your VUDU account will be charged, and the titles immediately appear in both your VUDU and UltraViolet libraries. When you're finished adding all the titles you want, then you just hit the checkout button. The application scans your disc and tells you whether or not the movie is part of the Disc-to-Digital program (more on this in a moment) if it is, you can choose between the $2 copy or the $5 upgrade and add it to your cart. Once the new software was installed, I navigated to the Disc-to-Digital tab and began adding titles from my library by inserting the discs into my MacBook Pro's DVD drive. In my case, I already had VUDU to Go, but needed to upgrade to a newer version to add the in-home service option. Simply go to the In-Home Disc-to-Digital page on VUDU's website, create or sign in to your VUDU account (if you don't have an UltraViolet account, you'll have to create one during the setup process), and download the VUDU to Go application to your computer. The new service is straightforward and easy to use. I'm happy to report that Wal-Mart has removed that step from the process, launching the In-Home Disc-to-Digital Service that allows anyone with a DVD/BD drive in their computer to authorize copies from home. My personal experience involved trips to two different stores and dealings with employees who either didn't know how Disc-to-Digital worked or were too busy to help me. Explore reviews in our Media Server Review section.Īt the time of my original story, the biggest drawback to the Disc-to-Digital service, at least for me, was the need to physically bring your discs to a local Wal-Mart to have an employee authorize the digital copies.See more streaming, apps, and downloads news from.Read more original commentary like this in our Feature News Stories section.The cost is $2 for a straight DVD or Blu-ray authorization and $5 to upgrade a DVD to an HD-quality digital copy. If you're not familiar with the service, Disc-to-Digital allows you to get authorized digital copies of the DVD and Blu-ray movies you already own, to be stored in an UltraViolet digital locker and accessed through Walmart's VUDU streaming service (or any UltraViolet-compatible service). Last year, when Wal-Mart launched its Disc-to-Digital service, I tried it out and came away less than impressed. The formal charge of a molecular ion should be equal to the charge on that ion whether it’s an anion or a cation.The formal charge of a neutral molecule must always be zero.Some standards must be kept in mind while determining the formal charge on atoms of molecules N = Non-bonding electrons on an atom in the moleculeī = Bonding electrons or shared electrons with other atoms in the molecule Calculating Formal Chargesįormal Charge = Valence electrons of a free atom – Non-bonding electrons (lone pairs) – ½(Bonding electrons) The formal charge can be calculated using a formula such as It is the formal charge which makes a certain arrangement and configuration suitable for a molecule when more than one resonating structures are possible. Why does formal charge exist?Ī formal charge exists because of the deficiencies in the configurations of atoms leading to the formation of molecules. It means that out of different possible configurations and arrangements of atoms on a molecule, the most stable structure will be the one with a formal charge of either zero or as near to zero as possible.Ī formal charge is a fake charge or to be more polite, it is a hypothetical charge because if it were real, the charge would have spread to the whole molecule instead of being contained at a single atom. The best Lewis structure of a molecule is supposed to be the one with the least formal charge. Since the formal charge is a bygone concept relating to the Lewis structures. |
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